Page 1

4:%/&:4-"3(&45$*3$6-"5*/('3&&.64*$16#-*$"5*0/t0$50#&3tt'3&&

ER

STEEL PANTH

IES

DAPPLED CIT

/ 3&(6-"3+0)

INSIDE: t+0&#0/"."44" tø$"//*#"-$0314& tø45&1)&/."-,.64 tø505"--:&/03.064 EXTINCT DINOSAURS

www.themusic.com.au


THE DRUM MEDIA • 3


ALPINE ALT-J BAT FOR LASHES CHET FAKER CLOUD NOTHINGS DIVINE FITS EL-P FLUME HENRY WAGONS & THE UNWELCOME COMPANY HIGH HIGHS HOLY OTHER JAPANDROIDS JESSIE WARE JULIA HOLTER KINGS OF CONVENIENCE MS MR NICOLAS JAAR NITE JEWEL OF MONSTERS AND MEN PERFUME GENIUS POLICA POND REAL ESTATE SHLOHMO SNAKADAKTAL THE MEN THE NEIGHBOURHOOD THE RUBENS TWERPS YEASAYER

E L A S N O S T E K TIC

FRI 05 OCT

SAT 02 FEB SYDNEY COLLEGE OF THE ARTS (SCA) ROZELLE

*

TO SEE WHICH ACTS ARE EXCLUSIVE TO LANEWAY FESTIVAL AND FOR MORE DETAILS ON CITY SPECIFIC LINE UPS, GO TO LANEWAYFESTIVAL.COM.AU SUBJECT TO COUNCIL APPROVAL

*

THE DRUM MEDIA • 5


6 • THE DRUM MEDIA


THE DRUM MEDIA • 7


th f e or ha m rperl hoy te

l

OPEN ‘TILL 3AM

900 PRINCES HIGHWAY, TEMPE PH: 9559 6300 www.valvebar.com.au

WED 3

MUSO’S NIGHT ROCKIN WEEKLY BLUES JAM

8.00PM FREE ENTRY FRONT BAR

WARBRINGER (USA) DARKER HALF + DAWN HEIST

FRI 5

7.00PM $30 PRE $35 DOOR

+ TORTURED + HELL IT IS + THRASHED

VEORA (EP LAUNCH)

SAT 6

8:00PM $12 DOOR

DRAWING NORTH + THE AUTHOR + XATER BAY

SONGWRITERS ASSOCIATION OPEN MIC

TUE7:00PM 9

FREE ENTRY

WED 3RD 7PM

“BRADLEY CORK & THE FOLKLORE MANTRA”

FRI 5TH 7PM

“OUTRIGHT”

SAT 6TH 12PM

“ILLICIT”

SAT 6TH 7PM

“FLANNELETTE” VIBRATIONS AT VALVE “COREY LEGGE BAND”

SUN 7TH 5PM

11/10: JACOBIDE 12/10: PROG CORPS 19/10: THE WORKINGHORSE IRONS (MELB)

ROCK/BLUES SHOW WITH SUPPORT FROM “PHOEBE EVE GARDEN” , “BECK FIELDING”

THU 4TH 7PM

SUN 7TH 1PM

COMING SOON:

“WHITE PICKET FENCE”

INDIE/FOLK/BLUES SHOW WITH SUPPORT FROM “JULIAN ROJAS” , “SPOOKYLAND” AND SPECIAL GUESTS

HARDCORE SHOW WITH SUPPORT FROM “VIGILANTE” , “HAZARDS” , “COP GESTAPO”

METAL SHOW WITH SUPPORT FROM “ROSE TO RUINS” , “DYSTOPIC” , “ON THE SHOULDERS OF GIANTS” , “BLACK MAMBA”

HARD ROCK SHOW WITH SUPPORT FROM “THE NADIKS” , “PARTISAN CODE” , “RATTLESNAKE” , “THE GUNN SHOW”

BAND COMPETITION SEMI FINALS

FOLK/BLUES SHOW WITH SUPPORT FROM “THE BLAND” , “THE BEANS”

COMING UP:

‘GOBOOKEM.COM’

Wed 10 Oct: Glam Rock Show with “Reverse Grip” (Canada) , “Rattlesnake” , “Thrush” , “Become The Catalyst” ; Thu 11 Oct: Blues Rock Show with Blake Pardey, “Broken Hands” , “Night Attack”; Fri 12 Oct: Indie Blues Show with Cade Thomo , “Stolen Memories” , “Adam Tripodi Band” and many more ; Sat 13 Oct: 5pm: Metal Show with “Festering Drippage” , “Dark Horse” , “New Blood” , “Burial Chamber” , “Throat Of Dirt” , “Infested Entrails” , “The Holiday Project”; Sun 14 Oct: 12pm: Vibrations At Valve Band Comp Grand Final; 5pm: Metal Show with “Steel Swarm” , “Armorial” , “Parenthia”

For band bookings please email valvebar@gmail.com

Bistro open Lunch and Dinner !!

THUR 4/10 TUE 2ND OCT COMEDY NIGHT WITH

PETER MEISEL

7:30PM - 10:30PM

MC NICK CODY (USA - THE MIDDAY SHOW, THE MAN WHO (VIC) AND SUED GOD, ROBIN WILLIAMS) FRIENDS

THU 4TH OCT

7:30PM - 10:30PM

THE

H.P CORONADOS

+ GUESTS LIVE EVERY THURSDAY FREE ENTRY!

ADAM PRINGLE (GUITAR), JEREMY CRAIB (KEYS), MATT “THE RUMBLE” MORRISON(DRUMS) AND ROWAN LANE(BASS)

SUN 7TH OCT

3:00PM - 6:00PM

SUNDAY ARVO JAZZ AT THE HPH

FREE ENTRY

TUE 9TH OCT COMEDY NIGHT WITH

7:30PM - 10:30PM

DAYNE RATHBONE (WINNER RAW COMEDY 2011; SO YOU THINK YOU ARE FUNNY UK)

EVERY MONDAY

2 FOR 1 MEALS

9660 4745 8 • THE DRUM MEDIA

EVERY TUESDAY

FEED the FAMILY

MC JOEL OZBORN

AND FRIENDS

WEDNESDAY TO FRIDAY

KIDS EAT FREE

FREE FUNCTION ROOMS - CONTACT JOSH FOR INFO JOSH@HAROLDPARKHOTEL.COM.AU

beaten bodies

CD LAUNCH + BROTHER FUNK + THIS MESS

FRI 5/10

THE PIGS

Coming soon –

Tuesday 2nd October

DIG (DIRECTIONS IN GROOVE)

Sat 20/10 Contraban

+ Jade Bootay

Final Show

Wednesday 3rd October

Fri 26/10

BACK TO BLACK: ALLOWAY

Barbara Blue (US)

+ Benjalu + Pete Sot

Thursday 4th October

+ Mojo Webb

MICROWAVE JENNY

Fri 2/11

+ Molly Contogeorge + Laura and Bruno

Running In The Shadows

Friday 5th October

ROLLING STONES TRIBUTE

CD LAUNCH

Fleetwood Mac Tribute Sat 3/11

(The Brian Jones Years) Feat: Damien Lovelock (The Celibate Rifles) and Rex Goh (Air Supply)

WED10/10

Karma County

Saturday 6th October

The Drifting

+ Sam Buckingham

+ Dan Hopkins & The Generous Few + Natasha Eloise

Penny & The Mystics

CD Launch

FRI 12/10

First Ladies Of Soul SAT 6/10

Rolling Stones Tribute ‘The Brian Jones Years’

CHASE THE SUN

+ Little Big Wolf + Jed Rowe

Thur 8/11

Thursday 11th October

RICHARD CALABRO’S ALPHA OMEGA

Band Of Frequencies Fri 9/11

+ Southerly Change

Friday 12 October

Saturday 27 October

Sat 10/11

Sharon O’Neill

Barbra Blue

Petulant Frenzy

Saturday 13 October

Wednesday 31 October

Play Zappa

Peter Northcote’s DRIVE

The Art of Storytelling

Sat 17/11

Sunday 14 October

Saturday 3 November

Pyjama Party

Tigertown

Steve Edmonds

With The Frocks

Thursday 18 October

Sunday 4 November

Fri 23/11

Dylan And Co

Owen Campbell

Friday 19 October

Wes Carr introducing

King Tide

Tuesday 6 November

Buffalo Tales

Sunday 21 October

Butterfly Boucher

Fri 7/12

The Siren Tower

Thursday 8 November

Charles Jenkins

Wednesday 24 October

Mark Wilkinson

The Trews

& The Zhivagos

Thursday 25 October

Sat 15/12

Ray Beadle

The Jeff Duff Experience

Jordie Lane

Friday 26 October

Wednesday 14 November

The Song Writers Circle

SongsOnStage

Friday 9 November


John Butler Trio (NYE Midnight Set) Sharon Jones & the Dap Kings (usa-nye sEt) tHE bLacK sEedS (nz) fRiEndLY fIreS dj Set (uk-nye sEt)

kRaFty kUtS Vs A.sKilLz (UK) tHE hERd (aus) Kaki King (USA) Blood red Shoes (UK) Unknown Mortal Orchestra (USA) Electric Wire Hustle (NZ) King Tide (AUS) mAt. mChUGh & THE SEPERATISTA SOUND SYSTEM (aus) 65DaysoFstatic (UK) Deep Sea Arcade (AUS) Gold Fields (AUS) Gossling (AUS) Will & The People (UK) Chapelier Fou (Fr) The Medics (AUS) NorthEast Party House (AUS) HatFitz and Cara (aus) Tuka (AUS) The Cairos (AUS) The PreaTUREs (AUS) Battleships (AUS) Lime Cordiale (AUS) Daily Meds (AUS) JONES Jnr (AUS) Tigertown (AUS) MicroWave Jenny (AUS) also featuring — The Return of The Dub Shack Plus many more artists to be announced...

THE DRUM MEDIA • 9


COOGE E

LIVE IN THE

RESIDENCY STARTS SUNDAY 7 OCT

BIG ROOM SAT NOV 3

SYDNEY’S FAVORITE FOLK

PUNK STORYTELLER

ISAAC GRAHAM SPECIAL GUEST MARA THREAT

FREE

$5 SCHOONERS OF CRAFT BEER & FREE POPCORN

SAT SEPT 29

COVER SESSION

ASH Grunwald SAT NOV 17

Jeff Martin

BONNIE JOHNSTON

& TONY LEBARS Band Bookings

info@codeone.net.au - www.codeone.net.au

Tickets & info from www.coogeediggers.com.au

COOGEE DIGGERS 9665 4466 CORNER BYRON & CARR STREETS

10 • THE DRUM MEDIA

USE ME.


THE DRUM MEDIA • 11


Too good to just download*

Martha Wainwright

Sebastien Tellier

Lianne La Havas

Come Home To Mama

My God Is Blue

Is Your Love Big Enough

Martha’s first album of new originals in four years.

After a memorable performance at Parklife in 2011, Australian fans can once again worship at the altar of Tellier.

Debut album out October 5 Nominated for 2012 Mercury Prize – Album of the Year

Australian deluxe edition cd includes 3 bonus tracks. Out October 12. “Smart, elegant and affecting, this is surely her best yet.” MOJO

Boogie! Australian Blues, R&B and Heavy Rock from the ‘70S’ A two-disc celebration of blues-based Oz sounds of the ‘70s. 44 track - Billy Thorpe & the Aztecs, Chain, Carson, La De Das, Madder Lake, Daddy Cool, Rose Tattoo, Coloured Balls, Wendy Saddington, Spectrum, Stevie Wright, Buffalo, Blackfeather, MORE!

““Sebastien invites you to follow him, like a sexy David Koresh, and with tunes like ‘Sedulous’, ‘Pepito Bleu’ and ‘Cochon Ville’, the call might just prove irresistible” NME: 7/10

Two Gallants

The Guardian ‘Lianne has the sly, vibrant candour of a young Amy Winehouse’ Q Magazine

Chris Robinson Brotherhood

The Bloom and The Blight “…scrappy charm, whether pounding through fuzzy, primal ditties such a ‘Song of Songs’ or making like Dylan on the gorgeous ballad ‘Broken Eyes.”– THE SAN FRANCISCO CHRONICLE

Exclusive Australian edition includes two bonus tracks. Single “My Love Won’t Wait” on JJJ

The Magic Door EXCLUSIVE AUSTRALIAN EDITION INCLUDES THREE BONUS TRACKS. Second of two new albums from the Black Crowes singer’s new group. “Awesome.” - RHYTHMS

Jeff The Brotherhood

Billy Bragg & Wilco

Frightened Rabbit

Hypnotic Nights

Mermaid Avenue: The Complete Sessions

State Hospital

Co-produced by Dan Auerbach (The Black Keys) Single ‘Sixpack’ currently playing on Triple J and communities

Four disc set includes the two original ‘Mermaid Avenue’ albums, a third disc of previously unreleased material from the sessions, the ‘Man in the Sand’ feature documentary, plus a 48 page book.

Their eagerly awaited new EP comes ahead of their much-anticipated fourth album, currently being recorded with producer Leo Abrahams (Brian Eno, David Byrne, Grace Jones) behind the board.

Look out for Billy Bragg’s ‘Ain’t Nobody That Can Sing Like Me’ Australian tour this month. Go to vivleespresents.com for details.

“ a stunning burst of anthemic social conscience” 8/10, NME

TOURING AUSTRALIA FOR 2013 BIG DAY OUT ‘Why the hell aren’t you listening to it?’ – STEREOGUM

*But of course, you can if that’s your preference. WWW.WARNERMUSIC.COM.AU

WWW.NONESUCH.COM

WWW.ANTI.COM

WWW.FACEBOOK.COM/INDOCHINERECORDINGS

THE DRUM MEDIA • 13


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

E HIFI 1300 TH O C M.AU

Nekromantix Fri 5 Oct

THEHIFI.

(DEN/USA)

Russian Circles (USA) Sat 6 Oct

Just Announced

Omar Rodriguez Lopez Group (USA)

Maximo Park (UK)

Marduk (SWE)

Tortoise (USA)

Thu 3 Jan

Sat 12 Jan

Thu 11 Oct

FA ST SE LL IN G

SE LL IN G

FA ST

Sat 1 Dec

Gomez (UK)

Fri 12 Oct

Fri 19 Oct

Alt Rugby Commentary

Thurston Moore (USA)

Sat 20 Oct

Fri 26 Oct

Feat. Jed Thian

District 7 Fest Feat: The Getaway Plan Leb I Sol (MKD) Tuneboy, + More

Sun 28 Oct

Sat 27 Oct

Sat 3 Nov

Only U18 Tickets left!

Modern Artillery Fri 23 Nov The Living End Tue 27 Nov

The End Is Just The Beginning Repeating Sat 24 Nov

Turbonegro (NOR) Thu 6 Dec

SE LL IN G

FA ST

State of Emergency Thu 22 Nov The Living End Mon 26 Nov

ASHES

GYPSIES & GENTLEM

EN + MAUX FAUX

FRI 5TH

65daysofstatic (UK)

Crystal Castles(CAN) Kerser

Wed 2 Jan

Thu 17 Jan

Sat 2 Feb

FUNCTION

SAT 6TH $10 8PM

DIRT RIVSAEINRTS R&AADNGIOEL AWAKE

30THREE + ARCANE

O PE NE R AL NI BU G M HT

SE LL IN G

Wed 21 – Tue 27 Nov White Noise Wed 21 Nov Roll On Sun 25 Nov

Mahalia Barnes & Prinnie Stevens Sat 10 Nov

FA ST

The Living End

THU 4TH $10 8PM

CLOSED FOR PRIVATE

FR EE SH O W

Everclear (USA)

OCTOBER

An Evening with The Hoff (USA) Fri 15 Feb

S 3PM

SUN 7TH $15 ALL AGE

Y A W D A O R B N O S T S O H G BOMB + ALASKA ER TT LE + LD GO IN T GH

UR WEI CALL THE SHOTS + YO IES & SPHERES +TEAR DOWN THE SK

THU 11TH 8PM

VTRIBE

ENTERTAINMENT QUARTER, BUILDING 220, 122 LANG RD, MOORE PARK, SYDNEY

FRI 12TH $12 8PM

SMOTHERSTBEROIAX& KORANIC

FOUULHAWK + MASS

AT THE BREWHOUSE WWW.LIVEATTHEBREWHOUSE.COM.AU

22 The Promenade, King Street Wharf, Sydney NSW

{äÊ 

Ê ", -ÊUÊ{äÊ"1,-ÊUÊ{ä

16TH, 17TH AND 18TH OF NOVEMBER

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

THE 40 HOUR MUSIC MARATHON “THE BIGGEST SMALLEST MUSIC FESTIVAL IN THE WORLD” 40 GREAT BANDS FOR 40 HOURS NON-STOP FOR $40 A HISTORY MAKING EVENT. WORLD VISION AUSTRALIA IS THE CHARITY THE WHOLE MARATHON WILL BE STREAMED TO THE NET. COME AND BE A PART OF THIS AWESOME EVENT AND LETS RAISE SOME MONEY FOR WORLD VISION AS WELL. TIX AND INFO www.liveatthebrewhouse.com.au Bands, send your links to info@liveatthebrewhouse.com.au

8 MUSIC GENRES!

14 • THE DRUM MEDIA

HY

OCTOBER

SAT 13TH $12 8PM

DRILLSAW

FROM DEATH TILL REBIRTH + TIL RAPTU

RE & GORE REAPER

THURS 18TH $10 8PM

CLARE HEUSTON

ANGELENE HARRIS & PATRICK MCCARTH

FRI 19TH $12 8PM

Y

CROSSING RED LINES

THE BAREFOOT BAND + LIMITED HEAD SPA

CE & TIGER AND THE ROGUES

SAT 20TH $12 8PM

INCENDIA THRONE

MAY FALL + FORTUNE FAILS & LIFE BEY

COMING SOON WHEAT FIELDS, THE HADRON COLLIDERS, PETE JONGSMA, THE ANGEL AFFAIR, JOHN DEVOY, THE ELLIOTTS, JOVA, HALFWAY HOMEBUOY, SONS OF ALAMO, SWING FROM A STREETLIGHT, CRASH THROUGH, GALLERI, TIFFANY BRITCHFORD, SICARIA, CASCADE, CUERVO, THE RAIDS AND MANY MANY MORE TALENTED ORIGINAL ARTISTS FROM SYDNEY AND BEYOND.

BAND AND FANS REGISTER ONLINE AT

www.sydneylivehouse.com

OND


launches at 7pm Friday 12th October


GIVEAWAYS GUITAR JOE HITS TOWN

One of the hottest and certainly the most prolific bluesbased guitarists working the planet at the moment Joe Bonamassa is returning to Sydney to play the State Theatre Friday 5 October showcasing his brand new album, Driving Towards The Daylight, and a few of his favourites from across his dozen or so albums to date. We have two double passes to the show to give away.

Jerrico

DANCE WITH JERICCO

After three years together and many sold out gigs, Jericco are set to release their yet-to-be named debut album. Currently touring on their Dance National tour, they’ll be launching their single Dance Like No One’s Watching at The Annandale Hotel on Saturday 6 October. We have three double passes to the show to give away.

FAREWELL THE BEAUTIFUL GIRLS

After ten years together, The Beautiful Girls are on the last adventure with over 26 stops around the country with the final Sydney shows taking place on Friday 5 October at the Metro, Saturday 6 at Anita’s, Thirroul and Friday 12 and Saturday 13 at the Mona Vale Hotel. We have five double passes to the Metro show to give away.

FOR MORE GIVEAWAYS THIS WEEK HEAD TO FACEBOOK.COM/DRUMMEDIA AND CLICK ON THE GIVEAWAYS TAB T H E D R U M M E D I A I S S U E 1 1 3 0 T U E S D AY 2 O C T O B E R 2 0 1 2

DRUM Giveaways – Check it out for free stuff and head to Facebook for more! The Front Line hits hard with industry fact and conjecture and Foreword Line has the latest news on tours, releases and more. Tame Impala take it as far as they want to go. Steel Panther’s message is fun. Regular John please themselves. Dappled Cities travel outside their immediate circle. Nekromantix still approach songwriting in a fresh and naïve way. Joe Bonamassa becomes eclectic thanks to his producer. Grinspoon pull Black Rabbits out of their hat. It’s just raging music with Cannibal Corpse. Totally Enormous Extinct Dinosaurs is honoured people still compliment him. Stephen Malkmus & The Jicks like it bigger live. Tinpan Orange look back on a simpler time. Drawn From Bees are a pretty imaginative bunch. Founds take you through the earth’s journey. Bec Laughton tries to speak life into people. Allo Darlin’ – motivated by visas running out. Diafrix take another step and progress. Party music, party band, party album – it’s Northeast Party House. On The Record reviews new release albums and singles from Beth Orton, Ball Park Music, The Mountain Goats, Tame Impala and more.

16

18 24 25 26 28 29 30 31 32 32 33 34 34 34 34 36 36 36

38

FRONT ROW Check out what’s happening This Week In Arts, Andrea Arnold’s radical retelling of Wuthering Heights the film is almost completely devoid of PUBLISHER Street Press Australia Pty Ltd GROUP MANAGING EDITOR Andrew Mast EDITOR Mark Neilsen ASSOCIATE EDITORS Michael Smith, Scott Fitzsimons FRONT ROW EDITOR Cassandra Fumi frontrow@drummedia.com.au CONTRIBUTING EDITOR Adam Curley 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 sales@drummedia.com.au Brett Dayman, James Seeney, Andrew Lilley 16 • THE DRUM MEDIA

themusic.com.au

dialogue we find out why; Malik Bendjelloul takes us through the legend of the enigmatic and elusive musician that frames his new feature, Searching For Sugarman. Reviews plus Cultural Cringe gives us the lowdown on the Helpman Award Winners Sam Strong tells how he plans to make it rain inside Griffin’s SBW Stables and we have Made You Look and before we chat to P.J Hogan about Mental and then Baz meets unexpected guest Shaz aka Toni Collette.

43 44

45

LIVE Reviews of the past week’s big gigs including Fear Factory, The Presets and The Fray. Dan Condon features the world of blues and roots with Roots Down, Chris Maric gets local with hard rock and metal in The Heavy Shit, Sarah Petchell brings us local and international punk news in Wake The Dead. Cyclone gives you urban and r’n’b news in OG Flavas, Adam Curley muses on all things pop culture in The Breakdown, Go south as you enter Pedro Manoy’s Swamp Shack and the electronica’s a little leftfield and the soul’s futuristic with Huwston giving us Bebop & Rocksteady. Viktor Krum asks you to Get It Together with the latest in hip hop and Dave Drayton gets Young & Restless with all ages goings on. It’s all here: Tour guide, what’s happening in indie news this week, gig guide and more, plus Band Of Horses provide us with a studio diary. Backstage and Muso, your guide to studios, recording, gear, courses and more. The Classies – need a singer/bassist/drummer/ any other service/product you can think of? Your answer is here. And on iflog.com.au.

iflog.com.au

47

50

51

52

53 59

60

CLASSIFIEDS

ART DEPT artwork@drummedia.com.au Dave Harvey, Matt Davis Dave Harvey

COVER DESIGN

ACCOUNTS DEPT accounts@streetpress.com.au GIVEAWAYS/GIG GUIDE Justine Lynch THE DRIVERS Grant, David, Julian, Ray, Paul, Al, Mark PRINTING Rural Press (02) 4570 4444 DISTRIBUTION distro@drummedia.com.au SUBSCRIPTIONS Subscriptions are $2.20 per week (Minimum of 12 weeks) – Send your details with payment to Subscriptions Dept, The Drum Media, PO Box 2440 Strawberry Hills NSW 2012 (cheques/money orders to be made payable to Dharma Media Pty Ltd) ADDRESS Postal: PO Box 2440 Strawberry Hills NSW 2012 Street: Level 1/142 Chalmers St Surry Hills NSW 2010 Phone (02) 9331 7077 Fax (02) 9331 2633 Email info@drummedia.com.au www.themusic.com.au The Drum Media is also available on iPad via the iTunes App Store


LEVEL 1, 354 BOURKE ST. SURRY HILLS

BUY NOW AT THUR 25 OCT

THE TREWS (CANADA)

+ SPECIAL GUESTS DOORS AT 7PM

DOORS OPEN 6PM. FREE ENTRY ALL NIGHT. KING TIDE

JAM PRESENTS FRI 5 OCT

KING TIDE

TALES IN SPACE, DAN CRESTANI DJ: LIZ BIRD NORTHEAST PARTY HOUSE

SAT 6 OCT

NORTHEAST PARTY HOUSE

I AM APOLLO, ALISA FEDELE AND THE KING BEES DJ: F.R.I.E.N.D/S

NEW EMPIRE

FRI 12 OCT

NEW EMPIRE

GOLDSMITH, KARL BROADIE DJ: KRISTY LEE

THE VAUDEVILLE SMASH

SAT 13 OCT

THE VAUDEVILLE SMASH I AM APOLLO, ALISA FEDELE AND THE KING BEES DJ: BERT AND BERNIE

AXOLOTL

FRI 19 OCT

AXOLOTL (EP LAUNCH) PENELOPE AUSTIN, JORDAN SLY DJ: KRISTY LEE

COMING UP COGEL (EP LAUNCH), BELL WEATHER DEPARTMENT, NANTES, TWIN LAKES, TESSA AND THE TYPECAST, OLLIE BROWN, LOUIS LONDON, DAN CRESTANI, CIVILIANS, PENELOPE AUSTIN, JORDAN SLY, WILL AND THE PEOPLE (UK), DUNE, RED INK, JORDAN MILLAR, SONS

UPSTAIRSBERESFORD.COM.AU OR 8313 5050 FOR GIG INFO HAPPY HOUR BEFORE 8PM FRI & SAT. DINNER & SNACKS AVAILABLE

PRIVATE BOOTH & VENUE BOOKINGS 8313 5000 THE DRUM MEDIA • 17


FOREWORD LINE

NEWS FROM THE FRONT

SISTER ACT

DOUBLE DIPPERS

BRYGET CHRISFIELD checks in with previous JÄGERMEISTER INDEPENDENT MUSIC AWARD winners THE HERD and THE JEZABELS, both nominated again this year, to find out whether there’s room in the trophy cabinet for another see-through statuette.

Home-schooled by their parents, Allison and Catherine Pierce grew up in an environment where “Simon & Garfunkel mattered way more than getting the hang of long division.” Despite there being all manner of comparisons being thrown around; from a countryfolk version of Agnetha and Anni-Frid, or a noughties take on Heart, it is clear to say that The Pierces are developing a sound all of their own. Back in May, these Alabama-raised songbird sisters were confirmed to make their debut appearance in Australia, opening the stage for Coldplay on their stadium tour in November. It has now been confirmed that in addition to these dates, The Pierces will be playing their own headline show on Tuesday 20 November at the Oxford Art Factory. Bat For Lashes

LANEWAY LINE-UP

The line-up for the 2013 St. Jeromes’s Laneway Festival has been announced. Acts include Alpine, Alt-J, Bat For Lashes (pictured), Chet Faker, Cloud Nothings, Divine Fits, El-P, Flume, Henry Wagons & The Unwelcome Company, High Highs, Holy Other, Japandroids, Jessie Ware, Julia Holter, Kings Of Convenience, The Men, Ms Mr, The Neighbourhood, Nicolas Jaar, Nite Jewel, Of Monsters And Men, Perfume Genius, Polica, Pond, Real Estate, The Rubens, Shlohmo, Snakadaktal, Twerps and Yeasayer. The festival comes to the Sydney College of the Arts on Saturday 2 February.

BLOODY BEAUTIFUL

BEST STLL TO COME British India

This year has been massive for Best Coast, the LA band releasing their critically acclaimed second album, The Only Place, bidding farewell to the lo-fi haze that typified earlier releases, adopting a cleaner and more sophisticated approach. Returning to Australia to perform at the Falls and Southbound festivals, they also play the Metro on Thursday 3 January.

RIDE THE WAKE The Jezabels Please share with us a favourite memory from the award ceremony at which your band was victorious. Kenny Sabir (aka Traksewt, The Herd): It was a funny moment shuffling the eight ‘elefant’s onto the stage to collect the award, and no-one was stepping up to the mic. None of us were expecting to win – we thought awards ceremonies were scripted and the winners were notified in advance. Normally we can’t keep those MCs quiet, and they can bust a smooth freestyle given any random topic for inspiration. But the difficulty is tenfold when you have to make a spontaneous acceptance speech. Sam Lockwood (The Jezabels, guitarist): We were overseas for the last ceremony, but I do remember getting the news and us all being over the moon. Where does the trophy live? Do you have to share custody or did you each get a replica to keep? KS: The trophy is at our label HQ /recording studio. We each had a five-minute cuddle of it, then we got to make heaps of replicas out of those glassy LEGO blocks. We sell the replicas at our gigs now. SL: You’ll have to ask our manager. He’s the collector of our important things and, to be honest, I think he deserves it more than us. He’s been our pseudo label over the past five years. It’s a one-man operation! What sort of impact do you feel winning an Independent Music Award had on your band? KS: It was a well-needed boost for us, showing us some love from the people that count. SL: I think that these awards are probably the most important to us because we do value ‘independence’. Our manager had experience in the independent world and from the start never questioned the possibility of maintaining an independent position in the Australian music industry. How does it feel to be nominated again? KS: We feel humbled to be nominated again, as there are a lot of good choices on offer.

Byron Bay’s In Hearts Wake are set to embark on an extensive headline tour this October and November, in support of their UNFD debut Divination. Joining them as main support are Sydneysiders Sienna Skies and Shinto Katana, and rounding out the package are promising Melbourne upstarts Hallower. The Divination tour touches down Thursday 25 October at Hot Damn, Friday 26 at Masonic Hall (Blacktown all ages), Saturday 27 at Hot Damn Road Trip (Wollongong) and Sunday 28 at The Bald Faced Stag (all ages).

SL: I hope that being a previous winner doesn’t mean anything! If we don’t win though, that will be why. At least that’s what we’ll tell everyone. WHAT: Jägermeister Independent Music Awards WHEN & WHERE: Tuesday 16 October, Revolt Art Space, Kensington

PRESENTED BY 18 • THE DRUM MEDIA

City Riots

BRIGHT LIGHT RIOTS Fresh off the road from a small run of club shows, City Riots have announced the Sea Of Bright Lights Tour to celebrate the release of their debut album of the same name. Intent on making an album in its truest form, all songs were written and recorded under the ears of Paul ‘Woody’ Annison in less than six months. The tour comes to the Terrace in Newcastle Thursday 22 November, the Patch in Wolllongong Friday 23 November, the FBi Social Saturday 24 November and Rock Lily Thursday 29 November.

SYRIAN SUPERSTAR

Jordie Lane

DOWN THE LANE

Jordie Lane will officially release his new single Fool For Love on Monday 8 October. To celebrate, he’ll be offering fans a free exclusive download for one week until Monday 8 October at jordielane.com. Lane and band will also hit the road on a 15-date national tour and play Thursday 22 November at Smiths Alternative Bookstore (Canberra), Friday 14 December at The Great Northern Hotel (Newcastle), Saturday 15 at Notes and Sunday 16 at Clarendon Guesthouse (Katoomba).

RETURN TO SENDER

After touring the USA and UK extensively for the past 18 months, Dead Letter Circus are excited about unveiling their creations, and can’t wait to bring fresh songs to life in the live setting as they road test new material with this select run of performances during Summer 2012. They will be joined by Hands Like Houses when they play the Entrance Leagues Club on Thursday 27 December, the Fitzroy Hotel, Windsor on Friday 28 December and Waves, Wollongong on Saturday 29 December.

SL: It feels great! Each year there are so many sweet artists nominated so it feels good to have your band’s name up next to theirs. Do you think being a previous winner will affect your odds this time around? KS:I don’t expect being a previous winner will affect our odds, as the quality of music produced is always leap-frogging each year. I see it as a clean slate.

Omar Souleyman hails from a small town in northeastern Syria near the Iraqi and Turkish borders. It was there in the mid ‘90s that he began his singing career. Backed by traditional Arab instruments such as the ney, violin, hand percussion and saz, he has issued more than five-hundred studio and live-recorded cassette albums (mostly recorded at weddings), which can be found in shops all over Syria. Souleyman brings his fun and frenetic live show to Australia to play Oxford Art Factory on Thursday 6 December.

GIDDY UP Having met in the haze of a never ending Balmain summer, Crystal Rose and Paul McDonald started to write songs drawing upon their rural Australian upbringing, melded with the frenetic pace of the beautiful people on Darling Street in Balmain and the characters found in every pub. Charlie Horse was born. Launching their debut album, I Hope I’m Not A Monster. the band plays the Factory Floor on Saturday 3 November.

Maximo Park

It’s been seven years since Maximo Park released their critically acclaimed and Mercury Prize nominated debut album A Certain Trigger. Now with over 2 million albums sold, the five-piece are heading to Australia with their fourth album, The National Health, a ferocious and rousing blast of incendiary rock. As well as playing the Falls and Southbound Festivals, Maximo Park will play The Hi-Fi Thursday 3 January supported by Glass Towers.

In most excellent news, My Bloody Valentine are returning to Australia’s shores for the first time in 21 years (quite possibly about the same time this pic was taken). Founded in Dublin, Ireland in 1983 and led by the visionary Kevin Shields, they were a band that pretty much altered the course of modern rock music. With their overwhelming volume, soft voices, churning guitars and revolutionary melodic sophistication, My Bloody Valentine were, and still are, a thrilling and inspiring act. Their return to Australia will bring with it both catharsis and release for fans who have waited the best part of their lives to see one of the great guitar bands of last century. They play on Monday 18 February at the Enmore Theatre.

OMAR, OH MAN

Omar Rodriguez Lopez is an artist whose talents go far beyond the musical landscape he’s widely celebrated for. Rodriguez Lopez made his mark as a guitarist in the early ‘90s in the ground breaking post-hardcore band At The Drive-In. A decade later, he went on to cement his name as a superfluously skilful guitarist and producer in the Grammy Awardwinning progressive ensemble The Mars Volta. Omar Rodriguez-Lopez and his band will be returning to Australia to play the Hi-Fi Bar on Saturday 1 December.

SHIVER ME TIMBERS

Brooklyn’s eerily sombre, lo-fi rockers Woods will drench the country for the first time with an extensive tour in January 2013. With a pure falsetto voice, Woods’ Jeremy Earl spills a twist of dark secrets and images within his songs, where his voice collides with kosmiche blackouts and distorting sounscapes. Woods have just released their seventh album Bend Beyond and will bring their live show to Goodgod Small Club on Saturday 26 January.

STRANGE DAYS Since forming in 2009, Melbourne eight-piece Eagle & The Worm have developed the kind of intuitive understanding that allows frontman Jarrad Brown to follow his unwieldy muse wherever it may take him. And in the case of new EP, Strangelove (out on 12 October), that means some pretty far-flung destinations – from southern-rock to lounge and spacedout psych. Eagle & The Worm will support Gomez on their national tour and then preview new tracks from Strangelove at Brighton Up Bar on Thursday 29 November, the Old Manly Boatshed on Friday 30 and the Junkyard in Newcastle on Saturday 1 December.

CABIN FEVER

MAXIMOCARE

My Bloddy Valentine

Blondie

BLONDE BOMBSHELL

Fronted by one of the most influential frontwomen in punk music, Deborah Harry, Rock’n’Roll Hall Of Famers Blondie are returning to Australia. They are bringing with them enduringly popular UK punks The Stranglers and Australian ‘80s dance-pop outfit Machinations joining the bill. Blondie will play the Enmore Theatre on Thursday 6 December.

BACK ON TRACK

After a period in the wilderness, disorganized Sydney indie/electronic band Cabins have returned to music, releasing a single titled In Blue. The track has been lifted from their forthcoming album. The band will preview their new album at The Annandale on Thursday 25 October.

Having just completed a 17-show tour of the East Coast, Sydney-based funkcore band The SideTracked Fiasco are heading out to do it again. They play the Great Northern Hotel in Newcastle on Saturday 1 December, Valve Bar on Saturday 8 and the Patch in Wollongong on Friday 14.

PURE EVIL

THRILL SEEKERS

The next Evil Invaders festival — the fifth ever — has brought together an extreme line-up of underground metal acts. Featuring the USA’s Sadistic Intent and Midnight, Finland’s Archgoat, plus home-grown acts like Portal, Nocturnal Graves, Cauldron Black Ram, and Inverloch, the whole event will run over two nights, June 13 and 14 next year, at Sydney University’s Manning Bar.

themusic.com.au

Easy Star All-Stars return to Australia this October to showcase their reggae re-imaginings of some of the world’s most loved recordings. New York’s finest reggae tribute supergroup return with their homage to the highest-selling record of all time, Michael Jackson’s Thriller. They play Rock Lily at The Star on Thursday 25 October.


PRESENTED BY triple j DRUM MEDIA |

| SOUTHERN CROSS TEN TIME OFF | FOCUS

www.thebasement.com.au

The Home of Live Music Since 1973 SUNDAY 7 OCTOBER

BILL SUMMERS (US) & JAMES MORRISON TLAOKOEKA

SUNDOWNER BREAKWALL TOURIST PARK PORT MACQUARIE – 14-15 DECEMBER 2012

THE PERCUSSION LEGEND WITH AUSTRALIA’S TRUMPET MAESTRO

JAZZ A VIENNE

THU 4 OCT

VAN THE MAN

FRI 5 OCT

CHRISTINE ANU SINGS ARETHA FRANKLIN

SAT 6 OCT

SENANI

WED 10 OCT

KEYIM BA + EPIZO BANGOURA

THU 11 OCT

DIG

(DIRECTIONS IN GROOVE)

FRI 12 OCT

AT LAST: THE MUSIC OF ETTA JAMES

SAT 13 OCT

THE BEST OF FRENCH AND AUSTRALIAN JAZZ

STEVE HOGAN RETURNS WITH THE AUSTRALIAN VAN MORRISON SHOW

THE AUSTRALIAN DIVA DOING THE DIVA

LAUNCHING HER NEW SOUL/RNB ALBUM

AFRICAN GREATS COMING TOGETHER IN ONE NIGHT

LAUNCHING THEIR NEW ALBUM CLEARLIGHT

EXPERIENCE THE SASS AND SWAGGER OF ETTA

TICKETS ON SALE SEPTEMBER 5 - 10:00AM I N C LU D E 2 N I G H T S F R E E C A M P I N G AC C O M M O DAT I O N PAC K AG E S A L S O AVA I L A B L E

COMING SOON @ THE BASEMENT MARK WILKINSON, THE DIXIE TICKLERS, CHARLIE MUSSLEWHITE

JUST ANNOUNCED JON CLEARY (ALBUM LAUNCH), DAVE DOBBYN, HAWKSLEY WORKMAN

FOLLOW US: ON FACEBOOK @ THE BASEMENT SYDNEY & ON TWITTER @ #DOOR_DIVA CHECK IN ON FACEBOOK EVERY THURSDAY & FRIDAY FOR DISCOUNTS AT THE BAR THE DRUM MEDIA • 19


FOREWORD LINE

NEWS FROM THE FRONT

TOWER OF SONG

The Siren Tower are distinctly and unmistakably Australian. Our country’s indigenous, convict and immigrant history is celebrated in story and song on their debut album, A History Of Houses. The Siren Tower are a new band, but one formed by seasoned musicians, players from diverse and decorated backgrounds in the Western Australian music scene. Catch them on Saturday 20 October at the Fitzroy Hotel, Windsor and on Sunday 21 at the Brass Monkey in Cronulla.

I N D U S T RY N E W S W I T H S C O T T F I T Z S I M O N S frontline@streetpress.com.au

CHUGG BECOMES HOMEBAKE CO-PROMOTER AND ENTERS DANCE FEST MARKET

Homebake promoters IMC and Village Sounds have announced that Chugg Entertainment have partnered with them to become co-promoters of the annual Sydney festival. The partnership is effective immediately and will see the two parties co-promote the 2012 event, as well as events into the future. Chugg Entertainment Chairman Michael Chugg said, “I am so excited about this. With all the amazing homegrown talent in this country, Homebake has always been at the forefront of celebrating the incredible Australian and New Zealand music on offer. There is so much love for this festival and we just can’t wait.” Chugg has also indicated that he will be entering the dance festival market next year by bringing American festival Lights All Night to Australia in 2013 in partnership with Dallas-based Highland Entertainment. Chugg Entertainment’s CEO Matthew Lazarus-Hall confirmed the news to theMusic. com.au saying, “We’re all really excited about this new venture to bring Lights All Night to our shores. It’s new territory for us, delving into the electronic scene, but it’s a great concept and we feel it’ll work really well in Australia.”

LAST KINECTION, YUNG WARRIORS WIN DEADLY AWARDS

The Last Kinection and Yung Warriors both picked up Deadly Awards at the celebration of Aboriginal and Torres Strait Islander achievements held at the Sydney Opera House. The Last Kinection picked up Band Of The Year while Alice Springs’ Yung Warriors were awarded Hip Hop Artist Of The Year. There were also nods for Geoffrey Gurrumul Yunupingu (Male Artist), Jessica Mauboy (Female Artist, Best Single) and Troy Cassar-Daley (Best Album). ABC telemovie Mabo was the pick of the arts nods winning Best Film as well as Female Actor and Male Actor Of The Year with Deborah Mailman and Jimi Bani respectively.

PURPLE SNEAKERS LAUNCH SINGLES LABEL

What started as a Sydney indie club night back in 2005 has grown to become a national concern for the team at Purple Sneakers, with clubs, a blog and now a record label all a part of their indie empire. Head Martin Novosel told theMusic.com.au that a record label was just a logical extension of the exposure they have given some of their favourite music online. “We were getting like 50 – 60,000 visits a month and people were actually reading that shit!” he said. “You don’t plan that sort of shit, you do it because you love it, but one day you realise, ‘Wow, people actually dig what we do’.” While Novosel didn’t reveal who the next couple of acts the team have signed up are, he does drop a few hints. “We’ve got signings already in the can for two more singles before the end of the year.”

THIEVES BREAK INTO ANNANDALE HOTEL

Iconic Sydney live music venue the Annandale Hotel said that the pub was broken into last week, with thieves breaking a $5,000 till and stopping to pour themselves a beer. The venue’s owners posted photos of the alleged intruders on their Facebook. Hotel co-owner Dan Rule told theMusic.com.au that no gear appears to have been touched, “they just broke into the till and helped themselves to the grog”.

The Hives

STILL YOUR NEW FAVOURITE BAND

The rock’n’rollers extraordinaire The Hives are heading back to Australia for the Falls Festival off the back of their most recent album Lex Hives, but now have also announced that they wil be performing sideshows. They head to The Metro on Monday 7 January, with tickets going on sale Friday 12 October.

MAGICAL MUSIC

Chicago-based musician, Willis Earl Beal heads to Australia early next year. Coming from humble beginnings, Beal’s grass-roots promotion quickly gained media attention and his debut album Acousmatic Sourcery was released in early 2012 through XL Recordings. Complimenting his soulful croon, Beal writes immediately arresting, warm, ernest and moving music. He plays Goodgod on Thursday 3 January in addition to his appearance at the Falls Festival.

