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With Shots of Spoken Word, Theatre, Comedy & Dance on the CAMPFIRE STAGE

A Land of Guilty Pleasures & Lost Innocence

Welcoming the return of LA TOOSH

Groovy Tunes & Soothing Sounds at THE GARDEN STAGE Gourmet Food Boutique Bars Holistic, Retro & Vintage Markets AND MORE!

Featuring in LE



Revisiting the Astonishing World of THE SNUFF BOX

PLUS Fascinating Installations, Sideshows & Surprises






Secret Sounds presents

with and


THU 3 JAN • HORDERN PAVILION, 132 849 (Licensed All Ages)







































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14 WED


16 FRI





8.00PM DOOR $15




17 SAT

6.00PM PRE $20 DOOR $25



SAT 17 7PM







Wed 21 Nov: Immortal Band Competition ; Thu 22 Nov: Jazz Show with “Vimana & The Jazz Bogans” , “Tyran Hall” , “The DB 5” , “Sheena R” ; Fri 23 Nov: Hardcore Show with “Deadly Visions” , “Street War” , “Boneless” , “Death Toll” , “Taken By Force” ; Sat 24 Nov: 12pm: Metal Show with: Ozzmosis A One Off Ozzy Tribute supported by “Black Label” , “Aeturnus Dominion” , “Parenthia” , “Thundasteel” , “Horrorwood Mannequins” , “Skuldogory” , “Decaying Freedom”; Sun 25 Nov: 1pm: Experimental/Avant-garde Show with “Boris Driver” , “Nervous Disorder” , “Zed Blunt” , “Slip Not” , “Anita Lenzo”

For band bookings please email

Bistro open Lunch and Dinner !!

FRI 16/11

Dream Brother

Tim & Jeff Buckley Tribute Feat. Abby Dobson & Lara Goodridge solo and together as Baby Et Lulu, Matt Tonks, Michael Azzopardi & more SAT 17/11

Pyjama Party With The Frocks WED 21/11

Ultimo TAFE Showcase

THUR 22/11

Eora TAFE Showcase FRI 23/11

Wes Carr introducing

Buffalo Tales


Sat 24/11 Get Vocal End Of year Party Thur 29/11 Agnes Kain CD Launch Fri 30/11 & Sat 1/12 Laughing Outlaw End of Year Party Fri 7/12 Charles Jenkins & The Zhivagos Sun 9/12 Open House Broadcast Sat 15/12 Jordie Lane Single Launch Wed 12/12 Kate Plummer With Jim Moginie Album launch Fri 14/12 Keyim Ba Tue 8/01 Ben Sollee + The Falls Thur 10/01 Rory McLeod Thur 17/01 Sandy Thom (UK) Fri 18/01 Ed Kuepper With Mark Dawson









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Drum Media & Lizotte’s presents Live and Local 1927 Tim Freedman Manly Big Band Night Out featuring John Morrison & Dan Barnett Lazy Sunday Lunch - Sizzling Strings – An Acoustic Music Feast Drum Media & Lizottes’ presents Live and Local The Black Sorrows Brian’s Famous Jazz & Chilli Crab Night Amber Lawrence Jack Vidgen


13 NOV

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17&18 NOV 21 NOV 22 NOV 23 NOV

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Macron Music End of Year Showcase Lizotte’s presents Live and Local Mark Wilkinson 1927 Diesel Lizotte’s presents Live and Local Taylor & The Makers The Black Sorrows Brian’s Famous Jazz & Chilli Crab Night Lazy Sunday Lunch with McAlister Kemp – In The Raw




13 NOV 15 NOV


17 NOV

21 NOV


22&23 NOV




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Belmont High School Music Showcase Sizzling Strings – An Acoustic Music Feast 1927 Callaghan College presents Live and Local Diesel The Black Sorrows

Calling all artists for Live and Locals! Contact SECRET-SOUNDS.COM.AU MSMRSOUNDS.COM

Lizotte’s Sydney 629 Pittwater Rd Dee Why

Lizotte’s Central Coast Lot 3 Avoca Dr Kincumber

Lizotte’s Newcastle 31 Morehead St Lambton

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

KELTS BAR @ 47355300 - 1 Leonay Parade Leonay 2750


16 Nov


plus two supports Shadows at Play and Stella Addiction

17th Nov



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7 Dec

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23rd Feb


Cooking with caustic, Backyard Lab












More dates to come

Thursdays OPEN MIC NIGHT rego from 7 Sundays ALL AGES OPEN

FRI 16TH $12




from 4 pm

SAT 17TH $12




THURS 22ND $10


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22 • To check out the mags online go to

THE EVOLUTION OF METAL If you missed the biggest, most comprehensive documentary series yet made on the history of heavy metal and hard rock, Metal Evolution, 11 episodes hosted by Sam Dunn, Beyond Home Entertainment has now released the entire series, created by the makers of Metal: A Headbanger’s Journey, on DVD. We have two copies of the three-disc set to give away.

THIS MAFIA IS SWEDISH Until Now brings all the latest singles from Swedish House Mafia – Every Teardrop Is A Waterfall, In My Mind and Calling – together with another 19 big tracks on one big compilation. We have three copies to give away. Hey, why don’t we throw in a copy of the two-CD RNB Superclub Volume 12, mixed by G-Wizard, Def Rok and Troy T, too with each copy? Bonus!




It seems that UK roots-pop collective Will & The People are all about partying. Friday 16 November, they bring that party to the Great Northern in Newcastle and Saturday it’s the turn of the Upstairs Beresford in Surry Hills, and we have two double passes to the Beresford show to give away, with the winners receiving a copy of the new Will & The People album, Friends, at the door when they arrive.

Metal Evolution




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DRUM Giveaways – Check it out for free stuff and head to Facebook for more! The Front Line hits hard with industry fact and conjecture, while Foreword Line brings you the latest news on tours, releases and more. Musical gypsy Beck wants your take on his new album. That’s why he’s released it as sheet music. Between The Buried & Me remain committed to progress, metal-style. Portland’s Chromatics like to keep busy – we get the Harvest. Blood Duster launch the album of their lives they’re not releasing. Santigold talks her latest album, hip hop and Wu-Tang. Jeff Martin takes a solo sprint round the nation before The Tea Party envelops him again. The War On Drugs still make it up as they go along. The Living End get match fit to relive all their albums live for you. The Sir Elton-approved Pnau are mixing it big time. Singing a ‘60s song cycle on suburbia is the second from Melodie Nelson. Her third solo, but an Australian first for Bamboos soul diva Kylie Auldist. Will & The People are all about the People – that’s you. There’s more than folk to our Elliot The Bull. All grown up, Crazy P don’t need to flash the P word. Minneapolis indies Polica tackle new frontiers. The fluid Dark Dark Dark rediscover the piano. He’s Ron Pope for sure – he checked this morning! On The Record reviews new release albums and singles from Brian Eno, Deftones, Green Day, Madness and Dexys.


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PUBLISHER Street Press Australia Pty Ltd GROUP MANAGING EDITOR Andrew Mast EDITOR Mark Neilsen ASSOCIATE EDITORS Michael Smith, Scott Fitzsimons FRONT ROW EDITOR Cassandra Fumi CONTRIBUTING EDITOR Adam Curley CONTRIBUTORS Aarom Wilson, Adam Wilding, Alex Hardy, Anthony Carew, Bethany Small, Brendan Crabb, Brent Balinski, Bryget Chrisfield, Celline Narinli, Chris Familton, Chris Maric, Craig Pearce, Cyclone, Dan Condon, Danielle O’Donohue, Dave Drayton, Fiona Cameron, Guy Davis, Helen Lear, Huwston, Ian Barr, Jake Millar, Jamelle Wells, James d’Apice, James Dawson, James McGalliard, Jessie Hunt, Katie Benson, Kris Swales, Liz Giuffre, Lucia Osborne-Crowley, Mark Hebblewhite, Paul Ransom, Paul Smith, Pedro Manoy, Rip Nicholson, Rob Townsend, Robbie Lowe, Ross Clelland, Sarah Braybrooke, Sarah Petchell, Sebastian Skeet, Sevana Ohandjanian, Shane O’Donohue, Simon Eales, Steve Bell, Stuart Evans, Tim Finney, Tom Hawking, Troy Mutton PHOTOGRAPHERS Angela Padovan, Carine Thevenau, Cybele Malinowski, Josh Groom, Justin Malinowski, Kane Hibberd, Linda Heller-Salvador, Maclay Heriot, Tony Mott ADVERTISING DEPT Brett Dayman, James Seeney, Andrew Lilley

Check out what’s happening This Week in Arts, whilst we sink our teeth into the finale of Twilight and we chat to Trixie Little and Evil Hate Monkey, who are getting ready to perform at Harvest. 53 Sheena Miss Demeanour explains her full-blown burlesque spectacular, whilst Lior chats about his Screen Music Award nominated and we review GRAPHIC Festival events. 54 Cultural Cringe gives us the arts news talking points, we present the second instalment of Moderately Highbrow, Mark Cousins talks about his epic film series, The Story Of Film: An Odyssey and Eamon Flack chats about Beautiful One Day. 55

LIVE Reviews of the past week’s big gigs including Henry Wagons, Gypsy & The Cat and Last Dinosaurs. 57 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 and Sarah Petchell brings us local and international punk news in Wake The Dead. 62 Cyclone gives you urban and r’n’b news in OG Flavas, Lowerider brings you Robbie Lowe’s take on the latest house, progressive and techno vibes; Is it Good Or Shit? We leave it to Liz Galinovic to tell you and go south as you enter Pedro Manoy’s Swamp Shack. 63 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. Profiles of launches for Clayton Doley & Briscoe. It’s all here: Tour guide, what’s happening in indie news this week, gig guide and more.

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The Classies – need any service/product you can think of? Your answer is here. And on 78 Muso – everything you need to know about the making and recording of music, from studios to gear and beyond.


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


The Home of Live Music Since 1973









































ELECTION’S OVER In 1995 Seattle outfit Presidents Of The United States Of America launched their self-titled debut album. Their connection with this country has been a long and fruitful one with the band wholeheartedly embraced by Australian music lovers with their first two albums going five-times and twice platinum respectively. They return in the new year to perform their self-titled debut album in its entirety along with all their greatest hits. Catch them on Friday 15 March at the UNSW Roundhouse.



KIMBRA & MISSY TO PLAY AT ARIAS Two of our top female performers, Kimbra (yes we know she’s from New Zealand, but we do like to claim her as our own) and Missy Higgins will be taking the stage at the upcoming ARIA Awards. Guy Sebastian has also been added to the line-up, which already features 360, Hilltop Hoods, The Jezabels, The Temper Trap, Jessica Mauboy, Hall Of Fame inductees Yothu Yindi and international guest Taylor Swift. The ceremony takes place Thursday 29 November at the Sydney Entertainment Centre. ARIA CEO Dan Rosen said that, “We have no doubt that this year will provide for something truly special for all Australian music fans.”

Kings Of Convenience



The 2013 Bluesfest bill is shaping up to be one of the biggest yet. Paul Simon, multi-award and 13-time Grammy winner, has been added to the already supreme line-up. Simon will be performing at Bluesfest in Byron Bay on Easter Monday but there’s more. Taking the stage before Simon will be the hugely gifted and charismatic Canadian singer-songwriter and composer Rufus Wainwright.

Kings Of Convenience, who make bittersweet harmonies with delicate, stripped-back guitars, have been celebrated as darlings of the pop underground for their thoughtful brand of indie-pop. Sydney Opera House has announced the Norwegian duo will make their long-awaited Australian debut in the Concert Hall on Thursday 7 February.


THE AMP REVEALS A FURTHER 21 ALBUMS UP FOR CONSIDERATION The Coopers AMP has announced that another 21 albums have been invited to enter this year’s Australian Music Prize, which means that a total of 47 have made the long-list after an initial 26 were named. This is the second of three announcements regarding albums that have been ‘invited to enter’ including Angus Stone’s Broken Brights, Catherine Britt’s Always Never Enough, The Presets’ Pacifica and Urthboy’s Smokey Haunts. This is the first year of the new nomination system, where they dropped the entry price and asked industry and fans to submit albums for consideration. Judges listened to 130 albums out of the complete list, which of course will eventually turn into the nine-album shortlist.

APPLICATIONS FOR APRA PDA AWARDS OPEN Applications have opened for the 2013 APRA Professional Development Awards. The awards are held every two years and will give out a total prize pool of $240,000 across eight lucky and deserving applicants. The prizes range from airfares, publicity packages, mentoring opportunities, distribution deals, instruments and cash. This year, international artist Jason Mraz will join the judging panel, along with composer Ashley Irwin, country singer Mark Moffatt, Sam Hollander (Arrested Development/Katy Perry) and Gary Clark (The Veronicas/Mel C). Australian artists Josh Pyke, Julian Hamilton (The Presets) and Troy Cassar-Daley will also lend their hand to the judging proceedings. Previous winners include Gotye and Abbe May. To apply and for further info on the competition, go to

CLAIRE BOWDITCH WILL FACE THE MUSIC Melbourne-based music industry conference Face The Music has made their final speaker additions, with singer-songwriter Clare Bowditch the big name on the list. Primavera Sound Festival’s Director Alberto Guijarro and Pledge Music’s Jayce Varden have also been added to the conference. In other Face The Music news, Sounds Australia head and AMID Power 50 top five entrant Millie Millgate will present the Making Inroads In The USA panel, while Mikelangelo, The Bedroom Philosopher and 3RRR presenter Jess McGuire will debate Is The Internet Good For Your Band? The conference takes place at the Melbourne Arts Centre Friday and Saturday.

NATIONAL CULTURAL POLICY IS BEING ‘FINALISED’ Federal Arts Minister Simon Crean claimed the promised Natural Cultural Policy, Australia’s first in two decades, is near completion at a conference in Mumbai last week. In a keynote speech at the Music Connects India 2012 conference, Crean highlighted Australia’s status as a music producer and consumer saying, “Music is one of the few markets in which – at least for now – we outweigh India.”


KSSR’s debut single, Passenger, signals the beginning of a new dawn for creative “bipolar pop” artist Kiss Reid, with the release of his new track on iTunes. In the new year he’ll be playing his first ever shows under this moniker, so catch KSSR on Friday 25 January at Discovery at Brighton Up Bar.


COMING TOGETHER Credited with influencing countless bands all over the world, Converge have always been the type of band that never fitted into one subculture, instead creating a sound that is entirely their own. The band attribute that to the fact that since their 2001 landmark album, Jane Doe, they haven’t had any member changes and maintain the artistic vision they had when they formed over 21 years ago. Converge will return to Australia in the new year and joining them will be Old Man Gloom. They play Saturday 16 February at Manning Bar.

HARD PRESSED World’s End Press have been busy in the studio crafting their debut album, but having spent the last few months in the studio, they are itching to play their new songs live. They’ve been added to the bill for the sold-out Falls Festival, will then be hitting the road with Hot Chip and they also play GoodGod Small Club with Collarbones on Thursday 6 December.

LOVE LETTERS Swedish singer and storyteller Jens Lekman will make his first official tour of Australia in a while, bringing his gorgeous world of witty pop back to our shores in 2013. With an endless palette of strings, samples and keys, Lekman and his full band will perform a special Valentine’s Day show at Oxford Art Factory on Thursday 14 February.

BOOM BOOM BOOM Best remembered for a string of Euro-flavoured party anthems like Boom Boom Boom, We’re Going To Ibiza and We Like To Party (The Vengabus Is Coming), Vengaboys re-cemented their pop-icon status among party people with a slew of sold-out shows when they toured Australia earlier this year. The Vengabus is coming back for a special summer safari, hitting beachside venues across the country. Catch them on Saturday 12 January at Coogee Bay Hotel and Thursday 17 at Hornsby RSL.

TEMPLETON TOUR After a massive month in the US that saw The Trouble With Templeton play 18 shows in 18 days, they’re excited to announce their first Australian national headline tour as a five-piece band, celebrating their most successful single to date, Six Months In A Cast. Catch them on Wednesday 12 December at Brighton Up Bar, Thursday 13 at Front Gallery in Canberra, Friday 14 at Barcode in Wollongong, Friday 21 at Lizotte’s Newcastle, Saturday 22 at Lizotte’s Kincumber and Sunday 23 at Lizotte’s Dee Why.

24 • For more news/announcements go to

Sarah Blasko has added a second and final show to the Sydney portion of her I Awake national tour, so in addition to her Sunday 17 February show, Blasko will take to the Sydney Opera House stage on Monday 18, but this week comes with the announcement that Joe McKee will support for the entire tour.

NOWHERE MEN Having already released a handful of singles and remixes since their inception last year, Adelaidebased Messrs are finally ready to unveil their debut EP, Welcome To Nowhere, written and self-recorded by the band in various makeshift home studios earlier this year. Now they take it on the road and play FBi Social at the Kings Cross Hotel Friday 30 November.

EXPIRED MIND Hailing from the US Midwest, Expire are a band that live on the road. They’ve played their no-frills hardcore all over North America and Europe and in 2013 it’s Australia’s turn to experience Expire first hand. Joining them for the tour will be Iron Mind, a band that are quickly proving themselves to be a dominant force in the Australian hardcore scene. They play Saturday 26 January at Chatswood Youth Centre (all ages), Sunday 27 at The Bald Faced Stag (18+) and an all ages Tuesday 29 at Yours & Owls in Wollongong.


PACHA LAUNCH LINE-UP ANNOUNCED Martin Solveig and Laidback Luke, two of the world’s top DJs, will headline the Pacha Sydney launch at ivy on Saturday 24 November. Making a special guest appearance for the Pacha Sydney launch is firm favourite on the DJ circuit, Nina Las Vegas. Direct from Pacha Ibiza to ivy is Matt Caseli, a resident at the island club for 14 years, plus Mo’funk, back in Australia after his fifth residency at Pacha Ibiza. Pacha Sydney has pulled together an eclectic line-up of local resident DJs to perform at Pacha Sydney ongoing, including She Can DJ 2011 winner Minx, fresh off the back of her first taste of Ibiza party life earlier this year, plus Tigerlily, one of Sydney’s up and coming DJs.

GOOD INTENTIONS Somerset Barnard is releasing his new album, Redemption, at the end of the month and will be heading out on the road for the Boots & Boards tour. He’ll be bringing mate Pat Tierney along to co-headline the tour, performing solo acoustic shows as well as teaming up to put on an eclectic night of folk, blues, country and roots. They play Friday 21 December at The Beresford, Saturday 22 at The Rabbit Hole Bar and Sunday 23 at The Little Guy.

THE MOTHERSHIP The annual Jazzgroove Summer Festival has now been extended to four nights and three days set amidst the clubs, pubs, parks and concert venues of Surry Hills and Redfern. In 2013 the festival will open with a very special concert at the Tom Mann Theatre in Chalmers Street on Thursday 17 January featuring The Jazzgroove Mothership Orchestra, Roger Manin’s Hip Flask and The Jonathan Zwartz Band. For all the details and various ticketing options head to

Thomas Gold is a Berlin-based DJ and producer who, within the last couple of years, has released a string of singles, played the planet’s foremost clubs and festivals, remixed some of the biggest pop acts in existence and garnered praise from a whole host of his contemporaries. Thomas’ sound can loosely be described as progressive house with heavy and impeccably-constructed drum sounds, catchy melodies, massive chord sections and energetic and uplifting builds. See what all the fuss is about on Boxing Day at Marquee.

Father John Misty

KUEPPER-DAWSON TOUR When Ed Kuepper reunited with drummer Mark Dawson early last year the intention was to do a handful of shows to revisit and reappraise some former glories and to see whether the chemistry was still there. It is and they’ve added an extra date to their run of shows this January. In addition to their Thursday 17 Lizotte’s Newcastle and Friday 18 Notes in Enmore shows, they’ll play Saturday 19 at Clarendon Guesthouse in Katoomba.

FEAR OF GOOD TIMES Josh Tillman stepped out from behind the drum stool in Fleet Foxes to record his first album, Fear Fun, under the moniker Father John Misty. Fear Fun earned him a rapturous critical response worldwide for his smooth songwriting, sweet melodies and lyrics. After captivating crowds and stealing a heart or ten on his maiden trek to Australia earlier this year, Father John Misty is set to impress yet again with headline shows throughout February. He plays Tuesday 19 at The Metro.




WELCOME TO PARADISE Sam Sparro returns to Australia this December to play Homebake festival, announcing The Moon And The Stars Tour which also includes a show at The Standard on Friday 7 December. Sparro’s dynamic live show is a not-to-be-missed music experience; on his upcoming Australian dates, he will perform with a full band including members of electrodance outfit Basement Jaxx, tapping into the disco nostalgia and ‘paradise garage’ electro-dance fusion showcased on his album, Return To Paradise.


Cat Power Basement Jaxx

BASEMENT JAXX TO DJ SUMMER CRICKET Veteran UK DJ duo Basement Jaxx will provide an unlikely soundtrack to this year’s summer of cricket. The lads will be the first of four headline acts to play during the Commonwealth Bank Series between Australia and Sri Lanka. The duo will be performing at three of the series matches, in Brisbane, Melbourne and Sydney, the latter on Sunday 20 January at the SCG. This is a first for the series and fans are encouraged to dress up to get the party started and prizes will be given for the most impressive threads. Simon Ratcliffe of Basement Jaxx said about the upcoming gigs, “This would have been a hard gig to turn down when you know it’s going to be cold and dark in the UK! Plus I’ve never been to a cricket match so really looking forward to the experience.”

GURRUMUL RECEIVES UNIVERSITY HONOUR Australian Indigenous singer-songwriter Geoffrey Gurrumul Yunupingu was awarded an honorary doctorate in music this week from the University of Sydney. He received the honour alongside some other high profile names including actress Cate Blanchett, author Kate Grenville and Nobel Prize winner Prof John Warren. The doctorate caps a huge 2012 for Gurrumul. He was one of the performers at the Queen’s Diamond Jubilee celebrations in June and recently performed for Prince Charles and the Duchess of Cornwall on their trip to Australia. Gurrumul will round out the year by joining Missy Higgins on her upcoming tour this November/December.

FBI RADIO LAUNCH SUPPORTER DRIVE FBi Radio have launched their GOOD SPORT Supporter Drive. The initiative asks listeners who love Sydney music to become financial supporters of the station. The money raised will help cover the costs of running the independent, not for profit station, which next year plans on digitising its music library. Also planned is an an overhaul of its second studio, currently out of action. GOOD SPORT runs until 5pm Sunday 18 November. Supporters will then be in the running to receive stack of prizes that FBi give away on a daily basis. To sign up head to

TEMPER TRAP WIN UK MUSIC VIDEO AWARD Aussies The Temper Trap have been recognised at the UK Video Music Awards this past week, winning a technical award for their clip for Trembling Hands. The band beat out videos by Kanye & Jay-Z, James Blake, Justice, The Shoes and Will Young to take home the Best Telecine (aka Grading) In A Video award. Other award winners at the event were MIA, whose controversial clip, Bad Girls, won Video Of The Year, Best Pop Video and Best Styling In A Video. The Shoes also won Best Editing In A Video and Best UK Dance Video for Time To Dance, making up for their loss at the hands of The Temper Trap.



Two Gallants

Having released ninth album, Sun, earlier this year, US songstress Chan Marshall, aka Cat Power, will return to Australia for a run of dates in February and March. Touring at the invitation of Golden Plains and the Perth International Arts Festival, this is Cat Power’s most extensive antipodean tour to date and follows 2010’s sold-out national tour. Cat Power with full band will play Friday 1 March at Newcastle Panthers and Saturday 2 at the Enmore Theatre.

SINKING SHIPS After creating considerable buzz following the success of two radio singles, Sydney’s Battleships are set for their debut release, a seven-track mini album titled To You. In support of it, Battleships are embarking on a national tour, playing this Friday at FBi Social, Saturday at Yours & Owls in Wollongong and Friday 14 December at Oxford Art Factory.

Neil Young

HEY HEY, MY MY There have been a few whispers lately… The words “Neil Young” and “Crazy Horse”, have been coupled tantalisingly with the word “tour”. There’s good reason for this and now A Day On The Green have confirmed the return of Neil Young & Crazy Horse for a series of arena and A Day On The Green winery shows in March. The tour will be Neil Young & Crazy Horse’s first headline tour since 2003 so don’t miss out. They play A Day On The Green at Bimbadgen Winery in the Hunter Valley on Saturday 9 March and a Sydney Entertainment Centre show on Sunday 10.

Dropkick Murphys

KICKIN’ OFF Dropkick Murphys, Frank Turner & The Sleeping Souls and Swingin’ Utters will join forces for some massive Bluesfest sideshows. Dropkick Murphys will come out swinging on the back of their new album, Signed & Sealed In Blood, due out in January, while from the other side of the pond, Britain’s Frank Turner will deliver a revitalised performance after bunkering down in the studio for a good portion of this year. They play Sunday 31 March at Panthers Newcastle and Monday 1 April under the Big Top, Luna Park.


KAIN AGAIN Before We Finally Meet is the new album from Agnes Kain: singers, songwriters and musicians Chanelle Afford and Stefan Simunic from Sydney. The album marks a progressive shift in sound for the indie pop-folk duo as they make some noise with electric guitars and a new live band. They launch the album at Notes on Thursday 29 November with guests Emma Davis and Hinterlandt.

PURITY RING EXTRA SHOW Due to popular demand, Purity Ring have announced a second Sydney show on Tuesday 5 March at Oxford Art Factory, their first show on Wednesday 6 having sold out.

FINAL HOUSE MAFIA This Summer, Swedish House Mafia will bid farewell to Australian fans on their worldwide One Last Tour against a backdrop of lasers, fireworks and flames. Strictly limited to one night only, One Last Tour promises to deliver Aussie fans one last huge send off, packed with the trio’s most popular tracks. It happens on Saturday 2 February at Sydney Showground. Tickets are on sale at 9am on Monday 19 November.

26 • For more news/announcements go to

Deer Tick have captured their rollicking live sound on their fourth offering, Divine Providence, with an exuberant romp full of youthful energy, noise, punk-influenced bar-rock and blues. Two Gallants are alternately explosive and restrained on their aptly titled new album, The Bloom & The Blight. Deer Tick and Two Gallants will co-headline an Australian tour this February and play on Friday 8 at The Annandale.

THE NIGHT SKY Canadian quintet Stars are returning to our shores for a string of shows. Over the course of more than a decade together, Stars have consistently proven themselves adept at producing incisively sharp, beautifully orchestrated pop music. Their sixth album, The North, is no exception. Catch them on Saturday 9 February at The Factory Theatre.


Jon Spencer Blues Explosion

Get ready for the musical hysteria as The Jon Spencer Blues Explosion bring their fuzzed-up freaked-out live show back to Australia for Golden Plains and a handful of headline shows across the country. Last here in January 2011, JSBX blew the roof off venues playing their classic album, Orange, in its entirety and selling out shows. This time they tour with Moon Duo and will play Saturday 9 March at The Hi-Fi.


Dinosaut Jr

DINOSAUR SKIES Having completed a sold-out solo East Coast tour earlier this year, J Mascis returns to Australia in 2013 for a national tour. This time Mascis is bringing his pals, drummer Murph and bassist Lou Barlow, along with him as they prepare once again to give listeners a dose of the live aural-onslaught that is Dinosaur Jr. The tour comes off the back of I Bet On Sky, the third album to be released by the trio since their reformation in 2005. They play Saturday 16 March at The Hi-Fi with very special guests Redd Kross.

A NATURAL WOMAN Carole King will play concerts in all states during February 2013, touring here for the first time since her 2010 sold-out arena dates with fellow singersongwriter James Taylor. King brings a rich abundance of timeless compositions with her, including So Far Away, I Feel The Earth Move, It’s Too Late, Jazzman and (You Make Me Feel Like) A Natural Woman. King plays Canberra’s Royal Theatre on Thursday 7 February, Sydney Entertainment Centre on Thursday 14 and Hope Estate Winery in the Hunter Valley Saturday 16.

UK electronic-rock legends 65daysofstatic have announced the supports for their first Australian headline shows in January. Sydney ambient/melodic post-rockers Sleepmakeswaves will join the tour for all shows and at their Wednesday 2 January Hi-Fi show they’ll be joined by Bon Chat Bon Rat.

JONES TOWN After promptly selling out her first two shows at the State Theatre, the exquisite Norah Jones will now be performing a third and final Sydney show on Sunday 17 February. Tickets to the new show go on sale at 9am Tuesday 20 November.

DOUBLE ANGELS TOURS It’s been 18 months since Dave Gleeson from The Screaming Jets joined one version of The Angels. The Angels’ Greatest Hits: Take It To The Streets tour sees the band bringing together their hits with the best songs from the new album, and some other blasts from the past. They play Friday 22 February at Rooty Hill RSL, Saturday 23 at The Cube in Campbelltown, Friday 8 March at Vikings Erindale, Thursday 21, 22 and 23 at The Annandale, Friday 12 April at Bankstown Sports, Saturday 13 at Taren Point Hotel and Saturday 20 April at Dee Why RSL. Meanwhile, The Angels 100% Tour will bring together a unique line-up of Doc Neeson, guitarists Bob Spencer and James Morley, drummer Buzz Bidstrup and bass player Jim Hilbun. This version of the band play Friday 15 February at Penrith Panthers, Saturday 16 at Entrance Leagues, Friday 22 March at Southern Cross Club in Canberra and Saturday 23 at Shoalhaven Entertainment Centre.


PUSHING THE LIMITS Puscifer’s latest album, Conditions Of My Parole, was recorded amidst the wine barrels at Maynard Keenan’s Caduceus Cellars. A Puscifer live show is a musically-driven evening that merges technology, quirky characters and comedy in what can best be described as an anarchist dinner theatre. They’re heading out for Soundwave and will also play Tuesday 26 February at Enmore Theatre.





























ENTER DASHVILLE The Gum Ball is a unique weekend music and arts festival held at ‘Dashville’, at Belford in the Hunter Valley, and has grown in popularity over the past eight years, and proudly raises money for The Black Dog Institute. Gates open for the next three-day festival Thursday 25 April and tickets go on sale Thursday 22 November through The artist line-up will be announced Sunday 16 December.


AMCOS ACHIEVES “EXCEPTIONAL” GROWTH, SAYS CEO APRA|AMCOS, Australia’s music copyright organisation, has released its financial results for the period 2011/12 with CEO Brett Cottle describing AMCOS’ revenue growth as “exceptional”. The two entities distributed 14 per cent more in royalties to its members, 244,623 writers and publishers in total received payments, with a reported revenue growth of 7.2 per cent – up to $257.4 million. APRA, which deals with royalties for public performances, had a modest revenue growth of 1.5 per cent to $185.7 million while AMCOS, which deals with mechanical rights, posted a remarkable 25 per cent growth to $71.7 million. Cottle said, “In a year in which APRA’s revenue grew marginally and AMCOS’ grew exceptionally, the real story has been the significant increase in distributions paid to members and to affiliated societies”.

NEW WEIRD AUSTRALIA ADDS DIRECTORS Experimental music initiative New Weird Australia has announced that Brisbane musicians Andrew Tuttle and Innez Tulloch will be its new co-directors alongside Stu Buchanan. In the role, they will be collectively responsible for the future direction of New Weird Australia and will develop and explore new projects, new events and new label releases.


Trombone Shorty

HUGE BLUESFEST SIDESHOWS If you can’t make Bluesfest, or even if you can but need more, the sideshow announcements keep on rolling in. Take a deep breath… Nu-folk multi-instrumentalist Seth Lakeman plays Notes on Wednesday 20 March, Lizotte’s Dee Why on Thursday 21, Lizotte’s Kincumber on Friday 22, Lizotte’s Newcastle on Saturday 23 and The Brass Monkey on Sunday 24; the undisputed First Lady of Rockabilly Wanda Jackson plays The Factory Theatre on Saturday 23 and Lizotte’s Newcastle on Monday 25; reggae legend Jimmy Cliff plays The Metro on Thursday 28; dark folk-country bringer Shawn Colvin plays The Basement on Sunday 31; ukulele maestro Jake Shimabukuro plays Lizotte’s Newcastle on Sunday 31, Lizotte’s Kincumber on Monday 1 April, Lizotte’s Dee Why on Wednesday 3 and The Basement on Thursday 4; New Orleans’ stirrers of hip-hop, jazz, blues’n’rock Trombone Shorty & Orleans Avenue play The Enmore on Sunday 31 March and Lizotte’s Newcastle on Monday 1 April; grizzle-haired charismatic Canadian Ben Caplan plays Notes on Wednesday 3; Grammy Award-nominated soul singer Bettye LaVette plays The Factory Theatre on Friday 5 and the voice of YES, Jon Anderson plays Lizotte’s Newcastle on Wednesday 3 and The Factory Theatre on Saturday 6.

STEALING IT In support of new single, Messiah, Greenthief will be performing a quick run down the East Coast, their final dates for 2012 before bunkering down to complete their debut album with ARIA-winning producer Steve James. They play Saturday 24 November at Spectrum.

Paul Kelly and Neil Finn



Following a career spanning 12 years, hundreds of shows and more than 30,000kms in the tour van, Adelaide’s Mere Theory are calling it a day – but not before they release two new songs and head out on a final tour with their good friends, Central Coast rockers After The Fall. They rock into NSW on Friday 30 November to play The Bald Faced Stag and Saturday 1 December at The Great Northern in Newcastle.

Kerri ‘Kaoz’ Chandler is one of deep-house music’s originators and has been injecting soul into the music since the early-’90s, a house legend, icon, inspiration, key figure and a true music purveyor. An ambassador of the natural and instinctive 4/4 beat, Chandler’s influences can be traced back to New Jersey growing up in a family of jazz musicians. He’s finally set to tour Australia and will play Space along with Vancouver’s Mathew Jonson on New Year’s Day.

UP THE COAST Beach House fell in love with the North Coast when they played Mullumbimby’s Civic Hall last year and spent some downtime from their tour enjoying all that the coast had to offer. The folk at Mistletone and Spunk share that love for the north, and have joined forces for Spunk Tones – a mini-festival at Bangalow’s A&I Hall featuring Beach House, Sharon Van Etten, Jack Ladder & The Dreamlanders, Wintercoats and Bored Nothing, to take place Saturday 12 January.

28 • For more news/announcements go to

ACTION JACKSON Singer-songwriter Jackson McLaren will be celebrating the release of his new EP, Walk Along The Wire, co-headlining residencies in Sydney and Melbourne starting this week. He plays Wednesdays 14, 21 and 28 November and Wednesday 5 December at Folk Club at Arcadia Liquors with The Falls.

EVERYONE IS HERE Two of Australasia’s greatest singer-songwriters, Neil Finn and Paul Kelly, are performing on tour together. Finn and Kelly will share the stage throughout as members of the one band, singing and playing a selection from their rich and varied songbooks. A family affair, with the line-up to include Elroy Finn on drums and Dan Kelly on guitars, they play Sydney Opera House Sunday 10, Monday 11 and Tuesday 12 March.

WATERS TRIBUTE Widely considered to be the father of Chicago blues, experience a little Muddy Waters courtesy some of Australia’s blues royalty. Paying tribute are Dom Turner, Ian Collard, Kevin Bennett, Don Hopkins, Jeremy Edwards, Johnny Cass and Curtis Martin Thursday 13 December at Blue Beat Double Bay, Saturday 15 at Waves Wollongong, Saturday 12 January at Lizotte’s Dee Why and Sunday 13 at Lizotte’s Newcastle.


From his collaborations with Jack White to setting up country superstar Dwight Yoakam with Girls frontman Christopher Owens, Beck Hansen makes music to connect with people. The idiosyncratic innovator opens up to Brendan Telford.

ON THE RECORD Beck has always strived to push the boundaries of popular music, and within his Record Club he has brought a wide array of friends into the fold with him. The concept of reinterpreting an album and recording it in less than 24 hours in an informal setting, Beck’s Record Club has inverse correlations with his current exercise in The Song Reader music book, with the creative composition of the chosen tracks becoming limited only by the imagination and scope of the participants.

he ubiquitous Beck is an arbiter of idiosyncrasy, innovation and evolution. Ever since his breakout with third studio record Mellow Gold and its slacker anthem Loser, Beck Hansen has continued to redefine his own approach to popular music, striving to connect with likeminded souls along the way. The spiky devil-may-care irreverence of Odelay!,


“I read that some of my favourite records had been written in a day or an evening; such as With The Beatles being recorded in a day, and Another Side of Bob Dylan was recorded in one night,” Hansen explains. “I was taken by this idea where you could record an album in one shot, and that’s the way it used to be, and I think of records that I’ve done where I’ve spent all that time and all that energy – do you get that much further than they did in one day? Obviously they are great artists, but it goes to show what you can do when you put your mind to it, you can have some limitations and achieve amazing things in a short amount of time. “Getting people to play music out of the context of their own musical sphere was another element I was eager to explore. It takes them out of the demands and pressures of their own careers and work commitments, expectations and fans, and to let go. It’s all live, and people don’t get to hear that side of musicians that often; just hanging out and playing music that is unpremeditated and natural.

OFF THE BOOKS “It’s a very draining experience as well. It’s a cross between complete liberation and a triathlon competition. But it’s the only way you can get people to commit; you can usually get anyone to commit to one day. In the case of Wilco, I don’t think they showed up until after dinner. They came over at eight at night, and we did the whole thing (Skip Spence’s Oar) by one in the morning, then off they went. It was powerhouse.”

“There’s going to be a website that [publishing house] McSweeney’s is going to put together where people are going to be able to post their versions of the songs,” Hansen espouses. “And I’m sure that people will go to YouTube and all the other outlets. It will be a free-for-all, as it should be, and hopefully there will be some surprises along the way. I hope people take liberty with these songs, to use them as a blueprint for their own style and their own feeling for the song.” There is no doubt that The Song Reader is an audacious achievement, yet it does not surprise that the germ of the idea sparked some 16 years ago. “I put out Odelay! and a publisher was going to put out some sheet music for the record,” Hansen explains. “But when they sent it to me, it was completely unnatural, because it was a transcription of a record that was a lot of sonic experimentation and weirdness. It didn’t really come across as piano music to me. I became ashamed of putting out a book of music that wasn’t going to be all that playable. I thought I should just write a bunch of songs and put them out as a book instead; it’d be a better use of paper and people’s time. I called up McSweeney’s in 2004 and we started this conversation on how to present the book and what it should be. Then there was this long gestation period before I finally took five months out of my time to really get it together, get the arrangements right. It’s been a long time to keep an idea to myself that’s for sure.” Hansen is consistently active in a wide array of diverse endeavours, searching for new avenues within which to create. He has stepped into the producer’s chair, working with artists such as Dwight Yoakam and Thurston Moore, collaborated on mixtapes with artists such as electronic wizard Tobacco and hip hop wunderkind Childish Gambino, and runs his own Record Club (see inset). But what may seem like a bowerbird approach to creation in its disparate elements actually speaks of a far more singular focus.

the warped lounge histrionics of Midnite Vultures, the broken heart laid bare on Sea Change – all are kaleidoscopic images of Beck as an artist and as a person. He has always strived to push himself, to grow within and therefore defy the constraints of what it means to be a musician. Case in point is his latest endeavour, The Song Reader. Containing 20 new and unreleased tracks, the 108-page book features no actual listenable content at all; rather, it’s a device to incite a breakdown of the wall between the creator and the consumer. “It’s an album of sheet music, which is designed so that you have to play the music yourself,” Hansen explains. “It’s an experiment really, on what the conception of an album or the process of putting out music can be. It enlists the listener to participate and interpret the songs – they control the tone of each track. Just creating the book and working with different artists on the book after eight or nine albums, there are constraints on record packaging that this project freed up and expanded. I was able to indulge in every visual idea you could possibly want for this project. It became about creating a little package for these songs; the book itself is just a visual melange of different ideas. Then under that there’s the concept of songwriting and the song itself; how we relate to music now opposed to how we did in the past. We had a much more intimate relationship with the music than we do now.” The Song Reader is the ultimate tactile document, visually absorbing and arresting while literally eliciting a response from the audience. The collaboration with the visual artists who contributed to the project combined with the ultimate interaction and creation of the music by the “listener” makes it wholly immersive.

