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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 8 M AY 2 0 1 3 • 1 1 6 2 • F R E E











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COMING UP: Wed 5 June: Core Show with “Amodeus” and many more ; Thu 6th June: Rock Show feat: “The Letter Tellers” , “Psychic Sun” , Anna Milat and guests ; Fri 7th June: Rock Show with “Before Ciada” , “Kunvuk” , “Larry Leadfoot” , “Turn From Temptation” , “Jacket Fight” ; Sat 8 June 12pm: Blues Show with “The Bland” and many more; 7pm: Sleazefest - Glam Rock Show/Burlesque feat: Heidi Bell Nova , “Dirty Dezire” , “Hot Angel” , “Sylvain” , “The Bitter Sweethearts” , “The Gunn Show” , “Hansel” , “The Fallen Angels” ; Sun 9 June: Punk Rock Show with “Hopes Abandoned” , “Batfoot” , “Feskit” , “The Acid Monkeys” For band bookings please email

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22 The Promenade, King Street Wharf, Sydney NSW 10






























T H E D R U M M E D I A I S S U E # 1 1 6 2 T U E S D AY 2 8 M AY 2 0 1 3

“The only reason we exist as a band is so that we could make music together and then play it to people” - Paul Dempsey of SOMETHING FOR KATE (P22)


“If there’s ’ anything thi compelling or unique in what we’re doing, it’s bringing our own contemporary and hopefully thoughtful perspectives to a tradition that’s been going strong for many decades.” - Joey Ryan of THE MILK CARTON KIDS (

“There is also always one lonely kid wanting to be noticed – Richard Wilkins and random Voice contestants, for a while you all cut lonely figures” - Liz Giuffre reviews THE GREAT GATSBY RED CARPET (P43)


“Kraftwerk, k att ttheir h i best, slip between the spheres of high-brow intelligentsia art pop, menacing science fiction and utterly naff electronica.” - Andrew McDonald reviews KRAFTWERK




“It’s reminiscent i i t off The Black Keys with its smart combination of blues and rock” - Katie Benson reviews CITY & COLOUR’S THE HURRY AND THE HARM


“Expect a smorgasbord of roots music styles including country swing, Cajun two steps and waltzes, hillbilly hurtin’ songs, groovy ska, hip soul and musical curiosities from the past, present and future” - Pedro Manoy in THE SWAMP SHACK (P45)

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, Jamelle Wells, James d’Apice, James Dawson, Jessie Hunt, Katherine Edmonds, Katie Benson, Kris Swales, Liz Giuffre, 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, 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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The Hilarious Brendan Grace Faulty Towers - The Dining Experience – SOLD OUT! Diesel - Solo & Select Tour Diesel - Solo & Select Tour Northern Beaches Flamenco Dance and Music Academy Fairplay Entertainment Presents Coopers LIVE & LOCAL Rising Stars | The NSSWE Bands live @ Lizottes Deni Hines - The Cafe Sessions


29 MAY

30 MAY

31 MAY


6 JUNE 7/8/9 JUNE

Owen Campbell with Special Guest Annabelle Kay Byrne Academy of Music presents Young Emerging Artists Faulty Towers - The Dining Experience Richard Clapton Lazy Sunday Lunch with Amber Lawrence Night of Style Diesel - Solo & Select Tour



8&9 JUNE

02 4956 2066

UniMusic @ Lizottes Faulty Towers - The Dining Experience Think Rock n Food Trivia Amber Lawrence The Cyril B. Bunter Band - 41st Anniversary Reunion Richard Clapton Night of Style Fairplay Entertainment Presents Coopers LIVE & LOCAL Amy Vee - Album Launch The Carpenters from Kempsey Gaynor Crawford Presents Martha Wainwright

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

Lizotte’s Central Coast Lot 3 Avoca Dr Kincumber

Lizotte’s Newcastle 31 Morehead St Lambton

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GET YOUR SWEATER READY The ‘Winter Warmer Tour’ sees Perth indie rock stalwarts Eskimo Joe playing some up close and intimate shows for their fans right around the country. Think acoustic, think reworkings, think new tracks and old favourites. Catch them Wednesday 26 June, Paddington Uniting Church, Sydney; Friday 28, Old Museum, Brisbane; Tuesday 9 and Wednesday 10 July, Moore and Moore, Fremantle, and Friday 12 July, Ormond Hall, Melbourne. Highlighting their full career thus far, these nights offer fans a fantastic opportunity to reconnect with the boys while hearing their tracks in a fresh light. Tickets go on sale Thursday 30 May.


Fear Factory


“I’m no longer much of a party animal and I just like to calm down with the band, go back to the hotel room and calm down so we can get up in the morning and go the next city.”

One of the defining industrial metal bands of the ‘90s, the influence of Los Angeles’ Fear Factory can still be heard loud and true across the genre’s many subsidiaries. But for all today’s groups sizing up to the throne, none can compare with the sonic power of the real thing. Fear Factory will be returning to Australia to deliver a reminder, performing their landmark 1995 record, Demanufacture, in its entirety. Strap yourself in when Dino, Burton and co. come to the following venues: The Tivoli, Brisbane, Thursday 4 July; UNSW Roundhouse, Sydney, Friday 5 (all ages); The Palace, Melbourne, Sunday 7, and Metro City, Perth, Thursday 11. Tickets for all shows are available Thursday 30 May.



If you don’t think you can go gay to heaven, go straight to hell. @TheTweetOfGod

THIS WEEK’S RELEASES QUEENS OF THE STONE AGE …Like Clockwork Matador/Remote Control


Desire Lines 4AD/Remote Control


Delta Ministry Of Sound/Universal


The Hurry And The Harm Dine Alone/Caroline

BRING ON THE BRIGHT LIGHTS Thanks to recent number one smash single, Let Her Go, subsequent top ten album, All The Little Lights, and his recent run of dates with British star Ed Sheeran, Passenger’s stock has never been higher. It’s been a slow and steady rise for British born-andbased, Aussie-adopted Mike Rosenberg but it finally looks like the folkie troubadour is about to land in the upper echelons. The 29-year-old will play his biggest headline shows in this country during our summer, starting Wednesday 4 December, Palais Theatre, Melbourne (licensed/all ages); Friday 6 (18+) and Saturday 7 (all ages), The Tivoli, Brisbane; Wednesday 11, Enmore Theatre (licensed/all ages), and Friday 13, Riverside Theatre, Perth (licensed/all ages). Tickets for all shows go on sale Thursday 30 May.

HOLDING ON TO HIS ROOTS Fast establishing himself as the punk voice for today’s generation, The Smith Street Band’s Wil Wagner will be stripping it right back, playing a bunch of solo gigs to launch his eight-track mini-album, Laika. Check him out Friday 7 June, House Show, Perth; Sunday 9, Yah-Yahs, Perth; Friday 14, Crowbar, Brisbane; Saturday 15, Kill The Music, Brisbane (free, all ages arvo show); Sunday 16, Blackwire Records, Sydney (free, all ages arvo show); Thursday 20, Yours & Owls, Wollongong; Friday 21, The Lass O’Gowrie, Newcastle; Saturday 22, House Show, Newcastle, and Saturday 5 July, Long Play, Melbourne.

Age shall not weary the menace of New Jersey post-hardcore veterans Senses Fail, who over the course of five full-length records have made trademark noise, pushed statements and promoted positive change. Their brand new record, Renacer, finds the band at their most heavy-handed, the pummelling sounds ripping into your ears like shards, with guitars driving forwards, huge rhythms and the ever-sharp delivery of colourful frontman Buddy Nielsen. The five-piece return to Australia for the first time in almost three years, so check them out at The Zoo, Brisbane, Wednesday 7 August; The Standard, Sydney, Thursday 8; Amplifier Bar, Perth, Friday 9, and Corner Hotel, Melbourne, Sunday 11. All shows are 18+.

REV YOUR ENGINES It’s all happening in the world of Kingswood, the Melbourne four-piece gearing up to venture to Nashville to cut their debut album. But before they do they’ve got a little tour lined up, so jump in for the ride when the lads rev their engine in your area, playing Thursday 6 June, Annandale Hotel, Sydney; Friday 7, Waves, Wollongong; Saturday 8, The Small Ballroom, Newcastle; Friday 21, The Karova Lounge, Ballarat; Thursday 18 July, Corner Hotel, Melbourne, and Saturday 20, Eatons Hill Hotel, Brisbane. The band also play one special set on Saturday 1 June at Eureka Rebellion Trading, Melbourne, for the launch of their new spaghetti Western short film, which ties in with new single, Ohio. To go in the draw to be one of the 100 people attending, simply purchase a ticket to their Corner show through the venue website. For all other ticketing info head to the band’s webpage.

THE RETURN OF WHITLEY After a few years in artistic wilderness following an indefinite hiatus, Melbourne folk rocker Whitley has returned, his forthcoming album, Even The Stars Are A Mess, set for release Friday 5 July. Tying in with the new record the curious troubadour will play a run of dates with fellow folkie Esther Holt. Catch the pair performing Friday 12 July, Black Bear Lodge, Brisbane; Thursday 18, Oxford Art Factory, Sydney, and Friday 19, The Hi-Fi, Melbourne. Or if you’re lucky enough to be holding tickets in your hot little hand you can also see Whitley on Saturday 27 at Splendour in the Grass, North Byron Parklands.

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FEELING THE FAT There’s no denying it - to truly experience Fat Freddy’s Drop is to see them live on stage. The multi-armed New Zealand groove beast are known right around the world for their beat-rich performances, using their wide skill set to meld funk, soul, dub, reggae, jazz and dance, transforming the parts into a sum designed to get booties shaking. Catch the Kiwi crew on their Blackbird tour when they launch their latest record on the following dates: Thursday 29 August, Enmore Theatre, Sydney; Friday 30, The Tivoli, Brisbane; Saturday 31, The Forum, Melbourne, and Thursday 5 September, Astor Theatre, Perth. Head to the band’s website to get some pre-sale action before tickets go on sale to the public Thursday 30 May.

GO YOUR OWN WAY Provocative, soaring and full of emotive beauty, Fleetwood Mac have turned the tumultuous into tuneful brilliance for almost 50 years, and they’re bringing their legendary canon Down Under once more. Catch Stevie Nicks, Lindsey Buckingham, John McVie and the formidable Mick Fleetwood on their 2013 Australia tour: Sunday 10 November, Sydney Entertainment Centre; Saturday 16, Hope Estate Winery, Hunter Valley; Friday 22, Perth Arena; Tuesday 26, Rod Laver Arena, Melbourne; Saturday 30, The Hill Winery, Geelong, and Monday 2 December, Brisbane Entertainment Centre. General ticket sales happen Thursday 13 June, with presales from Tuesday 4.

MASTER CELEBRATIONS After the raging success of the first Hits & Pits instalment earlier this year, the punktastic festival has announced its return for the second time in 2013 with edition 2.0. First announcement has just dropped and let it be known, it’s pretty fucking exciting, with the event signalling the return of reformed units Boysetsfire and No Fun At All, as well as Jughead’s Revenge and Off With Their Heads, plus many more acts to be announced soon. The national tour will take in the following dates: Friday 15 November, Coolangatta Hotel, Gold Coast; Saturday 16, The Hi-Fi, Brisbane; Sunday 17, The Hi-Fi, Sydney; Friday 22, Palace Theatre, Melbourne, and Sunday 24, Capitol and Amplifier, Perth (pending approval).


RAISE IT UP They’ve managed to stand as Billboard’s top World Artists an incredible seven years, so it’s no wonder that due to popular demand those sultry Irish women of song, Celtic Woman, are returning to Australia for their biggest shows yet. They start their tour at Brisbane Convention & Exhibition Centre, Thursday 12 September, continuing around the country for the following dates: Hamer Hall, Melbourne, Sunday 15; WIN Entertainment Centre, Wollongong, Thursday 19; Newcastle Entertainment Centre, Friday 20; Sydney Entertainment Centre, Saturday 21; Royal Theatre, Canberra, Sunday 22, and Perth Arena, Friday 27.

Fat Freddy’s Drop

All Time Low

HOW LOW CAN YOU GO? Recent visitors here for this year’s Soundwave festival, those pop punk scamps from All Time Low must have had a pretty sweet trip because they’ve just announced they’ll be returning for their own headline tour. The Maryland guys are celebrating ten years as a band in 2013 so will no doubt be blowing out the candles in fine style when they arrive Down Under. Catch the quartet when they perform at the following dates: Wednesday 28 August, The Tivoli, Brisbane (all ages); Friday 30, UNSW Roundhouse, Sydney (licensed/all ages); Saturday 31, Billboard, Melbourne (18+), and Sunday 1 September at the same venue for an under-18 show. Tickets on sale this Friday 31 May.

Two of our country’s most beloved electro dons are teaming up for a winter tour designed to warm you from the feet up. Best known as the drumming half of The Presets, Kim ‘KIM’ Moyes is no slouch behind the decks either, and will be hitting the road in solo mode for the first time in four years with Sydney electro lad Beni. They play Saturday 22 June, Beach Hotel, Byron Bay; Friday 28, Metropolis, Fremantle; Saturday 29, Capitol, Perth; Saturday 6 July, King Street Hotel, Newcastle; Saturday 13, Survivor!, Melbourne, and Friday 19, GoodGod, Sydney.

STEPPING OUT Converse sneakers are encouraging you to stride towards some seriously fun nights by way of their Get Loud initiative, bringing class music to capital cities around the country. Sydney is the first to get the jolt, with Canadian visitors The King Khan & BBQ Show and Palms hitting the city on Thursday 13 June. Following that it’s Melbourne, Saturday 22 with Millions and Scotdrakula; Brisbane, Friday 28 with The Laurels, The Murlocs and Tiny Migrants, and Perth featuring DZ Deathrays, Ham Jam and Doctopus. And get this... all these shows are free of charge. Venues are yet to be confirmed, but we can assure you they’re going to be in some pretty unique locations. To keep up with things and find out how you can RSVP to these shows, head to the Converse Facebook page or The Guide.



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Sydney’s own extreme metal band The Amenta, who first formed in 1997, have announced they will be playing four shows this July, supported by Ruins. Fresh off the back of a local tour with UK extreme metal outfit Cradle Of Filth, The Amenta will showcase their latest album ,Flesh Is Heir, at The Wall (Bald Faced Stag) Friday 12 July.

BEACH FOSSILS RESCHEDULE Brooklyn indie darlings Beach Fossils finally get to do their rescheduled Australian tour this September, playing The Standard Friday 20.

Brendan Maclean

FEEDBACK ADDS NAMES Feedback, the music conference being held as part of Vivid Sydney’s Vivid Ideas program, has added a number of speakers and industry professionals to the line-up. Aimed at 12-25 year olds and run by MusicNSW’s Indent arm, songwriter and media personality Brendan Maclean will be a keynote speaker joining previously announced speaker, Urthboy. Sweetie Zamora and Samantha Clode have also been added to the Don’t Stop Believin’ panel. Maclean said he’s “looking forward to sharing the pricklier moments in my career in Australian music.” Feedback takes place Monday 10 June from 9.30am–5pm at the Museum Of Contemporary Art, Sydney. Tickets are just $20 plus booking fee.

APRA NOMS ANNOUNCED The finalists for the APRA Awards have been unveiled, with Song Of The Year nominations including Tame Impala’s Elephant and Feels Like We Only Go Backwards, Guy Sebastian’s Get Along, Courtney Barnett’s History Eraser and Mia Dyson’s When The Moment Comes. For the full list of nominations head to The awards will be presented at the Melbourne Convention & Exhibition Centre on Monday 17 June, hosted by Jonathan Biggins and Clare Bowditch.

INDUSTRY NEWS The Mushroom Group’s Frontier Touring appears likely to sign a new long-term deal with Hanging Rock after a number of successful events at the regional Victorian site including international acts Bruce Springsteen, Rod Stewart and Leonard Cohen. Copyright collection agency APRA have announced they’ll be rolling out a new music recognition technology in nightclubs after successfully trialling the technology at festivals. A public feud between Jon Bon Jovi and founding guitarist Richie Sambora is threatening to overshadow their Australian tour. While Sambora recently quit the band’s current world tour for ‘personal reasons’, Bon Jovi has indicated he wouldn’t be overly concerned if Sambora didn’t make the dates. Fiona Peacock has joined Emily Cheung at On The Map PR, whose client list includes Ella Hooper, Buchanan and The Paper Kites among others. Australian music company UNFD has announced a partnership US punk label Equal Vision Records that covers distribution, marketing and promotion for Australian and New Zealand territories. Warrnambool rockers Airbourne’s third album, Black Dog Barking, has topped iTunes Rock Charts around the globe including the UK, France, Germany and New Zealand, a week after release. The third round of radio ratings for 2013 has a seen a drop for triple j in Sydney. The station’s biggest demographic ratings loss came in their key 18-24 age group, losing 9.4 per cent share and now holding 11.4 per cent – behind 2DayFM.


ALL A SHAMBLES It’s a tour that many of the band’s Australian fans thought they would never see, but Babyshambles are most definitely coming to Australia in 2013 for the Splendour In The Grass festival and a series of theatre shows around the country. The vehicle of notorious musician, poet and general scallywag Pete Doherty, Babyshambles are currently working on their third album and given it’s been six years since the last one, you can bet fans are pretty hungry for it. Babyshambles come to the Enmore Theatre on Sunday 28 July.

SURVIVING HEARTS In Hearts Wake have unleashed the new video for their song, Survival (The Chariot), as part of an exclusive premiere on As well as launching the new video, In Hearts Wake have announced the local supports for their upcoming Survival Tour. The June tour dates will see the inaugural trip to Australia from Canadian hardcore band Counterparts. Also along for the ride are The Storm Picturesque and Stories, who are already establishing themselves as solid contenders in the Australian heavy music scene. The tour stops in at the Bald Faced Stag on Sunday 16 June and The Vault on Monday 17.

PLUDO LOCO Australian electronic rockers Pludo, who only emerged last year, have announced their Haywire Single Tour. The group’s debut single, Frenemies, enjoyed widespread national airplay. Recently snapped up by Sydney-based label Ctrl-Alt records through Universal Music Australia, they will release new single, Haywire, on Friday 14 June. Catch Pludo at the Hi-Fi on Saturday 29 June.

OPEN PARADE Barely resting after a long summer tour around Australia, The Demon Parade have unleashed a brand spanking new standalone single, Open Up Your Mind, and will embark on yet another series of East Coast shows in support, which includes joining US garage rockers The BellRays as main supports at the Manning Bar on Friday 14 June with headline shows at Old Boatshed Manly on Saturday 15 and Canteen (Bondi) on Sunday 16.

PREATCHIN’ TO THE CHOIR Hot off the road supporting Hungry Kinds Of Hungary across the country, The Preatures barely have time to wash their smalls before they pack their bags once more for their own bunch of headline shows. Performing their new single, Is This How You Feel?, catch them this month in our town as they lovingly share material from their highly anticipated EP, due out later this year. With a new video out for Is This How You Feel?, The Preatures have already managed to sell out their Sydney show at FBi Social, Kings Cross Hotel on Friday 28 June but have announced a second show at GoodGod Small Club on Saturday 22.

Music streaming giant Spotify have marked the first anniversary of their entry into the Australian market with the release of trend figures and the launch of live charts. The top three local artists were Flume, Tame Impala and Guy Sebastian while Macklemore & Ryan Lewis, Florence + The Machine and Rihanna were the top three overall. The ABC has confirmed bi-monthly triple j magazine will revert to an annual format after it was dumped by publisher News Custom Publishing, which decided not to renew licenses for a number of magazines on closing their Melbourne office. Universal Music Australia have officially launched their new Caroline Label Services division, with Spunk, Popfrenzy, Dine Alone, Cooking Vinyl, Resist and Spinefarm as its initial label partners, early releases including She And Him’s Volume 3 (Spunk – out now), Laura Marling’s Once I Was An Eagle (Virgin) and City & Colour’s The Hurry and The Harm (Dine Alone). Daft Punk have knocked Michael Buble off the top of the ARIA Albums Chart with their album. Random Access Memories. The National’s Trouble Will Find Me, The Cat Empire’s Steal The Light and Thirty Seconds To Mars’ Love Lust Faith + Dreams round out the top four.

JOIN THE MOB The Gangsters’ Ball brings to life the fashion, style, humour and classic entertainment of the 1930s and ‘40s. Modern-day mobsters and molls can step back in time to that bygone era, currently all the rage thanks to the blockbuster feature film, The Great Gatsy, where men wore three-piece suits and fedoras, women wore feathers and pill box hats, big bands ruled the airwaves and gangsters ruled the streets. This year’s Gangster’s Ball is so big it has its own sideshow at the Factory Theatre Friday 20 September, with headline acts include MC chanteuse Madame Leila Leontine, world renowned New York-based broadville troupe the Pretty Things Peepshow, award-winning acrobatic troupe Acrobatica, master of illusion Adam Mada, juggler extraordinaire Jeremy Ansley and The Velvet Set. Head to the Sixth Gangsters’ Ball proper at the Metro Theatre Saturday 7.

18 • For more news/announcements go to

KLAXONS TO DJ IN JULY There’s an enormous party being thrown while Klaxons are in town at the end of July, the team at Modular taking the opportunity to get the lads up for a DJ set in conjunction with FBi Radio, celebrating its tenth birthday, called What We Do Is Secret. Joining Klaxons at the event are Movement, Softwar, wordlife, Slow Blow and Club Mod DJs, pumping it out of the Oxford Art Factory speakers Saturday 27 July.


HUNKER DOWN AT THE BUNKER Bunkerfest is on this June long weekend at Coogee Diggers. Celebrating one of Sydney’s most loved live music rooms, The Bunker will be filled with roots and blues tunes Friday 7, Saturday 8 and Sunday 9 June with 12 acts playing 18 sets over the three days. Papa Pilko & The Bin Rats are bringing their wild blues and country to headline night one, Ray Beadle (pictured) is coming on the Saturday with his epic guitar skills and his blues band and then returns on Sunday with his rock‘n’roll/rockabilly outfit The Silverdollars. Also on the bill are Quarry Mountain Dead Rats, Perch Creek Family Jug Band, Chris Russell’s Chicken Walk, Max Savage, The Rusty Spring Syncopaters, Gramophone Man, Isaac Graham, Andy Brown and The Sting.

Grinspoon, one of Australia’s most loved live rock bands have confirmed a new run of shows on their 2013 Black Rabbits Tour, featuring the longest sets the band have ever played, with a mix of everyone’s favourites and a healthy selection of new tunes. The Grinners will rock the Enmore Theatre Saturday 10 August.

IN FOR A CAINING Having ripped up stages around Perth over the past year, Vida Cain hit the road this month for their first East Coast tour, launching two singles and accompanying music videos, both of which will feature on their debut album, out in September. They hit Scruffy Murphy’s Tuesday 4 June, The Wall (Bald Faced Stag) Friday 7 and Sabotage Club Saturday 8.

LIPS OF DEORRO At the age of 14, Deorro began his DJ career by playing at local gigs and house parties. By the age of 17, he was already producing his own tracks. After a few years, Deorro was considered a Soundcloud sensation and sold out international events in Australia twice under the name Ton!c. Deorro is touring Australia with his new single, Red Lips, from his Elevation EP. To catch his progressive and electro Dutch fusion head to Pacha on Saturday 13 July.

GET THE GOLDEN TICKET As a big thank you to first year supporters, all tickets purchased for this year’s Vagabond Music Festival are Golden. The “Golden” ticket gains you admission to every Vagabond Music Festival ever. Tickets must be scanned at this year’s festival before they become “Golden”. The festival will feature alternative rock and electronica music from Saturday 8 to Monday 10 June with camping on a farm in Kangaroo Valley. The line-up includes DJ Sien (Chile), The Bedroom Philosopher, Guineafowl, Fishing, APES, Luke Million, Bec Sandridge, The Money Go Round, Lurch & Chief, Dylan Hill, The Cadres and Bell Weather.

BANGIN’ ON Madame Leila Leontine

Surf-rock four-piece Go Violets have announced a single launch tour. The Brisbane band will perform in their home city plus Sydney and Melbourne to celebrate their latest track, Josie, playing the Brighton Up Bar Saturday 15 June.

Following the band’s recent headline tour of America, Clairy Browne & The Bangin’ Racketttes return home to embark on a leisurely Stride Of Pride around Australia including an appearance at Splendour In The Grass. Armed with a well-oiled machine of a show, the band are very excited to reveal some new material to their homeland. The tour takes in Lizotte’s Newcastle on Tuesday 9 July, The Vanguard on Wednesday 10, the Clarendon Katoomba on Friday 12, the Heritage Hotel Bulli on Saturday 13, Moonshine Manly on Thursday 25, The Basement Circular Quay on Saturday 27 and the Brass Monkey Cronulla on Sunday 28.

Atlas Genius

GEOGRAPHIC GENIUS Hot on the heels of the announcement of Atlas Genius as very special guests joining Stereophonics on their forthcoming Australian tour, the critic and fan favourites will also follow up a massive two-monthplus debut US headline tour, with their own headline show at Oxford Art Factory Wednesday 17 July.

MODERN PEEP Melbourne’s The Peep Tempel are heading up the East Coast for a run over the Queen’s Birthday long weekend, leading up to the release of their forthcoming EP, Modern Professional. Catch them at the Gladstone Feeling Sunday 9 June.

WINGING OUT Mumbai-based traditional heavy metal quintet Albatross combine bone-chilling stories with bonecrushing metal. Starting out as the solo project of bassist Riju Dasgupta (Workshop, Old Monks), catch them at the Bald Faced Stag Saturday 26 October and Dicey Riley’s Wollongong Sunday 27.

STOCK UP Post-rock, jazz and math-rock metal band Stockades have released their self-titled debut EP on 10” and digital formats. To coincide, they’re performing with five-piece, indie-pop collective Seahorse Divorce Saturday 22 June at Black Wire Records, Sunday 23 at Yours And Owls and Monday 24 at Smith’s Alternative Bookshop in Canberra.



Noise rock two-piece Udays Tiger are launching their second EP, Dead Attention, a rock record, but dynamically and structurally fresh, pop conventions buried at its core, with a national tour. Udays Tiger head into The Backroom on Thursday 27 June and the World Bar on Friday 28 June.

Electronic dance duo Willow Beats have a spanking new EP called Alchemy that features their hard-hitting single of the same name as well as their other new single, Elemental. To celebrate the release, they’re embarking on a big nationwide tour with dates include a visit to Sydney’s own Spectrum Saturday 8 June.

friday may 31

june 7/8/9

Buried in Verona Licensed AA - $5 VB


friday June 7


with Sienna Skies

delSanto Rock Covers Show

with Thrashed


$5 Carlton Draught


$5 beers before 10pm friday June 14




saturday june 22

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


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Haptic Interface – a pop-up exhibition of weirdly wonderful things created by artists from the University of Hong Kong. Think wearable pillows and computers. Part of VIVID, Hong Kong House (Ground Level) 9.30am, to Thursday 6 June

Catching Light – an exhibition by artists using visual art, sound and performance. Artists include Kelly Doley, Tom Ellard, Wade Marynowsky and Michael Candy. Campbelltown Arts Centre, 11.30am Warren Wilson: Tembo – a photographer with a passion for capturing wildlife. This exhibition includes black and white shots from locations in East Africa. Wilson is particularly taken with the African elephant. Profits from the sales will go towards assisting World Wildlife Fund who work to protect habitats and strengthen anti-poaching laws. Part of Head On Photo Festival, The Art House Hotel, to Saturday 13 July.

Tony Albert: Projecting Our Future – an exhibition by contemporary Australian artist Tony Albert brings together a collection of kitsch objects that depict Aboriginal people. This show is the final part of a trilogy of shows. Art Gallery of NSW, to Sunday 7 July



The Great Gatsby – it has finally arrived! Baz Luhrmann’s highly anticipated film adaptation of F Scott Fitzgerald’s classic novel. Filmed in Sydney, this is one of the biggest movie releases of the year. Playing at all major cinemas.

The Maids – a play about sibling rivalry, based on true story of the Papin sisters who killed their employer. Originally a French a play, this translated version stars Cate Blanchett and French legend Isabelle Huppert as the sisters. Previews SCT, 7.30pm, season runs to Saturday 20 July.

Fury – a family drama play by Joanna MurraySmith. A seemingly perfect middle class family discover each other’s secrets after the son gets into trouble. There’s humour, intelligence and intrigue. STC, 8pm, to Sunday 8 June.

FRIDAY 31 Move Your Building: Danny Rose – from French design company Danny Rose, this is 3D interactive projection onto the Customs House at Circular Quay. The viewers control the music and the graphic design of the projections, and there’s also a dance floor for you to shake your groove thang. Part of VIVID, 6pm, to Monday 10 June Wangechi Mutu – an exhibition of works by Kenyan born and Brooklyn based artist Wangechi Mutu. This collection includes collages, drawings, sculptures, installations and videos. Come see one of today’s most exciting contemporary artists. MCA, to Wednesday 14 August Frozen Lenses – an exhibition by Sydney photographers Christine Bernasconi and Carol D’Amici and their journey to the Antarctic. A beautiful collection of photographs from one of the most rugged yet stunning parts of the world and its wildlife. Part of Head On Photography Festival, Societe Food & Wine Bar, to Sunday 30 June.

Hugo Weaving

MEMBERS OF THE JURY The official jury members of the Sydney Film Festival’s Official Competition have been announced this week. Judging the best film for the $60,000 prize will be Australian actor Hugo Weaving, Indian filmmaker Anand Gandhi, South African-Swedish director Pia Marais, Italian film critic Paolo Bertolin and Australian producer Kath Shelper. The five judges have to pick the best film out of the 12 selected. The festival kicks off Wednesday 5 and runs to Sunday 16 June.



The Laugh Garage – a night of comedy at Riverside’s monthly Comedy Club. This month features Dane Hisner and Gary Eck. Riverside Theatre, 8.30pm.

Sketches Of Bacon – a collection of works by 14 Australian artists using a variety of mediums to interpret the works of the late Francis Bacon. Damien Minton Gallery, 11am, to Saturday 1 June

Angels In America Part One: Millennium Approaches – part one of a two-part play, Walter has been dumped by his boyfriend and is HIV positive. While in hospital he is told by angel that it’s up to him to save humanity. Belvoir Theatre, 2pm, to Sunday 28 July. Dr Who Double Feature – a back to back screening of episodes Asylum Of The Daleks and The Angels Take Manhattan. Staring Matt Smith, Karen Gillan and Arthur Daville. See The Doctor up close and personal on the big screen. Dendy Cinemas Newtown, 7pm

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A World Of People – a collection of photographs from the recently published book by the same name. These images are of people from all over the world in different cultures, professions and age. Part of the Head On Photography Festival, Gaffa Creative Precinct, Monday 10 June.

Angels In America Part Two: Perestroika – the second and final part to Tony Kushner’s play! With the return of his ex-boyfriend and his new Republican partner, will Walter save humanity? Belvoir Theatre, 7pm, to Sunday 28 July VIVID Darling Harbour – the light show of all light shows, with a 20-metre wall of water, lights and music inspired by the fountains of French palace Versailles. 6pm, to Monday 10 June.

The Maids




Something For Kate’s Paul Dempsey is a livewire indeed and the secret to his career success to date is now clear. Recording is a game for techies, those who love gadgets and who wanna play in virtual realities. Playing live is for those who really love the immediacy of music; who crave it with a passion that can’t be crushed by one too many dodgy servo pies on the road. It’s just as well they’re doing it all again, then, with national Star-Crossed Cities tour taking the three-piece out of the lounge rooms and onto the stages they love so much. It’s a process that will let Dempsey and co just do their base ‘working musician’ thing and let them give new record Leave Your Soul To Science a good seeing to. “Since the album came out [late last year] we’ve only played about a dozen shows, so we’re really excited to get out and play them live and really break them in. It still only feels like we’ve just scratched the surface of them and we love just playing songs because inevitably by the end of the tour, we’ll be playing them in weird new ways.” The band’s commitment to the stage is not just lip service or a selfish push, but one they have put themselves behind for the good of the community at large. When talk moves to initiatives like SLAM (Save Live Australia’s Music), which is centred in Melbourne but is slowly moving national, Dempsey’s support is clear. “We went to the first SLAM thing because it was on and because… I mean, when The Tote was briefly closed in Melbourne it was an outrage.

The choice to be actively involved in not only making, but also protecting live music, is something Dempsey talks at length about, but with clear energy and respect. Describing it as a “duty” rather than a choice, he is, however, pragmatic about what’s required. “[Protecting live music] relies on a long view, which a lot of politicians don’t have, so in turn it requires us to force them, or remind them, to have it, to remind them why these things are valuable… A city without live music is a boring city. You go to any city in the world and you can feel it when there’s a live music culture and Melbourne in particular has been famous for it. And so that’s why 25,000 Melburnians come out in the street when a venue gets shut down.” As relative elder statesmen in the Australian indie scene, Dempsey’s aware that the journey Something For Kate has had is one new kids don’t. “I don’t think I’m lending any celebrity element to it or anything like that [to live music rallies], but the reason I think I can help is because I’ve seen so much change. I’m going to make myself sound really old – for the record I’m 36, which isn’t that old – but when our first EP came out there wasn’t mobile phones or DVD players, internet was not ubiquitous and there was no iTunes or MP3s.” Joking that things may have been different if Something For Kate had started earlier (“If we were ten years older

we’d probably be rich, because our record sales would have been real, actual record sales”) and lamenting what may have happened if they started later (“I think five years later and we may never have been able to get established”), he does remain optimistic. “It’s the same old bullshit which is why I say again and again, just get out there and go and play live. Go on tour and play every night of the week. If you want to go and be a musician go and be a musician, if you do it enough and well enough people will notice. I see a lot of bands worrying themselves about a blog or how to make something go viral, or how to exploit the multimedia strategy – and I’m not saying that can’t be interesting, but I just think there’s no better thing than going out and playing live and letting human word of mouth do its thing. And I like the romance of that too; I like hearing about stuff from my friends.” The romance of the ‘word of mouth’ is one that Something For Kate continue to push while they’re on the road too.





The Tote’s been there forever, it was one of the first places that we ever played and it’s been a breeding ground for bands in Melbourne and they also cater to a heavier, harder kind of music that doesn’t get out on everywhere. And the reasoning behind why they were being shut, the sort of bullshit rules about the number of security that you needed on and all that sort of stuff, it was just necessary to get involved with that. And then I guess when we did turn up they asked us to do a bit more, which we were only too happy to do. But it’s the same in every city in Australia and I think Brisbane’s leading the way in terms of the council there designating ‘entertainment zones’ and I think that’s the way to go. If you want a vibrant city with different cultural niches doing different cultural things, then you have to zone that way, you have to legislate that way to allow those things to grow and flourish.”



t’s always been the most important thing to us. The only reason we exist as a band is so that we could make music together and then play it to people. We view making records as a process of documentation and it’s fun and we really enjoy that element of it, but our existence is as a live, touring band. If we could play and tour more in this county we would, but unfortunately it’s a big country with a small population and if you tour too much, then it’s overkill. That’s why I moved to America for two years and, you know, played four nights a week for two years – and it was awesome. That is how I would like to be able to live, just night in and night out. That to me is the life of a working musician.”

[Protecting live music] relies on a long view, which a lot of politicians don’t have, so in turn it requires us to force them, or remind them, to have it, to remind them why these things are valuable.” ED

Something For Kate are nearing 20-years-old and, yes, they are now grown-ups. Singer Paul Dempsey and bassist Stephanie Ashworth are now parents, drummer Clint Hyndman is a small business owner as well as music man, but they are still a live, touring band. That is something that no grown up will ever change. By Liz Giuffre.

Something For Kate push the importance of the live experience in music, something musos love and audiences will never tire from. Undownloadable – and often unforgettable – there’s been some great weird and wonderful unusual performances that have stuck in our collective tour diaries (or have been claimed by those who wish they were there). Here are just a few examples of when the locals have reclaimed a space to make a stage. Oils On The Water – Midnight Oil A 1985 concert organised by triple j then celebrating their tenth birthday, the Midnight Oil gig was them in all their political, angry, awesome glory. Staged in the middle of the harbour on Goat Island, they played as the sun went down and the dags, the ‘80s hair lovers and the true believers all danced along. As well as a great musical performance, also an amazing feat in live performance fashion, as drummer Rob Hirst somehow managed to make a pink workman’s jumpsuit sexy. Farewell To The World – Crowded House In the mid ‘90s, Crowded House said goodbye. Although they did come back (the only time, ever, you can get away with comparing them to Farnsey), this send-off was pretty awesome. Taking over the Opera House steps and apparently getting so many down on the forecourt that concert promoter Michael Chugg still has nightmares about the possible hazard (see the DVD extra of the gig for proof), what didn’t make it to the disc was the green, but great pre-show entertainment – kids that would become their own live music memory makers. Who Are They, These Rock Stars? – You Am I If You Am I are even slightly your thing, then their live experience cannot be overlooked. This was one of the very few full length live concerts captured in full (filmed at the Sydney Mint, complete with a ‘convict’ theme for the then current album and with Tex Perkins dressed up as a warden, just for shits and giggles more than anything else). While it’s easy to remember them as pretty young things doing their pretty live thing and lose your shit, re-watching this (and remembering it too) is something new all over again. Power and passion the boys on Goat Island would love, but with less selfawareness and more guitar windmill moves.

One of the key tools in the musician’s kit, the cover version, is something they pull out regularly to show their fandom, get their own live kicks and perhaps also do their own little bit of a ‘friend’s recommendation’. For this tour, Dempsey is doing a series called Shotgun Karaoke, where he’s performing selected covers backstage before the band’s shows, with the results being filmed and posted to the band’s Facebook. “It’s a nod and a homage and yeah, maybe for some portion of the audience you might be turning them on to something they hadn’t heard before,” Dempsey says. However he can also see the funny side of when good intentions run away. “It’s really funny when you see tweets from people at a U2 concert; people saying, ‘Oh my god they just played a Something For Kate song,’ because they actually played The Clash’s Rock The Casbah, which we covered,” he laughs warmly. There are some live covers that Something For Kate have absolutely owned though, like Truly, an awesome track that indie kids of a certain age will never be able to associate with anyone else. “That’s a band called Hazel and they were around in the mid ‘90s when we started out,” Dempsey explains. “They made two brilliant records and then ceased to exist. They just recently reformed and started playing some reunion shows, actually. I think they’re from Portland and they played some reunion shows and oddly enough the bass player contacted us recently and said, ‘If you guys are playing in Australia we’d like to come and play with you’, so that would be a weird, you know, full circle kind of thing.” Nothing confirmed, can we sign a petition, start a rumour? A new live alliance? “I don’t know, who knows,” he replies with only a hint of sheepishness. Keep your eye on your live listings, just in case. WHO: Something For Kate WHAT: Leave Your Soul To Science (Capitol/EMI) WHEN & WHERE: Wednesday 29 May, UniBar, Wollongong; Thursday 30, Bar On The Hill, Newcastle; Friday 31, Zierholz @ UC, Canberra; Saturday 1 June, Metro Theatre; Saturday 27 July, Splendour In The Grass, North Byron Parklands


LEAVING THE AWKWARD PHASE It’s been an absolute meteoric rise for Fremantle youngsters San Cisco and it currently feels like the world is kneeling before them. Drummer Scarlett Stevens chats to Ben Preece about this success, haters and how to survive on the road.


