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S Y D N E Y ’ S L A R G E S T C I R C U L AT I N G F R E E M U S I C P U B L I C AT I O N • 2 1 M AY 2 0 1 3 • 1 1 6 1 • F R E E










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COMING UP: Wed 29 May: Vibrations Band Competition ; Thu 30 May: Industrial Show feat: “Cybridianâ€? , “Pink Industrial Whoresâ€? , “Noveauxâ€? ; Fri 31 May: Punk Show with “Alison’s Diseaseâ€? , “Straw Dogsâ€? , “EbolagoldďŹ shâ€? , “Cap A Capoâ€? , “Skin Pinâ€? , “Casino Rumblersâ€? ; Sat 1 June 12pm - 12am Punk Fest feat: “Local Resident Failureâ€? , “The Acid Monkeysâ€? , “The Scamâ€? , “Excitebikeâ€? , “Riot Nineâ€? , “Rukusâ€? , “Nerdlingerâ€? , “Old Time Gloryâ€? , “Topnovilâ€? , “Nudist Colonies Of The Worldâ€? , “Everything I Own Is Brokenâ€? , “Another Broken Stringâ€? , “Mangrove Jackâ€? , “Fat Chanceâ€? ; Sun 2nd June: White Ribbon Fest - Anti Violence Against Women BeneďŹ t feat: “Jewel Heart & The Archangelsâ€? , “Novembers Oathâ€? , “Dominoâ€? , “Amodusâ€? , “The Creptter Childrenâ€? , “Acid Nymphâ€? For band bookings please email

Bistro open Lunch and Dinner !! +




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T H E D R U M M E D I A I S S U E # 1 1 6 1 T U E S D AY 2 1 M AY 2 0 1 3


“Once I Was An Eagle allows Marling to show off all her prophetic talents as one of this generation’s greatest songwriters, but the tunes lack the versatility of her earlier releases.” - Natasha Lee reviews LAURA MARLING’S ONCE I WAS AN EAGLE (P34)


“That’s always l bbeen the vision of the band, for people to expand their mind and to travel into the make believe.” - Luke Steele of EMPIRE OF THE SUN

“I’m still living with my momma and I’m poor.” - Juice of FLATBUSH ZOMBIES (P24)

“It’s pretty strange, it’s like we’ve made a fun record about dying.” - Aaron Dessner of THE NATIONAL (P26)

“When I was made acquainted with Gorillaz I didn’t know who they were.” - BOBBY WOMACK (P28)


“#willpower it’s just anonymous, generic and lazy clubby electro aping Guetta, Swedish House Mafia and LMFAO (without the irony).”


“Individuals d l grieve iieve in different ways, but performing ought to be cathartic for Deftones right now, particularly when in front of such an exuberant, receptive audience.” - DEFTONES, Live Review

“I will not be happy until his scrotum explodes.” - Cassandra Fumi reviews the EUROVISION telecast (P40)

“The UK-based four-piece revel in low tones, pulsating percussion and angular guitar riffs, all held together by frontwoman Jehnny Beth’s howls and screeches.” - Sevana Ohandjanian reviews SAVAGES’ SILENCE YOURSELF (P34)

- Cyclone IN OG FLAVAS

PUBLISHER Street Press Australia Pty Ltd GROUP MANAGING EDITOR Andrew Mast EDITOR Mark Neilsen ASSISTANT EDITOR Natasha Lee MUSO EDITOR Michael Smith FRONT ROW EDITOR Cassandra Fumi GIG GUIDE EDITOR Justine Lynch CONTRIBUTORS Adam Curley, Adam Wilding, Alex Hardy, Anthony Carew, Ben Meyer, Brendan Crabb, Bryget Chrisfield, Cate Summers, Celline Narinli, Chris Familton, Chris Maric, Chris Yates, Cyclone, Dan Condon, Danielle O’Donohue, Dave Drayton, Guy Davis, Helen Lear, Huwston, Jamelle Wells, James d’Apice, James Dawson, Jessie Hunt, Katherine Edmonds, Katie Benson, Kris Swales, Liz Giuffre, Lucia OsborneCrowley, Mark Hebblewhite, Matt MacMaster, Paul Ransom, Paul Smith, Pedro Manoy, Rip Nicholson, Robbie Lowe, Ross Clelland, Sam Hilton, Sarah Braybrooke, Sarah Petchell, Scott Fitzsimons, Sebastian Skeet, Sevana Ohandjanian, Simon Eales, Steve Bell, Stuart Evans, Tim Finney PHOTOGRAPHERS Angela Padovan, Carine Thevenau, Cybele Malinowski, Josh Groom, Justin Malinowski, Kane Hibberd, Linda Heller-Salvador, Maclay Heriot, Tony Mott

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ADVERTISING DEPT Brett Dayman, James Seeney, Andrew Lilley CLASSIFIEDS ART DEPT Dave Harvey, Matt Davis COVER DESIGN Dave Harvey ACCOUNTS DEPT 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


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SEE THE WORLD Even though his regular crew, Gomez, aren’t on the road right now, Ben Ottewell still can’t resist popping down to spread some musical love. As one of the band’s three main vocalists, Ottewell helped Gomez become one of the most seminal and influential British bands of the noughties and his rich baritone croon still has the power to send hairs skyward. He’ll be playing solo tracks from his 2011 record, Shapes And Shadows, as well as a selection of Gomez classics and some choice covers, in concert, on the following dates: Wednesday 26 June, Mojo’s, Fremantle; Friday 28, The Substation, Melbourne; Saturday 29 and Sunday 30, The Workers Club, Melbourne; Thursday 4 July, The Barwon Club, Geelong; Friday 5, Theatre Royal Castlemaine; Sunday 7, Lizotte’s, Dee Why; Wednesday 10, Lizotte’s, Newcastle; Thursday 11, The Basement, Circular Quay; Friday 12, Lizotte’s, Kincumber; Saturday 13, Brass Monkey, Cronulla and Sunday 14, Old Museum, Brisbane.

THIS WEEK’S RELEASES LAURA MARLING Once I Was An Eagle Virgin/Cooperative

MOUNT KIMBIE Cold Spring Fault Less Youth Warp/Inertia


The Cold Light Of Day Obese

They might all come from different parts of the world, but Xavier Rudd, pictured, Donavon Frankenreiter and Nahko & Medicine For The People are intrinsically connected through their attitude, beliefs and soulful songs. Catch three voices, three cultures and a shared love of all things music and ocean on this springtime triple-header that’s set to be as warm as the rising sun: Saturday 28 September, 3 Oceans Winery, Margaret River; Sunday 29, Fremantle Arts Centre; Thursday 3 October, The Forum, Melbourne; Friday 4, Big Top Luna Park, Sydney; Sunday 6, Caloundra Music Festival, Sunshine Coast (all ages); Monday 7, YAC Amphitheatre, Byron Bay (all ages) and Tuesday 8, The Tivoli, Brisbane. Tickets go on sale Thursday 30 May – see Xavier Rudd’s website for details. All national dates are proudly presented by Street Press Australia.



Cave Rave PIAS/Liberator




New material, alternating setlists every night and a brandspanking light show; with all this in mind these upcoming dates from Sydney post-rockers sleepmakeswaves are shaping up to be monumental. Suitably titled, ‘...and so we destroyed everything’, these will be the only headline dates for the band this year so get along and see just why the four-piece are causing a massive stir right around the world. Catch sleepmakeswaves on their national tour: Friday 21 June, ANU Bar, Canberra; Saturday 22, Town Hall, Wollongong; Friday 28, Annandale Hotel, Sydney; Saturday 29, Cambridge Hotel, Newcastle; Saturday 6 and Sunday 7 July, Evelyn Hotel, Melbourne; Friday 12, The Tempo Hotel, Brisbane; Saturday 13, The Northern, Byron Bay; Thursday 18, Mojo’s, Fremantle; Friday 19, Amplifier, Perth and Friday 26, Annandale Hotel, Sydney. Proudly presented by Street Press Australia.


EVERY STREET HAS A STORY “So he had the singer of a touring punk rock band who’s just been to Amsterdam taking a drug test. He was probably thinking he’d hit the jackpot.” Touring Europe and blogging for


Aussie punk rock favourites The Smith Street Band are flying over a few of their American buddies, Joyce Manor and Cheap Girls, chaperoning them, introducing them to meat pies, AFL and plying them constantly with booze on their first visit to the country. Get your vocal cords ready for a big outing on this run of dates: Thursday 22 August, Rosemount Hotel, Perth*; Friday 23, Prince of Wales, Bunbury*; Sunday 25, Karova Lounge, Ballarat*; Thursday 29, The Zoo, Brisbane; Friday 30, Great Northern, Newcastle; Saturday 31, Annandale Hotel, Sydney; Wednesday 4 September, Transit Bar, Canberra and Saturday 7, Poison City Weekender, Corner Hotel, Melbourne. (*Joyce Manor not appearing – they’re bummed out about it, too!).

Far from a side-project for Hollywood star Jared Leto, Thirty Seconds To Mars have powered forward to become one of the most bombastic arena rock bands of our time. Back on the scene with their first album in four years, Love Lust Faith + Dreams has been put together by Leto and producer Steve Lillywhite (U2, The Rolling Stones) and brings together the theatrics, the emotion and raw power of the band, signalling an evolution in sound and substance. Announcing their biggest Australian shows, Thirty Seconds To Mars will perform the following dates: Saturday 10 August, Rod Laver Arena, Melbourne; Sunday 11, Sydney Entertainment Centre; Tuesday 13, Brisbane Entertainment Centre and Friday 16, Challenge Stadium, Perth. All dates are all ages.

FEET DON’T QUIT THE BEAT Since the release of their 2010 debut Gold On Gold, the rise of Clubfeet has been a steady one, and with their latest record, Heirs And Graces, the Melbournevia-Cape Town five-piece have all but cemented their place in the hearts of nu-disco lovers right around the country. Playing their biggest venues to date, you can catch the gang with special guests Panama on the following dates: Friday 28 June, Zierholz, Canberra; Saturday 29, Oxford Art Factory, Sydney; Thursday 4 July, Corner Hotel; Friday 5, Karova, Ballarat; Saturday 6, Eureka Hotel, Geelong; Wednesday 10, Akuna Club, Perth; Thursday 11, Mojo’s, Fremantle and Thursday 18, Oh Hello!, Brisbane.

ONLY ONE GUY FOR TAYLOR Just in case this tour wasn’t anticipated enough by pop fans around the country, it has just been announced that Guy Sebastian will act as support for Taylor Swift on her bigger-than-thou Red Tour. Get in early for some mad Insta pics of our original Australian Idol when Sebastian and Swift tour the following venues: Allianz Stadium, Sydney, Wednesday 4 December; Suncorp Stadium, Brisbane, Saturday 7; NIB Stadium, Perth, Wednesday 11, and Etihad Stadium, Melbourne, Saturday 14.


Bon Jovi


BangTango crashes under Bon Jovi ticket demand Gaslight Anthem at the Enmore Theatre Jello Biafra

Dune Rats Red Light Green Light

On tour with Decline

Pop punks on the rise A Loss For Words are finally getting down to Australia, playing shows with genre others Monuments and Sidelines at a whole bunch of dates this winter. The Boston quintet kick off their tour on Thursday 25 July at Snitch, X&Y Bar in Brisbane, followed by Friday 26, Studio 454, Brisbane (all ages); Saturday 27, The Bald Faced Stag (The Wall), Sydney (licensed/all ages); Sunday 28, The Basement, Canberra; Wednesday 31, The Barwon Club, Geelong; Thursday 1 August, Next, Melbourne; Saturday 3, Ferntree Gully Hotel and Sunday 4, Phoenix Youth Centre, Melbourne (all ages). Tickets go on sale Thursday.

FLEETING HEAT Announcing their first tour on home soil in more than eight months after a recent run of European tour dates with One Direction, 5 Seconds Of Summer are ready to send teenage hearts a-flutter right around the country once more. Catch the quartet when they perform the following dates: Sunday 2 June, Metro Theatre, Sydney; Wednesday 5, The Hi-Fi, Brisbane; Friday 7, Ormond Hall, Melbourne and Saturday 8, Astor Theatre, Perth. Dates are all ages, except for Brisbane which is under-18 only. You can also check out the Sydney pop-rockers when they support 1D on their Australian arena tour this spring.

14 • For more news/announcements go to

Yothu Yindi

SOUND OUT THE TREATY Last week, the National Indigenous Music Awards (NIMA) announced that this year’s Awards concert would be a celebration of the music made by Yothu Yindi, pictured (members on the 2012 ARIA Awards Red Carpet with Dan Sultan. Pic by Cole Bennetts), with our country’s finest Indigenous artists set to take part in a magical night for a remarkable band. A natural continuation from the ARIA Awards performance that featured the likes of Dan Sultan, Paul Kelly and Gurrumul, the event will take place at the Darwin Amphitheatre on Saturday 10 August, and will feature the original members of Yothu Yindi as well as a handful of artists looking after the duties of Mandawuy Yunupingu including Rrawun Maymuru, grandson and frontman for East Journey. A full line-up of artists will be confirmed mid-June.

BITCHES KNOW Taking his sound to places fresh and exciting with his Deep Bitch remixes, DCUP has been finding big time support from all corners of the globe, his new tracks currently being championed by the likes of Diplo, Jack Beats, Tommie Sunshine and more. In addition to all this, the Melbourne producer has been working on an EP, Versus, which he’ll be launching right around the country. Check DCUP out on the following dates: Friday 24 May, World Bar, Sydney; Saturday 25, Oh Hello!, Brisbane; Saturday 1 June, The Aviary, Perth; Friday 21, Trinity Bar, Canberra; Friday 28, Can’t Say, Melbourne; Sunday 7 July, Northern Unigames, Cloudland, Brisbane and Friday 26, Splendour in the Grass, North Byron Parklands.

THE FLYING V There are few guitarists on the planet that wield the axe with more panache and grace than Steve Vai. Managing to put emotion into the instrument while exhibiting unmatched technicality, Vai is an innovator and continues to push the limits of what man can do with a six-string. Here in a few months time, he’ll play the following dates: Wednesday 10 July, Concert Hall, Perth; Saturday 13, Palais Theatre, Melbourne; Sunday 14, Canberra Theatre; Monday 15, Enmore Theatre, Sydney and Tuesday 16, QPAC Concert Hall, Brisbane. Get your tickets from Tuesday 28 May.

A Day To Remember

HOLDIN’ IT DOWN FOR THE UNDERGROUND Florida’s favourite gator boys, A Day To Remember are returning to Australia for their first dates Down Under in almost 18 months, playing nationally with a couple of epic supports, just to sweeten the deal. With their fifth album, Common Courtesy, about to be released, expect to hear a bunch of new cuts as well as the band’s full arsenal of mosh anthems. Arguably the most fun and entertaining metalcore band you’re likely to see on stage, you can catch A Day To Remember with supporting guests The Devil Wears Prada and Aussie lads Dream On, Dreamer at the Brisbane Riverstage, Friday 12 July (licensed/all ages); Hordern Pavilion, Sydney, Saturday 13 (licensed/all ages); Festival Hall, Melbourne, Sunday 14 (licensed/unlicensed) and Metro City, Perth, Thursday 18 (18+). Tickets for these shows go on sale Friday 24 May.

PIECING IT TOGETHER Following on from the bouncy sounds of recent singles Why’d You Have To Kiss Me So Hard? and Awhoooh!, Laura Imbruglia is finally ready to release her new record, What A Treat. Indeed. And just in case Imbruglia’s music wasn’t delightful enough, the album package comes complete with a puzzle – because we know you like solving the shit out of those mind benders. The now Melbourne-based singer-songwriter plays Friday 28 June, Boatshed, Manly; Saturday 29, GoodGod, Sydney; Sunday 30, Yours & Owls, Wollongong (afternoon); Friday 5 July, Beetle Bar, Brisbane and Saturday 13, The Tote, Melbourne.

friday may 31

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friday June 7


with Sienna Skies

delSanto Rock Covers Show

saturday june 22

with Thrashed


$5 Carlton Draught


$5 beers before 10pm friday June 14

Gay Paris friday June 21

The Underground Architect

saturday july 13


HAPPY HOUR – 9 -11 - $4.50 HOUSE SPIRITS & HOUSE WINE $1 POOL BEFORE 11PM #00,*/(4!456%*04*9/&5"6ŭWWW.STUDIOSIX.NET.AU 88841)&3&/*()54105$0.ŭ6A BOYLE ST, SUTHERLAND 15


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Join Vivid Sydney visitors-in-the-know at the newly unveiled Vivid Terminal Bar for three afternoons and evenings of fabulous pop-up dining, bar, music and installations. Located in the Cargo Hall of the Overseas Passenger Terminal, with free entry and the best views of the Sydney Opera House and light installations, this is the place to be at Vivid Sydney across the June long weekend. There will also be Terminal Projeckt, two Vivid Music events on Saturday 8 and Sunday 9 June, featuring leading international electronic music artists including Tensnake and Jimmy Edgar. In other Vivid news, Empire Of The Sun’s performance on Friday 31 May will be live streamed on YouTube.

James Mathison

NEW INDUSTRY FORUM ANNOUNCED TILT (Tomorrow’s Ideas Leading Today), an initiative of the Australian Institute Of Music, has released the first round of speakers set to appear at the inaugural forum. The industry experts include Ianto Ware – National Live Music Coordinator, Sounds Australia; Danny Yau – independent marketing and digital marketing consultant (Foxtel); Colin Blake – CEO Rdio; Rhys Thomas – Senior Agency Manager, Google, and Luke Hopewell – Editor, Gizmodo Australia. Presented by, the event will be hosted by television presenter James Mathison, pictured, as the industry professionals argue for 20 minutes each on an idea, innovation or policy they feel passionately about. Tickets are $35 ($10 for students) and a further announcement of speakers will be made in June. The event itself takes place Friday 5 July at the Institute in Surry Hills.

LITTLE BIGSOUND RETURNS Little BIGSOUND confirmed it will be returning to Brisbane in 2013, on Friday 12 July. The event aims to build up the skills of young people looking to become involved in the music industry, with a focus specifically on those between the ages of 15 and 25.


JUKE IT OUT The Laurels

REST ON YOUR LAURELS Having shared the stage at Austin Psych Fest last month and toured the East Coast together in 2011, The Black Angels have once again invited The Laurels to accompany them on their Australian tour next month, which will no doubt be loaded with guitar freak-outs, swirling psychedelia and gregarious good-time vibes. Known for their mind-blowing live show, The Laurels create luscious, complex and dangerous psychedelic shoegaze bliss. Joining the two bands at the Enmore Theatre on Saturday 15 June will be Zeahorse.


SNAK ON THIS Celebrated local talent Snakadaktal and City Calm Down are joining Alt-J (∆) as special guests on their forthcoming tour this July. City Calm Down, who supported alt-J (∆) at their Sydney headline show earlier this year, clearly impressed both audiences and the band. See the show at Hordern Pavilion on Wednesday 30 July. Frenzal Rhomb

IT’S ALL ALAN American country music superstar, Alan Jackson, will be returning to Australia for a limited number of concerts in late September and early October. He’s sold nearly 60 million albums worldwide and has scored nearly 40 Top 10 hits in Australia. Jackson will play at Allphones Arena on Tuesday 1 October with special guests Sara Evans (USA) and Morgan Evans. He will also appear at the Deni Ute Muster on Saturday 5.

Ex-Premier Artists agent Damian Costin has launched his new company 123 Agency, taking with him a host of acts he’s booked previously including Owl Eyes, Stonefield, Ella Hooper and Kingswood. One act that hasn’t made the jump is Loon Lake, who’ve gone to Village Sounds. Booking agent Mark Lackey left the Village Sounds team to start up his own company, The Wildfire Agency. The roster is confirmed to include Geoffrey O’Connor, Mat McHugh and Salmonella Dub. Label head Tim Levinson confirmed four artists from the Elefant Traks roster, Urthboy, The Herd, Hermitude and Horrorshow, have signed with the Artist Voice booking agency. Previously with New World Artists, they have left on amicable terms with NWA now focusing on acts such as Allday, Northlane and British India.

Sydney venue The Basement is re-energising itself in the live music scene and first cab off the rank is the launch of its World Music Wednesdays program, featuring the likes of Dereb The Ambassador, True Vibenation and Keyim Ba. Throughout winter, a variety of internationalinfluenced music will be on display with everything from Latin jazz to reggae to Afrobeat. Entry into WMW will only be $5 and each act will perform two sets with resident DJ Huwston spinning tracks in between the main bands.



MusicNSW will hold their next free workshop – on music publishing – 6.30pm Thursday 23 May. The panel includes Ian James (Mushroom Music Publishing), Marianna Annas (ABC Music Publishing) and Michael Szumowksi (Albert’s).

The Hate Across Australia tour, featuring extreme metallers Thy Art Is Murder, American grinders Cattle Decapitation, the wild King Parrot and mechanised devastators Aversions Crown, has announced local supports. Hunt The Haunted open for Sydney’s all age afternoon rager while New Blood will do the deed at the 18+ night event, both at Annandale Hotel on Saturday 8 June. On Sunday 9 the Cambridge Hotel show will feature UnderGreySkies, while Wretch warms up Canberra’s Basement on Wednesday 12.

Pendulum electro-house spin-off project Knife Party topped America’s Billboard’s Dance/Electronic Album dance charts with their EP, Haunted House. Perth outfit Tame Impala announced the departure of long-time bassist Nick Allbrook. Allbrook will be replaced by Cam Avery from The Growl and Pond.


Stone Temple Pilots appointed Linkin Park vocalist Chester Bennington as the band’s new frontman, having controversially fired founding frontman Scott Weiland earlier this year. Sydney outfit Movement signed to Modular Recording’s label roster ahead of their debut upcoming single, Feel Real. They’re being booked and managed inhouse. Tim Rogers announced he will be hosting a new television show titled STUDIO At The MEMO. Artists confirmed to perform during the show’s season include Tex Perkins, Kaki King, Kate Miller-Heidke and Martha Wainwright. The Community Radio Broadcasting Association Of Australia’s President Adrian Basso told that community radio stations switching off their digital platforms is a real possibility after the sector failed to receive extra funding in last week’s Federal Budget. Melbourne songwriter Nick Batterham signed to Popboomerang for the release of new album, Closing Time At Yah Yah’s. Splendour In The Grass announced that a secure re-sale system will be available via Moshtix for those who missed out on tickets. The initiative is part of an effort to stop scalpers selling tickets online at inflated prices. The Australia Council’s Tony Grybowski has been promoted to the CEO role by the Federal Arts Minister Tony Burke.

Laura Marling

HEAR IN HEAVEN Heavenly Sounds is pleased to announce a series of very special shows by UK indie folk darling, Laura Marling. Returning to Australia this July for the Splendour In The Grass festival, Laura will also perform some side shows in intimate church settings. This unique experience, a must for any fan, will see Marling perform songs from her new album, Once I Was An Eagle, as well as a selection of older material. See her at St Stephen’s Uniting Church on Tuesday 23 July.

16 • For more news/announcements go to

The Great Southern Blues Festival Narooma, held on Friday 4 to Sunday 6 October, has announced more acts on their line-up. Poppa Chubby (USA) makes his first trip to Australia with his longtime friend and emerging star Sari Schorr. Veteran Sydney guitarist Christina Crofts makes her Narooma debut. One of the youngest in the business and the future of Australian Blues, Minnie Marks has been a regular on the Festival circuit over recent times. The organisers also introduce Ferny’s Juke Joint, named in honour of the festival’s biggest fan.

Jen Cloher has announced a special launch party at the Oxford Art Factory on Friday 12 July to celebrate the forthcoming release of her third album, In Blood Memory, out this Friday, which was written over six months, recorded over a period of six days and supported by fans through a crowdfunding campaign. Cloher and band will be joined by Melodie Nelson and Courtney Barnett.



You thought Frenzal Rhomb only had one tour left in ‘em? Now they have tumour! At least that was the gag ready to go before doctors discovered it wasn’t a tumour, just tapeworm larvae in frontman Jay Whalley’s head. After Valentine’s Day brain surgery, Whalley doesn’t feel he has retained any mental or physiological deficits, but only time will tell! In any case, get down to a show at Manning Bar on Friday 12 July, Carmen’s in Miranda on Friday 9 August or Mona Vale Hotel on Saturday 10.

Impassioned by music, particularly classic soul and the trailblazing R&B of the late-’90s and early-2000s, Movement came into being the night the trio got together and wrote Feel Real, their first single. After some time refining their sound and feeling their way through their collective strengths, it became obvious that this time it was something special, and thus Movement was born. They’re celebrating the release of their single with a launch party at GoodGod on Wednesday 12 June.

RIGGED Deviant sons of unadulterated rock The Delta Riggs have been soaring since the release of their momentous debut record, Hex.Lover.Killer, last month. Having just wrapped up a massive national headline tour, The Delta Riggs will continue on the road into June as main support on Andrew Stockdale’s national tour. Catch them at Newcastle University on Thursday 6 June, Metro Theatre on Friday 7 and Waves, Wollongong on Saturday 8.

High Highs


Once again Melbourne band Axolotl deliver an unmarked sound with their latest single, Avalanche. Filled with layered synths and driven by the band’s live energy and the signature vocals of Ella Thompson, Avalanche delivers that cutting edge Axolotl sound. They launch the single at The Beresford on Friday 7 June with Bec & Ben, Twincest and Heymun.

Sydney-born, Brooklyn-based duo High Highs will return to Australia for headline appearances in June. The band released its debut LP, Open Season, earlier this year, and justified the buzz with widely hailed performances on the Laneway Festival, as well as sideshows. High Highs will wrap up their current US tour supporting Vampire Weekend and fly straight to our shores. They’ll also take to the stage at Vivid 2013, opening for Empire Of The Sun’s long-awaited return to the stage. They’ll bring their dream-pop soundscapes to Oxford Art Factory on Wednesday 5 June.



After a bumper 2012 that ended on a high, thanks to news of Arts Victoria funding for their second album, Melbourne-based indie rock outfit Dancing Heals have emerged from the studio and are ready to hit the road for an east coast tour in support of the July release of their brand new LP, titled You Will Never Be Younger Than You Are Now. See them at The Basement, Canberra on Wednesday 10, the Front Gallery, Canberra on Thursday 11, The Beresford on Friday 12 July, Lass O’Gowrie Newcastle on Saturday 13 and Manly Boatshed on Sunday 14.

The Sydney Rock‘n’roll & Alternative Market returns to Manning House and Manning Bar, Sydney University on Sunday 2 June. It features a massive entertainment line-up headlined by The Detonators, and a multitude of amazing live music culture-related stalls extending over three levels indoors and outdoors. You will find fashion, jewellery, accessories, records, CDs, DVDs, books, art, collectables, international food stalls, children’s activities, live music, DJs, a classic vehicle display, the very popular Tiki Bar Courtyard and loads more. Starts at 10.30am and tickets are just $5.




With Splendour tickets all gone, the sideshows are in high demand. Here are some recent sideshow announcements: Jake Bugg’s Sydney show has been upgraded to The Metro. Daughter also sold out their Oxford Art Factory show, resulting in a venue upgrade, also to The Metro; plus, they’ve announced Little Green Cars as support act. Of Monsters & Men sold out their Enmore Theatre show on Monday 29, but announced another for Tuesday 30. HAIM’s Hi-Fi show on Wednesday 24 has sold out. Bernard Fanning’s Enmore Theatre show on Friday 2 August has sold out, with the Newcastle Civic Centre show on Tuesday 30 July and Anita’s Theatre, Wollongong on Thursday 1 August selling fast. In other non-Splendour-related sell-out news, Glaswegian synth-pop threesome, Chvrches, have sold out both their first shows on Friday 2 and Saturday 3 August at Oxford Art Factory.

Melbourne three-piece Doubleblack play psychobilly with a sneering surf guitar beat combined with rock’n’roll charisma and their sole purpose is to play like it’s their last day on earth and have fun doing it. It’s little surprise the Texan psychobilly masters Reverend Horton Heat have invited Doubleblack to support them in their upcoming May Australian tour. Along with Mojo Juju, they’re playing at the Factory Theatre this Friday.

DANCE AND FALL Melbourne pop rockers Masketta Fall’s music video for their latest single, Do You Wanna Dance, is grabbing attention globally. Fresh from the release of the single, the band is once again hitting the road. Catch them at Hot Damn on Thursday 11 July, The Loft on Friday 12 (all ages) and Woden Youth Centre in Canberra on Saturday 13 (all ages).





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Henry 4 – an old Shakespearean play set in modern times. Presented by Bell Shakespeare, this is the story of King Henry IV and his apparently indulgent and unmotivated son, who will of course take up the throne, much to the dismay of the King’s supporters. Sydney Opera House, 5pm. Closing night.

A Place For Me – a film starring Greg Kinnear, Jennifer Connelly and Kristen Bell that follows a writer who hasn’t written anything since his wife left three years before for another man. A bittersweet romance directed by Josh Boone. Palace Verona, 12.05pm, 1.30pm, 4.30pm, 6.45 pm and 9pm.

MONDAY 27 Smash Palace – an art exhibition showcasing an impressive collection of works by the best contemporary Chinese artists. Highlights include Cheng Dapeng and Zhou Jie’s surreal cities. White Rabbit Gallery, to Sunday 4 August Fury – a new play by Joanna Murray-Smith about a highly successful professional inner-city couple and their son Joe. When Joe is accused of an inflammatory act, secrets within the family start to emerge. STC, 6.30pm; to Saturday 8 June.

TUESDAY 28 The Great Gatsby Stories I Want To Tell You In Person

THURSDAY 23 Lineage – a new Indian dance show by classically trained dancers Aruna Gandhimathinathan and Shruti Ghosh, who fuse together two classical dance forms. Riverside Theatres Parramatta, to Saturday 25 May. The Hangover Part III – the wolf pack is back for the third time to find a lost Doug. This time there is no wedding, instead crisis occurs when Alan is being treated for mental health issues. Starring Zach Galfianakis, Ed Helms and Bradley Cooper. Opens today in all major cinemas.

FRIDAY 24 Michael Johnson New Works – an exhibition of new works by Sydney artist Michael Johnson with lots of bright colours and patterns to transfix the eyes. Tim Olsen Gallery, exhibiting to Sunday 2 June. The Book Club – ABC’s The Book Club hosted by Jennifer Byrne will be taping a special festival

GATSBY IS COMING Baz Luhrmann’s long-awaited film adaptation of F. Scott Fitzgerald’s The Great Gatsby is premiering in Sydney on Wednesday 22 May at Hoyts EQ. Actors Tobey Maguire, Carey Mulligan, Joel Edgerton and Elizabeth Debicki will be there to walk the red carpet and attend the screening. Since its release in the US earlier this month, the film hasn’t been receiving great reviews, many saying it’s not true to the original novel. Actor James Franco even had a go at a review for VICE UK and came to his fellow filmmaker’s rescue saying the film works as an adaptation. Franco even continued, reviewing his own review on Riot. show featuring regulars Marieke Hardy and Jason Steger with special guests Carlos Ruiz Zafón and Lauren Beukes. It’s free to be an audience member but bookings are essential, Part of the Sydney’s Writer’s Festival, ABC TV Studios, 12.24pm.

SATURDAY 25 Stories I Want To Tell You In Person – a play written and performed by Lally Katz about her recent trip to NYC that was suppose to see her write another play, but this one emerged. Belvoir Theatre, 3pm and 8.15pm; to Sunday 26 May. Masked Intentions – an exhibition of masks created by 21 artists and designers who have crafted and sculpted some of the most interesting

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What Would Jello Do? – former Dead Kennedy’s frontman Jello Biafra is touring Australia for the first time since 1983 with a show that follows on from his YouTube series where he talks about politics, democracy and much more. The Factory Theatre, 7pm.

and crazy masks you will ever see. He Made She Made Gallery, to Sunday 9 June. Dark Tales From The Woods – award-winning storyteller Daniel Morden tells his haunting tales of the Welsh gypsy woods. In the same vein as the Brothers Grimm, these stories are dark fairy tales. Part of Sydney Writer’s Festival, Riverside Theatres Parramatta, 5pm.

SUNDAY 26 Arrested Development Season 4 – the long wait is finally over as cult comedy Arrested Development’s season 4 is finally released on Netflix. Season 4 has 15 episodes that will lead into an Arrested Development movie down the track.

Oaxaca Dream by Michael Johnson



TIME TO FOCUS “I was doing a lot of preaching in the studio for this album,” Luke Steele laughs, rubbing his hands together. The Empire Of The Sun frontman admits that he battled through several low points in the lead-up and during the making of the band’s new album, Ice On The Dune, but adds that despite the tumult, he was more determined than ever to produce something extraordinary.


With spiked bleached blonde hair and black roots, Steele is the personification of a rock star. He’s a prototype, Class 1-A rock daddy to the max. He is taller than expected and dressed all in black, complete (of course) with a heavy-looking long leather jacket that he’s forced to flick out behind him as he sits down. It’s been two years since word got out that Empire Of The Sun had begun working on a follow-up to their 2008 debut, Walking On A Dream, which smashed into the Australian music stratosphere snaring nearly every award it was nominated for and indoctrinating millions into their ‘vision’. “My dad came to New Zealand at Christmas,” begins Steele, lazily waving his arms around as he talks, “and he was like, you know, ‘What’s the Emperor

gonna do next?’” Steele stops, having a secret giggle to himself. “He really got caught up in the whole story of everything.” The ‘story’ is the video compendium that accompanies all the band’s tracks, beginning with the first single off their debut of the same name. There he is: Steele, dressed in a powder blue Easternstyled robe, elaborate gold headdress and white gloves, kneeling in prayer before a temple. The clip follows Steele and fellow Empire Of The Sun member Nick Littlemore as they cavort around an Asian city, intertwined with placid hand movements, head shaking and Littlemore’s barechested-ness. There is, however, method in the madness – with Steele and Littlemore ultimately creating the videos to get fans drunk on the world – or rather the Empire – they have created. “That’s always been the vision of the band,” says Steele, “for people to expand their mind and to travel into the make believe.” However, after having toured for

the better part of 2009, the journey back into the Emperor’s world wasn’t quite so easy for Steele, who admits to battling that dark, underbelly all creative minds struggle with following the huge success of Walking On A Dream. “It’s pretty hard after having all that to get back into writing again,” Steele sighs. “All the shows were so big, you know? Fifty thousand up, you know, festivals, people banging stuff, girls throwing bikinis on stage,” he laughs. “Then when it’s all over and you need to go back to the studio, that’s when you feel a bit caged.” Ultimately, it took New York and a pink limo to help Steele unleash his creative beast. “Well….” Steele begins, “we’d done a couple of days in the studio, we went out for dinner, one thing led to another and then the next thing I knew I was inside a pink limousine with a sky roof and champagne, going down Manhattan and singing. Then we ended up at a karaoke bar,” he laughs sheepishly. “I ended up going back to the hotel suite, broke a glass, woke up at 8am the next day and knew that I needed to get to the studio. Then I remember going there and just breaking out singing, ‘I don’t want to be complicated.’” The result is the saccharine-synthed Concert Pitch, which straddles ‘80s-inspired BPMs while staying true to Steele’s halting, breathy vocals. But the track isn’t really a just ambassador for the new album, Ice On The Dune’s overall sound; a tightly produced dreamscape extravaganza that will enjoy its soaring premier at none other than the Opera House as part of the Vivid Sydney festival, which will be streamed live via YouTube. On the album’s opening instrumental track, Lux, Steele employs the talents of composer Henry Hay – who has worked previously with Littlemore on Cirque du Soleil – creating an epic menagerie of strings and horns; a fitting introduction into the world of the ‘Emperor’. Steele rolls his head around and begins fiddling with a giant ring adorning his wedding finger. “I was in New York and I remember just playing piano and writing a piece and thinking it really sounded like the Emperor was riding his horse over the mountain. We were kind of already… we were working with this guy Henry Hay, who does strings with George Michael and a few of those big touring acts, and we sort of like pieced it together from the main music I’d written and then put in all these fresh horns and it was like…” Steele leans back in the chair with his head now loping over the side and in an exhausted sigh says, “Ahhhhh! Intro!”

