Drum Media Sydney Issue 1168 by TheMusic.com.au

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 • 9 J U LY 2 0 1 3 • 1 1 6 8 • F R E E

THE GUIDE

T NOW ONLINOEMA.A U THEMUSIC.C

S ATLAS GENIU

CSS

SETH ROGEN

INSIDE • YOUTH OF TODAY • FRENZAL RHOMB • STEVE VAI • MOJO JUJU

www.thebasement.com.au

BVS 6][S ]T :WdS ;caWQ AW\QS '%! FRI 30 AUG

FUNKOARS, VENTS, BRIGGS, K21

JU ANNOU ST NCED!

FRIDAY 12TH JULY

GOLDEN ERA RECORDS AND NEW ERA PRESENT THE 2013 GOLDEN ERA ROLL CALL TOUR IN SUPPORT OF THE LABELโ S 2013 MIX TAPE. FIRST 50 PRESALE TIX RECEIVE A FREE ADVANCE PHYSICAL COPY OF THE MIXTAPE.

SIRENS BIG BAND (BIG BAND TUESDAYS)

TUE 9 JUL

KEYIM BA (WORLD MUSIC WEDNESDAYS)

WED 10 JUL

BEN OTTEWELL (UK, GOMEZ) + MATT WALKER

THU 11 JUL

LUCKY LUKE

FRI 12 JUL

SYDNEYโ S ALL FEMALE, 17 PIECE BIG BAND PLAY 2 SETS EACH FORTNIGHT AT BIG BAND TUESDAYS FOR ONLY $5 ON THE DOOR.

WEST AFRICAN 8-PIECE DRAWING UPON REGGAE, FUNK AND HIP HOP INFLUENCES AND DELIVERING TRADITIONAL AFRICAN DRUMMING, KORA AND DANCE. $5 ON THE DOOR.

FAMILIAR TO A FAITHFUL FOLLOWING AS THE MOST RECOGNISABLE VOICE IN MERCURY PRIZE WINNING SOUTHPORT FICE PIECE GOMEZ, OTTEWELL RELEASED HIS 1ST SOLO ALBUM IN 2011.

& HIS SHOOTING STARS ALBUM LAUNCH

LUCKY LUKEโ S BRAND OF HONKY TONK AND TRAD COUNTRY TRANSCENDS THE THROWBACK, THEYโ RE THE REAL DEAL.

CELEBRATE BASTILLE DAY WITH BABY ET LULU

VIVACIOUS FRENCH LANGUAGE CHANTEUSE DUO CELEBRATE BASTILLE DAY WITH SONGS FROM GAINSBOURG, PIAF, CAMILLE AND MORE.

SAT 13 JUL

MARIACHI MONDAYS (FREE ENTRY)

MON 15 JUL

THE BASEMENT BIG BAND

TUE 16 JUL

VIRTUOSO MEXICAN HARPIST & WALKING ENCYCLOPEDIA OF LATIN MUSIC PAST & PRESENT โ VICTOR VALDES & FRIENDS. FREE ENTRY. EVERY MONDAY NIGHT.

(BIG BAND TUESDAYS)

OUR VERY OWN 15 PIECE DANCE ORCHESTRA PLAY 2 SETS FOR ONLY $5. PLUS COMPLIMENTARY SWING DANCE LESSONS FROM 7PM.

NEWS FROM THE BASEMENT COMING SOONโ ฆ

FRI 19 JUL - THE TONGUE SAT 20 JUL - JUAN ATKINS (USA) SAT 27 JUL - CLAIRY BROWNE & THE BANGIN RACKETTES

As A Rival WITH

SIAMESE ALMEIDA THE IVORY DRIPS MARIONETTES MAGNUS ร * ร Uร fx SATURDAY 13TH JULY

โ My Mars 5 Riotโ SAILOR JERRY $ DRINK SPECIALS

FEATURING:

VIRGO RISING, THE DARK HAWKS, SHE REX, THE OWLS, SLUMBERHAZE, WAXHEAD (BYRON BAY), THE NEW LOVERS, PAPERCRANE, THE RUMOURS, DRUG SQUAD 66, VIOLET PULP, BAD PHARMER (CANBERRA), HOT MUM! fยฃรคร *, ร ร ร fยฃร ร "", SATURDAY 20TH JULY

THURSDAY 1ST AUGUST

FRIDAY 26TH JULY

SUNDAY 18TH AUGUST

SUNDAY 28TH JULY

SATURDAY 31ST AUGUST

THE GOOD SHIP SLEEPMAKESWAVES PROTOMEN (USA)

BARDO POND CARTEL (USA)

THE SMITH STREET BAND

O OF MARRYING TW

ST PLEASURES

LIFE’S GREATE

GREAT FOOD

AND MUSIC

AWARDED BEST ENTERTAINMENT RESTAURANT IN AUSTRALIA

LIZOTTE’S SYDNEY 10 JUL

11 JUL

12 JUL 13 JUL

14 JUL 18 JUL 19 JUL 20 JUL 21 JUL

02 9984 9933

Fairplay Entertainment Presents Coopers LIVE & LOCAL Light My Fire - The 42nd Anniversary of Jim Morrison a Tribute to The Doors Rai Thistlethwayte - Thirsty Merc 2 Voices - Carmen Smith & Diana Rouvas Starfish Vocal Studio Perforformance Afro Moses Ojah Band Mark Seymour The Chantoozies Fairplay Entertainment presents Emerging Young Artists

LIZOTTE’S CENTRAL COAST 02 4368 2017

10 JUL 11 JUL 12 JUL 13 JUL

14 JUL 18 JUL 19 JUL 20 JUL 21 JUL

Fairplay Entertainment Presents Coopers LIVE & LOCAL Mojo Juju Ben Ottewell (Gomez) Brians Famous Jazz and Chilli Crab Night Wes Carr Buffalo Tales Byrne Academy of Music presents Young Emerging Artists Mike McClellan Mark Seymour Lazy Sunday Lunch with The Chantoozies

LIZOTTE’S NEWCASTLE

02 4956 2066

9 JUL 10 JUL 11 JUL 12,13 JUL 14 JUL 17 JUL

18 JUL 19 JUL

20 JUL 21 JUL

Clairy Browne & The Bangin Rackettess Ben Ottewell (Gomez) Turn the Page Tour Ziggy - The Songs of David Bowie Mojo Juju Fairplay Entertainment Presents Coopers LIVE & LOCAL The Chantoozies The Mason Rack Band supporting The Westpac Rescue Helicopter Mike McClellan Lazy Sunday Lunch with Mark Seymour

Calling all artists for Live and Locals! Contact chris@fairplayentertainment.com.au Lizotte’s Sydney 629 Pittwater Rd Dee Why

Lizotte’s Central Coast Lot 3 Avoca Dr Kincumber

Lizotte’s Newcastle 31 Morehead St Lambton

w w w . l i z o t t e s . c o m . a u 8

th f e or ha m rperl hoy te

900 PRINCES HIGHWAY, TEMPE PH: 9559 6300 www.valvebar.com.au WED 10TH 7PM

“VIBRATIONS AT VALVE” GRAND FINALS OF THIS VERY EXCITING BAND COMPETITION WITH OUTSTANDING PRIZES

THU 11TH 7PM

“DECADENCE OF KAINE” HEAVY ROCK SHOW WITH SUPPORT FROM “HUSTLE BONES”, “GENTLEMAN’S AGREEMENT”,

FRI 12TH 7PM

“THE DEAD LOVE” HARD ROCK SHOW WITH SUPPORT FROM “VANITY RIOTS”,”STELLAR ADDICTION ”

SAT 13TH 12PM

“SOUNDS OF COMA”, “SUPER SUPER”

AND GUESTS

ROCK CHICK ENT PRESENTS

METAL SHOW FEAT:”HIGHROADS”,”TOWERS”,”SQUAWK!”,”THE BLACKENED BENEATH”,“HEMATIC” , “THRAXAS”

SAT 13TH 7PM

“DREAMKILLERS” PUNK ROCK SHOW WITH SUPPORT FROM “HEADBUTT”,”STAND ALONE ”, “SKIPS”, “ROOM 13”, “BLEEDING GASOLINE”

SUN 14TH 2PM

“HONEYSTONES” SOUL SHOW WITH SUPPORT FROM “SPIRAL CONSPIRACY”,”PANIC BEARS ”, “DENIOL CHYNOWETH”

COMING UP: Wed 17 July: Indie/Acoustic Show with Dominic Youdan and many more; Thu 18 July: Indie/Funk Show feat: “The Wildbloods” , “Now Or Never” , “Don’t Hit Ron” , “Helmut Uhlmann”, “Auralmirth”, “Matt Lyons”; Fri 19 July: Heavy Metal show feat ; “Atomesquad”, “Hematic”, “Cryptic Scorn”, “Risen Dred”,”Fatigue”; Sat 20 July 12pm: Core Show with “Visions” and many special guests ; 7pm: Extreme Metal show with “Agave Maize”,”Norse”,”Tamerlan”,”The Seer”; Sun 21 July: 2pm: Winter Beach Coma Party with “Belle n Ocker”, “The Beach Coma’s”, “Josh Shipton & The Blue Eyed Ravens”, “Knifeshoppe”, Ben Aylward , Osker Bickford

For band bookings please email valvebar@gmail.com

Bistro open Lunch and Dinner !! +

AT THE BREWHOUSE WWW.LIVEATTHEBREWHOUSE.COM.AU

SAT - JULY 13

HIGHWAYS, MOVE ON BE STRONG, LETS NOT PRETEND, ELEPHANT’S LAUNDRY

FRI - AUGUST 2

SUN - AUGUST 18

THE BEN SOUL RANSOM VACCINATION 8PM

COUNTRY SHOW 2PM TO 6PM

2PM TO 6PM $15

$15 / $10 CONCESSION / KIDS UNDER 12 FREE

THURS - JULY 18

SONGS ON STAGE 7:30PM TO 11:30PM $15

SAT - AUGUST 3

THE VANNS, SEAN EMMETT, THE PERFECT REVOLUTION (ACOUSTIC MODE)

FRI - AUGUST 30

EDEN’S MARCH 7:30 TO 11PM

$10 ONLINE / $15 DOOR

2PM TO 6PM

SAT - JULY 20

FRI - AUGUST 9

SAT - SEPT 7

UNDERWOOD THE FLOATING KRISHNA MAYNE BRIDGES JONES 8PM TO 12AM 8PM 8PM TO 12AM $15

18+ SHOW $15

SUN - JULY 21

SAT - AUGUST 10

THE BEN ARMS RANSOM ATTRACTION ALL AGES COUNTRY SHOW 6PM TO 10PM 2PM TO 6PM $15 / $10 CONCESSION / KIDS UNDER 12 FREE

FRI - SEPT 13

BEN RANSOM SINGLE LAUNCH 8PM TO 12AM

$15

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 8 T U E S D AY 9 J U LY 2 0 1 3

“We’re just pushing it and seeing what else we’ve got to say musically.”

P26 FEATURE

Frenzall RRh Rhombb iis like my favourite thing ever to do and so being able to get back to it after doctors said, ‘You could have brain cancer,’ is pretty amazing.” Jay Whalley of FRENZAL RHOMB

Ian Kenny of KARNIVOOL (P20)

“While you will be disappointed if you go in wanting Art vs. Science, here Finn shows some distinct – and new – chops of his own.” Liz Giuffre reviews VYDAMO (P28)

P30 REVIEW

Lots of energy, llots t off happy fans and a fight. Pretty standard Bliss N Eso show, really.” Matt MacMaster reviews BLISS N ESO

P32 REVIEW

12• To check out the mags online go to themusic.com.au/mags

“It’s easy to imagine a leisurely stroll along the Surfers Paradise esplanade with Cody Simpson’s newest single, Summertime Of Our Lives, streaming from the nearby shops as shirtless 12-year-olds sling racist cuss words from passing skateboards.” Adam Curley in THE BREAKDOWN (P34)

As douche-ness h goes, Thomas doesn’t really own that at all.”

“There’s something about a third album that feels kind of solid. You could stop at three albums and not be a one-hit wonder.”

Liz Giuffre reviews JOSH THOMAS

JEN CLOHER (P22)

PUBLISHER Street Press Australia Pty Ltd GROUP MANAGING EDITOR Andrew Mast EDITOR Mark Neilsen ASSISTANT EDITOR Natasha Lee MUSO EDITOR Michael Smith ARTS AND FOOD EDITOR Cassandra Fumi cass@streetpress.com.au GIG GUIDE EDITOR Justine Lynch gigs@themusic.com.au CONTRIBUTORS Adam Curley, Adam Wilding, Alex Hardy, Andrew McDonald, Anthony Carew, Ben Meyer, Brendan Crabb, Bryget Chrisfield, Cate Summers, Celline Narinli, Chris Familton, Chris Maric, Chris Yates, Cyclone, Dan Condon, Dave Drayton, Guy Davis, Helen Lear, Jamelle Wells, James d’Apice, James Dawson, Jessie Hunt, Justine Keating, Katie Benson, Kris Swales, Liz Giuffre, Lorin Reid, 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, Clare Hawley, Cybele Malinowski, Josh Groom, Justin Malinowski, Kane Hibberd, Tony Mott

ADVERTISING DEPT sales@drummedia.com.au Brett Dayman, James Seeney, Andrew Lilley CLASSIFIEDS iflog.com.au ART DEPT artwork@drummedia.com.au Dave Harvey, Matt Davis COVER DESIGN Dave Harvey ACCOUNTS DEPT accounts@streetpress.com.au THE DRIVERS Grant, David, Julian, Ray, Paul, Al, Mark PRINTING Rural Press (02) 4570 4444 DISTRIBUTION distro@drummedia.com.au SUBSCRIPTIONS Subscriptions are $2.20 per week (Minimum of 12 weeks). For more info go to www.isubscribe.com. au/Drum-Media-Sydney-Magazine-Subscription.cfm ADDRESS Postal: PO Box 2440 Strawberry Hills NSW 2012 Street: Level 1/142 Chalmers St Surry Hills NSW 2010 Phone (02) 9331 7077 Fax (02) 9331 2633 Email info@drummedia.com.au www.themusic.com.au The Drum Media is also available on iPad via the iTunes App Store

[NEWS NEWS] n a t i o n a l

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THEY DON’T EVEN CHILL ON SUNDAY

ULTIMATE STUDIO JEREMY KELSHAW FROM CLOUD CONTROL

IF YOU COULD HAVE RECORDED THE ALBUM ANYWHERE IN THE WORLD WHERE WOULD IT HAVE BEEN? We looked long and hard for the perfect cave to record this album in. Everywhere we went had an angle, which made it untenable. ONE DAY WE SHALL FIND THE PERFECT CAVE. Cloud Control’s new album Dream Cave (expected release: 9 August).

AFTER THE GIGS

Armin van Buuren

SONIC BOOM! Our feet are sore just thinking about this. Stereosonic is back in 2013 and it’s bigger than ever before; like, seriously large. Don’t believe us? Believe this: David Guetta, Armin van Buuren (pictured), Calvin Harris, Axwell, Sebastian Ingrosso, Above & Beyond, Empire Of The Sun, Afrojack, Boys Noize, Alesso, Dog Blood, Nero, Nicky Romero, The Bloody Beetroots, Labrinth, Bingo Players, Zedd, W&W, Tommy Trash, Krewella, Shockone, Maceo Plex, Ferry Corsten, Andy C, Hot Natured, Solomun, Showtek, Gareth Emery, Robert Delong, I Am Legion (Noisia & Foreign Beggars), Jamie Jones, TJR, Clockwork, Mat Zo, Cajmere, Stafford Brothers, Aly & Fila back-to-back with John O’Callaghan, Giuseppe Ottaviani (live), Flight Facilities, Claude VonStroke, Fritz Kalkbrenner, Matrix & Futurebound, Tommie Sunshine and much, much more. And this year for something fresh, the peeps behind the festival are taking a leaf out of the Leeds/Reading book, rotating the full festival between two cities over one weekend – the end result being maximum fun for you! Get your weekend party on when the dance behemoth rumbles into your city: Saturday 30 November and Sunday 1 December, Sydney Showgrounds and Claremont Showgrounds, Perth; Saturday 7 and Sunday 8 December, Royal Melbourne Showgrounds and RNA Showgrounds, Brisbane. Ticketmaster are offering a presale from Monday 29 July, with regular tickets on sale Thursday 1 August.

Calexico

WHAT DO YOU DO AFTER THE GIG IS OVER WHEN ON TOUR?

We usually hang around and chat for a while with friends and people from the show, go for a skate if we can, and then usually head for the next show that night. Sunsets are touring. Check The Guide for dates.

THIS WEEK’S RELEASES JAY-Z

Magna Carta… Holy Grail Universal

CALEX YOURSELF It’s been three years since Calexico last visited Australian shores, and in that time the Arizona group have been keeping themselves plenty busy, be it with touring, collaborations, movie soundtracks, live recordings and straight forth studio albums. This continual energy will extend to their performances later this year, no doubt, when the much heralded alt.country heavyweights bring their dusty cuts of Americana to Aussie audiences once more. Catch them on Tuesday 17 and Wednesday 18 September, Brisbane Festival, Spiegeltent; Friday 20, Byron Theatre, Byron Bay; Saturday 21, Meeniyan Town Hall; Sunday 22, Sydney Opera House Concert Hall; Tuesday 24, Athenaeum Theatre, Melbourne; Wednesday 25, Corner Hotel, Melbourne; Friday 27, Astor Theatre, Perth; and Saturday 28, Wave Rock Weekender, Hyden, with supports at the various dates including Tiny Ruins, Brighter Later, Quarry Mountain Dead Rats and Depedro from Spain.

Sydney DJ and videographer Ego is recognised as a true visionary in his field, and has combined art and music in a way that few can match, but all can connect with. To tie in with his latest colourful endeavour, an audiovisual mixtape that’s already getting hyped by the likes of Skrillex and A-Trak, Ego has announced a big lot of dates over the coming months, and is even throwing in a few educational performances into the mix to help budding productionists raise their game. Catch a Trip With Ego: Saturday 20 July, Capitol, Perth; Thursday 1 August, UNSW Roundhouse, Sydney; Thursday 8, Oh Hello! Brisbane; Wednesday 21, Karova Lounge, Ballarat; Thursday 22, Eureka Hotel, Geelong; Friday 23, Can’t Say, Melbourne; Saturday 24, Woodport Inn, Erina; Wednesday 28, Apple Store, George Street, Sydney (workshop); Thursday 29, Goodgod Small Club, Sydney; Friday 30, Never Land Bar, Coolangatta; Saturday 31, Beach Hotel, Byron Bay; and Monday 7 October, Redfern Community Centre (Heaps Decent workshop).

Top Of The Hour Gun Fever

VYDAMO

Becoming Human Sony

POWDER MONKEYS

Smashed On A Knee (reissue) Freeform Patterns/Fuse

After plenty of painstaking hours spent plugging away at a second album, Dead Letter Circus are finally set to launch their brand new LP The Catalyst Fire, with their unmistakable sonic intensity paired with a newfound songwriting maturity that has resulted in the most assured music the band have ever put together. On their first headline tour in support of the new full-length, the Brisbane boys, along with Closure In Moscow and Sleep Parade, will set out on the road, playing Friday 30 August, The Wool Exchange, Geelong; Saturday 31, The Hi-Fi, Melbourne; Wednesday 4 September, Zierholz, Canberra; Thursday 5, Metro Theatre, Sydney; Friday 6, Waves, Wollongong; Saturday 7, The Cambridge Hotel, Newcastle; Thursday 12, Kings Beach Tavern, Caloundra; Friday 13, The Spotted Cow, Toowoomba; Saturday 14, The Hi-Fi, Brisbane; Thursday 19, Prince of Wales, Bunbury; and Friday 20, Metropolis, Fremantle. Proudly presented by Street Press Australia.

A WHOLE NEW WORLD Beyonce

SINGLE FOCUS

14 • For more news/announcements go to themusic.com.au/news

Proving to be one of the highlights of last year’s London Olympics, Wantok: Sing Sing have been announced as the Saturday and Sunday headline spectacle for the forthcoming Boomerang Festival. With a full 17-piece show featuring the rhythms and sounds of the Pacific, the Indigenous Oceania musicians will be led by the musical direction of David Bridie, and add to an already impressive bill that features Gurrumul, Archie Roach, The Medics and Thelma Plum. Powerfully uplifting, enjoy the celebration when Boomerang comes to you Friday 4 to Sunday 6 October at Bluesfest home Tyagarah Tea Tree Farm, Byron Bay. Head to the festival website now to pick up early bird single- and three-day tickets.

THE FLAMES OF PROGRESS

Violin electronic dubstep... Things are getting real now. She’s blown up recently as a bona fide YouTube sensation, generating more than 300 million views and now Lindsey Stirling will bring her uncontained music and majestic dance moves to our shores for the very first time. Find out why her worldwide following has grown so dramatically. Stirling plays three intimate shows: Brisbane Powerhouse, Saturday 24 August; Corner Hotel, Melbourne, Tuesday 27; and Metro Theatre, Sydney, Wednesday 28, with tickets on sale Friday.

More than living up to the hype with their second album, Singularity, Northlane’s punishing djenttinged metalcore has struck a chord with heavy music lovers young and old. Known for their wild live shows, the quintet are no strangers to the road, and have just announced they’ll be let loose once more this spring, with Northlane’s tour set to roll out with support from Perth five-piece Saviour. Catch the bands: Thursday 5 September, Studio 6, Sutherland (licensed/all ages); Friday 6, The Basement, Canberra; Saturday 7, Blacktown Masonic Hall (all ages); Sunday 8, The Cambridge, Newcastle (all ages); Thursday 12, Commercial Hotel, Melbourne; Friday 13, Ferntree Gully Hotel; Sunday 15, Coburg Town Hall; Thursday 19, Surfers Paradise Beergarden, Gold Coast; Saturday 21, Racehorse Hotel, Ipswich; Sunday 22, One Epic Event, Strathpine (under-18).

Ever since he became the first ever artist to be signed by MySpace Records (oh, MySpace *sigh*), Mickey Avalon hasn’t been short on headline-making behaviour, and now the party-rocking white boy will be returning to Australia in celebration of his brand spanking EP, I Get Even. Avalon will be playing at these venues with support from Evil Eddie and Kid Mac: Corner Hotel, Melbourne, Friday 18 October; Capitol, Perth, Saturday 19; Metro Theatre, Sydney, Sunday 20; The Hi-Fi, Brisbane, Thursday 24; and Coolangatta Hotel, Gold Coast, Friday 25.

Dead Letter Circus

VYING FOR THE DANCEFLOOR THE COMMUNITY CHEST

AV ANOTHER ONE

SING WITH ALL YOUR HEART

SEEING THE MUSIC

ANDREW COOKE FROM SUNSETS

They’re the much loved Sunday Gentleman of Australian hip hop, but that doesn’t mean Spit Syndicate are adverse to a bit of hard work. And the Sydney pair of Nick Lupi and Jimmy Nice are at it again, taking their top 20 ARIA record to all corners of the country once more. The Money Over Bullshit Tour lands at these venues: Barwon Club, Geelong, Friday 20 September; The Evelyn, Melbourne, Saturday 21; Phoenix Youth Centre, Melbourne, Sunday 22 (under-18 matinee); The Armidale Club, Armidale, Thursday 26; Solbar, Maroochydore, Saturday 28; Baroque, Katoomba, Friday 4 October; Mona Vale Hotel, Saturday 5; The Loft, Gold Coast, Thursday 10; Woody’s Surf Shack, Byron Bay, Friday 11; Alhambra Lounge, Brisbane, Saturday 12 (under-18 matinee); Amplifier, Perth, Friday 18; Prince Of Wales, Bunbury, Saturday 19; Newport Hotel, Fremantle, Sunday 20; Friday 25, Waves, Wollongong; Thursday 31, Zierholz, Canberra; and Saturday 2 November, The Hi-Fi (all ages). Tickets go on sale Monday, with special guest Joyride as well as more to be announced.

THE ONE AND ONLY There are few genuine superstars on the planet, individuals that are recognised across every border and cultural divide, individuals that can go by a single title. Beyonce slides into that category more snugly than those one-piece bodysuits she’s made her own. Throwing herself back into touring once more, the acclaimed R&B diva will be presenting a bold new stage production that promises to dazzle, with her swag of hits complemented by state-of-the-art lighting, dancing, visual effects and more. The Mrs. Carter Show World Tour rolls into Australia on the following dates: Tuesday 22 October, Rod Laver Arena, Melbourne; Monday 28, Brisbane Entertainment Centre; Thursday 31, Allphones Arena, Sydney; and Friday 8 November, Perth Arena. Get your tickets from Friday 19 July.

She’s been the Aussie queen of mix for a few years now, but Alison Wonderland is finally ready to carve her own name into Australian club culture, putting together her first single with Blue Mountains duo Fishing. Get Ready for Wonderland to bring the beat back with her new track when she launches the tune at the following dates: Thursday 25 July, Beach Hotel, Byron Bay; Saturday 27, Splendour In The Grass, North Byron Parklands; Friday 2 August, Star Bar, Bendigo; Saturday 3, Karova Lounge, Ballarat; Sunday 4, King St, Newcastle; Friday 9, Academy, Canberra; Saturday 10, Playground, Sunshine Coast; Wednesday 14, Oh Hello!, Brisbane; Friday 30, Speak Easy, Villa, Perth; Saturday 7, Oxford Art Factory, Sydney; Wednesday 11, Charles Sturt University, Wagga Wagga; Saturday 14, Snow Party, Thredbo; Thursday 19, Corner Hotel, Melbourne; Saturday 21, Elsewhere, Gold Coast; and Saturday 5 October, Woodport Inn, Erina. There’s also a secret show happening on Wednesday 28 August, but she isn’t giving up the info. To find out if it’s happening near you keep checking The Guide on theMusic.com.au.

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THE 2013

POWER 50 EDITION STORE.THEMUSIC.COM.AU R E D R O PRE NOW

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[NEWS NEWS]

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REPRESSION SESSION

INDUSTRY

Around this time last year Repressed Records celebrated their tenth birthday with a massive show across two nights. It was such a nice weekend they’ve decided to make it an annual event, but have scaled it back to one night in order to lower the chances of the Repressed staff having a cardiac arrest.The lineup features Constant Mongrel, Woollen Kits, Bed Wettin’ Bad Boys, Yes I’m Leaving and Destiny 3000. Head to The Red Rattler on Saturday 10 August. Gossling

FORWARD, MARCH

BIGSOUND LIVE ACTS ADDED An enormous number of massive acts have been added to the BIGSOUND Live showcase and conference line up for 2013. Leading the second are the likes of former Powderfinger guitarist Darren Middleton, Blue King Brown frontwoman Natalie Pa’apa’a, much adored chanteuse Gossling (pictured) and ska devotees the Melbourne Ska Orchestra. There is just the one international band on the bill so far, with Yukon Blonde from Canada filling that role. Calling All Cars, Chance Waters, KINGSWOOD and Jonti will all ensure there’s a varied crowd checking out the showcases, as well the likes of Davey Lane, Feelings, Sheppard and Diviney. The event happens around the streets of Brisbane’s Fortitude Valley over the nights of Wednesday 11 September and Thursday 12. The full line-up is at theMusic.com.au.

INDUSTRY NEWS Aussie hip hop heavyweights Bliss N Eso have scored their second concurrent number one album with Circus In The Sky debuting in the top spot of the ARIA charts in its first week of release. To get there, they had to hold out the winner of reality TV singing competition The Voice, Harrison Craig, and the might of the Hillsong Live church, who took second and third spots this week respectively. On the singles chart, Robin Thicke has finally had to concede the number one position that has been his for the best part of the past couple of months – his Blurred Lines track now sits in second position as Swedish EDM hotshot Avicii snatches the top spot with his track Wake Me Up. Australia Council For The Arts CEO Tony Grybowski has announced that work to allocate additional funds to local artists and art organisations has already begun, just days after the new council board was announced. Grybowski confirmed that the Visual Arts and Literature were priorities in the board’s first meeting. Following last week board announcement, the Federal Opposition lashed out at the new look Australia Council with opposition arts spokesman George Brandis calling the appointments “deeply disrespectful”, criticising the major city-centric make-up of the board and stating that the literature and visual arts sectors were under represented. After a sterling debut in the top 20 of the Billboard charts last week, Empire Of The Sun have now dropped to 90th position in the second week of release for their Ice On The Dune LP. It wasn’t bad news for all Antipodean artists though, as New Zealand starlet Lorde continues to rise and rise all over the planet. Her The Love Club EP has spent its third week in the Billboard 200 in its highest position yet at 86. Melbourne outfit The Getaway Plan have parted ways with their original bassist Dave Anderson. The band took to Facebook to announce the news of Anderson’s departure after close to a decade with the band. The band also announced that his replacement has been found already, with longtime friend Jase Clarke stepping into the role. Sydney-based rapper Chance Waters will release his next album through Island Records, an imprint of the Universal Music Group. The New South Wales Labor party has called upon the state government to increase the protections of live music venues by stopping councils taking kneejerk action over complaints by ‘wowser’ residents. An extension of the Good Neighbour policy enacted in Leichhardt council, Shadow Planning Minister Luke Foley said, “We’re here today to call on the NSW Government to amend the noise pollution laws, [to] amend the Protection Of The Environment Operations act to support live music in our city and our state. What we’re calling for is mediation over litigation.” The announcement was the latest in Labor’s live music push, which they have been developing since the local government elections last year. South West Sydney-bred but now Melbourne-based rapper L-FRESH The LION has inked a deal with new company Vienna People Recordings. Melbourne punk rockers Clowns have joined Poison City Records, following a string of self-released 7” records. Universal Music Publishing have recently called upon APRA|AMCOS to license their digital rights almost completely throughout Asia, with the exception of Japan.

Beasts Of Bourbon

BEASTS ARE BACK In 1983, Spencer P Jones, James Baker, Tex Perkins, Kim Salmon and Boris Sujdovic came together to form The Beasts Of Bourbon. Thirty years, various line-ups, several break-ups, numerous reformations, a few ‘never agains’, six studio albums and an endless run of blistering brutal ear shattering live shows later, The Beasts are back. Their new, three-live CD release 30 Years Of Borrowed Time celebrates 30 years of The Beasts Of Bourbon. To commemorate this milestone, The Beasts are putting on three consecutive shows at the Factory Theatre on Thursday 22, Friday 23 and Saturday 24 August – a different line-up (original, Low Road and current) and a different set each night.

MUSICAL FOLK Organisers of the inaugural Folk By The Sea festival have released their first list of artists, with Casey Donovan, Ami Williamson and Ted Egan heading the line-up. Other acts announced so far include Pat Drummond, Fintan Vallely, The Rusty Datsuns and Nick Rheinberger. The Illawarra Folk Club will stage the first annual Folk By The Sea at Kiama Showground on Friday 27 to Sunday 29 September with folk, world, acoustic, Celtic, traditional, gypsy, blues and bluegrass music, as well as poetry, spoken word and dance.

MAY CONTAIN NUTS Coming off the back of a huge European summer tour which included main stage appearances at Hellfest, Graspop and With Full Force Festivals, notorius Australian hardcore band Deez Nuts have announced the full list of supports for their upcoming Australian Tour. Getting everyone fired up at the all-ages Live At The Wall show on Sunday 28 July will be Sienna Skies, Hellions and Graves.

Kilter

OFF-KILTER With their fifth studio album Delta recently debuting at number one in New Zealand, Shapeshifter are bringing their explosive live show back to Australia, with the best local electronic talent in tow just announced as support. At the Sydney show at the Metro Theatre on Friday 9 August, rising electro star and beat architect Kilter will warm up the stage.

LOUIS’S LIPS After the critical and commercial success from debut EP On Your Lips We Roared, Sydney five-piece Louis London have been hard at work in the studio, crafting their sound. They bring their show on the road, supporting Buchanan at Goodgod this Saturday and also playing at Beach Road Hotel on Wednesday 31 July, UNSW Roundhouse on Thursday 15 August; Cambridge Hotel, Newcastle on Wednesday 21 and The Beresford on Saturday 28 September.

INTO THE GUTTER With a mountain of bands wanting to support Guttermouth on their farewell Australian tour, the promoters got together and decided to let the band and the fans decide who would play the opening slot at each show. The guests are now locked in. Supporting at UC on Thursday 22 August will be Yoko Oh No, The Veebees and On Empty. At Manning Bar on Wednesday 23, Beaver, Topnovil and Nerdlinger. Then at Cambridge Hotel, Newcastle on Friday 25 is Local Resident Failure, Family Values and Excitebike.

TWINSIES Joining Robert DeLong as special guest on his first Australian headline shows this July will be our very own indie electronic duo Twinsy. The brainchild of Guy Chappell (Yacht Club DJs) and Michael Belsar (Hunting Grounds) Twinsy has steadily built a swirl of interest internationally while playing sold out tours and festival appearances. They play The Standard show on Wednesday 24 July.

16 • For more news/announcements go to themusic.com.au/news

Cub Scouts

FIRE IT UP

Melbourne singer, songwriter and international touring artist, Shelley Segal has announced she’ll be bringing notable American jazz guitarist and vocalist Adam Levy out to Australia to tour their new collaborative album, Little March, which was released in Australia in March and the US last month. Performing at some of the country’s best-known jazz clubs, the duo will be hitting up Blue Beat for a show on Thursday 1 August.

GIVES YOU A STAGE As part of its 15th anniversary celebrations, the Red Bull Music Academy will be setting up camp at North Byron Parklands with its very own stage at the 2013 edition of Splendour In The Grass. On Friday 26 July the RBMA Stage kicks off in style as Detroit techno don Rick Wilhite shares the headline slot with RBMA Barcelona 2008 graduate Onra. Kiwi future soul songstress Ladi6 and Platinum Pied Pipers producer Waajeed headline proceedings on Saturday 27. RBMA Radio regular James Pants will throw down before househead Maurice Fulton closes the party on Sunday 28. Plus, there’s a huge array of stellar supports.

BARNESTORM FRONT COMING

Jinja Safari’s Bay of Fires Tour will burn even brighter as the Sydney fun-lovers welcome Cub Scouts and Okenyo to the road. Brisbane’s Cub Scouts have just revealed details of their upcoming EP Paradise, the title track/single of which pushes their trademark pop sound. In contrast, Sydney’s Okenyo has an alluring neo-soul style. They stop by ANU, Canberra on Wednesday 18 September; UniBar, Wollongong on Thursday 19; Cambridge Hotel, Newcastle on Friday 20; and the Metro Theatre on Saturday 21 (all ages).

Rock’n’roll legend Jimmy Barnes will perform a run of exclusive shows for his Welcome To The Pleasure House national tour. Barnes will storm the stage armed with his live band and a number of special guests including his daughter Mahalia Barnes. Also opening up on a selection of dates will be Barnes’ second eldest daughter Eliza-Jane and her musical partner Ceci, as Evil J & Saint Cecilia. Catch the show on the following dates: Sunday 4 August, Theatre Centre, Canberra; Thursday 22, Enmore Theatre and Thursday 29, Newcastle Camp Shortland, Under The Big Top.

DAIRY GOODNESS

UBER COLD

In its sixth year, Fat As Butter matures into the adventure filled destination that a world full of festival mad party people are craving. FAB 2013 is happening all over again on Saturday 26 October at The Foreshore, Newcastle, with the exciting addition of camping facilities for the first time ever. The full line-up will be announced on Tuesday 23 July, with tickets on sale Thursday 25.

On Saturday 27 July, over 40 acts from all around Australia will be shaking the walls of the Valve Bar and Venue for UBERfest Winter. This massive ten-hour marathon of live music will be across two stages from 2pm. Acts from across the whole spectrum of genres will be on show. Heavy metal hitters include Hideaway, A Gentlemen’s Agreement and Cryptic Scorn. In the electro rock corner, there’s Luke John Shearer, King For A Day and Footsie & The Psychos. The acoustic acts will be John Olzard and Josh Toyer. As for hip hop, Casa and Jae Moon and Raseth have things sorted. Plus many more.

LET’S GET LOUD Loud Fest returns in 2013 for its third year and touring nationally for the first time since its inception. Loud Fest showcases the very best in rock and hardcore music, and this year’s line-up is as strong as ever. Headlining the Sydney leg of the festival at the Factory Theatre on Sunday 11 August are US rockers Alesana, after the stage is nice and warmed by the likes of Confession, Attila, Hand Of Mercy, Saviour, Feed Her To The Sharks, For All Eternity, Hellions (Ex-The Bride), Storm The Sky, Stories, The Sweet Apes and Elegist.

LITTLE CITY Dallas Green – better known by his moniker City & Colour – will be paying us a visit this month for two special intimate shows to promote the release of his new album The Hurry And The Harm. See him up close and personal at The Standard on Wednesday 17 July. Playing solo and acoustic for these two rare shows, fans who miss out on tickets won’t have to wait long for details of the national run of shows with the full band to be announced on the same visit.

SPRINGING UP Following Paul Kelly’s Wollongong show at Anita’s Theatre on Saturday 17 August selling out, a second show and final Wollongong show at the same venue has been announced for Friday 16 August. These shows are part of Kelly’s Spring And Fall Australian Tour. Tickets are available this Thursday.

DEPTHS OF THE WATER After the successful release of their third album The Depths, The Blackwater Fever have signed to Brisbane management company Pricewar Music and are celebrating with the release of the album’s second single Won’t Cry Over You and a tour. The Blackwater Fever journey through blues, soul, trip-hop, instrumental and rock at Spectrum on Friday 23 August and the Lass O’Gowrie Hotel, Newcastle on saturday 24.

SLEEP OF SUBSTANCE Seminal stoner/doom band, Sleep from San Jose, California will play a show at the Manning Bar on Sunday 27 October, following their appearance at ATP’s Release The Bats in Melbourne. Fun fact: their song Dopesmoker, a 63-minute ode to weed, stands as one of the towering achievements in recent metal history – a mesmerising, intoxicating and incredibly complex song that is still unrivalled in the annals of stoner metal.