I dreamt that my partner and I were babysitting the child of my ex-girlfriend. We were very relaxed about doing this and enjoyed it. But when my ex came to pick up the child she stubbed a cigarette out on my arm… But as Martin Amis’s character Richard Tull writes in The Information: Dreams don’t mean anything. WHAT: Robots Vs Art WHEN & WHERE: Tuesday 18 June to Sunday 7 July, Bondi Pavillion


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“It’s been really busy and I’m kind of exhausted but, at the same time, I like moving around all the time – it really keeps you on your toes,” Stevens exclaims, explaining her flurry of adventure, emotion and exhaustion of late. “We’ve got a really good team and no one ever makes anything sound big. I think everything gets played down a lot and if anything exciting ever happens, that’s not to say we don’t celebrate the good stuff. Nothing is ever heavily glorified to us, it’s all very as is. We’ve managed to keep on doing what we like to be doing on the side of the band. Like, up until this year I was at uni, so that was really good; studying, I think, really keeps me grounded. I think it’s really important to keep yourself busy in aspects of your life – this year has been good because the band has just taken up all my time and that’s really rewarding. It’s all been so positive but you don’t want to get your hopes up too much because we’re relying on Awkward to do really well over there. So if that doesn’t happen, you know it’s going to be a slow, gradual build, which is good too – it’s all positive.” “It’s all positive” is an understatement, really. As you read this, shows are selling out around the country with others being added, headline shows in the likes of Minneapolis, San Francisco, New York and Los Angeles are seeing American fans scrambling for tickets and, adding to their incredibly rapid growth in international,



The track is, much like the band themselves, somewhat of a dream come true for all involved, the stuff you can’t predict or pay for. It’s the illusive ‘hit’ that, much like Gotye’s, relies heavily on something akin to perfect synergy, striking the right souls at the right time and keeps going from strength to strength until some might deem it a mega hit while the naysayers would call it oversaturated. Regardless of your stance on the song itself, the impact it’s had on these four Freo kids – drummer Scarlett Stevens, vocalist/ guitarist Jordi Davieson, guitarist Josh Biondillo and bassist Nick Gardner – has been something rock’n’roll dreams are made of. At the dusk of 2011, Awkward was that mega-hit; it peaked at number seven on triple j’s Hottest 100 and has induced a lot of travel, a lot of hyperbole and propped the band up to become one of our most promising exports.

– Dom Alessio (triple j’s Home & Hosed) Dom Alessio speaks at Indent’s Feedback music conference for 12 to 25 years olds, which happens Monday 10 June at the Museum Of Contemporary Art for Vivid Ideas. Details at

Unlike some of the other younger bands circulating the Australian tour circuit currently, Stevens remains remarkably humble, despite these accolades of her band leaving their peers for dust. She’s more interested in perfecting the art of touring. “You’re in a routine still, but it’s very much a weird routine,” she replies when pressed for tour tips. “Don’t bring your laptop on the plane though, because that’s annoying – you have to pull it out and put it in the tray which is a nightmare. And Velcro shoes! I want to get a pair of those for sure for the US – you have to take your shoes off a every checkpoint. But I think the real trick is – this sounds really corny – but it’s staying healthy. That is the really hard part. On past tours, we’ve had some pretty major sicknesses; I lost my voice completely on the last Australian tour. It just takes out the vibe and throws everyone off. But there were no major illnesses recently, I had a bit of a sore throat at South By South West but I survived.” Following the success of Awkward and its poptastic follow-up Rocket Ship, the world was left waiting for a debut album overflowing with the same. Instead, the band threw the larger music community a curveball with first single Wild Things; hooks were intact but still the tone was darker. The self-titled long-player left critics expecting an album’s worth of Awkward sequels baffled. “It hasn’t been an overwhelmingly good response,” Stevens reveals openly. “I mean, it has been good but it wasn’t getting critically acclaimed or anything – I really think it confused a lot of people. I’m not saying it’s the best album and everyone misunderstood because it’s not the best album, but I think people didn’t think it would have such serious aspects to it. I think people thought it would have Awkward all the way when it really is a mish-mash of us listening to lots of different music, so there are lots of different sounds in there.



“But yeah, reviews or whatever are...” she pauses, “this reviewer – I don’t know how you can get this from our performance – said that I looked like the Mama Bear. I was really insulted. But it’s not bad, really, as we don’t really experience anything too bad or anything as bad as when I was actually in a child band – I was in The Flairz and people were really nasty and I was only really little. But yeah, no one has been too spiteful or anything, but I do think the thing is that the tone is really different here in Australia, there’s the whole tall poppy thing here where I think overseas, it quickly becomes very neutral and there’s no biases; they don’t know the history of the band and it’s completely different. I think people here, although it’s been all positive, you get a bit of backlash for being liked by triple j or even just being popular quickly becomes a negative thing.” Stevens says the tour van and airports are somewhere all four members are becoming accustomed to spending a lot of their time. Among the travel highlights, Stevens lists go-karting in Minneapolis, hanging out with their friends and support band Chaos Chaos and playing a room in Washington DC that they later discovered was the site of Marvin Gaye’s embalming as some of the best. With all the incredible achievements and impressive accolades starting to swell San Cisco’s CV, Stevens remains utterly thankful to have survived the past overseas tour with the band fully intact. “I think this past overseas tour, at first, just looked really insane to me,” she reveals, feeling positive about it now in retrospect. “It was so long and such a feat for us to do that and not storm out halfway through because we hate each other or whatever – I was really nervous how long that tour was and if we were all going to get along. I don’t expect to ever get special treatment or I wouldn’t say that they’re gentlemen with me being the only girl – I don’t know, you just have to fend for yourself. They want to rough you up.” WHO: San Cisco WHEN & WHERE: Wednesday 29 May, Cambridge Hotel, Newcastle; Thursday 30, UniBar, Wollongong; Friday 31 May, Metro Theatre; Saturday 8 June, Zierholz @ UC, Canberra; Sunday 9, Metro Theatre

“This play is about that task: what do we want to become?” Eamon Flack talks to Dave Drayton about angels and asking big questions.

t is easily the best play anyone has written in the last forty years, and it may even be... ,” Eamon Flack stops himself short here, the director perhaps sensing he is on the edge dividing widespread and more personal opinion, the significance of the play in question, Tony Kushner’s two-part epic Angels In America, filling the silence. “You know,” Flack starts up again, this time earnestness in no way mistakable for hyperbole, “it’s sort of one of the great plays in a very, very long time. So the opportunity to do it was a once in a lifetime kind of thing. You don’t revile from a play like this; you take a very big jump off a cliff with it, happily.” That opportunity began with Simon Stone, who was championing a production of the play directed by Flack – who in recent times at Belvoir has directed Babyteeth and As You Like It – in the programming department before his departure from the company. In Part One, Millennium Approaches, Walter Prior is diagnosed as HIV positive, which results in his lover, a Jewish man named Louis Ironson, leaving him, soon to take up with Mormon Republican law clerk Joe Pitt. What follows is a series of struggles in search of reconciliation between

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they are one of four Australian bands announced on the 2013 Lollapalooza line-up. US label Fat Possum has just released their Awkward EP in the US (which interestingly also features single Fred Astaire and Wild Things) and it debuted as the fourth most added track to American radio across the country. Similarly, a little more slowly, the UK is warming to San Cisco also, where they will be returning imminently to support Darwin Deez.


“I “The music industry as a whole is very competitive – there are a lot of people who want to work in music and only a few jobs – so you’ve just got to work really, really hard. Being discerning also helps. If you want to be a manager, manage a quality act that you believe in, not just the first band that asks you. If you’re going to be a writer, edit the shit out of your work until you’re 100% happy with it and it stands up to the quality of other works that are being published. If you’re in a band, don’t spam. Spam doesn’t win friends.”



It has been interesting to revisit Robots Vs Art as a writer. Just before we got into the rehearsal room the play was published, so it seemed that rewrites would not be an issue. But as soon as we hit the floor the actors had better ideas and my newly published play was quickly obsolete. This was disappointing for about a second. Then it became exciting. If I am involved in a new production of my work I don’t think rewrites will ever stop. As a director, because I have the same cast as the last production, remounting the play has been a breeze. We have an instant shorthand, and the work already done on the play becomes quickly established.




ith Gotye leading the charge, it might seem that 2011 was a year for Australian viral mega-hits. Trailing not too far behind his all-conquering tune – on home soil at least – was San Cisco, a band of four youthful and very musical friends who stumbled upon an absolute ubiquitous ear-worm of a track called Awkward. Not too bad really for a song with lyrical themes of a creepy, young lad who just won’t leave the girl alone, wrapped around the sugariest of bubblegum hooks and pop melodies.





public and private life, religion and sexuality, the self and relationships or society at large. Flack says Australian theatre was perfectly poised for a production of Angels In America right now, with a newly risen batch of young actors who were “ripe and ready for the play” and an older generation who were now of an age to take on the other roles. “It was very clear to me very early on that there is an extraordinary young actor in this country, Luke Mullins, for whom here was a perfect role, and in which Luke could be completely, fully, at the height of his powers because here was one of the great roles of all time for a gay man,” says Flack. What prompted Flack to happily take the jump on this epic undertaking – which is to be presented in repertory by Belvoir – was the continued prevalence of the issues under Kushner’s examination: gender, sexuality and religion in contemporary society. Flack believes the 1980s, when the play is set, marked the start of a new era of public discussion and debate on such issues that continues to navigate this territory today. “We’re now in the thick of that era, and it isn’t getting any clearer. Those questions that began back then,

the way in which identity and politics and religion and global consciousness and individual freedom and collective responsibility totalised in the late ‘70s and early ‘80s is still what we’re dealing with now. “That hasn’t changed, and in fact, it’s gotten more complicated. We still have this great task as a society, and I do want to call it a society, and this play is about that task: what do we want to become? And how do we attempt to influence the seemingly imperturbable massive forces of seething historical oblivion that don’t seem to want to be affected by the behaviour of individuals, but it must be or we’re fucked.” WHAT: Angels In America Part One & Two WHEN & WHERE: Tuesday 28 May to Sunday 28 July, Belvoir Upstairs and Theatre Royal



WHITE HERE, WHITE NOW Troubadour, folk legend, beard king: Matthew E White can be described in many ways, but Natasha Lee discovers that the intrepid musician is actually pretty down to earth.

t’s a struggle of sorts talking to Matthew E White. It’s not that he’s rude, abrasive or difficult – far from it, in fact. The problem is that he does not stop coughing. Ever. Long, complex diatribes are interrupted by gregarious bouts of throat clearing, which sound more akin to choking. The poor love.


White has phoned in ahead of his first Australian tour and his work at Vivid that will see him and his band, Fight The Big Bull, team up with his Megafaun buddies (Brad and Phil Cook and Joe Westerlund) as well as Bon Iver frontman Justin Vernon. “I kind of always had a push for some sort of collaboration between Fight The Big Bull and Megafaun,” growls White, before launching into a coughing fit. “I met Phil at a small show that our bands were kind of playing at a long, long time ago and it was immediately apparent that we were just on the same wave in terms of music,” he adds.

“For me,” White begins before clearing his throat one last time, “it’s about taking every single one of those opportunities thrown at me and making them into something special. You know, I don’t ever want to look back and think I wasted my time.” WHO: Matthew E White WHAT: Big Inner (Domino/EMI) WHEN & WHERE: Saturday 1 and Sunday 2 June (arvo), Vivid, Sydney Opera House Concert Hall (Sounds Of The South); Sunday 2 (evening), Vivid, Sydney Opera House, Joan Sutherland Theatre

White is something of a modern day folk lord wrapped in a beard. Frustrated with a lack of distinctive record labels in the fashion of Motown – that proved just as important to an artist’s sound as the artist themselves – White decided to do what anyone in his position would and start his own label. Spacebomb Records was born in 2011, giving White the creative freedom to release his vision into the world untouched and unchanged by outside forces – exactly as White envisioned it. It’s important to remember, of course, that White isn’t just some other folksy dude with some folksy/jazzy sounding band. White is the creative mastermind behind Fight The Big Bull, writing, composing and arranging every iota of music they play and, in a world fraught with overproduction, White is something of an organic oddity. He is unashamedly proud of his Christian faith (his parents were missionaries) using his debut album, Big Inner, to explore his religious beliefs. But it’s not all about Hail Marys and Hallelujahs. In the single Big Love, White sings of angry heartbreak, telling his girl to “drop that shit”. It’s about as far from the idyllic little house on the prairie existence he grew up with. The evangelical sound creeps back on in Brazos with White joining forces with a choir to chant, “Jesus Christ is our lord/Jesus Christ he is your friend”. That said, fear not, as the album as a whole is no distilled Hillsong reinvention. If Phil Spector had The Wall Of Sound, then White has a Soundscape. His production studio, aptly also titled Spacebomb, is a ramshackle outfit set up in White’s attic, complete with makeshift shelves, rugs, guitars and soundboards. “I like making records,” is White’s matter-of-fact response to why he’d go through all the transformative trouble to create this musical oasis. “For me, it’s about finding where you fit and finding where your strengths are and then making the most of that. Over the past year, I’ve been in a place where that’s happening more and more. I’ve been asked to record with more people and I’m very grateful for that. I think for me it’s important not to waste opportunities and to some degree I think that attitude is down to the fact that success has come a little later for me. I’m not 22 or 23, you know – I’m in my 30s,” White growls. It is this kind of attitude that saw White jump at the opportunity to record with his ‘old buddies’ Megafaun for the Sounds Of The South concert series. “The groups just melded so easily,” says White. “We’re all coming from the same place. Basically, we melded songs with words and then Fight The Big Bull formed it into long-form jazz compositions. So basically,” White stops to cough, “basically, it’s long-form jazz with singing in between. It’s very natural – everyone is playing their own style and everyone is singing their own style. It has been an incredibly easy thing to do so far.” White will split his time between his “buddies” and his own ethereal showcase which he will be touring across Australia for the first time. “I’m just really excited about being able to bring the music down there,” he says. As to whether or not Australians will ‘get’ his ironically American sound (Uncut magazine deemed Big Love as “one of the great albums of modern Americana”) White is confident that his sound is far more universal than the critics give him credit for. “The thing is,” he begins clearing his throat, “I think we all meet at this place where so much of our music springs from – you know, I think most American pop music comes from this world. It all comes from Black southern folk music – that kind of music is just a wellspring of so much, you know?” White stresses. “So, being able to go back and try and re-imagine it and uh… well, it’s not quite as hard as it seems, ‘cause it’s been re-imagined over the last one hundred years and it will keep being re-imagined.” White seems unfazed by changing fashions in music, saying that yes, he believes the folk sound he so loves will eventually peter out. “Gone. Just like Baroque music is gone. If it doesn’t go, then nothing new can happen. If it had all stayed the same since 1000 AD, we wouldn’t be listening to the stuff we can hear now,” White says unapologetically. The next five years at least, however, appear safe for the folk artist and his muse, with White revealing he has no specific plans for a second album, admitting that he’s happy to act as a third wheel of sorts. “Sure, I’d like to make a coupla more records of my own, but I also want to get involved in making a few more of other people’s records, because for me, that’s what’s happened over the past year. I’ve been asked to record with more people and to join more people in the studio and I’m very grateful for that.

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As folksters Megafaun prepare for their first visit down under, keyboardist Phil Cook explains to Natasha Lee why folk will never die.



“Man, this is a journey through the American music landscape,” boasts Megafaun keyboardist Phil Cook excitedly. “It’s like a freight train going right across the country and we want take other people on that journey, too. I mean, everybody knows it’s the music that makes America great. I mean, we are known for our music.” Given Lomax’s extensive collection – which he spent most of his adult life compiling – Cook says the hardest part about preparing for their Lomax-inspired Vivid production Sounds Of The South was being so spoilt for choice when it came to song selection. “Alan Lomax recorded in the Delta, in Appalachia, in churches, in homes, in prisons – basically everywhere,” says Cook excitedly, “So, we wanted to select not only our personal favourites, but also showcase the breadth of the material in a balanced way. That took months.” They weren’t alone, however, and were joined by former DeYarmond Edison band member, singer and guitarist Justin Vernon, best known as frontman for indie folk-rock trailblazers, Bon Iver. After around four years together, DeYarmond Edison split – leaving Vernon to go off and form Bon Iver, while the Cooks and Westerlund created Megafaun. But the guys stayed friends and, insists Cook, Vernon is a huge part of their Sounds… spectacular. “Oh Justin will be there! That’s the whole part of it. I mean, a lot of the material was written when he was with us in the earlier stages of the band [DeYarmond Edison]. So, they are songs that really only Justin can perform. There are three songs that are written specifically for him and he’s gonna sing the shit out of those – y’know, like he always does.” Joining them on stage are Fight The Big Bull, the soulful southern rock troupe and brainchild of modern folklore legend, Matthew E White. “Oh Matt is just amazing,” coos Cook. “I mean, he had to cancel a bunch of his tours and shit that he had going on to work with us, y’know? I love Matt. I mean, he’s my brother from another mother. We worked with him on all this stuff – he’s really just this creative beast.”


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During the making of the show, a great bromance blossomed between Cook and White – who are now each other’s greatest admirer. “Lomax was something

The Duke commission that White’s referring to was the real catalyst for bringing the musos and their respective bands together. In 2010, North Carolina’s Duke University in the US commissioned Sounds Of The South, giving foundation to White and Cook’s lofty folky imaginings. “It was really interesting for us as a band to work with Matt,” muses Cook. “Really different ‘cause, you know, the three of us, we like to create big things and just go for it and then try and pick the good parts out of that, but Matt is much more of a wider vision kinda guy, y’know? He’ll just sit down and work with us on the entire thing from ground up and we’re not used to that.”

Forget genres. WA’s The Chemist aren’t the alternative rockers the label might suggest, as Michael Smith discovers from Ben Witt.


“Alternative rock doesn’t really…” Witt trails off as he ponders the label usually imposed on The Chemist. “I mean it’s just rock’n’roll at the end of the day I guess, but…” Nonetheless, there’s obviously a very strong pop sensibility at work. “I guess in the embryonic stage, I was trying to write songs the way I imagined Tom Waits or Bob Dylan would, and I know that’s shooting pretty high but those kinds of forms and some of the structural elements of the verses, things like that, and then, when it would come to arrange them band-wise, it was thinking of the most interesting way we could play, and that would probably be referencing more current bands I guess.” Not that there was a band when Witt began writing songs back in 2007 and decided to look around at

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“You know,” Cook continues, “folk was born of deep human experience and it will always meet relevance with folks because it speaks to the very core of their being. I don’t ever think it goes away. It’s always there – right below or above the surface. You know, it doesn’t enjoy a ‘comeback’ as people may think, because it’s always there. Every once in a while we’re reminded of its presence and we embrace it for a while but it never goes in and out. It’s adaptability allows it to consistently be moulded and shaped into whatever it needs to be which is why it’s so accessible for artists to use and learn from.

But he insists the partnership allowed both groups a new found freedom and the ability, much like Lomax, to explore and conquer unchartered musical fields. “Joe [Westerlund], Brad [Cook], Matt White and I would meet to arrange and map out song structures,” explains Cook. “While we were doing that, we’d find some small thread – a rhythmic motive, a melodic gesture, some background


ne spin through their debut album, Ballet In The Badlands, and it’s obvious Perth’s The Chemist are mining the entire 50-odd years of rock and pop music history. It runs from late ‘50s Hit The Road Jack-era Ray Charles – they reference Billie Holiday themselves too – to Jonathan Whitehead’s Quixotic theme from Black Books. The latter, as it happens, references American guitarist Marc Ribot, who has played with Tom Waits, and, in a coincidence, the core member of The Chemist, guitarist Ben Witt, is a self-confessed “enthusiastic Marc Ribot fan”.

Given the recent rise and rise of artists such as Bon Iver and White, it seems folk music is enjoying somewhat of a resurgence, but the idea of there ever having been a decline in folk’s popularity mildly irks Cook, who believes that folk music “just is”. “Folk music is born out of struggle and hard times. The weight of its momentum and the amplitude of its vibration give it everlasting life,” says Cook before embarking on an epic seminary on the origins of folk.

WHO: Megafaun, Fight The Big Bull and more WHEN & WHERE: Saturday 1 and Sunday 2 June, Vivid, Sydney Opera House Concert Hall


university friends who might want to get together to make a noise. “I didn’t really know what I was doing when the band started,” Witt admits. “If I was listening to The Beatles, we’d try and write a Beatles song. If I was listening to Hendrix, we’d try and write a Hendrix song. So it wasn’t like I had a vision and then went out and acquired the appropriate musicians. It just sort of happened.”

Joining Witt, who these days also plays in the Bob Evans band, in what happened were keyboards player James Ireland, bass player Hamish Rahn and drummer Elliot Smith. “There was a conscious effort in making this album to work out what do I hold closest to my… I don’t want to use the word heart, but what music resonates with me most? Where do I feel most comfortable expressing what I want to do artistically? That’s kind of what I envisioned, what I’ve always been trying to get at.” And the diversity across the album, “is part of the reason why it’s called Ballet In The Badlands, because there are these elements that are pulling at each other. “There was no over-riding theme across the record – each song is different – but again, I’m not an expert by any means but I do get into Beat literature and stuff like that, through Bob Dylan and Tom Waits. I like Beck too – his lyrics – and Captain Beefheart and these kinds of


Emoticon Rod by Mark Dudiak source:

White says he feels the projects worked so well because both groups were approaching the project from the same wavelength, nothing proved a struggle. White adds that he had always wanted to form some sort of collaboration between Fight The Big Bull and Megafaun. “So after meeting Phil we brainstormed a few ideas together and then the Duke commission came up – and it was such a perfect project”.



noise – and begin with that. Then we build up a song around that thread. We had total freedom. Some songs we made into Charles Mingus, some songs into Stax/Volt territory. Some songs feel solidly and devotedly traditional and some are renegade and wildly free. It’s quite a range, I gotta say,” Cook adds.

that was integral to our relationship already,” says White, “So, this was just a really perfect project. We rehearsed it, wrote the music and that was it.”


Harry Angus: I really hate these questions. I mean, if I give it to The Beatles, I feel like I’ve let down Billie Holiday. There are records that I listened to my whole teenage life and that have great sentimental value, but as an adult I might not like them but that doesn’t mean it’s not a good album.



Felix Riebl: That’s a ridiculous question! And it should be taken as such. That said, I’d have to say the one that jumps out at me is Paul Simon’s Graceland. That’s mainly because I saw Paul Simon at the Blues‘n’Roots Festival in Perth this year and also because before we made Steal The Light we talked about celebratory music, and I really think that album is a real combination of poetry and celebration that’s stayed with me my whole life.

lan Lomax is affectionately known as the grandaddy of folk music. The late 1930s and early 1940s saw the musicologist begin his quest to collect and preserve the blossoming folk sounds of America. Lomax is credited with laying the folk music foundations in the United States. He travelled around the country all the way from the Deep South to the mountains of West Virginia, visiting prisons and railroads to collect the music of the people – their collective soul – with one aim: to share it with the rest of the world.




dudes, so I’m trying to just learn about the elasticity of language, and as much about the crafting of the words as the words themselves, what they necessarily represent. I guess there are themes of autonomy on the album… Heaven’s Got A Dress Code is, I guess, about judgment… “We’ve already got a bunch of new songs, and in particular this one song that we’re referring to as Frenetics – it’s kind of like taking the elements of what’s on this album and then making it like a violent abstract painting, so the colours might be like your blues melody or your jazzy groove, whatever, but then there are these time shifts and it’s pretty violent and frenetic. I want to kind of make something that’s pretty potent.” WHO: The Chemist WHAT: Ballet In The Badlands (Create/Control) WHEN & WHERE: Saturday 1 June, Brighton Up Bar; Sunday 28 July, Splendour In The Grass, North Byron Parklands

SKETCHY CHARACTERS Rap, music, improv and art. Claire Nakazawa sits down with Izzy Roberts Orr to explain why Australia’s never seen anything like Sketch The Rhyme.

live rap, art and music show that has never been seen before,” is how artist Claire Nakazawa describes the rollercoaster improvisational ride that is Sketch The Rhyme.


The brainchild of Big Village Records MC, label manager and creative director Rapaport, the genrebending show was developed through the 2008 Underbelly Festival at Carriageworks. The show is a collaboration between visual artists, freestyle MCs and improvising musicians and each show is different, keeping the performers on their toes. After featuring at the Edinburgh, Adelaide and Melbourne Fringe Festivals, Woodford Folk Festival, the Sydney Comedy Festival Great Debate and at the Spiegeltent, Sketch The Rhyme are heading to one of their coolest tour destinations yet: the fifth Perisher Snowy Mountains of Music festival to welcome in the snow season is an exciting tour destination for the crew. “I hope it snows!” Nakazawa says, thrilled to have the opportunity to “meet other artists and musicians and to be in such a different and fun environment on tour,” at Australia’s only music festival in the snow.

Although some of the games require a little prepreparation (for example, the visual artists choosing themes) for the most part each show is improvised and therefore entirely new and different. Nakazawa admits, “At first, it was totally intimidating… Never knowing what’s going to come out of your pen.” But it’s this unpredictability that has kept the concept fresh for so many years, and it’s the “magic moments within the show where you see creation happening, where everything falls into place perfectly” that make it all worthwhile.

A new venue for Melbourne caught everyone’s eye Lorde at GoodGod Small Club Kim Wylde

Dylan Joel premieres Yep



The result is the debut Jack Carty & Casual Psychotic EP, The Predictable Crisis Of Modern Life – very much a co-writing collaboration. “For me, I was still very much concerned with making sure that the stories or the narrative was intact, because that’s what I like about songwriting,” Carty says. “I think that’s what keeps it grounded and that’s why people who enjoyed Break Your Own Heart, for example, have liked this record, because it still has that narrative thread running through it.” But then you’ve got these “spoken word samples”, which, as it happens, aren’t samples but “the voice of K-Tel”; K-Tel being the first of the cheap big hits compilation albums companies back in the ‘70s. “That’s my granddad,” Carty admits. “He was a radio announcer and voice-over guy for 50 years. So we had these parts we wanted him to record and I just called him and it took him 30 minutes and he was gone, he was such a pro. “There are some love songs on the EP, there’s one really angry song and songs about figuring stuff out, but the thing that runs across the whole EP is a sort of an anxiety permeating everything and that’s


“He’s an amazing guy, a really creative guy,” Carty explains, “and it wasn’t necessarily us deciding to make a record and then going in and starting a record. I had a couple of songs that I’d written, as far as I was concerned, the next Jack Carty album, and we recorded one of them [Tunnel Vision] just for fun and tried all this production stuff – synthesisers, and I was doubling all the vocal melodies down an octave – and I just really loved how it turned out and he did too, and we decided to do another one and by the end of the second one I think we’d realised that maybe we were gonna make record. But it didn’t start like that, and so that really gave us a lot of freedom – we were just doing whatever we thought was gonna be cool and purposely taking the songs in a bit of a different direction.”

WHEN & WHERE: Friday 7 to Sunday 9 June, Persiher Snowy Mountains of Music, Persiher Valley




WHAT: Sketch The Rhyme


Decline tour Europe


t’s all down to this enigmatic Sydney-based producer who travels under the moniker Casual Psychotic. Singer-songwriter Jack Carty had been riding high on his second album, Break Your Own Heart, which managed to reach number eight on the iTunes Australia Singer/ Songwriter Chart and number 15 in the Australian Indie Records Chart last year, when Casual Psychotic invited him to check out his studio.

Nakazawa studied painting at the University of New South Wales School of Fine Art. “Some of the musicians are trained at the conservatorium – they’re brilliant, professional musicians,” she says. The core crew are a “highly skilled bunch of people... most of us are university trained. Some of us aren’t – the rappers are all self-taught – but everyone has their own unique style.” Despite their different backgrounds and mediums, Nakazawa says, “e all bring something else to each other’s art – we complement each other.”

The core members of the group fluctuate – with eight members originally, there are now 15 members and guest performers such as Urthboy and Dialectrix. “Anyone can jump up and have a go – anyone can play with us. Members of the community can jump up and have a go, and there is a wider community of artists who come and join us sometimes.”

The new Jack Carty record isn’t actually a Jack Carty record, though it is. Michael Smith tries to unravel things.


The show’s nature has evolved since its beginning, and the group is looking to branch out further, with plans for a regular night in The Basement, a niche type of gameshow and the pilot for a TV series. Every member of the group is active in their own personal projects and despite going on tour so soon, Nakazawa has an exhibition launching just before the festival in Camperdown.



Each performance is structured around five or six games that are played throughout the night. “We


have dead Celebrity Heads; Mr Squiggle, a guessing game where the MCs have to guess what we’re drawing; Story Time, which includes a pre-prepared animation by one of the artists; and we just added a new one called Last Man Standing where the rappers battle each other in a syllable battle rap until they make a mistake or they can’t do it anymore.”




what h t we ttry tto capture with that voice-over running through it, and even the title, The Predictable Crisis Of Modern Life. We wanted to make it cinematic if we could, have it almost be a little bit theatrical.


“I don’t know if I’m any more anxious than anyone, but I definitely have a certain level of anxiety. I don’t know if that’s natural or just because I’m trying to survive as a musician in Australia, which might be an anxiety-inducing thing to do,” Carty laughs. “Not in a sad sack way… but it’s something I have found has been popping up in my writing lately, and I like that. With this production especially, we were really able to bring that out and make it a little bit creepy and make it a little bit weird, and kind of fuck it up a little bit, so that they’re not just these pretty folk songs – they’re kind of a little bit sinister.” WHO: Jack Carty (& Casual Psychotic) WHAT: The Predictable Crisis Of Modern Life (Gigpiglet/Inertia) WHEN & WHERE: Thursday 30 May, Hibernian House


Prague, because the beer is cheaper than water and the women are like super models who love tattooed brown boys.

NO FRONTIERS When it comes to Miguel Atwood-Ferguson, it’s not just about the extraordinary music that he makes – it’s how he finds the time! Michael Smith talks to the prolific American composer/arranger.

e might be coming to Australia at the invitation of the Melbourne International Jazz Festival, but that word “jazz” barely scratches the surface of the musical oeuvre of self-confessed music nerd, American wunderkind Miguel Atwood-Ferguson. Multiinstrumentalist, arranger, composer, music director, producer, DJ and educator, Atwood-Ferguson has contributed to more than 300 albums by artists as diverse as jazz guys Wayne Shorter and Quincy Jones, soul and pop men Ray Charles and Henry Mancini, and R&B/hip hop people like Erykah Badu, Common and Guru – he’s even composed and conducted Suite For Ma Dukes, a tribute to the late hip hop producer J Dilla, a work from which he will be drawing much of the repertoire he’ll performing here with a local seven-piece ensemble. Somewhere in all this activity, he’s also finally recorded his debut album.


“That’s running a little bit behind,” Atwood-Ferguson admits on line from his home in Los Angeles during preparations for a concert in Atlanta with a 60-piece orchestra. “First, my string quartet Quartetto Fantastico will be able to release our album, a collection of beautiful cinematic improvisations that’s gonna be a

double album – and it’s probably gonna be early next year now, just because it takes so much time and so much money to do my solo album the way I want to do it. That’ll be a double album too, some tracks with a couple of people, others with a sixty-piece orchestra.” He’ll be playing a track from that forthcoming album, Doom Raider, during his Australian visit, “a pretty fun, dark rockin’ song and kinda reminds me of a Tony Williams’ Lifetime meets Mahavishnu Orchestra vibe.” There’ll be plenty of improvising during the set, but as mentioned earlier, there’ll be quite a few pieces from his Suite For Ma Duke, something dear to his heart though on paper his passion for the work of hip hop artist J Dilla might seem unlikely. “To me,” Atwood-Ferguson explains, “we’re just human beings before we put, like, labels on things. Music I think comes from a very soulful place, on everyone’s account – it’s just passion, and it just so happens that our particular passion has led us here. Music is music so, yeah, I studied classical music but good music that people spend time trying to make with discipline, constantly trying to learn to emote with great skills, in any genre, there’s a certain depth that

GIGS GUIDE people reach just becomes so influential. So we can call it classical music, we can call it whatever, but if it’s done really well, it’s gonna be moving, so I grew up, yes, with classical music, but I also grew up with Motown music and with Jimi Hendrix, and so I think hip hop is a very natural extension of soul music and Jimi Hendrix and jazz – I think it’s all related. “Dilla is, I think, a perfect example of what I’m talking about, of a passionate artisan. I think his passion was so sincere, and he was so obsessed in a positive way with music and an understanding in the music that it became transcendent – it became bigger than hip hop, it became bigger than him, it became bigger than the artists he was producing for – and I think that’s what we’re attracted to, attracted to something that makes us forget the petty things in life and get in touch with the big, deep river of love in life.” Atwood-Ferguson concludes.

RULE #168

They are a band, not a jukebox. Cancel the request line. RULE #57

If you are high, quit talking about how fucking high you are.

WHO: Miguel Atwood-Ferguson WHEN & WHERE: Friday 31 May, Blue Beat

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Californian metalcore crew The Ghost Inside have been kicking around just shy of a decade, but according to vocalist Jonathan Vigil it wasn’t until Get What You Give that the band felt ‘legitimate’. Tom Hersey writes.


New York is just like … Okay, I have this vision of this giant bulldog sitting over the city and growling. 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. But, in New York, it feels like there is no room for your portal, so everyone’s wires are crossed. It’s weird.” - Luke Steele of Empire Of The Sun on working in New York, talking in last week’s Drum. Reckon there will be any giant bulldogs at their world exclusive album premiere show for Vivid? See for yourself this Thursday and Friday at the Sydney Opera House Concert Hall.


n the internet age, where music blogs need to tell you at least once every fortnight that a new band’s demo tape of mash-ups is the most poignant expression of musicality that you’re ever liable to hear for the rest of your worthless life, bands seem to come and go at an alarming rate. Doomsayers might suggest the trend is emblematic of a disposable culture, or a generation’s attention span devolving to a new murky depth. Whether or not that’s true is arguable, but what’s irrefutable is the emergence of the flash-hyped, blogosphere-backed band. Yes, there seems to be scores of acts becoming overnight successes, but The Ghost Inside is not one of them.


The band slogged it out, doing the touring rounds – for a few years and a pair of albums under the moniker A Dying Dream – before switching over to The Ghost Inside and doing another couple of records. Without a label for album number three, the band’s hard work caught the eye of seminal punk label Epitaph, and eventually a deal was inked. “We had finished up our contract with our old label and we really, really wanted Epitaph from the get go. We just felt that we had all been fans of the label pretty much as far back as we can remember, so we all thought it would be really cool to be a part of that label. And so it worked out when Epitaph was interested because that’s where we wanted to go. We didn’t really go back and forth with other labels because we really wanted Epitaph to work out, and fortunately for us it ended up being this situation where we were able to get what we wanted and Epitaph seemed to get what they wanted,” band frontman Jonathan Vigil says. For a band who’d been working hard at their craft over the years, not relying on gimmicks like those godawful ‘ironic’ covers or short-lived internet hype, signing to Epitaph opened a lot of doors. “I think our band was kind of legitimised in a lot of people’s eyes when we got signed to Epitaph. Before that I think there were a lot of people who seemed to think, ‘Oh, y’know, The Ghost Inside are alright but I don’t really know what they can do’, but now we’re on Epitaph it seems to be people more saying, ‘Oh yeah, The Ghost Inside, that band’s awesome. They’re on a good label so we’ll put them on this tour, we’ll help them out’. So it legitimised our band in a lot of people’s eyes, I guess.” That’s got to be a bummer though, right? Putting in all that work, releasing great records in 2008’s Fury & The Fallen Ones and 2010’s Returners, capturing all that acrobatic riffery and songwriting that deftly reworked the metalcore song dynamic, and then having the gatekeepers


Thursday, Entrance Leagues Club Friday, Newcastle Uni Bar On The Hill



“Sure, it’s frustrating that people didn’t see the band as ‘legitimate’ or whatever even though we’d been around and had paid our dues, but it helped our drive more than it frustrated us,” Vigil says. “It helped us want to get signed to that great label and [drove] a desire to push as hard as we could, but there have been times where it’s felt like we’ve missed out on some stuff because people didn’t see us in a certain light, but we just kept working hard and we’ve been able to do some pretty cool things in our career, so we’re just going to keep at it so we get the chance to do more cool stuff with the band.”

“Sometimes it can be pretty difficult,” says Vigil. “My younger brother passed away a few years ago, kind of just out of the blue, and we’ve been playing it [White Light] on this last tour and it’s been pretty difficult some nights. Sometimes it can take a lot out of you, getting that emotional in front of that many people. But for the most part our songs are empowering – about being proud of who you are and striving to do the most you can with your life, so not a lot of songs are too emotionally draining on me.

Like their slow ascent to ‘legitimacy’, The Ghost Inside’s approach to touring, especially in Australia, has been an effort of incremental gains and dogged determination. The band were happy to put in the work and slog it out as they worked their way up bills with the crème de la crème of Australian hardcore. Now, thanks to Get What You Give, they’ve finally found themselves in a headlining slot, which they’re liable to destroy, on a bill stacked with the likes of Emmure, Antagonist AD and Hand Of Mercy.

“It’s one of our more popular songs. I think a lot of people can relate to that song because they’ve lost people prematurely and it’s been difficult for them, too. So I think it means a lot to those fans who are coming out to the shows to have someone to share that with. To not play it would be a bummer for a lot of kids.”

“We’ve done a lot of really awesome support slots in Australia, and then this is going to be our first real headlining show down there so we really wanted to do something special for the kids who have been there from the beginning and have checked us out before. We’ve done a tour with I Killed The Prom Queen, we’ve done a tour with Deez Nuts, a tour with Parkway Drive, a tour with The Amity Affliction. So we’ve done all these tours with these big bands, so we’re stoked to finally get the chance to headline and play all of the songs that we didn’t get the time to play on all of those tours. And we thought that we should make that into more of an event by getting a great line-up all around for the show.” The shows will mark the first chance that Australian fans will get to hear The Ghost Inside work through Get What You Give, an album that the band dedicated to Vigil’s brother Ryan who unexpectedly died two years ago. These songs must dredge up

Talking to Vigil, it becomes apparent that the band’s ethos is something like: nothing’s easy so you better just get it done. Whether that’s tearing your soul out onstage night after night, or dogging it out on the road for years to get to a good spot, the band willingly accept that they’ve gotta do what they’ve gotta do. “We just put everything we have into this band. This is our lives, and our livelihood, so it’s nothing that we want to [do] half-arse. We’ve got to go on stage and play these songs with our heart and soul; really give it everything that we’ve got. And I think when people see us, they know that we’re doing it for the right reasons, and are not just onstage because we want to be rockstars, y’know.” WHO: The Ghost Inside WHAT: Get What You Give (Epitaph/Warner) WHEN & WHERE: Wednesday 29 May, The Basement, Canberra; Thursday 30, Metro Theatre; Friday 31, Panthers, Newcastle


n the final days of 2008, Brandon Darby – a one-time radical leftist activist from Austin, Texas – typed an open letter to the internet, in which he owned up to media allegations that he was the incriminating FBI informant in the case of the Texas Two, a pair of college kids arrested for possession of Molotov cocktails at the 2008 Republic National Convention. They’d been demonised by the media, portrayed as domestic terrorists, and imprisoned thanks to the testimony – they said entrapment – of Darby. To some, Darby was a hero; to most, he was a snitch. “People have really strong responses one way or the other,” says Jamie Meltzer, the documentarian – and professor of documentary history at Stanford – who’s profiled Darby in the awesome Informant. “We have some great arguments in the Q&As! Standing up and yelling at each other, denouncing Brandon, or denouncing me for not denouncing Brandon. I knew I was stepping into that territory, so all of that has only been satisfying.”


- Zan Rowe (Mornings)

a lot of emotions for the singer? Especially White Light, which directly deals with the tragedy.

Documentary maker Jamie Meltzer tells Anthony Carew the reason behind his decision to profile the mysterious motives behind radical activist turned FBI informant, Brandon Darby.


It’s hard to believe, but James Murphy’s band has only ever made it into the Hottest 100 once. This song reflects on a heartbreakingly sad loss, takes you inside the moment of that discovery and stays with you through the grief that follows. With beats. It’s just perfect.

of the music business brush you off, dismiss you, and basically just not give you the time of day?