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As for the track’s name, Steele says, “I always have dreams of woolly mammoths and I always thought that would be a cool name for a woolly mammoth to have – Lux.” The creative hub of the Big Apple wasn’t enough, or perhaps it was enough – just simply too much for Steele, who vows he won’t be heading back there to record any time soon. “New York is just like…” Steele looks away, as if confused, “Okay, I have this vision of this giant bulldog sitting over the city and growling.” What? Steele laughs. “I know, I know, but like… it’s this really heavy place. I feel like everyone has their portal to God, you know, their spiritual connection,” he says, shooting his hands high above his head. “But,” Steele sighs, “in New York, it feels like there is no room for your portal, so everyone’s wires are crossed. It’s weird.” On the flip side of the duo is Nick Littlemore, who splits his time between the Empire and dance act Pnau. “Nick is always writing,” drawls Steele,



ur interview is due to take place inside the lush, 1920s-imagined rooms of the QT Hotel in Sydney. We’ve been warned that Luke Steele’s room is ‘haunted’, something he later scoffs at declaring he’s seen “nothing… yeah”.


Natasha Lee steps into the fantastically ethereal world of Empire Of The Sun frontman Luke Steele and discovers the outwardly cool cat can sometimes be a bundle of insecurities on the inside.






grinning. “He never stops working. He’s like that guy in the bus that’d got the notebook that never stops writing. He’s got piles and piles of notebooks lying around the studio. But, I’m the same with melodies, all these different songs.” He fidgets. A lot. Looking around the room, up and down, continuously tapping his knee. Suddenly, a mobile phone begins to ring and Steele bursts out laughing, jumps out of his chair, grabs the offending device from the bed behind him, picks it up and answers, “Babe? Yeah, I’ll call you back,” before dropping it down beside him. “Slab! What is it? Is that what they say in film sets when a phone goes off?” Steele laughs. Focusing his attention back on the upcoming album, Steele insists that this time around, “everything is better”. “I think,” he drawls, “I think this is more focused to… to the world. The concepts are pretty universal. I think my voice is better, you know, I quit smoking six months ago, the music overall is better and so are the lyrics. “I think this time we tried to be better in every possible way,” he continues matter-of-factly, “Like, sometimes you’ve got to break your arm and let it heal a different way – you gotta be like a doctor. You have to realise you’re presented with a whole new set of challenges and you have to get this mind, which is programmed in one way, to think another way.” The result is a triumphant return for the Emperor and his Empire, one that focuses on pulling/ tugging and ultimately snapping the heartstrings of loyal fans and listeners everywhere. “Nick and I… we kind of wait ‘til that point where we look at each other and go, ‘It’s not right’ and then when it is right, you go…” Steele throws back his head and let’s his arms go limp by his side before reaching up and touching his heart. “It’s got me, right there.” WHO: Empire Of The Sun WHAT: Ice On The Dune (Capitol/EMI) WHEN & WHERE: Thursday 30 and Friday 31 May, Vivid, Sydney Opera House Concert Hall; Saturday 27 July, Splendour In The Grass, North Byron Parklands

“I was kind of like George Martin talking to Paul McCartney,” Steele laughs, “I’d bbe like, ‘Great song, bbut the middle eight iisn’t that hot,’ and M McCartney would be llike, ‘Oh … Okay,’ walk aaway and then come bback with A Day In TThe Life or something. “We focused on every part of the song. Like, some Americans would be like ‘Friday’s bridge day,’ but other times we would work for months on like the tag… or the fade in.” Steele looks down and shakes his head. “By the end,” he begins exhaustedly, “you could tell it did my head in when I put on the record and it sounded like white noise,” he says, making a static-like whooshing sound. Thankfully, it seems Steele’s ‘sound meltdown’ is abating and he tells us that finally the album he and Nick Littlemore worked so tirelessly on is “sounding better each time I hear it. You know it’s like… I don’t know…” Steele drifts off. “You know, you just have a meltdown and you need to step away from it. It’s hard though, ‘cause music is so spiritual and so personal… it’s part of your whole body and your blood,” Steele suggests, relaxing more now. “You go… well, I go to sleep and I have to keep feeding the music. I start just tapping. I can’t escape myself.”




OLD SOULS, MODERN WORLD Cold War Kids reckon that to understand them as a band, you have to experience them live. Matt Maust grabs some time with Kate Kingsmill to discuss how they’ve translated that energy across their fourth record.


Sounds Of The South

e are not trained musicians and I think that we really put our bodies into our playing,” says bassist Matt Maust. “I know that some people have not become fans of us until they see us live, and there have been some people that have told me, ‘We weren’t really fans of your record but we were really fans of your live show’, which is really funny. I think that we’re definitely fun to watch.” Cold War Kids gigs, he says, are “Pretty sweaty, pretty all over the place. It’s always a new thing. I’ve never seen us play so I don’t know but we put our bodies into it and we’re not very stationary.”


Their latest record Dear Miss Lonelyhearts came about through the same process, but in a lot of ways the band’s approach to this record was a totally different proposition. “The last few records we’ve made more in the studio and then you learn to put a song in after the fact. And the first two records were kind of the opposite, where we wrote them outside the studio and just recorded them and didn’t really tinker with the songs too much.” This was the first record they recorded in their home studio, in San Pedro, California, and their first recorded themselves with no outside engineer or producer. Guitarist Dann Gallucci, who has played in Murder City Devils and Modest Mouse, joined the band at the brewing stage of this new album, replacing Jonnie Russell and bringing with him production skills that he shared with the band’s mate Lars Stalfors on the new record.

“That is a really hard question ‘cause I feel, at this point at least, really fulfilled. But, I’d probably be learning because I always like trying to learn as much as I can about as many things as I can.” Jack Carty launches his new EP The Predictable Crisis Of Modern Life at Hibernion House on Thursday 30 May.


Director: Joel Kefali Stream the full video



“It’s the first record we’d ever made in our home space, and the first album we’d ever made by ourselves with no outside engineer or producer, so it felt really good.” Maust found there to be a lot less pressure with this record. “I prefer working this way by far. Not that the other records [were] a drag or anything, but working at home this way, not feeling like the clock is ticking, where we’ve always felt before, we didn’t have that this time and we worked

The record was also the first one they’d ever recorded completely digitally. Vocalist and guitarist Nathan Willett has said of this album that the band tried to care more about the songs and less about how they got there, and Maust wonders if that statement might have something to do with the recording process. “I’m not sure what he means by that. I don’t think we’ve ever been purists with like, having to record to tape and all that stuff, but it is the first record we’ve made that never touched tape, it’s all digital. He might be meaning something like that. It’s the songs that are important and not so much the process.” Maust is also an accomplished visual artist, and he draws parallels between his visual art process and that of the band’s musical process. When he says “There’s a healthy amount of spontaneity and rambunctiousness but then also a good amount of editing and deleting things that don’t need to be there,” he could be talking about either his art or his music. Maust is a trained designer with a penchant for a punk Xerox look, and he created the majority of the Dear Miss Lonelyhearts’ packaging, which consists of “Lots and lots of drawings. Most of the drawings I’ve done while touring, just on sketch pads, in hotel rooms or on planes or whatever. And I travel with them in my suitcase and I get home and I scan them and I rework them and do things. So the majority of the new record is all kind of done on tour but then kind of in a similar way to the way we write our songs, you know, we take spontaneous moments, in a quick drawing, sketch kind of way, but then we spend a lot of time on the output and the rendering and the shaping it. I like to work half analogue and half digital in terms of artwork. I like to blur the lines.”

Cold War Kids have developed a literary reputation that is mainly due to lead singer Nathan Willett’s lyric writing being inspired by literary works, themes and theory. The band’s second album was called Loyalty To Loyalty, named after a paper written by the philosopher Josiah Royce, a reaction to Nietzsche’s philosophy of ‘rising above’. Willett has also often professed his love for heavy writers like Tolstoy and David Foster Wallace. Further adding to their reputation as a literary band, Cold War Kids have named their most recent album after a Nathanael West novel about an LA advice columnist that Maust admits he hasn’t read yet. “Nate read it a year or so ago and it had a big effect on him. There’s a lot of things in that book that influenced the record. I need to read it. Nate has talked about it a couple of times and the way that book is written I think is very much in the Cold War Kids spirit of characters. I think that book has got a lot of characters and I think that our songs have many, many characters. Lyrically that’s not my place to answer, Nate writes all the lyrics, he goes off by himself and writes them all...” The band is in the throes of rehearsing for their upcoming tour, which will encompass Australia for “maybe the fifth or sixth time.” When they first toured Australia at the start of their career they were playing larger capacity venues than they were at home in LA, and Maust concludes by simply saying, “We have the best shows in Australia, we’ve never had a bad one.” WHO: Cold War Kids WHAT: Dear Miss Lonelyhearts (Downtown/Cooperative) WHEN & WHERE: Saturday 27 July, Splendour In The Grass, North Byron Parklands; Monday 29, Metro Theatre

GETTING VIVID Liz Giuffre trips the light fantastic and learns the secrets behind Vivid’s stunning light and sound displays from the mastermind behind the creation, Richard Lindsay.

e do almost all of our work overseas, so Vivid’s great, that’s a big reason why we like doing it,” explains Richard Lindsay, Head of Creative for Spinifex Group. Lindsay and his team are responsible for lighting the lights and sounding the sounds that make Vivid shine outside the doors of the Opera House, and this year will include multimedia projections not only on the sails, but also on the MCA and Customs House. Keep an eye out for the giant record player and pinball machine that the group will also create out of the Sydney landscape. Working on the series for about three months, Lindsay explains, “something we didn’t realise was that an Australian group has never done it before; this is the first time. They’ve had Germans and French, and Brian Eno had a go. I think there was pressure from the start because you’re doing it amongst your peers, in your own home town, and we’re doing it for Sydney as well because we’re Sydney people.”


Describing Spinifex’s approach to ‘setting the tone’ of the festival, Lindsay and his wizards had a tough choice just narrowing down their ambition. However they’ve eventually settled on a theme of ‘play’ to capture a mixture of celebration and experimentation.

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at our own pace. We put time limits on ourselves and restraints, but you don’t really feel it when you’re at home. You don’t feel bad showing up half an hour late or anything because we’re not paying for the studio in the same way that we were before.”

“We think it’s just a cute way to summarise what the approach is. It starts off with quite a retro feel and then evolves to a contemporary, dynamic state. I think Sydney doesn’t take itself too seriously, well we do, but we are also a playful city, so we wanted to have a really lighthearted approach and quite vibrant feel. We’ve made sure there’s more movement in the installations too this year, and a few more local touches too, so it feels like it’s ours, the City of Sydney’s, display. Which I think is important, especially for the Opera House because it’s what it represents for the festival, so Play’s our thing.” In addition to the beautiful, iconic visuals (using the Opera House sails as a blank screen), the Spinifex kids have also worked to make sure sound will be a big part of their work. “I don’t believe you can do a lot of these things without audio. Audio’s always a big part of the emotional pull, so we were pretty keen to make sure sound was present. We went to a lot of effort to put in mobile listening posts all around, and get sound out via an FM frequency so that local bars, restaurants and people around can tune in to listen as well as watch; it’ll make a huge difference. There was sound last year, but no one really got a good chance to hear it.”


Heart Of Nowhere

Because of their faith in their live performance, the Long Beach, California band are always aiming to capture that spontaneity when they record. After five EPs and four studio albums, “We’re getting better at making our records sound like we do live,” says Maust. The process involves recording a lot of their jam sessions, “For lack of a better word, and trying to capture a lot of spontaneity of the moment, then listening back then honing in on different things and then slaving over the songs after you’ve listened to the jams. So it’s a mixture of spontaneous stuff but then paining over it and writing it.”





Random Access Memories





One of the big events this year will be the local celebration of Doctor Who’s 50th anniversary, with Spinifex taking over Customs House to project the Doctor and some of his most famous villains running across the building walls (complete with theme tune and Murray Gold music, of course). “That’s with the BBC, a bit of a one-night-only thing, and this year it seems our presence is growing, but it’s good, we’re pretty excited by it. You don’t ever really expect to be working on stuff like that, when do you think that Doctor Who would be running around on Sydney buildings? You don’t expect that to happen, but it does, and it’s pretty kitsch and it’ll be fun.” WHAT: Vivid Light WHEN & WHERE: Friday 24 May to Monday 10 June, various locations



BOURNE TO ROCK Airbourne frontman Joel O’Keefe’s days of climbing scaffolds might be numbered, but he and his drummer brother Ryan are constantly dreaming up new ways to thrill. And it doesn’t get more rock’n’roll than being offered the keys to a Motörhead penthouse, Bryget Chrisfield reckons.


WHEN & WHERE: Friday 26 July, ANU Bar, Canberra; Saturday 27, The Hi-Fi Sunday 28, Splendour in the Grass, North Byron Parklands. Byron Bay



WHAT: Black Dog Barking (Roadrunner/Warner)


WHO: Airbourne



around your head,’ you know, and then it’s sorta like, ‘Okay, fuck, you win’… That’s the other thing, like, the show with us is, it’s always been, ‘You never know what you’re gonna get’. You know what? There’s always a tower at front of house.”


ound the corner after climbing a flight of stairs up to a sunfilled room at Warner HQ, and half of Airbourne – frontman Joel O’Keefe and his drummer brother Ryan – are relaxing on a couch. They’re wearing all black (of course) and the length of their unruly locks reflects a true dedication to rock. Both are extremely at ease and happy to shuffle apart and create space between them so we can all share the settee. An advance listen of their new album unveils some genius lyrics: “A mouthful of garter is merely a starter.” They both laugh. “We were joking about that part of the song,” Joel recalls in his broad Aussie accent, “about the mouthful of ‘garder’ [sic] part – or, [puts on a posh British accent] ‘A mouthful of garter…’ and then I’d come out of the vocal booth and they’d be like, ’Dude, you sound like you’ve got a Transatlantic accent. You sound like you’re half American, half Pommy. Why are we going all Billy Idol?’” “Yeah, he was too Australian,” Ryan agrees, “he was doing, ‘A mouthful of garder,’ and Brian [Howes, producer]’s like [makes cutting motion], ‘Dude, you can’t sing that. It doesn’t make any sense.” As is usually the case with Airbourne, you know just what you’re getting just by reading over the song titles. And the riff in No One Fits Me (Better Than You) will turn your face to mush. “Well No One Fits Me…, we came up with that in the car,” Ryan says. So do they get a lot of surprise speeding fines in the mail? “Oh, [fines for running] red lights and things and we get lots of parking fines,” Joel laughs. “We can’t be fucked dealing with the whole, like, pay 30 bucks an hour, Melbourne-style parking – it’s fucking shit. We just go, ‘Fuck, I’m just gonna park over here’.” Ryan cuts in, “Loading zone. Bang!” The Joel continues: “One second later we’ll come out with a pie and a Coke and go, ‘Oh, fuck, 85 bucks again!’ ‘Cause we parked in front of a driveway.” Joel considers AC/DC’s TNT (“I just think that’s a real cornerstone in Australian rock’n’roll”) and Dogs Are Talking by The Angels as a couple of his favourite riffs. “You can’t forget the old Unskinny Bop one, that’s a good riff,” Ryan contributes before his brother sings it and allows, “Yeah, it’s a sneaky one, that one.” There’s certainly a lot of attitude behind said Poison riff and this is something Joel goes on to suggest is “what drives the song”. “Usually the riff comes first and then that generally creates what the theme of the song is,” he elaborates. “A song like No One Fits Me…, you’re not gonna go and start saying, ‘Stand up for rock’n’roll’ – it just wouldn’t make sense. It has a sort of sexual vibe to the riff [demonstrates]. It’s got [demonstrates further] that groove thing going on. So you get in there and you start thinking things like, ‘Oh fuck, I could hear this at a strip club, you’d hear this just in a dirty rock’n’roll bar.’ You start thinking, ‘People at home, if they had it on, like, what would be goin’ on?’ You know, maybe dudes doing lines on the table. [Pauses] It’s funny, a guy came in here today and, before the interview started, he goes, ‘There’s some razor blade marks on here. Someone’s been doing coke up here, have they?’” Ryan points to the glass tabletop. “Yeah, see there’s razor blade marks there? Interesting way to start the conversation but, cool [laughs].” So perhaps the measure of a good riff is whether or not you can chop up coke to it? “Yeah,” Ryan enthuses while his brother laughs. Airbourne are often booked to play the same festivals as Slash, and Ryan remembers when they met the riff virtuoso. “We first met him in Holland. That was that festival where Mikkey Dee, the drummer of Motörhead, tried to give us his penthouse.” Joel takes over, “He was like, ‘I’ve gotta hit the road, do you want my penthouse?’ He had the keys to the penthouse.“ Ryan interrupts, disbelievingly: “He was literally trying to give it to him!” And then Joel continues, “And we’re like, ‘Shame we’ve gotta hit the road too,’ hahaha.” But back to Slash. “Oh, yeah!” Joel obliges. “And then I met him at Soundwave again, caught up with him sidestage. I just came out and watched Iron Maiden and [Slash’s] gig and, ‘cause I was able to get backstage for the Iron Maiden stuff, I ran into [Slash] and he was like, ‘Oh come back to the bandroom,’ and I went back to their bandroom and we were just talkin’ about stuff, you know. We talked about some Guns N’ Roses songs, he just was – I dunno the conversation turned to Guns N’ Roses songs and how they were written. I can’t remember which song it was, if it was My Michelle or the other one: We were just talking about how it was the last song written for that [Appetite For Destruction] and how it was thrown together really quickly or something but it turned out to be a really great song.” Joel is renowned for climbing colossal scaffolding towers, guitar strapped on for the inevitable shredding solo from great heights. Surely there’s been some near-stacks. “Climbing up the top of those things, the metal that’s been out in the sun all afternoon can be really hot, so you can’t even hold onto the damn thing by the time you get to the top,” Joel imparts. “Once the adrenaline has burnt off and the pain starts, you’re like, ‘FUCK! What do I do?’ I’ve usually got wristbands on, so I literally pull one out with my teeth and put it over the top of my hand and just hold it.” How this spectacular act of bravery escapes OH&S scrutiny defies logic. “Well, I get the feeling [when] we go out again, I’m not gonna be surprised if they ban me, you know: shut me down for it. Because in the past it’s been, ‘Don’t do it,’ and then we’ve gone and done it. Now for me, three or four years straight and on the last few shows, they were kinda like, ‘We’re gonna fine you 40,000 pounds if you do it,’ and then even when I went to look to do it like, ‘Oh, fuck it! I’ll see if I can get away with it,’ there was 12 security guards standing right around the pole, guarding, like [crosses arms and adopts a scowl], ‘Don’t you fuckin’ come near us!’ They’re like this [punches fist]. They’re like, ‘I’ll wrap that guitar

For more interviews go to • 23



THE HEART OF BLACKNESS Co-choreographer Daniel Riley McKinley of Bangarra’s new work, Blak, tells Paul Ransom that it’s all about connection.


The Further Adventures of Charles Westover Del Shannon

Primitive Clockwork Sun God Replica

“I bought a few weeks ago a band from Melbourne called Sun God Replica, and yeah, it’s fucking great, twisted and weird pop songs.” You Am I touring nationally from June check The Guide for dates.

APP IT UP HEYTELL Size: 10.8MB What it does: This is probably the closest you’re ever going to get to a walkie-talkie. HeyTell lets you send instant voice messages to other users – kind of like a voice SMS. Why it’s essential: When you need to tell someone something quickly, but composing an SMS would take waaaay too long.

eech, Juice and Erick Arc Elliott have just returned from the UK for their first shows outside the US and sound like they’re bouncing off the walls of their Flatbush apartment as they all scream down the speaker phone at once.


“I can’t afford no sample clearances, I’m still living with my momma and I’m poor,” Juice manages to make the word ‘poor’ go for longer than the rest of the sentence and the other dudes break into hysterics.

“We was just out there in London, doing shows, we on the BBC and all that and it was great, you know what I’m saying?” says Juicy in a sing-song wail.

“Don’t listen to that idiot man,” Meech cuts in as the voice of reason. “We’re just taking it one step at a time. The new mixtape or album or whatever you want to call it is called Better Off Dead and I want to say that it’s coming in June. Did we finish that shit? Is it done?” he asks the others.

Juice spits this paragraph out while the others holler out shit like ‘London!’ and ‘Peace!’ and many other indiscernible things in the background. They sound like they’re having fun, despite a whole day spent doing interviews. In fact, it sounds like they always have fun. It’s early days for the Flatbush Zombies’ world domination but they’re well on their way, and they are hungry for it. With guest appearances on tracks by the likes of A$AP Rocky (the horrifying Bath Salt) their associations are already putting them on the radar, not to mention their first release, The D.R.U.G.S. Mixtape, which serves as a very thorough introduction. There’s no half baked ideas on the mix – in reality it‘s a mixtape in name only and really would serve them well as a debut album.

The ease with which Vigilante came together is echoed in the band’s hard-hitting debut release. Quality Of Life is one of those records where not a second is wasted and no note is superfluous. According to Immerz, Vigilante had a simple aim – to make a record that honoured hardcore’s history while at the same time acknowledging its ongoing potential. “We’re all huge fans of the late-‘80s, early-‘90s New York sound – Agnostic Front, Cro-Mags Leeway, Crumbsuckers – as well as the stuff released on Revelation records. I think those influences really come through on Quality Of Life, although at the same time they have our own mark and represent the scene we come from. We wanted the songs to be memorable and really hard-hitting and I think we got the sound we were

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“I’ve never taken acid,” Erick says, his voice hushed in an almost confessional manner. “I still feel like it has an influence on the music. I trip everyday and my perspective is like a mosaic painting. I’m already weird. When these guys do their shit, I feel like it permeates through me and we all just make this music together. That’s the way it feels to me.”

There’s already been a lot of underground hype for Flatbush Zombies, with much of the discussion focusing on the group’s frequent references to LSD on The D.R.U.G.S. Mixtape. Vice ran a piece on how they were evidence that the hip hop kids are getting into acid. They’re quick to refute the claim they’re anywhere near the first rappers to raise the issue.

WHO: Flatbush Zombies

“Eminem has rapped about it before,” says Erick. “Xzibit did a track about acid. There’s always been acid around, it comes and goes. Sometimes there’s an abundance of it.”

Sydney hardcore warriors Vigilante are getting ready to launch their superb debut 12” EP/CD Quality Of Life. Mark Hebblewhite caught up with Dave Immerz for a firsthand look.


“I’ve always been told, you don’t go looking for acid, the acid finds you, so that’s how I’ve looked at it my whole life,” Meech cuts in with Zen Jedi wisdom. There’s evidence that the acid is having an effect on the music – but Erick who made all the sounds for the mixtape suggests that he is picking up on the feel of his bandmates on the drug as opposed to it having a direct effect.

“We just gotta review some things and see,” says Erick soberly.


igilante may be a new band but at the same time it’s something of a hardcore super group with its various members having already done time in local institutions such as Last Nerve, Ill Brigade, Bad Blood and The Dead Walk. “A lot of us were at a point where our previous bands had finished up but we still wanted to do stuff and had some songs left over,” says Immerz. “We all knew each other from as far back as the late ‘90s and we thought why not do a project for fun – and Vigilante was born. It was pretty simple, really.”


WHEN & WHERE: Wednesday 29 May, Oxford Art Factory


other looking for.” Lest one think Quality Of Life is yet another straight-up hardcore record with no deviations from th the norm, check out tracks like Society Dub, which as the name suggests is a straight up dub track. “We’re all huge fans of Bad Brains who [have] those kind of tracks on all their albums,” laughs Immerz. “We thought we’d include something a bit leftfield – not only was it fun to do but it also gives the album some diversity and texture.” Just as the sound of Quality of Life represents street-level hardcore so does the band’s lyrical approach. No middleclass navel gazing or pop punk whimsy here; Vigilante concentrate on themes of urban decay, social disorder and the plight of the economically disadvantaged. “The decision to call the album Quality Of Life was heavily influenced by an old WNYU radio set from a band called Altercation who would talk about what was going on in the late 1980s on the streets of New York,” says Immerz. “We realised while things are very different now... many of the same issues and problems still exist and we don’t have solutions for them. When I sat down to write the lyrics I really wanted to provide the same sort of social commentary. I’m lucky in my life – I’ve managed to avoid a lot of the negative things that can trip people up. But I’ve worked in various government



Taking a short break from the sour diesel, Brooklyn’s Flatbush Zombies demystify some of the hype surrounding their bizarre drugaddled hip hop and exactly what kind of drugs are doing the addling. Chris Yates speaks to Meech, Juice and Erick Arc Elliott.


Look out Facebook! Hours spent participating per member dropping seriously. First really bad sign as seen by crappy MySpace years ago.



WHEN & WHERE: Friday 7 to Saturday 22 June, Opera House


“I’d probably say, being a big wanker, Del Shannon’s late ‘60s period and his album The Further Adventures of Charles Westover, is probably my favourite album that I’ve heard over the past million years.”

WHAT: Blak



“People come to Bangarra because of that yearning for culture,” Daniel Riley McKinley concludes. “Maybe it’s for their own culture but it’s still that yearning for connection.”


“I’ve been listened to very hard rock over the last two weeks and I bought an album by a band called Red Fang which I really like. So I’m going back to being a teenager right now.”

Elsewhere, Blak explores women’s business. Stephen Page’s piece, Yearning, looks at both the loss of language and spectre of abuse. The third piece, a Page/Riley McKinley collaboration called Keepers, deals with the place of traditional culture in the fast-moving contemporary world. Featuring music by renowned electronic artist Paul Mac, Blak does what Bangarra does best; namely, span both temporal and cultural chasms to create work that is both avowedly Indigenous and undeniably modern.

After a series of ‘deep and meaningfuls’ with Bangarra’s male dancers, Riley McKinley observed recurring themes and began to mould them into Scar. “It’s sad because a lot of young boys don’t have someone to teach them the responsibilities, to show them what it takes to care for family and become selfsufficient. But also, I got to questioning my own status. Y’know, how do I know when I’m a man?”


Murder The Mountains Red Fang

genuine cuts deeper than simply crafting authentically Indigenous dance works. For the Bangarra team, the connection is personal and pivotal. “That spiritual link is really important for us, especially because we live in Sydney. Our stories are so based in culture but it’s hard to stay connected to that everyday living in a city like Sydney.” The disconnect motif is at least partly explored in Blak, a three-part work co-created by Page and Riley McKinley. In the latter’s piece, Scar, the focus is on the journey from boyhood to manhood and the lack of initiation and ceremony in contemporary culture. Inspired by the scars on a friend’s chest, Daniel Riley McKinley began an investigation into the idea of becoming a man. “And that got me thinking, ‘well, what is it for us?’ We live in an urban setting and we don’t have ceremonies, we don’t have a moment or this rite of passage that we undergo and walk away as men.”




“Two years ago I bought Broadcast To The Focus Group by Julian House.”



Broadcast and The Focus Group Investigate Witch Cults Of The Radio Age Broadcast and The Focus Group

suppose we do run the risk of being token aboriginals on stage,” Daniel Riley McKinley admits. The politics of dancing is never far from the surface for the nation’s highest profile Indigenous arts brand, Bangarra Dance Theatre. For quarter of a century they have brought tribal tradition to the contemporary stage. They have toured internationally, been raved about in the media and set themselves up in a central Sydney studio, all of which seems quite removed from the stories and songlines of Australia’s disparate and often dispossessed aboriginal communities. As co-choreographer of Bangarra’s newest work, Blak, McKinley is quite open about the apparent disconnect. “Y’know, we perform at a theatre, where people pay to come and see it. So y’know, you could look at it like there is this borderline tokenism but the way Bangarra does it, it’s on a whole other level.” Under the 20-year directorship of Stephen Page, Bangarra has worked hard to maintain heart. According to Riley McKinley, “The lucky thing about Bangarra is that Stephen has had this long-term relationship with families in Arnhem Land and other communities and they’re so open to the idea of him sharing their stories and traditions and songs and melding that into a contemporary setting.” However, the desire to remain





departments relating to social assistance and the court system and I both saw firsthand, and read about, the challenges that a lot people are facing – especially those who are economically and socially disadvantaged. I took inspiration from this experience and the frustrations that are out there on the street for the lyrics on the record.” Twenty-five per cent of door receipts from their album launch will be donated to the charity The Station. “The Station is a Sydney charity which doesn’t have any religious or political affiliations. They’ve been feeding the homeless since 1978. So come down and check out the album launch... you’ll be supporting a great cause.” WHO: Vigilante WHAT: Quality Of Life (Resist) WHEN & WHERE: Saturday 25 May, Hermann’s Bar; Sunday 26, Chatswood Youth Centre; Saturday 13 July, Hardcore 2013, The Hi-Fi


“I guess they saw me as an oddity, as an Australian rapper,” he says. “I felt like a bearded woman. So they picked me, this dude Devin Miles from Philadelphia, this chick [Snow Tha Product] from Texas, and they had us do one song each. I did Dear Science. One thing I must say, it was really confusing. At one stage there is footage of me standing at the back of stage and I’m seeing this guy waving, ‘Come on, come up and have a go’. It was shocking.” Even when compared to performing live on Jimmy Kimmel, he says, “[#BoldStage] was definitely nerve-racking! Way more than my appearance on Jimmy Kimmel. The competition was way more full on.”



oritos sponsored the SXSW #BoldStage rap battle that put three MCs up against each other for the chance to win a support slot on LL Cool J’s forthcoming Authentic tour. Sentry let loose with new single Dear Science, despite feeling strange on the whole performance, and won. He also found himself taking the same record to a live appearance on ABC’s Jimmy Kimmel Live, rocking his rap out in a flanny. A memory he can take straight to the pool room.



He went over to Los Angeles, took on the competition, won a spot on an LL Cool J tour and ventured onto grounds upon which no Australian hip hop artist has ever set foot. Despite this, Seth ‘Sentry’ Marton likens the experience to feeling like a bearded woman on show. With the bearded woman having returned home, Sentry explains to Rip Nicholson how he prepares for both the Dear Science tour and touring with one of hip hop’s greatest MCs.





not over there. So to make sure they hear the lines and get my songs, I like to pick key people out in the audience and I think to myself, if I can make this one dude laugh then I’m connecting. So maybe I might do something like that again.” WHO: Seth Sentry WHAT: Dear Science (High Score Records) WHEN & WHERE: Friday 24 May, Metro Theatre

Sentry started getting dues when singles Simple Game and the breakfast romance of The Waitress Song found a regular home at triple j over 2008-’09 and soon after dropping The Waiter Minute EP, Australia warmed to his cheeky folklore raps. In 2009 he toured nationally with Pez and the next year with Horrorshow. Sentry’s live career has already landed him in front of the deepest of festival numbers across the country, so rather than hear of him feeling the nerves before performing at the competition, one could assume that he’s going to own that shit. “This is my first time in America as well,” he says. “And you gotta know, my first show was the competition itself. So, everything came to me at once in a big ball of nerves. And this is way different than playing a live show. I know how to play on stage, I get that part, but I don’t know how to win competitions – it’s not what I do – and I’m competitive as well.” Throughout his rhyme book, the Melbourne MC has told a story about the nuisances and nuances of the small nothings we battle daily to sometimes illustrate issues of a larger scale while using pop culture to exact his point. So, while nationally Sentry can hold a crowd to finish off his bars and get his metaphors, he is very aware than an American audience might not understand what’s behind his gripe with hoverboards. “I’m talking about science promising a cure for cancer – 90% of our science budget being spent on military applications – all that shit. But it’s easier when you say it’s about hoverboards,” he says, decoding his most recent record, Dear Science. “I like to make it accessible, you know?” More so than letting them vibe off his music, Sentry says it’s important for his audience to understand his lyrics. “The words were a big part of it, and I knew that was going to be the case, so I kind of tried to enunciate my words a lot and make sure they [are] heard [in] the lyrics. It’s like, when people who don’t really listen to lyrics tune in and say ‘Oh, he’s just rapping about hoverboards’ instead of other people who will hear the lyrics and get a deeper understanding. That’s how I like my music to be. I grew up listening to lyricists, so I always thought the lyrics were important and something I really tried to focus on. I really don’t want to sell people short when it comes to the lyrics.” Sentry has gone from being the first Australian hip hop act to perform on a US chat show that carries an audience several-million deep, returning home in business-class from LAX, to getting stuck into a festival show at Dubbo the following week. The reception was not one he was expecting. “That was the biggest crowd I have ever played to!” he exclaims, when asked whether or not he felt a comedown from performing on Jimmy to playing Dubbo. “There really was none. As soon as we came home we went right into another huge moment for me. The crowd at One Night Stand was fucking ridiculous. That place goes crazy! They get in 20,000 people. I mean, yeah we played to more people at Jimmy Kimmel, but we didn’t see them. And my whole philosophy on that kind of life is, just play to the crowd that is in front of you. If you try and ham up to the cameras and shit, that’s wack as fuck! I hate seeing dudes do that. Like, I hate when I see singers singing to the camera,” he laughs. “But you know when dude’s start making love to the camera and shit, so yeah, I was really only playing for 100 people [on Jimmy Kimmel Live]. This gig in Dubbo was off the wall! Crazy! People were driving up from Adelaide! Some people were making 12-hour pilgrimages, you know? It all added to give so much energy to the show.” Before Seth Sentry heads back over Stateside, his Dear Science national tour is at the forefront of his mind. Last September his new album, This Was Tomorrow, debuted sixth on the Australian Album Chart and stood in the chart for five weeks. Sentry is anxious to serve this one up live around the country. So when asked on whether he will prepare differently for opening up LL shows than his own, he takes a moment with his reply. “That’s a pretty good question, I must say. Let me just think about it,” he says. “I haven’t really put much thought into the LL shows. I’ve had my head stuck on the Dear Science stuff. I guess I’m going to have a shorter amount of time. I guess I just do my thing, that’s the kinda guy I am. I’m definitely not about to go and ‘fair dinkum’ and ‘strewth’ my way through a show. So I’m just gonna do me and just hope that, again, they hear my lyrics. “Here, I can ease back on that because I know there are going to be people in the audience that will know some of my lyrics, but

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MINING THE DEPTHS For their sixth album, Trouble Will Find Me, The National have built on a rekindled love of the band and found a little peace in the writing process. Guitarist Aaron Dessner tells Anthony Carew about the traces of ourselves we leave behind and the rollercoaster of brotherly relations.


n advance of its release, Trouble Will Find Me, the sixth album for The National, is being roughly painted as a ‘rocking’ set. After the sombre, elegant Boxer (2007) and opaque, claustrophobic High Violet (2010), this time the Brooklyn-based quintet are tossing out terms like “immediate and visceral” and “free-wheeling” to talk of their latest LP – the PR text promising directness, coherency and approachability. It’s, compared to a back catalogue filled with songs mournful, glowering and tortured in equal turns – they did, after all, release a record called Sad Songs For Dirty Lovers – The National at their most joyous.