“I think it’s important to put yourself or find yourself in environments where things are switched around and you have to figure out what it is you’re doing, how you’re going to make it work,” Hansen states. “You are putting yourself into boxes that you have to figure your way out of. It’s easy to have a routine or formula that you just recycle, and it’s a viable way to work, but I always enjoy going into different scenarios and seeing what happens. I realised a long time ago that the only way you grow, and continue to grow, is with some kind of friction against other elements. I may be completely wrong, but I remember at a young age noticing the fact that these golden eras of music, whether it be the jazz era or the ‘60s British rock or the ’70s California singer-songwriter era, these people were all rubbing shoulders and playing off of each other – each person was leapfrogging another person’s ideas. It’s in these times where stuff happens.” The explosion of the digital age providing access to music globally and the ability for anyone to make a comment on music and how it’s created has led to an increased desire to pigeonhole. It’s felt that the blessing of accessibility could also be a curse, creating a vacuum that has artists afraid of venturing outside their sphere of influence. “Within various scenes people are working with each other and touring together, but I don’t see it as being as collaborative is it maybe was in other eras,” Hansen admits. “Neil Young’s most known song had James Taylor and Linda Ronstadt on it [Old Man]; the openness to that camaraderie doesn’t seem to be there. I don’t know what people’s attitudes are about opening up, but I do find that some people are pretty protective, and that’s the way they work so that’s fine, there’s no hard and fast rule. But musicians would be surprised by who actually likes their music. I think there is a discrepancy between what they think their music is and what the rest of the world does. I know I’ve had that experience – in my head I’m doing one thing then I see it reflected back at me and I think, ‘god, that is not what I meant at all, that’s the complete opposite of what I meant!’ We do have that tendency to label something or at worst WHO: Beck WHAT: The Song Reader (McSweeney’s) WHEN & WHERE: Wednesday 14 November, State Theatre; Saturday 17, Harvest, Parramatta Park

marginalise it by putting it into one category, but I think many times if you scratch the surface there is a lot more going on. “When I was working with Dwight Yoakam, I was trying to get him to cover a song by Girls,” Hansen continues. “I thought for some reason that a song of theirs would have been perfect for him, that he would have done something that was really remarkable with it. And then just by coincidence [Girls frontman] Christopher Owens heard I was working with [Yoakam] and wanted to get in on a song. The people I was working with thought such an idea was wild, but in fact the singer was a fan and reached out of his own volition.” Beck’s oeuvre and his constant quest for innovation has led to many critics labelling him as a brave musician. It’s clear that such descriptions don’t apply for him – he is merely being himself, and feels it stifling to be anything if not looking forward. “Some people I’ve toured with or been around have been very protective and put up a heavy wall – they don’t want to let people in,” Hansen states. “And sometimes that is frightening. I have let people in for them to go and say things that weren’t true about me in the press, stating negative stuff, when I thought we had a great time and that there was no bad blood at all. But generally when working with people there’s a genuineness and openness. We’re all making music together and sometimes it’s very vulnerable and other times you are letting your hair down. “I’ve worked with Jack White many times over the years – I’m about to put out a seven-inch with him, and have worked on Third Man Records stuff before now – and it’s just been about playing music and having a good time. Sometimes musicians get this career forced upon them that puts them in a box they don’t want to be in, and they become afraid to make any moves outside of that, which can be ultimately frustrating for some of them. That’s not why I set out to make music; it was to connect with people, to work with people, and I think Jack is like that too. It’s the idea that is the important thing, whether it entails me producing another person’s record, or I’m appearing on someone else’s song, it’s their idea I’m helping to bring to light – it’s the same process for me. If you get lucky, one or two things will come out great and people will remember it, but that doesn’t matter either. That isn’t the be all and end all – the idea is.”


LET THERE BE PROG The heaviest band to take their name from a Counting Crows lyric, US crew Between The Buried And Me are bringing their progmetal back to Australia. Brendan Crabb tries to avoid getting lost in another convoluted rhythm with vocalist Tommy Rogers. here’s a curious moment during the episode of the excellent Classic Albums documentary series which details the making of prog-rock gods Rush’s 2112 opus. The seven-part, Ayn Rand-inspired dystopian concept suite that comprises the first side of the 1976 record tells of a world controlled by priests who determine the content of all reading matter, songs, pictures – every facet of life. Upon Rush delivering this grandiose work to their record company, most at the label panicked, figuring no one would understand it. However, it proved to be their commercial breakthrough and remains one of their most-loved releases. The band members suggest during the program that despite the ambitious nature of the music itself, the masses identified with the raw anger channelled within it.


Kindred spirits since forming in 2000, US prog-metallers Between The Buried And Me weren’t quite facing the same pressures from the powers-that-be when recording their first fully-fledged concept album The Parallax II: Future Sequence, the continuation of last year’s The Parallax: Hypersleep Dialogues EP. However, vocalist Tommy Rogers quickly notes that even within a dexterous 70 minute-plus piece, themes need to be palatable to wider audiences; listeners require something tangible to latch on to. “I think it’s something that a lot of people can relate to,” he explains of their new disc. “These characters, they definitely go through emotions we can all relate to. You’re constantly deciding if you regret the decisions you make in your life, and there are certain things that maybe you feel that way about. That’s kinda what they’re doing, on a grand scale. But I think it’s for sure something people can relate to.” The EP established the narrative’s two characters, Prospect I and Prospect II. Separated by millions of light years, the two men exist in ignorance of the other yet are intrinsically connected by a shared soul, which ultimately brings them together. “The original idea, the basic concept our guitarist Paul (Waggoner) came up with. He basically talked to us about it and we were like, ‘yeah, that’s something we could work with’. For me, it was something I could elaborate on and build a whole story out of it, create something interesting enough to create an album and-a-half’s worth of material.

“We just went from there. I was bouncing ideas off some of the guys and we would work on different ways to approach the story. That’s how we went with it. I just try to find my ideas about the human race and where I think things are going, things I try to put my personal touch on. These characters go through a lot of difficult times and you can always put that towards being in a band. Being by yourself a lot, and that isolation… you just try to somehow relate to these characters, because you do want that human emotion in the writing as well.” Progressive acts such as Dream Theatre have been lambasted for placing technical prowess above actual songwriting and genuine feeling. A recent conversation with Meshuggah’s Tomas Haake is recounted to Rogers, whereby he dispelled the myth that the Swedish bruisers sit in a room with calculators, trying to devise the most complex time signatures possible. Rogers quickly points out that their songwriting process is also an organic one. “Before we start a record we always just get together a lot of ideas, and write a lot individually. Then after a few months of doing that, getting things together, we go to see what each others’ doing. We normally get really inspired off each other and kind of elaborate off each other’s ideas. Then we just get in a room together and just start putting songs together. It’s different for each song; it really is, for each one we write. But that’s kinda the starting point, and then we just work with what feels right. The key for us is just playing and writing something that feels really natural to us, and makes total sense to us and our music. We spend a lot of time and we record as we write, so we can always look back, elaborate and change whatever we need when we write. “That’s always the way it’s worked for us. Before we write a new record, people ask us, ‘what’s it going to sound like?’ And we never really know. Until we really start putting together ideas we don’t really know what to expect, and that’s one of the fun things about writing with this band. We never know what we’re going to do. I never know what Dan (Briggs, bass) or Paul’s gonna write. We all surprise each other every record with the things we write. It keeps it refreshing,

exciting and that’s the way we like to work. There’s always parts that don’t work and there’s parts that seem like they work for days, then they just ultimately don’t. I think at this point we all know what works for us and what doesn’t. Sometimes we’ll spend an entire day working on a part we like, and at the end of the day it’s total crap, you know? It’s just part of it; there’s definitely lots of that with our music, for sure.” The new record is their most overtly “progressive” effort yet – how does the vocalist feel about such a tag? “I’d say because I feel like we do push ourselves, we could call ourselves progressive. I think the word gets tossed around way too much with everything. I feel it gets misused a lot. I’m not a genre guy; I either think something’s awesome or not. We just kinda write what we think is awesome to us and if it’s metal or not, or if it’s prog, that’s cool. If it’s poppy or rock-y; whatever works. I want to keep pushing ourselves, man. I want to keep perfecting what we do.” Those attending Between The Buried And Me’s impending Australian tour likely won’t care about genre pigeonholing either, their dedicated fan base chomping at the bit for the return. They will be joined by US

instrumental prog-metal sensations Animals As Leaders. “They’re a phenomenal band, a great group of people and musicians,” Rogers gushes. “I think for people who have never heard them, they’re gonna be blown away. “We’re doing a few new songs, then some old stuff here and there. It’s tough for us; we have so much music now and our songs are very long. But we’re gonna play for an hour and 20 minutes or so, a mix of everything. We’ve had really good tours there, every time it gets better and better. As far as the growth of the band I hope that continues and that will always increase every year. With this kind of music it’s so hard to have expectations and we really can’t. So we’re just doing our thing; so far it’s going really well and hopefully it continues to do so.” WHO: Between The Buried And Me WHAT: The Parallax II: Future Sequence (Metal Blade) WHEN & WHERE: Saturday 17 November, Metro Theatre

THE LOST ART OF KEEPING A SECRET On the eve of their anticipated Harvest shows, Johnny Jewel from Portland’s Chromatics speaks with Anthony Carew about the creation of urban myths and his ever-busy black book. n an era in which every show ever is documented by some fool on their phone, those ‘mythical gigs’, ones whispered about with the reverie of legend and the conspiracy of rumour, are growing endangered. After all, being there to see Jay Reatard fight fans or The Brian Jonestown Massacre fight each other, or to witness Jeff Mangum return from the wilderness, lose their specialness when they’re immediately digitised, dispatched and diluted into retweeted oblivion. Gladly, no known video exists of Glass Candy’s one-and-only Melbourne gig, a tiny 2008 club show so deranged and overjoyous that it sparked countless post-gig myths. The best one – that Johnny Jewel was so mad that someone had stolen his lucky hat that he vowed never to play in Melbourne again. Jewel laughs when I tell him this. The prolific producer behind the Italians Do It Better label and, in turn, its stable of acts (Glass Candy, Chromatics, Desire, Mirage, Farah, Symmetry), is sitting in a tour van in a “burnt-out parking lot” on a crackhead-ish strip in Akron, Ohio, remembering the last time he was in Australia.


“It was a drunken, awesome night,” Jewel sparkles in recollection. “At the end of the night, Ida [No, Glass Candy vocalist] brought everyone on stage. I was a wreck [by that time], and I think everyone who got up on stage was drunk, or at least having a wild time. It was a great show! I was playing barefoot, and someone stole my shoes, and then they stole all the knobs off the synthesiser – I guess people just got so excited – which made it very difficult to continue the tour. So, the next morning I did something I never do – I did something publicly negative. I went on MySpace – you remember MySpace! – and wrote, ‘Thank you for stealing my only pair of shoes on the trip – burn in hell!’ But then I deleted the post because I believe that, for better or worse, when you hit the stage or leave your house or take a train or get on a plane, you kind of have to submit to what happens – that’s life. I felt it was childish of me to complain about it. I’m a better man now.” It’s not just shows that give rise to legends about Jewel, but his entire way of working. The producer was born in Houston, Texas, and relocated to Portland in 1996 (these days, he’s based half in Portland, half in Montreal, the latter city from where his girlfriend,

32 • For more interviews go to

Desire vocalist Megan Louise, hails). Two weeks after moving to Portland, Jewel met No (these aren’t stage handles – both legally changed their names, living their lives as art), and Glass Candy began. At first, they were a band making raucous, glam-ish rock but, slowly, they morphed into a downbeat disco act, pioneering the sound that would become Jewel’s own. Chromatics – who, after the release of their fourth album, this year’s Kill For Love, have become, if only for the time being, Jewel’s best-known project – began life as a separate entity entirely, formed in 2001 in Portland by a crew of ex-Seattle punks – future members of Gossip, Shoplifting and Past Lives – as a no-wave band. After Chromatics’ debut LP, 2003’s Chrome Rats Vs Basement Rutz, everyone left the band save guitarist Adam Miller, so he recruited Jewel, the record’s producer, plus his studio right-hand-man, Nat Walker, and his then-girlfriend, Ruth Radelet. Chromatics, too, grew into a completely different beast, inching ever closer, in sound and spirit, to Glass Candy. After Chromatics officially released 2004’s Plaster Hounds, Jewel would start doing something that, at the time, seemed revolutionary – giving away his music for free. With the MySpace era in full swing, Glass Candy made their whole back catalogue available online, and would freely upload all their new recordings. “Everyone thought it was insane back then,” Jewel admits. “But it just seemed inevitable. We knew the way music was going. And we saw the positives in it.” With their music trading freely, a fervent underground cult grew around Glass Candy, fuelled by Jewel’s workaholic nature. Every time the band went on tour, he’d effectively make a new album and, like some modern-day Arthur Russell, he’d obsessively make unending edits of the same songs, a perfectionist thirsting for perfection; a studio rat chasing dreams in glittering disco hues. Jewel’s ‘coming out’ year would be 2007, and for Italians Do It Better, the label he’d started with Troubleman Unlimited founder Mike Simonetti. That year, IDIB would release Chromatics’ Night Drive LP, a soundtrack to an imaginary film whose highlight was a deadzone disco cover of Kate Bush’s Running Up That

Hill; Glass Candy’s second proper LP Beatbox and the After Dark compilation, which was entirely produced by Jewel and documented the label’s growing family. These three records became their own movement – a critical touchstone for those chronicling the revival of Italo-disco and the rise of electro-fied indie bands. Glass Candy’s shows in Australia came early in 2008 (for the V Festival, which these days feels as much a relic as MySpace) and, shortly thereafter, those days in which Jewel turned out albums slowed significantly, replaced by a slow-moving secrecy – albums eternally billed as ‘coming soon’ – that creates a sense of mystery. The debut album for Farah, an Iranian-American singer from Texas, was recorded late in 2008, and Glass Candy began work on their third record, Body Work, in 2009. Yet both remain unreleased. Chromatics’ double-album epic, Kill For Love, was due in January, spontaneously arising, instead, in March, with Radelet and Miller not hearing the final version before it was out. The announced release date for the After Dark 2 compile has come and gone, and, at the time of typing, doesn’t yet exist. “For me, the goal is to make a good record, and I have to work on it until that’s how I feel about it. And I need that distance from the music, almost as a second collaborator; like, when I come back to the track I hear it fresh. I get

a better view of the music with time and space. That’s something that’s really crucial to the development and quality of the music... I feel like the song is unfolding itself and it’s my job as producer to get out of its way when I need to, and just let the magic – or whatever you want to call it – happen. And for me, that magic element is time. It’s difficult to take that time, though, because people think things are a hoax. People think the Farah record is a hoax. People thought Kill For Love was a hoax. People think there’s no Glass Candy album. But, in the end, everyone who was stressed out and anxious about when the Chromatics record was going to come out, well, now that’s all done – the album is out and it’s out forever. No one really remembers what it was like waiting for the record, because now it’s just there. And if I were to rush a record just to get it out a few months earlier, then an inferior record would be there permanently. And that’s not something I’m willing to do.” WHO: Chromatics WHAT: Kill For Love (Italians Do It Better) WHEN & WHERE: Saturday 17 November, Harvest Festival, Parramatta Park


DESTRUCTION FOR CREATION Even for a band that named an album Cunt, destroying their new record before anyone could hear it is the ultimate middle finger to the music industry. Bassist Jason PC Fuller from Melbourne’s Blood Duster tells Brendan Crabb about taking control of what’s theirs. lood Duster have never pandered to public opinion. The Melburnians titled one of their albums Cunt and parodied the then burgeoning rap/metal scene by donning tracksuits on-stage, after all. It was this sensibility which partially led to the creation and swift destruction of new record KVLT. When deciding how to release their new album, many options arose for the grindcore/death metal/rock nutters. Make it a digital only? Use Radiohead’s ‘pay what you want’ model? Give it away for free?


“We were just bored with the same old thing,” bassist/founding member Jason PC Fuller explains. “We’re 20-plus years old as a band. Even if we made the fucking album of our lives, which I think we did… Even though we know


it’s fucking good, we put it out and we’re not gonna generate the hype of a young band. The most we can hope for is people going, ‘Oh, sick, Blood Duster – good record’. So it’s like, how do we make this release exciting for us? For us, it’s more amusing to just not release it. The fun part for us is over.” Due to a loathing of the marketing and sales process, the band decided to take the DIY punk ethos one step further; they came up with their own manta, Do It Yourself, For Yourself (or DIYFY) and released the album on limited edition vinyl. The catch is it’s virtually unplayable. You can buy the record but it has the album’s title scratched into the grooves, rendering it useless. The band even took the extreme step of destroying the masters (video of which is available online) so there is no chance of it ever mysteriously appearing on the web. The record literally no longer exists. The band are releasing a fivetrack download EP SVCK to promote the LP, but that’s it. At the time of speaking to Fuller, details of their new venture had just broken and was receiving coverage in mainstream dailies alongside the usual metal media. “I kind of expected there’d be a little of, ‘Oh, they’re fucking stupid’. I didn’t expect this much, ‘Oh, they’re fucking stupid’,” he laughs. “I was initially going to print 100 copies and I’ve already got 100 pre-orders. I don’t know what to do. This is supposed to be a fucking joke. You’re not supposed to actually want the record. We only really pressed them because we wanted to show people, ‘We did actually make a record and we’ve chosen not to give it to you’. “I’m getting tons of emails from bands saying, ‘I think you guys are fucking mental, but I am 100% behind what you’re doing’. Bands that are really against illegal downloading – bands I didn’t expect would be. But we’re not really against illegal downloading as such, we’re more against the idea that people think something that someone else creates is worthless. And you no longer have the right to choose whether your stuff has a value – someone else is going to tell you. Which they could do by buying it, but they don’t. They actually choose to steal it and then say bullshit comments like, ‘I downloaded your back catalogue, but I’ll buy a T-shirt’. I’m for music and all for free music. If a band today brings out an album, they can choose to give it to you for free if they want. But I’m against stealing someone’s music if they don’t want you to steal it.” The response unsurprisingly hasn’t been entirely positive. “It’s funny, some of the reactions, because there’s a lot of angry people out there that can’t wrap their heads around the idea that they’re not getting something, like it’s deserved. They’re just blinded by the fact they wanted a record, and because we haven’t given them one they’re acting like we’ve broken into their house and took their favourite record. They’re serious about something they’ve never heard. I haven’t stolen from you, I just didn’t give you something,” Fuller laughs. “So they’re furious, yet people have been taking from bands forever and they’re supposed to not be angry at all. Is the world upside down?” he laughs again. “People say they’ll buy a T-shirt, but that’s only because they can’t download one. If someone figures out a way you can download a T-shirt for free, T-shirt sales will plummet.





“As much as people hate Metallica – I hate Metallica, but mainly for making bad records. But it’s got to this point where bands are scared to stand up and say, ‘Hey, I do want to be paid for what I’m putting out’. Radiohead? It’s not gonna matter because they’re fucking massive; they can market the record to the right people. But for small bands, especially bands even smaller than us, that pump all of their money into a CD… Sure it gets around, but that band isn’t going to be touring, they’re not going to be making that money back. That band probably doesn’t have enough money left over to make a T-shirt, let alone to sell it to you. And what do they get? They just get fucking shafted. The only people that make money are fucking Google and these people that allow people to steal another person’s copyright. They’re making money by selling ads to put on things they didn’t create and don’t own the copyrights for. My main problem is with taking the rights away from the artist, the right to choose. I don’t really want to be on YouTube with ads for fucking animal products. I like to have that choice. Google don’t give a fuck about me, they’re just gonna put my copyright on there and generate cash from it.” On the copyright violation front, Blood Duster will air KVLT material during the Bastardfest tour, which Fuller co-organises. The bassist is aware that despite objections to his music being used for profit by multinational corporations, live versions of the new songs will likely wind up online anyway, thus indirectly fuelling the machine he despises. “I’m sure it will end up on YouTube and all that stuff. All I know is no one will ever hear the album as it was done and recorded. I’ve actually had heaps of phone calls from friends going, ‘Dude, you have to make me a copy’. There are no copies. It’s fucking pressed scratched. There is no master, the record is gone,” he chuckles. “Even we can’t hear it. As soon as I scratched it I had this pain of regret, like, ‘Fuck, I’m never going to hear that again’. But I also have the joy of, I heard it; I know the songs in my head and what it sounds like. To me, that’s worth a lot, because there’s not much you get to create that you get to keep for yourself in an artistic kind of way. I feel fully elite and KVLT that I’ve heard it.” WHO: Blood Duster WHAT: KVLT (Independent) WHEN & WHERE: Saturday 17 November, Bastardfest, Sandringham Hotel

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GOLD STAR FOR ROBOT GIRL Chatting from her pad in Brooklyn, Santi White (aka Santigold) tells Chris Yates about her failed all-girl hip hop troupe dreams and her Wu-Tang Clan affiliation. have several days off, which is wonderful!” Santi White exclaims. There hasn’t been a lot of downtime for White as she has toured the world promoting her second album Master Of My Make-Believe and she’s relishing the break. “It’s really good. Finally I’ve been getting some time at home. It’s like I’m starting to feel like myself again if you know what I mean.” The stand-out single from Master Of My Make-Believe is The Keepers, a cynical track about the state of America and the world at large crammed into a three-anda-half minute pop song that sounds like a slightly modernised reworking of a proper ‘80s pop classic.


“It was in the framework of the whole record,” she says about the initial idea behind the track. “A lot of the record

is about being in control of your reality, and being responsible and involved with your whole environment – whether that’s your internal environment or your external environment. That song’s just about taking responsibility for the state of things around us in the world. I mean clearly, it’s kind of a wreck in many ways. Ultimately it falls on us. We’re the ones who are going to have to live in it, and we’re the ones that are to blame for the current state of it. You know, I sing, ‘While we sleep in America,’ but that’s because I’m in America – really it’s everywhere. Right before or around the time I wrote it there were nuclear explosions and oil spills, all the uprisings – there’s a lot of things pointing out that things are a little bit out of whack. So the song’s about not being able to sit back and pretend that you don’t have anything to do with that.” White says that while a lot of people simply don’t seem to care, there are other issues at play. Even though the tone of The Keepers may be cynical on the surface, she has an optimistic outlook on humanity’s ability to instigate change and make good things happen. “It’s a big problem and it happens for different reasons,” she says. “While part of it may be apathy, another part of it is that people feel disempowered and they feel like nothing they say or do might make any difference. This feeling of frustration is leading to things like the Occupy Movement. But it’s because of that frustration that people aren’t being heard. People didn’t feel like they were able to make a difference, but they have to sit there and watch things fall apart and go the wrong way. I don’t believe that should be the case. It might be more difficult than it has been in the past, but we still can have our say and the more we choose to use our voices, the more we can make a difference.” The video for The Keepers is another creative victory for White, having directed the video herself, something she says she really enjoyed getting stuck into. It also offered the opportunity to include an old friend in a cameo appearance. As the 1950s-era family featured in the video go about eating their TV dinners in blissful ignorance, there’s a drive-by shooting on the house. The man with his finger on the trigger is Wu-Tang’s GZA/Genius. “It was really such an amazing experience,” she says of being the video’s director. “I really like how it came out. GZA is one of my favourites! He’s an old friend and he’s just so wonderful and always down to do something. It was pretty cool that he agreed to be in it.” However, her working relationship with GZA actually goes way back. “The first time I worked with him was in the ‘90s,” she says. “I wrote the hook on his song Beneath The Surface. I didn’t sing it though, it was this girl Res. I was writing and executive producing her record (How I Do) at the time, so I got her to do the hook for his record. Following that, on his next record [Legend Of The Liquid Sword] I wrote and I sang the hook on the track Stay In Line. One time in Lollapalooza we actually did a short four- or five-song set together where we collaborated on a few songs, which was really fun,” she laughs. One of her proudest collaborations on a star-studded list was when she fulfilled a lifelong dream by contributing a guest performance on what sadly would become the final Beastie Boys album, Hot Sauce Committee Part Two. Even though her earliest memories of Beastie Boys date way back, it’s clear that she held them in high regard even then. “Oh man, I loved Beastie Boys growing up,” she says with real enthusiasm. “I was always trying to get my friends and be like, ‘We could be the girl Beastie Boys!’ and everyone was like, ‘Yeah!’ But then they never did it and I was the only one who really wanted it! I remember when I was like 12 or 13 and we went to the mall and they had this thing where you could perform any song and they turned it into a wacky video where you would be like flying through space while you were singing this song, you know? We did (You Gotta) Fight For Your Right (To Party). I’m just so mad I don’t have the tape anymore because it was amazing. It was on a VHS and I think my dad threw it away years later.” The details of how the collaboration came together are fuzzy for White, as she says a whole lot of stuff happened all at once with the three MCs, including the Rock The Vote road trip, MTV’s initiative to get the kids in America to take to the polls. “That just sparked the friendship,” she says. “I just instantly loved those guys. We would sit around and laugh all day. I went to a lot of Adam Yauch’s film screenings for his Oscilloscope film company around that time as well. Collaborating with them was just so much fun. We were talking about doing a punk-rock EP that we really wanted to do but it never happened. I instantly felt like they were kindred spirits and obviously they’re heroes of mine.” She says she was very overwhelmed when she saw the video for the collaboration track Don’t Play No Game That I Can’t Win – a Robot Chicken-style clip featuring her and the Beasties as action figures. “I loooove that video!” she howls. “Adam had written that whole idea for that video and it’s just so good! It’s one of my most favourite things I’ve seen in a long time!” WHO: Santigold WHAT: Master Of My Make-Believe (Warner) WHEN & WHERE: Saturday 17 November, Harvest Festival, Parramatta Park

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PARTY OF ONE Happily back inside “The Monster”, Jeff Martin is taking one last swing around the nation in solo mode before he gets stuck into the next Tea Party album, as he tells Michael Smith. s this writer sat with The Tea Party in one of Sydney’s swankier hotels ahead of their first Australian tour in seven years, it was obvious that though they weren’t glossing over the things that had torn the band apart, they were once again the Canadian comrades in arms responsible for such an iconic body of work. That impression was borne out in spades when they finally hit the stage in July.


“It was a monster,” Tea Party main man Jeff Martin admits of the reunion tour. He’s taking a break from rehearsing, not only for his extensive forthcoming solo tour but also the band he’s put together for young Townsville artist Kimberley Dawn Lysons, whose debut album he’s spent a year recording and producing. It’s as yet unreleased but has already scored her a feature artist spot at this year’s Woodford Folk Festival. “[The reunion shows] exceeded our expectations and I think for most of the fans it did as well, you know? “I mean in all the years that I’ve played in The Tea Party and all the great, legendary shows that we’ve done and all that, the band’s never been this good. I think the time apart did us the world of good and coming back together, it’s even more potent now. And we’ve finally recorded a live double album, after all these years.”

are set up for that so it can be captured on any given night. So we’ll see if something comes out of it – magic moments. One man, six guitars? That sounds about right.” WHO: Jeff Martin WHAT: The Tea Party: Live in Australia (Vision Entertainment) WHEN & WHERE: Saturday 17, Coogee Diggers; Sunday 18, The Basement; Monday 10 December, Lizotte’s, Newcastle; Tuesday 11, Lizotte’s, Kincumber; Wednesday 12, Lizotte’s, Dee Why; Friday 14, Factory Theatre; Saturday 15, Heritage Hotel, Bulli; Sunday 16, The Vanguard; Tuesday 18 and Wednesday 19, Brass Monkey

They had released a five-track EP, Live At The Enmore Theatre, recorded back in October 1999, though it was literally just 100 copies released by triple j, the trio augmented by a string quintet. “I wasn’t very pleased with the quality of the EP in ’99, so this is the real deal; it’s the raw power of the band, and what’s even more exciting is the DVD that’s coming out because the footage is incredible from the Hordern Pavilion, and the sound – I mixed it with my engineer, Paul [Pilsneniks], we did it in 5.1 surround sound – and it’s epic. It’s really something to hear.” Australia 2012: The Live Double Album was released in September utilising the Pledge Music website, a fan-driven affair. A portion of the proceeds raised over and above the recording budget was donated to the cancer research fund established in the name of Tea Party manager Steve Hoffman, who lost his battle with cancer aged just 37. “We weren’t ready yet to deal with any record companies per se,” Martin explains of the decision to release independently. “We were still feeling out our intensions and all that stuff, what’s going to go on and everything, so to get a commitment from a record company we’re a bit shy about. So this was one way of doing it so we didn’t have to sleep with the devil and the fans could get to feel like they’re investing in their favourite band, you know? “And again, that far exceeded our expectations. I mean, I won’t say the figure that was raised but it was large, and it’s great because we’re basically just gonna give it all back to the fans one way or another, with more tours. I’ll make the next Tea Party record in January. So it’s just been wonderful to get back with my two old friends and for us to put the past behind us and make great music again.”

There’s more to this story on the iPad And that’s essentially what has prompted Martin to pull his six favourite guitars out and get match-fit for a solo tour of Australia that will see him through to Christmas and that Woodford date with Kimberley Dawn Lysons. “From The Tea Party tour, there were a lot of new faces – well, thousands and thousands of faces,” he laughs, “I noticed that there was a new crowd with The Tea Party, as well as all the old fans that haven’t lapsed. So with these new fans and everything, you know, there’s an interest in them seeing, sort of, where the big Tea Party sound, where does it come from and its origins, and basically a lot of those songs I just started with my voice and an acoustic guitar. “The thing about the songs is that, even solo, they stand up. There’s a power in them that’s almost holistic in a way, you know? You can keep distilling it and distilling it and distilling it down to the campfire test and it’s still going to come across. And just because I know The Tea Party – I call it ‘The Monster’ – The Monster is going to take over my life again in the New Year, this is one last chance to go to all my favourite little venues that I’ve got to know so well and do one last solo thing, before it can’t be done for quite some time. “So I’m really looking forward to seeing some old friends, and the intimacy of the shows, because The Tea Party is the big spectacle, and I love it, you know, I love the crowd psychology of that, but I do love the intimacy of the small show, so, one last hurrah. And there’ll be songs from The Armada, from 777 and my solo album, [2006’s] Exile And The Kingdom, so it’s gonna be quite an extensive set, that’s for sure, but it’s got [to be] ‘cause I can change it up every night because there’s a catalogue of so many songs.” And there may also be a live solo album recorded somewhere along the way, to sit beside his double album, Live in Brisbane 2006; 2007’s Live In Dublin; 2008’s Live At The Corner Hotel; and even the 2007 DVD, Live At The Enmore Theatre, he recorded with the Toronto Tabla Ensemble. “I haven’t really thought that far ahead,” Martin admits with a chuckle. “My guitar tech, even as we speak, is disassembling my studio so we can put together my pedal board and all that stuff and get all the acoustic guitars ready to fire up, you know? So I haven’t thought about a recording yet, but a lot of the venues that I’m playing

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ARTISTIC PROHIBITION There’s no right or wrong way to create music, and as The War On Drugs’ creative heart Adam Granduciel tells Steve Bell, sometimes you just have to make up the rules as you go along. ometimes the tangible residue of creative partnerships far outlasts the tenure of the actual union. Take, for example, the bond between The War On Drugs’ frontman and creative lynchpin Adam Granduciel, and his friend and former bandmate Kurt Vile. The pair co-founded The War On Drugs in Philadelphia back in 2005 and their 2008 debut longplayer, Wagonwheel Blues, soon garnered them lots of positive attention for its deft marriage of classic-sounding songwriting – Dylan, Springsteen and Petty are the usually-cited touchstones, Granduciel attesting, “I really dig that classic stuff, although I listen to Neil Young more than the other people that they mention” – which is filtered through more abstract and atmospheric sensibilities, effects-laden textures giving the band a completely distinctive sound and feel.





10 JAN







When Vile left the band as a full-time concern to concentrate on his solo career it wasn’t as big an issue as it was made out to be in some quarters – he still played on the band’s 2011 second effort, Slave Ambient, and Granduciel contributed to Vile’s 2011 solo breakthrough, Smoke Ring For My Halo – but even in his absence he still had a massive influence on the sound and direction of the new music Granduciel was concocting, mainly because he wasn’t there to tell his friend when to stop. “I think it was just evolution in my writing – I had a lot more interest in home recording,” Granduciel recalls of the more ambitious and assured tones of Slave Ambient. “I did for Wagonwheel Blues too, but it was at a different level I think. Some of the stuff that I did at the end of Wagonwheel Blues was kind of like the blueprint for Slave Ambient – I was just a lot more into home recording, and just weirder ways of arriving at sounds. It was a little more insular too. With Wagonwheel... – with the exception of songs that I did when I was younger – most of that stuff was me and Kurt playing off each other, and I didn’t really have anybody like that on Slave Ambient, so it was a little bit more of an insular thing. Which is cool, but it ended up forcing me to have a little more confidence in what I was doing. “It was a long process – a lot of the time I knew what I wanted the songs to feel like, but I didn’t really know if I wanted them to sound a certain way, so sometimes it would take a long time to arrive. I had to listen until it made me feel a certain way and I liked the way that it sounded. But I wasn’t really going for any sound in particular – I think my inability to really sometimes know exactly what I wanted was why it ended up being what it was.” Granduciel’s unique method of songwriting was time consuming, precisely due to its in imprecise nature – it’s all about taking ideas and manipulating them, to assess them from every possible angle, looking for an imperceptible something that’s not visible from the surface, “It was mostly textures and arrangements I was playing with, usually. I’d have a song written in some capacity and I’d have a cool recording with lots of cool textures, but something about the arrangement or the song itself wasn’t doing it for me, so I’d take the bare bones of this one song and think, ‘Well those drums are sweet,’ so I’d take those drums and write a whole other song over the top of it, and then six months later I’d have three or four different versions of the song all with the same drums, so you can fly in parts from one version into another version – that’s truly what it was about, taking the best parts of various recordings and kind of melting them all together into this one thing.” But how does the creator know when these sonically ambitious, dense soundscapes are finished? He doesn’t, apparently. “The only reason it was finished in the end [was] because we were going on tour and we had to have it done,” he laughs. “Our label said, ‘If you don’t have it to us by this date we’re not going to put it out’ – because by that point they were a bit... not fed up, but they were like, ‘Where is this record?’ They hadn’t even heard it, so they were like, ‘Dude, you’re really taking four years to make this stupid record?’ But I needed to finish it.



132 849 40 • For more interviews go to







“Luckily I had the help of my friend Geoff Ziegler and his studio in Philly; he was the one who in the last six months worked really closely with me. It was really shitty for him too, because we’d work on this version of a song, and then I’d come over the next day with like four tapes and say ‘Okay now we have to sync all of this shit up’ and he’d be, like, ‘What!?’ It was a lot of transferring and syncing up, and we have the same tape machine, which was a blessing and a curse because we could work on stuff at his place and then I’d take the tapes home and overdub until eight in the morning, and then come back to his place and put it on and it would be totally different to what we’d done the night before. He’d think I was going home to bed and I’d come back with a completely different song. But we found a happy medium between my insanity and his ability to say, ‘It’s fine the way it is!’ If I didn’t have Geoff I would never have finished, because I could never have known when to leave it alone.”


So while Slave Ambient was essentially a solo affair – the band Granduciel bringing with him to Australia for their inaugural visit for Harvest Festival largely assembled after the album was completed – it seems like the idiosyncratic songwriter might try a different approach for album number three. “I love making music and being in the studio, and buying weird gear for my studio. And making weird sounds at Geoff’s house and buying weird keyboards – I just like the journey, I think. I love the creating – I love that initial spark of listening to what you’ve just laid down in the last few days, you go into this bubble and I love listening back to it all when the time’s done and you don’t have any more days booked. And I love the sharing part of playing it to people – the last couple of records I had to become more of a band after the fact, because I did most of the stuff either in the studio or on my own and then formed the band. In the future it will be more about having ideas and then playing them with the band, but I don’t want to lose that singularity of making music on your own.” WHO: The War On Drugs WHEN & WHERE: Saturday 17 November, Harvest Festival, Parramatta Park; Thursday 15 November, Oxford Art Factory; Saturday 17, Harvest, Parramatta Park

…JUST THE BEGINNING REPEATING When Bryget Chrisfield joins frontman Chris Cheney, double bassist Scott Owen and drummer Andy Strachan on the eve of their current, marathon Retrospective Tour, she learns the band originally planned to call it, “The Living End – Tears Of Joy, Waves Of Emotion”. h look, I’m gonna come straight out and say this,” The Living End’s frontman Chris Cheney pauses for effect while his bandmates clutch their beers in anticipation. “I’m expecting tears.” Drummer Andy Strachan exhales, “Oh, that’s so much better than I thought it was gonna be.” Cheney is referring to how he expects the crowd to react during The Living End’s current Retrospective tour, which sees the trio play all six albums, back to back, over 39 dates nationwide. “I’m expecting tears of joy, waves of emotion. That was what we were gonna call the tour: ‘The Living End – Tears Of Joy, Waves Of Emotion’. Then we went, ‘Er, maybe just Retrospective.’” Sadly, they’ve already printed out the T-shirts, so this slogan won’t be emblazoned across them, but Cheney has a light-bulb moment: “We might get some hankies made up, though. As you walk in you get a hankie.”


Once double bassist Scott Owen gets involved, it’s an in-joke fest. “What are we saying?” Cheney observes. “We spend too much time together, clearly! Well we were gonna have a day off today and not see each other, but here we are back at the pub, two pots in.” Owen disagrees with the picture Cheney is painting of their band as boozehounds: “No, we haven’t been going to the pub! We used to go to the pub every day for lunch, but we haven’t been to the pub at all. We went to the pub once two days ago out of the whole month [of rehearsals], so we’re like boy scouts.” Does this boy scout-like behaviour include working out to get match-fit for the tour? Owen stresses: “Yep. Fuck, yeah!” Cheney chuckles, “As he rolls a cigarette.” Owen defends: “Yeah, I’ve been riding my bike to rehearsal every day.” “Andy, you’ve been doin’ a bit of Zumba,” Cheney teases. “Mind you, we do six-hour rehearsal days. That’s one of the things in the back of our mind is the stamina and the endurance, ‘cause seven nights is a lot – and different sets – so it’s gonna be brain-strain as much as anything else.” Owen directs the spotlight back Strachan’s way: “Andy spends hours running away from screaming women every day.” Cheney chuckles and continues on this theme, “He’s all four of The Fab Four in one!” On the reasons behind tackling this beast of a tour, Cheney ponders, “I think it was just basically trying to do something that was gonna cause some kind of controversy, that it was actually gonna be a talking point, like, ‘Wow, are they really gonna be able to do that?’ We were the first ones to ask the question, you know, ‘It’s such a challenge, let’s just throw ourselves into it. What’s the worst that can happen?’” And how many songs across their six albums would they anticipate have never been played live before? “There’d be at least – half would you say?” Owen estimates. Cheney counters, “It’d be a bit more. I’d say, like, fifty. I mean, I think we’ve had to learn seventy-nine [songs] in total – not had to learn, but that we’ve been rehearsing. That is the catalogue: seventy-nine or eighty or something.” “Let’s call it eighty,” Owen interjects before Cheney continues, “And of that I reckon over the past few years we’ve fallen into the trap of kind of playing maybe eighteen or ninetween or twenty of those; let’s say twenty.” Owen turns to Strachan: “So that leaves – you do the maths.” The drummer confesses, “Yeah, I’m not very good at maths.” Cheney: “[There are] quite a lot that we haven’t played very often. Some songs like Putting You Down and things like that, which we’ve never played live, you know: you write them, you rehearse them, you record them, you mix them and then that’s it! You never sort of go back to it, so there’s a few of those.” Revisiting these during the rehearsal period brought certain songs into focus that Owen labels “real tough customers”. “There’s one called Nowhere Town that’s been probably the biggest tough customer, hasn’t it?” Strachan concurs: “Yep, absolutely.” Owen muses, “Why the hell we’d have such a difficult song to play and then, three-quarters of the way through the song, go, ‘Let’s put a key change in! Just so we have to learn it in another position as well.’ But actually, it’s great – it’s a really fun song.” Cheney offers: “You know what? I think it’s one thing to book a tour like this and just play all those songs, but we didn’t wanna bluff our way through and just sort of play it; we wanna actually [punches the table to emphasise each word] nail every single song. That’s where the nerves kinda crept in for me, it was like, ‘Holy shit! I don’t wanna just play track five and kind of get through it.’ We wanna slam it – every single album, every song – which is just an enormous amount of work, because you’ve gotta know the songs backwards and really do it properly. ‘Cause, you know, we‘ve built up this reputation as a live band that, ninety per cent of the time, has a pretty good show – just because we’re anal like that. So it’s like, ‘This could be our undoing if we don’t pull it off.’ [laughs] So we don’t want that to be the case. Each album that we do, there’s gonna be a handful of people in the audience who, you know, whatever track number seven is – that’s their favourite song,” Owen explains, “and that’s gonna be the highlight of their night. So I wanna make sure we’re not just bluffing our way through [those songs], we wanna actually do them all justice so all those pockets of people are happy.” “People that were, like, fifteen when our first record came out,” Cheney points out, “by the time the latest one came out, like, some of them might even have their own children – it’s quite bizarre. So there’s gonna be all different generations of people: People that got into State Of Emergency might have hated our first record. And then we’ve been lucky enough that we’ve got

all these different generations of people [who] get into our records.” Babysitters will be in high demand, then. “We should have a crèche,” Owen jokingly suggests. “We’re doing our under-18 gig on the last day: we’re doing two shows,” Cheney explains, surprising Strachan: “On the last day!? Really? We’re gonna be so tired.” WHO: The Living End WHEN & WHERE: Wednesday 21 November (White Noise), Thursday 22 (State Of Emergency), Friday 23 (MODERN ARTillery), Saturday 24 (TEIJTBR), Sunday 25 (Roll On), Monday 26 and Tuesday 27 (The Living End), The Hi-Fi

With very special guest

and Patrick James






with King Gizzard & The Lizard Wizard






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REWRITING HISTORY Five years ago, Elton John took Australia’s Pnau under his wing, and this year Pnau gave Elton John Good Morning To The Night. Matt O’Neill speaks to Nick Littlemore about remixing their mentor’s legendary back catalogue. t’s a work of staggering ambition. Ostensibly a remix album, Good Morning To The Night actually inhabits a much more impressive spectrum of accomplishment. Nick Littlemore and Peter Mayes haven’t simply grafted a handful of popular Elton John tunes to house rhythms – Pnau have genuinely deconstructed John’s original recordings (specifically, from 1970-1976), assembling entire new productions from the fragments. Take lead single and title track, Good Morning To The Night. A shimmering, cerebral slice of funk-heavy house, Good Morning To The Night clocks in at just over three minutes, but is sewn together from eight different songs. Late-album highlight, Phoenix, actually packs nine into the same period. Even accounting for the similar experimentation of The Beatles‘ Love collage for Cirque Du Soleil, it really is a record of unprecedented ambition.