Sleep

PUT YOUR HAND ON YOUR HEART Before he fronts up as the opening act for formidable British hip hop artist Ghostpoet, Oscar Key Sung – one half of leftfield poptronica duo Oscar + Martin – will embark on a small run of shows to bring his lush arrangements to the masses. Catch his wonky blend of minimal funk, dark R&B and nu-soul on Friday 2 August at Goodgod.

CASHED UP Acclaimed jewel of dark country blues Cash Savage, and her band The Last Drinks, release their second LP The Hypnotiser on Friday 26 July. This recording balances the soulful confessions of Cash’s compelling tales with evocative strings, triumphant horns, a 45-voice choir and the band leader’s impassioned cries of love, loss and despair. Hear the songs live when the band perform at Moonshine at Hotel Steyne on Thursday 8 August; Goodgod on Saturday 10; and Sunday 11 at the Junkyard, Maitland.

[NEWS NEWS] a r t s

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TUESDAY 9

must not exceed seven minutes. Entries close Thursday 10 October. Check out past entries and get more info at tropfest.com/au

Josh Thomas: Douchbag – creator and star of Please Like Me (ABC2), Josh Thomas is back, live on stage. Josh went overseas last year and made a weird choice that he’s pretty sure only bad people make. The Comedy Store, 7pm; runs to Sunday 14 July.

Calling Photographers – Snapshot 2013 is calling all teenagers with a passion for photography to enter this competition. There are two categories: juniors aged 13 to 15 years and seniors 16 to 19 years. The theme this year is Transformation and Metamorphosis. There’s a cash prize of $1400, so get snappy. Entries close Wednesday 14 August, so for more info head to penrithregionalgallery.org Calling Artists – Harvest Arts is calling out to all experimental performers, art collectives, sculptors and installation artists to help enhance the Harvest festival experience. Wanna be part of the Harvest Arts world? Deadlines for applications is Wednesday 31 July, so for more info head to harvestfestival.com.au

Meltdown

WEDNESDAY 10 MELTdown – a solo exhibition from photographer Cybele Malinowski inspired by her journey to Chernobyl and Iceland. This is a look at the natural world in a state of flux, curated by Nick Tsoutas. Opening night, SCA Galleries, Sydney College of the Arts, 6pm, exhibiting to Friday 26 July. Bingo Unit – an interactive, multimedia police drama experience, inviting you to explore your inner good or bad cop. Play your part in the show with Team MESS and special guests Chris Haywood and Wendy Blacklock. This is not a sit back and watch show. This is a get up and put a uniform on kinda show. Part of Show Off, Carriageworks, Performance Space, 6.30pm, 7.15pm, 8pm; runs to Saturday 13 July. Only God Forgives – a screening of this year’s Sydney Film Festival main prize-winning film before its national theatrical release. This flick is a crime thriller written and directed by Nicolas Winding Refn, starring Ryan Gosling and Kristin Scott Thomas. It’ll be followed by a live Q and A with Nicolas Winding Refn. Popcorn Taxi, Event Cinemas, Bondi Junction, 7pm.

THURSDAY 11 Kanye Lens Vs Soundwave – an exhibition and book launch by photographer Kane Hibberd. Take an Access All Areas trip through the archives of

The World’s End

PUB CRAWL Wednesday 17 July, Edgar Wright, Simon Pegg and Nick Frost will host an exclusive screening of The World’s End for Popcorn Taxi at Event Cinemas, George Street. After the screening the trio will present an intimate discussion. The film is about a bunch of mates trying to make it to The World End bar on a pub crawl. It’s the English version of The Hangover… well kind of, with a whole lot more kook, from the makers of Shawn Of The Dead. For more info about the exclusive screening and discussion head to popcorntaxi.com.au official Soundwave photographer Hibberd’s debut photography book, Kanye Lens Vs Soundwave Volume 1. Opening night, Newtown Social Club, 6pm. Much Ado About Nothing – directed by Joss Whedon, this is a modern interpretation of William Shakespeare’s classic comedy, set in modernday LA. Opening at Dendy Cinemas today.

FRIDAY 12 I’m Your Man – a play directed and created by Roslyn Oades about a young boxer’s prep for a world-title fight. Tonight, meet the artists in a Q&A after the show. Part of Show Off, Carriageworks, Performance Space, 7pm; runs to Wednesday 17 July.

SATURDAY 13 Great Art On Screen: Munch 150 – an exhibition on film and a look at the life and works of artist Edvard

18 • For more news/announcements go to themusic.com.au/news

Munch on the 150th anniversary of his birth. The doco is hosted by Tim Marlow. Munch’s work, The Scream, recently set a public art auction record selling for $120 million. Dendy Port, 10am and 1pm.

SUNDAY 14 Jeff Wall Photographs – a major exhibition of the work by Canadian photographer Jeff Wall, this overview of his career spans three decades of artistic and photographic innovation. Explore the evolution of cinematic, documentary and ‘near-documentary’ photography in Wall’s work. MCA, exhibiting to Sunday 28 July.

CASTING CALL Calling Filmmakers – entries for Australia’s most recognised short film festival, TropFest, open on Thursday 15 August. Ever wanted to make a short film? This is your chance. Films

I’m Your Man

[FEATURES]

CONTINUING THE CONVERSATION

Although it’s been another four years between Karnivool’s second and third records, frontman Ian Kenny stresses to Benny Doyle that the progressive rock outfit still have a great deal to say. Cover and feature pics by Kane Hibberd. arnivool are no longer just Perth’s leading prog rock light. Nor are they Australia’s. Since the release of their widely acclaimed second record, 2009’s Sound Awake, the five-piece have truly become a global entity on the touring circuit. Drum Media catches frontman Ian Kenny arriving at Hurricane Festival in the northern Germany municipality of Scheeßel, where the band are due to perform later that evening on a bill that offers everything from Of Monsters & Men to Parkway Drive. The frontman is excited about the show, admitting that the band have long enjoyed a positive reception from hard rock-hungry Europeans, but seems unaffected by the pressures of trumping their current worldwide standing with their soon-to-be-released third album, Asymmetry.

“Well, we’ll see,” he slowly begins. “We’ll see how this record sits with Karnivool fans and we’ll see where it goes outside that. Karnivool has a good thing happening in Europe, we’ve got a great thing happening in Australia, so we’re going to keep focusing

on those two territories and get back to the States... I dunno, we’ll have to see. It’s kinda too early to tell – we’ve just put [the album] to bed a few weeks ago so I don’t really have any scope on the record yet until it gets out there and does what it does.” First listens to Asymmetry reveal a band that are venturing to the edges of what’s considered their ‘sound’. Things are abrasive in parts, especially early in the record, Karnivool offering arguably more sonic aggression than they ever have before. But, those musical explosions are evened out by songs that are raw and revealed, the band left as exposed as they’ve ever been. “This third record was just about exploration through Karnivool and a bit more experimenting with the band and seeing what we have in us and what’s in the track,” Kenny explains. “I think this record, there’s more band on it; we’ve left a lot of the performances in there, so it’s not so heavily relying on production which maybe makes it a little more raw than the last two. But we’re just pushing it and seeing what else we’ve got to say musically, and that’s what we’ll continue to do I think. That’s what’s exciting about Karnivool.

in the ocean and the cafe culture cruise with locked down sessions with acclaimed producer Nick DiDia (Rage Against The Machine, Powderfinger). And again, like Sound Awake, nothing about the process was instantaneous or immediately gratifying. A second four-year wait time for fans which begs the question: could this band function in the same way if there were only a couple of years between releases?

“It was a pretty open and free space when we were recording – anything goes really,” Kenny expands further. “It wasn’t an easy record to make, it was a pretty demanding record, just due to the nature of what’s happening [in the music]. But the space we recorded in in Byron Bay, it was one of the best recording environments/ experiences Karnivool [have] had. By no means was it chilled out, but it was cool and focused and just a fucking really nice place to make a record.”

“You know what, I think we’d like to do it another way,” Kenny admits straight-up, “but we haven’t discovered a way to do it any quicker because when we’re writing the parts which become pieces of music, they just need a bit of gestation time. We need to sit with them and work on them, which is part of the reason why it takes so long to get these records up to scratch. I think we’re just starting to get a handle on our songwriting as a band, so maybe we’ll be able to deliver the next record quicker, but at this point I can’t say, I have no idea.”

After putting the initial coat on the raw ideas in their home studio in Perth over a two-year period, the band decamped to the Northern Rivers region of the east coast, settling into a routine that balanced time

Pulling the frontman back to his earlier comment: “It wasn’t an easy

“[We] doesn’t really want linear records,” the vocalist continues. “We try and create records that read a bit more like a novel, because you want to be taken somewhere when you’re part of the listening journey, so you want it to lure you in then sit you down, then it picks you up, smacks you across the head, and it pulls you into another room and gives you a different treatment. You want, you need movement in a record; it needs to take you somewhere and make you feel.

20 • For more news/announcements go to themusic.com.au/interviews

WHAT’CHU TALKIN’ ‘BOUT IAN? As frontman and lyricist for both Karnivool and Birds Of Tokyo, Ian Kenny has firmly established himself as one of the most engaging and recognisable voices in this country. And you’ve only got to see the lanky vocalist perform to know that on-point pitch and delivery aren’t just in his job description – it’s his life. Kenny admits that on Asymmetry he put more time into his verses than ever before; but how does it all come together? Let’s find out, shall we? “Basically I try and write what I think complements the song and the actual emotional feel of the song, and I just generally try and right lines and lyrics that evoke people to think or to pick up and feel what’s going on in the track,” he explains. “Unless it’s something direct and I’ve got something that I want to talk about, [then] I just try and tell people what’s happening there and then. “Generally I’ll just work on the piece [by myself], come up with what I think it needs to where things are sitting, and I’ll throw them in to see what sticks and if it works then roll with outside ideas, but generally I start things off, just sit there with a track and try to interpret, and whatever comes out comes out and you can work on it from there. “It can be quite demanding at times when it comes to working on vocal parts so it can be complicated,” he concludes, “and not always but generally when you get a piece finished there’s a lot of emotional and musical real estate to play with, so lyrics can go anywhere in this band.”

record to make”, Kenny discusses what Karnivool were battling with during the making of Asymmetry, but also reveals that those tough times do hold their own artistic rewards. “Basically, in preproduction we had most of the arrangements down, and I guess there was like that twenty per cent on a handful of songs that just wasn’t finished. So just ironing out those things in the studio can add a bit of pressure, y’know,

studio dollars and studio hours and you’re sitting there working away then you’ve got to make calls on things. It’s a double-edged sword because sometimes you can just sit there and fucking deliberate for ages on a certain part because you know you have the time, but if you realise you don’t then it forces you to make a call. That just got a bit tense, so there was a bit of a struggle there to finish a few of the pieces, but I think it was a good thing because I think you can hear a bit of a struggle on the record and that’s what you want to hear, you want to hear exactly what was happening – it makes it a bit more real.” Karnivool put a lot of thought into track placement too, allowing the sonic light and shade that encompasses the record to really shine through. “We just arranged them in a flow that we thought made sense,” Kenny reasons, agreeing that with a great deal of progressive rock, the listening experience lives and dies by the journey created. “Yeah, absolutely. We did put a bit of thought into it, and as long as it makes sense... I guess the most important thing about album flow is to do your best with the narrative of the record from song to song, and if you get to a point where it keeps flowing then it works, man.” But even with the aforementioned studio stress, the obvious fan anticipation and other outside pressures aren’t held in high regard by the band. Karnivool run against their own clock and will continue to do so, even if it ticks over at a slower rate than most. “I think the only pressure that comes is internally from the band when we are writing,” Kenny finishes, “what we expect from each other and what we expect from the band. All we’re trying to do is just write music that we hold as the highest above anything, so there’s a lot of pressure there just to get it as good as we can and get it right – that’s the only pressure that really comes into play.” WHO: Karnivool WHAT: Asymmetry (Cymatic/Sony) WHEN & WHERE: Sunday 4 August, Big Top Luna Park

MUSIC

[FEATURES FEATURES]

FEET FIRMLY PLANTED After the dust of previous band drama had settled, CSS were more relaxed during the making of their fourth album, Planta, says frontwoman Lovefoxxx (aka Luísa Hanae Matsushita). She chats to Anthony Carew about her thoughts on the mass public protests in Brazil, her childhood dream of being an air stewardess and the healing properties of performing a great show.

f course I’m a feminist!” yelps Luísa Hanae Matsushita, aka Lovefoxxx, leader of Brazil’s electro-pop outfit Cansei de Ser Sexy. “I don’t understand any woman who would say they’re not. I’m for equality for everyone; all I see feminism being is demanding your rights as a human-being. I believe in love, I believe in respect, I believe in kindness. Those are values I don’t think there are enough of in the world.”

“O

Matsushita, 29, is talking big-picture beliefs and humanist values because, as has happened so much in the promotion for CSS’s fourth LP, Planta, she’s speaking about Brazil. As one of the country’s most visible pop exports, Matsushita has found herself often discussing the rise of mass public protests across Brazil in 2013.

lot. Playing the show yesterday, the energy from the crowd made me feel so much better; and I’m sure it happens the other way around, too, that people can come to our shows, and maybe they’re feeling kind of sad, but after we play they feel so much better. We really love playing shows.” WHO: CSS WHAT: Planta (Stop Start) WHEN & WHERE: Saturday 16 November, Harvest Festival, The Domain

“We’re asked a lot to talk about it, and it’s difficult, because it’s something we’re following online – that we’re reading about online, watching videos of,” says Matsushita, from on the road ‘somewhere in Ohio’. “Watching it from afar, it’s hard to know exactly what’s going on, because the manifestation has grown so big, so vast, and has lost real direction, real specific goals for change. And now right-wing people are becoming involved, so it’s getting a bit weird, and we don’t know how serious it is anymore. But Brazil doesn’t manifest much, so it’s really meaningful that it’s happening.” Growing up in Campinas outside of São Paulo, Matsushita – the daughter of Japanese immigrants – was far removed from Brazil’s teeming poverty, and has spent much of her adult life outside of Brazil, including five years living in London and much of the last decade touring. She once described touring as “sucking her soul”: “It’s always really hard. It’s exhausting. It hurts. To detach from people is painful,” she says – but this life-on-the-road lifestyle is, for Matsushita, the culmination of a childhood dream. “I always wanted to travel, since I was a kid,” Matsushita recounts. “My auntie was an air stewardess, back when they had to be prettylooking. She was gorgeous! So I had her as a role model: she spoke many languages, she was very clever, very glamorous. So, ever since I was really young, like six or something, I would think about being an air stewardess so I’d be able to travel; I really wanted to see the rest of the world. And I have! But being in a band is way better than being an air-stewardess, because I get to live a lot.” Growing up, Matsushita thought she’d be an illustrator, and moved to São Paulo at 16 to take up an internship with a fashion designer. She’d never made music when, at 19, her friend (and now former CSS member) Iracema Trevisan invited her to be in her “joke band”, who’d taken their Portuguese name from a Beyonce quote where the starlet had lamented that she was ‘tired of being sexy’. “It was the most unpretentious thing I’ve ever joined,” Matsushita recounts. “We all thought that we would always only play in very horrible places, and we used to think that was very funny. We’ve never had any expectations, we only did things that we thought were good. We weren’t chasing success, we were just trying to make ourselves laugh.” After their debut, self-titled album became a huge international success – released on Sub Pop in the US, wildly hyped in the UK, and spawning indie-dance hits Music Is My Hot Hot Sex and Let’s Make Love And Listen To Death From Above – things started to change. Their 2008 follow-up, Donkey, became the ‘difficult second album’, its recording a slog. “Donkey was a really bitter record,” Matsushita recalls. “There was so much bitterness, lots of bad band drama; I don’t really want to talk about it, but we were really hurt by so many events.” That band drama found members leaving; first Trevisan, and then, after 2011’s La Liberación, multi-instrumentalist Adriano Cintra. As the band’s sole male member, Cintra has often been painted as the man-who-actually-makes-the-music, a stereotype that was underlined when, upon leaving the band, he gave a bitter interview basically calling his ex-CSSers fame whores who couldn’t play their instruments. Matsushita declines to talk about Cintra directly, but in discussing Planta, he’s clearly in the subtext. “Planta felt really relaxed to make, which was something we’d never experienced before,” says Matsushita. “We felt really liberated. We treated every song as its own thing, and everything we did was us working together to further the song, not our own personal agendas. We were working together for the music, not against each other to further our own causes.” After making their first three LPs in Brazil, this one was recorded in Los Angeles with TV On The Radio’s Dave Sitek, and features an appearance by Hannah Blilie of Gossip and a co-write with Tim Armstrong of Rancid(!). There’s a strong reggae-leaning vibe on a bunch of the tracks, which are more synth-based; recalibrating the band’s new four-piece lineup (Matsushita, drummer Carolina Parra, and guitarists Luiza Sá and Ana Rezende) around keyboards. Touring Planta, CSS are rediscovering the simple joys of performing. “Yesterday, we were in Chicago, and I was having a tough day; I was feeling so, so sad, I really didn’t want to go on stage. But the show was so good it ‘cured’ me from that mental state,” says Matsushita. “I know this sounds almost stupid to say, but people really come to our shows to have a good time. We always have really friendly crowds, nobody’s trying to cause trouble. I feel a similarity between our crowd and us. Our interviews and our music attract similar kinds of people. We never have fights in our crowd; when I look out, usually all I see is people smiling a

For more interviews go to themusic.com.au/interviews • 21

FILM

[FEATURES FEATURES]

- Beatrice

We have seven in-season double passes to giveaway to see Joss Whedon’s Much Ado About Nothing that hits cinemas Thursday 11 July. For your chance to win, stalk Drum’s Facebook.

PRE-GIG FEED...

Where: The Vanguard What: Market fresh fish with rosemary infused potatoes, cannellini beans, asparagus salsa and brodetta jam. Why: It’s a light, extremely tasty dish that won’t weigh you down on the dance floor. Perfect with a cocktail or a glass of Pinot Gris.

THE DRUM CREW ARE...

LISTENING TO

In his directorial debut, This Is The End, Seth Rogen has his mates either playing into or against expectations. He chats to Anthony Carew about how it developed from a short film to full-length feature, and his concerns about working in the horror-satire genre.

onestly, if you’d asked me a few years ago if I was going to direct a movie, there’s a good chance I would’ve said ‘no’,” admits Seth Rogen. The 31-year-old Canadian funnyman has just made his directorial debut with This Is The End, an apocalyptic comedy he co-helmed with his longtime creative collaborateur Evan Goldberg. “We’re not big planners. We just take it as it comes, and things just kind of happen,” Rogen adds; these things soon to include The Interview, another co-directed flick to be filmed later in 2013, in which Rogen and James Franco play entertainment journalists enlisted by the CIA to kill North Korean leader Kim Jong-un.

“H

Rogen and Goldberg were childhood friends who’ve been working together “literally since we were 13 years old”. That’s when, after meeting at a bar mitzvah, they wrote the first, proto draft for what would eventually, over a decade later, turn into 2007’s Superbad. “We’ve had all the creative arguments you can have by now,” Rogen says, of their partnership. Their friendship is at the core of This Is The End, an apocalyptic horror-comedy-satire which finds Rogen and Jay Baruchel playing themselves – or, in the case of Baruchel, a stand-in for Goldberg – and exploring struggles in their friendship amidst the end of the world. With a parade of celebrities all too happy to play themselves – the principle cast is Rogen, Baruchel, Franco, Jonah Hill, Danny McBride and Craig Robinson, and there are cameos from Emma Watson, Channing Tatum, Aziz Ansari, Kevin Hill, Jason Segel, Rihanna, and probably more I’m forgetting – the film becomes about Baruchel’s dislike of Los Angeles, celebrity culture, and Rogen’s new, non-Canadian, non-stoner friends. “It’s real for us,” says Rogen. “When I moved to LA, I found it hard to adjust, and then when Evan moved here a few years later, he didn’t get along that well with a lot of the friends I’d made, and they didn’t like him much. If the whole movie is going to be about this emotional idea, we always ask ourself: ‘is this something that we really care about?’” Rogen and Goldberg first explored the idea in a 2006 short film, Jay And Seth Versus The End Of The World, in which Baruchel and Rogen bickered in a closed room, whilst the apocalypse took place outside their apartment. “Our initial thought was: what’s the biggest movie we can make for the least time and money?” Rogen laughs (meaning, yes, he lets out that trademark machine-gun-Elmer-Fudd guffaw). The short film marked Rogen’s debut, but it never actually

MUSIC

I love you with so much of my heart that none is left to protest.”

Kanye Lens Vs Soundwave exhibition and book signing @ Newtown Social Club

CHECKING OUT

Much Ado About Nothing

WATCHING Dexter

READING

Z: A Novel Of Zelda Fitzgerald by Therese Anne Fowler

EATING Yum cha

DRINKING

Frozen margaritas

It took years for the project to eventually come together. Filming began in 2012, a year in which apocalyptic fears were a persistent part of the cultural (and pop-cultura)l climate. “It seems like the world might end!” Rogen yelps. “The weather’s weird, climate change, pollution, the Pope quit... these are bad signs.” The trailer for This Is The End immediately attracted suspicion that Rogen and pals were blowing their resources on a film in which they dick around, play themselves, and ultimately come across as the new scions of Hollywood privilege, making everyone else a party to their vanity project. That was, says Rogen, kind of the point: they thought having the characters play themselves was a way of tackling the perceptions of their ex-Freaks boys directly. “We know that every time we make a movie everyone thinks that anyway,” Rogen offers, “so we’re attacking that head on; that’s part of the joke of the movie, that we’re friends and we work together all the time. We knew that it would be people’s first reaction, so this is us taking ownership of that.” Whilst Rogen and Baruchel play close to home, the film also has fun with playing against type: dickwaddish Jonah Hill recast as sweet and gentle, Michael Cera turned into a coke-snorting wildman, and Emma Watson becoming a ball-busting survivalhorror heroine. “The whole movie is about playing into or against expectations – from the genre, to how the plot moves, to how you perceive us,” says Rogen. “When we approached each character, that was the exact conversation we had: ‘should they play into or against the expectations?’ And it was different for each guy. For Franco, obviously it plays into expectations, with Michael Cera and Jonah, you’re playing against those expectations.”

This Is The End’s relationship to horror movies is uneasy; most genre-lovers don’t want expectations played against. Though Rogen and Goldberg endlessly studied Rosemary’s Baby, The Exorcist (which is very specifically referenced in the film), the original The Night Of The Living Dead and Dawn Of The Dead, they weren’t operating in their comfort zone. “There’s so many movies about: A) the world ending; and: B) people being stuck in a house whilst this shit’s going on around them. We always hoped to be able to have our cake and eat it too, which is to make a satire of them, yet also genuinely participate in this genre we’re making fun of,” Rogen says. “To be honest, we weren’t sure we could pull it off. I’d never been on the set of a horror movie, let alone tried to make one myself. That was my biggest concern as a director: ‘Will we be able to make these moments have genuine suspense, and a real threat of danger? Will we actually be able to make the audience worried that one of our leads might die a grisly death at any moment?’” And the grisly-deaths and doomsday of This Is The End might be the film’s strangest take: rather than weather phenomenon or alien invasion, here the end of the world is a good old-fashioned biblical apocalypse. “There’s an age where every young Jewish person realises that every Christian person they know has been taught that you’re going to hell,” Rogen explains. “Whether they believe it or not, it’s in the bones of the ideology. It was an interesting moment when [Evan and I] realised as teenagers, that if the end-ofdays came, we’d be the ones left behind. It seemed like it was something that no one had really made a movie about, and it was weird and funny, and it was edgy enough that it also seemed like we might get in trouble for it. Which is always a good sign.” WHAT: This Is The End In cinemas Thursday 18 July

ON THE LINE

or Jen Cloher, a casual chat is just the tonic she needs to steel herself for a weekend of posting vinyl all over the country. “I’ve had a rough time with vinyl coming in from the Czech Republic, which is where my records get shipped from,” she begins. “I’ve been waiting two weeks for it, and it turns out (the shipment’s) been waiting in customs for ten days! I’ve got irate Pozible supporters going ‘where’s our vinyl?’ So I’m gonna just sit and address the mail all weekend.”

Something that’s a hell of a lot more enjoyable than licking envelopes is the release of Cloher’s third and arguably most accomplished record to date, In Blood Memory. It’s a little rougher around the edges than her previous releases, and according to Cloher, it feels good to bank the third. “There’s something about a third album that feels kind of solid. You could stop at three albums and not be a one-hit wonder.” While Hanson, Alanis Morissette and Chumbawamba might beg to differ, things are looking up for Cloher. “It’s an honest album; it’s not trying to be an extraordinarily over-produced masterpiece.” Nonetheless, it’s still a mighty fine record. Crowdsourced through a Pozible campaign, Cloher says

22 • For more interviews go to themusic.com.au/interviews

screened anywhere. Soon after a trailer was posted online, the rights for the project —and a potential fulllength adaptation— were subject to a bidding war.

Friday nights are made for going out, but as Dylan Stewart discovers while sitting across a table from the glowing Jen Cloher, it turns out you can have a pretty swell time staying in, too.

Me First & The Gimme Gimmes on Spotify – punk rock covers fun times!

GOING TO

TWO AGAINST THE WORLD

the prospect of laying it all out there was daunting. “I was terrified. It’s like publicly announcing a party and seeing if anyone comes along,” she said. “You’re putting yourself out there to fail; and there’s not a single human being who wants to fail, especially publicly.” Giving people some ownership of the album was also a great way to help her reach her funding goal. By offering funders the chance to vote on the album title and artwork, Cloher got to connect with more people. “What I loved was seeing the word spread and people come to it. It ended up being really fun. The other great thing is that when you do finally send it out, you get a lot more feedback”. Over six days, In Blood Memory was recorded live, and the process was just right. “I was very clear about how I wanted to approach recording this album. “There’s so much technology available, you can just become a total perfectionist and sit at home spending a year creating something. That’s great, but I really wanted to avoid that, and I wanted to avoid my tendency to try and perfect everything. I wanted to just ruffle it up a bit. There’s a sense that things could all just fall apart.”

Whittling down to seven songs, while unconventional, is a decision that Cloher stands by. Although the release still clocks in at over half an hour in length, “there were other songs, but they just didn’t fit; they didn’t belong. The seven songs felt like a little family.” With two up-and-coming female singer-songwriters in Ainslie Wills and Courtney Barnett supporting her respective shows in Melbourne and Sydney, does Cloher see herself as an elder stateswoman, imparting advice to a new generation of women taking to the spotlight? “I think it’s just something that happens. If you’re in the music scene you start to meet other practitioners just from being out there. But I learn as much from them as they would from me. They come to the music business with their own bag of tricks.” WHO: Jen Cloher WHAT: In Blood Memory (Milk! Records) WHEN & WHERE: Friday 12 July, Oxford Art Factory

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WATCH AND LISTEN CLOSELY After several visits under different guises, virtuoso rock guitarist Steve Vai returns to Australia in fully-fledged rock band mode for the first time in eons. He tells Brendan Crabb about being able to “Svengali it” on-stage.

hen I put a set-list together, it’s a creative process,” laid-back guitarist/ songwriter/producer Steve Vai explains from southern California. “I try to put a show together that I would like to see. First and foremost I want to be a great entertainer, because if the people are going to take the time and spend the money to come to a show, I want them to feel like they’re getting some great value – that at the end of the day they feel somewhat uplifted by what they saw. There’s times where it’s extremely intense and maybe aggressive, and there’s times where it’s extremely intimate and delicate.”

APP IT UP

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What it does: Pretty much what it says it does. By using your phone’s GPS this little baby will tell you where the nearest public toilet is, no matter where you are. It’s got pretty good coverage across Australia as well.

“W

It’s this contrast which has helped the American sell 15 million albums, take home three Grammy Awards and earn widespread acclaim during his three decadeplus career. It’s also aided him in forging an appeal that extends beyond merely guitar aficionados. This includes live performances, which he aims to appeal to the musically-inclined, as well as be palatable to those who don’t know the difference between a pentatonic scale and their bathroom scale. “It’s nice when it does,” he comments of translating to various punters. “When I play the guitar, I like to have all the different elements. I’ve always wanted to have it all; I wanted to be able to play relatively effortlessly with great chops, but have great tone and great phrasing. The kind of things that even a non-guitar player may find fascinating, interesting and something that’s accessible to them. But you can’t please everybody. Some people, a guitar solo just sounds like a series of Morse code, because they’re tone deaf. What they respond to are other things. Most people respond to the confidence of the performer, and I’m fiercely confident when I’m on stage. Some people respond to the beat, groove, the lyrics, staging, lights, sound. You can’t satisfy everybody, but if you’re open-minded there’s definitely something there for anybody.” On the performance front, Vai has been no stranger to our shores lately. He has visited as part of the G3 juggernaut, Zappa Plays Zappa and Masterclass clinics. He’ll be joined by Dave Weiner on guitar, Jeremy Colson (drums), Philip Bynoe (bass) and Michael Arrom (keyboards). Vai reveals sections of the show will have a theatrical bent, as well as songs fans are yet to hear him play live.

PHOTOGRAPHY

“I think 2004 was the last time I brought my rock band to Australia. The full show is definitely a different experience. There’s obviously a lot of guitar playing, but I try to balance it out with the other musicians and stuff, so it’s not just a two-and-a-half hour wankfest,” he laughs. “There’s a section of the show

Why it’s essential: ‘Cause when you gotta go, you gotta go. Platform: IOS 4.3

that I like to keep very spontaneous. It’s becoming a favourite; I call it ‘build me a song’. That’s where I bring people up from the audience, a couple of people, to build a song right there on the stage that we play. It’s really fun, and I’ve been shocked at some of the things that have happened. When I first thought of the idea, I wasn’t quite sure… Nah, I was quite sure that it would be fun and it would work. Because I knew that I can kind of Svengali it, and make it work, no matter what happened. I’ve had 12-year-old little girls on stage, and I’d say, ‘sing a bass part’, or ‘sing a drum part’. They go, ‘I can’t do that’. Then I would take what they said,” he says, humming a drum beat, “and that’s a drum beat, you know?” he laughs again. The Australian tour falls within a hectic schedule for Vai. Last year, he toured for four months on latest disc The Story Of Light, the second instalment of the Real Illusions trilogy. He also took time off to compose music recently performed with the North Netherlands Orchestra. Additionally, the latest itinerary included a tour of several countries with the Romanian Orchestra, followed by a week off. Then he heads to Australia, signalling the beginning of about six months on the road with the rock band format. Offers are already pouring in to visit Africa, India, Dubai, Israel and Russia throughout 2014. If this wasn’t exhausting enough, there’s recording projects on the horizon. “The next thing I’m probably going to work on is taking all this orchestra music and creating a Sound Theories part three, and releasing that. Then I’ll go back to work on the rock record. [I have started writing] elements of it [the final part of the trilogy]. There’s sketches of ideas, tracks that were recorded that weren’t used in previous incarnations of it. But by the time I go lay it down, I don’t know when that’s going to be.” The axeman has seemingly had a predisposition for keeping busy throughout his lengthy career. At age 12, he started taking lessons from Joe Satriani and by 18 had begun his professional music career transcribing for, and eventually playing, recording and touring with Frank Zappa. In 1984, Vai branched out on his own before joining Alcatrazz, David Lee Roth’s solo band

and Whitesnake, quickly earning guitar superstar status. His prolific creativity has built an extensive discography of more than 60 albums featuring solo works, contributions to film soundtracks, as well as appearing on numerous albums by fellow artists. He’s also helped launch a few careers along the way; namely Canada’s metal mad scientist, Devin Townsend, who provided vocals for Vai’s 1993 full-length, Sex & Religion. The guitarist says he believed “HevyDevy” possessed great potential, but for various reasons wasn’t able to harness it then. “Back then, after I’d finished (1990’s) Passion And Warfare… my roots were more based in traditional rock bands with lead singers and stuff. So I wanted to do something that was very heavy, very intense, that incorporated some of the compositional things that I do, within a band that had a lead singer. I needed a really special kind of a lead singer. Devin was very young at the time; he was like 17 or something when I met him and we started working together. He was… really intense; very talented singer, obviously. I didn’t realise how deeply talented he was at the time, musically. I didn’t know anything about his inner vision. “But I knew that there was something there. Unfortunately for him he was confined by my parameters... But then when he started making music and I started listening to it, I was stunned. Then when he just exploded, he found his freedom… It was like he found his torment, and he found his solace. I personally think he’s one of the most brilliant musicians in the world. I really feel that, because he’s completely present, and he continues to evolve and his music is just… for me, totally inspired. I never miss anything he does. Everything he does carries the fragrance of his brilliance. Even when it’s tremendously tormented music, there’s always this light to it. There’s always this redemption quality of sorts that comes (from) deep within him.” WHO: Steve Vai WHEN & WHERE: Sunday 14 July, Canberra Theatre; Monday 15, Enmore Theatre

EATS ON TOUR JOSH PYKE

WHAT IS YOUR STAPLE MEAL WHEN ON TOUR?

Sushi is the big winner – not too heavy, not too light. Beer can become a meal when consumed correctly, too. Josh Pyke touring nationally from August. Check The Guide for dates.

REMEMBER THIS: WOMEN’S WEEKLY CHILDREN’S BIRTHDAY CAKE BOOK

TASTE TEST: KANE HIBBERD FIRST ALBUM I BOUGHT WITH MY OWN MONEY WAS…

It was Bon Jovi’s Slippery When Wet, with my own hard-earned cash, on cassette. I felt like it was my first foray into being able to choose what I wanted to listen to rather than my parent’s radio stations and records. I still listen to that record. I bought it on CD and actually I have got that record on every format apart from digital: CD, tape and vinyl. I don’t know what that says about me personally, apart from that I am supporting Bon Jovi’s cocaine habit.

ALBUM I’M LOVING RIGHT NOW IS… I have been listening to a band called Make Do And Mend and their album, Everything You Ever Love. It’s the perfect mix of inspiration and emo sadness. It’s a rollercoaster.

MY FAVOURITE PARTY ALBUM IS… The Bronx self-titled second album. It’s an album you can trash a house to. It makes you want to jump around and generally destroy things.

MY FAVOURITE COMEDOWN ALBUM IS… After I’ve finished trashing the house I’d put on Dummy by Portishead. There’s not too much you can say about it. It’s an album you can lie back to and think about all the things you shouldn’t have done from the previous night. It’s a classic really.

FIRST GIG I EVER ATTENDED WAS… I grew up in the country so my first gig involved a

Christian youth group outing and we went to see some band that I couldn’t even tell you who it was. The only reason I remember it was because they threw CDs out into the crowd and that made my day. So it was a random, unnamed Christian band who I don’t think were even playing originals. After that though it was Metallica on their Black Album tour in ’91. There weren’t many gigs in the country so in the few years between those gigs I was able to figure it out a bit more.

WEIRDEST GIG EXPERIENCE I’VE EVER HAD… Fletcher from Pennywise at Soundwave 2011 was totally wasted and got up on stage with The Bronx and started smashing up stuff. Then he smashed a bottle on the foldback and pulled up his shirt and started cutting his stomach on stage while people in the audience were just freaking out going, “What the fuck is happening?” Apparently that wasn’t the first time he’d done it. After he’d finished they took him to hospital, he got on a plane and flew home. It was a very surreal experience.

THE BIGGEST NON-MUSICAL [NONPHOTOGRAPHY] INFLUENCES ON ME HAVE BEEN… I love Hollywood, I love movies. I’ve never really been influenced by photographers. I’m more influenced by movies and that’s where I get my ideas for lighting. Also the quality of cable TV coming out of America: The Wire, Breaking Bad, Game Of Thrones. I love those big budget shows.

THE COOLEST PERSON I EVER MET…

That’s an easy one – Dave Grohl. He just walked in the room and he’s like that guy you want to hang around and go take him to meet your mates because he is such a nice guy. You could go have a beer with him and introduce him to people, there was no arrogance about him. He was just a nice, gentle soul.

IF I WASN’T A PHOTOGRAPHER I’D BE…

I’d like to be making movies. It’s almost the same I suppose. Failing that, maybe a simpler job like labouring. I could go to work and make some money and then finish for the day and be none the wiser about how all these creative things are made. I could just enjoy them and not worry about how they happen.

Sit with parents. Pick the cake. Watch mother meltdown trying to make the cake. Enjoy the cake and show off to your mates. Brainstorm for next year’s cake. #win #foodnostalgia

WHAT: Kayne Lens Vs Soundwave (photo exhibition and book launch) WHEN & WHERE: Thursday 11 July, Newtown Social Club

For more interviews go to themusic.com.au/interviews • 23

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HIGH ROTATION

JOEL QUARTERMAIN FROM ESKIMO JOE

WHAT ALBUM IS ON HIGH ROTATION WHEN YOU ARE ON TOUR?

Frank Ocean’s Channel Orange and Tame Impala’s Lonerism was last year. We haven’t toured this year so looking forward to seeing what’s next. Eskimo Joe touring nationally. Check The Guide for dates.

VIDEO OF THE WEEK PHOENIX TRYING TO BE COOL

Youth Of Today vocalist Ray Cappo discusses hardcore history and Krishna consciousness with Mark Hebblewhite.

outh Of Today are more than just another East Coast hardcore band. With their cry for positivity and strong support for drug and cruelty free living the unassuming quartet started a worldwide movement. The Youth Crew era, as it would become known, was not universally welcomed by all. Many veterans of the New York hardcore scene saw the movement as alien to the genre’s founding values. When Youth Crew hit in 1988, nihilism and inner city poverty was replaced by sunshine bright positivity and healthy living. Even more importantly, floods of relatively well-heeled kids from the suburbs entered the scene. Gone were mohawks, leather jackets and chains. In their place, Nikes, crew cuts and collegiate jackets. Drum asked Cappo whether such a stark juxtaposition is justified or simply glib.