From the moment Meltzer read Darby’s open letter, he saw him as a ‘perfect’ documentary subject: “someone who does something that opens up a lot of really intriguing questions, which you can then explore for the next three years you’ll be making the film.” Taking

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the Errol Morris approach, in a fashion similar to Bart Layton’s Oscar-winning The Imposter, Meltzer sits down his unreliable narrator in front of the camera, dramatically recreates his testimony, and then calls it all into question; making for a fascinating study in the slippery notions of truth and reality. “The challenge in this film was working with this really controversial character and respect the audience enough to let them come to their own conclusions about who he was and what he did,” offers Meltzer. “Brandon trusted me, but he also was aware that I wasn’t making a puff-piece. And it was difficult because I knew that, to make a good film, I had to betray him. I had to betray everybody in the film. I knew it was that kind of a movie: for it to be successful, nobody who was in the film could be 100 per cent happy with it.” “Really early on,” Meltzer continues, “the one thing that let me know that I definitely had a film in this, was that I’d spent a whole day talking to Brandon, interviewing him, and you’d understand him, and really see things from his point of view, and really feel for him. And then the next day I went and talked to Scott Crow – who almost turns out to be Brandon’s nemesis in the film – and I was completely under his spell. I realised this was

going to be a film about conflicting perspectives, where almost everyone on camera is unreliable.” In short: a film about an unreliable narrator becomes a puzzle of conflicting opinions, all of which are just as unreliable. “I wanted to put viewers in that uncomfortable position of asking them: ‘What do you think happened? Who do you think is telling the truth? Is anyone telling the truth?’” Meltzer says. “Essentially what I’m doing is putting viewers in the same position I was in when I was making the film, where you’re figuring out who you believe, and trying to find answers.” WHAT: Informant WHEN & WHERE: Wednesday 5 June, Human Rights Arts & Film Festival, Powerhouse, Tribal Theatre


MOTHER OF ALL SONGS Martha Wainwright’s music has always connected to family. Be it her self-titled debut, where she berated her dad for already telling all her stories in his work, or contemporary concerts where she’s played guest roles for big brother Rufus. Wainwright is a very worthy and important part of the existing dynasty, but she’s also made a strong mark of her own, as Liz Giuffre finds out.

Using a song cycle to visit the cycle of life, as it were, is hardly new, but Wainwright’s musical position this time is a clear development. No longer the littlest in the group but now a leader, here, for example, she attacks motherhood from a place of sweet apology rather than necessary joy or celebration – it’s funny, kind and inviting. The song in question, called Everything Wrong, is a tribute to her little boy Arcangelo, and wasn’t quite an afterthought for the album, but certainly something that came up unexpectedly. “That song, I wrote very quickly and the record was almost done when I wrote it,” Wainwright explains, “and to be honest it just flowed out of me. I was having a sad, tough day, and you know, I picked up a guitar and sometimes these things are just connected to some interior voice, and that’s when those become good days, that’s when songs can be easy to write, when they just sort of come out, and you let it tell its own story.”

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


Iron & Wine, Dan Kelly, Tim Freedman

ALBUM OF THE WEEK The Spazzys - Aloha! Go Bananas

“The Spazzys are the sort of punks who’d rather wear pink things than safety pins. And that’s lots of fun too.”



In the song Wainwright sings to Arc directly about what they can do together as he grows (with a sweet simplicity that sounds like what John Lennon might have channelled while writing for Sean in Beautiful Boy). But there’s also a clarity that comes with being a contemporary parent. Hilarious, honest and heartfelt, she explains, laughing, “I also wanted to acknowledge the other big occurrence in my life, which was becoming a mother and having a child and the most honest way that I could that in that moment was to apologise in advance for all the damage I will cause him.”







ith Come Home To Mama, Martha Wainwright again proves her place as a soulful, sensitive, layered and funny songwriter. Her two previous solo efforts, Martha Wainwright (2005), I Know You’re Married But I Have Feelings Too (2008), and Sans Fusils, Ni Souliers, à Paris: Martha Wainwright’s Piaf Record (2009) each gave her a chance to explore her place in relation to established systems, and this new one does too, but with a new focus. “A lot of the songs are about my mum [Kate McGarrigle] dying and marriage and the difficulty of relationships and wanting to continue on, but I also wanted to acknowledge the other big occurrence in my life, which was becoming a mother and having a child,” she explains. “And it needs to be accompanied by humour, especially if you’re commenting on marriage or things that are uncomfortable or difficult, it needs a dose of ‘not taking yourself too seriously’.”


Baz Luhrmann at the Great Gasby premier


“We don’t have extras on this film, we have actors, and I just give them a character and tell them to get out and rip it up, and let me tell you, they have no trouble doing it!”





Wainwright’s approach to music is one that has been informed by failure as well as success, and her output is characterised by a willingness to share the good, the bad and the ugly. As she explained, “I’ve had moments of high drama in my life which I draw on, but it’s not always like that. And there’s also sometimes things that come out of my mouth which can come across as a bit aggressive or subversive or shocking but, you know, to some writers that might be a bit dangerous. But my instinct is to keep it and go with it because it’s more interesting and a stronger and more potent, potentially, comment. So I like that, and I allow myself to be that way and to open my mind to those kinds of perhaps raw inner thoughts, or something like that.” Beyond the personal and raw is influence of her family, which this time saw itself lyrically as she explored the process of losing her musician mother Kate McGarrigle. Beyond her own compositions Wainwright also sang some of McGarrigle’s music, the song Proserpina, which was McGarrigle’s last composition. McGarrigle got to perform live at the Royal Albert Hall, but never recorded it. On Come To Home Mama (which is a lyric from Proserpina), Wainwright presents something that is part tribute, part cover, part new entity. It’s a re-interpretation of the famous folk singer’s final piece that is both a personal and professional passing on of the torch. “That’s an interesting way of putting it [as a re-interpretation] – no one’s ever put it like that, but in a way it probably is. She never got to record it so I don’t know what her real intention was for it, so in that sense I have taken some liberties, but it’s pretty close to the one time that she performed it. And that’s connected to this Greek idea of the Greek choir and response, which was all her thought process [in the lyrical target and musical approach to the song]. The reason that I wanted to record it is that I wanted to feel closer to her and I wanted to become her in a way, I sound a little bit like her when I sing it, and I wanted to use the way to become a bit more like her and perhaps to absorb her

final thoughts into me as a transference or whatever. So I would like to think that she’s singing, in a way.” On her upcoming Australian tour, Wainwright will perform her album at various theatres, including the Opera House, a room she’s played in both on her own in the past and as part of mega tributes like the Leonard Cohen I’m Your Man series a few years back. Hardly a stranger to pomp and its importance, she happily talks about it being as being a special place from onstage, as well as for us sitting in that 1970s-decorated splendidness in the audience. “The Opera House is iconic worldwide, so that’s exciting. And it’s the kind of thing that if you tell people you’re going to play the Opera House it’s like playing Carnegie Hall, it’s worldrenowned. Also for me it’s a very big deal, and probably I would say the height of my career when I played it last time with the Piaf thing [her live tour of her Piaf record]. I sold it out, or close to I think, and that was a really big deal for me. It wipes away some of those tougher days as an artist when you think, ‘Is anyone listening? Why am I doing this? Am I any good? Should I quit?’ – those kinds of things can run through your mind, when you can do the Opera House and be accepted in that room then it makes it all worth it.” Wainwright also keeps warm memories of fans from the Opera House last time around, some of whom left her a few little bits for her little one, too. “Yes, some fans were great and there were a lot of little koalas to tack onto the top of his pencils and things like that, which I remember getting too because my mum went to Australia when I think I was about 7 or 8,” she says, sweetly. WHO: Martha Wainwright WHAT: Come Home To Mama (IndoChine/Warner) WHEN & WHERE: Thursday 6 June, Sydney Opera House Concert Hall; Saturday 8 and Sunday 9, Lizotte’s, Newcastle

RESURRECTION TIME As The Superjesus faded, the ever-bubbling Sarah McLeod found herself more often mentioned for who she was dating rather than her music. After a decade away the band comes back together. And still gets all the old jokes. Ross Clelland tries to get a word in.

Vivid Lights


Monster Truck - Furiosity


Something For Kate at The Metro


Vivid Light Walk, Sydney Harbour Foreshore


New Anchorman 2 Trailer


The Marriage Plot by Jeffery Eugenides


Pizza from Vancanza

DRINKING Longrow ‘Red’

ometimes, it all just falls together. The Superjesus never really had the door-slamming explosive break-up like some bands, more just slowly disintegrating as life got in the way.


The decade anniversary of their last performance, coupled with return of drummer Paul Berryman from living in America, seemed the ideal opportunity to take the beast out for a run. Just a hometown Adelaide pub gig was the idea, but events have moved things along a bit. One thing that hadn’t changed is Sarah McLeod’s mile-aminute interview style. Ideas, asides and maybe a bit of the question you actually ask her tumble out, occasionally remembering to censor herself after she second thinks something she said earlier. “Oh yeah, we always wanted to do it again, but were still all a bit trepidatious as to whether it would work. It really was ten years since we’d actually been on a stage together,” she admits. So, first rehearsal: “It’s so gunna sound like a cliché, but it was like we never left,” she laughs. “Y’know, all those bad punchlines and in-jokes that bands have being together in a van for years? They were all just there, right off.”

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The Governor Hindmarsh pub show kept them smiling: “The vibe was so good. It was packed, people singing at the top of their lungs; everyone knew all the words. Not just in the quiet bits – you could hear them over the drums and everything.” Even before that show, another opportunity had presented itself. “It was like our second day of rehearsing, and I got the call asking if we’d like to do the Stone festival thing. I was cool, like: ‘So guys, what about one extra show – about 50,000 people, with Van Halen?’ It was about half a second for them to say yes,” McLeod grins. Thus, The Superjesus’ comeback timetable has now extended. There’s a club show or two in various capital cities, with plans open-ended from there. “We’ll just see how we feel after that. It’s all still baby steps,” ponders McLeod. But don’t concern yourself about the singer keeping busy. Her own five years away in London and New York – in part, avoiding a local media that seemed more intent on diarising her love life and drinking habits than her creativity – saw her gain a international reputation making dance music, of all

things. That came with conditions: “I know I sometimes have to make it clear which music I’m doing; I know some of my audiences maybe aren’t going to be friends.” There’s also a solo rock album about ready to go, and her acoustic live shows are an extension of her talkativeness: “I sit there with a bottle of wine and have a very public – sometimes slightly drunk – chat with the crowd, then throw in a song here and there. “You can’t do that in the band. I can’t go off on tangents while the band stands behind going, ‘Fuck! Could you just shut up and play the intro to the next song?’” Not for the first time, McLeod laughs at something she maybe shouldn’t have said. WHO: The Superjesus WHEN & WHERE: Thursday 30 and Friday 31 May, Annandale Hotel; Saturday 1 June, Cambridge Hotel, Newcastle




JUDAS, THE CRUCIFIED A bruised and battered Tim Minchin explains to Guy Davis why it’s hard not to fuck up a musical.

im Minchin is suffering for his art, and he doesn’t mind one bit. The arms of the acclaimed actor, cabaret performer and writer of musical theatre are covered in bruises as he works up the requisite passion to portray Judas in the touring production of Andrew Lloyd Webber and Tim Rice’s rock’n’roll musical Jesus Christ Superstar.


“It’s because I told the guys playing the guards to stop being such pussies,” smiles Minchin. “They just weren’t grabbing me. I have this scene where I’m screaming at Caiaphas and I told them ‘You have to hold me back or I’m gonna tear his face off’. They said they didn’t want to hurt me, so I called them pussies and then they really fucking hurt me.” But any pain he may have incurred bringing the character to life is well worth it, Minchin feels. A long-time fan of the stage show, he freely admits to having zero objectivity about its excellence. “I started listening to it in my teens, did it in amateur theatre in my late teens, understudying the role of Judas, and I still think as a 37-year-old who is pretty involved with musical theatre that it’s one of the best things ever written in the genre,” he says. A Tony nominee for his songwriting work on the massively successful Matilda the Musical, Minchin has the bona fides to comment on what works and what doesn’t. And to him, Jesus Christ Superstar works. “I kind of understand how hard it is to not fuck up a musical,” he says. “How many people do you know who say ‘Oh, I hate musicals’? They don’t hate musicals; they just hate musicals that don’t work. Because it’s fucking hard.”


All of which makes his admiration of Lloyd Webber and Rice’s achievement all the more genuine. “Somehow at the ages of 21 and 25, these two went ‘Yeah, let’s write about the last week of Jesus’ life but we’ll write it like an atheist thing or at least a secular thing. And we’ll put Judas at the centre of it, we’ll give Judas the

ethical dilemmas, we’ll make him the protagonist, we’ll have Jesus slightly caught up in his own press and we’ll fucking kill Judas and then crucify Jesus. Will Jesus come back from the dead? The fuck he will – Judas will come back from the dead and sing a satirical rock song about religion!’ The potential for this to be a load of crap is just massive but it’s profoundly awesome! Can you even conceive of an equivalent now? Can you think of anyone willing to take that kind of risk now?” Well, there is Minchin himself, whose cabaret work frequently explores themes of atheism and scepticism in a blackly comic fashion. But recent years have seen him interested in working in a more collaborative fashion. “I was craving that,” he says. “Comedy can send you a bit nuts because of its narcissistic nature. I became known as a comedian but for 10 years before that I was writing music for the theatre and trying to be known as an actor. And although I’ve long tended to write silly lyrics, as an actor I haven’t done so much comic stuff. Back in Perth, back in the day, I played Mozart in Amadeus, I played Hamlet...this was not high-profile stuff but these were roles that defined me. And I found the challenge of going into the slightly shittier stuff, the darker part of human emotion, to be more attractive to me than comedy. And I guess that’s reflected in my comedy, which isn’t too cheap and cheerful.” Consequently, playing Judas in Jesus Christ Superstar enables him to delve into such areas, although he claims he’s not the type of performer who accesses any inner torment to convey that of his character. “I don’t get into a zone backstage,” he says. “The second before I go on I could be high-fiving someone or teasing them about something. And the second I get offstage, I’m off. But that’s the thing about good text: if it’s there on the page, you don’t have to go all Stanislavski. You just have to go ‘Where am I in this moment? I am pretending to this guy who’s in a situation where a man he once loved, who was his best friend, is utterly letting him down’. The text

drags you in. As someone who isn’t highly trained and doesn’t have years and years of experience, something as passionate as the role of Judas is perfect because there’s no question about what his motivation is. He’s just trying to get shit back on track. Now he’s devastated, now he’s hanged himself, now he’s an angel. It’s awesome.” Technically it’s proven to be a terrific challenge for Minchin as well. “The whole thing is written in a range no one sings now, unless you’re a massively trained classical tenor – this is a screaming range,” he says. “As for the role itself, Judas starts off frustrated, gets furious, ends up so annoyed with Jesus’ absolute refusal to listen to sense and absolute acquiescence to the pop-star bullshit he’s going through that he thinks the only thing he can do to save this movement, which is about helping the poor, is dob him in to the authorities and get him off the scene. When he does that and sees what happens to Jesus as a result, he feels so guilty he hangs himself and then comes back from the dead. If you take seriously as an actor, it’s a proper journey to go through.” The acting bug has clearly taken a nip out of Minchin – one of his next projects is appearing alongside Toby Schmitz in a Sydney Theatre Company production of

Tom Stoppard’s Rosencrantz and Guildenstern are Dead this August. (Interestingly, the two appeared together in a university production of the play back in the ‘90s.) But that’s just the tip of the iceberg, really. He’s also penning songs for an animated musical for Hollywood studio DreamWorks, and by the end of the year he plans to get cracking on a new solo show he aims to premiere next year. “I just hope I have enough to be angry about in the same general area,” he laughs. “In terms of rationalism and scepticism and logic and maybe even religion to an extent and how we make our subjective judgements about the world – my general field, I think – there’s plenty to go around. But I don’t want to keep banging on about Jesus and shit; I‘ve sort of said what I want to say. So I’ll sit down and look through my notes on what I’ve been angry about and see if I can turn it into stupid songs.” WHO: Tim Minchin WHAT: Jesus Christ Superstar WHEN & WHERE: Friday 7 to Sunday 9 June, Sydney Entertainment Centre

ELEMENTAL CONCERNS They’ve only been partners for a couple of years, but the duo known as The Milk Carton Kids have already left an indelible mark on the Americana landscape. One half of the partnership, Joey Ryan, talks to Steve Bell about authenticity, tradition and harnessing that darkness on the edge of town.

he music of nascent LA duo The Milk Carton Kids is steeped in the simplicity and authenticity that has for generations typified the best exponents of the folk and country genres, which is why it’s no surprise, when we track down the pair, guitarist and vocalist Joey Ryan – one half of the act alongside partner-in-crime Kenneth Pattengale – explains that they’ve just interrupted their biggest US tour to date to bolt back to their hometown to perform at the nomination ceremony for the 2013 Americana Music Association Awards.


Not only were The Milk Carton Kids nominated in the ‘Emerging Artist Of The Year’ category on the back of their gorgeous new album, The Ash & Clay, but they also got to perform alongside such legends of the field such as T-Bone Burnett, Buddy Miller and Jim Lauderdale to an audience of their peers and industry stalwarts. This honour was perhaps made even more daunting by the fact that the Americana genre is in particularly rude health at the moment, no doubt buoyed by the recent successes of a raft of artists such as Justin Townes Earle, Old Crow Medicine Show, Gillian Welch and The Felice Brothers, to literally name but a few, who have dragged the proud and noble musical form from the margins back into the spotlight in recent times. “Yeah, I think so. If you’re looking at the pendulum of mainstream public opinion that swings back from genre to genre every few years – I think it’s definitely swung in our direction,” Ryan concurs. “But I think we’ve tried to stay rooted in the fact that really, Americana music – or folk music or whatever you want to call it – is a very strong and unbroken tradition, and the fact that it periodically gets shunted into the mainstream spotlight doesn’t in the long-term in my opinion affect the overall health of the genre, or the attitude towards making music that yields some of those swings of perception.” Given their status as current torchbearers of the form, the two Milk Carton Kids are conscious they’re part of a rich and ongoing lineage that can be traced right back to the roots of the country and folk traditions.

“Yeah I think so, it’s hard not to be,” Ryan admits. “As an acoustic folk duo with two guitars and two guys singing close harmonies, we’ve never been accused of inventing a brand new sound or anything like that. If there’s anything compelling or unique in what we’re doing, it’s bringing our own contemporary and hopefully thoughtful perspectives to a tradition that’s been going strong for many decades.” With the pair’s beautiful vintage guitars and penchant for writing timeless songs, it’s clear the concept of authenticity is an important part of The Milk Carton Kids’ arsenal. “Yeah, it is,” Ryan agrees vigorously. “Aesthetically – just in using the old guitars and having the music taste that we have – a lot of it on the surface could be misconstrued as being referential, or traditionalist for the sake of it, so I think the authenticity comes with bringing a modern perspective or speaking with an honest voice. We grew up in the ‘80s and the ‘90s in Los Angeles, California, and now we’re both 31-yearsold in 2013. It’s a tumultuous and interesting and engaging world that we find ourselves living in, so I think that if we write honestly and authentically about the world around us and about our experience of it, that’s hopefully what we can bring to bear on the genre. Which is in turn what the genre has always valued.” This analysis of modern society, prevalent on The Ash & Clay, is couched in a manner that sounds beautiful and soft on initial listens – largely due to its simple arrangements, lush harmonies and beautiful tones – but on closer examination this veneer is seen to mask a dark interior, whereby the lyrics hold nothing back in their assessment of the modern malaise. “It is dark – there’s a lot of darkness to be found if you’re looking for it and we made a point to investigate some of that, both within ourselves and in our country and our society and the world that we live in. But at the same time, I mean even there in the title track of the album and the opening track, Hope Of A Lifetime, we were very conscious of how much

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we were pointing out the shortcomings of ourselves and the world around us, so it was really important for us to imbue the entire thing with an overriding sense of hope that we actually feel inside. That comes from a very deep place and a very personal place, and says that there’s always a way to make things better and that there’s always a way to keep moving forward with the intention of making yourself and the world around you better. So I would hate to think that anyone took all of that darkness out of the album without also getting the more than just a glimmer of hope that pervades all of it.” This darkness in the shared vision of The Milk Carton Kids has been there from the very outset. When the pair first crossed paths about three years ago Ryan was drawn irrevocably to one of Pattengale’s more macabre compositions, and it wasn’t long after this first confrontation that the pair put their respective solo careers on hold to form the partnership that’s paying such handsome dividends today. “Well, we like to say that ‘career’ is a generous term for what we were doing on our own,” Ryan chuckles. “We were trying – we were having a go at it. It was a pretty honest attempt, to the point where

I’d been on tour pretty steadily to not really declining audiences but not really exploding audiences, and Kenneth had been putting out records on his own for about eight years and not touring – he liked to put out records and play one show to celebrate its release and then go back and make another record, so he’s got about eight albums following that model, which is perhaps why nobody had ever heard of him. “Then one day we met, and it was over a song that Kenneth was singing at one of his solo shows the first time I saw him. It was called Memoirs Of An Owned Dog, a song written from the perspective of a dead dog who’s just been hit by a truck. The lyrics are the dog’s last remembrances that he scribbles on a piece of paper as he lies dying in the street – you can see why there’s all that darkness seeping into The Ash & Clay; it all started from there, such a dark perspective. It’s an incredibly compelling song with a unique approach.” WHO: The Milk Carton Kids WHAT: The Ash & Clay (Anti-/Epitaph) WHEN & WHERE: Tuesday 4 June, Factory Theatre



STILL STANDING Peter Oxley of ‘80s popsters Sunnyboys is pumped on the eve of a headlining Vivid performance. After all, the Sunnyboys’ story almost turned out very, very differently. Michael Smith gets the whole story of the band’s miraculous comeback.

ometimes you can be lucky in this music business. The racket your band is making just might match the popular zeitgeist and it all happens very quickly. It certainly did for three young musicians – two brothers, guitarist Jeremy and bass player Peter Oxley, and their drumming school friend Bill Bilson – who’d grown up in the northern NSW town of Kingscliff, and met Wagga Wagga refugee, guitarist Richard Burgman, when they relocated to Sydney late in 1979 and formed a band called Sunnyboys. Late Aussie guitar legend Lobby Loyde happened to hear them rehearsing and took them straight into the studio to record a debut EP, which included a song called Alone With You.



That debut EP did such good business as an indie release that in February 1981, Sunnyboys found themselves signing with Mushroom Records, and with Loyde producing their first two albums, and over the next couple of years they had a string of hits including Happy Man and a re-recorded Alone With You. There was a UK tour, a third album recorded there and national tours, but then things started falling apart. Or more specifically, the band’s singer and songwriter, Jeremy Oxley was falling apart, battling mental illness and a consequent drinking habit. By June 1984, barely five years into their career, it was all over. “We didn’t think we would be ever able to play again,” Peter Oxley admits, on the eve of the original line-up’s first headlining shows together in 21 years, “due to Jeremy’s battle with schizophrenia for many years, but since doing the Dig It Up! [Hoodoo Gurus invitational festival] show, which was last year, it was really a little testing ground for us to see if Jeremy enjoyed playing in front of people again and if he had the confidence to play. So really, none of this would have happened if it hadn’t have been for that Dig It Up! show where we played under a different name and we played on the Sunday afternoon, just to sort of protect ourselves and Jeremy. But the show went very well and Jeremy loved playing again, and the audience loved us, which was quite overwhelming on the day. So after that show we just thought if there were any offers for us to play more shows, we’d take them up and play a few more shows.


“Jeremy’s really enjoying [reconnecting with the band and the back catalogue] – the band, we’re having a great time, and it’s interesting thinking about it ‘cause we were around, you know, 30 years ago and we weren’t around for very long, but I think, particularly Jeremy’s lyrics have stood the test of time. They can be totally… You can relate to them now as you could in 1980 because they’re not really set in a

The Black Angels

particular time period. They’re more about how you feel, and you’re questioning what you’re doing, and the confusion of being a teenager and a 20-something person in this world, you know, and I think those lyrics still are relevant today. When I listen to the songs, I still can relate to them,” he chuckles. “It was very easy to play them all again and they were very, very fresh, like we’d stopped playing yesterday. “I was quite amazed, because we only rehearsed three times before we played the show at the Enmore Theatre, and after the first song in the first rehearsal, we were all just smiling – we just went, ‘Whoa, here we are!’ And funnily, being a little older as well, you’re much sort of calmer and a bit more confident in your playing and in your singing, so it’s nice having that feeling as well, playing these great pop songs with dark lyrics is bloody great fun.” While the band will of course be playing the hits expected of them, the set has been structured around what Jeremy feels he really wants to sing – “There were some songs that he didn’t want to play.” Then, as well as the performance, the evening will feature a screening of a documentary, The Sunnyboy, directed by Kaye Harrison, whose credits include the ABC-TV documentaries 2005’s Crossing The Line and 2010’s The Long Goodbye, who also coproduced it with Tom Zubrycki. The documentary, which is filmed from Jeremy Oxley’s perspective as his confidence and wellbeing slowly grows thanks to a new medical regime that stabilises his condition, as does the support of his partner, Mary, won this year’s ‘Stanley Hawes Award’ “in recognition of an outstanding contribution to documentary filmmaking in Australia”. A condition in which the sufferer is never sure what is real and what isn’t, we see Oxley struggle with the physical ravages of his illness and the bridges rebuilt in relationships damaged by it, particularly that with his brother Peter. “It’s really unravelling the story of Jeremy’s struggle with schizophrenia,” Peter explains carefully, clearly aware of the importance of getting the explanation right. “It’s a very positive documentary. What we’re

trying to show, through Jeremy’s portrayal, is that there’s always hope, and if possible, if you can be there, there’s always the chance that that ray of light can come through – there might be some sort of success in the end. You know, for a very, very long time there did not seem like Jeremy’s pain and confusion would ever be able to end. I mean, he’s still very fragile, but he’s able to live in our world now and be part of our world. He’s able to sing again and to play his guitar, and he’s in a great, loving relationship with his wife Mary. So it’s almost a miracle,” he laughs self-consciously. “Well, it is a miracle that it’s actually even happened. It’s been a good two years doing the documentary because I think also it’s been very good for Jeremy. He’s been able to unravel a lot of stuff that’s been in his head for a long time, just through answering questions on how he feels with the documentary maker. Hopefully it’ll [show] families or friends or people that know someone with a form of schizophrenia that there can be a positive outcome, that there is a chance that they may be able to get good help.” The thing to realise about all this is that around one in every 100 people will experience psychosis at some stage in their lives; that schizophrenia is the third leading contributor to the burden of disease and injury in Australian males aged between 15 and 24, and the fifth leading contributor for females, and that overall, about 50 per cent of people who develop a psychotic disorder will do so by the time they are in their early 20s. As for the Sunnyboys, “We feel very privileged that we’re able to play again; also that people want to see us play,” says Oxley. “Really it’s a celebration I think of the fact that Jeremy made it to here and the four of us can get together and play these songs from when we were young and thanks for coming along!” WHO: Sunnyboys WHEN & WHERE: Sunday 2 June, Vivid, Sydney Opera House Concert Hall

WHAT ALBUM IS ON HIGH ROTATION WHEN YOU ARE ON TOUR? This tour I’ve been listening to a lot of The Black Angels.

Something For Kate touring nationally check The Guide for dates.

APP IT UP SNOOPIFY Size: 8.9MB What It Does: Prepare to say goodbye to productivity. This app lets you superimpose Snoop-themed stickers onto your pictures. Who wouldn’t want to add golden grills and a doobie to a picture of their grandma. HIGH-larious. Geddit? Why It’s Essential: For the lols. Platform: IOS 5.1, Android



IF YOU GO AWAY With her latest album, Irish songstress Eleanor McEvoy explores the idea of leaving, in all its various manifestations, as she explains to Michael Smith.

t’s taking on the whole thing of leaving,” Irish singer-songwriter Eleanor McEvoy explains the basic theme that underwrites her latest and typically diverse new album, If You Leave…, “be it from an emigrant’s point of view or somebody choosing to leave. There were a couple of themes to the album; it’s haunted a little bit by [the late] Brian Jones, founding member of The Rolling Stones, ‘cause I was listening to a lot of that – early Stones, Beatles – before I went in to record, and I always thought that I liked Brian Jones and I realised, as I started to write about him, that I actually didn’t like him at all. It’s funny how writing can do that to you,” she chuckles.


The song in question is Heaven Help Us. “Of course I loved the talent, I liked his music – I thought he was very talented in that way – but I’d hated to have gone out with him, I’d hated to have been his parent or his child or his next door neighbour! I’d read a lot about him as well and kind of imagining myself going out with him,” she says. That initial immersion in the classic pop and blues-rock of the 1960s, while she was on holiday as it happens, also explains her decision to include an otherwise unlikely yet surprisingly apt version of the Robert Johnson blues classic, Dust My Broom, on the album, itself another

take on the theme of leaving. Other tracks take you from the point of view of the lover telling the significant other what their leaving will mean to them, to the ultimate revenge song, Don’t Blame The Tune – taking a leaf out of the Taylor Swift school of songwriting, perhaps. “Even the mid-relationship kind of songs are also kind of there. You know, on one hand a little bit coy and pretending to be one thing but actually are quite venomous underneath,” she adds with a laugh. “So you have that going the whole time, you know? I’ve been particularly interested recently in songs that have pretty little melodies that you sing ‘round in your head and then suddenly you listen to the lyrics and go, ‘Oh my God!’ I think that can be incredibly powerful – it’s like having a cuddly little teddy bear in the corner of your room and two years later you find out the teddy bear is actually a serial killer and all this time it’s been in your bedroom!” Along with newer tracks written for the album and the odd cover – including a limpid voice and piano version of The Beach Boys’ God Only Knows – McEvoy also looked back at a couple of songs from her back catalogue that hadn’t fitted previous albums, including the title track and Land In The Water, a co-write with Dave Rotheray from The Beautiful South. There’s one song,

however, that relates to the song that put McEvoy on the international map, Only A Woman’s Heart. Titled Secret Of Living, it features guests Mary Coughlan, Sharon Shannon, Gemma Hayes and Hermione Hennessy. “It was the 20th anniversary of Only A Woman’s Heart last year,” she explains, “and there was supposed to be one concert and it ended up being nine nights, and I was looking ‘round the stage one night at the diverse people – Mary Coughlan doing a jazz blues thing, Sharon Shannon playing an accordion, you’ve got singer-songwriters, so many elements – and it struck me it was a bit like The Traveling Wilburys so I thought, why don’t I try and write something that’s gonna fit everybody’s styles. So I came up with Secret Of Living.”

From start to finish, this song is techno genius! The beautifully intricate instrumentation creates an electronic puzzle for your ears. Teamed with the darkness of Karen’s voice, the Swedish duo have written a track that sounded ahead of its time when it came out in 2003, and still does now. – Linda Marigliano (Good Nights)

WHO: Eleanor McEvoy WHAT: If You Leave… (Independent) WHEN & WHERE: Friday 31 May, Illawarra Folk Club; Saturday 1 June, Cat & Fiddle; Sunday 2, Humph Hall; Wednesday 5, Clarendon Guesthouse, Katoomba

For more interviews go to • 33

The Drum Presents

The Stone Roses: Made Of Stone “It’s the reason why I’ve still got my hair like this. It’s the reason why I have never worn a tie. It’s the reason why I listen to that album at least once a week. It still makes me tingle” From the director of This Is England, comes a new documentary which follows The Stone Roses as they make their return to touring after 15 years and play three sell-out homecoming gigs at Manchester’s Heaton Park. Few bands have had the same impact on British culture as The Stone Roses and the film’s unseen archive footage provides a new insight into a band that became a phenomenon in the late ‘80s. WHEN & WHERE: Saturday 8 June, Event Cinemas George St. We have ten doubles up for grabs – to enter stalk The Drum Facebook.

Lovelace D. Rob Epstein & Jeffrey Friedman

“At first I am closed up like a flower and then gradually the petals start to open and then I finally learn about myself and I learn how to… to enjoy sex and I feel free.” Monday 10 June, State Theatre and Saturday 15 June, Event Cinemas George St



SLOW SHOW Mistaken For Strangers is a band documentary about someone not in a band. Danielle O’Donohue talks to its director and leading man Tom Berninger.

om Berninger is a little brother. His older brother Matt fronts The National, the successful US indie rock band whose last album High Violet made such an impact that the band toured Australia several times and even got to meet US President Barack Obama.


But Tom, the youngest of the Berninger clan, isn’t really a fan of indie rock. He prefers metal. He also likes making short horror films and doesn’t really seem to appreciate just how well regarded and big his brother’s band are. So, when Matt invites him to go on tour with The National as part of the crew, Tom takes his video camera and we get to see things spiral out of control for the hapless new member of The National’s team. Berninger’s initial intention wasn’t to shoot a movie. The movie camera he packed was to shoot footage for web diaries for the band’s website and little bits and pieces but two and a half years after going on tour his movie Mistaken For Strangers – that is just as much about his relationship with Matt as it is about his brother’s band – has just screened at the Tribeca Film Festival in New York and is now on it’s way to Sydney Film Festival. “I didn’t expect much of anything for a good number of years when I was working on it,” Berninger says of his film. “For my movie to be taking me to Sydney, Australia is pretty amazing. Especially when I wasn’t able to go there on tour with the guys.” The reason Berninger never makes it to Sydney with The National is a moment in the film Drum Media won’t give away, but needless to say, Berninger is keen to finally be making it down under. From its genesis as short throwaway clips Berninger was filming because he had a camera with him, to a full blown documentary feature, Mistaken For Strangers had to be given a narrative and it turns out the best footage was of Berninger himself. Well, both Berningers and their relationship. So this documentary about The National has been turned into something else entirely though fans of the band will still enjoy the beautifully shot live footage and the insight into what life on the road with the band is like. “It was nerve-wracking, especially for me at the end,” Berninger the younger, admits. “I had no idea the movie was going to be turned into this. I was pretty scared because I had a lot on the line. Not only was I the director and the main editor, I was the shooter and I became the main subject just because that was the best stuff. I was incredibly nervous. It still hasn’t really sunk in. It’s sunk in that I have a good movie but it hasn’t really sunk in about what I’m going to do next.”

Tom Berninger Berninger’s relationship with his older brother is laid bare in Mistaken For Strangers, but Tom is happy to report the pair have survived the movie making process and have a stronger relationship as a result. “We have a smile on our faces a little more now. Our relationship has come into a different phase,” he says. “For a good two years of editing I didn’t know if I had a movie at all and the last six months of editing we knew we had something good. My brother was really onboard. He was loving what we were doing. We were working very hard together but he was not quite sure what this movie’s reaction would be. So it was pretty difficult.” “We were very familiar with and accustomed to seeing ourselves on camera and picking and choosing the fights we wanted to show, the funny moments or the sad moments. We saw each other as these people onscreen. We’d look at it more as a story and characters. But there’s always that fear of are we just laughing at this because we find it funny? Or will it be interesting to anybody else? Will anybody even care?” The answer is a resounding yes. But without the help of Berninger’s sister-in-law Carin Besser, Matt’s wife, the film may never have been finished. Besser is a former editor at the New Yorker magazine and her ability to see both sides

Now that the film is finished Berninger gets the enviable job of taking it to film festivals to show it off, and it started in April with the Tribeca Film Festival in New York, where Robert De Niro introduced the film.

“Maybe we’ll work together again someday. I don’t know on what but it’s become more of a working relationship now.” WHAT: Mistaken For Strangers The National

34 • For more news/announcements go to

“Even in our working relationship I can feel like I have these great ideas and he doesn’t appreciate them because he doesn’t believe in me. And he has great ideas but I think he’s overbearing and it’s his idea or nobody’s idea... in a certain way. Carin, who met us both as adults, can see where I’m coming from without that filter of Matt’s younger brother.”

And if the brothers have learnt any lessons about their relationship, there’s reason to hope that things have improved. Tom even sounds hopeful that this isn’t the last time you’ll see the names Berninger and Berninger on the credits to something.

Tuesday 11 and Friday 14 June, Event Cinemas George St


“My brother and I still play these roles from when I was ten and he was 19. Even though we’re not, I can still be the selfish younger brother and he can be the overbearing older brother.

“I think because if the movie was bad I was so up shit creek that it didn’t matter anymore. I was smiling. It was like, ‘Who cares? let’s just have a good time. I can’t believe I’m standing here.’ I have no reference to that and never will. It’s the most crazy event of my life.”

“This coat is the only clothing in the world that has it’s own car and driver”


“She was an incredibly good editor. She’d come in during the days and I’d show her cuts and she’d give me suggestions about things. She’s got a really good eye and a really good sense of tone and of character and of everything. My brother and I are still not the best communicators. Carin had the ability to take both [sides] of what we were trying to say, she was definitely a translator between my brother and I in a lot of situations. She was invaluable.

“Up until then we’d had small little testing screens with no more than ten people at a time and then this was a colossal event in my life. I’ve never married but I felt like this was like getting married. I wasn’t even nervous. I’m more nervous about smaller screenings at other festivals.

Behind The Candelabra D. Steven Soderbergh


of the brothers’ relationship gave her valuable insight when it came time to edit the film.

WHEN & WHERE: Friday 14 and Sunday 16 June, Event Cinemas George St




A Cautionary Tail D. Simon Rippingale

Power, renegades and genocide. Anthony Carew sits down with filmmaker Joshua Oppenheimer to discuss his chilling new cinematic offering that explores the notion of evil in all its human guises. n 1965 and 1966, in the wake of a failed coup, the Indonesian army, paramilitary groups, local vigilantes, and order of militant Islam commited an essential genocide: anyone seen as being a ‘communist’ was rounded up and executed. Anywhere between 500,000 and 2 million people were killed; and from there Suharto’s 30-year reign of New Order took over. “The rest of the world cheered on these killings while they happened, the killers won, they’ve been in power ever since, and they’ve told stories to justify it,” says Joshua Oppenheimer.


Oppenheimer – an American-born but Danish-based documentarian – walks into this minefield with The Act Of Killing, a film not just about the gangsters who killed countless communists a half-century ago, but about those self-justifying stories; it could just as easily be called The Act Of Storytelling.


“We all create ourselves and our world through the stories we tell,” says Oppenheimer, on a crackly Skype line from Helsinki. “We use storytelling to escape from our most bitter and indigestible truths. One of the constants in all the stories we tell, across all cultures, is this Star Wars morality: a division of the world into good and evil. Good guys and bad guys only exist in stories. Every act of evil throughout history has been committed by human-beings like us, and every time we divide the world into good guys and bad guys, we actually deceive ourselves. And it’s a dangerous lie; because it helps us run away from the unpleasant reality that evil is something human. There are no evil people, there are only people who commit evil. Whenever we take that leap, from people who do evil to evil people, then we’re just using stories to escape from the things in ourselves that we cannot face up to.”

The Act Of Killing began when Oppenheimer was at work on another film (which will now be revisited as The Look Of Silence, a forthcoming companion-piece) about survivors in Sumatra, who, “living in the terror of this regime of impunity” were too afraid to form a union in fear of being called Communists. “Every time we filmed even the most simple testimonies from survivors’ families, the police would come and arrest us. Yet, at the same time, the neighbours of these survivors were the people who’d perpetrated these crimes, and they were free to not only talk about what they did, but boast about what they did,” Oppenheimer recalls. “Everybody in the broader human-rights community was adamant that we had to make the film; we had to expose the corruption, the impunity, the use of gangsters, and the fact that it all goes back to the celebration of genocide. Then one of the survivors said to me: ‘you know how the gangsters boast about their killings? Show that to your audience’.” And, so, Oppenheimer went from documenting the victims of the killings to the perpetrators. Interviewing “every killer [he] could find”, he came across people who weren’t haunted by their histories, but glorified for them; the cultural cachet of ‘gangsters’ in modernday Indonesia given the perpetrators political clout. “All of them were virtually falling over themselves to tell me what they did, to show off what they did,” says Oppenheimer. “I realised there were two stories: what happened in 1965, but also what’s still happening now. If the killers are boasting, why are they boasting? To whom are they boasting? What does this boasting say? How do I see that? How does the world see that? And how do they see themselves?” It wasn’t until he interviewed his 41st killer, Anwar, that he found the one who’d be the film’s central subject:

a doting grandfather and class clown who took to Oppenheimer’s brief – dramatically stage re-enactments of his crimes – with theatrical relish. “He spent five years with me trying to run away from what he’s done by fictionalising it,” the filmmaker says. “He was trying to build this cinematic, psychic scar-tissue around his wounds, desperately trying to convince himself that what he experienced wasn’t real. Eventually, he’s forced to confront the fact that it is real, and no amount of acting can ever help him escape his reality.” Over that five year period, filmmaker and ‘star’ spent long hours together. “You can’t make an honest film about anybody unless you’re ready to get really close to them,” Oppenheimer offers. “Sometimes people ask ‘how did you keep your distance?’ And I say: ‘I didn’t keep my distance’. I got very, very close, and that made it very, very scary.”