“I feel good. I feel good about it. I’m quite proud of the work. It’s hard to say what we did exactly, but I like the record. You know, I listen to it and I enjoy it,” Littlemore admits. “Initially, there was just so much material to learn – to be schooled on. We ended up just trying to find the best grooves we could. The best feeling, in pieces. And looking at pieces that weren’t popular ones. Just those magical loopable moments of a track. There was a lot of trepidation on our part. For the first six months, we were just listening to his music. Six months of just trying to get to know his material. I mean, it’s really touchy stuff to work on. For the first six months, we just couldn’t think about it. I mean, how do you make this stuff better? Of course, eventually, we realised that wasn’t what we were trying to do anyway. We just tried to make something that we liked.”

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Somewhat surprisingly, it was John’s idea. The singersongwriter sought out the band five years ago after hearing their 2007 eponymous breakthrough album. Impressed, he signed the pair to his management company and has been acting as a friend and mentor to the band ever since – even collaborating

with Littlemore for the pair’s 2011 album, Soft Universe, which won them the Best Independent Dance/Electronica Album at last year’s Australian Independent Record (AIR) Awards. John initially suggested the remix album some three years ago. “He called us a couple of months after we moved to London and had signed with his manager [and] told us he wanted us to make this record. The music industry is so surreal. Things just happen like that. It’s not always down to the individual but there are those artists who glide through the world who can just reach out and pick someone – and Elton is one of those artists. You know, I never like to analyse our connection with Elton too much. I mean, why does anyone meet anyone in this life? I just don’t like to look at it too closely, because the whole thing has kind of changed my life, and me, for the better. When we first moved to London, we didn’t really have much of an international footing and there was a lot of logistical stuff. We couldn’t have done that without Elton.” The whole project is really a testament to Pnau’s remarkable career. The Sydney duo have, through both their own output as Pnau and that of internationallyacclaimed side project Empire of the Sun, achieved more than any Australian dance act in history. Locally, their debut album, Sambanova, took out the 2000 ARIA Award for Best Dance Release. Empire of the Sun can boast 11 ARIA Awards. Internationally too, they’re heavyweights. Aside from Elton John’s patronage (which began with the declaration that Pnau was the greatest record he’d heard in ten years), Littlemore has worked with Robbie Williams, Groove Armada and, most recently, Cirque Du Soleil (as musical director and composer for 2011 arena show, Zarkana). Peter Mayes‘ curriculum vitae encompasses work with Karen O, Mika and The Killers. “I don’t think any artist is ever really conscious of their success while it’s happening, even on the comparatively minor scale that mine has been compared with, you know, actual stars,” Littlemore reflects (without irony). “I don’t know. You take every day as it comes and as opportunities come you try and say yes. We’ve always tried to say yes to everything in Pnau. You know, Peter

and I currently live on opposite sides of the US – one in New York, one in Los Angeles – so we don’t see each other as much, but we’re always working. It’s kind of hustling, in a way. You’re always hustling for more work. Even if you have a big management team and record labels and all the rest, it takes a lot of random chances to get into things and find more work.” Somewhat amusingly, Littlemore doesn’t seem to think of Good Morning To The Night in such terms. Or any aspect of his career, for that matter. Consistently returning to the subject of luck, Littlemore comes across not as a hard-working musician who has graduated to the global arena, but rather as a kid playing grown-up who is certain he’s going to be caught out soon and put back in the nursery. “Oh, that’s not a fear. That’s a reality,” he laughs. “You know, that’s the way this industry works. I see it happen around me all the time. At the moment, we have a lot of friends – but it can get very lonely very quickly in this industry and I’m sure that will happen eventually. I’m very conscious of the fact that I have a shelf-life. All you can really do is just keep working at things and hope for the best. “That’s one of the good things about working with someone like Elton. You know, he’s been at it such a


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long time, but he’s delivered different songs, different eras, different shows that have all broken through to people over the years. I think that longevity is really what we’re looking for as musicians. Pnau’s been a part of my life since I was a kid.” Littlemore then adds – a little cryptically, “Really, I just hope we can make a few more records. You know, get more esoteric and be true to ourselves; not make music that isn’t representative of who we are, so to speak. In a lot of ways, Good Morning to the Night feels like a Pnau record. Rather than an Elton John record, it’s a Pnau record where we just happened to exclusively sample Elton’s music. It actually feels a lot like our first record, you know?” WHO: Elton John Vs Pnau WHAT: Good Morning To The Night (Ministry Of Sound/Mercury) WHEN & WHERE: Elton John: Wednesday 14 November, Canberra Stadium; Thursday 15, Sydney Entertainment Centre; Friday 16, Elton John Vs Pnau, Sydney Entertainment Centre; Pnau: Monday 31 December, Cargo NYE, Sydney Harbour




DARK END OF THE STREET With her second album as Melodie Nelson, Lia Tsamoglou has created a more detailed and cohesive song cycle which, as she explains to Chris Familton, is based around her fascination with the cultural shift of late ‘60s suburbia. n 2011, Melodie Nelson released her debut album Meditations On the Sun, a collection of songs deeply indebted to the sound of late ‘60s girl groups filtered through the glow and haze of ‘90s Mazzy Star. Now, only a year later, she is releasing its successor To The Dollhouse, which takes the premise of that first record and expands it with confidence and clarity. Although the gap between releases seems short, the new album was in fact recorded only a few months after her debut release and finished early in 2012.

You’ve seen and heard her up there delivering the funk and soul with The Bamboos, but now it’s time for Kylie Auldist to step out, as she tells Michael Smith.

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Heading into album number two, Tsamoglou had a much clearer view of what she wanted to achieve in terms of song narrative and sound. “I had a bit more of a plan with this one,” she tells. “I had a deadline and I stuck to it, I made notes and I had more of an idea of what I wanted. Now, looking back, I can see that the first one

ot that she’s about to quit working with The Bamboos. After all, though she’s been singing professionally since she was 15, it was hooking up with the Melbourne collective that put Kylie Auldist on the map, both in Australia and internationally. In fact, it’s all down to that band’s mastermind, guitarist Lance Ferguson, that Auldist has a solo career that sees her finally stepping out to launch her third album, Still Life, live.



“It’s been about a year since we went down to Melbourne to record it, which is crazy; I can’t believe how quickly the year has flown by,” she admits. “I mixed it in January, and then I wasn’t 100% happy, so I took it to Chris Townsend in Tasmania who mixed the first one. That was a little bit time-consuming, and then we got caught up in doing a single and video clip. I was still looking for a label, as the last one dissolved a week before my album launch which wasn’t great! It was those types of things that delayed it. My manager even wanted to push it out to next year, but we thought, ‘It’s done and ready to go out, so we may as well just get it out’. A year is still quite a quick turnaround, and I’ve noticed a few others doing that. I mean really, what else are you doing? I didn’t pick up massive tours and I wasn’t traipsing overseas all the time, so what else am I going to do other than hang out at home and write some new songs?”


is more of a collection of songs over a period of four years, so I knew I wanted a particular theme on this one. I knew how I wanted the songs to sound, with a suburban, late ‘60s/early ‘70s vibe. I recorded the first album in the country so there were themes of nature, if there was any theme that tied those songs together. This one I actually had an idea that, because I was recording it in suburban Melbourne, I wanted a seedy, suburban side to it, like the Polanksi movies Rosemary’s Baby and Repulsion. The concept was the seedier side of the late ‘60s and that shift in western culture. It’s a fascinating era. I realised I’d been interested in the pop culture around that for years, so it made sense.” Musicians often talk about records that loom large during either the writing or recording of their own albums, and for Melodie Nelson there were a number of important influences that soundtracked the making of To The Dollhouse. “I couldn’t stop listening to The Beach Boys Surf’s Up because it is such a weird album. I think that’s where Brian Wilson had pretty much lost his mind and only contributed a few songs, but it has these insane four-part harmonies and some great songwriting by Carl Wilson. I was listening to Isaac Hayes, which influenced the bass lines, and Serge Gainsbourg was a big influence as always, even more so on this album. Another one was The Manson Family album, which has these crazy girl harmonies. Listening to that got a bit scary after a while, though.” WHO: Melodie Nelson WHAT: To The Dollhouse (Broken Stone/Inertia) WHEN & WHERE: Friday 16 November, Raval

“We’ve known each other a long time,” she explains, “but it wasn’t until The Bamboos that we set out to write together. Actually, it was [UK label] Freestyle that said they wanted me to do an album and Lance said, ‘Yes, let’s do that,’ and then we went overseas and [The Bamboos’ UK label] Tru Thoughts decided to sign me up and do it themselves. But it was on the proviso that Lance helped me in producing all the stuff as I wouldn’t be able to do it by myself.” That was back in 2007, and the result was 2008 debut album, Just Say, followed in 2009 by Made Of Stone, and now Still Life, her first album to be released locally. “I think this is a bit more of a grownup album,” Auldist admits. “When I did my first album, it was an introduction, so I basically told a lot of stories about myself, and the second one was, ‘Well, what do you do now?’ So we basically thought we don’t want to reinvent the wheel, we just want to still keep it in the soul vein because we’ve had success with that. I mean, I like every style of music but obviously, you know, Tru Thoughts signed us up to do this soul stuff, which we’ve always done and that’s what we’re good at, but I’ve always wanted to do a disco track and Lance has very kind allowed me to do that,” she chuckles. “We did start out saying we wanted to do less instrumentation so that we can play it live without a hundred people on stage, but that didn’t happen, you can tell, because there are strings and horns [laughs]. But also when you get Ross Irwin [The Cat Empire] involved, he’s put a great big veil of horns and strings across it and you can’t say no to that.”

Auldist has already made tentative steps towards establishing herself as a separate entity live, touring Europe opening for The Bamboos this past year with a band called Cooking On 3 Burners. But she hasn’t really done it as Kylie Auldist, back at home. “This is my first foray out into the big wide world with a serious band. When I did my last launch I had strings and backing vocals, but this time I’m paring it back as much as I can. The Bamboos takes up a lot of my time, but I’ve three albums’ worth of songs now – there’s no excuse for me not to do live gigs.” Joining Auldist and Ferguson in the band are keyboards and horn player Luke Saunders, saxophonist Damien Grant, trumpeter Stewart Kirwan, bass player Mick Meagher from The Putbacks and Bamboos drummer Graeme Pogson. Meanwhile, over in Europe… “There’s a big funk and soul scene over in England, and for some reason the French seem to like me, and Tru Thoughts have got an office in America as well, so they’ve been liking me on the radio there, and UK iTunes has had my face up on the big banner and all that, so that’s pretty exciting,” she laughs. “My name’s up in lights – in pixels!” WHO: Kylie Auldist WHAT: Still Life (Tru Thoughts) WHEN & WHERE: Saturday 17 November, The Basement Circular Quay; Saturday 8 December, Homebake, The Domain (The Bamboos)

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It’s all about connecting for UK party starters Will & The People, so expect plenty of audience participation, Michael Smith discovers from Will Rendle. e kind of try and have fun with it, and just make as much different types of music as we could.” Will Rendle, Brighton, UK born and raised, is somewhere in darkest country Norfolk taking time out for a week before returning to an increasingly hectic touring schedule he and his band, Will & The People, have been immersed in these past 18 months. The plan is to chat about their new album, Friends, and their second tour of Australia this year – they were here in February/March. The only problem is he’s discovered Norfolk has shit mobile coverage and keeps dropping out. He presses on regardless...

A dash of anthemic rock, a soupçon of pure pop and, yes, if you must, a little folk perhaps – meet Elliot The Bull. Michael Smith talks to drummer Milan Savic.


“The songs were there and we just kind of threw as many things at them as we could – and it came out like that. The dynamics really stem from the live shows. It’s so much more fun when you see a live show which takes you up and down, so we tried to capture that on record somehow.” Though he’s been working with various line-ups of Will & The People for some four years, the band that came to Australia earlier this year only really came together just before they played last year’s Glastonbury and weren’t featured on debut, Morning Sun. “This is our debut album really,” Rendle agrees, “as far as this band’s concerned. It’s the first record I’ve ever made with a group of people where we lived together and we ate, breathed and jammed every day and made music together, and this record is the result of that.

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Over the past 18 months, Will & The People have been hitting the festival circuit hard, playing Secret Garden Party, Beach Break Live and Green Man in the UK, and found themselves particularly lauded by the Dutch, where they found themselves scoring a Top Ten hit in Lion In The Morning Sun, off their first album, leading to sell-out shows in Amsterdam and Utrecht as well as a headline slot at that country’s biggest free festival, Appelpop, before some 40,000 punters. “It’s been really nice to get that success,” Rendle admits, naturally. “D’ya know what? All I’m going to say is that Nirvana and the Red Hot Chili Peppers kicked off in Holland before anywhere else. I’m very pleased we started that way. “The fans in the UK have been coming to the shows for the last four years, so it’s really nice for them as well, seeing us get a bit bigger. We’re all in it together really. Hence we’re Will and The People. The initial inspiration was about being in a room and music bringing people together. We’ve got this ethos at the moment, people have just been jumping on stage when we start playing Lion In The Morning Sun, and we’ve got into a bit of trouble for it but I absolutely love it, that energy when there’s no gap between the stage and the audience. I feel a lot of our fans feel like they can just get up on stage and steal our hats and shit!” WHO: Will & The People WHAT: Friends (Baggy Trouser Music/MGM)

“This album and probably the majority of the next as well is the result of the last five years that I’ve spent writing songs, and in fact us coming together is really an issue based around those tunes and us writing together is something that’s started as a result of us living together. There are a lot of songs in there that still haven’t been recorded that I’ve written, which we can have a lot of fun arranging.”

t’s funny how people assume that when they hear an acoustic guitar, mandolin or banjo on a track, it’s got to be folk. The Beatles, U2 or Neil Young played acoustic guitars on various track and they’re not folk. Neither is Central Coast band Elliot The Bull – even less so now they’re a four-piece, though that’s not what you hear on their eponymous debut EP.

WHEN & WHERE: Thursday 15 November, Old Manly Boatshed; Friday 16, Great Northern, Newcastle; Saturday 17, Upstairs Beresford; Saturday 24 & Sunday 25, Mullum Music Festival, Mullumbimby; Sunday 30 December, Peats Ridge Festival, Glenworth Valley

“When we wrote the EP there were six members,” drummer Milan Savic explains, “and there were a lot of different tastes among all of us, all the different music that we listened to. But now we’re four-piece we’ve been told that it’s a bigger sound because there are less instruments; it’s less cluttered. It’s a lot tighter apparently as well, a bit more I guess in your face.” The band began in 2009 around two sets of brothers – singer, acoustic guitarist and occasional banjo player Jake Dobson and guitarist brother Simon, and singer and mandolin player Matthew Hyland and singer/guitarist brother Justin. “They were doing this as kind of a side project, a bit of fun, because they were all in different bands at the time, and they were all changing instruments each song, just having fun basically. But when they decided to take things more seriously they wanted a set drummer, which is when they asked me to do it, and eventually they wanted a set bass player so they got Jared [Drennan].” Recording a demo EP, the group struck it lucky in being invited to support Arizona indie rock six-piece Lydia on the Australian leg of their 2010 Goodbye & Farewell tour. The core of Lydia, singer and guitarist Leighton Antelman and drummer Craig Taylor, obviously heard something in the brothers Hyland because, having gone into hiatus for a year, they reconvened with the release of last year’s Paint It Golden album and invited them to join their touring band. So Elliot The Bull became a four-piece, though not before the EP was recorded. “We decided we wanted to keep pushing with Elliot The Bull while they were overseas,” Savic expands, “and basically [the Hylands] decided they wanted

The formerly more phallicsounding Crazy P are back in the country for Harvest Festival and a sneaky sideshow with Santigold. Troy Mutton chats to Jim Baron about a potential new direction for the group’s next album.

Minneapolis indie outfit Poliça are moving out of the shadows of some of their famous connections and taking on the world on their own terms. Frontwoman Channy Leaneagh talks to Cyclone about tackling new frontiers.

t’s just gone past nine in the morning so I’m just throwing shitloads of coffee down my throat to try and get my eyes open.” So begins Crazy P co-founder Jim Baron from his home in Nottingham, UK – fair enough too, given that the night before our chat the group played the final day of the Joe Strummer tenth anniversary festival, Strummer Of Love.

on Iver’s Justin Vernon created his own alt.R&B by manipulating Auto-Tune for Woods, impressing Kanye West. Now Minneapolis’s Poliça, Lanewaybound this summer, have taken things even further. Their stunning debut, Give You The Ghost, transforms contemporary synthy R&B into a digital miasma, evoking Aaliyah’s doomy techno-soul. And Poliça have made fans of Vernon (“They’re the best band I’ve ever heard,” he lauded to Rolling Stone), Kanye and Jay-Z.

So it’s been for the group since they released their most recent album, last year’s When We On – plenty of touring in both the live format, in their other guises of Crazy P Soundsystem, and of course the DJ sets. “Yeah, it’s been full-on touring really since last September. And I think with the Harvest tour, we’re bringing it to a close with that. We haven’t really done a full tour in Australia with the album.” Regular visitors to our shores for a number of years, Baron first joined Chris Todd around 1995 to form Crazy Penis – the “enis” dropped as the group matured – and they’ve since crafted five studio albums that delve into downtempo disco, house, jazz and soul. And while it’s never seen them explode into the mainstream, their popularity around the globe cannot be denied on the back of cracking live shows featuring five members including vocalist Danielle Moore. Moore also joins them under the Soundsystem guise, singing and tinkering with keyboards and samples while Baron and Todd jump around synthesisers and drum machines. As if this isn’t enough to keep the collective busy, Baron and Todd also help out other bands. “Me and Chris have been producing a few other bands at the same time so it’s been really difficult because you get back from a weekend and invariably you should really have a day off,” he laughs, wearily. “But we’ve had to crack straight on with stuff. So it’s been Monday to Thursday in the studio and then on the road generally for the weekend. But we’ve taken October out of the diary completely, we’re not doing any gigs in October, so we’re gonna sit in the studio for a month and start the Crazy P record then and hopefully we’ll have made good headway in that month.”

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“Our first national tour as Elliot The Bull was with Lydia, and I’d only just joined the band at that time so I had pretty much two weeks to, like, learn all the songs and hop in and, like, roll with it! That was my first proper East Coast tour and I felt like we got a lot out of it.” More recently, and significantly, the band has recently returned from a tour of China. “Crazy, crazy,” Savic laughs. “When we finished our EP, our manager sent it out to a lot of different people and there’s a promoter over there that got a hold of it and loved it. He’s originally from Australia and loved it so much he said he had to get us out there. It was amazing – best time of my life. We played a lot of different cities, from Shanghai to Beijing, all the way inland to Xian and everywhere in between that. “So much travelling – we got trains everywhere, just because it was the quickest way to get around over there. We played two festivals and seven bar shows while we were over there and some of them were packed. The audiences were really receptive. We’re touring there again next year.” With the end of their Australian EP launch tour, the band are hunkering down to write and record a followup – and you can expect less ‘folk’, more rock. WHO: Elliot The Bull WHAT: Elliot The Bull (Independent) WHEN & WHERE: Sunday 18 November, Lansdowne Hotel; Saturday 22 December, Reunion Festival, Entrance Leagues Club




to do their own thing as well, but there was never a bad break-up or anything like that – we’re all still good friends, we all still hang out all the time.

Baron and Todd having recorded 2008’s Stop Space Return with the full band, When We On saw them return to just Baron, Todd and Moore, and they’re sticking with this same format for the next album. “Myself and Chris and Danielle certainly. We’ll definitely get the lads involved, we always do. It’s just a question of where we see the sound developing and I think we’re all feeling generally a little bit more electronic these days. And I think that we may be keen to look at the live show and make sure that when we do change it for the next album it’ll be something quite remarkably different. Something that makes people go, ‘Oh hello, they’ve changed things about here.’” But before you get up in arms – ‘First no Penis, now a different sound?!’ – Baron assures they don’t necessarily want to scare anyone, just explore some new avenues in the evolution of Crazy P. “It also helps when you’re out on the road and you’re seeing lots of new music and you’re seeing how people are doing things and it does give you a kick up the arse. I think that we’ve run the band in its current format for something like nine years and myself, Chris and Dani feel like we wanna do something different for the next record. Obviously we don’t wanna scare our fans, and I don’t think we will, but I think we’re really keen to look at some technology and start using it. It’s scary. I mean the way that things – the speed that things have moved [at] is mental,” he chuckles. “When myself and Chris started working we were using an Atari S3 and a sampler, effectively. And all the live stuff we could record was what we had on the sampler, which wasn’t that much. You’re amazingly limited to what you could do… We’re talking late ‘90s, which wasn’t that long ago really.” WHO: Crazy P WHEN & WHERE: Saturday 17 November, Harvest Festival, Parramatta Park


Poliça frontwoman Channy Leaneagh, a sometime violinist, previously led the folk-rock Roma di Luna. She joined producer Ryan Olson’s Gayngs – the not-so trad R&B supergroup, of which Vernon is a member, behind 2010’s Relayted – and Poliça evolved out of her experimenting with him on the side. Moreover, much of the material on Give You The Ghost was written about the break-up of her marriage to Roma di Luna’s Alexei Casselle (they have a three-year-old daughter). Despite Leaneagh’s rootsy background, Give You The Ghost is steeped in avant-garde ‘90s R&B.

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“That is a big influence of mine,” Leaneagh affirms. “I’ve listened to it a lot. That’s probably one of the things that wasn’t even intentional. I think if you listen to somebody enough it’ll kinda be a part of your vocabulary and the way you instinctually sing.” She is “a big fan of Frank Ocean” and rates The Weeknd’s illwave House Of Balloons, but also listens to vintage R&B – Etta James, Sam Cooke and Donny Hathaway. Plus Leaneagh loves world music, especially Asian, having briefly volunteered in Cambodia. Key to Poliça’s sound is Leaneagh’s use of AutoTune. Ironically, just as a backlash to the widespread commercial co-option of the pitch correction technology was gaining momentum, artists like James Blake showed that it could be harnessed for innovative and futurist soul.

“The purpose is not to make the voice more in tune,” Leaneagh reveals, “it sort of distorts it in a certain way that kind of smoothens it out into an instrument, more than just a vocal performance.” Poliça has morphed into a full band with bassist Chris Bierden and dual drummers Drew Christopherson and Ben Ivascu, though the newcomers have limited artistic input. Still, the response to Give... has taken Leaneagh by surprise. “I’ve never had a project like this that people liked so much – and I’ve never toured this much.” Poliça dazzled at this year’s SXSW and, stepping in for Tom Waits, performed the gothic Leading To Death, not Dark Star, on Late Night With Jimmy Fallon – adventurous programming. “That was a really good experience. Everybody who works in the sound crew are all really nice.” Poliça’s success has called Gayngs’ future into question. “I think for all intents or purposes, it’ll probably become something different than how people saw it before,” Leaneagh admits. “It really is like a project or a collective and a crew. Maybe someday in the future something else will come out of it, but it won’t be the same line-up or the same kinda direction.” Poliça aren’t the first Minneapolis act to subvert the R&B idiom – Prince did that back in the ‘80s with songs like When Doves Cry. But they are formidable live. “Our live show is pretty similar sounding to the record,” says Leaneagh, who manoeuvres effects pedals for her voice. “It’s just pretty heavy on the vocals and the drums. But usually people say that it sounded a lot like the record with a lot more intensity. So it’s a lot more emotionally and kinda physically intense.” WHO: Poliça WHAT: Give You The Ghost (Inertia) WHEN & WHERE: Saturday 2 February, Laneway Festival, Sydney College Of The Arts; Tuesday 5, Oxford Art Factory

LIGHT IN THE DARKNESS Committed to introducing new artists as well celebrating the best of the contemporary music community, Harvest Festival is bringing art-folk collective Dark Dark Dark to Australia for the first time. Michael Smith gets the lowdown from frontwoman Nona Marie Invie. he core members originally from Minneapolis, Dark Dark Dark grew out of the musical friendship of singer, songwriter, accordionist and pianist Nona Marie Invie and banjo player, clarinettist and singer Marshall LaCount, and their decision, in 2006, that relocating to New Orleans might be a good way to go, though there was no thought to doing anything more than hang out. “Just over time, [it grew from] playing music with different people and kind of wanting to improve and evolve in different ways,” Invie, on the line on tour from Providence, Rhode Island, explains. “We wanted trumpet, so we asked Walt [McClements] to join us; we wanted a drummer, so we asked Mark [Trecka] to join us, and we needed a new bass player and we knew Adam [Wozniak] from Minneapolis, so it’s over the last five years kind of like picking people up.


“I’d had plans to move out to California, and I had sent all of my stuff with my friend who was moving out there, and at the time I’d be there, soon,” Invie laughs. “And then New Orleans and the band kind of sucked me in and I ended up going a different way.” That ‘way’ has been a remarkable blend of musical styles, from folk and Americana to pop and New Orleans jazz, somehow melding into a sound that seems seamless as, to quote Pitchfork, “instruments swirl together into an otherworldly eddy of sound.” Dark Dark Dark, currently five-piece but for a couple of years featuring seven musicians, recently released their third album, Who Needs Who, which sees the piano move further forward in that surprisingly intimate “eddy of sound”. “I’ve spent a lot of time the last couple of years really with the piano – haven’t touched the accordion actually in months,” Invie admits. “So it’s kind of a re-bonding experience with me and the piano, I don’t know why. I was just driven to explore it a bit more after, in years past, putting it aside and now the piano is really drawing

THE UNIVERSAL SONGWRITER It might have been one song on YouTube going viral that made him, but Atlanta-born singersongwriter Ron Pope still believes in albums, as he tells Michael Smith. ou have to do this every day on tour actually, to make sure you haven’t lost your mind. So let’s see if I can do it, okay – today is Thursday, October the 11th, my name is Ron Pope and I am in Salt Lake City, Utah. That’s it – I know that I can still keep going if I know what city I’m in, what day it is and what my name is!”

“Y me back in. At the piano I’m singing a lot more too overall, and I think me focusing on the piano makes the whole thing a little more cohesive. And I think Walt McClements, who plays accordion with us, he’s kind of a… He probably wouldn’t like it if I said he was a master of the accordion, but he’s really an incredible talent. I think that me playing accordion next to him is just sort of ridiculous, so I’m happy to sort of pass the reins over and let him do his thing with the accordion because he adds so much with his presence.” As with all songwriters, there are the odd popular culture reference points here and there among the songs on the new album, some perhaps obvious – there’s a song called Patsy Cline – and some seemingly unlikely, as Invie sings about sitting on her front porch with a friend reciting Roger “God didn’t make those little green apples” Miller in The Last Time I Saw Joe. “That’s about my friend Joe. I just picked this one summer night that I remember where we were sitting outside on my stoop. He loves Roger Miller and he loves to quote Roger Miller to me, and he and I were slapping it back and forth. I think that, in this record, I was trying to bring more of my life into it and pluck out these moments and explore them through song. I think I’m stuck in permanently being nostalgic. I don’t know what for, but I think that’s my life, this position,” she chuckles. WHO: Dark Dark Dark WHAT: Who Needs Who (Clementine/Sony) WHEN & WHERE: Saturday 17 November, Harvest Festival, Parramatta Park

You couldn’t ask for a better introduction from a young man who sounds as chipper as a high school kid despite being halfway through a tour promoting Atlanta, his eighth solo album in just five years. And they’ve all been independent. “You know,” Pope explains, “as soon as I could pick up a pencil I started writing these little stories and poems. Then when I was in my third year of college, I joined a songwriting circle and met a lot of these incredible songwriters and they seemed to really believe in me and helped me to see that I could do this.”

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on the iPad

He stuck at it and busked, worked as a security guard, waited on tables, just to keep making music, forming a band called The District with some of that songwriting circle, cutting three albums in two years. In 2007, a YouTube clip of A Drop In The Ocean – one version is currently sitting at almost 23 million views – brought Pope to the attention of the wider world and has gone on to feature on The Vampire Diaries and 90210 among others. The single was one of only two he’d recorded for a major label the year before. “After that, once I started to sell a lot of music, the sharks they smelled blood in the water and people who wouldn’t have dreamed of signing me before, they saw that people were paying money for this song and that’s all they cared about.” With the new album, Pope says, “while each of the songs obviously stands alone I definitely wanted to create an album that felt like something that you could sit down and listen to and it was an experience, you know? I think to some extent, at this point, with it being

such a ‘singles economy’ – the music industry – a lot of people aren’t as focused on creating albums. They’re, like, ‘Okay, what’s the next hit gonna sound like?’ And when you buy a record, a lot of times it’s a mixed bag. “So I really wanted to focus on creating something that made sense or was a unit, so I locked myself in my house for a couple of weeks and wrote songs all day. That allowed me to really kind of make sure that I wasn’t pulling from a different headspace; I kept myself in the same headspace, focused on just these songs and nothing else. Then when it came time for Paul [Hammer, guitar, banjo and piano] and I to produce the album, I wanted to make sure that the production felt very honest and distinctive, felt like me and nothing else.” Pope says that lyrically, he’s trying to speak on the universal human experience. “Something that will make sense to anyone, that people will get, you know? It’s not just for younger people, it’s not just for older people – you don’t have to know me or know the characters in these songs to get them,” he explains. “That’s what I’m always trying for – I wanna speak on honest and universal human themes, ‘cause I think the measure of a great song, whether it’s about going out and partying or a broken heart or falling in love or whatever, when you hear those songs, they’re about you.” WHO: Ron Pope WHAT: Atlanta (Hard Six) WHEN & WHERE: Friday 16 November, The Lair

For more interviews go to • 49



Jordie Lane

Taking inspiration from her surroundings of the languid – but sometimes somehow a little menacing – Georgia, Loene Carmen’s breathy tones are cradled by a rescued Stella parlour guitar she picked up for less than five bucks at a roadside stall across The Peach State EP (Independent). It’s artist and music at its most basic, and the fact you can almost smell the magnolias through the heat haze suggests Loene is an artist still unafraid to be so exposed. That overlap where folk meets a punky attitude does work in this country, as our history of bushrangers, shearing and middle-fingering authority provides plenty of fodder. Handsome Young Strangers are top-drawer at colliding lagerphones with electric guitar, and prove so again on their Thunderbolt EP (Troubadour Music). The title track is the big bush ballad anthem, and covering and honouring one of their forebears by doing Roaring Jack’s Wild Rover Again has them linking centuries 19, 20 and 21 in a suitably raucous manner. Stepping away a bit from their 1920s braces and Razor Gang affectations, The Snowdroppers’ White Dress (Four Four/ABC Music) is bluesy and mean in their typical manner, which is no bad thing. But if you want it even rawer, Chris Russell’s Chicken Walk is a two-man guitar-and-drums racket bravely ripping into Howlin’ Wolf’s Evil (Cobra Snake Necktie) like a knife fight in a waterfront pub. Roars, growls, then leaves with your girlfriend. Welcome To Nowhere (Independent) may not reference Messrs Adelaide hometown, but they make a big thick synth-pop noise that may have come from many places and times. Its echoey vocals recall the ‘80s, but this is approachable enough to not scare the triple j audience. Jordie Lane adds some curiosity-inducing elements to set him apart from the rest of the singer-songwriter-storyteller horde. Fool For Love (Vitamin) bubbles along on some frayed electronics and synthesised choirs a long way from his theatrical turn as Gram Parsons. There are no Nudie suits suggested here. Toby Martin also has an individual spin on the form, his Love’s Shadow album touching a number of musical bases. The latest track drawn from it, Nylex Nights (Ivy League), is a walk down a rainy street thinking of her, while the neon buzzes from street signs. The news of a Richard Hawley tour in the New Year has made his fiercely passionate supporters get all atwitter, even on Twitter. Championed by Jarvis Cocker among others, his slightly retroflavoured and slightly tart romanticism is worth notice, and the interest generated by the upcoming visit encourages a second push for the thinking pop of Seek It (Parlophone). Colour Bomb’s modern pop of On The Run (Independent) comes with an orchestral flourish, and then settles into a subtle heartbeat and pondering of love’s puzzles. That last bit of description fits well with some mate of theirs named Gotye happily championing them on his Facebook page and elsewhere. You gotta have friends, and that’s a good one.

50 • For more reviews go to




18 Months

Koi No Yokan


Fly Eye/Sony


“Ambient music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.” So said Brian Eno back towards the early part of his career when he was producing such seminal works as Music For Airports and Thursday Afternoon. Eno piloted a new form of music into the popular consciousness, one that didn’t rely on form or rhythm. It was based on texture and tone, and utilised piano and synthesiser to evoke feeling and response. He likened it to furniture; it can be beautiful, and exist as an aesthetic entity, but direct interaction is not required for its presence to be felt in a room.

He’s a busy boy is Monkey Harris. He’s also something of a hit-making wonder machine as between him and fellow beatmaker David Guetta, the duo are probably the modern-day equivalent of the famous Stock, Aitken and Waterman music factory. Harris and Guetta make records that seemingly appeal to anyone and everyone – the last time that happened The Bee Gees were famous, and popular.

Lux sees Eno reaching back to a patient style of ambience, playing with light and shade in beautiful fashion. It feels like an exercise in conveying the phenomena of light, and how it reflects off different surfaces or is absorbed by others. Warm, looping piano notes slowly drift over iridescent synth chords flowing endlessly underneath. It feels like steady breathing, and you can almost see the dust floating through the air of his studio as he plays. The notes are so delicate and measured, it doesn’t seem like it would disturb anything passing through the sound waves. There is a strong sense of space, but it never feels empty. There is always something there lingering underneath the decaying notes, gently holding on to you as you drift through the soundscape. While form is absent, control is not, and Brian Eno reminds us again just how good he is at weaving these abstract worlds. Matt MacMaster


Following up the colossally expansive White Pony is something Deftones long struggled to achieve, whether LIVE they’ll admit it or not. After that quantum leap forward came two sonically boundary-pushing but largely forgettable records. Two years ago, Diamond Eyes’ shoegazing tug-o-war between keeping listeners guessing and dangling hooks to swallow was a masterful response. This isn’t the dramatic progression White Pony was, but cements their place as one of hard rock’s Like his recent singles, Harris’ music is all over the most forward-thinking acts. Koi No Yokan (roughly “love place – a smorgasbord of variety that by and large hits VDat first sight”) flows effortlessly. Their knack of flitting the mark. Included on 18 Months are his trademark between pensive and pummelling remains strikingly hits from the past year or so: the commercial gold potent. As if to make its point, Swerve City pulsates We Found Love, featuring Rihanna, Bounce (with with almost Meshuggah-like bludgeon before segueing Kelis), Sweet Nothing (with the ever impressive and into the first of Chino Moreno’s golden, soaring choruses versatile Florence Welch from Florence & The Machine) and sophisticated, yet twisted love stories. It’s satisfying and Drinking From The Bottle, an underrated track on first listen, but as per the remainder demands effort that features UK rapper Tinie Tempah in fine form. to fully absorb. Romantic Dreams’ chunky riffage and We’ll Be Coming Back (featuring Example) appears deft time changes segue into Leathers, straddling and I Need Your Love (featuring Ellie Goulding) is pounding heaviness and sublime melodicism. Moreno’s a gem of a track destined to smash dancefloors soaring tones and incensed screams are urgent as and be hammered by the likes of Nova and Fox. ever, providing a dramatic, almost cinematic quality, There’s no doubt that Harris is a talented fellow. He’s best exhibited by Entombed’s glistening melodies, the savvy in collaborating with the right people at the right ideal foil for keyboard/effects whiz Frank Delgado’s time and although 18 Months isn’t structured in any greater wielding of textural and ambient authority. One particular way, it’s pure enjoyment and a collection of the real picks is Rosemary, its lushness wonderfully of wicked, expectedly crafted yet relatively simple uprooted by jagged guitars. Poltergeist’s blistering electronic music tracks. Harris is adaptable, flexible and beauty is more immediate, while Tempest escalates probably doesn’t get as much credit as he deserves the tension like a Hitchcock classic. Tempest ominously compared to say, Guetta. Yet on this evidence he should. references an “ancient arrival”, inspired by the Mayan prophecy. Should it all go up in smoke December 21, at And in typical Harris style, most of the choruses least fans were privy to Deftones’ most well-rounded, are so damn catchy you’ll be grooving and coherent and engaging album in a decade first. moving whether you like it or not. Brendan Crabb Stuart Evans


Also taking a turn from a familiar template; Abbe May. The Perth blues guitar heroine is going with an inward and spooked near-electronica feeling on Karmageddon (MGM), a style that apparently points to what goes on with her scheduled 2013 album. It will be interesting to see what her traditional loyalists will make of it. Romy seems to have permanently left her Macromantics guise behind for dancing beneath the mirror ball of disco. Elixir (House Of Romyo) pumps subtlely, with the ghost of Donna Summer or Silver Convention wafting clouds of glitter down upon it. Also in funky jam territory, unlikely looking and somewhat subversive dancefloor heroes, Hot Chip. Don’t Deny Your Heart (Domino) has them making pop music of intricacy, which sounds simple; that may be their greatest trick. Your foot will tap, involuntarily.



The odd business of early fame is the mixed blessing from which some never recover. Or maybe they just take time to find themselves. So, from the initial success of Killing Heidi to the somewhat lesser impact – musically and commercially – of The Verses, Ella Hooper finally has the confidence to release something under her own name. Low High (Independent) is not what you might have expected, as her quieter voice faces off against the Volga Boatmen backing chant of Melbourne country goths Graveyard Train. Weird business, but it actually does work. The Spazzys have grown up, too. Snotty girl punk is now far more assured power pop, with Dissolution Is The Only Solution (Freeform Patterns/Fuse) held up for something like six years in one of those typical label/legal shitfights that have derailed so many careers.





Oui Oui, Si, Si, Ja, Ja, Da Da

One Day I’m Going To Soar


Cooking Vinyl/Shock


Second in Green Day’s ambitious trilogy of albums, ¡Dos! doesn’t pick up where ¡Uno! left off. Where ¡Uno! was a glossy commercial-sounding record, ¡Dos! is quite the opposite. With the warm guitar tones left behind we are left with a very slickly produced ‘garage’-sounding record, with treble-soaked guitars screaming in your ears, making listening for extended periods difficult. The problem with this trilogy is that every song on both albums thus far is undeniably Green Day; Billie Joe’s vocals are so profoundly distinct, just like Tre Cool’s frenetic drumming patterns are, that each track sounds vaguely, almost too familiar. This is not to say that ¡Dos! is a complete write off. I’m sure that if another band had their clammy hands on some of these tracks they could be reworked and marketed to great success. But the aging punks just can’t seem to take them to that next level.

Oui Oui, Si, Si, Ja, Ja, Da Da is the tenth, yes tenth, studio album from ska-pop veterans Madness. After over 30 years together, countless tours and scoring some pretty prestigious gigs (Diamond Jubilee anyone?), Graham ‘Suggs’ McPherson and crew continue to prove that you can’t keep a good band down.

Kevin Rowland – owner/operator of the Dexys’ brand for over 30 years – has a purity in his artistic vision(s) bordering on egomania. Band line-ups were a fastspinning revolving door, even through that 15 minutes when Come On Eileen made them the biggest band in the world. Then he tore down everything he’d so carefully constructed. Thus, it’s more than a quartercentury since the last band effort to here, their mix of Celtic-infused soul, spoken word theatrics, personal and broader politics all blanketed by his achingly emotive voice (and unshakable belief in himself) still intact. The opening, Now, is part overture, revisionist history lesson, statement of intent and confessional: “I know that I’ve been crazy” he croons over snatches of Irish folk traditionals, hymns and fanfares of brass. Soar then sprawls out, often in conversation, argument or fine Hibernian abuse with its female counterpoint, actresssinger Madeleine Hyland. She holds her own against the rampant Rowland, but somewhere in an alternate universe Amy Winehouse is the one scratching his eyes out or falling for this blarney. I’m Always Going To Love You, he begs as Barry White spins in the front room. Then straightaway soulfully belts he’s probably Incapable Of Love anyway. She rightly fucks him off, he suggesting ‘an open relationship’ even as she kicks him down the stairs. This self-flagellating, self-serving relationship process then winds down. He blames his immigrant’s displacement (Nowhere Is Home), before It’s OK, John Joe’s reflective final acceptance. Rowland has again made an utterly idiosyncratic work of art. Somehow, even in its moments of archness and overwrought melodrama, it’s an extraordinary thing.