Willy Mason

CARRY ON MASON

Beck

Black Mustang are Brisbane’s answer to everything that Australian rock’n’roll once was and ought to be. With the latest single Loaded Gun due for official release in October as a four-track limited edition 7”, Black Mustang are taking to the streets for an epic national tour that sees them play Brighton Up Bar on Thursday 25 October, the Cambridge Hotel in Newcastle on Friday 26 and The Phoenix in Canberra on Saturday 27.

GET A DOSE

It could be said that through his long and distinguished career Archie Roach has sung of suffering, pain and injustice in a manner more effective than most. But in the aftermath of a horrible year in 2010 he has turned to joy and hope and the idea of lifting himself and others up through song. Roach’s latest album Into The Bloodstream will be released in October and he’ll follow it up with a run of shows accompanied by his star-studded 13-piece ensemble. He plays as part of Sydney Festival on Friday 25 January at The State Theatre and Saturday 26 at The Parade Ground at Old King’s (Parramatta).

THANK YOU, SORRY

This month, Canadian rock band The Trews will hit Australian shores in support of the release of their extended EP, Thank You And I’m Sorry. Scheduled for release later this month, the EP features a re-imagination of Paul Kelly’s Leaps & Bounds, as well as a recording of their original track, Poor Ol’ Broken-Hearted Me. The band will take to the stage in NSW this month, stopping first at the Brass Monkey on Wednesday 24 October; at the Upstairs Beresford on Thursday 25; at the Terrey Hills Tavern on Friday 26; at the Sydney Blues and Roots Festival on Saturday 27 and Sunday 28 and then at Beaches in Thirroul on Sunday 28.

FUTURE LAUNCH PEERSELLING PLATFORM

Promoters Future Entertainment have launched a peer-to-peer selling platform for Future Fans, while telling theMusic.com.au that the Future Music Festival announcement is just weeks away. The platform gives festival fans the opportunity to be a ‘mini-promoter’ for the event and sell tickets to their friends for a discounted price. Future Entertainment Director Brett Robinson told theMusic.com.au they already have a collective of young festival promoters and ambassadors. It is located at futurefans.com.au.

PRESENTED BY 20 • THE DRUM MEDIA

THE ONE AND ONLY

Beck is one of the most critically acclaimed musicians of the 1990s and into the 21st century. An accolade confirmed by the unshaken solidarity of his artistic integrity, whilst simultaneously achieving such enormous commercial success. He is appearing as part of the Harvest Festival with his new album Bech Hansen’s Song Reader released only as sheet music. Outside of Beck’s headlining Harvest performances, he’ll be doing just one sideshow on Wednesday 14 November at the Sydney State Theatre.

The Vaudeville Smash

THIS VAUDEVILLE

PARTY ON THE HARBOUR

HAWTHORNE HOPE

Hawthorne Heights are set to make their anticipated return to Australia in December this year to celebrate the second release in their EP trilogy, Hope. They play Hot Damn on Thursday 13 December and the Cambridge Hotel, Newcastle on Friday 14 December.

In a pairing of innovative musical minds, Brisbane’s Tara Simmons and Sydney’s Pluto Jonze will join forces for a tri-state, co-headline tour to celebrate their most recent releases. They play the FBi Social on Friday 26 October.

Luna Park invites you to spend this New Year’s Eve at the ultimate location to witness Sydney’s world famous NYE Fireworks and usher in 2013 in spectacular style at the renowned Harbour Party, featuring the best of local and international pop, r’n’b as well as retro, house, techno and electronic music DJs. The first line-up features Ricki-Lee, Marvin Priest, The Aston Shuffle, Luciana and Ivan Gough with more to be announced, with tickets on sale Tuesday 9 October.

The passionate and provocative Amanda Palmer and her Grand Theft Orchestra are coming for a visit early next year. Palmer is a sassy pioneer of the punk cabaret genre as both a solo artist and one half of The Dresden Dolls. Her latest offering Theatre Is Evil is her first new studio album in four years and saw her working with a full band for the first time: The Grand Theft Orchestra. The story of Palmer’s campaign to raise funds for the album’s creation is astouding – $1.2 million was donated by almost 25,000 generous backers via Kickstarter. She gives these dedicated backers a chance to spruice the resulting wares at the Enmore Theatre, Thursday 7 February.

TRAICOS TOUR

GET DOWN

The four friends who make up Melbourne band City Calm Down have never been ones to rush their art – the band have spent the last three years sharpening their skills into an exceptional mix of lasting vocal lines, gritty synth sounds and basslines which will chug their way into the depths of your chest. The band are now set to emerge from the overcast shadows of Melbourne town with their impressive EP, Movements, on 2 November. To celebrate its release City Calm Down play Goodgod Small Club on Thursday 8 November.

FEAST OF ENTERTAINMENT

This year’s Marrickville Festival will feature a melting pot of entertainment—from young, up and coming local bands and DJs to an International Dance Floor to comedians and poets. Taking place on Sunday 21 October, the event will feature MC Kween G, DJ Jack Sh!t and the jug-band blues and political satire of Mic Conway’s National Junk Band. The festival will also play host to The Break, a band competition in which young bands have the opportunity to perform and compete for career-boosting prizes. Over 15 dance and music groups will perform, on the International Dance Floor, including Amera’s Belly Dancing, The Cyprus Club, Latin Motion and Dulwich Primary Aboriginal Dancers. The annual festival is Marrickville Council’s flagship event, taking place along Marrickville and Illawarra Roads.

All-embracing Melbourne pop band The Vaudeville Smash have just released their latest single, titled Best Night. They’ll be launching the single—taken from their forthcoming debut album on Friday 13 October at the Upstairs Beresford.

SUNRISE OVER THE MOUNTAIN The Aston Shuffle

AMANDA HUG’N’KISS

Sydney-based singer-songwriter Catherine Traicos offers up a beguiling blend of alt.country, blues, roots and folk, delivered by one of the most distinctive and beautiful voices in the contemporary Australian landscape. Traicos will be playing some special shows in celebration of her new album In Another Life, including Thursday 25 October at The Green Room Lounge.

In addition to his upcoming performances supporting Mumford & Sons on their Australia Stopover Tour, and ahead of the release of his third studio album Carry On, there are two headline shows for US singer/songwriter Willy Mason, one of which is Monday 22 October at The Vanguard.

BACK IN BLACK

Amanda Palmer & The Grand Theft Orchestra

AFTER THE PARTY

This year, the Surry Hills Festival will be running into the early hours of the morning—for the first time ever. The Festival has organised an after-party on 10pm Saturday 27 October until 6am the morning after the festival, at The Burdekin. The after-party will give lesserknown bands the chance to share stages with bigger bands, and get their music out to a huge audience.

themusic.com.au

Bombay Bicycle Club

JOIN THE CLUB

British foursome Bombay Bicycle Club – past NME Best New Band winners, Ivor Novello Award nominees and UK top ten act – bring their lusciously infectious tunes to the stage for headline shows early this January. Out here for the Falls and Southbound festivals, they also play the Enmore Theatre on Monday 7 January.

SPLITTING BRICKS

This Friday sees the international release of Beauty In The Bricks, the brand new single from inner west Sydney duo Spit Syndicate, and the first track to be lifted from their forthcoming album Sunday Gentlemen. With the single snap added to full rotation on Triple J, the Beauty In The Bricks launches will be an intimate run of shows designed as an exclusive opportunity for SS fans to get their first taste of the new material. Split Syndicate play the Annandale Hotel on Friday 16 November with Seven And Mr Hill and Jackie Onassis.


THE DRUM MEDIA • 21


FOREWORD LINE

NEWS FROM THE FRONT

START WEARING PURPLE

Purveyors of partying, the guys behind Purple Sneakers started one of the biggest indie club nights in Sydney in 2005. They grew up and graduated from The Abercrombie Hotel, moving on to throw parties across the country, releasing compilations, and hosting bands and DJs big and small and have now started a singles label. The label’s first release is the first original track by the Purple Sneakers DJs. You can catch them at the Surry Hills Festival on Saturday 27 October and FBI Social on Saturday 3 November.

I N D U S T RY N E W S W I T H S C O T T F I T Z S I M O N S frontline@streetpress.com.au

SCORCHER FEST PUTS OUT CALL FOR FINAL ACTS With over 180 bands already booked, Scorcher Fest is on the callout for the final few acts to join the bill for this year’s festival. Visiting five states throughout November and December, the festival is an opportunity for local bands to promote and showcase their music. Bands can lodge their applications online at scorcherfest.com.au where you can also check out the profiles of all acts playing on the day.

DECADE OF FAIRS The Glebe Record Fair has grown to be the country’s favourite record fair over its 10 years with buyers and sellers coming from Melbourne, Brisbane and everywhere in between. It takes place this Saturday at the Peter Forsyth Auditorium with free parking. Early birds cost $6 to get in from 9am, then it’s $3 for the rest of the day.

ALBERTS TO REPRESENT THE KINKS’ PUBLISHING

Beach House

BLOOMIN’ MARVELOUS

Beach House are returning to Australia in the wake of their majestic fourth album Bloom. The heady atmosphere of Beach House’s performance, coupled with the power of Victoria Legrand’s incredible voice makes their shows an intense live experience. In addition to appearing at the Falls Festival, the duo will play the Enmore Theatre on Thursday 3 January.

DUMB LUCK

Chance Waters (formerly Phatchance) has ditched the moniker and is set to burst back onto the Australian music scene with his second record Infinity, due out 2 November. On the back of successful lead single Maybe Tomorrow Waters returns with Young & Dumb, the second single to be taken from Infinity, featuring songstress Bertie Blackman. To celebrate Chance Waters will be hitting the road in October and November. He plays Goodgod Friday 9 November and the Great Northern, Newcastle on Saturday 10 November.

Australian publishing company Alberts have confirmed they will represent the main catalogue of international publisher the Kassner Music Group. The company will now represent almost 20,000 songs, including classic songs by Ray Davies of The Kinks, Charles Willis (C.C. Rider) and songs from Ray Charles (after he left Atlantic in 1959). Alberts said, “Publishing continues to evolve but at its core is the song and it was Edward Kassner’s ability to pick a great tune that enabled him to establish the company that still bears his name over six decades later.”

New Year’s Eve On The Harbour will feature acts of all genres descending on Cargo at King St Wharf (the full venue) this year, featuring sets from PNAU, AJAX, YesYou, Elizabeth Rose, DJ Flagrant, SOSUEME DJs, Emoh Instead, Kirsty Lee and many more yet to be announced. Tickets on sale Monday 8 October.

PRESENTED BY

After an incredible year that has had fans, journalists, radio types and DJs impressed by their debut, selfproduced album Tawk Tomahawk, Hiatus Kaiyote will hit the road before going in to hibernation over

22 • THE DRUM MEDIA

AULD LANG SYNE

OUT OF HIATUS

summer, save for select festival appearances. Tawk Takeout is the band’s remix album which will be hosted and given away as a free download by tour sponsor Wax Poetics. The four-piece will play the FBi Social on Thursday 22 November with special guests.

TEA TIME

Indie-folk slash country-soul duo Texas Tea have announced the release of their third longplayer, Sad Summer Hits. The album was recorded at the beginning of last summer with producer Lachlan ‘Magoo’ Goold at his Applewood Studios, an old converted church in the country about an hour outside of Brisbane. The band launch the album at a BYO show at The Newsagency on Saturday 3 November.

WRITING THEIR OWN

After the release of their hit album #3, The Script will return to Australia in 2013 with their biggest national tour to date. The forthcoming arena shows will give the band ample opportunity to perform the grand, sweeping anthems that have become synonymous with their name. The tour comes to the Sydney Entertainment Centre on Sunday 7 April.

DEATH, RATTLE AND BOOGIE

The Datsuns, New Zealand’s most internationally recognised rock‘n’roll band, will launch their new album Death Rattle Boogie across Australia this December. 2002 saw The Datsuns catapulted into the international music scene with the release of their debut record, hailed by the British press as “the future of rock”. Cut to 2012 and The Datsuns are ready to launch the album they are most proud of to date. They play the Festival Of The Sun, Port Macquarie on Saturday 15 December and the Annandale Hotel Sunday 16 December.

themusic.com.au

Rascal Flatts

HUNTER ROCKED AGAIN

Rascal Flatts will be headlining CMC Rocks The Hunter 2013 festival at Hope Estate with Billy Ray Cyrus (US), Chris Young (US), The Band Perry (US), Corb Lund & The Hurtin’ Albertans (Can) and local artists Adam Brand, Catherine Britt, Amber Lawrence, Morgan Evans, The Bluegrass All-Stars, Bob Corbett and The LeGarde Twins. It runs Friday 15 to Sunday 17 March.

KINGS OF THE JUNGLE

Brisbane indie pop band and winners of triple j Unearthed’s Parklife competition, The Griswolds have just released their debut EP, titled Heart of A Lion. They’ll be stopping in Sydney on Friday 19 October at The Standard; Friday 26 at the Zierholz Bar in Canberra and The Great Northern Hotel in Newcastle on Saturday 27.


THE DRUM MEDIA • 23


If you thought Innerspeaker was big, wait ‘til you get a load of Lonerism. Aarom Wilson speaks to Tame Impala’s central nervous system Kevin Parker about what it takes to create true art – of the explosive psych variety, that is.

LIVE & LIFE

THE TAMING OF THE NEW F

rom the first moment Elephant stomped its mammoth musical imprint into our heads, you knew Tame Impala’s next album was going to be a different beast. “If anything, it just came down to not being afraid to just do exactly what I, or what we, felt like doing at the time,” explains Kevin Parker, the lead curator of the followup to an album that received such accolades as placing in Pitchfork’s Top 50 Albums of 2010, and scoring triple j’s Best Australian Album (j Award) and Rolling Stone’s Best Album gongs for that year.

This shift in sound is one evident in a number of tracks on new animal Lonerism, Parker describing this new sound as “more explosive”. Sure, cosmic psych rock bursts are part of the Tame repertoire, but tracks like Be Above It, Apocalypse Dreams and Elephant have a newfound propulsive gusto to them. “If there was this really chunky blues riff I would’ve dulled it back to being sort of a delayed guitar tone; washed it out to sound more Tame Impala,” Parker describes of his Innerspeaker songwriting. “I would have tried to restrain it. Whereas this time I was like, ‘Well fuck it, this already sounds good when it’s turned up and really jolting, so I’m just going to take it as far as it wants to go!’ “And for the drums, I really wanted them to have this kind of like digital dance, Daft Punk kind of edge as well,” he continues, brimming with enthusiasm. “In the past I would’ve 24 • THE DRUM MEDIA

been too afraid to just push each of those elements… And it was actually kind of the only way I was going to be able to fall in love with the music as much as I used to fall in love with music; by just doing something to the extreme.”

While Lonerism has a bigger sound, the album also more passionately embraces pop sounds. “The next single, for example, is a total pop melody which I think might throw a couple of Tame Impala fans off,” reveals Parker of Feel Like We Only Go Backwards. Don’t worry, Tame haven’t gone all Oasis on us, nor are they after the cash. It’s all about the sensation. “Hopefully the production was crazy enough to swing those die hard psych rock fans back in after they’ve heard the chorus, melody,” laughs Parker regarding Feel

There’s more to this story

on the iPad

Like. “For me I love everything; every kind of element available. I would never do a pop melody just to sell more records or anything. I genuinely love the emotion that a pop song can use to touch me. Pop music is in a way so much more pure than all other types of music - there’s no intellectual level; it’s just pure feelings.” One thing that hasn’t changed is Parker’s references to the concept of being alone. Solitude Is Bliss was a highlight from Innerspeaker, celebrating time with yourself. But now Lonerism seems to convey a different attitude towards the state. Is the life of constantly touring starting to wear on Tame’s main man? “That one song is like about how great it is to be alone, you know, the glory of being alone,” describes Parker of Solitude Is Bliss. “Whereas this one is kind of more from the persona of someone growing up realising that they are alone. It’s more kind of like introspective. I mean, introspective is a pretty wanky word, but it’s a different kind of… For me it’s obviously still about being alone but there are no songs like Solitude Is Bliss where it’s like, ‘I’m alone, isn’t this awesome, doo, doo, dah’,” he sings. “It’s more like someone trying to figure themselves out. The songs on Lonerism, they’re all about other people – they’re about the outside world, which all comes with the one word, ‘Lonerism’; the feeling of not really being apart of the outside world.” This idea is perfectly captured in the new album’s cover artwork. Taken by Parker the day after he scored a Diana F camera, the photo invites the viewer to gaze

from behind a fence at the world behind, thus creating a sense of exclusion. “Yeah, I didn’t know whether people were going to get what the picture was getting at. Which was great in the end because I love that people can look at that picture and just see a picture of some people and think, ‘What’s the big deal?’, and some people can see the meaning; the separation of the person looking through the fence.”

Upon closer inspection you might notice the red splotch in the top right hand corner, one Parker blames on the fact he didn’t know how to wind the film. But that’s just the beginning. “I love the expression of people’s faces in this picture,” he enthuses. “It’s kind of this snap shot of life, and the more you examine… Like, if you’re going to get the vinyl version, you can really examine what’s going on in the picture. There’s some guy touching himself, I think, having some kind of fun. He’s talking to some girl and he’s got his hand on his crotch, and there’s a policeman, and there’s all this other sort of crazy shit if you look really hard. And the more you examine all these things, the more you realise you’re really just perving from the

other side of the fence.” Cue: Bonerism jokes.

While Parker points out that the album songs are, “definitely from the perspective of a persona, rather than me,” he does admit that the lyrics have been inspired somewhat by his own experiences. He’s now based mostly in Paris with his partner - also a musician with a new album out - but isn’t yet ready to call the city of romance home yet. Certainly the suitcase is one he’s had to get used to, with touring increasingly taking up his time. “At the moment I don’t actually have a home,” he sighs, demystifying the ‘rockstar’ life. “In Perth, all my stuff, all my recording equipment, even most of my clothes and things, are sitting in my manager [Jodie Reagan from Spinning Top]’s place!” Certainly Parker’s well known for his love of hometown Perth, and you get the feeling he misses these connections. He’s had to learn to deal with it though. “In Perth the inspiration is coming so much from other people that make music. Because Perth is such a communal sort of life – a friends’ based music scene – everybody’s

going around to other people’s houses for a jam, and it’s so much more relaxed and everyone’s inspiring each other to make the craziest music or do the craziest thing on stage. And um, in Paris there isn’t really much of a music scene. Well there is, there totally is, but it’s kinda more structured. I mean, for me the inspiration has to come from within rather than from everyone else.”

Despite Parker’s love of communal creative experiences (including remixes of tracks by Abbe May and Leure, producing Melody’s Echo Chamber’s new album, producing Pond and playing when he can in an extensive list of WA-based indie bands), as the conversation rolls on it becomes more apparent that being a musical loner isn’t of concern for the artist. He’s armed with an expansive and delightfully creative musical mind, and it’s this that’s fairly autonomously pushed the sound of Tame Impala to such heights. Sure he has a band consisting of regular touring partners/friends, and this album sees Jay Watson co-writing a song and Dave Fridmann (The Flaming Lips, MGMT) again on mixing duties, but generally Tame Impala is solely the creation of Parker. “Yeah definitely… in a way… apologies for my vagueness,” he laughs as this scribe pushes the interview to the borders of wankerdom, searching Parker’s thoughts on whether art from the self is one of the truest forms of art; the most honest expression of creativity. “Some of my favourite pieces of music are total collaborations, bands where everyone has the same input. But yeah, I wouldn’t say it’s the truest form of art… Creative output, when it’s made by one person, it just kind of has this unity of expression, it just means it’s one thing that’s been amplified; this one pulsating beam of light, as opposed to lots of beams of light. You know, the ‘lots of beams of light’ is a really beautiful thing as well. Like the times where I’ve made music with my friends have been totally magical and there are things that you can achieve as a collective that you could never achieve alone, and vice versa; they’re just two different things, and for me Tame Impala is in the singular vision category.” WHO: Tame Impala WHAT: Lonerism (Modular/Universal)

The upcoming Parklife tour will see Parker again being joined by fellow Tame band members Jay Watson, Dom Simper and Nick Allbrook, between them also covering turns in WA bands including Pond, Mink Mussel Creek, Allbrook/Avery and Gum. “Everyone’s got their fingers in everyone’s pies,” explains Parker. “That’s always been second nature to us; to bring music into other people’s bands – it’s a really communal way of doing it. You know, I’d feel pretty apprehensive about entering a collaboration without already knowing the person – it’s always been about the friends for me.” With his new French connections though, the live band friendship circle has extended to Frenchman Julien Barbagallo, Parker pointing out, “he plays drums and Jay now plays the synthesizer and keyboard.” So hang on, they’re changing instruments again? Is this just to annoy the rest of us who struggle to master one instrument, let alone all? “For us there’s no point staying on the one instrument. Even with our friends who... Like, I pretty much suck at the keyboard – I have trouble playing with more than one hand on the keyboard at any one time – but there’s still keyboards all over the album. It didn’t stop me! You shouldn’t be afraid to just have a crack if you think you’re going to be able to express something. You should just have a whale,” Parker laughs. “All of the music of the last ten years that’s been popular in the world should just prove that; that you should just stop worrying about how much of a fucking virtuoso you are and just do it! Meg White for example, Meg White’s an amazing drummer, and she just had a crack. So, you know, it’s not about how good you are. There’s one for the kids!”


HEART OF STEEL He did his first line of coke at age nine, and now, 33 years later, the success of LA rock gods Steel Panther brings frontman Michael Starr the same kind of rush, he tells Benny Doyle.

W

hen it comes to rock’n’roll parodies, none come stronger or more pure than Steel Panther. Stalwarts of the Sunset Strip circuit, under former guises such as Metal Shop and Danger Kitty, the band were merely good-time LA club fun for those longing for some of that ‘80s hair metal badness. That all changed, however, when in 2008 the band, known at the time as Metal Skool, changed their name to Steel Panther. Since then, their fanbase has swollen to a degree far more serious than a simple cult following, and now, their standing as the number-one rocking party band on the planet has all but been secured. They’re a cock-rock institution, touring the world playing sold-out headline shows and tackling festivals’ biggest stages, and from notorious frontmen to pop stars, television personalities to Hollywood celebrities, everyone wants to be a part of the Steel Panther experience.

“I think that, well first of all actors are extremely frustrated rock stars, they want to be on stage,” Starr observes. “I mean look at Tom Cruise in Rock Of Ages – he wants to rock. And the other guys that come and jam with us I think just really appreciate what we’re doing, because we really do take our musicianship extremely serious and it’s important for us to replicate our songs like how they sound on record, and sing in key and all that stuff. Every dude that recognises that can respect it and enjoy it by just having fun. That’s the message today – fun.

“The best way to get our attention is to be super outgoing and slutty,” he charms, “and if you want us to look at you while we are performing just show your boobs. When it’s a big mass of people it’s kind of hard [for us] to see, but when you’re on someone’s shoulders and showing your boobs, usually we’ll see you, and usually we’ll have a scout that monitors what we are looking at, then we’ll send them out with passes to get you backstage. It works really good and then we all can have a great afterparty, and that’s what it’s all about, having a good time, partying and fucking chicks.” WHO: Steel Panther WHEN & WHERE: Friday 5 and Saturday 6 October, Big Top Luna Park

“And that’s exactly what we stand for, having a good time, and everyone getting together and fucking. I mean, the ‘80s was great fun – you could have sex without a condom and party, then the ‘90s came around and we got all depressed and worried about diseases, then Nirvana came around and it was just, ‘Oh man’, it was just, ‘Eeh!’.” For a moment it sounds like Starr has bitten on the most sour of lemons, but he quickly regains his verbose momentum. “And then the early 2000s were a struggle for us, but then suddenly it was 2009 and the party begun; everyone’s out enjoying themselves, marijuana is legal in California now – it’s great times.” Cruising around LA, “…looking to pick up some stuff”, Starr recalls the moment earlier this year when he

There’s more to this story on the iPad realised things were starting to blow up, a point in his life that he puts into perspective as only he could. “Download was the show that for me put everything in perspective of how big this thing is getting,” he remembers. “That we were able to go out on Metallica’s eagle ramps and stuff, we could do that, then we went out there and it was like I was in a boat with a sea of people around me and it was just so overwhelming, it was like the first time I did cocaine, it really was, and I remember that clearly. This is a true story – my brother was like, ‘Michael, come upstairs, you got to check this out’, and he put on Val Halen 1 and he put on Eruption, and he drew out a line of cocaine for me and he said, ‘Let’s do this and listen to this record and freak out’ – I was like nine I think or something. So I listened to Van Halen Eruption and that feeling that I had at that time when I was nine was the same feeling that I had at Download and it was amazing. Complete euphoria – it was killer. I want to say Nirvana but I get pissed off when I think of that band.” With song titles such as Asian Hooker, Party All Day (Fuck All Night) and Just Like Tiger Woods, the quartet make their mission clear. However, Starr goes deeper when asked to name the track that really summarises Steel Panther as a whole. “I would have to say Death To All But Metal at this point, just because that song is the one that has been with us for so many years and it’s words we live by – we will never, ever, stop playing metal,” he states decisively. “Like I said, the late ‘80s, early ‘90s, metal was kind of dying out, Nirvana and Soundgarden were taking over and we were bummed, but we never stopped playing metal. I remember talking to Satchel [guitar] about it and we didn’t know what to do; no labels wanted to hear our demos, all our buddies were cutting their hair and playing grunge, so we just thought, ‘Fuck it... and started playing covers, Motley Crue covers, Van Halen, whatever, we just kept doing it, and I think Death To All But Metal really describes what Steel Panther is all about.” Steel Panther come at you from all corners, combining method acting, comical timing and some serious musical chops. But to laugh or rock? That is the question… “I want everyone to do both,” Starr tells. “Because when I went and saw Van Halen, David Lee Roth, he’d be rocking and he’d make you laugh, and it was a great heavy metal experience and hopefully we can do ten per cent of what they did back in the day. [But] I think that’s what people see when they come and watch us – we’re not faking what we’re doing. We might be having fun and writing about experiences that are as funny as hell, but the bottom line is we fucking love heavy metal and you can tell that when we play. “Everyone is connecting with Steel Panther’s individual reality, which is, ‘We like to escape reality as much as possible’. Y’know, responsibilities are a pain in the arse, taking care of paying your bills sucks, so we try and escape that as much as possible and I think that translates not only in our music but in our live show as well.” At 47 years of age, it seems like things are only just getting started for Starr, and you better believe that the frontman is ready for some fun. Before he hangs up, the vocalist offers some tips for any Australian ladies looking to Feel The Steel on their upcoming run of shows.

WITH SPECIAL GUESTS

THE PAPER KITES

MONDAY JANUARY 7 ENMORE THEATRE ON SALE NOW!

132 849 or ticketek.com.au bombaybicycleclubmusic.com themusic.com.au

• livenation.com.au THE DRUM MEDIA • 25


STRANGE SOUNDS Regular John frontman Ryan Adamson’s transformation on stage shocks even his family, writes Katie Benson.

I

n a yellowed light, half-naked and made-up, Ryan Adamson sings into an old microphone and stares directly down the barrel of a camera. With an intimacy that’s almost uncomfortable to watch, Adamson lays it all out there for the clip to Slume, Regular John’s first single back after a three-year break.

Their debut album, The Peaceful Atom Is A Bomb, won the weighty support of triple j, and landed the band the title of Rolling Stone’s Best Rock Act for 2009, but rather than rush through a second album to capitalise on this momentum, Regular John took time to work through some growing pains. With Adamson held up for eight months due to spinal surgery, and original member Brock Tengstrom departing the band, their second album Strange Flowers was a slow-burning process. Ultimately, these setbacks proved to be the making of their new album. Forced confinement brought Adamson’s obsession with synths

PRESENTS

and samplers to a whole new level, helping to create the richer audio tapestry present in their new sound. The addition of guitarist Miles Devine also proved an unexpected blessing in the songwriting process. “I met [Devine] years ago in a guitar shop. He was just this little cosmic kid, and I figured he’s just on the same kind of page as us,” says Adamson. “He’s also a total pedal and keyboard nerd, he could fit in nicely. I trust him to be, at times, an extra set of hands: ‘Hey, can you pull this off for me?’, and he totally does it.” One thing that remained consistent across the two albums was the appointment of Tim Powles, drummer of The Church, as producer. Working in Powles’ own studio, Adamson says the relationship between producer and band goes beyond the usual bounds of business. “[There’s] a crazy uncle vibe about him, which is very endearing. We’re all really good at communicating in very subjective terms – ‘I want this to sound like a star is bleeding through space’, and he’d be like ‘we can do this’,” says Adamson. “So to have that kind of intrinsic connection is very nice, and with the idea to mess with sound, Tim is really happy to run with that… just knowing someone was willing to come with me in weird directions, was kind of an essential, and he was the man for the job.” Childhood friends and main Regular John collaborators, Adamson and bassist Caleb Gorman co-wrote the bones of the album’s material before heading into the studio, with the aim of experimenting and expanding on the sound while recording. This decision took their music from their grunge-rock roots towards a more psychedelic-focused record. “Going into the studio with the idea of using the studio as a tool, some songs became totally different things. For example, one song on the record called Letters In Braille originally, for lack of better description, was a very ‘90s sounding thing. It was a great song, but if it was going to sound like this, then I didn’t want it on the record,” says Adamson. “We ended up using the melody and the chord progression and took it into a total new realm. I don’t even play guitar on that track, it’s just a little thing called an omnichord and a synth. Things like that we just left open for expansion. Some songs that were an old, old idea we just had a crack at in the studio, and that was awesome.” Their experimental approach in the studio has led to an album that crosses into several genres, and though Adamson assures us they have by no means “reinvented the wheel”, he believes Strange Flowers stands out as something pretty unique in the current Australian musical landscape. The idea that it was possible to create an album like this that is at once eclectic in its influences but still cohesive was inspired by Smashing Pumpkins’ 1995 release, Mellon Collie And The Infinite Sadness.

There’s more to this story on the iPad “There’s one song that’s quite cosmic and spacey, and there’s another song that’s a country song and another that’s almost like a Roy Orbison ballad… to fit all of that on the one record, but still have what I consider a common thread, that’s something that I see as intrinsic to that Pumpkins record,” says Adamson. “So, in that sense I think that album was definitely an influence in the idea that there’s no rules. If it’s all from you and it’s all from the heart, regardless of how different it sounds; if it’s pure in its expression then it will still be clear that it’s the same band. If it’s about expression, you really shouldn’t do it to make other people happy. I think it’s kind of insulting to people who are in to your music to assume what they’ll like, because there’s no two people that are the same, so you may as well please yourself.” With the album cut, tour dates were never going to be too far away. With their debut, the band had scored some enviable live gigs playing as part of the Big Day Out, and scoring the support spot for English rock legends Motorhead, but playing live had never been something that Adamson was comfortable with until recently. “I never used to [enjoy playing live] until this year, I used to dread it. I’m a perfectionist. I’d just always be chilled and stressing out, and then on stage it’s bedlam in an exciting way,” says Adamson.

THE GRANITE CITY TOUR WITH SPECIAL GUESTS THE PREATURES * FRI 9 NOV

THE CORNER HOTEL

MELBOURNE VIC

FRI 16 NOV

THE ZOO

BRISBANE QLD

THURS 22 NOV

UNI BAR (ALL AGES)

ADELAIDE SA

FRI 23 NOV

THE ROSEMOUNT HOTEL

PERTH WA

FRI 30 NOV

THE METRO (ALL AGES)

SYDNEY

ON SALE: MONDAY, 20 AUGUST TICKETS (GST INC): $18.00 + BF (PRE-SALES) / $22.00 (DOOR SALES) * EAST COAST SHOW ONLY

26 • THE DRUM MEDIA

themusic.com.au

“I’ve never been too into it, but the shows we’ve been playing this year… I’ve just had a great time and playing these new songs is exciting. There’s a bigger emotional connection to the songs this time, so it’s much easier to get into it. There’s something strange that happens, I’m a really shy person, but I don’t mind playing in front of people, kind of like it’s not me in a way. It’s almost like for that time on stage, I become a medium, with the music coming through you.” Adamson believes it was this same sense of acting as a medium that got him through the intimate shooting of Slume. Directed by Joel Burrowes, the clip was originally meant to be full of dark, abstract performances and imagery, but when they watched back the one take of Adamson singing solo, they dropped all other footage. “I’m not inclined to go in such a bold direction, but with the idea that a video should convey the message of the song I think it being that raw and naked, it totally made sense, and everyone felt the same way. “Even with the performance clip, the idea was to leave people feeling a little odd, almost like reading somebody else’s diary. I think some people, even relatives of mine, have been taken back by the make-up stuff, it’s pretty full-on and it’s still strange.” WHO: Regular John WHAT: Strange Flowers (Difrnt) WHEN & WHERE: Friday 5 October, The Patch, Wollongong; Saturday 6, Transit Bar, Canberra; Friday 12, The Great Northern Hotel, Newcastle; Saturday 13, The Annandale; Sunday 11 November, Newtown Festival, Camperdown Memorial Rest Park


105 VICTORIA ROAD, MARRICKVILLE

TIM & ERIC

WED 3 OCT

STEPHEN MALKMUS & THE JINKS + Bearhug FRI 5 OCT

HOUSE OF HAMMERS BMX Rail Jam feat. Hot Damn DJs

SAT 6 OCT

WINTER PEOPLE

+ Founds, Jordan Leser

SAT 13 OCT

SETH SENTRY

130 ENMORE RD ENMORE

INTI ILLIMANI HISTORICO

SUN 7 OCT

STEVE AOKI JULIA MORRIS

FRI 12 OCT SUN 14 OCT

KITTY FLANAGAN

SAT 20 OCT

FRI 19 OCT

+CHER LLOYD

+JUSTICE CREW + YOUNG MEN SOCIETY + FAYDEE

BILLY BRAGG

THE STAGE DOOR JOHNNIES

+JORDIE LANE

+ Minnie Tonka & Darlinda Just Darlinda (NYC)

FRI 26 OCT

ON SALE WED 3 OCT

THE PRETTY THINGS FRI 7 DEC

ON SALE NOW

A VERY WOGGY XMAS SAT 15 DEC factorytheatre.com.au

SOLD OUT

TIM & ERIC

ANGUS STONE ON SALE WED 3 OCT

BEACH HOUSE

DAPPLED CITIES

THU 4 OCT

+ JAPE

ALL AGES

THE BEAUTIFUL GIRLS CANNIBAL CORPSE

+ DISENTOMB + ENTRAILS ERADICATED + PSYCROPTIC

OCT

MARTIKA

FRI 26 OCT

+ KATE ALEXA

FRI 5 OCT

SAT 6 OCT

SUN 7 OCT

ALL AGES

BALL PARK MUSIC

27 & 28 OCT

1ST SHOW SOLD OUT, 2ND SHOW ON SALE NOW

THU 25 OCT

ON SALE NOW

GARETH EMERY

THU 1 NOV

ON SALE WED 3 OCT ALL AGES

SAT 3 NOV

THU 3 JAN

BEST COAST

THU 3 JAN

ON SALE NOW

ON SALE NOW

MON BOMBAY BICYCLE CLUB 7 +THE PAPER KITES JAN enmoretheatre.com.au

TUE 2 OCT

ALL AGES

HOT CHELLE MON 22 RAE JAY SEAN

+ Grey Ghost + Mr Hill & Rahjconkers

624 GEORGE ST SYDNEY

NEWTON FAULKNER

TUE 9 APR

metrotheatre.com.au

FOR ALL BOOKINGS & ENQUIRIES CONTACT OUR BOX OFFICE ON 9550 3666

entertainment quarter moore park | bookings: comedystore.com.au | 9357 1419 THE DRUM MEDIA • 27


WINDS OF CHANGE Tim Derricourt discusses with Brendan Telford why Lake Air proves that Dappled Cities are shiny happy people.

S

ydney quintet Dappled Cities have come a long, long way since their 2004 single Peach. Since then they have dropped the ‘Fly’ from their moniker, have travelled the world and can add bona fide models to their CV thanks to their Ben Sherman exploits, all in between crafting some adventurous pop gems over their four albums. They’re now a decade in, and Tim Derricourt admits that it’s been a wild ride. “One-hundred percent, I can testify that it’s been such an enjoyable experience,” Derricourt states. “I don’t really feel any older than when we began, it doesn’t feel like ten years has gone past – I would say five, max! We’ve been enjoying ourselves, and time seems to swing by when that happens. I mean, we’d love to sell a bunch of records and comfortably live off being in a band, but you have to accept that it’s lucky that you can even do it at all, so that’s why you keep doing it.”

After the success of their last record Zounds in 2009, the boys relocated to London, where they did a lot of travelling but also a lot of soul searching. The experience had a profound effect on them, yet in a more indirect way. “It inspired us to make a record that could travel outside our immediate circle,” Derricourt concedes. “We were hanging out and playing with people that were into completely different styles of music, who would hang out with all these weird Europop people in Paris, and you become a little less precious about your music. When you travel you can discard that. I think in the past we’ve been very protective of our own indie style of music previously, and I think that we’ve loosened up a little bit and can expand into other genres and other sounds.” The good times roll on, and on their fourth long-player Lake Air the five-piece sound more in control of their destiny than ever before. There’s been a sonic shift from some of the more eclectic fare that earlier releases were renowned for towards a stronger emphasis on pop aesthetics, something Derricourt admits they worked very hard on. “We’re very much a band that makes mottos for ourselves; ‘We are gonna be this now’, kind of thing,” he states. “Nothing about changing styles, just, ‘How we are gonna make a record? Okay, let’s go’. So we had two transitions – we had done Zounds, which was a very densely-layered, epic thing, and what we wanted to do was go even more epic; do something that was so wild that it would blow your ears if you listened to it with headphones. So tracks like Run With The Wind and The Leopard came out of that, and I think it was a ‘we’ve got a lot to prove’ kind of moment, something severely challenging for the ears. And then as the year went on, we had a nice time overseas and relaxed, and started writing more songs about, ‘What does it mean to be in a band?’, ‘What does it mean to enjoy yourself and be a happy person?’ and a reduced style came out of that. So when we came to make the record, we ended up doing the opposite and tried to take all the layers out of the music so you could really focus on the lyrics and the chords and the rhythm.” The result is an album that revels in overt pop eccentricities, showcasing not only the band’s musical prowess but also their positive mindset.

There’s more to this story on the iPad “Something happened to us; I don’t know what, but we became incredibly happy,” Derricourt laughs. “It’s funny because you start out wanting to make this record that challenges people and fucks them up, that kind of thing, but then you end up saying, ‘That’s not how I’m feeling at the moment,’ so you can’t force yourself to write an album that you think people will like. We pretty much jumped off the cliff and stuck to what we were writing, and I literally put that record on every day right now, so I couldn’t be more in love.” A run on from this is the absence of the guitar interplay between Derricourt and Dave Rennick, something that has been one of the staples of the band regardless of their direction. “It was definitely a purposeful decision,” Derricourt asserts. “For this album, literally the one thing we asked each other was. ‘Is this necessary?’ With the songs, we’ve felt that sometimes we haven’t left enough up to the imagination of the listener, we fill everything in for them with a hundred guitar lines and keyboard lines and all the melodies, and we thought it’d be nice to change something so there was all this space for people to fill in on what the song can do or can be. As long as you have the heart of the song there, that’s all that’s important. It was a challenge for us because we sat in the studio desperately – there’s takes of these songs with guitars noodling all over them, noodling keyboards all through it, and in fact the live show is full that; it’s this intense spectacle of a hundred different melodies, rhythm sections and ideas, but for the record we wanted to let the songs breathe for once.” As the band prepares to tour Lake Air, it’s at that stage of their career that Dappled Cities are oft-described as “staples of the Sydney music scene”, a concept that seems incongruous to the band’s unique musical focus and the city’s ever-shifting landcsape due to venue closures and exoduses south of the border. But rather than such a tag being a lazy geographical categorisation, Derricourt muses that being a band from Sydney is as much about when you play as it is what you play. “I would say that being called a Sydney band would mean not playing that much, because there aren’t effectively that many places to play, so you put all your creative efforts into one or two shows here and there. Whereas if you are a Melbourne band, or a New York band, you can focus on putting on many different shows in your hometown. So what defines someone as a Sydney band is limiting themselves to a certain number of shows so that there is no risk of repeating themselves. So there’s always a show on somewhere that I know I’ll enjoy, but I think people mourn the loss of place like the Hopetoun or fear the loss of the Annandale and those kind of places, but there are places like The Standard and Oxford Arts Factory that are offering amazing sounding venues, better than ever before, so you just have to go with the times. I think that Sydney is pretty healthy. All I know is that when we decide to play, we want it to be special. We want everyone there to have the best time they are ever going to have, and that’s all you can wish for.” WHO: Dappled Cities WHAT: Lake Air (Hub/Inertia) WHEN & WHERE: Thursday 4 October, Metro Theatre 28 • THE DRUM MEDIA

themusic.com.au


NEKROMANCING THE STONE Danish-American rocka-psycho-gotha-billy band Nekromantix are headed our way, and founder Kim Nekroman very briefly flirts with the idea of an eight-hour set with Dominique Wall.

Y

ou can’t help but love a musical genre that came about following a blend of rockabilly (both classic and modern) music and punk aggression. For some psychobilly bands, such as the legendary Danish-American trio Nekromantix, horror (namely old horror movies) is also a crucial element, being blatantly obvious when it comes to band’s name, lyrics, song titles, album titles and visuals. Psychobilly, though, is more than just fast-paced, sometimes macabre-themed tunes. Like punk, rockabilly, ska, goth and other such styles, it’s also a way of life for those who love it. While there are any number of psychobilly bands around, few have had such lengthy careers out of the genre as Nekromantix. The band is fronted by the great Dane himself, Kim Nekroman, who moved to the United States from Denmark approximately 10 years ago. For the first time since 2007, the band has decided that it’s time to head back to Australia, and they’re ready to make the long trip. “Oh yes! [We’re] very ready!” Nekroman says brightly. “You know, it’s been too long. We’ve wanted to go there for the longest time, but didn’t know that we able to go there until now. It’s going to be amazing.”