That someone was Clark Carter, one of the two adventurers who set out to traverse the entirety of Victoria Island, a largely-uninhabited stretch of remote wilderness in Arctic Canada. Along with Chris Bray, Carter set out on foot, camera in hand. “They were filming when they were really in pain, and really suffering, and obviously never just saying ‘it’s too hard, I’m not going to pull out the camera now’. Because of that, there was really something,” Harvey enthuses. Carter was, when the duo first started planning their first trip to Victoria Island, a uni student in Sydney studying, among other things, cinema. So, he came prepared. “I went into the trip knowing the adventure itself was half the battle,” Carter says, “the other half was filming it all. It took up a huge amount of energy, because the worst moments for you are the best moments to film. So, we really had to get into this mindset of stopping during the worst moments, pulling out the video camera, doing a little piece-to-camera, getting a few wide shots. “When you’re surrounded by mud everywhere, you need very long legs on the tripod,” Carter continues, with a laugh. “We got really ruthless with our video cameras. We did a lot of things that you don’t want to do to your cameras: strapping them to the side of wheels, rolling over them accidentally, placing them on a little floatie and pushing them out on the water. Because we had two cameras, we were never that scared about what would happen if one of them

Eventually, for Carter and Bray, “The video camera eventually became the third team member: the one [they’d] confide in when things are going rough, this outlet for stress.” This in-the-moment feeling gifts The Crossing with what Harvey calls the “sometimes disappointing, sometimes exhilarating, often monotonous” journey of trudging across endless wilderness, on foot, for months at a time. Harvey is himself an adventurer – “I’ve done a couple of trips to Antarctica, treks all over the world, filming at high altitude” – so he understood the tone the film needed to capture: both breathtaking and banal, and about the relationship forged along the way. “It doesn’t fit a nice category: it’s not a real hightension, high-stakes, high-drama adventure movie,” says Harvey. “There is a particular genre for the ‘adventure’ film, and people know what they’re in for with that. There are definitely elements of that in our story, but we hoped for something a bit different. It’s about these two guys and this sense of adventure; this dream that you have as a kid that most people

D. Richard Linklater

“If we were meeting today for the first time on a train would you start talking to me? Would you ask me to get off the train with you?” Saturday 8 June, State Theatre

broke; we knew we’d always have the other one. So we were pretty ruthless about always whipping it out; we figured even if we dropped the camera in the water, at least we’d get a good shot out of it. “It only really got annoying when the other person wanted to film when you didn’t really want to. If I was just in a really uncomfortable position, and all I wanted to do was push through and try and get to camp, and Chris would drag the whole process out by setting up a shot, stopping me, asking me to hold on while he set up another shot, asking me, ‘How are you feeling, Clark? Say something to the camera!’”

Before Midnight

WHEN & WHERE: Thursday 6 June, State Theatre and Friday 7 June, Event Cinemas George St

Filmmaking ain’t easy, but add a trek across the wilderness into the mix and as Anthony Carew learns from Clark Carter, the worst moments can make for the best cinema.


Saturday 15 and Sunday 16 June, Event Cinemas George St

WHAT: The Act Of Killing


hen director Julian Harvey was handed the 105 hours of raw footage that would serve as the basis of The Crossing, he “Could instantly see that there was someone behind the camera who knew what they were doing”.

“And on a cliff top in-between… A tiny figure could be seen and as the salt wind whipped her hair she leaned into the stormy air.”

Upstream Color D. Shane Carruth get squashed out of them. But the way that they shot it was really intimate; it’s just the two of them.” Just the two of them, indeed. “You’re stuck with the one person 24 hours a day, seven days a week, for periods of two or three months,” says Carter. “Under really stressful situations: you’re both tired, you’re both irritable, you’re both stretched to your own personal limit – it’s quite trying. But because you’re having the exact same experiences together, you tend to get on the same page pretty quickly.” Yet, while Carter has heard of other expeditions that had to be cancelled due to personal conflicts between the party members – “they just couldn’t stop arguing!” – he and Bray have remained close even back in civilisation. “We get together, have beers, plot and scheme,” Carter smiles. “But it always comes down to time and money. So, nothing is planned at the moment, but we’re always talking about potential adventures.” WHAT: The Crossing WHEN & WHERE: Thursday 6 June, Event Cinemas George St

“The water before you is somehow special, It is better than anything you have ever tasted, each drink is better than the last, take a drink now.” Saturday 15 June, State Theatre and Sunday 16, Event Cinemas George St



For more interviews go to • 35

Only God Forgives D. Nicolas Winding Refn

“If the tables were turned your brother would have found your killer and brought me his head on a fucking platter”



MEADOWS MADE FOR ROSES’ UK director Shane Meadows made his name as the Cool Britannia-period maker of non-Swinging London hit films A Room For Romeo Brass and This Is England. Despite his boutique multiplex success, Meadows has continued dabbling in short films and music clip making (see his 2007 clips for Richard Hawley). He’s also found TV success with serialised sequels to This Is England. Prior to taking on directing Stone Roses reunion tour documentary Made In Stone, he’d dabbled in the music documentary format (2007’s Gavin Clark film The Living Room). But there were even more pertinent events in Meadows’ life that made him The One for this job.




Meadows mythology has it that he dabbled in the type of petty crimes that his early short films were mired in. In 1990 Stone Roses members were fined 3,000 pounds each for damaging their former record company’s office following a contract dispute.

An early version of Stone Roses had them playing ‘60s-influenced music under the name The Waterfront – named after the Marlon Brando film On The Waterfront. In his college days Meadows formed a band called She Talks To Angels (named after a Black Crowes song).

Meadows’ 2006 film This Is England shares a name with a 1985 song by The Clash (on the album Cut The Crap). In 1995, Roses’ Ian Brown and John Squires joined The Clash’s Mick Jones on stage at a benefit to cover the punk band’s classic Bankrobber.


Saturday 15 and Sunday 16 June, State Theatre

Stone Roses have always cited the music of the northern soul scene as an influence on their sound. In 2004, Meadows filmed a mockumentary called Northern Soul – it was about a wrestler.

Stories We Tell D. Sarah Polley

THIS IS THE ONE Meadows delayed filming of his latest This Is England series to film the Stone Roses documentary. This Is England ’90, originally due to broadcast last year and now planned for later in 2013, was set to feature the music of Stone Roses. Meadows told Metro: “The mad thing for me is, I was supposed to be doing This Is England ’90. That was the one I was looking forward to the most because I was going to get to use the Roses’ music.” WHAT: The Drum Presents The Stone Roses: Made Of Stone


WHEN & WHERE: Saturday 8 June, Event Cinemas, George St

“I did sense that she was a woman of secrets, she yearned for more” Friday 14 and Saturday 15 June, State Theatre and Sunday 16 June, Hayden Orpheum

Stoker D. Park Chan-Wook

“Personally speaking I can’t wait to watch life tear you apart” Friday 7 June, State Theatre and Sunday 9 June, Event Cinemas, Geroge St

INTO THE JUNGLE Filmmaker Juliet Lamont reveals to Anthony Carew the secrets behind her covert operation to make her music documentary behind Mayanmar’s iron curtain.

t all started with a Facebook update,” laughs Juliet Lamont, of the beginnings of her film Miss Nikki & The Tiger Girls. “Nikki’s an old friend of mine from the VCA in Melbourne, and I hadn’t seen her for years, and she had a status that said ‘I just started Myanmar’s first girl band’. For me, as a documentary-maker, just that one line had all the dramatic stakes and conflict you could hope for.”


At the time, it was 2010, and Myanmar was still suffering under a military dictatorship. So, when Lamont chose to travel behind the regime’s iron curtain to make a film about Nikki May’s attempts to assemble a manufactured girl-group amidst a climate of repression and censorship, the undertaking was fraught with challenges and dangers. “When we went there in 2010, it was just before the first elections in 20 years, so there was a complete ban on any foreign media, particularly anyone with a camera,” Lamont recalls. “We had to pretend we were tourists going on a meditation retreat, that’s how we got our tourist visas, and even then you can’t stay in the country for too long. We kept filming under-the-radar on a tiny camera that looked like a still camera, then we’d have to leave and come back again. We went six times for about two weeks at a time.” Putting on her “biggest tourist hat” and “biggest, brightest smile,” Lamont made the film covertly, under some duress. “It was a really challenging, often difficult film to make. Each time we left, we never knew if we’d be let back in. And there was always the feeling that we were going to get our footage taken away. We got pretty good at stashing our harddrives in our undies on the way out of the country.”



36 • For more news/announcements go to

That sustained ruse strangely mirrored the lives of the film’s local subjects: the five girls that May had recruited to be part of the Tiger Girls. Each wears their own biggest, brightest smile, masking the duress of their daily lives. “They couldn’t really speak to us for fear of jail,” says Lamont. “I was really naïve, I thought they’d be able to speak to us really openly and directly about their experiences living in a country like that. But because they’d been living under a military regime all their lives, they had a psychological imperative not to tell the truth, because it gets them in trouble. At the beginning of the film, before the country changed, if they’d talked about the fact that their parents made $2 a day at the pork shop, or that the electricity service was fucked and the government was fucked, if they’d been found out they would’ve gone to prison. So, I had five beautiful girls who really wanted to tell me that they wanted to be famous, but they couldn’t actually tell me much more than that.” Eventually, Lamont decided: “’you can sing, why don’t you sing the story?’” And, thus, instead of to-camera confessionals, Miss Nikki & The Tiger Girls has its girl-group subjects singing out their troubles in song form, expressing the feelings with a truthfulness they can’t quite speak. “And, from that, it turned into a sort of hybrid musical-documentary.” Of course, even the fact that the Tiger Girls were writing their own songs —both for the band and for the film— was itself a form of sedition. “They started to do original material really early on, and that was a real cultural no-no,” offers Lamont. The whole music industry —if you can even call it an ‘industry’— is pretty much just rip-offs of Western hits that they put their own Burmese lyrics to... Towards the end of the

film they wrote a song calling all the exiles to come home and rebuild their country. If they’d written that song in 2010, they would’ve been jailed.” After Lamont’s debut documentary, The Snowman, was an intensely personal piece exploring family secrets, Miss Nikki & The Tiger Girls became innately political (“it’s impossible that this wasn’t going to be a political film”) by dint of being filmed in Myanmar, and by chronicling the culture clash between the budding band and their free-spirited mentor. “Nikki really thought she was empowering them by taking them to a sex shop, to exposing them to all this Western music, to encouraging them to being really out there,” Lamont says. “It almost became this cautionary tale, on forcing other people into doing something, and the loss of innocence that comes with.” WHAT: Miss Nikki & The Tiger Girls WHEN & WHERE: Thursday 13 June, Event Cinemas, George St




The Look Of Love D. Michael Winterbottom

With the Sydney Film Festival two weeks out, so many of the lists of recommendations circulating are so much educated guesswork; gazing at the tea leaves and hoping for the best. Like, the likelihood of Asghar Farhadi’s The Past being amazing is high, but only those in Cannes right of this typing have actually seen it. Yr Oldest, Bestest Pal ‘Film Carew’ has been, however, hurtling through so much of the program, watching films day and next in such of cinematic wonder. So, here’s recommendations that can be unreservedly recommended: the 10 Best Sydney Film Festival Films I’ve Already Seen.

Upstream Color (USA, Shane Carruth)

Ginger & Rosa (UK, Sally Potter)

A defiant Next Level picture from Primer’s Shane Carruth, Upstream Color is American cinema’s interpretive-art-movie event of the year. Carruth again Full Orsons as writer/director/star of a philosophicallydense sci-fi think piece, but where Primer was, in many ways, about R&D, Upstream Color leaves the eggheadery behind, and pirouettes into pure cinematic daydreamery. Where the film scatters clues about its central ‘mystery’ throughout, and reveals added layers with subsequent viewings, it’s not beholden to a single interpretation; nor is ‘understanding’ it even particularly important. Like Terrence Malick, Carruth has made a sensorial artwork, one to be experienced and felt as much as its to be puzzled over and discussed.

Potter’s girls-gone-wild-in-the-swingin’-’60s soapopera doesn’t scan as one of SFF’s highlights; after all, the last time Potter made something to be unashamedly recommended was Orlando, over two decades ago. But Ginger & Rosa taps into the essential nihilism of every generation of budding revolutionaries by setting its transgressions —be they seditious or sexual— against Cold War terror. Here, Elle Fanning’s adolescent angst feels as if the world is ending because maybe it really is; and the tenor of her raw performance takes the drama to unexpectedly profound places.

The Act Of Killing (Denmark/Indonesia, director Joshua Oppenheimer) In a documentary equally horrifying and absurd, Oppenheimer seeks out ex-members of Indonesian anti-Communist death squads and gets them to re-enact their genocidal roles. Self-styled gangsters fond of fedoras and Al Pacino movies, they take charge of the dramatisation, authoring a bizarre no-budget mish-mash of noir-lit clichés and sitcom bawdiness. It makes for a film that defies description; equal parts condemnation of rife corruption in Indonesia, meta-commentary on the falsity of cinema, and a bizarre case of life turning into performance-art. In its final scene, one of the most unbowed gangsters starts hysterically dry-heaving at the sight of a former execution point, and the question just hangs there: has he finally come to a crisis of conscience, or is he just performing a pantomimed penance for the cameras? Michael H. Profession: Director (Austria/ France, Yves Montmayeur) When we first see Michael Haneke, on the set of his last film, Amour, the fearsome Austrian auteur is jovial, warm, and full of hugs for his crew. It seems incongruous, but as Montmayeur’s pleasingly-thorough picture tracks back through Haneke’s brilliant career, you find that the initial impression holds: on set, Haneke is always having fun. Even if his actors are suffering. The filmmaker is a fascinating theorist on cinema, and the juxtaposition of interviews, illustrative scenes from his body-of-work, and illustrative archival footage amounts to a great portrait of a great artist at work. Camille Claudel 1915 (France, Bruno Dumont) In his first film to feature a star —flow my tears, Juliette Binoche said— Dumont keeps at the same ascetic aesthetic that’s long driven his austere auteurism. It’s another film in which Christianity —and an individual’s intimate relationship with an Old Testament kind of God— is explored in shades of rural realism and dramatic miserablism. Yet, whilst it’s unvarnished as usual —there untrained actors, no score, no make-up, no artificial lighting— there’s something deeply cinematic about the way Dumont portrays the light moving around the rural abbey, and the way both lightness and darkness are profoundly symbolic. “Everything’s a parable,” the picture offers; and Dumont’s latest one may be his best one. Beyond The Hills (Romania, Cristian Mungiu) Having earnt a spot on Film Carew’s hallowed Top 20 Films of 2012 list, Beyond The Hills finally touches down in Sydney. Mungiu’s follow-up to his note-perfect 4 Months, 3 Weeks, 2 Days —one the best films of the entire 2000s— is a spare, eerie portrayal of religious superstition turning sinister at a remote convent; in which a sister is subject to an ‘exorcism’. Patiently, precisely, it builds up into a dramatic tempest that slyly skewers the central role the Orthodox Church still plays in modern Romania.

Ginger & Rosa

“Normal life is for normal people” Friday 7 June, Hayden Orpheum, Thursday 13 June, State Theatre and Saturday 15 June, Event Cinemas George St

The East D. Zal Batmanglij

It’s About To Rain (Italy, Haider Rashid) In this morally-fraught drama, an Algerian-Italian family is denied an application to remain in Florence even after living there for 30 years, putting their settled life suddenly into flux, making them question themselves and each other. In a neat piece of dramatic foreshadowing, Rashid sets the tone by depicting a workers’ strike, a classic scenario where solidarity wavers in the face of legal pressures. The sharply-acted, passionate, thoughtful drama is a specifically Italian story, about Italian nationalism and immigration law, but it’s far more international than that; at essence a meditation on what it means —in the globalised, EU’d, migrationflurried 21st century— to be ‘from’ anywhere. William And The Windmill (USA/ Malawi, Ben Nabors) William Kamkwamba was a budding inventor in rural Malawi when, at 14, he cobbled together a junkpart windmill to bring power to his dustbowl village. By dint of his story’s ‘inspirational’ nature, he soon became a budding celebrity: a TED talk star, a Morning chat-show guest, and an author bound to an unending Book Tour. Nabors’ thoughtful documentary peels back that happy façade of two-dimensional inspirationalism to chronicle what going through such a life-changing experience is like for Kamkwamba, who is burdened by the projected hopes of others and grows to feel alienated both in America and back home in Malawi.

It’s About To Rain

“We are the east. We don’t care how rich you are. We want all those who are guilty to experience the terror of their crime.” Thursday 6 and Wednesday 12 June, Event Cinemas, George St

Givaway Camille Claudel 1915

We have a 20 ticket Flexipass up for grabs for your chance to win stalk the Drum Media Facebook

The Crash Reel (USA, Lucy Walker) Similarly, Walker’s portrayal of American snowboarder Kevin Pearce scrubs away the easy ‘inspirational’ angle of his horrific brain injury, subsequent recovery, and eventual return to the slopes, radically changing tone, halfway through, when it delivers the sustained ‘crash reel’ of its title: accident after accident from a range of action sports, each wipe-out carrying the weight of the real trauma and suffering that comes with. With Pearce as the embodiment thereof, The Crash Reel tables the collateral damage of Extreme Sports being pushed to extremes. Computer Chess (USA, Andrew Bujalski) The mumblecore maestro returns with a talky shrine to both early computer programmers and the early cinema of Richard Linklater (Wiley Wiggins! Slackerisms! Bob Sabistan cameoing! Shot in Austin!). The flick’s big hook is that, like Pablo Larraín’s No, it comes shot in era-authentic VHS technology: all washed-out black-and-white images and fuzzy linewobbles. Bujalski’s prior films favour conversations over imagery, but here he uses his archaic camera as source of endless visual experiments: a stuckin-a-loop colour outburst; a scene shot from the pinholed perspective of a computer; constantly playing with bleeding light; and, finally, pointing the camera at the sun and ‘burning out the tube’. Upstream Color turns extreme nerdery into something transcendently spiritual, but Computer Chess more makes it friendly and accessible.



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Cold War Kids Okay, without Googlising, think of the name of the song that won Eurovision the other week. Yeah, thought not. Now, in the category of ‘bands least likely to make the finals of that august occasion’, Sigur Ros (insert umlauts and accents to taste). That said, Iceland’s second best-known musical export get as close to pop as they’re likely going to with Isjaki (XL Recordings), clocking in a tick over five minutes rather than the close to seven of their previous, the somewhat more pronounceable Brennisteinn. Glacial synthetic choirs rise to offer typical epic vistas of the stately kind. The temperature segue! From Iceland to Cold War Kids. One of those odd combos that had the mainstream of the alternative hit early on – yeah, that one – but held on to some respect and audience, as Miracle Mile (PIAS/Liberator) rattles along on fast-tinkling piano and the touch of electronics that apparently have some sway on their upcoming fourth album. It swings in its jerky way, and does what it does admirably. And after the low-rent Cold War stylings of their previous, Midnight Juggernauts feel the need to offer a second single to announce they too have a new album coming in the next month or so. Memorium (Siberia) has their machines being more quietly melodic, as they croon in your ear of times past. It bubbles in the manner of blowing down the straw into your milkshake, and is slightly askance pop music, as you’d expect. Jason Isbell was well regarded even before his stint in that bar-band supreme that is Drive By Truckers. He left, made a couple of variably splendid albums with his own band The 400 Unit, but now gives up drinking, slicks back the hair and becomes an austere country-drenched singer-songwriter. Live Oak (Lightning Rod) is birth, life, marriage, death balladry of high order. His voice punches you in the chest. Repeatedly. Very fine. No such sobriety troubles for The Hillbilly Killers, this round of sitting-round–the-still lamenting has Catherine Britt listing the damage of a certain lifestyle with Calamatied Anatomy (Four/Four) while Mr Rogers is an unlikely voice-of-conscious counterpoint and Bill Chambers’ pedal steel weeps an aside. Drinking: serious business, can make good records. The promising Tigertown add some shimmer to their already nicely put together layers on What You Came Here For (Mucho Bravado), with Belles Will Ring’s Liam Judson as producer. There’s a fuzz and some extra keyboard buzz to what they have going on, and a harmonied chorus that will sound just right coming out of your FM radio, tuned to one or other of those good community stations. They’ve just been touring and fitting hand-in-glove with that Bob Evans chap, who has another single from his album extant. It be called Maps (EMI), is correctly identified as a ‘mid-tempo rocker’ in the accompanying press materials and comes with his usual easy charm. Another advancing from the strummed guitar acoustic troubadour style to something more fuller-bodied, and even giving the producer who took him there a co-credit as Jack Carty & Casual Psychotic Present The Predictable Crisis Of Modern Life (Alpha Entertainment/Inertia). A troubled ‘midlife’ and sudden fear of mortality come through in the found sounds and some of Carty’s words, but sometimes the sonic tricks and other bits whizzing by might just distract a little too much. It might go down as the intermediate step as one version of the artist gives way to another. Good, but a bit of a puzzle. Then again, I don’t quite get Tripod either. The Blueprint ( has the ‘radio and comedy favourites’ taking the piss from those yuppies (Umm, are they still called ‘yuppies’, or is there a new acronym?) who gentrify inner suburbs and then “close the pubs down”. Who are the very people who will probably chuckle into their lattes at this. A one-liner joke becomes a four-minute song, with nice harmonies, but not much substance. Choosing the remix option to keep it interesting for themselves as much as anyone, Animal Collective’s Monkey Been To Burn Town EP (Domino/EMI) is led off by Gang Gang Dance Brian DeGaw slicing up Monkey Riches into a beep and buzz cut and pastery, which runs around your headphones in exactly the kind of chaos they were seeking it to be. On that basis, an utter success. Other bits and pieces cut from the Centipede Hz album are similarly reshaped. After one of those odd contractual fiddlings, last Christmas’ big thing in the UK, London Grammar gain local release, happily via a label that should appreciate them, thus the Metal & Dust EP (Dew Process) features the luminous and engrossing Hey Now, the song which caused some of the excitement over there in the first place.




The Devil Put Dinosaurs Here EMI Showing both strength of character and musical relevance, Alice In Chains survived the death of their singer, regrouped and recaptured the essence of their sound without it sounding like a retrogressive exercise. Their comeback album, Black Gives Way To Blue, confirmed that and now The Devil Put Dinosaurs Here finds them sounding even stronger and more self-assured. Alice In Chains’ trademark churn and grind is still at the core of their sound and they stick firmly to the template of dark, twisting riffs, vocals that often mirror guitar lines (as on the title track’s excellent chorus) and a big prowling rhythm section. Thematically the album is loosely a critique of rightwing ultra-conservatism with comments on religion and politics without sounding too preachy. With fewer acoustic turns than the past they instead slow some tracks, like the latter part of Breath On Window, while keeping things heavy and adding more melodic subtleties. Singer William DuVall (and indeed Jerry Cantrell) continues to sound eerily similar to the sadly departed Layne Staley, something that has allowed the band to retain a strong sense of continuity and surely they’ve now out-ridden the ‘irreplaceable singer’ criticisms. The strongest moments on The Devil Put Dinosaurs Here are when the band opens up with howling vocals and unabashed metal riffing. Phantom Limb, the excellent first single, Hollow and Stone fill that bill and ensure the few mediocre and plodding tracks can be consigned as footnotes rather than frustrating failures. Sludge metal, hard rock – call it what you will; Alice In Chains are still one of the best proponents of heavy guitar music and are showing no reason to court extinction. Chris Familton




Broken Tooth Entertainment

It’s an unenviable task being Deep Purple in 2013. No matter what the proud brigade of 60-something chaps get up to their endeavours are forever going to be measured against the many classics they created in the 1970s. And let’s face it, Deep Purple are no longer the sonic juggernaut they once were. While we continue to expect mammoth guitar riffs, wild Hammond organ extravaganzas and ear-piercing shrieks, Deep Purple in 2013 are more about producing comparatively polite and restrained dad rock.

Broken Tooth Entertainment is evolving. It’s pleasing to see. We had a release from Fraksha, the English grime ruffian and shoe fetishist, earlier this year. BTE put that out, and a Scotty Hinds release can’t be too far away. This is some progress from the longnecksmashing, paint-racking raps we first heard more than a decade ago. Ashes To Dust is another step forward. Known Associates are, essentially, a BTE supergroup: Maggot Mouf and BTE heavyweight Ciecmate. The two have combined to produce this, comfortably the most engaging release we’ve heard from Broken Tooth yet.

Now What

And herein lies the problem; if you judge Now What by the standards of In Rock, Machine Head, Burn or even 1984’s Perfect Strangers you’re going to be mightily disappointed. But if you’re prepared to take this album for what it is – a collection of tightly crafted and well-written rock’n’roll tunes – then you’re in for a treat. Ian Gillan no longer hits insanely high notes but his vocals remain idiosyncratic and memorable. Steve Morse’s guitar licks are also memorable, particularly when they work in tandem with the organ work of Don Airey on the likes of the gothic Vincent Price and the album’s most old-school track, the infectious Hell To Pay. Of course the rhythm section of Roger Glover and Ian Paice are flawless and they perfectly anchor slower (Above And Beyond, Blood From A Stone) and faster numbers (A Simple Song and Weirdistan) alike. Deep Purple are no longer the revolutionary force they once were, but that doesn’t diminish their worth. Now What is a solid collection of tunes that the band’s devoted fanbase will adore. It may even win over casual fans and the curious. Mark Hebblewhite

Ashes To Dust

Ciecmate’s beats are the centrepiece. Title track, Ashes To Dust, is frenetic boom-b-boom-bap. Beware Of Bio Chips is paranoia driven by monstrous drums and industrial clings and clangs. Short Shorts is as much fun as its title suggests. Mouf and Ciecmate’s back and forth patter complement the canvasses neatly. Mouf is ocker, light-hearted and laddish. He’ll ask you nicely for all your money, laugh, then snatch your wallet and run off. Ciecmate is more relaxed and menacing; walking softly and carrying a big stick. The effect of the two styles combined – especially when they trade bars on No/Live In The Studio – is greater than the sum of its parts. While the finished product could have done with a quick review from a sub-editor (we spotted two typos at first glance) and both Mouf and ‘Mate rehash similar themes throughout, these quibbles are easily brushed aside by listening. With beats like this Ciecmate can make a realistic claim to being among the nation’s best producers. With chemistry like this, we’re excited for the next time we get to hear the Known Associates on a track together. Cool shit. James d’Apice





Innovative Leisure/Future Classic

Dine Alone

There’s a lyric on Master Of My Craft, the first track of Parquet Courts’ Light Up Gold, that sums up the record’s approach; “I didn’t come here to dream or teach the world things/Define paradigms, or curate no livin’ days”. It’s irreverent, dorky fun and embracing of a proud faux-nihilism.

LA producer/DJ duoClassixx, formerly Young Americans and comprising Michael David and Tyler Blake, have crafted a mellow debut of soft electronica with a dreamy city limits kind of feel and an instrumental and smooth, post-production sound peppered with featured vocalists like US artist Nancy Whang and indie-pop Princeton singer Jesse Kivel. A sparse ambience combined with the familiar repetition of dance music occasionally renders Hanging Gardens monotonous and from the first track it feels like an homage to the ‘80s, with fuzzy synths and echoed snare beats; not quite Classixx’s most believable sound. Faring better is the grooving, bassdriven debut single, Holding On. The stuttering vocals, jungle beats and upbeat piano refrain make this track a chilled yet party-starting highlight and the recurrent line, “I’ve been holding on and I can’t take it any more” is poignant despite the jubilant vibe of the song.

The Hurry And The Harm is the fourth album out for City And Colour, the acoustic folk project of former Alexisonfire guitarist, Dallas Green. The first release since the official fold of Alexisonfire, it’s a slightly meatier serving of the same animal from Green – the breezy falsetto, stripped guitars, mellow drums and deep introspection.

Light Up Gold

That, in a nutshell, is Light Up Gold. There’s no doubt this album will divide people into lovers and haters and that seems to have been known during every moment of the album’s creation. Highlights like The Fall-reminiscent Careers In Combat and almost-butnot-quite-post-punk Light Up Gold II show the band know exactly how to write a catchy and groovy song but revel in merely showing that off, rather than delivering it. Not that these aren’t great tunes, they just ring as being great outlines and, like the best concerts, they leave you wanting more. Every song on this frankly great record is a snapshot of a pointless moment. This is slacker rock done without slacking off; there’s a weird drive present in the band’s oddly plodding and mid-pace punk. Described as individual ideas, the record shouldn’t work; it’s not angry enough to be a punk classic or relaxed enough to be a summer stoner gem, instead sitting somewhere in between. This record is hardly for everyone – it’s angular, too poppy yet not poppy enough and proud in its embrace of the banal. Who knows if Parquet Courts can keep this tone up for a long career, but if you buy into Light Up Gold, for 33 minutes it’s damn near all you’ll ever want to hear. Andrew McDonald

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Hanging Gardens

A few of the instrumental tracks are a joy, like Rhythm Santa Clara with its percussion and James Brownesque sampled groans, while A Fax From The Beach is memorable with its windchime soundscape. An older single that’s been floating around since 2009, I’ll Get You is a familiar and welcome inclusion. Featuring Denmark’s Jeppe and another really popping bass guitar riff, it’s the album’s production centerpiece and includes an extraordinary dialogue mash-up. The bass line is Classixx’s greatest discovery this time around and when Jeppe sings “do you like bass, do you/do you like bass?” you’ll most likely be nodding a solid yes. While Hanging Gardens isn’t as impressive as its first single would have us think, there are addictive grooves and a minimalistic yet complex production it that makes it a definitely worthwhile. Lorin Reid

The Hurry And The Harm

Opening with the tone of the title track, Green dives right into the album’s recurring theme of a search; a grand questioning. Most of the album continues in this vein and although his soft acoustic musings are all very beautiful, the high tempo tracks save it from becoming a bit of a drain. The Lonely Life touches on the same existential themes but is backed with a marching beat from guitars and drums, making it a more determined, uplifting experience. Thirst is a thumper of a track; with driving guitars and cool vocals, it’s reminiscent of The Black Keys with its smart combination of blues and rock. Originally commissioned for Kimbra, Green reclaimed it when her ‘people’ failed to get back to him. Excellent move. Of Space And Time, written during the breakup of Alexisonfire, is perhaps the most lyrically interesting for long-term fans as it covers this period quite openly: “There’s an elephant in the back of the room/And it’s standing in plain view/ Everyone can see that it looks just like me.” By the time Ladies And Gentlemen comes around, all the falsetto, guitar strings and sentiment can make the listener a bit weary, but the pared-back The Golden State – an anti-escape-to-California ode – and Deaths Song bring the album home with a shot of energy. Katie Benson






...Like Clockwork


Dirt Diamonds/Create|Control

Matador/Remote Control

It’s hard to attribute any one sound to the debut offering of Melbourne electronic duo Standish/ Carlyon. What makes it so difficult is the total opposite of what you’d expect; instead of overtly parading an array of influences, the arrangements throughout Deleted Scenes are so minimal it’s hard to capture exactly what it is that propels the album. Whatever it is, it’s there and it’s undeniably sleek.

“What can we play as an old-fashioned band in a room that will make me reach for my shovel and dig?” The frontman for Perth-based band The Chemist, Benjamin Witt, would ponder this as he was in the early stages of completing the trio’s debut album, Ballet In The Badlands. As it began to take shape, the record developed a blues sound that could have emerged straight from the swamp, which has then been tightened by production, pulling it out into a folkier region.

Six years is a long wait, but finally the new Queens Of The Stone Age record has arrived and despite the departure of long-time drummer Joey Castillo, things look somewhat promising on paper: Dave Grohl, Mark Lanegan and Nick Oliveri have returned, and there are contributions from Trent Reznor (NIN) and former Mars Volta drummer Jon Theodore, who has since been confirmed as the new touring drummer. Reading beyond this list though, things start to sound a little superfluous: Alex Turner (Arctic Monkeys) gets a call up, as does Jake Shears (Scissor Sisters) and even Elton John, and you start to get the feeling that the roster is less about making music and more about how many A-List stars lead-man Josh Homme can rub in our faces. That said, the album begins well with Keep Your Eyes Peeled and I Sat By The Ocean but starts to peter out by track four. It picks up again on My God Is The Sun but there just aren’t enough good numbers to justify saying the record is one of the band’s better. This isn’t helped either by Homme choosing to take lead vocals on all the tracks, despite the throng of mentioned individuals (whose talents are near impossible to discern on any of the songs) apart from Lanegan, who manages to sing a few lines at the very end of Fairweather Friends. ...Like Clockwork falls short of recreating the indefinite, intelligent atmosphere of its predecessors, which is a bummer given what Homme and his rotating roster of talent have achieved on Queens albums past. The LP may divide opinion, but it’s still worth a listen if only to try and pick out where Elton John may have perhaps contributed a fart sound. Adam Wilding

Deleted Scenes

While it’s generally agreed that listening to an album is infinitely better with a pair of headphones, Deleted Scenes is an instance where it really should be mandatory (or, at the very least, listened to through a great set of speakers). The production makes up a great portion of the glossy atmosphere, but to capture just how immaculate it is, there needs to be real attention to detail. Even in moments of apparent silence there’s never an absence of sound, as the low rumbling bass fills up all the empty spaces. The best example of this is Industrial Resort and the album’s closing track, 2 5 1 1. a collaboration with Benjamin John Power of Fuck Buttons, when Conrad Standish’s carefully integrated vocals cease and the prominent synth lines found in tracks like Nono/Yoyo and Moves, Moves are removed.

Ballet In The Badlands

While one portion of Ballet In The Badlands places all the emphasis on the group’s gritty bluesmen attitude, somewhere along the line that aesthetic begins to soften and peter out into something far removed from the sinister air that resonates throughout the album’s opening track, Heaven’s Got A Dress Code, and the following, almost Spaghetti Western number, Spray Paint Or Praise (Still A Statue In The Wind).

Deleted Scenes constantly contradicts itself in all the best and most mind-boggling ways. It’s futuristic yet strangely nostalgic; silence is a sound; hell, even the distant lyrics don’t make sense but somehow ring true. What Standish/Carlyon have created is not an album, but a work of aural art.

With the ruffian persona dropped in the more tame Nails In Mud, the band showcases a great deal of restraint. The drumming is carefully subdued as Witt navigates his vocals around the ebb of a guitar while an organ begins to fill the few moments of silence. It’s in the gentler moments on the record like this, December and Tonight, Tomorrow Is Sold where The Chemist really establish themselves as being great musicians. For what they’re trying to achieve throughout a majority of Ballet In The Badlands, The Chemist are lacking the necessary audacity to pull it off. It’s when they strip things back that they really impress.

Justine Keating

Justine Keating

THE SHOUTING MATCHES Grownass Man Middle West/Planet “It’s more just a trio of classy musicians sounding like they’re having a good time.” Ross Clelland


Venomous Rat Regeneration Vendor Universal “This is real metal and real horror from a veteran who knows his stuff when it comes to both.” Pete Laurie


Alternative Tentacles/Fuse “Through melding styles, hard rock and rockabilly notably, into his aggressive punk attitude, Biafra has fronted something truly great here.” Andrew McDonald

For more interviews go to • 39

[REVIEWS REVIEWS] l i v e greatest hits set. Trans-Europe Express, The Model, Computer Love, Numbers; to the clearly devotee audience the setlist was an absolute treat. Special mention is required of highlight, Radio-Activity, which received a thundering musical overhaul and newly-politicised lyrics lamenting the Fukushima disaster. Four Germans singing new Japanese lyrics to an Australian audience in a Danish-designed opera hall – let no one say this was not a multicultural evening. As quirkily and inauspiciously as they first emerged decades ago, after an hour and 40 minutes the band bowed, bade us farewell in English and German, and left the stage. It may not have been built for them, but Kraftwerk sure made the Opera House theirs. Andrew McDonald



Just a month after taking his laid-back brand of hip hop to the States and appearing on the Jimmy Kimmel show, Melbourne-based Seth Sentry filled out the Metro with an enthusiastic all-ages crowd.

A solid early crowd battled the driving rain to make it out and welcome first band, Bloods, to the stage. The punk rock three-piece had a raw, unpolished edge but plenty of spunk to pull it off with tracks including the heavy All The Things You Say Are Wrong and Goodnight.

Ellesquire didn’t take long to get punters involved as he bounced around his set. Though the beats backing him up got too repetitive, Ellesquire’s everyday subject matter and natural, everyman charm made his set an enjoyable way to kick off the show.

In contrast to their dark, super-cool-looking predecessors, Ohio’s Walk The Moon bounced onto the stage next, full of energy and colourful outfits with streaks of face paint to match. Hits Tightrope, Shiver Shiver and Quesadilla were performed with the skill of a band much greater than their years and experience, and the crowd went wild for them.

Tuka, on solo duty from the Thundamentals, had a bit more hip hop braggadocio about him, though his performance still had that uniquely Australian sense of humour about it, from DJ MyNinja’s costume to calling on the crowd to show off their spirit fingers. Tuka easily slipped from pretty impressive rapping into his singing voice, but still benefitted from the added oomph that resulted when Ellesquire came out to join him on a couple of tracks.