“It’s an interesting question,” he says. “Before the Youth Crew scene there were very few people who actually lived right in New York City. A lot of the kids came from other places and called themselves ‘New York City’. But I will say what [hardcore] attracted in the old days was runaways – disenfranchised kids living on the streets, and not always from poor families – it was mixed. As for Youth Crew, the same aggression was there as was in the older hardcore scene, but the message of positivity and respect resonated with a group of kids who came from generally stable and happy families. They weren’t ready at age 14 to say, ‘I’m going to run away from mum and dad’. Most of us loved our parents. What Youth Crew did was make accessible this intense form of music to kids who weren’t interested in the hardcore drug scene that was such an integral part of say the punk scene of New York in 1982.” While Cappo is keen to emphasise that the Youth Crew worldview was a positive one, there is no doubt that the straight edge ethos of the scene slowly changed from one where healthy living was vocally encouraged to what some would consider a militant cult – an us vs them myopia. “Although I was out of it by then the militancy did eventually become harmful to the message,” agrees Cappo. “I thought it became ridiculous. By the time the third Youth Of Today record came out I realised that this thing was a self propelling, potentially problematic thing – when people just run with a couple of ideas and think they are perfected beings. I always had this idea of self-improvement, and integral to that is the concept of ‘self’. To me it wasn’t about changing the world per se but the bigger change was changing yourself. When it became a ‘me against them’ sort of thing, I felt that it had missed the point. To me straight edge pitted ‘myself’ against my own lower nature – not against anyone else. I’ve always believed that you set an example by living an inspirational life – and that’s how you can change society – not forcing other people to your will. And you can trace that attitude in the songs I wrote. I think some people ran with straight

THEATRE

Filmed live.

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Isaac Graham Glorious Momentum

Actress Karen Sibbing discusses her new play, Persona Exclusive feed: Glass Towers Halcyon Days

On Tour: Sticky Fingers tour diary Part Two

BREAK DOWN THE WALLS

So what was more important to you – the music or the message? “To perfecting the band was a happy blend of both those things,” answers Cappo. “If the music was bad – who cared what you were saying. And on the other hand, if the music was good but the lyrics were really negative – I didn’t want to listen to it.” One interesting thing to come out of the hardcore movement of the late 1980s, particularly in New York City, was a fascination with the Hare Krishnas. Aside from Cappo himself, the likes of John Joseph and Harley Flanagan from the Cro-Mags and Keith Burkhardt from Cause of Alarm would all become vocal adherents of the faith. At one point there was even a so-called ‘Krishnacore’ movement of bands like Cappos’ Shelter, 108, Prema and Refuse To Fall, all staffed by full-on Krishna devotees. So how the hell did hardcore kids become intertwined with what must have been viewed as a very alien belief system? “I get that question a lot from people who just don’t get the connection,” laughs Cappo. “Before I answer the question I should point out that something like 60 per cent of Hindus worship Krishna – so despite what some in the West think, it’s not a marginalised cult at all. As for how the connection happened – well devotees of an Indian guru who had come to the States in the 1960s happened to have a temple on the Lower East Side of New York City. Part of their tradition was

to hand out free food to people – and of course who came up to them, a bunch of homeless punk kids. I think the belief system was far out enough that punk and hardcore kids could relate to it. For a lot of kids in the hardcore scene, Krishna consciousness, which is a very complete belief system where vegetarianism is at its core, filled a need that the religions they had grown up with didn’t. It was also very inclusive – so that attracted people. I guess the fact that influential people in the scene were touched by it also probably helped spread the lifestyle and belief system.” Presently Youth Of Today are in semi-retirement. Although reforming sporadically to play gigs over the year all the members have other things going on in their lives. So why come to Australia to play Hardcore 2013? “These days we play because we want to,” reveals Cappo. “Mainly we choose to go to places we never got a chance to go to before – like Russia and now Australia. Other places like South-East Asia didn’t have fully developed scenes then so we couldn’t go there – but now we can.” “It’s amazing that we finally have the chance to play in Australia. We’re going to try and play some songs off all the records we did because we know most people won’t have seen us before. But I’ll also say this – if the mood takes us we’ll do some requests from audience. So if there’s something you really want to hear shout it out when you come to the show and you never know – we may just play it!” WHO: Youth Of Today WHEN & WHERE: Saturday 13 and Sunday 14 July (all ages), Hardcore 2013, The Hi-Fi

MURDER, HE WROTE A promising young actress is dead. They found her body in the carpark at Carriageworks. Malcolm Whittaker of Team MESS presents the case to Dave Drayton.

understand that there will be one take and one take only and that whatever performance I give will be entirely satisfactory… By my signature here I understand that I will give the best performance of my role within this scene that I can muster…

I have arrived (somewhat professionally) 20 minutes early to an interview with Malcolm Whittaker. After barely any small talk I am presented with a legal document (excerpted above) and having signed it am handed a donut, offered a coffee, dressed in a suit jacket and informed that I am due to present a briefing on a murder case and the plan of action in staking out the funeral to an assembled six or so detectives. There will be a powerpoint presentation to accompany my presentation. This next bit is important: I have to stand behind the lectern when addressing the detectives. A bodiless voice calls ‘Action!’ from the belly of Carriageworks’ Track 12 theatre and I open the door, consume my terror in the form of the donut, and do my darndest Bobby Goren. I must stand behind the lectern to be in sight of the three cameras filming my performance.

24 • For more interviews go to themusic.com.au/interviews

edge and in the name of self-betterment it became intertwined with arrogance. It doesn’t matter whether it’s health food or religion – once it’s intertwined with arrogance the whole thing is corrupt. The ethos was always at its most powerful when it was leveraged with humility and a deep concern for other people.”

They say those who can’t do teach and those who can’t teach write and when it comes to acting I’m in the latter camp, and will add to the adage ‘those who write ask’. “We liken the show to produce an allegory of sorts for a culture that is a bit too interested in abject material as popular entertainment,” answers Whittaker, one fifth of performing and visual art collective Team MESS, who has devised the interactive show, Bingo Unit. “The whole idea is formulaic and cyclical and rehashed; it’s the very nature of prime time television cop shows. That’s what we’re getting at in shooting it in this way – everything is on repeat all day, we shoot the same scene over and over each day and you,” Whittaker motions to me and my 15 minutes, “would join in like you did just then, as everyone else will do in their own way. It’s quite fun, but at the same time it’s got this abject weightedness underneath it.” Today we had the briefing of fellow detectives; yesterday it was the discovery of the body; tomorrow they shoot the chase and arrest scene, where the suspect turns up at the funeral and flees once spotted. The formulaic genre has been distilled, reduced to little more than loose plotting to be acted out by members of the public.

Shooting continues this week as part of the ‘Back Lot Tours’, which involve looped screenings of the material shot this week, and the shooting of the final scenes – an interrogation scene, a line-up scene, a courtroom scene (featuring Chris Haywood of Shine fame as judge) – that again require audience participation to play the roles and drum out or dress up cop show clichés. “It’s not necessarily about giving you that fifteen minutes of fame sort of thing,” Whittaker motions to burst my bubble, “But rather a test of how culturally ingrained all these tropes and clichés are and how willing people are to play them.” Get involved - you can all help bring this meeting of Law & Order to order. WHAT: Bingo Unit WHERE & WHEN: Wednesday 10 to Saturday 13 July, Carriageworks

MUSIC

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ALL MAPPED OUT They’re the Aussie boys done good Stateside. Now, Atlas Genius are honing in on home ahead of their nationwide tour, alongside grabbing the Stereophonics support. Natasha Lee gets the lowdown from vocalist Keith Jeffery on all that came before.

t’s a victory that has eluded even some of our most loved performers (Farnesy, for one) – capturing that tempestuous beast that is the American music market. A white whale of sorts for many musos who push and pull the strings of a market that (debatably) holds such an influential court around the world.

Enter Keith and Michael Jeffery, two brothers from South Australia who did the hard slog – playing covers in dingy pubs and bars, while writing and producing their own music, eventually managing to crack the overseas market sans label or manager. Using the money earned from playing covers, the pair built a studio and, finally, began crafting and producing their own songs. In 2011 the lads decided to post one of their songs, Trojans, online. The song became a triple j Unearthed hit before US satellite radio network SiriusXM stumbled across it. Then all hell broke loose. “Growing up you would always hear about Aussie bands struggling in America,” laments vocalist/ guitarist Keith Jeffery. “There were bands that we loved that couldn’t crack it over there. But, with people being able to now find music online, there has been a kind of levelling on the music front.” Their success saw them perform on The Tonight Show, Jimmy Kimmel Live and The Late Show With David Letterman, before showcasing at the creative juggernaut that is South By Southwest. It’s an uncommon trajectory, jumping from the bottom to the metaphorical musical top. The Bee Gees did it, so did INXS and Air Supply, and more recently Daniel Merriweather (who is also killing it in the UK), Airbourne and a handful of other acts. Now, says Jeffery, their next agenda is conquering their home market. “As far as breaking in America first,” begins Jeffery, “we’ve got no complaints.”

Thanks to some nifty online radio airplay, Trojans ended up selling over 45,000 copies on US iTunes, along with scoring the top spot on Alt-Nation’s most requested chart. “I never imagined that Trojans would ever generate that much publicity,” Jeffery says. “There is so much good music out there right now and thanks to online tools, a lot of it is being heard.” After months of communicating with labels via Skype, the band decided to make the trek over to the US and talk business with a slew of them, finally choosing to sign with Warner because, says Jeffery, “we felt a connection with them”. Come 2012 the brothers released their first EP though Warner, Through The Glass, before locking the doors to that home-built studio of theirs behind them to work religiously on their debut. “It’s been a quick 18 months,” explains Jeffery, “but the thing that’s helped us is that we had done a lot of work getting the songs ready beforehand.” Label or no label, Jeffery says they weren’t prepared to hand the producing reins over to anyone. “I’m personally very mindful of the way everything sounds. It’s the same process for us now as it was when we started. Because we do it at our own studio and do everything ourselves, it allows us to experiment and write in the studio as we record. Some bands write a set of songs and see what works best in the studio, but we write as we’re recording – and I don’t think we could ever write it any other way.” The method Jeffery refers to sees the pair focus on composing, constructing and refining a song before sitting down to write lyrics. “I feel like it’s better to write the lyrics once the song has been played. If you just write a set of lyrics, you could limit the song. I mean, you can have an idea where a song is going, but that usually changes in the studio.”

Jeffery adds that his weapons of choice for composition include synths and snare drums – giving their music a haunting, atmospheric edge. “I like using certain tones. I’m interested in certain tones and synthesisers and snare drums. But it’s hard, because you end up becoming so close to the songs that when you finish an album, it’s hard to hear it for what it really is.” Critics have been doing their own intent listening of debut album, When It Was Now, giving the band’s ethereal dream-pop a resounding thumbsup. And rightly so, the album is one, big glorious heartbeat that’s been produced so seamlessly by the brothers, it could roll on like one long mixtape. “I think there is some strength in the way we record and produce ourselves,” Jeffery remarks. “‘Cause I think… I think there is a purity that comes out of that. Don’t get me wrong, sometimes it can be great to work with other musos and producers, but when your vision doesn’t match someone else’s, then I think there can be politics. When you’re writing a song it can

either be aided by an outside producer or sometimes it can be changed – or they can give some input which can end up diluting your original creative vision.” Given their slow and steady rise to overnight success, Jeffery offers a remarkably generous view of the recent onslaught of singing-specific talent shows that have vomited out a slew of snap-happy entertainers onto the Australian music charts. “I feel like they’re different things,” Jeffery begins. “One is a talent contest and one is about expressing yourself as an artist. Yeah, you’re singing and everything, but for people who go on these kinds of shows it’s not as much about their voice as their stage presence.” WHO: Atlas Genius WHAT: When It Was Now (Warner) WHEN & WHERE: Wednesday 17 July, Oxford Art Factory

For more interviews go to themusic.com.au/interviews • 25

MUSIC

[FEATURES FEATURES]

ART STARTER

THE LOVE BUG Back to his “normal crap fitness”, Frenzal Rhomb frontman Jay Whalley is gearing up for his first shows behind the mic since having brain surgery. He tells Daniel Cribb all about the ordeal and his new appreciation for life.

FIVE MINUTES WITH HAYLEY WESTENRA (CLASSICAL SINGER)

hen Frenzal Rhomb had to pull out of Descendents’ Australian tour in February because of a “sudden and unexpected illness”, fans around the country didn’t expect to be hearing tales of a pig tapeworm a few weeks later. A week before the national tour, vocalist Jay Whalley began having seizures and was rushed to hospital, where doctors initially said a tumor in his brain could be a melanoma.

W Were you sung lullabies as a child? I don’t really remember, but I remember being played classical music as a child when I couldn’t fall asleep. My parents would put on a classical music cassette tape, so I think that music has definitely stayed with me and influenced me. Where is your favourite place to sing? I’ve been lucky enough to perform in some really magnificent venues and places, but my heart is always very content when I’m performing outdoors in my home country of New Zealand under starlight. If you weren’t a singer, what would you be doing? That’s a tricky question! I think it would have to be something that involved music. I’ve often thought that if I wasn’t a singer, maybe I’d be a music therapist. What was your most recent dream? I actually had a really weird and vivid dream last night. It involved a concert, Lana Del Rey and a unicorn. WHAT: Paradiso (Decca)

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After waiting three weeks, he finally had a biopsy and the results that came back were somewhat disturbing. On a trip to Central America four years ago, Whalley had picked up a pig tapeworm (via what he believes to be a burrito made by a chef who didn’t wash his hands). It made its way into his brain and lived in a mucus cocoon until it died and the body rejected it – which is where the seizures came into play. He waited until he had an exact diagnosis before going public to avoid crazy rumours circulating the internet. “I didn’t want people to be spreading crazy rumours, because these sorts of things – when you have these big life events – they tend to kind of define you for a while – like, ‘Aw, there goes the pig brain guy’,” Whalley tells. Now, as he sits in the stands of a vacant rugby field, it’s clear he is eagerly anticipating his first shows with Frenzal Rhomb since his Valentine’s Day brain surgery to remove the tapeworm. “It was a really stressful time for my family and for me, and I dealt with it quite badly at that point. I was really miserable, pretty depressed. Every time I think about it I think, ‘Man, a lot of people have to go through that and they get the really bad diagnosis’. I feel like I’ve dodged a bullet.” “I’m just looking forward to getting back to something normal – swearing at people,” he continues. “Frenzal Rhomb is like my favourite thing ever to do, and so being able to get back to it after they said, ‘You could have brain cancer and we don’t know what kind it is, but we think it’s probably a melanoma or something horrific like that’, to playing shows again about 12 weeks later is pretty amazing, you know.”

To enter this and check out more head to The Drum’s Facebook page.

RIDER MUST HAVE JINJA SAFARI

WHAT’S THE FIRST ITEM ON YOUR RIDER FOR THIS TOUR? Marcus Azon: I think we get tea now.

Jinja Safari touring nationally from September. Check The Guide for dates.

26 • For more interviews go to themusic.com.au/interviews

MUSIC

Electronic wunderkind Robert DeLong will be heading here from his native USA, bringing his genre-bending sound to The Standard on Wednesday 24 July for a Splendour sideshow and we’ve got a double pass to give away.

Earlier this month he hit the stage with his other band, Chinese Burns Unit, for which he plays bass, when they supported The Bronx in Sydney. “That was good. I mean, that was easy because you just have to strike one pose and sing every five minutes. But with Frenzal, it’s a bit more of

an extreme sport for me. But I’m feeling like 100 per cent, back to my normal crap fitness before all this shit happened, so I think [this tour] is going to be really fun… I was heaps buff before, and I could bench like 190-195, so now I feel like I’m pretty much back to my normal glory,” he jokes. Anyone familiar with Frenzal Rhomb’s back catalogue will know no subject is off limits when it comes to taking the piss. And although in his original post on Facebook explaining the situation he labeled himself “Ham Solo”, “Notorious P.I.G” and “Oink-182”, the band’s next record probably won’t deal with the subject in such a comical way. “I didn’t really document that time. I felt so miserable at first. It was a really full-on experience, and a really heavy kind of time, and a very unusual experience, too. I feel like I should have documented it through photos and what music I listened to, but I was just so miserable I kind of didn’t want to. “I’m kind of now looking back on it and thinking, ‘How can I express this creatively?’. I’m not going to write just some dumb song about whatever. But like I said, even though it was a pretty weird and disgusting outcome, it wasn’t the worst and there’s definitely people going through worse shit than me.” Between their seventh studio record, Forever Malcolm Young, and most recent release, Smoko At The Pet Food Factory, there was a five-year break. Hopefully fans won’t have to wait so long for another. There was a Facebook post recently that hinted they have half an album’s worth of material. “That’d be Gordy [Forman – drums] being pretty drunk, I reckon. It depends, maybe he writes more songs than I realise. Most of the time, for every eight songs that I write – or that any of us kind of come up with – about seven end up in the bin.

And then we sort of do it all again and get one song here, one song there, another song here, so it’s quite a process, but we’re getting there.” There may not be any plans of a new record, but they’ve recorded a punk version of Tony Sly’s (No Use For A Name) Flying South for an upcoming tribute CD. The iconic punk rock frontman passed away in August of last year, and the CD will see close friends, fans and some of the genre’s best commemorating his memory. “We just recorded it last weekend, and I have a feeling that our song may sound the worst out of all the songs because we did it at my studio. We sort of freaked out with the bands involved – Dropkick Murphys, NOFX, Bouncing Souls – we were like, ‘Fuck!’,” he laughs. “You know those bands that are like, ‘Aw, we recorded it in our basement’, but then you find out that their basement’s got like a million dollar studio, or Dave Grohl saying, ‘I recorded it in my kitchen’, and I’m like, ‘Fuck you, your kitchen’s got a massive fucking Neve desk in it’. “The last time we saw [Sly] was after a show in Jindabyne where our paths kind of crossed, and a few months later we were thinking about that last kind of hangout that we had. Yeah, you never know, you just don’t think about these things at the time, you’re just sort of hanging out, swapping some stories, putting rohypnol in each other’s food, and the next thing you know, these people aren’t with us anymore, and it’s really sad, and he left behind two kids. Hopefully people will buy this record and they get some cash.” WHO: Frenzal Rhomb WHEN & WHERE: Friday 12 July, Manning Bar; Friday 9 August, Carmens; Saturday 10, Mona Vale Hotel

WE CAN OVERCOME Grime has been pervading our hip hop at a slow trickle and in doing so has left a culture divided. One artist, UK expat Fraksha could be the guy to conquer it, writes Rip Nicholson.

li ‘Fraksha’ Jones’ career sees him at the centre of a shift in tempo to the hip hop scene and is a high point of discussion as is his desire to separate himself from the direction dubstep is heading.

“Dubstep has obviously exploded in a way no one could have imagined, but it’s also changed a great deal and it’s a very different thing to what it was just a few years ago,” says Jones. “It’s funny, once it blew up you had people from the hip hop scene jumping on the bandwagon, people who hadn’t given a shit before, you never saw them at parties but then it becomes the commodity it became and now loads of people have got their ‘dubstep song’. That’s when I lost interest. The music became soulless, and a bit of a joke. There are plenty of opportunities in dubstep here, plenty of shows, but it’s taken a path I’m not interested in following.” An MC from Slough, UK (home of David Brent and The Office), his path started with three-piece act Nine High running at 140bpm. By 2002 he was in the Street Science hip hop workshop in Melbourne’s Frankston, trading bars with the likes of Ciecmate, Reason, Hunter and more. In 2006 he relocated to Australia and stamped his own brand of what the UK had grown to appreciate and delivered it from right outside of the

box – for most. He found a haven at Broken Tooth Entertainment alongside those few who understood. “I’ve always felt I had something different to offer and that’s what I’ve tried to do at all times. I don’t feel ‘outside the box’ from the people I work with and other artists on [Broken Tooth]. That’s why I do what I do with those people, because I feel that they’re on a level and we’re coming from a similar place. I do feel distant from the Aussie hip hop scene as such,” admits Jones. “I don’t really connect with a lot of it. There is definitely a widening berth between what I and my friends do and what I see as the ‘Aussie hip hop scene’. I find a lot of it very bland and sterile to be honest; I need a bit of flavour. “Not fitting in to the standard hip hop shit though has meant we do miss out on some opportunities and we don’t exactly ‘fit’ in anywhere really,” he laments “but that’s okay with me. I’d rather be the black sheep than part of the herd. I’m sure if I was spitting on 90bpm happy-go-lucky horn laden beats I’d be doing better for myself though.” Jones, who also answers to the monikers Joe Bananas and Frank Sinatra, released his first full-length player titled My Way last March. With a slew of producers,

including M-Phazes and Phil Gektor (Crate Cartel), Fraksha breaks the bones of rap down and grafts it together as his own. “When I first started thinking about an album I was torn between doing all grime or all rap. I thought it would sound weird mixing them up but I just couldn’t contain myself to one style and so it was always gonna be a mixture.” Jones concludes with what seems like a health warning ahead of his My Way tour travelling out later this month. “There’s a lot of hype to our show. There’s definitely no shoegazing going on,” he emphasises. “I cover a lot of ground musically and I like to think it’s an entertaining and lively show. Fuck head nodding, I want heads skanking out!” WHO: Fraksha WHAT: My Way (Broken Tooth Entertainment) WHEN & WHERE: Saturday 13 July, Hermann’s Bar

MUSIC

[FEATURES FEATURES]

MOJO RISING

Looking forward to her upcoming international tour, Mojo Juju tells Izzy Tolhurst that, last time she found herself in Madrid, she was thrown out of a bar “minutes after walking into it”: “I was told later they thought I was a gypsy.”

ojo Juju is, as Winston Churchill once described Russia, “a riddle wrapped in a mystery inside an enigma”. Her music is sexy and sinister, dark and vintage, and her fashion sense impeccable, aided no doubt by her partner, Taryn Vankan, a wildly creative local costume designer.

The first nugget of surprise is delivered when she calls, immediately apologising for her tardiness, saying, “Sorry, I was just talking to my manager, he was teaching me how to hold my own in a fight. That’s why I have a manager!” The essential tactic? “Don’t get to the ground. The ground is bad,” she warns. Her songs reveal tales of seedy, dimly lit bars; vices and infidelity; love, loss and lust; and, apparently, some of them are “frighteningly real”. In other songs, there is a delicate balance of fact and fiction, though Juju insists, “It’s better if I don’t tell you which ones are which, our lawyers have advised us not to name names!”

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And while she never lets truth get in the way of a good story, Juju acknowledges that storytelling must still bear conviction, even if liberties are taken with the facts. “I wouldn’t dare try to write about something I didn’t know, but at the same time I appreciate a bit of a tall story… Sometimes, you just make them a little bit more colourful

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than the actual event. But I think in the essence of all those songs there’s something people can relate to.” The tales are also a tribute to 1940s cinema, literature and fashion, which has been a long-standing influence for Juju. Her grandparents were utter “jazz buffs”, and in their company she listened to the likes of Louis Armstrong and Billie Holiday. Her parents favoured songwriters from the ‘60s and ‘70s, like Neil Young and James Taylor, which Juju believes, “aided [her] storytelling”. However, the singer-songwriter believes, “The biggest discovery I made independently was Tom Waits, and he sold me on the Americana tradition. “A lot of my inspiration has come from cinema and literature, as much as other music,” she elaborates. “Like Raymond Chandler and Chester Himes, and that sort of thing. It kind of relates to that soul scene anyway. I really think they all relate to one another.” Juju is about to commence her One For The Road Tour, lapping the country once more before jetting off to Europe. “The last time I was in Europe I was just travelling around and somehow, on my first night in Madrid, I got thrown out of a bar, minutes after walking into it. I have no idea what they said to me, only that there was a clear message to leave immediately… I was

told later they thought I was a gypsy. That same friend then suggested I might need to clean myself up a bit!” Thinking that Juju’s sound (and apparently look) may be well suited to the Eastern Bloc; she jovially severs such an inquiry, saying, “I’m not sure if my liver and kidneys will hold out for an extended tour of Eastern Europe! But, anywhere they’ll have me, I’ll go.” Mojo Juju’s self-titled debut is apparently getting a strong reception in Japan, “It’s been really nice to see this Japanese fanbase growing, and we haven’t even been there yet! A friend of mine saw a Japanese review of the album and, while she couldn’t read it, there were a lot of exclamation marks, so I’m hoping they were really good exclamation marks, not, like, ‘This is really terrible!!!” WHO: Mojo Juju WHEN & WHERE: Thursday 11 July, Lizotte’s, Kincumber; Friday 12, The Standard; Sunday 14, Lizotte’s, Newcastle

BORN TO THRILL

Thanks to hipsters everywhere, everything old school is new again. So, maybe it’s time to show our environment a little love by forgoing the petrol guzzler, and hopping on a Reid Cycle. And because the people at Reid Cycles are so awesome, they want to give away two bikes – one for the ladies and one for the lads. The process is the same for guys (a custom Reid Harrier is up for grabs) and gals (you could win a Reid Vintage Ladies Bicycle 6 Speed): hit up theMusic.com.au’s Facebook page and you’ll go in the draw to win a bike! You can choose your own colours (sweet!) and all bikes come with 100 bucks worth of free extras. Hop to it! To enter this head to theMusic.com.au’s Facebook page.

Despite numerous line-up changes, Sydney/Perth/Melbourne extreme metallers The Amenta’s chemistry is arguably the most potent it’s ever been. Brendan Crabb dons the corpse-paint with vocalist Cain Cressall. ollowing a spate of personnel shifts over their decade-plus career, the current incarnation of The Amenta is perhaps its strongest yet. This is particularly obvious during live performances. Playing a significant role in this was vocalist Cain Cressall’s recruitment in 2009. Aside from being shrouded in thick smoke and blinding strobe lighting, the chainsporting, corpse-painted frontman’s imposing presence has injected a more murderous edge to proceedings.

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“I don’t take too much influence as far as lighting and production goes,” he explains. “It’s probably more the crowd response. But there’s plenty of shows where we might be playing to a crowd that is very alienated by what’s happening. So they’re not sure what to do with themselves… There are quite a lot of shows that have been like that on international tours, where you’re playing to a totally new crowd that’s there to see bands like Obituary. This bizarre, extreme Australian band comes on and all they can do is pay attention, which is a good thing in itself. But even in those circumstances you need to pull something from somewhere. There’s always that burning desire to express ourselves, and destroying those crowds regardless of whether they’re throwing any energy back at us or not.”

Album number three, Flesh Is Heir, is the first Cressall’s vocals feature on an Amenta full-length. His harrowing, caustic tones are an ideal foil for their unforgiving sonic landscape. Also aiding matters is the recent return of Psycroptic drummer Dave Haley. “A lot of it comes down to the chemistry between the members,” the frontman enthuses from Perth. “When you’ve got a group of guys on-stage that really have a fantastic chemistry going, it comes across. I think it’s a really obvious thing. But then there’s some international, big bands that are still touring off albums that were released a long time ago, and the line-ups have changed so much to the point where the current members are really just session guys that have very little to do with each other. As much as they might be playing to enormous crowds, play with a great sound and be tight as fuck, they don’t necessarily have that powerful chemistry on stage anymore. But they don’t need it so much, because that fan-base has been growing over maybe twenty years and people are just excited to hear those songs played live. But if you kind of take a step back and look at what’s really going on, you can often see that there really isn’t that much energy there,” he laughs. “It’s more just the excitement of the fans and those songs they hold close to their hearts.”

They visited Europe last year with death metal legends Obituary and also supported English veterans Cradle of Filth during their recent Australian run. Cressall hopes this hard work pays dividends. Since returning from these foreign adventures, does he find it difficult to adjust to playing for smaller local crowds again? “A little bit, but we’ve faced that enough times to kinda know what to expect now. The first time you tour overseas with a great line-up and you come home it can be a little bit of a shock. But after a couple of times, you just kind of accept the way things are. The metal scene’s not as big in this country as it is in certain other countries. So you can’t really come home and have a whinge about it. You just come home and get excited to be playing to your own home crowds again.” WHO: The Amenta

If Sydney tourists want to gamble, they don’t need a new casino. They just need a Cityrail timetable. Chris Urquhart (@chrisurquhart) weighs in on James Packer’s new casino.

WHAT: Flesh Is Heir (EVP/Rocket) WHEN & WHERE: Friday 12 July, Bald Faced Stag

RIDER MUST HAVE

INDIVIDUAL BY DESIGN

KRIS SCHROEDER FROM THE BASICS

He is one of the most polarising figures in heavy music, but with Falling In Reverse’s second record, Ronnie Radke and his cohorts are serving up songs for every taste. Benny Doyle gets introduced to music’s newest genre.

hether he’s been beefing with former bandmates, going to battle with keyboard warriors or casually ditching microphone stands into fans, drama storms have followed Ronnie Radke like clouds follow Garfield on a Monday. But that all seems set to change as he’s recently become a father. There’s no ranting during the course of our interview and he barely speaks ill of anyone. He just seems content with music and life.

In a desert drawl he explains where he was coming from with Fashionably Late, the new record from his band Falling In Reverse . “I just sat for a long time and thought how am I supposed to be innovative? I don’t want to be like anyone else, ever. I just thought how can I do this? I’ve been rapping for a long time and nobody really knows about that. I’ll just do demos and see if I can try and mix rap without sounding like Linkin Park or Limp Bizkit or any type of what you would call ‘rap rock’; try to not sit in that form of what they were.” Radke’s flow can be found on tracks like Rolling Stone, Champion and Self-Destruct Personality. “I took the best of the best and tried to blend it together. I made sure I separated the rap in the songs from the metal

[though], so it wasn’t together on purpose, [but] it pretty much [takes] you on a rollercoaster ride in each song.” Radke levels: “[Rap] will never be the main thing in Falling In Reverse, but it will have its [place].” Painstakingly, Radke wrote this sophomore offering twice before his bandmates arrived in the studio to add what he calls the “flair”. Producer Michael ‘Elvis’ Baskette and “the best mixer in the world” Chris LordAlge then used their studio wizardry to give the LP a sonic sheen that illuminates through the speakers. And although, like most everything Radke has a hand in, it divides opinion, it succeeds in the rocker’s quest to stand as a round peg in a world of square holes. “Growing up people were telling me what I can and can’t be,” he relates. “I’ve always been the type that’s tried to do everything different. I just want to be a different breed of band where we can do everything.” With this considered, his following statement comes as no surprise: “I’d describe Falling In Reverse as a genre of music; it’s just a genre now,” Radke says genuinely. “Every genre that you could think of has one band; some guys call us ‘everything-core’, but

I just say that Falling In Reverse is an actual genre now because it’s everything that you could possibly think of. And my voice, it just ties it all together.” Radke has mentioned that Fashionably Late is the album he should’ve made years ago. However, as a founding member of Escape The Fate he never had such creative liberties. “My band, my old band, they would dull me down,” he reveals. “I had so much eccentric writing capabilities... [But] I’m not here to talk crap; I won’t talk crap about them anymore. They were just not letting me use my full potential of writing. [Now], I can’t believe the response that we’re getting, it’s astronomical; everywhere I go someone is talking about [the record] – it’s cool to see.”

WHAT’S THE FIRST ITEM ON YOUR RIDER FOR THIS TOUR? It sounds a bit lame but the past two years in Africa have left me with an appreciation for mineral water, it’s so gosh-darn refreshing! The Basics touring from September. Check The Guide for dates.

WHO: Falling In Reverse WHAT: Fashionably Late (Epitaph)

For more interviews go to themusic.com.au/interviews • 27

SINGLES/EPS WITH ROSS CLELLAND

The Smith Street Band In this week’s edition of ‘let’s get the band back together’, contenders include the more referenced than actually listened to Pixies, who follow the news Kim Deal finally definitively ended her often fractious relationship with the rest of the band and the stayers releasing Bagboy (4AD) to announce their ongoing. Frank Black Francis – not quite sure how he bills himself these days in this context – still yells as only a fat bald man can, although there’s an almost James Murphy texture to his syncopated bellowings here. Also having a bit more of a shout than we’ve become used to, Wally de Gotye is back in The Basics drumming and singing role, with So Hard For You (Independent/MGM) being a bit descriptive as title. This, boys and girls, is rock and/or roll, albeit in a very polished form. Will it get them the notice they’ve maybe always deserved, or are they fated to now forever be the drummer’s ‘other band’? And The Chills, of all things. If Martin Phillips only ever penned Heavenly Pop Hit – New Zealand alternative anthem of great regard – most all his sins could be forgotten. Their return after latest absence, Molten Gold (Fire Records), still has enough of that shiny and twisty guitar shimmer to not disgrace the name. Now to the now, where The Smith Street Band’s impassioned take on the suburban blues with some social conscience seems likely to have them assume various mantles of enthusiasm in the tradition of Weddings Parties and other things that make us proud of this sometimes puzzling nation and drink to same. Don’t Fuck With Our Dreams (Poison City) is an EP of their increasingly sharp celebrations and demonstrations of dissent with the norm. Almost certainly the next great Australian thing. The Mark Of Cain are of here, but tend to look outward with a sharp eye and a driving martial racket that often borders on the brutal. Indeed, as brutal as the namesake of their Milosevic (Feel Presents). As the tanks roll across the Bosnian hills, celebrate TMOC’s Songs Of The Third And Fifth coming out on vinyl. Or the victory of a nation. Or something. Conversely, some – okay, me – remain a little unconvinced of Immigrant Union’s multicultural ‘supergroupery’. Alison (Independent) has the sound of a bunch of muso types who might take themselves a little too seriously, maaaan, listening to old Neil Young records and falling somewhere between rustic campfire strumming and alt.country psychedelic – and not quite being any of that. That said, they’re also the sort of band who will find some passionate defenders. Good luck to you. But those great unwashed had nothing on Short Stack’s sometimes rabid enthusiasts, even if they didn’t reach the heights they may have thought they were due. Band, naturally, went the way of all flesh, which leads to the now eponymous (Shaun) Diviney to add some dance electronics to pop the little girls understand while peeking out from under Michael Hutchence’s old fringe. Sex/Games (Neon Church) is polished to a high sheen and contrived styling. But that has been known to work. Too often. The music of David Lynch’s films always added to the often uneasy nature of the visuals. The music under his own name retains the mood, if not the pictures. Perhaps surprisingly, or perhaps not, engaging Lykke Li as collaborator and chanteuse tends to make I’m Waiting Here (Sunday Best/ PIAS) just a bit Julee Cruise circa Twin Peaks, with a Scandinavian accent. Weighty name, bit light on context. Bloc Party might be living a bit on past glories too on what might be their last record, or might not. Ratchet (French Kiss) stutters about in their ersatz funky style, almost like they’re trying to show they can still do it – and maybe if they even care to. Personally, it might be better to just wait for the now almost inevitable next Kele solo album. Right, follow me here: the half of Jackson Jackson that isn’t The Cat Empire guy is Melbourne producer Jan Skubiszewski, who takes the very Americanaflavoured name Way Of The Eagle, but makes music across his Rattlesnake EP (Sony) that’s by turns soully, white guy funky and brass flecked. Handy inputs from guest singers like the splendid Dan Sultan on the title track and Daniel Merriweather on Find Your Love make it sound glossy, but maybe lacking something of a personality of its own. Take in bite-sized portions.

28 • For more reviews go to themusic.com.au/reviews

ALBUM OF THE WEEK

[REVIEWS REVIEWS] a l b u m

LETLIVE.

MELODY POOL

Epitaph/Warner

Liberation

Glass Towers frontman Ben Hannam envisioned this album as a kind of portal to youth – a way to transport listeners back to that fresh, butterflies-inyour-tummy excitement of being a teenager. Filled with the calypso hums of shoegaze guitars and Hannam’s own flighty vocals, the album is a fairyflossed nostalgic wonderland that trips across late night house parties and puppy love escapades. Each song, though embracing the band’s penchant for ambient fuzz-pop, stands alone, managing to skirt around that dreaded same-sameness that permeates most indie-pop albums these days. Opener, In This City, begins with a fitting rushed guitar crescendo, before Hannam launches into the hymn-like chant, “I loved you from the start”. Halcyon is bathed in a calypso mist – a blistering summer tune, custommade for a festival atmosphere – being large, lush and layered, with Hannam’s youthful drawl shifting seamlessly between his chest and floaty head voice. Foreign Time slows things right down, putting the brakes on the synths and embellishing the hum of those shoegaze guitars. A darker ‘80s vibe permeates Lust For Life, with steady drums and distorted vocals, while the piano-driven You’re Better pounds the bass like an anthem to march to. Griffin meanwhile ramps up the drums and bass, dropping a Mad Hatter dance-around-the-house-in-yourunderwear vibe. It’s everything Hannam could’ve hoped for and so much more – a fast, playful, addictive and only marginally introspective trip down memory lane. It’s distinctly ‘poppy’ without being saccharine and will make you want to throw an old-school house party just for old times’ sake.

It’s difficult to spin The Blackest Beautiful and not immediately associate such a sensory experience with images of madcap frontman Jason Aalon Butler recklessly flailing and writhing as if his limbs were independent of his body. Despite the almost uniformly positive reception afforded breakthrough predecessor, Fake History, the US rockers have been almost inextricably linked with their live performances, meaning translating such copious amounts of unhinged enthusiasm to disc seems a near-insurmountable task. The new LP’s sonic spectrum and jagged delivery encapsulates somewhat their shows’ appeal, affording fans numerous new, infectious choruses to boom along to while Butler scales everything in sight. Encompassing skin-peeling hardcore and metallic-inspired riffage alongside doses of prog, melodic rock and even jazz and blues, it emanates a vibrant quality. Rage Against The Machine-infused punker, Banshee (Ghost Fame), serene Pheromone Cvlt and almost Refused-esque spasmodic excursions within the bipolar, yet catchy That Fear Fever, will endear themselves even to those who would typically run a mile to escape anything dubbed “post-hardcore”. Closer, 27 Club’s theatrical finale is another standout. Much of the appeal is steeped in the singer’s ability to tackle an infectious hook as capably as a throat-lacerating scream, as well as those off-kilter lyrical musings (“I’ll die with a smile/So my widow gets jealous”). Typically faster tempos than Fake History help too, a cracking pace aiding the mostly effortless style-shifting. letlive. attacks these songs with raw gusto, never neglecting measured songwriting and deftly incorporated sombreness. You’ll need a Gatorade or two to replenish after listening to this album.