‘Oh, they didn’t play that song.’ When reminded that you can’t please everyone all of the time, he immediately comes back with, “Unless you play an eight hour set, I mean, you know.” Of course, the band would likely die from exhaustion by the end of it, but they’ll have kept everyone happy! “Yeah, sure!” Nekroman laughs. As for future plans once they’ve had their way with Australian audiences once more? “We have a show in Europe later this year, then it’s kind of up in the air as to whether we go into the studio or tour some more.” WHO: Nekromantix WHEN & WHERE:Friday 5 October, The Hi-Fi

What Happens In Hell, Stays In Hell is the band’s eighth, and most recent album, although the first with the current lineup of Nekroman, Francisco “Franc” Mesa on guitar, and Lux on drums. It was released just on one year ago, and it’s to this album that we owe the pleasure of the forthcoming tour. “[The tour has] been going really well. We’ve been doing a lot of touring and actually just got back from 30-day double headliner with The Casualties, which was great.” It is nice to know that their visit here has not been relegated to the tail end of the tour. “We haven’t even been to Europe yet, so this time Australia is actually up high. We’ve only done North America and Canada, and we’re about to do a show in Mexico.” Speaking of the latest album, it’s been, for want of a better description, a return to form, which is no mean feat given that lyrical content when it comes to the psychobilly genre can be rather limited. When asked how he keeps things fresh, he is fairly unassuming about it. “I don’t know. I guess I have the same kind of attitude as when we first started out in 1989. When it comes to Nekromantix, I still approach songwriting the same way, with a very fresh, naïve sort of view, and I guess that’s what keeps it going.” The line-up of Nekromantix has changed numerous times since the band formed in 1989, with Nekroman (and his trademark self-built coffin bass) being the only constant member throughout the years. The current band members have been together since 2009. “Obviously, it’s always nice to have a steady line-up. The good thing now is that we all live in the same country and city, which has been difficult in the past. It can be hard to keep a band going when members live in different parts of the world. We get along very well, not only musically, but also when it comes to the chemistry outside the music. They’re very easy-going people. You know, 50 percent of it is that you are actually able to be in the same room as your band members, which, in this case, is what is happening. It’s nice to have nice people to travel with.” Nekroman is a busy man. Aside from Nekromantix, he is also a member of horror-pop band, HorrorPops, which he started with his wife, Patricia Day. In case being in two bands wasn’t enough to keep him busy, he has, over recent years, started to take a greater role behind the scenes. He produced What Happens In Hell, Stays In Hell and Life Is A Grave & I Dig It! (the band’s previous release), and co-produced HorrorPops’s albums Hell Yeah! and Kiss Kiss Kill Kill. Will we see more producing credits being added to his name? “Yeah. I’ve done a little here and there. The latest was for The Chop Tops, a rockabilly band from Santa Cruz – I produced their last album. I’m very much into producing, when I have the time. I’m probably going to do all of the recording and engineering myself on the album.” When asked whether this is a skill he’s picked up over the years or one he’s actively learnt, it proves to be the former. “I’ve always been a gear freak and a gear geek, you know, so I’m like ‘Why not just turn those knobs myself instead of having somebody do what I want them to do’.” When asked if there are any new bands that he is particularly excited and keen to get the word out about, he is fairly blunt. “Umm, to be honest, not lately. I really, really think that lately it seems a lot of the [new] bands are trying to copy something that’s already out there and been done. I don’t hear too much original stuff out there, which is a shame. So, I’m sad to say that at the moment, I can’t really come up with anything I’ve heard lately that blows my socks off. I think the Internet and all that online stuff is both a blessing and a curse because a lot of the bands don’t really have to fight to get out there. They think they can just put stuff on Facebook or MySpace or whatever site and then land a deal, but that’s not how it works. Now there’s even more bands, so even though you have the exposure that can pull in the people, you have to be different and exciting.” Conversation turns back to the band’s impending tour. With eight albums’ worth of material to choose from, how far back can fans expect them to delve? “Well, it’s hard, because when it’s over this many years and this many songs, you try to choose the songs, and there will always be somebody who says [moaning voice] ‘Oh, why didn’t you play that one?’ and another will be like [moaning voice] “Why don’t you play that one?’ and, you know, we can’t play over 100 songs. We pretty much cover all the albums, some more than others, but people have their preferences and like some albums more than others. We’ll try our best to spread it out, but I’m sure there’ll be somebody saying [moaning voice]

themusic.com.au

THE DRUM MEDIA • 29


BRIT-ROCKIN’ YANK Blistering soloist, prolific recording artist, constant traveller – for all that, it’s still about the song Joe Bonamassa tells Michael Smith.

T

o suggest that Joe Bonamassa might be a little hyperactive would be a particularly large understatement. Already something of a veteran at 23, opening for BB King when he was 12 and spending his teen years in a band called Bloodlines that featured the sons of Miles Davis, Robbie Krieger and the Allman Brothers’ Berry Oakley, in the dozen years since he released his debut solo album, 2000’s A New Day Yesterday, he’s released another nine solo albums, a duo album with singer Beth Hart, four live albums, three concert DVDs and two albums with a hard blues supergroup put together by his producer Kevin Shirley, Black Country Communion, that includes drummer Jason Bonham and bass player Glenn Hughes, with a third near ready to release. Throw in a couple of dozen guest spots on a couple of dozen other people’s

albums and a pretty solid touring schedule, around 150-plus shows a year, that keeps travelling the planet and you have to wonder where he finds the time. The New Hartford, New York State-born and raised Bonamassa is heading back to Australia to showcase this year’s album, Driving Towards The Daylight. “Eclectic, if nothing else,” he admits. “Kevin Shirley, our producer, had a lot to do with this.” Shirley, born in Johannesburg, came to Australia in 1987 and produced albums for the Hoodoo Gurus, The Angels, Cold Chisel and many more, before relocating to the US after producing Silverchair’s debut album, Frogstomp, where he’s worked on records by everyone from Aerosmith to Iron Maiden, Dream Theater to Slayer. “You know, I wrote this song called Dislocated Boy and then I wrote this song called Driving Towards The Daylight, and that kind of got the whole ball rolling. Plus we did a session before in August [last year] – the bulk of the record came in February [this year] – so we had about five or six tunes in the can in August and we just like burned out in the process and said, ‘Okay, let’s keep it ‘til February and we’ll be rockin’. “So cut to February and I had a couple, and Kevin said, ‘We need to do a Robert Johnson song, right?’ We’d kind of shied away from it because, I mean, everybody does Robert Johnson songs, but he said, ‘Let’s do Stones In My Passway’ – Now there’s a song that hasn’t been done to death, you know? So we did that and then we had little things that we put together, and the whole concept of the record was do a blues album. And when I say do a blues album, my definition of the blues is a little more liberal than maybe some other people’s, especially in the purists crowd. But that was the whole thing – we just kept the mindset of British blues.” As is obvious when you look at his catalogue, while he’s steeped in the blues, Bonamassa is the total Anglophile, taking much of his inspiration from the multiplicity of variations on the blues that the British brought to the quintessentially American form. One of the big bonuses of getting to level he’s at has been the chance to play with some of those British musical heroes, from Paul Rodgers of Free/Bad Company to Eric Clapton and more. The relationship with Shirley over the past seven years has not only taken Bonamassa into new ventures like Black Country Communion but also introduced him to a few Australian musicians that have become a part of his music, either directly, in the form of Australian keyboards player Rick Melick, who was in his touring band for a couple of years and features on his most recent concert DVD, Beacon Theatre – Live From New York, and a certain Jimmy Barnes, who guests on the new album’s last track, a rework of the Aussie belter’s early solo hit, Too Much Ain’t Enough. Another Australian, Leon Zervos, who works out of Studios 301 in Sydney, mastered the new album. “We were looking for a different kind of direction – you could feel the pull of the vortex around 2003, 2004 and we made a record called Blues Deluxe and followed it up with Had To Cry Today – and we just kind of felt this pull into the abyss, unfortunately, which is the traditional blues kind of career path where it’s just like everybody’s telling you, ‘Well here’s the ceiling and this is where it’s gonna end and these are the clubs that you’re gonna play for the rest of your life and eke out a living and, you know, move to Michigan because that’s where the only cheap real estate is left,’ you know what I mean? There’s gotta be something better. “So we were looking for a different producer, different sound, and this opportunity comes to work with Kevin, and Kevin was kind of in the same spot. He was moving from New York to LA and looking just to kind of get involved with something that he could take from the ground up, and here I am, you know? Here’s the ground,” he laughs. “So I showed up as the ground and the rest is history – we’ve done nine projects in the scope of seven years. Not to mention three DVDs, and we’ve just finished our fourth – we did an acoustic show in Vienna, completely different band, and we ended up filming that. We just did a whole tour of that.” While Bonamassa’s reputation is very solidly built upon his incendiary guitar playing, as far as he’s concerned it’s still really all about the song. “I’d rather have better songs that solos,” he admits. “I’d rather have shitty solos in a good song, as opposed to a great solo in a bad song. And a lot of it, again, wanders out of the blues pretty readily, you know? Well pretty much, on a regular basis. But we end up having a good time with it, and we’ve gone from making records that we would call blues records, in the genre, to making records that we just call, well, it’s got two guys playin’ bouzoukis, one guy with a clarinet, they all speak Greek – none of them speak a word of English – we’ve got instruments we’ve never heard of, and a shuffle. I guess it’s a Joe record [2010’s Black Rock, recorded on the Greek island of Santorini]! But the whole thing seems to work, in a weird way.

MUSIC BY Coarse language, sexual references and drug references

30 • THE DRUM MEDIA

SHARK ISLAND PRODUCTIONS PRESENT "PAUL KELLY - STORIES OF ME" PAUL KELLY SOUND DESIGN AND MUSIC MIXER PAUL CHARLIER DIRECTOR OF PHOTOGRAPHY SIMON SMITH EXECUTIVE PRODUCERS DAVID LESER AND TOBY CRESWELL PRODUCED BY SUSAN MACKINNON MARY MACRAE AND IAN DARLING EDITED BY SALLY FRYER DIRECTED BY IAN DARLING

“I can only cite my limitations as a singer and my limitations as a musician sometimes back you into an interesting corner where it actually is more interesting than if you just played the stuff with ease, you know?” WHO: Joe Bonamassa WHAT: Driving Towards The Daylight (Universal) WHEN & WHERE: Friday 5 October, State Theatre; Sunday 7, Civic Theatre, Newcastle

themusic.com.au


A SPOONFUL Biting fingernails, cracking knuckles, grinding teeth - bad habits, everyone’s got them. Grinspoon frontman Phil Jamieson procrastinates with Brendan Crabb while talking new disc Black Rabbits, Vanilla Ice and heritage acts.

A

t the time of taking our call, Grinspoon vocalist Phil Jamieson is debating whether to buy an iPhone 5 and relaying his obsession with a new mobile game whereby the player prepares tacos for virtual customers. Perhaps discussing such fixations is fitting, given the Lismore-born rockers have named their seventh album after the Cockney slang term for bad habits: Black Rabbits. Also, as far as Australian rock bands go, Grinspoon are more readily associated with that phrase than most. The question is posed whether spending too much time on said activities is one of his bad habits. “I’m not sure, but my worst habit is probably that I’m too clean. Just constantly cleaning… That’s a joke, obviously. I don’t really know what my bad habits are. I like saying that I’m really clean, I’m always following other people around and cleaning up after them, but that’s not entirely true.” Perhaps it was trying to avoid some well-established working tendencies or songwriting proclivities that motivated the band to visit Los Angeles to lay down the new material. They were guided by producer Dave Schiffman (Weezer, Red Hot Chili Peppers, Black Rebel Motorcycle Club). However, Jamieson found he had to acclimatise to the producer being a creature of, well, habit. “With the dollar the way it was, we were like millionaires in America; that was an attractive proposition. I guess there’s also an argument for making a record away from home, so we can focus more. LA was a lot of fun. We were there a relatively short time, so it was heads down, bums up in the studio. There wasn’t any long lunches. It just suited the record and made sense to do it there.”

I don’t think in the first place we were one of those types of acts that set out to conquer, prove, succeed or die. I don’t think that was ever our modus operandi, we just existed. Luckily, and also I think we actually wrote some good tunes along the way, but somewhere in the ‘90s, and even in the mid-‘00s, we struck a chord with people with some albums we released and luckily, since then people have kinda grown with us. I don’t know about proving stuff; it was never really the ‘be all end all’. We were gonna do it regardless.” WHO: Grinspoon WHAT: Black Rabbits (Universal) WHEN & WHERE: Friday 18 January, Big Day Out, Sydney Showgrounds

The record features guest spots from Tim Rogers (You Am I), Chris Cheney (The Living End) and Scott Russo (Unwritten Law). How was the experience of working with Schiffman though? “It was good, he’s quite a friendly chap, has got some good ideas. I think sonically the record is of a really high standard. He was pretty strict, he had a lot of rules, which I didn’t like,” Jamieson says, before bursting into uproarious laughter for the first of many times during our conversation. “So I hated them, but I didn’t do anything that I wasn’t allowed to do. We’ve been around the block, so we already had a pretty good idea of how to make records and the way he wanted to make it suited us. He was a really nice guy actually; we really enjoyed working with him. I’m more of a hard taskmaster on myself; I just hate all the rules. The task in front of me, of singing 14 songs or whatever it was that we tracked, I like that stuff. The tasks are easy; well, it wasn’t easy, but I’m used to that. It was just the rules he put in place,” he laughs. “They were somewhat difficult to follow, but I did follow them anyway. I tracked the vocals relatively quickly, which was good. I was really happy with the way it came out.

There’s more to this story on the iPad “He just wanted to get the best performances out of us, as did we. We wanted to make sure the songs we wrote were good. So we were both aiming for the same goal; he just had some really common sense rules,” he laughs again. “But as people may or may not know, I don’t have a lot of common sense. Common sense is sometimes overrated in my opinion.” We reference a high school English teacher who said that given its apparent short supply, common sense is inaccurately named. “There you go, that’s very true,” he exclaims, cracking up again. “So we got there, we met him and got along like a house on fire.” The US is hardly new territory for the quartet, who played their first American tour with Anthrax, Life Of Agony and Vision Of Disorder more than a decade ago. Another “standout” of early overseas jaunts was a stint opening for Vanilla Ice during a regrettable period in heavy music history. “I’ve kinda blocked it from my memory. I don’t know whether it was good or bad, but it wasn’t something that I wanted to remember. We were stuck in the Midwest for what seemed like a year, but it was probably only 90 days. We were touring with Godsmack and really horrible bands. I think Vanilla Ice was going through kind of heavy metal phase... nu metal. It was a very exciting time for music, nu metal,” he adds, setting off sarcasm detectors everywhere. “What a horrible genre. So we were kind of kicking about, just trying to find gigs. We were in a shitty Suburban that we bought in Los Angeles, a 1984 Chevy Suburban, which I think blew up and we left it in Philadelphia. I don’t know if it was bad or not, but I don’t really have fond memories of it. I don’t think they’re overly negative, I kinda choose not to remember it.” Hazy recollections aside, Jamieson plans to make Grinspoon’s upcoming national Big Day Out run and a tentatively scheduled Australian tour in March/April far more memorable than roughing it with has-been rappers. Jamieson is asked if he is mindful of not playing too much early material for fear or becoming a legacy or heritage act. “I don’t think about it like that really. I think that’s such a weird… That’s like a journalist thing to say. As a musician I don’t really consider anything to be heritage or legacy, especially referring to my own stuff. Eskimo Joe don’t play Sweater anymore – does that make them not a heritage act? I feel that we’ll just pick the songs that are the best songs,” he laughs. “That would make the most sense to me, regardless of when they were written. [It’s] just a balance thing; I’m not sure if the legacy or heritage thing applies to us just yet. I’m only 35, fuck,” he says, vigorously chuckling again. In wrapping our chat, the question is posed as to whether 17 years into the band’s career, more than 450,000 records sold, countless national tours, major festival slots and an ARIA Award in the can, are there any goals they haven’t achieved? “That’s a good question. I didn’t really think it was a race or anything; I wasn’t trying to prove anything when we started it. We were just trying to have fun.

SINGLE LAUNCH SATURDAY 13TH OCTOBER UPSTAIRS BERESFORD with guests - I Am Apollo and Alisa Fedele Free Entry WWW.VAUDEVILLESMASH.COM

themusic.com.au

THE DRUM MEDIA • 31


ETERNAL CARNAGE There’s a visual juxtaposition between the in-your-face Cannibal Corpse you see on stage and the one that seeks refuge in tranquillity to work on recorded masterpieces. Tristan Broomhall interrogates the band’s two founding members, Paul Mazurkiewicz and Alex Webster, before they head down under to lay waste to Australian audiences.

F

or a quarter of a century, their name has been synonymous with death metal – that vicious and vile sub-sect of metal that delves into the darkest recesses of our minds and draws forth all that’s disturbing about humanity. Blastbeats, pummelling riffs and the distinctive guttural roar of George Corpsegrinder are what makes Cannibal Corpse’s glimpses into terrifying gore-filled horror worlds so unmistakable to fans the world over. Every visit they make to Australia is a cause for celebration amongst death metal fans, and the band’s live reputation is infallible, an hour-long assault that bassist Alex Webster describes as “ultra-heavy death metal played with no frills, no light show, no stage props... just raging music.”

Earlier this year the Buffalo, New York quintet launched album number twelve, Torture, the latest in an unbroken string of releases every two or three years. Some bands have taken breaks, but Cannibal Corpse have powered through, undoubtedly due to the constant presence of Paul Mazurkiewicz and Alex Webster; the rhythm section and remaining founders of the band. A quick appraisal of the song titles on the back of an album is a glimpse into the lyrical content within. Previous albums have featured glorious descriptors like Hammer Smashed Face and Meat Hook Sodomy, and Torture has its share, including some unique material. “I think that the lyrics for Scourge Of Iron are fairly different for us,” Webster says of the new track. “It’s a literal description of Hell, which is a little different from our other songs, which are usually more gore/splatter.” The rest of the album’s pretty straight up, according to Mazurkiewicz. “We don’t stray from our formula so it contains the usual subjects of murder, death, and, of course, zombies! I’m really happy how Followed Home Then Killed turned out - a cool story about a stalker.” Torture saw the band working with Erik Rutan (Hate Eternal, Morbid Angel) again in the producer chair. Finding a producer and engineer that can push the limits of heaviness in the recorded medium is always a challenge, but with Rutan, the band has a kindred spirit. “We want the producer to be someone who understands our

type of music, and what it really means to be heavy,” Webster explains. “Erik definitely hits the mark in that regard. He has an impressive background in death metal, both as a musician and as a producer. We can always trust him to make good musical decisions.” Studios are responsible for giving certain eras in music their distinctive sound, especially in the analogue days. The studios in Florida patronised by death metal bands even gave rise to the term Florida Death Metal as a descriptor. To record Torture, the band took Rutan west to Sonic Ranch in Texas, miles from his Florida based Mana Studios where they completed a couple of previous albums. “The isolation at Sonic Ranch gives you a lot of time to focus on the project at hand. It’s a residential studio, meaning you live there during the recording,” Webster explains. “For the entire time you’re there you can be totally immersed in the project you’re working on. I like that, but it’s certainly not for everybody. Some people prefer to work for a few hours and then go home or to a hotel, which is the case at nonresidential studios. For me, I prefer the distraction-free environment of a residential studio like Sonic Ranch. “We had a few technical difficulties, and when they happened it took a while to correct them since the nearest technicians were 45 minutes away,” he continues. “So there was that to deal with. Also, Erik has a smooth workflow system at Mana, and he had to make some adjustments to get the same thing going at Sonic Ranch.” The best part of the stigma surrounding Cannibal Corpse comes from their unapologetically brutal live shows. It’s hard to describe a Cannibal Corpse show to someone who hasn’t experienced one. Plenty of bands play complicated, extreme music and lots of bands can churn out said music note-perfectly in front of a live audience, but few bands have mastered the delivery quite like Cannibal Corpse. According to Webster, it takes a lot of hard work. “Even when we are not preparing for a tour we meet four days a week to practice for two to three hours together each session. That way we are ready to play at a moment’s notice, 365 days a year.” The result is a show that

pummels the senses and leaves fans eagerly awaiting the band’s next visit. They’re not a band to skimp on the classics in order to highlight a new release either, so fans aren’t left wanting after an hour-plus Cannibal Corpse set. “Hammer Smashed Face and Stripped, Raped And Strangled are a couple of the biggest of the older stuff,” Webster says. “Make Them Suffer and Evisceration Plague are extremely popular as far as the newer stuff goes. But really, the fans seem to enjoy the whole set. We have enough albums that we can pick out the strongest tracks from our career and create a very dynamic set.”

seemed to have toned back on the drawn-and-quartered corpses, resplendent with maggots and entrails spewing forth. The cover art of Vincent Locke is in some ways as powerful as the music within. It definitely sets up our expectations and for many it’s the first thing that pops into our minds when we hear the name Cannibal Corpse. “I think that having quality packaging/artwork for your CD definitely creates an incentive for fans to buy the physical version rather than download it,” Webster emphasises. “I think that metal fans in general like to collect the physical versions of their favourite bands’ releases.”

Amongst all the classics the new album gets a fair airing, according to Mazurkiewicz. “We’ve been playing six songs from the record on our headlining set, which is half the album! I think the song that stands out the most to the fans is Scourge Of Iron. I’m sure that song will be a staple in the set well into the future.”

25 years is a milestone for any band, but Cannibal Corpse are staying close-lipped on any special plans. “Yes, we are working on some special releases for our 25th anniversary as a band. Stay tuned,” Webster warns. A new album, a long-awaited tour and the year’s far from over for Cannibal Corpse fans.

We’ve grown accustomed to Cannibal Corpse records on our shelves here in Australia, but it hasn’t always been a comfortable relationship. A few of us remember a time in the ‘90s when we couldn’t get our fill of gore-drenched ‘Corpse releases, thanks to Australian censors. Those days have passed, and Torture also sees the band return with a fully painted morbid cover after two releases that

WHO: Cannibal Corpse WHAT: Torture (Metal Blade/Riot) WHEN & WHERE: Saturday 6 October, Metro Theatre

TOTAL TROUBLE After a last-minute tour cancellation the summer previous, Orlando Higginbottom, AKA Totally Enormous Extinct Dinosaurs is coming back for those same festivals, but not before a one-off Sydney show next week. Troy Mutton basks with him in his post-album glow.

“P

eople have been really forthcoming with their praise,” begins Orlando Higginbottom on the resoundingly positive feedback his debut album under the Totally Enormous Extinct Dinosaurs moniker has been receiving since its release earlier this year. “And what I didn’t realise when I was writing it, was I kind of insulate myself quite a lot, and I think that was the right thing. The only opinion I cared about when I was writing the album was my own. I wanted it to sound good to me and not to anyone else and I was kind of still in that mindset when it came out.” Still, it’s always nice when people actually dig what you’re doing. “When people started Tweeting me and on Facebook and saying that they liked it, I didn’t really realise how much I needed to hear that, and it was so good to hear,” Higginbottom tells honestly. “It was so nice for people to take the time to tell me they liked the record, and so yeah, it was really special actually, and it still is. I don’t feel like it’s very much the nature of today’s world for people to take the time to compliment others, so I’m always very honoured.”

Indeed Trouble is as refreshing a dance album as we’ve heard for some time. Where many get lost in too much filler and not enough killer, Higginbottom’s energetic take on electro is littered with plenty of known bangers (Household Goods, Tapes & Money), tied together with hidden gems like Your Love and Closer. While some of the tracks were previously released in EP form, Higginbottom still had to tie them altogether to form a cohesive collection. “I was thinking of that track listing the whole time I was writing. I knew which tracks from my old EPs would be on there as well and as I was building the album I was kind of playing around a lot with how those tracks would go. “And you know, in the last two months, I wrote three new tracks to almost try and fit in with that vibe of the album, almost things that I needed the album to have. I took out a few other ones that won’t come out now just because they didn’t sit quite right on the record. So there was a bit of thought about how they were sitting 32 • THE DRUM MEDIA

on the record as a whole.” The producer was also very conscious of the fact that in today’s digital music world, a lot of people aren’t going to buy a whole album. “But I kind of recognised that a lot of people won’t ever listen to it in one sitting, it’s not really the way that people listen to music now, let alone an album that’s nearly an hour long. It wasn’t the most important thing to me.” And it’s here you begin to see that not only is Higginbottom an incredibly talented producer, he’s also got a pretty smart head on his – usually weirdly costume-adorned – shoulders. “I understand why people, especially in dance and increasingly pop music, are happier with EPs and singles. You can just focus on one track. The more focus you put on one track the more people are going to hear it, love it and buy it. And with an album you have a real challenge to make people interested in an hour worth of music. But I think that challenge is really important, that challenge pushes you forward and makes you think about what you are writing and why you are writing it. I would recommend it really.” While the album does feature a bunch of high-energy, fun and rave-worthy numbers, the lyrical content quite often takes the opposite route; having a darker, often at times sad, quality. It’s a dichotomy that Higginbottom enjoys. “I think that is something that runs strongly in dance music, in fact I think it runs strongly in all pop music. It’s very hard to write a piece of music that has melody and harmony and is only positive I think you’ll find that – not positive, but happy is the word – most melodic music has a kind of sadness to it. I know that’s broad and a very big statement to make but within the last eight years, even the most joyful disco has had this tinge of melancholy to it. And I really like that, I think that’s really beautiful. So I guess I accidentally focussed in on the sadder part, whilst keeping the energy up. But it was just something that happened and I’m fine with it.” To go along with the bombastic name Higginbottom has given himself comes the crazy outfits, headdresses and live show featuring dancing girls, dinosaur outfits

and more crazy headgear. Likewise with the method of release, the Totally Enormous Extinct Dinosaurs live experience is one that’s very considered. The producer has no plans on a Guetta-esque show, although given the opportunity he’s always thinking about expansion. “Honestly, every day I think of something I would really like to do for the live show and it’s just some weird idea. I’m not going to say it because I want to keep them and use them. They would cost me so much money but I hope that one day I can have at least one big show where I can really have fun, because calling it Totally Enormous Extinct Dinosaurs and dressing up wasn’t the only weird thing I wanted to do. “There are so many weird ideas I wanted to put into effect but we’ll see, we’ll see.” In the meantime, it’s about finding that balance between the spectacle and the music, and it’s a fine line he’s all too aware of. “I’ve always avoided having big LCD screens and I’ve never wanted to have that. I’ve found the DJing disappears, and I’m not strictly DJing at all, I’m singing and playing and performing, but I want the audience to feel like I’m there and I’m with them and yeah, I find it strange. But I do understand why people are going mad for it. “It’s basically in America where kids are going crazy for a DJ with a big production and it’s really frightening. I’ve seen footage of Skrillex’s show and it seems like it’s fucking crazy, but whatever you think about his

themusic.com.au

music, that looks fun. If you were an 18 year-old kid, that looks like the shit! I understand it, I just don’t want to do it like that.” And when it comes to expanding into a more live band-type feel, it’s something he’s not overly concerned with at the moment. “I feel like maybe there might be a case for pulling together a band. I don’t see that many dance acts that I like that pull off a live band. There’s a few that really fucking smash it, but I think that definitely getting a few more musicians and singers and performers on stage is definitely an option. But we’ll just see how it goes.” For now, though, Higginbottom’s bringing a slightly downscaled version of his live show to Oxford Art Factory in what will be his Australian debut, before the full kit and caboose for the Falls and Southbound festivals. However, with his debut album already a few months old, Higginbottom really has one eye on record number two. “I fucking can’t wait to get back into the studio man... definitely, definitely can’t wait to get back in the studio.” WHO: Totally Enormous Extinct Dinosaurs WHAT: Trouble (Polydor/Universal) WHEN & WHERE: Thursday 4 October, Oxford Art Factory; Tuesday 1 January, Field Day, The Domain


EMBRACING THE UNCERTAINTY On the eve of hitting the town with his band The Jicks, slacker pinup boy Stephen Malkmus talks to Steve Bell about staving off poverty with guitars, pumping up the onstage sound and his need for perpetual forward motion.

A

lot’s changed in the life of indie kingpin Stephen Malkmus since his former outfit Pavement pulled up stumps back in 1999. In the intervening years he’s carved out a solid career with his band The Jicks, started a family, and just recently he decamped from his adopted home in the hipster enclave of Portland, Oregon to its European equivalent in the revitalised Berlin. Yet while he seems completely content and settled on this new continent, no matter how far or wide he roams, music is still his lifeblood. Having spent most of 2010 on the road with the muchvaunted Pavement reunion, Malkmus last year released Mirror Traffic, the fifth album since he started down the solo trail, and now he’s finally hitting Australia to share those new songs in the live realm. He professes to enjoy coming down to the southern hemisphere, but concedes that these days travelling with the band is more of a necessary evil than the exciting adventure of yesteryear. “If we could just play shows in Berlin only, that would probably be the best for me technically, but that’s not how it works,” he smiles. “But we get to go to nice places and we don’t abuse ourselves too hard with the touring – it’s a reasonable amount – and we want to play and we want people to have a relationship with us still, and that’s the best way. This is our version of direct marketing – we just go to your town and you can see us play. “You need to [tour] just to keep a band going. I think if you’re just a bedroom artist you can just release stuff and play a couple of shows now and then, and you can have an existence and be part of the dialogue and have people hear you, but if you’re going to have four or five people in a band then you have to tour to keep the musicians employed – otherwise everyone’s going to go broke,” he laughs. “That’s the business.”

like to feel as a musician as if I’m just going through the old motions – I wouldn’t want to do that forever,” Malkmus explains. “It’s hard to say though, I loved playing some of those old Pavement songs, and the guys were great. But there was no forward creative motion in it anymore, so I guess it’s nice to be in a band that’s just about new songs and the questions and uncertainty of what might come next. And I just work efficiently with this group – we have a mature relationship I think, which is nice. The divisions of labour are good, we all have our roles – onstage and off – and it seems to work.” WHO: Stephen Malkmus & The Jicks WHEN & WHERE: Thursday 4 October, Transit Bar; Friday 5, Factory Theatre

MIS

RAL S S AU S T E R P T E E j & STR E , t ri p l e N O T E L T

EN IA PRES

T

In recent times The Jicks have undertaken a line-up change – former Sleater-Kinney drummer Janet Weiss left the group to reunite with Carrie Brownstein in Wild Flag, being replaced by ex-Joggers skinsman Jake Morris – but Malkmus believes that the change has been beneficial. Furthermore, the songs from Mirror Traffic are translating well live, even if some feel that its producer Beck may have been sabotaging the size of the project’s sound from within.

There’s more to this story on the iPad “He’s perfect for us, it’s really fun and I’m really happy with him,” he enthuses of Morris, before turning his attention to the new material. “It’s the kind of thing where we liked the record fine how it is, but now that we’ve played them live a bunch it sounds way better now – friends of mine who saw us in Cologne recently were, like, ‘I’m starting to think that Beck fucked you up!’” he chuckles. “Everything’s just more powerful-sounding now. The record was kind of purposefully medium-small in a way. I was hearing this band The Black Keys in a cafe the other day – everyone loves this band, and they’re really cool guys and I like them too – but then also it’s this small, Danger Mouse sound; small but cool-sounding. I think Beck was doing something like that. It’s not like some battle to get to the biggest sound. But live it’s just a bigger sound, it’s more in-your-face. But I like the Mirror Traffic record, it’s cool.” And in great news for fans of Malkmus, he declares that The Jicks already have a heap of new material up their collective sleeve. “We’ve got tons of tunes, they’re just waiting to be recorded really,” he shrugs. “I mean there’s already a million of them, and they’re out there on YouTube if you’re really interested. They just don’t sound that good because they’re recorded on hand-held tape recorders at shows and stuff. But yeah, we’re ready to go. I wish we could just go and record right now, but it’s hard to mobilise everyone and sort everything out.” The songs on Mirror Traffic were shorter and hookier than the Jicks material which directly preceded it, which had a predilection for longer, jammier songs – which way is his muse dragging him this time? “There’s a couple of potentially sprawling ones,” Malkmus ponders. “There’s some energetic numbers and there’s some trippy numbers and there’s some catchy ones too. I think it’s in the same boat as Mirror Traffic, except I expect to record it differently so it’ll just naturally sound different. I expect maybe even more jammy performance things, at least from the drummer’s side and perhaps even the guitar, but we’ll see. I’ve got to just get in there and see how it sounds.” Malkmus’ post-Pavement body of work is now basically as large as his work with his former outfit – is he proud of what he’s achieved since Pavement called it quits as an ongoing concern, and is he happy being a Jick? “Yeah, I’m proud of it. I just keep plugging away,” he tells. “I think the band is a good live band and they can hold their own. We don’t have any major hits really – or even any big dumb songs that we can play at festivals where everyone loses their shit – but we do have solid songs and good jams, and it’s always different when we play, so that might be interesting. I think those are the benefits, but we could use a couple more festival bangers. Although not a lot of people have more than one of those, unless you’re like a legend. “But I feel like it’s a band, totally. It’s a band with a songwriter, but it sounds like these people and I willingly want it to be that way. A band’s more than just its songwriter, and they enable me to do that stuff in a way where it comes easy – musically and in all facets of being in a band – and that’s what you’re hoping for.” Even spending most of 2010 on the road with the Pavement reunion basically reinforced his love for The Jicks. “The Pavement thing was really fun, but it didn’t feel like it was the present for me and I don’t really

Thursday January 3rd Enmore Theatre S U P P O RT E D B Y t r i p l e j

themusic.com.au

W W W. M I S T L E T O N E . N E T

THE DRUM MEDIA • 33


ALL IN THE MIND

CH-CH-CH-CHANGES For Melbourne folk-popsters Tinpan Orange, it was time to shake things up a bit. The result is their lushest album yet, as Michael Smith discovers from Emily Lubitz.

Drawn from the depths of the collective imagination, the new album from Drawn From Bees is equal parts the darker and brighter sides of the human heart, or so Michael Smith discovers.

L

ife for singer, songwriter and frontwoman of Melbourne folk-pop Tinpan Orange, Emily Lubitz is now defined quite clearly as pre and post-baby. Louie, her son by husband, songwriter, keyboards player and producer Harry James Angus, whose other band is The Cat Empire, now nearly a year old, rules, as all babies do. Not that he’s evident in Tinpan Orange’s latest album, Over The Sun, even if a lot of the songs were written post-baby. “It’s a collection of songs that started about two years ago,” Lubitz begins, “and I think that it was more reflecting on remembering, and maybe, the fact that I had become a little more domesticated and thinking about the part of me that isn’t domesticated, that whatever, the dreamer in all of us. And I think we all have our domesticated selves and our, you know, incredible, worth of a screenplay or at least worthy of a folk song selves,” she giggles. “So I think the album is mostly looking back on maybe a simpler time and with warmth.” There’s certainly no regret evident in these songs, yet they’re not mere rose-tinted nostalgia either. The songs that ponder loss are accepting, those that might admit feelings of inadequacy but hey, they’re trying their hardest as, for instance, the character at the heart of Supergirl is. “That one was inspired by a short story by [Israeli writer] Edgar Keret – he’s a great short story writer. I find a lot of inspiration from short stories or Charles Bukowski or something, and, yeah, I sort of got that and then I researched all superhero stuff, googling and wondering what do they have other than capes? I actually made up tazer gloves but I thought that’d be pretty awesome [laughs]. But I love Supergirl, I love her dedication to whoever she’s in love with.” Sonically, this fourth album from the now five-piece is far more lush, awash with strings and more accepting of having a traditional rhythm section, something the original trio of Lubitz, guitarist

T

brother Jesse and multi-instrumentalist Alex Burkoy took pride in not having for a few years. “The sounds were a lot to do with our producer Steven Schram. Harry also had a lot to do with the arranging and obviously Alex, who plays the violin and strings, but a lot of the sounds were steered by Steven, who is a very fearless producer. He pulled sounds that I just wouldn’t have expected but I loved it. He would chop songs – he’d just put the song in a blender and, like, watch it go – and we knew he was like that and we wanted that. “After our last record (2009’s The Bottom Of The Lake) that we did, just the four of us at home, you know, very kind of private, personal, fun little bit of recording, we wanted fresh ideas and we wanted someone with strong ideas, so we very consciously chose him. He’d say, ‘Note’s too long, chop it in half, probably don’t need that bit,’ and then, ‘Oh no, we need a middle-eight – write it.’ So Foolish Child, I wrote a lot of that in the studio as we were recording it. I was writing lyrics to Over The Sun as the guys were playing through the chords and Steven was pulling the sounds in the control room, and it was great – I love working on the fly like that. Usually, I’ve always come into the studio very prepared, the songs don’t change too much in their form, but I’m at a stage where I’m really open to other people having some fun – as long as I trust them, I trust their aesthetic and they’re going to do right by my songs, I find it really exciting.” WHO: Tinpan Orange WHAT: Over The Sun (Vitamin) WHEN & WHERE: Saturday 6 & Sunday 7 October, The Vanguard; Thursday 22 – Sunday 25 November, Mullum Music Festival, Mullumbimby

A GREATER WHOLE O

“He was an absolute genius,” Whittington exclaims, recalling the Founds’ time spent with the musician and producer. “He let us stay at his place for two weeks, he looked after us amazingly, and he took us out and about to show us the real beauty of Cairns which gave us inspiration when we came back to record. He was up to 3am every night and then he’d wake up every morning with these ideas, and he’d put his touches onto the record – he definitely bought out the full potential of what we’d written. “There’s actually a song on the album called Courts, which is just Elle [-Louise Burguez] and Jamie, the piano and violin, that was inspired by the area, and also most of the intros across Hadean were all written while we were in Cairns because Mark would just take us to the most beautiful natural places and then we’d come back and songs like that would just write themselves.” Hadean is built around a concept that follows the stages of the earth’s development through song. “It’s about the creation of earth before anything,” Whittington explains. “The album reflects that by starting with the stages that have come through, like Avalanches and Caves representing people from those early times, and Cassieopia is like a constellation of the stars. The album is supposed to take you through the earth’s journey. “Kirstie [Ford – vocals] came up with the concept because we tried to record an EP midway through 34 • THE DRUM MEDIA

“Bands do this thing,” James continues, “which everyone does, which is drawing on your own experiences to create music. As a band, we always thought, ‘Wouldn’t it be it be really cool if we started creating these weird fantastical imaginative stories, just letting our imaginations run wild rather than do what everyone else does... which is, when you’re eighteen you’re talking about singing and dancing in a club and when you’re older you talk about life coming to an end or something like that?’,” he laughs.

There’s more to this story

on the iPad

“So hopefully, we’re a pretty imaginative bunch and the idea is we don’t want to get restricted. Plus we’re all book nerds – my favourite book of all time is still The Count Of Monte Cristo.” It’s the tales of the Brothers Grimm and Lewis Carroll’s Alice stories rather than Dumas that are probably more immediately evoked by the songs that make up Drawn From Bees’ new album, The May King And His Paper Crown, replete as it is with dead children, ghosts, homicidal maniacs and all manner of scary fairytale archetype stuff. “Oh yeah, there’s a dark side to humanity,” James admits, “but I sort of hope as well that imagination can trigger concepts that are totally new experiences. Like

to me that entire Count of Monte Cristo scenario is something that I could never have hoped to ever possibly experience, yet when I was reading it, I felt it as it was.” The album is certainly meant to be a complete and immersive listening experience, though necessarily a concept album. The cohesiveness is something James puts down to taking the time to really hone in on what they wanted to say. “This is the longest we’ve taken to make a record,” James explains. “We took one year to make it. Our first collection of records, we wrote four records in two years [two EPs, a mini-album and an album], so this is the first time we’ve taken a bit more time and really spent the time making sure that it’s cohesive. Even to the point where I think there are maybe ten to twelve songs that we didn’t end up using that are still floating around at the moment but that we didn’t feel fitted with this collection of songs. “To an extent, sometimes I like to think of everything as a record, not as a five-minute short-attention-span sort of thing. To us, when we put everything together, we’re always thinking about the record; we’re not thinking about whether we can do some radio stuff or anything like that. We’re thinking about what we can do to push ourselves into creating something that is very unique. So the intentional journey is just to get lost in a collection of fantastical stories, a full journey record, not just, ‘I like that songs’.” Drawn From Bees have even gone ahead and pressed up The May King And His Paper Crown on vinyl as well as CD, though James found the limitations of vinyl demanded the dropping of a few tracks, which he found quite traumatic. WHO: Drawn From Bees WHAT: The May King And His Paper Crown (Bonefinger/MGM) WHEN & WHERE: Saturday 6 October, Oxford Art Factory Gallery Bar

SOUL KINDA FEELING

It took a bold concept and some natural beauty for Founds to nail their debut sounds. Skinsman Beau Whittington joins the dots for Benny Doyle. ver the past 18 months, Founds have garnered a strong fanbase behind an inimitable live show, however, they were yet to put their name to an official release until debut album Hadean dropped a few weeks ago. Was it worth the wait? Of course it bloody was. The record beautifully captures the band’s ability to refine sprawling ideas into digestible songs, and with The Middle East’s Mark Myers, the sextet have created the body of work that they’ve always threatened to make.

he premise is so simple, yet the example used to explain it gives you an insight into the place from which the music of Brisbane four-piece Drawn From Bees comes from. It is more intellectual than visceral, though that doesn’t mean it’s any less powerful and evocative rock’n’roll entertainment. As singer, songwriter and guitarist Dan James tells it, the idea comes from the potential limitations of method acting, which assumes that you can take your own experiences and use them to imbue your acting performance with the emotions felt in your personal experience. The problem is that all too often, our experiences are limited.

Releasing new EP By The Fire, Bec Laughton tells Tyler McLoughlan how her musical theatre background and some guidance from an industry heavyweight has shaped her career.

last year and it just didn’t go well,” he continues. “She thought about this idea towards the end of that time, so between then and when we met up with Mark the concept just grew, then we all started feeling it and altering the songs to work within the ideals of Hadean.” Founds are led from the front by the vocal harmonies of Ford and Burguez, and the 22-year-old Whittington has nothing but praise for the pair. “It’s funny, the rest of us always laugh because even when they’re talking they’ll just break out into harmony,” he says. “It’s like they can read each others’ minds. They could start singing together and within an instant they have a harmony and it sounds beautiful. Us boys just love it. It creates excitement and they just surprise us every time.” Combining the transcending experience of School Of Seven Bells with the grandiose nature of bands like Arcade Fire and Sigur Rós, Founds’ music hits you right in the heart. But as Whittington ironically explains, it’s only through their disparate lives that they’ve been able to create a sound and a live experience so unified. “It’s six individual parts from six individual people,” he states. “Our interests are different away from the band – our everyday lives are different. But when we come together everyone just loves each other so much. I think it’s really cool that we’re all unique because when we write and we bring all those different parts together, its visual to everyone what is happening.” WHO: Founds WHAT: Hadean (Rare Finds/Inertia) WHEN & WHERE: Friday 12 October, Cambridge Hotel, Newcastle; Saturday 13, Factory Theatre

B

risbane songstress Bec Laughton’s broad vocal ability recently earned her a 2012 Queensland Music Award – not a bad effort considering the Dance/Electronic category win was a bedroom side-project collaboration that came in the midst of her work to release her second EP By The Fire. “I grew up in musical theatre, trained in jazz but then my heart is definitely in soul music so that kind of comes out in everything. My original stuff is kind of quirky soul pop but then I seem to work in the funky house scene as well,” Laughton says of the cross-over ability that scored her a QMA. “I guess everything I do has soul as the basis, whether it’s a dance track that’s soulful and upbeat or if it’s a more soul pop sound like Amy Winehouse or Adele,” she admits. “And even if I’m doing jazz it’s normally like a bluesy kind of soul ballad, so I guess it’s the one thing that ties everything together… Soul to me is more than a genre – it kind of says what I’m singing about as well which is music that has heart and meaning. And so a lot of my music is about the lyrics and the message that I’m actually trying to say – I’m trying to speak life into people, because I heard once that music is the one voice that can speak into your life without your permission.”