A clever cover of David Bowie’s Let’s Dance was probably a little lost on the young all ages crowd, but things came back with the hugely popular I Can Lift A Car. A surprise appearance on stage by The Ruben’s drummer, Scott Baldwin, unfortunately stole the guys much deserved limelight and slightly dampened their electric vibe. In a maze of sexy red lights and crazed screams from the crowd, The Rubens, looking rather sultry, sauntered onto the stage to open with track, The Day You Went Away. For such a new band, they had great command of the stage, looking effortlessly casual cool in jeans and T-shirts with big flicks of floppy hair. As a band with only one album, the set list was pretty predictable with tracks Be Gone, Elvis and I’ll Surely Die getting a great reception. A cover of The Roots’ The Seed went down a treat and The Best We Got prompted a mass throwing of bras onto the stage, which became slightly awkward when singer Sam Margin realised it was an all ages gig! New track, Cut Me Loose, got its first outing and its bluesy riffs and familiar sound went down well. The youngest of the brothers, but not yet a fulltime band member, Jet Margin, was brought onto stage to play extra drums for Lay It Down and an epic rock ending in Don’t Ever Want To Be Found. After a short break, the band were back for an encore with Sam playing keys for the beautiful Never Be The Same before the track everyone was waiting for, My Gun, finished off the set. A great gig, but it has to be said that Walk The Moon really stole the show. Helen Lear

BOBBY WOMACK SYDNEY OPERA HOUSE CONCERT HALL: 25/05/13 Despite having cancelled his opening night performance at the last minute due to health reasons, gospel and soul legend Bobby Womack had more than enough oomph left to put on a show the following night. As the band came on stage, the audience began to chant and call for the man himself, with one excited fan convinced he was going to descend through the ceiling. Suddenly, there he was, resplendent in his vinyl red suit, launching right into hit single, Across 110th Street, and pretty much blowing the roof off from the start. The night saw him perform hit after hit to the absolute thrill of the audience. With seamless transitions between songs and smooth delivery, it was more than evident Womack knew how to put on a show and play the crowd. You got the sense that if he’d asked the packed seats to get up and dance in their chairs, every single one would be up and dancing. From Harry Hippie to I Wish He Didn’t Trust Me So Much, Womack and the band worked near telepathically in sync, whipping the audience up till they were giving standing ovations

Sentry and DJ Sizzle mixed traditional pop hooks and dub with the hip hop elements, such as Sizzle’s scratching and Sentry’s easygoing rhyming. Sentry moved around the stage like a boxer, happily employing props like a Nerf gun and donning an apron to riff a skit on working in hospitality, asking members of the crowd what they’d like to order, which naturally led into The Waitress Song, much to the delight of the kids down the front. The Rubens Pics by Josh Groom before even the halfway mark. By the time That’s The Way I Feel About ‘Cha came on, there were plenty of voices joining in enthusiastically with Womack’s three back-up singers. The strength of the vocals, particularly from Altrina Grayson, and supported by GinaRe Womack and Lisa K. Coulter, seemed almost too much for the Concert Hall, often edging to overpowering. Nevertheless, the balance of acoustics did little to diminish the evident talent and sheer enjoyment of the music that was apparent on stage. Despite his recent illness and exhaustion, Womack migrating from standing centre stage to sitting for most of the remainder of the night, little would have dissuaded him from seducing the audience. Living up to the title of his new track, the Bravest Man In The Universe, Womack powered through, though was more than happy to share the limelight with his musicians for some superb solos from the brass and drums. Time seemed to drag a little bit during Please Forgive My Heart, soon picking back up with a Woman’s Gotta Have It. The highlight of the night though would have had to have been If You Think You’re Lonely Now, as by this time, the audience was indeed on their feet.

computer stands, is the line it walks between worlds. Kraftwerk, at their best, slip between the spheres of high-brow intelligentsia art pop, menacing science fiction and utterly naff electronica. It speaks of the group’s power as composers and players that minimal variation on the 30-plus yearold music is needed to maintain this balancing act and still sound relevant. Hell, when the band did twist it up and turn up the bass, many of the tracks would’ve been right at home in any modern club. Autobahn itself remains as lush, meditative and cheesy grin-inducing as ever. Again, the visuals of a CGI road trip were perfectly suited to the 20-minute krautrock classic. Following this the band treated the audience to a more or less chronological

Working his way through his debut album, Sentry also dropped his Like A Version cover of Frenzal Rhomb’s Punch In The Face alongside the likes of Float Away, Ink Blot Test and Langoliers Banquet. Since the release last year of his debut, Sentry has spent a lot of time on the road and his live show has been carefully developed to maximise the energy being generated onstage. Even with just two people, Sentry and Sizzle, on the stage, there was always something going on, something to look at or respond to. There was a lot of interaction with the crowd and plenty of banter between the two men. If Sentry’s next step is to try his hand more extensively in the US, his live show is a pretty good showcase of what this Melburnian is capable of. Danielle O’Donohue

Bobby Womack and his unquestionably eyecatching ensemble were undoubtedly the sun around which the whole event gravitated. Lily Seabrooke’

KRAFTWERK SYDNEY OPERA HOUSE CONCERT HALL: 24/05/13 The crowd in the packed-out hall were all distributed Kraftwerk branded 3D glasses for the show, which began with a pounding rendition of classic tune The Robots. Arguably as striking as the music was the immediacy of the eye-popping visuals; retro-futuristic blocky depictions of the band as robots reaching out over the crowd, montages of space, promotions of the band’s own Kling Klang studio, sunny panoramas of German highways. All brilliant and all very Kraftwerkian. The beauty of the band’s music, played by the stationary foursome behind custom-built keyboard/

40 • For more news/announcements go to

Seth Sentry Pic by Clare Hawley


[REVIEWS REVIEWS] l i v e the crowd in the zone. With flawless transitions and an enigmatic stage presence, the trio working fluidly together to warp tracks to beautiful new heights and stun the crowd with their impressive production-based abilities. Although half the audience was left outside, unable to get into the studio much to their dismay, the packed crowd at the main stage compensated for this, violently convulsing their bodies to the airy remixes. Ava Nirui

BIRDS OF TOKYO, ASTA, ALL THE COLOURS THE HI-FI: 23/05/13 Let’s get the most important piece of information about a Birds Of Tokyo gig out of the way first: Ian Kenny is the best dancer in Australia. It’s not quite all you need to know about one of the biggest bands in the country, but it is pretty vital.

Evermore Pic by Sara Willis

EVERMORE, JONNDAY THE BASEMENT: 23/05/13 Jonnday opened the show for the parochial Hume brothers on a sad note, announcing it was to be their final show. Lead vocalist Corinne Taylor made an emotional speech to the crowd proclaiming, “We have had six years of history together so we may as well go through our musical history,” before breaking into an eclectic mix of covers and original songs, with Foster the People’s I Would Do Anything For You getting the biggest crowd response. Evermore opened their set with One Love, which drew everyone to the dance floor, but it was It’s Too Late that really got the crowd going. Light Surrounding You brought the tempo back down and predictably invoked a massive crowd singalong. The crowd erupted even more when the brothers broke into Hey My Love and Jon Hume even spotted a girl in the crowd who he recognised from one of the photos that appears in the video for the single. Cute. An awesome energy filtered out from stage, and the band rallied the crowd shouting, “Come on you Sydneysiders!” showcasing their natural talent and the reason why they have had such international success. Although Pete Hume was pulling out some seriously white boy dance moves for a large part of the gig and their guitarist had what seemed to be his own personal wind machine blowing through his hair, it all just added to the overall vibe.

With that in mind, BoT could only tour with other bands who know how to put on a show and both of their supports did just that. The matching white 1950s-inspired jackets worn by All The Colours suited their musical flavour, which is part surf-rock, part epic soundscape. These guys were completely original, very confident and extremely talented both musically and vocally, with impressive harmonies. Anyone who knows a little bit about the young artist known as Asta may have thought her support slot was an interesting choice and although she did start slow, the Tasmanian teenager, with her Lady Gaga-esque outfit, well and truly won over the crowd. She has a massive voice, incredible stage presence and it is so enjoyable to watch her transform from commanding frontwoman to shy schoolgirl when she speaks in between songs. When Birds Of Tokyo hit the stage, they launched straight into When The Night Falls Quiet which instantly impressed the young hipster crowd who seem to have embraced the band’s last few albums and enjoyed their move away from their earlier more edgy rock-pop. But this is one professional band who know how to satisfy all their fans and the set list was a fantastic best-of from all four albums, or as Kenny described it, “a mixed bag’’. Highlights included a sped up Wild Eyed Boy, a delicate White Leaves, the sing-along favourite This Fire and Silhouettic with a frantic guitar solo from genius songwriter Adam Spark. Of course they had to end with Lanterns which absolutely enthralled the crowd. For a band who have produced an incredible amount of high quality music in the relatively short time that they’ve been together, they really excel at bringing it to life on stage, and when their endless energy and obvious passion for their music combines with the quirkiest stage moves of any frontman in the country, there is nowhere else you would want to be on a freezing, wet, autumn night. Monique Cowper

Deborah Jackson

FUTURE CLASSIC PARTY SYDNEY OPERA HOUSE THE STUDIO: 25/05/13 Creatively arranged into a pair of aesthetically thrilling stages decked out with light projections, palm trees, installations and stunning graphics, the Future Classic DJ showcase night featured a veritable selection of electronic artists from around the world. Although the general organisation of the event was evidently lacking at times, with the main stage unable to host the entirety of the audience due to capacity as well as the acts consistently running overtime, some of the talent displayed on the evening was extraordinary, validating their statuses as trailblazers of the disco and electronic genre. Kicking off the night were the beautifully glitchy vibrations of Lapalux who combined elements of hip hop, experimental, hardcore electronica and chillwave to create fluid aural delights and engage the audience throughout the entirety of his set. Using distorted samples of tracks by Slum Village, Wyclef Jean and Future, the enigmatic DJ rocked to the swelling bass and created an atmosphere of his own, where audience members were captivated by the syncopated beats and danceable harmonies. On the smaller stage, Sydney-based DJ Adi played a refreshing ‘80s/’90sinspired House set that featured heavy handclaps, bass-heavy breakdowns and disco-style synths. Throughout the night, this stage was home to fresh young artists including Modern Fairytale, who also played a disco-inspired set that ignited dancing feet all over the floor. Although lower key and lacking in intensity compared to the previous acts, Modern Fairytale created delicate electronic stories that were beautifully composed and elegantly executed. On the main stage, Touch Sensitive amped up the disco vibrations, channelling vintage electronica and, like Future Classic DJs, were broad in their range of channelled genres including indie-electronica and RnB mashed into tropical summer vibes on this windy, nine degree night. Future Classic DJs were total crowd pleasers, sampling and remixing tracks that were sure to get

honest the lads looked more than a little relieved to be on the home stretch. That’s not to take anything away from the amazing two sets they put on. The jam into Fleetwood Mac raised the question of why guitarist Regan Lethbridge’s Eddie Vedder-style pipes aren’t used more within their tracks. The contrast with Mossop’s raspy power whisper is lovely on the ear. The other cover for the night, Lorde’s Royals went down a treat, but older tracks Brother and Bring Back The Fire were loved by the die-hard audience. The new rockier sound sits well with the sex bomb stage presence and reveals a level of talent previously obscured by the party reggae country ballads. Kristy Wandmaker

ZEAHORSE THE GREEN ROOM: 23/05/13 It’s been an exciting year so far for post-post rock band Zeahorse, playing alongside The Mark Of Cain in March and more recently a support slot for Jello Biafra’s (of Dead Kennedys fame) side project The Guantanamo School Of Medicine. In addition they recently signed with music label Hub (Dappled Cities, Winter People) and to top those achievements off, they have a new album coming out mid-year. To celebrate the pending release, the quartet, who originally hail from Hornsby, planned their second single launch for the track, Career, on the tiny stage of Enmore’s Green Room, to a packed and rather enthusiastic crowd, which was a cross-section of older/younger people, to give you an idea of the types that a Zeahorse show draws. The band’s ‘it’s just got to be heavy’ – a few parts Fugazi, some bits Melvins attitude and impossibly low octave drone music approach (thanks to that one-two bass and baritone guitar combo, not to mention a very underrated drummer) was very much a raw affair due in no small part to the lack of a proper PA or sound guy, but that seems to be their modus operandi and damn them if they would choose to have it any other way. A number of years on the live circuit has lent them the accumulated self-assurance the band displayed and in a number of tracks, including their latest single, Career, from the coming album, and the very impressive Tugboat. Without any supports, things were all over too quickly, however, the always stoked front-guy Morgan Anthony, clearly appreciative of the local support, along with the rest of the band looked pretty hungry to get out and about on tour. Adam Wilding

THE HERITAGE ORCHESTRA PRESENTS: BLADE RUNNER SYDNEY OPERA HOUSE CONCERT HALL: 26/05/13 The Heritage Orchestra is the brainchild of British artist Chris Wheeler, who together with a mate came up with the idea of an experimental classical pop orchestra during a UK club night back in 2004. Since then the young group have collaborated with such luminaries as Jamie Callum, Tim Minchin, UNKLE and Massive Attack, and have carved a very specific niche as the go-to collective for large scale orchestral projects for artists and musicians looking to explore bigger ideas. In 2008 Massive Attack curated London’s Meltdown Festival and commissioned them to perform an orchestral version of Vangelis’ iconic dystopian score to Blade Runner. What Wheeler’s interpretation excelled at was fully fleshing out the original ideas and motifs that Vangelis created rather than just mimic them, and what it did better than Vangelis’ score was combining the organic aesthetics of live instrumentation with the artifice of electronic noise. This synthesis mirrors perfectly Blade Runner’s central philosophical concerns, and all of the awe and sweeping melancholy the film inspires was fully realised in the performance.

Bonjah Pic by Jodie Mattthews

The first thing that struck us was the huge difference in texture. The original opening piece that accompanies a wide shot of a vast glittering world of industry and fire

is majestic, but clearly artificial. Here, velvet swelling strings were punctuated by rolling timpani, while a harp competed with the nattering of analogue electronic objects clicking and pinging in the foreground. On queue the heroic synth phrase burst into life and soared out over the crowd. There was no way this particular sound could have been replaced without losing the effect, and it was key to maintaining tonal fidelity. It came back during the triumphant closing credits theme. Accompanying the music was a nice lighting setup that played with colour and shape depending on context or mood. Spotlights were shone through grates and slats, emphasising the film’s noir elements. The images on screen were impressionistic, blurry shots of traffic at night through rain superimposed over each other to create density and a feeling of it flowing in all directions (even above street level). The highlight of the night was Dr Tyrell’s Death, in which Roy Batty executes his “father” for not granting him more life. The piece is a powerful two-chord death march, accompanied by an image of an owl flying in slow motion towards the audience, captured in slowly shattering glass bathed in red light. This was a fascinating achievement that allowed us to explore a familiar score with new perspective, and nuances that may have slipped past us previously were stunningly recreated in amazing high definition. Matt MacMaster

…AND YOU WILL KNOW US BY THE TRAIL OF DEAD, SINCERELY GRIZZLY METRO THEATRE: 23/05/13 Texas rock titans …And You Will Know Us By The Trail Of Dead played in full their modern classic, Source Tags & Codes, for only the second time since they recorded it back in 2002. Whilst they matched the record in terms of sheer visceral brutality and raw emotional power, they lacked the finesse, the focus and the profound sense of consciousness that singled the album out and elevated it into iconic status. Adelaide outfit Sincerely, Grizzly opened up with a short set of songs that smacked (in a good way) of too much Mogwai and Glassjaw back-in-the-day. Their nice build-ups and breakdowns kept the tension on a low simmer, and that, combined with the excellent way they played with tempo and time signatures was a sign of good things to come. They were tight, and their angular chugging riffs felt contained and pressurised. Every now and then they’d release it in beautiful mushrooming passages, and it was easy to lose yourself in the moment. Since getting That Review all those years ago …And You Will Know Us By The Trail Of Dead have had numerous requests to play Source Tags & Codes, either in a formal arrangement or by screaming fans at regular concerts. They’ve played previous album, Madonna, in Tokyo, but now it was our turn. Our reaction will determine if they move forward with more shows like it. Invocation drew the surprisingly small crowd towards the stage. The band assembled under dim light and assaulted us with opener, It Was There That I Saw You. From there it was an up and down experience. Expectation can be a killer (something these guys know all too well) and it was interesting watching the band and the crowd adjusting themselves to each other, gauging reaction and performance. Any other band playing any other show would have it easier, but things like a buzzing, often indecipherable bass tone (as much the fault of the Metro’s system), bad tuning and a shot-to-pieces voice from a jittery frontman felt like tangible offences to an audience champing at the bit to shower the band in sweaty praise. After the intermission (yeah, they had one of those) things got better. The song list was a good mix of old and new (thankfully very little of their prog material), and by the end they were tearing the place to pieces with incredible versions of A Perfect Teenhood, Caterwaul and Totally Natural. Extra points to Jason Reece for Aged Dolls. Matt MacMaster

BONJAH HERITAGE HOTEL, BULLI: 24/05/13 In 2011 the name Bonjah was everywhere. Nominated for APRA, AIR and Rolling Stone awards, they’d released a kick-arse album, supported some mega internationals and locals, and then seemed to drop off the face of the planet. A few weeks back their track, Evolution, hit radio and suddenly Bonjah were back! Whatever they did in that two-year break it worked for them. Having grown up and moved on from their Beautiful Girlsstyle regatta de swoon, Evolution is a straight-up rock number that will win them a thousand new fans without alienating the old. Even their new track, Inner Voice, which holds the familiar bass groove, takes on a new Vampire Weekend-style Calypso post-punk twist. Colours was a highlight, and while singer Glenn Mossop’s bribery offers for table top dancers went unclaimed, the crowd enjoyed the warmth radiating off the stage on a stormy night. This was the secondlast show on an 11-date national tour and to be

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Trail Of The Dead Pic by Peter Sharp

arts the big line and start timing the patients before you, cursing them and their needs), by the time he arrived he was both on message and charming all at once. Liz Giuffre The Great Gatsby opens Thursday 30 May in cinemas

THE REMOVALISTS THEATRE Lazy, arrogant and clutching for his groin more frequently than his gun, Sergeant Simmonds (Laurence Coy) declares that “Nothing changes in this world.” Coming from him, it’s one of many fronts of world-weary wisdom, but this pearl in the hands of director Leland Kean rings true in this unnerving production of David Williamson’s Australian classic. Ally Mansell captures the territory brilliantly in her design, a police office and apartment rendered in the gum greens and brown of the Australian bush.

On the red carpet for The Great Gatsby

BEHIND THE ROPE FOR THE GREAT GATSBY RED CARPET It begins when they check off your name and give you a media pass to wear like a dog tag. Standard response is mild disgust at being branded by the event, but secretly most ‘behind ropers’ horde these as the geekiest of souvenirs. Next, finding your behind the rope spot. Thankfully tonight’s rope possies were already predetermined with name/outlet cards (a spot inside rather than in the rain – score!) but this is often a bloodbath. Short streetpressers like this writer do their best, but often get shunted. Uncomfortable but big footwear is one tactic to avoid this; steel caps are another. Even with a spot secured there is still a hierarchy. Behind the rope we are given a cheat sheet of expected carpeteers to help us out (headshots and descriptions) – and then it’s just a giant game of ‘guess who’ as we work out which starlet with black hair, television experience or an interest in dubstep we want to target relative to our likely readers/ viewers/listeners. As the beauties wander past, we call at them, first with the tone of voice mum used when it was time to get off the swing (sing-song version of the target’s first name like ‘Deell-taaaa’, ‘Too-beeeey’). Then, like mum, if the target ignores, passes over or gets distracted, the call gets aggressive (‘Delta!’, ‘Tobey!’). Mostly, it works and the target

turns, hands their stuff to their human bag rack (sorry, date) and chats/poses. However, tonight there was one noticeable snub, as Sarah Murdoch passed our rope’s edge no matter how many mum voices were used. Conspiracy theories abounded. Did someone earlier on piss her off? (If so, $5 each way on an ABC ‘stunt’ program or breakfast radio duo). Or, did she have some deal to only talk to certain people (a major sponsor or particular media outlet, perhaps?). Maybe she just wanted a choc top and a sit down? There is also always one lonely kid wanting to be noticed – Richard Wilkins and random Voice contestants, for a while you all cut lonely figures. At the other extreme are the ‘very rope generous’. Tonight it was old school with Jack Thompson immediately noticeable as you could hear his famous drawl from down the line, but then as he came close his small ‘drama mask’ lapel pin was caught by small cameras that you’d never notice unless up close. Thanks for the detail, Jack – we had a moment. There was also Ita Butrose, who brought it with a Gatsby umbrella (standard issue on the night) but subtly kept the logo side near cameras where she could – brand perfect – and Kerri Anne, who brought a camp warmth like only she can. The big names, Tobey Maguire and Carey Mulligan hid their likely carpet fatigue well, smiling, standing close (and in the correct light). And then Baz, ah, Baz. Despite keeping us waiting as he talked to everyone all the way (think the doctor’s surgery where you can see

The most haunting aspect of Kean’s production is just how rife, on so many levels, the hypocrisy is – Sergeant Simmonds’ proclamation that one must not lose their head; double-standards fuelling judgements of life and sex, and, most difficult to reconcile of all, a jovial opening night audience laughing not only at the dark comedy, but at the drama they’ve convinced themselves is of a different time, as though domestic violence and police opportunism had been left in the ‘70s alongside short shorts and overzealous handlebar moustaches. There is no one to like here – Sophie Hensser’s Fiona frustratingly meek and victimised, Sam O’Sullivan’s Constable lacking appropriate conviction, Sam Atwell’s removalist appallingly apathetic. What is truly impressive is that Kean


and cast have made this motley and unsettling collection of antagonists so riveting to watch. Dave Drayton Bondi Pavilion to Saturday 15 June

THE HANGOVER PART III FILM Does anyone really care about the Hangover bros all that much? Their hopes, their dreams, their friendship? Or do we just want to see them make a bunch of bad decisions under the influence of mind-altering, memory-wiping substances and then frantically try to piece together the shambles of the night before? The franchise focused on the latter, it seemed, but with The Hangover Part III, it appears it’s the former that’s taken precedence. And that’s what makes this alleged “epic finale” to the trilogy (what, it’s a trilogy now?) such a letdown. Apparently we’re supposed to have embraced Alan (Zach Galifianakis) – once endearingly strange, now annoyingly so – and his ‘Wolfpack’ buddies Phil (Bradley Cooper) and Stu (Ed Helms) to our hearts over the course of these movies. So when they find themselves in peril at the hands of belligerent crime boss Marshall (John Goodman, phoning it in), who’s been ripped off by unofficial Wolfpacker Mr Chow (Ken Jeong), the stakes are seemingly raised from the aftermath of drunken, druggy shenanigans to a matter of life and death. And one is inclined to say, ‘So the fuck what?’ Director Todd Phillips still has a strong visual sense and a flair for the odd outrageous moment but the cast members seem to be going through the motions with one eye on the clock. As a result, it’s not so much a celebration as... well, an obligation. Guy Davis In cinemas nationally

The Hangover Part III

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faded billboard in Gatsby’s wastelands: symbolically omnipresent. He surely hankers after an Oscar.


Standish/Carlyon A sinister gnome rears its head midway through the second track of Deleted Scenes (Chapter Music), the debut album from Standish/Carlyon. Or, you know, something like a sinister gnome. As the icy pop single dips into a lengthy bridge, the funk keys warp and evaporate, sounding like wiry electrical currents rising from the duo’s gear, or their fingers or the ground, turning the atmosphere of the song as foreign and eerie as that of Lars von Trier’s world in his 2011 film Melancholia. Then, once the air of the song has been poisoned, Conrad Standish’s high, meek voice comes back in, similarly altered: “If you don’t want my love, why you talking on the phone?” Sinister gnome. Creep-calling aside, the duo do go for the surreal, even the fantastical, on Deleted Scenes. It isn’t the natural world they’re soundtracking but an imagined and synthetic version of it. The use of flat synthesiser tones, of oversimplified melodies, and Standish’s relentlessly measured vocal is never balanced and is instead altered further with effects, or emaciated until the songs become mere echoes of themselves; fascinating other worlds, alternate realities. The effect is a bit like that described by the early 17th century writer Joseph Addison when writing about prose that addressed fairies and demons and the like. The writer of this prose “quite loses sight of nature” and the descriptions of strange characters that are so unlike humans “raise a pleasing kind of horror in the mind of the reader”. A pleasing horror – the eyeless, blurred, laughing woman who adorns the cover of Deleted Scenes might be experiencing something of the same, and is certainly portraying it. The mid-album song Gucci Mountain is perhaps the most easily summarised example of Standish/ Carlyon’s thrill-seeking creation of a synthetic world. As a base beat and thin, blippy keys play out, Standish describes the “principles of leisure, the deity of pleasure,” before a grumbling wave of distortion washes over the song and then quickly retreats, leaving only the slow, unnatural groove. It might at first sound like a sister track to HTRK’s ghostly R&B number Synthetik, from the group’s 2011 album Work (work, work), which served to remove all sexiness from an incredibly sexy song by mechanising all aspects of it until only the surface idea of sexiness was left. But that song, and that album, was about humans, even if it aimed to be a commentary on them (and Jonnine Standish’s low drawl can’t help but be human, even at its most plain). Gucci Mountain isn’t about humans but some other species Standish/Carlyon have imagined. This creation is absolutely backed up by the duo’s use of ‘80s synth-pop sounds and forms. As opposed to many other acts currently playing around with and subverting sounds formerly heard in chart hits, the duo aren’t writing in honour of anything or reclaiming anything. There’s no enjoyment of their form to be heard and to suggest they’re celebrating a shedding of shame, like say Pop Etc. They use only pop’s most basic elements. Even Moves, Moves, the album’s bounciest track, becomes a wasteland only a third of the way in. Standish/ Carlyon are utilising the vacuousness of pop music to cause a horror response, a sleepless nightmare. At least once this week I’ve lain awake in the wee hours as Moves, Moves weighed on my chest. Joseph Addison also wrote formatively about the sublime. The favourite quote is from his trip to the Alps on a tour of Europe taken by upper-class young men: “The Alps fill the mind with an agreeable kind of horror.” Addison was clearly into things that repulsed him. Deleted Scenes is too unnatural to be sublime, the idea of which is usually tied to unquantifiable responses to things associated with the elements, the real world. But it’s the nature-less aspect of the album that also suggests Standish/ Carlyon are going after the sublime, trying to get to a place so alien that the response is to be paralysed with awe. I’m not sure how many 4am anxiety attacks I can handle trying to get there.

Baz Luhrmann’s blinged-out film adaptation of F Scott Fitzgerald’s 1925 American literary classic The Great Gatsby, opening in Australia this week, has been a US box office triumph. And the hip hop soundtrack, with Jay-Z as Executive Producer, is off-the-chain. There are parallels between the novel’s titular character Jay Gatsby (played by Leonardo DiCaprio) and Jay-Z. Both have acquired wealth through unorthodox means – Long Island’s mysterious Gatsby is supposedly a bootlegger (selling grog during Prohibition), while Jay-Z metamorphosed from Marcy Projects crack dealer to braggadocios MC. Both love beautiful women – only Jay-Z is married to Beyoncé, whereas Gatsby doesn’t yet possess Daisy Buchanan (Carey Mulligan). And, ultimately, both are chasing the American dream, Gatsby a precursor to Mad Men’s Don Draper. He throws fantastic parties to impress Daisy. Luhrmann specifically wanted his 3D blockbuster to have a contemporary soundtrack – “1920s-meets-now” – and realised that hip hop is today’s counterpart to jazz (Fitzgerald coined the term ‘The Jazz Age’). DiCaprio introduced him to Jay-Z. Some of the songs here cleverly reconfigure jazz and hip hop. Lina must be mad not to get an invite to Luhrmann’s party. She was making swing’n’B back in 2001 with the cult hit Playa No Mo’. The irony is that there actually isn’t much rap. The OST spans R&B, EDM, indie and, yes, jazz (Emeli Sandé’s jittery cover of Beyoncé’s Crazy In Love). It even has epic dubstep from Nero. It’s tricky to know just how hands-on Jay-Z has been. He’s only directly credited for one song – his own 100$ Bill, gala electro-hop with film dialogue and jazz horn samples produced by Ratatat’s E Vax (who’s also worked with KiD CuDi). Maybe Jay-Z, so inspired by Ridley Scott’s American Gangster that he made an unofficial OST, is like the Queens’ oculist Dr TJ Eckleburg on the

Of course, Gatsby isn’t Luhrmann’s first cinematic mashup. He assembled a trendy postmodern soundtrack for William Shakespeare’s Romeo + Juliet. Quindon Tarver was the choirboy singing Rozalla’s Everybody’s Free (Too Feel Good) and Prince’s When Doves Cry. The rising star dropped an eponymous R&B album but then disappeared. In later years Tarver has alleged that, along with B2K’s Raz-B, he was sexually abused by boy band mogul Chris Stokes. He unsuccessfully auditioned for American Idol. Another illusionary American dream... Meanwhile, Luhrmann reinvented the musical with Moulin Rouge! – the height of kitsch glam. He facilitated a hit girl-posse remake of Labelle’s Lady Marmalade, featuring Christina Aguilera, Lil’ Kim, Mya and Pink – Missy Elliott producing. Nor is Luhrmann’s Gatsby the first mash-up. There’s a vampire rewrite, The Late Gatsby. Inevitably, Jay-Z has called in his missus Beyoncé, who performs a controversial chopped & screwed-style duet of Amy Winehouse’s Back To Black with André 3000 (singing!) and indie guitar. This Back... is so unrecognisable from Winehouse’s – and brash – that it works. It fits the film’s tenor. Mark Ronson digs it. pulls off the eccentric Bang Bang – part club, part jazz-hop, and part Ol’ Dirty Bastard. It’s preferable to anything on his Eurovision-goes-to-Ibiza #willpower. Coco O, half of Denmark’s Quadron with Robin Hannibal of Rhye, sings the Lina-esque neo-soul Where The Wind Blows – produced by Andrea Martin, who had a hand in ‘90s urban faves like En Vogue’s Don’t Let Go (Love). The soundtrack’s cleverest number is Lana Del Rey’s absinthedrenched hip hop soul Young And Beautiful, helmed by Rick Nowels – even if it’s similar to the duo’s Summertime Sadness. The vapid Daisy was partly based on Fitzgerald’s wife Zelda, his muse and the OF (original flapper) whose own writing career he sabotaged. Del Rey offers a wry feminist critique of her idealisation and objectification. Luhrmann is an Australian patriot – and the OST has two Australian artists. Adelaide gal Sia’s turbulently tragic orchestral ballad Kill And Run surpasses Gotye’s recycled Hearts A Mess. It nearly eclipses, too, Rihanna’s Diamonds, which Sia co-wrote. Conspicuously missing is Jay-Z’s frenemy Kanye West – though 2011’s collab No Church In The Wild, used in a Gatsby trailer, finds its way onto a deluxe edition.

THE HEAVY SHIT METAL AND HARD ROCK WITH CHRIS MARIC This week, Judas Priest celebrate 40 years of existence with the release of Epitaph, a 23 song live concert DVD/Blu Ray recorded on the last night of their final world tour at the Hammersmith Apollo in London about this time last year. It features at least one song from each of their 14 classic albums which stretch back, unbelievably to Rocka Rolla from 1974!

Steve Vai There’s a couple of big tours I need to bring you up to speed on in case you don’t read the rest of the wrapping surrounding this ‘ere column. Fear Factory will be playing Demanufacture in full at the Roundhouse on Friday 5 July. That is so fucking cool! They have a history with that venue and if you’re too young to remember then that’s too bad. The masterful Steve Vai is back in July mesmerising crowds at the Canberra Theatre on Saturday 14 July and the Enmore on Monday 15. If you are yet to see him shred, I suggest you get on it pronto. Pop Mosh? That’s a new one – A Day To Remember return for their biggest show yet with an All Ages at the Hordern on Saturday, 13 July Metal all-stars, Death Dealer (feat Stu Marshall and Ross The Boss) have scored an exclusive deal with Utopia. The Home Of Metal will be the only outlet in the country where you can buy their upcoming Warmaster album which is released on 14 June. It’s been said that it is the album Judas Priest should have released after Painkiller and I totally agree! Preorders of their ridiculously good Digipak Ltd Editon are available via and Snake Sixx is out of hospital and pissed off at the downtime it cost him so is full of fury and determination to get this fucking thing out finally! Steve Priestly has made it know he believes Snake’s version of the Celtic Frost’s Dethroned Emperor is the heaviest version of one of the heaviest songs in the world. Created by three guys in three different countries with no management or label interference. It really is purely All About The Riff.

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Also this week, the legendary Dio posthumously releases a brushed up and restored DVD/Blu Ray of the 1986 video, Finding The Sacred Heart, which was filmed at The Spectrum in Philadelphia. Check out that towering dragon. Hard to believe Dio left us three years ago already.

FRIDAY Our Last Enemy play Club LED in Newcastle in support of their new Remix and Rarities upcoming release Engineering The Enemy which has guests like Mortiis, Angel (from Dope) and The Berserker contributing to the audio reshuffle. They bring the show to Sydney and Canberra in late June.

A Day To Remember There have been a couple of shuffles in relation to distribution deals between labels, with UNFD making the announcement last week that they’d entered into a partnership with American label Equal Vision Records. The deal will see UNFD distribute, market and promote new titles from the legendary label in Australia and New Zealand, as well as relaunching their back catalogue. Equal Vision have been responsible for helping launch the careers of bands like Converge, Saves The Day, Give Up The Ghost, Coheed & Cambria and Circa Survive. This year has seen UNFD release Say Anything’s three-disc set of early rarities as well as new albums from The Dear Hunter and Eisley via Equal Vision. The partnership will also see UNFD release the new album from We Came As Romans, called Taking Back Roots on 26 June. The team behind April’s Hits And Pits tour couldn’t wait a year to run their festival again, so have announced that Hits And Pits 2.0 will be touring around the country this November. The first announcement sees the legendary Boysetsfire joining forces with No Fun At All, Off With Their Heads and Jughead’s Revenge in a national festival. This is only the first announcement, with apparently another four international bands yet to be announced. Early bird tickets are on sale now for when the fest hits the Hi-Fi Bar on Sunday 17 November. Speaking of Boysetsfire, the band are getting set to release their first studio album in almost seven years on 11 June. Called While A Nation Sleeps, details of the release are starting to come through with currently showing the new music video for the second track on the album, Closure. Boysetsfire play a couple of shows in the US at the end of the month before heading over to Europe for a bunch of shows with Bane and Adelaide’s own Paper Arms. The last time A Day To Remember were in Australia, they were destroying the main stage on last year’s Soundwave tour. This July sees the Floridian band returning accompanied by a new album called Common Courtesy. Coming with ADTR will be The Devil Wears Prada, who I believe will also have a new album out around that time, and Melbourne’s Dream On, Dreamer (I mentioned a couple of weeks ago that they’re getting ready to release their second album, Loveless, on 28 June). These shows are going to be madness, so make sure you pick up your tickets quickly (the last ADTR headline tour sold out in Sydney) if you want to catch the three bands on Saturday 13 July at the Hordern Pavilion in Sydney. Tickets are on sale now.


The Smith Street Band have announced a national tour to coincide with their appearance at the Poison City Weekender. This national tour will see TSSB hitting the road with the two international acts on the PCW bill: Joyce Manor and Cheap Girls. The Sydney show is set for the Annandale Hotel and last time the band played there (on the Young Drunks tour earlier this year) it well and truly sold out, so get in quickly as this huge line-up will not leave tickets hanging for long. Also stay tuned for some more news out of The Smith Street Band camp later this month! In the meantime, tickets are on sale now for when TSSB and supports hit the Annandale on Saturday 31 August.

Rock‘n’Roll & Alternative Market time again down at The Manning Bar. The last one was huge and it’s growing every time. There are more and more stalls catering for the metal fan too which is great to see. Yes, this includes mine, haha. Plenty of good stuff to be found and taken home: rock‘n’roll, alternative and vintage fashion for men, women and children, records, CDs, DVDs, books, art, collectables etc. Just $5 Entry gets you in for a great day out with kids under 12 getting in for free. The next one is on Saturday 2 June.

Having just wrapped up a HUGE European tour with Cult Of Luna, Sydney’s Lo! are riding high and are set to return home for bunch of launch shows for their new album, Monstrorum Historia. They will be bringing Melbourne’s High Tension along for the ride, making this one of the most exciting local line ups I’ve seen in a while. You can catch both bands on Saturday 20 July at Spectrum in Sydney for an 18+ show with Totally Unicorn. Tickets available on the door, only.

It you feel like freezing your extremities off in Katoomba this evening, you might as well do it at Gearin Hotel and catch some live action at the same time. The Chrome Pigs, Egg Malt, and Psyrens start making noise from 9pm and are asking for just five bucks

SATURDAY Venom have a monster night planned with Double Chamber, Lycanthrope, Dystopic and Caught Out all playing live






The Detonators It’s been ten years since the passing of Australia’s greatest country music icon Slim Dusty and there are numerous projects afoot to mark the anniversary. Amongst them is Lee Kernaghan’s unique tribute to Slim entitled Flying With The King, the third single from Kernaghan’s current hit album Beautiful Noise. There ‘s a great story behind the song which is based on one of Lee’s most cherished memories of a flight from Sydney to Perth in the mid ‘90s when a young Kernaghan found himself sitting to Slim himself. As you might expect Slim regaled his bright eyed passenger with all manner of career stories and anecdotes. The new single and accompanying music video have been released to coincide with the Slim Dusty Birthday Bash at Rooty Hill RSL on June 13 where Kernaghan will be joined by artists such as artists, Kasey Chambers & Shane Nicholson, The McClymonts, Adam Harvey, The Wolfe Brothers and the Adam Eckersley Band. The concert is part of a nationwide move to have 13 June declared ‘National Slim Dusty Day’ with funds raised going towards the multi million dollar Slim Dusty Centre at Kempsey, When completed the complex will be a living museum showcasing memorabilia collected by Slim and his wide Joy from all over Australia. One artist who would also have some good Slim Dusty yarns is multi-instrumentalist and singer Andy Baylor who played a number of tours in Slim’s band right around Australia. These days Baylor movies regularly between Melbourne and Sydney and this Saturday sees him at the Marrickville Bowling Club for what is billed as “A One Night Extravaganza Of Rockin’ Dance Music”. Expect a smorgasbord of roots music styles including country swing, Cajun two steps and waltzes, hillbilly hurtin’ songs, groovy ska, hip soul and musical curiosities from the past, present and future. Baylor’s Cajun Combo features an all star cast including picker Sam Strings Lemann, accordionist and steel guitarist Roy The Squeezer, traps man Joel T Davis and bass slapper Michael W Vidale. Baylor of course will be driving the whole musical hot rod with his hot pink retro Fender ’61 Jaguar and his funky bush fiddle. The Sydney Rock‘n’Roll & Alternative Market is back at Manning House this Sunday to dispel the winter chill and get you shopping and bopping from 10.30am. The market is not only defined by its wide range of stalls selling all manner of clothing, music, food and collectables but its regular roster of hip musical talent which this month features an exclusive appearance from Melbourne’s nomadic roots rockers The Detonators along with the Big Blind Ray Trio, the Drey Rollan Band and the Chickenstones. It’s vinyl only with DJS Rod Almighty and Rockin’ Marc Rondeau spinning platters on the top floor whilst downstairs on the Tiki Bar Courtyard the Rockabilly Rhino and the Solid Gold Hell DJs keep things popping. If you are looking for one of Sydney’s best value days out, admission is a mere $5 with young rockers under 12 admitted free. Mic Conway has been one of the stalwarts of the Australian music scene for what seems like an eternity but is constantly reinventing the jug band hokum that dates right back to the Captain Matchbox Whoopee Band of the 1970s. His latest manifestation, the National Junk Band, has been with us for some time but are continually adding to their unique circus of fire, illusion, passion, irreverent satire, magic, singing saws, flying chooks, musical mayhem and very funny songs. The band have been busily recording a new album and you can expect some road testing of the new material when they ply their absurdist magic at the Camelot Lounge on on Tuesday 20 June, the Clarendon in Katoomba on Friday 21 and the curiously named Humph Hall at Allambie Heights on Saturday 22.

We have a crush of Big Village boss man Rapaport. It’s probably the combination of a rich, lustrous beard; the endearing tennis racket tattoo on his left arm (one of the few endearing tattoos around in our view); and his ability to perform the delicate balancing act that is running a label and being an artist while still being a worthwhile person to have a conversation with. Recently live electronic nutters Svelt put out a track featuring our crush. It’s called Mad House. It’s a woozy, loopy, disorienting number. The clip (which contains boobs but in an arty way, you perverts) is compelling too. Rapaport and his Svelters plunge into insanity. Hopefully this is a sign that we’ve got more Rapaport on the way. While absence does indeed make the heart grow fonder, we reckon putting out great new material has the same effect. Rapaport We’re excited to be alive and in touch with pop culture at a time when someone like Kanye West is making music. He’s a bad guy with bad ideas and we do not wish him well but – by gee – does he make good music. We took the time the other day to listen through each of his albums – all masterpieces, even 808s & Heartbreak. Few artists can compare to productivity. And (though we hesitate to say it because it’s a bit of a wild generalisation…) since Kanye’s 2003 debut no artist has produced consistently high quality music like he has. In his time, he has no equal. When we think back as a culture on what the 2000s sounded like, we will be listening to Kanye albums. Promise. And so… our anti-hero has some new music out for us. The new album will be called Yeezus which is an amazing name, albeit an amazing name that only an awful person would use for their album. Kanye played Black Skinhead on Saturday Night Live the other day. We have been listening to it on repeat since. It features a sample from ‘90s pop-metal phenomenon Marilyn Manson’s Beautiful People. And it is an incredible song. Do your best to find a solid version of it online somewhere, sit back and enjoy the excellence. Now you know how your parents felt when Graceland came out. Or your grandparents with Let It Be. Commence the Yeezus countdown.