Folk singers have been coming out of the woodwork at a rate of knots in recent years, and while many fall into the generic strum and whimper category, they do serve to highlight the qualities of the good ones that rise to the top. The Hunter Valley’s Melody Pool is one to take note of by way of lilting songs that lean heavily on folk traditions but also approach pop, blues and country forms at times.

Natasha Lee

Brendan Crabb

GLASS TOWERS Halcyon Days HUB/Inertia

The Blackest Beautiful

The Hurting Scene

The Hurting Scene is an album that more often than not touches on sadness – the sadness of loss, heartbreak and broken dreams – yet through all the heavy emotion a streak of optimism shines through, even if sometimes it’s just a chord change or a melodic turn of phrase. Pool’s voice and lyrics are the key elements in the success of the album. Her vocals are sweet and easy on the ear, with a streak of ‘70s songwriters like Joni Mitchell, Carole King and Laura Nyro running through the songs. That lightness and melodic catchiness takes the edge off some of her more biting lyrics but it’s a quality that adds depth to the listening experience and provides layers to her songwriting that make The Hurting Scene a slow grower. Pool has balanced her album well with a variety of styles, like the upbeat and bright All Of The Love, Xavier (which recalls another local singer, Suzy Connolly), the weeping pedal steel sway of On The ‘Morrow and the Lucinda Williams-styled Reckless Road. The Hurting Scene is a mature and poised debut album that makes a lasting impression with its poetic and eloquent treatise on love via traditional musical forms and sympathetic instrumental accompaniment. Chris Familton

NEON NEON

VYDAMO

JEN CLOHER

Lex/Cooking Vinyl

Sony

Milk!/Vitamin

What began as a side project for Super Furry Animals alumnus Gruff Rhys and producer Boom Bip has now graduated into a legitimate voice for both artists. As with their first album, Stainless Style, they’ve chosen to act as pop historians. On Praxis Makes Perfect, their subject, Italian publisher and anti-fascist campaigner Giangiacomo Feltrinelli, is interesting and dramatic, and offers plenty of rich detail and melodrama for the guys to draw from. Whilst Stainless Style can boast far greater heights and several unbeatable hooks, Praxis… is a more coherent listen and offers a smoother ride. What Praxis… does well is represent a band whose level of attention to detail is remarkable. Stainless Style was based on the life of millionaire playboy and industrialist John DeLorean, inventor of the car of the same name, and is rife with sonic references to industry, technology and luxury. Praxis… does much the same, but uses a different paradigm. The sounds that push forward are rich Italo-Disco arrangements, bright Mediterranean technopop ballads and vaguely paranoid segues that all could’ve been lifted from some forgotten Italian political drama from the ‘70s. It’s a testament to the duo that nothing feels like affectation, and their adaptability is admirable. It’s slightly disappointing when it all wraps up though, as it’s a short record and feels like it’s cheating the subject matter by skimping on the details of such an intriguing character. Ultimately, if you’re going to commit to doing an historical concept album, narrative structure is important. Stainless Style got that right, but was let down by inconsistencies in quality. Praxis… is the opposite: good songwriting, shallow storytelling. That said, Praxis Makes Perfect is a perfectly acceptable addition to a promising catalogue, and new material should be highly anticipated. Matt MacMaster

Former Art vs. Science tunester Jim Finn is now Becoming Human as Vydamo. Kicking off this debut with the very radio-friendly Hurricane (part of the rare, but underrated Oz Pop subgenre that centres on a chorus built mainly of long vowels sung in falsetto), the rest of the album does more of the same, but with some interesting turns. On the ‘same’ side, there’s Bare Feet (again using some liberal ‘woo hoos’ to keep the lines a-movin’), as well as lashings of ‘80sstyle synth just because they can. See also Livin In The Sunshine for great ‘80s moments, here a touch of the INXS-es, complete with handclaps. The other big single, Gonna Make It, also provides lots to tap your toes to, but with a bit more complexity than the others (still fab, though - don’t deny the fab-ness).

She spent six days recording the seven-track LP that broke her four-year silence, and from the first moments it’s clear that Jen Cloher hasn’t been idly watching time pass. In Blood Memory is a solid, confident album, more immediately arresting than her earlier releases. They were a little easier to listen to, and seemed to take a while to find a place in your head or heart.

Praxis Makes Perfect

Becoming Human

The left turn though comes with the album’s odd pseudo ballads - tunes that jarred a bit when they were played live a few months back, but here make a great gear change (and perhaps just needed to be worn in a bit). The pace drops first with Let It Go (although not completely – it has a nice little shouty bit in the middle), but then Finn really slips back into a slower groove with the title track and The Future Was A Dream, the latter with a distinct Ben Folds Five vibe. While you will be disappointed if you go in wanting Art vs. Science (even the most happy-pop here isn’t that scale of happy-pop), here Finn shows some distinct – and new – chops of his own. Listen without prejudice. Liz Giuffre

In Blood Memory

It may have something to do with this being the first album she’s done without her band, The Endless Sea, or how she’s grown in the intervening years – word is Cloher binned an entire album full of songs before penning this one – but she’s well on form here, completely self-assured with something a bit grimy ticking away under the lo-fi rock. The heavy distortions meld with Cloher’s relaxed, almost lazy-sounding vocals, and as soon as you hear a track, you want to listen to it again. The track, Kamikaze Origami, is held at a lovely, luxurious slow burn from beginning to end and never quite resolves itself, leaving you wanting more – in a good way. Exercising restraint by keeping songs bubbling under the surface without boiling over can hold a massive payoff and shows an enviable lightness of touch. Though let it be said that when she goes off, she goes off. Closing track, Hold My Hand, begins gently with a thin layer of guitar and sweet, matter-of-fact vocals. The way it builds is beautiful, the guitar growing stronger, a chorus of voices being introduced and overlapping, and exploding at the end in a strident array of drums and guitar. This is a gorgeous little album and well worth repeated listens. Romi Scodellaro

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MAVIS STAPLES

SWEET JEAN

EDITORS

Anti-/Epitaph/Warner

Fuse

PIAS

There’s a homely, down-to-earth feel to the music made when the production talents of Wilco’s Jeff Tweedy meet the incomparable soulful croon of the legendary Mavis Staples. We heard it first on 2010’s You Are Not Alone and that same feeling very much continues on One True Vine. But, with a few small tweaks and some different ideas, the end result here is more powerful, more beautiful and utterly triumphant.

In the underground and beyond, folk and pop have become an almost inseparable pair. Hell, this was the case long before the popularity of indie-folk Brits Mumford & Sons drastically peaked. The debut album from Melburnian duo Sweet Jean embraces this union of complementary genres with a sweet country tinge that Iron & Wine would be proud of. While riddled with all the subtle complexities of some of the folkier folks of the style (think, Fleet Foxes), Dear Departure is lined with enough pop sensibilities to keep the album catchy and accessible. Although not immediately so, the catchiness of the album is undeniably delightful. Dear Departure is definitely a grower; at first listen, the bubblegum melodies feel far too saturated and it just happens that the poppier leanings serve as the album’s undoing (particularly in Alice Keath’s often overlyspritely vocals, which offset the balance of the male/ female duets). Fortunately enough, there seems to be an organic progression to the album, and once you’re able to overlook the somewhat cheesy helping of sugary folkified-pop, the carefully orchestrated instrumentation rears its admirable head and tracks like the ontrepid banjo-led Maureen and Angels Come Get You are redeeming enough to excuse the overwhelmingly syrupy numbers like the album’s opener, Tomorrow Morning, and its peppy follower, Hello Concrete, complete with a whistled melody as the introduction. Flamboyancy aside, Dear Departure is a lovely album. This pair have a little while to go before they settle on the right balance of frivolity and conviction, but if this album is anything to go by they’re already halfway there.

The Weight Of Your Love is an unfortunate example of a band struggling to rediscover their identity. The fourth album from Editors is a rather bland jumble of songs that lack the cohesiveness and sentiment needed to engage listeners and impress longtime fans.

Matador/Remote Control

There are some highlights lyrically on the album, like the intro to What Is This Thing Called Love, where frontman Tom Smith laments ‘I’ve been your lover for the last time/All the pretending, God knows that we tried’ against a backdrop of strings. However these moments are few and far between. The absurd chorus on Hyena (‘Laugh with me hyena/Laugh with me hyena’), or the flavourless songwriting on Sugar (‘There’s sugar on your soul/You’re like no one I know’) really do reflect the album’s lack of emotional engagement.

THE PASTELS

Sound-wise, there has been an attempt to move from nostalgic, post-punk riffs and haunting, echo-laden vocals to something that wouldn’t be out of place in a stadium rock show. First single, A Ton Of Love, sees Smith echoing his inner Bono, in the catchy, U2-esque rock-anthem, and the previously mentioned Hyena at least gives Smith a chance to show off his impressive vocals through its huge chorus.

HOUNDMOUTH

One True Vine

The opening salvo of Some Holy Ghost, originally performed by Minnesotan indie rockers Low, is an unassuming but auspicious beginning; Staples’ worn vocal met with luscious backing harmonies. The brilliant Every Step demands a little more attention as those backing vocals are brought forward in the mix and they work off Staples’ lead with a startling sense of rhythm and harmony. A crisp rendition of Funkadelic’s Can You Get To That? is packed with heart, proving Staples is one cool 73-year-old, while it must be impossible to not believe every single word of the shuffling Far Celestial Shore, so thoughtful is the delivery. There is great warmth in these arrangements and authority in Staples’ voice, making the record extraordinarily appealing on face value, while, under the surface, the vocals of Staples have an almost nourishing quality. She makes the songs gripping, putting every semblance of her life’s experience into the delivery. I Like The Things About Me is staunch and uplifting at once, while you can’t deny the strength of her faith after hearing Woke Up This Morning (With My Mind On Jesus). We’re privileged to hear the music Tweedy and Staples make together; here’s hoping there’s more to come. Dan Condon

Dear Departure

Justine Keating

The Weight Of Your Love

The problem with The Weight Of Your Love is that the band are trying to cover too many styles at the one time, resulting in an album that doesn’t quite know what it wants to be. There is a lack of heart, a lack of integrity on The Weight Of Your Love that unfortunately does hinder the positive elements of the album.

MAJICAL CLOUDZ Impersonator

“As harrowing as it is beautiful, this is the kind of album that stays with you long after the final note has sounded.” Justine Keating

Slow Summits Domino/EMI

“It probably won’t grab you on first listen – and it’s not supposed to. This is a project all about mood and looking at the big picture, not the brush strokes used to create it.” Pete Laurie

From The Hills Beneath The City Rough Trade/Remote Control “Houndmouth have tapped into the meeting place between blues and old-school rock‘n’roll... they don’t stray one inch from their dusty, sun and heat-drenched style.” Lorin Reid

Caitlin Summers

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[REVIEWS REVIEWS] l i v e effects with a dizzying array of very cool-sounding electronic accompaniment, she also heralded what would become a nice theme of guest performers and instrument switch-ups for the rest of the night when joined by first one then both members of Hello Vera. Her comparisons to Kate Bush were validated with a cover of Army Dreamers, for which Elana played the piano accordion for not the first time in the evening.

Bliss N Eso Pic by Josh Groom

BLISS N ESO, YELAWOLF, PEZ ENMORE THEATRE: 04/07/13 There was nothing but smiles from Pez. His relaxed demeanour infused his rhymes and his flow, and if there were nerves they’d have to fight for room amongst the positive vibes. You’d be forgiven for mistaking him for a fan just wandering on stage and grabbing the mic; there was zero fanfare and zero pretence. His laidback style still had energy, courtesy of some occasional rapid fire elocution and a DJ whose wild gesticulations were almost as wide as his toothy smile. Festival Song sounded tops. Alabama rapper Yelawolf has been making waves in the US rap circuit, having signed to Eminem’s label and offering up an independent mixtape, a promising commercial debut and a further two popular releases. His debut Australian shows may need to do some work to cement his appeal here, though. His aggressive Southern style had a punchy start, but his ‘party boy’ antics soon got boring and one-note. Sloppy covers of the Beastie Boys and strange segues bled the set of energy and he had to work to get it back. Some tension between DJ and MC doused the last song in the set in a wet blanket of confusion and dismissal. A crowd member with a ‘Shoosh Cunt’ jumper had a few people pointing and nodding. It’s been a fair wait for the many fans attending this Bliss N Eso gig. Their last album, 2010’s Running On Air, was a hit (despite its drop in quality), and their new long play, Circus In The Sky, landed only last week, so the fires of anticipation were burning hot. The set opened with a nice video that was basically the prequel to the cover art from Running… (hooded, winged school kid). Woodstock 2008 led the setlist. The power they have over their fans is something to behold. Jury’s out whether it’s a testament to their skill or their fans’ enthusiasm, but seeing a thousand sets of hands waving in unison was awesome. They ploughed through a ‘best of’ set, and they were on point for the entire show. Bliss took a turn at beatboxing, Izm performed a sensational turntable exhibition, and Eso, well, he just kinda loped around on stage being his usual happy self like the host of a kids show for adults: lotta simple call and response, but also a lotta swearing. Lots of energy, lots of happy fans and a fight. Pretty Standard B&E show, really. Matt MacMaster

GINGER AND THE GHOST, AMY VEE, KLP, IMOGEN CLARK THE STANDARD: 04/07/13 The young Imogen Clark was first on stage, showing a maturity beyond her years both in song, her writing and performance. Her expressive voice inevitably draws comparisons to other singer-songwriters; however, she is certainly talented enough to craft her own path. Based on tonight’s performance Clark will certainly be a mainstay in the Australian live scene. KLP were next on stage and unfortunately left this reviewer a little cold. While there is no doubt about the Sydneybased singer’s talent, there was a strange staged feeling about the performance. The tracks certainly had segments of the crowd dancing; however, at times they also seemed laboured and manufactured. The fantastic Amy Vee was next and played an excellent set in full band mode. The first thing that strikes you about Amy, apart from her amazingly husky vocals, is the confidence of her songwriting. There has always been an ethereal quality to her live sets, and it’s good to see this hasn’t been lost with the addition of a full band. No instrument was overplayed, and there is a minimalism in the tracks that allow her voice to rest nicely on top. Playing songs off her debut solo album, Fits And Starts, the beautifully arranged tracks left the near capacity crowd at The Standard in no doubt that this would be an album to watch out for, and one which will hopefully launch Amy to an even wider audience.

30 • For more reviews go to themusic.com.au/reviews

Last to the stage were the eclectic duo Ginger And The Ghost, whose crossover between art and music was an interesting and fitting way to close the night. Ginger’s voice easily filled the room and gave the minimal dance tracks an other-worldly feel, with the wooden percussion and hollow bass lines conjuring up early Bjork comparisons. Lead single, Where Wolf, was a standout live, and their brand of quirky dance is a welcome addition to the local scene. The night was really a double headline bill for Amy Vee and Ginger And The Ghost, and allowed the crowd a glimpse of two acts that undoubtedly have big futures. Timothy Scarfe

APES, THE FAULTS, NEW BRUTALISTS. THE KINGS CROSS HOTEL: 06/07/13 A two-piece of two-pieces kicked off a night of raw, garage rock in front of a disappointing crowd at the Kings Cross Hotel. Even when main act APES started, it seemed Sydney was too busy watching the Wallabies lose, or just hiding from the bitchy winter weather. New Brutalists kicked off the night with a raw and sexy performance. Claire Price’s vocals combine a delicate vulnerability with attitude and spunk. The two-piece achieved a White Stripes feel through their stage presence but struggled to find their groove. Sean Francis didn’t appear to have enough guitar prowess to hold the overall sound together, which may benefit from adding a drummer and bass or another guitar element. The Faults were second to take the stage, this time the two-piece holding the crowd a bit better. Oli Holyoake’s vocals were Radiohead-esque and Tom Scarcella’s drumming was as tight as his backup vocals. The playful drum and guitar interplay showed real skill and like New Brutalists, The Faults’ raw performance showed potential. But again their music could do with a little refinement. By the time APES took the stage the crowd had improved, but not to the level a band with this much promise deserves. Their blues-rock style of songwriting is reminiscent of ‘70s Rolling Stones. But the way the tunes build, reaching thrashy climaxes with new elements being introduced verse by verse, draws comparisons with British India or Children Collide. Softer moments had all the tenderness and temperament of The Wombats circa Girls, Boys & Marsupials, but tight, precise tempo changes ensured songs never strayed too far from scrappy upbeat rock, suiting Benjamin Dowd’s punk rock squeal. The band’s technical tightness definitely helped get people moving and despite a poor turnout APES achieved a great atmosphere. Helluva Time felt as youthful as Bleeding Knees Club but added thrash and attitude, and the punchy hooks of Leather Jacket and Seven proved crowd favourites. Overall it was a fun night of new Australian music, but all of these bands can and will play better gigs in the future. Cameron Warner

SEJA, ELENA STONE, THE WEDNESDAY NIGHT BRIGHTON UP BAR: 05/07/13 The Wednesday Night’s dual frontwoman attack at the front and centre of stage sharing vocal, percussion and keyboard duties was flanked by guitarists all around to fill out the sound, which crept from slinky Velvet Underground & Nico classiness to Phil Spectorinspired wall of sound girl group jams in a natural and effortless flow. Their dual tambourine outro was then matched by a solo tambourine intro from Elana Stone for her set, which was compelling from the opening moments. Marrying her very adept vocal style and

Seja’s new album, All Our Wires, also signals a completely new all-male band for her live show. The set largely featured material from this new record, and even though it features mostly performances by Seja and her brother Mirko (the record’s producer), the new band owned it like it was theirs to begin with. Despite the band’s innate blokey-ness (beards-donned Arun and Tass the guitarists, while drummer Adam is infamous for hitting the skins of Brisbane punk legends Dick Nasty), everyone played true to the source material. There was certainly a tougher edge to the overall sound of the band, but it played to the strength of Seja’s songs and personality – even the (surely) seven foot tall guitarist could not overshadow her style. Seja is a synthesiser expert and enthusiast but when she dropped back to just an acoustic guitar it became clear that even her most complicated and authentic synth flourishes augment her classic pop songs – they do not define them. Finishing the set with Seja once again on guitar the band disembarked leaving her and her back-up singers Elana, Hannah and Georgia to finish with an acoustic cover of Justin Bieber’s Eenie Meenie, which was way better than it ever should be. Chris Yates

PATRICK JAMES PADDINGTON UNITING CHURCH: 05/07/13 “Hi, I’m Patrick James and this is my best mate, Scotty” announced the Sydney folk kid casually as he took to the stage with his banjo-slung partner. Clearly undaunted by the small, intimate crowd and the grandeur of the venue, the two of them painted a pretty cool picture backed by the red hue of the church lights. Fresh off the back of a tour with folk darling Emma Louise, there was a real ‘next big thing’ aura surrounding the performance, though he seemed unfazed by the hype. The banter between he and Scotty kept proceedings lighthearted within a set of pretty heavy tracks. On EP closer, Stay, his worthy sidekick pulled out a toy xylophone, before asking a crowd member to act as the stand. James then manoeuvered into a brief cover of Bon Iver’s For Emma, dedicating it to human stand ‘Huey’. His slightly hunched-over stance, with guitar slung high, alluded to images of a premature Neil Young or even Johnny Cash. He later affirmed this inspiration with a cover of Paul Simon’s Blues Run The Game. It was one in a few covers drawn to beef out a solo set that included a rendition of Ball Park Music’s It’s Nice To Be Alive. Crowd pleasers no doubt, yet it was his own songs that captured his greatest potential. His turn at the piano on a new song, Kings & Queens, showcased the power of his tone. Coupled with his shadow stretching the heights of the church walls, it was the night’s defining moment. The crescendoing harmonies between James and Scotty also made for some rousing choruses, particularly on crowd favourite, All About To Change.

mainstream radio sound, with a sticky, toe-tappable chorus that had even the greyest heads bobbing. And grey heads there were. Tigertown seemed to attract pupils and pensioners with equal pull. Sitting upstairs, the older set leaned forward in their seats when lead singer Charlie Collins began to sing in her ethereal voice. Newly ordered lamb-shanks went untouched and audible whispers of “Shh, I love this song!” could be heard above the throng. Their warm guitar sounds had a lulling effect, occasionally pricked by a jumping trumpet. Guitar players turned into pianists, trumpeters, trombonists. Their skills were evident. Their set was distinctive, but quite safe and sometimes samey. Towards the end, some sounds felt repeated, or at least echoed. But Tigertown set themselves apart from the other good-looking, good singers with their keenness. It was visible in their faces (they looked stoked to be there) and undeniable in the quality of their music that had the ability to please across the board. Evidence could be seen afterward, when the band flogged recordings and T-shirts to a long line of pleased punters. Leah Creighton

BALL PARK MUSIC, EAGLE AND THE WORM, JEREMY NEALE ENMORE THEATRE: 06/07/13 Supports Jeremy Neale and Eagle and The Worm charmed us to begin (an updated ‘50s-type style with a twist for the former and some ‘80s goodness for the latter), but it could have gone downhill from there for Ball Park Music. Two great supports are a dangerous game; both were familiar but solid, and each clearly brought it for their existing fans while winning the rest over. Couple this intro with a very crap footy match being played at the same time (sneaky multi-taskers kept giving themselves away by shouting at their iPhones during Wallabies on- field fuckups), and by headliner time Ball Park did have a river or two to cross. It was a little after ten when Ball Park Music kicked off this Thank Ewes tour with Abba’s Thank You For The Music, but from there they had us. It sounds dicky to call it a ‘happy’ set, but then, to be fair, it really was. This is a band that clearly loves what they do, and the result is infectious - making sure to give enough of the ‘hits’ (Surrender, All I Want Is You, It’s Nice To Be Alive and Fence Sitter) as well as some lost tracks from earlier releases (Teenager Fit and Glass Jar), and some unexpected Hanson MMMBop, just because they could. While it’s hard to choose a fave, it’s also hard to go past iFly, with its mixture of sweet sweary lyrics - “I fucking love you, I think you’re pretty ... I remember the first time I got to kiss you sober”- and it was a sentiment that was brought to life with a drunken marriage proposal onstage. The punter couple, led by a Dutch courage-d groom, slurred his way to the point (“Check this shit, I love you baby - will you marry me?”), and as he crashed slightly to his knee with ring in hand, even the hardest of hard hearts melted just a little. The band played ringmaster (pun intended) with the right amount of ceremony - just enough to let them have their spotlight - and then back on with the show. As the set progressed (nearly 20 tracks, not bad kids), they made it back to the end with some Beatles, 8 Days A Week, and they had to be knackered, but again, happy. Ball Park Music, Thank Ewes, too. Liz Giuffre

For only one EP, he easily entertained the small crowd for a little over an hour. It was a polite yet poignant performance for a man who’s certainly got more in the tank. Sam Murphy

TIGERTOWN, CASTLECOMER, THE STARRY FIELD THE VANGUARD: 05/07/13 Openers The Starry Field got the audience slowly warmed up with their vocal-driven, stylised indiepop, peaking with the more rousing single, All Of My Love. Clearly a favourite of the faithful, whose hands went straight up in the air. Castlecomer kept this energy high, and their harmonising was deadon. These five boys attracted a thicker crowd, and an audible “Ahh” was heard when lead guitarist Tom Kenney dedicated one of the songs to his dad. Credit the brilliantly cosy acoustics of The Vanguard, or the unpretentious musicianship of Tigertown, but necks were craned out of sockets from the minute this pop five-piece took the stage. This was dreamy, shiny, good-looking-people pop; deceptively sleepy sounds from serious instrumentalists, or the slightly hippy boys and girls next door – with proper musical creds. Think Mercury Rev, Fleetwood Mac (in a few years) and the odd Weezer echo. Go Now and Lions And Witches had a visible effect on the crowd, who packed into the small space to hip-shake. Not a dance outfit, Tigertown attracted a more swaying appreciation, with huge applause after each song. Their newest offering, What You Came Here For, continued down a laconic, pop avenue, but this single came closest to a

Ball Park Music Pic by Josh Groom

live

[REVIEWS REVIEWS]

his poetic flow and rock-driven hooks on tracks like opener, My Machine, and Black Ghost Gold Chain, with its catchy crowd clap, set the scene before he launched into the title track off the EP, The Elixir. The highlight of the short yet forceful set was a track called Empty, where Ghost added a bit of speed to his rhythm and called out “I want you to get a bit psychedelic with this!” He wailed some impressive ambient vocals up against a wall of reverbing bass and guitar at the end of the trippy track. Unfortunately, the set was rushed and the Ghost explained that he’d love to chat more but that he had to finish before another gig started in the Live Art Space next door. Grey Ghost worked the little room, jumping across the seating booths until he was speed rapping down from above and amongst the enchanted crowd. He dedicated Space Ambassador to “all the space cadets” and with that kinda style, successfully thwarted every single hip hop stereotype. Lorin Reid

THELMA PLUM, THE STARRY FIELD THE VANGUARD: 07/07/13

Fear Factory Pic by Josh Groom

FEAR FACTORY, TWELVE FOOT NINJA UNSW ROUNDHOUSE: 05/07/13 “Are these guys playing reggae or something?” one clearly confused punter quizzed his evidently unimpressed friend while Twelve Foot Ninja energetically went through their genre-bending paces. Elsewhere the crowdfunding-favouring Melbourne heavy rockers garnered converts. Utilising King For A Day…-era Faith No More and Meshuggah as their sonic platform, they transitioned from bossa nova to jazz and funk in a manner so effortless they made it appear that such styles belonged together. Kingdom, Child With No Enemy and closer, Coming For You, endeared them, as did frontman Kin’s amusing story, which entailed his teenage years, posters of the headliners and masturbation. Led by axeman Dino Cazares’ jackhammer-like right hand and vocalist Burton C. Bell’s trademark bipolar approach, sci-fi metallers Fear Factory trekked through their infectious singalong favourites Self Bias Resistor and Replica, apocalyptic Pisschrist and eerily gothic closer, A Therapy For Pain, with expected clinical delivery. Bell’s clean vocals have long been a hit or miss proposition live, with far more of the latter these days, but devotees didn’t seem too fazed, even during some cringe-inducing moments. A crowd-pleasing encore meshing the staples (Shock, Edgecrusher and Martyr) with the reintroduction of What Will Become and Archetype proved a surprising move, given the latter was released during Cazares’ much-lambasted exodus from the ranks. Curiously, the pointed lyrics “The infection has been removed/The soul of this machine has improved”, initially penned as a parting shot to the portly riff-meister, were slightly modified to reference two former bandmates. Despite attendance being down, probably due to this being their second visit in less than 12 months, Fear Factory continues to command one of the most loyal metal audiences in these parts. Keep fighting the machines of hate, lads.

The Starry Field – Mark Myers (The Middle East) – opened with a twee set of personal numbers that had just enough depth to leave a good impression. Nothing in the act warranted a solid gold star on the report card, but for every cringe-worthy metaphor there was another great one lined up, and his sleepy set of graceful alt-country tunes was well received. Overall Myers held court with humility and charm, and the frankness of his songwriting was commendable and warm. There was perhaps a ‘surface level’ quality to a couple of songs that left this reviewer feeling undernourished, and his quaint delivery at times felt a bit weak sauce, but his honesty shone through. Some of the thematic content was quite brave, and the more intimate the subject matter got, the better he was at expressing it. There was also a sense of escalation in the second half that injected some nice energy. Overall it was a good performance. The same could be said for 18-year-old Thelma Plum. Any issues with her performance were purely subjective, and that relates to the content more than the execution. As a 32-year-old, you’re probably not going to respond to her songs in the same way as another teenager would. There’s a natural immaturity to her work that’s perfectly acceptable, albeit quite obvious. She sang about busted relationships and shitty ex-partners (aren’t we all one of those at some point?) in the way that angsty teens tend to do. There wasn’t much variation and it lost its emotional impact towards the end. That aside, the best parts about her as an artist and a musician are what will stay with her indefinitely. She has a wonderful voice, full of character, and her vibrato totally melts your heart. She has a charming nervousness about her, and she’s a performer that, as she gets lost in the song, her hands and arms seem to move independently, as if she’s pushing the words around in her head with her movements. She has a great relationship with the audience and her stage partner, Andrew Lowden, and projects a unique combination of reticence and moxy, which works well with her songwriting style. Her high points are what artists strive to achieve throughout entire careers. Watching her fill her songs with her life as she grows will be worth the wait. Matt MacMaster

Brendan Crabb

GREY GHOST, SUBURBAN DARK, REMI OXFORD ART FACTORY: 06/07/13 Melbourne rapper Remi hit the Gallery Bar stage first with a live drummer, DJ and his dancing shoes. Paired with some upbeat, Motown sound samples and light-hearted braggadocio, his smooth footwork made for an enigmatic stage presence to compliment competent tracks like Ape and Sangria. Production duo Suburban Dark distinctly darkened the mood with their self-described “fight beats”, featuring sometimes-awkward live verses from Jeswon from Thundamentals and a fiercely intense new track and freestyle with ginger-bearded Rapaport. The first thing you notice about Grey Ghost is that he has a whole lot of instruments on stage for a rapper. And to his credit, the echoing guitar solos, keys and live drums added something raw to the EP launch that no recorded breakbeat could have managed. He jumped on stage wearing a matching, patterned tracksuit with his dreadlocks pulled into a pony and

Thelma Pic by Josh Groom

For more reviews go to themusic.com.au/reviews • 31

[REVIEWS REVIEWS] a r t s ESSENTIAL TOUR ITEM BIG SCARY

WHAT ITEM MUST TRAVEL WITH YOU ON TOUR?

Jo Syme: Sunglasses, because I don’t like looking at brightness without protection, and also a drum-key, so I don’t appear a novice in front of tech guys. Big Scary are touring nationally. Check The Guide for dates.

Much Ado About Nothing Royale follows a class of middle-school students slaying other students in battle for survival on a remote island. It’s set in not-too-distant future world, a chaotic quasi-contemporary Japan, where elders avenge the youth’s lack of respect by killing them off in a battle for survival. The tale follows the character of Shuya Nanahara, who (like every good hero) is attempting his own resurrection from tragedy following his father’s suicide. Nanahara’s class, 3-B, are taken on a field trip, drugged and transported to a ‘briefing room’ on a remote island, where they learn they have been chosen to compete in this year’s Battle Royale. Collared up, like dogs, they also learn they’ve got three days to kill or be killed. Breaking the rules will result in their electronic collar’s detonation. KA-BOOM.

FROM THE ARCHIVES 28 MARCH 2006

Josh Thomas

JOSH THOMAS- DOUCHEBAG COMEDY

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

INTERVIEWS

Public Enemy, Mogwai, The (International) Noise Conspiracy, Neko Case

ALBUM OF THE WEEK Gerling – 4

“4 shows that Gerling can be serious for a moment and have the ability to make a strong guitar pop album.”

GIG OF THE WEEK Cog @ The Metro

PROCRASTINATION TECHNIQUES PLUTO JONZE

Fresh from the two extremes of recent television (Please Like Me being great, Celebrity Splash being far from it), Josh Thomas took the stage with a familiar nervousness. The advertised ‘overseas but mistake’ that formed the basis of the show was far from its best bit, though (in fact, to be fair, as Douche-ness goes, Thomas doesn’t really own that at all). Thomas’ timing remains great and his approach fresh – he keeps on with a developing style that knows what else is in the market and works carefully to make sure he’s going somewhere different. However tonight wasn’t really Thomas’s night. It could have just been a Sunday night crowd and a missed room (he wasn’t quite mainstream or niche enough to get most everyone onside for most of the time), but there were a few threads left hanging that just didn’t add to the story or move it on either. Maybe it’s just that he’s a little road weary now having had this show doing the rounds since Easterish, but his commentary on the show and its reception was better at times than the show itself, with his explanation of how he’d tried to make audiences feel comfortable with his ‘bit reveal’ douche moment better than his explanation of the moment. Maybe it’s just time to douche it up again differently.

the ritzy world in which it is set. There are a lot of actors in the film who have worked for Whedon before but he also has grabbed some online faces from the boys of Atlanta, Georgia sketch comedy duo, BriTANicK, and one half of LA comedy-folk duo Garfunkel & Oates. This is a film you want to go to the movies for. It’s charming and funny and is quite possibly the truest and the best adaptation of Shakespeare you can get without appearing over-intellectualised. Matthew Ziccone In cinemas Thursday 11 July

BATTLE ROYALE FILM Think The Hunger Games. Now think of The Hunger Games on steroids. Congratulations. You’ve only just managed to scratch the bloodstained surface of the mind-fuck-gore-infested trip that is Battle Royale. The hardcore 2000 film was helped along in its cult status by a slew of bannings, with several countries deeming the trigger-happy flick too violent. Deep breath now. Based on a novel of the same name (like The Hunger Games), Battle

With a series of gloriously gory fight scenes that would do Tarantino proud (and a very suspicious Kill Bill-esque yellow jumpsuit thrown in the mix), students drop like flies, killed in a myriad of stomach-churning ways – including decapitation, the old knife-in-the-face trick, gun fights and a delightful scene that sees a female student stab one of her male competitors repeatedly in the nuts. It is all so fantastically anti-Hollywood, and remarkably satisfying to watch characters, even those that you feel empathy for, be hacked to death – happy endings and reprieves are not real or reel life. And it feels good. Of course, at the heart of the horror lies a love story (well, several), with the main female character Noriko Nakagawa ultimately escaping from the island with her best friend/true love Shuya, thanks to one of the other students, who managed to hack into their collars and disable their tracking devices (SPOILER: he, like everybody else, dies). Classic Japanese gore aside, Battle Royale delves deeper into the ramifications of the hypothetical, ‘kill or be killed’, and provides a much richer and juicier voyeuristic experience across the human sacrificial battle ground than that other student battle flick. Natasha Lee Kings Cross Library Late Night Screening

Liz Giuffre The Comedy Store to Sunday 14 July

MUCH ADO ABOUT NOTHING FILM Joss Whedon’s adaptation of Shakespeare’s Much Ado About Nothing is a perfect example of what people should be doing with Shakespeare.

WHEN THINGS AREN’T WORKING WHAT DO YOU DO TO AVOID RECORDING? Facebook, YouTube-ing Bowie and Queen live and deciding to start writing a new song.

Pluto Jonze’s debut album Eject is out Friday. He’s also touring, check The Guide for details.

Very often we see the reworking of Shakespeare done in his dramas and when the comedies appear, they’re either not known or they simply don’t work. What is incredibly impressive about this film is that not only does Whedon and his cast pull it off in a modern context but, after the period of adjusting to Shakespearean form kicks in, it is as funny, if not more so, than most films that have come out in the last 12 months. This film surprises you, constantly playing on the elegance of language and the crude essence of what the film is about – the ridiculousness of the way these characters handle the validity of a girl’s virginity. While the script is Shakespeare, the direction is clearly Whedon, and his contemporary humour and setting really allow for the silent jokes and

32 • For more reviews go to themusic.com.au/reviews

Battle Royale

arts

[COLUMNS COLUMNS]

MODERATELY HIGHBROW

CULTURAL CRINGE

VISUAL ART WANK AND THEATRE FOYERS WITH DAVE DRAYTON

ARTS NEWS WITH JAMELLE WELLS Shakespeare’s timeless story of love and loss between feuding families, Romeo and Juliet, is getting yet another contemporary makeover, this time by Impulse Theatre in south Newtown next month. Director Stephen Wallace has reimagined the play as an AngloLebanese gang war similar to the Cronulla race riots.

3) People on the internet have a really thorough knowledge of fake languages. As the rules of the internet dictate, Cohen provided a proof photo before commencing the AMA (pictured alongside this column). User: MrZoobles smelt a scam: “You drew an English language exclamation mark on your “Hi, Reddit! DXC” AMA proof, instead of using the alien language [4 dots in diamond pattern]. I say “Impostor!””. David X’ Cohen On the end of the Futur[e](ama), a new (old) Prime Minister and the beauty of useless language. I’ve been thinking a fair bit about language of late and two recent – albeit ridiculously disparate [unless, of course, some genius out there with more time, political knowledge and creativity than I can better illustrate the parallels between Futurama’s ongoing saga of cancellation and reinstatement and Kevin Rudd’s political trajectory over the last half decade (Please, send me an email if you can: dave.drayton@ gmail.com)] – events, both alluded to above, have increased the fervency of my musings. First things first, Kevin Rudd is once again our Prime Minister. I’ll keep this short and vague; I find it pertinent that in this day and age we have a bilingual leader and one fluent in Mandarin no less. Second things second, Futurama has once again announced that it will end (their third ‘finale’). The genius mix of heart, science and comedy has been cancelled once again. As a result, the show’s head writer David X. Cohen took to the centre of the internet, Reddit, for an AMA. A few interesting discoveries were made as a result of this: 1) The middle initial ‘X’ is in fact fake, a phony concoction of Cohen’s that resulted from a different David S. Cohen beating him to registration with the Writers’ Guild. 2) The final season will depict Fry and Lela’s actual real-life wedding (Cohen assures us this isn’t a spoiler).

Cohen – who possesses a BA in physics and Masters in computer science alongside more than a decade’s experience heading one of the most lauded sci-fi cartoons in television history and a lifetime of geekery – responded: “You passed the test! Honestly I have mixed feelings about using symbols for the punctuation. It kind of muddles things up when you view it as a code-breaking exercise since there are alternate ways to punctuate sentences. It keeps me up at night a lot.” And as a result of Kev’s new job and MrZoobles’ attention to detail, I got to thinking about language, and more specifically (that is, not Mandarin or Alien) the language of Esperanto. Esperanto is the most widely known constructed international auxillary language, a kind of failed attempt at a Utopian linguistics that was invented by Lejzer Zamenhof, a Jewish intellectual from Bialystok (now Poland). Internationally acclaimed translator David Bellos suggests Esperanto’s primary use now is as a language of culture, a smattering of diehards across the globe using it to translate poetry, drama and fiction from vernacular languages for the benefit of fellow Esperantists. The exhuming of Esperanto for poetry could be seen as an exercise in futility – but what about when you consider linguist David J Peterson was paid a handsome sum to develop the Valyrian languages of George R. R. Martin’s A Song Of Fire & Ice series so they could be utilised in Game Of Thrones. Which is to say that, in opposition to the global dominance of the English tongue, the open access to knowledge provided by the internet seems to be prolonging the lifespan of languages. And bilingualism, seemingly practical or otherwise, puts you in good stead for a job – maybe HBO are hiring? Or, more likely, our government.