But listening to Matt Berninger’s baritone mumbles and moans, a different picture emerges. Beyond the

classic-rock records playing on the lyrical stereo – Bona Drag, Let It Be and Nevermind all get mentioned – there’s constant images of the sea, of being underwater, drowning; Berninger singing things like “learn to appreciate the void” and “I wish I could rise above it, but I stay down with my demons” as he hands himself over to the swirling darkness. And, up above, there’s always an inscrutable heaven looming, beckoning, even if he “can’t face heaven all heavenfaced”. “I have faith but don’t believe it,” Berninger admits; “if I die this instant” he wonders; later, “now I know what dying means”. “It’s pretty strange, it’s like we’ve made a fun record about dying,” laughs Aaron Dessner, The National’s guitarist, who handles composition of the band’s music with brother/co-guitarist, Bryce. “There is a lot of references to passing, to the afterlife, to heaven, whether [Berninger] believes in it or not. For me, he seems to be exploring this idea that as you get older, you get more responsibilities, you have children, you start to think more about how your time here is not just your own life. The impact you have is felt in other people. When he says ‘we’ll all arrive in heaven alive’, I think what he means is that even when you pass, your children are still alive, your friends are still behind, the things that you’ve made are still there. It reappears throughout the record in different ways; like ‘I’m secretly in love with everyone I grew up with’. This idea that you’re connected to everyone you’ve ever known, that you leave a trace behind even after you’ve gone. I think all these thoughts emerged later, because at first we thought we were making this fun, bouncy record with lots of multi-layered drum-parts that give it this almost ‘dancey’ appeal. But, ultimately, when the lyrics start to emerge, you notice that there are all these references to death, even some seemingly suicidal references. As usual, Matt is blurring the lines between things with humour, you don’t really know if he’s really saying that or slightly sarcastically saying that.” Throughout The National’s ascendant rise of acclaimed records Berninger’s poetic lyrics have touched upon a run of social anxieties; from the awkwardness of being out on tiles to the burdens of encroaching middle-age, to trying and failing to live up to the dreams you have for yourself, or that others have for you. They’ve been, for want of a better term; determinedly grown-up, something that’s only increased since Berninger became a father to his four-year-old daughter, Isla. “He’s often thinking about how he’s responsible for his daughter,” says Dessner, “and how that’s more important than his rock band, more important than himself, even. It’s all coming through in the lyrics, this sense of the connection you have to others, with your connection to your child being the most intense.” Working on Trouble Will Find Me, Berninger was “in a much more prolific state-of-mind”, the usual pulling-teeth quality of the creative process falling away. “He had tapped into this very creative vein, where it was just flowing,” says Dessner. “The album takes its cues from that, in some ways: it’s an album that’s just flowing, and loose, and natural, and confident.” This makes The National’s sixth LP a huge contrast to the albums that preceded it. “Boxer and High Violet were both very difficult records to make,” Dessner freely admits. Freely, because it was hardly a secret; in fact, The National’s famously-fraught recording process – and the natural conflicts that arise of being a band with two sets of brothers, Aaron and Bryce, plus the fraternal rhythm-section of Scott and Bryan Devendorf – essentially became their identity. “There’s the story, which is true, about how we literally made 100 different versions of [High Violet’s] Lemonworld,” says Dessner. “It’s such a simple song that anyone would rightly wonder why we needed to make 100 versions of it, but that was just us trying to deal with these differences of opinion… There were a lot of inter-personal tensions when we were making High Violet, and it feels like it’s there on the record. But then the High Violet touring cycle turned out to be unexpectedly joyous, it was actually fun, and by the end we were enjoying being in the band, and felt very thankful for what we’d accomplished. There had been a lot of dark feelings brewing over the years, a lot of personal problems between us – nothing dramatic, but still very persistent – and, finally, it was like we all got over those things at the same time.” Dessner attributes much of that to the success of High Violet, which debuted in the top five in the UK, US, Canada, New Zealand and a run of European countries. After years of submitting to the touring grind and well-documented disappointment, struggle and unpopularity, now The National could play more sparingly, in concert halls, spend more time at home with their budding families. And, after they’d all grown to resent the dynamic of their band – and in some ways, the band itself – playing their shows after High Violet reawakened that love for the band-as-unit. “We embraced the chemistry of the band, rather than trying to fight it, and we just ran with it,” Dessner says; this leading all the way to Trouble Will Find Me. “It wasn’t an album without its difficult moments – I nearly lost my mind towards the end, as usual – but they didn’t define the recordings. Things just happened so spontaneously... We struck a nerve, and it was almost like the beginning of the band, when we used to just write songs. Like, I’d lay down a simple guitar part, a day later Matt would have some lyrics; we were much more laidback about the whole thing. Something did click with this record, like that chemistry came back, and it was happening that easily and that gives it this feeling of coming full circle, back to where we began. It’s refreshing, but oddly nostalgic.” WHO: The National WHAT: Trouble Will Find Me (4AD/Remote Control) WHEN & WHERE: Saturday 27 July, Splendour In The Grass, North Byron Parklands, Byron Bay

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FIGHTING THE GOOD FIGHT He purports to be a man of the cloth, but in reality The Reverend Horton Heat is more of a road warrior-type figure. The Rev himself – Jim Heath to his folks – takes Steve Bell through the rockabilly great’s cocksure and convoluted history.

exan rockabilly legends The Reverend Horton Heat have had a long and eclectic career since convening in Texas back in the mid-‘80s, and the good times are showing no sign of abating. The hard-touring outfit are in the midst of writing and recording their 11th studio album – scavenging time in between gigs and road trips, naturally – which is also their first since signing to Chicago-based indie behemoth Victory Records. On the eve of their impending Australian sojourn, frontman and songwriter Jim Heath – whose stage name of The Reverend he shares with his band – tries to make sense of their new material.


“I kinda have to let it unfold as it goes – you never really know what’s going to happen,” he offers in his relaxed Texan drawl. “I try to predict what kind of album it’s going to be, and it always ends up being something a little different than what I started with. But that’s because I’m reaching out and trying to find new creative songs, and you kind of got to take whatever comes out of the cosmos and hits you on the head. My idea right now is that our last album [2009’s Laughin’ & Cryin With...] verged on being a straightup country record – there was a lot of country on it – and I kind of envisaged just getting back to the straight Reverend Horton Heat rock’n’roll stuff, a little bit harder-edged stuff. Then we got talking to this label Victory – of course they do really hardcore stuff – so it’s a little bit unusual, but that could be a good thing. Their setup is brilliant and they’re great at what they do, so I’m flattered they want us. Gosh, it’s so difficult for us because we play so many gigs that it’s really difficult to write, record, rehearse – that sort of stuff that we really need to be doing. We’ll make it work.”

should think about. Some of my friends who are my age go, ‘Isn’t it going to be a little weird, isn’t it going to be a little creepy if you’re eighty years old and still up there? What are your plans? What are you going to do?’ And I say, ‘I’m going to play music! Sure it might be creepy if I’m eighty years old and I’m up there playing this music, but who cares?’ If they want me I’ll go and do it, I don’t care!” WHO: The Reverend Horton Heat WHEN & WHERE: Friday 24 May, Factory Theatre; Saturday 25, Cambridge Hotel, Newcastle

One thing they won’t be doing at their new home is easing back on the humour that so liberally laces The Rev’s best material. “I kind of had an epiphany during doing that last album that our funny songs are the ones that are most popular with the audience,” Heath continues. “I don’t know if I could only have every song just be funny. Actually my newer songs that are coming down the pipe are not necessarily funny, comical, zany things – I’ve got a little more serious stuff coming. There’s going to be some zaniness on there – there’s always got to be some zaniness on a Reverend Horton Heat album.” Even given Victory Records’ roster of punk and hardcore bands, it’s not that much of stretch envisioning The Reverend Horton Heat amid their throng. This is, after all, the same band that was signed to Sub Pop throughout the entire grunge explosion of the early ‘90s and who got to witness that strange era of musical history firsthand. “It was a great time,” Heath smiles. “Honestly, back then there weren’t really many rockabilly bands – there were a couple, there were several in America and of course every major city probably had a rockabilly band – but overall there wasn’t much out there. So Reverend Horton Heat always played the punk rock venues – the so-called ‘alternative venues’. We could play blues clubs, we could play country bars, we could play some of the more traditional type venues, but especially when we went on tour we were always playing the alternative/punk venues. “So in the Sub Pop years, one of the reasons they signed us was because we were already playing and doing well in the same venues as Nirvana and Soundgarden and Cat Butt and Mudhoney. So even though our music was far away from the grunge thing, we were already playing the same places and it kind of made sense in a way. But it was an interesting time just to see those bands just explode that big, especially Nirvana. Nirvana went in a very short time from a band playing in the little places that we were playing to just exploding almost overnight. Then all of a sudden, I remember those Sub Pop guys having a lot of money, so that Nirvana explosion especially was good for bands like us. “Sub Pop promoted us really well, and worked out a deal for us to be co-distributed through a major label, Interscope – they tried to latch onto the whole Seattle thing and somehow a Texas band got on there. A lot of people really didn’t like us getting signed to Sub Pop, because we were a rockabilly band from Texas, and Sub Pop was supposed to be about ‘Seattle underground bands’ – that’s why it says ‘Sub’. But we’ve been one of the highest-selling bands that Sub Pop ever had, besides Nirvana and Soundgarden, because we’ve sold really consistently the whole time. If you sell well consistently for a long period of time, slow and steady wins the race.” Even though The Reverend Horton Heat are still rocking hard and relevant, Heath seems incredulous that his band’s been on the road for the best part of three decades now. “Oh I know, it’s pretty crazy, I can’t believe it,” he laughs. “It doesn’t seem like that at all – a lot of stuff that happened like twelve years ago seems like it happened a couple of years ago, and I’ll realise, ‘Wow, that was over a decade ago!’ But I try not to think about that or dwell on that, because I’m a fighter – I’m out here dealing with some stupid issue every day to make this band work, and I’m still competitive. I still want us to be good, I still want us to be taken seriously, I still want us to be a band that’s looking forward to our new projects as opposed to a band that just sits back and goes, ‘Yeah, those days were really great, but it’s all over now.’ “I don’t like to think about all the years that are gone – I like my memories and everything – but one good thing about being busy, being a busy guy in a busy band, is that I don’t have time to stop and think about a lot of stuff that people might imagine a band

For more interviews go to • 27




The original soul survivor Bobby Womack tells Chris Yates that his latest album The Bravest Man In The Universe is up there with the most important music he has ever made.



Bon Scott statue for his hometown of Kirriemuir


202 pledges, 32% (£16,124) of £50,000 goal. 20 days remaining Crowdfunding update, Tuesdays on




ou can’t talk about Bobby Womack without discussing the people he has worked with or been directly associated with over his long career. The most basic research reveals a roll call of some of the most important figures in popular music since its very beginnings. These stories and anecdotes could fill volumes – starting with the man who gave him his first break, Sam Cooke, the characters that are important to the Bobby Womack story reads like a history of music itself. James Brown, Wilson Pickett, Ray Charles, Aretha Franklin, The Rolling Stones, Elvis Presley, Sly Stone, Janis Joplin, Dusty Springfield and so many more benefited from his style, talent, credibility and personality.


The fact that today, at 69 years of age, he is still blowing audiences away should be no surprise. Beginning with a guest spot with Damon Albarn’s Gorillaz, the pair’s musical relationship has resulted in the release of The Bravest Man In The Universe. “Well ,I’ll tell ya,” he drawls with a thick accent and a disarming friendliness, “I was out (of the music business) for a time – didn’t have the taste for it. When I was made acquainted with Gorillaz I didn’t know who they were. My daughter educated me and she was so excited. I ventured into finding out who they were and consequently the tour came up and they were such nice people to work with. Not like the musicians that you see today that have egos, they didn’t have any of that. They kind of made me feel needed and wanted and it just all came back with them. This album is special because of that.” The record is a contrast of quite modernsounding electronic flourishes complementing Womack’s authentic-as-ever pure soul. He says that he was initially taken aback by the sound of the recordings, but quickly came around.

“Betadine throat wash, it’s fantastic. And hay fever tablets. Those are two things that work hands down. It’s incredibly satisfying.” Alex Gow has just finished touring with Beth Orton.

“I embraced it,” he says, “and I even embraced it more when I saw the response from the young people around the world travelling with Gorillaz, and they were just so receptive. So I thought if they’re receptive now, wait until we do this album, and that just kind of planted the seed. I’ve had so many people that I’ve worked with over the last year who have had nothing but praise for the album, which is always a good feeling coming from your peers.” Womack says that working in the studio with Albarn and XL Recordings owner Richard Russell was unlike any recording experience he had before.




“I’m used to going into the studio all day and all night and the next night,” he says. “They went in about 11 o’clock during the day and at five or six o’clock they were wrapping it up just like a regular job. I thought, wow, this is kinda strange, but they were like, ‘we’re

Drink all the drinks that they give us.


Yeah, drinkin’ talkin’ to fine ladies…

WAILIN H MONKS Or not so fine ladies.


Oh yeah, the uglier the better. Gay Paris touring nationally check The Guide for dates on

Even though Womack’s well documented struggles with drugs saw him leave the limelight for a period, his music never did. When a new generation of hip hop artists started biting his back catalogue for samples in the early-‘80s, his music began to find a whole new generation. Previously he has taken to publicly deriding hip hop and rap music, but in recent years his opinion has changed dramatically, and he has even collaborated with rappers like Mos Def and Snoop Dogg. “I feel a lot differently about it,” he says. “Financially it’s been good, for one, but other than that and more so, there are a lot of talented people out there and even though they’re doing things a lot differently than we did in the old days – you know, with sampling and using electronics to make the music – it’s working. Young people are buying the music and it’s been a resurgence for me with people sampling my music and using my name on their records. It really, really let me know that there’s a whole world out there. I run across so many young people – I was speaking with LL Cool J the other day and he wanted to rap over something of mine. He was telling me about how his mother and father and uncles and different people were into my music when he was a kid, and that’s all he would hear, and he identifies with me like that. It really surprised me because I’d never talked to him before but I knew who he was. I just thought wow, this is great. This is what legacy means.”

“He said, ‘Uncle Bob! Calvin wants to do something with you,’ and I said, ‘who’s Calvin?’ He said, ‘Oh, Snoop Dogg’. I said, ‘Are you kidding?’ (laughs) And so he hooked us up and the rest is history. When I met him I realised this is a guy who has a persona that looks one way but in person he is different and he is a business man on top of that. I kind of related to that and he opened the door for me to meet lot of people I didn’t know anything about like, Lil Wayne. But they all knew me! (laughs)” Womack has lived through devastating emotional losses with so many of his peers, friends and family falling prey to the rock’n’roll lifestyle or just tragic circumstances. He has recently had to overcome one of the biggest challenges of his life and has just been given a clean bill of health after a close call with cancer. When our conversation takes place he is at his oldest brother Friendly Womack Jr’s house in Little Rock, Arkansas. “I haven’t seen him since I was sick,” he says, “and I wanted to see him before I departed on this tour. You know, I was really ill there, at times I didn’t even know where I was but a lot of people were praying for me and I’m just thankful that I’m up and able to do what I love to do, which is music, again. “When people say ‘soul survivor’, I used to take that for granted until after I got sick and was able to come back. I now have a lot more respect for that title.” WHO: Bobby Womack WHEN & WHERE: Friday 24 May and Saturday 25 May, Sydney Opera House Concert Hall

Stephen Dupont talks to Dave Drayton about new and innovative ways to take photography to the people.

ow entering its 11th season, the Reportage Photography Festival has come a long, long way from its humble beginnings in a Bondi living room. Conceived in 1999 by Stephen Dupont, Michael Amendolia, Jack Picone and David Dare Parker, as an Australian answer to events like the Visa pour l’Image photojournalism festival in Perpignan, France, the festival has taken the next step to becoming the biggest and best of its kind in the Asia Pacific Region. This year marks the first time that it will be presented in partnership with Sydney’s Vivid Festival.

of a full photographic essay, an edited body of work ork that all stemmed from the photographer – it wasn’t n’t from an art director or from a picture editor – this was often very personal projects so they were often works of long-term projects that these photographers had worked on in their own time and that gave them an opportunity to put these out there and show them in an environment which was the cinema, so together with music and an edited series of slides – we used slides back then so it was like a Kodak carousel,” Dupont points out with a nostalgic laugh.

“We were sort of frustrated at the time from a lack of interest in our work in terms of galleries and things like that – documentary photography has always had a bit of struggle in the gallery world and we all came from editorial newspaper kind of work, photojournalistic backgrounds,” says Dupont, recalling the impetus for the festival over a decade ago.

The festival grew, being hosted at a series of different cinemas over the years – the Valhalla, the Chauvel, the Academy Twin – before being added this year to the Vivid program. As the venues have developed, so has the technology being used by the photographers and that being employed to present their work. For Dupont, it’s all part of Reportage’s ongoing mission to exhibit work in new ways.

“We were interested in bringing that sort of Visa pour l’Image concept to Australia and extending that beyond doing [it] at home with a projector and a white wall or out in the back garden with a white sheet; we were bringing it up to a whole other level. It gave a platform to really show what the photographer saw in terms

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Womack’s first personal introduction to the rap world came via his nephew Cecil Womack Jr, who produces hip hop under the name Meech Wells.



gonna take time with our families and we want you to take time and relax and listen to the tracks and see what you can come up with lyrically’. That was a whole new twist for me but it was a ray of sunshine. Anytime that you stay up all night like that, you have to have help and I think that’s what made me drift off into my problems with drugs – being up two or three nights in a row is just not possible. They were doing it the way that I always should have been doing it. They showed me you don’t have to stay up for three days in a row to get what you want.”

“It comes down to the approach and the style of our festival. Yes, we do exhibit in contemporary spaces and classical gallery spaces but I think a big part of our festival is to find new and innovative ways of showing photography, and so when I made a relationship

Centre of the Universe by Tamara Dean with Photoville, I just loved the concept of showing pictures in shipping containers so we invited them to be a part of our festival this year,” Dupont explains the partnership with the Brooklyn-based photography initiative. “We’ve also got a big cube exhibition which is down at Darling Quarter which is four women photographers, four-by-four photos, this massive twoand-a-half square metre cube; and then there’s the big outdoor installation, the projections [are] really going to be one of the highlights, out on the Quay next to the MCA, and that brings in at least forty photographers; all our big names are going to be in those projections. The outdoor exhibition space is a big part of us this year and will grow in future festivals with us.” WHAT: Reportage Photography Festival WHEN & WHERE: Saturday 18 May to Thursday 13 June, various locations




Cavalia in The White Big Top at EQ


The Hangover Part III


The Guardian website


Vegan hot dogs at The Soda Factory


Resch’s at The Bat & Ball


Check out our new food page in The Guide.



Come to the year 2013, and it feels like full circle, albeit on a parallel universe. The band released Lost Songs last year, a release that felt more urgent and immediate than their past few outings; the band have scattered across the world (frontman Conrad Keely now lives in Cambodia) and the band find themselves revisiting the material that kicked everything off by remastering their first two albums, then playing debut Madonna and Source Tags & Codes in their entirety. “I think for us to revisit those albums, they are very special moments in our history,” co-founder Jason Reece muses. “And it’s something that we have always been asked to do, by fans and promoters who are fans and friends of ours, so we finally caved in. We only did Madonna (in its entirety) in Tokyo, and we’ve done bits of Source Tags… in Austin, but Australia will get it in its full form for the first time, which will be interesting. We want it to be special. So who knows – if you really want to see it, you may have to fly there – this could be the only time. We don’t want to be one of those bands that keeps dragging out the dusty albums – we want it to mean something, to us and to the fans.” Source Tags & Codes denotes conflicting emotions for Reece, because although that album itself is a towering achievement that was revered in its day and is still held aloft as a benchmark by their fans, the shifting sands of public opinion and the chimerical zeitgeist of taste has seen such evaluations drop away over time, despite the band endeavouring to traverse far more interesting sonic realms since. For better or worse, internet litmus test Pitchfork gave the album a mythical 10.0 score, only to denounce their own opinion years later. There have also been internal shifts, with integral members leaving for other artistic pursuits. Reece admits that the brouhaha surrounding that album proved doubleedged, yet they never intended to treat any wall of resistance as a failure or indeed a reason to fade away. “With that album it holds a crazy time for us, because Pitchfork gave it a ten, which was ridiculous, the

iPA amount of attention we got just because of that, ‘the Pitchfork ten band’. We were happy with it of course, you want to be favoured, you want to have that kind of recognition, you want people to realise that you’ve worked your ass off. But getting a ten, you can’t get any higher. And we have never thought we were going to make a couple albums and opt out, go do something else; we have always seen this as a career, as something that would last a long time, maybe even outlast us, something like the Flaming Lips or Sonic Youth, even Fugazi, what they’ve achieved and still continue to achieve. So everything we have done since has been held in direct comparison to that.” It is this inherent belief in crafting a legacy that has allowed …And You Will Know Us By The Trail Of Dead to remain one of the most consistent acts of the past decade, and has led to a holistic approach to their music. Both Lost Songs and 2011’s Tao Of The Dead incorporated Keely’s now iconic illustrations into a fully fledged story, included in both comic-strip and graphic novel variations, whilst the iconography and the linking segues between album recordings has been a lasting thread from the very beginning. This comes down to the latest album, which includes two versions of the record (with and without the musical segues between tracks). “We wanted to have it so there was a choice – either go straight up, or take the full journey,” Reece explains. “There are people that would rather listen to two or three songs; they’d rather pick and choose in this day and age. The album format, it’s sad but it isn’t adhered to as it used to [be], it’s more like making a mixtape or a playlist for their iPod. Even we do that on road trips, we have our iPad with this turntable thing set up on it, which allows you to DJ the stuff you like. So we get that. But as far as we are concerned, the album format is the truest form; lately for me it’s been some of the War On Drugs albums. We love vinyl too, because there is so much you can do with it and you can invest yourself in it to a certain


The Rubens, Walk The Moon and Bloods at The Enmore on Saturday






Mount Kimbie’s Cold Spring Fault Less Youth

arly 2002. Austin, Texas rock band …And You Will Know Us By The Trail Of Dead had a small yet fervent following and a slowly developing storm of hype surrounding them after the release of two albums and a US tour with Superchunk. They released their third LP, Source Tags & Codes, and the explosion of plaudits and accolades rained down like a torrent. The album was filled with uncompromising bluster, angular bombast and a defiant air that stood head and shoulders above New York’s cool kids on the block. The band became bigger and brighter, and therein lay the backlash, as adulation turned to disdain. It didn’t faze them, however – it only made them stronger.



…And You Will Know Us By The Trail Of Dead have never been ones to compromise. Brendan Telford chats with co-founder Jason Reece about returning to their roots, forging forward under fire, and carving out a legacy.


The Hangover Part III


level. And we like to continually connect everything, but always search for something new. We are working on something that involves a 20-minute piece, no breaks, no segues. We’ll see how well that goes down.” At the end of the day this is the defining factor of the band – they never compromise. Every move they have made has been wholly from their standpoint, even their ill-fated days on major label Interscope. They live and die by the sword, without a single regret, something Reece believes has not disappeared as the 21st century has become ever more youth-oriented. “We are surrounded by an ever-changing industry that expect different things, but we never succumb to it,” Reece espouses. “It’s fair for people to jump on things that are fad-oriented, but I have a feeling that the people that remain on those fads will be the Luddites. Others will revert back to albums, eventually – and I’m not talking about older generations, I’m talking about younger generations. Making an album and putting it on vinyl will be anti-establishment – the punk thing to do. In some ways it always was, and always will be. There are some kids who are doing that now – some 13 and 14-year-old kids in a band in Austin, Texas called Residual Kid, and they’re totally into playing rock music that’s influenced by Fugazi, Dinosaur Jr, Sonic Youth – legacy bands. And when I was growing up, Sonic Youth and Fugazi were already fucking old to me. They were entering their 40s and I was thinking, ‘Dude, I’m listening to old people!’ But I gravitated towards those bands because they had soul, they had conviction, they had something that no one else could touch. Age, looks, gender – it doesn’t matter, and as long you always have something important to say and do, it never will.” WHO: …And You Will Know Us By The Trail Of Dead WHEN & WHERE: Thursday 23 May, Metro Theatre

THE RUNAWAY WORE BLACK After a heartbreaking divorce, Lita Ford has reached deep down to create the album of her career. On the eve of her first ever Australian tour, she talks to Mark Hebblewhite.

haven’t seen my children – my sons – in almost three years. My ex-husband turned them against me and is blocking all my attempts to contact them. As a mother it’s just so painful and with Mother’s Day around the corner I feel it all the more. We’ve just released the video for the song Mother off the new album – and I guess in a way it’s me reaching out to my sons as a mother, letting them know that I’m here and that I’ll always love them.”


“Amazingly no tracks from Arcade Fire’s masterpiece Funeral have ever made a Hottest 100 list. I’m going to pick Neighborhood #3 (Power Out) as my favourite track, with its urgent guitars and chirpy xylophone, the hairs on the back of my neck are awoken from their slumber every time I hear it.” - Alex Dyson (Breakfast)

Last year’s comeback album, Living Like A Runaway, has proven to be a hit for Ford, with critics from around the globe praising its straightforward and gritty street vibe. A great deal of its visceral impact comes from the fact that the album was fuelled by Ford’s fragile emotional state following her bitter breakup with husband Jim Gillette and her subsequent estrangement from her children. Ford herself readily admits that the circumstances of her personal life have made this record unique. “When terrible things happen it takes you to a place where you wouldn’t usually go to. If someone sticks a knife in your back and says ‘die bitch’ – as an artist you’re going to write about it. To me, it was a way of overcoming the bad things – a way to pull myself out

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of the dark place I was in. I was able to come back and tell people what I went through. Artists do this – look at Nikki Sixx from Motley Crew – he literally died from drug abuse – but he survived and wrote about it, creating some of the best music of his career. This album represents me finding my inner strength and willingness to keep living. Everyone has to do this at one point or another in their life – I chose to do it with my guitar.” Adversity is nothing new for Ford. As a teenager in the 1970s she stared down the inherent sexism of the music business to drive the success of the all-girl group The Runaways via her virtuoso guitar licks. Ever since, she’s been kicking back at those who continue to insist that rock’n’roll is a boy’s club. “I do think that things have got better for women who want to play hard rock and metal,” Ford suggests. “Female performers are now accepted, unlike in the 1970s where you had to be a singer like Janis Joplin – God forbid one should want to play a guitar. I don’t know what it is about that instrument… even female drummers were more accepted than guitarists. As late as the early ‘90s people would ask me, ‘Who plays the guitar solo on Close My Eyes Forever?’ It’s unbelievable – who do they think?

“I’m proud to have been a role model for women in music and what I say to younger women who ask me for advice is to always follow your heart and don’t let people change you. Things are better for women but you still have to be strong and go for it.” Although Ford visited Australia in the early 1990s to deliver some guitar clinics, she has never properly toured the country. So now that she finally has the chance she promises that it’s going to be worth the wait. “We just want to come over here and rock as hard as we can. My band are amazing; we’ve been playing a lot of gigs so we’re really tight at the moment and the fact that this is our first time in Australia makes it extra important. We’ll be playing a little bit of everything including some of The Runaways tunes and stuff from my solo career – this is going to be a special tour and I hope you guys all come out and see us.” WHO: Lita Ford WHEN & WHERE: Saturday 25 May, Factory Theatre




READING INTO JAZZ It’s jazz but composed, literary but musical, French but not – bass saxophonist Richard Savery’s LIE is launching at the Kinetic Jazz Festival. Michael Smith checks in.

ichard Savery’s love affair with the baritone sax began at the age of 12, for no other reason than he loved the sound, and it’s taken him around the world, performing in the UK, the US and even in the Caribbean. He’s also a composer and with his seven-piece ensemble, LIE, he’s recorded an album, Flowers And Convicts, which he’ll be launching at this year’s Kinetic Jazz Festival.




26 FEBRUARY 2008

Not that the music reflects that literary passion for all things French. Wonderfully ornate, LIE music is definitely informed by jazz, though with a line-up that includes violin and cello, with Savery also playing bass clarinet, there are strong classic allusions in there too. With both cello and bass clarinet, Savery also felt that including a double

Okkervil River, The Phoenix Foundation, Ozzy Osbourne, The Getaway Plan

ALBUM OF THE WEEK Cellulite Soul Witch Hats


In the midst of directing Toby Schmitz’s I Want To Sleep With Tom Stoppard last year, Leland Kean found himself playing the larrikin one night, and “over a few cans” he was soon discussing the work of Williamson with an old friend, the playwright’s son Rory. What emerged was Kean’s desire to direct Williamson’s working-class wonder. “David came along and saw …Stoppard and we kind of sat down and had a chat afterwards,” Kean explains the next serendipitous step that led to his programming of The Removalists in the Tamarama Rock Surfers 2013 program. “You know, a lot of the issues in The Removalists are things that I’ve experienced in my own life; the elements of domestic violence and police brutality are both things that have personally affected my family and affected me in stages of my life. And in the conversation that I had with David we got talking about how rates of domestic


St Jerome’s Laneway Festival featuring Clap Your Hands Say Yeah, Broken Social Scene, Okkervil River, The Panics, The Presets, Goyte and more.

WHEN & WHERE: Saturday 25 May, Kinetic Jazz Festival, St Luke’s Church Hall

As for what was different on Helvetios, Glanzmann has no interest in speculating, besides suggesting that the band’s restless touring, which is about to bring them to Australian stages, because that seems counter-intuitive. “We never would analyse something and say, ‘Why did this do so well and what can we do to replicate that?’ After all this is art, it’s about creativity and doing what we want to do. Maybe on the next album we’ll do

This year also marks a shift for TRS, no longer in residence at The Old Fitz and programming for just one venue. For Kean, the company’s artistic director, The Removalists was not only a chance to show the script’s resonance with social issues, but also to celebrate the lineage that inspired the company. “TRS are so committed to new Australian work and new Australian voices and putting that work on stage so it was really nice to give a bit of a nod historically to one of our most iconic playwrights in that period of time that produced what ultimately the Rock Surfers are kind of the end result of, that energy that came out of the ‘70s.”

“Seeing what happened last year – the shock jocks, the Prime Minister and the misogyny speech, what we saw during Mardi Gras this year with a number of brutal police actions on people watching the parade – what I wanted to put on stage was something that was really set in the period that audiences could come to and sit and watch and go, ‘Oh, haven’t we moved on? Haven’t we got more civilised than we were in 1971?’ And then to go, ‘Well no, we haven’t.’ “On the face value things have changed, equality has changed, the position of women has changed, but if you look at some of the things that have happened, particularly on a political level, you scratch under the surface and you see that these issues are still

WHAT: The Removalists WHEN & WHERE: until Saturday 15 June, Bondi Pavilion


ut something that everyone will hate and it will flop, but that’s a chance we are willing to take. We never want to be, how you say, circumcised, by business thinking.” As the band continue touring in support of Helvetios Glanzmann reveals that he’s already turned his mind to the band’s not one but next two records. One, a sequel to their breakthrough acoustic record Evocation I: The Arcane Dominion, and the other, another metal record. “It was quite a spontaneous thing really, some ideas came to me about the concept,” he says. “The next album we will do will be a metal album, but now I’ve got that concept Evocation Part II will come after the metal album. Basically our next two albums will kind of be linked together, conceptually.” But before the band head back into the studio, there’s still plenty of touring to take care of. Though the next stop on the band’s current world tour will see their maiden Australian shows take place, Eluveitie’s reputation as a live act precedes them. Known for playing with power while incorporating a bunch of weird and wonderful folk instruments, Glanzmann laughs and says that’s pretty much Eluveitie live in a nutshell. “We’re all pretty much, how do you say, music addicts y’know.



there, they are as relevant and as problematic in our suburbs today as what they were in ’71. It was about setting it then and getting that echo on the audience, forty years later these things are still here.”

In continued dialogue with Williamson, Kean uncovered the uncomfortable realisation that far from being resolved, issues that first graced Australian stages in the 1970s analysis of suburbia in Australia, of the Australian male, that culture and the ideas of misogyny, were as troubling as ever. Kean resolved not to contemporise the production, but to set it in period.


sually when we release an album we don’t have any expectations, because you never really know what’s going to happen,” Eluveitie vocalist Chrigel Glanzmann admits when he starts to reflect on the success of the band’s fifth studio album proper. Over a year on from the release of Helvetios, Glanzmann still seems flummoxed by the album’s success, which saw the band enter the top five of the album charts in their native Switzerland, as well as shooting up charts throughout Europe and the US. “Helvetios was something that we never expected, or ever thought could happen,” he continues. “It’s been extremely well received, our most successful album so far. It was our first album to enter the US Billboard charts… It was weird for us, because there’s a lot of melody in our music, but it’s still extreme metal.

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WHAT: Flowers And Convicts (Independent)


To enter this and checkout heaps more head to the Drum Facebook page.

WHO: Richard Savery’s LIE

violence are on the rise, that a lot of the issues that he was addressing in 1971 are as relevant if not more relevant today, forty years after the play was written.”

Eluveitie frontman Chrigel Glanzmann talks to Tom Hersey about the unexpected success of their last record, and how the band manage to bring all the elements of their folk metal to the stage.


Savery also works with life partner Russian-born LIE violinist Anna Okunev in a duo called Avery and the classical Marianna Ensemble, while his brother Jono plays clarinet and sax in LIE, with Anatoli Torjinski on cello, Aaron Flower on guitar and Wilbur Whitta on piano, with special guest Jarred Dunn also sitting in on piano.

“Haven’t we got more civilised than we were in 1971?” wonders Leland Kean as he talks to Dave Drayton about the tough questions The Removalists asks 40 years on.



There’ll be a couple of LIE gigs later in the year, while a cut-down version of the group will be playing the Bellingen Festival, but for now, they’ll be joining the 18-piece Kinetic Jazz Orchestra, the guitar-led Tim Rollinson Trio, the Dale Barlow Quartet and Captain Kirkwood, all part of the five-day Kinetic Jazz Festival.


avid Williamson is one of the greats of Australian theatre, his 1971 play, The Removalists, a benchmark work that saw suburban Australian culture put under the microscope for perhaps the first time on stage. What emerged was a confronting commentary on the darker currents that underpin the Aussie myth of larrikinism, domestic violence and police corruption.

We sent the intern into the archives to select at random an old Drum.

“There [are] definitely lots of classical elements,” he admits of LIE music. “I try not to think about jazz or classical elements. I just write what I like and kind of go from there. Because I’ve been writing for this group for maybe five years, we have about 35 pieces, so I just took pieces that I though would fit together really well for the album. They’re not all influenced by books but these particular ones all kind of came together in that way.”

Savery has admitted that of late, in his own composing he’s begun to feel that allowing the soloist or improviser freedom reduces the freedom of the composer and imposes its own limitations. “One of the biggest challenges for me as a composer is thinking about allowing people enough freedom and where they can solo. I try and really structure it as part of the composition so there’s a spot in every piece where someone gets a chance. Generally each piece will feature one or two people, so I kind of work around the elements of what they can add to the piece. The people in the band were very carefully chosen, each person – I’ve played with them for years. The drummer [Finn Ryan] I’ve been playing with since we were both in high school together.”


Wednesday, Brass Monkey Thursday, Oxford Art Factory Friday, Heritage Hotel

“Some of the compositions were inspired by different authors, different books,” Savery explains. “That’s kind of the inspiration for most of the things on this album. I’m inspired by lots of different musical elements obviously, but most of the titles, the ideas came from different works. They’re drawn from imagery in the sorts of books they’re from. Two of the titles are from Jean Genet, and some from Rimbaud, the poet – actually they’re mostly French authors I think.”

bass only cluttered things in that part of the sonic spectrum, so the originally eight-piece is now seven.