There’s more to this story

on the iPad

Laughton’s soulful sass grabbed the attention of industry A&R and management veteran Michael Parisi in a vital development stage. “In 2009 I got sponsored to go down [to Melbourne] for Dream Inc which is a conference that he was running with [singing teacher] David Jaanz,” she recalls. “Michael Parisi loved my music but he said, ‘You’ve got this, this and this to do’ – kind of gave me a list of things to do. Then two years later, which was end of last year, I wrote to him and said, ‘Look, I’ve done

themusic.com.au

all these things’ and he was like, ‘Wow, excellent’, and hooked me up with Jan Skubiszewski [Owl Eyes, Cat Empire] who was the producer of the EP.” With the spirit of collaboration acquired from her rich musical theatre background and an open jam-style approach with her seven-piece band, Laughton’s strong personality across By The Fire has been backed by guest vocalists Rachel EverettJones and Ni.Na, also known as Madame Peal. “It sounds rad on the CD but if you hear it live it has just got this power to it that is absolutely paralysing,” Laughton says of Ni.Na’s vocal. “She’s much more than a singer – you can hear I guess her soul when she opens her mouth and it’s just incredible. Have you ever been in a zoo when a lion has roared? It just sends chills down your spine…” she explains, an apt analogy considering Laughton herself is often described as ‘lion lungs’. “That was a nickname that I developed when I was playing Dorothy in The Whiz from musical theatre. And it was about my singing but it was also about my speaking voice ‘cause apparently the cast could hear me from the dressing rooms as soon as I’d pulled into the car park…” Laughton laughs, adding how this side of her performance persona will impact the EP launch shows. “It’s given me some great ideas for the launch – we’re doing some funny, funny whacky production things that are gonna make the performance so memorable in like a 3D kind of way… There’s some interactive stuff happening with the crowd that includes fire and things like that – it’s gonna be really fun.” WHO: Bec Laughton WHAT: By The Fire (Independent) WHEN & WHERE: Friday 5 October, El Rocco; Sunday 7, Lizotte’s, Newcastle


BUFFALO TALES is the new project for singer-songwriter Wes Carr BUFFALO TALES sees Wes return to his acoustic roots and is an intimate and natural   

          

BLOOD & BONE EP OUT NOW

KATOOMBA

SATURDAY 6 TH OCTOBER CLARENDON GUESTHOUSE NOWRA

SUNDAY 7 TH OCTOBER BOTTLEROCKET BAR & CAFE DEE WHY

SUNDAY 14 TH OCTOBER LIZOTTES BUFFALOTALES.COM.AU

SATURDAY 6TH

OF OCTOBER AT THE HI FI W/ LO! & I EXIST DOORS: 8:00pm

TICKETS: www.moshtix.com.au THE DRUM MEDIA • 35


NORTHERN BELLE

CRACK HOUSE PARTY

Rockhampton-raised Elizabeth Morris, leader of London tweepopsters Allo Darlin’, will play her first show in her country of birth, writes Anthony Carew.

Being a party band might not conjure up many images of planning and forethought, but Northeast Party House frontman Zach Hamilton-Reeves lets Stuart Evans know that there’s more to it than just gyrating on stage.

S

ince leaving Brisbane “two weeks after graduating” from the University Of Queensland, Elizabeth Morris has never come back. Well, not on stage, anyway. The leader of London twee-pop outfit Allo Darlin’ has returned to her hometown of Rockhampton (where she “grew up in a butcher’s shop”, in a town where the Brashs was the only record store) only every few years since moving to London nearly a decade ago, but never performed. Until, finally, after two albums and a run of singles from Allo Darlin’, she’ll have her musical ‘homecoming’, playing to crowds she never played to in the first place. “I have no idea what to expect: how many people will come to the shows, what the fans will be like, what Australian audiences will be like; I’ve only ever been in one, I’ve never played in front of one,” she says. Morris was inspired to migrate via a devotion to Queensland’s greatest indie-pop exports. “The Go-Betweens were one of my favourite bands, and I knew they moved to London,” Morris recounts. “I was inspired by the fact that they were this band from Brisbane who had gone on to be not just adored, but internationally adored. There was something very specific about them being from where I was from; there’s something in their music that’s always reminded me of home, even when I was still living at home. When I moved to the other side of the world, those feelings obviously intensified.” After finding a job at a sound post-production facility in Soho, Morris roped co-workers into an “after-work band”, The Darlings, and Allo Darlin’ grew from them. The band showcase Morris’s anecdotal songwriting and ukulele strums – a Lucksmithian sound pitched for a very specific indie-dance-night, Sarah Records-loving set. “I really loved The Go-Betweens and Belle & Sebastian, that classic indie-pop sound was what we were going for in the beginning,” Morris admits, without a hint of reservation. “And, once we got to know each other more as musicians, we started to develop our own sound. But, when you’re playing indie-pop like this, those big bands are always there; I think every review of us ever has mentioned The Smiths and Belle & Sebastian.”

Though there was a vague idea for their sound, Allo Darlin’’s early days progressed with a kind of casual happenstance. “We never even had a plan, or even really had to ask for gigs,” Morris recounts. “We played one show and, after that, people were always asking us to play the next one. We’d get asked to play a show in Berlin and it’d seem like a good idea, so off we’d go, but we were just happy to see what would turn up. Allo Darlin’’s first, self-titled record was “very hastily made” at the urging of London twee institution Fortuna Pop! – “we’d only been a band of four people for a couple of months at that time,” explains Morris – but caught the ears of the right people; including a 7.9 from Pitchfork that handed the band an American audience. “Diving headfirst” into being a full-time entity, they toured North America and Europe with results of varying disaster, and made a more polished second LP, Europe. “The songs,” Morris offers, of the album, “were very much motivated by the fact that my visa was running out, and I didn’t know if I was going to be able to stay. So, I was feeling very nostalgic, wondering what I’d take back home to Australia if I had to leave Europe.” Morris never had to leave, and now she gets to come back home; this time, with band by her side and stages to tread on. “By coming home and playing these shows, it feels like the end of something, or the closing of something,” says Morris. “It’s something I’ve been dreaming about since the very beginning of the band.” WHO: Allo Darlin’ WHEN & WHERE: Friday 5 October, The Green Room; Saturday 6, Red Grapevine, Armidale

J

oin together the words ‘party’ and ‘house’, and things normally result in syrupy goodness. Melbourne-based six piece Northeast Party House like a bit of high-energy intensity with their music, even if their Facebook page states that their chosen genre is ‘crack house furniture party’. “Yeah, we like that description and we like to think of ourselves as crack house,” laughs singer/songwriter Zach Hamilton-Reeves. “Our music is alternative electronic party music. When we write songs we don’t think that a song should sound a particular way.” Still, they’ve chalked up an impressive fan-base on the back of their chosen party circuit exploits. But Hamilton-Reeves says they consider all aspects of live performance to ensure that it goes beyond being just another show. “We can’t just sit there considering people pay money to come and watch us play. We put a lot of effort into giving the audience more...” he insists. That process involves much, including balloons, a decent light show and some custom gyrating; shuffling, bouncing, skipping – not much is off-limits. “I find it hard to keep still on-stage,” Hamilton-Reeves laughs. “Our fans come with a mentality to have fun. Because they’re having fun, we have fun, and it goes on and on... Performing live isn’t just about the music. Sure, the music is crucial but we like the audience to feel involved. The audience is often going crazy, jumping up and down and knocking into each other, but they’re happy and always smiling.” The band is indeed tagged as a hybrid of alternative, electronic and rock and formed in early 2010 when they played warehouse parties and local Victorian venues. They recorded a demo, Dusk, which created a stir online as bloggers took up the cause before triple j came calling. They won triple j Unearthed and subsequently played at the 2010 Pyramid Rock Festival. In 2011 they appeared alongside Does It Offend You Yeah? and current flavour of the month, Kimbra, before releasing a debut EP that spawned triple j-fave Empires.

Pascal Cavalier, their most prominent song thus far, gave a teaser of what the band is about: guitar hooks, sparse-yet-distinctive synths and a driving bass that keeps on going. Undeniably catchy it may be, but as the band is a six piece, Hamilton-Reeves says a key facet of making things work is being open. “We’re a party band and we have to be open to everyone’s ideas. With Pascal... we wrote the song together. Sometimes it’s difficult to write with a bunch of guys as there are lots of different personalities and influences, and all of us write.” And now the lads have embarked on a national tour, including a support gig alongside the UK’s Mystery Jets, to champion their new single, Stand Tall. Hamilton-Reeves explains that Stand Tall tells a more serious side to their music. “I wrote the lyrics about my great aunt, who is quite ill and is a very inspiring figure. The song still has drive, particularly when performed live.” He says that despite the song’s somber tone, reaction has been positive even if some fans were shocked when it was originally played. The single, which is due for digital release in October, is taken from their forthcoming album. HamiltonReeves says the album will likely be released in 2013. “We’ve been working on the album non-stop, particularly in-between touring. We’re a bit bi-polar as our music is up and down. The album is still going to be a party album though,” he laughs. WHO: Northeast Party House WHAT: Stand Tall (Stop Start) WHEN & WHERE: Wednesday 3 October, Beach Road Hotel; Thursday 4, UTS Oktoberfest; Friday 5, Cambridge Hotel, Newcastle; Saturday 6, Upstairs Beresford; Thursday 11 October, UNSW Oktoberfest; Thursday 29 December, Peats Ridge Festival, Glenworth Valley

POCKET FULL OF DIVERSITY Cyclone sits down with one half of Diafrix, Mohamed “Momo” Komba, to find out how a group with such diverse backgrounds has found a succesful sopt in the Aussie hip hop scene.

M

elbourne’s Diafrix have quietly changed Australian urban music, universalising the old skip hop. Along the way, they’ve had a crossover hit in Simple Man with Daniel Merriweather. Then the Aussie festival regulars performed at Glastonbury. Diafrix even charmed popsmith Bruno Mars. Now the duo are back with an aptly titled second album, Pocket Full Of Dreams, and they can only get bigger. It’s been three years since Diafrix debuted with the intriguingly eclectic Concrete Jungle. Momo (AKA Mohamed Komba) and Azmarino (Khalid Abdulwahab) have matured – and progressed. “I think you can hear that in the new record itself,” the communal Komba reflects, hanging out in bayside St Kilda. “It’s just taken another step from Concrete Jungle sonically and even lyrically. It was good to write a new chapter.” Concrete Jungle saw Diafrix work closely with Blue Mountains beatmaker Ptero Stylus, a member of their band. This time their

36 • THE DRUM MEDIA

chief collaborator is Styalz Fuego, who masterminded much of 360’s Falling & Flying. The three were involved at every stage of the album, including the mastering. Diafrix might have handled it all themselves, being capable producers, but they chose not to, Komba says. “This time around I just wanted to be an MC and focus on lyrics – and throw in my parts on the music side as well.” Pocket... hatched its first hit last year in the engaging Simple Man, playlisted on commercial radio. “I definitely was surprised,” Komba says of the response. “I wasn’t expecting it to do as well as it did.” He adds, “I guess I’m my harshest critic.” Komba had known the now New York-based Merriweather for years and seized the chance to finally record with him when he returned home. Both of the Diafrix MCs are refugees. Komba, from the Comoros Islands (formerly part of the French colony off the African coast), settled in Australia at

three. Abdulwahab, fleeing warn-torn Eritrea, lived in Jordan and continental Europe before arriving here. The two connected in the early 2000s at the Footscray Arts Centre during a hip hop workshop conducted by TZU’s Joelistics, their mentor. “He’s like a bigger brother to us,” Komba says warmly. Ironically, TZU are mounting a comeback as Diafrix issue Pocket... Diafrix’ music is empowering, and that is what Komba finds the most fulfilling about the entire project - his earnestness beaming down the line. “I think the coolest thing – and it really motivates me to keep doing what I do – is somebody saying, ‘I relate, I totally understand what you’re talking about, I’ve lived that experience’,” says Komba, himself a sometime social worker. “I don’t know how to describe that. It’s amazing. It just really motivates me to keep doing what I do and share my experience and share my perspective and my culture, my everything; who I am as a person, because there’s a lotta people out there who feel like they can’t even relate to some Australian culture. And just to be myself, and have somebody else feel that and feel like they’re a part of something, is amazing.”

themusic.com.au

WHO: Diafrix WHAT: Pocket Full Of Dreams (Illusive) WHEN & WHERE: Friday 26 October, Great Northern Hotel, Newcastle; Saturday 27, GoodGod Small Club; Saturday 8 December, Homebake, The Domain


LIFE IS NOISE PRESENTS FROM PORTLAND, OREGON

TANGLED THOUGHTS OF LEAVING (WA) DUMBSAINT AND SECRET BIRDS WITH

AUSTRALIAN TOUR 2012

FRIDAY OCTOBER 19 OXFORD ART FACTORY Tickets from www.lifeisnoise.com, Moshtix & Oztix. Presale $35+BF.

Secret Sounds presents

LIFE IS NOISE PRESENTS CHICAGO’S LEGENDARY

WITH AND

THE LAURELS

SLEEPMAKESWAVES

MONDAY OCTOBER 22 THE VANGUARD Tickets: thevanguard.com.au or 02 9557 9409

Tickets On Sale Now New album Carry On out Friday November 30 willymason.net - secret-sounds.com.au

THURSDAY OCTOBER 11 HI-FI BAR, SYDNEY TICKETS AVAILABLE FROM WWW.MOSHTIX.COM.AU. PRESALE $45+BF.

THE DRUM MEDIA • 37


SINGLES/EPS WITH ROSS CLELLAND

ON THE RECORD

The Paper Kites

The kids in Louisville, Kentucky apparently know their history, or at least their parents’ record collections. Houndmouth – and ain’t that just a perfect name, y’all? – record in their own studio/ shed, and probably play The Band’s Rock Of Ages all the time in their F-250 pick-ups. A self-titled EP (Rough Trade) has music Levon would approve of, a dollop of Emmylou in the sometimes female vocal, and is just plain damn fine. If those arcane references got by you young folk, the bio suggests they be filed alongside Alabama Shakes, Drive By Truckers, and Ryan Adams. Got it now? Good. And it is. And now, the Missy Higgins conundrum. It now seems that everybody’s mum and the wider world now know her, but that almost seems at the expense of the music, which actually does seem to have grown up a bit – maybe more quickly than some of her initial audience. Set Me On Fire (Eleven) is the next single to try and get those two arcs to meet somewhere in the middle. Personal and personable, let’s see if this one works. Another changing her music, and perhaps her muse, Melodie Nelson’s palette seems to have embiggened somewhat. Beds of synths now underline her confessions, and Martha (Broken Stone) doesn’t tribute Ms Wainwright as I thought it may have, but heads well into a slightly off-kilter country-gothic flavour as a haunting is seen, heard, and felt. Her voice envelopes you, and then runs off into the darkness before you can hug back. A curious but interesting business. Those Dead Eyed Suburbanites are not the intended audience of the band of that name. The Punch Brothers – one of Sydney, one of Newcastle – write quiet, but occasionally seething, songs sometimes with Jeff Buckley floating somewhere off in the distance. Their self-titled EP (Independent) illustrates what they are about. Melbourne’s Twerps did the USA thing earlier this year, including the obligatory meet-and-greeting of SxSW, got signed to a hip-ish New York label, came home and bashed out a new single, before they go back to make more Americans take notice. Work It Out (Chapter Music) has a typical mix of suburban slackerness, Go-Betweens’ skittishness, and snotty angst, all of which should lead to a suitable number of persons in ill-fitting jeans and ironic spectacles joining the party both here and there. 38 • THE DRUM MEDIA

ILLY

TY SEGALL

Anti-/Warner

Obese

Spunk/Cooperative

Listen up, Laura Marling: you may have enjoyed six years without a folk songstress coming near your quality, but Beth Orton is back, so make friends and play nice. Sugaring Season has been labelled a “departure” from Orton’s typical sound because it’s not electric. However, the difference won’t incite a Dylanstyle revolt from fans; in fact it’s barely perceptible. She has always led with her distinct timbre, and the layered instrumentation and vocal multi-tracking make it unmistakably Orton from the first note.

Bring It Back: the album’s title track is also the first track. It purports to be a mission statement about this album - “bring the boom bap back” - but it lacks the raw, ‘90s, big-drums energy we might have expected. The chorus, punctuated by a strangely muted cry of “breathe, motherfucker!” is the song’s nadir. Next is All The Above: solid raps notable for the appearance Thundamentals emcees Tuk and Jes. A so-so start, then, but on the album’s third tune we realise how smart Illy is, and how much he has thought about the music he makes. Where Ya Been is a reflection on our host’s frustrations and his occasional lack of productivity. Something of a coup, he has drafted in Pez for a guest verse. Pez is coping with a serious illness so he is able to make a real point about how many times a rapper can be asked, “where ya been?” Illy’s work is elevated in this company.

Underground stoner rock indie kid Ty Segall’s third release this year (following the albums Hair and LIVE Slaughterhouse respectively) is a good summer-time record, even though its release in his native USA will welcome a colder climate. Listening to the track Ghost, you can still picture yourself hittin’ the road, going for a wave and later drinking a home brew. One of the artists/ musicians of indie rock groups like The Black Lips, Thee Oh Sees and the now-deceased Jay Reatard.

Bring It Back

Swaying gently from the pleasantly soporific lullaby Something More Beautiful to Call Me The Breeze, a song soon to be appearing on a car ad with open windows and sepia-tinged countryside, there are no bumps, jolts or jarring on this album. That’s not to say there’s no texture, or that it’s boring; quite the opposite. Orton’s subtlety in instrument choice, production effects and even song placement make for an album you can listen to several times through, discovering new gems each time. Vocally, Orton tends to stay in her upper register for most of the album, but male backing vocals provide some counterbalance on Poison Tree. The gypsy waltz of See Through Blue lightens the mood midway, but for the most part this is a stripped-back, wistful release. The fingerprints of producer Tucker Martine (My Morning Jacket, The Decemberists, Spoon) are all over this release, happily so. He deftly elucidates the intricacies of Orton’s emotions. If you like Claire Bowditch, Sarah Blasko, Julia Stone or Jen Cloher, take a listen to Sugaring Season and discover the songstress they all took their lead from. Welcome back Ms Orton, we’ve missed you. Kristy Wandmaker

Twins

Twins has a definite Dead Meadow-versus-Kyuss VDsound, with a heap of metal-edged guitar picking.

D

Sugaring Season

There are plenty of other examples of our host’s smarts elsewhere, too. Where Is My Mind Part 2 is a stunning achievement: three verses crammed full of references to Australian rap songs and albums; some canonical, some not. He broaches the most fundamental issue in art on Heard It All. Throughout he implores listeners in sing-song, “please forgive me if it all sounds so familiar.” He closes surprisingly, making a different point: “I’m only one voice but that voice speaks up for y’all.” There is a lingering frustration listening to this album. Illy is so obviously intelligent. He respects his fans and listeners enough to think carefully about the art he’s making. He has moments of real transcendence (“Fuck Bel Air. The prince of M-E-L’s in here!” is a classic fist pump moment) but Bring It Back doesn’t fully deliver on its promise or its creator’s talent.

Throw in a kick-ass rhythm section, which generally Segall does himself when recording, and it’s an album that’s overall a winner, but can be a downer at times because you lose that spontaneity that gets created when separate musicians are working out of sync.

VD

Closer to home, but again with a voice of gravitas to give it depth, Roller One have a widescreen folk undertone – perhaps attempting some kind of Triffids heat-haze in the nicely named My Friend, Complication (Showsinspace). It’s very close to right, at the least making you want to hear what may come next. Available on vinyl, as would seem only right. ‘Delicate energy’ is the type of phrase I’d normally avoid stealing from the press release, but in The Paper Kites case it does make sense. There is folk, pop, and country sense, a music where everything seems to know its place, and voices and words that tug at your coat, but not aggressively. Young North (Independent) is an EP of a band knowing what it is doing, very sweetly. The involvement of Wayne Connolly as producer putting those elements together comes as little surprise. Tigertown are from a similar place, but with a little more insistence in their Morning Has Finally Come (Mucho Bravado). It trots rather than gallops, but the harmonies and layers of it are worthy of wonder. Just lovely.

BETH ORTON

D

The lead singer-does-solo-thing is a rock tradition of varying results. Paul Banks – he of Interpol – made it even more complicated than most, already having one go under an alter-ego pseudonym of Julian Plenti, and a near-concept album as weighty with pretention as that whole idea suggests. Leading off one under his own name, The Base (Matador/Remote Control) seems to alternate between the sub-Ian Curtis drone of his band guise, and an almost entirely different song with more ‘human’ voice. From another time, Mark Eitzel’s dark-humoured tones fronted the more-referenced-than-actually-heard American Music Club. It seems to take a few years between every outing from him, but even the title of I Love You, But You’re Dead (Merge) fits with what has gone before. It comes with lugubrious wit, which you may get, or not. Those who do, may well be enamoured. Thom Yorke sings in some other band more often, but his current project goes under the name of Atoms For Peace. That name being about as ironic and pisstaking as the phrase ‘Radiohead for music’. Default (XL Recordings) is full of machines that go ping repeatedly, and T(h)ommy puzzling off in the distance. The band also includes Flea, among others, for whatever that’s worth. Although funky bass with a sock on your nether-regions is not much evident.

The first listen sounds like each song is a repeat of the one that comes before, but one suspects that more listens will reap rewards. The Hill is a song to take note of because its initial falsetto opening is a distraction from what comes later, which is more of heavy rock of ages past. On Who Are You the mood takes on a groovier feel that’s partly ‘60s psych-tinged fuzz, which eventually leads back to one of one hundred distorting solos – a trademark sound of the young Segall. As far as releases go, it’s all for those that love low-fi rock and anything to do with said artists above. However, it will take a bit of time for new listeners to get on board. Adam Wilding

James d’Apice

BALL PARK MUSIC

THEE OH SEES

VELOCIRAPTOR

Stop Start/EMI

Freeform Patterns/Fuse

Create/Control

The second studio release by Ball Park Music, Museum, is an impressive collection of catchy indie-rock songs with a perfect balance of infectious choruses, complex guitar melodies and heavy drum beats, making it an incredibly accomplished album. The record opens with Fence Sitter, whose catchy electronic introduction and clear, smooth vocals establish the group’s competence from the outset. Surrender introduces a heavy, slow drum beat and a very different vocal feel, with incredible breadth of vocal tone making the track particularly intriguing.

One of the bands booked to play All Tomorrow’s Parties next year in Melbourne are Thee Oh Sees, and for all those who cling to over-production in the pursuit of perfection, Putrifiers II, much like other Oh See’s albums, continues to fly the flame for DIY, shitty instrument music while maintaining a sense of drunk fun, barbecues and energy. Pretty good for a band who started out as a side product of singer/ songwriter John Dwyer as something to kill time.

Word of warning before reading this review: those readers allergic to the word ‘party’ look away now. There’s something undeniably likeable about Velociraptor, the juggernaut responsible for mega hits like Sleep With The Fishes, a band whose increasing roster of band members range anywhere in number between one and twelve and a bunch whom play decidedly Dick Dale party garage and punk party party tunes, living that dream that every post-high school pre-26-year-old person that ever picked up an instrument dreamed of doing before they got married, bought some pets and worked at Championship Vinyl. The deceptively uncontrived James Neale (chief song writer) thought it was always going to be a guaranteed party with all your mates along for the ride, and so it sounds like an album where everyone gets a chance to contribute to a song, even if it’s only ‘oohs’ and ‘ahhs’.

Museum

Putrifiers II

Coming Down is one of the record’s standouts, with a slow, sombre piano melody and catchy lyricism. The group’s sound does feel slightly generic, however, in Bad Taste Blues (Part I) and Bad Taste Blues (Part II), both of which feature heavy, more confused guitar lines and less impressive vocal and lyrical content. The band’s ability to create incredibly sophisticated instrumental textures is showcased in Cry With One Eye, which opens with a very melancholy melody and becomes more fast-paced and upbeat towards the end, all combined with clean, steady vocals. Great Display Of Patience is simpler and more formulaic than many of the other songs on the album, with fast drums and a catchy chorus, but is effective nonetheless. Harbour Of Lame Ducks is one of the more complex songs on the album, with slow guitar melodies and an impressive vocal range. The record closes with What’s On Your Mind, whose short but captivating introduction, catchy chorus and smooth female vocals to finish make it a perfect way to close the album and keep listeners wanting more. While still relatively new on the Australian music scene, the group have constructed a steady, satisfying record that speaks of experience far beyond their years.

Opening song Wax Face sets a frenetic pace, a desert sessions-type road trip of something that’s devolved beyond stoner rock and is followed by the Countryesque heavy noise of Hang A Picture and So Nice, both of which sound as if a heap of 1978-era Korg synths found at second-hand pawn shop were used as a filter, the outro to the latter song lasting a full minute. As one may expect, engineering is at it’s minimalist best, the strength lying in the construct of the songs and the softer tone of keys/tamb/voice assistant Brigid Dawson, whose presence continues to be the spit-polish to what is otherwise a rough-cut beast. The undressed pop of Flood’s New Light is testament perhaps to the more mellow direction that Dwyer is heading. The CD also comes with a bonus demo disk of alternate versions of the mentioned opening tracks, which don’t really add much to the product but provide an insight into how the finished product was achieved. Start your ATP education with this album and you won’t look back. Adam Wilding

Lucia Osborne-Crowley

The World Warriors

Putting eight songs to tape hasn’t sounded this much fun since the Frowning Clouds kicked off the mid-‘60s rock revival and no doubt The World Warriors - the ‘Raptors first release since the 2010 debut EP- sounds like they are having more fun than ever as a band. The track The Walk On By takes tips from the Futurama theme song and Do The Ruby will get any Tuesday night part-time hospitality employee party going, but it’s the tracks Cynthia and Riot that take the band’s sound a bit further, which is overall better song writing and production. Shucks, the mini-LP sounds like it was written, recorded, mixed and mastered in the time it takes you to read the Drum from start to finish, and they’ve still managed to come away with a pretty slick sounding sampler. Top shit. Adam Wilding

themusic.com.au


THE MOUNTAIN GOATS

SEBASTIEN TELLIER

TAME IMPALA

NO DOUBT

Merge/Remote Control

Warner

Modular/Universal

Universal

The über-prolific John Darnielle (is this album number 14?) certainly hasn’t gotten sappy after becoming a father, and manages to, as always, throw in enough genuinely catchy pop songs to stop Transcendental Youth becoming a complete misery-fest.

Everything about Sebastien Tellier seems vaguely tonguein-cheek. Maybe it’s because he oozes French charm whilst rocking messiah hair and beard, or it could be the fact that he blatantly makes disco electro music that takes tacky sounds and turns them into irresistible dance tunes. Or maybe it’s just the inescapable fact that he represented France in Eurovision a few years back. Either way, it’s hard not to be charmed by his overt and uninhibited presence, both live and on record.

Tinny drums, repeated whispers and delay effects combine Beak>-like to open first track Be Above It like a punch, but then the guitars, synths and lyrics turn it into something much warmer and hopeful, yet still defiantly announcing that Tame Impala’s newbie is not just a repetition of last album Innerspeaker. Nope, this is much more epic, and perhaps even better.

If you are going to take a ten-year break from the music business, you have two options: start from scratch and hope you can compete with the new kids on the block, or play it safe and return to what you know. No Doubt, who have made a successful career out of redefining themselves with each new album, have decided to do the latter on Push And Shove, which will disappoint some but appease just as many.

Transcendental Youth

Centered on a cast of mentally troubled characters, Darnielle explores “whether anybody has the right to tell people whether their visions are sick or not” on Transcendental Youth. Take In Memory Of Satan, with the narrator waking up in a funk, looking at his filthy room and deciding he’d rather not deal with people and so will tape up his windows. Or opener Amy, about a girl whose behaviour is a series of silly cries for help. This gets balanced out with The Diaz Brothers, an anthemic number about a couple of characters from Scarface who are mentioned but are then killed without ever appearing on screen. In a live setting, this song’s rousing chorus – simply, “Mercy for the Diaz brothers” – should create as much excitement as that of No Children. Production-wise, this is the most polished the band have ever produced, with guest horns and the odd spot of programming to add colour here and there. It sounds nothing like their “militantly lo-fo” older albums. The Mountain Goats, despite Darnielle’s alwaysexcellent work as a storyteller, are known as a band with patchy albums. TY probably won’t change this, with a few plodding cuts in-between some very strong, hooky folk/pop tracks. In short: this will satisfy most fans, but has fewer really good songs than Heretic Pride or The Sunset Tree. Brent Balinski

My God Is Blue

Lonerism

His 2008 record Sexuality took him in a sensual, slinky direction, but now on his fourth record he is introspective, even occasionally sedate. Singing in French, English and Italian, there are unexpectedly tender moments to be found in songs like Magical Hurricane, a soft ballad tempered with only the lightest of piano chords. A striking contrast to the preceding tune Cochon Ville, that seems to indulge in the aforementioned tacky with outdated ‘70s disco sounds and porn grooves melding into a big, sparkly dance number. It’s a Bee Gee away from being played under a mirror disco ball, not unlike the Casio synth slow dance vibe of Mayday. Whereas Sexuality had been an experiment in minimalism, here Tellier isn’t scared of employing bombast with operatic strings in tow on Russian Attractions. It’s pop music crafted with care and cleverness aforethought. There is no questioning Tellier is gifted in singing, songwriting and multi-instrumentalism, and on My God Is Blue he employs both his vocal range and the opportunity to broaden his soundscapes with phenomenal results. Sevana Ohandjanian

Main Tamer Kevin Parker has jumped into Lonerism this time proudly swinging retro synths, a more obvious love of pop music and even an appreciation of the Daft Punk school of drums. Of course he hasn’t gone ‘electro’, but the greater depth, more layered construction and expanded palette of influences mean that first single Elephant’s blues-garage stomping formula is just a small taste of how Tame Impala’s sound has exploded in different cosmic directions, allowing you to enter new musical galaxies, without the need for mind-expanding additives. Instead Parker’s adapted the psych-rock formulas of the previous album to much more inclusive, accessible, hooky and downright exciting musical love-ins. Why Won’t They Talk To Me makes being unpopular sound cooler than ever, Feels Like We Only Go Backwards tilts a hat with aplomb to The Beatles, Apocalypse Dreams is more proof MGMT made mostly bad decisions post-Oracular (fyi, Dave Fridmann aces mixing duties again here), Nothing That Has Happened’s spoken-word bit is forgiven due to its overall cuteness and, really, even the few filler tracks here seem to only aid in the album’s general flow. Whilst Innerspeaker might have got the critics swaying their tie-die flags in glowing unison, Lonerism deserves to make Tame Impala even more BFFs. Aarom Wilson

Push And Shove

The first single, Settle Down, sets the tone for the album. It is old school No Doubt with a tinge of the kind of bold experimentation found on last album Rock Steady. Looking Hot, Push And Shove and Sparkle have that unmistakeable reggae-inspired No Doubt sound complete with brass, while Easy is the classic ballad they have been recording ever since the success of Don’t Speak. The most surprising song is the stripped-back acoustic number Undone, which showcases Gwen Stefani’s vocals in a way her solo work never attempted to. It is extremely hard not to compare Push And Shove to No Doubt’s previous work because they use many of the same samples, Stefani’s lyrical themes remain the same and the music seems like a ‘best-of’’ from their back catalogue. Those who have always seen No Doubt as a dumb Californian pop band will be satisfied by what they hear. Those who consider them musicians, who turned the elements of ska, reggae, dancehall, punk and even rock into something completely bold and unique, may be disappointed that Push And Shove has not taken them in yet another new direction. Monique Cowper

LEAVE YOUR SOUL TO SCIENCE THE NEW ALBUM IS BOLD, ADVENTUROUS, AND VERY BEAUTIFUL. AND IT’S HERE AT LAST.

THE AGE THE DAILY TELEGRAPH 9/10 TRIPLE J MAGAZINE

OUT NOW: CD, 2CD, ITUNES LP, VINYL ON TOUR - FRIDAY METRO Y OCT 12 – THE T SOMETHINGFORKATE.COM

themusic.com.au

THE DRUM MEDIA • 39


ON THE RECORD JENS LEKMAN

I Know What Love Isn’t

CHRIS ROBINSON BROTHERHOOD

Spunk/Cooperative

The Magic Door

Girls, girls, girls. Their names, cars and body parts litter Jens Lekman’s third full-length studio album, but one suspects they’re all just slices of one actual girl who’s responsible for this oddly joyous break-up album. Filled with references to the Swede’s time in Melbourne, each song, either abstract or straightforward, inevitably revolves around the trappings of failed love.

Warner

Musically, it’s an effort that soundly embraces elements of easy-listening. Far beyond standard guitar-backed balladry, Lekman astutely weaves in flourishes of strings, harp, flute and sax that lift the sad subject matter out of the mud and adds musical light to Lekman’s lyrical whimsy. The prevalence of the pop backing vocals is also reminiscent of early ‘80s work of Elvis Costello, a man also known for his mastery in word play. There is always a childish delight listening to Lekman’s lyrics, in figuring out how his focus on the odd minutiae of life ends up painting broader life lessons, and while the tales here aren’t as comical as in previous efforts, the quirky imagery is as strong as ever. In The End Of The World Is Bigger Than Love, Lekman advises the broken-hearted that life goes on: “And it’s bigger than the spider, floating in your cider/And the Flatbush Avenue Target, than their pharmacy department.” Lekman comes on more direct in tracks I Want A Pair Of Cowboy Boots and Every Little Hair Knows Your Name, both dripping in melancholy and accompanied by stripped-back and delicate guitar. Thankfully, the bright pop of the title track, I Know What Love Isn’t, lifts the end of the album with hope, humour and a nod to Holdens. Katie Benson

40 • THE DRUM MEDIA

THE ANGELS

Take It To The Streets Liberation

The Magic Door is Chris Robinson Brotherhood’s second album this year. The partner to their critically acclaimed release Big Moon Ritual, it offers up exactly what was missing from their first album. Where Big Moon Ritual was a meandering jam through ten minute-plus tracks, The Magic Door is a rock’n’roll album through and through, and Neal Casal’s artistry on guitar radiates from start to finish. The Magic Door sets in motion with a reverent cover of Hank Ballard’s Let’s Go, Let’s Go, Let’s Go, and if you weren’t familiar with the song already you’d have no idea it wasn’t an original; right from the get-go, CRB make it their own. Someday Past The Sunset keeps the pace going with its bluesy twang and Casal’s masterful riffs. Vibration And Light Suite, at an epic 13 minutes, sees the group slip back into jam territory. Well placed after the softer and more harmonious Appaloosa, this track really ties together the two albums. It rises, it falls and you coast along with it. Little Lizzie Mae has a rockabilly edge to it; originally from Robinson’s time with The Black Crowes, this track is much more at home on this album. The album closes with an amazing homage to old school rock’n’roll (the Australian release features three bonus tracks) with covers of Carl Perkins’ Blue Suede Shoes and Jimmy Reed’s Bright Lights Big City, which, as with their opener, they make their own. The Magic Door is the perfect follow-up to Big Moon Ritual, and is, more importantly, a great album in its own right. But let’s be honest, with Robinson’s voice and Casal’s guitar, this album could be nothing less than stellar.

Dave Gleeson and The Screaming Jets were as influenced by the punked-up blues boogie of The Angels as any aspiring Aussie pub rock band of the generation that followed, so it stands to reason that when – on the departure of Doc Neeson – he was offered the chance to front the band, he’d jump at it. His vocal tone and register are a pretty good match without his needing to attempt any kind of emulation of Neeson. And on this first new studio album in a dozen years from The Angels, he hasn’t. It’s still Gleeson, but it’s also very obviously The Angels. For the Brewster brothers, two-thirds of the original songwriting core of the band, having found that distinctive “voice” in their writing, there’s no reason for them to veer too far from what’s made their name and living for more than 30 years. So this seems the perfect musical marriage, one that hasn’t required too much compromising on either side. Then again, Gleeson hasn’t really had much time to imprint something more substantial of his own more raucous pub rock personality, contributing significantly to just one song: the eerily menacing chug of Life Gets Better, with its more melodically structured, (Screaming) Jets-style chorus. And it’s not like The Angels blueprint isn’t robust enough to allow broader experimentation. There was plenty in earlier albums, and it’s here in tracks like Telephone, the swamp groove Some Kind Of Hell In Here and the comparatively gentle There Comes A Time. Throw in a bit of fun in a cover of Elvis Costello’s Pump It Up, and there you have it. It’ll be the next album, however, where we’ll see how these two distinctive musical ‘streams’ can more fully exploit/integrate each other’s strengths. Michael Smith

Katherine Edmonds

KING GIZZARD & THE LIZARD WIZARD 12 Bar Bruise Flightless/Fuse King Gizzard & The Lizard Wizard’s debut album, 12 Bar Bruise, firmly establishes the band as one of Australia’s most unique upcoming outfits, with its confidently chaotic surf-rock feel and the musical complexity its vast array of instruments and vocal styles afford. The record opens with Elbow, which introduces the band’s sound with a heavy, full guitar sound and punchy, catchy vocals. Nein reinforces this feel with a combination of heavy, psychedelic guitars and vocals that flit regularly between angelic harmonies and rough, raw vocal tones. The title track, reportedly recorded solely on iPhones, is similarly rough but with slower rhythms and more understated vocal lines. Garage Liddiard is one of the more upbeat tracks on the album, with fast guitar rhythms, incredibly energetic vocals and an infectious melody with a distinct country feel. The band’s sound feels slightly more confused and overwhelming in High Hopes Low and Cut Throat Boogie, both of which feel slightly unbalanced in terms of their combination of raw guitar sounds and equally raw vocal tones. The latter part of the album is far superior to the former, with the catchy rhythm and clearer vocals of Bloody Ripper making it a standout track. The group’s throwback garage rock feel is typified, however, in closing tracks Sea Of Trees and Footy Footy. Sea Of Trees is simpler than many of the other songs of the album, but falls together remarkably well. Footy Footy is the record’s highlight, as it is at once completely unique and incredibly catchy. Technically, the record is far from flawless and certainly feels misdirected at times, but it certainly makes an impact. Lucia Osborne-Crowley

themusic.com.au


SYD-18.1/GC-20.1/ADE-25.1/MEL-26.1/PER-28.1

THE DRUM MEDIA • 41


RETRO!

I

$15

TICKETS

!

GRIFFIN THEATRE COMPANY PRESENTS THE WORLD PREMIERE OF

BETWEEN TWO WAVES 5 OCTOBER-17 NOVEMBER BY IAN MEADOWS DIRECTED BY SAM STRONG

Risky Business a 16 Candles $100 CASH PRIZE BEST T O M C R U I S E I M P E R S O N AT I O N

SUNDAY OCT 14 AT 6PM

380 MILITARY ROAD, CREMORNE BOOK ONLINE WWW.ORPHEUM.COM.AU

42 • THE DRUM MEDIA

LOVE IN A WARMING CLIMATE

TO MAKE A BOOKING CALL 02 9361 3817 OR VISIT GRIFFINTHEATRE.COM.AU Production Sponsor


FRONTROW@DRUMMEDIA.COM.AU

THIS WEEK IN

ARTS

traditionalists towards Wuthering Heights were fine by her. But the film being snubbed at last year’s BAFTAs bothered her. “It really says something about how conservative awards shows are,” she snarls, “they’re happy with these old templates that have been set out, and they want to keep the status quo. Being young and coming from Skins, everything in my body screams against that; I want to go the opposite way, I want to push things.”

Angelo Kehagias

TUESDAY 2 Lunch Hour – a new play from Chris Aronsten directed by Kate Gaul about six struggling artists stuck in one call centre. A dark comedy about what we all do to get through the day, the distractions we create and the games that we play. Darlinghurst Theatre to 7 October.

WEDNESDAY 3 Sex With Strangers – if theatre can go viral, that is certainly what happened when this topical comedy premiered at Chicago’s Steppenwolf Theatre in 2011. The title might suggest a romp, but this play is a love story from playwright Laura Eason who asks: Who are we in the digital age? How much should we share online? Is our addiction to technology turning us into twits? With Ryan Corr and Jacqueline McKenzie. STC: The Wharf to 24 November.

THURSDAY 4 Manhattan Short Film Festival – now in its 15th year, this is the first global film festival of its kind to run for a week across 300 cities. Out of 520 entries received from 49 countries around the world, ten short films were selected as finalists and, as the audience, you are asked to judge you’re favourite. Each film is 18 minutes (or under) in length. Hoyts Cinemas, Fox Studios, 6.30pm. Other Worlds – a collection of portraits from Australian music photographer Angelo Kehagias who first entered music photography with his portraits of Mercy Arms. The band were adorned in various costumes and set against the backdrop of the vast Australian interior, evoking an otherwordly existence. Kehagias does not take traditional portraits but seeks to create

narratives within his photography. Opening night, Mart Gallery, 6pm. Exhibiting to 14 October.

FRIDAY 5 New Form – Hollie Martin‘s second exhibition at China Heights will feature a series of A1 sized paintings on board as well as a large mural painted directly onto the gallery wall. The idea behind these pieces is similar to Martin’s previous work on using shapes and colour to represent a visual beauty. Opening night, China Heights Gallery, exhibiting to 16 October.

SATURDAY 6 Platform 5 – now in its fifth year, Platform presents hip hop music, dance, street art, photography, film and hip hop theatre, with a particular emphasis on new Australian flavour, punctuated with serious players from the international hip hop stage. Carriageworks, to 7 October, day and night events.

PERIOD PAINS

Andrea Arnold’s radical retelling of Wuthering Heights – the film is almost completely devoid of dialogue – has upset traditionalists and the award show judges, actress Kaya Scodelario tells Anthony Carew. “People have this idea of what a period drama – a costume drama – should be like,” says Kaya Scodelario. The 20-year-old Skins starlet plays the grown-up Catherine in Andrea Arnold’s radical adaptation of Emily Brontë’s Wuthering Heights, which tosses away much of the plot and most of the dialogue for a

near-silent study in the savagery of tortured love; and, thus, rarely resembles the standard period-piece. “Andrea wanted to turn that on its head. And shock people, divide them, give them an opinion.”

As for the disastrous, immediatelyvaporised US MTV version of Skins (“we didn’t even really know it was happening until it happened”), Scodelario saw it once; coincidentally enough, when on holiday in Jamaica with co-stars Lily Loveless and Megan Prescott. “It was like this weird parallel universe that was almost like Skins, but really safe, and timid,” she eulogises.

Scodelario estimates that cinema is meant to challenge, and, thus, the many negative reviews from

Having made a dramatic screen debut with a tiny but hugelymeaningful cameo in Duncan Jones’

SUNDAY 7 Aether – A Belly Dance Spectacular – Tamarama Rock Surfers Theatre Company’s artistic producer leads a double life. Producer by day and professional belly dancer by night, but tonight these two worlds collided. Sophie Alize and a group of Sydney’s belly dancers will embody the four elements of the natural world: earth, wind, fire and water. Bondi Pavilion Theatre, 5.30pm.