Green Day have soared on the comeback success of American Idiot, which ultimately breathed new life into a band stuck in a rut of mid-tempo, lacklustre songs. This explains the trilogy – the band are trying to reinvent themselves. Green Day’s ultimate flaw is that they sound like Green Day, and though the band have embarked upon an ambitious project, they haven’t fully committed to pushing their songwriting. On ¡Dos! they have played it too safe, and changing the ‘sound’ of the album doesn’t change the perception of the band. There simply aren’t any songs on ¡Dos! that will remain in your head days after listening. James Dawson

Oh nostalgia! If Suggs’ singsong voice wasn’t enough to take you on a trip down memory lane, opening track, My Girl 2, obviously a follow-up to 1979’s My Girl, should do the trick. The lyrics are simple and the beat is catchy, which should come as no surprise to any Madness fan; if there’s one thing this group has always done well, it’s a rhythm that gets your whole body moving along with it. By the second track, Never Knew Your Name, you know this album’s not about experimenting or evolving their sound, it’s about just doing what they do best. Following track, La Luna, sees the outfit inject a bit of Latin salsa into the mix, and it keeps things interesting. How Can I Tell You, arguably the best track on this album, has great energy and sounds as if it could’ve been lifted off any of their albums from the ‘80s. There’s no denying that Madness hit their peak in the ‘80s, there’s nothing on this album that even comes close to Our House or It Must Be Love, but they’re not flogging a dead horse just yet either. Their latest release is still brimming with bouncy, skankin’ good times, but without a real standout track in sight it might be time to start celebrating the back catalogue… again. Katherine Edmonds

Ross Clelland





good kid, m.A.A.d city

Honor Found In Decay


Hands of Glory





After giving the rap world so little for so long, recent times have seen the US West Coast hit a rich vein, producing a slew of superdope MCs including Kendrick Lamar and his Black Hippy crew. Lamar’s first album, 2011’s Section.80, established him as the West’s most exciting prospect since 2Pac, his blend of forwardthinking flows and beats meshing with the traditions of his fabled hometown, Compton. So great was Section.80’s impact, his follow-up not only arrives on a major label but was overseen by the indomitable Dr Dre, and while these could have compromised his vision, they’ve instead inspired greater creative heights. Chronicling 48 hours in the life of a young Compton City G, good kid, m.A.A.d city follows Lamar as youthful exuberance leads him into trouble, unleashing the brilliantly odd Backseat Freestyle before being coerced into a burglary. Things get hardcore, our hero catching an early ‘90s-style beatdown from some local gangbangers and LA legend MC Eiht. Revenge is sought and a resultant shootout claims one of the crew, sending Lamar into a spiral of introspection, frustration and recognition of his own mortality on 12-minute epic, Sing About Me, I’m Dying Of Thirst. With the counsel of the church and his (surprisingly) wise and loving family, Lamar finds, if not salvation, a path out of the cycle of violence, heralded by the final, monstrous, Dre/ Just Blaze-assisted celebration of city and survival. It’s questionable hip hop narratives have ever been delivered with such depth, intelligence, musicality and variety.

‘Burning down the past and planting seeds in the ashes’ is what Neurosis guitarist/vocalist Steve Von Till has sprayed around since this was first dropped. While the band emerged from the crowded Californian hardcore punk scene, they’ve battled away to become known as the ‘thinking punters’ punk band: forever intelligent with a philosophical, often dark, narrative, prevalent on Honor Found In Decay. The opener, All Rage In God, is bleak, even for Neurosis, yet it still packs one hell of a sonic punch. At The Well is typical, as Von Till’s vocal opens in distinctive style before adding intensity. At the six-minute mark, drums vanishing, and all that remains is a moment of eerie silence and disharmony, Von Till bursts into his characteristic vocal inundation. Casting Of The Ages is a union of the depressive yet exhilarative – a grim tale sprawling into darkness that could easily send most into making a Faustian pact. There’s a nod to the prog synth introduction Pink Floyd made so popular on All Is Found… In Time before business resumes as usual and you’re left to wonder what the hell just happened as the momentary vacuum is suddenly filled by thunderous drums and voice. The Americans know how to shake, move and surprise, but despite their unruly writ and views, it’s their colossal riffs, drops and vocal prowess that stand out. Honor Found In Decay is a masterclass in storytelling. In other hands, this could’ve easily ended up being a meaningless warble on human failings and suffering. Turning gloom into glee isn’t easy, but that’s just what Neurosis have achieved.

If I had a god-damn dime for all the artists Joey ‘I’m no Willy’ Waronker has collaborated with, I’d be in America spending all that greasy cash on pretzels and beer. The session drummer and producer who has been a mainstay on most of Beck’s albums, played the skins on the About A Boy soundtrack with Badly Drawn Boy and who laid the backbone of the Vines single, Get Free, has collaborated with vocalist Laura Bettison and some guy named Nigel Godrich to make an album of unhinged, left-of-the-middle sounds and ideas that have been described as ‘Krautpop, Afrobeat and electronic’ in a ‘stripped-back’ format. It’s all true of the music and held together by Waronker’s beat-keeping arrangements.

If Hands of Glory, Andrew Bird’s seventh studio album, was a rustic town from an old Hollywood Western, Bird would be its lonesome cowboy. He faultlessly unravels tales of long ago through rejuvenated covers and reinvented originals, splashing out fiddle-infused nostalgia with artistic swagger. This is a delicate album, made slowly and consciously, and the impressive vintage soundscape is so much stronger. The intimate opener, Three White Horses, is a heartbreaking, beautifully-crafted song. Focused on the goodbyes associated with death, the song is impossibly sad, and Bird subtly and with ease builds the momentum and emotion to create a soaring, melancholy but ultimately beautiful reflection on death. Bird flows from originals to covers seamlessly on Hands..., re-embodying tracks including the Handsome Family’s bouncing gospel tune, When That Helicopter Comes, and Townes Van Zandt’s If I Needed You. Bird’s string-picking, harmony-packed rendition of If I Needed You is more hymnal than the original. Hands of Glory demonstrates the power that comes with great musicianship. The emotion and creativity within the record is largely due to the ensemble’s technique. Lyrically, there are some very poignant moments; however, the emotional flow from soaring highs to deep melancholy is largely due to musical technique. Bird’s faultless style won’t be anything new to those familiar with his work, but the album does once again demonstrates why so many hold him in such high regard.

Darren Collins

Stuart Evans

The music on the band’s debut is meant to be experienced holistically, one would think, due to no discernible lead track being present – certainly Bettison has a knack for breathy, playful vocals. But it’s not always her voice that’s out the front, and at times the removal of the distinct line where one particular element starts and another ends allows the album a lot more breathing space compared to, say, Toronto’s Purity Ring, who display similarities but with the former having a less adolescent vibe. That said, it’s not an album you will ever really tire of, provided it’s digested in small chunks. It partly works because the people making it clearly have a love for what they are producing. The lack of a ‘this album could make us big’ mentality is quite refreshing and rewarding, and it sits as a quiet little triumph overall. Adam Wilding

Caitlin Summers

For more reviews go to • 51





American Mary

TUESDAY 13 Sex With Strangers – the title of this play might suggest a bawdy romp, but this is a love story from playwright Laura Eason. With Ryan Corr and Jacqueline McKenzie, STC: The Wharf, 6.30pm until Saturday 24 November.

WEDNESDAY 14 In The Dark – a night of stories told through sound. Hear two ABC Radio National podcasts of The Night Air produced by Siobhan Moylan. The features will be In The Swim and Mermaids. Clovelly Bowling Club, 6.30pm. Something In The Way She Moves – Julie-Anne Long turns the commonplace moment into a layered portrait of a woman. Part of Performance Space SEXES Festival, Carriageworks, 8pm until Saturday 17 November.

THURSDAY 15 Between Two Waves – a play written by Ian Meadows and directed by Sam Strong. A politically charged relationship drama set against a climate change backdrop: “You think we’re like, actually all fucked? Like rising seas, and hurricanes and judgement and shit?” Griffin Theatre, 7pm until Saturday 17 November.

FRIDAY 16 American Mary – Jen and Sylvia Soska’s new film; these siblings launched their careers with the online sensation Dead Hooker In A Trunk. This new horror film premiered at the Film4 Fright Fest in London. Newtown Dendy, 6.30pm.

Invincible Fathers – a joint exhibition by artists Kaitlin Beckett and Apeseven. Beckett will be working exclusively on paper while Apeseven aims to explore scientific worship. Opening, China Heights Gallery, 6pm. Peter Tyndall – a solo exhibition from Australian artist Peter Tyndall, featuring works from the mid1970s to the present. This is the first major solo show Tyndall has had in Sydney for 20 years. Anna Schwartz Gallery, until Saturday 22 December. Cabinet Of Curiosities – ever been corralled by a secret agent? Serenaded by a half-man, halfwoman? Or had your fortune told by the innards of a fish? Be spooked. Part of Bizarre Village, Foundation Park, 6.30pm.

SATURDAY 17 The Wharf Revue: Red Wharf Beyond The Rings Of Satire – Drew Forsythe, Phillip Scott and Amanda Bishop are joined by new recruit Josh Quong Tart to serve up satirical sketches. STC Wharf 1 Theatre, 5.15pm and 8.30pm until Sunday 25 November.

not on romance, but family. Meyer faced a reader backlash with Renesmee’s very introduction. In the book, the Cullens’ final battle with the Volturi is waged psychically – and so Condon has heightened the action. Meyer and screenwriter Melissa Rosenberg even changed the ending – radical since, with the exception of Catherine Hardwicke’s surprise 2008 box office hit, Twilight, the movies have adhered faithfully to the texts.


SECOND SUN RISING Cyclone yclone sinks her i the h finale fi l off teethh into the cultural hullabaloo that is Twilight. The Twilight Saga finale, Breaking Dawn – Part 2, is due to hit screens and already wild rumours of a reboot are circulating. But one plausible ‘remake’ has come and gone. Lars von Trier’s 2011 arthouse film, Melancholia, is surely a skewed Twilight. It has the depressive (‘emo’) heroine in Kirsten Dunst’s copywriter, Justine; dysfunctional family, bizarre love triangle (with a rogue planet instead of a vampire), OTT wedding, melodrama, premonitions and astrological references. What The Twilight Saga (TTS) lacks is cultural cred – although Grimes is a celebrity fan, as is James Franco.

Breaking Dawn – Part 2 – like Part 11, directed by Bill Condon (Gods And Monsters, Dreamgirls) – picks up from Book Three of the fourth and final volume in Stephenie Meyer’s teen fantasy series. Isabella ‘Bella’ Cullen (Kristen Stewart) has survived the birth of her baby, the human/vampire hybrid Renesmee (Mackenzie Foy), and is now a ‘newborn’ vamp herself – stronger than her husband Edward (Robert Pattinson). However, another vampire mistakes Renesmee, whose development is advanced, for an immortal child (a child made, not born, a vampire), dobbing in the Cullens to the ruling Volturi, led by Michael Sheen’s Aro. The Volturi deem such a creature a taboo. Bella must prove Renesmee’s legitimacy – and save her.


Away from the main stage, this year’s Harvest Festival has some sexy treats. Trixie Little & The Evil Hate Monkey combine bananas, boylesque and Bonnie Tyler and (provided they escape the aftermath of Sandy), they assure Paul Ransom that he definitely won’t be alienated.

Peter Tyndall’s A Person Looks At A Work Of Art

It’s the day after Sandy and somewhere in the greater New York area a saucy burlesque duo are packing their bags for Bootleg Alley. As the acrobatic stars of

Feminists especially have missed the figurative aspects of TTS. If anything, it critiques the cult of perfection – and the belief that women should embody everything. Ultimately, Bella’s problems are solved by her dying – well, becoming a vampire. She’ll be forever 18, never ageing. Not even childcare is a concern. In this way, TTS has generated a subversive post-feminist mythology – parodic, if not ironic. Meyer’s work belongs to a tradition of often ambiguous female gothic novels that includes Mary Shelley’s Frankenstein.

While TTS has transcended its teen demographic, a new YA (young adult) subgenre, paranormal romance, is prospering. US author Rachel Caine (aka Roxanne Longstreet Conrad) is headed for Australia to promote Bitter Blood, the 13th instalment in The Morganville Vampires series, her cerebral protagonist Claire Danvers likely to charm those irked by Bella’s emo-isms. The TV adaptation of The Vampire Diaries, loosely based on L J Smith’s writings, is onto its fourth season. For adults (and, apparently, dudes), there’s the supernatural Americana of True Blood. And, far from promoting Mormon-style abstinence, TTS inspired E L James to pen the fan fiction that became Fifty Shades Of Grey, Christian Grey originally a ‘human’ Edward. The popularity of Fifty... has, in turn, engendered a boom in women’s erotic fiction, one new tome Eve Sinclair’s genuinely blasphemous rewrite, Jane Eyre Laid Bare. WHAT: The Twilight Saga: Breaking Dawn: Part 2 WHEN & WHERE: In cinemas Thursday 15 November

BD2 could perhaps be the weakest narrative of the franchise. It centres,

SUNDAY 18 GenerationNext – celebrate the end of HSC and the coming of summer with three new shows by young Australian artists: the retrospective Ken Whisson: As If and the exhibition of works by Claire Healy and Sean Cordeiro. On the night Primavera artist Anastasia Klose will be perform dance routines to MTV video clips as part of her artwork The Re-Living Room. MCA, 6pm.

The TTS films have, like the books, copped it from every quarter. Movie reviewers – typically male – deride them as chick flicks with sparkly vamps and shirtless wolves, tagging fans ‘Twihards’. Feminists have condemned Bella’s ‘abusive’ relationship with Edward, as well as her passivity, overlooking the saga’s narrative arc. Some religious types consider TTS too sexy (Meyer is a Mormon).

As with Justine’s death planet in Melancholia, Edward could actually be a mere illusion of a lonely, displaced adolescent girl. A fantasy within a fantasy. Regardless, the dynamic between Bella and Edward shifts so dramatically in BD2 that she might be TTS’s most powerful vampire – providing she conquers the Volturi.

Harvest Festival’s boutique arts sideshow, Trixie Little & The Evil Hate Monkey have plenty of tricks to cram into those bags; and that’s before they negotiate their way

past the post-storm ‘devastation’ to get to the airport on time. “We’re up on a hill in Brooklyn so we were spared a lot of the really bad stuff,” Trixie Little reveals. “We didn’t lose power or anything, but yeah, lower Manhattan is a mess. Monkey drove in there tonight and said it was really eerie. Apparently it was like driving through a ghost town.” As if late season tropical storms weren’t enough, it’s also election season. Trixie laughs at the idea that nature has put a temporary stop to politics. “Yeah, that’s such a relief because it’s terrifying over here,” she sighs. “Everyone’s just really worried that Romney’s gonna win.” With so much rich content on their doorstep, you can’t help but wonder if they are tempted to weave some of it into their upcoming Australian shows. “We don’t do political humour really. A few topical things but we try and keep it a little more universal.” Indeed, in the decade since Trixie and Hate Monkey burst out of Baltimore and onto the then newly emerging burlesque scene, they have met with nigh universal acclaim, picking up a swag of awards and starring in Speigeltents and fringe festivals across Europe and North America. “I think it’s that we combine sex and humour,” Trixie Little declares. “We’re very inclusive too: gay, straight, male, female, whatever it is. It’s pretty basic in a way but also very smart and creative. We’re not trying to alienate anyone and we like to poke fun at ourselves.” The duo’s comedy and song

ladened shows certainly mark them out from the plethora of increasingly cut/copy burlesque acts on the market. “I think a lot of the burlesque scene takes itself too seriously,” Trixie says. “Y’know, people trying really hard to be sexy. Anyway, we don’t really have that problem.” However, when they finally make it past Sandy’s leftovers and wing their way to Harvest, Trixie Little & The Evil Hate Monkey will be trying hard. Having played similar events previously, they are well aware that festival crowds are a particular challenge. As Trixie duly notes, “People aren’t obligated to stay and you hope that when you start your show you can convince them to hang around for an hour. But y’know, they didn’t pay to just come see you.” Perhaps this explains why the duo’s Harvest slots will feature eight of their greatest hits, including Monkey’s famous tutu routine, Trixie’s banana peel striptease and the pair’s much loved signature piece, Total Eclipse Of The Heart. “That’s the one we usually make our living with. They fly us around the world to do that one,” Trixie quips. “I always say that I know exactly how Bonnie Tyler feels because we get asked to do that act over and over again. I feel like sometimes we’re a one hit wonder, but y’know, the song is so epic.” WHAT: Trixie Little & The Evil Hate Monkey WHEN & WHERE: Saturday 17 November, Harvest Arts, Parramatta Park

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performers, and no doubt they’ll be revealing more than just their aggravation with Mr Jones.


Professional rofessional controversialist Alan Jones ones is no stranger to outrage, and when he commented earlier this year that women – Julia Gillard, Christine Nixon and Clover Moore, in particular – were “destroying the joint”, he probably expected to provoke a little criticism. What he might not have expected to

One of those taking part is the fantastically named Sheena Miss Demeanour. “When I went along to my first burlesque night, I was really inspired by the women performing on stage, and how they were doing all kinds of different things – from fan dancing to tap dancing, through to striptease,” she recalls of her introduction to the form. “I knew then it was my calling because I thought I could really put on a great show and make audiences happy, so that was really my mission from day one.”

Sheena Miss Demeanour explains to Jake Millar how a misogynistic off-thecomment has developed into a full-blown burlesque spectacular.

provoke is a burlesque show – but it turns out he did. Destroy The Joint – A Burlesque Tribute To The Movement is a fundraising event for Zonta International, an organisation devoted to advancing the status of women in society. The event promises to bring together some of the country’s top burlesque

For more than seven years, Sheena Miss Demeanour has been doing just that – performing everywhere from LA and San Fran to Tokyo, Macau and Vancouver. Her background in dance made the transition into burlesque a fairly smooth one. “I’ve done everything from cabaret to ballet and even hip hop, so my dance training is quite diverse. I saw burlesque as a way to fuse all of those dance skills together to create an entertaining performance piece,” she says. “I’m used to performing on stage, but burlesque is about being able to do my own show – to create my own choreography, my own costuming and my own message.” These days, she focuses mainly on burlesque, though she still attends ballet classes and occasionally works as a choreographer, an area she’d like to move into in the future. “I still dabble in other

dance forms, and sometimes I’ll get booked at corporate events, which are often more of a cabaret performance – less strip, and more tease,” she explains. “But I’m not performing in any hip hop troupes any more like I used to. I’ll leave that to the 19-year-olds.” Although most burlesque incorporates a striptease element, don’t expect to find an audience full of leering blokes. “A lot of my audience members are actually women. For some events, we’ll look around the audience and definitely I’d say it would be around 75 percent female,” she says. “Women tend to be drawn to artistic and glamorous elements of it – it’s more about the empowerment of a woman, rather than their objectification.” Most people have heard of burlesque, but Sheena admits there’s still a bit of confusion about exactly what’s involved. “Sometimes people will book a burlesque act, and when I turn up I like to warn them that I will be using nipple tassels and that kind of thing, and they can be a bit shocked, so they ask me to leave the striptease element out,” she says. “The great thing about this event is that women are really pulling out all the stops and doing a show how they’d like to – it’s really about women taking control and using their bodies how they see fit.” WHAT: Destroy The Joint Burlesque WHEN & WHERE: Sunday 25 November, The Standard


Five minutes with


Nominated for Best Original Song Composed For The Screen: Hey Hootabelle from Giggle & Hoot and Best Music for Children’s Television: Hey Hootabelle How different is it composing music for screen as opposed to writing music for your day to day band/project? I see the main difference in that with screen composition you are usually given the artistic function you need to head towards and then need to work out how to get there. It’s a big difference because the seed is already given to you, and you need to draw on your range of skills and tricks to make that seed grow into something, which will achieve that artistic function and also fit into the collaborative parameters. For me, it’s a less personal venture, which challenges the ‘craftsmanship’ aspects of my songwriting. Does the television or film director give a specific brief or a general outline for you to explore creatively? In my experience, I have only been given an overview and description of what the visual will be like, and then the brief of what the producers want in terms of the song, what they want it to say and the feeling they want it to convey. I haven’t worked to an already completed visual thread

as is often the case with film soundtrack work. I would imagine that would be more difficult. What can music add that is not already present in a film or television piece? I always found it funny that being a musician, I often get so caught up in the visual aspect that I don’t pay much attention to what’s happening around it. I only became aware of how powerful music is in a film when I became privy to participate on work that some film composers were doing and saw the visuals pre- and post-music. It’s only when I had the point of comparison that I could see the difference could be feeling a pinch of emotion without the musical aspect, to that of being genuinely moved once the music is in. Is it necessary to tell a story or just convey a mood when writing for the screen? My experience has only been that of writing songs for screen so there is a lyrical element and a story of some sort as well as a mood you are aiming for. The Screen Music Awards will be held on Monday 19 November



The anticipation was tangible as Pixar veteran, Lee Unkrich, took to the stage to divulge a fascinating insight into the company that changed animation forever in 1995 with Toy Story, the first ever computer-animated feature film. He glossed over the process of how a Pixar movie is made (surprisingly the animation part is one of the last steps!) and got straight into the nitty gritty, outlining just why the creative process for one film takes on average nearly four years. He shared hilarious behind the scenes footage of directors and voice actors at work, scenes and ideas that were relegated to the back burner, and how the animators get inspiration for their characters by filming themselves.

It was a unique combination – hip hop artists telling G-rated children’s stories in perhaps the most iconic ‘high art’ venue in Sydney; but Dr Seuss meets Elefant Traks was entertaining for all. Artists from 11 musical acts from the hip hop collective Elefant Traks, collaborated to perform 16 of Dr Seuss’ stories. Every one was told differently; some were turned into songs, others were rapped over catchy beats (with the rhymes lending themselves beautifully to this). Some were recited and others were performed instrumentally with samples, scratching and live mixing. All were accompanied by the classic imagery from Dr Seuss’ books and paintings, craftily animated and beamed on a big screen.

He put the films under a microscope and unlocked the depth of rich and meticulous detail involved in every aspect of the film; from the ten voice takes sliced together to make one line of dialogue, to the strategic use of colour. Every explanation was decorated with snippets from Pixar’s 13 films, which filled the Concert Hall with belly laughs from little and big

kids alike. He shared personal reflections and anecdotes like he was talking to friends at a dinner table rather than an entire hall of people, and it was a refreshing reminder of just how cathartic good, clean humour can be. Alex Hardy Sydney Opera House, part of GRAPHIC Festival

Experience Film International Film School Sydney

Open Day Saturday 17th November 9:30am – 12:30pm

Highlights included Hermitude’s instrumental rendition of McElligot’s Pool, created with samplers, drum pads, turntables and a keyboard. The Tongue proved an excellent storyteller, with spoken word recitals of The Zax and Gerald McBoing Boing (complete with beat-boxing). Horton Hatches The Egg was performed as a soulful ballad by Jane Tyrrell from The

Herd, while Secrets Of The Deep was performed with three-part harmony as a mash-up with the classic gospel tune, Wade In The Water. The storytelling style was quirky and creative; this made it a remarkably unique experience. Alex Hardy Sydney Opera House, Part of GRAPHIC Festival

Want to experience film like never before? Then you need to experience IFSS. Come along to our Open Day on Saturday 17th November, where you will be guided through the realm of filmmaking by students and teachers that are practicing in the industry. Every school says “we’re different”. The difference at IFSS is that we live up to that promise. In two years with us, you make up to six films and work on up to 24 other films being made by your peers. You won’t get to do that at any other film school in Sydney! So come along on Saturday 17th November and experience IFSS.

RSVP online at T: 02 9663 3789 E: W: L: 27 Rosebery Ave, Rosebery NSW 2018

54 • For more reviews go to





WITH JAMELLE WELLS Is there anything not being made into a musical these days? A production of King Kong will open in Australia soon and celebrity cook Margaret Fulton is even the subject of a new show – Margaret Fulton: Queen Of Desserts. Written by comedy great Doug MacLeod, the musical has Amy Lehpamer as a much younger Fulton (who is now in her 80s). If that’s not enough, a show based on the life of the most improbable pop star in history is on its way here. The jukebox musical I Dreamed A Dream is based on the story of Susan Boyle, the 51-year-old Scottish singer who rose from obscurity to fame via a runner-up finish on Britain’s Got Talent in 2009. It’s named after the song from Les Miserables she sang in her audition. The show has been created by Alan McHugh and Elaine C Smith, a Scottish actress who also plays Boyle. A British MP has been suspended from the parliamentary Conservative Party for flying to Australia to be part of a reality television show. Tory MP Nadine Dorries was seen in a Queensland jungle camp preparing for I’m A Celebrity… Get Me Out Of Here!. The member for Mid Bedfordshire has been suspended by Prime Minister David Cameron. Screen Australia’s annual Drama Report reveals a 25% increase in total drama production expenditure for 2011/12, with a total spend of $623 million. Feature production was significantly up on last year, accounting for 47% of expenditure at $296 million. It was boosted by


high-budget Australian titles The Great Gatsby and I, Frankenstein. Drunken behaviour charges have been dropped against Newcastleborn actor Sam Worthington, who is currently working in the US. Worthington, who plays a drug enforcement agent in the movie Ten opposite Arnold Schwarzenegger, was recently kicked out of the Vortex Bar And Grill in Atlanta by security guards. They say he was drunk and didn’t have any identification. He was pepper-sprayed and handcuffed until police arrived. The Museum Of Contemporary Art Australia is celebrating its 21st birthday with a budget in the red but attendance figures have more than doubled since its $53 million redevelopment. Museum director Elizabeth Ann Macgregor took control of the venue in 1999 when it was getting bagged out by critics. In the six months between March and September, the museum had 600,000 visits, which is more than double the number in an equivalent six-month period before the redevelopment. Most visitors are apparently still under the age of 35. The Art Gallery Of New South Wales has a very cool retrospective to mark the 20th anniversary of the death of Irish painter Francis Bacon. One of the 50 paintings on display, Seated figure, is valued at up to $40 million and has never been seen in an exhibition before. The two-metre tall painting is apparently a tribute to George Dyer, Bacon’s younger lover who committed suicide.

centric histories as it takes a determinedly global perspective. “It’s a love letter to cinema,” Cousins says, of his essayist labour of love. “It’s something more than facts and figures, how many Oscars a film won, or how much money it made at the box office.”

THE CAKE ITSELF “There were too many big holes in these film histories, so I was just trying to do something a bit more complete.” The Story Of Film: An Odyssey director Mark Cousins talks to Anthony Carew about the series chronicling the history of cinema, now screening as part of a new exhibition The Story Of Film. “At the end of the 1800s, a new artform flickered to life. It looked like our dreams...” So begins every episode of The Story Of Film: An Odyssey, the words intoned in the soft, seductive,

Belfast brogue of its maker, Mark Cousins. Across 15 hour-long episodes, the cinema lecturer chronicles the 120-year history of motion pictures, skewering the normal narrative of Hollywood-

Growing up in Northern Ireland, Cousins fell in love with cinema as a solace from reality. “I’d go into the cinema,” he recounts, “where it was dark and there was not many people, and the nervousness that I had – because of The Troubles – it fell away – that idea of escapism is so true,” Cousins says. “Joseph Campbell talked about ‘the rapture of self-loss’ and movies gave me that rapture – they made me feel so alive during a time of so much death.” In the ’90s, when Cousins was serving as director of the Edinburgh Film Festival, he travelled to war-torn Sarajevo and saw an underground network of screenings, in which people were risking their lives to go to the cinema. “It became really, really clear to me that movies and art aren’t the icing on the cake, they are the cake itself,” he says. “They’re not merely representations of our life, but they are our lives, indivisible from the human experience”. Cousins was inspired to undertake his mammoth project due to his dismay at most chronicles of celluloid. “Histories of cinema are always flawed,” Cousins offers. “They’re written by academics and they’re too dry, or because they’re written by men they completely marginalise women filmmakers,

On being moved by a performance in a Commonwealth Bank ad; on judging books by covers, when books are people, and covers how they’re cast; on selling something you may not want to sell; on blurring lines between actor and acted. Back in September, Toby Schmitz’s new play I Want To Sleep With Tom Stoppard premiered at the Bondi Pav. Keeping it relatively short – it was about theatre and acting. And leading lady Sarah, an actor who still believes in the power of theatre, has a little monologue somewhere in there about auditioning for an ad for a chocolate bar, but not getting it as she was unable to mask her contempt. It’s an interesting side of acting I’m sure many outside of the business don’t think about, but for those in it – especially those dipping toes in for the first time, or those whose schedule isn’t yet packed with roles that pay the rent – it seems somewhat of a necessarily evil. In those early or dry stages, a job is a job is a job is a job. Sometimes, though, sometimes, intentional or not, these little vignettes for capitalism manage to strike a chord. There’s one in particular that’s caught my fancy of late, and it’s not even the whole advertisement – it’s one snippet of it. The ad is for some bank, something to do with home loans, and there’s that super believably successful vanilla couple in an office sitting opposite a safe-for-TV-exotic bank employee. They’re overwhelmed, he smiles reassuringly, yada yada yada. Soon the office they sit in is crowded; a tradie, a baby, and Mitchell Butel in a suit and glasses looking disinterested and holding a putter. This is the image that gets me. You only get two, maybe three seconds of Butel on

screen, but it’s enough to craft a life for the man he is playing – a man with such seemingly profound disinterest in middle-class Australia. The first time Butel really struck a chord with me was as the kind-of-cuckolded novelist Charlie in Simon Stone’s production of Strange Interlude earlier this year and I find, like it or not, that the first time an actor impresses you with a performance, the character they portray leaves an indelible mark on the actor. It becomes more of a concerted effort to separate actor from acted. Denzel’s still a crooked cop, Jesse Eisenberg a plagiarising teen with father issues, soon-tobe-visitor James Earl Jones a blind, retired baseball player that hung tough with the Sultan of Sweat… So for Butel – who in my mind still held traces of this novelist wrecked with love unrequited – to be standing there, a new man, putter in hand, all pomp and class, with the minions beneath his interests as he holds court for two seconds in an office… Well, it moved me. It’s occasionally just clever marketing, or spot-on casting, but elsewhere in the mire are these snippets from ads like the bank one, where you get two or three oddseconds of genius, of real craft, that makes you hope to see that actor acting, and not just peddling wares. Like the way Robin Goldsworthy’s smarmy, unbridled glee as he dances cocky and victorious through a pub on those TAB ads was the saving grace of a campaign from a grubby industry that borrowed quite heavily and shamelessly from Carlton Draught’s success. And how that dance took me back to the snotty-mannered member of the Hitler Youth he portrayed so earnestly in yet another Schmitz play, Capture The Flag, at Riverside Theatre a year or two ago.

WHAT: The Story Of Film WHEN & WHERE: Wednesday 14 November, Dendy Newtown blueprint they were looking for, from conversation their show emerged. “It’s become about what it really takes, and I mean really takes, for an indigenous community to not give up, because quite frankly, what so many of them have been put through time and again, basically through white governmental mishandling – revolting mishandling – it’s pretty horrific. And what it really takes for those communities to keep going – which has nothing to do with white policy a lot of the time, and has everything to do with this thing that we talk about called black resilience, indigenous resilience. What that really means, I think, is what’s at the heart of the show.



or, most troublingly, they’re really American and European-centric and they’re completely blind to African cinema, completely blind to aspects of Iranian cinema, etc. There were too many big holes in these film histories, so I was just trying to do something a bit more complete.” So, Cousins spent six years travelling the globe, speaking to dozens of filmmakers and every continent. “I had to travel like a backpacker with the equipment on my back; whether it was 42 degrees in West Africa, or in the markets of Calcutta, or the mountains of Iran,” Cousins says. “It sometimes felt like as much of a physical endurance test as an ideological one.” The series works in tandem with his book, The Story Of Film: A Worldwide History Of Film, which divides history into ‘silent’, ‘sound’ and ‘digital’ eras. “The digital revolution hasn’t actually been a revolution in the art of cinema; cinema is still great at presenting dreams and reality, that’s its essential duality,” Cousins says of the latest era. “I know there’s this school of thought among older critics that cinema is dying, but I think exactly the opposite. The people who say something like that are not seeing films from Thailand, from Taiwan, from West Africa, from the Philippines, from Romania, from Argentina, from so many parts of the world. The people who think that cinema is dying tend to have their eyes trained very much on Bollywood and Hollywood.”

PAST IMPERFECT A new play dealing with Mulrunji Doomadgee’s th iin custody t d aims i tto redress d i t death our mainstream artt sector’s “woefully neglectful” treatment of Australia’s past, Belvoir’s Eamon Flack tells Dave Drayton. “There is no doubt that the mainstream arts sector in Australia has been woefully neglectful of the real scope of experience in our country,” says Eamon Flack, associate director – new projects at Belvoir. “It’s been far too white.” Flack is co-devisor of new production Beautiful One Day – inspired by the ‘accidental’ death in custody of Mulrunji Doomadgee on Palm Island – and when he makes the above statement, he doesn’t do so lightly. In fact, he’s astutely aware of the risks Belvoir’s taken in order to try and counter that trend, and the help they needed. “If you want to address that question you’ve got to be really smart about it, because it’s so easy to blunder in, and it’s so easy for a white theatre company, which we basically are, for a privileged, well…,” he stops himself short, “Well, we’re not well-funded, no one’s wellfunded – but for a privileged main stage theatre company to wade into the question of diversity, it can be really self-serving, it can be arrogant, it can go really

wrong really easily. We needed help and we needed to learn.” For a few years now the team at Belvoir have been interested in creating a show about Palm Island. The question was how to do so while being mindful of the potential pitfalls Flack mentions above, and the answer came to them through collaboration. “Eventually, we decided to bring together several companies,” Flack explains, “A blackfella theatre company, a whitefella theatre company who deal a lot with white power, and ourselves – so Ilbijerri, Version 1.0 and ourselves came together and we just started by talking among each other about each others’ work and about the events of 2004 on Palm, with Mulrunji Doomadgee’s death in custody and the community response and the police crackdown, and we’ve basically from that moment making up what that process should be as we’ve gone along – there was no blueprint for how to make a show like this, so we’ve had to invent it,” Flack pauses here and laughs

“at every with a hint of disbelief, “a has been step of the way, which ha quite extraordinary in many ways because there is such a variety of theatrical experience and theatrical language among all the people working together; but also, there’s such a variety of life experience.” Bringing together such a diverse team led first and foremost to discussion, says Flack, about theatre, their practice, Palm Island, and everything else in between. And from conversation came the

“How do you really deal with that pain and grief? How do you really build and maintain those quiet, civic, interpersonal social institutions that are really what keeps society bubbling? Fuck government. Fuck policy for a moment. What’s really going on underneath that? And that’s an interesting question, and it’s great for theatre because it’s a human question.” WHAT: Beautiful One Day WHERE & WHEN: Saturday 17 November to Sunday 23 December, Belvoir Upstairs Theatre

ART S TA R T E R Two minutes with


Role in Harvest Arts? Performing in the Le Boudoir as part of the cabaret program. Weirdest place you’ve seen a performance? Strip club. What/who inspires you artistically? Inspirations for the show include artists that aren’t afraid to try shit out and shake shit up. The likes of Grace Jones, Roisin Murphy, May Worth, Leigh Bowery, Barbette, Lucille Ball and everyone who has had a bash at Eurovision.

If you weren’t a performer what would you be doing? I imagine we would be standing in a Centrelink line. WHEN & WHERE: Saturday 17 November 6.30pm, Harvest Arts, Le Boudoir, Parramatta Park

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FEATURE TOUR BEIRUT Zach Condon began experimenting with worldly sounds under the moniker of Beirut in his early teens and, in 2006 at the age of 19, he released his stunning debut Gulag Orkestar to international praise. Few then predicted the inward journey that would follow on his 2011 LP The Rip Tide, written in isolation during a snowy upstate winter. The album marks a stark change in emotional direction, while still maintaining the aesthetic that has taken Beirut around the world many times, including a third journey to Australia. He plays Wednesday 14 November at the Enmore Theatre as well as Harvest Festival, Parramatta Park, Saturday 17.


Despite the lead vocalist merry-go-round they endured after the death of Michael Hutchence, you can’t deny the impact they had on the Australian musical landscape, so if they have just had their last ever performance together as a group, then they will be missed.

KERSER Debuts at #15 on the ARIA album charts. Guess the phrase “underground” rapper doesn’t really apply so much anymore.


Henry Wagons @ The Annandale. Pics by Angela Padovan.

And you thought Bluesfest were all out of big announcements following Robert Plant. The announcement of Paul Simon to the bill ups the ante again.


And if you’re not breaking up, what was that announcement about on stage at the Perth show saying it was your last ever performance together?

BIG WEEK We’ve got no idea how we’re gonna survive this week of gigs. The big internationals include Radiohead, Ben Harper, Coldplay and Elton John – and that’s before you even get to the Harvest Festival and attend sideshows!

BIG BROTHER The whole season somehow passed us by. And you know what? We’re not too disappointed by that fact.



Fanny Lumsden is one of those personalities for whom the phrase ‘born entertainer’ was created. Boundless energy, a warm and endearingly funny stage persona and a stellar voice are what made her set so appealing. Her band of country/folk players The Thrillseekers played a critical role in presenting Lumsden’s songs, making her the real deal and bound for bigger things. Achoo! Bless You are less country and more folk and, though hindered by some early sound issues, they too showed they can build a strong rapport

with an audience. A Rilo Kiley cover showed they draw on both roots and indie influences and their use of additional musicians gave their sound some necessary structure and depth. Touring his new solo album of duets, Expecting Company, Henry Wagons roped in the rhythm section of his day band plus members of The Nymphs as his duet partners. Striding onstage looking like a cross between Elvis and mid-‘70s Waylon Jennings, he set about creating an

entertaining set high on humour, drama and music of the highest quality. As a frontman, Wagons is up there with the best, casting out vacant-eyed, slack-jawed stares before flipping a coin and leaping around the stage like a kid playing air guitar on a tennis racket. The new songs were delivered with spit and swagger and, when required, a sweet lonesome country feel. A Hangman’s Work Is Never Done saw Wagons stalking the bar drawing death screams from the audience, while a surprise appearance by Robert Forster on I Still Can’t Find Her was an obvious treat for Wagons himself. Closing out the set with a cover of Kenny Rogers and Dolly Parton’s Islands In The Stream highlighted the line Wagons walks between pastiche and originality, yet his balance was near perfect. Chris Familton

For more reviews go to • 57

BW. From the get-go the band openly encouraged people to dance and it took less than a minute for the entire audience to abandon their seats and succumb to the ebb and flow of the music. As the beat dropped, trombonist Joe Lindsay slipped into his famous hip wiggle and the party got underway.

of their sound seems to be the key to their success, if they find it. Hopefully they capitalise on their natural chameleonic abilities and keep us on our toes, delivering sets like this one. Tempo changes, diverse instrumentation and dynamism kept them exciting and unpredictable. Watch this space.

Bluesy number, Silver And Gold, was the first track showcased from the forthcoming album. Dallas Tamaira’s honeyed voice rang out as a slow reggae groove began and the brass section soared. They debuted another brand new track, Clean The House, and mixed things up sonically a little in another new song, Mother, with their fill-in sax player swapping brass for a rare appearance (for Fat Freddy’s at least) of a flute.