As long as we can hold our instruments in our hands we are ecstatic. And I think this is what comes across when we’re standing on stage, so the show is just a very natural expression of our passion for music.” As for the band’s rep to be able to do everything from the albums onstage, Glanzmann is resolute. They couldn’t have it any other way, basically. “What you hear on an Eluveitie record is what you get on at an Eluveitie show. What that means is there’s eight of us onstage coming up with these interesting folk instruments, so there’s something to look at.” But from a logistical standpoint, it must be pretty bloody hard for Eluveitie to actually put all those instruments together and recreate the dynamism of records like Helvetios and Slania, right? “It takes experience to know how to mix a mandola next to a fucking loud metal drum, but we’ve got it figured out by now. There’s no problem with that.” WHO: Eluveitie WHEN & WHERE: Saturday 25 May, Metro Theatre


Camera Obscura




Cold Spring Fault Less Youth

Mick Turner and Will Oldham. They both be names with a weight of their histories – Dirty Three, the various Palace banners, etc. – even under the guises they use on their own occasional collaboration. Thus The Marquis de Tren & ‘Bonnie’ Prince Billy herewith offer Solemns (Drag City). Aptly for the name of the EP, they offer hymns which squall sporadically, which then skitter and hide from the light. It’s not entirely just them, members of BPB’s backing combo also present, including the spectacular Angel Olsen, whose trilling voice wafts by a couple of times while Bill and Mick converse.


The subtle, sometimes nervous, character of that is certainly not going to be found in Airbourne’s Live It Up (Roadrunner). Now well-settled into their role as the world’s most successful AC/DC tribute band, this rumbles and yelps at you something akin to a Kenworth struggling with the gear changes up the M4 just past Emu Plains. The song has now been chosen to soundtrack the WWE’s Extreme Rules event. Now, that’s success. Of a sort.

The textures are softer, and the glitches that carved up so much of Crooks… are gone. Most songs have a more traditional song structure, some boasting straightforward (live) drum tracks and instrumentation, and quite a few have some great vocal work (King Krule’s guest spot on You Took Your Time is inspired).

While probably not as lauded as fellow Kiwi siblings the Finns, or even Evermore’s Humes of late, the Kilgour brothers centred The Clean, one of the finest of the Flying Nun crop of back then. David Kilgour now leads The Heavy Eights, who have left their safe Dunedin home over the past decade to work in Nashville, often with elements of the Lambchop collective. A new album has some leftovers from that time, and a second bout recorded in NZ’s deep south. Christopher Columbus (Merge) still has some of his languor, and arched guitar noise to keep enthusiasts engaged. There are few phrases that please me more than ‘Scottish indie pop’. This is the currency Camera Obscura unashamedly have dealt in since the turn of the century, and as precursor to a new album, Do It Again (4AD/Remote Control) provides truth in titling. Yay, shiny thing! They tread a well worn – but still shiny – path and have well-regarded pals such as Neko Case and Jim James along to join them. The voices warble and keen upward, and you’re singing along with the chorus by the third time they get to it. And then you play it, again. The nice chaps of local duo Yon Yonson continue to make homemade electronica of some charm, through the one microphone they own. It is bedroom DIY, but there’s pop sense in among the creaking noises and found sounds of their Closer To The Sun EP (Independent). Emboldened, although I’m still not sure their term of ‘unleashing’ is quite the right mood for what they do, they are apparently considering picking the keyboard up off the doona and venturing out to perform to the real world. If they can retain even some of enthusiasm and intimacy they contrive, that may be a rather nice night out. Also about to tour, but been out of their wardrobe space for some time, Daughter preface their visit with Human (4AD), which seems to take a lot – style, and even title – from an almost Bjorkian place. The drumbeat rattles along, and the voices wisp and shimmer. And then it stops. And your life is not much enhanced or harmed. The Reductors make Britpop. But more of the 1964 variety. A well-known Liverpool combo, The Beatles, are well extant across Gonna Make You Mine (Independent), with When She Came Round – the other side of this double-A-side affair, taking the ferry cross the Mersey to somewhere around Gerry & The Pacemakers restraint. The knowledge of history, and sincerity in delivery, makes them something more than leagues club retro act. The perfect-named Teen Sensations also unapologetically rifle a concurrent era to that, but the title of their offering, Surf & Sway (Independent) – if not the stripy shirts – will give the game away. Much ‘hanging five’ and other such terms I don’t know the meaning of. They get the echo and picked guitar noises right, and there is salt in the breeze. Again, they know what they’re about. Echoing various other Anglo eras, including that later period referred to above, as well as some old new wave from the garages of Lambeth Road, We Found Love (Rough Trade) is Palma Violets making their racket bigger and fuzzier, while keeping the right accent. They’re another on the upcoming Splendour roster. Call The Shots are similarly happy to pigeonhole themselves. They say they’re a ‘punk rock’ band. But that term seems to have altered over the years. The Brisbane band make ‘punk’ largely based of that ‘90s American model, although there might be some early Frenzal dryness and snark across the When Everything Goes Wrong EP (Take Down/Shock) to redeem them.

London-based post-dubstep duo Mount Kimbie have returned with their highly anticipated follow-up to 2010’s critically acclaimed Crooks And Lovers. Cold Spring Fault Less Youth continues to explore the textures and urban tones that fascinate them, but while their previous release on Paul Rose’s Hotflush label was more interested in finding that sweet spot between dance floor and gallery noise installation, this new collection (now on Warp) is a far more lucid, warmer approach to lounge room bass music.

James Blake proved that taking the paranoia out of traditional dubstep and replacing it with a little R&B was a commercial and artistic success, and Mount Kimbie are on the same page. They understand the sex appeal of a good bassline and they get the cerebral joy of exploring sophisticated layering and sequencing. They never give too much away. Made To Stray is a pretty straightforward club track, but it’s muted and cloudy, with only a few bright clicks and pops breaking the surface. It’s a neat trick that keeps tugging at the strings and teases your feet. . Matt MacMaster



Pop Noire/Matador/Remote Control


The unrelenting blanket of darkness across Silence Yourself is unequivocally post-punk, as are Savages. The UK-based four-piece revel in low tones, pulsating percussion and angular guitar riffs, all held together by frontwoman Jehnny Beth’s howls and screeches. Beth is chameleonic, able to leap from ear-bleeding falsetto heights to deep, shuddering exhalations in a single song, an advantageous trait to have as the songs could easily become undistinguishable from one another.

Sub Versus sees Akron/Family performing as pop musicians doing their best no wave interpretation. It’s a record full of disparate tones and textures and challenges you in the same way as no wave, but it’s all put together using pop music’s accessible professionalism, and it’s a rewarding work that refuses to be pigeonholed.

Silence Yourself

Her pan-European accent is tantalising on the unassuming No Face, as she yells the refrain over a cacophonic mash of guitars and drums. Theirs is a simple set-up but it doesn’t stop the four women from making big noise and cleverly avoiding mundanity with quick key and tempo changes mid-song. There’s an intangible vitality in songs like Hit Me, bristling with nervous energy that needs expunging, that’s explored in every fast-paced, no-nonsense song. It is the older single, Husbands, that most accurately encapsulates Savages’ goal: a chugging rhythm that builds magnificently beneath Beth’s frenetic yelps. There’s urgency in every iota; you can practically picture sweat hitting guitar frets and the shuffling feet of an overexcited frontwoman. It falls to serenity on Marshal Dear, venom spiking Beth’s tongue as she utters, ‘I hope you’re breathing your last breath, Marshal dear.’ It’s refreshing to hear a band that commits to its influences but twists them into something vibrating with life. Silence Yourself is a grower record; the first listen may leave you curious, the second seeing you noting the songs as passively enjoyable, but a few more and you’re hooked. Sevana Ohandjanian


Sub Versus

No Room initially feels menacing, with its martial percussion and brooding guitar work, but the band’s disarming three-part harmonies split the clouds and let some sunshine in. It’s a deft balancing act that sets the tone for the rest of the album. Way Up opens with throbbing guitar/drum attack, but it subtly transitions into a brighter place as the African-style harmonies and loose vocal triplets dance over the top. Piano drifts in and a doo-wop passage forms, but it changes again with the reintroduction of the booming stadium percussion to play out the rest of the song as all the elements are drawn together. Until The Morning might actually be the most restrained, polite song Akron/ Family have ever written. It’s a marvellously charming love song that gets an easy message across using a simple pop refrain for the chorus and a melody loop that dips and crests nicely in the verses. The density that pervades the rest of the album is paired back to let the central elements breathe and develop. The album is a series of interesting contrasts and clashing ideas, but it also has pacing issues. There are moments in the second half that lose you and it feels slightly undercooked, but overall it’s a good entry in Akron/Family’s fascinating catalogue. Matt MacMaster



One Of Us Is The Killer


Duck Down

Party Smasher Inc/Remote Control

Laura Marling, the darling of the literary indie folk scene, resurges from her two-year recording slumber to bombard us yet again with her wordy webs of songs that muse on the intricacies and irreverences of womanhood.

Gratitude is difficult to divorce from its context. P-Money is a New Zealander, a beat-maker from across the ditch made good. To put this release together he made his way to the US, inked a deal with Duck Down and worked with some reasonably prominent people. This makes it inevitable, we say, that Gratitude is more than just some solid beats and useful raps. After instances like Seth Sentry performing on Fallon and 360 having a middling time SXSW, this album is the latest answer to the question we continue to ask ourselves: where does our hip hop sit in the US? Are we still just poor cousins?

It doesn’t take long for The Dillinger Escape Plan to make their intentions clear on One Of Us Is The Killer. Just six seconds into opening track – and first single from the album – Prancer and the vocals of Greg Puciatio announce they’re not interested in taking any prisoners. Anytime a band’s genre is prefixed by the word ‘math’, it’s going to live and die by precision. One Of Us Is The Killer delivers the tightness and exactitude while never compromising on the aggression. Songs like Understanding Decay and Magic That I Held You Prisoner hit hard from the first beat to the last, but it’s not just shock and awe tactics. The title track shows they’re not afraid to slow things down and focus on melody over aggression, even in its louder moments. And sometimes it’s the combination of both that can really make an impact, like album closer The Threat Posed By Nuclear Weapons. This one song is almost a showcase for what the band can do from one end of the spectrum to the other. Now well into their second decade, The Dillinger Escape Plan don’t seem too concerned with surprising anyone, with another collection of off-kilter time signatures, unrelenting riffs and throat threatening vocals. One Of Us Is The Killer is a natural progression from 2010’s Option Paralysis and should be more than satisfying for fans of that album. It hits hard and grabs on tight from the very beginning and only loosens its grip long enough here and there to make the next squeeze that much more intense. Pete Laurie

34 • For more news/announcements go to

Once I Was An Eagle

Produced by Ethan Jones, who’s also worked with Marling’s inspiration, the rocker Ryan Adams, Once I Was An Eagle drags us all a little deeper into Marling’s rabbit hole. Opener Take The Night Off sees the 23-year-old, with her floaty almost apathetic vocals, calling her lover’s bluff, “You said you’re gonna leave babe/Be gone from me”. The title track is something of a lesson in Marling’s steely will towards romance, a light strum on the acoustic interspersed with strings and drums as she wails in the background, “I will not be a victim of romance”. Master Hunter takes a lighter turn, heavy percussions drowning out those acoustics, with Marling’s voice now coy as she spites though a smile, “Well, if you want a woman who can call your name/It ain’t me babe”. It seems Marling has a fascination with the devil, christening yet another song with the prince of darkness’s name (following 2010’s brilliant Devil’s Spoke) with Devil’s Resting Place. The heavy tub-tub of drums give the track a sense of foreboding danger – Marling choosing this time to stay in her heavy lower register, her sound seeping through gritted teeth in a deep whisper. Once I Was An Eagle allows Marling to show off all her prophetic talents as one of this generation’s greatest songwriters, but the tunes lack the versatility of her earlier releases, giving the album a ‘this song sounds kinda like the last one’ feel. Natasha Lee


With The Hardest we get something of an answer. P-Money rolls out the red carpet for Billy Danze and Lil’ Fame of MOP. The result is immense: horn-driven boom bap punctuated by braggadocio, brashness and blows. Killuminati – horrific title aside – is also notable. Our host provides a sense of urgency as Buckshot shares his conspiracy theories. Say It Again is perhaps P-Money’s best here as a sliced up soul sample is used for both rhythm and melody. This is no end-to-end triumph, though. Welcome To America jars. First, it reinforces P-Money’s position as an outsider, a man from Somewhere Else. Second, it’s one of P’s more pedestrian backdrops. Gratitude, then? To whom should P-Money be grateful? Those of us who’ve enjoyed his beats for near on a decade, perhaps? Or maybe to his American backers and collaborators who’ve supported him on this one. What we have here is engaging, but the cultural cringe is never far away. You’re good enough, P-Money. You just have to believe in yourself. James d’Apice




Beginnings And Endings Independent “The entire album is brilliantly put together and not once does it feel contrived.” Justine Keating




You Are Everything

Javotti Media/3D



Through his 15-year career, New York rapper Talib Kweli has barely put a foot wrong, a long line of solid solo and collaborative albums testament to this. Yet going by the title of his fifth album, Prisoner of Conscious, the ‘conscious rapper’ tag has been somewhat of a cross to bear. This hasn’t forced him into pulling out the guns, drugs and hoes though; in fact, lyrically it’s more of the same well-thought-out brilliance, over a varied selection of beats that generally steer clear of trends.

When asked to explain what inspired Wire to create their 13th album (which has been aptly titled Change Becomes Us), the band’s primary songwriter Colin Newman penned it down as being “a good idea at the time...” Such a statement would imply a level of half-heartedness; that’s the kind of devil-may-care attitude applied to a scenario where good judgement is overshadowed by impulse. But what Wire have done with Change Becomes Us is a lot more than that throwaway statement leads on.

First single, the soulful Push Thru, proves this, matching Kweli with a well-suited sparring partner in Kendrick Lamar, just one of a smorgasbord of guest MCs. Acknowledging legendary hip hop moments of the past, Turnt Up gives a big nod to Eric B and Rakim while the spacey, ‘80s electro synths of the Harry Fraud-produced Upper Echelon pay tribute to Masta Ace’s classic subby-rattler Born To Roll. The ladies become Kweli’s (very respectful) focal point over several songs, the aroused Come Here features soulsta Miguel, while Hamster Wheel tells the story of a woman caught in a self-destructive cycle. Venturing outside his own backyard, High Life co-opts some awesomely funky afro-beat while Favela Love sojourns to South America with vocal help from Seu Jorge.

With Change Becomes Us, Wire have delved back into their formative years and reworked a number of songs that never made it to the studio and exist only in live recordings, predominately lifted from blueprints of tracks off their 1981 live album Documents And Eyewitnesses. As it were, they’ve reinvented their ‘second wheel’ – and that’s something they’re well aware of, with Re-Invent Your Second Wheel manifesting the band’s tumultuous history resulting in constant change, a theme prevalent throughout the album. Eels Sang is the reincarnation of Documents And Eyewitnesses’ Eels Sang Lino, and while it still carries the same erratic blend of prog and punk, there’s a slightly more obscure tinge to what was already something quite murky. In saying that, there’s a definite method to the band’s madness – Stealth Of A Stork exemplifies the band’s admirable knack of being able to make the bizarre and erratic something quite melodic and comfortable.

It’s probably best not to get caught up in the contradictions. The often splendidly curmudgeonly Steve Kilbey, once big on downplaying his words as part of what makes The Church great. Martin Kennedy, in his mostly instrumental All India Radio band guise, only occasionally needed words at all. On their third album together, they’re both maybe a little freed of their typecast roles. While passionate and yet detached in his better known combo, Kilbey still has to leave spaces for those guitars to knit and filigree to make it what it is. Here, Kennedy makes warm beds of sounds that drift by, the singer’s voice as part of the whole. They happily reference German-period Bowie as an influence, on songs like East Side West Side that’s clear – the words largely recited for their rhythm and sound as much as their content. Contrast that with the human hope of Knowing You Are In This World, where the muffled drums, drawn strings, and echoed other voices make for something of sincere beauty. For all the flowing grace of that, there’s sometimes still some brow-furrowing and tetchiness beneath the smooth surfaces. A Better Day quietly demands “Give me something to feel.../Nothing is pulling me through”. Perhaps anything might only work for a time, and then only if you let it. This is a record of often intricate interlaced layers. Sometimes you can see where they overlap, but often it’s just a liquid whole – listen as Brother Moon Sister Sun just ebbs away. It’s that kind of detail that makes You Are Everything a small, yet almost perfectly formed, thing. Ross Clelland

Prisoner Of Conscious

Though the set does run out of steam a little in its second half, possibly off the back of his constant changing of focus, tracks like Human Mic and It Only Gets Better remind us why we fell in love with Kweli in the first place and provide the comfort that somebody is still producing music from the heart, rather than for the wallet. Darren Collins

Change Becomes Us


Hobbledehoy/MGM “Great North does not reinvent the genre, but it’s a brilliant Australian record and for fans of This Will Destroy You or modern instrumental/post-rock in general it’s utterly essential.” Andrew McDonald


Wait To Pleasure Mexican Summer/Popfrenzy/Cooperative “There are no dud tracks on this brisk, 35-minute record... No Joy have shown that they’re a solid head above their contemporaries with this release.” Andrew McDonald


The End Of The Terror Lights Independent “It’s the perfect balance of tragedy and beauty and the artistry that’s gone into the lyrics mark Charles Baby as an intricate and genuine wordsmith.” Lorin Reid

Change Becomes Us wasn’t a good idea – it was a great idea. Wire have not only reinvented themselves, but have transcended beyond their 2011 album Red Barked Tree and raised the bar even higher. Justine Keating

For more interviews go to • 35

[REVIEWS REVIEWS] l i v e set it was clearly winning in her mind, so much so that she stopped and started a few of her most famous songs, ending with a climatic version of Central Reservation where the spirit willing, flesh weak battle left Orton proclaiming that she was ‘literally about to cry’, then stopped singing and strummed a few bars, before leaving the stage, tears streaming. She returned to a thunderous applause and after apologising and saying “I just really miss my kids and want to go home”, even the hardest critic wanted to just give her a hug and a warm cuppa. Orton still has the wispy presence of the early 2000’s, but increasingly a vision that Joni Mitchell shows as she ages – a knowing, committed love to simple slow storytelling, but a sweet humour she lets creep out when you’re least expecting it to. While still self conscious (Orton stopped a phone camera saying ‘this can’t be forever, just for now’) oldies She Cries Your Name, Pass in Time and Stolen Car were given new life, while contemporary stuff like Dawn Chorus and Mystery also impressed. Liz Giuffre

AFRIKA BAMBAATAA, JUSE CREW, NTSC, DJ MATHEMATICS, MIKE WHO OXFORD ART FACTORY: 16/05/13 First up on the support bill was local DJ Mike Who, whose soul-infused hip hop tunes from Web by The Roots to Jurassic 5’s In The House had his small audience grooving. DJ Mathmatics and his sidekick Pep-C, aka The Party Crashers put on a great show. Determined to get the crowd pumped, Pep-C played an electronic drum-kit while Mathmatics remixed Marvin Gaye’s I Heard It Through The Grapevine. They inspired an organic b-boy cypher in the gathering crowd and the amiable MC Mirrah dropped in on a track with confidence and swagger. The third support, DJ NTSC gave a more demure performance with a projector set up playing videos perfectly timed to his music, and then there was a short segment of official b-boying from Juse Crew. The Australian chapter of the social movement Zulu Nation is all about representing the four elements of hip hop but Juse’s brief number felt forced.

DEFTONES, LETLIVE. UNSW ROUNDHOUSE: 15/5/13 There was considerable anticipation for letlive. and from the moment they hit the stage punters were reluctant to fix their gaze anywhere other than livewire frontman Jason Aalon Butler. The tireless vocalist led the American post-hardcore charges through their paces, scaling anything within reach (balcony included) and getting right in the thick of it amongst the steadily growing throng. Although Butler’s willingness to be his own personal punching bag was the focus of most attention (impassioned, lengthy sermons visibly irked some though) remaining members were surely accustomed to holding down the fort by now. Amid healthy singalongs they perhaps lost some initial momentum by set’s end, but surely left with new converts. Removed from vociferous sold-out shows like this, featuring numerous anthems and a blinding light show, hard rockers Deftones must be hurting. The US quintet may have anticipated that recently deceased founding bassist Chi Cheng would befall such a fate eventually, but one can never completely prepare for that type of blow. Aside from dedicating soaring Change (In The House Of Flies) to their fallen bandmate, performing numerous songs they wrote during Cheng’s tenure (including a crowd-pleasing, closing trifecta celebrating 1995 debut, Adrenaline’s gleefully immature teenage nu-metal angst) was a healthy form of therapy. Aside from toasting their past via Be Quiet And Drive (Far Away), My Own Summer (Shove It), Headup and Digital Bath, their recent creative hot streak was also plundered extensively. Opening one-two Rocket Skates and Diamond Eyes reinforced that when straddling pounding heaviness and sublime melodics – the cerebral and the visceral – few modern heavy bands achieve it with such aplomb. Swerve City pulsated with almost Meshuggah-like bludgeon, while Rosemary’s lushness and Tempest’s shoe-gazing sophistication translated with even greater resonance. Equally at home with guitar draped over him or leaping about en route to unleashing another caustic scream, frontman Chino Moreno’s unique charisma has made them a far more enticing live entity recently. Bassist Sergio Vega’s confidence has grown, his restless stage presence and backing vocals a vital counterpoint. Long-locked axeman Stephen Carpenter’s face was barely visible beneath whiplash-inducing head-banging, keyboard/effects whiz Frank Delgado inserted additional textures and Abe Cunningham belted the drums like he’d caught them breaking into his house. Individuals grieve in different ways, but performing ought to be cathartic for Deftones right now, particularly when in front of such an exuberant, receptive audience. Brendan Crabb

Deftones Pics by Josh Groom

LOCAL NATIVES, NEW GODS, TEXTURE LIKE SUN THE METRO: 15/5/2013 Jangly guitars, soaring vocals and boat shoes were the order of the night at The Metro when Californians Local Natives popped in for just their second Australian tour. Texture Like Sun were the openers and with a pedigree that includes TZU and Blue King Brown, their cinematic indie was a surprise. Sounding more like Jeff Buckley or very early Coldplay (the good kind), Texture Like Sun revolved around Cesar Rodrigues’ quite stunning voice. The only thing missing was the engagement with the audience, but that will come. New Gods were all energy and shiny melodies. The boom of the drums and the lovely harmonies were wrapped around dense layers of sound that really only threatened to get out of control right at the very end. A little more of this and New Gods will have quite a thrilling live show on their hands.

BETH ORTON, ALEX GOW ST STEPHENS UNITING CHURCH: 14/05/13 Church gigs are beautiful, but don’t really allow a lot of mingling or atmosphere building. Strangely, this gig also allowed a level of judgement that doesn’t normally rear its head, as support Alex Gow got the most accusatory heckle EVER, all because he didn’t give his name while standing on an alter. It was bizarre, but also a brilliant way for the young ‘un to show his chops and win over those who were just fence sitters up to that point. That said, there was still something unforgettable about the experiment, least of all as Orton battled demons, devils and a virus through her music. Her cold wasn’t evident until she pointed it out, but towards the end of the

The master of records DJ Afrika Bambaataa practically invented hip hop. The guy still lays claim to some of the catchiest remixes and most flawless transitions in the game. But the Sydney crowd was docile and tour MC and Universal Zulu Nation World Spokesperson King Kamonzi had his work cut out keeping up the vibe of “peace, unity, love and having fun!” Bambaataa performed a DJ set, spinning a warm collection of mainstream soul, pop and R&B including Rick James’ Super Freak, Aretha Franklin’s Respect, Milkshake by Kelis and The Real Slim Shady by Eminem. Bambaataa was an unassuming performer who barely said a word. He did his thing with nonchalant ease and left without saying goodbye. But he managed to present a mainstream set without feeling cheesy, remixing his way from the top 40 into the underground and sometimes you’d catch him singing along. Afrika Bambaataa created a harmonious and grooving atmosphere that really brought the small audience and the onstage crew together. Lorin Reid

Focusing largely on new album Hummingbird, Local Natives were impressively tight. Singer/ guitarist Taylor Rice’s jittery dance moves reflected the frenetic guitar that drove the songs. While it was Talking Heads’ Warning Sign that the band did a new interpretation of, it was the exquisite harmonies reminiscent of bands such as The Byrds and the Californian classic radio rock of the ‘70s that seemed most to guide the direction of the new songs. Mt Washington in particular slowly built from a quiet guitar line into something chaotic and messy but never loose, and was one of the set highlights. Though the new songs were played with precision, the biggest response was for older songs such as Airplanes, World News and Sun Hands. The dual drumming in Airplanes further highlighted the way this band was so in sync, not a beat was out of time. Sometimes live acts are great because they’re dangerous and all over the place. Local Natives are great because they know what they’re good at and they do it very well indeed. Danielle O’Donohue

36 • For more news/announcements go to

Afrika Bambaataa Pic by Thomas Graham


[REVIEWS REVIEWS] l i v e at different frequencies and could be sustained indefinitely. The effect was otherworldly. Simple pop melodies were exploded to accommodate rich passages of improvisation and colourful flourishes. In between songs King was warm and chatty, eager to share her knowledge and love for her music and how she played it. Despite performing such sophisticated stuff (often at lightening speeds) she never broke a sweat and was relaxed and gracious. For those that missed this run of shows, she is a must see on her eventual return. Kaki King is one of contemporary music’s great talents. Matt MacMaster



If there’s one aspect of Australian music that seems to be growing stronger and stronger, it’s the cutesy indie folk singers that are popping up all around the place. Tonight was no exception, with a musical line-up equivalent to a YouTube video of little puppies doing all the cute things.

GOODGOD: 18/05/13 Kicking off proceedings at the intimate GoodGod Dancetaria was the excellent Guerre. Looping industrial beats with his own soulful vocals, Guerre’s set ushered a new star to the Sydney music scene. While his lo-fi house sounds reflect the hollowness of global acts such as Burial and How to Dress Well, Guerre’s style remains one quite unique in the local scene. His unassuming yet confident set swirled above a largely disinterested crowd, yet clearly marked this artist as an exciting up and comer. Watch this space. With the gig flying by, it was quickly time for the headline act – an artist whose rise to fame has been as swift as it has been warranted. Coming on stage to the screams of a sold-out crowd, the prodigiously talented Lorde played a set that easily justified the growing hype. Starting off with the haunting Bravado, the young artist quickly had the crowd in the palm of her hand. Watching Ella Yelich-O’Connor run through her set with the poise and confidence most artists could only dream of, it’s almost scary to consider what the future could hold for this 16 year old. Following a couple more songs from her fantastic EP, The Love Club, Lorde then treated the crowd to some tracks which were described as ‘a work in progress’. Luckily for the crowd these tracks were anything but. Glory & War invoked a slower beat that maximised Lorde’s amazing vocals, while standout new track, Tears Corp, utilised a heavier dance beat, which is sure to make it a radio favourite. The loudest cheers however were reserved for the final couple of tracks, with Yelich-O’Connor delivering fantastic renditions of The Love Club and Million Dollar Bills. And as she finished her set with lead single, Royals, it was clear we were watching more than just a star in the making; we were witnessing the coronation of new music royalty.

Opener Patrick James provided a strong set that clearly demonstrated the young singer/ songwriter’s natural talent onstage. His recorded material just doesn’t do justice to his gift as a live performer, with songs like Stay and All About To Change really rising to the next level on the night. The beautifully harmonised Something In The Way We Are, a throwback to the likes of Crosby, Stills and Nash and James Taylor, was another highlight, proving that James is definitely one to watch.

Lorde Pics by Milly Mead comprised of Guantanamo School tracks, such as highlights Brown Lipstick Parade and John Dillinger, old-school Kennedys tunes were few and far between, but predictably well received - Nazi Punks Fuck Off still packs a mean as nails punch. It speaks to the strengths of his new songs that Jello’s classic Dead Kennedys songs fit seamlessly in the set. The relative lack of said tunes may have been frustrating to the crowd, especially considering it’s been some 30 years since he’s played here, but that actually speaks to Biafra’s strengths as a musician. He isn’t content to belt out the hits - he has relevant, angry things to say about today - damned are the crowd if they’re not down with hearing them. Andrew McDonald

Timothy Scarfe

tapping the neck, scraping the strings, to produce a huge variety of tones and sounds. She favours open tuning, giving her enormous freedom when exploring different styles. She flirted with flamenco, Middle Eastern and even Japanese sounds, but it felt organic, coherent and accessible. Kaki King has an incredibly vibrant curiosity for her craft that pushes her to find new sounds and new ways to stretch the limits of her instruments. She used six or seven different guitars on the night, including her famous seven-string, and a guitar prototype built by a fellow audiophile from the Moog factory, a guitar with built-in transducers that changed the vibration of the strings. Instead of a tonally consistent hum that faded out, the string when plucked could resonate

Thelma Plum successfully continued the stretch of adorableness, with innocent spurts of banter dropped in between crowd favourites like Father Said and Around Here. Her cover of Chris Isaak’s Wicked Game was a pleasant addition to a charming set, along with her new single, Dollar. Plum’s charming naivety on stage works well in developing a relationship between herself and the crowd, and it wouldn’t be surprising if Plum left that night with a number of new fans. Unfortunately headliner Emma Louise was the weakest link in the night’s entertainment, more so due to technical issues with sound than any inability to perform in such a large venue. Louise’s appeal as a musician lies in the delicate, often fragile nature of her voice and the addition of a backing band seemed to hinder her performance rather than enhance it. In particular the bass during her set was particularly overwhelming and jarring. It was due to this that tracks like Boy and Atlas Eyes failed to really lift off the ground. Caitlin Summers

JELLO BIAFRA AND THE GUANTANAMO SCHOOL OF MEDICINE, THE HARD-ONS, ZEAHORSE THE METRO: 18/05/13 Kicking off the evening to a still arriving crowd of mohawks and leather were Sydneysiders Zeahorse. The band played a particularly vocal-driven show, by their standards, which suited the evening more than their traditionally instrumentally-focused work. Despite being one of Sydney’s better young groups, the four-piece were clearly more at home jamming their pedal-effected rock without vocals than they were belting out punker tunes. Saying The Hard-Ons put on a great show is no surprise to anyone even vaguely interested in the Sydney punk and hard rock communities, but damned if the three-piece don’t always give it their all. With a set that hopped and moved across the majority of the band’s 30-year career, very much catering to a fast, angry and metalloving punk audience, the band proved why they’re as loved as they are. It’s especially great seeing vocalist and guitarist Peter (Blackie) Black back in punk rock action mode after his unfortunate hospitalisation last year. Jello Biafra is most certainly punk royalty, so it’s suitable how palpable the air of excitement was before he swaggered on stage in bloody doctor’s garb. Jello Biafra and the Guantanamo School of Medicine is the man’s first full-time band since the demise of the legendary Dead Kennedys, and the comfort this implies is felt from the get go. The band knows their flow, they’re tight, punchy, aggressive and a perfect backing to Biafra’s seemingly immortal voice and mocking stage antics. With a set mainly

Kaki King Pic by Peter Sharp

KAKI KING, SALTA THE BASEMENT: 19/5/13 New York guitar composer Kaki King is back in the country doing a new round of shows in support of her recent release, Glow, her sixth LP and her fourth under founding label Velour. King has returned to the roots of her career, performing solo an almost entirely instrumental set. Joining her was local troupe Salta, performing a lovely set of delicate folk songs built around traditional two and three-part harmonies that were pushed along by gentle folk melodies. Ryan Brennan’s fine guitar work rippled underneath the gossamer vocals of Julia Jacklin and Liz Hughes, while the grace and clarity of Rosie McKay’s bass anchored the performance. It was a beautiful set and well received. King’s set was a sensational display of guitar composition and dexterity. She is a prodigious talent and her work is full of complex scale progressions and dense textural layers. She uses the entire guitar, thumping the body,

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Emma Louise Pic by Josh Groom




C O V E R E D !

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[REVIEWS REVIEWS] a r t s when one of those secrets comes knocking on the door. Director James Dalton and his team clearly relish the material provided by Hayes and their enthusiasm is contagious. The stage design successfully turns the small theatre space into a pipe-cluttered basement that becomes a sordid den for the characters’ descent. Actors Heath Ivey-Law and Liam Nunan, Hartley and Hugo respectively, never resort to easy Englishaccented caricatures. The very English elements of the play will be less relevant for Sydneysiders, but A Butcher Of Distinction is still a hell of a ride.


Sam Hilton Old 505 Theatre to Sunday 26 May

1 2 Crave 3 My Child 4 The Dark Room 5 Angels In America

Doctor Who

Forget Me Not by Tom Holloway


by Sarah Kane

by Mike Bartlett by Angela Betzien by Tony Kushner

The Bull, The Moon And The Coronet Of Stars


SketchPatch is like a moving portfolio or easel on the net. It’s hard at first but then very addictive. It’s like Snapchat for grown-ups.


THE BULL, THE MOON AND THE CORONET OF STARS THEATRE The Bull, The Moon And The Coronet Of Stars is as close to post-modern romantic comedy as you can get in the theatre. Van Badham, the award-winning writer, has crafted a love story inspired by the Greek myth of Aridane and Theseus. For those that aren’t up on Greek mythology, it is simply a love story that starts in a museum and has some mysticism about it. At the museum, Marion (Silvia Colloca), artist-inresidence, and Michael (Matt Zeremes), publications officer, ignite each other’s passions despite Michael’s wife. Strange sightings have been reported at the museum, and before long Michael and Marion camp out together for a passionate night amongst the exhibitions. Michael returns to his wife, and heartbroken Marion leaves to become an arts teacher at an island resort where she catches the attention of resort DJ Mark (also Matt Zeremes). The story isn’t particularly deep but is enjoyable in its light. The production is a success for the playful and charismatic performance by Colloca. Zeremes holds his own with an energetic and likable performance, but Marion is the linchpin of the narrative. Both performers move seamlessly back and forth between dialogue and narration with no hiccups. As the two bounce off each other around a minimalist set, the 80 minutes flies by quickly and it is easy to leave the theatre content.