OBSCURE SUGAR

MONDAY 8 Black Mirror – a new austere, darkly comic series from BAFTAnominated author Charlie Brooker. Described as a hybrid of The Twilight Zoe and Tales Of The Unexpected. Airing Episode One: The National Anthem, a twisted parable for the Twitter age. SBS One, 8.30pm.

Swedish purveyor of stories unusual and earthly, rew through Malik Bendjelloul takes Anthony Carew the legend of the enigmatic and elusive musician that frames his new feature, Searching For Sugarman. Malik Bendjelloul calls himself a storyteller, but he’s just as much a collector of stories. For years, the 35-year-old filmmaker worked for Swedish television while travelling the globe, collecting small tales and bizarre anecdotes, including the true-life tales that would end up being turned into Hollywood concoctions The Terminal and The Men Who Stare At Goats. Bendjelloul would turn these stories into TV segments he approached as sixminute short films, but was always hoping he’d, one day, find the story he’d want to make into a feature.

Aether

Scodelario starred in the teensfucking soap from day one, with her role steadily growing across her four-season stint in a series English tabloids charge as leading British youth down a path of ill-repute. “Before Skins even came out, people were already scared by it,” she recalls, with a laugh. “Parents were against it. Letters were being written. People were riling themselves up. We knew it was going to shock people, but the writers and the producers wanted to [show] that not every TV show for teenagers had to be about really rich people getting revenge on each other.”

Then, in 2006, in South Africa, he struck gold, when a Cape Town

record store owner told him the legend of Sixto Rodriguez, an obscure folkie singer-songwriter from the early ’70s who disappeared into oblivion in his hometown of Detroit, yet became a countercultural figure – and anti-apartheid touchstone – in ’80s South Africa. “It was the best story I’d ever heard in my whole life,” Bendjelloul says. “I got completely obsessed with telling this story. I’m a storyteller, that’s what I do. So, this one felt like the big one... It sounded like it was a script. Like a writer had a good day and came up with this amazing idea. But maybe it wouldn’t have been a good script, because

it would’ve been too unbelievable for someone to make this up. Like everything hi iis just j a bit bi too much. h But B when it’s a true story, you don’t pick it apart, you don’t complain, you just say: ‘Wow! That actually happened!’” Somehow – popular myth traces it back, perhaps, to one song on one mixed tape brought back from America – Rodriguez’s two obscure, forgotten, Nick Drake-sih LPs found their way from America to South Africa. There, their tales of anti-establishment rebellion struck a profound chord with local listeners. “They talk about him in the same breath as The Beatles and The Stones,” Bendjelloul explains. “Rodriguez everywhere else in the world is for people in record stores. In South Africa, it’s people on the street, it’s everyone.” Of course, whilst he became famous in a far-off country, Rodriguez never knew; somewhere between an

Moon, Wuthering Heights marked Scodelario’s first turn as leadinglady; even if, in this case, Arnold’s auteurist status is the draw, and the star of the film is, really, the weather. “The weather conditions were extremely tough, as you can probably tell from watching it,” says Scodelario. “It was very cold, and very windy, and very wet. We were thrown into it, and rightly so.” The squalling climes of the wiley, windy moors (“after the first week I didn’t expect to see any of the crew again,” Scodelario laughs) There’s more to this story

on the iPad

gives the sense of environmentalist realism to the film, and serves as form of symbolic storytelling in a film largely free of dialogue. The weather, the actress says, reflects the torment of the film’s star-cross’d lovers (“the sound of the wind is like the howl of these characters”). Scodelario had never read the book nor seen an adaptation, and that was fine by Arnold, who forbade her from doing so, and never gave a script to any of the cast. “I had to go into it completely blind,” Scodelario offers. “It was unlike any other job I’ve done before. Obviously it’s completely different way of working from on Skins. But, spiritually, it was similar: it was something new, non-traditional, and confronting.” WHAT: Wuthering Heights WHEN & WHERE: In cinemas nationally Thursday 11 October

isolated, state-controlled country and a reclusive songwriter living without a telephone, the news got lost on the way. So, “tragically and horribly”, did the royalties. In South Africa, Rodriguez became a myth; the lack of biographical information leading to tall tales, including an urban legend that he died after setting fire to himself on stage. “For them, he was a dead man,” Bendjelloul says. s “They were never looking to see if he’s dead or alive, they’re only trying to find out how he did die.” die When a South African journalist eventually went digging for the facts of Rodriguez’s demise in the th late-’90s, they discovered that, shockingly, he was very much alive, and that he’d spent the years ye working in demolition, and even served as a local politician. He was w brought back to South Africa for a hero’s welcome, and eventually Rodriguez returned to touring, coming to Australia in 2007 and 2010. Now, Rodriguez plays after Searching For Sugarman, the film Bendjelloul made about his story. “He plays songs in the cinema, and people go crazy for him,” the filmmaker beams. “After they’ve seen this movie for 82 minutes, they love him. They’re singing, dancing, crying. They’ve been insane reactions that we’ve had so far.” WHAT: Searching For Sugarman WHEN & WHERE: In cinemas nationally Thursday 4 October We have ten in-season double passes to giveaway to Searching For Sugarman. For your chance to win enter at facebook.com/drummedia

THE DRUM MEDIA • 43


FRONTROW@DRUMMEDIA.COM.AU

REVIEWS

C U LT U R A L

PRIVATE LIVES THEATRE For his directing debut at Belvoir, AD Ralph Myers takes on Noël Coward’s 1930 raucous almost-rom com, Private Lives. His set is bare, and rightly so, because the size of the characters, and of the odd exchanges between them – love, lust, outright fury – need space. Toby Truslove excels as the subservient and eager to please man, though unlike his role in Strange Interlude, he is allowed less of a development; rooted here, as the incredibly vanilla Victor, before being allowed one complete outburst. Toby Schmitz as Elyot is laconic and love-weary, at once distant and desperate for removed intimacy, a perfect counter to Truslove. Schmitz debonair debauch is equalled by Zahra Newmann as Amanda, and Eloise Mignon is impressive as the

SAFETY NOT GUARANTEED FILM Safety Not Guaranteed stars Aubrey Plaza and Mark Duplass as its leads, she, an unpaid intern investigating a strange newspaper ad offering time-travel, and he the would-be time-traveller. Plaza, despite her inability to conceal a constant smirk, brings a warmth and compassion to her character, and the chemistry between she and Duplass is genuine and electric. As a weirdo herself, her character is empathetic to Duplass’ intense desire to escape life. Together, they’re outcasts who’ve given up trying to get in, and together they embark upon reaching an out so far away it won’t matter. What really sinks the film, however, is its offensively

Running at Belvoir Upstairs Theatre until Sunday 11 November.

WITH JAMELLE WELLS

Variety was the show’s big strength. Reign Of Error is a group exhibition of ten young artists, working across of whole range of media: There’s video, painting, installations. Some of the more notable pieces include a work

44 • THE DRUM MEDIA

Dave Drayton

Helmpan Award Winner for Best Cabaret Performer Meow Meow for Little Match Girl

Hipsters can be a bad sign. Turn up to any cool art space and sure enough they’ll be there, like moths to the flame. They’re often not so much about looking at art, as they are about being seen looking at art. In any case, the opening of Reign Of Error at Firstdraft Gallery in Surry Hills certainly filled its hipster quota. Either that, or somewhere had a two-for-one offer on flannel shirts and skinny jeans this week.

Killer Joe is William Friedkin second adaptation of a Tracey Letts play after 2006’s Bug, and it’s his best since 1985’s underrated To Live & Die In LA. ‘Based on a play’ is the only note of respectability – and a very vague one, at that – in what’s otherwise a proudly offensive, gleefully amoral abyss of a film. A never-better Matthew McConaughey (on a sudden winning streak in the last 12 months, with additional scene-stealing roles in Bernie and Magic Mike) stars in the title role, as a cop with ‘a little business on the side’, as per Chris (Emile Hirsch). The latter’s a no-hoper up to his neck in debt, who together with his dad (Thomas Haden Church), stepmother (Gina Gershon) and sister (Juno Temple) conspire to murder the

young, naïve wife of Elyot – while Mignon has done young and slightly naïve a fair bit recently, she brings to this role a fresh and impressive acidity.Mish Grigor’s French mutterings as an underappreciated maid work for great comedic relief, and she really owns the short role. It’s a modern production under Myers’ eye, and doesn’t jar, though a cheeky throwback to the era of its writing with the melodrama of some wonderfully soundtracked fight scenes works a treat. Amidst constant quarrells, there’s weary hearts, witticisms, and just enough whimsy (if you squint while glancing at the flippancy) to keep you from thinking all hope is lost. Being happy is, after all, hard work, enoying this show isn’t.

perfunctory supporting characters. Like some studio exec had a grain of an idea and added some obsequious and rote stock comedy elements to cushion that morsel into a movie. Jake Johnson, who’s enjoyed some well-earned success recently in New Girl, is a relic of early 2000’s comedy road movies, a mindless frat-brat who’s never grown up. He has an arc, you think, but it turns out he’s just an emotionally regressive arsehole who doesn’t learn anything and still gets a hero-shot. Safety Not Guaranteed is a movie that feels wafer-thin and tonally very scattered, but it still manages to transcend the majority of its shortcomings and become something occasionally sweet, if instantly forgettable. Bonus recommendation: This movie would make an incredibly dour double-pairing with K-Pax. Samuel Hobson In cinemas Thursday 18 October

REIGN OF ERROR EXHIBITION

KILLER JOE FILM

matriarch of the family to claim life her $50,000 in life insurance – hiring the cold-blooded Joe to do their dirty work. Needless to say, plans go awry in true film-noir spirit, to wincingly funny, and often plain wincing effect. The film’s climactic scenes, indeed, have earned the film the commercial kiss-of-death NC-17 rating in the US. It would be easy to dismiss the film as mere button-pushing nastiness if everyone involved weren’t so committed to bringing this vision of America’s black heart to vivid life; Gershon, in particular deserves an Academy Award for bravery alone. Dark comedies don’t come much darker than this, and for a filmmaker nearing 80 years old, it’s a delight that Friedkin’s lost none of his desire to shake up jaded sensibilities. Ian Barr In cinemas 14 November

CRINGE

by artist Jack Mannix entitled Cocksucker Bruise, a small zine filled with personal revelations, photographs and poetry that was on sale for $5 a pop. Then there’s The Curator Wears Margiela And Sits In The Gallery by Matthew Linde, which does just what it says on the tin – there she is, on a plinth, decked out in designer clothing. It’s certainly a mixed bag, and at first the choice of opening night canapés seemed a little odd – unshelled peanuts served by the cupful – but, then again, maybe it’s perfect. The show’s a lot of fun, but you can’t help thinking it’s not just the snacks that are nuts. Jake Millar Firstdraft Gallery

Low-budget productions to do well at the Helpmann Awards included Meow Meow’s Little Match Girl, which won three awards; Melbourne’s Production Company also won three awards for Grey Gardens; Paul Capsis won Best Actor In A Play for Angela’s Kitchen, which opened in Sydney’s Griffin theatre (it also won Best New Australian Work). Of the bigger productions, A Chorus Line won Best Musical and Opera Australia’s first opera on Sydney Harbour, La Traviata, took home four awards. Best Play went to Back To BackTheatre’s Ganesh Versus The Third Reich. Brother and sister duo Gnome have won Sydney Festival’s competition to find the new soundtrack for the 2013 event. Their original track Picnic will be used to promote the festival in videos, online and on air. Long-time Sydney Festival publicist Sarah Wilson has moved on to a new role as senior publicist at Opera Australia. Mary Stielow is replacing her as the festival’s publicity manager. Belvoir is taking applications for the 2012 Philip Parsons Young Playwright’s Award, which is for a writer under 35 with a unique theatrical voice. The winner gets a commission to develop a new work with the company. Productions developed by past winners include The Seed by Kate Mulvany, Ruben Guthrie by Brendan Cowell and Gwen In Purgatory by Tommy Murphy. Applicants must live in New

South Wales and submit one play of 45 minutes or longer that has been produced in a professional or co-operative company. The 18th Biennale Of Sydney has closed after presenting the work of artists from 44 countries. As one of the longest-running exhibitions of its kind and the first biennale to be established in the Asia-Pacific region, it’s provided an international platform for contemporary art for 40 years. The 19th Biennale in 2014 will be under the artistic direction of Juliana Engberg. Asia’s largest film festival, the Busan International Festival in South Korea, is this month screening three Australian feature films and one short. Producer/director Benjamin Gilmour will be there for the premiere in the Wide Angle section of his feature-length documentary, Paramedico. The world premiere of brothers Sam and Tom McKeith’s new short film, Convenience, will screen in the Short Film Showcase. Lore is screening in the World Cinema section while The Sapphires will be a gala presentation. Glen Street Theatre’s 2013 season predictably has a David Williamson play – Managing Carmen, which is a comedy about football. The rest of the season includes David Denborough’s Sundowner starring Helen Morse in a play about memory. There’s also a restaging of Version 1.0’s hit The Table Of Knowledge, based on Wollongong Council’s sex for development scandal.

Exhibition closed

ART S TA R T E R

Five minutes with actor

ALEX SIDERATOS If an actor was to play you in a movie who would it be? Peter Sellers What’s the most cringe- worthy thing you’ve seen on stage? I cant remember, I fell asleep after 15 minutes What/who inspires you artistically ? Tom Waits, Jane’s Addiction, Meryl Streep, Roberto Benigni and Peter Greenaway What was the first play you saw? Angels in America If you weren’t a performer what would you be

doing? riding a motorcycle around the world What can audiences expect? a rich story and spine-tingling music WHAT: The Book Of Vilah WHEN & WHERE: Friday 5 October, Mars Hill Café


FRONTROW@DRUMMEDIA.COM.AU

MADE YOU

LOOK

WITH BETHANY SMALL I have had a fairly difficult few weeks of late (hence the recent respite from my yelling at you in your print media) which was not helped by the sheer horror of being in a Festival Gap. For a few days there, there was nothing on that I could ask people if they’d been or were going to, aside from regular art shows, the theatre, films and festivals that would be happening soon. The MCA and the Art Gallery of NSW were changing over for spring, so while they were open they were in a bit of a partially-roped-off interstitial phase, and the Biennale was over and Art & About hadn’t started. Okay, there were only four days to which that last clause applies, but they were intense. I mean, I’m usually not even very often totally in love with what is on in these big “Hey Everybody” events but they’re something I can totally talk about with people who are polite enough to ask me about art but probably will not recognise the names of tiny little non-traditional exhibition spaces or sculptural collectives made up of emerging artists or whatever because they have been busy, you know, living lives while I’ve been bouncing around between galleries and psychiatrists. But it turns out the whole panic was kind of technically unmotivated: during this gap that I had worried and spoken about someone pointed out to me that the Sydney Fringe Festival was on. Now, I knew this,

AD, that script sidestepped from screen to stage as a part of the Griffin Studio development program.

but half due to fatigue from all the tweeting from people I sort of know about the progress of their showfunding Kickstarters and half due to the fact that those I know who are doing stuff for Fringe all seem to be comedians or theatre people, my brain has a block on acknowledging it as a visual arts thing. Also, to be honest, the lack of a big fancy opening party may have contributed to my internal festival alarm clock not going off? #artworldproblems #iamkindofaterribleperson The thing is, I am totally in favour of the Sydney Fringe Festival and I think lots of great stuff goes on at it, but I don’t think those things are in the visual arts. I know that the visual arts component of the festival was expanded quite a bit last year, and going into this year’s program and filtering by category turns up a pretty respectable number of exhibitions, but in terms of what I have been aware of, my usual 75/25 art/other things split has been flipped and that seems strange. I mean, obviously there is art in the inner west. It doesn’t have as coherent a scene as, say, East Sydney (though Balmain-Rozelle is trying!) but there are galleries and people show at and go to them, and isn’t that what arts festivals are doing, anyway, promoting engagement? But somehow the only things I have seen that are in the festival I’ve found out about through non-festival channels. I am (as with many things) confused and bugged by this.

BRING THE RAIN

As we head for a hot, dry summer, Sam Strong tells Dave Drayton he plans to make it rain inside Griffin’s SBW Stables space. Ian Meadows’ Between Two Waves began life as a feature film script that passed under the eyes of Griffin Theatre Company’s artistic director (and director of the upcoming production of Meadows’ play) Sam

Strong, when he was working as a literary associate at Belvoir. As a result of that, Strong ended up working as a script editor on the feature film script and, as a result of his eventual appointment as Griffin

“I was keen to entice people back away from the screen – there was a bit of a trend that was happening where good playwrights or young playwrights were kind of getting co-opted a bit into TV and film writing, and Ian has had some quite successful screenwriting credits,” reveals Strong. “So from the first moment I worked on the feature film script I kind of had my eye on it as a play, so it was wonderful to get the chance to turn it into a play. It’s quite an interesting and exciting challenge to evolve a story that is quite epic and cinematic and with a multi-location scope into a more compressed, or condensed, and intensified theatrical version.” Meadows has described it as “a romantic comedy about the end of the world” and Strong concurs, elaborating, “I think that’s one thing that’s really important to remember about the piece that while it does engage with climate change, it’s absolutely not an issue play; this isn’t a play about climate change, this is a play about a relationship and about a particular individual dealing with the future, and a couple dealing with the future. This is not a lecture, there’s barely any science in this play, and what’s beautiful about it is it kind of interweaves the global and the personal, it takes a massive global-sized question and reduces it down to its emotional core. It makes the global local, and it makes the geopolitical personal.” All clarification aside, a play with a title like that, and commentary

on global warming, however small, requires one thing: water. “It is not inappropriate for a play that is, in some ways, dealing with climate change, that there might be a little bit of rain in there somewhere,” says a coy Strong. “I don’t think anyone’s made it rain in the Stables – well, the roof has leaked, the real roof has leaked; air conditioners have leaked, during And No More Shall We Part, some people thought it was intentional, like the space was crying – the roof has probably leaked during heavy rain, but we’re going to try and replicate the accident by design; this time it will be intentionally weeping.” There’s been an ongoing desire under Strong’s direction to really make the most of the comparatively small and rather odd-shaped SBW Stables space when it comes to design and, with the David Fleischer’s design plans for Between Two Waves and Strong’s barely contained excitement, it looks like they’re on the money. “It’s an ambitious story, in its scope, and the show has to match that ambition in what we’re trying to do in there, which is always exciting,” explains Strong. “And one of the things we’ve attempted to do with design in the Stables is make people come in each time and go, ‘Well, how have you done this?’ So I think this show will definitely fit that bill.” WHAT: Between Two Waves WHERE & WHEN: Friday 5 October to Wednesday 17 November. Griffin Theatre SBW Stables

BAZ MEETS SHAZ

MENTAL AS ANYONE Director rector PJ Hogan talks to Baz McAlister about the al-life inspiration behind the most distinctive character real-life in his film Mentall – Toni Colette’s Shaz. Thornbender. Tweed eed Heads-raised writerdirector ector PJ Hogan’s new film Mental sees him re-team with Toni Collette, after their last collaboration, 1994 hit Muriel’s Wedding. Comedy Mental is a semi-autobiographical study of Hogan’s early life – his own mum had a breakdown and was quietly shipped off to an institution. His dad, a local pollie who was running for re-election, told Hogan and his four siblings to sayy mum

was on holiday. “Nobody votes for a bloke whose wife is bonkers – so we kept mum about mum,” Hogan says. Like the father played by Anthony LaPaglia in the film, Hogan’s dad was desperate, unable to tame his five ratbag kids, so one day, on impulse, he stopped to pick up a hitchhiker. “She looked trustworthy [to him] because she had a dog,” Hogan says. “We got home from school to find this

woman on our couch, rolling a cigarette, hunting knife sticking out of her boot, and she looked around and said, ‘Bit of a mess in here, isn’t it?’” This was Shaz, a real-life, couldn’t-make-her-up character faithfully recreated by Hogan in his screenplay and Collette on film. “I took off from the real person to write the character, but a lot of what you see onscreen is what the real Shaz was like,” Hogan says. “She says a lot of the things Shaz said. Toni Colette nailed her.” Hogan says the real Shaz stayed in his life for 20 years,

There’s more Front Row

on the iPad

but he doesn’t know where she is now, or whether she’s heard of Mental. “She was the most inspiring person I ever met, but like a lot of brilliant people, she was mad,” he says. “When you’re 12, you accept these outrageous claims – ‘Mmm, could be true, maybe scientists are after your brain, you seem really smart’ – but it wasn’t until much later in my life that I realised she was actually crazy.” WHAT: Mental WHEN: In cinemas nationally Thursday 4 October

Baz: So Shaz, what’s your worst habit? Shaz: Well, just like a former root of mine, Kevin Rudd, I never make mistakes and if I do they’re usually someone else’s fault. I warned Rudders not to trust that Julia Gillard slag, especially after she walked in on us that night in The Lodge and I knew she was crushin’ on Rudders herself. Hell hath no fury like a short woman with a bad hairdo scorned. B: And your greatest talent? S: I turn straight women into rampant lezzies. Take Taylor Swift: she writes this song about our drunken one-night fling. I says its title to her as I prized her painted fingernails offa me: “We are never gettin’ back together, Taylor, ya demented lezzie,” I says tenderly. Taylor leaves off the last four words and it’s a huge hit. Sadly, readers so inclined, me lezzie days are behind me (unless that’s you texting me, little Missy Higgins).

B: What’s your favourite book? S: Me real life adventures outdo most books and I’m usually smarter than ’em too – I’d figured out the code 20 pages into that Da Vinci crap; Fifty Shades Of Grey shoulda been called 2000 Pages Of Boring, there was nothing wrong with those two pervs that an electrified butt plug wouldn’t have fixed; Moby Dick was disappointingly about a whale. B: Tell us about life on the road. S: I seen all types hitchhiking, mostly perverts and psychopaths. Ya can always tell a psychopath: they seem completely normal. Even when ya confront ‘em with their psychopathy they still keep insistin’ they’re “normal” and it sometime takes a few cuts of me knife before they finally admit they’re after me in a deviant and pervy way.


A FUNDR AISER FOR THE 

Presented by





46 • THE DRUM MEDIA

Supported by

SURRY HILLS NEIGHBOURHOOD CENTRE


FEATURE TOUR

VELOCIRAPTOR Velociraptor are back with a special edition vinyl and digital release of their mini-LP The World Warriors. The result is underlying garage pop gems brought to life by an orchestra of guitars and gang vocals galore. After conquering the recent BIGSOUND industry conference, they kick off their World Warriors tour proper at Goodgod on Thursday 4 October and The Patch in Wollongong on Saturday 6.

FRONTLASH BECK FOR THE WIN

Sydney gets the only Harvest sideshow for Beck. Awesome.

SIDESHOWS AHOY Oh lordy. For those that couldn’t/wouldn’t make it interstate to Falls or Southbound, a heap of acts playing one or both of those festivals announced sideshows in Sydney. Bring it!

BEST FESTIES Another week, another festival announcement as Laneway makes its line-up known. Excited much?

BACKLASH JILL MEAGHER

The sad case of the disappearance and now death of Jill Meagher definitely brought out the worst in the trolls.

SHARK CULLING The WA Government announced a strategy to capture and kill great white sharks before they can menace beachgoers. This comes in response to, count ‘em, FIVE fatal shark attacks in the past ten months. Really? It’s called nature at work, get used to it.

PUBLIC HOLIDAYS Fear Factory @ The Hi-Fi. Pic by Josh Groom

Fear Factory @ The Hi-Fi. Pic by Josh Groom

FEAR FACTORY THY ART IS MURDER, TRUTH CORRODED THE HI-FI: 27/09/12

Being a local opener for an international heavyweight can be a tough ask, even when you have a long history with the headliners. Adelaide’s Truth Corroded attacked the opportunity with vigour and had punters

up-front politely banging heads. But a flat, uneven mix (tone down the triggers next time, lads) and limited number of songwriting tricks meant their metalcore-tinged thrash petered out somewhat. This show wasn’t a true indicator, but Thy Art Is Murder are becoming a mighty big deal. Soon to release monstrous new LP Hate, the proudly Western Sydney mob’s airing of heavier-than-a-bag-of-spannerson-Jupiter new cut Reign Of Darkness indicated how far their once knuckle-dragging deathcore had progressed. The bill represented a double-edged sword for them; a

chance to reach an audience outside of their usual realm, but one which subsequently didn’t afford them the type of reaction they’re accustomed (i.e. numerous circle pits erupting). Lack of pit ninjas aside, they have improved considerably from past showings, earning a warm reception.

“Dino and I have been feeling a little nostalgic lately.” Fear Factory frontman Burton C. Bell may have been referencing himself and axe-slinging fellow mainstay Dino Cazares celebrating 20 years since the release of debut record Soul Of A New Machine, but he could just as easily been referring to the sweaty throng of punters who moshed and crooned like 1996 never ended. Although opening with the cinematic title track from latest disc The Industrialist and touching on newer material (Fear Campaign, Recharger), this audience wanted to party and the crowd-pleasing Los Angeles

themusic.com.au

We say it every time, but it’s nice to get the day off, but jeez, workin’ like a maniac to get there ain’t much fun. metallers were their soundtrack of choice. Justly, they were rewarded with numerous “hits” as punters pogo-ed, thrashed about and danced. Separating their 90-minute foray into brief album blocks wasn’t a new move, but still works. The early Shock, Edgecrusher and Smasher/Devourer trifecta (from 1998’s Obsolete) had the pit writhing and numerous beers thrust in the air in approval, while a closing volley from classic Demanufacture was the only way to wrap up proceedings. New rhythm section Matt DeVries and Mike Heller were occasionally prone to miscommunication, but still punishing. Bell’s clean vocals have long been a hit (Zero Signal) or miss (Linchpin) proposition live, with more of the latter nowadays, but this rabid audience didn’t seem too concerned. Amiably acknowledging our nation as the first to “get” Fear Factory, two decades on their connection with Aussie audiences shows little sign of dissipating. Keep on fighting those machines of hate. Brendan Crabb THE DRUM MEDIA • 47


used to in next to no time. With the doors opening an hour later than advertised (and only the band’s own tweets offering ‘technical difficulties’ by way of an explanation) the warm up DJ did a great job in initiating that vibe as he got a very patient crowd hyped up. From the moment the band came on stage and launched into the high energy Any Which Way though they immediately had everyone on their feet and created an atmosphere more akin to a Mardi Gras after party than a concert hall. Their pumping set drew most heavily on their recent Magic Hour album as the tribal beat of Let’s Have A Kiki, the anthemic Only The Horses and the eruptive Shady Love kept their momentum going. Year Of Living Dangerously was perfectly placed midway through the set and proved to be a highlight in the way it provided a break in pace and allowed a degree of emotion to be displayed in delivery, which is never as apparent in a dance track. Not surprisingly though it was the older material that received the biggest reaction. Take Your Mama had a party feeling with its mass sing-along whilst they seem to have taken the injection of a dose of dance to extreme levels for their live cover of Pink Floyd’s Comfortably Numb.

The Presets @ The Hi-Fi. Pic by Tori Pepper

THE PRESETS, BENI THE HI-FI: 26/09/12

A lucky few select fans and media were given the opportunity to attend a secret gig for The Presets at The Hi-Fi to hear the very first live performance of their new album, Pacifica, as well as experience their first live gig in approximately 18 months. The crowd filled quickly as Beni warmed them up with a mixture of house and electronica that got everyone bopping away. Then, in a flurry of blue and gold lighting and some bone-rattling bass, The Presets took to the stage. Singer Julian Hamilton embraced a slightly smarter look in a suit jacket and jeans, while partner Kim Moyes stuck to more clublike attire. Without hesitation they hurtled into Kicking & Screaming with an impressively big sound and equally impressive light show. Halfway through the track, Moyes picked up his sticks and clambered up to the drumkit to finish off the number with a fuller, live sound. A harder, more electro version of Talk Like That followed before new tracks Fall and Ghosts got their first live outing. The crowd seemed to really embrace the new numbers, singing along to the lyrics and dancing around as if they’d known them for years. Classic This Boy’s In Love was given a pared back twist before the original version crashed back in after the first chorus much delight of everyone. The more dancey numbers sounded fantastic in the venue with some seriously big bass on the drop and lots of hands in the air for the builds, particularly for new tracks Youth In Trouble and AO, plus massive hit Are You The One? My People was the obvious choice to finish off the set and saw a more relaxed Hamilton really get into it for the first time, taking off his jacket and walking up and down the stage like he owned it. After what seemed like only a minute, the band were back on stage for an encore of new tracks Promises and Push to finish off a very successful and long-awaited hometown gig. Helen Lear

THE FRAY, JORDAN MILLAR THE BASEMENT CIRCULAR QUAY: 26/09/12

People started flocking in right as the doors opened for this intimate, one-off show and by the time Jordan Millar arrived onstage, there 48 • THE DRUM MEDIA

was a healthy crowd awaiting his performance. Playing an array of charming songs that perfectly showcased his voice, Millar managed to captivate the crowd of impatient Fray fans before him. One punter said that she mistook Millar for John Mayer at first, which was a fitting comparison.

Despite those obvious dancey beats and biases, other elements still seeped into their music with some perfectly blended musicianship from the band. I Don’t Feel Like Dancin’ had a clear guitar edge running through it, whilst set closer Music Is The Victim took them even closer to a rock band sound. So much so that frontman Jake Shears broke the mic stand in rock star fashion at the end. He and frontwoman Ana Matronic exuded charisma throughout without a drop of egomania, with Shears being more than happy to join the backing singers whilst Matronic held the limelight in the power pop of Kiss You Off. There is no doubt the close relationship and respect the two of them display is the driving force of the band and their enthusiasm for what they do was clearly on display. Whilst Matronic remarked playing the Sydney Opera House was even more than a dream for her, Shears added that he genuinely thought they were going to be playing a basement in the venue, not the main hall. Tonight they made it all theirs, in inimitable style. Paul Smith

KRYSTLE WARREN, WES CARR THE FACTORY FLOOR: 23/09/12

Wes Carr started with a short, tight set including some new and more established tunes, a couple of shameless plugs for his new EP and an

It was obvious however whom the audience was there to see, and after Millar departed the anticipation grew until The Fray took to the stage amongst a flurry of cheers and applause. Lead singer Isaac Slade started off the show solo with the poignant piano ballad Be Still and successfully managed to silence everyone in the room. Slade was then joined by the rest of the band who for the next hour-and-a-half moved back and forth between their three albums, picking a varied selection of tracks that perfectly highlighted their musicianship.

endearing manner all-round. Not terribly diverse or groundbreaking, but certainly solid and complete with a one man mini-set (you don’t get many support acts that bring more stage gear than the headliner, so kudos there if nothing else). Not long later Krystle Warren gave us a wave on her way through to backstage to get ready, a warm but timid gesture that was apparently genuine relative nerves for the night’s performance. When she took the stage there was no such nerves to be heard, however, and it was only her insistence that she was uneasy, coupled with apparently tetchy sound and an eventual string breaking, which showed even the smallest chink in her armour. However, if this was Warren on a bad day, then bring on her grand final performance. Starting with You Can Take Me With You and Five Minutes Late from her latest release Love Songs, throughout the set she used this album as a launching pad to show her incredible vocals. Although here it was in original acoustic mode, as opposed to the self-described “full Phil Spector” of the recording, this was simply proof that a good tune doesn’t need much to launch it. In between we also got “a new tune I’ve been noodling with”, a cover of Bob Dylan’s It Ain’t Me, Babe that absolutely soared with Warren’s masterful – and here relatively sedate – treatment, as well as The Clod And The Pebble, one of the Love Songs she shamelessly used poet William Blake as a lyricist for. Also breathtaking was her older tune Circles, which she claimed had been informed by a Jools Holland interview, “my favourite Shakespeare story, Much Ado About Nothing” and a bit of Jeff Buckley. By now, despite the need to borrow a new guitar, to walk away from a monitor with bad sound and having toppled her own chair over, once this mountain was scaled Warren seemed to just relax and finally go with it. The simple and gorgeous I Worry Less absolutely soared, as did Tuesday Morning. In the pre-encore wind down, she asked the audience to look under their seats to find a ‘pressie’ (which ended up being a hilarious and quite gorgeous ‘spontaneous Q and A session’ that ended in an album and further tour plug) and to finish we had an all in singalong to the lyrics “Forget Me Not” in three (enthusiastic, amateur) parts. Dear Krystle Warren, don’t ever be nervous coming back to see us – you had us at hello. Liz Giuffre

In such an amazingly intimate venue like The Basement, the quieter tracks like Be Still or Slade’s solo rendition of Unsaid resonated far stronger than some of The Fray’s flashier songs. Similarly, whilst there were heads bobbing and singalongs to newer songs like Munich or Turn Me On, the reactions to songs from their latest album Scars And Stories were nothing compared to the crowd’s reaction to older favourites like Look After You or You Found Me. The highlights of the night for many were the last few tracks of the evening. Starting with the catchy and popular piano-based ballad How To Save A Life, in which Slade was almost overrun by the collective voice of the audience, the band then moved into their newest hit Heartbeat, which included a great, lively extended outro showcasing once again the excellent musicianship of the band. The Fray then concluded on a high with their very first (and arguably most successful) single Over My Head (Cable Car), which once again propelled most of the audience to sing along gleefully with Slade and the rest of the band, who looked like they were having a blast themselves. Cate Summers

SCISSOR SISTERS

SYDNEY OPERA HOUSE CONCERT HALL: 27/09/12 The Sydney Opera House may initially have seemed like a strange choice of venue, but Scissor Sisters transformed the all-seated concert hall into the sort of club environment that they are more

themusic.com.au

Krystle Warren @ The Factory Floor. Pic by Josh Groom


THE DRUM MEDIA • 49


ROOTS DOWN

THE HEAVY SHIT

BLUES ‘N’ ROOTS WITH DAN CONDON ROOTS@DRUMMEDIA.COM.AU

METAL AND HARD ROCK WITH CHRIS MARIC on guitar and ex-Rise To Remain bass player Joe Copcutt. They release a single on Friday called Cold and the album, called Vultures, drops on October 5.

Killswitch Engage Ry Cooder Things are really starting to heat up in the race for the US presidency and, as is always the case, certain celebrities are putting all their weight behind certain contenders, while others lash out at the person they least want to become President of the United States. It’s safe to say that Ry Cooder – legendary guitarist, songwriter, musicologist, record producer – does not want Republican candidate Mitt Romney to be anywhere near the White House after the Tuesday 6 November poll. One listen to his great new record Election Special (Nonesuch/Warner) proves that, and he pulled no punches when talking to me about this very matter a couple of weeks ago. “You have Mitt Romney and his attack dog buddy [Paul] Ryan, a couple of guys who are so painfully obviously the kind of people that they are – they’re so transparent – you wonder how on earth these people can be run as candidates; it’s appalling,” Cooder says. “But they’ve got money behind them you can’t even begin to imagine, they’ve got the media behind them too because the corporations are their masters and the corporations own all the goddamn television stations and the newspaper chains and the radio stations, and the radio stations don’t play my records. “What are you gonna do about these kinds of things?” he continues. “All you can do is what Martin Luther King said; if you can do something, do it. So I write these songs out of a sense of deep frustration and worry. I’m scared. But I can’t just sit here and shake, I’ve got to do something, man. So I get my guitar and I write a goddamn song and record it. At least I feel good about that, you know, ‘that’s a pretty good song, let’s do another one’. At least you feel like your life is your own and that you have your own soul together and your own personality together. Working with my son Joachim, I’m having a ball – I enjoy it. But I also am terrified, frankly.” Immigration has been an issue Cooder has spoken out about on numerous occasions over the years; when it comes to the election, he believes it’s an enormous point that shouldn’t be overlooked. “In California we’ve seen this for 300 years; they have to have migrant labour because it’s an agricultural state,” he argues. “‘Who’s gonna pick the peaches?’ Woody [Guthrie] wrote about that. The Grapes Of Wrath, you can see that film and understand in a nutshell what’s going on, and it’s still going on. And of course Woody wrote that famous song The Deportees. So when it’s election time they’re gonna deport them all, and then when it’s peach-picking time they’ll bring them back. This is the cycle and it’s the way it always was.” When Cooder is asked what the chances are of seeing him in Australia anytime soon, he doesn’t seem particularly enthused about the prospect, though he does say that he is open to the idea if he were able to play the right kind of show. One gets the feeling that this isn’t just his attitude to international touring right now, but to playing live in general. The songs on Election Special just don’t lend themselves to the massive divide that often occurs between an audience and an artist of Cooder’s stature. “Well I’m working on an idea,” he says. “I’ve been doing some small shows around here and I want to do more small shows to small groups, almost more like get-togethers. I did a little union show over here and that was nice, there were 200 people. Because that way, you share the time with people, you’re not presenting yourself as a famous person or as a hit maker and crap like that – I don’t understand all that. These songs are not about that. So I need to perform in some context that is reasonable and that is compatible with the songs. Then you have your agent, your agent says ‘Oh no! You can’t do that; you won’t make any money!’ So we have to figure out a way… but I’m trying.” 50 • THE DRUM MEDIA

So that’s it. The third and final Soundwave announcement has been made, much to the whinging of metal heads everywhere. The standout band on round three is clearly Killswitch Engage and I know people were hoping for Megadave to be announced for a true Big 4 event but you know what, shut up – on what other day are you going to say you saw Metallica, Anthrax and Slayer? You wanted the best, you got the best! No Life Til Leather returns to Hermann’s Bar Friday 12 October with a sleaze-rock extravaganza, celebrating all that is decadent and debauched in the world of ’80s metal. From Faster Pussycat to LA Guns, Guns N’ Roses to Motley, Vain to Sea Hags, DJs Sultan Of Sin and Colonel Knowledge will be playing all the best sleaze, glam, hard rock and metal from the ’80s all night long. Plus, the first 10 payers will receive a copy of the new Kiss album, Monster. Kiss and Crue tour in January too! One of the heaviest line-ups I’ve seen in a long time is heading our way in November. Perth’s Make Them Suffer and Saviour and Melbourne’s Boris The Blade have teamed up with Chicago’s Oceano, who are absolutely crushing, and called the tour The Widower. Both The Basement in Canberra on Wednesday 28 November and Sydney’s Hot Damn the next night on Thursday 29 will have their structural integrity tested. It’s been a while since we’ve had a metal supergroup form and well, here is one from the current generation. Axewound features Bullet For My Valentine’s Matt Tuck and Liam Cormier from The Cancer Bats out the front, Pitchshifter’s Jason Bowld on drums, Glamour Of The Kill’s Mike Kingswood

The second announcement for Evil Invaders V, that’s happening over the June long weekend next year, includes Finland’s Archgoat, the US of A’s Sadistic Intent, New Zealand’s Vassafor and Aussies Portal, Erebus Enthroned, Kingdom Of Decay and Inverloch among several awesome others. 23 bands over two nights at the Manning Bar and it’s looking like the most extreme underground festival ever. Tix via The Coffins Slave.

THURSDAY

all ages one so I image the stage banter might be a little tame, or not. The Art are one of those bands that started here and were accepted elsewhere. LA to be exact where ex-GNR manager Vicki Hamilton spotted them and took them under her wing.

SATURDAY

The biggest death metal band of them all are back to crush The Metro with offerings from their latest album Torture, and whatever else they can find that right wing radio shock jocks like to whinge about. Cannibal Corpse are just devastating live. Can’t wait.

Mr Devoy is back on deck at The Agincourt from 8pm this evening. It’s free so you have no excuse.

Steel Panther clean up for another round at the Big Top tonight, this time it’s for the adults so anything goes and anything can happen.

Also free is Bang!, The Annandale’s new Thursday night event. Well, get there before 9pm, otherwise it’s 10 bucks. This week’s headliners are triple j’s Splendour In The Grass winner’s Kingswood with support coming from local lads Little Bastard and The Cold Mean Reds.

Newcastle gets their thrash fix when the Warbringer death squad descends on Broadmeadow Tennis Club. This time they have recruited Sabretung, Exekute and Balescream to open up.

FRIDAY

Head up to the mountains for an evening of pure thrash when Hazmat take over the Gearins Hotel in Katoomba along with 40 Bends. It’s been a monster year for the guys and it’s far from over. If you’re staying in the city for your thrash fix, then I’m sure you will be at The Stag along with everyone else for the massive Warbringer show. These guys have crept into the collective conscious of the downpicking community and stand proud as leaders not followers. The road dogs have finally made it here and will be blistering through their Worlds Torn Asunder release with rabid ferocity. The bands in support have enough pull to fill the room by themselves; Darker Half, Dawn Heist, Hell Itself, Rampage and Thrashed. Nuff said. If you don’t take yourself too seriously, you can always go and rock out with your cock or cockette out at the most fun rock and roll show you’ll see all year – Steel Panther are fucking awesome. Tonight they play the first of two shows at Luna Park’s Big Top – This one is the

Hazmat and Severed Demons play at the Victoria Hotel in Orange tonight. I love it when the regional towns get a look in! Venom hosts dual after parties for Cannibal Corpse and Steel Panther and rumour has it that both bands might pop in, making for an interesting night. Gendefect, Tensions Arise, Eternal Rest and Coredea play live.

SUNDAY

Gosford’s Youth Arts Warehouse hosts the all day Metal Festival featuring Warbringer, plus Katabasis, Abacination, Empirical, The Dark Gift, Pagans Realm, Khargish, Ruins Of An Empire and Few And Far Between. The Sydney Rock N Roll And Alternative Markets are on again and their new home is the perfect setting - Manning House at Sydney Uni. From 10am it’ll be an awesome day of browsing stalls, eating rad food and checking out the bands who play well into the evening upstairs at the bar. heavy@drummedia.com.au

WAKE THE DEAD PUNK AND HARDCORE WITH SARAH PETCHELL surprises don’t stop there, as Gilbert also returned to the band temporarily to do vocal duties on the record. That’s right, for the first time in the band’s history, Shai Hulud will have the same vocalist for two full lengths. To be clear, Gilbert is not rejoining the band, but stay tuned for more album release details as they emerge.