Matt MacMaster

Blackbird provided the most exciting visual aspect of the show, with renowned New Zealand street artist Otis Frizzell painting a backdrop of giant blackbirds live. The band briefly left the stage as the audience played their part in demanding an encore and the last 20 minutes was filled with an awesome jam session that led into Shiverman, complete with live looping, a costume change and suitably outrageous dance moves from Lindsay. Fun, energetic and endlessly entertaining, the show was a perfect opening night celebration for the Festival. Alex Hardy


Gypsy & The Cat @ The Metro Pic by Mat Lee

GYPSY & THE CAT, NEW GODS METRO THEATRE: 08/11/12 Fronted by two former members of Little Red, with familiar faces from Eagle & the Worm and Ground Components, New Gods begin their set rather inconspicuously to the sparse Metro floor. The outfit’s tune replicates love-making rather than Little Red’s joyous rock‘n’roll beat, the crowd slowly flooding in to catch the smooth harmonies and deep bass guitar of the band who seem all grown up. Frontman Dominic Byrne wriggles to the relaxed new single, On Your Side, this new flavour of chilled-out guitar and peaceful vocals setting the tone early on, until Day Off Work’s hardhitting chords, vocal intensity and element of fun bring back memories reminiscent of previous ventures. Their debut EP is due to be released later this month, and this timing becomes a factor in the room’s response, most unaware of who they are and where they’ve been. Nonetheless, their music sounds great; a mixture of vocal beauty, fantastic builds and stripped-back musicianship, territory Little Red never really delved into. Three songs into Gypsy & The Cat’s set and the room has already devoured Time To Wonder and The Piper’s Song – a perfect beginning – before slowly testing new material to diehard fans. To be honest, the new album is equally as effective but in a different way, the usual synthesised sound has been quietened with the band’s own rock‘n’roll talent taking the fore, every song demanding a bit of a dance. Vocalist Xavier Bacash lets everyone know that change is what the duo wanted, before he and the manof-many instruments Lionel Towers tear into Sorry, backed by drums and bass, their fans approving as the lyrics echo through the crowd. Title track, The Late Blue, drifts into folk territory, an amped acoustic guitar providing a fascinating contrast before the band are suddenly backlit for the exciting shift in pace midway through. Purely based on familiarity, tunes like Gilgamesh’s Running Romeo receive the highest praise, and with constant onstage banter circulating around comparisons of the records, it’s hard to ignore the adoration for the first album. Jona Vark is without a doubt the moment of the night, the boys bringing such a buzz to the room with the swaying pit coming alive to the indie dream sound they are used to. The Late Blue sounds great and Bacash’s voice soars in its choruses; however, it may just need time to sink in a bit. Mat Lee

LAST DINOSAURS, THE JUNGLE GIANTS, TWINSY METRO THEATRE: 09/11/12 This gig was a demonstration of how much things can change in a short time on the Australian music scene – Last Dinosaurs have gone from

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being a well-liked indie band with a core cult following to an outfit with an enormous fanbase and a critically acclaimed debut album. An indie pop band with electro-tropical sensibilities, Twinsy opened proceedings. They are an excitable, enthralling outfit – watching them play is ridiculously enjoyable. Despite their sound being somewhat different to Last Dinosaurs they certainly set the mood, as their sounds seemed to develop a sense of anticipation in the audience. The Jungle Giants certainly put on a good show, despite the illness of their lead singer. With classic indie pop guitar lines blended over jungle-pop themes, this band are developing a potent sound. They’re wild and excitable and their sweet choruses were sung as loudly by the audience as by the band. Less than three weeks after their last Sydney show, Last Dinosaurs again took to the stage at the Metro Theatre facing a crowd that was virtually backed up from the front railing to the theatre’s back wall. The energy of this set was incredible – the venue seemed crowded with Last Dinosaurs’ biggest fans, all of whom seemed to know every lyric of every track from the band’s debut self-titled album. Last Dinosaurs toe the line between carefully arranged, tightly rehearsed music and music full of teen angst and nascent passion, with tracks full of meditative, poetic lyrics and tracks full of huge vocals and rhythms that interfere with your heartbeat. In comparison to the band’s last tour, Last Dinosaurs are filling some bigger venues and this particular show must surely be one of the band’s biggest ever. And yet they seem to take it in their stride – their quiet onstage banter is as self-effacing as ever, in stark contrast with their fans’ wild screams. Things sure have changed for Last Dinosaurs and their explosive talent is being recognised.

Gnomes are treasure-seeking wizards in Old World lore and, although they aren’t swimming in treasure (they’re musicians, remember) and they’re both far from short, Freya and Elias Berkhout did kinda sound a little like wizards. The brother and sister dream pop duo lathered the cinematic synths on thick and pitch-perfect harmonies swooped around the room. Their musicality is solid, massaging us with looping passages and breaking it up with neat key changes or percussion development. It was a shame they played to an empty room. Apparently they just scored the theme song to the Sydney Festival, so don’t feel too sad for them. Kudos, Gnome! Olympic Ayres are a young Sydney group that failed to ignite. Their Balearic-influenced sound was propulsive and bright, but the arrangements felt same-same and had no real texture. The vocals were competent but muted and lacked direction. Each song started up and finished with no real dynamic energy, no push/pull and no guts. It wasn’t bad music, just bland. Quite a few things hit you on hearing City Calm Down. Post punk, Madchester, electro and dance punk all compete for space and just to watch frontman Jack Bourke wrestle with them is half the fun. Heavy bass locked down the groove while retro-futuristic synth shapes formed and crumbled around them. The vocals were great, with Bourke’s voice switching deceptively easily from an Ian Curtis drone to that of a jittery pop singer. The versatility

THE PRESETS, HERMITUDE, NINA LAS VEGAS CELL BLOCK THEATRE: 07/11/12 The Cell Block added beats to its bars as local lords of dance The Presets took over for triple j’s super-secret Oz Music Month gig. The headliners played relatively early (although it was a school night, I guess) and with a bit more of a set-up than the theatre, and their supports, had needed: lights, cameras, a drum kit for Kim Moyes to ascend, and a synth and some other bits and pieces for Julian Hamilton to emerge from behind while delivering his beautifully understated vocals. The later also provided a handy barrier as the odd overly enthusiastic fan scaled the stage to have a little party with the boys; it was all relatively harmless (and artless), but also, clearly, not what the band were really keen on. In their intro The Doctor (Lindsay McDougall) made of point of calling The Presets’ 2008 offering Apocalypso a defining point in Australian dance, and it was that album, and the music of newbie Pacifica, that formed the base of tonight’s set. The Presets make dance music with a mongrel edge, as typified on tracks Youth In Trouble and Promises (the latter has a distinct ‘80s electro edge, almost New Order-y, and that’s meant as high praise). The older tunes were still fine, with a slower version of This Boy’s In Love led with a sweet keys hook, and If I Know You just demanding a bop along from even the coolest of hipsters hanging up the back. Of course, it was rounded off with My People (again, hipsters were helpless to resist), and the standard brief absence and return for a tight encore (where Hamilton threatened to hunt down those who’d lost the faith and left). Kudos has to be given to their supports though, particularly Hermitude, who used the space with arguably more grace. Starting off with iPads around their necks and with a healthy amount of enthusiasm, there was a sense of spontaneity and engagement that was infectious. Mucking around and including a few choice fanboy (and fangirl moments) – especially a gratuitously unnecessary but fab use of the old school Doctor Who theme – they set the tone and theme to playful. Inviting a sing-along for The Lion Sleeps Tonight, before it morphed away, and a shameless bit of Michael Jackson (again, why not?), of course their biggie Speak Of The Devil was a highlight. It was a vibe that Nina Las Vegas in her two in-between sets also tried to channel (although always tough when there are set-ups happening around and over you). Liz Giuffre

Jessie Hunt

FAT FREDDY’S DROP SYDNEY OPERA HOUSE CONCERT HALL: 10/11/12 As the musical highlight of the third GRAPHIC Festival, Fat Freddy’s Drop transformed the Concert Hall into a thumping party for the animated and illustrated preview of their fourth studio album, Blackbird, due out February 2013. In standard Fat Freddy’s style, the intro was atmospheric with colourful lights, smoke and swirling projections on the walls. Deep horn blasts and a synth wash gradually welcomed the rest of the band members on stage to thunderous applause and, as the sound surged, they dropped into Wild Wind from their most recent album, Dr Boondigga & The Big

The Presets @ Cell Block Theatre Pic by Tori Pepper




GOODGOD: 10/11/12

Rocking Horse & The Baby Dolls kicked off with a Blues Brothers-style introduction and the likeness to Clairy Browne & The Bangin’ Rackettes was immediate. Hidden behind the synchronised fembots were some deep funk skills in the threepiece band. Amazing vocals, great sound but they don’t quite sell the whole lounge act thing. Why try so hard to be Amy Winehouse when you’re Doris Day? Embrace the Doc Martens and nose rings that the heels and shimmer dresses got ditched for as soon as they were off stage.

There was already a crowd gathering in the Danceteria as Tight Slip threw their instruments around. It was a bit of a mess and the garage three-piece struggled to maintain even the casual interest of folks. Musicianship isn’t the issue (it’s never paramount to garage and punk anyway); it’s the energy and momentum and the presence that’s important and they lacked two of these crucial elements.

The Peep Tempel scared the crap outta everyone with a wall of fuzz and reverb. The three-piece were tight. Uptight even. Tight like a stretched rubber band that is thinning at the edges and going to snap at any second. Their sound is swirly bluesy ska, but really there’s only one comparison to be made – these guys are the Oz Queens Of The Stone Age, from the manic intensity to the punk groove edge they tread (compare tracks Mission Floyd and Howlin’ Belle to get the point). Not that they’re a tribute band, they’re just that good.

Gay Paris @ The Patch Pic by Jodie Mathews

The Ruined Fortune Band took their time trying to set up and it seemed to be the running gag of the night. The leads didn’t work, no volume on the mic, etc. When they finally got going, their downtuned garbage proto punk was good and their woozy unfocused aggression was impressive. Nic Warnock’s vocals were loud and abrasive and pushed past all the other noise. Punk needs a mouthpiece to spew its message out and Ruined Fortune has it. Local slackers Camperdown & Out played a bright set of more upbeat material. It was a predictable jumble of off-key singing and jangly sunburnt pop that had the floor swaying. It was a short set, but a loud one.

Gay Paris are modern cock rock ready to rub your ears ‘til the vinegar stroke. There’s an underlying funk rap that screams Primus (My First Wife? She Was A Fox Queen!), but the newer stuff heads more towards chord shredding (The Demarcation Of Joseph Hollybone). Every piece of equipment they had broke, every word they spoke was lewd and the way frontman Wailin’ H Monks embraced complete abandon made his message to “Be irresponsible, dance when you can, fuck whoever you want to” completely believable. Their set was energetic and assaulting but somewhat upstaged by the banter “You can’t tell me what to do while you’ve got a shirt on” that led to true tits-out rock’n’roll.

Melbourne’s Boomgates stood out for the simple fact they were polished. Throughout the night the screws were tightened through each set, so by the end of the night we had a group that actually played in sync and in tune. The human body seeks out rhythm naturally; it’s why we respond to music. The loose nature of punk and garage present difficulties and it’s the agitation that gives us the energy, as we’re constantly slightly out of sync. Not so here, as the energy was coming directly from the razor-sharp hooks and ferocious pop melodies bursting through the speakers. Boomgates found the sweet spot between order and chaos and manipulated both to great effect.

Kristy Wandmaker

Matt MacMaster












7PM // $10 at the door

8PM // $12 + BF FROM OZTIX // $15 AT THE DOOR




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Psycroptic Neil Young & Crazy Horse Oh my goodness there is so much to talk about but such a small space in which to do it!

NEIL YOUNG & CRAZY HORSE: Yes, they are coming to Australia, but not on Bluesfest as heavily rumoured. They play a whole bunch of big venues across the country for the first time since the Greendale tour way back in 2003. I managed to see Neil Young six times when he was last here in 2009 and, let me tell you, you do not want to miss these shows. He’s still an incredible performer and I can’t wait to see what he’s like with Cray Horse backing him up. These will be loud shows, they will be long shows and they will be shows that you will talk about for years to come. Make sure you’re at Bimbadgen Winery, Hunter Valley on Saturday 9 March and/ or the Sydney Entertainment Centre Sunday 10.

PAUL SIMON & RUFUS WAINWRIGHT: Paul Simon has done a lot of cool shit. Simon & Garfunkel are one of the biggest folk groups ever, he fused the music of Africa with contemporary western music in a way that few considered to be possible and he also wrote Me & Julio Down By The Schoolyard, You Can Call Me Al and 50 Ways To Leave Your Lover which might be three of the best songs ever written, so, y’know. As far as Rufus Wainwright goes, it will be great – though I’d prefer to see his dad return. I’m gonna get harangued for that… They’re both amazing inclusions on an already packed Bluesfest bill for 2013.


If you’re old enough to remember White Lion then you know Mike Tramp has had a pretty solid solo career for a while now. You may also like to note he lives in Tasmania and has for a while. How he does that while constantly touring Europe I don’t know – probably the same way Jaz Coleman does it from NZ. Anyway, Mike hasn’t played a show here for over six years so it’s high time he did and he is bringing his one man, one guitar storyteller-type show to the fore. It’s a very personal, three-hour long journey throughout his entire career. If you’re a fan, mark Sunday 17 February in your diary and I’ll have more details when they come though. East West Death Grind Fest Quatro is happening at The Valve Bar on Saturday 1 December. Tickets are on sale now from grindheadrecords. com for 20 bucks plus booking fee. Keep an eye out for the Movember Mayhem tour starring Dream On Dreamer, Make The Suffer, Saviour and In Fear And Faith who are out from the US, as it rolls through town on Wednesday 28 November at the Basement in Canberra, Hot Damn, Thursday 29 and the Cromer Community Hall (near Dee Why) on Friday 30. That last show is an all ages one and merges with the Reign Of Darkness tour starring Thy Art Is Murder, Resist The Thought and Elegist. Never one to really stop moving, Phil Anselmo has teamed up with the thrashtastic Warbeast for a split album called War Of The Gargantuas which will be released on Tuesday 8 January. It’s the first time ever that any of Phil’s solo work has made it on a release. I for one am very keen to hear what that sounds like. Expect full-length releases from both artists soon after too.

With their new Meat + Bone record scoring pretty tidy reviews all over the place over the past couple of months, it’s exciting to hear that Messrs Spencer, Bauer and Simmons will be back in our part of the world early next year. They are bringing Moon Duo with them, the great pairing started by Wooden Shjips’ Ripley Johnson, as the main support for the majority of these shows, which is a slightly odd double-up but a really, really exciting one as Moon Duo’s Mazes and Circles records are great slices of fuzzy space rock. Catch both acts in action at The Hi-Fi on Saturday 9 March.

FATHER JOHN MISTY: A general dislike of the music of Fleet Foxes made me generally disinterested in the work of Father John Misty at first – they are led by former Fleet Fox J Tillman – but after catching the freewheeling band in full live mode at Splendour, I realised that this was a very different beast indeed. If you like the west coast folk of the late ‘60s and early-‘70s and don’t mind a bit of modern indie-rock posturing then you’ll love this band, Tillman is a great songwriter and a great frontman to boot. Find out for yourself when they play The Metro on Tuesday 19 February.

PERTH: The Perth Festival bill is really, really good and I’m holding out hope that we’ll get to experience a bit of the gold they have in their musical lineup over on the east coast as well. I’m hoping for sideshows from Maceo Parker, David Lynch Presents Chrysta Bell, Sleepy Sun, Tim Rogers and The Bamboos, Phronesis, Soul Rebels, James Carter Organ Trio, Buke & Gase and Antibalas, if that’s not too much to ask…

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Canberra hardcore grinders, The Reverend Jesse Custer, will release their Perpetual Victim big 10” record tomorrow via Lesstalk Records. It’s limited to 200 hand-numbered copies in both clear or black vinyl complete with totally DIY hand screen printed covers and everything!

FRIDAY Red Bee are at the Lansdowne launching their killer debut Ictus. Joining them on the Grindhead Records-presented show are Not Like Horse, Witch Fight and Kahn Of K. If hard rock and thrash are more your thing then keep walking and get to The Stag where Melody Black, Hazmat, Devine Electric, Skuldugory and the mighty all star awesomeness of Stand Alone will be busting out stage moves and bass guitar hip thrusts like there’s no tomorrow. Down at the Patch in Wollongong there is another free show featuring Kaleidoscope, who are fresh from supporting Tumbleweed around the country, local stoner-sludge trio Lint, Sydney’s Birdmouth who are making their Gong debut and local rock trio Handlebar. Doors at 7.30pm.

Meanwhile there are two worthwhile gigs in the Hunter to check out; the King Parrot album launch at The Hunter Valley Brewery in Maitland with Frankenbok, War Faction and Under Grey Skies scamming free boutique beers too. Und zwei, Italy’s contribution to the new wave of true heavy metal, NWOTHM? Megahera who are out here as part of the Steel Assassins tour will be at Newcastle’s Club Led with Rampage

SATURDAY Megahera’s Australian jaunt comes to its conclusion with an end of tour party at The Lucky Australian in St Mary’s with an afternoon of fun, thrash and steel. Many of the Steel Assassin’s will be on hand too. Monster gig of the week of course goes to Bastardfest, which finally rolls into Sydney today with The Sando opening their doors at 12.30pm to accommodate 16 bands on two stages. Led by Tasmania’s Psycroptic and those Kvlt cvnts from Blood Duster, the fest just keeps dishing out band after band with Astriaal, Fuck..I’m Dead, Disentomb, King Parrot, Aversions Crown, Daemon Foetal Harvest, Beyond Terror Beyond Grace, Datura Curse, Alice Through The Windshield Glass, As Silence Breaks, Cerebral Contortion, Animistic, Norse and Festering Drippage. There’s enough bastards there don’t you think? If you find yourself in the Gong on Saturday night, then head to the Patch where Frankenbok will be destroying the front bar (cause the back bar was getting noise complaints from a nearby ‘motel’), Sylvain, Dirty Desire and Gunn Show support.

SUNDAY The perfect chill out day to head over to the Annandale Hotel for a bit of Pub Cha and check out the very cool markets they’ll have going on. Like the Rock N Roll Markets, I’ll be there selling a bunch of stuff at stupid prices and should be getting my hands on some vinyl for the day too! See ya there. The day runs between 10.30am and 4.00pm

WAKE THE DEAD PUNK AND HARDCORE WITH SARAH PETCHELL chair (the band and Barresi co-produced the record). Co-songwriter and guitarist Brett Gurewitz (owner of Epitaph) has been quoted as saying that, “The intent was to record stripped-down punk songs without sacrificing any conceptual density.” To coincide with the album announcement, the band have released the first single from it, simply called Fuck You. If this short, sharp burst of punk-rock energy and aggression is what the rest of the album will be like, then you can definitely say that they achieved what they set out to do.

GEORGE CLINTON & PARLIAMENT FUNKADELIC: The godfather of funk has now said he’s bringing the 22-piece line up of Parliament Funkadelic to Australia early next year. Frankly, I don’t really care how many people end up making the trek, I’m just glad that it is happening again. Aside from that Golden Plains date I mentioned a few weeks ago the band has been confirmed for a few sideshows, dubbed The Galactic Space Circus. Clinton himself isn’t the attraction here, it’s just the spirit of the funk that comes from the stage into the hearts and minds of those present that you need to be excited about. You might think I’m talking shit, but if you get to The Hi-Fi on Friday 8 March you’ll know exactly what’s going on.

Bullet For My Valentine cop a lot of unnecessary shit from purists and elders who don’t think they are metal enough (in this country at least, everywhere else they just get on with it), whatever the fuck that means. Matt plays a flying V and stands like James, there’s plenty of double kick and solos galore, sounds like a metal blueprint to me. I think they are great and there are very few bands coming through that can fill big rooms and once the Big 4 become the retired 4, someone has to step in to fill those shoes otherwise we’ll be seeing gigs from the bar forever more. The guys will be releasing their fourth album, Temper Temper on Friday 8 February. UK Press have already dubbed this their Black Album moment. Let’s see… And finally, an update on Michele Madden’s quest to be crowned Miss Inked 2013. Thanks to all your voting on that, she gave them all a run for their money and while she wasn’t crowned, they love her so much they’ve given her job at the mag writing about stuff and also a five-page feature inside! She’s on the cover of the current issue with Miss Tash who was crowned. Expect music from Michele’s Saint Cecilia project shortly.

Bad Religion For most bands, the release of a new album is often a precursor to the announcement of an Australian tour, and Converge have not failed their fans in this expectation. Following the release of their flawless new album All We Love We Leave Behind at the beginning of October, Resist have announced that the band will be returning to Australia this February, and don’t fret, the dates do not clash with Soundwave. If you missed Converge one of the other two times they’ve been in Australia, this is your chance to redeem yourself because they truly are a live act without compare. And that’s not even the best part about this tour. Coming along with them will be Old Man Gloom – a supergroup that consists of Converge’s Nate Newton, Aaron Turner from Isis and Caleb Scofield from Zozobra (yeah none of those other bands are really punk or hardcore, but Old Man Gloom are seriously good stuff). Tickets are on sale now for the 18+ show at the Manning bar in Sydney on Saturday 16 February. This is seriously one un-missable tour! Bad Religion are set to release their new album True North on Friday 25 January through Epitaph Records. According to reports, on this album the band have deliberately attempted to revisit and refine the power and melody of the sound that is so theirs – that Southern California punk sound – with the help of Joe Barresi in the producer’s

Broken Hive have again delivered on their promise to bring some of the best, new hardcore talent from abroad to Australia. This time around it’s Expire, a band hailing from the Midwest of the US but have made a name for themselves from their reputation of basically living on the road. In 2013, the band will be bringing their unrelenting style of hardcore to Australia with Melbourne’s Iron Mind coming along for the ride. If you haven’t grabbed Iron Mind’s debut album Hell Split Wide Open do it now, otherwise grab Expire’s Bridge Nine debut, Pendulum, which was released earlier this year. You can catch the tour when it hits Chatswood Youth Centre in Sydney for an all ages show on Saturday 26 January; for an 18+ show at the Bald Faced Stage on Sunday 27; or at Yours & Owls in Wollongong on Tuesday 29. Tickets are on sale now. I mentioned a few weeks ago how 2013’s Bluesfest line-up had taken a turn towards the slightly punk side of things with the inclusion of quite a few punk-related bands on the line-up. Now three of them are teaming up for a round of sideshows that are set to be some of the most fun shows of 2013. First up you have the raucous Irish influenced punk of Boston’s Dropkick Murphys. These guys will be coming out off the back of their new album Signed & Sealed In Blood, which is due out Friday 11 January through Dew Process. According to reports, the album (the Murphys’ eighth) is said to resemble, “the last 30 seconds of a Stanley Cut hockey game: frenetic and dangerous”. Also on the line-up is Frank Turner and his full band The Sleeping Souls. Having bunkered down in the studio for the most 2012, this is set to be a triumphant return for the guy

whose 2012 highlight must have been performing at the London Olympics. Then to top things off, Swinging Utters will be making their first trip to Australia as a part of the shows. You can catch the show in either Sydney or Newcastle: on Sunday 31 March the tour hits Panthers in Newcastle, and then on Monday 1 April, it’s off to the Big Top at Luna Park. Tickets go on sale this Thursday 15 November. Hardcore icons Hatebreed have announced the details of their highly anticipated new album, much to the excitement of hardcore fans everywhere. Called Divinity Of Purpose the album is the sixth album for the band and their first to be released through Nuclear Blast/RIOT on 25 January. This is Hatebreed’s first album since 2009’s self-titled effort and it saw them head into the studio with Zeuss (Suicide Silence, All That Remains, Shadows Fall) and Josh Wilbur (Lamb Of God, Avenged Sevenfold) sharing the producer’s chair. The artwork for the album has now spread all over the internet, so head online to check it out and keep an ear out for a new single to be dropping any day now. I’ve said before that one of the best new acts to come out of Hardcore 2012 was Gold Coast based band Survival. Made up on members of 50 Lions and Street Youth and formed in 2011, Survival have made a conscious effort to make an impact on the Australian hardcore scene, and their appearance at HC12 cemented this aim. What followed was a widely praised demo, touring with the likes of Parkway Drive, Bitter End and Cruel Hand, and earning themselves a reputation for a fierce, aggressive, energetic and heavy live show. Now as we head into the latter stages of 2012, the band have announced that they’re joining the illustrious roster of Sydney hardcore label Resist Records, who will be releasing their upcoming, self-titled 7” on Friday 7 December. Pre-orders for the record are available now through the Resist webstore and you can catch them on tour with Parkway Drive, I Killed The Prom Queen and Northlane this December.








Catz N Dogz Finally back in action from a busy weekend playing in Melbourne and Sydney. I was in Melbourne with Murat Kilic Friday night for a gig at the ultra-cool OneSixOne venue. This was a Fluidlife Sonar party and we were both there to represent Spice. In short, it was a fun night, good turnout, great sound system and I loved every minute. I seem to be making my way down south a bit more these days and that’s a good thing! From there, and after just a few hours’ sleep, it was back to Sydney to play at Circoloco. All I can say is wow… That was one hell of a party! I walked in around 8pm and was fully mesmerised by what I was seeing – Sydney’s Greenwood Hotel courtyard pumping with a capacity crowd. Like really pumping! All the rooms were going off and I played the last set in the Chapel. Gabby and Ben Ashton played before me and really had things moving by laying down some really nice sounds. I pulled out some big tunes for the occasion. Two of those were Ikonika’s PR812 and Technasia’s Sunkiss. They both really left a dent on the dancefloor, and I find most of Technasia’s music does at the moment. Also, Ikonika’s PR812 is a futuristic slice of electronic goodness (hard to label with a genre) that really makes a presence. I finished my set playing Gat Decors Passion. Then afterwards it was time again for another few hours’ sleep before playing the closing set at Spice. Yew! What a weekend. It doesn’t get much better than that. Right … I have to tell you about an awesome party coming up. On Saturday 15 December, Sydney’s Greenwood Hotel will play host for a massive charity event called Cause/Effect featuring Infusion and a heap of local and interstate DJ legends that span across the last 20 years or so! All money made from this event goes straight to MS Australia. Playing alongside Infusion in the courtyard are Ben Korbel, Simon Caldwell and myself. In other rooms Jamie Stevens, Ken Cloud, Tim Culbert, John Ferris, Carlos Zarate, Sari, Sam Roberts, Daniel Crocetti, Mike Dotch, Illya, James Fazzolari, Andy Glitre, Paul Flex Taylor plus others will all be playing too. Pretty good line-up ha?! It’s great to see Paul Flex Taylor making a special appearance for the event. I’ve been told he will be playing an extended set of disco; but being the master of playing any style, who knows what he might play! Paul’s nickname ‘Flex’ comes from being flexible with music styles. Not only that, he is one of the most technically proficient DJs I have had the pleasure of seeing. Paul ruled the decks for well over 20 years and is still one of my favourite Australian DJs. This day just keeps getting better because that night Catz n Dogz grace the decks at Spice Cellar. This is one of the club’s most anticipated events to date as these guys have been blowing up majorly this year. Spice has been going off lately – the first birthday just passed by and what a wild one that was. Animal instincts were the theme of the night. There were no half assed efforts either – people went all out with some pretty convincing creatures on the dancefloor! Also, the venue was transformed into a jungle. It looked unreal. Congrats on a fantastic year Spice Cellar and looking forward to another! Before I leave, here is some music that will warm you up for summer; there’s a massive Kink remix of Benard Jones’s Main Ingredient getting around. This is a mega remix and I’d say will be getting a lot of plays over summer. Kink’s had a great year – the music he’s been making has been outstanding. Not only that, he’s also a really nice dude. I had the pleasure of meeting him earlier in the year when I played after him at Spice. Listen to Scuba’s Talk Torque. It has an epic breakdown. Epic enough to lift any mood! Scuba’s NE1BUTU (SCB Edit) is another bomb. A few months old now but it still does the trick! Finally, check out David Mayer Celsius, Darius Syrossian 10 Miles From Lima and Pig & Dan Mooshi. They’re all good! See you on the dancefloor.

Xzibit, aka Alvin Joiner, has recharged his career with his first album in six years – and it’s political. Napalm was partly inspired by Joiner visiting Iraq to perform for US troops (ironically, he once issued an album entitled Weapons Of Mass Destruction). Napalm is in sync with those socially-conscious efforts from Lupe Fiasco and London’s Plan B (Ben Drew) in 2012. In shock news, Drew’s compelling iLL Manors didn’t win the Mercury Prize, indie band Alt-J triumphing. (Where is Kanye when you want him to crash, “Yo, Alt-J...”?) Regardless, Drew has something in common with Joiner. Both are partial to classical elements. Drew’s iLL Manors sampled Shostakovich (albeit indirectly) and Camille Saint-Saën, while Joiner’s ‘90s break-out Paparazzi borrowed from Gabriel Fauré’s Pavane. Joiner was born in Detroit (he cameo-ed in Eminem’s 8 Mile), moving to California via New Mexico when his mother died. Unusually, the West Coaster signed to Steve Rifkind’s New York-based Loud Records, home of the Wu-Tang Clan, dropping 1996’s classic debut At The Speed Of Life. Joiner’s first two albums, though cred, didn’t bring him commercial success, but his fortunes changed when Dr Dre became his ally, executive-producing 2000’s blockbuster Restless. Joiner’s career lost momentum as Loud was integrated into Sony. The gruff rapper didn’t go with Dre’s Aftermath, for reasons still murky, but the independent Koch. He last offered Full Circle. The streetwise Napalm is released through Joiner’s own Open Bar Entertainment. Joiner is determined to be taken seriously. The MC lately scheduled Australian interviews, with journos instructed not to ask him about his MTV “reality” (as he’s dubbed it) show Pimp My Ride – which finished years ago, anyway. Joiner allegedly blew off phoners because someone was naughty. “I am

a man of substance,” he told OG in 2007. “I like to have some content in my music... I always see myself like that – as an underdog, as an underground artist – so I approach my music in that way.” Joiner’s seventh LP has the rawness of At The Speed..., but it’s more aggro. It opens with State Of Hip Hop Vs Xzibit, less a Nas-style critique than a testosterone-fuelled, braggadocio-heavy battle-rap. Herein lies the main problem with Napalm. Joiner never makes his political position clear. And, compared to iLL Manors, Napalm is fragmented, Joiner often ruminating on his life experiences. Most obviously about the Iraq War is the title-track, metallic hip hop with Blink-182 drummer Travis Barker on board (it initially appeared on his 2011 mixtape), and the sombre Meaning Of Life, Joiner empathising with soldiers. Joiner has always been capable of emotive songs – cue the early The Foundation – and the orchestrated 1983 is a highlight. Joiner was nine when he lost his Mom, poet Trena Joiner – here he incorporates spoken word she recorded on cassette. Meanwhile, Joiner divulges why he so resented Pimp... Napalm largely features lesser-known producers who favour ‘90s hip hop values. Akon (!) handles the brilliantly conceived posse-cut Movies – actually a bit RZA-ish. And, surprisingly, Joiner has secured a Dre track in the sinister Louis XIII. Dre hasn’t contributed to any Xzibit LP since Man Vs Machine – and he didn’t even lay down a beat for his hot protégé Kendrick Lamar’s good kid, mAAd city. There’s likewise an experimental illwave joint, Stand Tall, co-produced by S1 (‘Ye’s Power) and the Aussie M-Phazes. Dre’s former charge Slim The Mobster guests. Jay-Z was recently interviewed by British author Zadie Smith for a Good Weekend cover story, discussing his view that the hustler is “less relevant” to AfricanAmericans, post-Obama. So are Joiner’s tracks Gangsta Gangsta and Forever A G redundant? Certainly, Joiner continues to hustle – and struggle. But the rapper, who’s had his share of financial worries, need not rely solely on the fickle hip hop world (or reality TV) for his bread. He’s established himself in Hollywood with roles in films like The X Files: I Want To Believe.

GOOD OR SHIT QUALITY CONTROL WITH LIZ GALINOVIC at everything and then looking at the Union Jack and saying – this is not who we are anymore.

Urthboy There was a time when I often heard women claim that Urthboy was the only ginge they would shag. This was back in The Great Anti-Ginge Days before Ron Weasley got hot and Homeland started. And as he gets older and more mature his appeal is only going to increase. I know I’ve just spent the last few days with Smokey’s Haunt on repeat admiring the man for his skill, his intelligence, humility and unassuming thoughtfulness – all culminating in hot. Smokey’s Haunt is good. Very good. After a few listens I was most struck by the obvious appearance of a maturing man. I visualised him gracefully spinning through an existential ether, leaving behind the psychological childhood and entering the next phase (whatever that is) paying homage to the past, aware of the present, frightened, hopeful and with some clear ideas of what he wants for the future. I laughed, Knee Length Socks; I cried, Glimpses, Calling Cards, The Big Sleep. I felt comforted, Stories; grateful that I’m not into pokies, Cleopatra, and had my nationalistic and revolutionary spirit IGNITED by Empire Tags. Empire Tags runs through the history of Australia acknowledging many events and characteristics respectfully. Colonisation, terra nullius, Aboriginal culture, the Eureka Stockade, the Stolen Generations, bushrangers, ANZACs, droughts and flooding rains, refugees, immigration and so on, taking everything into account with, like I said, respect, without any hysterical lamenting of the bad things or over-glorifying of the good things. Just looking

Now let’s take a minute to remember that Urthboy and the rest of the Elefants – I always like to picture them as some kind of new-age socialist community where everyone has equal rights and where they are always picking each other up with their trunks and squeezing lovingly – have a reputation for politics. They are often referred to as being ‘politically conscious’. One of the most memorable Herd tracks is 77%. It’s a song about racism, refugees and the Tampa (“Wake up, this country needs a fucking shake up”). So I was pretty dismayed to read a review of Smokey’s Haunt that claimed Empire Tags was the album’s “least interesting idea”. I think what the reviewer means is “least interesting idea TO ME, because I don’t care about the Australian national identity”. Which is fine, I guess, just a tad disappointing. Personally I love this song. I love that someone is talking about this stuff. I love that it’s being delivered over an upbeat tune with a catchy chorus so that it’s easily digestible, quite celebratory and, in effect, moving. Smart, Urthboy, very smart. To have delivered this with rage, anger and calls for shame, over a complex and sinister beat, would only have been to limit the audience. Leave that stuff to the Melbourne Angries – whose work I still respect – Empire Tags is political pragmatism. I hope it takes off, goes radio-mental and infects the minds of the youth so that they can’t stop singing it and so they actually start thinking about it. This country is home to loads of Empire-loving fogies, out of date and out of touch with the reality of contemporary Australia. I’m not calling for anyone to bash Britain, more ‘Thanks England, we’ve had our ups and downs, it’s been swell, but now, for want of a better analogy, it’s time for us to move out of home and forge our own identity.’ Or, as Urthboy so eloquently and hip hop-illy puts it – “Once upon a time it’s who we were/ Once upon a time we clung to her/Once upon a time but no longer/One corner of our flag is insecure. From a time when the Empire tagged the globe/We ain’t cleaned that graffiti off the front of our home/What I’m telling you, you already know/That it’s time, time for the Jack to go.” Yessssssssssssssssssssssssssssss.

Kashmere Stage Band Young bands such as Old Crow Medicine Show have put their own spin on old timey American mountain music, but if you want to see the real deal you need to mosey on down to the Cat & Fiddle Hotel this Wednesday when the Whitetop Mountaineers let loose for the night. Direct from the Blue Ridge Mountains of Virginia the combination of Martha Spencer on fiddle, guitar and banjo along with Jackson Cunningham on guitar, mandolin and claw hammer banjo are a genuine slice of Americana with their close knit harmonies and never ending repertoire. This show was originally advertised for the Thursday but it’s definitely on this Wednesday. Don’t miss it! Dom Turner of Backsliders fame has always been known for pushing the envelope with his ongoing side project Supro, blending pre-war blues with an exotic bag of musical influences. His Electro Vee album, for example, took the Mississippi Delta to South East Asia with its Cambodian fiddles and Vietnamese street sounds. Sadly Supro’s gigs seem few and far between but this Sunday from 4pm at the Sandringham is your chance to catch this remarkable musical project as Dom combines with bassist Dave Harding, keyboardist Johnny Gauchi and drummer Rosscoe Gordon for a true journey in sound. There are good reports about Jump, Jive and Wail, the monthly dance jamboree for hipsters and cool cats at the Lansdowne Hotel, hosted by Limpin’ Jimmy and the Swingin’ Kitten. If your musical tastes run to Big Joe Turner, Ruth Brown, The Five Keys, Louis Prima, Ella Mae Morse, Tiny Bradshaw, Moon Mullican, Wynonie Harris, Ella Fitzgerald, the Andrew Sisters, Royal Crown Revue, Brian Setzer, Eddie Cochran, Jerry Lee Lewis, Bill Haley, Elvis Presley and Wanda Jackson, then this is definitely the gig for you, especially if you like to cut the rug on the dancefloor. Best of all, entry is absolutely free with the platter party kicking off at 10pm this coming Friday in the upstairs room. The visit of Rosie Ledet and her band earlier this year was a shot in the arm for Zydeco music in this country, which surprisingly remains a minority taste despite the efforts of local bands such as Psycho Zyedco and Squeezebox Boogaloo. Speaking of the latter, the Squeezebox crew have a great gig this coming Sunday from 4pm at the Blue Plate Bar & Grill in Neutral Bay. This Sunday they’ll feature a very special guest when New Zealand fiddler Richard Klein joins the band for a real Fais Do Do (that’s a Cajun dance party for the initiated). I’m told the restaurant serves an authentic Southern style US menu, and as food is very much a part of the Cajun experience. This is almost as good as a trip to the dancehalls of Lafayette and Ville Platte itself. Bill Jackson is a name to be reckoned with when it comes to contemporary Australian alt-country folk, and his albums Jerilderie and Steel & Bone have both received excellent reviews. In the mould of artists such as Guy Clark and Townes Van Zandt, he has already made his mark in the US with gigs at the International Folk Alliance Convention in Memphis in both 2010 and 2011 as well as club dates around the country. Bill is joined by Peter Fidler as well as Spike Flynn’s new combo The Open Hearted for a big night at the Cat & Fiddle coming up on Friday 23 November. I am super chuffed to see that the truly legendary Kashmere Stage Band will be in Sydney next January for the Sydney Festival. The very funky Afro-American outfit began as a high school band in Houston Texas back in the late ‘60s, reuniting in 2008 for a special one-off concert . Unfortunately the Afros, as seen in the old promo shot Sydney Fest are using are long gone, but the music in the style of the JB’s and the Barkays is even better. The group were recently the subject of a wonderful doco, Thunder Soul, and are certainly an inspired choice on the part of Sydney Fest organisers.

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Death Starrs A big part of being someone who knows heaps is admitting that you actually don’t know heaps. We’re pretty sure that’s how Confucius would’ve put it. It works for us. We write a rap column so we’re obliged to know at least something about the genre, but on a daily basis we are reminded of how little we know. Lil B has seven new mixtapes out? Some obscure Brooklyn rapper re-released his 1994 classic we have never even brushed up against? A tweet about your mate’s cousin’s show was re-tweeted by the Big Village Twitter account? That’s all stuff we had no idea about. We presume you feel similar – interested in rap but with knowledge that falls short of encyclopedic. Happily, the website we gave a plug to a couple of weeks ago,, (disclosure – a website we visit regularly and enjoy) has a cure for those of us who are prepared to acknowledge our shortcomings and work at lifting the veil of ignorance. Expand Your Rap Horizons was the challenge issued by forum poster ‘Wrighty’. The result has been a flurry of activity. What happens, you see, is that a member of the community will reveal a shortcoming in their knowledge (syllable twisting West Coast naughties rap nerd Sapient was one of Wrighty’s) and another member of the community will compile an “essential” mix to enlighten those formerly ignorant of that artist’s work. It’s actually incredible. There are interesting artists up for consideration. There are more interesting conversations about whether one person’s “essential” set of tracks from an artist is a true representation of that artist’s work or not. Is the duty for a list-compiler to enlighten or to entertain? Just the best tracks? A representation of every stage of the artist’s career? A killer party mix? We – ignorant, like you – encourage you to check it out.

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Team, Death Starrs will be making their way down from the Gold Coast to play the Brighton Up Bar on 8 December, Johnny Utah in support. Hmmm. You don’t know who Death Starrs are, hey? A name, with a typo, that you haven’t had the chance to check out yet? That’s right isn’t it? Well, not quite. Death Starrs are Syntax who you’ll have known as the embracingthe-nasal Trace Elements word murderer for near a decade now. At his side is Mules, an exceptional producer who you (and we!) fell in love with last decade. Immortal is the track the boys are spruiking ahead of the December show. It’s produced by Suffa (the once chubby, now weedy Hilltop Hood) and – though having a guest producer does beg the question of what Mules’ role in making the track was – it bangs. Check it and, if you are so inclined, check the show. It’s not as if the “RZA will be directing a movie and making the soundtrack” thing was ever going to be anything other than silly. Still, we’re starting to move into ridiculous territory now. The Man with the Iron Fists will be, according to the presser, “unapologetically violent”. OK. We can cope with that. We’ve been desensitised to screen violence since the days before Eddie Furlong’s voice broke. It gets better though. “The Man with the Iron Fists stars the RZA himself,” – woah – “… alongside Russell Crowe and Lucy Liu…” OK. Solid casting choices so far. Three super relevant and talented stars right there. Debutant director RZA doing well. Plot-wise, hero RZA finds himself forced to forge weapons to defend some otherwise defenceless villagers. Then, the coup de grace: RZA “channels an ancient energy to transform himself into a human weapon… he must harness this power to become saviour of his adopted people.” This, plus both Yeezy and My Chemical Romance are on the soundtrack. We all must see this silly, silly movie. El-P’s coming out! Set aside money. Start gathering friends. We’ll talk about it more next week.