We can’t speak about our crushes without speaking about The-Dream, really. It’s shaping up to be his year. Recently, taking (most of) us completely by surprise, he decided to upload the entirety of his new album IV Play to YouTube. So it is there, now, for you to listen to. We’ve only listened through twice now. Thus far no song shines as bright as the incomparable Slow It Down, but it’s early days. Releasing an album like this does beg some serious questions. We’ve spoken before about how woefully under-informed we are about how artists make money from music, but this just seems absurd. The-Dream has enjoyed moderate commercial success as a solo artist, has produced a highly anticipated album packed with guests, and has decided to put it up for free. We know that true artists make art for art’s sake but our point is this: you can make art for art’s sake but then if you have made some art and people are willing to pay for it, why not sell it and make some money in order to make some more art? Of course the fact The-Dream has walked a different path is laudable – wonderful. And we are all about getting the best product in front of the greatest number of people; art is for everyone. So maybe we are just being silly about this. Perhaps we should just enjoy the free music and hush. Hm? Well, at least the YouTube playlist has a link to iTunes so – thank goodness! – someone can make some money from this magnificent man.

YOUNG AND RESTLESS ALL AGES WITH DAVE DRAYTON a reformed Conation. Why is it worth helping them celebrate? Because they play host to all kinds of music in an environment all people regardless of age can enjoy. For example, there’s the awesome heavy line-up of their birthday show, but if you were to go on Sunday from 3pm you would get some gnarly pop courtesy of Simo Soo, Black Vanilla, Moonsign and Luna Luk as part of the ‘I Can’t Believe It’s Not Punk’ queer bands gig. We lined up vocalist/guitarist/allround good dude from Conation, Jamie Hay, pictured, for a few questions about the birthday show.

Jamie Hay A little notification for all you budding Beyonces and Bon Ivers: triple j Unearthed High is happening again this year and entries are now open. If you make music, or you’re in a band which does, and if a majority of your body/and or your band is still in high school you can enter, and it’s as simple as uploading an original track to the site before Monday 22 July. If you win they fly you in to record your song with triple j producers and you get to play alongside San Cisco at a gig held at your own high school. Get writing/riffing/recording! And now to the gigs – my new favourite pop punk band Thesis are doing a run of shows with Wake The Giants and one of them just happens to be this Friday, and all ages, and at Chatswood Youth Centre, and with Past Is Practice, The Virtue, Trophy Eyes and Obviously Your Superhero, and you should go. LA hardcore dudes The Ghost Inside seem to be making a habit of being here, and you can catch them at one of two all ages gigs this week, on Thursday at the Metro with Emmure, Antagonist A.D. and Hand Of Mercy, and on Friday at Panthers, Newcastle, with the same support acts. The fantastic artist and volunteer-run not-for-profit record shop, gallery and all-ages space that is Black Wire has been hosting gigs that you lot can attend for some 1,000 days now – that’s right, it’s their third birthday! To celebrate they’ve lined up a gig on Saturday that features Ether Rag, Palmer Grasp, Ache, Canine and

For the uninitiated, what can you tell us about Conation? Conation started in 1998 and ‘ended’ in 2006. We were originally described as an ‘emo violence’ band if that makes sense to anyone. Our collective arms are twisted from time to time to play a show when the feeling is right. Why do you think it’s important to play all ages shows? I think it’s crucial that live music is accessible to people of all ages. I went to my first punk all ages show when I was about 14 and it blew my world wide open. Seeing bands at such a young age has shaped my life in such a positive way. I love to play all ages shows where possible. You’ve played Black Wire Records in a variety of bands now, what does the venue represent for you? Black Wire to me is a bastion of the DIY and punk ethic and the fact that it is run by an old, lovely friend of mine Tom makes playing there incredibly special.


Myele Manzanza After last month’s mini-review of the new Congo Natty album, Jungle Revolution, drum’n’bass is positively running things here at Bebop & Rocksteady HQ this past month or so, which is ironic as it is probably the genre we have covered the least in our ten-year existence! I always like to think of a new Calibre record as being some kind of special event though, so it’s somewhat surprising that his new album, Spill, dropped on me last week, very unsuspectingly. The Irish d’n’b producer, whose most recent release was a DJ mix for Fabric, changed my entire perception of drum’n’bass with his last two albums, Even If and Condition. Two exceptionally deep and melodic records, the latter had somewhat sharper teeth but less left turns, the common thread of course being Calibre was experimenting with different tempos and sounds – not going so far as to bow to the pressure of going dubstep on us but still demonstrating what dubstep owes to d’n’b, jungle and sound system culture. Spill is not as much of an immediate record and the inclusion of MC Chimpo and that Flamenco guitar track near the beginning raise a couple of red flags, whereas the triptych of Keep Control, Close To Me and Cully Bridge in the middle of the LP are classic emotive Calibre. All in all, it’s a worthy record but doesn’t stand up as strongly when compared to his 2010-2011 material. I’m quite surprised at how ill people are speaking of the new Daft Punk record, Random Access Memories, particularly people from the funk-soul fraternity. Sure, it’s not entirely listenable all the way through and is as camp as a Peter Allen or Frankie Goes To Hollywood album in moments, but surely the fact they are having a stab at something different amounts to something? All those reviews about the punchiness of the live drums are indeed correct, and the strings and flugelhorns and whatnot are something of a delight when stacked beside many other major releases of this year. Can’t we all just agree it’s important that an artist on a platform as high as Daft Punk is attempting to spearhead some kind of soulful music revival? Rant over. Keb Darge really nailed it with Little Edith on volume three of his Legendary Wild Rockers compilation for BBE. Absolutely knocked it out of the park with these 20 tracks, he did. From baritone sax-led sexy stompers to screaming vocals and twanging guitars, this one certainly blows the roof off and is one of the best compilations of this genre I have ever heard. On the live front this week, don’t miss Flatbush Zombies, Oscar Key Sung and Miguel Atwood-Ferguson with the Myele Manzanza Trio featuring Mark de Clive Lowe playing Wednesday, Thursday and Friday respectively. Sydney never had it so good!

The floor is yours - sell us Saturday 1 June’s show at Black Wire… All I can say is there are some great bands and people attending and we’ll do our best to vomit these songs out and not make too much of a mess.

Finally, Eric Lau is coming out with a new album in June! One Of Many looks to hark back to his classic 2008 debut, New Territories, for ubiquity. You know, that blunted yet sweet vocal soul business reminiscent of Pete Rock on a Soul Survivor tip. You really have to hand it to Lau, who’s fought through the endless comparisons to Dilla and stuck to his guns, making pretty damned timeless beats all with his own flavour, never resting and always developing. You can download a collaboration with Tawiah for free on his SoundCloud now and catch Rahel, Olivierdaysoul, Fatima and the rest of the gang on the fulllength LP when it drops on Monday 17 June.

Any tips for young musos? Be passionate about what you write and want to say and have the time of your life doing it.

Next month will be my last ever Bebop & Rocksteady column, so now’s the time to get nostalgic.

Why bring Conation out of retirement for Black Wire’s birthday? We decided to do it because it’s Tom’s birthday as well as Black Wire’s. It just felt like a great thing to be part of and we know it’ll be a great show!

For more interviews go to • 45





it - and I’m a freelancer-cum-student (hence poor), so I can hardly take the required six weeks off. Despite my careful reasoning, it was with forgetful equipollence that I received the second summons and repeated the process. Rumour is they try you three times then stop hassling you. The first time I was overseas, the second was excused on account of university requirements, and I still have the freelance card up my sleeve. Justice Squadron In which you’ll find the insiders look at our legal system that I didn’t get to give you; a passing reference to one of Moe Syzlak’s shining moments; rumination on finding philosophy in unexpected places, and the obligatory reference to poverty resulting from a life in words. There have been a few weeks off Moderately Highbrow to account for suitable amounts of coverage for festivals in our arts pages and in that time I had the opportunity (my second this year) to weasel my way out of jury duty. Now, this wasn’t done lightly – and I’d go almost as far as to say that it was done reluctantly. Why? Well, here’s a quick gloss of what I’ve learned from pop culture about jury duty: the group of learned citizens governing Springfield in the absence of Mayor Quimby were right, they could spruce it up a little, the terms ‘Justice Squadron’ and ‘Fortress Of Vengeance’ do have a nice ring to them; it’s painful to admit, but Pauly Shore can be funny in his own weird way; and you’re almost guaranteed a free stay in a fancy hotel (I can’t afford hotels, at all, and you’ll see why shortly. Suffice to say that, for me, any hotel = ‘fancy hotel’). Receiving the first summons I was excited; this was a once in a lifetime opportunity to glean the cogs of our legal system! And I could surely wrangle a story out of it, which is good, because I’m a freelancer-cumstudent (hence poor) and always on the lookout for stories, because they (sometimes) result in money. Two problems – jury duty is like Fight Club - once you’re in the first rule is that you don’t talk about

But as I said, this has all been done with reluctance. You see, when I got to thinking about jury duty and all that it entails (The Simpsons, Fight Club, poverty, excuses) I inevitably gave thought to what it would be like to actually fulfil that duty. And it appealed to me. Something about the process, the democracy, the deduction, acts of impartiality and reason – it all felt like a clear thread could be drawn from the ancient Greeks to us, right here, acting out some concept of society or the People (wherein the definite article is of utmost importance and thusly uppercased). This was reason and philosophy!

a tax incentive to film in Australia. The producer tax offset provides a 40 per cent tax break to studios that decide to film here. It saved the production of this movie around $80 million and created 2,000 jobs.

Penne Hackforth-Jones Well-known Sydney dance teacher and Theatresports player Grant Davies will face court again in July after being charged with multiple offences against children. He was refused bail last week after a magistrate said he might try to delete photographic evidence if released. The 39-year-old ran a Sydney dance studio with his sister Rebecca Davies and trained performers for productions such as Billy Elliot. He’s accused of offences that include using his position to gain the trust of children at the studio and taking photos of them in sexually suggestive poses.

Melbourne author Carrie Tiffany has won the ‘New South Wales Premier’s Literary Award for Fiction’ for her novel about country life, Mateship With Birds. Charlotte Wood won the ‘People’s Choice Award’ for Animal People and Gideon Haigh the ‘Douglas Stewart Prize for Non Fiction’ for The Office. The children’s literature prize went to Aaron Blabey for The Ghost Of Miss Annabel Spoon, and the young people’s literature prize to Jaclyn Moriarty for A Corner Of White. Belvoir has released sales figures for 2012 that include a record 9,408 subscriptions, up almost 1000 on 2011. With national touring, the theatre company reached more Australian audiences than ever with 196,000 attendances at the Belvoir St Theatre and across the country. It made a small surplus of $82,000 on turnover of $11 million. Out of 14 productions 11 were new Australian works and collaborations with companies including Sydney Festival, Urban Theatre Projects, Lucy Guerin Inc, Australian Theatre for Young People and version 1.0. Belvoir took The Book Of Everything to New York’s New Victory Theater where it was described by the New York Post as ‘one of the best shows’ in town.

Most of all, it was the act of critical engagement. Where else in adult life are we required or given opportunity to engage wholly and critically with a given set of information, of knowledge, in an attempt to extract absolutes, plausibilities, possibilities, to draw reasonable conclusions (reasonable here as far from its ‘that’ll do’ connotations as possible)? I can think of nowhere else outside of educational facilities. Certainly, in the work place similar acts take place but they are nowhere near as distilled, polluted as they are by workplace politics, company policy, quarterly budgets, quotas, etcetera etcetera.

Tributes have poured in for Penne Hackforth-Jones who has died at 64 after a battle with lung cancer. She was born in the US but grew up in Australia, first appearing in the 1969 television series, Riptide. She appeared in movies such as Mao’s Last Dancer and the ABC-TV series The Doctor Blake Mysteries. The actor had a priceless moment in Muriel’s Wedding as a shop assistant helping Muriel try on a wedding dress. The assistant tells wheelchair-bound Rhonda (Rachael Griffiths) “You can’t come in here and threaten brides. I don’t care how unfortunate you are.” Hackforth-Jones also worked in many other Australian television series including All Saints, A Country Practice and Mother And Son.

One of the judges on renovation television show The Block has aptly described a bedroom created by contestants Matt and Kim as ‘a crime scene’. The couple splatter-painted half a bedroom, including the doona cover – Jackson Pollock style. Contestant Matt later said the show rewards the couples who renovate for the ‘mainstream’.

In the environment of jury duty all philosophical threads of society, self, reason and risk, right and wrong, must be attentively and thoroughly followed, unravelled and considered and most astounding of all, understood. We’re not burdened by six unpaid weeks of silence; we’re presented with a rather unique opportunity to commit absolutely (for a small window of time) to solving problems through critical thought. For our ancestors such practice was a necessity and it should rightly remain so for us.

Despite bucketing rain last Wednesday night a good crowd turned up for the Sydney premier of Baz Luhrmann’s The Great Gatsby. Luhrmann and Catherine Martin, together with actors Tobey Maguire, Carey Mulligan, Joel Edgerton, Elizabeth Debicki, Steve Bisley and Vince Colosimo mingled with celebrities and politicians including Premier Barry O’Farrell. Luhrmann said despite poor reviews overseas, the film has been a hit at the box office. It’s poured around $100 million into the local economy thanks to

Chunky Move dance company founder Gideon Obarzanek and Indigenous artist Richard Bell are among 11 artists to get Australia Council fellowships. Along with the likes of animator Dave Jones, filmmaker Sue Healey and composer Robin Fox, they’ll each get a $100,000 fellowship for established artists. Six emerging artists will receive fellowships worth $60,000. It is the second year the fellowships have been awarded and the Australia Council has committed to the program for five years. After that it will be re-evaluated.

46 • For more news/announcements go to


LOVE PARADE Member answering/position in band: Nathan Jolly (Vocals/Guitars)

How long have you been together? Too long. We put our first EP out in 2007 or 2008, during our drummer-less Newcastle days. We messed around for a few years, found a drummer, moved to Sydney, bought matching caps and here we are.

How did you all meet? The other three went to school together, and their lasting friendship is a product of our public school system. I met them at university and we all fell in love.

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? In the world? The Beatles or Nirvana. In the band? The Beatles or Nirvana.

Would you rather be a busted brokebut-revered Hank Williams figure or some kind of Metallica monster? If those are the choices, I’m going for a busted broke

but revered Hank Williams figure, but really, I’m holding out to be a successful-reverse-ageing Paul Rudd type.

accommodation to some resort without having to do much of anything. A true inspiration story.

What part do you think Sydney plays in the music you make?

If your band had to play a team sport instead of being musicians which sport would it be and why would you be triumphant?

A big part. The entire album is about moving to Sydney, yelling at people who ride their bikes on the footpath, and being bad at Sydney girls. Not ‘with’, ‘at’. Plus the video for our song Surfin’ NSW (which we named because ‘NSW’ is a visual abbreviation, but not an audio one - along ‘cos it’s funny/dumb) has every Sydney landmark gracelessly crammed into it.

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

Basketball - and we would be triumphant due to a mixture of solid fundamentals, heavy D in the key, our outside game, occasional massive windmill jams, and... oh, you have to wear shorts? Really? Umm ... golf then.

What’s in the pipeline for the band in the short term?

Probably break-ups, because the songs are carefully crafted to contain triggers that will unravel even the most beautiful and timeless relationships. Sorry.

Our album King Me comes out June 1 on handsome purple vinyl, we launch it the night before at FBi Social, and will be playing shows around the city afterwards in support of it.

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

Website link for more info?

Who Dares Wins. The dare would be to eat dirt or worms or something; we would pass, and Mike Whitney would have to do it. He would pass also, and we would win flights and

Love Parade play Friday 31 May at FBi Social. King Me is released independently.

Pic by Josh Groom.

[THE GUID IDE] i n d i e


FRONTLASH Not only for the fact the new season is out, but also how every episode was released at once. In this fast paced age, who has time to wait around a week for the next instalment of a show? Not us!

This Friday evening in Sutherland at Studio Six, Buried In Verona are playing a gig with Sienna Skies, Spheres and Justice for the Damned in support. Formed in 2007, the metal six-piece are seeking to escape the confines of the genre and start exploring a wider musical sound with the ultimate goal of spreading positivity and happiness in a genre almost restricted to anger and hate. Their upcoming release The Notorious B.I.V. is in the works.



The more we do to see less of Tom Waterhouse on our screens, the better.

Brisbane four-piece The Arachnids can’t get enough of the road. In March, they toured in support of their single Daydreaming, and now that that same song has a film clip to accompany it, the boys are doing the whole thing again. This Friday, they’ll be heading to Spectrum to kick off the second instalment of the Daydreaming tour.

CRONUTS A hybrid of a croissant and doughnut? Yes please!


Co-presented by FBi radio, Blue Mountain darlings Cloud Control are premiering their new album at the Sydney Opera House this Friday night to launch the weekend finale of Vivid LIVE. Full of harmonies and pulsing rhythms, the uni band competition entrants have evolved beyond their debut record Bliss Release, which won the Australian Music Prize, into fully-fledged pop connoisseurs.

What’s the song about? It’s about a classic Aussie music venue called the Grand Junction Hotel, The Junkyard. It’s got the classic story of that douche bag that moved next to Sydney’s Luna Park. It’s quite simple really, the park was there first so don’t complain. The Junkyard is an iconic music venue that’s supposed original music for ever and only Good Times happen there. Is this track from a forthcoming/existing release? It’s from the album I Love Hate You which I released late last year and which won me Best Male Vocalist at Australian Blues Music Chain Awards 2013. How long did it take to write/record? I wrote the album bit by bit, mostly on the road over the last year or so. I would write most of it whilst driving, singing into the phone and then recorded it in my home studio, bar one song, in about a month.

CRONUTS So far the original is only available in New York, with a variation on the theme available in Melbourne. Someone please bring to Sydney? C’mon Adriano Zumbo, we’re looking at you.

Mouthing off again, this time against Daft Punk. Oh, he’s got a new album due soon? Funny that…

AFL RACISM She was a Collingwood supporter, so that’s already punishable by death, but how can a teenage girl shout racist abuse in this day and age? The sad irony is of course it happened in AFL indigenous round as well.

BREAKING BAD They only started up one year ago, but poprock five-piece Breakaway have been putting in work and with their One Minute/One Moment EP already under their belt, they have locked in studio time in July to start recording their debut album. To coincide with the release of their second single from the EP, At The World’s End, they’ve been on tour across the East Coast and are wrapping things up at The Lair this Saturday.

SET SAIL Co-founder of former Brisbane indie-orchestra Inland Sea, multi-instrumentalist Jeremy Hunter is now stepping out on his own, armed with a new debut self-titled EP of acoustic folk-rock songs. Parallel to the release of his EP and the first single to be lifted off this EP (Picking Up the Pieces), the heartfelt Hunter will be playing a slew of launch shows around Australia in his first national tour. This Saturday, you can catch him with The Chemist (who are launching their debut album) and Lanterns at Brighton Up Bar.

Phebe Starr

JURASSIC STARR Following on from the release of her well-received single Jurasicca, Sydney synth-pop sweetheart Phebe Starr has just released her debut EP Zero. Having only just returned from a string of shows in New York and London, Phebe returns home to launch the new EP this Thursday at a special intimate show at the Paddington Uniting Church where Goldsmith will join her. Due to the historic nature of the venue, entry is very limited, so for any interested parties, make sure you either book in advance or get down to Paddington reasonably early.

SWAMP SOUNDS Owls of the Swamp, the moniker of Australian multiinstrumentalist and songwriter Pete Uhlenbruch, has just released his new single The Hypnotist. The single was recording in various locations around Europe, where he is now based. This Thursday, Pete returns home to start a three-date national tour in support of the new single. The tour kicks off at the Newsagency in Marrickville, where Emma Davis will be joining Pete.

CANDLELIT CARTY Indie-folk heartbreaker Jack Carty teamed up with producer Casual Psychotic. The result; a new EP they’ve titled The Predictable Crisis of Modern Life coupled with a subsequent full-band launch at a secret candle-lit venue in Hibernian House this Thursday with Melbourne’s Dan Parsons. To get the specific address, tickets need to be booked in advance through Moshtix. They’re keeping things intimate, so tickets will be limited.



The history of Sydney ska/pub rock outfit Spy v. Spy goes back all the way to the mid ‘70s, beginning in a squat in Glebe. To cut a very long story short, since their formation, the band have released seven albums, supported David Bowie and continued to perform up to this date. This Saturday, you can catch these music veterans at the Brass Monkey.

Singer/songwriter and slide guitar virtuoso Owen Campbell, is launching his new album The Pilgrim this Thursday at The Vanguard. After a chart-topping effort from his 2012 LP Sunshine Road, things are looking up for Campbell’s national tour and he’ll also be stopping in at Lizotte’s on the Central Coast on Wednesday before the launch, The Abbey in Canberra on Friday and The Heritage Hotel in Bulli on Saturday night.

TRIPLE THREAT Not too long ago, Sydney metal/hardcore outfit Northlane released their second full-length album. To support the release of Singularity, Northlane have set out on a national tour with Aussie act Statues, Canada’s Structures and American outfit Stray From The Path. The first two Sydney dates to be announced sold out in no time at all; so another third show has been added on the Sunday evening at The Annandale (after the all ages show on the same day) for those of you who missed out on tickets to Sunday afternoon show and the 18+ show the night before.


Song title: Good Times


THE INTERACTIVES Not many South Australian bands can say they have had two songs featured on the Rock Band Network for Xbox and PS3, but for Adelaidian rockers The Irresponsibles, this is an achievement they wear proudly. Fronted by the flamboyant Miranda Mazurek (vocalist and songwriter for the band), they have released an EP and an album. This Saturday, they head to the Bald Faced Stag for a one-off Sydney show with support from local acts The Volts, Wildflowers Wither and Central Coast outfit Room 13.

48 • For more news/announcements go to







Was anything in particular inspiring you during the making? I wrote the first song off the album whilst touring America, I had a bad experience travelling from LA to Kansas City, so I wrote the track Hound Dog. The only way to get there was via a Grey Hound bus. So there was this guy on my right that skipped his court hearing and was nervous going through Nevada as he was done with $32 grand worth of cocaine, the guy on my right just got out of jail, and then this hip hop gang got on the bus in the middle of the night and rapped with this ghetto blaster all night and they hit on every single girl on the bus. Man, it was just loose. So of course I had to write about it. I actually ended up recording part of it at Sun Studios in Memphis, which was a blast, I loved that place.

Answered by: Nik Thompson EP Title? Boa Constrictor Hat How many releases do you have now? There’s been a few demos and things in the past but this EP is our first proper release. Was anything in particular inspiring you during the making? No, not really. Each of the tracks are about something different and were written without much reference to the others. They were just what I felt like writing. What’s your favourite song on it? Livin’ La Vida Loca. You can’t hear it very easily, but it’s hidden in the soul of every track. We’ll like this EP if we like... Listening to music without doing anything else distracting. It’s not very easy to just chill out or dance to the record as a whole, there’s not really a resounding vibe. When and where is your launch/next gig? Supporting Jinga Safari at the Oxford Arts Factory on the 30th and 31st of May. For more info see:


What’s your favourite part of the song? I don’t have a favourite bit, but I do like the rock stompy vibe of Good Time Do you play it differently live? Not really, I’m a looper, so I play all the parts live on stage pretty much exactly the same as what’s on the recording. I might jam on it if my guitar player’s in the mood, depends on the singer or the bass player. Will you be launching it? I am currently on a svene week tour launching Good Times. The main Sydney show is at The Vanguard on Friday 31 May. For more info see:

BURIED IN VERONA Answered By: Brett Anderson How did you get together?: Originally we formed from people I knew at school. Sum up your musical sound in four words?: Heavy emotional catchy raw. If you could support any band in the world - past or present - who would it be?: Slipknot.

Nova And The Experience

NOVA AT THE BERESFORD Brother/sister fronted Novacastrians-turnedSydneysiders Nova & the Experience have just followed up their last EP with their brand new fourtrack EP There’s Something Here. 2012 was a big year for the indie-pop outfit, who won the chance to open the Newtown Festival, toured nationally as the main support for Wheatus and saw their single I Don’t Play Quiddich gain high rotation on Channel V. 2013 shows no signs of slowing down, as not long after having supported Amy Meredith, N.A.T.E. will be launching their new EP at the Beresford with Alaskan Nights, Jake Edgley and DJ Kristy Lee.

You’re being sent into space, no iPod, you can bring one album what would it be?: Slipknot’s 1999 self-titled debut. Greatest rock’n’roll moment of your career to date?: Playing groezrock and screaming Germany at the start of our set and having 5,000 people scream back Why should people come and see your band?: We always put 100% into our shows, and try make every person there love every minute of our set. When and where for your next gig?: This Friday 31 May at Sutherland Sphere nightclub. For more info see: http://www. facebook/notoriousbiv

i n d i e n e w s [THE GUID IDE]




Jazz and blues man C.W. Stoneking is back for a rare performance in Sydney for the first time in over two years. Previewing brand new songs as well as tracks from his breakthrough ARIA award-winning album Jungle Blues, the performance will be a stripped back and intimate affair at the Sydney Opera House as part of Vivid LIVE this Saturday in the Joan Sutherland Theatre.

The Leisure Bandits are an outfit that work as hard as they play. In between delivering their high-energy live sets fuelled by their catchy brand of old school soul and funk, they’re consistently working on new material to inject into their performances. This Saturday, they’ll be serving up some of these new tunes at the Beresford alongside Tokyo Denmark Sweden, Penelope Austin and DJ S.Kobar.

MIS-MADDEN The hard yards have been put in and it’s all paid off for The Mis-Made. Their debut EP House of Cards is finally ready to be released and on Friday, they intend to celebrate its final unveiling. Michele Madden, Snaketide and Safer With The Wolves will be joining The MisMade in this celebratory affair at The Square.

MERE CATS Answered by: Tom Niall How did you get together? All of us are good mates and we were all working musicians in separate projects. We thought it would be cool to get together and jam and Mere Cats is the result!


Sum up your musical sound in four words? Dropped Latin Funk Fusion If you could support any band in the world - past or present - who would it be? Mountain Mocha Kilimanjaro You’re being sent into space, no iPod, you can bring one album what would it be? Cities by The Cat Empire Greatest rock’n’roll moment of your career to date? When Zach (Sax) did an entire recording session in Speedos cause he didn’t have any clean undies Why should people come and see your band? You haven’t felt something like this before. Mere Cats, comin’ at you like a beer mat! When and where for your next gig? Saturday 1 June at The Underground Music Festival 24 at The Square! We’re stoked to be on the line up . For more info see: http://www

Jinja Safari

JAILHOUSE POP The first of four stripped down solo performances by power-pop Melbourne artist Davey Lane kicks off on Tuesday at the Corner House in Bondi. Lane continues to perform in support of his debut single You’re the Cops, I’m the Crime for the following three days; Wednesday, the mod-popper hits up the Midnight Special in Newtown, Thursday he’ll be performing at the Soda Factory in Surry Hills until finally he plays his last Sydney leg at Low 302 in Surry Hills. All four performances are free entry.

SAFARI SOUNDS African-inspired dreamy pop outfit Jinja Safari have set out on a national run of intimate shows to support the release of their self-titled debut album. These performances will break down the barrier between audience and musician and offer a more close-and-personal platform to showcase their new energetic material. This Thursday, the launch will be happening at the Oxford Art Factory.

Forty-one years ago, The Cyril B. Bunter Band played what was intended to be their last show. Fast-forward to the present, and the Sydney pub rock five-piece have risen from their apparent ashes and re-banded to play a series of anniversary reunion shows. The final date of the tour will be taking place at Lizotte’s in Newcastle this Saturday.

TWELVE PLUS TWELVE This Saturday, 24 returns to The Square. The micromusic festival will feature two stages of music performed by a hefty handful of local up-and-comers, featuring performances from Lepers and Crooks, Mere Cats, Eddie Boyd & The Phatapillars, Lines, Love Clones, Marty Bryant, Eve Schroder and Elly Oh.

SYMPHONY OF LIFE & MUSIC Accompanying the release of his biography, Gurrumul: His Life & Music, Australia’s favourite new musical icon Gurrumul Yunupingu is performing with musicians from the Sydney Symphony in two nights of performance, imagery and film at the Sydney Opera House as part of the Vivid LIVE festival. The collaboration will involve re-arranging hits from his ARIA award-winning albums, 2008’s Gurrumul and the 2011 follow-up, Rrakala and is set to go down this Tuesday and Wednesday night in the Concert Hall.


TRADEMARK HOTEL Answered By: River Nygryn What’s happened with the venue since your last birthday? A change in promotional teams and aesthetically we have installed a new sound and lighting system worth over $200,000. What do you put the success of your venue down to? A hard working team and the brand Trademark has built for itself, the experience partying at Trademark is second to none. Has anyone ever worn their birthday suit in your club? Haha I don’t think so, although if they had they wouldn’t be allowed entry into the establishment. What’s the weirdest thing in the last year you’ve found when the lights have come on? Boys pants left behind, that always baffled me - how did they get home? What’s the thing you’re most proud of that your club’s contributed to the music scene in the last year? We have housed some amazing DJs in Australia including Nukewood. We are arguably Australia’s best house DJ at the moment. What sort of celebration is in order? Kyle Sandilands is hosting and even more celebrities are attending – I can’t say who at this stage, but it will be an amazing night. When’s the party? Friday 31 May Website link for more info?

115 REGENT ST, CHIPPENDALE, NSW 2008 (02) 9319 5025 (BOOK YOUR BAND – 0415 958 995)













For more interviews go to • 49


KING STREET BREWHOUSE Answered By: Alfredo Malabello What’s the capacity? 120 dinner and show. 200 theatre style. 350 standing. Why should punters visit you? It’s a great venue in an awesome pub that happens to be in a gorgeous location, 50 meters from the ferry, and seven minutes from Wynyard Station.



Following on from the success that was met with their debut EP Tee Pee, Melbourne’s The Murlocs have recently dropped the first single to be taken from the forthcoming full-length due out later in the year. The second leg of the single launch has been moved from The Velvet Cave to Goodgod, and you’ll be able to help them ring in the psych/ RnB track that is Rattle The Chain this Saturday.

Sydney industrial metal act Our Last Enemy are doing something a little different with their next release. Engineering The Enemy is a collection of remixes and rarities which aims to show off the harsher, electronic element of their music that they hold as dear as they do metal. This Friday, they’ll be launching the release at Club LED in Newcastle with the support of Mortiis, DOPE, Angelspit and The Berzerker.



2011 marked his 25th year in the music industry – two and a half decades on, and Australian blues artist Diesel is still kicking about as strong as ever. This week, he’ll be playing a few consecutive shows in Sydney as the support for Canadian singer/songwriter Tim Chaisson, who, not too long ago, released his fifth studio album The Other Side. On Thursday, the pair perform at the Brass Monkey, the following two days they’ll be at Lizotte’s in Dee Why and then on Sunday, Hein and Little May join them in a performance at The Bunker at Coogee Diggers.

Sydney metalcore outfit The World In Cinematic have spent the last 12 months following up their three-track demo that was released last year. In this same twelvemonth period, the five-piece have played alongside bands such as Buried In Verona, Hand of Mercy and Thy Art Is Murder. Now, with the six-track EP on the horizon, the boys will be heading to the Penshurst RSL this Friday. Performing alongside them are fellow Sydney hardcore bands Elektric Avenue, One Night in Paris, Winter Wolves and Ready for the Fall.

NEW BEAT Experimental pop Melbourne talent Nai Palm (vocalist of neo-soul electronic/hip hop project Hiatus Kaiyote) will be collaborating with LA based touring musician/producer/ arranger DJ Miguel Atwood-Ferguson for two special shows. The Sydney half of this unique live collaboration will be taking place at Blue Beat this Saturday.

What’s the best thing about the venue? The feel of the room is sexy and very comfortable. My engineers are top class and our sound system kicks. The service is great and the beers, including four homebrews, are delicious. Plus, the food is also great.


What’s the history of the venue? Originally, it was The James Squire Brewhouse, but the owner decided to go it alone and develop the pub into an all-rounder food, beer and entertainment hotspot in the harbour. What is your venue doing to help the local music scene? We can do all ages shows. I give everyone a chance. I enjoy treating the bands well. What are some of the highlights? We ran a 40 bands nonstop marathon in November last year making history as the longest live Oz Music Festival ever held. For more info see: http://www.

Drey Rollan Band

SHAKE, RATTLE ‘N’ ROLL The return of the Sydney Rock ‘n’ Roll & Alternative Market makes a return this Sunday at Manning Bar with a huge selection of some of Sydney’s most swingin’ hepcats. Performing two massive sets on the afternoon will be roots rock ‘n’ rollers The Detonators with additional performances by blues, southern rock, gospel and soul hybrid Big Blind Ray Trio, The Drey Rollan Band (pictured) with their blend of rock ‘n’ roll, rockabilly, blues, doowop and country, as well as Chickenstones.

50 • For more news/announcements go to

The Omri Mor Andalou Jazz Project is a trio of Jewish Israeli jazz musicians who explore a North African sound. Melding the boundaries between improvisation and traditional rhythms and melodies, the trio, named after pianist Omri Mor, have created something new. They’re giving Sydney a taste at North Shore Temple Emanuel in Chatswood on Sunday and at Blue Beat on Monday.

BATTLE ROYALE Vibrations band comp continues this Wednesday, and things are now edging closer and closer to the deciding performance. This week, you can catch The Carraways, Senile Sircus, King For A Day plus a bunch more as they battle it out this Wednesday at The Valve.


REDX EP title: RedX Answered by: Phill Leggett, guitar/vocals How many releases do you have now? This will be our first. How long did it take to write/record? Around one week to record. We recorded and mixed it entirely at home so after we packed away all the mics and the house returned back to normal, we took our time mixing it. With regards to writing the songs, the initial ideas for these songs go way back when we were all in other bands, so when RedX came about the songs came together quite quickly. What was inspiring you during the making of the EP? The good vibes and excitement in the room. What’s your favourite song on it? The first track, Never Listened To Me. We’ll like the EP if we like… Wow, this is a tough one. Free, Lou Reed, Frank Zappa, Sting and everything in between. Will you be launching it? Absolutely! Friday 1 June, The Junkyard Maitland; Sunday 2, Brighton Up Bar.






This site gives a generous fuck you to every would-be-foodie who suffers from an insufferable condition that compels them to take extraordinarily ordinary mobile snaps of their food. Sound like anyone you know?

Talk about dedicated. The chick behind the site’s love of food is so wonderfully extreme; at her wedding she carried a giant lollypop in place of the traditional floral bouquet. Sceptical? There are pics on the site to prove it.

In one instance, some poor sod’s decided to post a picture of tomato sauce drenched straight-outta-thecan spaghetti and beans, that’s been served with a side dish of some half-eaten crumbed calamari rings. The meal is ripped apart on the site, which manages to spew out quite a few choice quotes such as, “This whole dish reminds me of one of those suburban houses for poor people who think they are richer than they are”. It’s all so deliciously horrible. Careful when you type the title...

This blog favours the quirky and out-of-the-way food stops, and includes reviews and delicious, delicious pics of dishes from food hubs around Surry Hills and all the way out to Canley Heights.

There is something deliciously beautiful about food photography. Probably because it’s all a little voyeuristic and we know food never looks that spiffy IRL. What Katie Ate is a quaint food photography blog that focuses the lens on dishes arranged in a very country styled ad-hoc way – complete with close ups of cheese crumbs and quinoa mixed salads, with a luscious balsamic and strawberry teacake thrown in.












This Chinatown staple was apparently (some say still is) the favourite haunt for pollies looking for a late night feed. It’s got all the usual Chinese grub that we all love (fried rice, honey king prawns) along with all that fancy avant garde stuff like live abalone sashimi. Nom Nom Nom.




NOT QUITE NIGELLA This chick goes on a lot of holidays. For those of us stuck behind a desk eating cold take-out, you can live vicariously through this subtly girly blog that showcases local produce, pubs, supermarkets (hello Costco) and even features interviews with supremo food gods such as Anthony Bourdain.

THE FOOD PORNOGRAPHER “And the award for best food blog title goes to…” How wonderfully simple and provocative? As the title suggests, this blog is brimming with pictures of every kind of mouthful you can imagine; from the sweet to the savoury and everything in between. It’s scamp on the word count, with an iced-coffee described as a, wait for it, iced-coffee, leaving more room for glorious close ups of gooey toasted cheese sandwiches, oozing custard tarts and big hunks of meat. Rawr.


make deep fried onion rings look luscious. It’ll make you just want to lick the shit out of the screen.

THE FOOD JAR If you’re keen beans to get on a health kick bookmark this site. It’s healthy without being preachy and actually includes some decent granola lovin’ recipes to keep your insides all spick and span. It’s also got some genuinely awesome-sauce healthy change-ups to things like ice-cream, cheesecake and brownies. Plus, the blog also boasts an eco-friendly vibe for all you hippies out there. Peace, man.

ONE FAT COW If you’re one of those foodophiles who needs big, luscious, juicy pics to get you ‘in the mood’, this blog will leave you feeling half satisfied. It focuses on dining in and out around Melbourne, but doesn’t discriminate against run of the mill breakfast bars (there’s an entire post dedicated to a bowl of porridge) . The reviews are generally thorough, including all those niggling bits from nights out that everyone wants to know such as service and cost.

WHERE’S THE BEEF? Vegetarians ahoy! This blog’s taken the time and delicious trouble to scout out, taste and rate all the yummy vego delights Melbourne has to offer. It’s run by a vegetarian couple (surprise!) who also offer up their own meat-free versions to dishes like creamy spinach and bacon fettuccini and I-can’t-believe-it’s-not-meat pies. Snazzy.

Mama Mia they make’a the good pizza here. No, but seriously. With a décor harking back to little Italy (all red and white chequered table cloths) there ain’t a lot of variety when it comes to pizza’s, but heck, after a night out who wants that prawn and garlic gourmet shit? No thanks. Sizes are generous and service is quick. Perfecto.

Fatima’s is something of an institution around Surry Hills. Heck, it’s been kicking for some 30-odd years now so they must be ding something right. Roll into their cozy boudoir and nibble at their choices of dips and delicacies while eyeing off some jazzy belly dancers.

A favourite chefs haunt after a long night in the kitchen, this place had got the goods when it comes to those late night ‘I don’t know what I feel like but I’m hungry’ munchies. Their salt and pepper calamari will have you licking the plate. Plus, the dishes come out super fast.

The Americanisation of our food culture is ramping up thanks to nifty little joints like this baby. You can gorge yourself on any and every kind of burger and hotdog you can dream of here, with choices like a pulled pork sandwich and red hot chicken wings.

THE VERY HUNGRY CATERPILLAR Beautifully presented, this baby is one of the best food blogs out there. It’s packed with generous pics of food, including close ups of all the greasy good ‘uns like kebabs, and manages to take you out for a virtual feed without boring you with over descriptive foodie jargon. …Hungry caterpillar leaves no edible stone unturned, reviewing everything from dank, dodgy sushi bars, to upmarket eateries. Bookmark. Bookmark. Bookmark.

Like grocery shopping on an empty stomach, visiting this site unprepared will cause mass confusion and lead to rapid drooling. If you’re a fan of some light foodie reading accompanying each photo, then clickety-click here.

MISS LOLLY LOVES FOOD ROFLcopter at the cutesy name. But in all seriousness, this is a very itsy-bitsy styled blog that focuses more on the homemade treat side of things, with recipes for things like lemon and vanilla curd, raspberry and rose jam and hot’n’spicy wedges. It’s a tad wordy at times and will suit those who can actually be bothered cooking and not just dialling-in-a-dish. Not that there’s anything wrong with that.