Mede who’s hideously dressed by Jean-Paul Gaultier. Big on Twitter throughout the broadcast is Anthony Callea, putting his two Mother’s Day-sales-earnt-cents in: “I hope Ukraine win... If I were to have a baby, I would like her to be the egg donor... #sbseurovision”. Felicity Ward also took to Eurotweeting: “I’m putting money that this guy’s gonna finish with a magic trick. #ReleaseTheFuckingDoves #SBSEurovision” she tweeted at the start of second-placed contestant Farid Mammadov of Azerbaijan’s performance (it involved a dancer in glass box and a shower of petals). The tweetwatch-tweet-watch thing is actually really enjoyable. Sure it’s a bit screen happy – groups of home viewers each with individual screens in front of one big screen – but it’s the only way to keep up with what everyone else watching the SBS broadcast thinks of each act. (Tell you what, though, people are mean on the internet – way meaner than in non-digital life. But we knew that, hey?) And although the way we watch Eurovision has changed, some things stay the same: the tackier the better and countries always vote for their neighbours. Tonight a barefoot Emmelie De Forest, reppin’ Denmark, took the big prize by a landslide of 281 points. However, Cezar and Romania are robbed with a final count of only 65 points. Ah well, at least it’s more than Bonnie Tyler reppin’ the UK with a dismal 23 points. Cassandra Fumi SBS

Sam Hilton Griffin Theatre to Saturday 8 June

So season seven finished this week, and Whovians across the world were left with the question: Who is the Doctor? What is his name? We did get some news – it seems there’s another Doctor – but still no closer to what we call him. Damn youse Moffat. Having said that, this final episode before the November 50th anniversary was easily the best of the current series, not least because it let Matt Smith and Alex Kingston (The Doctor and River Song) work as a team again. There’s been no pairing to date that works as well and purposefully – it’s not a love story but a partnership. Perhaps the biggest twist in the episode came via the US distributor who accidently posted out Blu-ray copies of the final episode almost a week before the air date. As Moffat admitted via a piece in The Guardian, “Security-wise, that’s not GOOD, is it?... [And] my favourite fact is that they’re Blu-rays. Listen, we don’t just leak any old rubbish, we leak in high-def... It’s like getting caught extra naked.” However, in the same piece Moffat also praised the 210 eager fans who kept mum about the details despite what must have been the biggest temptation ever, noting their reserve made him proud and humble. No spoilers here, sweetie. Liz Giuffre Available to stream on iView and download on iTunes

ALIAS RUBY BLADE FILM After a plethora of advertisements for ethical super and bank companies, the opening film of the Human Rights Arts & Film Festival, Alias Ruby Blade, begins. The documentary, in its Australian premiere, combines archival footage and stylised reenactments to tell the story of Kirsty Sword Gusmão, activist, documentary filmmaker and mother of a nation. The documentary, expertly edited and shot by filmmaker Alex Meillier, takes the audience through Sword Gusmão’s integral involvement in the Timor-Leste independence struggle. The audience is introduced to Sword Gusmão’s life through her development as a budding activist in Melbourne, her integral involvement in the Timor-Leste independence movement in both Australia and Indonesia and finally the development of her relationship with former rebel leader and current Timor-Leste Prime Minister Xanana Gusmão. Through interviews with key players and the expert use of archival footage the documentary provides context to the independence struggle and delicately combines many concurrent storylines to tell a story bursting with intrigue, love and adversity. The filmmakers deserve recognition for presenting a film that is at times incredibly disturbing but never to the point that all one can do is switch off. Alias Ruby Blade is a fantastic and confronting film. Ben Meyer

A Butcher Of Distinction We have five in-season double passes to Harmony Korine’s new film Spring Breakers up for grabs. Think Disney princesses gone wild, MTV-style. To win stalk The Drum’s Facebook. Postscript: NYC store Opening Ceremony (don’t worry, it’s also online) has just launched the 2 Ever Spring Breakers clothing range. Think Alien singlets, ATL twin-style cornrows, bikinis and unicorn ski masks. To enter this and checkout heaps more head to the Drum Facebook page.

Eurovision Winner: Denmark

EUROVISION SONG CONTEST TV The Eurovision Song Contest is about several things: smoke machines, sporadic levitation, costume and pitch changes (normally at the same time) and, the staple of 2013, a swift mid-song genre swap to dubstep. Romania’s popera anthem It’s My Life, performed by the vampiric Cezar, has everything a classic Eurovision performance should and then some. The #SBSEurovision Twitter hashtag explodes post-Romania. One tweeter writes: “I will not be happy until his scrotum explodes” and “My life is now in two parts, before and after Romania’s performance”. Romania oozes cray and, more importantly, conviction to cray. This year the competition is staged in Malmö, Sweden, with host Petra

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Screening Thursday 30 May, Chauvel Cinema

A BUTCHER OF DISTINCTION THEATRE A Butcher Of Distinction is well worth a trip out of the comfort zone. The theatre is small, artist-run and on the fifth floor of a thoroughly urban building on a quiet part of Elizabeth Street in Surry Hills. The play is gleefully dark and completely compelling as it explores unexpected and horrifically colourful recesses of the human mind. The play is by Rob Hayes, an English playwright, and all the action takes place in a basement flat below a pub in London. Following the suicide of their father, Hugo and Hartley, two brothers from the mid west of England, have found his big city flat. As they sort through his possessions, it becomes clear to the apparently innocent, rural brothers that their father kept big city secrets. Things start to spiral out of control

Alias Ruby Blade








Major Lazer

The National Helen Garner has spoken about getting a gut feeling for a story. When listening to a witness in a court case or speaking with a subject for a non-fiction piece, Garner gets a sense of what the ‘real’ story is, where the most relevant truth lies. She writes with the gut feeling in mind, too. A collection of Garner’s diary entries in a 2010 issue of The Monthly reveals the reason for keeping a diary at all. In an arrangement of fairly mundane facts and thoughts is a vague sense of some truth about life, a sense of an important story. Garner lets her readers have their own gut feelings. In writing, that’s sometimes called ‘flattening out’. You get rid of the nerves and the need to make something happen or explain some big idea and just let the moment sit and do what it’s going to do. It’s one of the hardest things to learn. On The National’s sixth studio album, Trouble Will Find Me (4AD/Remote Control), the band are practicing flattening out. It’s not only Matt Berninger’s domesticated, run-on lyrics, which replace the more painstakingly constructed imagery and wordplay of 2010’s High Violet, but the ease with which the whole band delivers the 13 songs. That was apparent with the arrival of the album’s first single and second track, Demons, in April. Though it sits in tone and weight with High Violet’s biggest single, Sorrow, there’s a looseness to it that resists single status. Berninger sings outside the song’s trembling guitar rhythm, and there’s a softness to his ill-fitted doubled vocal and the whole song’s mix. It’s as if the band simply picked up their instruments in an off moment and worked through the song without planning or intention, which is a thought that fits with how busy they’ve been, recording songs for HBO shows and for the soundtrack to the upcoming film adaptation of Kerouac’s Big Sur. It also might have been the only direction open to them after High Violet. A comparison that comes to mind is REM’s movement from 1991’s Out Of Time to 1992’s Automatic For The People. Both sold massively, but the former was full of song concepts and clearly mapped out lyrics (Shiny Happy People was borne of a clear idea, not a jam) and the latter seemed to simply slip out of them, more conversational, in the swing of things. The National share REM’s ability to build a big, thick single and to just kind of play out elongated pop-rock that can be listened to forever and sounds vaguely like a hit anyway. Berninger and Michael Stipe, too, can both be the tortured poet and the everyman. But Berninger is really only figuring out the strength of the latter on Trouble Will Find Me. On no other National album has a song appeared with a title as casual as I Need My Girl. It’s track ten on Trouble… and fades in and out again with a gentle guitar line, only underlined by a kick drum two-and-a-half minutes in. Berninger still displays a thoughtfulness with his words: “I try to call you from the party/It’s full of punks and cannonballers”. But where, on earlier albums, he might have followed that line with an even punchier lyric that pulled the song out into the greater world and said something of it or of his own disposition (in a fairly obscure way, most likely), here he gets at nothing more than the song’s title. That’s enough. He’s flattening out. There is a greater feeling that rises out of Trouble Will Find Me, and it’s there in part in that title, which comes from a line in the breezy rocker Sea Of Love. “No one’s careful all the time”, Berninger sings in Heavenfaced, and the feeling comes that this is what he’s getting at: little wins and deceptions, the way they add up and nudge life this way or that. But it’s a gut feeling, stirred up by an arrangement of the pieces of Berninger’s daily toils, delivered with little fanfare. The truth in it is a good one.

Every hip hop producer makes an ‘artist’ album at some stage – from Puff Daddy to Timbaland to Kanye West to token non-MC Mark Ronson. NWA’s Dr Dre sparked the trend with The Chronic. Such projects are about ego – but necessary to establish a producer’s clout with a wider demographic. In the digital era especially, few listeners read song credits. Many a producer album has been game-changing. Still, the format is invariably the LP equivalent of a posse-cut. Diplo (aka Wesley Pentz) was already a cult, rather than superstar, DJ prior to his transition into urban hitmaker. Early on he released the obscure DJ Shadow-esque album Florida via Big Dada. Pentz and his Brit ally Dave ‘Switch’ Taylor would work with MIA, Pentz’s girlfriend. They produced her shock US hit Paper Planes, which received a Grammy nomination for ‘Record Of The Year’ – and inspired West’s production of the Jay-Z and T.I. track Swagga Like Us. The pair also teamed with Santigold. And they conceived the cartoony dancehallmeets-electro supergroup Major Lazer, airing 2009’s Guns Don’t Kill People... Lazers Do. Since then, both have set themselves up independently as producersfor-hire. Pentz, a cooler David Guetta, has furnished singles like Chris Brown’s Look At Me Now (featuring Lil Wayne and Busta Rhymes), Beyoncé’s End Of Time and Usher’s Climax. Lately, he guided Snoop Lion’s Reincarnated. Now Pentz is back with Major Lazer’s Free The Universe, minus Switch. Also absent? Mr Lion. Free... is more dancehall than the rootsy Reincarnated – well, with the exception of Fugee Wyclef Jean’s apathetic Reach For The Stars – and, again, heavy on EDM with chunks of trap and moombahton. Surprisingly mellow is Get Free, last year’s single with Dirty Projectors’ Amber Coffman. There are novel cameos from across

the spectrum of dancehall (Elephant Man), EDM (Flux Pavilion), indie (Vampire Weekend’s Ezra Koenig) and urban (Tyga). Major Lazer is never better than with the scorcher You’re No Good, featuring Vybz Kartel, Santigold, Yasmin and one of Haim. Pentz is resurrecting careers other than ‘Clef’s, too. Ms Dynamite, who sang on 2002’s Mercury Prize-winning A Little Deeper, raps for the banger Sweat. Shaggy’s fortunes should change with the catchy Keep Cool, on which Mr Boombastic partners Wynter Gordon. However, Bruno Mars’ ghetto booty Bubble Butt (with Tyga) borders on level mundanity...’s #willpower has been dissed for its gimmicky Twitter hashtag title alone (though Mariah Carey’s new single is entitled #Beautiful). The producer/MC has made successive about-turns in his career. He started out in the group Atban Klann, affiliated with Eazy-E’s gangsta Ruthless Records, before forming the conscious Black Eyed Peas – who then embraced dumb (electro) pop. In 2013 is #alittlelost. This much delayed fourth outing has proven contentious with accusations of beatbiting from underground DJs. Then there are the corny pop guests, including Miley Cyrus and, on #thatPOWER, which sounds like bastardised Daft Punk disco, Pentz’s pal Justin Bieber. But is #willpower really as wack as all that? No – it’s just anonymous, generic and lazy clubby electro aping Guetta, Swedish House Mafia and LMFAO (without the irony). tries to channel West’s dramatic sensibilities for the orchestrated Good Morning. The saddest bit? Britney Spears has never sounded as vacant as she does on Scream & Shout.

There have been some great tour announcements from some classic Australian bands over the last week. To kick things off, Toe To Toe, the classic Sydney hardcore band, have announced a tour with Brisbane’s Against, fellow Sydneysiders Throwdown and Perth’s Worst Possible Outcome that will hit Sydney and Brisbane. All four bands are on the road for the first time supporting recent releases, including a 7” from Toe To Toe. Tickets for all shows are available on the door only, and you can catch the lineup in Newcastle at the Cambridge Hotel on Thursday 8 August, in Sydney at Valve Bar in Tempe on Friday 9 August or at Dicey Riley’s Hotel in Wollongong on Saturday 10 August.

RZA, among the ‘90s most important sonic auteurs, has returned to what he does best – producing. Or apparently so. In later years the Wu-Tang Clan don has been distracted by film, making his directorial debut with The Man With The Iron Fists. But he did co-produce West’s Dark Fantasy and Watch The Throne’s New Day. RZA has a track on Talib Kweli’s new Prisoner Of Conscious – but word is it’s old. The Abbott raps on KiD CuDi’s Beez as well as James Blake’s Take A Fall For Me – yet he has no publishing credits for the latter, suggesting that the Brit ghostwrote his lyrics! Hopefully, he’s not bored of music. A new Wu album, A Better Tomorrow, drops in July following their Coachella triumph.

Keeping with the classic theme, we know 2013 is the 20th year of Mindsnare. To celebrate and commemorate the occasion they will be playing shows in Sydney, Newcastle, Melbourne and Perth. Called the ’20 Years of Brewtality’ tour, the line-ups feature the best in local talent, and in keeping with the tradition of recent years, all shows are 18+. You can catch Mindsnare in Newcastle on Friday 26 July with Dropsaw, Hazards and Civil War. Then on Saturday 27 July, Mindsnare will play the Annandale Hotel with Vigilante, Boneless and Hostile Objects. You do not want to miss out on these shows!

THE HEAVY SHIT METAL AND HARD ROCK WITH CHRIS MARIC Their EP, Birth To Burial, turned some heads recently and they are in pre-production on their full-length album. In the meantime, they kick off a national tour tonight in Byron at the YAC before coming to Sydney tomorrow for two shows at the Livehouse. They then head interstate and return early June for shows in Canberra and Sydney. Then it’s off to Deutschland for them!

SATURDAY Before Ciada If you’re interested in the inner workings of the music industry and want to know all there is to know about our preferred method of avoiding a real job, then you should head down to the Museum of Contemporary Art (MCA) Monday 10 June (Queen’s birthday holiday) and attend Feedback: A Music Conference For Young People, which is part of Vivid Sydney 2013. It’s a full day of industry guest speakers, panels, live music and networking. You can’t learn how to fit into this industry via any particular school or course so it’s a great chance to get up close and personal with people who play very important roles in enabling you to feel joy through your ears. Ambient/melodic post-rockers, the awesome sleepmakeswaves have announced a massive national tour for June and July dubbed ‘…and so we played everything’. Their worldwide success has been well documented by me in this column so no need to repeat it but you need to check them out between their first local show on Friday 21 June at the ANU Bar and their final one on Friday 26 July at The Annandale. They hit everywhere inbetween too: the ‘Gong, Sydney, Newy, Port Mac and Byron. Deep Purple release their first studio album since 2005 this week. It’s called Now What?! Zeppelin and GN’R worshippers, Heaven’s Basement release Filthy Empire this week, too.

FRIDAY Before Ciada play self-described pre-apocalyptic metal (isn’t it all?), although theirs deals directly with the downfall of the pitiful human race via its own means.

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New wave of folk metal, Swiss octet Eluveitie take traditional death metal elements and mix them seamlessly with European folk instruments such as flutes, hurdy-gurdies, violins, bagpipes and mandolins. Bring your bier horn to the Metro tonight! Lita Ford is one of the most influential woman in rock and metal ever. Look her up if you don’t know. She’s been going strong for four decades and will be showing you why she’s stuck around for so long by kicking your arse tonight at the Factory Theatre. Then head to Club Fuck at 199 Enmore Road for the official afterparty where Melbourne’s Killshot and local boys Rattlesnake and Vanity Riots will all be launching new EPs live. They have a double pass to Gilby Clarke’s gig on 6 July at Hermann’s Bar to win and Ms Ford might even drop in too! Dee Minor & The Dischords are holding their ‘30 Year Rock N Roll Reunion’ at the Annandale with support from Jeff + Che’G and special guest Phil Rigger from Outline.


I Exist are heading across to Europe this June and July for a massive tour with Harms Way and Twitching Tongues, as well as playing on some of Europe’s biggest summer festivals. In total, the Canberra-based band will be playing 30 shows. To fund some spending on duty-free booze, I Exist will be playing a bunch of shows, and considering that they’re in the studio in Melbourne right now recording album number three we might be able to hear some new material! You can catch I Exist on Saturday 8 June at City Magpies Club in Canberra, at Hot Damn in Sydney on Thursday 13 June and then on Friday 14 June in Wollongong for the Hot Damn Roadtrip. Bridge Nine records have announced that this July they will be releasing the new full-length album from Defeater. Comprised of ten new tracks, Letters Home is already being called the best album of the band’s career. Continuing the saga of a working-class family living in post-WWII America that was started on Travels and continued onto Empty Days And Sleepless Nights, this time around the story focuses on the father of the two brothers that featured in the prior releases. The press release also mentions the possibility of a slight change in the music, suggesting that Letters Home will be heavier than previous efforts, with guitarist Jay Maas saying, “Letters Home is more focused on sounding dirty and mean, but at the same time we have improved as songwriters so some of these ten tracks are our most accessible.” The album will be released in the US on 16 July 2013.

The Annandale Hotel hosts 15 awesome bands for just $15 today from 12:30pm featuring Insider, Midnight Butterfly, Shot In Chicago and more.

Last up for this week, No Heroes Magazine has launched their 20th issue and it features the results of their poll for the 50 Greatest Heavy Australian Albums ever. The final list seems to have stirred up a bit of conversation, but it can be revealed that the band that took out the top spot was the mighty Mindsnare with their album, The Death (KSH! KSH! KSH! KSH!). Parkway Drive came in at number two with their debut, Killing With A Smile, in number three was The Bright Side by Break Even, number four the recently reformed A Secret Death with their self-titled album, and the top five was rounded out by Miles Away with Rewind, Repeat. If you’re interested to see the other 45 entries in the list, as well as interviews with Paper Arms from Adelaide, Descendents and Frank Turner head on over to

Sydney trio Solkyri play a free show at Lass O’Gowrie in Newcastle in support of their newie, Are You My Brother? Venom have Dawn Heist, Nasjap, To The Grave, The Wrath and Everything Handed Down all playing and will also be the site of the official Eluveitie aftershow. Wretch, Infested Entrails, The Downgoing, Inhuman Remnants and Stove Tattoo play The Cosmos Rock Lounge in Marrickville tonight – a venue so secret that if you want to go you have to email for the address.









Johnny Cash Jack White’s Third Man Records have once more endeared themselves to me, this time through their partnership with the great Sun Records. It was announced last week that they were to reissue a whole stack of 7” singles from the legendary label, which is just brilliant news. Sun Records was one of the most famous record labels of the 1950s and ’60s; many of the company’s releases are credited with building the foundation of rock’n’roll as the label was home to some of the most influential music of all time. The first three releases that Third Man are dealing are from quite early in the company’s existence: two singles from 1953 (the company was established by Sam Philips in 1952) – Rufus Thomas’ Bear Cat/Walking In The Rain and The Prisonaires’ Baby Please/Just Walking In The Rain – will be released next week, as will the classic 1956 Johnny Cash single Get Rhythm/I Walk The Line. Each of these songs shows a different side to Sun Records and proves just how diverse, yet undeniably brilliant, their output was. These singles are being released as part of what Third Man have confirmed as “an ongoing partnership between Sun and Third Man” with the label divulging that “future releases are already in the works”. Given the depth of the Sun Records catalogue, this is very exciting news indeed. Each record will be packaged with the classic label and logo design of Sun Records, with the first 150 releases on special yellow and black splattered coloured vinyl. You can pre-order them on the Third Man website now and, hell, while you’re there you might as well get a couple of those Document Records reissues. Mavis Staples has finished up a new LP called One True Vine as I mentioned a couple of weeks back and I’ve been lucky enough to spend a fair bit of time with it over the past couple of weeks. It sees Staples back with Wilco’s Jeff Tweedy, who as we all know is a complete genius, in the production chair, the two artists again showing they have some kind of musical connection that we couldn’t begin to understand. Staples’ 2010 You Are Not Alone LP (produced by Tweedy) was a joyous affair that brought to life plenty of old gospel favourites, tunes from Mavis’ Staple Singers days and a select bunch of covers; Staples had worked with plenty of hot shot producers since going solo – from Prince to Ry Cooder in recent years – but something about the match between her and Tweedy just worked brilliantly. Again, on One True Vine, Staples is made to sound as good as, if not better than, her late-‘60s heyday. It starts off so very darkly with Low’s (yes, the post-rock band) Holy Ghost and Every Step before the genius Funkadelic cover Can You Get To That lets a little light in. Without having the full liner notes it’s hard to tell who has written the songs that aren’t covers on here, though Jesus Wept has a definite Tweedy feel to it. Some classic old Gospel is brought back to the fore with Staples’ passable rendition of Washington Phillips’ What Are They Doing In Heaven Today, before things get fuzzed out with I Like The Things About Me which sees Staples as staunchly strong and positive as we have heard in a long time as she asserts “I like things about me that I once despised”. The album is gorgeous in just about every way, but the most striking aspect comes from the backing vocals that add a more distinct counterpoint to Staples’ vocals than we heard on You Are Not Alone. Corny as it might sound, it’s kinda nice to hear a record that is so very positive and uplifting without it feeling completely contrived and lame. Positivity you can dance to – has to be a good thing, right?

debut EP no matter what hat you’re wearing, or how difficult the balancing act you’re performing is.

The-Dream Like almost every other person who has anything to do with rap music in Sydney, we wear at least two hats at once. (These are figurative hats. We don’t have The-Dream’s ability to wear several actual hats at once successfully.) This happens for a number of reasons. It’s in part because a genre like ours is small and passionate. That means that there are not that many of us around, relatively speaking, but those who are around are keen to contribute. Also, there are few barriers to being part of hip hop: you can simply join a cipher, put some spray paint on a wall, spin around on a piece of cardboard and you’re there. None of that is expensive or difficult. But this multiple hat-wearing among rap people does bring with it one problem that occasionally pops its head up. That is: the potential for conflict when a person wears different hats at once. It means that many of us need to conduct a delicate balancing act when trying to contribute to rap in Sydney. You work booking shows for a venue and you also manage an act? Balancing act. You run a label and you review music? Balancing act. Regarding the many hats we wear it is only right that we disclose that we are a part of Mailer Daemon’s new EP Gravitas. If you buy that EP we will get paid. We would say that this fact doesn’t affect our ability to write about the EP in a balanced way but, of course, we would say that, wouldn’t we? So, for whatever it’s worth, we think you should be listening to Mailer Daemon’s excellent

Sadly, we don’t stand to make any money from headwear wearer extraordinaire The-Dream’s forthcoming album IV Play. (If we did we would use the money to buy copies of Gravitas and give you all one each.) We’ve already heard the incredible lead track Slow It Down. In that track our host implores the DJ to play a slow song to better seduce his dance partner. It is also a beautiful barb sent at The-Dream’s competitors who don’t have the freedom he has. He can make a slow song while pretenders to his throne have “to do a dance record or the label wouldn’t put ‘em out”. Amazing stuff. The next we heard was the title track IV Play which is a little disappointing. Now we have the third track from the album, High Art featuring Jay-Z. It’s… It’s… Look, it’s fine. It’s not the best song ever. It’s certainly not the worst song ever. It has left us a little concerned though. Things started off looking very good for IV Play, but the more we hear the more we are left cold. After listening to Gravitas for the hundredth time (which you should do) go check High Art and see if you agree. Consider it thinking music. Elsewhere in this magazine you will find a review for P-Money’s solid newie Gratitude. If you’re tempted you can check the man live on the Gratitude Tour. He’s playing The Basement alongside his Duckdown Music label-mate David Dallas on Saturday 8 June. Call it a New Zealand invasion, in an exceptional venue. Oh, The Dip. How we heart The Dip. We know that you hearted The Dip before it was cool but we’re not worried. Something about the combination of that Goodgod Small Bar ambience and excellent hotdogs just sets an evening off right for us. If you haven’t wandered in ahead of a night of excitement and Gravitas listening before, you should. Soon. But if you needed further inducement, a night called Dip Hop has kicked off. It’s a weekly night, Thursdays at Goodgod. Excellent music and a tempting menu. Go get it, kids. (Disclosure: we love The Dip.)

YOUNG AND RESTLESS ALL AGES WITH DAVE DRAYTON What was the idea behind the The Feta Cheese VS Ranga Steeze Tour? We needed something that wasn’t just ‘May/June Tour 2013’ as we wanted it to be fun. If it was just us it would be a boring name but the homies in The Sweet Apes are a fun, creative bunch so we came up with something that related. I have orange hair and Feta Cheese just rhymed, haha. We’re all good people and want kids to know that coming to our shows is fun!

Elegist A little reminder that the epic Rock The Schools tour is still underway, so check the website rocktheschools. to see if they’re stopping in near you. Jody (some members still in high school!) are playing The Lair this Saturday with an all ages show to launch their new single, To Be With You. Some Cities and The Bitter Sweethearts are also playing, and entry is ten bones. Speaking of all ages launches, Parramatta’s loud, grungy awesome trio Yes I’m Leaving launch their new album, Mission Bulb, Saturday night with an all ages gig too. This one’s at Black Wire Records, costs you five bucks and also features Narrow Lands, Yard Duty and Obat Batuk. Sunday, celebrate another launch with hardcore lads Vigilante for the release of their album, Quality Of Life, at Chatswood Youth Centre, 25 per cent of all door money going to Sydney charity The Station LTD.

One True Vine will be out through Anti/ Warner on Friday 28 June.

Young up and comers The Sweet Apes and Elegist have teamed up for the Feta Cheese Vs Ranga Steeze Tour, which sees them playing all ages gigs at Yoyo’s Youth Centre Friday night; Cooerwull Public School, Lithgow, Saturday, and Yours & Owls, Wollongong, Tuesday 28 May. We spoke with Elegist frontman Blake Curby about the tour.

One final point, Roots Down will be appearing on a fortnightly basis for the next couple of months, so don’t call the hospitals and the morgues if you don’t see it in this spot next week!

For the uninitiated, what can you tell us about Elegist? We’re a metalcore band from Sydney. We loved heavy music so we thought we’d start a band for fun and see how it goes.

There’s not one, but two all ages shows this weekend; why do you think it’s important to play all ages shows? They keep kids out of trouble and give them something to do. 18+ shows are great, but nothing compares to seeing the younger kids have an awesome time and just be stoked to be hanging out at a gig. For us a majority of our followers will always be the underage crowd - they tend to appreciate it more. It’s great to see you hitting a more regional venue in Lithgow. Is that something you strive to do as a band? Definitely. Rural kids get nothing, ever. I’m not even talking about shows and bands, they just get nothing period. When bands come play, all the kids come out and they’re stoked just to hear some new music and meet people from out of town. It would be a shame to ever stop hitting those towns. The floor is yours, sell us the shows at Chatswood and Lithgow… Come hang out with us; we’re all just like the kids that come to our shows, just five simple dudes that love breakdowns and used to go to shows just to mosh to local bands. We love making new mates and we don’t consider anyone a ‘fan’, just a friend that appreciates our music so come have yourself a good time, steal the mic, jump around and make what could be your new best friend and possibly discover your new favourite band.

Rudimental Even as the US pop charts appear determined to continue to swirl around the seventh circle of hell, the UK charts are experiencing a largely unexpected dance-pop renaissance: ignore for the moment the current reign of Daft Punk’s (yes, very good) Get Lucky at the top, and check the charming vocal house of prior number one, Duke Dumont’s Need U (100%), or Disclosure’s banger White Noise peaking earlier at number two, or Rudimental simultaneously topping the charts with both single Waiting All Night and their debut album, Home. Based on their three chart-toppers to date (see also Feel The Love and Not Giving In), Rudimental come on like the last great hope for populist drum’n’bass, but until last year they were crafting some of the UK funky scene’s finest anthems in tunes like Midnight Affair. Home reflects some of this background, with the charming Baby offering a fine tribute to the current ruling houseamalgam, building inexorably from politely bumping US vocal garage to trippy deepness and back again. Perhaps more importantly, Rudimental run Black Butter, the record label at the centre of this emerging coalition of ecumenical but likeminded artists. Everyone on the Black Butter roster seems on a trajectory: duo Gorgon City are travelling from a background in grime and dubstep towards a kind of deep speed garage sound, exemplified in the gorgeous, bass-heavy and percussive vocal house of Real; Kidnap Kid is approaching a similar endpoint from the other direction, his carefullycrafted fluttery IDM-ish tunes growing increasingly house-propulsive and pop-minded. DEVolution, the current outfit for former Artful Dodger member Peter Deveraux, captures the tensions and fluctuations in this amorphous genre-not-genre on Listen To The Badman, which intermingles early ‘90s piano vamps, sighing house divas, dancehall samples, staggering breakdowns and none-more-rude metallic bass riffs. This music – as yet without a name, if it even needs one – reflects a number of different trends, first and foremost the ever more entangled mixture of past and present in current dance music. So, Need U (100%) features urgently pulsating chords recalling early ‘90s pop-house, but its slamming snare hits are bang up to date. Disclosure’s new single You And Me is note-perfect 2-step garage revivalism, but its constantly evolving, layered arrangement keeps an ear cocked to the last ten years of hyper-pedantic production extravagances. So, key also is this ever-present sonic and stylistic flexibility, which Rudimental epitomise but hardly monopolise; the shockingly young Disclosure are similarly (if not so overtly) broadminded, their forays into various house and 2-step sounds united by the oddly compelling, Jamiroquai-esque prissiness of their production. But as wide-ranging as these artists’ efforts are, they’re distinguished by their essential Britishness, their gaze trained to both bona fide homegrown past glories (drum & bass, speed garage, 2-step) and successful repatriations (the mainstream end of deep house in particular). These two qualities – retrospectivity and diversity – arguably reflect a gaping hole in dance culture in 2013, this carefree strolling through the annals of dance history the inevitable consequence of the fact that nothing genuinely new and exciting is going on. Still, it’s not like there are any revolutions to be had elsewhere, and moreover, it’s precisely these artists’ lack of respect for the past, their refusal or failure to make perfect period-piece recreations of past glories, that allows the greatest chance for new ideas, sounds and styles to emerge from the maelstrom.

Any tips for young musos? Go on your own. Don’t think you need a manager, agency or label – if it’s meant to be, those things will work themselves out. Just enjoy what you do and write honest music. Make as many friends with other bands and be honest with yourself every day. Set goals and work hard.

The patriotic confidence of this new crop of UK dance-pop is at least partly reflected in the country’s pop proper, as demonstrated by the increasingly on-point efforts of the UK’s two best pop-divas, Katy B and Jessie Ware: see the svelte boogie of Jessie’s Imagine It Was Us (off-topic, but do also track down her marvellous cover of Martika’s Love Thy Will Be Done), the compulsive vocal-house of Katy’s new single What Love Is Made Of (chiming in perfectly with the current melting pot sound), or their marvellous collaboration on last year’s hypnotic and brilliant Aaliyah. It’s probably only a matter of time before the US gets its act together and steals back the limelight, but until then you’d be crazy not to hone in on the motherland for your mainstream thrills.

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ARTS NEWS WITH JAMELLE WELLS Under The Sea: Captain Nemo and $75.3 million to the Australia Council to support the arts. But community radio volunteers say there was no funding for their sector, which was hoping for around $1 million to help adapt to digital radio.

cast that catches the eye and the ear – the bonedeep weariness and trembling vulnerability of Hugh Dancy’s FBI investigator Will Graham, blessed and cursed with “pure empathy” that allows him to slip into the skins of brutal serial killers; the chilly precision of Mads Mikkelsen’s Lecter (this is a real casting coup; the angular planes of the actor’s face are beautiful and terrifying) – but it’s complemented by the desire for human connection both characters have and both actors convey subtly and sensitively (yes, even in Lecter’s case – he’s a monster, and Hannibal never lets you forget that, but there’s some form of a soul under the formal demeanour and impeccably-tailored suits). Hannibal Ridley Scott’s 2001 film Hannibal was an ugly, unwieldy mess. The television series Hannibal, on the other hand, is elegant, hypnotic and compulsively watchable – maybe it says more about me than I care to admit, but I’ve had the episodes that have aired to date playing on a nearconstant loop in the background. (I will of course press pause to watch Celebrity Splash because, hey, who wouldn’t do that?) Now, for a while there I fell back on my customary reasoning as to why one Hannibal works and the other doesn’t – the film made the fatal flaw of assuming that cannibalistic shrink Dr Hannibal Lecter is a lead rather than a supporting character; the series makes him a member of an ensemble – but as the story has progressed and Lecter has become more and more prevalent, that theory seems to hold less and less water. So why has Hannibal sunk its claws so deep into my imagination? (As it may yours if you give it a whirl, and you really should. It’s currently airing on Seven, or you could obtain it other ways, but you didn’t hear that from me.) For one, I’m an easy mark for terrific performances, which can sometimes be different from terrific acting. The two, of course, can and often do go hand in hand. In Hannibal’s case, there’s theatricality to the performances by the wonderfully well-selected core

The same goes for Laurence Fishburne as Graham’s superior. Fishburne’s forceful presence has made him a go-to for authority figures in recent years, and the series uses it effectively, but then there are also scenes between Fishburne and Firefly’s equally great Gina Torres (the real-life husband and wife play a loving, long-married couple) that are as tender, honest and heart-rending as anything I’ve seen recently. That’s what it boils down to for me. Hannibal is a horror show, undoubtedly – there are grotesque crime-scene tableaux and depictions of violence that reset the benchmark for commercial television, so be warned – but going hand-in-hand with that gruesome aspect of the series is a constant awareness of the preciousness and precariousness of life and the dread and sorrow that can accompany it being snuffed out violently or sucked away gradually. It’s why Jonathan Demme’s The Silence Of The Lambs remains resonant and haunting two decades on while the likes of Scott’s Hannibal or Brett Ratner’s Red Dragon have all but faded from memory. Hannibal understands and expresses it, all the while suffusing the series with an incredible visual and aural style (watch for Shining references!) and even a slyly perverse wit. I mean, the elaborate gourmet meals Lecter serves to his guests may have some questionable ingredients but goddamn if they don’t make one’s mouth water.

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Artbank has released the first video in a new series in which Aussie identities discuss an artwork from its collection. The first of the 20 videos features actor and producer Claudia Karvan discussing a John A Douglas video work. Other Australian identities involved in the project include Ben Quilty, Catharine Lumby, Del Kathryn Barton, Nell Schofield, Fenella Kernebone, Ian Temby and Rafael Bonachela. Artbank is a government support program established in 1980 with diverse holdings of visual art by 3000 artists. To view the 20/20 talks visit Claudia Karvan Actor Toni Collette and her musician husband Dave Galafassi are being sued for $850,000 for not completing the purchase of a $6 million Paddington terrace house. The Supreme Court in Sydney has heard Collette emailed the millionaire owner – Industrie clothing executive Nick Kelly, saying she didn’t have the money to go through with the sale and pleaded to have the matter kept out of court. But Kelly’s lawyer said Collette pulled out of the deal because she changed her mind and brought another property. Full marks to Sydney Theatre Company artistic director Andrew Upton for offering some $20 tickets for most shows. STC tickets are usually a whopping $90, which is expensive for theatre. The offer is similar to a scheme that offers £12 tickets to a range of shows at Britain’s National Theatre. Wayne Swan’s Federal Budget includes $129 million for the ABC to expand its news and current affairs outside city areas, $21 million to subsidise Disney Films to make 20,000 Leagues

The first major redesign of ballet shoes since the 1600s is being run by University of Canberra’s professor of physiotherapy Gordon Waddington and assistant professor Jeremy Witchalls. They say they want to give dancers extra “grip” and more control over their movements to prevent lower leg injuries. Shoes with a special PVC shoe insert are being trialled for 11 weeks by Ballet School students. There was a crowd at Canberra’s National Gallery to see the controversial but very cool Skywhale hot air balloon launched. The 34-metre-long balloon sculpture, designed by Patricia Piccinini, took 16 people seven months to make and can carry a pilot plus two passengers. The $300,000 cost of the project has attracted plenty of criticism. The Skywhale will travel to Tasmania in June and Melbourne later in the year. The 2013 Beams Arts Festival is after proposals from performers working across any field. The one-night festival in September is staged in the laneways of inner city Chippendale. Artists are free to propose works across installations, visual and site-specific work, dance, performance art, live music, film, light and animation as well as interactive workshops. Entries Close June 14.


KOBRA KAI Member answering/position in band: D Tech (MC).

How long have you been together? Going on eight years now.

How did you all meet? Rehan (digital synthesis/guitars/samples) and Hutch (drums/digital synthesis/samples) have been playing music for a long time together in a band Debaser which basically morphed into a new outfit concentrating more on drum’n’bass etc . Spex (vocals/MC), Slice (dubs/ MC/samples) and me were all hanging out together in other circles and somehow all ended up in the same band together! Worked out pretty well really…

Would you rather be a busted broke-butrevered Hank Williams figure or some kind of Metallica monster? I think the most of us would be the busted broke Hank, however Hutch does have strong metal roots so I think he may sway in between the both!