Polar Knights Sadly over these last few weeks it’s begun to feel as though this column is more for obituaries than for gig listings, but we’ll press on regardless. That first statement, of course, is alluding to the fact that Fire Ant Studios, one of the Northern Beaches’ most intimate and exciting all ages-friendly venues will cease putting on shows. There will, however, be one final show, and they’ve got a huge line-up to go out on. Perspectives, Clipped Wings, Elegist, As Am I, A City Of Birds and a reformed From The Sky are all pitching in to send Fire Ant out in style on Friday night. Entry is just ten bones. Now, remember how a week ago I told you to go to a Blackwire fundraiser? Here’s why, they’re an all ages-friendly venue that put on affordable gigs and this weekend they’ve outdone themselves: Friday night they have Kitchens Floor (in their all new line-up) launching their new Bitter Defeat 7”, alongside Sewers, Ruined Fortuned and Housewives, and on Saturday night things get bigger still with Looking Glass, Hoodlum Shouts (a must see live band!) and Ramps playing from 7pm. Another regular hoster of all ages gigs, the Lucky Oz Tavern, have a big Sunday lined up with Pitchfork, Lockdown, Until Darkness Falls, Lycanthrope, Days Gone By and Caraway Seed, showtime from 2pm for just ten bones. Now all of this is not to suggest some of the bigger venues aren’t opening their double wooden doors to you. The Enmore, for instance, has two absolute corkers in the all ages gig department this week. Beirut, the dude (and accompanying band) that plays uncool instruments really coolly

(more so than Mumford & Sons, he practically kickflips them musically in my humble opinion), and ‘90s to now grunge/rock lords Cake are both out for Harvest Festival and both doing all ages sideshows while in the country. Beirut play there on Wednesday night, and Cake follow on Thursday. A brief aside; I’ve had about six slurpees in the past week, which means summer is coming. And the best way to celebrate (beyond incredibly sugary, ice-cold beverages) is an outdoor gig. Running until March next year and kicking this Friday night is the latest instalment of the Courtyard Sessions, a weekly showcase of Sydney’s best emerging live bands. It happens at Friday in the Courtyard outside the Seymour Centre and better still, it’s free, kid and pooch friendly, and there’s a barbeque! The first band for these sessions is Polar Knights, who take over the Courtyard this Friday night. We lined up Polar Knights vocalist/guitarist/FX extraordinaire, Chumpy, to answer a few questions. For the uninitiated, what can you tell us about Polar Knights? We’re an alternative rock band with very little real estate on stage, due to our gauntlet of pedalboards. We get the shakes when we layer our guitars and vocals into walls of sound. Why did you want to be involved with the Courtyard Sessions? We really like it when our sound travels further than the sticky walls of a club! Why do you think it’s important to play all ages shows? If you are capable of listening, you are capable of…listening and we are grateful! The floor is yours, sell us Friday’s gig… We’re hearing rumours of a barbecue from an anonymous source.

HAMMOND MAN Australia’s international contribution to the mighty Hammond B3 organ, Clayton Doley is back in town with his debut organ trio album. Michael Smith investigates.

THE NEW POP Melodic pop with a ‘70s shimmer, Briscoe is the shiny new musical vehicle for former Kid Confucius drummer Bart Denaro, writes Michael Smith. – I can’t write any subtle melodies; that’s sort of a tendency of mine. Crosby, Stills & Nash, that sort of ‘70s Californian vibe, loomed large while we were recording, definitely.”

“I was working at this place called The Orbit Room,” Doley explains, “I got myself this little residency on Tuesday nights. The owner of the place is a Hammond organ freak, so he was very helpful to me. Being the new organ player in town he introduced me to heaps of musicians straightaway, so he got down some really good players to jam with me on these Tuesdays and eventually I settled on a couple of guys that I really liked while I was trialling out new songs and stuff and then I found a studio, booked us in.” A year after he went to Canada to play various festivals with Manx, Doley found himself playing those same festivals in his own right. He continues to work with the Canadian and will be returning to Canada in February for another tour. Entranced by the sound of the Hammond B3 organ as a child, Clayton Doley taught himself how to play like America’s master of the instrument Jimmy Smith. The instrument has seen him become the must-have sideman for both international touring artists Eugene Hideaway Bridges and Harry Manx and Australia’s Jimmy Barnes, Billy Thorpe, Divinyls and Silverchair. Featured on Manx’s 2009 Bread And Buddha album, Doley has toured Europe and North America with the Canadian dharma bluesman and it was while in Toronto last year that he took himself into the studio and cut his debut organ trio album, Desperate Times. Alongside him was guitarist Champagne James Robertson and drummer Davide DiRenzo, a mix of original bluesbased tunes and tips of the hat to musical mentors, Jimmy Smith, Muddy Waters and BB King.

“[For the Sydney launch] I’m going to the first set as an organ trio [with guitarist Matt Morrison and drummer Miles Thomas], more like the album sounds. Then for the second set add a couple of horn players and a couple of backing singers and do some of the more funkier things – some that are already on albums and some that are new; just mixing it up a little bit. I tend to write to fast – I can’t record them in enough time – so I’ve got a whole bunch of songs ready for another album.” WHO: Clayton Doley WHAT: Desperate Times (HiFiDoleyT) WHEN & WHERE: Thursday 15 November, Blue Beat

Anyone familiar with Sydney five-piece Dusker will know that Briscoe are the same band with Denaro stepping out front with a guitar, where he’s otherwise Dusker’s drummer, Ross Ferraro coming in as Briscoe’s drummer. With some 30 songs to choose from, the band bundled into Denaro’s apartment to record the album.

“I started demoing things at home, after our [2005] Splendour In The Grass set where I got really sick and basically had to be quarantined for a couple of months,” says Bart Denaro, one of the two main songwriters in the funk/groove-driven Kid Confucius. He’s explaining the genesis of his new band Briscoe and their debut album, Friends Ago. “I think one in every two songs worked with the band. So when we sort of came to a natural end, in 2010, I wanted to keep going – for better or worse, music became too integral a part of my life – so I started this project. Briscoe’s very much more me than Kid Confucius was in terms of a songwriting voice, so it felt like a natural progression for me.” What’s obvious with even the most cursory listen to Friends Ago is Denaro’s obvious passion for pop melodies, the eight songs on the record recalling everything from Jellyfish to 10CC to Crosby, Stills & Nash. “That sort of stuff is something I value in a song and in my writing, sort of a bold melody

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“The album has pop roots and it’s all about melody and those harmony parts, but since we’ve been on stage I just want to get heavy at every opportunity,” he laughs. “It’s still… you can see a progression; it’s not a disrupt between what’s recorded and live, but it is a bit heavier. It’s definitely more of a rock influence when we’re playing live – Crosby, Stills, Nash & Neil Young! Those Crazy Horse guitars, back and forth, if we could do those…” WHO: Briscoe WHAT: Friends Ago (Independent/MGM) WHEN & WHERE: Thursday 15 November, FBi Social, Kings Cross Hotel; Thursday 22, Clarendon Guest House, Katoomba; Friday 23, Great Northern Hotel, Newcastle; Saturday 24, Oxford Art Factory

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SOMETHING OLD AND SOMETHING NEW This Wednesday night at The Basement, Sydney music promoter Music Stage shacases a promising collection of soul, blues and reggae acts including the soulful acostic Niksta, Budi Bone and Into The Fireplace.

BEST OF FRIENDS With their beautiful first single, Animal, having been gathering solid momentum since its release, the reception for Friends Ago, the debut album from Sydney indie-pop powerhouse Briscoe, seems assured. The band will take to the stage this Thursday night at FBi Social, alongside alternative songstress Iluka.



SPIT SYNDICATE Answered by: Joyride Song title: Beauty In The Bricks What’s the song about? It was actually inspired by my Year Two teacher who for a long time moonlighted as a brick and tile maker in Croydon. He taught me to look at the minutiae, to go deeper than the whole structure. So it’s about that, and girls. Is this track from a forthcoming/ existing release? Very much so. Our album, Sunday Gentlemen, will be coming out early 2013. It’s a concept album about Sundays and gentlemen. And girls. How long did it take to write/record? It came together quite quickly. Luckily, we have a good team around us that means we can have an idea and execute it without much fuss these days. Adit has learnt what happens when there is fuss. Was anything in particular inspiring you during the making? Beauty, bricks, girls. The usual. What’s your favourite part of the song? There is a vocal sample near the end of the song that says “TURN UP NOW”. It really speaks to me. It’s my mantra, you might say. Do you play it differently live? It depends how drunk we are. But it’s safe to say we do. Will you be launching it? Yes! The launch is at The Annandale Hotel on Friday 16 November. We’ll be supported by Seven and Mr Hill as well as Jackie Onassis. You should turn up early, it’ll be a corker. For more info see:


This month is the official Oz Music Month, and this Saturday will bring us Oz Music Day. To celebrate, this year the Songwriting Society of Australia, with support from APRA, presents the Songwriters Perform Concert across two stages at Darling Harbour Saturday from 11am until 5pm, featuring performances in the Palm Grove from HawkKestrel, Urban Guerillas, Self Tort, Bonniedoon, King Street Express, Velvet Road and Mad Cowboy Disease, and Harbourside performances from Pete Scully, Natasha-Eloise Andrade, Paul McGowan, Nick Punal and many more.

Young singer-songwriter Jackson McLaren will be celebrating the release of his brand new EP, Walk Along The Wire, by securing a co-headline Wednesday residency through this month with The Falls at the Folk Club in Arcadia Liquors with his band The Triple Threat, starting this week. This EP is the follow-up to his criticallyacclaimed debut, Mirrors and Strings.

AFTER THE TEA PARTY Following a hugely successful Australian and Canadian tour with The Tea Party, Jeff Martin is finishing off the year with a solo Australian tour, kicking off Wednesday night at the Clarendon Guesthouse in Katoomba, Thursday at The Abbey in Canberra, Friday night at The Fitzroy in Windsor and Saturday and Sunday nights in Coogee Diggers and The Basement respectively.

SYNDICATED Bursting onto the local music scene in 2007, Spit Syndicate swiftly went about establishing themselves as one of the most promising new hip hop groups in the country. Having dropped their third album, Beauty In The Bricks, earlier this month, the duo are hitting up The Annandale Hotel this Friday night.

KEEP STILL Melbourne-based Kylie Auldist is no stranger to the art of music-making. Recording her first song at age six, Kylie’s undeniable vocal talent has seen the sultry chanteuse sharing stages with the likes of Renee Geyer and Jimmy Barnes, to name just a couple. A longtime member of and asset to The Bamboos, Auldist releases her much-awaited third solo album, Still Life, this week. To celebrate, she will be launching it at The Basement in Sydney this Friday night.

HEADING INTO BATTLE After creating considerable buzz following the success of two radio singles, Sydney’s Battleships are set for their debut release, a seven-track mini album titled To You. In support of this release, Battleships are embarking on a national tour. Having come off the back of a national tour supporting The Paper Kites, as well as showcasing at BIGSOUND, the band are quickly developing a reputation for their live show. Battleships will take to the stage next Friday night at FBi Social alongside Belle & The Bone People and Light Giant, then on Saturday night at Yours & Owls, supported by Obscura Hail.

BLACK AS NIGHT Byron Bay punk rock trio The Black Stars are primed to unleash their debut album, Elementary, described by some street press as ‘something pretty amazing’. You’ll be able to decide for yourselves when The Black Stars take to the stage at The Forbes Hotel, launching that album this Saturday. Another local rock outfit, The Mis-Made, will take a break from working on their new EP to support them, together with Tiffany Britchford.

THE FUMES ARE GETTING TO YOU The Fumes are a raucous, wild, impulsive two-piece and are heading back out on the road in November for a short run of shows, mainly just for a hoot. With material new and old up their sleeves, and testing out new songs live, “We also just want to celebrate the onset of the silly season a little as well,” says guitarist vocalist Sleeve Merry who’s taking time off from his newest trade of building coffins for this run of shows. This Friday night, they will hit up the Cambridge Hotel in Newcastle, and then on Sunday, they will trek down into the South Coast to play Bulli’s Heritage Hotel. They will be supported by local act Frank Sultana and the Sinister Kids.

ICTUS Sydney progressive rock/metal band Red Bee plan on releasing their innovative, complex debut album , Ictus, at the end of this month, but are introducing it live this Friday night at The Annandale.

CAN’T BEAR IT Kirin J Callanan, known for his confronting live performances, haunting compositions, eerie videos, wild guitar playing, charming presence and charismatic onstage banter, is the supporting guest artist for innovative veteran Brooklyn indie quartet Grizzly Bear at The Metro this Friday night.

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What’s the song about? Space, time and our motives and actions that define us individually and as a collective on our home in the universe – Earth. Also, our childlike curiosity for exploration and wonderment.

How long did it take to write/record? We All Started Something was written on tour and played live until I had the budget to record – all up about 12 months. The riff and melody first came to me while relaxing in the Los Angeles afternoon sun on our first trip there, en route to Canadian Music Week. We were staying with a lovely family in this old American bungalow on Venice Boulevard. The song developed on the following tour, and by the time we returned to LA the next time ‘round, I had organised to demo the song with a great guy at Loose Fang studios. The studio is in the same area where Charlie Chaplin and other talented people made their silent films. We recorded and mixed four songs in four days, then were back on the road. Returning to Sydney, I met Lachlan Mitchell, who had worked with The Jezabels. He liked the songs a lot and soon after we were having fun recording and taking the songs to another level. Was anything in particular inspiring you during the making? By the time it came to the final recording stage, the aim was to keep the context of the song (space, time and unfolding cosmic lotuses and indras) and add expansive sounds while grounding it further with big galloping drums, all the while keeping it soothing and kinda meditative. Tear a hole in time. What’s your favourite part of the song? I enjoy it from the onset and feel we created something that offers beauty for the listener to experience. Do you play it differently live? The song is played the same solo or with a full band. This current November-December tour will be solo. Next year we release the new EP, which will be toured with some band shows.

It’s pretty gruelling, simultaneously managing a burgeoning solo career as well as being one-third of wildly popular hip hop trio Thundamentals. MC Tuka, however, seems to manage just fine. At the end of this month, MC Tuka releases his third album, Feedback Loop, and celebrates this Saturday night with a show at the Hotel Gearin in Katoomba, supported by Rapaport and Tenth Dan & Grub.

Cartography is the new album by Sydney-based solo act Hinterlandt, a recording that encompasses catchy trumpet lines and bold guitar riffs as much as fragile textures, subtle harmonic shifts and rhythmic intricacies. This week, Hinterlandt showcases this release with a string of shows that include this Wednesday at Yours and Owls in Wollongong, Thursday at Proper Music Social in Newtown, and Saturday at Phoenix Bar in Canberra.

Song title: We All Started Something

Is this track from a forthcoming/ existing release? The song is from an EP due in early 2013.




Will you be launching it? Wednesday 14 November, FBi Social, Kings Cross Hotel; Thursday 15, The Junkyard, Maitland

WRAPPING IT UP This Sunday night at The Coogee Diggers’, Sydney folk-punk songwriter Isaac Graham wraps up his four show residency. Having shared stages around Australia with the likes of Frank Turner, Tim Barry and Jim Ward, Graham is a seasoned performer who combines the anti-establishment spirit of punk with the slow, steady, poetic lyricism of folk. For his final residency performance, Graham has handpicked a solid line-up of talented acoustic musicians, including Nathan Seeckts, Matt Dundas and Mara Threat.

GRINNING SOLO Having spent much of the year writing and recording the latest album, Black Rabbits, and then touring it with the band, Grinspoon’s Phil Jamieson is taking advantage of a break before the band hits the festival circuit January to put in some solo shows. This Friday night, Jamieson will take to the stage at Bulli’s Heritage Hotel, and on Saturday and Sunday night, Phil Jamieson will occupy the Brass Monkey in Cronulla, supported by Melbourne’s Tim Smyth.

LOVE-HATE RELATIONSHIP This week, winsome swamp/rock/blues character, Claude Hay, will take to the stage around NSW in support of his most recent album, I Love Hate You, his third album, which sees him move slightly away of his traditional blues roots and towards his passion for rock and funk, and yet still incorporating the signature slide, four-on-the-floor rhythms and gut-bucket sensibilities that he’s known and loved for. He plays Thursday at the Heritage Hotel Bulli and Friday at The Front in Canberra.


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FEAST NOT FAMINE Musicians and performers from around the nation will band together for The 40 Hour Music Marathon, aiming to become the longest non-stop music festival in Australian music history, as well as raising money for World Vision Australia’s projects. The Marathon, to be held at the King Street Brewhouse over the weekend of Friday 16 to Sunday 18 November, promises music from 40 acts, for 40 hours non-stop. We grab three of those acts – Blake Saban 3, Calling Mayday and Mad Charlie – to talk all things Music Marathon, endurance and solutions to ending poverty.

Mad Charlie Besides the Music Marathon, what else do you think you could do for 40 hours? Blake Saban 3: Hmmm... That’s a tough one. I love to eat but I probably couldn’t do that for 40 hours. I’d have to say watch documentaries on a big screen. Calling Mayday: I don’t think I could play for 40 hours and there are those who do the 40-hour famine. I’m afraid we can only contribute the best we can and that is play a set and contribute that way, as we have done for Starlight Foundation and Ronald McDonald House and Jeans For Genes Day. Mad Charlie: Got no idea, what else do you do for 40 hours except the 40-hour famine, which is probably what everyone will say? So I guess maybe sleep after doing a run of gigs and just the other week we did three gigs in 40 hours – does that count? Will you last the whole 40 hours at the gig? BS3: Well we’re playing a gig at the Town Hall in Newtown on the Friday night then shooting down to

Newcastle to play a show at the Orana Hotel Saturday night and then we hit the road to arrive in time for our set at 4am Sunday morning at the Brewhouse. CM: Don’t think any of us will; it takes a lot of energy to perform just one set. We have previously performed for about two hours, or two shows in one day and couldn’t move the next day. But it does take a lot of energy and focus to perform. MC: It’ll be tough, but it’s for a good cause so we’ll give it a crack. How will you celebrate breaking the Australian record for the longest-running music festival? BS3: A nice cold beer of course! Even if it’s 5am! CM: Achievement of the goal Alfredo has set out to do is cause for celebration. Life is a celebration and hopefully this will get written up in the Guinness Book Of Records 2012? MC: By playing this gig and enjoying a few of the fine beverages available from the venue while watching some other cool bands. 40 hours is a long time to attend a music festival – what do you recommend as a pick me up for those going the distance? BS3: Coffee is a friend, but I really like grenadine in coke to pick me up and keep it fresh. CM: Drinking. A lot of people have V or Mother etc, but I think those wanting to go the distance, a lead-up of exercise, good eating and building stamina – which a lot of bands have mastered. Against the more popular belief, bands these days aim at a good performance and fitness to do so.

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JUST VISITING Blake Saban 3 MC: Well obviously a good dose of Mad Charlie – and sticky tape on the eyelids to hold them open. The night is raising money for World Vision Australia’s projects – how is one way you think we could aim to eliminate poverty? BS3: Become one nation... share what we have. CM: I think a percentage of takings from major supermarkets, or food chains (ie, takeaway organisations) is a good start. I don’t think obtaining the funds is the problem, it’s the distribution which should be monitored closely to ensure the funds raised go to assist and empower people learn skills, get jobs, get an education and hence move away from poverty. MC: Reducing greed has to be the obvious answer. The problem is that it is the greedy people who are the ones that actually have the power to make the changes. Do you have a Bono-like Live Aid moment planned to capture everyone’s attention at the festival? BS3: No, I think the music will speak for itself. CM: Bono is Bono, Green Day is Green Day and Bob Geldof is Sir Bob. I think all Calling Mayday can do is our best and do it with passion and like the aforementioned be a beacon for musicians everywhere to always endeavour to enrich all people and be a spokesperson for all the ‘wrongs’ in the world. MC: What is a Bono?

YASMIN LEVY Why are you coming to visit our fair country? I’ve already visited Australia a couple of times – for WOMAD and then for a national tour – but it’s been over four years now. I’m really looking forward to connecting with the Australian audience again as they have always given me such a warm reception. It probably doesn’t hurt either that it’s freezing here in London where I am now and so it’s nice to look forward to enjoying your warm sunshine in November. How long are you here for? I’ll be in Australia for about ten days. What do you like about Australia, in ten words or less? People, friendliness, openness, weather. Any extra-curricular activities you hope to participate in? I might try a bottle or two of shiraz or cabernet sauvignon. What will you be taking home as a souvenir? Hopefully more great memories of my fans, my shows and your warmth. Where can we come say hi and buy you an Aussie beer? Saturday 17 November, Factory Theatre. Also in Melbourne, Brisbane and Lismore thereafter...

Calling Mayday

For more info see:





Two trips around the world, a relationship break-up, barred from your adopted country… and still you manage to get your first EP released. Commitment, passion, doggedness, stubborn stupidity – choose your own adjectives, but this is what it took for Sydney-based indie pop-rock act, Wires to get their debut record done and dusted. The band combines complex soundscapes with simple lyrics, and draw inspiration from the work of Frightened Rabbit and The View. They will launch that EP, Short Term Pleasures, at Brighton Up Bar this Thursday night.

This Wednesday night at the Newtown Hotel, Tahlia Farrant of the fabulous indie-tastic Snatch & Grab queer girl night is bringing Wolves & Lace to Newtown. Inject an all-round entertaining and sensory experience into your typical Wednesday after-work drinks with a stellar showcase of queer and diverse artists, performers and DJs heating the ground floor up each week. As a further delight to the senses, there will also be live street art, bracelet making and body painters adorning you Wolves & Lace style, all to the fine tunes of highly acclaimed DJs Sveta and Cunningpants, who will be gracing the decks for your aural pleasure throughout the night.

JOVA What is it about the venue that makes you want to a run of shows there? We’d played at Sydney Livehouse on our first couple of gigs about a year ago, testing out our material. The feedback we received from those shows was very positive, so after we had refined our set and were ready to play regular gigs, SLH seemed like the obvious choice. It’s a great-sounding space. Same set every week or mixing it up? We’re mixing it up. Although we’re a new band, we have spent a lot of time developing a stack of material in the studio, so it does change. We’re also recording our set every night from the desk, so we get to hear our show and make changes week by week. It’s a great way for a new band to hear themselves from the listener’s perspective. Any special guests going to make an appearance during your tenure? No celebrities, but every now and then Pedro our guitarist cracks out his infamous cello bow. Audiences always seem to love some guitar/bow action. Favourite position at the venue when you’re not on stage? Front and centre, or right near the sound desk. When are you in residence? Every Thursday evening in November.


RED BEE Your music is…? Progressive/rock/math/metal. Which acts inspired you to produce your own music and why? Too many to list, everyone from Miles Davis to Meshuggah. Any artist pushing the envelope inspires us. What’s your wildest ambition for your music? Continue to take our music to the next level and world domination. Why should we come and see you? Unique time signatures blended with mindbending riffs create a frenzied, madmanlike performance that drags you in. How do you find the local live scene? Awe-inspiring talented bands coupled with a great support network have nurtured the greater Sydney area’s live music scene. We’ve created a monster! What’s your greatest rock’n’roll moment? The trailer from HELL!!! Snapping the coupling, breaking the axle and losing a wheel, then blowing the new tyre all in the space of a three-week tour. But we still made and owned every show.


WHO’S FAULT? This Friday night at GoodGod Small Club, Sydney band The Faults will be celebrating a career spent playing Sydney “best and worst venues”. Hypnotic crooning coupled with fuzzed-out guitars is the order of the evening, they tell us, with a unique willingness to embrace melody through the lens of garage.


That fine power-blues rock singer and guitarist Christina Crofts will take her band, featuring bass player Harry Brus and drummer Bruce Stephens, into the Bald Rock Hotel in Rozelle this Saturday night and Taverners Hill Hotel Sunday afternoon.

MAKING THE JOURNEY Captivating new Indigenous act East Journey will be making the trip all the way from Arnhem Land to Sydney to deliver their pairing of traditional music and dance with contemporary rock riffs - their explosive live performance had the audience up and jumping at the NIMAs this past August - at the Old Manly Boatshed on Thursday night.

Local band Bang Shang A Lang have played all over Sydney, but they’ve a special place in their collective heart for The Unity Hall Hotel in Balmain, which they’ll be hitting up this Saturday night.

IN RETROSPECT Edoardo Santoni returns to Venue 505 this Friday night with a stellar cast and new show, Retrospective, paying respect to his late father, a former drummer/singer who introduced Edoardo to the world of jazz and much more.

LEADING INTO BEIRUT Melbourne art pop melting pot Otouto will support Beirut on Wednesday at the Enmore Theatre. Whether playing warm warped vocal notes through a midi keyboard or hitting a banjo with a drumstick, this trio’s take on pop music is fantastically unique. The vocal harmonies created by the Brown sisters cause beautiful juxtapositions with the dissonant guitar work and frenetic percussion.

For more info see:


Next available at: Friday 16 November, Sydney ICTUS album launch, Lansdowne Hotel; Saturday 24, Sydney Dime Show, Bald Faced Stag

Sydney psych-punk four-piece outfit Zeahorse, having just released of their latest single, Tugboat, will be hitting up The Gaelic Club, Level 1, 64 Devonshire St, this Saturday night, along with Yes, I’m Leaving, Corpus and Bad Jeep.

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The best record I stole from my folks’ collection was… My parents didn’t really shape my music tastes. They owned a bunch of Barbra Streisand and Keith Green records. My favourite record they had was probably Skyhooks, Living In The 70’s The first record I bought with my own money was… ‘87 Right On Track The record I put on when I’m really miserable is… Spoon, Ga Ga Ga Ga Ga The record I put on when I bring someone home is… DJ Shadow, Endtroducing

The last thing I bought/downloaded was… OFF!, First Four EPs

HAZARDOUS This Friday night at The Bald Faced Stag Hotel, Australian progressive rock band HAZMAT will launch their Australasian tour. HAZMAT will be supporting Stand Alone (ex. Rose Tattoo) with Melody Black, Devine Electric and Skuldugory.

INFORMAL FOLK Every Wednesday night, FBi Social celebrates some of the country’s best folk acts. This week will feature Brett Winterford, Eli Wolfe, Sam Buckingham and Nic Casey. Reinventing the modern day troubadour, Winterford has spent the last few years writing songs, travelling the globe and creating a groundbreaking path for folk music, performing unique concerts atop doubledecker buses, on river barges, in ancient forts, bedrooms, corner pubs and cafes from Berlin to Brooklyn, while Wolfe’s new single, We All Started Something, has recently earned airplay and praise from critics and fans alike. Sydney songstress Sam Buckingham brings her very own breathtaking brand of angel-voiced storytelling, while Nic Cassey is described as an enigmatic singer-songwriter.

Upcoming shows: Friday 16 November, The Heritage Hotel, Bulli; Saturday 17 and Sunday 18, Brass Monkey; Sunday 9 December, Lizotte’s Kincumber Website/contacts:,


THE OCEAN PARTY Your music is…? Guitar-pop which has been described as summery and jangly. Which acts inspired you to produce your own music and why? Korn and Sepultura, though these were just a couple of the quality CDs in the alternative section of Sanity Sturt Mall, Wagga Wagga. The Butterfly Effect did play at the skatepark once but didn’t leave a lasting impression.

GETTING FOLK TOGETHER To whet punters’ appetites for the upcoming Illawarra Folk Festival in January, this week will be given over to celebrating the festival’s diverse line-up with Viva La Gong. Tuesday, Wednesday and Thursday, Wollongong City Gallery will feature three lunchtime folk music concerts. Then, on Friday, Wollongong Lord Mayor Gordon Bradbury will officially launch the 28th Annual Illawarra Folk Festival, followed by lunchtime performances in the City Mall Amphitheatre. Illawarra Folk Week will wrap up with a Saturday show from midday at McCabe Park in Wollongong featuring, among many, Big Earle and Loose Threads, and that night at City Diggers Club, Melbourne performers Danny Spooner and Graham Dodsworth.


The most surprising record in my collection is… Peggy Lee, Manana

OVER THE AIRWAVES Good Heavens is the new venture for one-time front-person of The Red Sun Band, Sarah Kelly, and original Wolfmother rhythm section Chris Ross and Myles Heskett, and their debut album, Strange Dreams, has just been released to rave reviews from audiences and critics alike. The band will perform for 2SER’s Live at the Loft this Thursday night from 5pm. If you can’t make it to 2SER headquarters on Broadway, you can tune in and hear the entire set broadcast live at 107.3FM.


What’s your wildest ambition for your music? To be able to cover petrol money.

VIOLENCE IN YOUR NEIGHBOURHOOD This week, a tour featuring two of Brisbane’s best garage-punk and rock bands will hit Sydney. Violent Soho will be jumping into a tour van with fellow Brisbane-ites Dune Rats, who have been providing the nation with indie anthems of their signature laid-back party vibe for the past 12 months. Having shared the stage this year with the likes of The Drums, Best Coast, Ariel Pink’s Haunted Graffiti and Cults, Dune Rats will be coming fresh off the back of their first ever US tour to join Soho on the road. The bands will be hitting up GoodGod Small Club this Thursday night alongside Sydney garage punk outfit Bloods.

Why should we come and see you? Because we’re playing on a Wednesday and State of Origin is finished. How do you find the local live scene? We seem to be finding out about more great Sydney bands every day: Beef Jerk, Camperdown and Out, Yard Duty and Day Ravies just to name a few. What’s your greatest rock’n’roll moment? In high school, some of the members of The Ocean Party played a state-wide Battle of the Bands at the Sutherland Ent Cent alongside Short Stack. For more info see: Next available at: Wednesday 14 November, Brighton Up Bar; Sunday 18, Terrace Bar, Newcastle


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THE BLACK STARS Your music is…? Indie punk rock Which acts inspired you to produce your own music and why? It hasn’t been specific acts, but more so musical movements. Historically every time music has become too commercialised, generic and generally overtaken by the industry rather than owned by the musicians and fans it seems there’s a backlash. In the ‘70s, it was punk and metal, the ‘90s was grunge. It’s like people just instinctively reject what’s being rammed down their throats and look for something real and true. I’m not sure what the backlash for the 2000s was or is going to be, but hopefully there’ll be something interesting happening soon to alleviate the pain inflicted by the current wash of beige music. What’s your wildest ambition for your music? It’s no longer about wild ambition. We’ve had some great successes in the past, but the longer we’re in this game the more we realise it’s just a money game for the string pullers. We’ve become a real band now, we’ve the shows under our belt and we’re comfortable with what we do. I guess we’ve already reached our goals and it’s quite simply come back to great music and great shows on our terms.



This Saturday night at FBi Social will be given over to electronic beats, sounds and visuals that will send you on a journey to the inner depths of your soul. Headlining the night, Orlando Broom will exhibit his different, eclectic electronic beats, while True North is no stranger to the stage in Sydney; renowned for his diverse projects. Opening the night, Opie Will Break Your Heart will make his debut, reaching out with his electronic synth pop tunes, a great start to get those heads bobbing and feet moving.

He started out playing trad jazz with the legendary Red Onions Band in Melbourne in the early ‘60s, and kept thedfaith when three renegade members sold their souls to rock’n’roll to become The Loved Ones. Drummer Allan Browne has certainly progressed from those heady days and today shares his energies across both the musical and literary media, writing poetry as well as composing innovatioveaward-winning contemporary jazz. Wednesday night, he launches his latest collection, Conjuror, at 505 in Surry Hills, and plays the night out with his trio.

HOWLING AT THE MOON Two years since the release of their acclaimed second album, Science And Sorcery, psychedelic rockers Wolf & Cub are back with a cracking double A-side single, featuring the tracks See The Light and All Through The Night. Wolf & Cub will take to the stage this Wednesday night at The Bondi Beach Road Hotel.

THIS FUSION NOT SQUARE Saturday night, The Square in Haymarket hosts an evening of jazz fusion, pregoressive and acoustic guitar virtiosity in spades. The three-band bill is headlined by the David Bova Band, a fiery acoustic-driven prog-rock combo, with the more jazz-leaning Tom McGrath Band and the alt-fusion acoustics of The Book Of Villah rounding out the night. Bova runs the intriguing World Fusion Sundays at Carmen’s in the Miranda Hotel.

Why should we come and see you? Because there are four awesome bands playing loud, guitar-driven music. We’re also giving everyone a free copy of our current album, Elementary, we’re launching on the night.

For more info see: Elementary (Firestarter), from Next available at: Saturday 17 November at The Forbes Hotel with The Mis-Made, Valentiine and Tiffany Britchford. $12 includes a complimentary copy of our new album, Elementary.

Answered by: Harry James Angus The best record I stole from my folks’ collection was… All of them. I threw out the records and BluTacked the covers to my bedroom walls.

BIRDS OF A FEATHER After four years of destroying stages, experimenting with genres and developing a sound, The Owls return with Better Off Deaf, the first single from their second EP, Swamp Love. Featuring The Owls’ signature crunching guitars, coupled with singer Josh Bailey’s drawl, it’s fast becoming a fan favourite. The EP showcases their wide variety of influences, title track, Swamp Love, a slightly reserved stoned rocker, the band locking together into an unwavering groove that doesn’t slip, whilst other tracks demonstrate rock and country influences. The band will be taking to the stage this Wednesday night at The Patch in Fairy Meadow.

DRUMS OF ANOTHER FEATHER Still keeping the faith in the blues is another fine drummer, Jim Finn, who with bass player Al Britton, has been hosting the Musos jam nights Wednesday at the Bald Faced Stag in Leichhardt and Thursdays the Carousel in Rooty Hill for more years than he cares to remember. At least he can change into band mode Friday night as part of tthe Flamin’ Beauties, playing the Mortdale Hotel and Sunday afternoon at the Overlander in Cambridge Gardens.

How do you find the local live scene? We’re from Byron, so the local scene there is diverse. There are always live bands on in Byron and often most bands that are touring try to stop in. This is why we’re happy to relocate from Sydney as we still get the opportunity to get out and see great bands. What’s your greatest rock’n’roll moment? That title would have to go to my wife Regan (our drummer) who locked herself out of our hotel room in the nude. She achieved this amazing feat post-show after taking the wrong door to the toilet. I was already passed out inside and couldn’t hear her knocking, so she had to go to the lobby stark naked to request a spare key...


LOCAL ROCK This Friday night, Fairy Meadow’s The Patch will host a line-up of local rock, sludge and heavy rock outfits, including Kaleidoscope, local sludge trio Lint, Sydney’s Birdmouth, and Handlebar. Kaleidoscope has just finished an extensive national tour supporting fellow Wollongong band Tumbleweed.


The first record I bought with my own money was… I didn’t get a record player until 2010. Does that mean I fail the taste test? I went and bought about 50 jazz records from Camberwell market, the really old ones at the bottom of the crates that go for $1 each. The record I put on when I’m really miserable is… Anything with Billie Holliday singing. The record I put on when I bring someone home is… Same again. The most surprising record in my collection is… Nothing surprises me in a record collection. I don’t know what will surprise you... There’s a lot of Disney in there for some reason. The last thing I bought/downloaded was… A Trumpet Round The Corner: Songs Of New Orleans Playing at: Saturday 17 November, Sydney Swings, Royal Botanic Gardens For more info see:


SLIDING BACK Dom Turner – known primarily as singer, guitarist and founding member of the legendary blues outfit Backsliders – is back at the Sandringham in Newtown with his side-project Supro for an afternoon of slide guitar-drenched blues, dub, funk and swamp. This session will be dedicated to playing tracks from the band’s album, Electro-Vee, as well as some new treats. Joining him in Supro are bassist Dave Harding (Chuck’s Wagon), keyboardist Johnny Gauchi (Johnny G & The E-Types) and drummer Rosscoe Clark (Foreday Riders), Sunday night at the Sandringham Hotel in Newtown.

This Friday night, one of the most popular of tribute nights returns after a couple of years on hiatus. The late, great Jeff Buckley would have turned 46 this Saturday had he not accidentally drowned in the Mississippi after a recording session in Memphis in May 1997, aged 30. His father, Tim Buckley, died of an overdise in 1975, aged 28 Dream Brothers celebrates the musical legacy of both at Notes in Enmore, with singer songwriters Genevieve Little, Greg Cade, Matt Anderson, Amali Ward, Michael Azzopardi, Krystal Rogers, Rachel Lee, Baby et Lulu (and also as themselves, Lara Goodridge and Abby Dobson), Matt Tonks and Amanda Easton, each share their favourite Buckley songs, father and son.

THE DRUM MEDIA Keeping it real for you, the music lover.

72 • For more news/announcements go to

CRUEL AND UNUSUAL Brisbane indie rock quartet Millions have just released Cruel, their brand new, four-track EP, due out this Friday. After enjoying remarkable success with their first release, Nine Lives, Six Degrees, with several tracks enjoying extensive airplay on both Triple J and community radio, the band have high hopes for Cruel. To celebrate, Millions will hit up Mum at The World Bar this Friday night.