Grease Television game show producer Reg Grundy and his wife Joy have made an incredible $19.16 million from the sale of 89 works from their art collection in Sydney. The sale by Bonham’s auctioneers is thought to be Australia’s highest ever single-owner art auction. Full marks to Marrickville playwright and director Mark Rogers, who is addressing the shortage of affordable theatre spaces in Sydney by staging plays in his lounge room. Actors will use the 20-seat room called The Woodcourt Theatre for performances over the next two months. An investigation is underway into the death of a Cirque de Soleil acrobat who fell 15 metres to her death in Las Vegas. Sarah Guyard-Guillot suffered fatal injuries during a performance of Ka at the MGM Grand casino. The 31 year old’s death is the first reported on-stage fatality in the company’s 30-year history. A Cirque de Soleil spokesman told the media Guyard-Guillot did not slip out of her safety harness when she fell. The Occupational Safety and Health Administration is investigating if the safety wire that held her was faulty or incorrectly attached. During the final battle scene in Ka, several performers are suspended on wires. The brawl between the broadcasting regulator and 2Day FM over a prank call made to a London hospital is heading to the Federal Court. 2Day FM has lodged a case against ACMA to try to shut down its investigation into the suicide of nurse Jacintha Saldanha, who took a prank call from two announcers. The station says ACMA does not have the power to determine if it broke the law by recording and broadcasting the call without permission.

Screen Australia is investing $2.5 million in a diverse slate of productions through its revised Multi-platform Drama Production program. The support for online storytelling and digital productions has been bolstered through extra funds of $10 million over four years, announced in the 2013/14 budget. The projects include the new sci-fi thriller, Airlock, to be distributed primarily using BitTorrent, the peer-to-peer file-sharing service. Other projects to receive support include #7 Days Later, an interactive comedy series that involves the audience writing a brief for an episode each week via social media There’s been criticism of the appointment of two of the Australia Council’s nine new board members - Waleed Aly and Khoa Do. Federal Opposition arts spokesman Senator George Brandis put out a press release saying the new board makeup is disappointing for arts patrons living outside of Sydney and Melbourne. He states that Aly and Do have “far from obvious” arts credentials and says there are not enough people from the visual arts and literature on the board. After six seasons, a double episode marked the end of Packed To The Rafters. The show was first aired in August 2008. No doubt they’ll be showing repeats and there’s already an online poll - “which Rafter will you miss the most”. Due to strong ticket sales, more performances of the musical, Grease, have been announced. Producer John Frost has also announced additional cast members for his multi-million dollar production. Playing Marty is Karla Tonkich, currently in Legally Blonde, and the role of Cha Cha will be played by Andrea Arena. Also joining the cast are Jared Bryan, Elisha Chin, Stefanie De Castro, Euan Doidge, Mitchell Mahony, Natasha Marconi, Scott Morris, Shannon O’Shea, Daniel Raso, Stephanie Silcock and Jessica White. Grease opens in Brisbane in August, with seasons at the Sydney Lyric Theatre from October 13, and then on to Melbourne.

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[COLUMNS COLUMNS] m u s i c THE BREAKDOWN

OG FLAVAS

WAKE THE DEAD

POP CULTURE THERAPY WITH ADAM CURLEY

URBAN AND R&B NEWS BY CYCLONE

HARDCORE AND PUNK WITH SARAH PETCHELL

A Change Is Gonna Come. James’ music was very different to that of Johnson, being earthy neo-soul. Funnily enough, Kanye West had an early production role in it. The next year, Johnson lost her music producer fiancé Kip Collins to a motorcycle accident. Around 2009 she moved to South Africa – but was reportedly deported to the US over visa issues. Puff Johnson

Cody Simpson A few (or more) fun ‘facts’ about Cody Simpson as posted by fans to the Weebly website: Several years before Cody signed a record deal, his grandma asked him, “Codes, what are you going to do? You’re so good at guitar and swimming.” And Cody said, “Well, I know I was born to be famous at something but I haven’t quite figured it out yet.” He used to live in the neighbourhood of Robina in Gold Coast, Australia, but moved to Los Angeles after he signed a record deal with Atlantic Records in May 2010. His parents’ names are Brad and Angie. Brad owns an investment company. Before the family moved to the US he had to make sure that he could oversee the business from across the ocean. His favourite colour is green and blue. There’s a healthy amount of green-and-blue on the cover of Simpson’s second album, Surfers Paradise, out through Warner on Friday. The artwork depicts Simpson in a buttoned shirt with a surfboard under his arm against a sky that, depending on which way any individual leans on the specificities of the colour spectrum, could be described as ‘more blue than green’, or ‘green with most of the yellow taken out’. The bottom half of Simpson’s shirt could certainly be described as ‘kind of green’, but also ‘a little bit blue’. It’s safe to say Simpson would approve. The sky isn’t unlike that which can be seen from the shores of the beach the album title references, the Gold Coast tourist attraction famed for bikini-clad meter maids and the arrests of drunken school-leavers. Thus far in its regal history, Surfers Paradise hasn’t had much in the way of a pop music representative. There’s been Ricki-Lee, sure, but she was born in New Zealand and hasn’t had the international impact of Simpson or displayed his dedication to representing the meeting point of shipped-in sand and mall shopping. That half green-and-blue shirt (the top half is kind of pastel pink but maybe more like salmon – too wishy-washy a combination even in its origins to be anyone’s favourite) is one of many high-street outfits to be sported by Simpson against a beachy backdrop in photos. It’s his go-to promo pose, so much so that one begins to wonder if Simpson knows a trick or two about staying dry while surfing fully clothed. It’s easy to imagine a leisurely stroll along the Surfers Paradise esplanade with Simpson’s newest single, Summertime Of Our Lives, streaming from the nearby shops as shirtless 12-year-olds sling racist cuss words from passing skateboards. The song is a ukulelebacked ditty that latches onto the white appropriation of Polynesian music just a few years after Jason Mraz made it unpopular. Or perhaps it would be the song, Wish U Were Here, a chintzy dance number written in part by Dr Luke and featuring Californian teen rapper Becky G. The song, from Simpson’s 2012 debut album, Paradise, is kind of like Justin Bieber’s Beauty And The Beat, written in part by Max Martin and featuring Nicki Minaj, but without the clout those names bring. It could even be Cody’s little sister Alli Simpson providing the soundtrack to a night out on Surfers with her debut single, Why I’m Single. Yes, the Simpson name is becoming a pop brand. As with Cody, however, 15-year-old Alli isn’t committing to one road to fame, describing herself on her website as a “model, an actress, a dreamer and I guess I’m a blogger now too, haha”. Watch those blogging dollars roll in, Alli. And why shouldn’t Surfers Paradise have its own famous family, built like the suburb itself on investment with more bubbly ambition than any ratbag kid with a script-font chest tattoo or a genuine idea could beat down? The rest of Australia should be proud of our cultural export, too. Few others are willing to stand on the world stage and declare on behalf of our country in this time of great political progression, when innovation and change are words on the lips of so many brave parliamentarians and law-makers, “We, like, might have something to say, we just haven’t figured it out yet.”

34 • For more opinion go to themusic.com.au/blog

Puff Daddy wasn’t the only ‘Puff’ in the ‘90s urban movement. The R&B singer Ewanya “Puff” Johnson was a real contender for the thrones of both Whitney Houston and Mariah Carey, debuting on the Sony imprint WORK Group with her album, Miracle, in 1996. Future American Idol judge Randy Jackson served as executive producer. Johnson was afforded a huge push in Australia, actually travelling here for a promo tour. Sadly, and mysteriously, Johnson never released another album. The soulstress’ death from cancer late last month at just 40 has attracted negligible news coverage. Johnson was born in Detroit but launched her career in Los Angeles. Even before her first single, she sang on the title track of Tupac Shakur’s US Number One album, Me Against The World, a song helmed by Danes Soulshock & Karlin. (Johnson also worked with the Cali outfit – and production vehicle – Somethin’ For The People.) Johnson’s lead single was the lush ballad, Forever More, produced by Narada Michael Walden. Walden had previously been involved in hits like Aretha Franklin’s Freeway Of Love, Houston’s How Will I Know and I Wanna Dance With Somebody (Who Loves Me) and Carey’s I Don’t Wanna Cry. Forever... reached the Australian Top 30. Later, Johnson contributed Over & Over to the soundtrack accompanying The First Wives Club. This ‘chick flick’ was a box office success and starred Diane Keaton, Goldie Hawn, Bette Milder and, in a bit part, Sarah Jessica Parker pre-Sex And The City. However, Over... would be Johnson’s final single. She joined Michael Jackson on the HIStory World Tour. Johnson spoke of writing with good friend Lauryn Hill – prior to her The Miseducation Of... But then she vanished. Johnson’s name made a surprise appearance in the writing credits of Leela James’ cred 2005 debut,

So what went awry with Johnson’s great ascent? One rumour is that she was traumatised by the murder of Shakur. But Miracle didn’t live up to sales expectations. Maybe Johnson felt disillusioned or simply lost momentum. Possibly, like Hill, she decided the music industry wasn’t for her. Miracle still impresses with its mix of smooth ‘90s R&B and hip hop soul. In the same vein as the melodic Forever... is the traditional ballad, Some Kind Of Miracle, penned by Diane Warren, with Walter Afanasieff (Carey) producing. There were sniggers at the time about its unfortunate title, yet Jermaine Dupri’s All Over Your Face evokes Carey’s initial hip hop manoeuvres. Yearning is Janet Jackson-style quiet storm, but Johnson had better vocal chops. Randy Jackson has paid tribute to Johnson on Twitter: “RIP Puff Johnson, sad so sad to hear we lost you. So happy I got to work with u and be a part of ur life... One of the greatest talents ever.” Today the mainstream media fixates on Beyoncé Knowles as if she were the sole R&B diva in the world (well, aside from Rihanna). Even Queen Bey seems to believe it, basking in reflected glory on her controversial (and self-leaked) Bow Down, courtesy of Hit-Boy. Sings Knowles, “I know when you were little girls, you dreamt of being in my world. Don’t forget it, don’t forget it. Respect that, bow down bitches.” Knowles’ arrogance was rightly challenged by the underrated Keyshia Cole on Twitter: “Can’t stand when people all self righteous when it’s convenient it makes them look good. Lmao! But can still talk shit when convenient 2 FOH.” Johnson and her generation of R&B vocalists – Toni Braxton, Mary J Blige, Faith Evans, Monica, Brandy and so many others – opened the doors for Knowles, who was but a 14-year-old wannabe at the time of Miracle. The ‘90s sistas should be recognised – and celebrated.

THE HEAVY SHIT METAL AND HARD ROCK WITH CHRIS MARIC

TUESDAY Enabler and Urns have run rampant across the state for over a week and tonight head to the Croatian Wickham Bowls Club in Newcastle – Dobro sranje.

WEDNESDAY Bonez Longtime friend of The Heavy Shit and the Sydney music scene in general, Mr Leeno Dee has, like so many artists, a head full of songs to share with the world. He’s put a song up on iTunes called Never Say Goodbye, no not the Bon Jovi power ballad, rather a Alice Cooper-esque groover that is so him. Definitely look it up and add it to your tracks! Search the Tube for a great acoustic version too! Slaughterfest VI is happening at Spectrum Saturday 27 July and has some seriously doom-laden stuff on the bill including Monarch (who are touring with St Vitus), Clagg, Throwdown, Broozer, Ether Rag, At Dark, Arrowhead, Roadside Burial, Mish, Yanomamo, Islands, Nursing Home Stalkers and 100 Years Of Solitude. The launch for Itz All About The Riff at the Stag 23 November looks set to sell out super quick, so best get onto it pronto if you’re wanting to finally see this shit come to life! This country produced some fantastic bands in the ‘90s and one of the best was Horsehead, a name until recently I hadn’t heard in years. Scott Kingman and Andy McLean had pretty successful post careers as session/touring/players and as producers and have joined forces again to bring some of that magic rock back to the people. They need some help to do it though, and have asked fans to chip in. If you’re interested, go to the PledgeMusic.com site and look up scottkingmanandandymclean in the Projects page. Crowdfunding is the future it seems and it works! US platinum-selling rockers Flyleaf play The Metro Saturday 17 August (all ages) and release a new EP, Who We Are, this week. Lead track, Something Better, features Sonny Sandoval from P.O.D

It’s Canberra’s turn for the Enabler/ Urns tour, at The Pot Belly Bar.

THURSDAY sleepmakeswaves head up the coast to play the Port Macquarie Hotel tonight and the Northern in Byron Bar on Saturday. Newtown Social Club is hosting a book signing and exhibition for the awesome Kayne Lens Vs Soundwave coffee table monster of awesome photos compiled by official SW shooter Kane Hibberd. The guys from Sailor Jerry will be on site making my new fave beverage too (rum, pub squash and lime). Starts 6pm.

FRIDAY In a perfect case of ‘I wish I was going’ The Stag has a most brutal display of fine homegrown metal this evening with The Amenta and Ruins. Ouroboros and Dead River Runs Dry make it a night the venue will take a while to recover from. Speaking of Sailor Jerry, awesome rock’n’rollers, Bonez have teamed up with the rum traders for a tour dubbed Wet July after the band were deemed unsuitable for the Dry July program. They’re all over the east coast till late August, raising money for the Outback Music Foundation. Tonight, they hit the Oxford Art Factory as part of a four-week Friday residency and are at the Bondi Festival Saturday

Warbrain Okay Sydney, there’s a bit going on this week but the most important thing you need to know is that Hardcore 2013 is happening this weekend and if you haven’t got your tickets, get your hands on them now to catch a fantastic line-up of domestic talent as well as the legendary Youth Of Today. Youth Of Today are here for their very first Australian tour. They will be playing both days of the festival, but here is the lowdown of the line-ups for each day. Saturday is the 18+ evening of bands. Youth Of Today are headline, but also on the bill are Toe To Toe (who are celebrating their 20th year as a band in 2013), as well as Warbrain (pictured, who have just released their new album Void Of Confusion), Vigilante, Boneless and Higher Power. Then on Sunday, the all ages afternoon show, joining Youth Of Today will be 50 Lions, Relentless (playing their last Australian show before they head to the US), Survival, Shackles, Outsiders Code, The Weight, Outright, Crisis Alert and Rain Dogs. Both days are at the Hi-Fi and tickets are still available. If you’re not heading along to Hardcore, you should think about getting to Black Wire Records who are holding a fundraiser to ensure their survival. That is, 100 per cent of the proceeds from the show will go to making sure Black Wire continues to run as a DIY performing space. It is also the live debut for a new Sydney band called Jackals. Describing themselves as “drone/punk”, Jackals features members of Serious Beak, Snakes Get Bad Press, Adrift For Days and Battle Pope. So on Saturday head along to see Fat Guy Wears Mystic Wolf Shirt, Face Command, Jackals and Dispolar. Doors are at 7pm, entry is $10 and it’s all ages. Thirteen years and three albums on from their humble beginnings, hardcore stalwarts Down To Nothing are now one of the most recognised, straight edge hardcore bands in the US, if not the world. The band are getting set to release their long-awaited new LP called Life On The James through Revelation Records this September (10 September to be precise, though this date is for the US only). Produced by Terror’s Nick Jett, the band have described the record as an album concept they’ve wanted to create for a long time, building on themes of hometown pride. Stay tuned for more details of the album and pre-order information, but the artwork and tracklist are available online now. Poison City Records have announced that the newest addition to their stable is Melbourne’s Clowns. This band have taken an old school-style approach to hardcore punk, drawing influences from the likes of OFF!, Massappeal, The Bronx and Hard-Ons, as well as having a ‘nothing better to do’ ethos to back it up. Having spent three years consistently playing shows, as well as self-releasing a bunch of 7”s, 2013 not only sees the band signing to PCR, but releasing their debut full-length, I’m Not Right, which is set to land in October. The band are playing Poison City Weekender, and though they don’t appear to have any Sydney shows on their radar for the moment, keep an eye on when and where you’ll be able to catch these guys next.

Black Wire Records need you so head in tonight from 7pm for Fat Guy Wears Mystic Wolf Shirt, Face Command, Dispolar and new drone punkers, Jackals, a bit of an all-star band from the sludge scene.

Last up for this week, last week’s Short.Fast.Loud saw host Stu Harvey conducting his mid-year report and the results surprised me a little bit. It was a little disappointing to see only four Australian bands in the list of 20, but with two of those in the top five, I guess that’s not too bad a result. So mid-year, the top five punk and hardcore albums were Wil Wagner’s Laika at number five, What You Don’t See by The Story So Far at number four, The Wonder Years came in at number three with The Greatest Generation, Bring Me The Horizon’s ‘Sandpit Turtle’ … Pardon me I mean, Sempiternal came in second, and Sydney locals Northlane took out the number one spot with their great record Singularity.

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wakethedead@drummedia.com.au

SATURDAY

m u s i c [COLUMNS COLUMNS]

THE SWAMP SHACK

GET IT TOGETHER

LOWERIDER

ROCKABILLY/PSYCHOBILLY/ COUNTRY WITH PEDRO MANOY

HIP HOP WITH JAMES D’APICE

HOUSE, PROGRESSIVE AND TECHNO VIBES WITH ROBBIE LOWE

Perhaps as a result of that conversation – or perhaps by pure coincidence – the Brokentooth kids have invited you to tell them online what classic BTE albums you would like to buy in instrumental format. Tornts’ seminal Decimation Recordings instros are on iTunes now for all beat heads. You want some more? Let Newsense know about it.

Lucky Luke & His Shooting Stars There might not be an old-style ‘honky tonk hardwood floor’, but The Basement will definitely be in dancehall mode when Lucky Luke & His Shooting Stars launch their debut album, I Saw The Light, this coming Friday. The title song is of course a cover of the classic Hank Williams number and indicative of Lucky Luke’s love of artists such as Williams, Ernest Tubb and the working man’s Merle Haggard. Lucky Luke certainly has the right pedigree having spent much of his early years in Greensboro, North Carolina, where he was surrounded by the sounds of what many consider the true, untainted American country tradition. The album is a mixture of honky tonk classics such as Haggard’s immortal tearjerker, Mama Cried, and Wayne Hancock’s Thunderstorms And Neon Signs and some tasty homegrown originals. Lucky Luke and his talented crew have been honing their acoustic-based style around the smaller bars for the past few years and it’s great to see them stepping up to the big stage at The Basement with a hoedown-themed album launch featuring lots of special guests. The Slim Dusty tributes just keep rolling on with the latest acknowledgement in the shape of a commemorative coin released by the Royal Australian Mint, launched at the recent Slim Dusty Birthday bash at Rooty Hill RSL and featuring Dusty in a classic pose with his trusty acoustic guitar. The highly collectible coin retails for a very reasonable $13.50 and can be purchased from the Australian Mint’s online store. If you remember the Tim Burton movie, Mars Attacks, you’ll no doubt recall the song that finally caused the Martians’ heads to explode was Slim Whitman’s version of Indian Love Call. Sadly Whitman, one of the true icons of American country music, passed away a few weeks ago at the ripe old age of 90. Whitman was renowned for his soaring tenor falsetto and trademark slicked-down moustache and during his long career sold millions of records, releasing an incredible 65 albums. His unique yodelling style and mischievous sense of humour endeared him to country fans around the world and he inspired many of today’s Nashville and alt.country generation. There’s fame, as no doubt achieved by Slim Whitman, and there’s the somewhat dubious ‘association with fame’. The latter is where the recent death of one Charles Carr, at the age of 79, comes into play. Carr will always be remembered as the young college freshman who chauffeured Hank Williams on his fateful final ride in December 1952. It’s one of the most discussed and poignant moments in the history of country music - an ailing Williams hired the reluctant young Carr to drive him in his 1952 powder blue Cadillac from Montgomery, Alabama to a number of concert dates. After driving through the night, with Williams in the back seat, Carr turned to find the singer cold and unresponsive. In all probability he’d been dead for at least six hours. The official death certificate stated that Williams had died of ‘acute ventricular dilation’, but his death will always remain a mystery, shrouded by some questionable medical treatment and his own destructive habits. Carr was reluctant to talk about the death of Williams until very late in his life when his recollection was obviously clouded by the ongoing years. His own passing only serves to further highlight one of the great tragedies of country music and a somewhat morbid curiosity with what has often been referred to as “Hank Williams’ death ride”. The Pinks are an all-star ensemble that boasts luminaries Reg Mombassa, Peter O’Doherty, Continental Robert Susz and Brendan Gallagher, all of whom have made their mark in varying styles of music. Their common love is the blues and all things rootsy and they will be demonstrating that affection with a rare one-off show at Blue Beat in Double Bay this Friday. swampshack@drummedia.com.au

Horrorshow We’ve spoken before about how rap music in Australia is not the biggest, nor the most mature, scene going around. There’s a (compelling) argument that huge steps forward have been made, even in the past couple of years, but there is nonetheless a lingering sense that We Are Not There Yet. True enough. It is important, though, to remember that this is not necessarily a bad thing. Being a smallish scene means figures like Newsense, head of our favourite local(ish) label Brokentooth Entertainment, recently had a chance to weigh in on an argument on an online forum. On the ozhiphop.com forums the question was posed: why can’t labels simply sell music directly to consumers through their websites, removing the iTunes and bandcamp middlemen and ensuring that the dollars we spend as consumers go exactly where we want them to go? For the inexperienced, like many of us reading, the question rang true. Elefant Traks aside, it seems that few local labels had taken the trouble to engage with digital sales in any meaningful way. Newsense explained why. There’s more value in reading the words the man himself wrote but, and I’m paraphrasing, he spoke eloquently of the difficulty of setting up a complex website, with serious overheads, for a market where there was no guarantee those costs could be recovered. He went into detail on some issues like the size and nature of files a label might wish to upload, and the complications that come with that. It’s a compelling read. I encourage you to follow it up.

Rub your chin and try to recall the most recent Horrorshow album’s release date. Go ahead. Try. From the top of my head I was going to say 2010. Then I thought that was too long ago. 2011, surely? As the mental fog settled I did the only research any self-respecting music journalist (stop laughing) does these days: check Wikipedia. Inside Story was released 2 October 2009. 2009. This explains the atmosphere of apology and embarrassment that come with HS’s social media updates earlier in the year where they promised us new material. Well, the waiting is nearly all over now. King Amongst Many is due out on Friday 2 August 2013, four long years after its older sibling. This is exciting news for a number of reasons. First, more music made with care and high production values will almost always be a good thing. Second, and more interesting, few rap crews in this country have managed to capture the collective imagination of a (mini-) generation like Horrorshow. Solo, the thinking man’s/ heterosexual woman’s frontman; Adit, always striving for perfection, blessed with rhythm and a pop sensibility – the ingredients are there for sure. Now: we wait. And we save our “return of the king” jokes for later. The Tongue is gallivanting around the country playing Surrender to Victory songs. You’ll get a chance to catch him in the coming weeks. It’s a chance not to be wasted. The new album is a Cam Bluff-driven gem. Rhymin’ remains one of the more compelling performances we’ve heard on a record this year. You can catch Tonguey at Baroque in Katoomba on Friday, at the Small Ballroom in Newcastle on Saturday, at The Basement on Friday 19 July, and at the Mona Vale Hotel on Saturday 20. Get to one. He remains one of the best live performers we’ve got. Not much more room to discuss El-P and Killer Mike’s Run The Jewels so I’ll be brief: it’s free and great. Go. getittogether@drummedia.com.au

YOUNG AND RESTLESS ALL AGES WITH DAVE DRAYTON If at any point it becomes tense it’s guaranteed that someone can be called upon to make a crass comment about something, usually anatomy. You’re in the midst of launching a new 7”, could you tell us a bit about the release? The 7” features a couple of songs that were written a long time apart, but which we feel complement each other quite well. One side, Forest, is a driving, urgent track, whereas the lead single Dead Arm is more of a slow burn brooder. I think it encapsulates No Art’s two sides nicely. No Art What would you say if I told you that you could Steven Bradbury like Fred Astaire? You’d probably ask a lot of questions… Point is, tomorrow night Medibank Icerink are hosting a dance party, on ice, for under 18s only, with Will K DJing from7-9pm. Believe it or not, that is relevant to the first sentence. School nights be damned! It’s holidays, and cold, go ice-skating! Jumping to Sunday (because it’s holidays and all the days seem the same), hardcore dudes Antagonist A.D. and Reigner play Canberra’s Lanyon Youth Centre, while back in to Sydney, the massive all ages arm of Resists Hardcore Festival takes over the Hi-Fi with Youth Of Today, 50 Lions, Relentless, Survival and a whole heap more. Also on Sunday (geeze you’re spoiled for choice) Chatswood Youth Centre offer another paywhat-you-wish gig that features a mix of hardcore bands like Vices and pop punk acts like Thesis. Somewhere in the middle there, Saturday I think it’s called, A Day To Remember play Hordern Pavilion and cram the musical spectrum of the former sentence into a single song. On Friday, a sweet little band called No Art launch their new 7” with an all ages gig at Blackwire Records. We got guitarist/vocalist Vivian Huynh to tell us more and blow minds with her personal and eloquent insight. For the uninitiated, what can you tell us about No Art? No Art is very much the sum of its parts, in that there are three people who write and contribute equally to the dynamic of the band. We all have wildly varying tastes and sensibilities, both musically and in life, but it seems to work well together.

What do you think of the all ages scene in Sydney? It’s really important to have an all ages scene. We all grew up in the suburbs, so having a place to congregate and just enjoy something so visceral with other people on your wavelength is incredibly healthy. Why do you think it’s important to play all ages shows? I remember the feeling of being 15, 16 and being completely obsessed with music, and wanting to be a part of it in any way I could. Whilst buying albums, trawling through internet forums and devouring articles was satisfying, I felt the distinct pinch of missing out on seeing bands live. So I definitely think it’s important to be able to satisfy that very particular experience of seeing a band live for people – it doesn’t all have to be about the booze. The floor is yours, sell us Friday’s show at Blackwire… It’ll be the big one for us as it’s in our hometown, so we’re quite excited about it. We’ll be incorporating a video work by our good friend Miska Mandic, and we’re playing with some amazing mates of ours Unity Floors and Lenin Lennon. We’re also lucky enough to have School Girl Report on board, who we caught at Camp A Low Hum in New Zealand and absolutely love. And it’ll be all ages, which we really like doing.

Mr. G So… Ghost Writing hey? This seems to be the latest controversial topic to hit dance music. I always find these topics interesting to read as they often create quite a stir! The term Ghost Writing is used loosely for a DJ that uses a silent producer to create their tracks whilst stamping their own name on whatever the production may be. Well, as always it’s debatable, and I guess most of this debate depends on the extent of Ghost Writing that can go into a music project like an EP or remix etc. Sometimes there is zero input into the production from DJs or artists alike (and I think this is causing most of the stir) and then there are others that spend time in the studio expressing ideas whilst a music producer brings these to life. Okay, maybe having absolutely no input can be a bit lacklustre, but personally I think it’s okay for a DJ to spend a session in the studio with an expert producer laying down their own ideas. These days it seems there is a lot of pressure to be a great DJ, producer and mastering engineer, but as humans we can’t be good at everything! Believe it or not, a DJ and a dance music producer are two totally different skill sets that both take years to really get good at. So I can understand why DJs of all types seek a little help from time to time to get their ideas coaxed along by an expert music producer. Anyway, it’s a good topic and I could ramble on; there’s plenty of talk on the internet if you want to look further to see all the rant! Right. One dude that doesn’t need a ghost to write his music is Mr.G, and wouldn’t you know it? I have the hot new release in my hands as we speak. You’d already know I love this guy’s tunes, and my good friend and local DJ Garry Todd handed it to me last week to check out, because it’s a debut release for his Contemporary Scarecrow label. Not only is it a record label, but Contemporary Scarecrow also make some pretty cool apparel that’s getting around the fashion world. One of the things I really like about this particular Mr.G record is it shows off some different shades of his production style and sound - you may call a bit experimental even. I find it’s the small features that count with Mr.G’s tracks. The programming of bass drops, hi-hat and kicks etc. It could be described as minimal music but when his tunes are played loud it’s these small features that hit the hardest! Here are some more good records to look out for this month. I seem to be picking up a lot of good techno, actually. Check out Robert Hood’s Drive (The Age Of Automation) and Dave Clarke’s Wisdom To The Wise (Red 2) (A. Mochi Re-Edit) … I love this driving funky techno sound. So much fun to play, and with heaps of energy! Then there’s an excellent EP from John Tejada called Somewhere. This is definitely worth a purchase. Both tracks from the release are amazing! Finally, and staying in Techno territory, check out Jon Gurd & Alan Fitzpatrick’s From Here To There track. Mega dance-floor weapons!

Any tips for young musos? Just to do it really. It’s really easy to say you’re going to make music or to just write in your bedroom and never show a soul, but there is much more satisfaction in having other people hear what you do and playing with other people who are doing great things.

Okay listen up; before I bail, just want to mention a remix I handed in for Miami-based label Xima Records. The original, Trust, comes from LA DJ/Producer Andy Slate. It’s due for a release in the next few weeks – keep a look out for it; it has a cool deep groove that I’m really happy with! Catch you next time.

allages@drummedia.com.au

lowerider@drummedia.com.au

For more opinion go to themusic.com.au/blog • 35

[THE GUID IDE]

EMPIRE RISING Members answering/roles: Chiz – vocals/MPC. Chi l /MPC Morris M i – MC/MPC. MC/MPC Pat P t – drums. d

How long have you been together? Pat: We’ve been playing as Empire Rising since about 2008. Most members of the band have played together in some capacity since high school days really. We’re all been pretty close mates for years now.

How did you all meet? Chiz: It’s all very complicated. The boys met when someone dated someone else’s sister or something and then it was all on. I just turned up at some point and that was it. Pat: Yeah pretty much, all the MCs went to school together, Benny [bass] and myself went all through school together, we met through Koro’s [vocals] sister, the boys had a band, Benny and I had a band so we just got along really well and kept hanging out. That was about 15 years ago, someone left Chiz on our door step one night…

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? Pat: Anyone would be pretty happy with anything that

was put on except for Benny cause he doesn’t like music… Nah, jokes, probably Lowrider or the Roots.

Would you rather be a busted broke-butrevered Hank Williams figure or some kind of Metallica monster? Chiz: Hank Williams. Metallica are just awful. Pat: Well we’re already busted and broke… revered with a Metallica bank balance would be nice…

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

Pat: Joel Madden, pretty sure that guy will do an ad for anything, want to punch myself in the face whenever I see him on TV.

If your band had to play a team sport instead of being musicians which sport would it be and why would you be triumphant? Morris: Definitley shuttlecock, we all look great in short shorts… Pat: Drinking’s a sport right?

Morris: We’re always playing venues like the Annandale, so writing music that translates well on stage is important to us.

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

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

Morris: Just recording new material, plus we’re super excited to play a show with Spit Syndicate on Friday at Studio 6 in Sutherland, gonna be all time!

Pat: Neither. Probably foreplay. Morris: Yeah I can’t imagine anyone making out to our music.

What reality TV show would you enter as a band and why? Morris: Probably The Voice so we could tell Seal that he’s a dickhead.

Pat: Nice promo Moggs...

Website link for more info? empirerising.com.au Empire Rising play Studio 6 on Friday. Pic by Josh Groom

[THE GUID IDE] i n d i e FRONTLASH BLISS N ESO Managed to topple heavyweights like The Voice winner Harrison Craig and Hillsong to climb to the top of the ARIA album charts. Not only that, they had the second highest selling album debut of all releases this year, second only to Daft Punk.

DALE IRBY

news LA FLAMENCA

DIFFERENT FOLKS

Following a highly successful show at the Basement, Peña Flamenca will be making a return to the intimate and atmospheric setting of La Salsa in Rozelle, where they’ll spend two nights casting their unique and passionate antipodean flamenco nuevo spell. After two years performing regularly all over Sydney, they are moving forward with a specially devised show for this space, which they’ll be serving up on both Friday and Saturday evenings.

FBi Social plays host to a small collection of endearing and cultivated folk acts this Sunday as part of this month’s instalment of The Folk Informal, an event for any and all folk-minded enthusiasts and dilettantes alike. Inner West folk/pop duo Achoo! Bless You will be performing off the back of their recent tour in support of the second single to be lifted off their new EP. Laura Attwood, Ocean Leaves and The Max Quintet will also be lending their talents on the evening.

SAUCY SOCIAL

A Texas primary school teacher wore the same outfit in yearbook photos for 40 years straight. Would love to see some at say The Grammys emulate this. (and no, wearing a tux every year doesn’t count).

Following recent national airplay and an extensive tour in support of previous releases, confident sex-pop outfit Fun Machine are gearing up for the release of their debut album. As a result, the saucy quartet have taken to putting on a bunch of shows of their own. This Friday, they’re heading into FBi Social with the support of Sydney rock‘n’rollers Bell Weather Department, indie electro rock band Footsie And The Psychos and the smooth, soulful Borneo.

LABOR Looking to extend the “Good Neighbour” policy used in Leichhardt to establish live music precincts in the state, meaning it will be harder for new neighbours to complain about live music venues and potentially have them shut down.

PRETTY PLEASE NUMBER ELEVEN Bliss N Eso

BACKLASH BARANGAROO Massive casino gets go ahead. What could have been a great use of public land will most likely become an eyesore.

JOE HOCKEY Nominated Nickelback as his favourite band on twitter. We liked the comment of a fellow twitter user who tweeted “his comment could really hurt the Coalition’s election chances”. Now, if only Tony Abbott would proclaim a love for Creed they might not get over the line.

LABOR Unfortunately they don’t have a hope in hell of being elected to the NSW state government anytime soon, so they won’t get to implement any of their live music initiatives unless the Liberals agree.

ALBUM FOCUS

BUFFALO TALES Name: Wes Carr Album title? Roadtrip Confessions Where did the title of your new album come from? It’s a confession of tales old and new. How many releases do you have now? Quite a few with different monikers... Buffalo Tales is by far the best of my work. How long did it take to write/record? Some of the tunes I wrote when I was 15 but most I wrote on tour in motels and backstage alleyways three months prior to recording them. Was anything in particular inspiring you during the making? It was the lead-up to having my first child (baby boy). I was on the road – looking back and looking forward at the same time I guess. What’s your favourite song on it? That’s an impossible question as they are all different in every way to me. Will you do anything differently next time? Maybe. I’m constantly thinking how I can better what I’ve done, I’m plagued by my own expectations all the time. When and where is your launch/next gig? I have so many shows planned. All my dates are on my website, buffalotales. com.au – I don’t stop touring. Website link for more info? buffalotales.com.au

Three years after their last album, Central Coast rockers Something With Numbers stage a return with the release of their long-awaited fourth full-length album, Eleven Eleven. In support of the release of the album, Something With Numbers are in the midst of undertaking a national tour. This Friday, they’ll be making a stop at Wollongong, where they’ll be performing at Waves. On Sunday, they head up to the Entrance Leagues Club in Bateau Bay where they’ll be wrapping up the lengthy album launch tour.

BLOODFOOT Sydney’s melodic punk-rock four-piece Batfoot! have toured with the likes of No Fun At All, Flatliners and The Hard-Ons. Now the quartet are joining Frenzal Rhomb at Manning Bar this Friday. Garage pop-punk threepiece Bloods will also be jumping on board after having just wrapped up their tour supporting The Rubens.

SEACHANGE Emerging from a humble little surfie town on the Central Coast, Sea Legs have been killing it on the live circuit of late. Fresh from a run of dates parallel to the release of their last single (which included playing alongside British India, Jinja Safari and Cub Scouts on top of a US tour), the four pals have yet another musical offering to share with the East Coast crowd. This Friday, they’ll be launching their new single, Open To Suggestions, at The Small Ballroom in Newcastle.

MIS-MONTH Having just released an EP and with a debut fulllength album inching closer to completion, The MisMade are gearing up to head over to Europe and the UK for a run of dates. Before they do, however, the hard-rock five-piece will be making themselves comfortable at the Sydney Livehouse Thursdays through July. You can catch the second instalment of their month-long residency this Thursday.

CLAIRY COLLECTIVE In no time, it seems noir-doo-wop nine-piece outfit Clairy Browne & The Bangin’ Rackettes have sold out a stack of shows. Not ones to leave fans in a state of dismay and with a good helping of new music to deliver, the theatrical collective have added a bunch of shows to their already lengthy tour. This Thursday, they’re performing at the Vanguard with the support of Chris Russell’s Chicken Walk.

BEGINNING OF THE END

Yes Please Records is turning two, and to celebrate, this Thursday, will be ringing in the terrible twos at GoodGod in a frivolous fashion. The celebration extends beyond increased age alone; Inner West electronic/hip hop duo Cosmo’s Midnight and Melburnian indie-pop outfit I’lls are both using this opportunity to launch their own respective EPs. Having collaborated with Alison In Wonderland, Fishing are also joining the celebratory affair, along with Guerre.

SHINE ON WA’s Tenielle Neda has given up her career as a train operator and is now embarking on a tour in support of her recently released second single, Moonshine. The intimate string of shows will be kicking off this Thursday at the Gallery Bar at Oxford Art Factory, where Neda will be supported by good friends Kate Martin and Tom Kline.

PARTY PAIR If you’ve seen their reality TV show, it’ll come as no surprise that the Stafford Brothers are all about all things party. This Thursday, the duo will be emerging from the television set onto the Marquee stage to keep the inthemix Awards Official After Party in a constant state of party. Canberra-bred boys Peking Duck, Will Sparks and Mix will be aiding the Brothers in making the celebrations appropriately celebratory.

Blackened crust/sludge Melburnians Urns will be joining Milwaukeean hardcore/grind four-piece Enabler on their first ever string of dates on Australian soil. The tour follows the release of Enabler’s latest EP, Shift Of Redemption, and will see the outfit perform alongside Staunch and Deadtown Nothings on Wednesday at the Hamilton Station Hotel in Newcastle before heading to Canberra a day later to play at the Pot Belly Bar with Reigner, Throat Of Dirt and Machina Genova.