Off! The third and final Soundwave announcement has been made public, on the very same day that extra tickets went on sale for the Sydney show. I’m not sure if those tickets are still available, but if you check out the Soundwave website for links you should be able to find out (there were a few tickets left at time of writing). Anyway, the third announcement had an interesting mix of bands on it, some that I’m super excited about and some that I couldn’t care less about. So joining the already massive list of bands will be Killswitch Engage, The Vandals, and (the band I’m most excited about) The Chariot. Sharks will also be coming out as a part of Soundwave, after the Pennywise tour they were originally slated to be on last month was cancelled. There was also the inclusion of a couple of Australian acts to the line-up with Northlane and Milestones joining the small Australian contingent on the national run. Sydney Soundwave will be held at Olympic Park in Homebush on Sunday 24 February. In keeping with their self-confessed “it-takes-theseguys-forever-to-release-an-album motif” it looks like Shai Hulud are just about ready to release a new album (through Metal Blade in 2013, according to a statement by guitarist, Matt Fox). But here is the exciting part. The album was produced by New Found Glory’s Chad Gilbert, and for those that don’t know, Gilbert was the band’s former singer. But the

If you’re not heading along to one of the Big Days Out and you really want to see punk rock supergroup Off! play while they’re in Australia early next year, now you get your chance (this also goes out to those that missed them when they were here late last year too – don’t miss out this time). The band are playing a bunch of sideshows on the east coast including a show at the Annandale Hotel (the same venue they sold out and played last time) on Thursday 17 January. These shows run off the back of their self-titled debut full-length which I strongly recommend getting your hands on ASAP. Tickets are on sale now, so make sure you grab yours before they inevitably sell out. Based on that logo you could be mistaken for thinking that Violently Happy Records were some sort of dance label. Perhaps unfortunately, it’s not. Instead it is the new imprint owned by New Found Glory guitarist Chad Gilbert in partnership with Bridge Nine Records. Said Gilbert of the new venture, “I am proud to announce that I have started an imprint label through Bridge Nine called Violently Happy Records and my first release is The Best Ways To Disappear EP by Candy Hearts!” The EP is set for release November 6, and I recommend checking out Candy Hearts if you’re a fan of ‘90s-tinged, female-fronted punk rock. Makes me think of the 10 Things I Hate About You soundtrack… Bridge Nine owner Chris Wrenn said: “I’ve known and worked with Chad for years on New Found Glory stuff and so on, so it’s a real honour to have his label be an imprint of B9. Chad has tons of great ideas and a cool outlook on independent music today, so this is going to be a really fun collaboration for everyone involved.” The drunken rant of Billie Joe Armstrong of Green Day has been immortalised in a whole bunch of memes since it happened at the iHeartRadio Festival

themusic.com.au

last weekend. If you don’t know what I’m talking about, the footage is all over the YouTubes, but Armstrong ranted about having only a minute left on stage (after they took to the stage half an hour late), having done “this” since 1988 and then promptly smashed his guitar on stage and stormed off. In a brilliant piece of what I’m presuming is damage control, especially since the band has only just released their new album Uno!, less than 48 hours after the event an official statement went up on the Green Day website saying, “Billie Joe is seeking treatment for substance abuse. We would like everyone to know that our set was not cut short by Clear Channel and to apologize (sic) to those we offended at the iHeartRadio Festival in Las Vegas. We regretfully must postpone some of our upcoming promotional appearances.” Uno! is out now. Philadelphian hardcore act, Blacklisted, are currently in the country on tour with Defeater. It has been a while since they released their most recent album, No One Deserves To Be Here More Than Here, so I’m sure it’s a welcome relief to fans to know that the band are releasing a 7-inch of new material that is available now for pre-order through Six Feet Under Records. The record is called So, You Are A Magician? and there is a new song from the EP, called Mentalist that is floating around the internet. This follows on from the announcement that Blacklisted are also releasing a second EP called Live On BBC1, that was recorded at Maida Vale studios. This is also available for pre-order through Six Feet Under Records. Last up for this week, UK hardcore act Dead Swans have announced via a Facebook post that they will be calling it quits. I know that a lot of people will be upset over that, because they never actually visited Australia and their full-length Sleepwalkers was a really solid hardcore record. The band plan on playing a final show in early-2013 somewhere in the UK. wakethedead@drummedia.com.au


GET IT TOGETHER

OG FLAVAS

YOUNG & RESTLESS

HIP HOP WITH VIKTOR KRUM

URBAN AND R&B NEWS BY CYCLONE

ALL AGES WITH DAVE DRAYTON

Jessie Ware

Spit Syndicate The relevant US and EU competition bodies have approved Universal’s acquisition of EMI. “Hm. Business stuff. I care heaps about that,” we hear you say. Yes. Yes, you do. And so you should. Firstly this is a consolidation of heaps of intellectual property in one body. Universal, in buying EMI, has bought the copyright to a huge amount of music. It has purchased the right to control a great many more songs by a great many more artists. As rampant capitalists, there are two ways we can fall on this story. On the one hand we see a company, EMI, too weak to withstand the overtures of a more successful company and being forced to submit to a takeover. Fine. Whatever. Business is business. Then there’s the alternate view, and we say it’s the correct one: the best world for the music consumer is one where the market is dynamic. Large numbers of fairly successful firms should be competing for your attention; getting you the best songs, at the best prices, and giving you the best experience. When a big player is consumed by an even bigger player, true, free market competition – which is the best bit about capitalism – loses, while business – the worst bit about capitalism – wins. These takeover shenanigans are a zero-sum game. As an aside: this is the sort of silliness Mitt Romney devoted a career to. There’s not much you can do about Universal and EMI but, maybe, the next time you are thinking about buying an album, a t-shirt or a ticket to a show, you might like to think about what sort of capitalist you are, and what sort of capitalists we need to get the best music bang for our buck. N-n-n-new Spit Syndicate! Beauty In The Bricks is the name. We have listened to it heaps and heaps. There are big guitars and Adit’s fingerprints all over the instrumental. Plus: Nick and Jimmy are from the same city as us. We all basically wrote the song together. Well done, everyone! There was a time when Delta was our favourite Australian rapper. (Crucially, that time was before the release of Urthboy’s 2007 classic The Signal, but that’s another story.) A short, chubby, nasal emcee from Adelaide, Delta raps with such belief that it’s tough not to be carried along with him. Government conspiracies? Sure! Practicing all four elements of hip hop? Why not! Idolising KRS-One? Well… OK! His debut full-length was called The Lostralian and the whole thing hits like a kick in the teeth. Oh Lord, Mark B’s beat for the title track? We can still remember clearly the first time we heard it. Dee-nee-nee-nee-ne-neeee! Incredible album. Go listen. In the meantime we can get excited about a new album from Delta: Pyramid Schemes. 12 October is the release date. Remember: his name means where the river and sea meets. Remember how the guy with curly hair from The Music showed up on The Streets’ 2011 album? It seemed anachronistic on paper, and it was certainly a surprise. Somehow the two or three appearances Rob Harvey (for that is Curly’s government name) made worked perfectly. Mike Skinner’s understated, muted delivery was a neat contrast to the searing, sharp little stabs from Harvey. Remember how it was also The Streets’ last album? How Mike Skinner “retired”? Yeah, well you know how musicians go with retirement. Skinner and Harvey are back and have teamed up on a project called The D.O.T. The album And That will be with us 22 October. It will be a chance to see whether a couple of neat guest spots paved the way for real synergy, or whether this is a case of famous people finding an excuse to hang out together and pretend it’s work. You Never Asked, a single due out soon (labels, please explain why you “leak” songs as a promotion for them being released subsequently) features Danny Brown and is pretty crisp. The album could be okay, y’all? getittogether@drummedia.com.au

Rita Ora was in Sydney the other week on a whirlwind promo tour, taking in The X Factor, but apparently shunned interviews with the cred music press. Wonder if there were lots of questions about Rob Kardashian and One Direction’s Harry Styles? Ora’s ascendance may yet be thwarted as her role model Rihanna plans to unleash her seventh (!) album before Christmas. RiRi’s latest single is Diamonds, produced by longtime allies Stargate. But ask hipsters who’s really ‘Hot Right Now’ and they’ll doubtlessly say the post-dubstep soulstress Jessie Ware, who’s just been announced as performing at Laneway Festival. The South Londoner’s sophisticated debut Devotion has been deservedly nominated for the 2012 Mercury Prize together with Plan B’s iLL Manors – still the favourite. The other soul (or urban) nominees are Michael Kiwanuka and Lianne la Havas. Alas, Emeli Sandé was slighted. The winner is announced in November. Meanwhile, Devotion, Top 5 in the UK, has been given a soft release locally. If Ware claims the Mercury, expect a huge push. Ware, who studied English Literature at Sussex University, initially pursued a career as a journalist (Her Dad is BBC Panorama reporter John Ware). She worked for The Jewish Chronicle. The glam Ware even covered football. She next had a stint as a PA at the TV company Love Productions, her colleague one Erika Leonard, AKA E L James of Fifty Shades Of Grey notoriety. However, Ware’s canny old school chum Jack Peñate recruited her to sing backing vocals. The reluctant star forged a profile in dubstep circles singing on SBTRKT’s Nervous, then his acclaimed self-titled album. Ware eventually premiered as a solo artist with Strangest Feeling

(not on Devotion) late last year. Devotion – its lead single Running, which sounds like Sade riding the nightbus – is out through Island. Ware has connected with unusual producers, notably Dave Okumu from Brit art rock band The Invisible, themselves former Mercury nominees. He’s joined by Bristol house DJ/ producer Julio Bashmore, who’s released music on Claude VonStroke’s Dirtybird Records, and folkie Kid Harpoon. Ware, compared to everyone from Sade to Katy B to Adele (huh?), definitely belongs to a nebulous post-dubstep movement. Devotion is more afterhours, and more subliminal, than Katy’s UK garage On A Mission, yet warmer, and less weirdly experimental, than James Blake’s record. It’s closest to Jamie Woon’s neo-R&B Mirrorwriting. At the same time, Devotion would sit easily alongside Frank Ocean’s avant channel ORANGE. The most conspicuously ‘dubstep’ tune is 110%, courtesy of Bashmore. It’s actually redolent of Aaliyah, sampling Big Punisher’s East Coast hip hop. Most surprising is the pervasive ‘80s romance on Devotion – Sweet Talk is ghostly synth&B. Ware’s music does hark back to Sade’s quiet storm, but she also evokes New Romantic soulsters like the Eurythmics, circa Sweet Dreams (Are Made Of This), particularly on the glitchily dramatic Still Love Me. The slinky title-track and Ware’s new single Night Light recall songs such as More Than This with their deep grooves and, in the case of Night Light, guitar (there’s also cello). No To Love fuses Bryan Ferry’s Slave To Love with Mary J Blige’s seminal hip hop soul (Okumu “raps”, but it’s really spoken word). The irony is that Ware was born in 1985. At any rate, Devotion has all the futurist urban atmosphere of The xx’s output. Wildest Moments has been likened to Florence & The Machine, and the ballad stands out as being a little harder here with its rock drums. Taking In Water, Devotion’s gorgeous climax, has a subtle illwave gospel feel. Ware’s lyrics deal with the ambiguities of love – and ambivalence. How modern. Ware isn’t Island’s only downbeat divette, so let’s hope she continues to triumph. The label is also home to Jess Mills, , who’s already aired the single Vultures. Her debut, Twist Of Fate, is due in 2013.

THE BREAKDOWN POP CULTURE THERAPY WITH ADAM CURLEY

Bored Nothing On a Thursday night in August I wandered into a gig headlined by Melbourne post-punk collective Sandcastle and watched from the bar as their support band, with the appealingly listless and right-now name of Bored Nothing, set up. They were four pasty, weedy kids, three in glasses, and there wasn’t much fanfare before they kicked off, which is far too action-packed a description of what really happened. What really happened was that Bored Nothing played one of the best sets of slacker pop I’ve heard, and one of the best sets of anything I’ve heard this year. There was a fair heaping of the late ‘90s to it. Singer/ guitarist Fergus Miller (some name) has an unbridled way of playing his down-mouthed songs, as if he’s simply pleased to be out of his bedroom, and a great nasal edge to his voice. The drums were lazy and unadorned, right out of a still-learning ‘80s Flying Nun band, or maybe a slightly later Perth alt-pop group. What really stuck – instantly – were the songs. The set was filled with the kind of hooks that, delivered by a band playing a support slot on a weeknight, had my mind digging into the internal Rolodex of band managers and local labels. It’s a pretty crass habit and one I don’t foster in myself, but there was something timeless and also urgent to these songs. They wanted to be bigger than they were; they pleaded for radio time. Miller – a slight figure whose translucent, tattooed appearance hints at video game marathons and mornings with Chemikal Underground bands on the turntable – had a way of elbowing out the chorus “oohs” in Just Another Maniac and the title line of I Wish You Were Dead that made it easy to imagine these phrases as new catchcries.

Thankfully I managed to escape without word-vomiting industry names all over them. There might have been a couple “well done”s and the discovery that the band was in fact Miller’s solo project fleshed out with friends. I also escaped with a free handmade EP of six tracks titled III, Miller’s third collection as Bored Nothing, and went home to be killed by perfectly thick, warm, sweeping versions of Miller’s songs. Where live the pop hooks stood as gangly leaders, recorded they were beautifully subtle, covered by layered guitars and harmonies. Miller played all instruments himself. I Wish You Were Dead was Merseybeat through a cassette Dictaphone. Second track Get Out Of Here was an uncovered Elliot Smith gem. Standout third track Let Down bounced with a bassline that could have come from The Jam. Through all it of, Miller’s outsider outlook wormed through suffocating summer days in suburbia. “I sat and wrote your name with my finger on the concrete,” he sings on Get Out Of Here, turning the banal action into desperate romance. My earlier need for Miller to become the Pied Piper of the forlorn was halted by the EP. The songs here were just as they should be; any industry interference would surely ruin something, unnecessarily brighten things up, detract from the intimacy of these homerecorded songs. So it was excellent to learn last week that Bored Nothing have indeed found an industry champion in Spunk Records, which will release Miller’s collection of songs, as is, on November 2. The self-titled album is a mix of tracks from the group’s self-made EPs, including every song from III, as well as five previously unreleased tracks. The only real step up, besides promotion and distribution, is that the album will come on vinyl and CD rather than home-copied cassette and CD. A couple of III’s tracks – Let Down and Popcorn, which also comes with a great cut-and-paste video – can still be heard on the Bored Nothing Bandcamp: fergus.bandcamp. com. And the band are out supporting Sydney’s Step-Panther this month before more summer gigs. Clearly my recommendation is to seek them out.

themusic.com.au

Chinese Burns Unit School holidays may be over, but I’ve got gigs out the wahzoo to share with you this week! First up, Wednesday night at St Stephens Church Heavenly Sounds returns. Last time they put a gig on here was for Lisa Mitchell, I went, it ruled. It’s an amazing space to see music in, and all ages friendly! Tomorrow night Karise Eden and Lakyn Heperi play from 8pm. On Friday night The Fitz in St Ives – that awesome little pocket of nostalgia I mentioned last week – are hosting the final of their all ages Band Comp, get down and support the locals. Also on Friday pop punk trio Obviously Your Superhero continue their Bring On Spring tour in support of new single Party In My Pants. The tour features heaps of all ages gigs, and this leg is no different, with one on Friday at Hype Central, Castle Hill, and another AA gig on Sunday at Parramatta’s Mars Hill Café. On Saturday night The Beautiful Girls play in the appropriately coastal town of Thirroul at Anita’s Theatre. The gig kicks off at 8pm so you can do some sick barrel roles before the show. For something a little less ‘chill’ the same night, head to the Lucky Oz Tavern in St Mary’s where they’re hosting an all ages metal night featuring Exposure, Saralisse, Cryptic Scorn, Skuldugory, Ruins Of An Empire and Red Bee from 4pm. The next day – that’s Sunday arvo for all you playing along at home – Lucky Oz has another all ages gig on the cards with the puntastic title of Moshtober. Kicking off at 2pm, and only costing ten bones, the gig features To Engineer An Exorcist, Where’s Rachel, Caraway Seed, Illicit, Eternal Rest, and Seconds Till The End. Travelling back in time to Friday, punk supergroup Chinese Burns Unit are launching their debut 7” at an all ages gig at Blackwire Records. We caught up with guitarist Jonny Turcinskis for a few questions. What can you tell us about Chinese Burns Unit and your debut 7”? Chinese Burns Unit are Glenno, Jay, John and Jonny. We have just released a well overdue four-song 7” record on the wonderful Poison City label. The songs featured on the 7” are four of the gems we dug out of Glenno’s 2000-strong solid gold melodic catalogue. There is also an amazing snakes and ladders game included on the record insert. Glenno is an amazing songwriter and it is an absolute honour to play with these guys. A fair of your musical projects have played at Blackwire, Red Rattler, and other all ages friendly spaces in recent times, why do you think it’s important to play all ages shows? It’s definitely important to play all ages shows! Every show Fugazi ever did was all ages. Why should you miss out on seeing your favourite bands because you are under 18? It’s so much more fun to play in places that aren’t pubs. What do you think of the all ages scene in Sydney at the moment? There appears to be all ages shows/spaces popping up all the time which is great to see! Blackwire, Red Rattler, Dirty Shirlows, Spaceport 1, Jura Books and the list goes on. Also, the Punk Outside shows in Marrickville are happening regularly which are awesome. And how good are house shows?! More please! You’re using Blackwire as the venue for your 7” launch, what went into the selection? Blackwire was the obvious choice! We played one of our first shows there and have played there a bunch since. It really does feel like a second home, like you are playing in a mate’s lounge room or something. And Tom is the best guy ever! The floors is yours, sell us Friday’s show…. Chinese Burns Unit! Collapso! Thorax! Gloryhole! Blackwire Records! Cheap Entry! Soft Drink! Good times! You know you wanna! Any tips for young musos? Don’t worry about what everyone else is doing and put on your own shows! allages@drummedia.com.au THE DRUM MEDIA • 51


THE SWAMP SHACK

BEBOP & ROCKSTEADY

ROCKABILLY/PSYCHOBILLY/COUNTRY WITH PEDRO MANOY

LEFTFIELD ELECTRONICA AND FUTURE SOUL WITH HUWSTON

Pat Cappoci There’s nothing like a catchy band name to capture punters’ attention. Norman Bates & The Shower Heads, Beerbellied Scum From Central Bucks County and Pat Malone & The Rugged Individualists are just three that spring to mind. Sydney based country-folksters Billygoat & The Mongrels may not be a household name, but they are a welcome addition to that list. Even better is the fact that they sound like a real band, so much so that they have just finalised their debut album Big City Low. Fronted by the big-bearded singer/songwriter Morgan ‘Billygoat’ Tucker, the combo explore a wide variety of roots-based genres from banjo picking country, through hillbilly disco to inner urban swamp. Three years in the making, the recording process has battled stolen guitars, broken instruments, band members having babies and the usual money problems, but the launch date has finally been set for this Friday at the Sandringham Hotel. Along with Frank Sultana & The Sinister Kids, Roland K Smith & The Sinners and Andy Golledge, this will be the Mongrels’ first headlining gig in over a year! Peter Lillie, who sadly passed away in Sydney in late September at age 61, was a relative newcomer to the Harbour City but a legend in his own home town of Melbourne. Since the mid-‘70s Peter was the songwriting mastermind behind bands such as The Autodrifters, The Relaxed Mechanics, The Leisuremasters and The Pelaco Brothers, playing alongside such musicians as Joe Camilleri, Stephen Cummings and Johnny Topper. His legacy of songs include the much recorded They Built The

52 • THE DRUM MEDIA

Ute, Samurai Star, Hangin’ Round The House and Adventures In Pain... In Paradise, to name just a few. Peter was also a talented cartoonist and playwright and a passionate observer of oddball Australian pop culture and global quirkiness. Peter had been living in Sydney for the past couple of years during which time he played a number of low-key gigs, including his Car & Caravan Show at the Deus Café along with Peter Doyle, Peter O’Doherty and Reg Mombasa. Sydney-based hillbilly stompers The Tombstone Raiders are taking to the water this coming Saturday to launch their self-titled debut album. Featuring members of the Dolly Rocker Movement and Dunhill Blues, the rambunctious organ-driven outfit will be joined by Melbourne psych-rockers The Demon Parade, Sydney surf-punks East River and DJ Lord Lucifer from 2SER’s The Devil’s Jukebox. The boat leaves number 6 King Street Wharf at 11.45am sharp, contact the band asap to purchase your boarding pass in advance. The Sydney Rock’n’Roll & Alternative Market has proved a hit since moving to Manning House at Sydney Uni and keeps growing. This Sunday you’ll find sixty-odd stalls catering to lovers of rock‘n’roll, rockabilly, goth, ska, metal, punk, alt.country, swing and even roller derby with vintage fashion, jewellery, accessories, vinyl, CDs, DVDs, collectables and more. Once you have filled up your goodie bag, the upstairs Manning Bar offers a great lineup of rockabilly, indie and garage combos including Mushroom Planet, Little Murders, the Pat Capocci Combo, the Mother Truckers and Big Blind Ray & The Wailing Wall. Kicking off at 10.30am, this Sunday’s market will also be the finishing point for the Ton Up Boys Annual Rockers Ride with a display of vintage motorcycles and scooters. All this and entry is by gold coin donation which sounds like a real bargain! swampshack@drummedia.com.au

music. Enter Chunky, a delightfully named MC who apparently has some moves behind the boards, too. His debut EP is a four-tracker of some chuggy deep house, slightly broken beats and R&B twinged bass music. It’s definitely one of the coolest releases of the year and will probably fall under the radar, save for the easy pick and catchy as hell Rugged.

Altered Natives There’s been a spate of classy bass music releases over the last few weeks that have certainly kept me on my toes, in that trying to pigeonhole exactly which category they fall in to has got me stumped! For example, Hemlock Recordings are quite reliable when it comes to brittle techno, house and dubstep releases, so imagine my amazement when Joe drops a Latin-tinged mid-tempo groover as the A-side on his new single MB/Studio Power On! Apparently, there’s more like this to come on a forthcoming Hemlock label compilation called Chapter One put together by label boss Untold. Bass music’s flirtation with classic house moves in to really ‘inappropriate’ territory with the remixes of Larry Heard by Julio Bashmore, Mak & Pastemore and Wolf + Lamb on the very delayed Distance Revisited, and things get even more twisted when Krystal Klear is joined by Jenna G on More Attention for Kerri Chandler’s Mad Tech Records. Some kind of classic house and contemporary bass music orgy is going on, I gotta tell ya! One label where you pretty much always know what you’re going to get is Swamp81. Quality pressings, value for money and limited quantity vinyl-only releases that always have such depth, they’re the kind of ‘in the box’ records that don’t bow to any trends – they’re simply just good dance

themusic.com.au

The man with the most meat on his bones out of all of this, though, is Altered Natives, an OG from before the broken beat days who has worked for years and given us the wonderful Rass Out, amongst many other stellar tunes. He’s returning with Tenement Yard 3, the last and definitely the best in the series of brutal house and bass music albums on his own Eye4Eye Recordings. Here’s a man who’s got it right. Reminiscing about how broken Bbeat guys like Domu would have fared better in these times, Altered Natives has stuck it out, maintained his sound and is now in a position to get the recognition he deserves with this big-sampling, tough-guy, deepand-dirty tech and house music. Don’t miss this one. Zed Bias’ Maddslinky project is back with a new single, the second release on Julio Bashmore’s Broadwalk Records. The robotic voice on Compuphonic can’t help remind me of Kraftwerk, but the clangy bass and chugging beats are classic ZB material, especially on the more noodley and broken part deux version on the flip. Bashmore is really making some moves, and with this label of his gathering steam, he’s becoming quite the lynchpin of the house-bass-whatever scene. Finally, I wanted to give a shout out to my new residency at Lou Jacks Bar & Café on King St, Newtown, where I get to play soul, hip hop, world and whatever else is appropriate for a Sunday afternoon. It’s been a great little builder as it’s family friendly and has a lovely little courtyard out the back. Come down and sample the goods some time! bebop@drummedia.com.au


STUDIO DIARY

F

or their fourth studio album Mirage Rock, Seattle’s Band Of Horses bunkered down in LA’s famous Sunset Sound studios with legendary UK producer Glyn Johns (The Beatles, Bob Dylan, The Rolling Stones, The Band, The Who, we could go on forever) and came up with arguably their most vital release to date. To celebrate the album’s release and their impending Australian tour around the 2013 Big Day Out, Band Of Horses kindly provided us with some photos of their in-studio experience, which they loudly proclaimed to be not only productive but a whole ton of fun to boot. WHO: Band Of Horses WHAT: Mirage Rock (Columbia/Sony) WHEN & WHERE: Friday 18 January, Big Day Out, Sydney Showground; Tuesday 22, The Enmore

themusic.com.au

THE DRUM MEDIA • 53


SINGLE FOCUS

ALL FOR ALISA

Returning from Los Angeles, Australian blues songstress Alisa Fedele is back in town for the next month performing a string of shows. She plays Friday at the Old Manly Boatshed and Saturday at Upstairs Beresford.

WEIRD SCIENCE

BIG DEAD

Vice Magazine will launch their latest issue, the Weird Science Issue, this Wednesday night at GoodGod Small Club. To celebrate the release, a collection of bands will take to the stage—including Fishing, BT Magnum and a super-secret American headliner.

Song title: How It Ends, How It Starts What’s the song about? Unrequited love in India, then suicide.

What’s your favourite part of the song? We captured some nice sax work courtesy of our guy Lee. I also like the feel a lot; it’s very nice to sing over.

This Friday night at the Brass Monkey, and then again on Saturday at Notes in Newtown, a collection of Sydney musicians will tribute the Brian Jones years of The Rolling Stones. The event will feature Rex Goh and Paul Berton on guitars, Emile Nelson on bass guitar, Lloyd G on drums and Tim Wedde on keys, with the vocals of Damien Lovelock, Shane Flew, Bernie Segeden.

ORGANS OF ROCK

END OF THE SISTERHOOD

To commemorate the tragic passing of Deep Purple frontman Jon Lord, Blue Beat in Double Bay has organised a very special tribute concert for this Friday night. They’ve lined up one of the country’s most reputable Hammond organ players, Lachy Doley to play organ just as Lord did—grinding the classic Hammond sound through a Marshall guitar amp.

Sydney band Stormcellar will make their return to the Taverner’s Hill Hotel in Leichhardt, continuing their residency with another set of boogie-infused roots and country. They’ll be delivering the first single from their new album, titled Hard Times.

CRUISIN’

Melbourne’s The Demon Parade will be literally hitting Sydney’s shores in celebration of their new single and video for She’s Gonna Be A Star. The band will be headlining a harbor cruise gig this Saturday, running from 12pm to 4pm. The Demon Parade will be supported by local rock band The Tombstone Ramblers who will release their debut album, and surf-punks East River.

SUMMER SUNDAYS

This Sunday afternoon, Scotty Sax & Michelle Martinez will take to the stage at the Newport Arms Hotel for the first Sunday Chill Sessions. Each week through summer, the hotel will play host to two Sydney artists, who will provide chilled tunes in the beer garden until sunset.

PARTY IN THE HOUSE

Will you be launching it? Spectrum on Saturday 6 October.

The much-talked about frenetic, cacophonous garage rock band Velociraptor will be hitting up Good God Small club this Thursday night. They’ll be celebrating the release of the special edition vinyl and digital release of their game-changing mini-LP, The World Warriors. The band will appear as a slimmed-down five-piece for this show—without their shared DZ Deathrays guitarists.

Forming two years ago, Brisbane alternative dance six-piece Northeast Party House have crammed a lot of stuff into the last two years. After supporting foreign heavyweights like Does It Offend You, Yeah? and The Go! Team, plus Australian luminaries Kimbra and Ball Park Music, as well as playing a kicking slot at Falls Festival, they’ll be hitting up The Beach Road Hotel in Bondi for a special set. They’ll be supported by Sydney synth-rock band Pontiac.

For more info see: www.facebook.com/ bigdeadmusic and www.bigdead.bandcamp.com

ENTER THE COMPOUND

KINGS AND CROWNS

Do you play it differently live? It always feels a little different. We recorded it using double bass and live we use the bass guitar. The improvised parts always end up being slightly different and we will often phrase melodies differently on any given performance.

TUNED IN

DINOSAURS AND WARRIORS

Party engineers Compound are ready to start in on their second wild night of music and frenetic dancing at Good God Small Club this Friday night. With DJ Community setting the vibe early in the evening, DJ-about-town Subaske will then make his Compound debut, pushing deep UK house vibes until the early morning.

This Friday night, Disco Is Dead, Restless Leg, and Death Mattel bring an up-and-comers night of raucous, wild and exciting music.

BATTLES AND SYMPOSIUMS

What show do you present and when is it on? Down Low Disco: Tuesdays, 7.30 – 9pm

Running over two days, Platform 5 will be Sydney’s premier hip-hop event, showcasing some of the country’s finest MCs, DJs and graffiti artists. With a world-class program exploring every element of hip-hop culture, there’s also a discussion symposium, master classes, dance battles, popping battles and a beat box showcase. The event will also feature an all-ages event this Saturday night, featuring Grammy-award winning Brooklyn rapper Big Daddy Kane, Sydney collective Horrorshow, Sky’high and Lamtech.

What areas/genres do you cover? The Down Low Disco is a weekly quirky club session that is open to all fellow freaks who want to get a fix on the new sounds and styles that are shaping the future of the world’s dancefloors. Music that is innovative, heavy, dirty, deep, dark, brave.

Name one good thing that will come of people supporting the Radiothon. Choice. 54 • THE DRUM MEDIA

LINE BETWEEN LOVE AND HATE

Rock/swamp/blues maestro Claude Hay will hit up The Northern Star in Newcastle this Friday night. His latest album, I Love Hate You, retains his traditional rough, stomping rhythms and raw, blues rock rhythm, whilst also taking a slightly more refined approach to song writing. Inspired by the frivolities of Hay’s last tour van, by TV Westerns and romances gone wrong, the album has generated plenty of positive press.

TURNING AROUND

Name: Lorna Clarkson

If people don’t support community radio, what horrors await us? A banal, generic, homogenised existence where we are only allowed to listen to music and opinions that are inoffensively in the ‘middle’. We are too close to that already.

Dead Eyed Suburbanites are Shane and Christian Punch, brothers divided between Sydney and Newcastle who draw on common influences—from Neil Young to Alice in Chains—to develop neat collaborative pieces. This year, will release their recording debut, a self-titled EP. They’ll be celebrating this release at The Cat & Fiddle Hotel this Saturday night.

This Saturday night at Clarendon Guesthouse in Katoomba, roots artist Buffalo—better known as Wes Car– will take to the stage. He recently released his latest album, titled Blood & Bone, about losing faith in everything, and then finding it again; with a long career which includes starting out with renowned Australian rock band Silverchair, Carr is no stranger to crises of faith. He will be touring to promote the release of Blood & Bone throughout October.

BAND NIGHT

IN THE NIGHT MARKETS SHINE ON

DEAD IN SUBURBIA

BLOOD AND BONE

Young Sydney band Glass Towers have just announced the release of their new single, Tonight. Taken from their forthcoming EP Collarbone Jungle, the track was produced by recording legend JP Fung and will be officially released this Sunday. The band will be hitting up Good God Small Club this Saturday night.

Why is community radio important to Sydney? To Sydney? Community radio is important – period. I remember the times before internet, blogs, Facebook, Mixcloud, mobile phones – when the only way to access new, cutting edge music in Sydney was to listen to 2SER. At the risk of sounding ancient, I remember tuning in just so I could hear the best new release rave tracks that had managed to make their way to our shores on vinyl. We may have unlimited music access now through the internet, but community radio continues to link people to music that they otherwise wouldn’t discover on their own.

After seven years of self-releasing records, embarking on tours, pretending to be dead in film clips, and hitting up clubs and venues, independent rock band The Paper Scissors are retiring. But before hanging up their guitars and putting down their drumsticks, the band will play one last farewell gig at The Standard this Saturday night.

Late last month, Brisbane band Drawn From Bees released their seventh album. Titled The May King & His Paper Crown, they’ll will be bringing it to life this Saturday night at The Oxford Art Factory’s Gallery Bar.

IT’S A JUNGLE OUT THERE

IN THE LEAD UP TO 2SER-FM’S RADIOTHON, WE PROFILE SOME OF THEIR PRESENTERS.

LET’S SPEND THE NIGHT TOGETHER

This week is the Camelot Lounge’s second birthday week. Now, most venues will use a night to celebrate their birthday, but the Camelot has too much going on to cram it in to just one night. They’ve got Hungary’s Rajko Gypsy Band on Wednesday night, Marsala on Friday night, Bump City on Saturday night and Baby Et Lulu on Sunday night.

STORMY WEATHER

Is this track from a forthcoming/existing release? It is a track from our as-of-yet unnamed EP, which will probably be out next year. Was anything in particular inspiring you during the making? I was listening to a lot of Tom Waits. I don’t think it’s even remotely similar to Waits though. Maybe if I was channelling him more directly it would’ve been a story about a down-and-out clown from New York robbing a Cuban doctor of his diamonds, shooting him on his boat in the harbour and getting away on a donkey. He’d have a run-in with the cops and it would all end in a shoot out. It’s not about that though; it’s all actually a little depressing.

BIRTHDAY IN CAMELOT

Songwriter and crooner Gregory Page will be bringing his brand new Big Band album, Shine Shine Shine to Australian shores this month. With vintage vocals and dusty blues rhymes, Page has stunned audiences from The Netherlands to the US and has shared stages with the likes of Bob Dylan and Jason Mraz. He’ll be spending time in Wollongong and Sydney this week—playing the Camelot Lounge in Sydney this Thursday, then playing Yours & Owls in Wollongong on Friday.

Nigel Wearne, acclaimed folk musician, will be playing at the Sydney International Food Festival. With a style often compared to the likes of Woody Guthrie, Bob Dylan and Steve Earle, Wearne has recently released his third album, Black Crow. His sets will take place this Wednesday, Thursday and Friday at the Brown Brothers music stage, at the Night Noodle Markets.

FRAGILE

This Friday night at The Vanguard, Sydney artist Sam Buckingham will be launching her brand new EP, Fragile Heart. After touring with the likes of Lior, Angus & Julia Stone and Washington, Buckingham has developed an easy performance style which compliments her angelic vocals.

themusic.com.au

This Friday night at The Carrington Hotel, four women will play sets that demonstrate the truth of the ageold adage, that music has “healing powers”. Each of the women uses music in order to help overcome illnesses and pasts that seem impossible to deal with. Lelly K will play a set of Leonard Cohen-esque contemporary folk, classically-trained Amanda Handel will give a set of her Spanish and Latin American songs, Toni Farlow will play a set of hauntingly beautiful alternative tracks, and Leanne Hawkins will give a set of her interpretation of country tracks.

LYING DOWN

This Friday night, Sydney band Hello Vera will launch their newest single When Will You Lay Down at FBi Social. Described as having a “sleaze-funk Doobie Brothers vibe”, the track has been well received so far; it will serve as a prequel to the band’s forthcoming EP. This band is generating plenty of chatter at present, so head along and see what they’re all about.

IN THE CITY

Following the recent release of Dappled Cities’ celebrated fourth studio album, Lake Air, the band have just announced their first national headline tour in more than two years. The band will be stopping in Sydney this week, hitting up the Metro Theatre this Thursday night. They’ll be supported by critically acclaimed European electro/pop artist JAPE, whose complex synthetic melodies have induced music critics to dub him “the Irish Beck”. This show will pull into The Metro Theatre this Thursday night.


STARTING & ENDINGS

ALONG THE COAST

Sydney band Benjalu are gaining a reputation for their infectious melodies, dynamic live performances and skilful fusing of folk, blues/roots, reggae and rock. After touring through Canada and the USA, as well as collecting several ABC music awards, the band are preparing to play a string of dates up and down the East Coast. This week, they’ll be hitting up The Brass Monkey in Cronulla this Wednesday night, the Bottlerocket Bar in Nowra on Thursday night, and The Heritage Hotel in Bulli on Friday night.

JOIN THE CLUB

This Wednesday and Thursday night, The Musos’ Club Jam Night will take over the Bald Faced Stag Hotel and the Carousel Hotel in Rooty Hill respectively. With roots and blues tunes going until late, this weekly event is an opportunity to dust off your old guitar and join the fray, or sit back and enjoy the tunes.

YOU BEAUTY

This week is a busy one for blues/roots band Flamin’ Beauties. They’ll be dropping into the Crown Hotel in Sydney this Friday night, then the Royal Hotel in Springwood this Saturday night. Entry will be free for both gigs.

Since beginning their stint in the music scene in 2008, Brisbane band Big Dead has built up a solid reputation and strong fan base. Their progressive rock sounds, infused with touches of jazz, have earned them a solid reputation and a supportive fan base; with rave reviews in their local street press, and plenty of “likes” on Facebook, the band have plenty going on for them at present. This month, Big Dead are hitting the road, travelling straight down the East Coast, celebrating the release of their first EP, titled How It Ends, How It Starts. They’ll stop in Sydney this Friday, hitting up Kittens Club Night at Spectrum.

This Friday night at El Rocco, Brisbane pin-up and budding vocalist Bec Laughton will take to the stage. With a mix of old school funk, mouth-wateringmelodies, heart-melting lyrics, booty-shaking beats, Laughton’s new EP is already generating positive press. Her single, Holy Love 2, has landed the singer at #11 on the triple j Roots charts. After taking out the 2012 Queensland Music Award for Dance/Electronic music, Bec Laughton is touring the East Coast.

IN THE BACKSEAT

Sydney duo Microwave Jenny has become stalwarts of the Sydney music scene. They kicked off this year with a rather special national tour—playing in the homes of over twenty fans in six states. Fusing pop, folk and love, Microwave Jenny’s newest single, You, Me, Backseat is a perfect combination of charisma and cute whimsy. The band will be hitting up New South Wales this week, starting with Lizotte’s on the Central Coast Wednesday, then travelling down to the Brass Monkey in Cronulla Thursday, then The Vanguard Friday and, finally, Yours & Owls in Wollongong on Saturday.

This Friday night at The Hi Fi, Danish-American psychobilly/horror legends Nekromantix will tear things apart. Led by self-confessed misfit and rock ‘n’ roll rebel Kim Nekroman, the band play strident, independent punk rock. Their live performances are energetic and intense—well worth watching.

Joe Bonamassa is currently in Australia, with touring band in tow. His new album, Driving Towards The Daylight has achieved positive reviews, and his concerts have stunned audiences across Europe and the US. Fusing blues and rock with ease and clarity, Bonamassa is often describe3d as “the missing link” between the two genres. He will be taking to the stage at the State Theatre this Friday night, with Australian act Claude Hay.

HEARTS AND SOULS

Sydney band Roland K. Smith & The Sinners, fresh from the launch of their album, Breaking Hearts & Saving Souls, are set to hit up The Sandringham Hotel this Friday night. With support from Billy Goat & The Mongrels—who will be launching their own album, Big City Low, on the same evening, this is set to be an action-packed show.

The ever-charming vocalist Sarah Humphreys is currently on tour, marking the release of her latest album, titled, Like A House Needs A Door. Her delicate arrangements and skilfully written songs have attracted a growing fan base, as well as attention from ABC’s new record imprint, Four Four. Sarah will take to the stage this Friday night at The Newsagency in Marrickville.

IMMIGRATION ISSUES

This Sunday, the Sydney Rock ‘n’ Roll & Alternative market is on again. This year will feature a stellar line-up, including 70’s chart-toppers Mushroom Planet, Melbourne mod band Little Murders, the Pat Capocci Combo’s brand of devilish rockabilly, Mother Truckers and their stomping swamp, plus the dangerous blues of Big Blind Ray & The Wailing Wall. The event will also feature DJ Brian, The Crimplenes, MCs Wolfoman Dan & The Rockabilly Rhino.

LONG WAY TO THE TOP

This Saturday night at the Sydney Entertainment Centre, a collection of remarkable artists will come together to celebrate the fact that AC/DC’s smash hit It’s A Long Way To The Top (If You Wanna Rock & Roll) has been added to the National Registry of Recorded Sound. With a line-up that includes Brian Cadd, Dragon, Marcia Hines, Col Joye, Jim Keayes, Little Pattie, Glenn Shorrock Matt Taylor, Phil Manning and John Paul Young, this show will feature some of AC/DC’s most incendiary hits, from Needle In A Haystack to Most People I Know Think I’m Crazy.

Melbourne-based six piece Immigrant Union—a collaboration of musicians from The Dandy Warhols, The Lazy Sons and The Galvatrons) have just released a new single, titled Come On. The band will spend this week in NSW, stopping in Canberra’s Front Gallery this Thursday night, then the Great Northern Hotel in Newcastle on Friday night, then Sydney’s FBi Social on Saturday.

Song title: Dance Like No One’s Watching

THE SERENITY

Sydney band Veora has just released their debut EP, titled Serenus. They’ll be hitting the road in support of the release, with two shows in Newcastle and Sydney this week. First, they’ll be pulling in at the Hamilton Station Hotel in Newcastle, with support from Shirts For Matthew. Then, they’ll be hitting up Sydney, playing the Bald Faced Stag Hotel alongside Drawing North, The Author and Xater Bay.

HIT A WALL

This Wednesday night, The World Bar will deliver their weekly instalment of art and dubstep. King Lee, Brothers Grimm and Grillz will take over the Main Bar, while Pash ’n’ Hop, Redial, Damsel and Brown Bear tear up the Club Room. Then, if you’re up for some musical sensory overload, Shaven Puss will be providing the soundtrack in The World Bar’s newly-renovated tea room. The Wall will also be re-instating one of their old favourites— Confession Booth, with Genevieve Fricker, Tim Sinclair, Kate Jinx, James Ross Edwards and Catherine Kelleher—better known as Catcall—will be pouring out their deepest, darkest secrets in the Apothecary.

Propaganda is the World Bar’s sweet, sweaty interstellar indie club night. This week will see three of the World Bar’s rooms dominated with pop-party hyper-speed. The Propaganda DJs will be behind the decks in the main room, and the Spice Cube DJs will be whipping out delicious pop tracks in the Tearoom. Propaganda is totally free for students.

SOUP KITCHEN

DJs, dance music and soup? Sounds like a combination made in heaven. This Sunday night at the World Bar, soup will be served and Cotolette, Ben Zooky, Dan Bangs, Junior, Manjazz & Nacho Vossler, Rubio, Deli and Ethan Winzer will generate some tunes.

What’s the song about? Get over yourself! Is this track from a forthcoming/ existing release? From the forthcoming debut album Beautiful In Danger. How long did it take to write/record? Some tracks take a few minutes to write and a few days to record. It’s the time in-between that gets bands on budgets. This track was first demoed ten months ago. Was anything in particular inspiring you during the making? We began to notice more people and especially girls dancing as opposed to the more traditional moshing and bouncing that happens at the front of the room. This track is dedicated to them. What’s your favourite part of the song? I like the fact that this is a simple fun song because we don’t have many of those. Do you play it differently live? It’s played the same live for now, but we always like to make surprise changes to older tracks. Will you be launching it? Saturday 6 October at the Annandale Hotel. For more info see: www.jericco.com.au

TUNED IN

YOUR MUM

Friday night is band night at The World Bar, featuring a collection of the best up-and-coming bands in the city. This week will feature The Shooters Party, Corpus, Ocean Alley and Violet Pulp as well as Bones Bones Bones, Bloody Lovely Audrey and The Zebs. DJs 10th Avenue, Sammy K, Michael Finlay, Swim Team DJs and The Cries Wolf DJs will also be hitting up various locations around the World Bar.

HAVE YOUR CAKE AND EAT IT, TOO

This Saturday night at the World Bar will be safari themed—featuring Monkey Safari, a pair of Germans who make mischief and minimal rainforest beats. Cake’s regulars, including Kato, Go Freek, Blaze Tripp, Mars Monero, Alistaire Erskine, DJ Damn, Pablo Calamari, Mike Hyper, Manjazz, Tigerlilly, The Mane Thing, Monaco and Cameron Cooper. Cakes is free before 8 PM.