Fresh from their recent European tour and on their first tour downunder ADELAIDE | SYDNEY | BRISBANE

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LANSDOWNE HOTEL Thursday 22nd November with special guests

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PIGEON: Nov 23 Brighton Up Bar; 24 Barcode

NATIONAL ELI WOLFE: Nov 14 FBi Social; 15 The Junkyard; 16 The Aztec; 23 Armidale Club; 24 5 Church St JACKSON MCLAREN: Nov 14, 21, 28, Dec 5 Folk Club Arcadia Liquors THE OWLS: Nov 14 The Patch; 22 Transit Bar MARK WILKINSON: Nov 15 Lizotte’s Kincumber; 16 Clarendon Guesthouse THE TIGER & ME: Nov 15 High Tea VIOLENT SOHO: Nov 15 Goodgod BRISCOE: Nov 15 FBi Social; 22 Clarendon Guesthouse; 23 Great Northern Hotel; 24 Oxford Art Factory THE FUMES: Nov 15 Annandale Hotel;16 Cambridge Hotel; 18 Heritage Hotel CLAUDE HAY: Nov 15 Heritage Hotel; 16 The Front; 22 Peachtree Hotel; 23 Oxford Art Factory Gallery; 24 Katoomba RSL; Dec 21 The Vanguard SPIT SYNDICATE: Nov 16 Annandale Hotel THE PIGS: Nov 16 Newcastle Leagues SARAH HUMPHREYS: Nov 16 Lass O’ Gowrie BATTLESHIPS: Nov 16 FBi Social; 17 Yours & Owls; Dec 2 Hoey Moey; 14 Oxford Art Factory MELODIE NELSON: Nov 16 The Ravel MILLIONS: Nov 16 World Bar THE FAULTS: Nov 16 November Goodgod PHIL JAMIESON: Nov 16 Heritage Hotel; 17, 18 Brass Monkey; Dec 9 Lizotte’s Kincumber THE RAY MANN THREE: Nov 17 Pelican Playhouse; 22 Clarendon Guesthouse; 24 Oxford Arts Factory KYLIE AULDIST: Nov 17 Basement Circular Quay TUKA: Nov 17 Hotel Gearin; 22 Annandale Hotel DARREN PERCIVAL: Nov 18 The Studio; Dec 1 The Cube; 2 Southern Cross Club; 8 Smithfield RSL; 14 The Juniors; 15 Concourse Theatre MISSY HIGGINS: Nov 20 – 22 State Theatre; 23 Royal Theatre Canberra; 27 WIN Entertainment Centre BENJALU: Nov 21 34 Degrees South; 22 The Vanguard; 23 Heritage Hotel; 24 Cambridge Hotel THE LIVING END: Nov 21 – 27 The Hi-Fi JOE CAMILLERI & THE BLACK SORROWS: Nov 21 The Basement; 22 at Lizotte’s Dee Why; 23 Lizotte’s Kincumber; 24 Lizotte’s Newcastle; 25 The Abbey FISHING: Nov 22 Brighton Up Bar HIATUS KAIYOTE: Nov 22 FBi Social BOB EVANS: Nov 22 Camelot Lounge RUDELY INTERRUPTED: Nov 22 Australia Council for the Arts SARITAH: Nov 22 Manly Boatshed; 23 The Star CITY RIOTS: Nov 22 The Terrace; 23 The Patch; 24 FBi Social; 29 Rock Lily MIKE MCCARTHY: Nov 22 Bottlerocket; Dec 20 Lizotte’s Kincumber EVIL EDDIE: Nov 22 The Patch; 23 Entrance Leagues; 24 Great Northern Newcastle; 25 Transit Bar; 28 Brass Monkey; 29 Annandale Hotel JORDIE LANE: Nov 22 Smith’s Bookstore; Dec 14 Great Northern Newcastle; 15 Notes; 16 Clarendon Guesthouse PIGEON: Nov 23 Brighton Up Bar; 24 Barcode THE DAVIDSON BROTHERS: Nov 23 The Front DUNE: Nov 23 Beresford BLEEDING KNEES CLUB: Nov 23 The Standard; 24 Transit Bar; 25 The Metro INDIAN SUMMER DJS: Nov 23 Discovery; 25 Beach Road Hotel CHAPTER MUSIC BIRTHDAY PARTY: Nov 24 Goodgod PIRATE: Nov 24 Yours & Owls GREENTHIEF: Nov 24 Spectrum ART OF SLEEPING: Nov 26 Oxford Art Factory YESYOU: Nov 27 Oxford Art Factory ARIA WEEK feat. THE TROUBLE WITH TEMPLETON: Nov 28 Beresford MAKE THEM SUFFER, DREAM ON

DREAMER ET AL: Nov 28 The Basement; 29 Hot Damn; 30 Cromer Community Hall REDCOATS: Nov 29 Great Northern Newcastle; 30 Annandale Hotel; Dec 1 Transit Bar MITZI: Nov 29 Goodgod EAGLE & THE WORM: Nov 29 Brighton Up; 30 Old Manly Boatshed; Dec 1 Junkyard AGNES KAIN: Nov 29 Notes EBOLAGOLDFISH: Nov 29 Phoenix Bar; Dec 7 Cambridge Hotel; 9 The Patch; 21 Annandale Hotel YUNG WARRIORS: Nov 30 The Factory; Dec 1 Yours & Owls MERE THEORY: Nov 30 Bald Faced Stag; Dec 1 Great Northern LISA MILLER: Nov 30 Camelot Lounge; Dec 1 Clarendon Guesthouse DEEP SEA ARCADE: Nov 30 The Metro THY ART IS MURDER: Nov 30 Cromer Community Centre MESSRS: Nov 30 FBi Social AFTER THE FALL: Nov 30 Bald Faced Stag; Dec 1 Great Northern Hotel SHANNON NOLL: Nov 30 Coogee Diggers; Dec 2 Heritage Hotel; Jan 17 Clarendon Guesthouse; 18 Brass Monkey; Feb 8 Lizotte’s Dee Why; 15 Lizotte’s Newcastle; 16 Asquith Leagues Club STRANGE TALK: Nov 30 The Standard RED INK: Nov 30 Beresford; Dec 1 Rock Lily HARD-ONS: Nov 30 Sandringham Hotel; Dec 1 Cambridge Hotel THE GOOD SHIP: Dec 1 Sandringham Hotel; 2 Yours & Owls JAMIE HAY: Dec 1 Lass O’Gowrie; 2 Blackwire Records THE SIDETRACKED FIASCO: Dec 1 Great Northern Newcastle; 8 Valve Bar; 14 The Patch THE WIGGLES: Dec 5 AIS Arena; 8 & 9 AIS Arena; 12 Newcastle Entertainment Centre; 19 Wollongong Entertainment Centre; 22 & 23 Sydney Entertainment Centre HANDS LIKE HOUSES: Dec 6 Hot Damn; 7 The Loft; 9 Blacktown Masonic Hall WORLD’S END PRESS: Dec 6 Goodgod CHARLES JENKINS: Dec 7 Notes BEN WELLS & THE MIDDLE NAMES: Dec 7 The Front; 8 Spectrum SAM SPARRO: Dec 7 The Standard BIRDS OF TOKYO: Dec 7 Annandale Hotel KUTCHA EDWARDS: Dec 7 Goodgod OVER-REACTOR: Dec 7 Burdekin; 8 Cambridge Hotel MIKE NOGA, BEN SALTER: Dec 8 Petersham Bowls; 9 Front Gallery (Canberra) REECE MASTIN: Dec 8 Hordern Pavilion; Jan 19 Newcastle Entertainment Centre; 20 Penrith Panthers; 22 Wollongong Entertainment Centre; 23 AIS Arena THE MESS HALL: Dec 12 Annandale Hotel THE TROUBLE WITH TEMPLETON: Dec 12 Brighton Up Bar; 13 Front Gallery; 14 Barcode; 21 Lizotte’s Newcastle; 22 Lizotte’s Kincumber; 23 Lizotte’s Dee Why THE TOOT TOOT TOOTS: Dec 13 Rock Lily; 14 The Junkyard; 15 Great Northern Newcastle; 16 Yours & Owls; 17 The Phoenix JOE ROBINSON: Dec 13 Street Theatre CUB SCOUTS: Dec 13 Goodgod TAME IMPALA: Dec 13, 14 Enmore Theatre KINGSWOOD: Dec 14 Goodgod GOTYE: Dec 14 Sydney Entertainment Centre DARREN HANLON: Dec 15 Street Theatre; 22 St Stephens Anglican Church SOMERSET BARNARD: Dec 19 Locomotive Hotel; 21 Beresford; 22 Rabbit Hole Bar; 23 Little Guy SARAH BLASKO: Feb 17 & 18 Sydney Opera House Concert Hall PAUL KELLY & NEIL FINN: Mar 10 – 12 Sydney Opera House Concert Hall

74 • To check out the mags online go to

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 40 HOUR MUSIC MARATHON: Nov 16 - 18 Live At The Brewhouse BASTARDFEST: Nov 17 Sandringham Hotel JORDIE LANE: Nov 22 Smiths Bookstore; Dec 14 Great Northern Newcastle; 15 Notes; 16 Clarendon Guesthouse CITY RIOTS: Nov 22 The Terrace; 23 The Patch, 24 FBi Social; 30 Trinity Bar; Dec 1 Rock Lily EVIL EDDIE: Nov 22 The Patch; 23 Entrance Leagues; 24 Great Northern Newcastle; 25 Transit Bar; 28 Brass Monkey; 29 Annandale Hotel MULLUM MUSIC: Nov 22 – 25 Mullumbimby PIGEON: Nov 23 Brighton Up Bar; 24 Barcode MARTIN ATKINS: Nov 24 The Factory ARIA WEEK feat. THE TROUBLE WITH TEMPLETON: Nov 28 Beresford 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 KINGSWOOD: Dec 14 Goodgod EVAN DANDO & JULIANA HATFIELD: Dec 20 The Metro REUNION FESTIVAL: Dec 22 Entrance Leagues Club PEATS RIDGE: Dec 29 – Jan 1 Glenworth Valley BEACH HOUSE: Jan 3 Enmore Theatre TWO DOOR CINEMA CLUB: Jan 3 Hordern Pavilion BLOOD RED SHOES: Jan 4 The Hi-Fi THE HIVES: Jan 7 The Metro HOT CHIP: Jan 8 Enmore Theatre NITE JEWEL: Jan 31 Goodgod YEASAYER: Jan 31 Metro Theatre MS MR: Feb 4 Oxford Art Factory GODSPEED YOU! BLACK EMPEROR: Feb 14 Enmore Theatre SARAH BLASKO: Feb 17 & 18 Sydney Opera House Concert Hall FATHER JOHN MISTY: Feb 19 Metro Theatre EINSTÜRZENDE NEUBAUTEN: Feb 22 Enmore Theatre CAT POWER: Mar 1 Newcastle Panthers; 2 Enmore Theatre FUTURE MUSIC: Mar 9 Randwick Racecourse JON SPENCER BLUES EXPLOSION: Mar 9 The Hi-Fi NEIL FINN & PAUL KELLY: Mar 10 – 12 Sydney Opera House Concert Hall DINOSAUR JR: Mar 16 The Hi-Fi JOAN ARMATRADING: Mar 24 Enmore Theatre; 25 Penrith Panthers RODRIGUEZ: Mar 25 Enmore Theatre BLUESFEST: Mar 28 – Apr 1 Tyagarah Tea Tree Farm TEDESCHI TRUCKS BAND: Mar 31 Enmore Theatre TORO Y MOI: Mar 7 The Standard BLIND BOYS OF ALABAMA: Apr 1 Enmore Theatre SWEET HONEY IN THE ROCK: Apr 1 Enmore Theatre IGGY & THE STOOGES: Apr 2 Hordern Pavilion BONNIE RAITT & MAVIS STAPLES: Apr 3 Enmore Theatre ROGER HODGSON: Apr 3 State Theatre

TUE 13 ADAM PRINGLE + FRIENDS: Sandringham Hotel, downstairs - Newtown BILLY WEST, JOHN DIMAGGIO: The Vanguard - Newtown DANIEL HOPKINS, BLUE FACED LIARS, + GUESTS: Harbour View Hotel - The Rocks DARREN BENNETT: George IV Hotel - Picton OMG: Scruffy Murphys - Sydney

RUSSELL NEAL, EVA-MARIA HESS, COLIN GOSPER: Taverners Hill Hotel - Leichhardt TINA HARROD, JESS POLLARD: 505 - Surry Hills

WED 14 ALLAN BROWNE TRIO: 505 - Surry Hills BEC WILLIS, DEAR MONDAY, INICIATE, BEARS WITH GUNS: Lizottes, Central Coast - Kincumber


WOLVES & LACE LAIR: Newtown Hotel - Newtown

THU 15 031 ROCK SHOW: Scruffy Murphys - Sydney 1927, JORDAN MILLAR: Lizottes, Sydney - Dee Why ANTON: Crown Hotel - Sydney BANDALUZIA: Camelot Lounge - Marrickville BEN VANDERWALL QUARTET: 505 - Surry Hills BIN JUICE, LAUGH RIOT, BLACK ZEROES, MERRYWEATHER: Valve Bar & Venue - Tempe BLUES & ROOTS NIGHT: Captain Cook Hotel - Paddington CAROLYN WOODORTH, MATT LYON, SIMON MARRABLE, DANIELA & LAZARO, DALE COSATTO, PAT O’CONNOR: Forest Lodge Hotel - Glebe CLAYTON DOLEY: Blue Beat Bar - Double Bay DANIEL HOPKINS, + GUESTS: Olympic Hotel - Paddington DEAD MARINES: Sandringham Hotel, downstairs - Newtown ELI WOLFE: The Junkyard - Maitland FBI SOCIAL feat., ILUKA, BRISCOE: Kings Cross Hotel - Kings Cross GOOD HEAVENS: UTS Loft Bar, UTS - Broadway HUE WILLIAMS: Belmore RSL - Belmore JACKSON FIREBIRD, THE FUMES, CREO, THE GUPPIES: Annandale Hotel - Annandale JAMES PARRINO: Marlborough Hotel - Newtown

CAKE: Nov 15 The Metro

RUSSELL NEAL, JOHN CHESHER, GAVIN FITZGERALD, PAUL MCGOWAN, NICK PUNAL, SEAN RENFORD, KEN MCLEAN: Coach & Horses Hotel - Randwick THE LONELY BOYS: Scruffy Murphys - Sydney THE OWLS: The Patch - Fairy Meadow THE REGULATORS: 3 Wise Monkeys - Sydney THE SLOWDOWNS: East Sydney Hotel Woolloomooloo THE WHITETOP MOUNTAINEERS: Cat & Fiddle Hotel - Balmain TOM BALLARD’S LISTENING PARTY: The Standard - Darlinghurst TRICKFINGER: Artichoke Gallery Café - Manly WOLF & CUB, F.R.I.E.N.D.S DJs, DEVOLA: Beach Road Hotel, Rex Room - Bondi

JOANNE HILL, + GUESTS: Corrimal Hotel - Corrimal JOE ECHO: Dee Why Hotel - Dee Why MAL, COLOUR THERAPY, SONIC SUNDAY, THE ULTIMOTIVES: Peakhurst Inn - Peakhurst MANDI JARRY: Sir Joseph Banks Hotel - Botany MARK WILKINSON, BEC SANDRIDGE: Lizottes, Central Coast - Kincumber MARTY from RECKLESS: Coogee Bay Hotel, Beach Bar - Coogee MIKE MATHIESON DUO, CHRIS ALEXANDER: Lakemba Ex-Services Club - Lakemba MORGAN JOANEL: Unity Hall Hotel - Balmain

MUSOS CLUB JAM NIGHT: Carousel Inn - Rooty Hill PETER COMBE, & THE QUIRKY BERSERKY BELLYFLOP IN A PIZZA BAND, + SPECIAL GUESTS: UniBar University of Wollongong RAY BEADLE: Mars Hill Café - Parramatta RICHARD IN YOUR MIND: Lansdowne Hotel - Chippendale RUSSELL NEAL, NICK DOMENICOS, SPENCER MCCULLUM: Kogarah Hotel - Kogarah THE GREEN MOHAIR SUITS: The Mac - Surry Hills THE PENNYS, CLAUDE HAY: Heritage Hotel - Bulli THE SMITH: Artichoke Gallery Café - Manly THEY CALL ME BRUCE: Ettamogah Hotel - Rouse Hill TIM FREEDMAN: The Vanguard - Newtown TIM HART (BOY & BEAR), EDWARD DEER, DJ SHAG: Rock Lily, The Star - Pyrmont VICTA: Imperial Hotel - Erskineville WAYNE LEFFLER, JOEL LEFFLER BAND: Brass Monkey - Cronulla

FRI 16 1927, JORDAN MILLAR: Lizottes, Central Coast - Kincumber 2BUSY2KISS: Candy’s Apartment - Potts Point 40 HOUR MUSIC MARATHON: King Street Brewhouse - City AARON LYON: Artichoke Gallery Café - Manly AARON MICHAEL, STEVE BALBI, JEFF DUFF, DAN BARNETT: Blue Beat Bar - Double Bay ABBALANCHE - ABBA SHOW: Parramatta Leagues - Parramatta AGENT 69: Engadine Tavern - Engadine AMBER LAWRENCE, LUKE O’SHEA: Casino Canberra - Canberra, ACT ANDREA KELLER QUARTET, GIAN SLATER: Sound Lounge, Seymour Centre - Chippendale ANTHEMS OF THE UK: Scruffy Murphys - Sydney BACK TO THE 80’S: O’Donoghues - Emu Plains BANG SHANG A LANG: Club Cronulla - Cronulla BARNESTORMING - THE CHISEL/BARNES SHOW: Iron Horse Inn - Cardiff BEATS ANTIQUE: The Standard - Darlinghurst BENN GUNN: Figtree Hotel - Wollongong BLACK ROSE: Overlander Hotel - Cambridge Park BLOODY KIDS, LOMERA, SWINE, MONSTER GALE: The Square - Haymarket BNO ROCK SHOW, MATT PRICE: Dee Why Hotel - Dee Why BRYAN FRATES: Bar Petite - Newcastle CALLING MAYDAY, BLAKE SABAN: Town Hall Hotel - Newtown CARINA: Oasis on Beamish Hotel - Campsie CLAUDE HAY, PETE AKHURST: The Front - Canberra, ACT COLDPLAY SHOW, VERTIGO: Heathcote Hotel - Heathcote

COLDPLAY TRIBUTE: St Marys Band Club - St Marys CONTINENTAL BLUES TRIO: Woolpack Hotel - Redfern COSY VELOUR: Hotel Jesmond - Jesmond CRAZY P: The Spice Cellar - Sydney CULTURE SHOCK, FREQ NASTY, A-TONEZ, + MORE: Chinese Laundry - Sydney DJ JIRO, BOBBY DAZZLER: Mean Fiddler Hotel - Rouse Hill DREAM BROTHERBUCKLEY TRIBUTE: Notes Live - Enmore DWIGHT YOKHAM, LEE KERNAGHAN: Enmore Theatre - Enmore EDOARDO SANTORI: 505 - Surry Hills FBI SOCIAL feat., BATTLESHIPS, BELLE & THE BONE PEOPLE, OBSCURA HAIL: Kings Cross Hotel - Kings Cross FLAMIN’ BEAUTIES: Mortdale Hotel - Mortdale FREE FALLIN’: Windsor Castle Hotel - Newcastle GEMMA GLENDENNING: Tall Timbers Hotel - Ourimbah HUE WILLIAMS: Club Ashfield - Ashfield HYPE DUO: Crown Hotel - Sydney INTIMATE LOUNGE MUSIC: Fairfield RSL, Supper Club - Fairfield KENT EASTWOOD, BRETT WINTERFOLD: The Basement Circular Quay KINGDOM OF JONES: Town & Country Hotel - St Peters KINGSWELL: Marlborough Hotel - Newtown LITTLE & SANDERS: Vineyard Hotel - Vineyard MARK WILKINSON: The Clarendon Guesthouse, Katoomba MARSALA: Camelot Lounge - Marrickville MELODIE NELSON: Raval, The Mac Hotel - Surry Hills MIDNIGHT DRIFTERS: Belmont 16’s - Belmont MIND ELECTRIC: Marquee, The Star - Pyrmont MOONLIGHT DRIVE: Exchange Hotel - Newcastle NEVERMIND-NIRVANA SHOW: Ettamogah Hotel - Rouse Hill OLLIE BROWN: Yours and Owls - Wollongong OXBLVD, PENELPOPE AUSTIN, JORDAN SLY, DJ KRISTY LEE: Upstairs Beresford - Surry Hills PHIL JAMIESON, TIM SMYTH: Heritage Hotel - Bulli PINK SHOW: Toukley RSL - Toukley RAOUL GRAF: Bankstown Hotel - Bankstown RAPTURE: Customs House Bar - Circular Quay RAY BEADLE: Bridge Hotel - Rozelle RIFF, NIGHT ATTACK, BLACK MAMBA: Valve Bar & Venue - Tempe RUBBER BULLET: The Stag & Hunter Hotel - Mayfield SARAH HUMPHREYS: Lass O’Gowrie Hotel - Newcastle SHOCK DAZE: North Ryde RSL, Marble Bar Lounge - North Ryde

SOUL SHAKEDOWN PARTY: Tiki Bar, Great Northern Hotel - Newcastle SPIT SYNDICATE, SEVEN, MR HILL, JACKIE ONASSIS: Annandale Hotel - Annandale STAND ALONE, + SPECIAL GUESTS: The Wall, The Bald Faced Stag - Leichhardt STEVE BALBI: The Vanguard - Newtown SUPERHEAVYWEIGHTS: The Mac - Surry Hills SXWZD: Sandringham Hotel, upstairs - Newtown TANITH NAIR: Mars Hill Café - Parramatta TERRY BATU: Canterbury Bankstown Leagues - Belmore THE FAULTS: GoodGod Small Club - Sydney THE FUMES, JACKSON FIREBIRD, MOTHER AND SON: Cambridge Hotel - Newcastle THE GAUDRYS: Belmore Hotel - Newcastle THE GRISWOLDS: The Bar At The End Of The Wharf, STC - Sydney

BLACK LABEL, WEEKEND DETENTION: South Hurstville RSL - South Hurstville CALIFORNICATIONRED HOT CHILLI PEPPERS: Macarthur Tavern - Campbelltown CATH & HIM: Crown Hotel - Sydney CHRIS TURNER & THE CAVEMEN: Taverners Hill Hotel - Leichhardt CHRISTINA CROFTS: Bald Rock Hotel - Rozelle CONSENTINO: Enmore Theatre - Enmore DANE & AARON: Cookies Lounge & Bar - North Strathfield DANNY SPOONER, GRAHAM DODSWORTH, + MORE: Dicey Riley’s Hotel - Wollongong DAVID CAMPBELL: Bankstown Sports Club - Bankstown DEAN KYRWOOD: Bar Petite - Newcastle DIESEL, MITCH THOMPSON: Lizottes, Central Coast - Kincumber FLYTE: Fairfield RSL, Supper Club - Fairfield GANG OF BROTHERS: The Mac - Surry Hills

COLDPLAY: Nov 17 & 18 Allianz Stadium

THE LONELY BOYS: Coogee Bay Hotel, Beach Bar - Coogee THE NICKELBACK SHOW: Bull & Bush - Baulkham Hills TIM FREEDMAN, HARMONY JAMES: Lizottes, Sydney - Dee Why TOM UGLY: Brighton Up Bar - Darlinghurst TOMIE & THE BOYS: Red Cow Hotel - Penrith TWO GOOD REASONS: The Mark Hotel - Newcastle TWO TRIBE: Courthouse Hotel - Darlinghurst VIAGRA FALLS: Orana Hotel - Blacksmiths WHAT’S UP, TWITCHO: Kincumber Hotel - Kincumber WHITETOP MOUNTAINEERS: Gallipoli Legion Club - Newcastle

SAT 17 40 HOUR MUSIC MARATHON: King Street Brewhouse - City AM 2 PM: Coogee Bay Hotel, Beach Bar - Coogee AMBRA & THE THINGOS, + GUESTS: Town & Country Hotel - St Peters ANDY MAMMERS: Brewhouse - Marayong ANDY MURPHY: Marquee, The Star - Pyrmont ANGE: The Belvedere Hotel - Sydney BANG SHANG A LANG: Unity Hall Hotel - Balmain BEARS WITH GUNS: The Standard - Darlinghurst

GLITTERUS, VIVIENNE KINGSWOOD: Rock Lily, The Star - Pyrmont HAND PICKED: Courthouse Hotel - Darlinghurst HAWK-KESTREL, URBAN GUERILLAS, SELF TORT, BONNIEDOON, KING STREET EXPRESS + MORE: Harbourside Amphitheatre Darling Harbour HITLIST, RELENTLESS, MARK MY WORDS, ANCHOR, + MORE: The Wall, The Bald Faced Stag - Leichhardt IRON BARK ROCK: Carousel Inn - Rooty Hill ISLAND: North Ryde RSL, Marble Bar Lounge - North Ryde KING UNIQUE, MIGUEL CAMPBELL, SUBB-AN: Goldfish - Kings Cross KIRK BURGESS: Bexley RSL - Bexley KOTADAMA: Belmont 16’s - Belmont KYLIE AULDIST, + GUESTS: The Basement - Circular Quay LATE SHIFT: Scruffy Murphys - Sydney LIVE TONIGHT: Engadine Tavern - Engadine LUKE ROBINSON: Sir Joseph Banks Hotel - Botany MANLY BIG BAND, JOHN MORRISON, DAN BARNETT: Lizottes, Sydney - Dee Why MARIALY PACHECO TRIO, HANNAH JAMES TRIO: Sound Lounge, Seymour Centre - Chippendale MEGAHERA, RAMPAGE, THUNDA STEEL, + MORE: Lucky Australian Tavern - St Marys


MARTIN ATKINS: Nov 24 The Factory

BEN HARPER: Nov 13, 14 Sydney Opera House RADIOHEAD: Nov 13 Sydney Entertainment Centre REFUSED: Nov 13 Enmore Theatre BECK: Nov 14 State Theatre 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 ELTON JOHN: Nov 14 Canberra Stadium; 15 & 16 Sydney Entertainment Centre THE WAR ON DRUGS: Nov 15 Oxford Art Factory CAKE: Nov 15 The Metro DEXYS: Nov 15 Enmore Theatre DAVE DOBBYN: Nov 15 The Basement EMMYLOU HARRIS: Nov 15 State Theatre WILL & THE PEOPLE: Nov 15 Boatshed; 16 Great Northern Newcastle; 17 Beresford FREQ NASTY: Nov 16 Chinese Laundry;24 Plantation Hotel GRIZZLY BEAR: Nov 16 The Metro RON POPE: Nov 16 The Lair BEN SIMS: Nov 17 Chinese Laundry PILLOW TALK: Nov 17 Oxford Art Factory YASMIN LEVY: Nov 17 The Factory COLDPLAY: Nov 17 & 18 Allianz Stadium BETWEEN THE BURIED & ME: Nov 17 The Metro OWL CITY: Nov 20 The Metro THE PIERCES: Nov 20 Oxford Art Factory BOYZ II MEN: Nov 20 Newcastle Panthers; 24 Royal Theatre; 27 Penrith Panthers; 29, 30 State Theatre RICK ASTLEY: Nov 21 Canberra Theatre; 23 Evan Theatre; 24 Rooty Hill RSL; 25 Enmore Theatre EYEHATEGOD: Nov 22 The Manning Bar; 23 ANU Bar ANGEL AT MY TABLE: Nov 22 Landsdowne JOEY CAPE: Nov 22 Hot Damn BROTHER ALI, SEAN PRICE: Nov 22 Factory Theatre DARK FUNERAL: Nov 23 The Factory KORA: Nov 23 The Metro JOE PUG: Nov 23 Annandale Hotel VILLAGE PEOPLE: Nov 23 Enmore Theatre TIM SWEENEY: Nov 24 Marrickville Bowls Club MARTIN ATKINS: Nov 24 Factory Theatre IWRESTLEDABEARONCE: Nov 24 Annandale Hotel; 25 The Wall NICKELBACK: Nov 24 & 25 Allphones Arena DI’ANNO VS BLAZE: Nov 29 Cambridge Hotel; 30 Manning Bar; Dec 1 Waves LAGWAGON: Nov 30 Cambridge Hotel; Dec 1 Manning Bar; 2 Wollongong UniBar COLOR ME BADD: Nov 30 The Enmore NICKI MINAJ: Nov 30 Sydney Entertainment Centre THE KNOCKS: Nov 30 Oxford Art Factory BIG D & THE KIDS TABLE: Nov 30 The Patch; Dec 2 The Wall OMAR RODRIGUEZ LOPEZ: Dec 1 The Hi-Fi REEL BIG FISH: Dec 1 UNSW Roundhouse THE SELECTER: Dec 1 Factory Theatre TYGA: Dec 1 Metro Theatre MICHAEL MAYER: Dec 1 Oxford Art Factory SPIRITUALIZED: Dec 2 Sydney Opera House Concert Hall PRIMAL SCREAM: Dec 5 Enmore Theatre THE PRETTY THINGS: Dec 5 Lizotte’s Dee Why; 7 Factory Theatre BLONDIE: Dec 6 Enmore Theatre HOT SNAKES: Dec 6 Annandale Hotel OMAR SOULEYMAN: Dec 6 Oxford Art Factory TURBONEGRO: Dec 6 Hi-Fi EVAN DANDO & JULIANA HATFIELD: Dec 20 The Metro TWO DOOR CINEMA CLUB: Jan 3 Hordern Pavilion BEACH HOUSE: Jan 3 Enmore Theatre BLOOD RED SHOES: Jan 4 The Hi-Fi THE HIVES: Jan 7 The Metro HOT CHIP: Jan 8 Enmore Theatre NITE JEWEL: Jan 31 Goodgod YEASAYER: Jan 31 Metro Theatre MS MR: Feb 4 Oxford Art Factory GODSPEED YOU! BLACK EMPEROR: Feb 14 Enmore Theatre FATHER JOHN MISTY: Feb 19 Metro Theatre

EINSTÜRZENDE NEUBAUTEN: Feb 22 Enmore Theatre CAT POWER: Mar 1 Newcastle Panthers; 2 Enmore Theatre TORO Y MOI: Mar 7 The Standard JON SPENCER BLUES EXPLOSION: Mar 9 The Hi-Fi NEIL YOUNG & CRAZY HORSE: Mar 9 Bimbadgen Winery; 10 Sydney Entertainment Centre NEIL FINN & PAUL KELLY: Mar 10 – 12 Sydney Opera House Concert Hall DINOSAUR JR: Mar 16 The Hi-Fi SETH LAKEMAN: Mar 20 Notes; 21 Lizotte’s Dee Why; 22 Lizotte’s Kincumber; 23 Lizotte’s Newcastle; 24 Brass Monkey WANDA JACKSON: Mar 23 Factory Theatre; 25 Lizotte’s Newcastle JOAN ARMATRADING: Mar 24 Enmore Theatre; 25 Penrith Panthers RODRIGUEZ: Mar 25 Enmore Theatre JIMMY CLIFF: Mar 28 Metro Theatre TEDESCHI TRUCKS BAND, TROMBONE SHORTY & ORLEANS AVENUE: Mar 31 Enmore Theatre TROMBONE SHORTY & ORLEANS AVENUE: Apr 1 Lizotte’s Newcastle SHAWN COLVIN: Mar 31 The Basement JAKE SHIMABUKURO: Mar 31 Lizotte’s Newcastle; Apr 1 Lizotte’s Central Coast; 3 Lizotte’s Dee Why; 4 The Basement BLIND BOYS OF ALABAMA: Apr 1 Enmore Theatre SWEET HONEY IN THE ROCK: Apr 1 Enmore Theatre BONNIE RAITT & MAVIS STAPLES: Apr 3 Enmore Theatre ROGER HODGSON: Apr 3 State Theatre BEN CAPLAN: Apr 3 Notes JON ANDERSON: Apr 3 Lizotte’s Newcastle; 6 Factory Theatre BETTYE LAVETTE: Apr 5 Factory Theatre

FESTIVALS BASTARDFEST: Nov 17 Sandringham Hotel HARVEST: Nov 17 Parramatta Park EAST WEST DEATH GRIND FEST: Nov 20 Lewisham Hotel MULLUM MUSIC: Nov 22 – 25 Mullumbimby FORESHORE: 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 REUNION FESTIVAL: Dec 22 Entrance Leagues Club PEATS RIDGE: Dec 29 – Jan 1 Glenworth Valley FIELD DAY: Jan 1 The Domain SYDNEY FESTIVAL: Jan 5 – 27 around Sydney BLUES & GROOVES: Jan 6 Beachcomber Hotel SPUNK TONES: Jan 12 Bangalow A&I Hall JAZZGROOVE SUMMER FESTIVAL: Jan 17 – 20 various venues in Surry Hills and Redfern BIG DAY OUT: Jan 18 Sydney Showgrounds SOUNDWAVE: Feb 24 Sydney Olympic Park FUTURE MUSIC: Mar 9 Randwick Racecourse BLUE MOUNTAINS MUSIC FESTIVAL: Mar 15 – 17 Katoomba CMC ROCKS THE HUNTER: Mar 15 – 17 Hope Estate HITS & PITS: Mar 23 UNSW Roundhouse; 27 ANU Bar BLUESFEST: Mar 28 – Apr 1 Tyagarah Tea Tree Farm THE GUM BALL: Apr 25 – 28 Dashville Hunter Valley

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MICHELLE NICOLLE QUARTET: 505 - Surry Hills MONSIEUR CAMEMBERT: Camelot Lounge - Marrickville NICK RASCHKE DUO: Seven Seas Hotel - Carrington P.SMURF MIX LAUNCH: Annandale Hotel - Annandale PETE HUNT: Picton Hotel - Picton PETE SCULLY, NATASHA-ELOISE ANDRADE, PAUL MCGOWAN, NICK PUNAL, + MANY MORE: Palm Grove Stage - Darling Harbour PHIL JAMIESON, TIM SMYTH: Brass Monkey - Cronulla ROCK BUSTERS: Bull & Bush - Baulkham Hills SHERLOCK BONES, NIGHTMARE, PRETTY YOUNG THINGS: Candy’s Apartment - Potts Point SOMETHING ELSE: Hawkesbury Hotel - Windsor SONS OF MERCURY: Metro Theatre (early) - Sydney SOSUEME DJ’S, FURNACE & THE FUNDAMENTALS, FRAMES: Beach Road Hotel, Rex Room - Bondi STEVE EDMONDS BAND: Warragamba Workers Club Warragamba STORMCELLAR: Gymea Bay Hotel - Gymea

SUN HILL DRIVE: Belmore Hotel Newcastle TALK IT UP: Marlborough Hotel - Newtown THE BLACK STARS: The Forbes Hotel - Sydney THE BOOK OF VILAH, TOM MCGRATH BAND, DAVE BOVA BAND: The Square - Haymarket THE CORPS, INNSMOUTH, RUST, CONVENT GUILT: Valve Bar & Venue - Tempe THE DOORS EXPERIENCE: Oatley Hotel - Oatley THE FENDER BENDERS: Empire Bay Tavern - Empire Bay THE FROCKS: Notes Live - Enmore THE HARRY JAMES ANGUS BAND: Botanical Gardens - Sydney THE LEVYMEN: Royal Federal Hotel - Branxton THE LOVE HANDLES: The Cauliflower Hotel - Waterloo THE SCULPTURES, SEX IN COLUMBIA, NEW BRUTALISTS: Spectrum - Darlinghurst TONY CINI’S BLUES EXPLOSION, THE MASON ROCK BAND, PJ O’BRIEN, CASS EAGER: The Vanguard - Newtown TROY: Beauford Hotel - Mayfield


Sigur Ros

HARVEST After a successful first year, Harvest Festival returns for a second year. It features the likes of Beck, Sigur Rós (pictured), Grizzly Bear, Mike Patton’s Mondo Cane, Ben Folds Five, Santigold, Beirut, Cake, The Dandy Warhols, Chromatics, Liars, Fuck Buttons, The War On Drugs and more. Harvest lands in Parramatta Park on Saturday 17 November.

VASKI, HELICOPTER SHUTDOWN, ACETONE, DELI FUNK, + MORE: Manning Bar, Sydney Uni - Camperdown WILDCATZ: Penrith RSL, Castle Lounge - Penrith YUKI KUMAGAI, JOHN MACKIE: Wellco Café & Wine Bar - Leichhardt

SUN 18 3 WAY SPLIT: Oatley Hotel (afternoon) - Oatley

40 HOUR MUSIC MARATHON: King Street Brewhouse - City ALEX ROUSSOS: The Mill Hotel - Milperra ANDY MAMMERS: Harbord Beach Hotel - Harbord ANTHONY LEE: Town Hall Hotel - Waratah BLOCK PARTY: Annandale Hotel (afternoon) - Annandale BOB ALLAN: Kincumber Hotel - Kincumber BUCK & DEANNE, CHELSEA GIBSON: Mars Hill Café - Parramatta

FREE POOL 6.00 - 10.00


18 NOV



CASH ONLY: Towradgi Beach Hotel - Towradgi CHRISTINA CROFTS: Taverners Hill Hotel (afternoon) - Leichhardt DAVID CAMPBELL: Botanical Gardens - Sydney DIESEL, MITCH THOMPSON: Lizottes, Central Coast - Kincumber DOM TURNER’S SUPRO: Sandringham Hotel, downstairs (afternoon) - Newtown DRIVE feat., VIRGINIA LILLYE: Bridge Hotel - Rozelle

ELEVATION - U2 ACOUSTIC: Orient Hotel - The Rocks FLAMIN’ BEAUTIES: Overlander Hotel Cambridge Park HP CORONADOS, PAT POWELL: Rock Lily, The Star (afternoon) - Pyrmont ISAAC GRAHAM, NATHAN SEECKTS, MATT DUNDAS, MARA THREAT: Coogee Diggers - Coogee JO KOY: Enmore Theatre - Enmore

LAZY SUNDAY LUNCH with, SIZZLING STRINGS: Lizottes, Sydney - Dee Why MARK HOPPER: Artichoke Gallery Café - Manly MIKE MATHIESON DUO, CHRIS ALEXANDER: Parramatta RSL - Parramatta PHARAOHS OF THE FAROUT, THE SUSPECTS, DAVE HUNTER, THE CLEANSKINS, + MORE: Valve Bar & Venue (afternoon) - Tempe PHIL JAMIESON, TIM SMYTH: Brass Monkey - Cronulla PITCHFORD, LOCKDOWN, UNTIL DARKNESS, Lycanthrope, Days Gone By, Caraway Seed: Lucky Australian Tavern - St Marys PREDICTORS: Town & Country Hotel - St Peters RAY BEADLE BAND: Heathcote Hotel - Heathcote ROCK SOLID DUO: Coogee Bay Hotel, Beach Bar - Coogee RUSSELL NEAL, THE PUG: Salisbury Hotel - Stanmore SANITY’S COLLISION, RUSSELL NEAL: Cookies Lounge & Bar - North Strathfield SATELLITE V: Botany View Hotel - Newtown SQUEEZEBOX BOOGALOO: Blue Plate Bar & Grill - Neutral Bay

STEVE EDMONDS BAND: Bateau Bay Hotel - Bateau Bay STONE MONKS: The Vanguard - Newtown STORMCELLAR: Kent Hotel - Newcastle SUITE AZ, DJ KITSCH78: Rock Lily, The Star - Pyrmont THE FUMES, JACKSON FIREBIRD, MOTHER AND SON: Heritage Hotel - Bulli THE KLEZMER DIVAS: Blue Beat Bar - Double Bay THE ROAD RUNNERS: Marrickville Bowling Club - Marrickville TURNER & SIMMONS: Gladstone Hotel - Dulwich Hill



Photographer For bands and events $200 for the day


MADCDs cos Cos we g ive a sh it


EMPLOYMENT 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.

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DJ AVAILABLE- ANYTIME -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

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.

iFlogID: 19270 Get your Band/ Business online with affordable website design. From $299 Services include Seo, Social network marketing Includes free 1000 Facebook likes, 22k twitter followers. Contact

iFlogID: 19089 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

iFlogID: 18316 Seo Marketing ~ Facebook likes, YouTube, Twitter views Promote your business online with Seo services

Quality showreels compiled and produced for actors at affordable rates by Melbourne based production company. Call Aaron 0451 208 675

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FOR SALE AMPS CARSLBRO SHERWOOD ACOUSTIC AMP English made Carlsbro Sherwood Junior acoustic amp 65W, with reverb. Celestian speaker. Authentic acoustic sound. Very good condition. Very rarely used. $450 ono. Call Craig 0400 954 147.

MARSHALL JCM900 100W COMBO JCM900 Marshall combo for sale. 1990 model. 100w high gain, dual reverb with clean/ gain channels. New valves. Rarely used in past 15 years. Very good condition. $1000 ono. Call Craig 0400 954 147.

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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 or call 02-9758-8888.

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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@

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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 for details.

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Fender 5 string basses (two). USA precision bass, Black with white scratch plate. As new, approx 2 y.o. with case. Retail approx $2100, selling $1400.

iFlogID: 20157 Fender Jazz bass 5 string, sunburst colour, As new, 2 y.o. $2100 Retail, selling $1400. Ph 97590970

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CD / DVD Attention Musicians, Record Collectors, Universities, Libraries - new Book (print/cdROM/ direct download) compiling 100 years of popular music. GO TO website on how to buy. Enquiries: (02) 9807-3137 eMail:

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

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A Edit Website Design Film or Make-up www.aeditwebsitedesignfilmor Phone: 0421 302 045

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

iFlogID: 19670 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.

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Christmas is almost here so now is a great time to get your 2012 tax return lodged in order to get your refund in time for the festive season. Detax are Entertainment & Arts industry tax specialists. Discounted rates available for multiple years. Fully Qualified Accountant & Registered Tax Agent.

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

iFlogID: 15156 Audio Mastering, mixing, recording. CD-R music & data duplication, cover artwork, colour disc printing, online global distribution. Full studio package deal for EP or full album projects. Enquiries ph: 02 98905578

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

Award-winning Experienced, Qualified Music Producer:


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

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

iFlogID: 19700 FX PEDAL Line 6 Tonecore Otto Filter, near new in box. Great with guitar, bass, line level instrument or microphone. $50 pickup (Beaconsfield WA) or $60 posted Australia-wide: em

iFlogID: 20215 JP7 John Petrucci 7 string for sale. Graphite black, matching headstock, piezo pickup, locking tuners, dot inlays. Call or text 0401008553

iFlogID: 20174 Matts Vintage Guitars - Fender Gibson Martin Rickenbacker Guild Gretsch Vintage and USA Buy-Sell-Trade Ph.0413-139-108

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

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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.

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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.

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iFlogID: 20219

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

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

We can deliver to all Sydney’s surrounding areas (fees vary depending on distance from our location in Mona Vale on Sydney’s Northern Beaches)

Lawyer- All Criminal Law/Traffic Law/Family Law matters (reasonable fixed fee rates) call Shad Barends 0422776889 24 * 7 shad@barends. First Consultation Free


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Lights To Party are a mobile party lighting and sound equipment hire service.


LIVE RECORDING. Available to gigs in Sydney/ Metro area. Multitrack audio up to 24trk, Isolated signal splitters, Dedicated HD plus DAW backup, Focusrite preamps. Raw tracks for mixdown, $250 0411342989

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Prices start from $20

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Peavey XR8600 PA amp, 1200 watt, 8 channels, equaliser & effects. As new, case included. 0417089964

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Twitter followers 1k - 100k

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

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Facebook likes 1k - 10k Youtube views 1k - 100k


iFlogID: 18269 Get your Band or Business Online Cost effectively and PROFESSIONALLY - from $299 including Hosting and email addresses! Contact or see


PA hire for DJ’s / small bands. Top quality equipment

Hire includes, delivery, set up & operator. Prices start from $150 per night Call Stan for further information 0414 364 257

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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.

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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

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

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

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

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

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Town & Country Hotel St Peters is one of Sydney’s smaller and interment venues. We offer the opportunity for all types of bands DJs and music to play live. We supply the Venue, PA, Mics, lights, mixing desk, advertising & Sound Engineer free. Available 7 days a week with a percentage of bar sales going to the bands. Door charge is available. For further information or booking enquiries call Brandon or Dionne Ph 02 9519 1965

iFlogID: 20213 Music publicity. Do you want to get noticed? Affordable exposure for your band by someone that actually cares! Drop me a line!

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iFlogID: 19278 Have you got a song in your head? Music Producer available to turn your imagination into reality. Professional results and affordable rates.

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


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Short run also available.

iFlogID: 13117 Transfer your old master AUDIO DAT or MINI DV tapes to media files. Full quality, no compression. Call Aaron 0451 208 675

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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.

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Peter Holz: 0437 712 927

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You’ll never regret recording your songs... but we garuntee you’ll ALWAYS regret not doing it! ***Every song Produced, Mixed & Mastered to Radio Release Quality***

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

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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


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iFlogID: 19274 Recording a single, EP or Album at Radio Release quality isn’t as hard or expensive as you might think. Stop wasting time! www. RECORDING STUDIO $30ph

iFlogID: 17084 Recording Studio, Parramatta, $30hr casual rate. No kits! Singers, songwriters, instrumentalists for acoustic, world, classical genres specialist. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days.

iFlogID: 15152 Recording Studio, Parramatta, $30hr casual rate. No kits! Singers, songwriters, instrumentalists for acoustic, world, classical genres specialist. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days.