38 • For more news/announcements go to themusic.com.au/news

The year has been a big one for Sydney alternative soloist Mammals. After having earned himself a slot at Laneway, earning the title of Unearthed Artist Of The Week and being handpicked for the Of Monsters And Men Australian tour, he’s now going back to basics and headlining his own show at GoodGod this Friday. Melbourne’s Rat And Co. have only just returned from an overseas run of shows supporting Chet Faker. Now that they’re back, they’ll be joining Mammals for this show, along with The Kite String Tangle.

A O-KAY Having received a great response to his debut EP, pulled together a solid new film clip and scored support slots with Matt & Kim and Grey Ghost in amongst a pretty sizeable tour along the East Coast, Citizen Kay jumps back on the live circuit with drummer James this Saturday, where they will perform at FBi Social alongside Beat Club, Moonbase Commander and Beatside. DJ Clockwerk and Special Friends With Benefits will be taking things into the AM from there.

JAR GYPSIES Tackling the live circuit with an acute focus on acoustic venues and folk festivals, Blue Mountains’ bluegrass band Lime and Steel will be sharing their visions of the Australian identity this Saturday at Katoomba RSL. Armed with their inventory of piano accordion, guitarrón, sax and clarinet, Belle Jar will be bringing with them a taste of Parisian culture within their gypsy rhythms and manic fables.

HAVE YOU BEEN TO

BATTLE ROYALE The Hornsby Hotshots band competition is now entering full swing, with this week’s line-up featuring a veritable feast of local talents including Deveaux, Under Night’s Cover, Euryale, Tyrant, Armageddon’s Eve, Arse Eyes, Driverside Airbag and Panachae. As with every round, this event will be taking place Friday at the Ku-Ring-Gai PCYC Performing Arts Centre in Hornsby. On Wednesday, King For A Day, DRS, The Arbitrary Method, Kevin Lynn Blues Project, plus a bunch more will be partaking in Vibrations band comp at Valve Bar, then eight bands will be going head-to-head in the St George Scream band comp on Thursday at the Forest Inn Hotel in Bexley.

POUND OF FLESH Veteran metal band The Amenta are out on their intense Flesh Is Heir national tour to celebrate their new album of the same name, with special guests Ruins sharing in the fun. They touch down at The Stag in Sydney this Friday, before heading south, and be warned that this kind of thing is not for the faint-hearted. They describe their intense sound as “specialised, head-fucking, sonic battery”.

DANCING HEALS Answered By: Jon-Lee Farrell Album title? You Will Never Be Younger Than You Are Now Where did the title of your new album come from? We had this phrase kicking around for a while. It sums us up right now: Being independent, we can make the music we want, without compromise and we might as well because time keeps ticking on! How many releases do you have now? This is our second album, and our first release was an EP, plus a couple of singles off each album. How long did it take to write/record? Just under a year all up - we started demoing right after the first album in August 2012, recorded half in Asheville, North Carolina in October 2012, and finished it in Melbourne in April. Was anything in particular inspiring you during the making? Recording in Asheville was special - a beautiful town with a gigantic church-come-recording studio. The falling leaves, frosty mornings and smalltown hospitality contributed to a pretty relaxed, content mood that transpired on to the record.

With the aid of funding from Arts Victoria, Anna Smyrk & The Appetites are in the midst of recording their debut album, End Of The World As We Know It. There’s still a pretty sizeable ETA for the completion of the album, but Anna and her band of Appetites are now offering the first taste of the forthcoming album with their new single, Apocalypse. Coinciding with the release, they’ll be heading out on a launch tour, and are playing the Old Manly Boatshed this Wednesday. The following evening, Anna will be performing in solo mode at the Artichoke Bar.

BOO-URNS

KITE AND CO.

What’s your favourite song on it? Raise The Dead - it captures exactly what we’re going for; an undefined rock’n’roll wave of sound.

CABIN FEVER With an album set for release very soon, local psych-rock quartet Cabins are offering up a brief sample of the completed contents of said new album this Friday and Saturday at Brighton Up Bar before they head out supporting Cold War Kids on their forthcoming tour. This weekend, Cabins will be supporting Royston Vasie, who are touring off the back of their own new album, Tanah Merah.

Will you do anything differently next time? We’re still chasing that dream of having funding to make a whole album during the one session. Both this record and the first were done in parts. When and where is your launch/next gig? Canberra’s Front Gallery on July 11, then our Sydney launch at Upstairs Beresford on July 12 before Lass O’Gowrie, Newcastle on July 13 and Old Manly Boatshed on July 14. Website link for more info? http://www.dancingheals.net

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

RIFF-FEST

POPPLETON SQUADRON

Retro jazz-blues babe Mojo Juju and her band are shaping up for her last home headlining tour for 2013 before she steps on a plane bound for Europe. She’s playing Lizotte’s in Kincumber this Thursday night, The Standard in Sydney on Friday and Lizotte’s in Newcastle on Sunday.

This Saturday at The Square, 13 metal and punk bands will be playing side-by-side over more than ten hours of pummeling volume and sick riffs. Kicking things off will be Alison’s Disease, followed by Raptrz, Exekute, Yo, Put That Bag Back On, Unrest, Whiskey Smile, Karl Marx, Speedball, Arteries, Topnovil, Darker Half and KILLRAZER. Should you be keen but unavailable for the day’s events, not to worry; each set will be recorded and included in a compilation CD to be released shortly thereafter, titled, of course, Institutionalized Fest.

The roaring ‘20s will be restored this Wednesday at Flying Squadron, as Sydney’s most authentic 1920s singer, Greg Poppleton, is joined by his band The Bakelite Broadcasters, comprising ARIA nominated trumpeter Geoff Power, who also plays the sousaphone, trumpeter and trombonist Al Davey, the banjo-toting Grahame Conlon, Lawrie Thompson on washboard and drums and Paul Furniss spearheading reeds.

PINK AND BLUE Comprised of a collection of talented and well-known musicians including, from Mental As Anything songwriter/bassist Peter O’Doherty, and leading jazz musician Johnathan Zwartz, The Pinks boast not only four different vocalists, but a wealth of instrumental talent. This Friday, the seven-piece super group will be performing at Blue Beat in Double Bay.

Recently making hip hop history as one of the first international artists to perform in Cambodia as part of the Tiger Translate Festival along with his highlight appearance as part of last year’s Vivid Live Elefant Traks Vs Dr Seuss, The Tongue continues his tour off the back of his recently released third album, Surrender To Victory. On Friday, you can catch him launching the album at Baroque in Katoomba and then again at the Small Ballroom in Newcastle on Saturday evening.

JUNGLE AND DUO Sydney duo Bec And Ben are celebrating the release of their new single, This Is Why I Love You, with a string of East Coast dates. Their songwriting and live shows have been honed in the sticky dive bars, pop-up parties and warehouses of Sydney’s Inner West. This Saturday, the edgy duo will be playing alongside The Jungle Giants at The Standard.

GHOSTS OF MELLONWAH

ROUGISH CLOWN In their biggest tour to date, classic rock outfit Scaramouche are targeting any and every lover of music they happen to come across along their extensive travels. The Melbourne-based four-piece have released a four-track EP titled Welcome To The Parlour, and this Wednesday, the accompanying launch tour will bring them to Wollongong, where they’ll be performing at Yours & Owls. The following day, they head to Canberra to play in the Transit Bar, and then on Friday they’ll be in Katoomba to perform at Hotel Gearin before making their way to the Great Northern in Newcastle. From there, they’ll be wrapping up the week at the Catho Hotel in Catherine Hill Bay on Sunday and then on Monday, it’s back to Canberra where this time they’ll be performing at Phoenix Bar.

SONGWRITERS IN THE BRASS

Sydney-based experimental trio No Art have just released their new, hauntingly minimal single, Dead Arm, to be included on an upcoming 7”. The launch of their new single sees them – as per usual – taking on a veritable smorgasbord of venues and localities. This Friday, they’ll be playing alongside Unity Floors, School Girl Report and Lenin Lennon at Black Wire Records, and on the following day, they’ll be heading to North St. Café in Bateman’s Bay, once more with School Girl Report, as well as Making and Corpus.

EP FOCUS

A collection of multi-award-winning and acclaimed Australian singers and songwriters are joining forces at the Brass Monkey in Cronulla Wednesday to present Songwriters In The Round – a unique take on the live musical experience. Allan Caswell, Lachlan Bryan, Aleyce Simmonds and Kate Brianna will not only be offering up their talents as musicians, but also honing their craft as storytellers in a unique and intimate experience. Each performer will regale the crowd with the stories behind each song performed, for a more in-depth listening experience.

MUSIC

DEAD ART

Was anything in particular inspiring you during the making? Memory, nostalgia, heartbreak, loss. Mad Men. Red wine. Middle-twenties angst and a sense of things ending, of a certain period of your life slipping away. What’s your favourite song on it? Fill Me In. I like the way the song builds and the sense of being on the edge of something. We’ll like this EP if we like... Atmospheric, crafted widescreen indie-pop with a melodic heart. Think Bon Iver, Grizzly Bear, M83, The National, Art Of Fighting.

Answered By: Thomas Popple Suburb: Potts Points What’s the capacity? 350

HOT DANCE

What’s the best thing about the venue? Excellent Japanese-inspired décor, with cherry blossoms painted all over the walls. In the botanical courtyard we have a jacaranda tree standing as a centrepiece, and a plush front balcony with fake grass.

Melbourne pop rockers Masketta Fall are playing at Hot Damn on Thursday, the Loft in Newcastle on Friday before ending the week in Canberra at the Woden Youth Centre.

Why should punters visit you? Because we have been reviewed by many as the best Japanese restaurant in Sydney. We serve top class food, plus we have great drink and food specials for live music.

What’s the history of the venue? It’s located on the infamous Bayswater Road in Kings Cross, so the building has plenty of history.

DIVER DAYS Melbourne bedroom-pop quartet Dick Diver are touring their new album, Calendar Days, which sees take on the Red Rattler Saturday night.

Chef: Executive chef Taichi Ito comes with serious provenance, having previously worked as the executive Japanese chef at the Stamford Plaza, Brisbane.

BROWNE CUBED

What is your venue doing to help the local music scene? Every Sunday we host Live Sundays, which aims to give upcoming artists the opportunity to create a warm atmosphere.

The latest full-length album from contemporary jazz outfit The Allan Browne Trio – Lost In The Stars – has just been released. The trio will be launching it in the Seymour Centre this Saturday.

MESSAGE IN THE BOTTLE Bonez continue their Friday night reign at the Oxford Art Factory as part of a month-long residency, their Booze Blues single launch and Wet July campaign with Sailor Jerry raising money for the Music Outback Foundation. This Friday, they have long-time touring buddies CREO in support alongside Bin Juice.

What are some of the highlights? Chef Highlight: Ito once served Snoop Dog with his famous crispy chicken karaage with wasabi mayo. Snoop was very impressed. Website link for more info? http://www.cranebarrestaurant.com Address: 32 Bayswater Road

EP FOCUS

Lorin Reid discovers how a night of madness helped Josh Simons from Buchanan tie his latest album together. delirium, he scrawled a short story about a lonely soldier on their whiteboard that accidentally became the key to pulling the whole record together. “It was just something fun that we had in the studio and we kind of didn’t know how much it would end up being a part of the songs… any time we were stuck for lyrics we’d refer back to that story and it’d help us get back on track,” Simons explains.

Answered By: Ryan Linnegar How many releases do you have now? A full-length album (2010’s Lumieres) and one EP.

CRANE BAR RESTAURANT

Fresh from a US tour, Sydney-based alt-rock outfit Monks of Mellonwah are celebrating signing a new partnership with A&R Worldwide for the release of Ghost Stories – the first of three instalments of their debut album, Turn The People. This Thursday, they’ll be playing in Windsor at The Fitzroy.

DEFYING DARKNESS

FOUND AT SEA EP Title? The Coloured Heart

HEAVY AFFAIR Following the success of their 2011 debut album, Melbourne-based hardcore outfit Dream On, Dreamer have just dropped their second album, Loveless, so the five-piece are jumping onto what could easily referred to as one of the biggest hardcore lineups of the year, supporting US hardcore heavyweights A Day To Remember and The Devil Wears Prada at the Horden Pavilion this Saturday.

SURRENDER TO SEUSS

HAVE YOU BEEN TO

Four-piece Melbourne band Buchanan have tackled the timely concept of a universal uprising or joyful revolution on their debut album, Human Spring, and although the cover art paints a picture of civil unrest, there’s a juxtaposition of brightness to the music inside that tells another story. “Rather than be miserable about all this stuff and write a really dark war album, we thought it could actually be really positive,” says lead singer and songwriter Josh Simons. “It’s kind of like a big finger up to the negativity. Rather than absorbing yourself in darkness, let’s celebrate being alive. That’s why the songs are so uplifting and so upbeat.”

When and where is your launch/next gig? We are launching the EP on Thursday 11 July at Brighton Up Bar in Darlinghurst. With support from Goodbye Pola and Indian Gun.

Simons co-wrote most of the tracks with guitarist Luke Shields and heavyweight producer Catherine Marks focused on making each track sonically different but also on creating a cohesive album that could be listened to front to back.

Website link for more info? http://www.facebook.com/foundatsea

The band recorded over half of the tracks in Simons’ own studio garage where one night, in a state of

The band’s new single and album title track features their displaced soldier wandering seamlessly through the war-cry of the coda, but takes on yet another layer of meaning when paired with its lighthearted, small-town talent quest music video. “We shot the video for Human Spring and we basically didn’t like it and had about a week before it was coming out and we were getting a bit scared thinking, ‘shit what are we going to do?’” Simons put a call out to production companies, giving them just 24 hours to pitch something new and luckily they struck gold with Jerry Projects. “We said is there any way we can get this shooting by next weekend and they said no and I said cool, I’ll see you on set!” Simons laughs. “We pulled it together in a ridiculous amount of time, editing it in two days, which is pretty much unheard of… We just went for it, we couldn’t not make a good video; it was too important”. WHO: Buchanan WHAT: Human Spring (Independent) WHEN & WHERE: Thursday 11 July, The Coolangatta Hotel; Friday 12, Old Manly Boatshed; Saturday 13, GoodGod Small Club

MOROCCAN KNIGHTS Answered By: Josh Rawiri EP Title? Moroccan Knights How many releases do you have now? This is the Moroccan Knights’ debut EP! Was anything in particular inspiring you during the making? The creative space where the band members’ musical backgrounds and passions meet Hayden’s (Joyce – drums) love of punk, Kris’ (McDonald – guitar) abstract electric guitar and my thirst for freedom of expression. What’s your favourite song on it? The focus track off the EP, Astral Travel. It’s a song you feel enraptured by. We’ll like this EP if we like... Jon Spencer Blues Explosion, Kings Of Leon, The Black Keys, Canned Heat and The Strokes When and where is your launch/next gig? Moroccan Knightsl Sydney EP Launches, Thursday 11 July at The Forresters with Sarah Bird, and Sunday 14 July at Coogee Diggers Club. Website link for more info? http://www.facebook.com/moroccanknights

For more news/announcements go to themusic.com.au/news • 39

SWEET THING

[THE GUID IDE] f o o d

Cyclone susses out exactly what it is about the doughnut that’s making mouths water, and chats to celebrity patissier Adriano Zumbo about his version, dubbed the ‘zonut’.

FIVE SWEET FOOD FADS

“DONUTS. IS THERE ANYTHING THEY CAN’T DO?” - HOMER SIMPSON

MACARONS

FROZEN YOGURT

n his influential tome, The Structures Of Everyday Life, French historian Fernand Braudel charted the introduction of chocolate into Western society, in the process revealing gradual changes in both consumption and cultural values. The socioeconomics of chocolate, the original ‘It’ sweet, are bound up with colonisation - the Spanish conquistadors bringing cacao beans to Europe from Meso-America in the 1500s - and class, with the beverage initially enjoyed by aristocrats. Europeans added sugar and milk and, by the Industrial Revolution, had solidified, and ‘democratised’, chocolate. Today’s mass market can assuage guilty consciences about past slavery by purchasing organic Fairtrade chocolate. And Lindt’s chilli-flavoured chocky is no hipster fetish – that’s how the Aztecs dug it. Chocolate isn’t even so indulgent anymore, the dark variety containing ‘healthy’ antioxidants. So what would Braudel think of contemporary micro-food trends? In recent times any number of nutritional superfoods have become fashionable – quinoa, goji berries, edamame beans. Conversely, there’s also been a succession of decadent and sweet fads – the cupcake, macaron and churro, a Spanish doughnut. However, the mania for the cronut, a hybrid of the croissant and the doughnut, is unprecedented. Is it all a backlash to the War On Obesity? Or are people treating themselves to (relatively) affordable indulgences amid economic uncertainty? Sydney’s charismatic celebrity patissier (and MasterChef guest) Adriano Zumbo, who’s done much to rebrand macarons (aka Zumbarons), has his theory. “I think it’s the fact that sweet treats are an indulgent item and we need that naughty treat every now and then. It makes us happy and gives us instant satisfaction. We are almost drawn towards desserts and sweet treats because we know they are ‘naughty’ and we shouldn’t have them. Also, life needs balance, so it’s a must after every savoury meal to balance it with something sweet.” Mass dessert obsessions aren’t so new. In the ‘70s carrot cake with cream cheese icing was novel. In 2013, social media, as well as the popularity of cookery shows (food porn!), are driving hyper trend after hyper trend. At the same time, boutique bakeries and patisseries

must stay cutting-edge – and competitive. Some are tapping into nostalgia by reinventing old favourites.

The mania for the cronut, a hybrid of the croissant and the doughnut, is unprecedented.”

The doughnut has long spawned global variations (the Japanese have a bean paste one), but latterly it’s been given an artisan makeover. The cronut is the invention of New York pastry chef Dominique Ansel. He premiered the deep-fried treated pastry dough with flavoured cream filling and glaze at his SoHo bakery in May, attracting not only early morning queues, but also scalpers. Ansel, who makes just 200 of the “labour-intensive” delicacies a day, has imposed customer quotas. Moreover, cronuts need to be scoffed down quickly, having a short shelf life. A “premium” delivery service (not sanctioned by Ansel) has sprung up, with fanatics paying US$100 for a $5 pastry. The cronut has gone viral. Ansel, a shrewd monopolist, trademarked his portmanteau in the US early. The media has dubbed the cronut a “Frankenstein pastry” – and it is rather dichotomous, mashing up a modern French culinary tradition with an American fast food classic. High- meets pop-culture.

FONDUE

BUBBLE TEA

FOOD TRIPPIN’ EATING AROUND THE USA WITH SOFIE MUCENIEKAS AND LLOYD HONEYBROOK

Inevitably, we now have local versions. The bourgie MoVida Bakery in South Yarra, Melbourne is offering the ‘dossant’, its name determined through a Twitter contest, with such fillings as lemon curd, raspberry and, yep, salted caramel. Dossants typically sell out before noon, costing $5. Zumbo, too, has put his own spin on the phenomenon, presenting the zonut at his Rozelle, Sydney café. “It’s been a little tricky trying to get the correct ratios – to get the right fat balance and flakiness,” he admits. “We have also had some problems with shrinkage.” Still, Zumbo is happy with the reception. “There has been a great response to the zonut. We change the flavours every week to keep it exciting. There have only been one or two negative comments, but it can be tricky sometimes because [zonuts] are best eaten within four to five hours after frying, otherwise they start to go soggy.” Zumbo’s approach to hip desserts has already proven egalitarian. He launched an innovative home baking kit range in supermarkets, including one for salted caramel macarons. Indeed, as the carrot cake is now ubiquitous, so is the macaron. McCafés have them. Alas, Ansel, the cronut mastermind, is not flattered by imitators, lashing out at “copycats” (shouldn’t that be “biters”?) on Twitter. What, then, will be next sweet craze? Could it be the whoopie pie – a cookie-cum-cake sandwich the Amish created that is to the macaron what the doughnut is to the croissant? Perhaps, if their quasi-exclusivity hasn’t been forfeited. Betty Crocker is currently marketing a packet mix with the sticker, “Move over macarons, whoopie pies have arrived”. Or did they miss the party?

40 • To check out the mags online go to themusic.com.au/mags

CUPCAKES

The doughnut (or ‘donut’) is an American icon. There’s actually a National Doughnut Day, which raises funds for the Salvos. The doughnut has its genesis in 1800s America, with Dutch immigrants preparing olykoeks (“oily cakes”), a hit in the Great Depression and as a comfort food for American soldiers in wartime. Entrepreneurs were soon all over the doughnut – with or without a hole or fillings, flavourings and toppings. Vernon Rudolph founded Krispy Kreme in Winston-Salem, North Carolina in the late ‘30s, purportedly winning the secret recipe from a French chef in a poker game. Australia would be the first country outside of North America to land a franchise, the famous Original Glazed Doughnut on sale in Sydney from 2003. On opening, the Krispy Kreme store at Chadstone, Victoria had long lines and garnered much publicity, but, inexplicably, the demand dropped off. Krispy Kreme entered voluntary administration three years ago. Suburban outlets closed – though they remain at airports and Krispy Kreme doughnuts are available at 7-Eleven and online.

Portt lan nd Went for brekky at Kenny & Zuke’s. Mac’n’cheese, breakfast dog, pastrami, kraut, mustard Reuben sandwich & a root beer float! w @lloydhoneybrook #brutal #nystylz — with Lloyd James Honeybrook

[THE GUID IDE] g i g s

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

TOUR GUIDE

PLUTO JONZE: Aug 23 Yours & Owls; 24 Goodgod Small Club; 31 Small Ballroom Newcastle CLOUD CONTROL: Aug 28 ANU Bar Canberra; Sep 10 Wollongong Uni Bar; 11 Bar On The Hill Newcastle; 12 Metro Theatre

THE STIFFYS: Aug 8 Yours & Ours; 9 Brighton Up Bar

PRESENTS

THE PAPER KITES: Aug 30 Small Ballroom Newcastle; 31 Metro Theatre

YOU AM I: Jul 19, Aug 1 Enmore Theatre; Jul 20 UC Refectory Canberra; Aug 2 Panthers Newcastle; 3 Waves Wollongong HAIM: Jul 24 The Hi-Fi SURFER BLOOD: Jul 26 Oxford Art Factory AIRBOURNE: Jul 26 ANU Bar Canberra; 27 The Hi-Fi SLEEPMAKESWAVES: Jul 27 Annandale Hotel

ILLY: Sep 14 Metro Theatre

BABYSHAMBLES: Jul 28 Enmore Theatre

PEACE: Sep 17 Zierholz @ UC; 18 Beach Road Hotel; 19 Newcastle University; 20 Wollongong University; 21 Oxford Art Factory

CLARE BOWDITCH: Aug 1 Lizotte’s Dee Why; 2 The Small Ballroom Newcastle; 3 Factory Theatre JAGWAR MA: Aug 2 The Standard DIALECTRIX: Aug 2 Cambridge Hotel; 3 The Standard KARNIVOOL: Aug 4 Big Top Luna Park

LACHLAN BRYAN: Jul 10 Brass Monkey

THE STIFFYS: Aug 8 Yours & Ours; 9 Brighton Up Bar

DANCING HEALS: Jul 10 Basement Canberra; 11 Front Gallery Canberra; 12 Upstairs Beresford; 13 Lass O’Gowrie; 14 Manly Boatshed

SHAPESHIFTER: Aug 9 Metro Theatre COSMIC PSYCHOS: Aug 10 Metro Theatre

MASKETTA FALL: Jul 11 Hot Damn; 12 The Loft Newcastle; 13 Woden Youth Centre

JOSH PYKE: Aug 22 Small Ballroom Newcastle; 23 Enmore Theatre; 24 Unibar Wollongong

MOJO JUJU: Jul 11 Lizotte’s Kincumber; 12 The Standard; 14 Lizotte’s Newcastle

THE REAL MCKENZIES, THE GO SET: Sep 4 ANU Bar Canberra; 5 Manning Bar DEAD LETTER CIRCUS: Sep 4 Zierholz @ UC; 5 Metro Theatre; 6 Waves Wollongong; 7 Cambridge Hotel

COLD WAR KIDS: Jul 29 Metro Theatre

NATIONAL

JAPANDROIDS: Aug 31 Manning Bar

EVERYTHING EVERYTHING: Jul 27 Metro Theatre

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

CLAIRY BROWNE & THE BANGIN’ RACKETTES: Jul 9 Lizotte’s Newcastle; 10, 11 Vanguard; 12 Clarendon Guesthouse; 13 Heritage Hotel Bulli; 25 Moonshine Manly; 27 The Basement; 28 Brass Monkey

BIG SCARY: Aug 30 Factory Theatre; 31 Zierholz @ UC

RUDIMENTAL: Sep 18 UC Refectory Canberra; 24, 25 Enmore Theatre JINJA SAFARI: Sep 18 ANU Canberra; 19 Uni Bar Wollongong; 20 Cambridge Hotel; 21 Metro Theatre HORRORSHOW: Sep 19 ANU Bar Canberra; 20 Metro Theatre FOALS: Sep 28, 29 Enmore Theatre XAVIER RUDD: Oct 4 Big Top Luna Park BOY & BEAR: Oct 24 ANU Bar Canberra; 25 Enmore Theatre; Nov 15 Waves Wollongong FAT AS BUTTER: Oct 26 The Foreshore Newcastle THE BREEDERS: Oct 28 Enmore Theatre

JEN CLOHER: Jul 12 Oxford Art Factory THE KITE STRING TANGLE: Jul 12 Goodgod Small Club

TUE

BUCHANAN: Jul 12 Old Manly Boatshed; 13 Goodgod Small Club THE AMENTA: Jul 12 Bald Faced Stag ROYSTON VASIE: Jul 12, 13 Brighton Up Bar SEA LEGS: Jul 12 Small Ballroom Newcastle; Aug 7 Spectrum

9 JULY 2013

MONKS OF MELLONWAH: Jul 12 The Fitzroy; Aug 3 Annandale Hotel; 14 Yours & Owls; 16 Australian Brewery Rouse Hill NO ART: Jul 12 Black Wire Records; 13 North St Batemans Bay; 14 Hollywood Hotel; 19 Croatian Club Newcastle THE TONGUE: Jul 12 Baroque Katoomba; 13 The Small Ballroom Newcastle; 19 The Basement; 20 Mona Vale Hotel FRENZAL RHOMB: Jul 12 Manning Bar; Aug 9 Carmen’s Miranda; 10 Mona Vale Hotel DICK DIVER: Jul 13 Red Rattler; 27 Transit Bar Canberra BEC & BEN: Jul 13 The Standard CITIZEN KAY: Jul 13 FBi Social Club POLO CLUB: Jul 13 Transit Bar Canberra; Aug 1 Oxford Art Factory; 2 Yours & Owls BUFFALO TALES: Jul 14 Lizotte’s Kincumber ATLAS GENIUS: Jul 17 Oxford Art Factory WHITLEY: Jul 18 Oxford Art Factory SWEET JEAN: Jul 18 Newsagency MEZZANINE: Jul 18 FBi Social Club WHITLEY: Jul 18 Oxford Art Factory NEW MANIC SPREE: Jul 18 Brighton Up Bar SIMON MELI & THE WINDOWBIRDS: Jul 18 Vanguard; 19 Rooty Hill RSL; 21 Beaches Hotel Thirroul; Aug 8 Brass Monkey; 9 Cambridge Hotel; 10 Coast Hotel BEARS WITH GUNS: Jul 18 Goodgod Small Club 22 Phoenix Canberra; 25 Brighton Up Bar; Aug 9 Gearin Hotel Katoomba GREEN STONE GARDEN: Jul 19 Brighton Up Bar TWINCEST: Jul 19 Goodgod Small Club NICHOLAS ROY: Jul 19 Factory Theatre KIM & BENI: Jul 19 Goodgod Small Club INDIAN SUMMER: Jul 19 World Bar, OneFiveOne Wollongong; 21 King Street Hotel ISAAC GRAHAM: Jul 19 Yours & Owls; 26 The Bunker Coogee; 27 Lass O’Gowrie; Aug 14 Lizotte’s Kincumber; 15 Phoenix Bar Canberra; 16 August Black Wire Records YOU AM I: Jul 19, Aug 1 Enmore Theatre; Jul 20 UC Refectory Canberra; Aug 2 Panthers Newcastle; 3 Waves Wollongong LO!: Jul 20 Spectrum

Open Mic Night+Various: Avoca Beach Hotel, Avoca Beach Tjintu Desert Band + Radical Son: Bathurst Memorial Entertainment Centre, Bathurst Fresh Sounds+Various: Dome Bar, Surry Hills Champagne Jam - Open Mic Night+Various: Dundas Sports Club, Dundas Open Mic Night with Black Diamond: George IV Hotel, Picton SongsOnStage feat. Chris Raicevich + Sandra Kelly: George IV Hotel, Picton Clairy Browne & The Bangin’ Rackettes + Chris Russell’s Chicken Walk: Lizottes Newcastle, New Lambton Yelawolf + Guests: Metro Theatre, Sydney Carl Fidler: Observer Hotel, The Rocks Co-Pilot: Orient Hotel, Sydney Brassholes: Rose Of Australia, Newtown SongsOnStage feat. Angelene Harris + Men with Day Jobs + Groove Sharp + Jasmin Jones + Sundown Shamans + Sarah Wilkins: Tea Gardens Hotel, Bondi Junction

RESTLESS LEG: Jul 20 Brighton Up Bar TJINTU DESERT BAND: Jul 20 Street Theatre Canberra

WED

LEE KERNAGHAN: Jul 20 Royal Theatre Canberra; Aug 9 Penrith Panthers; 10 Newcastle Wests Leagues Club SARAH BLASKO: Jul 22 The Playhouse; 23 Joan Sutherland Performing Arts Centre Penrith; 24 City Hall Newcastle

10 JULY 2013

MISS ELM: Jul 24 Brighton Up Bar DAVID BRIDIE: Jul 25 Clarendon Guethouse; 26 The Basement; 27 Lizotte’s Kincumber; 28 Lizotte’s Newcastle AIRBOURNE: Jul 26 ANU Bar Canberra; 27 The Hi-Fi ANTHONY CALLEA: Jul 26 Bankstown Sports Club; 27 Dee Why RSL; Aug 2 South Sydney Juniors; 3 Belmont 16 Foot Sailing Club BEN SALTER: Jul 26 Petersham Bowls Club; 27 Front Gallery Canberra OUR LAST ENEMY: Jul 27 Venom SLEEPMAKESWAVES: Jul 27 Annandale Hotel MARGRET ROADKNIGHT: Jul 27 Venue 505; 31 Royal Exchange Hotel Newcastle DEEZ NUTS: Jul 28 Bald Faced Stag TEENAGE MOTHERS: Jul 30 Flinders Hotel BERNARD FANNING: Jul 30 Newcastle Civic Theatre; Aug 1 Anita’s Theatre Wollongong; 2 Enmore Theatre; 4 Royal Theatre Canberra; Nov 2 Bimbadgen Winery Hunter Valley SHELLEY SEGAL: Aug 1 Blue Beat CASTLECOMER: Aug 1 Oxford Art Factory; 30 Yours & Owls; 31 Transit Bar Canberra CLARE BOWDITCH: Aug 1 Lizotte’s Dee Why; 2 The Small Ballroom Newcastle; 3 Factory Theatre PSYCROPTIC: Aug 1 Cambridge Hotel; 2 Bald Faced Stag EGO: Aug 1 UNSW Roundhouse; 29 Goodgod Small Club SAM BUCKINGHAM: Aug 1 Front Gallery Canberra; 3 Hibernian House Surry Hills; 7 Lizotte’s Kincumber; 10 Royal Exchange Theatre Newcastle; 28 Lizotte’s Dee Why JAGWAR MA: Aug 2 The Standard OSCAR KEY SUNG: Aug 2 Goodgod Small Club Small Club DIALECTRIX: Aug 2 Cambridge Hotel; 3 The Standard DIVA DEMOLITION: Aug 2 Factory Floor Marrickville; 3 ANU Bar Canberra

Greg Coffin Trio + Casey Golden Trio: 505, Surry Hills The Smith: Artichoke Gallery Cafe, Manly Ezee G: Bar Petite, Newcastle Bernie Dingo: Beach Road Hotel (Valley) , Bondi Beach Lachlan Bryan: Brass Monkey, Cronulla Lior: Camelot Lounge, Marrickville Songs On Stage feat. Angelene Harris + Patrick Arnold: Cat & Fiddle Hotel, Balmain SongsOnStage feat. John Chesher + Mike Meissner + Gavin Fitzgerald: Coach & Horses Hotel, Randwick Stephanie Jansen: Coogee Bay Hotel, Coogee Sydney Jazz Jam feat. various: Dome Bar, Surry Hills Ben Finn Duo: Ettamogah Hotel, Kellyville Ridge Marshall Okell: Jindabyne Bowling & Sports Club, Jindabyne

42 • To check more gigs online go to themusic.com.au/theguide

FBi Social feat. Achoo! Bless You + Ocean Leaves + Laura Attwood + The Max Quintet: Kings Cross Hotel, Kings Cross The Silver Dollars + Adam Miller: Lass O’Gowrie, Wickham Live & Local feat. Jen Corben + Insider + more: Lizottes Central Coast, Kincumber Ben Ottewell (Gomez) + Matt Walker: Lizottes Newcastle, New Lambton Live & Local feat. Will Taylor + Katie Woodland + Super Match Game: Lizottes Sydney, Dee Why Andy Mammers Duo: Maloneys Hotel, Sydney Dan Spillane: Mean Fiddler Hotel, Rouse Hill JP Duo: O’Malleys Hotel, Kings Cross Alex Cannings: Observer Hotel, The Rocks Anna Smyrk And The Appetites: Old Manly Boatshed, Manly Souled Out: Orient Hotel, Sydney Wildcatz: Orient Hotel, Sydney Darren Heinrich Trio: Play Bar, Surry Hills The Lonely Boys: Scruffy Murphy’s, Sydney Nova Tone: St George Leagues, Kogarah Alex Hopkins: Summer Hill Hotel, Summer Hill World Music Wednesday feat. Keyim Ba: The Basement, Circular Quay Engelbert Humperdinck: The Event Centre, Pyrmont Cass Eager: The Station, Jindabyne Clairy Browne & The Bangin’ Rackettes + Chris Russell’s Chicken Walk: The Vanguard, Newtown Lionel Cole: The White Horse Hotel, Surry Hills Vibrations+King For A Day + DRS + Arbitrary Method + Kevin Lynn Blues Project: Valve Bar & Venue, Tempe Scaramouche + Thomas Covenant: Yours & Owls, Wollongong

THU 11 JULY 2013 The Gypsy Dub Sound System: 505, Surry Hills Anna Smyrk And The Appetites: Artichoke Gallery Cafe, Manly Rose of York + Jo Fabro + Swords: Brass Monkey, Cronulla Found At Sea + Goodbye Pola + Indian Gun: Brighton Up Bar, Darlinghurst Christa Hughes + Ben Fink: Camelot Lounge, Marrickville Angelene + Michael Anderson: Coach & Horses Hotel, Randwick

Klay: Coogee Bay Hotel, Coogee Joe Echo: Dee Why Hotel, Dee Why The Wiggles: Enmore Theatre, Enmore St George Scream+Various: Forest Inn Hotel, Bexley SongsOnStage+Peach Montgomery + Bonnie Kay: Forest Lodge Hotel, Forest Lodge The Catholics: Foundry 616, Ultimo Massive: Frankies Pizza, Sydney Yes Please 2nd Birthday feat. Cosmo’s Midnight + I’lls + Guerre + Fishing: Goodgod Small Club, Sydney Greg Agar: Harbord Beach Hotel, Freshwater David Agius: Hillside Hotel, Castle Hill Open Mic feat. Michael McGlynn and various: Kirribilli Hotel, Milsons Point The Delta Lions + Jen Buxton + Brad Vincent + Nathan Seeckts + Tim Hampshire: Lass O’Gowrie, Wickham The Mis-Made + Boxing With Ghosts + Tiffany Britchford: Lewisham Hotel, Lewisham Mojo Juju: Lizottes Central Coast, Kincumber Turn The Page with Travis Collins + Luke Dickens + Luke Austen + Liam Brew: Lizottes Newcastle, New Lambton Light My Fire - The 42nd Anniversary of Jim Morrison. A Tribute to The Doors feat. various: Lizottes Sydney, Dee Why Heath Burdell Trio: Maloneys Hotel, Sydney Kye Brown: Manly Leagues Club, Brookvale Stafford Brothers + Peking Duk + Will Sparks + DJ Minx: Marquee, Pyrmont Ray Beadle & The Silver Dollars: Miss Peaches, Newtown Ziggy: Newport Arms Hotel, Newport Open Mic feat. Alex Hopkins + Various: Northies, Cronulla Redlight Ruby: O’Malleys Hotel, Kings Cross Cambo: Observer Hotel, The Rocks Dave White Duo: Orient Hotel, Sydney Oliver Tank: Oxford Art Factory, Darlinghurst Neda + Kate Martin: Oxford Art Factory (Gallery Bar) , Darlinghurst The Other Guys : Penrith Hotel, Penrith Sleepmakeswaves: Port Macquarie Hotel, Port Macquarie Bounce: Scruffy Murphy’s, Sydney Hot Damn! feat. Masketta Fall + more: Spectrum, Darlinghurst Nova Tone: St George Leagues, Kogarah Staff Picks feat. various: The Annandale, Annandale

Ben Ottewell (Gomez) + Matt Walker: The Basement, Circular Quay AGT: The Exchange Hotel, Hamilton Luke Russell & the Proposition: The Green Room, Enmore The Jed Rowe Band: The Rails, Byron Bay Jake Meadows: The Spice Cellar, Sydney The Ramalamas: The Town and Country Hotel , St Peters Clairy Browne & The Bangin’ Rackettes + Chris Russell’s Chicken Walk: The Vanguard, Newtown Panorama: Three Wise Monkeys Pub, Sydney Decadence Of Cain + Hustle Bones + Gentleman’s Agreement + Sounds of Coma + The Super Super: Valve Bar & Venue, Tempe