IN THE LEAD UP TO 2SER-FM’S RADIOTHON, WE PROFILE SOME OF THEIR PRESENTERS. Name: Paris Pompor What show do you present and when is it on? Jumping The Gap, Wednesdays, midday to 1.30pm. What areas/genres do you cover? Anything from psychedelic soul, funk, boogie and disco, to Afrobeat, free-jazz, freak-beats and soundtracks. Shows often have a theme and usually a large portion of the program is talk-free and seamless. If people don’t support community radio, what horrors await us? Commercial radio. Nuff said!

TOTALLY KINETIC

The last Kinetic Jazz season for this year will kick off this week. Taking place at St Luke’s Hall in Enmore, the event will feature some remarkable jazz artists. The Electro-Acoustic Arkestra, a new collective project exploring sound, space, texture and dynamics, will kick off this Thursday night at 7:30 PM. Friday night will feature Gran Can—three instruments, combining synthesised sounds, acoustic sounds, history, movies—you name it. Saturday night will belong to Kim Sanders & Friends, exploring world jazz that’s a little bent. A.C.R.O.N.Y.M will take over on Sunday night—an orchestra of seven with a penchant for improvisation.

SINGLE FOCUS

JERICCO

BELIEVE THE PROPAGANDA

OPEN THE DOOR

DAY AT THE MARKETS

This Tuesday night, The World Bar will throw open its doors its doors to you, letting you shake off the midweek blues with a plethora of tunes—from JAM DJs’ pseudo-post-pop-hip-hop-punk-psytranceparty in the Main Bar, to slow, steady groove tunes in the Apothecary, courtesy of Ali & Chris. There’ll also be barbequed snacks and free entry.

FIERY

ALL IN THE FAMILY

OFF FOR A DRIVE

BREAD AND JAM

What discoveries have you made through community radio? So, so many. Great people with passion and drive for starters, but mainly it’s the small, independent labels and artists that otherwise might go unnoticed, or the connections with people, whether they live down the road or these day across the other side of the world.

RIN’S IN

Following her debut solo EP Nice Guys Finish First, Adelaide’s singer/songwriter Rin McArdle and joined with The Reckless for a debut band EP released in May this year. Described as ‘a tough Missy Higgins with the soul of Johnny Cash’, Rin McArdle plays The Vanguard on Friday supporting Microwave Jenny.

themusic.com.au

Name one good thing that will come of people supporting the Radiothon. Well in 2SER’s case if you subscribe you’ll ensure a bunch of specialist selectors and shows unique on the Sydney radio landscape. But also, 2SER is unique for it social justice, political and communityminded programs. You won’t find a weekly program for people in prison on any other Sydney station for example, but 2SER also has a GLBT program and we celebrate important days like International Women’s Day every year, as well as Vinyl Record Day. That’s worth preserving.. THE DRUM MEDIA • 55


TOUR GUIDE

PRESENTS

TIGERTOWN: Oct 5 The Front Gallery; 11 Brighton Up Bar; 12 Cambridge Hotel; 13 Heritage Hotel; 14 Brass Monkey

NATIONAL

THE AMITY AFFLICTION: Oct 2 University Of Canberra SCARAMOUCHE: Oct 3 Young & Owls; 4 Burdekin Hotel; 5 Hamilton Station 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 REGURGITATOR: Oct 4 Zierholz; 5 Wollongong UniBar ROYSTON VASIE: Oct 4 The Front Gallery; 5 Great Northern Hotel Newcastle; 6 Fbi Social VELOCIRAPTOR: Oct 4 Goodgod; 6 The Patch NORTHEAST PARTY HOUSE: Oct 4 UTS Oktoberfest; 5 Cambridge Hotel; 6 Beresford Hotel; 11 UNSW Oktoberfest SARAH HUMPHREYS: Oct 5 The Newsagency; Nov 9 The Glass Onion Society; 16 The Lass O’ Gowrie THE MCCLYMONTS: Oct 5 Newcastle Civic Theatre CLAUDE HAY: Oct 6 Northern Star; 28 Grand Junction REGULAR JOHN: Oct 5 The Patch; 12 Great Northern Hotel Newcastle; 13 Annandale Hotel THE BEAUTIFUL GIRLS: Oct 5 The Metro; 6 Anita’s; 12 & 13 Mona Vale Hotel BEC LAUGHTON: Oct 5 Elrocco; 7 Lizotte’s Newcastle TIGERTOWN: Oct 5 The Front Gallery; 11 Brighton Up Bar; 12 Cambridge Hotel; 13 Heritage Hotel; 14 Brass Monkey BIG TOUR feat. TUKA, DAILY MEDS and more: Oct 5 Cambridge Hotel; 6 Hotel Gearin MIA DYSON: Oct 6 Lizotte’s Central Coast OBVIOUSLY YOUR SUPERHERO: Oct 6 Hype Central; 7 Mars Hill Cafe DAMIEN LEITH: Oct 6 State Theatre GLASS TOWERS: Oct 6 Goodgod JERICCO: Oct 6 Annandale Hotel 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 56 • THE DRUM MEDIA

FRENZAL RHOMB: Oct 12 Wollongong UniBar; 13 Bar On The Hill VAUDEVILLE SMASH: Oct 13 Upstairs Beresford DARREN PERCIVAL: Oct 13 Newport Arms & Belmont 16s; 14 Australian Brewery; Nov 18 The Studio; Dec 1 The Cube; 2 Southern Cross Club; 8 Smithfield RSL; 14 The Juniors; 15 Concourse Theatre 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 CROOKED SAINT: Oct 17 Lizotte’s Central Coast; 18 Front Gallery; 19 Clarendon Guesthouse; 20 Heritage Hotel; 24 Lizotte’s Newcastle; 25 Old Manly Boatshed; 26 Beresford Hotel KOOII: Oct 18 Blue Beat LISA MITCHELL: Oct 18 Bar On The Hill; 19 The Metro, 20 Wollongong UniBar THE PRETTY LITTLES: Oct 18 The Phoenix 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) TRIPLE TREAT feat. ARGENTINA, TOKYO DENMARK SWEDEN, THEM SWOOPS: Oct 20 FBi Social LAST DINOSAURS: Oct 20 & Nov 9 The Metro, 10 Zierholz NEOTOKYO: Oct 20 Annandale Hotel DOCTOR WEREWOLF: Oct 20 The Clubhouse THE SIREN TOWER: Oct 20 Fitzroy Hotel (Windsor); 21 Brass Monkey HUSKY: Oct 21 Oxford Art Factory ANDREW MORRIS: Oct 24 Oxford Art Factory WE ALL WANT TO: Oct 24 Great Northern Hotel Newcastle; 25 Yours & Owls; 26 Clarendon Guesthouse; 27 Brighton Up Bar RAY BEADLE: Oct 24 Clarendon Guesthouse; 25 Brass Monkey; 26 Heritage Hotel; 31 The Basement Circular Quay; Nov 1 The Abbey 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 THE PREATURES: Oct 25 The Phoenix; 26 Goodgod; Nov 1 Hotel Steyne; 2 Yours & Owls; 3 Cambridge Hotel STEVE BALBI: Oct 25 Vanguard; 26 Brass Monkey CATHERINE TRAICOS: Oct 25 The Green Room Lounge. BLACK MUSTANGE: Oct 25 Brighton Up; Oct 26 Cambridge Hotel; Oct 27 The Phoenix IN HEARTS WAKE: Oct 25 Hot Damn; 26 Blacktown Masonic Hall; 27 Hot Damn Road Trip; 28 Bald Faced Stag DALLAS FRASCA: Oct 26 Black Face Stag; 27 Cambridge Hotel STEP-PANTHER: Oct 26 Brighton Up Bar; 27 Yours & Owls BRITISH INDIA: Oct 26 The Patch; 27 Fitzroy Hotel; Nov 2 Manly Fisho’s; 3 Standard DIAFRIX: Oct 26 Great Northern Newcastle; 27 Goodgod TIN SPARROW: Oct 26 Standard TARA SIMMONS, PLUTO JONES: Oct 26 FBi Social BLKOUT: Oct 26 The Gladstone Feeling DOMNICKS: Oct 27 Sandringham Hotel; 28 The Patch THUNDAMENTALS: Oct 27 Hotel Gearin; Nov 9 Oxford Art Factory

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 TRIPLE TREAT feat. ARGENTINA, TOKYO DENMARK SWEDEN, THEM SWOOPS: Oct 20 FBi Social 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 GAY PARIS: Nov 3 Transit Bar; 7 The Cambridge; 8 The Steyne; 9 The Sando; 10 The Patch GYPSY & THE CAT: Nov 8 Metro BASTARDFEST: Nov 9 & 10 The Basement Canberra; 17 Sandringham Hotel BEIRUT: Nov 14 Enmore Theatre JEFF MARTIN: Nov 14 Clarendon Guesthouse; 15 The Abbey; 16 The Fitzroy; 17 Coogee Bay Diggers; 18 The Basement; Dec 10 Lizotte’s Newcastle; 11 Lizotte’s Kincumber; 12 Lizotte’s Dee Why; 14 The Factory; 15 The Heritage; 16 The Vanguard; 18 & 19 Brass Monkey JORDIE LANE: Nov 22 Smith’s Bookstore (Canberra); Dec 14 Great Northern Newcastle; 15 Notes’ 16 Clarendon Guesthouse CITY RIOTS: Nov 22 Terrace (Newcastle), 23 The Patch, 24 FBi Social; 29 Rock Lily REDCOATS: Nov 29 Great Northern Newcastle; 30 Annandale Hotel; 1 December Transit Bar 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 BEACH HOUSE: Jan 3 Enmore Theatre GODSPEED YOU! BLACK EMPEROR: Feb 14 Enmore Theatre EINSTÜRZENDE NEUBAUTEN: Feb 22 Enmore Theatre BLUESFEST: Mar 28 – Apr 1 Tyagarah Tea Tree Farm

TUE 02

ADAM PRINGLE + FRIENDS: Sandringham Hotel, downstairs - Newtown DIG (DIRECTIONS IN GROOVE), JADE BOOTAY: Brass Monkey - Cronulla DJ ERIC WAREHEIM, DJ DOUGGPOUND: Oxford Art Factory - Darlinghurst GALAXSTARE, CHRIS POULSON TRIO: 505 - Surry Hills KING LEE, BROTHERS GRIMM, GRILLZ, + MORE: World Bar - Kings Cross LADY ANTEBELLUM, TIM HART: Concert Hall, Sydney Opera House - Circular Quay MANDI JARRY DUO: Maloneys Hotel - Sydney OLD SPICED BOYS: 3 Wise Monkeys - Sydney PAUL SUN, GRAHAM CONLON, ALEX COMPTON: Jazushi - Surry Hills

themusic.com.au

PETER MEISEL, NICK CODY: Harold Park Hotel - Glebe RENAE STONE: O’Malley’s - Darlinghurst ROB HENRY: Observer Hotel - The Rocks SONS OF MERCURY: Scruffy Murphys - Sydney THE AMITY AFFLICTION, THE GHOST INSIDE, ARCHITECTS, BURIED IN VERONA: UC Refectory, ANU - Canberra ACT TIM & ERIC: Metro Theatre - Sydney

WED 03

ANDY MAMMERS DUO: Maloneys Hotel - Sydney BENJALU, ALLOWAY, PETE SOT: Brass Monkey - Cronulla DAN SPILLANE: Mean Fiddler Hotel, Sub Bar - Rouse Hill FRANCISCA VALENZUELA, ABUKA: Blue Beat Bar - Double Bay

GYPSY JAZZ & LIFE DRAWING: Lizottes, Sydney - Dee Why JOHNNY NICOL: 505 - Surry Hills KARISE EDEN, LAKYN HEPERI: St Stephens Church, Newtown kNIEVEL: The Local Taphouse - Darlinghurst LADY ANTEBELLUM, TIM HART: Concert Hall, Sydney Opera House - Circular Quay LITTLE HURRICANE, AINSLIE WILLS: The Vanguard - Newtown MICROWAVE JENNY: Lizottes, Central Coast - Kincumber MUSOS CLUB JAM NIGHT: Bald Faced Stag - Leichhardt NORTH EAST PARTY HOUSE, PONTIAC, + MORE: Beach Road Hotel, Rex Room - Bondi OPEN MIC NIGHT: Hawkesbury Hotel - Windsor REBECCA MOORE, SARAH HUMPHREYS, NICOLE BROPHY: Lizottes, Newcastle - New Lambton SCARLETS REVENGE, RATHER BE DEAD, THE CASHMERE REVOLUTION, THE MIS-MADE, + MORE: Sandringham Hotel, upstairs - Newtown SLOW BLOW: Marquee, The Star - Pyrmont THE RAJKO GYPSY BAND: Camelot Lounge - Marrickville TIM & ERIC: Factory Theatre - Marrickville VEORA, SHIRTS FOR MATTHEW: Hamilton Station Hotel - Newcastle WHITE PICKET FENCE, PHOEBE EVE GARDEN, BECK FIELDING: Valve Bar & Venue - Tempe

THU 04

ANDREW DENNISTON: Marlborough Hotel - Newtown

GOODNIGHT DYNAMITE: O’Malleys Hotel - Kings Cross GREGORY PAGE, LIZ FRENCHAM: Camelot Lounge - Marrickville JAZZ A VIENNE SYDNEY 2012: The Basement - Circular Quay KARISE EDEN, LAKYN HEPERI: St Stephens Church, Newtown KATRINA BURGOYNE: Dee Why Hotel - Dee Why KINGSWOOD, LITTLE BASTARD, THE COLD MEAN REDS: Annandale Hotel - Annandale MANDI JARRY: Harbord Beach Hotel - Harbord MICHAEL MCGLYNN: Greengate Hotel - Killara MICROWAVE JENNY, MOLLY CONTOGEORGE, LAURA AND BRUNO: Brass Monkey - Cronulla MUSOS CLUB JAM NIGHT: Carousel Inn - Rooty Hill NOVALIMA, SISTEMA CRINOLA: Blue Beat Bar - Double Bay PAUL HAYWARD’S PUNK ROCK KARAOKE: Sandringham Hotel, downstairs - Newtown PETE HUNT: Manly Leagues Club - Brookvale PETER HEAD: Harbour View Hotel - The Rocks POLITICALLY INCORRECT: Lizottes, Sydney - Dee Why REGURGITATOR, HEDGEHOG, SENYA WA: Zierholz @ UC - Canberra ACT ROYSTON VAISE & THE IMMIGRANT UNION: Front Gallery & Café - Lyneham, ACT SONS OF MERCURY: Bull & Bush Baulkham Hills SOULED OUT: Scruffy Murphys - Sydney

KNIEVEL: Wednesday 3 October, Local Taphouse

ANTON: Crown Hotel - Sydney BEATEN BODIES: Notes Live - Enmore BEN FINN DUO: Ettamogah Hotel - Rouse Hill BRADLEY CORK & THE FOLKLORE MANTRA, JULIAN ROJAS, SPOOKYLAND, + GUESTS: Valve Bar & Venue - Tempe DAPPLED CITIES, JAPE: Metro Theatre - Sydney DAVE ADES BENEFIT NIGHT: 505 - Surry Hills DAVE WHITE DUO: Maloneys Hotel - Sydney DOC HOLLIDAY TAKES THE SHOTGUN, THE OWLS, SUPER BEST FRIENDS + MORE: Oxford Art Factory, Live Art Space - Darlinghurst ELECTRO ACOUSTIC ARKESTRA: St Luke’s Church & Hall - Enmore

THE BRIDE, HEARTS LIKE WOLVES, ANDEE VAN DAMAGE, FORTUNE FAILS: Spectrum - Darlinghurst THE GOLD PROJECT, JESS & JEN, STEPHANIE GRACE: The Vanguard - Newtown THE H.P. CORONADOS: Harold Park Hotel - Glebe THE PHONIES, BIG VILLAGE GUESTS: The Mac - Surry Hills THE STRANGERS: Lansdowne Hotel - Chippendale TOTALLY ENORMOUS EXTINCT DINOSAURS, + SECRET SPECIAL GUEST, Future Classic DJs: Oxford Art Factory - Darlinghurst URBY, PROPAGANDA DJs, SPICE CUBE DJs, + MORE: World Bar - Kings Cross


VELOCIRAPTOR, PALMS: GoodGod Small Club - Sydney

FRI 05 ADAM BLACK DUO: Kincumber Hotel - Kincumber ARREBATO ENSEMBLE: 505 - Surry Hills BABY GRAND, STELLAR ADDICTION, The Wire: Hermann’s Bar - Darlington BENI & CASSIAN: Beach Road Hotel, Rex Room - Bondi BLACK DIAMOND HEARTS: Crows Nest Hotel (late) - Crows Nest BLACK ROSE: Courthouse Hotel - Darlinghurst BLONDE 182: Customs House Bar - Circular Quay BNO ROCK SHOW: Australian Brewery Hotel - Annangrove BONES BONES BONES, BLOODY LOVELY AUDREY, THE ZEBS, + MORE: World Bar - Kings Cross CALIFORNICATIONRED HOT CHILLI PEPPERS: Ettamogah Hotel - Rouse Hill CALL THE SHOTS, OBVIOUSLY YOUR SUPERHERO, SIX FEARS SEVEN + MORE: Castle Grand Community Centre - Castle Hill CASS EAGER & THE VELVET ROPE: The Mac - Surry Hills COOL CHANGE: Charlestown Bowling Club - Charlestown DAMAGE INC: Blue Cattledog Hotel - St Clair DANIEL ARVIDSON: Duke of Wellington Hotel - New Lambton DAVID AGIUS DUO: Hillside Hotel - Castle Hill DISCO IS DEAD, MAVENS, RESTLESS LEG: Roxbury Hotel - Glebe FALLON BROTHERS: Stacks Taverna Darling Harbour FIRST LADIES OF SOUL: Lizottes, Sydney - Dee Why FLAMIN’ BEAUTIES: Crown Hotel - Sydney FUNKAGENDA: Marquee, The Star - Pyrmont GEOFF RANA: Observer Hotel (late) - The Rocks GIMME FIVE, SHAMUS, DJ MIKE SILVER: Cohibar - Darling Harbour GODS OF THUNDER: Colyton Hotel - St Marys GRACE ELLIOT, EMMA EDWARDS, JAE MOON, VINCENT PHARM: Annandale Hotel - Annandale GRAN CAN: St Luke’s Church & Hall - Enmore GREGORY PAGE, LIZ FRENCHAM: Yours and Owls - Wollongong GROOVEOLOGY: Marlborough Hotel - Newtown GUY STRAZZ: Lizottes, Central Coast - Kincumber HIGH WOLF, BENOIT PIUOLARD, THOMAS WILLIAM, SECRET BIRDS: The Square - Haymarket HUE WILLIAMS: Avalon Beach RSL - Avalon INTIMATE LOUNGE MUSIC: Fairfield RSL, Supper Club - Fairfield J CONNEXION: City Hotel - Campbelltown JESS DUNBAR: Grand Hotel - Rockdale

Joe Bonamassa, CLAUDE HAY: State Theatre - Sydney KING TIDE, TALES IN SPACE, DAN CRESTANI, DJ LIZ BIRD: Upstairs Beresford - Surry Hills LEANNE HAWKINS, TONI FARLOW, LELLY K, AMANDA HANDEL: The Carrington Hotel, Katoomba LET’S GROOVE TONIGHT: Campbelltown Catholic Club, Club Lounge LUKE AUSTEN: The Mark Hotel - Newcastle MANDI JARRY TRIO: Kirribilli Hotel - Kirribilli MARSALA: Camelot Lounge - Marrickville MATT PRICE: Souths On Chalmers - Redfern MICROWAVE JENNY, SAM BUCKINGHAM, RIN MCARDLE: The Vanguard - Newtown MIDNIGHT DRIFTERS: Belmont 16’s - Belmont NEILL BOURKE: O’Malleys Hotel - Kings Cross NEKROMANTIX, WORKING HORSE IRONS, DEATH VALLEY: The Hi Fi, Entertainment Quarter - Moore Park NICK KINGSWELL DUO: Crows Nest Hotel (early) - Crows Nest NORTH EAST PARTY HOUSE: Cambridge Hotel - Newcastle OUTLIER, EVIE DEAN: Dee Why Hotel - Dee Why OUTRIGHT, VIGILANTE, HAZARDS, COP GESTAPO: Valve Bar & Venue - Tempe PANORAMA: Scruffy Murphys - Sydney PAUL WATTERS: Tall Timbers Hotel - Ourimbah PHIL SIMMONS: Oasis on Beamish Hotel - Campsie PINK SHOW, KATY PERRY SHOW: Dee Why RSL - Dee Why POLITICALLY INCORRECT: Doyalson/ Wyee RSL - Doyalson REAR VIEW - PEARL JAM SHOW: Bull & Bush - Baulkham Hills REBEL ROUSERS: Club Singleton - Singleton REGULAR JOHN, THOMAS COVENANT, NUCLEAR FAMILY: The Patch - Fairy Meadow REGURGITATOR, HEDGEHOG, SENYA WA: Uni Bar, Wollongong University - Wollongong ROB HENRY: Northies, Sports Bar - Cronulla ROLAND K SMITH & THE SINNERS, BILLY GOAT & THE MONGRELS + MORE: Sandringham Hotel, upstairs - Newtown ROLLING STONE TRIBUTE Feat. DAMIEN LOVELOCK, REX GOH: Brass Monkey - Cronulla RUBBER BULLET: Exchange Hotel - Newcastle SARAH HUMPHREYS, CAM MCKELLAR, MARK MOLDRE: The Newsagency - Marrickville SONS OF LEE MARVIN: Lansdowne Hotel - Chippendale SONS OF MERCURY: Miranda Hotel - Miranda STEEL PANTHER: Big Top, Luna Park - Milsons Point STEPHEN MALKMUS & THE JICKS, BEARHUG: Factory Theatre - Marrickville

TED NASH: Chatswood RSL - Chatswood THE BEAUTIFUL GIRLS: Metro Theatre - Sydney THE BIG BANG: Cessnock Supporters Club - Cessnock THE CONTINENTAL BLUES PARTY: Rock Lily - The Star (afternoon) - Pyrmont THE CONTINENTAL BLUES TRIO: Woolpack Hotel - Redfern THE MY TYS: Oxford Art Factory, Live Art Space - Darlinghurst THE ORGAN IN ROCK - LACHY DOELY: Blue Beat Bar - Double Bay THE PIGS: Notes Live - Enmore THE SPHINXES: Vineyard Hotel - Vineyard THE STAGE DOOR JOHNNIES: Lizottes, Newcastle - New Lambton THE UMBRELLAS: Sound Lounge, Seymour Centre - Chippendale THUNDERSTRUCK-AC/ DC SHOW, SHADOW BOXER- THE ANGELS TRIBUTE: Collaroy Beach Club - Collaroy TWO TRIBE: Matraville Hotel - Matraville

DAVID CAMPBELL: The Cube - Campbelltown DEAD EARS, DANIEL KEATING, RUSTY, LITTLE VOICE: Roxbury Hotel - Glebe DIRT RIVER RADIO, 30THREE, ARCANE SAINTS, ANGEL AWAKE: Lewisham Hotel - Lewisham DIVIDERS: Lansdowne Hotel - Chippendale DRAWING NORTH, VEORA, THE AUTHOR, XATER BAY: The Wall, The Bald Faced Stag - Leichhardt DRAWN FROM BEES: Oxford Art Factory, Gallery Bar - Darlinghurst ELEVATION-U2 SHOW: South Hurstville RSL - South Hurstville ELIZABETH ROSE DJ SET: Beach Road Hotel, Rex Room - Bondi FBI SOCIAL feat., ROYSTON VAISE & THE IMMIGRANT UNION: Kings Cross Hotel - Kings Cross FIONA LEIGH-JONES DUO: Harbord Beach Hotel - Harbord

MIA DYSON: Saturday 6 October, Lizotte’s Central Coast

VAN THE MAN - VAN MORRISON SHOW: The Basement - Circular Quay WARBRINGER, DARKER HALF, DAWN HEIST, TORTURED, HELL ITSELF, THRASHED: The Wall, The Bald Faced Stag - Leichhardt WHITE BROS: Quakers Inn - Quakers Hill

SAT 06 BLACK DIAMOND HEARTS: Golden Sheaf Hotel - Double Bay BLONDE 182: Stacks Taverna - Darling Harbour BLUES PIRATES: Crown Hotel - Sydney BRIAN’S FAMOUS JAZZ & CHILI CRAB NIGHT: Lizottes, Sydney - Dee Why BUMP CITY: Camelot Lounge - Marrickville CANNIBAL CORPSE, DISENTOMB, ENTRAILS ERADICATED, PSYCROPTIC: Metro Theatre - Sydney CHASE THE SUN, LITTLE BIG WOLF, JED ROWE: Brass Monkey - Cronulla CHRIS PATON: Northies, Sports Bar - Cronulla CHRISTINE ANU Presents, THE ARETHA FRANKIN SONGBOOK: The Basement - Circular Quay CLAUDE HAY: Northern Star Hotel - Hamilton COLDPLAY TRIBUTE: Blacktown RSL. Celebrity Room - Blacktown CRAIG SCOTT QUINTET: Sound Lounge, Seymour Centre - Chippendale DAVID AGIUS: Castle Hill RSL, The Terrace - Castle Hill

FLAG FALL, THE JEFF CHINKY FAN CLUB, COLONIES, PSYCHLOPS EEYPATCH: The Square - Haymarket FLAMIN’ BEAUTIES: Royal Hotel - Springwood FLANNELETTE, THE NADIKS, PARTISAN CODE, RATTLESNAKE, THE GUNN SHOW: Valve Bar & Venue - Tempe FLUX: Town Hall Hotel - Balmain GEOFF RANA: Sir Joseph Banks Hotel - Botany GREG BRYCE & THE BAD BAD THINGS: Duke of Wellington Hotel - New Lambton HARBOUR MASTERS: Engadine Tavern - Engadine HOUSE OF HAMMERS: Factory Theatre - Marrickville ILLICIT, ROSE TO RUINS, DYSTOPIC, ON THE SHOULDERS OF GIANTS, BLACK MAMBA: Valve Bar & Venue (afternoon) - Tempe JELLYBEAN JAM: Penrith RSL, Castle Lounge - Penrith JERICCO, THE MONKS OF MELLONWAH, KALEEKO, MINUS HOUSE, LOVERS JUMP CREEK: Annandale Hotel - Annandale JO ELMS DUO: Mean Fiddler Hotel - Rouse Hill KAFE KOOL: Fairfield RSL, Supper Club - Fairfield KIM SANDERS & FRIENDS: St Luke’s Church & Hall - Enmore KIRK BURGESS: Newport Arms Hotel - Newport KRISHNA JONES: The Belvedere Hotel - Sydney LEMON SQUEEZIN’ DADDIES: Belmont 16’s - Belmont

TOUR GUIDE MAMA KIN: Oct 30 Camelot; 31 Clarendon Guesthouse DELTA GOODREM: Oct 31 & Nov 2 State Theatre KASEY CHAMBERS & SHANE NICHOLSON: Oct 30 Civic Theatre; Nov 1 Shoalhaven Entertainment Centre; 2 Seymour Centre ANGUS STONE: Nov 1 Enmore Theatre; 2 Newcastle Leagues Club; 3 Waves HUNGRY KIDS OF HUNGARY: Nov 1 Standard; 2 Wollongong UniBar OCEANICS: Nov 1 Transit Bar; 2 FBi Social; 3 Great Northern Newcastle ELECTRIC EMPIRE: Nov 1 Heritage Hotel; 2 Oxford Art Factory; 3 Gearin Hotel GAY PARIS: Nov 3 Transit Bar; 7 The Cambridge; 8 The Steyne; 9 The Sando; 10 The Patch GYPSY & THE CAT: Nov 8 Metro JORDIE LANE: Nov 22 Smith’s Bookstore (Canberra); Dec 14 Great Northern Newcastle; 15 Notes’ 16 Clarendon Guesthouse CITY RIOTS: Nov 22 Terrace (Newcastle), 23 The Patch, 24 FBi Social; 29 Rock Lily REDCOATS: Nov 29 Great Northern; 30 Annandale Hotel; 1 December Transit Bar

INTERNATIONAL

LADY ANTEBELLUM: Oct 2 & 3 Sydney Opera House Concert Hall LITTLE HURRICANE: Oct 3 The Vanguard TOTALLY ENORMOUS EXTINCT DINOSAURS: Oct 4 Oxford Art Factory STEPHEN MALKMUS & THE JICKS: Oct 4 Transit Bar; 5 Factory Theatre GREGORY PAGE: Oct 4 Camelot; 5 Yours & Owls; 7 Clarendon Guesthouse; 12 The Royal Exchange; 13 Humph Hall; 14 Folk In The Foothills Festival; Nov 1 The Vanguard; 2 The Garden; 3 McCrossin’s Mill; 9 Merry Muse; 11 The Front 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 RUDIMENTAL: Oct 13 Chinese Laundry SLUGABED: Oct 13 One22 SAMPOLOGY: Oct 13 World Bar; Nov 2 Trinity Bar; 4 King Street Hotel 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 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 HOT CHELLE RAE: Oct 22 Enmore Theatre; 28 Canberra Royal Theatre BILLY BRAGG: Oct 23 Canberra Theatre; 27 & 28 Enmore Theatre JILL BARBER: Oct 24 Clarendon Guesthouse; 25 Brass Monkey; 26 Heritage Hotel; 31 The Basement Circular Quay; Nov 1 The Abbey

themusic.com.au

WINTER PEOPLE: Oct 11 Yours & Owls; 12 Cambridge Hotel; 13 The Factory; 14 Clarendon Guesthouse

ARRESTED DEVELOPMENT: Oct 25 Cockatoo Island MATCHBOX TWENTY: Oct 25 AIS Arena; 30, 31 Sydney Entertainment Centre; Nov 3 Hope Estate; 6 WIN Entertainment Centre EASY STAR ALL STARS: Oct 25 Rock Lily PURO INSTINCT: Oct 25 The Square MADLIB: Oct 26 The Metro ELAINE PAIGE: Oct 26 State Theatre; 28 Canberra Theatre THURSTON MOORE: Oct 26 Hi-Fi WEDNESDAY 13: Oct 26 Manning Bar MARSHALL JEFFERSON: Oct 27 Cruise SHELLAC: Oct 28 The Metro BEIRUT: Nov 14 Enmore Theatre JEFF MARTIN: Nov 14 Clarendon Guesthouse; 15 The Abbey; 16 The Fitzroy; 17 Coogee Bay Diggers; 18 The Basement; Dec 10 Lizotte’s Newcastle; 11 Lizotte’s Kincumber; 12 Lizotte’s Dee Why; 14 The Factory; 15 The Heritage; 16 The Vanguard; 18 & 19 Brass Monkey 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 BEACH HOUSE: Jan 3 Enmore Theatre GODSPEED YOU! BLACK EMPEROR: Feb 14 Enmore Theatre EINSTÜRZENDE NEUBAUTEN: Feb 22 Enmore Theatre

FESTIVALS

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 PURE SERIES: Oct 13 Greenwood Hotel 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 RAZOR BLADE FESTIVAL: Nov 10 The Square GRAPHIC FESTIVAL: Nov 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 CMC ROCKS THE HUNTER: Mar 15 – 17 Hope Estate BLUESFEST: Mar 28 – Apr 1 Tyagarah Tea Tree Farm THE DRUM MEDIA • 57


LET’S GROOVE TONIGHT: Tracks, Epping Hotel - Epping LONG WAY TO THE TOP 10TH ANNIVERSARY SHOW: Sydney Entertainment Centre - Sydney LOUIS KING, ADAM PRINGLE, KING BEES/ SWAMP HOUSE, CHUCKS WAGON, + MORE: Marrickville Bowling Club - Marrickville MAINLINE: Carousel Inn - Rooty Hill MARTIKA, KATE ALEXA: The Auditorium - Canberra, ACT MECHANICAL BLACK, BELOW THE ZODIAC, MOOL KING DEVICE: Town Hall Hotel - Newtown MIA DYSON: Lizottes, Central Coast - Kincumber MONKEY SAFARI, KATO, BLAZE TRIPP, + MORE: World Bar - Kings Cross MOONLIGHT DRIVE: Exchange Hotel - Newcastle NIGEL WEARNE: The Shack, Narrabeen NORTHEAST PARTY HOUSE, I AM APOLLO, ALISA FEDELE, THE KING BEES, F.R.I.E.N.D.S DJs: Upstairs Beresford - Surry Hills PAUL MACNAMARA TRIO, JEREMY SAWKINS: 505 - Surry Hills PETER HEAD: Harbour View Hotel - The Rocks

58 • THE DRUM MEDIA

PLATFORM HIP HOP FESTIVAL: Carriageworks - Eveleigh POP FICTION: Panthers, Terrace Bar - Penrith ROLLING STONED: Jewells Tavern - Newcastle ROLLING STONES TRIBUTE: Notes Live - Enmore RUN THE RED: Royal Hotel - Bondi RUSSIAN CIRCLES, EAGLE TWIN: The Hi Fi, Entertainment Quarter - Moore Park SAM & JAMIE BAND: Crows Nest Hotel (late) - Crows Nest SHARRON BOWMAN: Brewhouse - Marayong SONS OF MERCURY: Mona Vale Hotel - Mona Vale SOULGANIC: Castle Hill RSL, Piano Lounge - Castle Hill STEEL PANTHER: Big Top, Luna Park - Milsons Point STEVE EDMONDS BAND: Bull & Bush - Baulkham Hills STORMCELLAR: Taverners Hill Hotel - Leichhardt TALK IT UP: Scruffy Murphys - Sydney TALL POP SYNDROME: Marlborough Hotel - Newtown THE BEAUTIFUL GIRLS: Anita’s Theatre - Thirroul

GIG OF THE WEEK

DAPPLED CITIES

Following the recent release of Dappled Cities’ celebrated fourth studio album, Lake Air, the band are currently on their first national headline tour in more than two years. Critically acclaimed European electro/ pop artist Jape, whose album Ocean Of Frequency was recently awarded the Irish Album Of The Year, will join the circuit as special guest on this tour. They play Thursday 4 Octber at The Metro. THE DEMON PARADE, THE TOMBSTONE RAMBLERS, EAST RIVER: Harbour Cruise - Sydney Harbour THE ENDLESS SUMMER BEACH PARTY: Macarthur Tavern - Campbelltown THE PAPER SCISSORS: The Standard - Darlinghurst THE RADIATORS: Ettamogah Hotel - Rouse Hill THE STAGE DOOR JOHNNIES: Lizottes, Newcastle - New Lambton THE STARLINERS: Hornsby RSL - Hornsby TINPAN ORANGE, LEAH FLANAGAN: The Vanguard - Newtown

TRANCE CENTRAL: Oxford Art Factory - Darlinghurst TUKA, ELLESQUIRE, Daily Meds, TRUE VIBE NATION, LOOSE CHANGE, + MORE: Hotel Gearin - Katoomba TWO GOOD REASONS: The Mark Hotel - Newcastle VANITY: RG McGees - Richmond WARBRINGER, SABRETUNG, EXEKUTE, BALESCREAM: Broadmeadow Tennis Club - Newcastle WARDS XPRESS: Bald Rock Hotel - Rozelle

YELLOW SOX, CANDIDATE: Cohibar - Darling Harbour YUKI KUMAGAI, JOHN MACKIE: Wellco Café & Wine Bar - Leichhardt

SUN 07 A.C.R.O.N.Y.M.: St Luke’s Church & Hall - Enmore ANDY MAMMERS: Mill Hill Hotel - Bondi Junction BABY ET LULU: Camelot Lounge - Marrickville BEC LAUGHTON: Lizottes, Newcastle - New Lambton BILL SUMMERS, JAMES MORRISON: The Basement - Circular Quay

themusic.com.au

CAMBO: Observer Hotel - The Rocks CHRIS TURNER & THE CAVEMEN: Bald Rock Hotel - Rozelle COREY LEGGE BAND, THE BLAND, THE BEANS: Valve Bar & Venue (afternoon) - Tempe COTOLETTE, BEN ZOOKY, DAN BANGS, + MORE: World Bar - Kings Cross DAVID AGIUS: Mona Vale Hotel - Mona Vale DOG TRUMPET: Sandringham Hotel, downstairs (afternoon) - Newtown FRANKY & JOHNNY: Belmont 16’s - Belmont

GHOSTS ON BROADWAY, CALL THE SHOTS, YOUR WEIGHT IN GOLD, LETTERBOMB, ALASKA + MORE: Lewisham Hotel - Lewisham GREG BRYCE: Wisemans Ferry Inn - Wisemans Ferry GREGORY PAGE, LIZ FRENCHAM: Clarendon Guest House - Katoomba HARMONATE: Beach Road Hotel, Beer Garden (afternoon) - Bondi HUE WILLIAMS: Bayview Hotel - Woy Woy INTI ILLIMANI HISTORICO: Enmore Theatre - Enmore JAMIE LINDSAY: Harbord Beach Hotel - Harbord Joe Bonamassa: Civic Theatre - Newcastle JOHN LEIGH CALDER QUARTET: White Horse Hotel -Surry Hills KATRINA BURGOYNE: Kincumber Hotel - Kincumber LUKE MCD, MURAT KILIC: The Spice Cellar - Sydney MARTIKA, KATE ALEXA: Metro Theatre - Sydney OBVIOUSLY YOUR SUPERHERO: Mars Hill Café - Parramatta PETER HEAD TRIO, + FRIENDS: Harbour View Hotel - The Rocks PLATFORM HIP HOP FESTIVAL: Carriageworks - Eveleigh

RECKLESS: Ettamogah Hotel - Rouse Hill ROB HENRY, NEILL BOURKE: Observer Hotel (early) - The Rocks SATELLITE V: Marrickville Bowling Club - Marrickville STEVE CROCKER: Bayview Tavern - Gladesville STEVE EDMONDS BAND: Queens Wharf Brewery - Newcastle SYDNEY ROCK ‘N ROLL & ALTERNATIVE MARKETS: Manning Bar, Sydney Uni Camperdown THE MORRISONS: Annandale Hotel (afternoon) - Annandale THE SHOUT BROS: Botany View Hotel - Newtown THE SLOWDOWNS: Arcadia Bar - Redfern TINPAN ORANGE, LEAH FLANAGAN: The Vanguard - Newtown TRIPPING UP THE STAIRS: Mean Fiddler Hotel - Rouse Hill

MON 08 BILL SUMMERS MASTERCLASS: The Basement Circular Quay CARL FIDLER: Observer Hotel - The Rocks VERGE ARTS FESTIVAL: 505 - Surry Hills


BTL - BEHIND THE LINES

EST. 1999 REHEARSAL STUDIOS, HOMEBUSH

STILL CHEAP! WE WONT KICK YOU OUT AT 9PM FOR ANOTHER BAND COMING IN! WE STILL DO 7 TO 10 OR 8 TO 11 SESSION

7 STUDIOS! PRICES STARTING AT $55 FOR 3 HRS

0411605554

Photographer For bands and events $200 for the day

$BMM%BOJFMPO EBOJFMMF[LPWBD!IPUNBJMDPN

YOUR AD IN THIS SPACE CALL JAMES AT DRUM MEDIA ON 9331 7077

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

www.soundedit.com.au brett@soundedit.com.au Mob: 0418 232 797 Ph: 02 8002 4029 THE DRUM MEDIA • 59


EMPLOYMENT

FILM & STAGE CAMERA

ADMINISTRATION 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

DJ AVAILABLE- ANYTIME

www.djzokithefab.com -0416306340 for any dj service club or home or birthday call anytime-GET A REAL DJ NOT MP3 PLAYER OR CRAPPY DOWNLOAD.......VINYL DJ ROCKS

iFlogID: 16083

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

FILM, EDITING, WEBSITES

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. A Edit Website Design Film or Make-up

iFlogID: 19270

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@hotmail.co.uk

iFlogID: 19693

Get your Band/ Business online with affordable website design.

wendynhislop@bigpond.com

Includes free 1000 Facebook likes, 22k twitter followers. Contact info@earthgoat.com

iFlogID: 19089

BUSINESSES

RECORDING STUDIO FOR SALE

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 cooperative. 20 mins from the CBD. Call 0423 681 978

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 www.radiosydney.com.au

iFlogID: 18316

Seo Marketing ~ Facebook likes, YouTube, Twitter views Promote your business online with Seo services Facebook likes 1k - 10k Youtube views 1k - 100k

CD / DVD Attention Musicians, Record Collectors, Universities, Libraries - new Book (print/cdROM/ direct download) compiling 100 years of popular music. GO TO www.plattersaurus.com web-site on how to buy. Enquiries: (02) 9807-3137 eMail: nadipa1@ yahoo.com.au

iFlogID: 13287

Prices start from $20

iFlogID: 19091

ENTERTAINMENT Lighting operator wanted for busy western Sydney nightclub Friday and Saturday nights. Experience with Martin Lightjockey and Oracle laser software preferable. Please send resumes to hire@lamba.com.au or call 02-9758-8888. www.lamba.com.au

iFlogID: 19866

NEED MANAGERAGENT PR CASUAL

Wanted Person Experienced in Management, Agency, PR, Shows, Media Etc to work on casual freelance basis Contact John browning2615@gmail.com

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

iFlogID: 18332

High Definition YouTube video demonstrations of cymbals. ZILDJIAN, SABIAN, PAISTE, UFIP, MEINL, WUHAN, STAGG, PEARL... www.youtube.com/user/sydneypollak

iFlogID: 19832

TAMA ROCKSTAR 5 PIECE FUSION KIT IN BEAUTIFUL LIQUID AMBER FINISH, MATCHING TIMBER SNARE, STARCAST SUSPENSION MOUNTS, CYMBALS AND HARDWARE, GREAT CONDITION, BARGAIN, $675. PH 0419760940

iFlogID: 18330

Vintage Drum Kit Imports new and Custom Made kits for sale. Also cymbals, stands, pedals, guitars, accessories and much more. www.atlargemusicstore.com musicstore.com

Twitter followers 1k - 100k

iFlogID: 19878

SALES & MARKETING People needed to send eMails offering a new music Book for sale. Must have own computer - payment by commission via Paypal. Contact Bill on (02) 9807-3137 or eMail: nadipa1@ yahoo.com.au

iFlogID: 13289

VOLUNTEER Full training provided by musicians/producer with 30 years plus industry experience in all facets of live music production. Must be keen, honest, reliable and have car. Contact RemmosK@gmail.com for details.

iFlogID: 19530

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

CD MANUFACTURING:Acme is Australias best price CD manufacturer. 500 CD package = $765.05: 1000 CD package = $1320.00

info@atlarge-

http://facebook.com/aTLargeMusic 93362190 0421987370 Hampton Rd, Fremantle, WA

www.AcmeMusic.com.au KevinW@AcmeMusic.com.au

iFlogID: 13117

HIRE SERVICES For all your production needs, upto 20,000watt systems.Tailored to your requirements.Delivered,setup & operated by professional engineers. Loud ‘n’ Live Sound Systems Ph 0417 268850

iFlogID: 19286

LEGAL / ACCOUNTING WOOHOO IT’S TAX TIME! Detax will maximise your tax refund or minimise your tax liability, by applying years of Entertainment & Arts industry tax knowledge into your tax return. Individual Tax Returns from only $99. Discounted rates available for multiple years. Fully Qualified Accountant & Registered Tax Agent. www.detax.com.au

iFlogID: 18987

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

iFlogID: 19704

WANTED MANAGER, AGENT PR CASUAL

Wanted person experienced in management, agency, PR, shows concerts, etc to work on casual basis

ZILDJIAN 16” DARK THIN K CRASH BRAND NEW $250. ZILDJIAN AVEDIS 18” FAST CRASH BRAND NEW,$250 16” FAST CRASH BRAND NEW,$230. ALL NEW IN PLASTIC BAGS, PH 0419760940

iFlogID: 18328

ZILDJIAN Drum Stick Clearance $10 PAIR!!: 5A, 5B, 7A, Wood / Nylon Tip – Plus Travis Barker, Brooks Wackerman, Ronnie Vannucci & Dennis Chambers Series. Lamba - 02-97588888 - www.lamba.com.au

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 Audio Mastering, mixing, recording. CD-R music & data duplication, cover artwork, colour disc printing, online global distribution. Full studio package deal for EP or full album projects. Enquiries ph: 02 98905578

iFlogID: 15162

OTHER ++ play more chinese music - love, tenzenmen ++ www.tenzenmen.com

iFlogID: 19716

GUITARS Acoustic Yamaha Guitar, Solid Top, Great Sound and Condition, Comes with Carry Case, $420 ONO May Swap or Trade, 0421690000, jman0023@gmail.com, QLD

iFlogID: 19700

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

iFlogID: 19724

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.com.au

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. www.lamba.com.au

!! P.A SOUND SYSTEM FOR HIRE !! 2000W FRONT OF HOUSE,

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

650W FOLD BACK, $250 WITHOUT ENGINEER, PICK UP, $350 WITH ENGINEER SET UP & DELIVERED, PARTIES/DJ’S/SMALL BANDS

Recording? Hire the state of the art Presonus Studio Live 24.4.2 desk for your next project. A feature packed integrated hardware-software system. $200 weekly. Call Lamba 9758-8888 www.lamba.com.au

iFlogID: 19807

CALL STEVE 0400606650 steveshifter@hotmail.com

iFlogID: 19706

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.