What part do you think Sydney plays in the music you make? Sydney is a great place to live however I don’t think it’s so much Sydney itself, but maybe the people that we are surrounded by that makes us play the music we do. We have all been playing and performing music for many years and been heavily involved in different music scenes and genres. From there we have been able to take influence and make it our own.

You’re on tour in the van – which band or artist is going to keep the most people happy if we throw them on the stereo?

Is your band responsible for more make-outs or break-ups? Why?

This is a tough one we always have different music for different occasions. If it was up to Hutch we would be listening to Anklepants and Boogaloo non stop, however reggae, drum’n’bass and jazz are always winners. Also anything that our friends are involved with at the time always goes down well.

What reality TV show would you enter as a band and why?

Depends who you talk too! A good mix of both I believe…

‘Band vs Wild’ – band gets airdropped into the wilderness with all their gear and have to make it to the to the nearest

human outpost for their gig, inev inevitably having to feed on reptilian wildlife and drink their own o piss to survive…

If your band had to play a team sport instead of being musicians, which sport would it be and why would you be triumphant? I think the cat and mouse team cycling as we all hired bikes once when we toured Brisbane and everyone seemed to enjoy the day, so that’s something I think we could all enjoy as a team…

What’s in the pipeline for the band in the short term? We have our first run of shows in Sydney, Perth, Adelaide, Newcastle, Canberra and the Blue Mountains coming up in the next few weeks. There will be a further East Coast tour later in the year also. Album three has already commenced so studio won’t be far away once again. Kobra Kai play Saturday 25 May at Newcastle Soul Station, Friday 31 at Manning bar, Saturday 15 June at the Psyfari Launch @ Newtown Jets, Friday 21 at Hotel Gearin, Katoomba and Saturday 22 at Clubhouse, Canberra. Their album Insession is out now. Pic by Josh Groom

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It’s been nearly four years since their last national headline tour, but now Evermore (who are still fresh from support slots with Maroon 5 and Matchbox 20 earlier this year) are back on home soil and will be playing a small string of Sydney shows before they head back over to the States. This Friday, they’ll be performing at the Revesby Workers Club.

Seductive, nocturnal Sydney trio Movement have simultaneously signed with Modular and released their debut single Feel Real. The classic soul and late ‘90s r’n’b inspired outfit will be supporting Flight Facilities over the weekend, with a show on Saturday and Sunday. Both shows will be at Oxford Art Factory.

ROCK ’N’ DOLL FLIGHT FACILITIES Song title: I Didn’t Believe feat. Elizabeth Rose What’s the song about? It’s a pretty innocent pop song. Of all the songs we’ve released, this one has the least depth to it. Sometimes that’s just called for. It’s carefree, fun and the lyrics are fairly self explanatory in the chorus: I didn’t believe that something could really happen between us. Draw your own conclusions, but it’s hard not to come to the same one. Is this track from a forthcoming/existing release? It’s our fifth single. With no album plans for us in the future, we’re happy releasing in the format we are. We put a huge amount of time and effort into each single so we don’t feel as though anything should become part of an album filler. We’d never allow ourselves to release anything we considered to be ‘filler’. How long did it take to write/record? We wrote the instrumental back in 2010. It was set to be our second single release but after trying several vocalists and ideas, we never came to one we were completely happy with until late 2011. Then it took us another year to finalise to a point where we were happy with the current version. Releasing just one song is a seriously lengthy process.

Returning with their crazy psych rock sounds and a new 7”, The Dolly Rockers join Newcastle garage punk rockers The Nugs and young Sydney ‘60s inspired rock/ country trio The Fontaynes for The Sleep Walkers Club at FBi Social. In between each performance, Royal Headache DJs will be serving up DJ sets before Ben Fester and Sleep Walker DJs take the reigns.

SEA BELLES The second album from former-Melbourne-basednow-Sydney-based (and at one point, Berlin-based) band Seabellies is just short of being released. In anticipation for the release of their new album titled Fever Belle, Seabellies will be performing alongside Sydney pop-folk outfit Bears With Guns and Clulow Forester this Saturday at. FBi Social

PRE-CIADA Pre-apocalyptic metal five-piece Before Ciada will be embarking on three-week East Coast tour before heading into the studio to work on their forthcoming album. The Sydney outfit will be playing an all ages show followed by an 18+ set at The Livehouse this Saturday in support of the release of their debut EP Birth To Burial.

Was anything in particular inspiring you during the making? When we originally started it, we were listening to The Swiss and Jamiroquai. We think they have a pretty obvious influence on the song. Vocally we also wanted to achieve a ‘80s Madonna vibe.

Will you be launching it? It was released on the 8th of May and has since been followed up by remixes from Tiger & Woods, Lou Teti and Light Year. We’re currently touring Australia in support of the single and we’ll be touring Europe shortly after. For more info see:

What’s the song about? The song is about the excitement, delight and vulnerability that comes with falling in love with new friends.

SPECIAL FAVOURS Dave Favours and his affectionately coined band The Right Wing Immigrants will be returning to the Green Room Lounge in Enmore this Sunday, where they’ll be performing their alt-country music with as much raucousness as ever. Cowpunk legends Deadwood 76 and garage blues duo The Belly Slappers will be offering their support at this free event.


We’re a bit undecided as to whether Linkin Park’s Chester Bennington joining Stone Temple Pilots is a good thing in the long term, but for the moment the fact that the band can carry on gets the nod from us.

Is locking out legal, pay per view options for series like Game Of Thrones appearing only a few hours after US screenings, so instead of options like iTunes etc, Foxtel will now be the only place you can watch them. Guaranteed this increases piracy and not Foxtel subscriptions.

After winning some Billboard Music Awards, it’s almost got to the point where it’s easier to figure out what he hasn’t won than what he has nabbed gongs for.


Name of person answering questions and the instruments you play: I played drums, sang lead vocals and wrote this song.




What’s the title of your new single: Break And Keel.


Has a drunken puppet shootout in their new vid. Seriously, do we need to say more? Drunken puppet shootout, people!

Highly regarded guitarist Tim Rollinson and his dynamic trio join special guest Phil Slater (who will be performing on trumpet) for a night of fired up jazz at the Kinetic Jazz Festival. This Thursday, this trio-turned-quartet will be performing at St Luke’s Hall in Stanmore.

Answered By: Cat Canteri (vocals)




What’s your favourite part of the song? A couple of the drum cuts and the string section at the end really brings the whole song to life. Being asked that question makes you realise all the intricacies that go into making just one song. Do you play it differently live? Not yet. We’re happy playing the version everyone is currently familiar with. Perhaps when there comes a time that everyone is sick to death of it, we’ll make some adjustments. For now, we’ll let it be.


LEO DICAPRIO Happy to come for the relaunch of a casino, but pulled out of Sydney premiere of The Great Gatsby, where the movie was filmed.

DAVID WARNER Most people think the Oz cricket team is a bunch of whining jerks anyway, and his Twitter tirade will not change that opinion. Take it out in private next time.

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Is this track from a forthcoming/existing release? The track is off our yet to be released third album, Never Go Your Way, which will be out this Spring. How long did it take to write/record? The writing process for the track was really quick – it only took me a few hours from start to finish. What was inspiring you during the song’s writing and recording? The writing of the song was inspired by two new beautiful and charismatic friends. The rest of the band was my inspiration in the studio, we were all really focused and just loved living at the studio, waking up each morning and playing our own music all day long. We’ll like this song if we like… This track has elements and smatterings of heaps of stuff; I can’t pin it down... Mazzy Star, Fleetwood Mac and Radiohead. Do you play it differently live? Live will alway be different as there’s always that element of unpredicability, jamming and over-excitement (on my behalf anyway). But our live sound is pretty darnned close to our sound on record. Most of the record was tracked live, except vocals of course. Will you be launching it? Sure will. We’ll be celebrating Sunday 26 May at the one and only Junkyard, Maitland, which was officially rated by all Official Legends as the “Bestest pub gig in not only the known but also the unknown universe”

What would people remember you for (and when)? Our shows are one of the best examples of ‘80s high energy, raw, cult following, pub rock ‘n’ roll gigs, with outrageous antics from our crazy lead singer Dee Minor. What caused the split? Our band was one of the highest drawing unsigned, unrecorded bands in the early ‘80s Aussie pub rock scene. We were chased down by a number of record companies and eventually signed with RCA Records. We released our first single Money, followed by an EP and then went on a national tour with Lena Lovich and then we decided to split whist on tour and at the top of our game … the stupidity of youth! What inspired the reformation? Lead singer Dee Minor was finally released out of psychiatric ward and the original line-up just happened to be in the same place at the same time. Is it a one-off, permanent, or see-how-it-goes? The energy and vibe is so strong that the band are in studio doing pre-production on a new album with a mixture of original songs unrecorded in the ‘80s and some new songs. Who’s back in the fold? All original line-up Dee Minor (minus some brain cells), Craig Wachholz (Wacca), Neal MacDonald and Ray Thurlow ( Baby Arms ). How does the live scene now compare to your heyday? Today, the gig scene resembles a wasteland. In the ‘80s it was a literal smorgasbord of amazing talent on tap for punters, you could go out seven nights a week and see some of the best Aussie and international bands in a small pub with amazing production. Bands back then perfected the art of the pub rock show. Today, many up and coming young bands are recording in their bedrooms and then the next stop is a big festival, there is little time to hone live skills, and it’s a pity because the pub show was an art form . For more info deeminorandthedischords Next available at: Saturday 25 May, Annandale Hotel

indie news


BALMAIN ROYALE The semi-finals for the Balmain Blitz band competition will be kicking off this Thursday at the Bridge Hotel in Rozelle. Going head to head on the evening will be Lavina Row, Sean Frazer, Sixplane, Midnight Butterfly, Rocco, A Gentleman’s Agreement, Euryale, Winter’s End, This Time Only, The Drying Shed and many more.



GOOD OAK Answered by: Stephen Ryan What’s the title of your new EP? Self titled, Good Oak


How many releases do you have now? This is our debut.

What’s the title of your new EP? The KP EP. It’s my initials and ‘EP’ – super clever.

How long did it take to write/record? Some of the songs were written pretty recently, while others are ones written over many years

How long did it take to write and to record the record? Some of the songs are a few years old, some are really new. I’m really bad with settling on song choice, in the same way that I hate writing set lists, but I’m really happy with the songs on the EP. .

Was their anything in particular inspiring during the making? We recorded with Mark Myers (The Middle East) in his home studio in Cairns. We recorded it all over four days. Mark was great to work with and it was a heap of fun. I think that comes through in the recordings.

Who do you take your influence from? Kate Miller-Heidke, Josh Pyke, Clare Bowditch, Katie Noonan and Darren Hanlon.

What’s your favourite song on it? Personally, I like The Bear Song, although different people have named almost all the tracks as favourites which is encouraging.

What kind of vibe are you hoping people will get from the album? A song to dance to (Blackout), a song to cry to (Capsize) and a song to make them chuckle or blush (Valentine’s Day). Do you have a favourite song on it? It changes, but at the moment it’s Valentine’s Day. I just released a music video for it, which was a lot of fun to make. Where will you be launching the EP? May 25th at The Ryans Hotel in my hometown of Thirroul. Entry is $10 but you get a free copy of The KP EP. Everyone wins! Where can we head for more info?

ROARING ‘20S Joining Sydney’s only authentic 1920s-style vocalist Greg Poppleton at the Django Bar in the Camelot Lounge this Thursday are The Bakelite Broadcasters. The band includes ARIA-nominated trumpeter Geoff Power (who, as well as playing the trumpet, will be on sousaphone) and former Ricky May guitarist Grahame Conlon on banjo.

Will you do anything differently next time? We are just starting to discuss how we might approach recording an album. Not exactly sure yet. The EP was all tracked live and I definitely like the feel of that recording, particularly for an EP, so I wouldn’t have changed much in that process. We may change things up a little for an album though. Will you be launching it? We had at Black Bear Lodge in May which sold out and was a lot of fun. We are doing a run of shows shortly to the Gold Coast, Armidale, Sydney and Coffs Harbour to launch it to the East Coast. We’re playing at the Brighton up bar on the 25th May. For more info see:

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Sydney quirky/intelligent pop outfit CARTOON played their first ever club show at Blue Beat. What could be a better way to ring in the release of their very first single than at such a familiar venue? The three-piece will be performing alongside heart-melting soul-pop duo PEEK’n’BOO this Thursday at Blue Beat.

In 505 at Surry Hills news, Brisbane singer Lauren Lucile presents a tribute to Nina Simone on Wednesday, while things get world music with Los Gringos on Thursday, Martinez Acoustica on Friday and the Arrebato Ensemble on Saturday.

Australian Balkan Gypsy jazz ensemble Lolo Lovina take the Camelot Lounge stage on Friday, while Nadya Golski gives things a touch of klezmer alongside a dash of gospel, jazz and Latin in her take on Eastern European Gypsy music as Nadya & The 101 Candles Orkestra on Saturday night.



Fifteen years ago, a couple of mates came together and started running a jam night (which is still going, and you can catch that this Wednesday at the Bald Faced Stag and again on Thursday at the Carousel Hotel in Rooty Hill). What resulted from that was The Flamin’ Beauties; a cover band tackling the hits of classic artists from The Animals to ZZ Top. The crowd-pleasing trio will be performing at the Crown Hotel on Friday night.

Your music is? Rock, grunge, punk.

Nirvana: Grungy and Cobains’ voice was amazing, plus the intensity of their sound and lyrics and their performances were incredible.

For more info see: www.thenaddiks. com or Next available at: Saturday 25 May, The Bald Faced Stag.

ROGUE RED WIGGLE Before the Red Wiggle wore a red skivvy and drove around in a big red car, he was in a band called BANG SHANG a LANG. BANG SHANG a LANG still exist, and Murray Cook (aka Red Wiggle) still plays guitar in the band. The powerpop/rcok five-piece will be heading to Taren Point this Friday where they’ll be performing at the Taren Point Bowling Club.

A-TISSUE Local outfit The Mountains are helping boy/girl indiepop duo Achoo! Bless You celebrate the release of their second single No Way of Knowing. The track is lifted off the band’s debut EP released last year, and the raucous banjo-lead toe-tapping track will be taking the band’s on an extensive East Coast tour, stopping at Yours & Owls on Wednesday then The Brass Monkey on Sunday.

EVOLUTION AT THE MONKEY With a fresh single tucked under their collective arm titled Evolution, Bonjah are putting their hard work on show this Wednesday at the Brass Monkey in Cronulla, The Oxford Art Factory on Thursday and The Heritage Hotel in Bulli on Friday.

ENDLESS POSSIBILITIES Briana Cowlishaw performs in the Sound Lounge with her quintet Saturday night, with fellow jazz singer Josh Kyle showcasing his debut album, Possibilities, there with his quintet on Friday.


The Rubens are on their Never Be The Same national tour this week with a number of sold-out shows along the way. To celebrate the tour, they are releasing a limited edition deluxe album package of The Rubens, their selftitled debut album. They’re playing at ANU bar in Canberra on Wednesday, Wollongong Unibar on Thursday and two sold-out shows at the Enmore Theatre in Sydney on Friday and Saturday nights. Support acts for their east coast tour includes Walk The Moon from the USA and Bloods.

What’s your wildest ambition for your music? To tour the world and be rock stars - what else could there be?

What’s your greatest rock’n’roll moment? Every show that goes off is an amazing rock’n’roll moment, we have so many, but if we had to choose … well, we just couldn’t. We’re too far into what we’re doing to sit back and think, ‘wow, what a moment’



The Vines: Great riffs, excellent stage presence, and their experimentation with sound really inspired us.

How do you find the local live scene? It’s a hard nut to crack unless you’re in the mainstream - how boring is that, we never want to be boring!

A dude called DCUP aka DJ Duncan MacLennan is playing at The World Bar this Friday night as a part of a special edition of MUM called MUM + DAD. Supporting him are Jack Bailey and Mitch Lowe and there will be live shows from rockers New Brutalists and Machines for Dreams and a host of other DJ sets throughout the night.

The second annual Illawarra Music Festival includes jazz and world music components, kicking off on Friday at City Diggers in Wollongong with I Viaggiatori, and Sunday in McCabe Park. It’s also Jazz in the Park with Wollongong Conservatorium’s Jazz Orchestra, then The Idea Of North in the Regent Theatre and Jazzgroove Mothership Orchestra at Illawarra Performing Arts Centre.

Which acts inspired you to produce your own music and why? The Rolling Stones: Amazing live presence, good solid rock music.

Why should we come and see you? For out sound and visual experience - nobody walks away from one of our shows and says, ‘that was boring, they just stood there and played the music’, we push it hard and we make every show different.


WILD RELEASE Adelaide quintet Messers caused quite a stir with their debut EP Welcome To Nowhere, peaking in the Top 40 of the Australian iTunes Album Chart. Messers are now making another splash, with the release of their brand new single Running Wild and a national tour as a result. This Friday, they’ll be heading to the Beresford with the support of Goldsmith and Andy Brown, with DJ sets from S.Kobar. And the best part - the event is free.

THE ORIENT HOTEL The venue: The Orient Hotel What’s the capacity? 800 Why should punters visit you? We’re a traditional Aussie pub with live music, great food and great fun.

STU-CK ON YOU A Man Called Stu aka Stu Arkoff, former frontman of cult-icons Zombie Ghost Train, is back this week for his first gig in over five years since ZGT broke up. He returns with a new band made up of local musicians including Roy ‘Big Daddy’ Payne on pedal steel, Jordan C. Thomas on double bass and Danny Heifetz on drums. They’ll be rocking out at The Vanguard this Saturday with guests The Morrisons and Rusty Spring Syncopators

SPACE LOVERS Tasmania’s own Enola Fall and Sydney’s electro indiepop rockers Tales In Space are playing a couple of shows together across the country. Enola Fall have just released their single Scared Of Boys from their new EP Suburban Lovers while Tales In Space are celebrating their new single Shades. They’ll be at Beach Road Bondi this Wednesday, Transit Bar in Canberra on Thursday, Brighton Up Bar in Sydney on Friday (unfortunately only Enola Fall are playing Sydney) and Yours and Owls in Wollongong on Saturday.

QUACKER OF A SHOW Hyped Sydney duo What So Not (comprised of Chris ‘Emoh’ Emerson and Harley ‘Flume’ Streten) are less than a month shy of releasing their second EP, The Quack. Due to the success of Streten in his Flume guise, Emoh will be taking on the role of the What So Not DJ. In anticipation for the forthcoming EP, Emoh will be playing a What So Not DJ set this Saturday at The Grand Hotel in Wollongong.

BRO Sydney trio Solkyri have released their debut album Are You My Brother? Combining subtle ambient textures and crushing distortions, the album reflects the band’s haunting semi-instrumental rock music. Their album launch tour hits the Lass O’Gowrie in Newcastle this Friday.

GOOD VIBRATIONS Since early April, Vibrations All Ages Band Comp has been rewarding local bands with exposure, a great stage to play on and the opportunity to score a free recording session or, for the runner up, a feature interview. This Wednesday at the Valve Bar in Tempe, The Plan, Belltoll, Sons of Alamo, A Greater Distance, In Hydes Shadow, Room 237, Good Griefs, Velocet and Egg Malt will be battling it out.


What’s the best thing about the venue? We’re open late, always busy and perfect for good old-fashioned fun, plus we have over three floors as well as a cosy beer garden at the rear of the hotel. What’s the history of the venue? It’s one of the oldest pubs in Sydney and was started in 1844 in the birthplace of Australia. We have lots of history from the early settlers to the Green Bans of the 1960s (Jack Mundey still visits us for a middy) to today’s melting pot of characters. What are some of the highlights? The pub has been serving beer in The Rocks for 169 years, and is a favourite watering hole for lots of people when they come to town, from far and wide. It is a Sydney icon and a must-do for travellers and locals, of course everyone is always welcome. We so often hear, ‘when I was last at the Orient’ stories which make us laugh (and cry!) Most recently Nick Kingswell of The Voice fame was playing here before his rise to stardom. What is your venue doing to help the local music scene? The Orient has a strong history of live music, we currently offer gigs six nights a week and weekend afternoon gigs too. We also have DJ’s spinning the decks on the weekends. Do you have any plans for the venue in the future? From now until September, we’re having seven days of live music. Look out for great food deals in the bar and restaurant every day of the week as well.

This Friday psychedelic quartet Sex In Mexico alt. rockers Feick’s Device and electrofunksters Spectacles are playing a gig at Hermann’s Bar at the University of Sydney.

Hot Mosh magazine has just launched, and they’re throwing a party at FBi to celebrate. As well as a couple of freebies for a select number of patrons (attendees go into the draw to win a free Witch Doctor Apparel t-shirt, and the first 100 people to make an appearance score a copy of the second issue of Hot Mosh), Doc Holiday, Take The Shotgun and Bachelor Pad will be playing live sets, with DJ sets from Witch Doctor Apparel DJs and Steve Aoki (Lookalike) DJs in between.



Coming Up: Vivid Light Festival - drop in for a meal before or after you have a walk around town.


What started out as three friends having fun playing indie-folk tunes has morphed into an excessively touring timeless project. Northern Beaches trio Sons of the East have recently released a film clip to their debut single Hold On, and now the boys are playing a string of Sydney shows all along the East Coast. This Thursday, they’ll be supporting Bonjah at the Oxford Art Factory, and on the coming Monday, they head to Manly to play at the Steyne.

FOOTE AND FRIENDS Nigel Foote taught his son Martin to play guitar when he was just a young’n. He also taught a young James Church. As the years rolled by, the father, the son and the student banded together and formed a guitar-based folk/country/bluegrass project. The Blue Mountains based trio call themselves No Real Job, and this Saturday they’ll be joining multi Golden Guitar winner Allen Caswell for a free performance at the Katoomba RSL.

48 • For more news/announcements go to

The Goodgod Danceteria trades the tropical basement paradise for the Opera House’s Studio for the Vivid LIVE Studio Parties this Sunday, in their second year as participants of Vivd. With an upcoming album on the horizon, RiFF RAFF headlines the event with support of west coast pimp-rap prodigy 100s, Riff’s rapping co-conspirator DollaBillGates and hard-hitting Chicago team The DJ Rashad & DJ Manny Show. Australian underground visionaries Client Liasion, Pelvis and Levins join the bill.

Contacts for the venue: 89 George Street, The Rocks, NSW 2000 92511255 au

June Long-Weekend – We’ll be showcasing live acts every day and night, plus DJ’s will be spinning the decks on Saturday and Sunday. You can also throw in some Karaoke as well. July – The Aroma Coffee Festival begins in The Rocks and The Orient will be having live music all day and night.





The more you stew gumbo, the tastier it gets. Sarah Braybrooke talks to Gumbo Kitchen founder Michael Cotter and Bourbon’s head chef James Metcalfe. Metcalfe

1 2 3 4 5



FUN FACT The reason pickles were originally put into McD’s burgers was because otherwise they would be considered a candy.



t’s basically like Big Mama in the kitchen, cooking up.” Sydney chef James Metcalfe was formerly known for his posh French food but today he’s talking about a very different kind of cuisine. Now the head chef at New Orleans-inspired restaurant The Bourbon in Sydney, he is describing the food of the Deep South. Or more specifically, gumbo, a thick stew which is the flagship of Louisiana’s down-home cuisine. “There’s not one recipe: basically you can put whatever you like in it and call it a gumbo,” Metcalfe explains. “People used to put their leftovers in it; it was poor man’s food originally. The stereotypical gumbo is quite thick, with prawn and smoked ham, quite brown and quite rich. But when you look further than that, there are actually 101 kinds. Some of them have soft whole crabs, some have lobster, some have got no seafood whatsoever. They have pork, chicken, crocodile...” Behind its homely appearance, gumbo is a complex medley of the many cultures that have been marinating in the region for centuries, and there is no shortage of debate about the best recipe. The biggest question is not over which meat, vegetables or spices to use, but of how to make the stew’s thickened base. It can be made using a French roux, the African vegetable okra or Filé powder, a seasoning made of the powdered leaves of the sassafras tree and first used by Native Americans. Michael Cotter, the founder of Melbourne’s Gumbo Kitchen food truck, has spent years perfecting his own roux-based gumbo. “It took a long time to get to a point where I was happy with it. Making the roux in particular, you think you’ve got it dark enough, but you never do. The darker you get it without burning it the better. That’s the most important thing.” Metcalfe has a different approach: “The version that we do here at The Bourbon in Sydney is not typical of what you would get in New Orleans... I do a duck broth, without a roux. There’s pickled okra and corn, sausage, chilli and spring onions. It’s more like a refined gumbo.” He admits, “We’ve actually been criticised for not being authentic enough in our gumbo in a couple of reviews. By the purists. It doesn’t bother us too much, because we don’t want to be copying exactly what they’re doing in New Orleans. We want to use it as a seasoning, inspired by them.”

Describing Sydney diners as “a lot fussier” Metcalfe says that dining in New Orleans is cheap and cheerful. Having come back from a research trip just last week, and after eating at up to six places a day – all in the pursuit of knowledge, of course – he was somewhat overwhelmed by the city’s food, and equally impressed by its nightlife. “There’s one bar about a kilometre long. And bar on bar with music in, some with bands, some people singing rock. The atmosphere is amazing.” Cotter was likewise wowed by the city; his first encounter with New Orleans was while attending a conference in 2009. ”I fell in love with the food and the people,” he admits, “and couldn’t understand why that sort of thing hadn’t been done in Melbourne before.” He founded Gumbo Kitchen in response.

heaped spoon and fill your plate up,” Metcalfe says. Dishes like gumbo are a product of this local culture of hospitality and generosity as much as of their ingredients. Exclusivity is not on the menu: “It’s about sharing with food and family. That’s thing about New Orleans food, it’s all about community.”

GET YA’ GUMBO SYDNEY: The Bourbon, 22 Darlinghurst Rd, Potts Point

MELBOURNE: Gumbo Kitchen food truck, various locations. Jump on Gumbo Kitchen’s Facebook for where to find the truck.

BRISBANE: Continental Kitchen, Queen St

PERTH: Universal Bar, 221 William St, Northbridge

Loos Anggelles Ate at the first stop on our Man vs Food itinerary, Philippe’s. One double-dipped lamb and one single-dip pork sandwich, side of mac, side of potato salad, one pecan pie and three of the best trad. lemonades 65c can buy. This place has been open over 100 years and we totally understand why.

Bringing New Orleans food to Australia is about capturing some of its spirit, as well as its flavours. Over there, food is cheap, portions are huge, and the locals are welcoming and friendly. “They just get a big

For more interviews go to • 49


THE BEARDS: Jun 27 Cambridge Hotel; 28 Waves Wollongong; 29 Metro Theatre GOLD FIELDS: Jun 27 Transit Bar Canberra; 28 Oxford Art Factory

THE BEARDS: Jun 27 Cambridge Hotel; 28 Waves Wollongong; 29 Metro Theatre

PRESENTS THE RUBENS: May 22 ANU Bar; 23 Wollongong UniBar; 24 & 25 Enmore Theatre; 30 Entrance Leagues Club; 31 Newcastle Uni BONJAH: May 22 Brass Monkey; 23 Oxford Art Factory; 24 Heritage Hotel Bulli

SHEPPARD: May 22 Transit Bar Canberra THE RUBENS: May 22 ANU Bar; 23 Wollongong UniBar; 24 & 25 Enmore Theatre; 30 Entrance Leagues Club; 31 Newcastle Uni BONJAH: May 22 Brass Monkey; 23 Oxford Art Factory; 24 Heritage Hotel Bulli THE MOUNTAINS: May 22 Yours & Owls; 26 Brass Monday; 29 Front Bar Canberra JON ENGLISH & THE FOSTER BROTHERS: May 22 Waves Wollongong; 29 Southern Cross Club; Jul 3 West Leagues Newcastle DANIEL CHAMPAGNE: May 23 Front Gallery Canberra THE BROW HORN ORCHESTRA: May 23 Vanguard GAY PARIS: May 23 Moonshine Bar; Jun 7 Annandale Hotel; 8 North St Bar & Café; 14 Sphere Nightspot; 15 Carrington Hotel EVERMORE: May 23 The Basement; 24 Revesby Workers Club; 25 Rooty Hill RSL ENOLA FALL: May 23 Transit Bar Canberra; 24 Brighton Up Bar; 25 Yours & Owls SETH SENTRY: May 24 Metro Theatre DCUP: May 24 World Bar; 21 Trinity Bar Canberra MESSRS: May 24 Upstairs Beresford; 25 Great Northern Newcastle GOOD OAK: May 25 Brighton Up Bar DEE MINOR & THE DISCHORDS: May 25 Annandale Hotel THE WRATH: May 25 Club Venom Agincourt Hotel BRUCE MATHISKE: May 25 Zenith Theatre Chatswood SOLKYRI: May 25 Lass O’Gowrie Newcastle; Jun 8 FBi Social VIGILANTE: May 25 Hermann’s Bar; 26 Chatswood Youth Centre WHAT SO NOT: May 25 Grand Hotel Wollongong; Jun 1 Mona Vale Hotel; 15 Chinese Laundry CITIZEN KAY: May 25 Upstairs Beresford; 30 Transit Bar Canberra KOBRA KAI: May 25 Newcastle Soul Station; 31 Manning Bar; Jun 22 Canberra Clubhouse HAILER: May 25 Fitzroy Hotel Wollongong; Jun 6 Yours & Owls; 7 Brighton Up Bar DAVE GRANEY: May 26 Vanguard GURRUMUL: May 28, 29 Concert Hall Sydney Opera House DAVEY LANE: May 29 Midnight Special Newtown; 30 Soda Factory Surry Hills; 31 Low 302 Surry Hills SAN CISCO: May 29 Cambridge Hotel; 30 Unibar Wollongong; 31 and Jun 9 Metro Theatre SOMETHING FOR KATE: May 29 Wollongong Uni; 30 Newcastle Uni; 31 University Of Canberra; Jun 1 The Metro OWEN CAMPBELL: May 29 Lizotte’s Kincumber; 30 Vanguard; 31 The Abbey Canberra; Jun 1 Heritage Wollongong PHEBE STARR: May 30 Paddington Uniting Church OWLS OF THE SWAMP: May 30 The Newsagency THE SUPERJESUS: May 30, 31 Annandale Hotel; Jun 1 Cambridge Hotel JINJA SAFARI: May 30, 31 Oxford Art Factory THE CHEMIST: May 30 Barcode; 31 Terrace Bar; Jun 1 Brighton Up Bar NOVA & THE EXPERIENCE: May 31 Upstairs Beresford CLAUDE HAY: May 31 Vanguard; Jun 1 Katoomba RSL THE ARACHNIDS: May 31 Spectrum; Jun 1 The Phoenix Canberra OUR LAST ENEMY: May 31 Club LED Newcastle; Jun 21 Bald Faced Stag; 22 The Basement Canberra; 27 July Venom CLOUD CONTROL: May 31 Joan Sutherland Theatre Sydney Opera House CW STONEKING: Jun 1 Joan Sutherland Theatre Sydney Opera House THE CYRIL B BUNTER BAND: Jun 1 Lizotte’s Newcastle THE MURLOCS: Jun 1 Goodgod BREAKAWAY: Jun 1 The Lair NORTHLANE: Jun 1, 2 Annandale Hotel REDX: Jun 1 Junkyard Maitland; 2 Brighton Up Bar CLUB KOOKY PARTY feat. SEYMOUR BUTZ, DJ GEMMA: Jun 2 The Studio Sydney Opera House SUNNYBOYS: Jun 2 Concert Hall Sydney Opera House OMRI MOR: Jun 3 Blue Beat HIGH HIGHS: Jun 5 Oxford Art Factory KERSER & RATES: Jun 5 Zierholz Canberra; 6 Roxy Theatre Parramatta; 7 Mona Vale Hotel; 8 Maitland Hunter Valley Brewery; 9 Racket Club Newcastle ANDREW STOCKDALE: Jun 6 Newcastle University; 7 Metro Theatre; 8 Waves Wollongong CHANCE WATERS: Jun 6 Transit Bar Canberra; 7 Great Northern Newcastle THE DELTA RIGGS: Jun 6 Newcastle University; 7 Metro Theatre; 8 Waves Wollongong RASA DUENDE: Jun 6 Street Theatre Canberra; 7 Kantara House Central Coast; 8 Kindlehill Hall Wentworth Falls; 9 Camelot; 30 Coorabell Hall

HAIM: Jul 24 The Hi-Fi SURFER BLOOD: Jul 26 Oxford Art Factory AIRBOURNE: Jul 26 ANU Bar Canberra; 27 The Hi-Fi

SAN CISCO: May 29 Cambridge Hotel; 30 Unibar Wollongong; 31 and Jun 9 Metro Theatre

JAMES BLAKE: Jul 29 & 30 Sydney Opera House Concert Hall

COME TOGETHER: Jun 8 Big Top Luna Park THE HAPPY MONDAYS: Jun 10 UNSW Roundhouse THE BLACK ANGELS: Jun 15 Enmore Theatre SLEEPMAKESWAVES: Jun 21 ANU Bar Canberra; 22 Town Hall, Wollongong; 28 Annandale Hotel; 29 Cambridge Hotel

TUE 21 MAY 2013 Brandon Allen + Tim Bruer: 107 Project, Redfern Old School Funk & Groove Night: 505, Surry Hills Open Mic Night: Avoca Beach Hotel, Avoca Beach Fresh Sounds: Dome Bar, Surry Hills Open Mic Night with Champagne Jam: Dundas Sports Club, Dundas Open Mic Night with Black Diamond: George IV Hotel, Picton The Institution feat. Taking Berlin + The Darlings + more: Metro Theatre (The Lair), Sydney Steve Tonge: Observer Hotel, The Rocks Chris Read: Orient Hotel, Sydney The Ensemble Offspring + Between the Keys: Riverside Theatre, Parramatta Brassholes: Rose Of Australia, Newtown Songs On Stage feat. Helmut Uhlmann + Senani + more: Tea Gardens Hotel, Bondi Junction San Cisco + Millions + Caos Caos: The Northern, Byron Bay UOW National Campus Band Comp (Heat 4) feat. Indecent Exposure + Rivet City + The Kirbies + Triumphant Cousins: Uni Bar, Wollongong Chu with Various DJs: World Bar, Kings Cross

WED 22 MAY 2013 Nina Simone Tribute with Lauren Lucille: 505, Surry Hills The Rubens + Walk The Moon + Bloods: ANU Bar, Acton Trick Finger: Artichoke Gallery Cafe, Manly JJ King: Bar Petite, Newcastle Regurgitator + Sun City + Enola Fall + F.R.I.E.N.D.S. DJs: Beach Road Hotel (Rex Room), Bondi Beach Hobophonics + Devola: Beach Road Hotel (Valley), Bondi Beach Rave Doss + Super Fernace DJs: Beach Road Hotel (Public Bar), Bondi Beach Bonjah: Brass Monkey, Cronulla Gay Paris: Cambridge Hotel, Newcastle West Songs On Stage feat. Angelene Harris + Lily Ray + Master Tiger: Cat & Fiddle Hotel, Balmain

50 • To check out the mags online go to

YOU AM I: Jul 19, Aug 1 Enmore Theatre; Jul 20 UC Refectory Canberra; Aug 2 Panthers Newcastle; 3 Waves

SOMETHING FOR KATE: May 29 Wollongong Uni; 30 Newcastle Uni; 31 University Of Canberra; Jun 1 The Metro