Fred Smith & Liz Frenchman: Cat & Fiddle Hotel, Balmain KG Duo: Cessnock Supporters Club, Cessnock Talk of The Town: Charlestown Bowling Club, Charlestown Ted Nash: Chatswood RSL, Chatswood Clairy Browne & The Bangin’ Rackettes: Clarendon Guest House, Katoomba Mesa Groove: Club Cronulla, Cronulla Robbie Urquhart Duo: Club Singleton, Singleton Tim Pringle: Collingwood Hotel (Afternoon) , Liverpool Big Ben: Coogee Bay Hotel (Beach Bar) , Coogee Krishna Jones: Coogee Diggers, Coogee Bruce + Special Patrol Group + The Heapsgoods + Hockey Dad: Corrimal Hotel, Corrimal Craig Thommo: Courthouse Hotel, Darlinghurst David Agius Duo: Cronulla RSL, Cronulla Flamin’ Beauties: Crown Hotel, Sydney James Fox Higgins Trio + Black Diamond Hearts: Crows Nest Hotel, Crows Nest Renae Stone: Customs House Bar, Circular Quay Mandi Jarry: Dee Why Hotel, Dee Why Headbutt + Skips + Dreamkillers: Dicey Riley’s Hotel, Wollongong Clowns: Dolphins Hotel, Tweed Heads Dream Tambourine feat. Mark Wells: Duke of Wellington Hotel, New Lambton Muddy Feet: East Hills Hotel, East Hills Boston Blue: Engadine Tavern, Engadine Michael Peter: Ettalong Beach Club, Ettalong Beach

Duelling Pistols: Lakeside Village Tavern , Raymond Terrace Holly Who + Twin Lakes + Adam Miller: Lass O’Gowrie, Wickham Ben Ottewell (Gomez) + Matt Walker: Lizottes Central Coast, Kincumber Ziggy - The Songs of David Bowie: Lizottes Newcastle, New Lambton Rai Thistlethwayte: Lizottes Sydney, Dee Why Paul Greene: Manly Leagues Club, Brookvale Nathan Cole: Manly Leagues Club, Brookvale Frenzal Rhomb + Bloods + Batfoot: Manning Bar, Camperdown Ignition: Marlborough Hotel, Newtown Super Square: Marquee, Pyrmont The Affairs Trio: Mean Fiddler Hotel, Rouse Hill Mary Mary + The Commission: Metro Theatre, Sydney Matt Price + Tony Williams: Mona Vale Hotel, Mona Vale Peppermint Jam: Moorebank Sports Club, Hammondville The Gaudrys: Nelson Bay Diggers Club, Nelson Bay Armchair Travellers Duo: North Sydney Leagues, Cammeray Zoltan & Paul: Northies (Beach Bar) , Cronulla Ben Finn: Northies (Sports Bar) , Cronulla Aaron Hood: Northumberland Hotel, Lambton One Hit Wonders: O’Donoghues, Emu Plains Dave Phillips: O’Malleys Hotel, Kings Cross Rob Mackenzie: Oasis on Beamish Hotel, Campsie Fallon Brothers + Rob Henry: Observer Hotel, The Rocks

BEN OTTEWELL: Jul 10 Lizotte’s Newcastle; 11 The Basement; 12 Lizotte’s Kincumber; 13 Brass Monkey

FRI 12 JULY 2013 Kristen Fletcher Trio: 99 On York , Sydney Stephanie Grace: Abattoir Blues Cafe , Olympic Park Elisa Kate: Absolute Thai, Charlestown Otto Marr & Nigel Hearn: Artichoke Gallery Cafe, Manly Bluesangles: Avoca Beach Hotel, Avoca Beach The Amenta + Ruins + Ouroboros + Dead River Runs Dry: Bald Faced Stag, Leichhardt Ange: Bankstown Hotel, Bankstown Angelene: Bar 100, The Rocks Tim Rossington: Bar Petite, Newcastle DJ Greg Perano: Beach Road Hotel (Public Bar) , Bondi Beach The Midnight Drifters: Belmont 16’s, Belmont Mick Jones: Belmore Hotel, Maitland No Art + Unity Floors + School Girl Report + Lenin Lennon: Blackwire Records, Annandale The Pinks: Blue Beat, Double Bay Classic Rock Show feat. Barry Leef Band: Brass Monkey, Cronulla Chasin The Train : Bridge Hotel, Rozelle Royston Vasie + Cabins: Brighton Up Bar, Darlinghurst The Australian Guns n Roses Show: Bull & Bush, Baulkham Hills Lior: Camelot Lounge, Marrickville The Tongue + Special Guests: Carrington Hotel, Katoomba

Mick Flannery + Guests: Factory Theatre, Marrickville Riley Beech: Figtree Hotel, Wollongong Monks Of Mellonwah: Fitzroy Hotel, Windsor Scaramouche: Gearin Hotel, Katoomba Marty Stewart: General Gordon Hotel, Sydenham Darren Powell: Gibraltar Hotel (Harvey’s Bar) , Bowral The Jed Rowe Band: Gollan Hotel, Lismore Mammals + Rat & Co + The Kite String Tangle: Goodgod Small Club, Sydney Jamie Lindsay: Harbord Beach Hotel, Freshwater Gary Johns Duo: Hillside Hotel, Castle Hill Hornsby Hotshots feat. Deveaux + Under Night’s Cover + Euryale + Tyrant + Armageddon’s Eve + Arse Eyes + Driverside Airbag + Panachae: Hornsby Kur-ing-gai PCYC, Hornsby OMG! Duo: Hotel Jesmond, Jesmond The Rock Monsters: Kiama Leagues Club, Kiama Fun Machine + Bell Weather Department + Footsies and the Psychos + Borneo: Kings Cross Hotel, Kings Cross Heath Burdell: Kings Cross Hotel, Kings Cross Joe Echo Trio: Kirribilli Hotel, Milsons Point Terry Batu: Lakemba Ex-Services Club, Lakemba

The Levymen: Ocean Beach Hotel, Shellharbour Chickenstones + Hell Crab City + White Devil + Buchanan: Old Manly Boatshed, Manly Shivoo: Orana Hotel, Blacksmiths Jen Cloher + Melodie Nelson + Courtney Barnett: Oxford Art Factory, Darlinghurst Bonez + Creo + Bin Juice: Oxford Art Factory (Gallery Bar) , Darlinghurst Hooray For Everything: Padstow RSL, Padstow Panorama Duo: Parramatta Leagues, Parramatta Klay: Parramatta RSL, Parramatta Backlash: Penrith Gaels, Kingswood La Vista: Petersham Bowling Club, Petersham Stephanie Jansen: Quakers Inn, Quakers Hill Jazz Nouveau: Revesby Workers, Revesby Souled Out: Scruffy Murphy’s, Sydney Time Machine: Seven Hills/Toongabbie RSL, Seven Hills Happy Hippies: Seven Hills/Toongabbie RSL, Seven Hills The Lamps + Mistaken: Silk Hotel, Maitland Spit Syndicate + Empire Rising + Special Guests : Sphere Nightclub (Licensed All Ages) , Sutherland

gigs

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

As a Rival+Siamese Amelda + The Ivory Drips + The Marionettes + Magnus: The Annandale, Annandale Lucky Luke & His Shooting Stars: The Basement, Circular Quay The Jimi Hendrix Live Experience: The Beach Club, Collaroy Grand Theft Audio: The Exchange Hotel, Hamilton Sierra Fin + Maples: The Green Room, Enmore Masketta Fall: The Loft, Newcastle Haze Trio: The Mark Hotel, Lambton Angelene + Michael Anderson: The Palace Hotel , Haymarket Ungus Ungus Ungus + The Cupcake Conspiracy + Bad Valley + Dr Kong & The Stem Cells + more: The Rhythm Hut, Gosford Sea Legs: The Small Ballroom, Newcastle Tornado Wallace: The Spice Cellar, Sydney DJ Degustation + Sam Francisco: The Spice Cellar, Sydney Mojo Juju: The Standard, Surry Hills Sonia Strano + Devotional + Luke O’Farrell: The Vanguard, Newtown Gus n Ella: The Vineyard Hotel, Vineyard Jim Overend: The Windsor Castle Hotel, Newcastle Apollo Apples + BMXicans + The Dysfunctions: Town & Country Hotel, St Peters Dancing Heals + Sons of the East + Jordan Sly + S Kobar: Upstairs Beresford, Surry Hills The Dead Love + Vanity Riots + Stellar Addiction: Valve Bar & Venue, Tempe Rubber Bullet: Warners at the Bay, Warners Bay Alex Hopkins: Wentworthville Leagues Club, Wentworthville The Headliners: Westmead Tavern, Westmead Triple Grip: Windsor Leagues Club, South Windsor Hue Williams: Woolpack Hotel, Parramatta

SAT 13 JULY 2013 DJ Patsan: 5 Sawyers, Newcastle Joseph Tawadros Trio: 505, Surry Hills Dean Kyrwood: Absolute Thai, Charlestown The Goyles: Appin Hotel, Appin Dylan: Artichoke Gallery Cafe, Manly Matt Price: Austrailan Hotel & Brewery, Rouse Hill Prophets of Impending Doom + Steel City Allstars + Don’t Hit Ron + Guests: Bald Faced Stag, Leichhardt Nick Connors: Bar Petite, Newcastle DJ Nicolas (Duo): Bar Petite, Newcastle Moonlight Drive: Bay Hotel, Bonnells Bay Brien McVernon: Beauford Hotel, Mayfield The Cruisers: Belmont 16’s, Belmont Dan Runchell & Friends: Belmore Hotel, Maitland Kissteria: Blacktown RSL, Blacktown King Tide: Blue Beat, Double Bay

Ben Ottewell (Gomez) + Matt Walker: Brass Monkey, Cronulla Blow + Virginia Lillye: Bridge Hotel, Rozelle Royston Vasie + Cabins: Brighton Up Bar, Darlinghurst Old School Band: Bull & Bush, Baulkham Hills Terry Batu: Bulldogs Club, Belmore Victor Valdes + The Real Mexican Mariachi Big Band: Camelot Lounge, Marrickville Christie Lamb: Campbelltown Catholic Club, Campbelltown Rock Pulse: Carousel Inn, Rooty Hill Ben Finn: Castle Hill RSL (Terrace Bar) , Castle Hill Angie Dean: Castle Hill RSL, Castle Hill The Love Handles: Cauliflower Hotel, Waterloo Dr Zoom Duo: Cessnock Supporters Club, Cessnock Craig Laird: Coogee Bay Hotel (Beach Bar) , Coogee Continental Blues Party+Robert Susz: Coogee Diggers, Coogee Tom T Duo: Courthouse Hotel, Darlinghurst Cath & Him: Crown Hotel, Sydney David Agius: Crows Nest Hotel, Crows Nest Tim Conlon: Dee Why Hotel, Dee Why Dry Ryder: Dicey Riley’s Hotel, Wollongong British India + Peoples Palace + Mary On A Shilling: Dubbo RSL, Dubbo The Sue & Mikey Show: Duke of Wellington Hotel, New Lambton Happy Hippies: Eastern Suburbs Legion Club, Waverley A-Live: Engadine Tavern, Engadine Tourmaline: Ettalong Beach Club, Ettalong Beach Rock Solid Duo: Ettalong Memorial Bowling Club, Ettalong A Date With Effie: Factory Theatre, Marrickville Zounis: Fitzroy Hotel, Windsor Geoff Davies: Gibraltar Hotel (Harvey’s Bar) , Bowral Funk D’Void: Goldfish, Kings Cross Buchanan + Guests + Louis London: Goodgod Small Club, Sydney Keith Armitage: Greystanes Inn, Greystanes The Affairs Duo: Harbord Beach Hotel, Freshwater Clairy Browne & The Bangin’ Rackettes + Chris Russell’s Chicken Walk: Heritage Hotel, Bulli A Day To Remember + The Devil Wears Prada + Dream On Dreamer: Hordern Pavilion, Moore Park The Jimi Hendrix Live Experience: Hornsby Inn, Hornsby Jack Daniels & Co: Hotel Jesmond, Jesmond Skyscraper: Huskisson Hotel, Huskisson Lime & Steel + Belle Jar: Katoomba RSL, Katoomba Steve Edmonds Band: Kiama Leagues Club, Kiama FBi Social feat. Citizen Kay + Beat Club + Moonbase Commander + Beatside: Kings Cross Hotel, Kings Cross Alex Hopkins: Kirribilli Hotel, Milsons Point Velvet Covers: Lakeside Village Tavern, Raymond Terrace Dancing Heals & Dozza?s for the Mozza - Morrow Park Fundraiser+ various: Lass O’Gowrie, Wickham

Brians Famous Jazz & Chilli Crab Night feat. +Luke Gallen Trio: Lizottes Central Coast, Kincumber Ziggy - The Songs of David Bowie: Lizottes Newcastle, New Lambton Carmen Smith + Diana Rouvas: Lizottes Sydney, Dee Why Kristy Larkin: Long Jetty Hotel (Afternoon) , Long Jetty Oliver Goss: Lucky Australian Tavern, St Marys Gerard Masters Band + Essence of Elvis + The Lounge Lizards: Manly Leagues Club, Brookvale Jason Lema + DJ Cadell + Super Square: Marquee, Pyrmont Dollshay + Michael & Lucas: Mean Fiddler Hotel, Rouse Hill The Lonely Boys: Mercantile Hotel, The Rocks Matt Price Trio: Moorebank Sports Club, Hammondville

Nick Raschke Duo: Seven Seas, Carrington SIMA feat. Allan Browne Trio: Seymour Centre, Chippendale Dave Phillips: Sir Joseph Banks Hotel, Botany Acoustic Dave: Surfies, Cronulla My Sydney Riot feat. Various: The Annandale, Annandale Baby Et Lulu: The Basement, Circular Quay The Deep: The Belvedere Hotel, Sydney Rubber Bullet: The Exchange Hotel, Hamilton Hardcore 2013 feat. Youth Of Today + Toe To Toe + Warbrain + Vigilante + Boneless + Higher Power: The Hi-Fi (18 +) , Moore Park Highways + Move On Be Strong + Lets Not Pretend + Elephant’s Laundry: The King Street Brewhouse (Afternoon) , Sydney

CLAIRY BROWNE & THE BANGIN’ RACKETTES: Jul 9 Lizotte’s Newcastle; 10, 11 Vanguard; 12 Clarendon Guesthouse; 13 Heritage Hotel Bulli

TOUR GUIDE TODD RUNDGREN: Jul 23 Lizotte’s Newcastle; 25 Bridge Hotel Balmain; 26 Revesby Workers

COSMIC PSYCHOS: Aug 10 Metro Theatre

HAIM: Jul 24 The Hi-Fi, Beach Road Hotel (late DJ set) ROBERT DELONG: Jul 24 The Standard DAUGHTER: Jul 24 Metro Theatre JAKE BUGG: Jul 25 Metro Theatre DEAP VALLY: Jul 25 Oxford Art Factory WAVVES, UNKNOWN MORTAL ORCHESTRA: Jul 25 The Standard MS MR: Jul 26 Metro Theatre LADI6: Jul 26 Goodgod Small Club SURFER BLOOD: Jul 26 Oxford Art Factory EVERYTHING EVERYTHING: Jul 27 Metro Theatre KLAXONS (DJ SET): Jul 27 Oxford Art Centre

WORLD’S END PRESS: Aug 2, 8, 15 Brighton Up Bar

PASSION PIT: Jul 27 Enmore Theatre

BAD//DREEMS: Aug 3 Spectrum KARNIVOOL: Aug 4 Big Top Luna Park

JEHST: Jul 27 Goodgod Small Club

ALISON WONDERLAND: Aug 4 King Street Hotel Newcastle; 9 Academy Canberra; Sep 7 Oxford Art Factory; 11 Charles Sturt Uni Wagga Wagga

A LOSS FOR WORDS: Jul 27 Bald Faced Stag; 28 Basement Canberra BABYSHAMBLES: Jul 28 Enmore Theatre

JIMMY BARNES: Aug 4 Theatre Centre Canberra; 22 Enmore Theatre; 29 Newcastle Camp Shortland

COLD WAR KIDS: Jul 29 Metro Theatre

PAUL KELLY: Aug 5 Civic Theatre Newcastle; 13, 14 City Recital Hall; 16, 17 Anita’s Theatre Wollongong; 18 Llewellyn Hall Canberra

FRANK OCEAN: Jul 29 Hordern Pavilion

JAMES BLAKE: Jul 29, 30 Sydney Opera House Concert Hall OF MONSTERS & MEN: Jul 29, 30, 31 Enmore Theatre PINK: Jul 30, 31, Aug 2, 3, 4, 5, 6, 7, 9, 10 Sydney Entertainment Centre; Sep 1, 2, 4, 5 Allphones Arena

DAN PARSONS: Aug 7 Soda Factory THE STIFFYS: Aug 8 Yours & Ours; 9 Brighton Up Bar

PALMA VIOLETS: Jul 30 Oxford Art Factory

CASH SAVAGE & THE LAST DRINKS: Aug 8 Hotel Steyne Manly; 10 Goodgod Small Club; 11 The Junkyard Maitland

DARWIN DEEZ: Jul 30 The Standard ALT-J: Jul 31 Hordern Pavilion

STANDISH/CARLYON: Aug 9 Goodgod Small Club

FIDLAR: Jul 31 Oxford Art Factory

WAX WITCHES: Aug 9 World Bar

BARDO POND: Aug 1 Annandale Hotel

GRINSPOON: Aug 10 Enmore Theatre COSMIC PSYCHOS: Aug 10 Metro Theatre

VILLAGERS: Aug 1 Factory Theatre

REPRESSED RECORDS’ 11H BIRTHDAY ft CONSTANT MONGREL: Aug 10 Red Rattler

CHVRCHES: Aug 2, 3 Oxford Art Factory BARN OWL: Aug 7 Goodgod Small Club

MIDNIGHT JUGGERNAUTS: Aug 14 Bar On The Hill Newcastle; 16 Metro Theatre; 17 Zierholz @ UC

SENSES FAIL: Aug 8 The Standard

MOVING PICTURES: Aug 15, 16 Lizotte’s Newcastle; 17 Revesby Workers Club; 24 Dee Why RSL; 30 The Juniors Kingsford; 31 Concourse Theatre Chatswood

ATTILA: Aug 10 Hostage X Wollongong; 11 Factory Theatre; 13 The Basement Canberra

SHAPESHIFTER: Aug 9 Metro Theatre

THIRTY SECONDS TO MARS: Aug 11 Sydney Entertainment Centre

GLASS TOWERS: Aug 16 The Standard

Total 80’s Recall: Nelson Bay Diggers Club, Nelson Bay Kirk Burgess: Newport Arms Hotel, Newport No Art + Making + School Girl Report + Corpus: North Street Cafe & Bar, Batemans Bay Rapture: North Sydney Leagues, Cammeray Jess Dunbar: Northies (Beach Bar) , Cronulla Dave White Trio: Northies (Sports Bar) , Cronulla KP: Novotel - Brewery Bar, Sydney Olympic Park Peachy: Oatley Hotel, Oatley Shane Flew + Carl Fidler + Geoff Rana: Observer Hotel, The Rocks Huey, Louie & Dewy: Overlander Hotel, Cambridge Gardens Dirty Deeds - AC/DC Show: Padstow RSL, Padstow Macson: Parramatta Leagues, Parramatta Hooray For Everything: Parramatta RSL, Parramatta Craig Thommo: Pennant Hills Hotel, Pennant Hills Band of Men: Penrith RSL, Penrith Laurie Bennett: Penrith RSL, Penrith Take Two: Petersham Bowling Club, Petersham Joe Echo: PJ Gallaghers, Moore Park Dick Diver + Footy + Destiny 3000: Red Rattler, Marrickville 4 Bars of Funk: Revesby Workers, Revesby The Beatnix: Richmond Club, Richmond The Levymen: Royal Federal Hotel, Branxton Get Rocked Band: Royal Hotel, Bondi Paper Wolves: Scruffy Murphy’s, Sydney The White Brothers: Seven Hills/Toongabbie RSL, Seven Hills

The Rattle: The Mark Hotel, Lambton Sleepmakeswaves + Greenthief: The Northern, Byron Bay The Tongue + Special Guests : The Small Ballroom, Newcastle Institutionalized Fest feat. +Killrazer + Darker Half + Topnovil + Arteries + Speedball + Karl Marx + Whisky Smile + Unrest + Yo Put That Bag Back On + Exekute + Steel Swarm + Raptrz + Alisons Disease: The Square (Afternoon) , Haymarket The Jungle Giants + Bec & Ben: The Standard, Surry Hills Carrie Phillis & The Downtown 3 + Hell Crab City + White Devil: The Town and Country Hotel , St Peters Daley Holliday: The Windsor Castle Hotel, Newcastle Wildcatz: Three Wise Monkeys Pub, Sydney Am 2 Pm: Town Hall Hotel, Balmain Original Sin - INXS Show: Unity Hall Hotel, Balmain Jakubi + Braves + Brett Hunt + F.R.I.E.N.D.S. DJs: Upstairs Beresford, Surry Hills Metal Show+Highroads + Towers + Squawk! + Blackened Beneath + Hematic + Thraxas: Valve Bar & Venue (Arvo Show) , Tempe Dreamkillers + Headbutt + Stand Alone + Skips + Room 13 + Bleeding Gasoline: Valve Bar & Venue, Tempe

[THE GUID IDE]

THE TROUBLE WITH TEMPLETON: Aug 22 Transit Bar Canberra; 23 Goodgod Small Club

ALESANA: Aug 11 Factory Theatre BASTILLE: Aug 14 Metro Theatre

JOSH PYKE: Aug 22 Small Ballroom Newcastle; 23 Enmore Theatre; 24 Unibar Wollongong

DON MCLEAN: Aug 15 WIN Entertainment Centre; 29 Canberra Theatre; 30 Enmore Theatre

PLUTO JONZE: Aug 23 Yours & Owls; 24 Goodgod Small Club; 31 Small Ballroom Newcastle

MILLIONS OF DEAD COPS: Aug 16 Hermann’s Bar FLYLEAF: Aug 17 Metro Theatre

CLOUD CONTROL: Aug 28 ANU Bar Canberra; Sep 10 Wollongong Uni Bar; 11 Bar On The Hill Newcastle; 12 Metro Theatre

CARTEL: Aug 18 Annandale Hotel ALL TIME LOW: Aug 30 UNSW Roundhouse

THE PAPER KITES: Aug 30 Small Ballroom Newcastle; 31 Metro Theatre

JAPANDROIDS: Aug 31 Manning Bar THE REAL MCKENZIES: Sep 4 ANU Bar Canberra; 5 Manning Bar

BIG SCARY: Aug 30 Factory Theatre; 31 Zierholz @ UC

PEACE: Sep 17 Zierholz @ UC; 18 Beach Road Hotel; 19 Newcastle University; 20 Wollongong University; 21 Oxford Art Factory

THE GO SET: Sep 4 ANU Bar Canberra; 5 Manning Bar DEAD LETTER CIRCUS: Sep 4 Zierholz @ UC; 5 Metro Theatre; 6 Waves Wollongong; 7 Cambridge Hotel ILLY: Sep 14 Metro Theatre

RUDIMENTAL: Sep 18 UC Refectory Canberra; 24, 25 Enmore Theatre

JINJA SAFARI: Sep 18 ANU Canberra; 19 Uni Bar Wollongong; 20 Cambridge Hotel; 21 Metro Theatre

LAMB OF GOD: Sep 21 UNSW Roundhouse FOALS: Sep 28, 29 Enmore Theatre

HORRORSHOW: Sep 19 ANU Bar Canberra; 20 Metro Theatre

BRING ME THE HORIZON: Oct 6 Hordern Pavilion

XAVIER RUDD: Oct 4 Big Top Luna Park

DEVIN TOWNSEND PROJECT: Oct 11 Metro Theatre

BOY & BEAR: Oct 24 ANU Bar Canberra; 25 Enmore Theatre; Nov 15 Waves Wollongong

EVERY TIME I DIE: Oct 19 Manning Bar THE BREEDERS: Oct 28 Enmore Theatre

INTERNATIONAL

FESTIVALS

YELAWOLF: Jul 9 Metro Theatre

INSTITUTIONALIZED 2013: Jul 13 The Square Haymarket

ENABLER: Jul 9 Croatian Wickham Bowls Club Newcastle; 10 Pot Belly Bar Canberra

HARDCORE 2013: Jul 13, 14 The Hi-Fi

BEN OTTEWELL: Jul 10 Lizotte’s Newcastle; 11 The Basement; 12 Lizotte’s Kincumber; 13 Brass Monkey

AT FIRST SIGHT: Jul 20 Carriageworks

MICK FLANNERY: Jul 12 Factory Theatre

SPLENDOUR IN THE GRASS: Jul 26 – 28 North Byron Parklands

FUNK D’VOID: Jul 13 Goldfish

SLAUGHTERHOUSE VI: Jul 27 Spectrum

A DAY TO REMEMBER: Jul 13 Hordern Pavilion

UBERFEST WINTER: Jul 27 Valve Bar & Venue

DEORRO: Jul 13 Pacha

LOUD FEST: Aug 11 Factory Theatre

STEVE VAI: Jul 14 Canberra Theatre; 15 Enmore Theatre

FBI TURNS 10: Sep 8 Carriageworks

GOBLIN: Jul 16 Factory Theatre

A SOFTCORE GATHERING...: Sep 15 Metro Theatre

THE MOHAWK LODGE: Jul 17 Goodgod Small Club

OUTSIDEIN: Sep 21 Factory Theatre

CITY & COLOUR: Jul 17 The Standard

FOLK BY THE SEA: Sep 27 – 29 Kiama Showground

STEREOPHONICS: Jul 18 Enmore Theatre

LISTEN OUT: Sep 28 Centennial Park

DAYLIGHT ROBBERY: Jul 18 The Terrace Bar; 19 Imperial Hotel; 20 Black Wire Records

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

JONNY CRAIG: Jul 19 Bald Faced Stag

GREAT SOUTHERN BLUES FESTIVAL: Oct 4 – 6 Narooma

ONRA: Jul 19 Oxford Art Factory

SYDNEY BLUES & ROOTS FESTIVAL: Oct 24 – 27 Windsor

FAR EAST MOVEMENT: Jul 20 Pacha

FAT AS BUTTER: Oct 26 The Foreshore Newcastle

JUAN ATKINS: Jul 20 The Basement

STEEL ASSASSINS: Nov 1, 2 Bald Faced Stag

GUY J: Jul 20 Chinese Laundry

NEWTOWN FESTIVAL: Nov 10 Camperdown Memorial Rest Park

BLEEDING THROUGH: Jul 20 Manning Bar; 21 Cambridge Hotel

HARVEST: Nov 16 The Domain

DIZZY WRIGHT: Jul 20 Metro Theatre; 24 Meche Nightclub Canberra

HITS & PITS 2.0: Nov 17 The Hi-Fi

SAINT VITUS: Jul 21 The Hi-Fi

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

LAURA MARLING: Jul 22, 23, 24 St Stephen’s Uniting Church

PIGSTY IN JULY: Jul 20 Dashville Lower Belford

STEREOSONIC: Nov 30, Dec 1 Sydney Showgrounds

To check more gigs online go to themusic.com.au/theguide • 43

GIG OF THE WEEK

[THE GUID IDE] g i g s

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

A DAY TO REMEMBER Straight from Florida, USA, with five albums under their belt, A Day To Remember are set to return to our shores this week for their national Right Back At It Again tour. They were here last year for Soundwave making their mark and this time around they have an upcoming new album to share called Common Courtesy featuring their first single Violence (Enough Is Enough). Known primarily for their mix of metal and pop-punk, the five-piece band was formed by guitarist Tom Denney and drummer Bobby Scruggs and has been going a decade now. Accompanying them on the tour is Ohio’s Christian metalcore band The Devil Wears Prada and locals Dream On Dreamer, who have just released their second record Loveless. Catch the whole crew this Saturday at the Hordern Pavilion.

Twinsanity: Warners at the Bay, Warners Bay Two Minds: Wentworthville Leagues Club (Wenty Bar), Wentworthville Audio Vixen: Wentworthville Leagues Club (Starlight Room), Wentworthville Cakes feat. Danny T + E-Cats + Hey Sam + Jack Bailey + Hannah Gibbs + Goodfella + Deckhead + Miss Adventure + Fiktion + Wheeler: World Bar, Kings Cross Amber Lawrence + Jason Owen: Young Services Club, Young

SUN 14 JULY 2013 DJ Jonathan: 5 Sawyers, Newcastle Blues Sunday+Mark Hopper: Artichoke Gallery Cafe, Manly Weekend Detention: Bald Faced Stag, Leichhardt Phillip Crawshaw: Belmont 16’s, Belmont Strange Brew: Botany View Hotel, Newtown Dylan Wright: Brass Monkey, Cronulla

Peter Northcote + Chris E Thomas: Bridge Hotel, Rozelle Luke Koteras: Camden Valley Inn, Camden Park Lior: Camelot Lounge, Marrickville Cambo: Campbelltown Catholic Club (Club Lounge) , Campbelltown Jesse: Campbelltown Catholic Club (Caf, Samba) , Campbelltown Am 2 Pm: Coogee Bay Hotel, Coogee Moroccan Knights feat Josh Rawiri: Coogee Diggers, Coogee Corrine Rushby: Crossroads Hotel, Casula Fallon Brothers: Ettamogah Hotel, Kellyville Ridge

Trudy Lee: Fitzroy Hotel, Windsor Angelene + Michael Anderson: Gladstone Hotel, Dulwich Hill Tim Pringle: Gwandalan Bowling Club, Gwandalan Geoff Rana: Harbord Beach Hotel, Freshwater Joe Echo: Horse & Jockey Hotel, Homebush No Art + Sunset People + Guests: Hotel Hollywood, Surry Hills Yuki Kumagai & John Mackie + Paul Furniss + John Smith: Illawarra Master Builders Club, Wollongong Garry James: Kiama Leagues Club, Kiama The Phoebe Daicos Band + Milli Casey: Lass O’Gowrie, Wickham

Wes Carr’s Buffalo Tales + Boy Outside: Lizottes Central Coast, Kincumber Mojo Juju: Lizottes Newcastle, New Lambton Forever Road: Longyard Hotel, Tamworth 2 Acoustics : Lucky Australian Tavern, St Marys Alex Hopkins: Mean Fiddler Hotel, Rouse Hill Renae Stone: Mill Hill Hotel, Bondi Junction Mick Jones: Nelson Bay Diggers Club, Nelson Bay Dollshay: Northies (Beach Bar) , Cronulla Reckless Duo: Northies, Cronulla Matt Jones: Novotel Brewery Bar, Sydney Olympic Park David Agius: O’Donoghues, Emu Plains Antoine: O’Malleys Hotel, Kings Cross Rob Henry + Three Wise Men: Observer Hotel, The Rocks Dancing Heals: Old Manly Boatshed, Manly Macka: Overlander Hotel, Cambridge Gardens Rock Solid Duo: Parramatta RSL, Parramatta Lester Coombs Band: Penrith RSL (Castle Lounge) , Penrith Eye Of The Tiger: Petersham Bowling Club, Petersham The Jimi Hendrix Live Experience: Premier Hotel, Broadmeadow Erin Mortimer Duo: Revesby Workers, Revesby Mitch Anderson Band: Royal Hotel, Bondi Dave Tice and Mark Evans: Ruby L’Otel , Rozelle Renee Geyer: Sydney Opera House, Sydney The Jed Rowe Band: The Channon Markets, The Channon

Hardcore 2013 feat. Youth Of Today + 50 Lions + Relentless + Survival + Shackles + Outsiders Code + The Weight + Outright + Crisis Alert + Rain Dogs: The Hi-Fi (All Ages) , Moore Park Love That Hat: The Mark Hotel, Lambton Sunday Sinners: The Town and Country Hotel , St Peters Forbidden Broadway - Greatest Hits Vol 1 feat. various: The Vanguard, Newtown Matt Jones: Three Wise Monkeys Pub, Sydney Soul Velocity: Trinity Bar, Surry Hills Honeystones + Spiral Conspiracy + Panic Bears + Deinol Chynoweth: Valve Bar & Venue, Tempe Nicky Kurta Duo: Woolloomooloo Bay Hotel, Woolloomooloo Songwriters Session+Various: Yullis, Surry Hills

MON 15 JULY 2013 Martini Monday+Various: Dome Bar, Surry Hills Steve Vai: Enmore Theatre, Enmore SongsOnStage feat. Helmut Uhlmann + Chris Brookes + Massimo Presti: Kellys on King, Newtown Brendan Deehan: Observer Hotel, The Rocks Monday Night Jam+Various: The Oxford Hotel (Gingers), Darlinghurst

115 REGENT ST, CHIPPENDALE, NSW 2008 (02) 96902350 (BOOK YOUR BAND – 0415 958 995)

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BISTRO NOW OPEN 44 • To check more gigs online go to themusic.com.au/theguide

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

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

1000s OF GIGS AT YOUR FINGERTIPS

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

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

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

THE YAMAHA CL5 CONSOLE

SAMICK AB-2/BK ACOUSTIC BASS THE GIBSON 335 GUITAR My favourite guitar is the Gibson 335. Firstly, you can never get all the sounds you want out of just one guitar; if someone tells you that, they’re either trying to sell you something or they play a Stratocaster and they have a “hot” pickup in the bridge position and they’ve convinced themselves that it can now sound like a Gibson – I don’t know how many times I’ve heard that. The best “all-round guitar” I reckon is a Gibson 335. I know Gibsons have a name for sounding big and thick, but a 335 isn’t as big sounding as a Les Paul or other Gibsons – it’s a tight, focused-sounding guitar. If you listen to early Motown songs, there’s almost always one guitar, a 335, doing a short ”chunk” on the backbeat with the drummer and inevitable tambourine and it sounds bloody wonderful – short, sharp and clear. It can also be a great “funky”-sounding guitar. I know you might think a Stratocaster is the guitar for funk, but if you go back to the original guys who wrote the Book on Funk, I think you’ll find they didn’t use a Strat – James Brown’s guitarist Jimmy Nolan used a Gibson! If you’re going for a blues tone, the 335 could also be your baby; BB King uses a 335. One of the greatest blues tones I’ve ever heard is Eric Clapton, doing Sleepy Time Time live with Cream; it’s a fabulous tone, check it out on YouTube. Jeff Cripps, c/- A Sharp Recording Studio

BEHIND THE LINES SOUND BYTES

Designed by Nashville-based luthier Greg Bennett, it’s hard to believe that this truly beautifully-made acoustic bass was manufactured in Indonesia, but there you go – time to get past those inevitable preconceptions about sweatshops and mediocre quality. Samick has been in the business of making quality instruments since 1958, and obviously recognised long ago that American luthiers were the way to go with regards to design, and it’s paid off. The woods utilised in manufacturing Bennett’s designs are sourced from around the world, rather than just pillaged from Indonesia’s own threatened rainforests (hopefully not pillaging someone else’s in the process!). The Greg Bennett Regency AB-2 acoustic bass under review is finished in high gloss black, the top spruce, the back, sides and neck mahogany, and it’s the neck that wins it for me, nice and slim, like an Ibanez electric, low action and designed for speed, the way I tend to (over)play. The body is also a comfortable size, so I’m not having to reach over too far to play it, unlike more traditional acoustic basses. Unplugged it’s got a really warm tone, but plugged in, the piezo pickup, run off an active preamp, enhances that warmth, yet can give you plenty of bite if you like things toppy, as I do. It’s not a “rock” bass, though I could probably crank it in a band context – something to look forward to – but in a semi-acoustic blues-roots context, like the one I played it in recently, launching the new album from Isaiah B Brunt, there’s more than enough headroom to get the message across. With the control panel mounted on the topside, it’s easy to see and manipulate the basic two-band EQ, so you can concentrate on performance. All up, it plays like a dream. Michael Smith

Canadian five-piece These Hearts got Andrew Wade (A Day To Remember, Versa Emerge) to mix their second album, Yours To Take, then sent it off to Joey Sturgis (Asking Alexandria, The Devil Wears Prada) to master. Speaking of Asking Alexandria, the new album from the UK five-piece, From Death To Destiny, out in August, was again produced by Sturgis. Christian Donaldson (Crytospsy, Mythosis) recorded, mixed and mastered the new album, Reign Through Immortality, by French symphonic black death metal five-piece Erimha.

46 • For more interviews go to themusic.com.au/interviews

Music Man has a mid-priced version of the John Petrucci seven-string guitar, the “Sterling” model, a replica of the top-shelf JP70 you’ll see Petrucci playing with Dream Theater, G3 or the like and which he developed with Music Man. Over the centuries the guitar has seen any number of string variations. In fact the word ‘guitar’ is thought to be derived from the Persian word for ‘four strings’. The Renaissance guitar (1400-1600) was a four-string affair while the Baroque guitar (1600-1750) was five. In Spain a sixth string was added; hence the term ‘Spanish guitar’ and around the world we’ve quite a few examples of sevenstring guitars. In France Napoléon Coste played and composed for the seven-string in the 1800s. Russia and Brazil developed seven-string guitars independently. In America, jazz guitarists, including my own teacher, Bucky Pizzerelli, experimented with seven strings and all in the quest for a bigger range. After playing the Sterling Music Man through a few different amps and settings I’d have to say that it plays favourably and comes up sounding quite good. I really liked the sustain and just happened to need to put down some slide guitar on a track in the studio so this guitar will be heard on Volume 3 of my Guitar Heroes project that we’re about to launch. Whether you need “four octaves plus” for sophisticated “prog rock” or power chord jamming for “punk” or “death metal”, I believe you’ll do well with the Sterling. Obviously the full-priced Petrucci model is what you’ll hear on those classic recordings and the thought occurs – just how much difference would there be? I wouldn’t mind A-Bing it sometime. Steve Flack

with special guest performances by and a Q&A with Fink, Gibson and Ross. For details and tickets, check into throga.com or the JMC Academy website.