Loos Anggelles Bused across town for 45 mins for some rad burritos and tamales from El Jalapeño. Drooool w @ lloydhoneybrook – with Lloyd James Honeybrook

BRISBANE DEVOURED This is more of a ‘Tastes of Brissy’ blog that showcases everything from quirky cafes that specialise in crème brulee thickshakes (drool), to the more oo-la-la eateries that serve up things like spit roast sliders and coal grilled spatchcock. Bonus points for the mega big pics which manage to even




MON TO FRI 12 TILL 5 PM For more interviews go to • 51

[THE GUIDE] g i g s

1,000’s of gigs at your fingertips. The Guide at


BLISS N ESO: Jul 4 Enmore Theatre YOU AM I: Jul 19, Aug 1 Enmore Theatre; Jul 20 UC Refectory Canberra; Aug 2 Panthers Newcastle; 3 Waves

BLISS N ESO: Jul 4 Enmore Theatre

HAIM: Jul 24 The Hi-Fi

PRESENTS SOMETHING FOR KATE: May 29 Wollongong Uni; 30 Newcastle Uni; 31 University Of Canberra; Jun 1 The Metro SAN CISCO: May 29 Cambridge Hotel; 30 Unibar Wollongong; 31 and Jun 9 Metro Theatre THE RUBENS: May 30 Entrance Leagues Club; 31 Newcastle Uni

COME TOGETHER: Jun 8 Big Top Luna Park

GURRUMUL: May 28, 29 Concert Hall Sydney Opera House THE MOUNTAINS: May 29 Front Bar Canberra JON ENGLISH & THE FOSTER BROTHERS: May 29 Southern Cross Club; Jul 3 West Leagues Newcastle 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 THE CHEMIST: May 30 Barcode Wollongong; 31 Terrace Bar; Jun 1 Brighton Up Bar JINJA SAFARI: May 30, 31 Oxford Art Factory THE RUBENS: May 30 Entrance Leagues Club; 31 Newcastle Uni THE CHEMIST: May 30 Barcode; 31 Terrace Bar; Jun 1 Brighton Up Bar EMPIRE OF THE SUN: May 30, 31 Concert Hall Sydney Opera House DIESEL: May 30, Jun 1 Lizotte’s Dee Why; 7, 8 Lizotte’s Kincumber; 14, 15 Lizotte’s Newcastle CITIZEN KAY: May 30 Transit Bar Canberra JACK CARTY: May 30 Hibernian House KOBRA KAI: May 31 Manning Bar; Jun 22 Canberra Clubhouse 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 WHAT SO NOT: Jun 1 Mona Vale Hotel; 15 Chinese Laundry 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 5 SECONDS OF SUMMER: Jun 2 Metro Theare VIDA CAIN: Jun 4 Scruffy Murphy’s; 7 Bald Faced Stag; 8 Sabotage Club 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 HAILER: Jun 6 Yours & Owls; 7 Brighton Up Bar 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 THE NERVE: Jun 6 ANU Bar Canberra; 7 Spectrum; 8 Great Northern Newcastle; 20 Macquarie Hotel KINGSWOOD: Jun 6 Annandale Hotel; 7 Waves Wollongong; 8 Small Ballroom Newcastle BAD//DREEMS: Jun 7 World Bar BLEEDING KNEES CLUB: Jun 7 Goodgod MATT CORBY: Jun 7 Enmore Theatre BRITISH INDIA: Jun 7 Entrance Leagues Club; 8 Mona Vale Hotel ROBOTOSAURUS, TOTALLY UNICORN: Jun 7 The Standard AXOLOTL: Jun 7 The Beresford KRONIC: Jun 7 Macarthur Tavern; 22 Woodport Inn Erina, King Street Hotel (two shows) GAY PARIS: Jun 7 Annandale Hotel; 8 North St Bar & Café; 14 Sphere Nightspot; 15 Carrington Hotel SOLKYRI: Jun 8 FBi Social STEVE KILBEY & MARTIN KENNEDY: Jun 8 The Vanguard ANDY BULL: Jun 8 Goodgod TOMMY TRASH: Jun 8 Pacha MANTRA: Jun 8 Oxford Art Factory WILLOW BEATS: Jun 8 Spectrum 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 THE PEEP TEMPEL: Jun 9 Gladstone Feeling MOVEMENT: Jun 12 Goodgod ASH GRUNWALD, ANDY STRACHAN, SCOTT OWEN: Jun 12 Metro Theatre; 22 Cambridge Hotel

THE HAPPY MONDAYS: Jun 10 UNSW Roundhouse THE BLACK ANGELS: Jun 15 Enmore Theatre

EVERYTHING EVERYTHING: Jul 27 Metro Theatre BABYSHAMBLES: Jul 28 Enmore 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

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

RUDIMENTAL: Sep 18 UC Refectory Canberra; 24 Enmore Theatre

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

FOALS: Sep 28 Enmore Theatre

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

TUE 28 MAY 2013 The Dilworths + Lines of Flight: 107 Project, Redfern Everywhere But Here: Artichoke Gallery Cafe, Manly Open Mic Night: Avoca Beach Hotel, Avoca Beach Fresh Sounds: Dome Bar, Surry Hills Open Mic Night with Champagne Jam: Dundas Sports Club, Dundas What Would Jello Do? feat. Jello Biafra + Bruce Griffiths: Factory Theatre, Marrickville Open Mic Night with Black Diamond: George IV Hotel, Picton Gabrielle Emilia Duo: Kiama Leagues Club, Kiama Open Mic Night with John Cheshner: Mars Hill Cafe, Parramatta Steve Tonge: Observer Hotel, The Rocks Chris Read: Orient Hotel, Sydney Brassholes: Rose Of Australia, Newtown Vivid Feat. Gurrumul Yunupingu: Sydney Opera House (Concert Hall) , Sydney Songs On Stage feat. Helmut Uhlmann + Chich + Lily Fisher + Guests: Tea Gardens Hotel, Bondi Junction Davey Lane: The Corner Hotel, Bondi Spyndrift: The Front Cafe & Gallery, Lyneham Return of Cool: Town & Country Hotel, St Peters

WED 29 MAY 2013 505 International Jazz Festival feat. Kneebody: 505, Surry Hills Fabricated Bride: Artichoke Gallery Cafe, Manly Ezee G: Bar Petite, Newcastle Van She + Mammals + Devola + Various DJs: Beach Road Hotel (Rex Room), Bondi Beach Bernie Dingo + Isbjorn: Beach Road Hotel (Valley), Bondi Beach The Art of Storytelling: Brass Monkey, Cronulla Jordan Millar + Elle May: Cafe Lounge, Sydney San Cisco: Cambridge Hotel, Newcastle West El Orqueston: Camelot Lounge, Marrickville Songs On Stage feat. Carolyn Woodorth + Guests: Cat & Fiddle Hotel, Balmain Songs On Stage feat. Taos + James Stewart Keene + Nick Summerfield + John Chesher + Gavin Fitzgerald: Coach & Horses Hotel, Randwick Steve Tonge: Coogee Bay Hotel (Beach Bar), Coogee Songs On Stage feat. Joanne Hill + Guests: Corrimal Hotel, Corrimal

52 • To check out the mags online go to

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

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



SURFER BLOOD: Jul 26 Oxford Art Factory

XAVIER RUDD: Oct 4 Big Top Luna Park THE BREEDERS: Oct 28 Enmore Theatre

Sydney Jazz Jam: Dome Bar, Surry Hills Ben Finn Duo: Ettamogah Hotel, Kellyville Ridge Club Cab Sav: Kings Cross Hotel, Kings Cross Grandmaster Monk: Lass O’Gowrie, Wickham Owen Campbell + Annabelle Kay: Lizottes Central Coast, Kincumber Andy Mammers Duo: Maloneys Hotel, Sydney Judenn Lassiter: Mars Hill Cafe, Parramatta Josh McIvor: Mean Fiddler Hotel (Sub Bar), Rouse Hill Davey Lane: Midnight Special, Enmore Redlight Ruby: O’Malleys Hotel, Kings Cross Gemma: Observer Hotel, The Rocks Mark Travers: Orient Hotel, Sydney Flatbush Zombies + Dutch + Captain Franco: Oxford Art Factory, Darlinghurst Darren Heinrich Trio: Play Bar, Surry Hills The Songsmiths: Rock Lily, Pyrmont Lonely Boys: Scruffy Murphy’s, Sydney Alex Hopkins: Summer Hill Hotel, Summer Hill Vivid Feat. Gurrumul Yunupingu: Sydney Opera House (Concert Hall), Sydney Vivid presents Transmission: Joy Division Reworked with Heritage Orchestra & Scanner: Sydney Opera House (Joan Sutherland Theatre), Sydney The Ghost Inside + Emmure + Antagonist AD + Hand Of Mercy: The Basement, Belconnen Daniel Champagne + Max Savage: The Basement, Circular Quay Achoo! Bless You + The Mountains: The Front Cafe & Gallery, Lyneham Songs On Stage feat. Helmut Uhlmann + Angharad Yeo + Huntley Mitchell + Guests: The Loft, UTS, Broadway Firesaint + Siamese Amelda + Jessy Wadeson: The Sly Fox, Enmore Femme Locale: The Vanguard, Newtown Lionel Cole: The White Horse Hotel, Surry Hills Something For Kate + Courtney Barnett: Uni Bar, Wollongong Vibrations At Valve feat. The Carraways + Senile Sircus + King For A Day + more: Valve Bar & Venue, Tempe Ernie Watts Quartet: VJs, Chatswood

THU 30 MAY 2013 From Darkness, Light Always Emerges + Marisleidis + Jenni: 107 Project, Redfern Panorama: 3 Wise Monkeys, Sydney 505 International Jazz Festival feat. Christian McBride: 505, Surry Hills Evermore: ANU Bar, Acton Otto & Nigel: Artichoke Gallery Cafe, Manly

Something For Kate + Courtney Barnett: Bar On The Hill, Newcastle Tyran Hall + Andrea Grange + Soul Shakedown DJs: Blackbird Cafe, Sydney Tim Chaisson + Dan Twining + Jorja Carroll: Brass Monkey, Cronulla Evermore: Cambridge Hotel, Newcastle West Annaliese Szota + Kay Proudlove + Zoe Gojnich: Camelot Lounge (Django Bar), Marrickville Cath & Him: Campbelltown Catholic Club (Caf Samba), Campbelltown Greg Poppleton & The Bakelite Broadcasters: Castle Mall Shopping Centre (Morning), Castle Hill Craig Thommo: Coogee Bay Hotel (Beach Bar), Coogee Andy Mammers: Dee Why Hotel, Dee Why The Rubens + The Guppies + Will And The Indians: Entrance Leagues, Bateau Bay Songs On Stage feat. Peach Montgomery + Guests: Forest Lodge Hotel, Forest Lodge Skinpin + The Dash + Hey Horze + Various DJs: Gladstone Hotel, Chippendale Jay-J + Friends: Goldfish, Kings Cross Claude Hay + Fox Control: Great Northern Hotel, Newcastle Peter Head: Harbour View Hotel, The Rocks Sky Needle + Desert Luck + Exotic Dog: Hibernian House, Surry Hills Pat Capocci Band: Hotel Steyne (Moonshine Bar), Manly Terry Batu: Jannali Inn, Jannali Venus 2: Katoomba RSL, Katoomba FBi Social feat. Oscar Key Sung + Jones Jnr + Tim Fitz: Kings Cross Hotel, Kings Cross Open Mic Night: Lass O’Gowrie, Wickham Jade Brooz + Nathan Hawes + Nikki Florido + Jacob Shanley: Lizottes Central Coast, Kincumber Think Rock n Food Trivia: Lizottes Newcastle, New Lambton Faulty Towers - The Dining Experience: Lizottes Sydney, Dee Why Songs On Stage feat. John Chesher + The Runaway Houses + Guests: Mars Hill Cafe, Parramatta The Ghost Inside + Emmure + Antagonist AD + Hand Of Mercy: Metro Theatre, Sydney Josh McIvor: Newport Arms Hotel (Terrace Bar), Newport Anthems of Oz: Orient Hotel, Sydney Jinja Safari + Guests: Oxford Art Factory, Darlinghurst No Dice Paradise + Saloons + Hattie Carroll: Oxford Art Factory (Gallery Bar), Darlinghurst Phebe Starr + Goldsmith: Paddington Uniting Church, Paddington Times Two: Penrith Hotel, Penrith Cellar Sessions #7 withStormcellar + Guests: Raquels Spanish Kitchen, Darlinghurst The Drey Rollan Band: Rock Lily, Pyrmont

Billboard: Scruffy Murphy’s, Sydney Taylor Dayne: Southern Cross Club, Woden Hot Damn! feat. Sound Of Seasons + Young Lions + Your Weight In Gold + more: Spectrum, Darlinghurst Vivid Feat. Empire Of The Sun: Sydney Opera House (Concert Hall), Sydney The Superjesus: The Annandale, Annandale Sarah Bird + Guests: The Basement, Circular Quay Two River Blues: The Front Cafe & Gallery, Lyneham Emma Davis + Owls of the Swamp: The Newsagency, Marrickville Davey Lane: The Soda Factory, Surry Hills Kaibe + Service Bells + Sons Of Alamo + more: The Standard, Surry Hills Owen Campbell + Annabel Kay: The Vanguard, Newtown Citizen Kay: Transit Bar, Canberra San Cisco + Millions + Chaos Chaos: Uni Bar, Wollongong Electroshock feat. Pink Industrial Whores + Cybridian + Noveaux: Valve Bar & Venue, Tempe

FRI 31 MAY 2013 Jimmy Rigg + Andy Goodridge + Frank Sultana: 505, Surry Hills Hue Williams: Avalon Beach RSL, Avalon Beach A Coupala Numbers: Avoca Beach Hotel, Avoca Beach Silver Cities + Hey Denise + Suburban Lies + Paper City Thief + At Worlds End: Bald Faced Stag, Leichhardt Russell Nelson: Bankstown Hotel, Bankstown The Rubens + The Guppies + Will And The Indians: Bar On The Hill, Newcastle Gian: Bar Petite, Newcastle Empire Rising: Beach Road Hotel (Rex Room), Bondi Beach DJ Greg Perano: Beach Road Hotel (Public Bar), Bondi Beach The Rockin Eddie Band: Belmont 16’s, Belmont Two Stomp: Belmore Hotel, Maitland M Seven: Blacktown RSL (Celebrity Room), Blacktown Miguel Atwood-Ferguson + Nai Palm + Myele Manzanza + more: Blue Beat, Double Bay The Cyril B Bunter Band + Darren Jack: Brass Monkey, Cronulla Tangled Up In Bob - A Tribute To Dylan: Bridge Hotel, Rozelle L-Fresh The Lion + more: Brighton Up Bar, Darlinghurst Powderfinger Show: Bull & Bush, Baulkham Hills Rocket To Memphis: Cafe Lounge, Sydney Marsala: Camelot Lounge, Marrickville The Sousaphonics: Camelot Lounge (Django Bar), Marrickville

DJ Tom Annetts: Campbelltown Catholic Club (Club Lounge), Campbelltown Songs On Stage feat. Lost Trolleys + Mask + After India + The South Easterners + Peach Montgomery: Cat & Fiddle Hotel, Balmain Dr Love: Cessnock Supporters Club, Cessnock Talk of The Town: Charlestown Bowling Club, Charlestown Sophie Joy Madison: Chatswood RSL, Chatswood Eleanor McEvoy: City Diggers, Wollongong Heath Burdell: Clovelly Hotel, Clovelly David Agius Duo: Club Cronulla, Cronulla The Deep: Club Engadine, Engadine Our Last Enemy: Club LED, Newcastle Rachel Laing: Club Umina, Umina Beach Outlier + Big Rich: Coogee Bay Hotel (Beach Bar), Coogee Bridie King Trio: Coogee Diggers, Coogee Rock Solid Duo: Courthouse Hotel, Darlinghurst Ebony & Ivory: Crown Hotel, Sydney East Coast Band + Michael McGlynn: Crows Nest Hotel, Crows Nest Nicky Kurta: Croydon Park Hotel, Croydon Park Renae Stone: Customs House Bar, Circular Quay Matt Jones: Dee Why Hotel, Dee Why Curious Temple + Lavinia Row + Triumphant Cousins: Dicey Riley’s Hotel, Wollongong Daniel Arvidson: Duke of Wellington Hotel, New Lambton Cassette Club feat. DJ Absynth + Special Guests: Empire Hotel, Kings Cross Iron Bark Rock: Engadine Tavern, Engadine Evermore: Entrance Leagues, Bateau Bay Jenny Maree Lang: Ettalong Beach Club, Ettalong Beach Insider: Fitzroy Hotel, Windsor Krishna Jones: General Gordon Hotel, Sydenham The Deep End feat Various DJs: Goldfish, Kings Cross 100s: Goodgod Small Club, Sydney Ozi Batla + Surburban Dark + Calski + P.Smurf + more: Goodgod Small Club, Sydney Brendan Deehan: Harbord Beach Hotel, Freshwater Steve Tonge Duo: Hillside Hotel, Castle Hill Vanessa Lea & Road Train : Hoey Moey, Coffs Harbour Two Minds: Hornsby RSL, Hornsby Dueling Pistols: Hotel Jesmond, Jesmond

Hitseekers: Marlborough Hotel, Newtown Yo M.A.F.I.A: Marquee, Pyrmont Bruer’s Brew + Robert Susz: Marrickville Bowling Club, Marrickville Emma Wolthers + Ellen Pope: Mars Hill Cafe (by the front window), Parramatta East Timor Fundraiser: Mars Hill Cafe, Parramatta Black Rose: Matraville Hotel, Matraville Leeroy & The Rats: Mayfield Hotel, Mayfield Adam Katz Duo: Mean Fiddler Hotel, Rouse Hill San Cisco + Millions: Metro Theatre (All Ages), Sydney John Field Duo + Natalie Carboni: Mona Vale Hotel, Mona Vale Terry Batu: Mortdale Hotel, Mortdale The Ghost Inside + Emmure + Antagonist AD + Hand Of Mercy : Newcastle Panthers, Newcastle West Iluka: Newington Inn, Petersham The Harmonicas: North Ryde RSL, North Ryde Armchair Travellers Duo: North Sydney Leagues, Cammeray Zoltan: Northies (Beach Bar), Cronulla Matt Price: Northies (Sports Bar), Cronulla Lennie Live: Northumberland Hotel, Lambton Greg Byrne: Novotel Brewery Bar, Sydney Olympic Park The Matchbox Tribute Show: O’Donoghues, Emu Plains Sarah Paton: O’Malleys Hotel, Kings Cross CC Duo: Oasis on Beamish Hotel, Campsie Carl Fidler + Rob Henry + Geoff Rana: Observer Hotel, The Rocks Adam & The Talents: Orana Hotel, Blacksmiths Reckless: Orient Hotel, Sydney Jonathon Jones: Orient Hotel (Afternoon), Sydney Jinja Safari + Guests: Oxford Art Factory, Darlinghurst Little Napier + Disco Is Dead + The Nectars: Oxford Art Factory (Gallery Bar) , Darlinghurst Rapture: Padstow RSL, Padstow Gene & Sofie: Parramatta Leagues, Parramatta Joe Echo: Parramatta RSL, Parramatta Time Machine: Penrith Gaels, Kingswood Venus 2: Penshurst RSL, Penshurst

CLOUD CONTROL: May 31 Joan Sutherland Theatre Sydney Opera House

Ricky Lynch Band: Kiama Leagues Club, Kiama FBi Social feat. Love Parade + Bambino Koresh + Sleepy + 10K: Kings Cross Hotel, Kings Cross Martys Place: Kingswood Sports Club, Kingswood Mandi Jarry Duo: Kirribilli Hotel, Milsons Point Steve Edmonds Band: Lakes Hotel, The Entrance Shanna Watson + Alice Williams: Lass O’Gowrie, Wickham Amber Lawrence + Luke O’Shea + Aleyce Simmonds: Lizottes Newcastle, New Lambton Diesel + Tim Chaisson: Lizottes Sydney, Dee Why Davey Lane: Low 302, Darlinghurst Chris Read: Manly Leagues Club, Brookvale Shucka Tours feat. The Upbeats + Kobra Kai + more: Manning Bar, Camperdown

Ready For The Fall + Winter Wolves + One Night In Paris + Elektric Avenue + The World In Cinematic: Penshurst RSL, Penshurst Martin Cilla + Dave Warner & Friends + Fuchsia: Petersham Bowling Club, Petersham Lawrence Baker: Quakers Inn, Quakers Hill Jazz Nouveau: Revesby Workers (Infinity Lounge), Revesby Dave White Duo + The Nox: Rock Lily, Pyrmont Iguana Trio: Royal Federal Hotel, Branxton Glen Harrison: Ryde Eastwood Leagues Club, West Ryde Souled Out: Scruffy Murphy’s, Sydney Am 2 Pm: Seven Hills/ Toongabbie RSL, Seven Hills SIMA feat. Phil Slater + Jackson Harrison Trio: Seymour Centre (Sound Lounge), Chippendale


[THE GUIDE] g i g s Moonlight Drive: Warners at the Bay, Warners Bay Alex Hopkins + DJ Marty: Wentworthville Leagues Club, Wentworthville Rounddog: Westmead Tavern, Westmead Something For Kate + Courtney Barnett: Zierholz @ UC, Canberra



Taylor Dayne: South Sydney Juniors, Kingsford The Kransky Sisters: Southern Cross Club, Woden The Arachnids: Spectrum, Darlinghurst Buried In Verona: Studio 6 (All Ages), Sutherland Vivid Feat. Empire Of The Sun: Sydney Opera House (Concert Hall), Sydney Vivid Feat. Cloud Control: Sydney Opera House (Joan Sutherland Theatre), Sydney Fool On A Stool: Tall Timbers Hotel, Ourimbah Owen Campbell: The Abbey, Nicholls The Superjesus: The Annandale, Annandale Johnny G & The E-Types: The Basement, Circular Quay Hornet: The Exchange Hotel, Hamilton OMG! Duo: The Mark Hotel, Lambton Jess Dunbar: The Ranch Hotel, Eastwood Soft & Slow feat.+Gratts: The Spice Cellar, Sydney The Mis-Made + Safer With The Wolves + Snaketide + Michele Madden: The Square, Haymarket Teenage Handmodels + Sans Normality + Blonde Band + Robosexual: The Standard, Surry Hills Claude Hay + Genevieve Chadwick + Ben Connor: The Vanguard, Newtown Fatt Lipp: The Vineyard Hotel, Vineyard Lianna Pritchard: The Windsor Castle Hotel, Newcastle Andy Mammers Duo: Town Hall Hotel, Balmain Endless Summer Beach Party: Towradgi Beach Hotel (Sports Bar), Towradgi Nova and the Experience + Alaskan Nights + Jake Edgley: Upstairs Beresford, Surry Hills Cap A Capo + Alisons Disease + Straw Dogs + Ebolagoldfish + Skin Pin + more: Valve Bar & Venue, Tempe

1,000’s of gigs at your fingertips. The Guide at

SAT 1 JUNE 2013 Killsong: 107 Project, Redfern Big Way Out: 3 Wise Monkeys, Sydney DJ Surian: 5 Sawyers, Newcastle Jonathon Zwartz Band: 505, Surry Hills Riz Hallowes: Abbotts Hotel , Waterloo The J-21’s: Absolute Thai, Charlestown Love Saturdays with Ashley Feraude: Academy, Canberra Venom feat. Double Chamber + Lycanthrope + Dystopic: Agincourt Hotel, Sydney The Irresponsibles + The Volts + Wildflowers + Room 13: Bald Faced Stag, Leichhardt Valiants: Bald Rock Hotel, Rozelle Taylor Dayne: Bankstown Sports Club, Bankstown Matthew Koutnik: Bar Petite, Newcastle Dueling Pistols: Bay Hotel, Bonnells Bay Wildcatz: Bayview Tavern, Gladesville Resident DJs: Beach Road Hotel (Public Bar), Bondi Beach Little Fritter: Beach Road Hotel (Rex Room), Bondi Beach Dave Feint: Beauford Hotel, Mayfield

Something For Kate are on their first big Australian tour in over six years. On the Star-Crossed Cities tour, the trio will be showcasing tunes from their latest album Leave Your Soul To Science as well as the old favourites and they will be joined on all dates by fellow Melbourne-based singer/songwriter Courtney Barnett. Comprised of vocalist and guitarist Paul Dempsey, bass player Stephanie Ashworth and drummer Clint Hyndman, the band have released six studio albums to date. The crew plays the UniBar at the University of Wollongong on Wednesday 29 May, Bar On The Hill at Newcastle University on Thursday 30 May, the University of Canberra on Friday 31 May and the Metro Theatre in Sydney on Saturday 1 June.

The Snape Brothers Trio: Belmont 16’s, Belmont Todd McKenney: Belmont 16’s (Showroom), Belmont Velvet Covers: Belmore Hotel, Maitland Rihanna Show: Blacktown RSL (Celebrity Room), Blacktown Spy V Spy + RJ Chops + Steve Cullen: Brass Monkey, Cronulla Sharron Bowman: Brewhouse, Kings Park The Chemist + Lanterns + Jeremy Hunter: Brighton Up Bar, Darlinghurst The Janniston: Brighton Up Bar (Late), Darlinghurst Swingshift - Cold Chisel Show: Bull & Bush, Baulkham Hills One Hit Wonders: Burwood RSL, Burwood

The Superjesus: Cambridge Hotel, Newcastle West Keyim Ba: Camelot Lounge, Marrickville The Local Brew: Carousel Inn, Rooty Hill David Agius: Castle Hill RSL (Terrace Bar), Castle Hill Spank: Castle Hill RSL (Cocktail Lounge), Castle Hill Eleanor McEvoy + Wayne Gillespie: Cat & Fiddle Hotel, Balmain The Love Handles: Cauliflower Hotel, Waterloo KG Duo: Cessnock Supporters Club, Cessnock Powderfinger Show: Colyton Hotel, Colyton Lee Kernaghan + The Wolfe Brothers: Commercial Club, Albury Ryan Thomas + The Trav & Rosco Show: Coogee Bay Hotel, Coogee

Krishna Jones: Coogee Diggers, Coogee Hue Williams: Crown Hotel, Sydney Dave White Experience: Crows Nest Hotel, Crows Nest Heath Burdell: Dee Why Hotel, Dee Why Hits & Pieces: Dicey Riley’s Hotel, Wollongong The Levymen: Duke of Wellington Hotel, New Lambton Triple Grip: Eastern Suburbs Legion Club, Waverley Kuta Groove: Empire Bay Tavern, Empire Bay A-Live: Engadine Tavern, Engadine Dr Love: Ettalong Beach Club, Ettalong Beach Ben Ransom + Amy James: Fitzroy Hotel, Windsor Peter McWhirter Band: George IV Hotel, Picton

Darren Powell: Gibraltar Hotel (Harvey’s Bar), Bowral The Murlocs + Special Guests: Goodgod Small Club, Sydney Viagra Falls: Halekulani Bowling Club, Budgewoi Andy Mammers: Harbord Beach Hotel, Freshwater Peter Head: Harbour View Hotel, The Rocks Owen Campbell: Heritage Hotel, Bulli Stone Free: Hotel Jesmond, Jesmond Galapagos Duck: Hunters Hill Club, Hunters Hill Half Nelson: Huskisson Hotel, Huskisson Dave Live!: Iron Horse Inn, Cardiff Claude Hay + Ben Connor + The Honey Stompers: Katoomba RSL, Katoomba



28 MAY

Bondi Cigars + Krossfyre: Orana Hotel, Blacksmiths Sold Out: Orient Hotel, Sydney Jimmy Bear: Orient Hotel (Afternoon), Sydney Blues Pirates: Overlander Hotel, Cambridge Gardens Tijuana Cartel + Guests: Oxford Art Factory, Darlinghurst Gnome + Lanterns: Oxford Art Factory (Gallery Bar), Darlinghurst Macson: Parramatta Leagues, Parramatta Craig Thommo: Pennant Hills Hotel, Pennant Hills Venus 2: Penrith Gaels, Kingswood Kristy Lee: Penrith Hotel, Penrith Pop Fiction: Penrith Panthers (TC’s), Penrith Di Bird: Penrith RSL (Club Lounge / Afternoon), Penrith Party Mode: Penrith RSL, Penrith Ange: Picton Bowling Club, Picton Joe Echo: PJ Gallaghers, Moore Park Ben Finn: PJ Gallaghers, Drummoyne Just Jace + Brian McVernon: Premier Hotel, Broadmeadow Salsa Kings: Revesby Workers (Infinity Lounge), Revesby Hitseekers: RG McGees, Richmond Amber Lawrence + Jason Owen: Rooty Hill RSL, Rooty Hill Two Stomp: Royal Federal Hotel, Branxton Two Tribes: Royal Hotel, Bondi Franky Valentyn + Nightshift: Ryde Eastwood Leagues Club, West Ryde Altitude: Scruffy Murphy’s, Sydney SIMA feat. Beat Kaestrli Band: Seymour Centre (Sound Lounge), Chippendale





JJ Duo: Kellys on King, Newtown Rock of Ages Show: Kiama Leagues Club, Kiama FBi Social feat. Belle & The Bone People + Yetis + Jacob Pearson: Kings Cross Hotel, Kings Cross James Fox Higgins Trio: Kirribilli Hotel, Milsons Point Nova and the Experience + Annie McKinnon: Lass O’Gowrie, Wickham Richard Clapton: Lizottes Central Coast, Kincumber The Cyril B Bunter Band: Lizottes Newcastle, New Lambton Diesel + Tim Chaisson: Lizottes Sydney, Dee Why Kristy Larkin: Long Jetty Hotel (Afternoon), Long Jetty Peppermint Jam: Marlborough Hotel, Newtown Andy Cajun Combo: Marrickville Bowling Club, Marrickville East Timor Fundraiser: Mars Hill Cafe, Parramatta Jed Zarb + Nicky Kurta Trio: Mean Fiddler Hotel, Rouse Hill Two Minds: Mercantile Hotel, The Rocks Something For Kate + Courtney Barnett: Metro Theatre, Sydney What So Not: Mona Vale Hotel, Mona Vale Soundproofed + DJ Shayne Alsop: Mounties (Terrace Bar). Mt Pritchard Ziggy: Newport Arms Hotel, Newport Cath & Him: North Ryde RSL (Marble Lounge), North Ryde Hooray For Everything: North Sydney Leagues, Cammeray Mandi Jarry: Northies (Beach Bar), Cronulla Chris Paton Trio: Northies (Sports Bar), Cronulla Brendan Deehan: Novotel - Brewery Bar, Sydney Olympic Park Brendan Deehan + Rob Henry + Carl Fidler: Observer Hotel, The Rocks



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54 • To check out the mags online go to


[THE GUIDE] g i g s

1,000’s of gigs at your fingertips. The Guide at

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

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 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 BEACHES: Jun 15 Goodgod DESERT SESSIONS: Jun 15 Annandale Hotel MISTER OTT: Jun 15 Venue 505 GO VIOLETS: Jun 15 Brighton Up Bar GUY SEBASTIAN: Jun 15 Newcastle Civic Theatre; 21 WIN Entertainment Centre Wollongong; 22 Royal Theatre Canberra KELLY DANCE: Jun 16 Hollywood Hotel IN HEARTS WAKE: Jun 16 Bald Faced Stag; 17 The Vault WIL WAGNER: Jun 16 Blackwire Records; 20 Yours & Owls; 21 The Lass 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 HORRORSHOW: Jun 21 Annandale Hotel SLEEPMAKESWAVES: Jun 21 ANU Bar Canberra; 22 Town Hall, Wollongong; 28 Annandale Hotel; 29 Cambridge Hotel THE BREAK: Jun 22 The Standard I KILLED THE PROM QUEEN: Jun 22 Manning Bar; 23 Racket Club Newcastle THE BEARDS: Jun 27 Cambridge Hotel; 28 Waves Wollongong; 29 Metro Theatre GOLD FIELDS: Jun 27 Transit Bar Canberra; 28 Oxford Art Factory BLISS N ESO: Jul 4 Enmore Theatre YOU AM I: Jul 19, Aug 1 Enmore Theatre; Ju0 UC Refectory Canberra; Aug 2 Panthers Newcastle; 3 Waves Wollongong AIRBOURNE: Jul 26 ANU Bar Canberra; 27 The Hi-Fi CLARE BOWDITCH: Aug 1 Lizotte’s Dee Why; 2 The Small Ballroom Newcastle; 3 Factory Theatre XAVIER RUDD: Oct 4 Big Top Luna Park


JELLO BIAFRA: May 28 Factory Theatre (talk) FLATBUSH ZOMBIES: May 29 Oxford Art Factory KNEEBODY: May 29 Venue 505 THE GHOST INSIDE: May 29 The Basement Canberra; 30 Metro Theatre; 31 Panthers Newcastle CHRISTIAN MCBRIDE TRIO: May 30 Venue 505 TIM CHAISSON: May 30 Brass Monkey; Jun 2, 16 The Bunker Coogee Diggers 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 GOODGOD DANCETERIA! PARTY feat. RIFF RAFF, DOLLABILLGATES: May 31 The Studio Sydney Opera House 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 ASTRAL PEOPLE PARTY feat. OMAR S, AFRICA

HITECH: Jun 1 The Studio Sydney Opera House SOUNDS OF THE SOUTH: Jun 1, 2 Concert Hall Sydney Opera House MATTHEW E WHITE: Jun 2 Joan Sutherland Theatre Sydney Opera House KAKI KING: Jun 2 Vanguard OMRI MOR: Jun 3 Blue Beat THE MILK CARTON KIDS: Jun 4 Factory Theatre KAMELOT: Jun 6 Manning Bar EARLWOLF: Jun 6 Enmore Theatre 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 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 GREGOR SALTO: Jun 9 Soho THE HAPPY MONDAYS: Jun 10 UNSW Roundhouse ALISA WEILERSTEIN: Jun 11 Sydney Opera House DAVID HELBOCK TRIO: Jun 12 Venue 505 CHUCHO VALDÉS & THE AFRO-CUBAN ORCHESTRA: Jun 12 Concert Hall Sydney Opera House SI CRANSTOUN: Jun 12, 13 Blue Beat; 15 Factory Theatre 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 BARB JUNGR: Jun 16 Clarendon Guesthouse Katoomba; 19 Vanguard; 20 Lizotte’s Dee Why; 21 Sutherland Entertainment Centre; 22 Bluebeat TOY: Jun 19 Oxford Art Factory PAUL THORN: Jun 19 Lizotte’s Kincumber; 20 Brass Monkey; 27 The Basement KORA: Jun 20 Oxford Art Factory FEAR FACTORY: Jul 5 UNSW Roundhouse A DAY TO REMEMBER: Jul 13 Hordern Pavilion HAIM: Jul 24 The Hi-Fi SURFER BLOOD: Jul 26 Oxford Art Factory EVERYTHING EVERYTHING: Jul 27 Metro Theatre BABYSHAMBLES: Jul 28 Enmore Theatre COLD WAR KIDS: Jul 29 Metro Theatre JAMES BLAKE: Jul 29, 30 Sydney Opera House Concert Hall ALL TIME LOW: Aug 30 UNSW Roundhouse JAPANDROIDS: Aug 31 Manning Bar RUDIMENTAL: Sep 18 UC Refectory Canberra; 24 Enmore Theatre FOALS: Sep 28 Enmore Theatre THE BREEDERS: Oct 28 Enmore Theatre


EVIL INVADERS V: Jun 7, 8 Manning Bar BUNKERFEST: Jun 7 - 9 The Bunker Coogee Diggers PERISHER SNOWY MOUNTAINS OF MUSIC FESTIVAL: Jun 7 – 10 Snowy Mountains VAGABOND MUSIC FESTIVAL: Jun 8 – 10 Kangaroo Valley COME TOGETHER: Jun 8 Big Top Luna Park 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 BOOMERANG FESTIVAL: Oct 4 – 6 Tyagarah Tea Tree Farm Byron Bay GREAT SOUTHERN BLUES FESTIVAL: Oct 4 – 6 Narooma STEEL ASSASSINS: Nov 1, 2 Bald Faced Stag HITS & PITS 2.0: Nov 17 Hi-Fi STEREOSONIC: Nov 30, Dec 1 Sydney Showgrounds FESTIVAL OF THE SUN: Dec 13, 14 Sundowner Breakwall Tourist Park, Port Macquarie

56 • To check out the mags online go to

Matt Jones: Sir Joseph Banks Hotel, Botany Bobby Fox: Smithfield RSL (Orion Showroom), Smithfield Tom Trelawny: Surfies, Cronulla Next Best Thing: Sutherland United Services Club, Sutherland Northlane + Structures + Stray From Path + Statues: The Annandale, Annandale True Funk Soldiers: The Music Of Prince : The Basement, Circular Quay GTS: The Belvedere Hotel, Sydney Rubicon: The Exchange Hotel, Hamilton The Vanns + Josh Veneris + The Second Hand Salmon: The Front Cafe & Gallery, Lyneham No Anchor + Making + Thorax + Sour Cream: The Gaelic (Upstairs), Surry Hills Caspa + ShockOne + Doctor Werewolf + A-Tonez + more: The Ivy, Sydney RedX: The Junkyard, Maitland Paper Wolves + Breakaway: The King Street Brewhouse (All Ages / Afternoon), Sydney Matt Gaudry: The Mark Hotel, Lambton Aubrey & Purton: The Merton Hotel, Rozelle The Arachnids: The Phoenix, Civic Lepers & Crooks + Mere Cats + Eddie Boyd & The Phatapillars + Lines + Love Clones + Marty Bryant + Eve Schroder Band + Elly Oh: The Square, Haymarket Jordan Leser + SWRLS + more: The Standard, Surry Hills Junk + Bin Juice + No Illuminati: The Vanguard, Newtown Riley & Donna: The Windsor Castle Hotel, Newcastle Lianna Pritchard: Theatre Lane Hotel, Newcastle The ThingOs + Paul Hayward + Little Jim: Town & Country Hotel, St Peters Am 2 Pm: Town Hall Hotel, Balmain Evermore + Adam Martin + Redruth: Towradgi Beach Hotel, Towradgi Soul Nights: Tracks, Epping The Leisure Bandits + Tokyo Denmark Sweden + Penelope Austin + DJ S.Kobar: Upstairs Beresford, Surry Hills Punk Fest feat. Local Resident Failure + The Acid Monkey + The Scam + Excitebike + Riot Nine + Rukus + Nerdlinger + Old Time Glory + Topnovil + Nudist Colonies of the World + Everything I Own Is Broken + Another Broken String + Mangrove Jack + Fat Chance: Valve Bar & Venue (Afternoon), Tempe Yuki Kumagai & John Mackie: Well Co Cafe/Bar, Leichhardt Panorama Duo + DJ Marty: Wentworthville Leagues Club, Wentworthville World Bar Harbour Cruise (MV Lady Rose) with Breach + Route 94: Sydney Harbour

SUN 2 JUNE 2013 DJ Jonathan: 5 Sawyers, Newcastle Sudden Comfort: Abbotts Hotel, Waterloo Blues Sunday feat. Mark Hopper: Artichoke Gallery Cafe, Manly Chris Turner & The Cavemen: Bald Rock Hotel, Rozelle Ty: Bar Petite, Newcastle Jazz & Latin Jam: Beach Palace Hotel (Rooftop Bar / Afternoon), Coogee DJ Omar Varts + DJ Richie Ryan: Beach Road Hotel (Valley / Afternoon), Bondi Beach Andy Benke: Beach Road Hotel (Public Bar / Afternoon), Bondi Beach Claude Hay + Genevieve Chadwick: Beaches Hotel, Thirroul Klassic Blak: Belmont 16’s, Belmont Ben Finn Duo: Blacktown Inn, Blacktown Stormcellar + Sydney Blues Society: Botany View Hotel, Newtown Stormcellar: Breakers Country Club, Wamberal Peter Northcote + Mick On Wheels: Bridge Hotel, Rozelle RedX + Red Slim: Brighton Up Bar, Darlinghurst Matt Price: Camden Valley Inn, Camden Park The Marvellous Mizdemeanours: Camelot Lounge (Django Bar), Marrickville Galapagos Duck: Camelot Lounge, Marrickville Christie Lamb: Campbelltown Catholic Club (Caf Samba / Afternoon), Campbelltown Lance Link: Campbelltown Catholic Club (Club Lounge), Campbelltown Ryan Daley: Charlestown Bowling Club, Charlestown Joe Echo Trio: Clovelly Hotel, Clovelly Am 2 Pm: Coogee Bay Hotel, Coogee Tim Chaisson + Hein + Little May: Coogee Diggers, Coogee Cath & Him: Crossroads Hotel, Casula Hue Williams: Crowne Plaza Terrigal, Terrigal Lianna Pritchard: Duke of Wellington Hotel, New Lambton Mark Travers: Ettamogah Hotel, Kellyville Ridge Blues Recovery feat. Daniel Hopkins + Guests: Evening Star Hotel, Surry Hills Rachael Lang: Fitzroy Hotel, Windsor Nicky Kurta: Harbord Beach Hotel, Freshwater Peter Head Band: Harbour View Hotel, The Rocks David Agius: Horse & Jockey Hotel, Homebush Garry James: Kiama Leagues Club, Kiama

Lazy Sunday Lunch with Amber Lawrence + Luke O’Shea + Aleyce Simmonds: Lizottes Central Coast, Kincumber Richard Clapton: Lizottes Newcastle, New Lambton Rock n Roll & Alternative Market feat. The Detonators + Big Blind Ray + The Drey Rollan Band + Chickenstones + more: Manning Bar, Camperdown Satellite V: Marrickville Bowling Club, Marrickville Dan Spillane: Mean Fiddler Hotel, Rouse Hill 5 Seconds of Summer: Metro Theatre (All Ages), Sydney Sam Shinazzi: Midnight Special, Enmore Skyscraper: Mill Hill Hotel, Bondi Junction Taylor Dayne: Mounties, Mt Pritchard Angelene: Newington Inn, Petersham Venus: Northies (Beach Bar), Cronulla Richie Branco Duo: Northies (Sports Bar), Cronulla

Northlane + Structures + Stray From Path + Statues: The Annandale, Annandale Northlane + Structures + Stray From Path + Statues: The Annandale (All Ages / Afternoon), Annandale Ben Ransom: The King Street Brewhouse, Sydney Steve Edmonds Band: The Mark Hotel, Lambton Jeweltones: The Merton Hotel, Rozelle Kaki King + Steve Griffiths: The Vanguard, Newtown Dan Beazley: Town Hall Hotel, Waratah Creedence & Friends: Towradgi Beach Hotel (Sports Bar / Afternoon), Towradgi Garden Party feat. Various DJs: Upstairs Beresford (Afternoon), Surry Hills

CW STONEKING: Jun 1 Joan Sutherland Theatre Sydney Opera House

Antoine: O’Malleys Hotel, Kings Cross Rob Henry + Three Wise Men: Observer Hotel, The Rocks Cass Eager & The Velvet Ropes : Old Manly Boatshed, Manly Vince: Orana Hotel, Blacksmiths Elevation - U2 Tribute: Orient Hotel (Afternoon), Sydney Andy Mammers Duo: Orient Hotel, Sydney Ryan Thomas: Oscars Hotel, Pyrmont Terry Batu: Overlander Hotel, Cambridge Gardens Rough Stock: Penrith RSL (Castle Lounge / Afternoon), Penrith Zoltan: PJ’s Irish Pub, Parramatta The Smarts: Premier Hotel, Broadmeadow Flyte: Revesby Workers (Infinity Lounge / Afternoon), Revesby Darren Jack: RG McGees, Richmond Dave Tice and Mark Evans: Ruby L’Otel , Rozelle Andy Baylor Gypsy Billies: Sydney Olympic Park, Sydney Olympic Park Vivid Festival feat. The Sunnyboys: Sydney Opera House (Concert Hall), Sydney Vivid Feat. CW Stoneking + Matthew E White: Sydney Opera House (Joan Sutherland Theatre), Sydney

White Ribbon Fest feat. Jewel Heart & The Archangels + Novembers Oath + Domino + Amodus + The Creptter Children + Acid Nymph: Valve Bar & Venue (Afternoon), Tempe Omri Mor Trio: VJs, Chatswood Dave White Duo: Woolloomooloo Bay Hotel, Woolloomooloo

MON 3 JUNE 2013

Wes Carr’s Buffalo Tales + Kita: 505, Surry Hills Omri Mor Andaloujazz Project: Blue Beat, Double Bay Martini Monday: Dome Bar, Surry Hills Songs On Stage feat. Helmut Uhlmann + Chris Brookes + Massimo Presti: Kellys on King, Newtown Steve Tonge: Observer Hotel, The Rocks Music Cafe feat. Judy Bailey + Friends: Sydney Conservatorium of Music, Sydney Monday Night Jam+Various: The Oxford Hotel (Gingers), Darlinghurst Soultrane: The White Horse Hotel, Surry Hills

SOUND BYTES UK singer, songwriter and guitarist KT Tunstall took off for Tucson, Arizona to record her new album, Invisible Empire // Crescent Moon, with icon Howe Gelb aka Giant Sand. Darwin four-piece Green Stone Garden recorded their debut EP, North, at Soundpark Studios in Melbourne with Steven Schram (The Cat Empire, San Cisco, Little Birdy), Brian Lucey (The Black Keys, The Shins) mastering it at Magic Garden Mastering in Ohio. Melbourne band Buchanan’s singer and guitarist Josh Simons coproduced the band’s debut album, Human Spring, with Catherine Marks (Foals, Death Cab For Cutie, Interpol), recording in seven different studios though principally Tender Trap Studios in Northcote and Simons’ home garage studio. The album was then mixed on an analogue desk by Andy Baldwin (Bjork, Midnight Juggernauts) and mastered by Geoff Pesche (Radiohead, Coldplay) at Abbey Road Studios. Sydney dream-pop five-piece Tigertown took off for the Blue Mountains recording studio of Cloud Control/Belles Will Ring member, producer Liam Judson to record their new EP, mixed by Steve Schram (Little Birdy, San Cisco, Little Red). Adelaide’s Bill Parton Trio recorded their eponymous debut EP in hometown Chapel Lane Studios with producer Darren Mullan (The Angels, John Swan, Russell Morris), recording engineer Adam Rhodes (Angus & Julia Stone, The Cat Empire, Paul Kelly) and assistant engineer Gabriel Agostino (Lowrider, Sundance Kids, Hilltop Hoods), with Neville Clark (Hilltop Hoods, Levitators, Funkoars) mastering at Adelaide’s Disk-Edits. The debut album, Roadtrip Confessions, from Wes Carr in his new guise as Buffalo Tales, was produced and recorded by Stu Hunter (Sia, Julia Stone, Katalyst, Passenger) at The Habitat in Sydney.