VIENNA PEOPLE RECORDING STUDIO

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 soundclick.com email: vangelis2133@yahoo.com

iFlogID: 18269

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

P.A hire using top quality outboard gear; Lexicon, Allen & Heath, Sure 4.800, DBX drive-racks, 160SL compression, 4-way front-of-house, 3-way active fold-back. 30years+ experience in the music industry. 0414355763.

iFlogID: 18949

P.A hire using top quality outboard gear; Lexicon, Allen & Heath, Sure 4.800, DBX drive-racks, 160SL compression, 4-way front-of-house, 3-way active fold-back. 30years+ experience in the music industry. 0414355763.

iFlogID: 18951

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

iFlogID: 19672

Recording Studio available in Western Sydney w/junior engineer. Looking for heavy/rock bands, ProToolsHD, Live/Iso room(s). MesaBoogie gear inc.

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

GOLD COAST BYRON BAY NORTHERN NSW Poster distribution for touring artists & bands. Fast, efficient & reliable service at a competitive price www.thatposterguy.com.au

Complete Album & Demo Recording, Production, Instrumentation,CD Mastering. I’m committed to achieving for you the highest quality in a creative, friendly environment. ph 02 9654 8143, mob 0400 323 982, johnertler@gmail.com

www.musicentourage.com studio@musicentourage.com

iFlogID: 19278

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

iFlogID: 18131

www.musicentourage.com studio@musicentourage.com

iFlogID: 19274

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

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!

iFlogID: 19708

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

iFlogID: 17084

Petersham/ Sydney. Real guitar for committed students in a fully equipped music studio. Learn Jazz, Rock, Blues, Contemporary , Funk, Latin , Gypsy, Folk, Country and other popular styles. Learn at a pace and in a direction you want to go. Beginners to advanced, all aspects of guitar are supported. Comprehensive digital recording available. Ask about special introductory offer and gift vouchers. Contact Craig Corcoran: 0430344334 creative-guitar@ hotmail.com www.creativeguitar. com.au

iFlogID: 19344

***Every song Produced, Mixed & Mastered to Radio Release Quality*** studio@musicentourage.com www.musicentourage.com

iFlogID: 17747

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

iFlogID: 17546

REPAIRS

iFlogID: 15158

PICKS AND STICKS STUDIO.

DRUM LESSONS

School Holiday Special!!!!

PROFESSIONAL DRUM TEACHER WITH DRUMMING AND EDUCATION DEGREE. All styles and levels welcome Tips to make it in the industry provided.

PRO SINGING & GUITAR TUITION

Singing tuition - 40yr pro-muso teaches all comtemporary genres. Guitar tuition - 50yr guitar playing veteran teaches all contemporary genres. 4 lessons x $30 each or $40 per single lesson. Maroubra based. Pls contact Moses: Mob: 0415 745 181 Email: chasemarketing2012@gmail.com

Teach yourself or have lessons 0428335874 books available at dymocks or buy online www.kaleidoscopetuition.com.au

iFlogID: 19647

VIDEO / PRODUCTION D7 STUDIO MUSIC VID FROM $250. Live gig edits, multi angles, fr $125 a set, 1 live track $100. All shot in full HD. d7studio@iinet.net.au 0404716770 syd based

iFlogID: 13368

Kontrol Productions is a highly professional production company that specializes in the production of music video’s. We ensure that our products are of the highest industry standards. For enquiries www.kontrolproductions.com

iFlogID: 13827

GUITAR REPAIRS AND SETUPS

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

iFlogID: 19185

SLIDE GUITAR TUITION

15 percent off 10 lesson block

tel. John 0431953178

Drum Studio in Roselands & Mobile Service

All repair work and setups. Call Timo 9484 4374

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. www.parallelharmony.com.au

iFlogID: 18640

TRANSPORT BUS HIRE SERVICE (with driver); 19-seater coaster-bus with wheelchair access available for airport-transit, festivals, functions and party-hire. Drive home safely with an experienced driver at the wheel. Please call Ray for a quote on 0414 355 763.

iFlogID: 19850

TUITION

iFlogID: 17906

Eastern Suburbs guitar/ukulele/bass/slide lessons with APRA award winning composer. Highly experienced, great references, unique individually designed lessons from Vaucluse studio. Learn to play exactly what YOU want to play! www.matttoms.com

iFlogID: 19425

Call Jeremy, 0452442022 for information.

*Friendly mentoring approach *Great Results Guaranteed Paddingotn Ph: 0416960673

iFlogID: 19765

5 STRING BANJO TUITION

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

iFlogID: 19427

ACOUSTIC GUITAR LESSONS FOR BEGINNERS. Learn how to play acoustic guitar including music theory if required from a patient, experienced teacher and contemporary musician. $40/hr. Stewart: 0405 727422 or stewart_nestel@hotmail.com

iFlogID: 19816

BLUES GUITAR TUITION

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.

For availability call on 0408461868.

*Great Results Guaranteed

For a free e-copy of my book ‘On Becoming a Singer..A Guide To How’ email me on sostrow@bigpond.net. au.

5 week course Beginners Welcome

Enquire Now Paddington Ph: 0416960673

iFlogID: 19683

Lessons include the entire scope of singing...voice production, musicianship, interpretation, performance skills etc. I look forward to hearing from you.

iFlogID: 18602

rock, country, blues, folk, celtic styles, music theory, arranging,

Email me on ww@wfinance.com.au, call 0405379345. Cheers - Warren (Waz)

VOCAL TUITION

www.acousticfingerpicking.com

for students having problems with pitch, placement and breathing.

PHONE JOHN: 0431953178

tel. John 0431953178

iFlogID: 19429

MITCH FARMER DRUM TUITION

Professional all round live/studio drummer with 28 yrs experience. All styles and topics covered,check website for details. Beginners to Advanced levels welcome.

iFlogID: 19836

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

Low hourly rates. Everything negotiable. Easygoing, flexible entertainment. Call for a quote today. KN!VZ Entertainment Group Ph:0415680575

iFlogID: 16661

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 www.lamba. com.au

iFlogID: 19801

DRUMMER Drummer available for paid work Influences funk jazz drum n bass prog rock. Rex_matthews@hotmail.com 0401237147

iFlogID: 19880

iFlogID: 19431

VocalHub - Sing like no one is listening! Singing lessons for vocal technique and care, audition tips and repertoire in a encouraging and supportive environment. Visit: http://www.vocalhub.com.au

iFlogID: 17102

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

Drummer available for paid work Influences funk jazz drum n bass prog rock. Rex_matthews@hotmail.com 0401237147

iFlogID: 19882

A1 TOP PRO DRUMMER AVAILABLE FOR SESSION FREELANCE WORK, TOURS ETC. EXTENSIVE EXPERIENCE, TOP GEAR, GREAT GROOVE AND TIME.SYDNEY BASED, WILL TRAVEL. PH 0419760940. WEBSITE www. mikehague.com

iFlogID: 18334

EXPERIENCE MALE DRUMMER Seeks orginals band/ fill in work Semi Acoustic music

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

looking for easy going people with a positive outlook.

Rock & Blues

Age group 35 plus

PH: 0422 868 959

NO DRUGS

iFlogID: 19650

Wanted left handed electric guitar teacher

Please call Mitchfor rates and times available.m.0418267827

Parramatta area,

e.mitch@mitchfarmer.com wsite.

Contact John at... rodt1114@yahoo.com

iFlogID: 16308

iFlogID: 19159

iFlogID: 19038

iFlogID: 19712

From Robert Johnson to Eric Clapton. tel. John 0431953178

Pro gear, reliable transport, good creative player.

willing & able to adapt to your event.

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

iFlogID: 15737

iFlogID: 16159

I’m 47 been playing bass since I was 17, professionally for 15 years. I can play any style.

Dubstep to Drum&bass

*Friendly mentoring approach

$99 Special Promo

www.mitchfarmer.com

iFlogID: 15152

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

DJ

Children & Adults

GUITAR TUITION IN PADDINGTON

ear training, singing, banjo and mandolin.

Enquire Now

MUSICIANS AVAILABLE

Dj available

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

Children & Adults

iFlogID: 18477

iFlogID: 19767

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.

iFlogID: 19830

GUITAR TUITION

Beginners Welcome

facebook.com/immersion.imagery

iFlogID: 16690

$99 Special Promo 5 week course

TEACHER TO THE STARS!

Experienced and qualified electric bass and double bass tutor. Lessons tailored to exams or for leisure, expert to beginner. All ages, levels and styles welcome.

E: nikolaidis@live.ie

LEARN GUITAR

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

Contact John Ertler 9654 8143, 0400 323 982, johnertler@gmail.com

10 percent off 5 lesson block

DRUM TUITION. Drum Tuition in Stanmore with a Billy Hyde trained Teacher. Dip Ed, Dip Drums. All levels and all styles taught. Beginners Welcome!. Call Lee 0403307796. www. lee-carey.com

iFlogID: 19797

QUALITY MUSIC VIDEO PRODUCTION

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

All styles from Duane Allman and Ben Harper to Blind Willie Johnson and Son House. www. acousticfingerpicking.com

School Holiday Bargain Prices

LIVE RECORDING.. Pro shot single cam video plus multitrack audio up to 24track. Mastered to DVD, HD youtube files, suitable for showreel, online promotion. from $350 www.livelinegroup.com or 0411342989

iFlogID: 19790

iFlogID: 19814

iFlogID: 19276

RECORDING STUDIO $30ph

Learn to play the kaleidoscope way

iFlogID: 16948

E: nikolaidis@live.ie

Music Entourage Australia’s no1 production house for the independant artist! We’re not just a recording studio / We’ll help you get your music to the masses!

Ph: 02 98905578

or email davemormul@hotmail.com

iFlogID: 19183

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

$40 hr, $30 half hr. Mature & patient. Harps for hire.

Call Dave 0410 963 972

iFlogID: 17120

RECORDING STUDIOS

iFlogID: 15154

Music tuition, classical / flamenco guitar, celtic harp, theory & harmony, arranging. 9am - 9pm, 7 days. Parramatta area.

Seven Hills, Sydney.

iFlogID: 18648

POSTERS

WWW. KALEIDOSCOPETUITION. COM.AU

Unique colour coded method guitar or piano

Ph: 02 98905578

Improvising, Theory, Song Writing, Technique

http://roybarnesphotography.com/

studio@musicentourage.com

iFlogID: 19834

CREATIVE GUITAR TUITION

$40 hr, $30 half hr. Mature & patient. Harps for hire.

All levels, All ages, All styles.

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.

www.bizwebsites.com.au

www.youtube.com/user/sydneypollak

iFlogID: 19748

Music tuition, classical / flamenco guitar, celtic harp, theory & harmony, arranging. 9am - 9pm, 7 days. Parramatta area.

Private Guitar lessons from an experienced teacher.

Contact niflheimmusic@gmail.com would suit demo/EP/pre production, price on contact.

Contact info@bizwebsites.com.au or see

High Definition YouTube video demonstrations of cymbals. ZILDJIAN, SABIAN, PAISTE, UFIP, MEINL, WUHAN, STAGG, PEARL...

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: 18062

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

iFlogID: 15452

CENTRAL COAST GUITAR LESSONS

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 www.lamba.com.au

iFlogID: 19839

iFlogID: 15156

iFlogID: 18453

PA / AUDIO / ENGINEERING

iFlogID: 19670

Short run also available.

iFlogID: 19399

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@live.com, 0404 067 051

iFlogID: 19643

FOR SALE

From $299 Services include Seo, Social network marketing

iFlogID: 19698

DUPLICATION/ MASTERING

make-up.com.au

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@gmail.com

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, jman0023@gmail.com QLD

www.aeditwebsitedesignfilmor

Phone: 0421 302 045

info@earthgoat.com

STUDIO GEAR

iFlogID: 19423

Free online and print classifieds Book now, visit iflog.com.au

ph Mark 0422 173 728

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.com.au See me playing drums: www.youtube.com/ user/sydneypollak

iFlogID: 17324


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.

ENTHUSIASTIC PLAYERS NEEDED

Musician/producer who’s recording an album. Need a French horn, baritone/tenor sax and a trombone player who loves to jam/improvise, friendly & collaborative, loves playin’ ska, rock, funk, classical. If this sounds creative and inspiring to you then contact me. 0421 876 205 nmur029@gmail.com

iFlogID: 19852

NO COVER BANDS. Scott 0400800875 marriott_scott@yahoo.com.au

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 www.davekemp.info

iFlogID: 17317

Professional mature-age Drummer/Vocals/ reads/back acts/shows - all styles including jazz - available for casual work. phone:(02) 9807-3137 eMail: nadipa1@yahoo.com.au

iFlogID: 16562

Professional mature-age Drummer/Vocals/ reads/back acts/shows - all styles including jazz - available for casual work. phone:(02) 9807-3137 Mob:0413-931-897 eMail: nadipa1@yahoo.com.au

iFlogID: 17160

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

iFlogID: 14261

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

iFlogID: 13358

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 peterbuckley.me

iFlogID: 18014

OTHER Guitarist, Singer & temporary Drummer (19yrs) need to start band! We play anything Tool, Amy Winehouse, Evanescence, Michelle Shocked (rock/blues/altmetal/funk/reggae/ soul) Would like versatile bassist & keyboardist! 18-25yrs preferred! Northern Beaches. Ziggy: 0432872290!

iFlogID: 19240

Experienced singer/songwriter/guitarist has created a new original project and has many Sydney gigs booked. Currently looking for other original acoustic duo’s/bands with a following to do shows together. RemmosK@gmail.com

iFlogID: 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: 19884

MUSICIANS WANTED BANDS Band looking for a BASSIST 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

BASS PLAYER REQUIRED

Looking for bass player for up and coming band. Skill required. Influences include, but not limited to, slipknot, slayer, nirvana, fear factory, the offspring, primus. Looking to gig ASAP. Should be open minded and a can do attitude. Creative input optional. Looking to gig in Sydney and the Central Coast.

iFlogID: 19810

BASSPLAYER, DRUMMER & GUITARIST WANTED FOR ORIGINAL INNER WEST GARAGE/ PUNK/ROCK BAND. Influenced by 50’s rock n roll with a punk attitude, Detroit Cobras, Otis Redding, Eddie Current Suppression Ring, Dead Kennedys, Jon Spencer Blues Explosion, Ramones, Easybeats. Experienced muso’s, backing vocals, females encouraged to apply. Check out www.myspace.com/therollindice for song demos. Call or message 0410296627 or therollindice@gmail.com

iFlogID: 19856

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: 19629

iFlogID: 19242

Looking for a reggae bass player for a Northern Beaches based band. Call Michael on 0402 549 423 or email siczex@yahoo.com.au.

iFlogID: 19193

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 scottm@y7mail.com

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 www.lamba. com.au

iFlogID: 19674

DRUMMER band playing originals seeks drummer. rehearsing twice weekly minimum in the inner west. demo, some airplay. influences: the cure, the church, fauves, JD, hoodoo gurus, the ‘Mats. ph.0423420029

iFlogID: 19792

CAN YOU HIT STUFF GOOD?!

PLAY JAZZ Jazz band has an opportunity for singers and wind players - intermediate level plus.

Indie rock duo from Campbelltown looking for a dedicated drummer.

For more information contact band leader on 9807 8866 (Dave) or email : oddsocksmusic62@yahoo.com.au

Between 18 - 25, own gear and transport is required.

ROOTS BAND NEEDS MUSCIANS!

Dead In Motion needs a drummer who can double kick! 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: 19603

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 funkymonk07@hotmail.com

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 siczex@yahoo.com.au

Contact Anton: 0426822750

DRUMMER WANTED FOR ORIGINAL INNER WEST GARAGE/PUNK/ROCK BAND. Refer to ad under MUSICIANS WANTED & www.myspace.com/ therollindice for song demos. Call or message 0410 296 627 or therollindice@gmail.com

iFlogID: 19492

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

we are looking for a singer to front our rock covers band /you will need to be experienced and dedicated to rehearsal ,ideally a fast learner for upcomming gigs ,transport required and versatile we cover a vast variety ,proffessional mics are supplied

iFlogID: 19902

iFlogID: 19244

iFlogID: 19822

Are your bass balls so low and groovy they become an instant obsession? www.entermagnus.com info@entermagnus.com

iFlogID: 19778

BASS PLAYER WANTED for penrith punk band, originals, some covers, own gear is a must, call Noah on 0418 450 503

iFlogID: 19803

BASSPLAYER WANTED FOR ORIGINAL INNER WEST GARAGE/PUNK/ROCK BAND. Refer to ad under MUSICIANS WANTED & www.myspace.com/ therollindice for song demos. Call or message 0410 296 627 or therollindice@gmail.com

iFlogID: 19490

DEATH METAL BASSEY WANTED

DEATH-METAL BASS PLAYER WANTED- WE REHEARSE NEAR ST MARYS- BAND IS CALLED LOWER BACK PROBLEMS LOOK IT UP ONLINEHEAVY AS SHIT VOCALS A PLUS! CALL JOSH- 0403-679-099 FAAA!

iFlogID: 19621

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

iFlogID: 13407

iFlogID: 19759

Australia’s Premier Guns and Roses Tribute Show are seeking a new Slash and Duff(Bass) Ability,Commitment and desire to embrace the role are essential.Firm gig base in Sydney and Central coast areas with management and agency backing.Transport and good attitude a must.

Ben 0438625750 Roger 0404044808

iFlogID: 19904

Dead In Motion needs another guitarist! 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: 19820

GUITARIST WANTED FOR ORIGINAL INNER WEST GARAGE/PUNK/ROCK BAND.Refer to ad under MUSICIANS WANTED & www.myspace.com/ therollindice for song demos. Call or message 0410 296 627 or therollindice@gmail.com

iFlogID: 19494

Looking for an experienced reggae guitar player for a Northern Beaches based band. Call Michael on 0402 549 423 or email siczex@yahoo.com.au

iFlogID: 19558

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 @yahoo.com.au

iFlogID: 19722

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

iFlogID: 19750

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 siczex@yahoo.com.au.

iFlogID: 19401

Dead In Motion is looking to add a keyboard player! Metal, with influences such as Disturbed, Evanescence, In This Moment, etc, and Japanese visual kei. Contact Dead_In_ Motion@hotmail.com for more details.

GOTHIC KEYBOARDIST WANTED

contact@asangelsbleed.com

iFlogID: 19812

iFlogID: 19702

iFlogID: 19728

Thrash/Punk drummer..wtd for Sydney band.. EP released...songs waiting & ready..dont contact if you have never played thrash... we need POWER and SPEED like none other! Think Municipal Waste... Suicidal...Slayer.. Poison Idea...D.R.I...http://dsmb.bandcamp. com/ 0417041950 - Thrash!

iFlogID: 19846

we tried to ignore it but can’t any longer. please come bang our pots and pans. www.entermagnus.com info@entermagnus.com

Guitarist, Singer & temporary Drummer (19yrs) need to start band! We play anything Tool, Amy Winehouse, Evanescence, Michelle Shocked (rock/blues/altmetal/funk/reggae/ soul) Would like versatile bassist & keyboardist! 18-25yrs preferred! Northern Beaches. Ziggy: 0432872290!

iFlogID: 19246

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. Email bio: alteregoprom@gmail.com

iFlogID: 19730

KEYBOARDIST FOR “HERDING CATS”

Keyboardist wanted for Sydney based “Herding Cats”. 7 piece Soul, Funk, Ska, Reggae group with brass section. 3 sets ready to go - lots of unique groove covers, as well as originals. Pls see website for examples & recordings (which are just from rehearsals, proper mixes coming soon). Reading to gig when keyboardist is comfortable. Good bunch of people, weekly rehearsals at Marrickville, usually on Saturdays. David 0421 167 337

we need you.

iFlogID: 19776

SINGER

DRAG QUEEN SINGERS WANTED

The Frocks have been one of the most established and most sought after iconic all girl bands in the scene today! The Frocks go beyond your average cover band and after 10 years working the entertainment circuit they are stronger than ever and continue to travel down more and more avenues. Only this year The Frocks were nominated for a MO AWARD for Best Dance Band in Australia. Frocks entertainment are now looking for Drag Queen vocalists to form a new act. Dynamic Vocal ability and exceptional stage presence is a must. Dance skills an advantage but not essential. Please send some recent photo’s, and experience details. It would also be great if you could send a video (or a link to a video), SHOWCASING YOUR FANTASTIC VOCALS. Quality of video not important. If this is not possible, we will be holding vocal auditions where you will then have the opportunity to display your talents.

www.herdingcatsband.com

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

iFlogID: 19556

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

iFlogID: 19528

NEUROTIC DENTISTS NEED SINGER

iFlogID: 19886

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

SERVICES BEAUTY SERVICES CUSTOM MADE MUSICIAN PLUGS

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.

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.

iFlogID: 19109

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.

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

iFlogID: 17428

GRAPHIC DESIGN

PREFERRED ATTRIBUTES

FULL COLOUR BAND GIG POSTERS @ AMAZING PRICES

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

100 A4 full colour on Gloss = $40

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

100 A3 full colour on Gloss = $80

100 A3 full colour on Plain = $50

A dynamic vocal range and various singing styles.

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

Please send your interest and details to contact@thefrocks.com.au

Can sing with feeling and breathe life into the lyrics.

WWW.BLACKSTAR.COM.AU

If you’d like to check out our web site log onto www.thefrocks.com.au

CONTACT, Phil or Allan. Phil: 0439 026 480 (Txt details during work hours and will call back later) Email: yodelingteapot@hotmail.com ( 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)

Get your Band or Business Online Cost effectively and PROFESSIONALLY -

Location: Sydney, Australia The audition is open to 22-35 year olds WE WANT: Confident, Crazy, Fun, Hot, Sweet, Talented Performers!!!!!!! Rock, Jazz, Funk, Groove, Pop, Soul, Hip Hop, R’n’B, Alternate, Acoustic, Heavy, Musical, and moreeeeee +++

ALLAN: 0407 924 841 ( after 4pm on weekdays) CALL ANYTIME ON THE WEEKEND.

iFlogID: 19678

Only serious enquiries

iFlogID: 19872

Female Singer wanted to join male guitarist for rock/pop covers duo. Playing songs from 70s/80s to current day, paid gigs, based in Hawkesbury area. duovocal@tpg.com.au or 0411342989

iFlogID: 19795

FEMALE SINGER WANTED

The Frocks have been one of the most established and most sought after iconic all girl bands in the scene today! The Frocks go beyond your average cover band and after 10 years working the entertainment circuit they are stronger than ever and continue to travel down more and more avenues. Only this year The Frocks were nominated for a MO AWARD for Best Dance Band in Australia. The lead singer and manager of the all girl band The Frocks is now forming a NEW “sister” band and we are looking for a FEMALE vocalist to be part of this new powerful female fronted band. You’ll do shows and events singing RnB, Funk, Pop, Dance, Motown, Rock, all the fun stuff etc as well as sharing Backing Vocals with other members. Ability to sing intricate and strong harmonies is a must. Serious singers need only apply. - weekly commitment to rehearsals is required - ideally, availability for 1-2 gigs per week - the ability to work in a team. -must have own transport Dynamic Vocal ability and exceptional stage presence is a must. The audition is open to 22-35 year olds.

ROCK VOCALIST WANTED!

Are you a rock oriented singer (male or female) looking to join an experienced band playing rock covers from classic to current with focus on quality, melody and harmonies? Give Steve a call on 0403 994 558 and lets talk.

Confident, Crazy,Fun,Hot, Sweet, Talented Performers! Apply now at contact@thefrocks.com. au with your contact details. Check out our web page at www.thefrocks.com.au

iFlogID: 16754

iFlogID: 19361

iFlogID: 19805

WOLLONGONG BAND NEEDS SINGER

Wollongong based band searching for Singer. We have enough original music ready to record an album and perform live and we and are looking for a singer (age 20-30) to add lyrics and melodies to complete the songs and front our band (the next Chris Cornell, Myles Kennedy, Steven Tyler, Steve Lee etc) Contact: jonathanrkennedy82@gmail. com or 0419978835

iFlogID: 19844

Logos, Hosting and 5xemail addresses and much more! Contact info@bizwebsites.com. au or see www.bizwebsites.com.au

iFlogID: 13864

Limited Edition mens tees and hoodies with a sense of humour. All hand-screened and numbered. monstrositystore.com

iFlogID: 13611

OTHER

iFlogID: 19056

SCHOOL OF ROCK - ZEN STUDIOS

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

iFlogID: 19523

iFlogID: 19848

Contact info@bizwebsites.com.au or see www.bizwebsites.com.au.

iFlogID: 15454

If you want to use DRUGS, that’s your business If you want to STOP, we can help. Narcotics Anonymous 9519 6200 www.na.org.au

TUITION BASS, GUITAR, DRUMS

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. WWW.WHATISTHEHAPS.COM

iFlogID: 17980

TUITION DRUMMER AND DRUM LESSONS 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

TRUMPET

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: 15450

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

Why risk your vocal performance with substandard gear? Hire the industry standard Shure ULX wireless system + Beta58A microphone, lapel or headset. $60, 2 for $100. Call Lamba 9758-8888 www.lamba.com.au

iFlogID: 19367

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

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

SINGER NEEDED

02-9950-3977

Contact info@bizwebsites.com.au or see www.bizwebsites.com.au

iFlogID: 19870

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

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. www.zenstudios.com.au

from $299 including Hosting and email addresses!

BUS HIRE SERVICE (with driver); 19-seater coaster-bus with wheelchair access available for airport-transit, festivals, functions and party-hire. Drive home safely with an experienced driver at the wheel. Please call Ray for a quote on 0414 355 763.

iFlogID: 19195

LIVE SOUND COURSE, 2 DAYS

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.

FREE HAIRCUTS AT COOL SALON!

WE WANT:

iFlogID: 19197

Guitarist, Singer & temporary Drummer

iFlogID: 19219

iFlogID: 19824

Contact scottm@y7mail.com

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.

Looking for an experienced sax player to form a horn section for a Northern Beaches based REGGAE band. Call Michael 0402 549 423 or email siczex@yahoo.com.au.

KEYBOARD

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

THE WILDBLOODS NEED A DRUMMER

SAXOPHONE

Acoustic Guitarist interested in friendly jam on Friday evenings. Lower Blue Mountains Location Music Creedence, Beatles, Dylan, James Taylor etc, Contact David 0411 618 536.

Gothic Metal band As Angels Bleed require second keyboardist to bring to life symphonic orchestrations & electronic samples. Good equipment, transport, a knowledge of musical theory & willingness to embrace all things Goth are essential. Band line-up complete with debut album mixed in the US awaiting release. http://www.asangelsbleed.com

NIGHT FLIGHT - LED ZEP TRIBUTE

BASS PLAYER Dead In Motion needs a bassist. 5-string preferred. 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: 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!

iFlogID: 18612

SINGER /VOCALIST WANTED

iFlogID: 18719

iFlogID: 19818

0411 372 469

GUITARIST

Website for details www.australiangnrshow. com

DJ

iFlogID: 19654

SINGER Quirky singer, keyboard player, musician available. Lots of experience. Paid situations only please. Call Stephanie ph: 0403 250 560.

iFlogID: 19290

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!

(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: 19221

We will contact you with further information regarding auditions.

iFlogID: 19868

Free online and print classifieds Book now, visit iflog.com.au

iFlogID: 19181

WANTED OTHER

Michael

Looking for an experienced trumpet player to form a horn section for a Northern Beaches based REGGAE band. Call Michael 0402 549 423 or email siczex@yahoo.com.au.

The School of Rock offers tuition in singing, bass guitar, electric guitar, drums and song writing techniques. Our instructors have years of experience showing young musicians how to play and take that talent onto the stage. For more information visit our website at www.schoolofrockinnerwest.com. au or www.zenstudios.com.au. Ph: 9550 3977

iFlogID: 18762

Looking for music that is fresh and original??? Check out www.thesecretcity.com.au

iFlogID: 19736


WITH MICHAEL SMITH

GETTING THAT BONAMASSA SOUND

Chatting to American guitarist Joe Bonamassa recently, I asked him if it had taken a long time to find his “sound” as a guitarist. “I had a sound in my head,” he replied, “that over the years has taken me less pedals and less manipulation to get, and I started to realise, ‘Joe, you know what? The sound in your head is really made by your fingers and the way you attack [your playing] as opposed to, like, this magic device that you stumble upon in a pawn shop... To me it’s a darker tone – I don’t like a bright guitar sound; I don’t like a sound that hurts people or is challenging to listen to. I like it to [be] where it just kind of wraps around your head and is big and warm and fat, but not dull; not, like, muddy. There’s a real balance between that. “I watched Clapton with my own eyes plug into a reissue [Fender] Twin, take his Clapton model Strat that has the mid-range boost but there is no secret box, take a Monster cable, plug into his Strat, into this Twin, and it sounds just like a [John Mayall & The] Bluesbreakers record. It’s in his hands! It’s in his head, it’s in his hands. I always tell people, ‘If you get a good tone out of yourself, naturally, you’ll figure out a way to get a good tone out of anything, just about any piece of gear. If you set the bad tone and are victimised by the gear (“the gear’s not right, the gear’s not right”) then you keep falling deeper into this hole, you’re going to be doomed to a life of marginal guitar sounds because you’re always waiting for the gear to do the work, not yourself. It’s when you pull yourself out of that headspace, that’s when it becomes fun’.” A huge fan of Gibsons, Bonamassa can boast his own signature guitars, the Gibson Custom Joe Bonamassa Les Paul and the Les Paul Studio Gibson. Bonamassa plays The State Theatre Friday 5 October and the Civic Theatre in Newcastle Saturday 6.

MATON’S NEW MESSIAH EM100C

Featuring a newly tuned, scalloped-braced top and solid Indian rosewood back and side sets, the Maton Messiah EM100C acoustic guitar is a completely remodelled classic new to the Australian manufacturer’s range. A new solid mahogany neck adds thickness to the guitar’s deeper, richer tone, perfect for the AP5 pickup to provide the maximum performance.

SOUND BYTES

The debut album, Blak And Blu, from the enigmatic Texas bluesman Gary Clark Jr, who’ll be joining the 2013 Big Day Out, was co-produced with Mike Elizondo (Dr Dre, Mastodon, Fiona Apple). Did you know that Jimi Hendrix only spent four weeks in the recording studio he and his manager Michael Jeffery created in the former Generation Club in Greenwich Village, NYC, that he named Electric Lady after his third Experience album? His last recording there was an instrumental titled Slow Blues, cut on August 27, 1970, after which he flew back to London to play the Isle of Wight Festival and was dead within three weeks. Finally getting back to the business of writing new material after a couple of years spent looking back over his catalogue, Paul Kelly took himself off to a country hall and recorded his new album, Spring And Fall, out mid-October, with J Walker from Machine Translations and his nephew Dan Kelly. Byron Bay-based alt.folk singer-songwriter Paul Appelkamp, these days travelling as Lionheir, tracked his latest album, Lair, at Studios 301 Byron and Rockinghorse Studios over six months, co-producing with Anthony Lycenko (Busby Marou, Pete Murray, Xavier Rudd). If you’ve been missing Brisbane’s Hungry Kids Of Hungary, it’s probably because they’ve been spending a lot of this year hunkered down at Albert’s Studios in Neutral Bay with producer Wayne Connolly (You Am I, The Vines, Youth Group) recording their second album. Recorded at The Enclave Recording Facility, guitarist extraordinaire Jeff Lang co-produced their new album, Wiley Ways, with Hat Fitz and Cara Robinson, Lang then mixing it with Colin Wynne at 30 Mills Studios in Brunswick, and Tony “Jack The Bear” Mantz mastering it at Deluxe Mastering. 62 • THE DRUM MEDIA

LONG WAY TO THE TOP It was like a touring rock’n’roll Hall Of Fame when the live show Long Way To The Top launched in 2002. Now it’s back with an additional decade’s worth of legends. Greg Phillips spoke to one of the show’s producers, Amanda Pelman.

A

C/DC’s It’s A Long Way To The Top is such an iconic Australian rock song. When they needed to brand a rock’n’roll extravaganza featuring Australia’s rich rock history in song, naming it Long Way To The Top was a no-brainer. Ten years down the track, the show Long Way To The Top is back. Some of the legends from the original show, such as Lobby Loyde and Billy Thorpe, have gone to the great gig in the sky; others from the ‘80s have been added and the remainder might just wear their pants a little higher than they used to. For today’s music loving punters, the line-up might be a mixture of a ‘who’s who’ and a ‘who the hell?’. Those who have studied our rock heritage will know that each and every performer on the bill has made an important contribution to Australia’s amazing contemporary music culture. This year’s line-up includes: Brain Cadd, Dragon, Little Patti, Col Joye, Marcia Hines, Mi Sex, Russell Morris, Ian Moss, Noiseworks, Glenn Shorrock, Spectrum, Chain, John Paul Young and more. The motivation for the tenth anniversary tour was Billy Thorpe, who died five years ago. Producer Amanda Pelman explains: “Since Billy passed away, fans and people in the industry have asked us why we have never dedicated a tribute concert to him,” she said. “The idea always made me a bit squeamish. I don’t think it’s something that Billy would have ever wanted. Then when the anniversary was coming around, I thought that’s the right way to do it and pay homage. Long Way... was something that he was the primary driver of in the beginning, so to do it under that banner with all of his friends was a good way to go.” How to pay homage to Billy Thorpe without being kitsch was the dilemma. Enter technology! When Long Way... promoter Michael Chugg witnessed Dr Dre and Snoop Dogg performing with a holographic version of Tupac Shakur at Coachella last year, he got excited... Well more excited than usual! Chugg, Pelman, and production manager Ted Robinson set about investigating how they could employ similar technology to bring Thorpe’s spirit back to the stage. “I pointed out that the Coachella thing cost like $400,000 per second and we probably wouldn’t be stretching the budget that far!” says Pelman. “We

have found a new product that has come out of China that has given us a really great ability to create this magic. The other factor in deciding to go down this path was finding the footage. I had to find ISO reels, camera shots that are unedited, as I needed stagnant images. If we didn’t have that ground material from the start, you could forget it, it wouldn’t work. I spent six months forensically going through every goddamn thing I knew we shot of Billy to find the material and we found it.” As they did at Coachella, a human factor is also required to make the experience work and Ian Moss has been bestowed with the honour of performing on stage with the ghostly Thorpe image. According to Pelman, the choice of Mossy was automatic. “Absolutely no contest. Australia’s finest guitarist. He was a mate of Bill’s, very much impressioned by him in his early years.” With 17 acts and a total entourage of 86, economising is a key word. Rather than reforming entire bands, it was necessary to employ a house band to back key members of legendary groups such as Spectrum (Mike Rudd and Bill Putt), Chain (Matt Taylor and Phil Manning), Masters Apprentices (Jim Keays) and Little River Band (Glenn Shorrock). The house band is lead by musical director Jamie Rigg, who plays keyboards. Guitarists include Dai Pritchard (Rose Tattoo) and Tony Naylor (Bootleg Family Band). Pelman, who has been in the music business for decades and is credited with launching Kylie Minogue’s music career, is much more proud of what Long Way... has achieved and laments the Australian public’s attitude to our heritage musicians. “It’s one of my greatest bug bears: that we don’t do what Americans do so beautifully in

GEAR REVIEWS

the sound quality of this unit, particularly at high volume. Plus if you know your way around your iPhone or iPod, then you may tweak away with apps, tracks and controls until your heart’s content.

HOUSE OF MARLEY BAG OF RHYTHM The House Of Marley is a commercial venture run by the children of reggae legend Bob Marley, providing a high quality range of audio products. As you would expect, the manufacture of the gear created under the Marley name takes into consideration the affect production has on the earth, and ensures that part of the profits go back into making the world a better place via their charity 1love.org The House Of Marley currently offers two audio players, one a stand alone home audio system named ‘Get Up, Stand Up’ and the other is a very funky portable dockbox named Bag Of Rhythm. Pushed for comparisons functionality-wise, this unique system is nowhere near as complex as the Lasonic i931ghetto blaster and aesthetically it’s way cooler-looking than Apple’s own boombox.

For the technophiles out there, the unit offers twin 1” tweeters, twin 4.5” high definition woofers and a powerful amp capable of pumping out 40 watts of musical punch. The dual 4” speakers and DSP Sound Processing reproduces strong, high-quality highs, lows and mids. It features dual battery power and AC adapter for cordless mobility and power saving, your iPhone or iPod charges as you play and it has an Aux output. All materials used in the unit’s construction are recycled. It is designed and built with FSC certified Birch wood and uses the most durable of canvas. Even the packaging it comes in is made from pulp, recycled plastics and recycled paper. At $399.95, you’d be hard pressed to find a more appealing portable iPhone/iPod-based audio system than the House Of Marley’s Bag Of Rhythm. Greg Phillips For more info see thehouseofmarley.com.au

YAMAHA DXR AND DXS SELF POWERED SPEAKERS

As you’d imagine, if it has Marley’s name on it, it’s gonna look funky. Housed in a heavy-duty canvas cover, it features a clip-down pocket for your earphones and it also offers the option of shoulder strap or carry handles. The unit’s top facia features an ornate faux parquetry timber surface, with two impressive circular speaker grilles sitting flush. The Bag Of Rhythm is as idiot-proof as they come, with on/off and volume being the only controls available to ponder. While audio purists may lament the lack of tone management, I defy anyone to doubt

First off, let me tell you as a sound engineer I was delighted to hear that Yamaha had partnered with PA kings Nexo to create these great speakers. At the heart of the DXR series is some serious 48-bit DSP processing including Yamahaís FIR-X crossover filtering, and multiband dynamic processors designed to maximise quality in power output and speaker components. The result is a massive 1100 watts across the whole DXR range. The DXR speakers come in an 8”, 10”, 12” and 15” formats with the 8” enclosure weighing only 13kgs. Each DXR speaker features two independent amplifiers, one powering the woofer and the other powering the tweeter, and can reach up to a brain-melting SPL (Sound

themusic.com.au

keeping a remarkable respect for their musical heritage. Look at what the Americans have done with Elvis and Jimi Hendrix and Jim Morrison. Australian’s aren’t particularly good at that. That’s one of the things I am trying to do with this show, to say to people, ‘Come and look at the heritage and see who Billy Thorpe was’.” Pelman also pines for the days when rockstars didn’t need to be so serious. “I think everything has become very politically correct. In our day it was the lunatics who took over the asylum and now it’s the accountants. Chuggy and I argue about this, he thinks it’s really exciting but I like the good old ‘70s and ‘80s.” Despite Pelman’s yearning for the wonder years of rock, she is savvy enough to know that her Long Way... personnel have a job to do and is wary of some of her cast’s old habits. “They get no fuckin’ drinks backstage,” she laughs. “I am very particular about that! Last time we had a strictly no wives policy and got into an awful amount of trouble because of that. We had 142 people on that tour. We have 86 this time and if you double that because everyone is bringing a partner, it would be mayhem.“ Music fans will be able to see and hear the lunatics, legends and iconic licks when the show rolls into Melbourne, Sydney, Newcastle and Brisbane from this week. WHAT: Long Way To The Top WHEN & WHERE: Tuesday 9 October, Newcastle Entertainment Centre

Pressure Level) of 133dB. Pushing sound at such high levels has made Yamaha include a range of sound protection devices to protect transducers, power amplifiers and an onboard limiter monitored with a small LED. On the back of the DXR, there’s a bunch of input options, a +4dbU Mic/Line input and level control, Mic Thru to go out to an external source, 2x -10dBu line inputs (mono/ stereo) w/ level and a -10dBu stereo RCA input w/ level. There’s also a link out to run another DXR speaker in either dual mono or stereo mode. A DSP function allows each speaker to run in either Front Of House mode or Stage Monitor, as well as a high pass filter at either 120Hz or 100Hz when coupling with a sub. The low frequency range of the DXR speakers can be extended with the use of the DXS subwoofers. Each sub boasts a massive 950 watt class D amplifier for another big SPL of 132 dB and is designed to couple specifically with DXRs, having a top panel pole mount that connects the two. Listening to the DXR and DXS speakers almost felt like listening to studio monitors. These things sound amazing. I was considerably impressed with how Yamaha has used onboard DSP processing to constantly calculate and refine the sound being emitted from the speakers. The design of the DXRís was fantastic and I can see them being used for a wide variety of purposes. I can’t wait to see these speakers being used at live shows to really hear them in their element. Reza Nasseri For more info see yamaha.com


THE FIRST EVER BLACK EAU DE PARFUM

H AU S L A B O R ATO R I E S .C O M FA C E B O O K .C O M / H AU S L A B O R ATO R I E S

Drum Media Sydney Issue 1130  

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