BLISS N ESO: Jul 4 Enmore Theatre

Kaki King: Clarendon Guest House, Katoomba Matt Jones: Coogee Bay Hotel (Beach Bar), Coogee Cruciform + Brazen Bull + Mother Eel + Hawkmoth + Nobody Knew They Were Robots: Dicey Riley’s Hotel, Wollongong Sydney Jazz Jam: Dome Bar, Surry Hills Happy Hippies: Ettamogah Hotel, Kellyville Ridge Lilly Rouge: Hamilton Station Hotel, Hamilton FBi Social feat. Doc Holliday Takes The Shotgun + Bachelor Pad + Bustalip + Witch Doctor + more: Kings Cross Hotel, Kings Cross Benny Walker + Twin Lakes + Tom Richardson: Lass O’Gowrie, Wickham Live & Local feat. Mia Wray + Rowan Falzon + Brandon Duff + The Lyrics: Lizottes Central Coast, Kincumber Live & Local feat. Annie O’Dee + Wanita Honky Tonkin Mama + Steely Divas: Lizottes Newcastle, New Lambton Live & Local feat. We Are The Birdcage + Tony Gibson + Frenchy & The Buzz + Big Nothing: Lizottes Sydney, Dee Why Andy Mammers Duo: Maloneys Hotel, Sydney Judenn Lassiter: Mars Hill Cafe, Parramatta Dan Spillane: Mean Fiddler Hotel (Sub Bar), Rouse Hill Steve Tonge Duo: O’Malleys Hotel, Kings Cross Gemma: Observer Hotel, The Rocks Darren Heinrich Trio: Play Bar, Surry Hills Zoltan: Revesby Workers (Infinity Lounge), Revesby Replika: Scruffy Murphy’s, Sydney The Kinetic Jazz Orchestra: St Luke’s Church & Hall, Enmore Greg Agar: Summer Hill Hotel, Summer Hill Matt Price + Lespers & Crooks + Jess Dunbar + UACSC: The Annandale, Annandale Steve Morrison: The Basement, Circular Quay Mandalay Victory + As Tide Breaks + Punchdagger: The Basement, Belconnen Songs On Stage feat. Helmut Uhlmann + Michael Brock + Guests: The Loft, UTS, Broadway Vic Cunningham + Scarlets Revenge + Into The Fireplace: The Sly Fox, Enmore Lionel Cole: The White Horse Hotel, Surry Hills National Campus DJ Comp Heat 3: University Of Wollongong (Duckpond Lawn), Wollongong Vibrations At Valve feat. The Plan + Belltoll + Sons Of Alamo + A Greater Distance + In Hydes Shadow + Room 237 + Good Griefs + Velocet + Egg Malt: Valve Bar & Venue, Tempe Whip It with Camo + Snillum + Jaimie Lyn: Whaat Club, Potts Point

EVERYTHING EVERYTHING: Jul 27 Metro Theatre COLD WAR KIDS: Jul 29 Metro Theatre CLARE BOWDITCH: Aug 1 Lizotte’s Dee Why; 2 The Small Ballroom Newcastle; 3 Factory Theatre JAPANDROIDS: Aug 31 Manning Bar RUDIMENTAL: Sep 18 UC Refectory Canberra; 24 Enmore Theatre FOALS: Sep 28 Enmore Theatre XAVIER RUDD: Oct 4 Big Top Luna Park

The Wall feat. Spod + Shag + Annaliese Constable + more: World Bar, Kings Cross Library Siesta + Paul Macadam + Sweet Lime + Art Rush: Yours & Owls, Wollongong

THU 23 MAY 2013 Hitseekers: 3 Wise Monkeys, Sydney Los Gringos: 505, Surry Hills Phil Spiller: Artichoke Gallery Cafe, Manly Paintbox City + Lily Rouge + A Girls A Gun + The Curse of Mary Sue: Bald Faced Stag, Leichhardt The Cherotes + Survival Reggae: Blackbird Cafe, Sydney Cartoon + Peek ‘n’ Boo: Blue Beat, Double Bay Balmain Blitz feat Lavinia Row + Sean Frazer + Sixplane + more: Bridge Hotel, Rozelle JJ Duo: Brighton RSL, Brighton-Le-Sands Broken Royale: Bucklers Canteen, Bondi Beach Abby Dobson: Camelot Lounge, Marrickville Greg Poppleton & The Bakelite Broadcasters: Camelot Lounge (Django Bar), Marrickville Phil Simmons: Campbelltown Catholic Club (Caf Samba), Campbelltown Klay: Coogee Bay Hotel (Beach Bar), Coogee Dan Spillane: Dee Why Hotel, Dee Why Dall ‘Italia All’ Australia: Factory Theatre, Marrickville Songs On Stage feat. Peach Montgomery + Guests: Forest Lodge Hotel, Forest Lodge Jay-J + Friends: Goldfish, Kings Cross Andy Mammers: Harbord Beach Hotel, Freshwater Peter Head: Harbour View Hotel, The Rocks Kaki King: Heritage Hotel, Bulli Open Mic Night with Matt Jones: Hillside Hotel, Castle Hill Gay Paris: Hotel Steyne (Moonshine Bar), Manly Jo Vill & Maria: Kiama Leagues Club, Kiama Open Mic Night with Michael McGlynn: Kirribilli Hotel, Milsons Point Melody Pool + Jacob Pearson: Lizottes Central Coast, Kincumber The Fabulous Rumbleators: Lizottes Sydney, Dee Why Dave White Duo: Maloneys Hotel, Sydney PJ Neverland: Mars Hill Cafe, Parramatta Performing ‘Source Tags & Codes’...And You Will Know Us By The Trail Of Dead + Sincerely Grizzly: Metro Theatre, Sydney

Ziggy: Newport Arms Hotel (Terrace Bar), Newport Open Mic Night with +Alex Hopkins: Northies, Cronulla Redlight Ruby: O’Malleys Hotel, Kings Cross Cambo: Observer Hotel, The Rocks Anthems of Oz: Orient Hotel, Sydney Bonjah + Sons of the East: Oxford Art Factory (Main Room), Darlinghurst Riley & Donna + Recall: Oxford Art Factory (Gallery Bar), Darlinghurst Hand Picked: Penrith Hotel, Penrith Cellar Sessions #6 feat. Stormcellar + Tinker Duffy + Michael Kerin: Raquels Spanish Kitchen, Darlinghurst Jay Birds: Scruffy Murphy’s, Sydney Danielle Todd: Sir Joseph Banks Hotel, Botany Hot Damn feat. Shinto Katana + Elegist + The Sweet Apes + Cast To Stone: Spectrum, Darlinghurst Kinetic Jazz Festival feat. Tim Rollinson Trio + Phil Slater: St Luke’s Church & Hall, Enmore Cap A Capo + Robosexual + Another Broken String + Office Jerk + Unbranded Animals: The Annandale, Annandale Evermore: The Basement, Circular Quay Daniel Champagne: The Front Cafe & Gallery, Lyneham Birds of Tokyo: The Hi-Fi, Moore Park Mandalay Victory: The King Street Brewhouse, Sydney Jenny Broke the Window + Gang Of Youth + Rockets + Preatures DJs: The Standard, Surry Hills Brow Horn Orchestra: The Vanguard, Newtown Ramalams: Town & Country Hotel, St Peters Enola Fall + Tales In Space: Transit Bar, Canberra The Rubens + Walk The Moon + Bloods: Uni Bar, Wollongong Str8 From Da Hood: Valve Bar & Venue (Early), Tempe Chakra with Robust + Brizz: Whaat Club, Potts Point Propaganda with PHDJ + Moody + more: World Bar, Kings Cross Achoo! Bless You + The Mountains + Guests: Yours & Owls, Wollongong

FRI 24 MAY 2013 Arrebato Ensemble: 505, Surry Hills Tom Bofinger: Absolute Thai, Charlestown Ange Murphy: Artichoke Gallery Cafe, Manly

Melody Feder + Michael Muchow: Avoca Beach Hotel, Avoca Beach Tom Trelawny: Bankstown Hotel, Bankstown Kirsty Larkin: Bar Petite, Newcastle Heath Burdell: Bavarian Bier Cafe, Parramatta DJ Greg Perano: Beach Road Hotel (Public Bar), Bondi Beach DJ Swift + DJ Secrt Wepn: Beach Road Hotel, Bondi Beach Rave On: Belmont 16’s, Belmont Moonlight Drive Duo: Belmore Hotel, Maitland The Capitols: Blacktown RSL (Celebrity Room), Blacktown Diesel + Tim Chaisson: Brass Monkey, Cronulla Gary Johns: Brewery Bar, Novotel, Sydney Olympic Park Matt Jones Duo: Brewhouse, Kings Park Enola Fall + Tales In Space: Brighton Up Bar, Darlinghurst Australian Played: Bull & Bush, Baulkham Hills Cantaloop + Mick Antonievich: Cafe Lounge, Sydney Lolo Lovina: Camelot Lounge, Marrickville DJ Tom Annetts: Campbelltown Catholic Club (Club Lounge), Campbelltown Something Wicked feat. Robust + Prolifix + Audiotrash: Candys Apartment, Potts Point The Rocker Fellers: Cessnock Supporters Club, Cessnock The Sue & Mikey Show: Charlestown Bowling Club, Charlestown Pat O’Grady: Chatswood RSL, Chatswood Zoltan: Club Cronulla, Cronulla Panorama Trio: Club Engadine, Engadine Pete Hibbert: Club Singleton, Singleton Take 2: Club Umina, Umina Beach Craig Laird + Guess Who Duo: Coogee Bay Hotel (Beach Bar), Coogee Little Bastard: Coogee Diggers, Coogee Armchair Travellers Duo: Courthouse Hotel, Darlinghurst Flamin’ Beauties: Crown Hotel, Sydney Black Diamond Hearts + Greg Agar: Crows Nest Hotel, Crows Nest Marty Simpson: Customs House Bar, Circular Quay

Auntie Flo + Lorna Clarkson: Goodgod Small Club, Sydney Adam Gorecki: Harbord Beach Hotel, Freshwater Bonjah: Heritage Hotel, Bulli Sex In Mexico + Feick’s Device + Spectacles: Hermanns Bar, Darlington Matt Jones Duo: Hillside Hotel, Castle Hill Daley Holliday: Hotel Jesmond, Jesmond Peter McWhirter Band: Huskisson Hotel, Huskisson In Harmony Duo: Kiama Leagues Club, Kiama FBi Social feat. The Dolly Rocker Movement + The Nugs + The Fontaynes + Royal Headache DJs + Ben Fester + Sleep Walkers DJs: Kings Cross Hotel, Kings Cross JJ Duo: Kingswood Sports Club, Kingswood Matt Price + Jess Dunbar: Kirribilli Hotel, Milsons Point Solkyri + Mar Haze: Lass O’Gowrie, Wickham Venus 2: Laurieton United Services Club, Laurieton Mental As Anything + Matt Boylan-Smith: Lizottes Newcastle, New Lambton Kaki King + Vorn Doolette: Lizottes Sydney, Dee Why Super Square + The Faders: Marquee, Pyrmont Michelle Madson + Peter ‘Blackie’ Black: Mars Hill Cafe, Parramatta Red Hot Numbers: Matraville Hotel, Matraville The Blues Rattlers: Mayfield Hotel, Mayfield Harlequin Duo: Mean Fiddler Hotel, Rouse Hill Dizzy Wright + Jarren Benton + DJ Hoppa: Meche Nightclub, Canberra Seth Sentry + Special Guests: Metro Theatre, Sydney Geoff Rana + Natalie Carboni: Mona Vale Hotel, Mona Vale Terry Batu: Mt Kembla Hotel, Mt Kembla They Call Me Bruce: North Ryde RSL, North Ryde Hooray For Everything: North Sydney Leagues, Cammeray James Fox Higgins Trio: Northies (Beach Bar), Cronulla Klay: Northies (Sports Bar), Cronulla

KARL HYDE: May 27 Concert Hall Sydney Opera House

Joe Echo: Dee Why Hotel, Dee Why Chainsaw Mascara + Headbutt + Revellers + Crash Tragic + Lemonberry: Dicey Riley’s Hotel, Wollongong Bobby C: Duke of Wellington Hotel, New Lambton Modern Daze: Engadine Tavern, Engadine The Rubens + Walk The Moon + Bloods: Enmore Theatre, Enmore Gerrard Masters: Ettalong Beach Club, Ettalong Beach Reverend Horton Heat + Mojo Juju + Doubleblack: Factory Theatre, Marrickville Kurt Williams: Figtree Hotel, Wollongong Gay Paris: Fitzroy Hotel, Windsor Ange: General Gordon Hotel, Sydenham Johnny Spitz: Gibraltar Hotel (Harvey’s Bar), Bowral

Michael Peter: Northumberland Hotel, Lambton Brendan Deehan: O’Malleys Hotel, Kings Cross Paul Phillips: Oasis on Beamish Hotel, Campsie Mashed feat. DJ Kristiano: Oatley Hotel, Oatley Fallon Brothers + Rob Henry + Cambo: Observer Hotel, The Rocks Let There Be Bon ACDC Show: Orana Hotel, Blacksmiths The Hollow Bones + Broken Royale: Oxford Art Factory (Gallery Bar), Darlinghurst Nova Tone: Padstow RSL, Padstow Lala Mode: Parramatta Leagues, Parramatta Luke Robinson: Parramatta RSL, Parramatta

THE GUIDE CHECK TONIGHT OR PLAN AHEAD Tonight, this weekend or 2014 – just select your dates and in less than a second you will know what’s happening

WHERE DO YOU WANT TO GO? Select your favourite venue or venues


YOU KNOW THE ARTISTS YOU WANT TO SEE! Choose one or 1,000 we will tell you where they’re playing

YOU HAVE YOUR FAVOURITE PLACES Save your favourite venues to your home screen and know whats on at a single click

YOU’VE FOUND YOUR GIG Add it to your calendar and buy your tickets


[THE GUIDE] g i g s TOUR GUIDE GOLD FIELDS: Jun 27 Transit Bar Canberra; 28 Oxford Art Factory

CHRISTIAN MCBRIDE TRIO: May 30 Venue 505 TIM CHAISSON: May 30 Brass Monkey; Jun 2, 16 The Bunker Coogee Diggers EMPIRE OF THE SUN: May 30, 31 Concert Hall Sydney Opera House TAYLOR DAYNE: May 30 Southern Cross Club Canberra; 31 Souths Juniors Club; Jun 1 Bankstown Sports Club; 2 Mount Pritchard Community Club; 5 Wests Leagues Club Newcastle; 6 Canterbury Hurlstone Park RSL Club MIGUEL ATWOOD-FERGUSON: May 31 Blue Beat THE UPBEATS: May 31 Manning Bar

THE NERVE: Jun 6 ANU Bar Canberra; 7 Spectrum; 8 Great Northern Newcastle; 20 Macquarie Hotel


BAD//DREEMS: Jun 7 World Bar

ELEANOR MCEVOY: May 31 Wollongong Diggers; Jun 1 Cat And Fiddle Hotel Rozelle; 2 Humph Hall Allambie Heights; 5 Clarendon Guesthouse


MARC ROMBOY: Jun 1 Chinese Laundry

MATT CORBY: Jun 7 Enmore Theatre

ASTRAL PEOPLE PARTY feat. OMAR S, AFRICA HITECH: Jun 1 The Studio Sydney Opera House

BRITISH INDIA: Jun 7 Entrance Leagues Club; 8 Mona Vale Hotel ROBOTOSAURUS, TOTALLY UNICORN: Jun 7 The Standard KRONIC: Jun 7 Macarthur Tavern; 22 Woodport Inn Erina, King Street Hotel (two shows)

SOUNDS OF THE SOUTH: Jun 1, 2 Concert Hall Sydney Opera House 5 SECONDS OF SUMMER: Jun 2 Metro Theare


MATTHEW E WHITE: Jun 2 Joan Sutherland Theatre Sydney Opera House

ANDY BULL: Jun 8 Goodgod

THE MILK CARTON KIDS: Jun 4 Factory Theatre

TOMMY TRASH: Jun 8 Pacha

KAMELOT: Jun 6 Manning Bar

MANTRA: Jun 8 Oxford Art Factory

EARLWOLF: Jun 6 Enmore Theatre

THY ART IS MURDER: Jun 8 Annandale Hotel; 9 Cambridge Hotel; 12 Basement Canberra STEVE KILBEY & MARTIN KENNEDY: Jun 8 Vanguard SOFTWAR: Jun 9 Parkside Wollongong MOVEMENT: Jun 12 Goodgod ASH GRUNWALD, ANDY STRACHAN, SCOTT OWEN: Jun 12 Metro Theatre; 22 Cambridge Hotel AMALI WARD: Jun 13 Venue 505 THE RED PAINTINGS: Jun 13 Cambridge Hotel; 14 The Hi-Fi BABY ANIMALS: Jun 14 Factory Theatre ABBE MAY: Jun 14 Oxford Art Factory DAWN: Jun 14 Great Northern Newcastle; 15 Heritage Hotel Wollongong; 16 Annandale Hotel

TONY MALABY: Jun 6 Venue 505 MARTHA WAINWRIGHT: Jun 6 Concert Hall Sydney Opera House; 8, 9 Lizotte’s Newcastle TIKI TAANE: Jun 7 Coogee Bay Hotel AXOLOTL: Jun 7 The Beresford KILLING JOKE: Jun 8 Metro Theatre SNARKY PUPPY: Jun 8 Blue Beat HNQO: Jun 8 Beach Bar Wollongong; 9 Terminal Projekt; 14 Trinity Canberra P-MONEY: Jun 8 The Basement Circular Quay DASH BERLIN: Jun 9 Sydney Showground THUNDERCAT: Jun 9 Oxford Art Factory

SOMETHING WITH NUMBERS: Jun 14 Mona Vale Hotel; 15 Oxford Art Factory; 28 Cambridge Hotel; 29 Fitzroy Hotel; Jul 12 Waves, Wollongong; 13 Entrance Leagues Club Bateau Bay


WAGONS: Jun 15 Vanguard

DAVID HELBOCK TRIO: Jun 12 Venue 505

BEACHES: Jun 15 Goodgod

THE HAPPY MONDAYS: Jun 10 UNSW Roundhouse ALISA WEILERSTEIN: Jun 11 Sydney Opera House

DESERT SESSIONS: Jun 15 Annandale Hotel

CHUCHO VALDÉS & THE AFRO-CUBAN ORCHESTRA: Jun 12 Concert Hall Sydney Opera House

MISTER OTT: Jun 15 Venue 505

SI CRANSTOUN: Jun 12, 13 Blue Beat; 15 Factory Theatre

GUY SEBASTIAN: Jun 15 Newcastle Civic Theatre; 21 WIN Entertainment Centre Wollongong; 22 Royal Theatre Canberra IN HEARTS WAKE: Jun 16 Bald Faced Stag KELLY DANCE: Jun 16 Hollywood Hotel HEY GERONIMO: Jun 19 Beach Road Hotel; 20 Transit Bar Canberra; 21 Small Ballroom Newcastle; 22 Baroque Room Katoomba MARK SEYMOUR & THE UNDERTOW: Jun 19 Lizotte’s Dee Why; 20 Lizotte’s Kincumber; 21 Lizotte’s Newcastle MONTERO: Jun 20 Goodgod

THE KING KHAN & BBQ SHOW: Jun 13 Goodgod THE BELLRAYS: Jun 14 Manning Bar LIL B: Jun 15 The Standard THE BLACK ANGELS: Jun 15 Enmore Theatre BASS KLEPH: Jun 15 Marquee STEVE BALBI: Jun 15 The Studio Sydney Opera House YO GABBA GABBA!: Jun 15 Big Top Luna Park (three shows) MUNICIPAL WASTE: Jun 16 The Hi-Fi

SLEEPMAKESWAVES: Jun 21 ANU Bar Canberra; 22 Town Hall, Wollongong; 28 Annandale Hotel; 29 Cambridge Hotel

BARB JUNGR: Jun 16 Clarendon Guesthouse Katoomba; 19 Vanguard; 20 Lizotte’s Dee Why; 21 Sutherland Entertainment Centre; 22 Bluebeat

THE BEARDS: Jun 27 Cambridge Hotel; 28 Waves Wollongong; 29 Metro Theatre

TOY: Jun 19 Oxford Art Factory

GOLD FIELDS: Jun 27 Transit Bar Canberra; 28 Oxford Art Factory

HAIM: Jul 24 The Hi-Fi

A DAY TO REMEMBER: Jul 13 Hordern Pavilion

BLISS N ESO: Jul 4 Enmore Theatre

SURFER BLOOD: Jul 26 Oxford Art Factory

YOU AM I: Jul 19, Aug 1 Enmore Theatre; Jul 20 UC Refectory Canberra; Aug 2 Panthers Newcastle; 3 Waves Wollongong

EVERYTHING EVERYTHING: Jul 27 Metro Theatre COLD WAR KIDS: Jul 29 Metro Theatre

AIRBOURNE: Jul 26 ANU Bar Canberra; 27 The Hi-Fi

JAMES BLAKE: Jul 29, 30 Sydney Opera House Concert Hall

CLARE BOWDITCH: Aug 1 Lizotte’s Dee Why; 2 The Small Ballroom Newcastle; 3 Factory Theatre

JAPANDROIDS: Aug 31 Manning Bar

XAVIER RUDD: Oct 4 Big Top Luna Park


KAKI KING: May 22 Clarendon Guesthouse; 23 Heritage Hotel Bulli; 24 Lizotte’s Dee Why; 25 Lizotte’s Kincumber; 26 Lizotte’s Newcastle; Jun 2 Vanguard ...AND YOU WILL KNOW US BY THE TRAIL OF DEAD: May 23 Metro Theatre THE REVEREND HORTON HEAT: May 24 Factory Theatre; 25 Cambridge Hotel

RUDIMENTAL: Sep 18 UC Refectory Canberra; 24 Enmore Theatre FOALS: Sep 28 Enmore Theatre THE BREEDERS: Oct 28 Enmore Theatre


ILLAWARRA MUSIC FESTIVAL: May 24 – 26 Wollongong VIVID LIVE: May 24 – Jun 2 Sydney Opera House EVIL INVADERS V: Jun 7 & 8 Manning Bar

BOBBY WOMACK: May 24, 25 Concert Hall Sydney Opera House


KRAFTWERK: May 24-27 Concert Hall Sydney Opera House

VAGABOND MUSIC FESTIVAL: Jun 8 – 10 Kangaroo Valley

DIESEL: May 24, 25 Brass Monkey; May 30, June 1 Lizotte’s Dee Why; 7, 8 Lizotte’s Kincumber; 14, 15 Lizotte’s Newcastle

COME TOGETHER: Jun 8 Big Top Luna Park

ELUVEITIE: May 25 Metro Theatre LITA FORD: May 25 Factory Theatre SKYZOO: May 25 Oxford Art Factory FUTURE CLASSIC PARTY feat. LAPALUX, CASHMERE CAT: May 25 The Studio Sydney Opera House

HARDCORE 2013: Jul 13, 14 The Hi-Fi SPLENDOUR IN THE GRASS: Jul 26 – 28 North Byron Parklands FOLK BY THE SEA: Sep 27 – 29 Kiama Showground

WALK THE MOON: May 26 The Standard

BOOMERANG FESTIVAL: Oct 4 – 6 Tyagarah Tea Tree Farm Byron Bay

KARL HYDE: May 27 Concert Hall Sydney Opera House


JELLO BIAFRA: May 28 Factory Theatre (talk) FLATBUSH ZOMBIES: May 29 Oxford Art Factory

STEEL ASSASSINS: Nov 1, 2 Bald Faced Stag

KNEEBODY: May 29 Venue 505

STEREOSONIC: Nov 30, Dec 1 Sydney Showgrounds

THE GHOST INSIDE: May 29 The Basement Canberra; 30 Metro Theatre; 31 Panthers Newcastle

FESTIVAL OF THE SUN: Dec 13, 14 Sundowner Breakwall Tourist Park, Port Macquarie.

52 • To check out the mags online go to

Skyz The Limit: Penrith Gaels, Kingswood Hello Cleveland: Quakers Inn, Quakers Hill Evermore + Amy Meredith: Revesby Workers (The Whitlam Theatre), Revesby Jazz Nouveau: Revesby Workers (Infinity Lounge), Revesby Flux: Rock Lily, Pyrmont Jane Eliz: Ruby L’Otel, Rozelle Anton Zammit + Flava: Ryde Eastwood Leagues Club, West Ryde Uncovered Duo: Scruffy Murphy’s, Sydney SIMA feat. Josh Kyle Quintet: Seymour Centre (Sound Lounge), Chippendale Elevate: Springwood Sports Club, Springwood Dale Barlow Quartet: St Luke’s Church & Hall, Enmore Vivid Feat. Kraftwerk: Sydney Opera House (Joan Sutherland Theatre 9.30pm), Sydney Vivid Feat. Bobby Womack: Sydney Opera House (Concert Hall), Sydney Tim Pringle: Tall Timbers Hotel, Ourimbah Bang Shang A Lang: Taren Point Bowling Club, Taren Point Strangers + Born Lion + The Sinking Teeth: The Annandale, Annandale Van The Man - The Australian Van Morrison Show: The Basement, Circular Quay Rubber Bullet: The Exchange Hotel, Hamilton Ziggy + Callum Tobutt: The Loft (All Ages / Afternoon), Newcastle Ally-B: The Mark Hotel, Lambton Craig Thommo: The Palace Hotel, Haymarket Luke Dixon: The Ranch Hotel, Eastwood Soft & Slow feat. Knightlife: The Spice Cellar, Sydney The Tsars + Hattie Carroll + Callithump + King Colour: The Standard, Surry Hills The Soul Edition+Mike Champion + Thandiwe + Righteous Voodoo: The Vanguard, Newtown The Sphinxes: The Vineyard Hotel, Vineyard OMG! Duo: The Windsor Castle Hotel, Newcastle Replika: The Winston, Winston Hills Swingshift - Cold Chisel Show: Three Swallows Hotel, Bankstown Ben Finn: Time & Tide Hotel, Dee Why Dougie DeKroo’s Kentucky Moon: Town & Country Hotel, St Peters Andy Mammers Duo: Town Hall Hotel, Balmain Messrs + Goldsmith + Andy Brown: Upstairs Beresford, Surry Hills The Drain Babys + Dirty Dezire + The Chrome Pigs + Dirty Dan And The Barrettones: Valve Bar & Venue, Tempe Yuki Kumagai & John Mackie: Well Connected Cafe, Glebe Alex Hopkins + DJ Marty: Wentworthville Leagues Club, Wentworthville The Furious Five: Westmead Tavern, Westmead Tramp with Rossie + Jaimie Lyn + Symphonik: Whaat Club, Potts Point Continental Blues Trio: Woolpack Hotel, Redfern Mum + Dad + DCUP + more: World Bar, Kings Cross

SAT 25 MAY 2013 Panorama: 3 Wise Monkeys, Sydney Nathan Cole: Abbotts Hotel, Waterloo Matt Purcell: Absolute Thai, Charlestown

Venom feat. Dawn Heist + Not Another Sequel, Just Another Prequel + To the Grave + The Wrath + Everything Handed Down: Agincourt Hotel, Sydney Luke Escombe: Artichoke Gallery Cafe, Manly The Naddiks + Bloody Lovely Audrey + Pleasure Overload: Bald Faced Stag, Leichhardt Jason Bone: Bar Petite, Newcastle Moonlight Drive: Bay Hotel, Bonnells Bay Back To The 80s: Bayview Tavern, Gladesville DJ Bobby Gray: Beach Road Hotel (Public Bar), Bondi Beach Hobophonics + Rave Doss: Beach Road Hotel (Valley), Bondi Beach The Daft Punk Tribute Show + Shantan Wantan Ichiban: Beach Road Hotel (Rex Room), Bondi Beach Kirsty Larkin: Beauford Hotel, Mayfield The Jungle Kings: Belmont 16’s, Belmont Dan Runchell & Friends: Belmore Hotel, Maitland Deja Vu: Blacktown RSL (Celebrity Room), Blacktown Diesel + Tim Chaisson: Brass Monkey, Cronulla Good Oak + The Mountains: Brighton Up Bar, Darlinghurst The Zeppelin Show: Bull & Bush, Baulkham Hills Reverend Horton Heat + Mojo Juju: Cambridge Hotel, Newcastle West Nadya & the 101 Candles Orkestra: Camelot Lounge, Marrickville Breaks Of Asia: Camelot Lounge (Django Bar), Marrickville Christie Lamb: Campbelltown Catholic Club (Club Lounge), Campbelltown Disco Disco+Stalker + Sherlock Bones + Fresh To Death: Candys Apartment, Potts Point JConnexion: Carousel Inn, Rooty Hill Andy Mammers: Castle Hill RSL (Terrace Bar), Castle Hill Angie Dean: Castle Hill RSL (Piano Lounge), Castle Hill Pop Fiction: Castle Hill RSL (Cocktail Lounge), Castle Hill Big Rich: Club Engadine, Engadine Terry Batu: Club Paceway, Penrith Mark B: Club Umina, Umina Beach Simon Shapiro + Trilogy: Coogee Bay Hotel (Beach Bar), Coogee The Trav & Rosco Show: Coogee Diggers, Coogee Hype Duo: Courthouse Hotel, Darlinghurst Anton: Crown Hotel, Sydney The Shrooms: Crows Nest Hotel, Crows Nest Greg Byrne: Dee Why Hotel, Dee Why Craig Thommo: Dicks Hotel, Balmain Iguana: Duke of Wellington Hotel, New Lambton John Vella Duo: Engadine Tavern, Engadine The Rubens + Walk The Moon + Bloods: Enmore Theatre, Enmore Kuta Groove: Ettalong Beach Club, Ettalong Beach Lita Ford + Devine Electric: Factory Theatre, Marrickville Mundy + Jenna Murphy + Mich McHugh: Factory Theatre, Marrickville Hailer: Fitzroy Hotel, Windsor Pete McWhirter + Jay Seeney: Gerringong Bowling Club, Werri Beach Jenny Morris: Gibraltar Hotel, Bowral Darren Powell: Gibraltar Hotel (Harvey’s Bar), Bowral Messrs + Safari Zone + Double Denim: Great Northern Hotel, Newcastle Little Black Book (Duo): Halekulani Bowling Club, Budgewoi David Agius: Harbord Beach Hotel, Freshwater Peter Head: Harbour View Hotel, The Rocks

Pink Show & Katy Perry Show: Helensburgh Workers, Helensburgh Vigilante + Iron Mind + Reincarnation + Boneless + Mood Swing: Hermanns Bar, Darlington Soundproofed: Hornsby Inn (Hunter Street Bar), Hornsby Dan Beazley: Hotel Jesmond, Jesmond The Angels: Illawarra Performing Arts Centre, Wollongong Greg Bryce: Iron Horse Inn, Cardiff Alan Caswell + No Real Job: Katoomba RSL, Katoomba 4 Bars of Funk: Kiama Leagues Club, Kiama FBi Social feat. The Seabellies + Bears With Guns + Clulow Forester: Kings Cross Hotel, Kings Cross Nova Tone: Kingswood Sports Club, Kingswood

Conics + Jordan F: Oxford Art Factory (Gallery Bar), Darlinghurst Flight Facilities + Elizabeth Rose + Movement: Oxford Art Factory (Gallery Bar), Darlinghurst Tom T Duo: Parramatta Leagues, Parramatta Sonny: Penrith Hotel, Penrith Mandi Jarry: Penrith Panthers (Terrace Bar), Penrith Agent 69: Penrith RSL (Club Lounge), Penrith Gerard Masters Band: Penrith RSL (Club Lounge / Afternoon), Penrith Ted Nash: Picton Hotel, Picton Benn Gunn: Pittwater RSL, Mona Vale Joe Echo: PJ Gallaghers, Moore Park Mustered Courage: Polish White Eagle Club, Turner

KAKI KING: May 22 Clarendon Guesthouse; 23 Heritage Hotel Bulli; 24 Lizotte’s Dee Why; 25 Lizotte’s Kincumber; 26 Lizotte’s Newcastle

Greg Agar: Kirribilli Hotel, Milsons Point Solkyri + The Dennis Boys + Catherine Traicos + Dave Wells: Lass O’Gowrie, Wickham Before Ciada: Lewisham Hotel (All Ages / Afternoon), Lewisham Kaki King: Lizottes Central Coast, Kincumber Billy TK Jnr & The Groove Shakers: Lizottes Sydney, Dee Why The Mike Whitney Band: Marlborough Hotel, Newtown Timmy Trumpet + Super Square: Marquee, Pyrmont Sean + Miss Bow + Osman & Rima: Mars Hill Cafe (By the front window), Parramatta The Stillsons: Mars Hill Cafe, Parramatta Retro DJ: Mayfield Hotel, Mayfield Venus Duo: Mean Fiddler Hotel (Courtyard), Rouse Hill Ben Finn Duo: Mean Fiddler Hotel (Fiddler Bar), Rouse Hill The Lonely Boys: Mercantile Hotel, The Rocks Eluveitie + Lycanthia + Fenrir: Metro Theatre, Sydney Jody + Some Cities + The Bitter Sweethearts: Metro Theatre (The Lair / All Ages), Sydney 3 Way Split: Moorebank Sports Club, Hammondville DJ Markie Mark: Mounties (Terrace Bar), Mt Pritchard Dirty Deeds - AC/DC Show: Narrabeen RSL, North Narrabeen Coastal Craze: Nelson Bay Diggers Club, Nelson Bay Take 2: Newport Arms Hotel (Terrace Bar), Newport The Australian Guns n Roses Show: North Ryde RSL, North Ryde Rock Solid Duo: North Sydney Leagues, Cammeray Danielle Todd: Northies (Beach Bar), Cronulla Heath Burdell Trio: Northies (Sports Bar), Cronulla Mesa Groove: Oatley Hotel, Oatley Swingshift - Cold Chisel Show: Oatley RSL, Oatley Brad Johns + Gemma: Observer Hotel, The Rocks Leeroy & The Rats: Orana Hotel, Blacksmiths Fender Benders + Hue Williams: Overlander Hotel, Cambridge Gardens

Michael Mills. Pete G: Premier Hotel, Broadmeadow Illawarra Music Festival feat. James Blundell: Regent Theatre, Wollongong High Rollers Big Band: Revesby Workers (Infinity Lounge), Revesby The Sphinxes: Riverwood Inn, Riverwood Dave White Experience: Rock Lily, Pyrmont Evermore + Adam Martin + New Empire: Rooty Hill RSL (Showroom), Rooty Hill Two Good Reasons: Royal Federal Hotel, Branxton Iluka: Ruby L’Otel, Rozelle Rachel Laing: Ryde Eastwood Leagues Club, West Ryde Bounce: Scruffy Murphy’s, Sydney Surprise Party: Seven Hills/Toongabbie RSL, Seven Hills Nick Raschke Duo: Seven Seas, Carrington SIMA feat. Briana Cowlishaw: Seymour Centre (Sound Lounge), Chippendale Altiyan Childs: Smithfield RSL, Smithfield Smooth Criminals - The Michael Jackson Show: Springwood Sports Club, Springwood Lie: St Luke’s Church & Hall, Enmore Krishna Jones: Surfies, Cronulla Vivid Feat. Kraftwerk: Sydney Opera House (Joan Sutherland Theatre 7pm) , Sydney Vivid Feat. Bobby Womack: Sydney Opera House (Concert Hall) , Sydney Dee Minor & The Dischords + Jeff & Che + Phil Rigger (Outline) + DJ S.Kobar: The Annandale, Annandale Brazil Meets Cuba!: The Basement, Circular Quay 90s Music Festival: The Basement, Belconnen Ange: The Belvedere Hotel, Sydney Incognito Band: The Exchange Hotel, Hamilton Wheatfields + God K + Bad Valley + Spoonty: The Gaelic (Upstairs), Surry Hills

What So Not: The Grand Hotel, Wollongong Shastri: The King Street Brewhouse, Sydney Continental Blues Trio: The Lord Wolseley Hotel, Ultimo Kellie Cain: The Mark Hotel, Lambton Isaac Graham Band + Ivan Drago + Revellers + Nerdlinger: The Square, Haymarket Watussi: The Standard, Surry Hills A Man Called Stu + The Morrisons + The Rusty Spring Syncopators: The Vanguard, Newtown Stone Free: The Windsor Castle Hotel, Newcastle Generation Crash: Town & Country Hotel, St Peters Adam Katz Duo + Citizen Kay + Broken Royale: Upstairs Beresford, Surry Hills Black Mamba + Lost Without Life + Fool Wit: Valve Bar & Venue (Afernoon), Tempe Burning Blue Sky + Bones Atlas + Art Thieves: Valve Bar & Venue, Tempe Love That Hat: Warners at the Bay, Warners Bay Stormcellar: Warragamba Workers & Sporting Club, Warragamba Yuki Kumagai & John Mackie: Well Co Cafe/ Bar, Leichhardt DJ Marty: Wentworthville Leagues Club, Wentworthville After Dark with Camo + Valentino + Sampy: Whaat Club, Potts Point Cakes with Tigerlily + Nukewood + Go Freek + more: World Bar, Kings Cross Enola Fall + Tales In Space + Hailer: Yours & Owls, Wollongong Bruce Mathiske: Zenith Theatre, Chatswood

SUN 26 MAY 2013 Jenny Morris: Addisons Seafood Bar & Grill, Shellharbour Mark Hopper: Artichoke Gallery Cafe, Manly Lucy Desoto: Bald Faced Stag (Front Bar), Leichhardt Little Black Book (Duo): Bar Petite, Newcastle Jazz & Latin Jam: Beach Palace Hotel (Rooftop Bar / Afternoon), Coogee Clockwerk + DJ Richie Ryan: Beach Road Hotel (Valley), Bondi Beach Andy Benke: Beach Road Hotel (Public Bar), Bondi Beach Backbeat Duo: Belmont 16’s, Belmont Stormcellar: Botany View Hotel, Newtown The Mountains + Achoo! Bless You + Monsieur Moon: Brass Monkey, Cronulla Greg Byrne: Camden Valley Inn, Camden Park Chaika + Alpha Omega: Camelot Lounge, Marrickville Chris Atkinson: Campbelltown Catholic Club (Caf Samba / Afternoon), Campbelltown Ace: Campbelltown Catholic Club (Club Lounge), Campbelltown Paul Robert Burton Duo: Charlestown Bowling Club, Charlestown Vigilante + Iron Mind + Reincarnation + Civil War + Death Toll: Chatswood Youth Centre, Chatswood


g i g s [THE GUIDE] THE RUBENS The Rubens are currently on their biggest Australian tour to date after making their UK and Europe debut as well as the SXSW Music Conference in the US and other dates there. See them on their Never Be The Same tour at ANU Bar Canberra on Wednesday, Wollongong UniBar on Thursday and Enmore Theatre on Friday and Saturday.