UNLOCKING THE VOICE Currently working on their third album, Blue King Brown are letting go in order to broaden the possibilities, as Michael Smith discovers.

e’re just wrapping up a track we’ve done with him today,” Blue King Brown’s dynamic frontwoman Natalie Pa’apa’a explains, on the line from the South Melbourne studio of producer Styalz Fuego – best known for his work with R&B and hip hop artists like 360, for whom he produced the quadruple-platinum album Boys Like You, which won him the 2012 ARIA Producer Of The Year Award. A singer and songwriter in his own right, Fuego is signed to Sony/ATV Publishing worldwide, is co-founder of production and management company Affinity Music Group and is one half of electronic/dance group ‘96 Bulls.


“With this album, it’s a little bit different,” she continues. “Our previous albums, we’ve done a lot of the production ourselves. However, we sort of wanted to open up that circle a bit wider this time and bring in some outside creativity. So Styalz is one of those people and the other main producer that we’ve been working with is Jake Savona, another Melbourne-based producer who records as Mista Savona, really knowledgeable and into everything reggae – roots, old-school to new-school and dancehall. He’s got really good ears as well.” An MD, keyboardist, engineer and songwriter, Savona is also the first Australian producer to release his own riddim series of records in Jamaica. “Each of these guys have their own studios, but we’ve been working a lot at our home studio as well, and we’ve done some work at Sing Sing [Studios]. I guess each producer brings a different style, a different flavour, and that’s what’s exciting. It’s part of the process of opening up that circle, as I said, and letting go. We’ve always been very protective of our music and very nitpicky and all that stuff, and just opening that to outside opinion, that was a big step,” she laughs, “in itself. It’s good to do that, and what has come back has made the songs better, whether it’s a chord change or the change of a sound, a better sounding instrument than the one we had or an effect on top of what we’d done,

or taking that out and putting something in. It’s all the little things that really give the song its sonic fullness. Hopefully they sound fuller, bigger, all that good stuff.” For their previous album, Worldwize: Part 1 – North & South, Blue King Brown tracked all the instrumentation in Melbourne, and then took the tracks to Kingston, Jamaica, to record the vocals as well as adding performances by a number of guests including the reggae rhythm section, Sly Dunbar and Robbie Shakespeare. So how is the songwriting evolving on this next album? “It’s definitely an evolution of our songwriting and our style, and our musical influences – it’s the next chapter, however, it’s not necessarily part two. We still wrote all the songs – they’re still very much our babies. The strongest flavour on this album is reggae, which I love,” she laughs. “So I’m stoked about that, and it’s sounding really good. We’ve done a bunch of mixing already. We’ve still been working with our mix engineer from our previous album, James ‘Bonzai’ Caruso, who works in [Las] Vegas. He was out here working with us in Sing Sing a couple of months ago, so we did some mixing there. We’re still sussing out our options with mastering.” New Yorker Caruso is a four-time Grammy Award-winning recording engineer, producer, arranger and songwriter who got his start in 1982, aged 17, working as an assistant engineer at Secret Sound Studios in Manhattan. He made his name, however, mixing records by Grand Master Flash, Africa Bambaataa, Madonna and Ice T among many, and has recorded and produced albums for Stephen, Nas and Damian Marley, which gives him just the right reggae credentials for Blue King Brown. Joining Blue King Brown on this new album and live on stage are the powerful vocals of Lea and Petra Rumwaropen, daughters of the late Agosto Rumwaropen, singer, songwriter and lead guitarist with one of Indonesian-controlled West Papua’s most recognised and outspoken acts of the ‘60s through ‘80s, The Black Brothers.

“The voices are very important obviously for Blue King Brown, not only for the melodic attributes but also lyrically, we’re still very passionate and lyrically driven. The girls are really passionate about the cause of freedom for West Papua and are also amazing singers. “There’s definitely more exploration of my voice on this new album, mainly because I’ve always been an instrumentalist and singing is something that has been relatively new to me, and I still feel like I’m a real beginner in that sense. Every album, I feel like my voice gets a bit better and for this album, I’d done that much more singing and the vocals are stronger, and I feel more confident singing in different registers than I did before, and I feel more confident going through my own harmonies than I have before. So vocally it’s definitely I believe my strongest performance and, I dunno, I’ve really sort of unlocked a bit of my own sort of the unique sound in my voice somewhere, which is exciting because you can only hope you can get better as a singer.” And capturing that now unlocked vocal sound is a Neumann U47 microphone, a large-diaphragm condenser tube mic originally developed and manufactured in 1949 and used extensively by producer George Martin to record The Beatles’ vocal performances. Not that Natalie owns one, but it’s still her favourite – “the number one go-to for my voice, for sure.” WHO: Blue King Brown WHAT: Rise Up (Lion House Records) WHEN & WHERE: Friday 7 through Monday 10 June, Perisher Snowy Mountains of Music

For more interviews go to • 57






Jax earphones are Sol Republic’s second-generation model, and as you’d assume from a brand repped by swimmer Michael Phelps, surfer Julian Wilson and rapper/crunk master Lil Jon, these buds are aimed at youth. Aesthetically, the earphones look like an extension of the US west coast culture from which the Sol Republic brand stems, and sonically they hold their own, no question. It’s just that the design side of things – yes, even with the flat cord developed to remain tangle free – leaves a little to be desired. The problem here is that even with various rubber sizes for your earphones, they still don’t sit in your ears incredibly well. And even when you do get them in, they’re not the most comfortable earphones available. The pellet-like speakers that rest inside your ears protrude a little more than you’d hope, removing that streamlined quality. The sound you get though is very clear and crisp, especially when you consider the sub$50 price tag. The i2 sound engine speakers do a great job at directing the right sounds where they need to be heard, and although there’ve been certain grumbles that the audio is designed to highlight bass more than treble, this reviewer couldn’t relate to such criticism, every instrument given a level platform to perform. The on cord remote and mic is another user-friendly addition that will connect with the iPod generation. Whoooooh! That’s pretty much what Sol Republic’s Steve Aoki signature Tracks HD headphones scream out. Very much designed with the man in mind (he’s even featured on the slick headband graphic), the Aokis are loud and proud. What’s unique is that each individual element can be separated: speakers to cord to headband. On one side, this makes things totally adjustable if you’ve got a few pairs on hand and compact when you’re thin on luggage space. On the flip, it can make it all a bit finicky and increases the chance of losing an individual piece. However, all the parts lock solid in place and once fitted the sounds filling your ears are pretty dynamic. Equipped with V10 Sound Engines, the music bubbles forwards with high-end clarity while managing to comfortably cancel out any outside noise bleeding in, a pleasant surprise as the leather padding surrounding the individual cans aren’t as engulfing as others on the market. By trimming such fat on the design side, Sol Republic have crafted a lighter product overall and in keeping with the current tech quota, a mic and three-button remote on the cord allows for easy audio control. The Steve Aoki signature model might seem a little style over substance; however, once snug over your ears you realise the Tracks HDs offer a fantastic listening experience at an affordable price.

The more subtle listening attachment from Danish manufacturers Bang & Olufsen, the BeoPlay H3 earphones are designed for the audiophile on the go, or as company CEO Tue Mantoni recently announced during the product launch at Fabric nightclub in London, for “people who don’t want to listen to music using little white earbuds.” As soon as you get these little guys pumping, you realise that as far as in-ear listening products go, the H3 model is pretty peerless. The earphones incorporate 26 ventilation holes on the outer hard-body aluminium to allow every sound, from the highest treble through to the most rumbling bass, to be heard to full effect. The storage box the earphones come with is better quality than most cases you’d receive from a jeweller. A threebutton inline remote on the cord means you can switch songs quickly, while a mic allows for phone conversations without drama. And if you’re thinking the default buds are feeling a bit snug or loose in your ear canal, worry not. The earphones come with an additional three sizes for listeners of any age, the rubbers able to be removed and replaced with minimal fuss. The diagonal design rests within the natural bends of your ears also, making them perfect for the gym, jogging, etc. Get these to get active, it seems. The H3 earphones are supposed to be aimed at a younger crowd, which stylistically and sonically they most definitely are. However, at $299, you might be living on pot noodles for a few weeks to afford a pair.

As soon as you put the BeoPlay H6 headphones on you know you’re in for an uncompromised listening experience. The engulfing design, completely containing even this reviewer’s far-larger-than-a30-year-old-man-should-have ears, means you’re instantly immersed in the music as soon as you hit the play button. Bang & Olufsen’s premium line of headphones has a subtle, classic design: lightweight anodised aluminium, soft lambskin and cow leather; fashionable as hell. The availability of left and right ear plug-ins means you can chain up the headphones with ease if you want to listen with a partner or friend, while the manoeuvrability of the individual parts allows the H6 to fit noggins of any contour. Sonically, the sound emerging is pretty special, and because it’s all so clear and crisp, there’s really no need to blow your eardrums with volume. But if you do want to pump up your proverbial jam, the H6 headphones are more than capable, with pure clarity found from music of any genre. Other great features include a three-button remote on the cord (designed for iPod/iPhone/iPad) to control volume, track selection and incoming/outgoing calls. Sure, the price tag will seem expensive to most people. However, if these are in your budget, rest assured you’re going to be one very happy listener.

Benny Doyle

Benny Doyle

Benny Doyle

Benny Doyle

MADCDs cos Cos we g ive a sh it

58 • For more interviews go to



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

iFlogID: 22036


iFlogID: 20676

Get the most out of your songs! Work with Producer/Engineer Sean Carey (ex Thirsty Merc guitarist) a multi-platinum ARIA selling artist with 10+ years recording experience. Work in a postive, creative atmosphere in a RECORDING STUDIO $30ph

iFlogID: 17084 Recording Studio, Parramatta, $40hr casual rate. Audiophile quality. All genres. Also on location. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days. No acoustic kits.

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

iFlogID: 16690


iFlogID: 21483 Recording Studio, Parramatta, $40hr casual rate. Audiophile quality. All genres. Also on location. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days. No acoustic kits.

Are you interested in learning how to sing? Becoming the next x factor winner, or just singing for the pure love of it? Well its now your time to shine. How do I do this you may ask? Just pick up the phone and book your lesson with me... I am Hayley Milano, I have been performing professionally and teaching for over 10 years. I have toured Australia and have a lot of contacts in the industry from people to gigs to inside the studio. I enjoy nothing more then sharing my love and passion for singing with others. I’m looking for dedicate hard working students who are committed to reaching there goals and want to grow in the music industry. I have students ranging from 8 years old to 65 years. Its is very important for me to have a connection with my student so I can unlock the performer within..0422963373

Recording Studio, Parramatta, $40hr casual rate. Audiophile quality. All genres. Also on location. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days. No acoustic kits.

iFlogID: 21479 Recording, Mixing and Mastering services Inner West, Sydney Digital Editing, Analogue Tape Recording, Full range of microphones and equipment. Contact Peter Holz: 0437 712 927

iFlogID: 22110

REHEARSAL ROOMS REHEARSAL STUDIOS AT WINDSOR • 3 Rooms with vocal PA • 1 large room fold back • Open 7 days Enquiries/ bookings: 02 4577 9777

iFlogID: 21868

STUDIO HIRE Gold Coast ParallelHarmonyStudioRobina. 30 square metre live room, large vocal booth. Handsome range of range of topoftheline Neumann, Rode and Shure microphones. Call 0755808883 for details. www.parallelharmony.

iFlogID: 18640

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

iFlogID: 19850

AAA EXPERT GUITAR TUITION All levels and most styles including: Fingerstyle guitar, open tunings, slide guitar, flat picking, improvisation, rock, country, blues guitar (acoustic and electric), folk, celtic styles, music theory, arranging, ear training, singing, bluegrass and folk style banjo and mandolin. www.acousticfingerpicking. com PHONE JOHN: 0431953178

ALL AGE MUSIC SCHOOL All ages, all levels for Private Music Tuition, Group Guitar, Glee Club, Workshops and more! Experienced teachers, based in Newtown, Inner West, North Shore and more. info@ 0280060363

iFlogID: 22201


Walk out of the free lesson playing a song. Rock-Blues-Inde-Metal-Classical-Folk-POP all styles. Music CD’s teaching tools included. Recording Songwriting Singing available. $40HR Guitar Teaching10years+ 0405-044513

iFlogID: 22248

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

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

Steve Ostrow, New York voice teacher and vocal coach who discovered and nurtured the careers of Bette Midler, Barry Manilow, Peter Allen, Stevie Wonder and countless others now Sydney City based and welcoming students on all levels; beginners, advanced and performers; Rock, Pop, Classical etc. For availability call on 0408461868. For a free e-copy of my book ‘On Becoming a Singer..A Guide To How’ email me on Lessons include the entire scope of singing...voice production, musicianship, interpretation, performance skills etc. I look forward to hearing from you.

iFlogID: 21485

iFlogID: 20385

iFlogID: 21473 Music tuition, classical / flamenco guitar, celtic harp, theory & harmony, arranging. 9am - 9pm, 7 days. Parramatta area. $40 hr, $30 half hr. Mature & patient. Ph: 02 98905578

iFlogID: 21477


Lesson slots available with Chris Turner ( Rose Tattoo, Buffalo Etc) One on One’ guitar lessons. Studio Lilyfield Phone 9552 6663 guitardoctor@ Starters to Pro.

iFlogID: 21990

Offering cheap guitar lessons across a broad range of genres aswell as theory, chords, scales, ear training. For beginners and intermediates only Contact 0431220154

iFlogID: 20681 Piano Lessons Students of any age or at any stage are welcome.Classical or contemporary music. Patient and experienced teacher located at Leichhardt. Ph. 9569 9448 or 0411 373 490

iFlogID: 21883

GUITAR TUITION BY MAL EASTICK One on one tuition, customized to the standard, style & goals of the individual. Rock & blues my specialties. Categories avail: hands-on playing, style & technique, theory, improvising, ear training, equipment, tone, songwriting, band arrangements, career guidance. Family member of younger students welcome to sit in. All levels avail through personal experience, from beginner, to playing just for fun, to paid gigs, through to professional performer & recording artist. Enquiries: M: 0407 461 093 E:

Piano teacher, experienced and creative. All levels and styles, including classical, pop, theory and songwriting. Exams or pleasure. Ultimo. Paul: 0417 171 993.

iFlogID: 21592


VOCAL LESSONS BY SIGNED ARTIST Ever wanted to know if your voice has potential? I work with countless different singers and i would love to work with you on getting the best out of your voice! I am a signed singer/ songwriter and qualified vocal coach. I operate out of Sydneys North shore and can also come to you if you live locally! half price first lessons! Half-hour $35,1 Hour $60. Call 0448 080 619

iFlogID: 21590

VOCAL TUITION Do you have pitch problems? Are you experiencing damage due to incorrect support, placement and breathing? Phone John for some quick and easy remedial attention tel. 0431953178

iFlogID: 22199 VocalHub - Sing like no one is listening! Singing lessons for vocal technique and care, audition tips and repertoire in a encouraging and supportive environment. Visit: http://www.

iFlogID: 21501


All styles both acoustic and electric from Blind Willie Johnson and Son House to Eric Clapton and Duane Allman. tel. John 0431953178

iFlogID: 22210

iFlogID: 21471

iFlogID: 17102

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

Want to play Guitar... but don’t know where to start? Tailored Tuition at your Pace... with Guitarist for Sydney Band ROCKMONSTER Rock & Blues PH: 0422 868 959

iFlogID: 19650

iFlogID: 19683

GUITAR TUITION Guitar Tuition by qualified experienced teacher B MUS Hons Dip Ed, teaching contemporary guitar, theory, technique, improvisation, HSC preparation. Limited places available. Inner West, in your own home or my studio 0405 627 330

iFlogID: 21045

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iFlogID: 21499

iFlogID: 22195

iFlogID: 21782

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

Producer/engineer/multi-instrumentalist available for singers/songwriters. Real guitars, bass, drums & piano. Video production, youtube partner & mastering available. Please like “Ears That Hear” on Facebook for more information/ offers. Phone Greg 0425 210 742

iFlogID: 19834

iFlogID: 21947


iFlogID: 20825

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

Quality Professional Websites designed and hosted for bands and businesses. Multimedia and Social Integration included from $300. See or contact info@


classic recording studio - Trackdown Studios at Camperdown. A blend of the best new gear and vintage mics, amps and guitars and Piano for a perfect sound. Sean can Produce, arrange, record, mix and perform on your songs and help you get them to the right places. Very competitive rate., 0424923888.

iFlogID: 21945

iFlogID: 22181


Music-Production/Mixing/Mastering package only $150 per track. 5 Tracks for $550 (1-month period). 10 Tracks for $1000( 2.-months period). Check link and listen: videos?view=0&flow=grid

iFlogID: 22164


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


Fender Jazz Bass (USA 1971) Woodgrain body, maple Fretboard with white scratch plate. $2500 Ph 97590970 or 0434475785

Mastering from $120 per track. 1st track free before committing for new customers. Quality gear, analysed & treated room. Not “el cheapo”, hear the difference. Enquiries ph: 02 98905578

EP VIDEO CLIPS Have a video clip made for your EP release. Take advantage of social networking and broadcast outlets to promote your band & music.




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

Learn vocal & performance technique at MELODIQUE. Receive expert, honest, patient, & constructive feedback. As a working industry professional vocalist myself I can offer relevant, modern, & practical advice. Beginners to professionals. Fun oriented & goal-specific. Competitive rates. p. 0488429888 f. http:// e.


iFlogID: 21895


iFlogID: 19765 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

iFlogID: 21208

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

iFlogID: 22197

iFlogID: 22066 Your voice has the ability to sing at the Audioslave/Muse/Aretha/ Yeah-Yeah-Yeahs level because of Design. Sing with effortless power increase your range to Robert-Plant ChrisCornelle Axl level. Microphone recording techniques songwriting Newtown 0405-044-513

iFlogID: 22250

Free online and print classifieds Book now, visit


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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 www.livelinegroup. com or 0411342989

iFlogID: 19797 MUSIC VIDEO PRODUCTION We offer high quality, creative music videos to suit your style & budget. Portfolio of over 30 artists. Seen on MTV, Channel [V], CMC, rage

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

iFlogID: 18477

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 Or call Paul on 0412 222 111

iFlogID: 21682

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.

You want music video produced? Visit finncut’s channel on youtube Contact Matti

female vocalist looking to form pop rock/alternative band in brisbane with influences from circa survive, versa emerge, tonight alive etc.

iFlogID: 20211

iFlogID: 21707


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

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

iFlogID: 16159 Ex-space astronaut bass player needs to take a shit band far off into another galaxy. No Muso’s. Call Sally Cinnamon: 0406053828

iFlogID: 21465

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

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

iFlogID: 19880 Drummer available for paid work Influences funk jazz drum n bass prog rock. 0401237147


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

iFlogID: 22146

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(1825).

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

iFlogID: 22167 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 Guitarist, Female Singer & Drummer (20yrs) need to start band! Would like versatile bassist & keyboardist! We like Karnivool-Tool-CogRHCP-PinkFloyd-Sade-Adele-Evanescence... no genre/style restrictions! Jamming in garage, Brookvale studio & JMC. 18-25yrs preferred! Northern Beaches. 0432872290/0452457022

iFlogID: 21661

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(1825).

iFlogID: 21079 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

iFlogID: 18334 Experienced Soul Reggae R’N’B Blues Funk drummer (36yo) available for work preferably in Northern Beaches. Call Michael 0402 549423 email See me playing drums:

Eshmun, a new metal project in the works. Drums, Bass & Vocals needed. For short demos, Email cayoub88@ or SMS 0403617709.

BIG WAY OUT REQUIRE DRUMMER BIG WAY OUT commercial rock cover band + MIB men in black corporate function wedding band and Californication RHCP show require full time drummer, 8-12 gigs on average a month. Must be reliable committed own good gear and vehicle a must.. call Johnny on 0416144111 for an audition.

iFlogID: 22229 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/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!

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://ronymunoz.

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 siczex@yahoo.

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 must. email

iFlogID: 22129 The smiths, David Bowie, Sonic Youth, Smashing pumpkins, Stone Roses, Space-janglyspirit-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

iFlogID: 21897


Looking for a talented bass player who loves metal, has their own gear and transport and wants to play and possibly collaborate. We’re based around the lower north/innerwest Sydney and influenced by the likes of Soilwork, Meshuggah, Arch Enemy, Mudvayne, Children of Bodom, Disturbed, Black Label Society, Megadeth and Alice in Chains. We’re looking for someone talented and motivated with an appreciation for song writing and a good ear for production. If you’ve got what we’re looking for email me on halreescomposer@gmail. com. Head to my-tracks to hear some of the demo’s!


iFlogID: 22179

iFlogID: 21631

bassist wanted for new original band. influences: motorhead, kinks, queen, the beatles, the band, nirvana, beach boys.. ages 18-32.. inner sydney.. call dee 0431317613

iFlogID: 21747



iFlogID: 21893 bassist wanted for new original band. influences: motorhead, kinks, queen, the beatles, the band, nirvana, beach boys.. ages 18-32.. inner sydney.. call dee 0431317613

iFlogID: 22238

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: 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:

Drummer required for unique hard rock/ metal band. Good skills & professional attitude. Double-kick essential. No songwriters or jammers. See for quick demos. Email audio and/or video drumming clips to

iFlogID: 22254 Drummer wanted for electronic/synth/pop band with 80s and 90s influences. Preferably with own electronic kit and ability to play to click track. Rehearsal location negotiable. Call Pete 0404 762 891.

iFlogID: 22193 drummer wanted for new original band. influences: motorhead, kinks, queen, the beatles, the band, nirvana, beach boys.. ages 18-32.. inner sydney.. call dee 0431317613

iFlogID: 22123

iFlogID: 21891

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. Contact Fox: 0408739583

drummer wanted for new original band. influences: motorhead, kinks, queen, the beatles, the band, nirvana, beach boys.. ages 18-32.. inner sydney.. call dee 0431317613

iFlogID: 21973 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

iFlogID: 21744


Electro/rock/pop originals band seeks experienced bass player who can play slamming funk, disco, slap and a little bit of rock, in the style of Bernard Edwards, Chic, Brothers Johnson, Flea, Stevie Wonder’s funkier stuff. Our sound is along the lines of Depeche Mode, Daft Punk, Santigold, Soulwax. Own transport & good gear required. Backing vocals would be an advantage. Gigs booked for early August to promote upcoming single release. Rehearsing in Sydenham. Glenn 0409 935 985.

iFlogID: 22220

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 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 Liverpool_rule1@

iFlogID: 21975 Solid Bass player with groove for wide styles incl: funk, Rock, Afro beat, sludge, psychedelica etc 0401658007 gig ready

iFlogID: 22050

iFlogID: 22236


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

RHYTHM GUITARIST WANTED!! 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 :)

M/F singer needed for a Hawesbury based rock/punk/garage band. Call Brad: 0466 110 229

iFlogID: 22175 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 Liverpool_rule1@

iFlogID: 21977

iFlogID: 22114

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

iFlogID: 19401

KEYBOARD KEYBOARD PLAYER WANTED Keyboard Player needed for a Central Coast based originals band. Must have experience and be creative. Our influences include Powderfinger, Jack Johnson, Birds of Tokyo and Foo Fighters etc. Call Michael on 0413 776 548

iFlogID: 22240


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

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

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: 20798 Guitarist wanted to join Celestial Body, a Sydney based death core/Djent style band. Experience is a must. Influences are The Korea, Meshuggah, Periphery and Animals As Leaders. Ph: 0406660366

iFlogID: 22117


Electro/rock/pop originals band seeks experienced guitarist who can play funk and disco as well as rock, in the style of Nile Rodgers, Chic, Daft Punk, Depeche Mode, Chilli Peppers Frusciante, Santigold, Soulwax. Effects pedals, own transport & good gear required. Backing vocals an advantage. Gigs booked for early August to promote upcoming single release. Rehearsing in Sydenham. Glenn 0409 935 985.

iFlogID: 22218


iFlogID: 22214

iFlogID: 22055


solo singer guitarist is looking for percussionist for covers duo with paid work.

iFlogID: 21141

iFlogID: 21594

SINGER BIG BAND SEEKS VOCALIST 18 piece Lane Cove-based outfit with repertoire covering swing, soul & pop looking for female vocalist to front the band. Non-paying but great fun and experience! Email info@hornsplus. or call Nick 0406400737

iFlogID: 22203

FEMALE SINGER WANTED 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




iFlogID: 17428 Learn French! - Beginner to Advanced Levels. Bilingual English/Frenchspeaking Teacher. - Either for fun/school/exam preparations. Online via Skype. - 1 h r 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 or see

iFlogID: 21943 Quality Professional Websites designed and hosted for bands and businesses. Multimedia and Social Integration included from $300. See or contact info@


iFlogID: 22212 We need a singer for a Central Coast based originals band... Must have experience, drive and commitment. Influences include Powderfinger, Jack Johnson, Birds of Tokyo and Foo Fighters. Call Michael on 0413 776 548

iFlogID: 22234



iFlogID: 21949

Looking for quality guitarist for Tribute band / concept show. Fast learner with experience preferred. Rehearse Sydney - Hills area . Wayne - 0403 072 525

iFlogID: 22189

iFlogID: 20292

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

iFlogID: 19558

We’re looking for a professional guitarist for professional cover shows. We have 3 shows and need a guitarist interested in playing all 3 shows which cover 70’s to now. A good rhythm hand and sense of dynamics is crucial but its all paid work. Age not necessarily a big issue. Only people interested in working please, contact Andy on 0419-461-769 or Scott on 0423-785-524

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.aaodap. or call 0424 422 650

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

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

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



iFlogID: 21174


iFlogID: 20244

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: 22053

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.

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

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


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


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

iFlogID: 19556

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 au or Ph: 9550 3977

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SOUND BYTES Recorded over six weeks, the debut solo album from The Panicsâ&#x20AC;&#x2122; frontman Jae Laffer, produced and engineered by Anna Laverty, was mixed at Electric Lady Studios in New York City by John Oâ&#x20AC;&#x2122;Mahony (Coldplay, Metric, The Cribs). Midnight Juggernauts began rolling tape for their forthcoming third album, Uncanny Valley, between a church nestled in the Loire Valley in the French countryside and various studios in Melbourne and Sydney. Magoo and Ball Park Musicâ&#x20AC;&#x2122;s Sam Cromack produced the new single, The Dan Kelly Song, from Hey Geronimo. Natalie Maines of The Dixie Chicks teamed up with Ben Harper to coproduce her debut solo album, Mother, recorded in Harperâ&#x20AC;&#x2122;s studio. Due in August, the latest album, Dream Cave, from the now London-based Cloud Control was recorded not only in the studio in Danmark House in Chatham, Kent, owned by their producer Barny Barnicott (Arctic Monkeys, Kasabian), but also in a cave within a hand-cut underground quarry in Devon carved out of limestone, initially by the Romans some 2000 years ago, called Beer Quarry. UK three-piece Sebastopol recorded their second album at Londonâ&#x20AC;&#x2122;s Snap! Studios with Mick Glossop, who mixed their debut album, Hello All Stations, This Is Zero, producing, the band moving to Glossopâ&#x20AC;&#x2122;s west London studio to record overdubs. Crafted at Airlock Studios with producer Yanto Browning (The Medics, Art Of Sleeping), Well For Wishes is the debut EP from Brisbane five-piece Morning Harvey. Steve Kilbey spent a couple of weeks earlier this year writing and recording with Greg Dulli from the Afghan Whigs/Twilight Singers/Gutter Twins, and has since been writing with Irish guitarist Frank Kearns from â&#x20AC;&#x2DC;80s band Cactus World News.



RAW STONE Three years into their career and Stonefield are recording that all important debut album. Michael Smith checks in with Amy Findlay to see how itâ&#x20AC;&#x2122;s coming along.

n the three years since the Findlay sisters (singer and drummer Amy, guitarist Hannah, keyboards player Sarah and bass player Holly) became 2010 triple j Unearthed High winners as Stonefield, theyâ&#x20AC;&#x2122;ve cut a debut EP, Through The Clover, with producer Greg Wales, a double A-side single, Blackwater Rising/Yes Master, with producer Scott Horscroft, and a six-track mini album, Bad Reality, with Lindsay Gravina â&#x20AC;&#x201C; three fine Australian producers. For their debut album, however, the girls have opted for Englishman Ian Davenport, the house engineer/producer at Courtyard Studios in Oxford. His CV includes producing, engineering or both for acts as diverse as Supergrass, Chris Difford, The Duke Spirit and Brighton, UK-based alternative rock three-piece Band Of Skulls, and it was his work with that last band that tipped the girls in his favour.


â&#x20AC;&#x153;We absolutely love both the Band Of Skulls albums that heâ&#x20AC;&#x2122;s done,â&#x20AC;? Amy Findlay admits, on the line from Sing Sing Studios in Cremorne, Melbourne, where Stonefield are cutting their debut album. â&#x20AC;&#x153;[We love] the sonics, and just think that itâ&#x20AC;&#x2122;s this really nice combination of that old-school warm sounds but itâ&#x20AC;&#x2122;s kind of something new as well. We spoke to quite a lot of producers to suss out their vibe and see how they work and I guess itâ&#x20AC;&#x2122;s like a lot of things with the music industry, itâ&#x20AC;&#x2122;s about going with your instincts. Chatting to him via Skype, we had this really good feeling about him and he totally understands what we want to do with this â&#x20AC;&#x201C; I think we made a very good decision; itâ&#x20AC;&#x2122;s going really well. â&#x20AC;&#x153;I think heâ&#x20AC;&#x2122;s capturing the rawness and the energy of the band. Heâ&#x20AC;&#x2122;s all about getting great sounds and then just capturing the moment, so I guess itâ&#x20AC;&#x2122;s more real than past experiences where we just get caught up in layering sounds and making it sound all big, so that thereâ&#x20AC;&#x2122;s not that rawness there. Weâ&#x20AC;&#x2122;ve been doing everything together live, just to capture that vibe, and then basically taking whatever we can from it.â&#x20AC;?

Stonefield have been recording in Sing Singâ&#x20AC;&#x2122;s Neve Room, which features four separate recording environments â&#x20AC;&#x201C; a very large live area, a wood room, an isolation room and a dead room â&#x20AC;&#x201C; with the control room obviously housing a Neve VR60 console with 60 channels of flying faders and total recall, Neve side console with 18 channels of 1073 classic preamps, a 48-track analogue and ProTools 8 HD3 32-in 40-out, Sony 4348 digital machine, with JBL 4435s, NS 10M monitors. As it happens, Davenportâ&#x20AC;&#x2122;s studio back in the UK runs a Neve 5106 32/8/2 console. â&#x20AC;&#x153;We tried to do our own preproduction before we went into ten days of preproduction at Bakehouse [Rehearsal Studios] with Ian,â&#x20AC;? Amy continues, â&#x20AC;&#x153;to get the songs as good as we could so there are some that have got to the studio as is and there are a couple of songs actually that we didnâ&#x20AC;&#x2122;t think that we would have on the album that, when we played them to Ian, he said, â&#x20AC;&#x2DC;Oh I see something really magical in that â&#x20AC;&#x201C; letâ&#x20AC;&#x2122;s try this,â&#x20AC;&#x2122; and then we completely changed a couple of things and now we love them, this whole different thing that turned out to be really cool. One of our songs originally was I guess this straight-out rock song and now, as Ian puts it, itâ&#x20AC;&#x2122;s like a desert hymn kind of thing.â&#x20AC;? Amy plays a Yamaha Club Custom kit, which she feels has been designed â&#x20AC;&#x153;to recreate that old vintage Ludwig kind of sound, nice and warm, with a big 24â&#x20AC;? bass drum. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s kind of, again, that thing of a classic sound but is a little bit modern. Weâ&#x20AC;&#x2122;ve also been using, for some songs for a punchier sound, an actual vintage Ludwig, and then kind of mixing it up. Something really interesting that Ian does is, for as many songs as we can weâ&#x20AC;&#x2122;ve been overdubbing the cymbals separately to kind a nice, big, fat drum sound. It works really well. Iâ&#x20AC;&#x2122;ve got a really dark, thick, heavy Paiste ride cymbal, which is kind of trashy, and a Zildjian â&#x20AC;&#x201C; just basically dark, heavy-sound cymbals.

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â&#x20AC;&#x153;Weâ&#x20AC;&#x2122;ve actually been doing each song at a time, which has also been something different. We hadnâ&#x20AC;&#x2122;t really done that before but weâ&#x20AC;&#x2122;ve had a bit more time for this recording, and itâ&#x20AC;&#x2122;s just so much fun to do, song by song. Everyoneâ&#x20AC;&#x2122;s involved and it just keeps it exciting. Vocally, Iâ&#x20AC;&#x2122;ve been recording it live and using different parts of my voice to see what works best. Iâ&#x20AC;&#x2122;ve been trying out different mics for different songs, but thereâ&#x20AC;&#x2122;s been this one particular one, a Neumann U47, that just works with my kind of voice.â&#x20AC;? Stonefield will have spent a month in the studio recording before they call on another Englishman, Tim Palmer, to mix the album. Now based in Austin, Texas, where he runs â&#x20AC;&#x2122;62 Studios, like Davidson, Palmer began as an engineer, moving to production in the latter half of the 1980s working with The Mighty Lemon Drops, The Mission and most famously, Robert Plantâ&#x20AC;&#x2122;s 1988 Now And Zen album. Adding mixing to the CV, he worked on Pearl Jamâ&#x20AC;&#x2122;s Ten album and was nominated for a Grammy for his work on U2â&#x20AC;&#x2122;s All That You Canâ&#x20AC;&#x2122;t Leave Behind album. He also cowrote and produced Ozzy Osbourneâ&#x20AC;&#x2122;s 2001 Down To Earth album. â&#x20AC;&#x153;We chose Tim because heâ&#x20AC;&#x2122;s just done such a variety of amazing records,â&#x20AC;? Amy says, â&#x20AC;&#x153;and Ian is cool with that as well â&#x20AC;&#x201C; it was really important to pick someone that Ian was comfortable with using.â&#x20AC;?

Drum Media Sydney Issue 1162  
Drum Media Sydney Issue 1162  

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...