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

iFlogID: 19038 Music tuition, classical / flamenco guitar, celtic harp, theory & harmony, arranging. 9am - 9pm, 7 days. Parramatta area. $40 hr, $30 half hr. Mature & patient. Harps for hire. Ph: 02 98905578

iFlogID: 15154 Music tuition, classical / flamenco guitar, celtic harp, theory & harmony, arranging. 9am - 9pm, 7 days. Parramatta area.

Tips to make it in the industry provided.

All levels, All ages, All styles.

School Holiday Bargain Prices

Improvising, Theory, Song Writing, Technique

10 percent off 5 lesson block

Seven Hills, Sydney.

15 percent off 10 lesson block

Call Dave 0410 963 972

Drum Studio in Roselands & Mobile Service

or email


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TUITION ANYONE CAN PLAY GUITAR! A few lesson slots available with Chris Turner. ‘One on One’ guitar lessons. Lilyfield phone now 9552 6663 Starters to Pro.

In North Rocks, Marsfield, St Leonards. Fivestring banjo in the three-finger/Scruggs style, exploring all facets including advanced techniques a la Béla Fleck. Dave Carr 0407 376 939.

VIDEO / PRODUCTION CHECK OUT finncut’s channel on Utube Music Videos produced by Matti

iFlogID: 19971 D7 STUDIO MUSIC VID FROM $250. Live gig edits, multi angles, fr $125 a set, 1 live track $100. All shot in full HD. 0404716770 syd based

iFlogID: 13368 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

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iFlogID: 19797 Immersion Imagery strives to offer quality & creative music videos to suit your style & budget. Portfolio of over 30 artists. www.

iFlogID: 18477 You want music video produced? Visit finncut’s channel on Utube

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Drum Tuition in Stanmore with a Billy Hyde trained Teacher.


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Contact Matti

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Dip Ed, Dip Drums. All levels and all styles taught.


Beginners Welcome!. Call Lee 0403307796.


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Bass guitar player available. Mature age, for gigs, fill in work or permanency. High standard. plenty of experience in Blues, country, pop, rock & general pop music. Ph 97590970

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!

iFlogID: 16690 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. Call Jeremy, 0452442022 for information.

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Northern Districts Guitar Tuition Rhythm, Lead, Acoustic and Electric $25 Half Hour $35 Full Hour

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iFlogID: 16159 iFlogID: 20122

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

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

Pro gear, reliable transport, good creative player.

Contact John Ertler 9654 8143, 0400 323 982,

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Email me on, call 0405379345. Cheers Warren (Waz)

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Walk out of the free lesson playing a song. Rock-POP-Blues-Inde-Metal-Classical, all styles.

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

Call Jared on 0467 165 345

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iFlogID: 19647 or 0411342989

Private Guitar lessons from an experienced teacher.

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.

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All styles and levels welcome

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books available at dymocks or buy online

Ph: 02 98905578

School Holiday Special!!!!

All repair work and setups. Call Timo 9484 4374


Teach yourself or have lessons 0428335874

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

Learn to play the kaleidoscope way Unique colour coded method guitar or piano

LIVE RECORDING.. Pro shot single cam video plus multitrack audio up to 24track. Mastered to DVD, HD youtube files, perfect for showreel, online promotion. $350

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

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Monday evening class, Tuesday voice class, Private lessons at St Leonards now.

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Music CD’s teaching tools included.


Recording Songwriting Singing available. $40HR Guitar Teaching10years+ 0405-044513

Your voice has the ability to sing at the Audioslave/Muse/Aretha/Yeah-Yeah-Yeahs level because of Design.

Dubstep to Drum&bass

Inner Sydney Newtown

Increase your range-sing with effortless power.

willing & able to adapt to your event.

learn and sing the right technique.

Low hourly rates.

Microphone recording songwriting technique Newtown0405-044-513

Everything negotiable.

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Music Entourage

The best kept secret among musicians is that they move for a living (and for fun). Learn to move well to take the pressure off your body and improve performance. Helps reduce pain, increase flexibility and free the musician within!

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

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Junior engineer looking for work. Based at western sydney with a protools HD, Marshall/ Mesa amps available for hire. Niflheimmusic@ for info/prices. Reamping, midi or live drums, mix only/full production.



Digital Editing, Analogue Tape Recording, Full range of microphones and equipment.

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


Recording, Mixing and Mastering services Inner West, Sydney

Experienced and professional teacher based in Croydon, Sydney.


-Tuition of Electric, Acoustic, Bass and Theory

In North Rocks, Marsfield, St Leonards. All styles and ability levels. Flatpicking, fingerstyle, extended techniques, acoustic and electric. Contact Dave Carr 0407 376 939. See

-Individual or Group Lessons for more info.

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-All ages and skill levels very welcome -Step by step method covering most styles -Accurate and clear scores and transcriptions provided aimed to suit the students musical goals



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

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

Beginners Welcome Children & Adults

Please contact Michael @ 0420 371 624

*Great Results Guaranteed

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

*Friendly mentoring approach

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

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Rock & Blues PH: 0422 868 959

Enquire Now

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Call for a quote today. KN!VZ Entertainment Group

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5 week course

Easygoing, flexible entertainment.

VocalHub - Sing like no one is listening! Singing lessons for vocal technique and care, audition tips and repertoire in a encouraging and supportive environment.

$99 Special Promo

*One Free Introductory Lesson for Anyone Interested!!*

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Dj available

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

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Ph: 0416960673 E:


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

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$99 Special Promo 5 week course Beginners Welcome Children & Adults *Friendly mentoring approach *Great Results Guaranteed Enquire Now Paddington Ph: 0416960673 E:

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Free online and print classifieds Book now, visit


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Experienced Soul Reggae R’N’B Blues Funk drummer (36yo) available for work preferably in Northern Beaches. Call Michael 0402 549423

ing percussionist for cover set, already gigging amy winehouse, tracy chapman. no full kit, cajon/shaker etc. Find us on soundcloud to listen, and email


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See me playing drums:

iFlogID: 17324 Professional drummer/percussionist/vibraphonist available for performances/recording. Toured with international acts such as Dianna Krall, David Campbell and Patrizio Buanne. Have huge range of instruments including vibraphone. More info at

looking for talented young musicians to play in festivals in Europe & Asia next year all expenses paid local shows in the Sydney area leading up to the Festivals , paying gigs Drummer , Guitar , Bass , keys , Female singers send bio to

phone:(02) 9807-3137 eMail:

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:

iFlogID: 17160 TOP INTERNATIONAL DRUMMER available. Great backing vocals, harmonica player and percussionist. Gigs, tours, recording. Private lessons/mentoring also available.

iFlogID: 14261


I am looking for musicians: LEAD GUITARIST - BASS PLAYER - DRUMMER and KEYBOARD PLAYER. Paid work will include: live cover gigs and maybe some studio recordings for album material and backing tracks. If you are interested, please send me your info and any links and/ or demos as well as work you’ve done to: Also check out my website for style and my work done in the past at If you want any more info or just want to touch base, I can also be contacted on 0421 977 965. Chris Read.

iFlogID: 20036

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

iFlogID: 13358

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


MUSO WANTED I’m a vocalist/lyricist looking for a muso to collaborate with. I live on the Central Coast. If you are interested and you can playcall today. Mark 0432 113 731

iFlogID: 20153


Metal vocalist. Clean and dirty, cute but crazy, female ready to rock! Looking for band with intention to gig. No collab crap unless you’re awesome industrial wanting to gig.

BLUES/ROCK LEAD GUITARIST looking for a bass player,drummer,singer is influenced by zz top,guns,acdc preferably between ages 18-25...other guitarists need not apply! looking to jam and write some riffage...i have songs on under the name of sneaky attack call mitch 0423478128

iFlogID: 20312 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 DRUMMER WANTED for Originals 5 piece band. Must be reliable, easy going & enjoy playing different styles as our music is varied from funk/indi pop/rock/ska. Email Veneita at

iFlogID: 20075

ENGINE ROOM AND PULSE WANTED Original progressive rock band ‘TIME ARROW ‘ requires a Drummer and Bassplayer to add there creativeness and integrity to our collective call Dallas 0409830216 or Wendy 0431737927

iFlogID: 19906 Experienced singer/songwriter/guitarist has created a new original project and has many Sydney gigs booked. Currently looking for other original acoustic duo’s/bands with a following to do shows together.

iFlogID: 19290 FEMALE BASSPLAYER WITH BACKING VOCALS WANTED. Original songs influenced by 50’s with a punk attitude, Detroit Cobras, Eddie Current Suppression Ring and Ramones. Check out Call/message 0405126307 or

We are looking for an energetic rock drummer to join our working covers band. We play classic to modern rock with some originals thrown in. Our front man works a crowd and we want a drummer who can work the band and work off the front man as well. We are after a great communicator who has a good work ethic and willing to make a solid commitment to keep our band rockin’ and playing gigs. Age 35-50yo preferred. Southern Suburbs call Steve 0413 777 340

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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.

iFlogID: 18612 TCR, an electro/roots/pop outfit in the inner west, require the services of a dynamic bass player and drummer for live shows in 2013. Check out some demos at thecashmererevolution and email us at or phone 0401 544 685.

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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@ for more details.

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BASS PLAYER FOR COVERS BAND Working Sydney Rock/Pop covers band seeking bass player to work in rotation with current bass player who soon will have regular touring commitments. Must have previous covers band experience & great work ethic. Agency backed with good rates. Call 0424943905 between 10am and 1.30pm ( times prefered but not essential ) to inquire.

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iFlogID: 20186 Guitarist, Singer & temporary Drummer (19yrs) need to start band! We play anything Tool, Amy Winehouse, Evanescence, Michelle Shocked (rock/blues/altmetal/funk/reggae/ soul) Would like versatile bassist & keyboardist! 18-25yrs preferred! Northern Beaches. Ziggy: 0432872290!

iFlogID: 19248 guitarist/singer needs a guitarist, bass player & drummer to start a piss poor sydney rock band. louddirtyrocknrollbased musak with a touch of twang. 0403508102

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Bassist 30 yo plus needed to complete 3 piece band, singer songwriter guitarist and drummer have over 20 melodic soongs ready to go.genre. alt/ pop/ rock /folk. phone Mass 0405450022.

iFlogID: 20109 Established Sydney Indie/Pop/Rock band need Bass Player, hopefully with multi instrumental talent. Maybe Keys & Backing Vox. Current JJJ Play, EP for January. Contact/SMS Sash 0409579688 and he will email music

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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!

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Sydney Indie/Pop/Rock band seeks Drummer, with ability to play/program electronic beats. Fresh new sound, EP being recorded now. JJJ play current Single. Contact/SMS Sash on 0409579688 to get emailed music.

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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

iFlogID: 20294 Wollongong rock band searching for Bass Player. Currently writing original music to record and perform live and looking for Bass Player (age 20-30) to join the band. Contact: or 0419978835

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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.

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

iFlogID: 13407 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.

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

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

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ALT ROCK/FUNK GUITARIST WANTED NEEDED ASAP Main influences: Incubus, Red Hot Chili Peppers Experienced singer, bassist & drummer require talented guitarist with writing and performing experience. * Demos available & required. * Serious enquiries only. Will be writing/ recording/giging/touring etc


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!

Rocking Chair & Shotgun are looking for a drummer. We are an all original Indy Rock band based in the Inner West. Influences: The Pixies, Wilco, Sonic Youth, Nick Cave.

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

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@ for more details.

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BASS PLAYER WANTED FOR SIGNED ARTISTS: if you’re a pro at Rock/Pop, gig & tour ready & have your own quality gear, send a youtube link to you playing live to

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


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Bass Player Wanted, Inner West Area, influences, Frightened Rabbit, Bon iver, James Blake etc Call/Text 0403 129 528

FEMALE DRUMMER WITH BACKING VOCALS WANTED. Original songs influenced by 50’s with a punk attitude, Detroit Cobras, Eddie Current Suppression Ring and Ramones.

* Southern Sydney. * 18 - 25 years old Contact Evelyn - com or call 0431956063

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SINGER ACDC SHOW NEEDS BON OR BRIAN Professional working RSL & Pub ACDC Tribute band are seeking a frontman. Must be extremely strong vocally and have experience in covers bands. All interest is much appreciated but no time wasters please. Email to arrange auditionin western Sydney pending your application.

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CALLING ALL GHOULS Ghoulish singer wanted for Horror Punk band. Must be able to scream like Wednesday 13 and provide haunting cleans like Michael Graves and/or Wednesday 13. Serious applicants only. Email:

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iFlogID: 17317 Professional mature-age Drummer/Vocals/ reads/back acts/shows - all styles including jazz - available for casual work.

Bass Player wanted for hardcore/punk band. Influences - Discharge, Exploited, Wolfpack, Disorder etc. All originals. Have full set ready to gig asap. Fast, Heavy, Loud. Ph. 0403468501.

iFlogID: 20231 CAN YOU HIT STUFF GOOD?! Indie rock duo from Campbelltown looking for a dedicated drummer. Between 18 - 25, own gear and transport is required. Contact Anton: 0426822750

iFlogID: 18719 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_ for more details.

iFlogID: 19818 Drummer & guitarist wanted to form new original band. Alt/grunge/groove band with dark edge. No beginners must be over 25.

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DRUMMER WANTED Drummer wanted for central coast band 18-35. Looking to tour. Influences - The Black Keys, Ash Grunwald, Jimi Hendrix, Eagles of Death Metal. Contact Kurt - 0403915430 or email -

iFlogID: 20077 Drummer wanted for melodic metal/metalcore band. Must have own gear, transport, drive and be available to rehearse, gig and record. Demo tracks Email: for more info.

iFlogID: 20242 DRUMMER WANTED FOR SIGNED ARTISTS: if you can play to a click/are a Rock Pop pro/gig & tour ready/have quality gear/send a youtube link to you playing live to

Sydney heavy rock band looking for a bass player to record album and play live. High quality drums and guitar already, now need new bass player to complete the sound. Duncan 0430 406602

iFlogID: 20103

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.

DRUMMER WANTED Sydney band looking for a drummer. Booking agent/management in place. Age: 18-25. Quality gear and own transport essential. 0411 372 469

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iFlogID: 19556 Looking for other original acoustic duo’s/bands with a following to share the bill and do live gigs together. Contact

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iFlogID: 19820 Female singer/songwriter looking for guitarist/ vocalist to form duo. Mainly covers with some originals. Willing to collaborate with some of my originals an advantage. Eastern Suburbs area. Phone Roni 0406610516

iFlogID: 20042 Guitarist required for melodic metal/metalcore band. Must have own gear, transport, drive and be available to rehearse, gig and record. Demo tracks Email: for more info.

iFlogID: 20235 Guitarist wanted to join double bass and harmonica playing swing jazz & blues. Acoustic ok. 0417089964 95192440

iFlogID: 20137

LEAD GUITARIST WANTED High Energy Rock’n’roll, mostly originals + some covers, gigs waiting. call Paul 0411873761

iFlogID: 20070 Looking for an experienced reggae guitar player for a Northern Beaches based band. Call Michael on 0402 549 423 or email siczex@

iFlogID: 19558 Singer/Songwriter/guitarist

Sydney. Must be passionate and have soul in their playing. Email to Paul:

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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

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iFlogID: 20254 Seeking an experienced lead & backing reggae singers for Northern Beaches based band. Call Michael 0402 549 423 or email

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

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OTHER 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.

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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. 02-9950-3977

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Singer wanted to record heavy rock album by Sydney band. Melodic and harmonised vocals and some heavier vocals. Good opportunity for the right person. Duncan 0430 406602

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School of Rock teaches students from primary school to high school, from anywhere in Sydney with any level of musical talent. School of Rock helps students form a suitable band based on each of their musical likes and level of experience. Classes run every day of the week (Weekdays: 4.30pm – 6.00pm, Saturday/Sunday: 8.30am – 10.00am) at $320/per term (including all teacher fees, room and instrument rental). Each term includes a free recording session @ Zen Studios and a live show at The Valve Hotel in Tempe. Contact Ash 0450406-201. www.schoolofrockinnerwest.

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iFlogID: 20244 The Cleftomaniacs (pun intended!), the enthusiastic 25-member a cappella choir who brought you the most recent Sydney A Cappella Festival, invite new members (especially those lovely tenor & bass blokes). Eclectic repertoire from Sting to gospel to classical polyphony and we love to gig! Rehearsals school term Thursday evenings in Waterloo. Contact Catherine on 02 93887010 or

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SINGER WANTED for Sydney based progressive rock band. Looking for permanent male lead vocalist to complete 5 piece line-up. Not necessarily Ian Kenny, Mike Patton, Thom Yorke or Jeff Buckley required. Looking for a creative, professional and motivated individual.



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We are a newly formed Post hardcore/melodic metal band seeking a clean/scream vocalist, screamer optional, Our band members have had extensive touring and recording experience. We jam at st peters. Please check out samples of our musical direction at www.soundcloud. com/vitriolthemusical Our sound is distinct, yet influences range from: Lamb of God, Mastadon, Slayer, Iron Maiden through to Faith No More, Def tones, Lifetime, Dillinger Escape’, Refused, Black Flag, to the Cure.. etc..

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.

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Influences QOTSA, Foo Fighters, Nirvana…

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

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Experienced drummer with a commitment to practice and regular rehearsals required for Melbourne-based alternative rock band.

for working Northern Beaches based covers band. Mainly Oz rock. We are serious about our music but we all have day jobs and do this for fun. No wankers or prima donnas here thanks. If you are experienced call 0414 413 989 to get a set list and more info.

influences: Queen, Pendulum, Muse.

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Drummer Wanted, Inner West Area, influences, Frightened Rabbit, Bon iver, James Blake etc Call/Text 0403 129 528


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looking for singer to do duo in canberra area with male guitarist/singer. 80s 90s rock to current day.paid gigs. tonight were gonna steve 0404858266 or email

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Female Singer wanted to join male guitarist (36yrs) for rock covers duo. Playing songs from 70s/80s to current day, paid gigs, based in Hawkesbury area. 0411342989

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FEMALE SINGER Electro\Funk band requires female vocalist for live & studio recordings in Sydney metro area. Awesome opportunity for right person. Serious project only serious people apply .Age 18 - 30 Contact Jay 0400906618

To hear current demos and get contact details, goto: Feel free to email

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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

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We teach all levels Beginner, Intermediate and Advanced, our lessons cover all styles and you will gain all the skills to maximize your drumming potential. Certificate courses available for Basic, Intermediate and Advanced players.

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

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BEHIND THE LINES A LITTLE IRISH OILS Having reconnected with his Irish roots a few years ago, Midnight Oil/The Break singer, songwriter and guitarist Jim Moginie has been embracing that ancient land’s musical traditions through a combo he’s dubbed Shameless Seamus & The Tullamore Dews, featuring Dublin-born Alan Healy on vocals, tenor banjo, bouzouki, acoustic guitar and bodhran; Blarney-born Evelyn Finnerty on vocals and fiddle; pre-fame Mental As Anything guitarist Stephen Coburg on vocals and mandolin; Cockroaches bass player Peter Mackie; ex-Mentals drummer Dave Twohill, and Samuel Mogadisco on cajon and percussion. They’ve just released an album titled Ballroom Of Romance, essentially a collection of traditional tunes recorded live over two days in January this year in Moginie’s Oceanic Studio up in Brookvale on Sydney’s Northern Beaches, Moginie engineering and mastering, assisted by Pete Covington, with Guy Dickerson mixing.

SOUND BYTES Bob Dylan took his current six-piece band into Groove Masters in Santa Monica to record his latest album, Tempest, with producer Jack Frost. Reconvening the Blues Explosion after a seven-year hiatus, Jon Spencer recorded and produced their new album, Meat + Bones, at Key Cub Recording Studio in Benton Harbour, Michigan, which houses the Flickinger console custom-built for Sly Stone, on which the soulfunkster recorded There’s A Riot Goin’ On. Producing it himself, Johnny Marr has finally got around to recording a debut solo album, The Messenger, due for release end of February next year, which he recorded in Manchester and Berlin. He then called on Frank Artwright to master at Abbey Road Studios. Artwright recently remastered The Smiths’ Complete box set with Marr. It seems that producer, songwriter and guitarist Buddy Miller has “accidentally” recorded a new Band Of Joy album with Robert Plant, after the pair got together in his studio, an 1800 square feet of space within his 100 year old Nashville house, to work on some new songs and he put up a few mics to capture the process. Co-producing with Craig Schumacher, Calexico recorded their new album, Algiers, at Wavelab in Tucson and The Living Room in New Orleans, the latter a converted wooden Baptist church. Chan Marshall AKA Cat Power not only utilised her own studio in Malibu but also The Boat in Silverlake, South Beach Studios in Miami and Motorbass in Paris to record and produce her new album, Sun, calling in Philippe Zdar (Phoenix) to mix it.

DESK JOB Lachlan Goold, more commonly known as Magoo is an ARIA Award winning record producer. Muso’s Greg Phillips spoke to Magoo about what he does best. is recording credits include Midnight Oil, Custard, Shihad and Regurgitator. He won ARIAs for producer and engineer of the year in 1998 for his work with the ‘Gurge’ and the ‘Oils’. Regrettably Magoo recently put Applewood Lane up for sale, the 100 year old converted Catholic church studio where he has worked much of his magic. However, it won’t stop him doing what he loves. What makes him tick? What does he expect of an artist in the studio? Let’s ask!


What song or album best represents your work? The Regurgitator albums always showed a wide variety of genres. The favourite album where I felt I really captured something was Loverama by Custard. I loved working on that album, loved the band. I have also done a few of David [McCormack]’s solo albums over the years; always an adventure. Any microphone that you favour? I love a U47 which I don’t actually own. I had one previously but it didn’t go my way with a studio split. I currently have an RCA DX77, which is a ribbon mic from the ‘50s and it adds beautiful character to whatever you use it on. What’s your number one studio no-no? Not being rehearsed or having the songs fully written when you get to the studio… but … I have made a lot of records on the spot in the studio. A lot of Regurgitator’s Unit was written in the studio. I did another record, Not From There, which was written in the studio. Even most of Redneck Wonderland by Midnight Oil was written in the studio but all of those records took a lot of time to make. In general these days people just don’t have the money to be able to write in the studio. If you’re not prepared you’re just going to get a world of pain, so I am really big on pre-production and getting everything right so that in the studio it is just capturing the performance.

Do you think you have your own sonic style? I have been asked this before and I always answer, hopefully no, but I think I do. I try to let the song dictate where the sound is going to go. I like to be open and I like people to tell me, ‘no that’s not right, let’s do something different and take it somewhere I didn’t think it could go.’ That’s when you cross new ground and create something interesting. You say on your website that you’d only work with a band if you felt you had something you could offer the music. What kind of things are you looking for? Song is number one. I don’t really care about the genre. Often I don’t care about the previous record of the band. When I worked with Midnight Oil I wasn’t particularly a fan of the band’s previous few records. I was a fan of their earlier work. I just really liked what they wanted to do at the time, although I don’t think I would ever had said no to Midnight Oil. It has to leave me with something. If it can change my mood or make me think about something, or get stuck in my head, that’s when I want to work with them. What have been some of the nicest musical accidents that you recall over the years? The first one that popped into my head was I Will Lick Your Arsehole by Regurgitator on Unit. Essentially Quan had written this chemical backbeat tune and I thought it needed a sample, a hook. We were going through random records trying to find something. I put a sample in by a certain band I won’t mention. It was back when there was no Pro Tools. We were working by numbers, I think there was a visual display but it was all a bit clunky. I was trying to find the right sample point. It was Quan who said ‘Stop there... perfect!’ I said ‘no, that’s not right.’ He said, ‘no listen.’ So we just hit play and those words came out of the speakers and it was a total accident which made the song. He’d already written all the verse and lyrics and the lyrics were glowing towards his favourite songwriters. It just suited the band and the moment. Who have you learned from? I am a big fan of Tchad Blake. The songs are always a bit dirty and have character and don’t necessarily sound neat and he still manages to capture the

song. I’m a big sucker for The Beatles. To me, they invented, without even knowing it, the modern way records are made. Back when they first started, it was get the song and get it down and then they went into George’s studio to see what he could do and they pushed it to its limit. People today still want to capture that and that’s pretty amazing that they want to sound like something that is 50 years old. What do you see producer’s role as? Trying to capture that seed planted when a song is written because often it’s just an acoustic guitar on the end of a bed, recorded with an iPhone or something and then it’s taken to the band. Hopefully there’s a vision from the artist. I love to try to help paint someone else’s pictures. I see it that they bring in a drawing and it’s coloured by numbers and I help them by saying, well I think number 5 should be a lighter purple. Without saying it any more esoteric than that, it’s how I see it. It’s collaborating with the artist to get the most out of the song and hopefully make their vision come to life.


Sharing his time between Sydney and Toronto these days, having become Harry Manx’s touring keyboards player, Clayton Doley recorded his debut solo album, Desperate Times, at Canterbury Studios in Toronto with Jeremy Darby engineering, himself producing, mixing and mastering. Producer J Walker, who by the by composed the music for ABC TV series, Miss Fisher’s Murder Mysteries, took Queensland folk singer-songwriter Ange Takats into the same Gippsland country hall he used to record Paul Kelly’s latest album, Spring And Fall, to cut her second album, Arva.

set up by a professional, for whatever tuning you play in. Bands that tune low, you need extra heavy strings to handle the correct tension. Don’t be afraid to contact the studio/engineer and run through what you’re going to be doing and what you may need to do to prepare. It will make the session run smoother and get you a better result in the long run.

The debut solo single, Low High, and forthcoming album, In Tongues, from Ella Hooper was produced and recorded by Jan Skubizewski (Owl Eyes, Illy) in his Collingwood studio. Victoria’s Sleep Decade recorded their debut album, Into Spinning Lights, at Pocket Full of Studios in Point Lonsdale with producer Nick Huggins (Kid Sam, Oscar + Martin). Perth’s self-styled “fuzz-punk-blues” three-piece The Floors, whose members also variously play in Kill Devil Hills and Will Stoker & The Embers, cut their debut album, Dead Beat, in four days last year at Poons Head studios in Fremantle, co-producing with Timothy Nelson, while Rob Grant recorded, engineered and mastered it, Adam Round mixing it. Co-producing with engineer/mixer Julian Mendelsohn, singer, songwriter, guitarist and pianist Dave Mather and keys, guitar and bass player Paul Ruske of Melbourne threepiece The Glorious recorded their latest album, Sweetwater, at Sing Sing, Morenoiz, Final Sound and The House Of Leaves studios, mastered by Matthew Gray Mastering. Former Oblivia singer-songwriter Gordon Burke AKA Josh Orange has been busy recording a new album under the Josh Orange banner, Songs For The Journey, in his home studio.

THE BRAIN RECORDING STUDIO CLAYTON SEGELOV - OWNER/PRODUCER What’s the studio set-up you have there equipment-wise? Amek/Neve Mozart console. Pro Tools HD, 24-track 2” Tape, Dynaudio/Urie/Yamaha/Auratone monitors. And lots of lovely outboard and microphones. Any tips for artists entering a studio for the first time? Rehearse, rehearse, rehearse. Pre-production and then ... rehearse, rehearse, rehearse some more. You can never be too prepared. Also, get your guitars

80 • To check out the mags online go to

Which notable artists have worked at the studio? The Scare, Daniel Johns, Birds Of Tokyo, Burn Antares, The Angels, Jerk, Simon Day, Wolf and Cub, Doc Holiday Takes The Shotgun, The Chitticks, Witchfight, Adrift for Days, Slimy Things, Billy Thorpe, Resist The Thought, Bridezilla, Sleep Makes Waves, Dillinger Escape Plan, Rosetta, Nasum, Scribe, Hunt The Haunted, Graves and hundreds more. Who do you have on staff and what’s their background in the industry? Mike Taverner: Engineer, live sound, live recording, guitarist in Nobody Knew They Were Robots. Brendan Dive: Admin, assistant engineer, bass player in Harbourer and Mary Jane Kelly. Phil Bombala: Engineer, computer genius and soldering iron master. Tate Haris: Assistant engineer, good vibes guy. Alexander Reyter: Engineer, gear nut, French connection. Engineered for Universal artists in France. Clayton Segelov: Owner, producer, Head engineer. Analogue vs digital – discuss. Both. We are experienced in the best of both

worlds. Too many people go on about the limitations of either format. They are both tools and the only limit is your imagination. Can bands bring in their own engineer or do they have to solely use a house engineer? Outside engineers are welcome. Is the studio capable of holding a full band at once for recording? Absolutely. We love a full band tracking session. These situations can yield amazing results. We’re an impoverished indie band – do you offer any deals for acts in our situation? Sure, we are very reasonably priced. We love to be busy and it shows by the sheer number of quality records that come out of this studio. If you have a project, give us a call and we’ll find a way to make it happen. Do you have any in-house instruments at the studio acts can use, or is it totally BYO? We do. There are great amps, guitars and drum kits available. What’s the access to the studio like with regards to parking, flat load, etc? We have parking and lifts to get you into the studio. We’re on the 8th floor of a Surry Hills building. Working in the studio can be arduous and we’ll need a break – what are the amenities in the local area? Pubs, cafes and distraction a-plenty. We’re in the heart of busy Surry Hills fashion district.




Drumtek, the specialist drum store in High Street Northcote has just completed their annual Drumtober promotion, the 20th time they’ve done so. Frank Corniola, owner of Drumtek, is taking a very positive view of the music retail scene and is in the midst of major renovations. The store is now a triple-front shop with plenty of stock instore leading up to Christmas. Many of the major drum brands lost by the fall of AMG such as Zildjian, Remo, Pearl and Vic Firth, have now found their way into new wholesalers’ hands, notably Australasian Music Supplies. Visit for more information.



MUSIC TUITION VIA SKYPE Masson Music in Mt Gravatt promote themselves as a family-based store, dealing in entry-level guitars and family-style keyboards. They’re also big on music education with around 300 students statewide, overseen by 16 music educators. However, while being a successful, traditional music retailer, Masson Music has one foot placed firmly in the future and are about to provide long distance music lessons via Skype to those in remote areas of Queensland. Visit for more information.

ICONS NEW WEBSITE Spencer Keast, manager of Icon Music in the Sydney suburb of West Ryde is thrilled with the way the store’s relaunched website has been accepted. The relaunch has been timely for the promotion of the new Blackstar range, which will be instore within the next week or two. Spencer is excited about the Blackstar limited edition 5th anniversary HT range of amps in cream covering due for delivery any day now. Also not far behind will be a delivery of the new range of HD1 and HD5 amps. Visit http:// for more information.

KOSMIC STREAMS LIVE Kosmic Music in Osborne Park has introduced a regular Saturday afternoon live streaming event. There are a few sessions throughout the day, where their music technology specialists run various product overviews on the latest hi-tech and DJ gear. Kosmic Live is an interactive experience where viewers can engage in real time and ask questions or provide feedback. For streaming times check the Kosmic Hi-Tech Facebook page every Staurday and tune into the Kosmic Livestream channel. Local DJs get the chance to showcase their talent every Saturday from 4-5pm instore, which streams live. Visit for more information.

WIN A MATON EM325C FROM HAWORTH GUITARS Haworth Guitars in Shellharbour, NSW is Australia’s biggest Maton dealer for the second year running and are celebrating by giving away a beautiful Maton EM325C guitar. Visit www.haworthguitars. for details. The Haworth Guitars team is also gearing up for a huge street party with live music, which happens on Tuesday 27 November.

YESVEMBER AT GALLINS MUSICIANS PRO SHOP You’ve got yourself your Movember mo, now get yourself into any of the Musicians Pro Shops nationally to pick up a sensational instrument bargain in their Yesvember Sale. Actually you don’t need a mo at all. Stock is different from store to store but, for instance, you may grab a Gibson Custom Shop LP at under $4,000 or a Flying V Melody Maker SB for under a thousand. There are also great deals on Orange amps. Visit www. and for more information. Treat yourself to an early Christmas present.

SEND US YOUR RETAIL NEWS Muso is committed to not only keeping the public informed about what’s happening in music stores nationally but also giving the retailers some promotional assistance. If we don’t know it’s happening, we can’t promote it. So here’s an open invitation to music retail stores nationally to keep us up to date with your sales, instore clinics, web activity or anything our readers would be interested in. Send your info to: Sonoma’s Wireworks Gear Jack 2 is basically a device that connects an instrument, microphone or any other audio hardware (such as a mixer) to your iPad, iPhone or iPod Touch. The fun and games commence once you’re connected and can access the apps to create your music. In reviewing the Gear Jack 2, we really only needed to know two things - is the construction solid and is the signal it emits clear and strong? The answer to both is a resounding yes. A solidly-built aluminium unit, the Gear Jack 2 is quite weighty for its size. Its features include a 1/4” instrument input with configurable Pad, Lo-Z and Hi-Z modes, and an 1/8” stereo mic/line input with pad, Normal and Boost modes. Each input offers 60dB of continuous level control. The unit has four rubber pads on the bottom so it can sit tight and flush with a table surface. Four Guitar Jack enhanced apps are recommended for use but don’t come automatically installed; you’ll need to download them. These include Guitar Tone (a free app featuring amps and effects), Taylor EQ (a free Taylor guitar brand-specific app), Four Track (a multitrack recording app which is not free) and Studio Track (multitrack recording software you’ll also have to pay for). You can also use other music apps. To begin, you need to plug the Guitar Jack 2 in before launching an app. The control panel can be found under Song tools in the four Track app. Once you’ve connected a mic or instrument, the sound quality is faultless, with no dropouts, hiss or interference whatsoever. It’s more expensive than some at just under $200 but you get what you pay for; solid construction and perfect sound reproduction.

BOSS TU10 CHROMATIC TUNER It’s not a pedal and doesn’t have flashing LED lights but that doesn’t mean the Boss TU-10 Chromatic Tuner is any less effective than it’s more expensive brothers. The Boss brand was the first to come up with an automatic chromatic tuner and I think it’s safe to say that their TU3 is the most popular pedal-based tuner in the world. As for the TU-10 clip-on tuner, it does a great job at exactly what it is supposed to do and in a convenient and hassle-free manner. It has a stylish design, if that means anything in a clip-on tuner, and comes in a variety of colours, which is probably a more important factor. It’s a solid little unit too and unlikely to break under normal playing conditions. For folks who don’t know, the chromatic scale is a scale of musical notes with 12 pitches, each with a semi-tone difference between them… the main notes in other words. This clip-on device includes the Accu-Pitch function, which sounds a tone when pitch is correct, so no need to keep looking, just listen up. The TU-10 also offers flat-,tuning up to five semitones, and Stream mode which simulates a strobe tuner. The TU-10s “true colour” LCD display provides a full, multi-colour visual experience not seen before in other clip-on tuners. However, this can be a drain on the battery and mono display mode is also possible to save some battery juice. In addition, the reflection-display function dramatically improves visibility, perfect for when you’re playing on a dimly-lit stage and need to do a quick tune-up. The folks at Boss really have the tuner market sorted. If you’re after a cheap and reliable tuning option, then the TU10 will do it for you.

I started by bypassing the pedal and getting the best acoustic tone I could, then played for a bit before I turned the unit on. This made an already good tone sound fantastic. You could go from a tight scoop to a wide scoop by increasing the bandwidth and a wide crossover between frequency ranges 1 and 2 made for a very “musical” application. Up next was the “Colourizer”, an acoustic or mic preamp that employs an enhancer and equaliser in the signal chain. The preamp adds a fuller tone, the enhancer bringing out harmonics and the EQ either cuts or boosts frequencies. The last unit, the “Dual Mix”, was by far the best. First, you can plug either a mic or line input into channel 1 or 2, set the gain and high or low EQ. There’s also an “EFX” processor that adds either two types of reverb, a delay and a doubling effect over both channels. The real corker however is the aux, which takes in an RCA or mini-jack (1/8”) input and adds it into the mix with a separate control. Finally, a real world solution for musicians bringing backing tracks to gigs without a whole bundle of DIs onstage or requiring the sound guy to provide house music.

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Noise Gates have long been an integral effect, not just for guitar players but also for sound engineers, in particular for use on drum kits to stop bass drums, snares and toms from ringing out, as well as stopping bleed into other microphones. Out of the box, Rocktron’s Guitar Silencer Pedal looked like it’d been put together with military grade materials that would survive some form of nuclear annihilation. This simple unit only has two knobs, “Gate” and “Hush”, and the “Active” LED light turns on when the signal is muted. Your guitar goes into the input and the output either goes directly into the front of your amp or to the next line of effects in your chain. There’s also a send and return that relays an unprocessed signal to either another amp or an effect like reverb or delay that needs to remain untouched by the gate. In some cases you can use more than one noise gate to eliminate noise before and after a distortion pedal, or the drive on your amp, by placing a second pedal in your amp’s effects loop.I kept it simple by running my hot-rodded Strat into the Guitar Silencer, then my Peavey 5150. Immediately I noticed that this wasn’t another weak noise reduction unit that only starts working at maximum settings. This pedal was ready to take the hottest of signals and slice them into silence no matter how hot. The Rocktron Silencer is hands down the most aggressive noise reduction pedal on the market and without a doubt one of the best. If you need a pedal to tighten and clean your tone, this one is a gem.

The first pedal, the “Dual Para EQ”, houses two independent parametric equalisers, each with level, bandwidth and frequency controls. There are also two frequency range knobs on each EQ that places the range between either 90Hz to 1.6kHz or 680Hz to 11kHz.


AER POCKET TOOLS AER describe themselves as the “Acoustic People”, a company dedicated to providing musicians with the finest quality acoustic reproduction tools since 1992, and now aiming to dazzle once again with their range of “Pocket Tools”. The three Pocket Tools examined were the “Dual Para EQ”, “Colourizer” and “Dual Mix”, and each unit was tested going into a self-powered speaker.


ROCKTRON METAL EMBRACE Rocktron’s Metal Embrace is yet another serious weapon in their Boutique Series of pedals, generating a firebreathing distortion that can turn a clean sound into the sort of grind you’d find in a modern high-gain amp. This pedal features three large knobs up the top - “Metal Embrace”, “Symmetry” and “Level”. There are also two pairs of small knobs housed inside one another as part of an EQ section. The “Metal Embrace” knob controls the amount of distortion generated and “Symmetry” determines the amount of negative excursion added to the waveform. I tested this pedal by plugging into the clean channel of my amp and then dialing in a decent clean tone. I aimed for a whole bunch of different distortions to see how versatile this unit was, as anyone that’s into heavy music knows there’s a massive difference between styles and tones, from old school thrash to modern down-tuned chug. I set all the controls completely flat and switched the pedal on. The tone was harsh and metallic, perfect for ‘90s style industrial/grunge, reminiscent of acts like Nirvana, Ministry or The Melvins. Cranking up the Symmetry knob generated a unique “Lo-Fi” 8-Bit sound with an added gating quality perfect for electronic or industrial music. Next, I pulled the Symmetry all the way back for a traditional guitar tone and started to play with the EQ section, which basically mimics a Boss Metal Zone, where you can get just about any type of distortion desired, from barking mids to bone-shattering crunch. All up a good pedal for achieving heavy sounds without having to spend a fortune on a top-notch valve amp.

The Egnater Vengeance, a two-channel, 120 watt amplifier (switchable down to 60 watts), packed with 6 x 12 AX7 preamp tubes and 4 x 6 L6 power valves. Each channel has its own gain, volume and three-band EQ as well as a bunch of tone-shaping switches for Tight, Bright, Gain and Mid Cut/Boost. On top of that is a wonderfully dense onboard Reverb that spills over to the next channel for a natural-sounding decay. In the master section there are controls for presence and density as well as two master volumes, with the secondary master selected via footswitch. Paramaters are accessed via a massive six-button footswitch responsible for channel select, channel 1 mids, channel 2 mids, effects loop, reverb and secondary master control. The first channel is basically a clean channel that’s also capable of being driven into vintage gain territory. Pulling the gain back, boosting the bass and cranking the reverb (which there is stupid amounts of) made for some killer Fender tones. Increasing the gain and engaging the extra gain switch created some interesting warm, transparent drive perfect for blues leads to light country rock (if coupled with a Telecaster). Cranking the Bass, Middle and Treble all the way up, adding in all the tone switches, lowering the master volume and increasing the channel volume brought out the most distorted voice on this channel, which was perfect for rock, alternative and punk, having a smooth midrange but with plenty of bite, bottom and sustain. Moving along to the next channel things really began to fire up. Even at very low volumes there was a ton of gain capable of providing any shredder the dirt they desire. The Egnater Vengeance is a great amplifier for a guitarist who wants it all. It can cover just about any tone desired while still maintaining its own identity.






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Drum Media Sydney Issue #1136  

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...

Drum Media Sydney Issue #1136  

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...