Spenceray + Mission Jones: Coogee Bay Hotel (Beach Bar), Coogee Krishna Jones: Crossroads Hotel (Afternoon), Casula Greg Bryce: Duke of Wellington Hotel, New Lambton Mark Travers: Ettamogah Hotel, Kellyville Ridge Songs On Stage feat. Daniel Hopkins + Russell Neal + Guests: Evening Star Hotel, Surry Hills Helpful Kitchen Gods + Redundant Technology + The Green Pool + Broken Heart Band: Gladstone Hotel (Afternoon), Chippendale The Stillsons: Grand Junction Hotel, Maitland Matt Jones: Harbord Beach Hotel, Freshwater

Peter Head Band: Harbour View Hotel, The Rocks Evermore + Adam Martin + Silver Cities: Hornsby RSL (Showroom), Hornsby Joe Echo: Horse & Jockey Hotel, Homebush Wild Marmalade: Hotel Brunswick (Afternoon), Brunswick Heads Beaten Bodies: Hotel Steyne (Moonshine Bar), Manly Jazzgroove Mothership Orchestra: Illawarra Performing Arts Centre, Wollongong David Agius: Kemps Creek Sports Club, Kemps Creek Quini Duo: Kiama Leagues Club, Kiama FBi Social feat. Zelda Smyth + Ado Cappelletta + Marney Macarena: Kings Cross Hotel, Kings Cross

Billy TK Jnr & The Groove Shakers: Lizottes Central Coast, Kincumber Kaki King: Lizottes Newcastle, New Lambton Mandi Jarry: Manly Skiff Club, Manly Blackhill Ramblers: Marrickville Bowling Club, Marrickville Songwriter’s Afternoon+Various: Mars Hill Cafe, Parramatta Matt Price: Mean Fiddler Hotel, Rouse Hill Bambino Koresh: Midnight Special, Enmore Heath Burdell: Mill Hill Hotel, Bondi Junction Bobby C: Nelson Bay Diggers Club, Nelson Bay Marty Simpson: Northies (Beach Bar), Cronulla

The Greg & Murray Show: Northies (Sports Bar), Cronulla Dave Phillips: O’Malleys Hotel, Kings Cross Acoustic Sets with+Anthony Hughes: Oatley Hotel (Afternoon), Oatley DJ Tone: Oatley Hotel, Oatley Cambo + Rob Henry + Sarah Paton: Observer Hotel, The Rocks Dave Feint: Orana Hotel (Beer Garden), Blacksmiths Craig Thommo: Oscars Hotel, Pyrmont Black Rose: Overlander Hotel, Cambridge Gardens Flight Facilities + Elizabeth Rose + Movement: Oxford Art Factory (Gallery Bar), Darlinghurst



21 MAY


26 MAY





Vintage 4: Penrith RSL (Club Lounge / Afternoon), Penrith Sylvie Simmons + Jason Walker + Mindi Sotiri + Mark Lucas & Corrina Steel with Mike Anderson: Petersham Bowling Club (Early), Petersham The Jungle Kings: Premier Hotel, Broadmeadow Illawarra Music Festival feat. The Idea of North: Regent Theatre, Wollongong Zoltan: Revesby Workers (Infinity Lounge), Revesby Mick On Wheels: RG McGees, Richmond Suite Az: Rock Lily, Pyrmont Dave Tice and Mark Evans: Ruby L’Otel, Rozelle Captain Kirkwood: St Luke’s Church & Hall, Enmore Kate Miller-Heidke: Star Court Theatre, Lismore Vivid Feat. Kraftwerk: Sydney Opera House (Joan Sutherland Theatre 7pm), Sydney Vivid presents Music From Bladerunner with Vangelis: Sydney Opera House (Concert Hall), Sydney Sleepmakeswaves: The Annandale, Annandale The Ghost Inside + Emmure + Antagonist AD + Hand Of Mercy: The Basement, Belconnen Baby Boomers + Blast From The Past: The King Street Brewhouse (Afternoon), Sydney Hornet: The Mark Hotel, Lambton Sunday Sessions: The Sly Fox, Enmore Walk The Moon + Magic Man + The Mowglis: The Standard, Surry Hills Dave Graney + Clare Moore: The Vanguard, Newtown Jasmine’s Music Adventure: Town & Country Hotel (Afternoon), St Peters

Daniel Arvidson: Town Hall Hotel, Waratah Penny & The Mystics + Kirrakamere: Towradgi Beach Hotel (Sports Bar), Towradgi Rock Fest: Valve Bar & Venue (Afternoon), Tempe Shazz Duo: Westmead Tavern (Afternoon), Westmead Nick Raschke Duo: Wickham Park Hotel, Islington Nicky Kurta: Woolloomooloo Bay Hotel, Woolloomooloo Soup Kitchen with Rave Doss + more: World Bar, Kings Cross Lilly Rouge: Yours & Owls (All Ages), Wollongong

MON 27 MAY 2013 Martini Monday: Dome Bar, Surry Hills Songs On Stage feat. Helmut Uhlmann + Chris Brookes + Massimo Presti + Guests: Kellys on King, Newtown Bernie: Observer Hotel, The Rocks Come Down Mondays: Santa Barbara, Kings Cross Vivid Feat. Kraftwerk: Sydney Opera House (Concert Hall), Sydney Monday Night Jam: The Oxford Hotel (Gingers), Darlinghurst Mario Basano: The Spice Cellar, Sydney


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To check out the mags online go to • 53

BEHIND THE LINES MY GEAR: JACK CARTY With his next release, an EP titled The Predictable Crisis Of Modern Life just released, Jack Carty is preparing for the next round of touring, but he’s decided to add another element. “I play an acoustic Gibson J45 [a round-shoulder dreadnaught],” he explains. “I’ve had it for two years or something, since Gibson gave me an endorsement, and it’s a beautiful guitar. I think the more you play a guitar the more it opens up, especially to the style of stuff that you’re doing. I love the neck on it – it’s a nice width… I don’t know, there’s just something about it. It’s sort of intangible really. The other day I was in Newcastle buying an acoustic amp for busking. When I play, I usually DI the guitar through the PA system, but I’ve bought this little Roland AC33 amplifier. I’m not particularly huge on busking – I’m not going to be doing it every day or anything – but sometimes I busk when I’m in a town I’ve never been to before just for a bit of fun so I thought I may as well get something to make it a bit louder.” The top of the J-45 is made from AA-grade Sitka spruce, while the back and sides are constructed from pattern grade Honduras mahogany, giving the J-45 its world renowned full, balanced expression, warm bass and excellent projection.

SOUND BYTES Birmingham, UK’s Editors recorded their new album, The Weight Of Your Love, at Blackbird Studio in Nashville with producer Jacquire King (Tom Waits, Of Monsters And Men, Kings Of Leon) and then called in Craig Silvey (Arctic Monkeys, The Horrors, Arcade Fire, Bon Iver) to mix it. The new album, Modern Vampires Of The City, from Vampire Weekend, was begun with sessions in New York City and Martha’s Vineyard and completed in Vox Studios in LA, run these days by Woody Jackson, recording the rhythm section to analogue tape with producer Ariel Rechtshaid.

54 • For more interviews go to

NEW FROM OLD In revisiting fragments of the past, UK experimentalists Wire have come up with something distinctly contemporary, as Michael Smith discovers. riginally forming in London late in 1976, Wire inevitably found themselves caught up in the new wave of bands that emerged with punk, though their richly detailed and atmospheric sound set them apart. Over the next three years, they released three albums produced by Mike Thorne – 1977’s Pink Flag, 1978’s Chairs Missing and 1979’s 154 – before fragmenting. Various line-ups and reformations saw further releases, but it wasn’t until the recording of their 2011 album, Red Barked Tree, that the three core members – singer and guitarist Colin Newman, bass player and singer Graham Lewis and drummer Robert Gotobed – found themselves comfortable enough to forge something new. The previous year they’d invited a young guitarist, Matt Simms, to join them to fill out the sound live.


“Two thousand and eleven was a pretty busy year for us,” Newman explains. “I mean, we basically toured the arse off Red Barked Tree. We toured more than we’d toured since ’78 actually, which was a big deal for Wire, and during that period, Matt Simms, who joined us as a live guitarist in 2010, he became more and more integral to the band and the band started to get really hot. So when it came to November, we were asked to do a second UK tour and as we’d previously toured the UK in February we didn’t want to play the same set obviously so we had to come up with something new. But being on the road, that’s not a good time to develop new material and to be honest it was too soon to start thinking about new material, so I suggested that we might start thinking about this material a bit more seriously. We had a rehearsal and put eight pieces into the set and that worked amazingly well.” The material Newman is talking about dates back to the period just after the release of 154, and it became the basis of what turned out to be Wire’s new album, Change Becomes Us, something they hadn’t planned on at all.

“There were two kind of lines of how the album came about. One is historic and one is contemporary. The historic one is that in the period around the early ‘80s when Wire was literally falling apart, there was the basis of at least an album in material which wasn’t recorded, wasn’t demo’d – some of it was played live, possibly only once – it was in the DNA of the band, but these are not finished pieces. It’s not like there were a bunch of demos for an album that never got made. It was always, ‘We should do that one day,’ kind of thing, but the circumstances didn’t present themselves. There was no consciousness of trying to live in the past – this was just good material, let’s just use it as if the songs have just been written. The next logical step was if we can make it work live, we should record it. So we booked Rockfield where we recorded obviously the things we knew how to play, plus figured out how to play the others. Then I spent six months of production on it to turn it into an album, and towards the latter part of that process – by that time we were getting into Autumn 2012 – it was in our eyes a project. It couldn’t be the next album because from the band’s point of view it was too early, but we realised it was the next album – it sounds from now – so we’ve succeeded in basically doing the almost impossible,” he laughs. “It’s both historic and contemporary – but it’s historic only if you know the story.” “That’s right,” Lewis agrees. “What we were able to do, because of the confidence and the strength in the group at present, was to transcend the material’s beginnings. They became current things. What then happened was that Colin started refining things, working in his studio, and basically we started working in parallel. Because things changed fundamentally, in some cases, that gave you incredible freedom to reinterpret or completely rewrite things, and in other cases, the sonic development which had occurred suggested that perhaps the text, which had probably been written very, very quickly in 1979 for a performance the next week and had not been edited or reviewed, had to be reviewed now. So

it was quite a convoluted one – with some pieces, there were fragments that survive, there are a couple of things that are almost exactly the same. Then there are other pieces which are complete rewrites. Some pieces were very, very difficult. It’s a problem we’d never come across before – I suppose it’s a problem which will only ever happen once,” he chuckles. Opening in 1965, Rockfield, situated near the market town of Monmouth in Wales, is recognised as the first residential recording studio in the world and has hosted the recording of some of the seminal albums of the past four decades or so, among them albums by Black Sabbath, Motorhead, The Damned, The Wonderstuff and The Stone Roses. In 1975 it was the primary studio used by Queen for the recording of Bohemian Rhapsody. There are two studios – the Coach House and the Quadrangle, each with their own separate accommodation and dining, and it was in the original room, the Coach House, that Wire spent a week recording Change Becomes Us, the control room featuring a non-automated customised 48-channel Neve 8128 inline console running into a 32 inputs, 40 outputs ProTools 8, HD2. “Rockfield,” Lewis explains, “what it does have, being and old-style studio, is the possibility to be able to separate everything but still all be able to play in the same room.” Change Becomes Us by Wire is out now through PopFrenzy.

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Everyone Needs a Music video, and with our 50m/sq. Green Screen Cyc, full Lighting setup and Editing Suite, we are capable of producing High Quality Videos at Competitive Rates. Like and Share us on Facebook for a 5% Discount. Bronze Package From $1500 Silver Package - From $2750 Gold Package From $5000 0488-802-828 www. iFlogID: 22066

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 or 0411342989 iFlogID: 19797

MUSIC VIDEOS & PROMOTIONS High Quality affordable music video production, EPK’s, live gig recording, show reels and more. Like us on Facebook for discounts and offers Or visit the website au Or call Paul on 0412 222 111 iFlogID: 21682

Drummer available for paid work Influences funk jazz drum n bass prog rock. 0401237147 iFlogID: 19882 A1 TOP PRO DRUMMER AVAILABLE FOR SESSION FREELANCE WORK, TOURS ETC. EXTENSIVE EXPERIENCE, TOP GEAR, GREAT GROOVE AND TIME.SYDNEY BASED, WILL TRAVEL. PH 0419760940. WEBSITE iFlogID: 18334

DRUMMER AVAILABLE Drummer available for session work, cover gigs, original gigs for rock, blues, folk, jazz, R&B, hip-hop and reggae I’m very capable of handling most situations at short notice. I’m 29 years old with 20 years experience as a drummer, in live, touring and studio environments. Based in the CBD with pro gear and pro attitude. Call me on 0416541961 or email iFlogID: 22105

DJ Dj available Dubstep to Drum&bass willing & able to adapt to your event. Low hourly rates. Everything negotiable. Easygoing, flexible entertainment. Call for a quote today. KN!VZ Entertainment Group Ph:0415680575 iFlogID: 16661

DJ MB - CLUBS/ EVENTS/PROMOTION ####DJ MICHAEL BLACK#### ######################### Styles: OldSchool R&B + ClubBangers ------------------------------------------------ Worked @ over 25entertainment venues in Sydney since 2007. ------------------------------------------------ Great rate and attitude. Can cater set for any event, genre & demographics. ----------------------------------------------- BOOKINGS: 0421605688 ------------------------------------------------ michaelgorgeios@ ------------------------------------------------ soundcloud. com/djmichaelblack iFlogID: 21454

GUITARIST 20 year old guitar player looking to start Rock N’ Roll band. Influences: Placebo, Joy Division, The Smiths, The Smashing Pumpkins, The Damned and Nick Cave. Tom: 0401722767(18-25). iFlogID: 21081

Guitarist available for paid fill-in work. Looking for acoustic or full band covers or originals gigs. Lead and rhythm guitar. Backing vocals or shared lead vocal duties. 10 years gigging experience. iFlogID: 21710

ROCK LEAD GUITARIST AVAILABLE Stage and recording experienced, dedicated guitarist available for Lead/Rhythm guitar positions, originals or covers. Ability to adapt to whatever genre required. No Hardcore. More info call Jonny on 0404-864-603 iFlogID: 21862

OTHER Experienced Covers Duo available for functions, including Weddings. Over 150 songs on setlist. Acoustic music for dancing or relaxing. Songs from the 60’s to present day. iFlogID: 21747

SINGER female vocalist looking to form pop rock/ alternative band in brisbane with influences from circa survive, versa emerge, tonight alive etc. iFlogID: 21707 Quirky singer, keyboard player, musician available. Lots of experience. Paid situations only please. Call Stephanie ph: 0403 250 560. iFlogID: 19884 Singer/Guitarist looking for other male musicians who play covers gigs and require someone to play occasional or regular shows with them for any of the gigs they book. iFlogID: 22008

MUSICIANS WANTED BANDS 20 year old guitar player looking to start Rock N’ Roll band. Influences: Placebo, Joy Division, The Smiths, The Smashing Pumpkins, The Damned and Nick Cave. Tom: 0401722767(18-25). iFlogID: 21079 Bands, muscians and performers wanted for Moocooboola Festival, Hunters Hill Sydney. Community Festival. Email: iFlogID: 21871 Bass player from outer space needs to join a band. Call Sally Cinnamon: 0406053828 No Muso’s. iFlogID: 21467


Horn players aged 17 to 40 required for Parramatta based working big band, with paid rehearsals and paid gigs. Contact iFlogID: 21909

DRUMMERS/BASSISTS/GUITARISTS needed for garage punk rock ‘n’ roll band. check out for demos. gigging asap after finding the right people. m/f. pref under 30. contact Tanner on 0403508102. iFlogID: 20334


Guitarist, Female Singer & Drummer (20yrs) need to start band! Would like versatile bassist & keyboardist! We like Karnivool-Tool-Cog-RHCP-PinkFloydSade-Adele-Evanescence... no genre/style restrictions! Jamming in garage, Brookvale studio & JMC. 18-25yrs preferred! Northern Beaches. 0432872290/0452457022 iFlogID: 21661 guitarist/singer needs a guitarist, bass player & drummer to start a piss poor sydney rock band. louddirtyrocknrollbased musak with a touch of twang. 0403508102 iFlogID: 19654

INDIE BANDS Indie Artists Get Your Own Feature Channel Just For Your Band Here! http://www. html iFlogID: 21172 Looking for Bass Player & Drummer to do mostly Originals & some Covers looking to gig asap session players welcome. wide styles & influences 0401658007 http:// iFlogID: 21885 Seeking experienced lead & backing singers, bass, keyboard, sax & trumpet players for REGGAE band in Northern Beaches. Call Michael 0402 549 423 or email iFlogID: 18612

SINGER NEEDED FOR NEW PROJECT Vocalist needed for new project with ground floor entry.influences range from zeppelin to deftones,vocals must be strong/edgy.currently writing new material,own transport a iFlogID: 22129 The smiths, David Bowie, Sonic Youth, Smashing pumpkins, Stone Roses, Spacejangly-spirit-tunes. DO IT YOU WANKS! 18-25 wanting to be rock and roll. All musicians welcome. Distance irrelevant. Milky - 0432163354 iFlogID: 21533

BASS PLAYER Bass player wanted / mettle(originals)rehearse @ Marrickville, want to get 1hr down then record_please call Simon on 0405144000 after 8pm or text ssmills@ iFlogID: 21897 bassist wanted for new original band. influences: the beatles, the band, nirvana, slayer, kinks, queen, brian jonestown massacre.. age 18-32.. inner sydney.. call dee 0431317613 iFlogID: 21893

IN NEED OF BASSIST URGENTLY! Sydney metal band Senile Sircus is on the lookout for a bassist urgently. No time wasters, we need someone serious and ready to gig with us. Contact Justin on 0432905175. iFlogID: 22123 JV is a 4 piece folk/rock band looking for a bassist! Dedication required! Own Car Preferred! Ability/willingness to play additional instruments/vox preferred. www. Contact Fox: 0408739583 iFlogID: 21973 Looking for a reggae bass player for a Northern Beaches based band. Call Michael on 0402 549 423 or email iFlogID: 19193 Looking for bass player to join blackened thrash metal band. Influences - morbid angel, sepultura, Metallica, taake, immortal, bathory, darkthrone, slaughter lord. call 0401 620 221 or email metalmitcha@ iFlogID: 21744 NIGHT FLIGHT - LED ZEPPELIN TRIBUTE, seek bassist, timing, feel, groove, pro gear & transport. We play the heavy Led Zep songs, no acoustic/keyboards. Age 25 - 45 m. Contact iFlogID: 22087

30YR OLD GUITARIST AVAILABLE I am a 30 year old guitarist who’s style is classic rock, blues, melodic. I am looking for like minded musicians to put together a band. My idea is to get together once a week, jam, write some songs and eventually gig, record etc. Nothing too serious. I have no need to rule the world. I have a stable job and want to keep it that way. Looking for an outlet to feed my hobby and love for music. I’m a competent guitarist with good gear and experience and expect that you will be the same. No egos, just fun! Contact Joe - 0402 210 839 iFlogID: 22042

Experienced guitarist , late 30’s looking for another guitarist and bass player to jam / write with , Sutherland Shire based. Hard Rock / Blues / Grunge influenced. Have drummer. Call 0438 889 004 iFlogID: 22112

Eshmun, a new metal project in the works. Drums, Bass & Vocals needed. For short demos, Email or SMS 0403617709. iFlogID: 22167

Serious, committed bass player wanted for tight South West sydney rock band, sound influenced by hard rock/90’s alternative rock. Foo Fighters, RATM, Audioslave, Stone sour, etc Contact Michael at iFlogID: 21975 Solid Bass player with groove for wide styles incl: funk, Rock, Afro beat, sludge, psychedelica etc 0401658007 gig ready iFlogID: 22050

DRUMMER CENTRAL COAST BLUES/ROCK COVERS/ ORIGINALS BAND REQUIRE DRUMMER. EXPERIENCE TRANSPORT & 100% COMMITMENT ESSENTIAL. INFLUENCES, FREE, D/PURPLE G/MOORE, SRV, S/QUO, SANTANA, E/CLAPTON, B/CROWS, ZZ/TOP, HENDRIX. & SOME ORIGINALS. WORKING SOON, PLEASE PHONE 0449536661. iFlogID: 20838 DRUMMER REQUIRED for a Elvis covers plus variety of songs including originals. Rehearsals Campbelltown, should be able/ willing to come to rehearsals.Ph: 0425 246 253 Alex or email: alexander12345@ iFlogID: 21631

Looking for an experienced reggae keyboard player for a Northern Beaches based band. Call Michael 0402 549 423 or email iFlogID: 19197

OTHER BLUES MUSICIANS WANTED We are looking for Drums, Bass, Harp, Sax, Keyboards, Guitar. Connected with the Central Coast Blues Society so the opportunity for work is there. Call Pamela on 0432790076 iFlogID: 21755

RADIO SYDNEY IS BIG! VERY BIG! The worlds largest free digital radio sevice? We say YES! iFlogID: 21174

PERCUSSION PERCUSSIONIST WANTED solo singer guitarist is looking for percussionist for covers duo with paid work. iFlogID: 21141


drummer wanted for new original band. influences: the beatles, the band, nirvana, slayer, kinks, queen, brian jonestown massacre.. age 18-32.. inner sydney.. call dee 0431317613 iFlogID: 21891

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 iFlogID: 19219

Drummer wanted for rock band with original songs. Currently gigging and recording, with record company interest. Visit for original demos. Contact Elvio on 0412 251 207. iFlogID: 22057


DRUMMER WANTED. Three piece beer punk band. EP recorded and new material for album written. Gigs available locally an interstate. checkout secondnation Mature outlook iFlogID: 21953


Styles include blues, jazz and pop. We rehearse in Marrickville. Influences include Nick Cave, Joy division, The Cramps, Tom Waits, Dresden Dolls. tom 0411 874 673 iFlogID: 22053

GUITARIST Attention all rockers especially girls! ExSkulker drummer & I are looking for guitarist/bass. Motely Crue, L7, Rose Tattoo and The Runaways influences. Must be good-looking, aged 23-35. Inner-west rehearsals. Call 0401017275. iFlogID: 20798

Experienced Female Vocalist wanted for Agency Backed (Southbeat) Sydney Cover band PARTY CENTRAL. Must be able to commit to Fri and Sat night gigs. Troy: 0400275154 or Shane: 0404365289 or iFlogID: 22030 Looking for female backing singers for a Northern Beaches based REGGAE band. Call Michael on 0402 549 423 or email iFlogID: 19556 Pro Singer Wanted for established 5 piece band Newcastle area. covers and originals. Hardrock,blues,pop,rocknroll exp band gigged with Angels. 2 booking agents. Album 2013 call Peter 4984 4731. iFlogID: 21260 Seeking an experienced lead & backing reggae singers for Northern Beaches based band. Call Michael 0402 549 423 or email iFlogID: 19195



Looking for an experienced sax & trumpet players for a horn section for a Northern Beaches based REGGAE band. Call Michael 0402 549 423 or email siczex@ iFlogID: 19401

KEYBOARD KEYBOARDIST REQUIRED, for Elvis covers plus variety of songs including originals. Rehearsals Campbelltown to Blacktown. Must be able to rehearse once a week. Ph: 0425 246 253 Alex iFlogID: 21629

Fully Qualified & 8yrs Experience, Thai Massage $49/hr or Sensual Balinese Aroma $69/hr. In/Out calls, Male/Female Welcome. au - By Anson 0433646338 iFlogID: 17428

iFlogID: 22038

Can and do you love to sing great harmony and some lead? Male with high voice and female to join male in showband, The Lonesome Cowboys, aiming to play large venues for big bucks. Repetoire includes the music of Neil Young, The Band, Eagles, CCR,The Stones & America thru to REM, Nirvana & Shania Twain. I’m after capable, sane,drama free people prepared to nail their parts and be an invaluable part of something special. I’ve got a budget to get this up and running, so if you’d like to know more, call me, Peter, on 95183451. iFlogID: 22002

SONG WRITER Interested in finding serious songwriters to form small, dedicated songwriters’ group meeting weekly in Ultimo. Paul: 0417 171 993. iFlogID: 21594

TRUMPET Looking for an experienced trumpet player to form a horn section for a Northern Beaches based REGGAE band. Call Michael 0402 549 423 or email siczex@ iFlogID: 19221


Learn French! - Beginner to Advanced Levels. Bilingual English/ French-speaking Teacher. Either for fun/school/exam preparations. - Online via Skype. 1hr classes X 4 dates per month. Only $50 per 4 classes ($15/each additional class). Contact me on: iFlogID: 22090

GRAPHIC DESIGN Get your Band or Business Online Cost effectively and PROFESSIONALLY from $299 including Hosting and email addresses! Contact info@bizwebsites. or see iFlogID: 21943


We are a specialist drum and percussion team dedicated in guiding you through your musical path. 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. visit www. or call 0424 422 650 iFlogID: 20292

LIVE SOUND COURSE, 2 DAYS Need a graphic designer? I specialise in gig posters and album art. Check out my portfolio at: iFlogID: 21979 Quality Professional Websites designed and hosted for bands and businesses. Multimedia and Social Integration included from $300. See or contact iFlogID: 21949

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. iFlogID: 19848


Serious, committed singer wanted for tight south west sydney hard rock band, influenced by hard rock/90’s alt rock. If you feel you’d be a fit, contact Michael at iFlogID: 21977 singer wanted to work on song for tv series, this song would be the theme song for series which airs Dec. call stu 0468 456 505




Looking for an experienced reggae guitar player for a Northern Beaches based band. Call Michael on 0402 549 423 or email iFlogID: 19558

Adam Tripodi Solo Guitarist/Songwriter needs rhythm guitarist for backing band. Adam’s music in is in the style of Joe Satriani and Steve Vai, mainly instrumental, but not always. Needs someone reliable and willing to be a backing band member not in the spotlight constantly. There is the prospect of touring, it will be a paid job you will receive money from all gigs played. Quick start, we will start rehearsals ASAP. Contact 0433 930 441 if interested. Thanks :) iFlogID: 22114


Its only rock n roll but I like it. I have 30 years experience shooting: The Angels, INXS, The Church, Noiseworks & Diesel to The Khanz, Electric Elements and Lila Goldie. Concept images are my speciality. iFlogID: 22092

WEBSITES FROM $450! Express your artistry and/ or showcase your band with a custom designed website. FAST, SIMPLE, AFFORDABLE, LIFETIME SUPPORT AND UPDATES. Contact Jake 0449 053 509 iFlogID: 22068 What happens when you start paying attention? When you become an active member and start participating in this elusive thing we call life. WWW.WHATISTHEHAPS.COM iFlogID: 17980

TUITION $25 PRIVATE MUSIC LESSONS singing guitar keyboard piano drums violin tuition music instruments sales service & repairs ph: 0418 172 506 JAC MUSIC SCHOOL EPPING iFlogID: 20244

EASTERN SUBURBS GUITAR TUITION A grade guitar tuition in the Easter Suburbs. 30$/h for all styles. With 7 years of teaching I am taking beginners to advanced students. Contact Ben on 0405272585 or email questions to ben_ iFlogID: 22055

Free online and print classifieds Book now, visit

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 iFlogID: 20182


The School of Rock offers tuition in singing, bass guitar, electric guitar, drums and song writing techniques. Our instructors have years of experience showing young musicians how to play and take that talent onto the stage. For more information visit our website at or www.zenstudios. Ph: 9550 3977 iFlogID: 20184


OTHER HI GUYS i am fundraising to volunteer for a months work with orphaned children in Nepal. please check out www.gofundme. com/ivhqnepal2013 to read my story and donate THANKYOU :) iFlogID: 21282



Saturday 25 May, as part of Sydney’s VIVID Ideas Festival, the Museum Of Contemporary Art (MCA) is hosting a seminar titled F@#k You!!: Resolving Disputes in the Creative Industries, it’s well worth jumping on a flight if you’re interstate to attend. For 90 minutes from 10am, artist managers Michael McMartin (The Hoodoo Gurus) and Keith Welsh (Icehouse), both trained and experienced mediators, along with colleague, intellectual property lawyer Adrian McGruther, will give insights into the minefield that is working out the individual intellectual property rights of musicians, songwriters, photographers and graphic artists, when the art gives way to battling over percentages, sharing merchandise income and chasing the use of copyright material illegally by filmmakers or advertisers, among other issues. “We’re all great believers in mediation and people talking,” Welsh, who has a Masters degree in dispute resolution, explains, “and I’ve done quite a few mediations with Michael in the creative industries. We just see this thing all the time about communication. If people can get together, sit down and work out problems, it’s so much better to do it themselves than have it imposed by some court or find themselves spending all the money they’re fighting about on lawyers. We want to show people there are other ways than reaching for your lawyer, so between the three of us we’re able to tell a few law stories and talk in numbers that usually scare people.” Along with a brief Q&A at the end of the seminar, there’ll be a mock 20-minute mediation to demonstrate what happens in these sorts of sessions. Tickets will set you back a mere $15, with a special industry discount available by typing Velocer when booking online.

58 • For more interviews go to

Neal Schon

THE NEAL SCHON SIGNATURE PAUL REED Neal Schon of Journey has joined the Paul Reed Smith guitars family of artists with two distinct signature models, the NS-14 and NS-15, in which design he was intimately involved in nearly every aspect, from the stylised f-holes to the hardware details. The NS-14 is a completely new PRS design incorporating a 14” semi-hollow singlecut body with a new neck joint designed to allow greater access to the higher frets. The NS-15, meanwhile, is a thinline hollowbody based on the Neal Schon limited edition Private Stock guitar released early last year. A portion of Neal’s signature tone comes from his long-standing use of Floyd Rose tremolo systems, so the NS-14 and NS-15 add a Floyd Rose to the PRS Core line for the first time.



Designed to digitally capture music, voice or any acoustic audio source, the AT2020USB+ cardioid condenser microphone with USB digital output is an updated version of the AudioTechnica AT2020USB with a few additional features. There’s a built-in headphone jack with volume control for direct monitoring in real time – no latency – and a built-in high-output internal headphone amplifier, a mix control that blends the mic’s signal with audio pre-recorded on the connected computer, and the cardioid pickup pattern delivers excellent off-axis rejection, while it’s a/D converter, with a 16-bit 44.1/48 kHz sampling rate, ensures extremely articulate sound reproduction, The mic is compatible with Windows 7, Vista, XP and 2000. RRP $249.

As most of you will be aware, Australia is currently transitioning from analogue to digital TV transmission at the completion of which wireless audio devices must vacate the surplus spectrum, known as the Digital Dividend (694820MHz), to free it up for the new services. Get ready for digital by visiting the Ready For Digital website, which carries all the latest information about the change and what you need to do, including the latest news and updates from the ACMA and AWAG, the best wireless management tools to help you find your best frequency, and the Australian Radio Frequency Guide by Shure, used by the Government and AWAG in their Digital Dividend talks, as well as Ready for Digital Dividend Restack products; product replacement finders, in case you do need new systems; comm’s information, because it’s not just about wireless microphone systems; downloads from the ACMA specifically relevant to the wireless audio users, and the only industry forum dedicated to the Digital Dividend changes – ask all your questions and hold discussions with other users, open to all, moderated by Jands’ Technical Experts.

THE NEW AMPEG PORTAFLEX The PF-800 delivers the superior performance of Ampeg’s Portaflex Series bass heads in an ultra-compact 800-watt design perfect for bassists that demand uncompromising tone. With a MOSFET preamp, the PF-800 features an onboard compressor, balanced direct out, pre/ post EQ option, -40 dB pad and an effects loop with a dedicated mix control (foot switchable).

FORD JOINS AV 24/7 One of Sydney’s leading audiovisual companies, celebrating ten years in the industry, AV 24/7 has appointed Mark Ford as their new senior project manager. AV 24/7 has worked with a wide range of clients, from large projects and events for Samsung, Hyundai, Emirates and News Life Media to smaller, bespoke events for brands like Google, Vogue, Mercedes and the Communications Council. For details, check out the AV 24/7 website.

THE DSL-1C MARSHALL As part of Marshall’s 50th Anniversary celebrations last year, they released a series of amps paying homage to one of the five decades that Marshall had been in business. The fourth was the DSL-1C combo amplifier, reflecting the era of 1990s Marshall tone. The DSL-1C is a two-channel, .01W/1W amp with a 10” Celestion speaker. With three ECC83 preamp tubes and two ECC82 power tubes, this all-tube amp packs a big punch in a little package.

Drum Media Sydney Issue 1161  
Drum Media Sydney Issue 1161  

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...