THE PAWN SHOP BASS VI The Pawn Shop Series is designed to evoke the more eccentric Fender creations of the mid-‘60s through mid-‘70s while delivering thoroughly modern sound and quality. The Pawn Shop Fender Bass VI is the latest in the series and is a revamped version of the seldom-seen Fender Bass Guitar, also known as the Bass VI, of 1961-1975, and features the traditional short scale (30”), Special Design Hot Jaguar single-coil neck and middle pickups and a powerful JZHB humbucking bridge pickup. Available in three colours – Sunburst, Black and Candy Apple Red – the bass features a C-shaped maple neck with 9.5”-radius rosewood fingerboard and 21 medium jumbo frets, five-way pickup switching, two Jazz Bass control knobs (volume, tone), vintagestyle adjustable six-saddle bridge with “floating” tremolo tailpiece, and vintage-style tuners.

Due end of August, the new album, Sequel To The Prequel, from Babyshambles, was recorded at Question Du Son, Paris and mixed in The Bunker, London, with producer/mixer and long-time Shambles collaborator Stephen Street (The Smiths, Blur, Kaiser Chiefs).

English producer based in California, Mikal Blue (Colbie Caillat, Jason Mraz, Five For Fighting) mixed the forthcoming Toad The Wet Sprocket album, which he also produced and engineered, at his studio, Revolver Recordings in Thousand Oaks, California.

STERLING MUSIC MAN 7-STRING GUITAR

The Yamaha CL5 is a small package for what’s included, but don’t let that deceive you; this is a very powerful and capable machine. All the consoles in the CL series are a scalable system, so they can be networked together to share head amps and all use the same Rio I/O rack. The CL5 mix capacity is 72 mono plus eight stereo inputs, which includes 64 channels of Dante and eight local, with 34 faders, standard output meters, 48/44.1 kHz sampling rates, a comprehensive selected channel section and a backlit colour LED touch screen. Onboard processing is impressive and includes reverbs, delays and other effects, 16 31-band GEQs, Rupert Neve Designs Portico 5043 compressor and Portico 5033 EQ and new Yamaha VCM compressors and EQs. Neve has officially recognised the Yamaha VCM (Virtual Circuitry Modelling) technology as the first capable of faithfully reproducing his legendary audio artistry. Working together with Yamaha’s Dr K, they’ve come up with some impressive onboard processing on this machine. There are two options for I/O. The Rio3224-D gives you 32 channels of analogue input, eight channels of AES output and 16 channels of analogue output. The Rio1608-D provides 16 in and eight out of analogue in/out. Despite all the power, this is a very simple console to set up, with no specific start-up sequence. Connection is through the Dante network protocol over CAT5e cable and is extremely reliable, with built-in redundancy using a network switch. There’s simply so much packed into this console I could go on for hours. Suffice to say this is a new generation of Yamaha console, not an updated M7, and although the feature sets are very familiar, the console is streets ahead of its predecessors. Barry Gilmour

PRODUCT NEWS

MGMT returned to Tarbox Road Studios in New York State to work with its owner/operator, longtime collaborator, co-producer and mixer, Dave Fridmann (The Flaming Lips, Tame Impala, Sparklehorse) on their forthcoming third and selftitled record. Our own Cut Copy were also at the studio in May to mix their album with Fridmann.

New Zealand jazz tenor saxophonist Nathan Haines, currently living in London, recorded his new album, Vermillion Skies, in York St Studios with Mike Patto (Josh Arcoleo, Rich Medina, Reel People) producing, utilising the studio’s 1974 EMI Neve console, a vast array of vintage mics and, with the assistance of engineer Simon Gooding, “tried something very unique when it came to reverb and echo – a speaker and stereo microphones in York Street’s vast, caverned, wooden-ceilinged car park and a disused large upper room served as a live echo chamber, with parts of the mix sent to naturally reverberate, then recorded and put back onto the final mix”.

REVIEW

MY GEAR

MEET THE AP5PRO PICKUP WORKSHOP WITH THE VOICE Saturday 3 and Sunday 4 August, 10am through 4pm each day, the JMC Academy Sydney Campus is hosting an exclusive weekend interactive vocal workshop with Richard Fink (pictured), some of whose students have featured on The Voice, X Factor USA, American Idol and Australia’s Got Talent, along with special guests Alex Gibson and Danny Ross. By the by, Fink holds the Guinness World Record for the longest continuous vocal note held, an achievement accomplished no doubt as a consequence of his development of what he’s dubbed Throga – throat yoga! Fink runs his own facility, Castle Nine Vocal Studios, in Bergen, New York State. Anyway, the workshop will cover topics such as Anatomy of the Voice, Pitch Control, Performance Anxieties, Audience Connect, Singing Myths and much more, with opportunities for you to demonstrate your voice and have Fink work directly with you in your vocal delivery. The workshop will close

Years in development, the new Maton AP5 Pro Acoustic pickup system has finally been released. The successor to the highly regarded AP5, the AP5 Pro features separate microphone and Piezo input controls, allowing for blending of both microphone and Piezo levels prior to sending the actively combined signals through to the tone circuits and master volume. The highly selective cardioid microphone system allows for much greater microphone level before feedback in live environments. This newly upgraded microphone is direct mounted to the preamp casing via an adjustable arm, which permits easy final tweaking of microphone position to suit the individual artist’s style. Tighter component packing via miniature surface mount components allows the complete preamp to be placed on one PCB, so the complete system is smaller and less prone to hum and noise pickup. The greater rigidity of this smaller PCB means that it’s less prone to develop problems with aging, and because it’s bolted into position in the casing, the whole assembly is unlikely to develop rattles with the constant movement and shipping

expected of a performing musician’s instrument. The AP5 Pro system has been designed with easy maintenance in mind. All connectors are goldplated RJ11 (telephone type) click-in connectors, from the pickup right through to the output jack. If any replacement parts are required, they can be easily fitted without needing special tools, and the plugs are ‘locked-in’ so they can’t work loose with time and the vibration of travel. The new pickup system will replace the APMic and AP5 in all models with the exception of the Minis, Standard performer and the EM225. Upgrading/ retrofitting is easy, so just contact your nearest Maton authorised dealer for more information.

NO STRINGS, IT’S MUSO’S CORNER If you happen to be in Sydney’s northern neighbour, Newcastle – a band passing through, performing there on the day or are a resident, and you’re a guitarist – then you need to check into Muso’s Corner, 1 National Park Street, Saturday 27 July, because when you buy a set of Dunlop strings, you get an identical set fitted to your guitar free, while you wait.

THE QSC K-SERIES RANGE One of the world’s largest professional amplifier manufacturers, QSC has been working on developing a pro audio powered portable speaker range and come up with the K-Series. The complete range K8 (8” two-way), K10, K12 and KSUB (double 12” subwoofer) are all powered by the same 1000w Class D amplifier module. The concept of the full-range models is a choice between size, weight and bass extension rather than between duty cycle capabilities. Comprehensive facilities start with combo XLR and ¼” TRS inputs that accept both mic and line levels as well as RCA ins (except KSub), which connect to iPod, CD players and line-level mixers. Up to three audio sources can be mixed internally and summed to a balanced output for ‘daisy-chaining’ of multiple units. Separate direct outputs provide additional flexibility.

MADCDs cos Cos we g ive a sh it

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Big Music’s School of Rock combines weekly private music lessons and group band rehearsals to prepare students to take the stage in front of live audiences in an authentic concert setting. We are now auditioning for our 70’s show and One Hit Wonders show set to perform in one of Sydney’s premier venues later this year. We believe the best way to enjoy and learn music is to play music with other people. We take students from the lesson room to the stage, developing both their confidence and musicianship with programs designed for all skill levels. If you have any questions or would like to visit us please give us a call or drop into Big Music in Crows Nest. www. bigmusic.com.au iFlogID: 22520

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DRUM TUITION. Drum Tuition in Stanmore with a Billy Hyde trained Teacher. Dip Ed, Dip Drums. All levels and all styles taught. Beginners Welcome!. Call Lee 0403307796. www.lee-carey. com iFlogID: 21229

DRUMMER AND DRUM LESSONS Drum Lessons avaliable in Gladesville Teach all Levels, ages .17 years experience. I studied at The Billy Hydes Drumcraft Academy and Obtained a Diploma in Drumming. Mob:0402663469 Michael

LEARN GUITAR $99 Special Promo 5 week course Beginners Welcome Children & Adults *Friendly mentoring approach *Great Results Guaranteed Enquire Now Paddington Ph: 0416960673 E: nikolaidis@live.ie iFlogID: 19765

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GUITAR LESSONS 1XFREE NEWTOWN

LEARN HOW TO RECORD AND MIX Private One to One personalized, tailored and structured courses in Sound mixing, Microphones and placements, applying and using Effects and Music Production. Learn with a professional of 35 years in the business in a commercially equip-ted recording studio. We can prepare a course structured to your needs. Phone 0406951236. www. rrstudios.com.au iFlogID: 22396

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Recording, production, writing and mixing from $20/h with young, proactive and energetic producer/songwriter. Main genres are acoustic, folk, rock, pop, electro, metal and alternative. Free pre-production call Helmut on 0433946982.

GROUP GUITAR 101 Learn the fundamentals of guitar playing techniques, song playing, and more! 8 week course, $279, Newtown location, fun and experienced teachers! Enrol today! www. allagemusic.com info@allagemusic. com 0280060363

Bass & Guitar Tuition in Surry Hills. Individually tailored from UNSW/Sydney Conservatorium trained and accredited professional. Learn theory/technique while learning the music of your choice. All styles. 0432-714-766 christianlaki@ me.com www.christianlaki.com

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 www.phmelectronic.com

Great new short course for musicians/composers wanting to monetise their music and get it into Film and TV! LEARN THE BASICS OF COMPOSING MUSIC FOR THE SCREEN! First two weekends August you’ll get access to state of the art facilities at the prestigious Australian Film Television and Radio School (AFTRS) and learn the basics of screen music composition. The Synchronisation of music for Film, Free to Air Television & Pay TV (Commercials and TV shows), the Web, corporate promos and other Screen Media is still one of the greatest sources of income for musicians and composers today and if you’ve been struggling with getting paid for your music it’s time to start getting your slice of this multi million dollar pie. PLACES FOR THIS COURSE ARE STRICTLY LIMITED TO JUST 12 STUDENTS. http://www.open.aftrs. edu.au/course/M526 or call 1300 065 281 n.b. The ability to read and/or write music notation is NOT REQUIRED for this course.

JOIN OUR ADULT SCHOOL OF ROCK!

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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

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100 A4 Gloss only = $40 100 A3 / SRA3 Gloss only = $80 250 SRA3 Gloss only = $150 100 A3 Matt only = $50 MANY more options www.blackstar.com.au call 9264 4776 BlackStar Design 104 Bathurst Street Sydney

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TUITION

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OTHER Award-winning Experienced, Qualified Music Producer: 1.Doing Instrumental version of any song for $40 2. Mix your multi-tracks for $50 and produce personalized original instrumentals for $50. 3. Check lovenabstudio on soundclick. com email: vangelis2133@yahoo.com

MULTIPURPOSE VENUE FOR HIRE NEWTOWN LOCATION Great for meetings, events, functions, rehearsals, performances and group classes! Parking, stage and seating available. Email bookings@allagemusic.com, call 8006 0363 or call/SMS 0415 123 111

iFlogID: 22183

Sound Engineer with lots of experience recording and live shows looking for any kinda job, I`m located in the northern beaches and available, 0405612815 gonzalo.cid.a@gmail.com check my recordings at https://soundcloud.com/ gonzalo-cid

Detax will maximise your tax refund or minimise your tax liability by applying years of Entertainment & Arts industry tax knowledge. Individual Tax Returns from only $99. www.detax.com.au

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: http:// www.youtube.com/user/Studio9Mru/ videos?view=0&flow=grid

Walk out of the free lesson playing a song. Rock-Blues-Inde-Metal-ClassicalFolk-POP all styles. Music CD’s teaching tools included. Recording Songwriting Singing available. $40HR Guitar Teaching10years+ 0405-044-513

LEARN HOW TO SING

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GUITAR LESSONS SYDNEY

Lesson slots available with Chris Turner ( Rose Tattoo, Buffalo Etc) One on One’ guitar lessons. Studio Lilyfield Phone 9552 6663 guitardoctor@bigpond.com www. big-rock.com.au Starters to Pro. iFlogID: 21990

GUITAR LESSONS, rhythmic guitar player with plenty of knowledge in latin rhythms, I can give you better knowledge of harmony in guitar so you can read notation 0405612815 contact@ donandres.cl iFlogID: 22491

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: mal@ bluefishrecords.com iFlogID: 21501

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

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

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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 iFlogID: 22210

MUSIC LESSONS: composing, harmony, reading and writing music, experienced composer located in the northern beaches available to teach you from the basics. first evaluation class free!, contact@donandres.cl 0405612815 iFlogID: 22487

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: 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

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: 21485

CLASSIES

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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

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

Singing lessons at your place! I can teach you from the begining how to search your own style without harming your vocal cords and make your voice stronger contact@donandres.cl 0405612815 iFlogID: 22489

SINGING LESSONS THAT >>ROCK<<

Wanna have your own homestudio and don`t know how? In a few sound lessons and spending only the necessary you`ll be able to record your own music, gonzalo.cid.a@gmail.com 0405612815 iFlogID: 22507

VIDEO / PRODUCTION

OTHER COVERS DUO/TRIO available for venues, functions and weddings. Wide variety of repertoire for upbeat and relaxed environments. Contact Jye on 0421-371-905 afterhoursensemble@ gmail.com www.Facebook.com/ AfterHoursEnsemble iFlogID: 22287

SAX & KEYS PLAYERS WANTED

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.

SINGER

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Your voice has the ability to sing at the Audioslave/Muse/Aretha/ Yeah-YeahYeahs level because of Design. Sing with effortless power increase your range to Robert-Plant Chris-Cornelle Axl level. Microphone recording techniques songwriting Newtown 0405-044-513 iFlogID: 22615

SINGING/GUITAR/ SONGWRITING Singing lessons/guitar lessons/music theory/career guidance with very experienced and qualified female teacher. Children most welcome and encouraged. Two concerts a year for students. Botany studio location. Fees $45 hour. Phone 0403869364 iFlogID: 22549

SLIDE GUITAR TUITION

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

Singer/Guitarist looking for other male musicians who play covers gigs and require someone to play occasional or regular shows with them for any of the gigs they book. iFlogID: 22008

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

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

80’s cover show requires 2 female backing singers dancing required contact Giles 0411 165 235

iFlogID: 19797

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Ashes and insomnia, looking for vocalist, drummer and bass player. Epic, melodic hardcore/ metal. No sub genres just good sounding music. wyong shire area, central coast nsw contact james or sam ashesninsomnia@yahoo.com.au

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MUSICIANS AVAILABLE BASS PLAYER Ex-space astronaut bass player needs to take a shit band far off into another galaxy. No Muso’s. Call Sally Cinnamon: 0406053828 All styles both acoustic and electric from Blind Willie Johnson and Son House to Eric Clapton and Duane Allman. tel. John 0431953178 iFlogID: 22201

TEACHER TO THE STARS!

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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

DRUMMER

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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

iFlogID: 21467

Christian woman born again likewise musicians perform 70s, 80s, 90s rock band. I’m a keyboard player seeking lead guitarist and lead vocalist, saxophonist and bass drum. Contact Sally on 0406-944-115. iFlogID: 22565

iFlogID: 16661

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

Bass player from outer space needs to join a band. Call Sally Cinnamon: 0406053828 No Muso’s.

A1 TOP PRO DRUMMER AVAILABLE FOR SESSION FREELANCE WORK, TOURS ETC. EXTENSIVE EXPERIENCE, TOP GEAR, GREAT GROOVE AND TIME. SYDNEY BASED, WILL TRAVEL. PH 0419760940. WEBSITE www.mikehague.com iFlogID: 18334

Experienced Soul Reggae R’N’B Blues Funk drummer (36yo) available for work preferably in Northern Beaches. Call Michael 0402 549423 email siczex@ yahoo.com.au See me playing drums: www.youtube.com/user/sydneypollak iFlogID: 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(18-25). iFlogID: 21081

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

DRUMMER WANTED Established Sydney band with 2 CD’s released, looking for a skilled drummer to complete lineup. Influences: Radio Birdman, Hives, Sabath, Hellacopters. Just toured Europe so looking for someone able to tour again in May/June 2014 and record 3rd album. See www. theprehistorics.com or see You Tube for several videos. Contact: Brendan: 0430 1977 17 iFlogID: 22457

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

INDIE BANDS Indie Artists Get Your Own Feature Channel Just For Your Band Here! http:// www.radiosydney.com.au/computer/ page37.html iFlogID: 21172

MUSICIANS FOR ROCK BAND Singer-songwriter from Sydney North Shore needs serious, talented lead guitarist, bassist and drummer for backing band. Think Coldplay meets the Kooks. All parts written. Contact lilyfishermusic@hotmail.com for more info iFlogID: 22612

Seeking experienced lead & backing singers, bass, keyboard, sax & trumpet players for REGGAE band in Northern Beaches. Call Michael 0402 549 423 or email siczex@yahoo.com.au iFlogID: 18612

iFlogID: 22359

METAL BASS PLAYER WANTED. Playing original dark & heavy metal music. Call Mitchell on 0401620221 or email metalmitcha@hotmail.com if interested. iFlogID: 21744

TEEN BASS PLAYER WANTED

iFlogID: 21747

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

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

BORN TO RUM is Australia’s newest & best Bruce Springsteen tribute band. We’re looking for a KEYBOARDS player (piano & synth) and a SAXOPHONE player (preferably with some keys ability). The BORN TO RUM band is made up of experienced pro & semi-pro players and you’ll need to have that level of ability and attitude to get the gig. Send CV to: info@borntorum.com.au iFlogID: 22515

EXPERIENCED & DETERMINED bass player wanted for Sydney Inner-West Folk/Indie Rock band. Age group: 15-16. Influences: Snakadaktal, San Cisco, Edward Sharpe & The Magnetic Zeros, Jinja Safari, Mumford & Sons, The Beatles. Yianni: 0450 301 998 iFlogID: 22583

DRUMMER DRUMMER WANTED! We are a Sydney band based in the inner west looking for a drummer with the ability to play an afro/pop/rock style. EP is finished, Major label interest and touring is imminent. Please contact for further details. lutherdburton@gmail. com iFlogID: 22421

SERIOUS MUSICIANS REQUIRED A four-piece band playing melodic originals looking for more musicians to add to our sound. We maybe want a second guitarist or maybe keyboards or maybe both. We are committed and are keen to get our songs heard. Late 20s to late 30s is the ideal age. We like Brian Jonestown Massacre. Doves, Elbow, You Am I. Contact Stephen 0415984808 iFlogID: 22596

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 matt@reynoldssigns.com.au iFlogID: 22129

The smiths, David Bowie, Sonic Youth, Smashing pumpkins, Stone Roses, Space-jangly-spirit-tunes. DO IT YOU WANKS! 18-25 wanting to be rock and roll. All musicians welcome. Distance irrelevant. Milky - 0432163354

OTHER RADIO SYDNEY IS BIG! VERY BIG! www.radiosydney.com.au The worlds largest free digital radio sevice? We say YES! iFlogID: 21174

GRAPHIC DESIGN

BAND POSTERS

SAXOPHONE Looking for an experienced sax player to form a horn section for a Northern Beaches based REGGAE band. Call Michael 0402 549 423 or email siczex@ yahoo.com.au. iFlogID: 22363

SINGER BAND SEEKING LEAD VOCALIST 4 piece rock band based in Sydney’s Inner West, seeking a male lead vocalist. Must be highly committed and able to bring songwriting/vocal ideas to the table. Hear our music at http://fb.bandpage. com/pyramidroom - if interested please contact Dev on 0405 108 561, or email us at admin@pyramidroom.com iFlogID: 22503

Full Colour Posters 100 A4 Gloss only = $40 100 A3 / SRA3 Gloss only = $80 250 SRA3 Gloss only = $150 100 A3 Matt only = $50 MANY more options www. blackstar.com.au call 9264 4776 BLACKSTAR DESIGN 104 Bathurst Street Sydney iFlogID: 22522

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

Pro Drummer wanted for an established 5 piece band Newcastle area. Hardrock, Blues, Pop, Rocknroll exp band gigged with the Angels 2 booking agents Peter 4984 4731 iFlogID: 22260

PROFESSIONAL DRUMMER WANTED

Drummer wanted for show band operating under several names, the main show being BEATLE MAGIC. Must be very familiar with Ringo style or have the ability and enthusiasm to learn. A MUST have for the following: Vocal ability, a current upto date Passport for travel overseas ( cruise liners ), drivers licence, dedication and a team player. For more information please contact Bill via email bill@ beatlemagic.com.au OR 0402627-934 or 02 9610-7197

FEMALE SINGER WANTED

Can and do you love to sing great harmony and some lead? Female to join 2 males in showband, The Lonesome Cowboys, aiming to enventually 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. We’re after a capable, sane, drama free person with great stage presentation prepared to nail her parts and be an invaluable part of something special. We’ve got a budget to get this up and running, so if you’d like to know more, call me, Peter, on 95183451. Based in the inner west. iFlogID: 22551

iFlogID: 22444

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

CENTRAL COAST BAND SEEK. BASS PLAYER FOR ROCK COVERS ORIGINALS BAND, MUST HAVE GOOD GEAR, TRANSPORT,,& COMMITMENT. INF. G/MOORE, CLAPTON, D/PURPLE ,FREE/BAD CO,SANTANA, ZZ TOP. ph 0449536661 iFlogID: 22450

CENTRAL COAST BAND SEEK. LEAD GUITARIST SINGER. FOR ROCK COVERS ORIGINALS BAND, MUST HAVE GOOD GEAR, TRANSPORT,,& COMMITMENT. INF. G/MOORE, CLAPTON, D/PURPLE ,FREE/BAD CO,SANTANA, ZZ TOP. HENDRIX ph 0449536661 iFlogID: 22452

Bass guitarist wanted. Bass guitarist needed for audition. Phone 02) 9476 3771 and ask for Phillip. iFlogID: 22563

BASS PLAYER - NORTHERN BEACHES Do you live on Sydney’s North Shore/ Northern Beaches? We are looking for a bass player interested in joining a mature age rock band - we focus on fast paced rock classics from the 70’s through to the present day - occasional gigs and would like to do more - looking for a like minded bass player to join the band. Please call Jon on 0409 994 420 or Carolyn on 0422 418 541 iFlogID: 22535

BASS PLAYER Bass Player wanted for established central coast band. Publicist for Bam Magera, The Veronica’s and booking agent now on board. Currently touring. Ep mastered by Brian Lucey ( the Black Keys- El Camino, Brothers) available on iTunes world wide. Must be committed and reliable. Contact Kurt - newregulars@gmail.com iFlogID: 22538

bassist wanted for new original band. influences: kinks, beatles, nirvana, you am i, who, beach boys, black sabbath.. must be able to tour/gig regularly, have stage presence and pro gear.. Sydney based.. ages 18-30 only.. contact Dee.. 0431317613 iFlogID: 22524

Guitarist required for unique hard rock/metal/industrial project. Proficient rhythm & lead skills. Professional attitude, project-minded. Not suited to songwriters or jammers. See ivoryglare. com for quick demos. Flick an email to guitarist@ivoryglare.com. iFlogID: 22634

Looking for 2nd gtr player. Ex-players looking to enjoy and do occasional gig. If you’re rusty, 40-50yrs, St George area and can hold a harmony Text me 0439403565 Dan iFlogID: 22576

Small but professional music studio looking for Singer/Songwriters eager to record on a budget. Hawkesbury Music Studio in beautiful East Kurrajong! (15 minutes north of Windsor) James: 0490077658 or facebook.com/HawkesburyMusicStudio iFlogID: 22559

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

KEYBOARD

FRONTMAN WANTED. CLASSIC ROCK for Northern Beaches based covers band. If you are experienced and looking for gigs, call 0414413989 for a current set list. iFlogID: 22304

FREE ONLINE LISTING

Free online listing for musicians and music businesses. Promote yourself or your music business in a national online music directory http://www.musiclinks. com.au It’s FREE. iFlogID: 22357

iFlogID: 17980

TUITION

TRUMPET

AUDIO PRODUCTION COURSE, $660

iFlogID: 22365

The School of Rock offers tuition in singing, bass guitar, electric guitar, drums and song writing techniques. Our instructors have years of experience showing young musicians how to play and take that talent onto the stage. For more information visit our website at www.schoolofrockinnerwest. com.au or www.zenstudios.com. au. Ph: 9550 3977 iFlogID: 22281

WANTED

SERVICES

BUSINESSES

BEAUTY SERVICES

Learn French! - Beginner to Advanced Levels. Bilingual English/ French-speaking Teacher. Either for fun/school/exam preparations. Online via Skype. 1 h r classes X 4 dates per month. - O n l y $50 per 4 classes ($15/each additional class). Contact me on: vangelis2133@yahoo.com

TUITION BASS, GUITAR, DRUMS

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A comprehensive 2 day course that covers basic audio principles, the progression of technology, common audio components, terninology, signal flow, soldering 101, microphone and speaker placement, EQing and more. Handty reference booklet supplied. Optional third days training at a live music venue available. www.zenstudios. com.au 02-9950-3977

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

What happens when you start paying attention? When you become an active member and start participating in this elusive thing we call life. WWW. WHATISTHEHAPS.COM

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

LIVE SOUND COURSE, 2 DAYS

iFlogID: 22279

Need help finishing songs? stuck for ideas -fine tuning - as little or much help as required. First 2 songs FREE no obligations to continue - lowlove@live.com For More Info

Pro Singer Wanted for established 5 piece band Newcastle area. covers originals. Hardrock,blues,pop,rocknroll exp band gigged with Angels. 2 booking agents. Album 2013 call Peter 4984 4731.

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

iFlogID: 20292

OTHER

iFlogID: 22455

GUITARIST

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.com.au or call 0424 422 650

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BASS PLAYER

AUST ACADEMY OF DRUMS & PERC

Run over 6 weekends this is a course for people who want to know how to use their home recording setup or how to use our mix rooms to mix their band’s recording once they have put down the tracks. The course is software neutral; we teach the concepts of recording and the students then apply this knowledge to the software of their choice. 02 9550 3977

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Looking for an experienced reggae keyboard player for a Northern Beaches based band. Call Michael 0402 549 423 or email siczex@yahoo.com.au iFlogID: 22361

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

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SHARED SHOPFRONT SPACE RIGHT ON OXFORD ST MOVE RIGHT IN 1-11 OXFORD ST PADDINGTON 90 SQUARE METERS WITH WODDEN FLOORS AIR CONDITIONED HEAVY FOOT TRAFFIC 8 M WINDOW EXPOSURE 4 DAYS AVAILABLE Incl SAT/SUN iFlogID: 21008

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

ALMOST NOT RECORDING Here’s a great story, though it must have been horrifying at the time. Five days before they were due to head off to Applewood Lane Studios, an hour west of Brisbane, to record their debut album I Need Space with renowned producer Magoo (Regurgitator, The Jungle Giants, Midnight Oil), Hobart, Tasmanian five-piece Ben Wells & The Middle Names were having their final rehearsal at their singer’s rental home/studio when a fire ripped through the house. Only they and their guitars got out in one piece. Then when the band arrived in Brisbane, they had a puncture and found themselves stranded on the highway, and then, getting to the studio, they found that Magoo’s house had been burgled! Despite it all though, the band and producer got stuck in and made the album.

RECORDING VOLTO! Rather than book time in one of the countless studios in LA, fusion band Volto!, comprising members of Tool, Pigmy Love Circus and Alanis Morissette’s band, tracked the songs that comprise their debut album, Incitare, ‘live’ to tape utilising the recording equipment at Tool’s rehearsal loft’s modest studio. When he “had a small window of opportunity between projects”, veteran recording engineer Joe Barresi (Tool, Queens Of The Stone Age, Bad Religion) was called in to sit at Tool drummer Dan Carey’s API 2448 console, complete with custom Neve faders. To get the performance and overdubs onto tape, they dusted off an old Studer A827 gold 24-track machine. Once the recording and mixing process was completed, Incitare was delivered to Gateway Mastering and left to the very capable ears of Bob Ludwig.

SOUND BYTES On a “day off” in Amsterdam in late June, South African born, Australian forged, California based producer Kevin Shirley booked a studio to record a song for Jimmy Barnes and his daughter Mahalia and The Soul Mates, guitarist Joe Bonamassa throwing down a few licks for good measure. Melbourne four-piece Bellusira called in mixing/mastering engineer Ricki Rae (Electric Mary, Dirt River Radio) to produce their debut album, Connection. Sydney singer-songwriter Jane Walker will be heading to France to record her next album with UK producer, writer and programmer James Sanger (Keane, Dido, U2) in his Vibey Studios, a converted 12th century monastery in Normandy.

IN THE STUDIO

BEHIND THE LINES

THE PRODIGAL ALBUM Not only did Melbourne singer-songwriter Andy Szikla write and play pretty much everything on his debut album, Dark Valley, but he also built a bit of studio kit that’s become quite the thing, as Michael Smith discovers.

ack in the ‘80s he was banging around Melbourne in a band called Ides Of March, in the ‘90s another called Mr Fish, and he’s played in singer Kerri Simpson’s Trio. Now singer, songwriter and multi-instrumentalist Andy Szikla has finally got around to recording and releasing his debut solo album, Dark Valley, a punch collection of dark roots/ folk/Americana-style ballads on which he’s sung and played everything – acoustic, electric, slide and pedal steel guitars; bass, mandolin, banjo, piano, organ, harmonium, string synth, wind, xylophone, percussion and drum programming. Well everything but the drums on opening track, Blood Brothers, and some of the backing vocals courtesy of Rick Plumridge, Matt Harding and a scorcher performance at the end of Take Me Up from Kerri Simpson.

What’s more intriguing though, for Muso, is the fact that Szikla actually developed a piece of equipment in order to facilitate an aspect of the recording of Dark Valley that has also been used in the studio by, among others, Jon Stevens, Diesel and Baby Animals on their new album, This Is Not The End. He’s dubbed it the Prodigal Channel Strip. Dark Valley is one big-sounding record. “Every single sound that’s on this album,” Szikla explains, “went through the Prodigal at one point or another; most of it during recording, some of it pre-mix. One of the things about the Prodigal is that it has an extremely nice compressor [an FET input compressor/limiter], and compressors are at their best when they’re used for making things sound bigger, which was very helpful with this album. They are for squashing the dynamic range, but if you can do that without it sounding like it, it’s a bit like thickening your soup and coming out with something a bit more robust. So it’s very much tied to this record. “The bigness of it is on purpose. The theme of Dark Valley is so big – I’m talking about big things – and I discovered you can’t do that effectively unless, I guess, the sound that supports it is big. In the early

Peter Holz aka PHM Electronic stopped by Damien Gerard Sound Systems in Sydney’s Balmain recently to record Maxine Kauter’s new album. Holz has most recently been working on tracks by The Ransom Dance and Swivelhead. Twenty-one year old Melody Pool from Kurri Kurri in NSW used crowdfunding to get her to Nashville to record and produce her not in the least country album, The Hurting Scene, alongside US singer Jace Everett and producer Brad Jones (Missy Higgins/Josh Rouse/Justin Townes Earle). The debut EP, Cabin Fever, from Operator Please drummer Tim Commandeur, under the pseudonym Alaskan Knight, was co-produced by engineer/producer Andrei Maberley, who works out of Guerillamixer at Queensland Uni.

50 • For more interviews go to themusic.com.au/interviews

“All the electric guitar, for instance, is through a Line 6 guitar preamp box – virtual guitar amplifiers – and then through my Prodigal preamp.” As with most musicians these days, Szikla has worked in a number of other areas, among them designing electronic devices, including a number of audio-visual conferencing products, and in that context had begun designing a high-quality Discrete Transistor Microphone Preamp. “I had these designs for it I’d started years ago and would go back to once every three or four years until something ‘real time’ got in the way and I’d have to shelve it again to go off and make money with something else, so I just resurrected one of these projects into the Prodigal. The design spec was that you had to plug your crappy, tinny-sounding shit in one end and out the other end came angels beating you in the head with fluffy pillows. “At some point in there I met and befriended David Nicholas, who should be a national treasure, I think, as a recording engineer. He ran [the now sadly defunct] Rhinoceros Studios in Sydney, where all the INXS records were made [Nicholas worked on Kick, X and Shabooh Shoobah], and he was Chris Thomas’ engineer

Which notable artists have worked at the studio? Housefox Studios have only been open a week or so, but we’ve had some local bands getting in and working on their tracks from the first day of opening and it won’t be long till the word gets out about us and there’s a lot more going down!

Twincest recorded their debut EP, Fuckotash, at artist-run creative space Hope Street Studios in Melbourne’s Brunswick, with producer Ptero Stylus (Diafrix).

Perthsiders Cal Peck & The Tramps recorded their self-titled debut album at Debaser Studios with producer Andy Lawson (Eskimo Joe, The Augustines), with William Bowden then mastering it at his Balmain, Sydney facility, King Willy Sound.

Szikla recorded the album over a year or so in the living room of his Melbourne flat, running his laptop, an Mbox 2, a couple of microphones and the Prodigal.

[in London] for some time – he did the Pulp record that everybody knows – and we wound up colleagues doing audio-visual work in Sydney. I was in the process of designing the Prodigal at the time, got his opinion and he made a few suggestions, which I gleefully took on, and then I gave him one. He occasionally gives it back to me when I’ve got a few more ideas to tweak it up, but he’s basically been using it on every record that he’s made in the last four years or so, including the new Baby Animals album, and if you listen to the bass guitar, especially through something big, it’s an amazing sound he’s pulled. But he’s used it on everything – he’s used it on vocals, piano, Spanish guitar, all sorts of things. “I’m in the process of working up a production model of the Prodigal and intend to have it on the market some time this year.” That friendship naturally led to Szikla calling on Nicholas to mix Dark Valley, which was then mastered by Don Bartley at his new Benchmark mastering studio in Blaxland in Sydney’s Blue Mountains. “Coincidentally, [Nicholas’] style is big. He once said to me, when asked about making hit records – does anyone know how to do it or is it just luck? He looked me in the eye and said, ‘I do big, and when big’s in fashion, I have hits, and when it’s not, I don’t’.” WHO: Andy Szikla WHAT: Dark Valley (Rubber)

STUDIO PROFILE

Perth four-piece Mezzanine have been recording their debut album at Blackbird Sound Studios with the studio’s owner/operator, producer and engineer Dave Parkin (Jebediah, Snowman).

After tracking the rhythm section with Syd Green in Sydney, singer, songwriter and guitarist Johnny Cass took himself down to Sing Sing Studios in Melbourne to record the band’s debut album, Tombstone Bullets, with engineer/ producer David Nicholas (INXS, Midnight Oil, Jimmy Barnes), the results then sent to California to be mastered by Michael Lazarus.

stages of making this record, when I was asking myself these sorts of questions of how to do it, I remembered Kevin Klein being interviewed by David Letterman about doing Shakespeare, and he’d said it’s got to have a heroic dimension to it because Shakespeare’s talking about big things. So I thought the album had to have a heroic dimension to it, and that led me to Springsteen’s Born To Run, which is kind of along the same lines. So I tried to find sounds that were big, and if I was talking about something important, I was feeling whether it sounded important.”

HOUSEFOX STUDIOS Answered by: Ryan Miller, owner & operator What’s the studio set up you have there equipment-wise? Housefox Rehearsal Studios double as multi-track recording studios where the bands run the controls. The rooms come with SoundCraft EFX8 mixers running 2x1000watt QSC K12 speakers, but unlike most rehearsal studios our rooms also come with iMACs loaded up with Pro-Tools and Studio One (soon to have Logic), a 16.0.2 Presonus Digital Mixer, Mackie MR8 Monitors plus MXL 550 and 551 condenser mics, standard in each room, so you’re ready to hit record from the moment you walk in the door at every jam, with the option of adding more mics! Any tips for artists entering a studio for the first time? If you’re out to spend some big bucks, spend your time on some preproduction (Housefox is perfect for this!), get 90 per cent of what you want to do nutted out before you get in the studio so you’re not wasting yours and your band’s cash on not really knowing how you want to attack a song. Make some demos and if you plan on using a click track to work out your tempos before you get in there so you’re not squabbling over the little things when you could be laying down tracks. It also doesn’t hurt to take along some reference albums that you like the overall sound or mix on in with you; this will help the sound engineer/producer understand what you’re going for.

Who do you have on staff and what’s their background in the industry? The Housefox Family consists of myself, Ryan Miller – I’ve played and recorded in bands for over a decade and still play and tour with my band The Sidetracked Fiasco; Blake Rebane and Johnny O’Donnel – Graphic & Web Design, both Blake and Johnny have worked with artists and labels on all aspects of work, both are musicians (Johnny playing bass with me The Sidetracked Fiasco) and bring their own flavours and styles to the table; Shaun Hay – Teaching Pro-Tools, Audio/Sound Engineering Courses, Shaun has ten years’ experience as a sound engineer, producer, sound recordist, programmer and sound designer with a degree in Media Arts from UTS; and Paul Hardwick and Eden Connell – Photography/Videography – both Paul and Eden are super professional with top studios and have more than enough experience to cover any shoot. Analogue vs digital – discuss. Well, when it comes down to it they’re both pretty awesome! The work flow and features that digital can provide certainly give it a leg up in areas and the size and versatility of a lot of machines means it can be easily transported and used for many applications. Analogue will never go out; it has a warmth and feel that just works awesomely! In the end I think it’s pretty simple, both have a place and always will. You’ve just got to know where it is and work with them both I say. First rule, you need good music to start with! Can bands bring in their own engineer or do they have to solely use a house engineer? Bands can bring their own engineer or simply run the controls themselves. Housefox Studios are a handson studio and the idea is you get in and do your own recording. I think it’s a very unique studio in this way as it’s set up purposely for the bands and artists to get in there and work on their tracks from both ends of the table and by doing this it’s an effective way to

keep the costs down and allow access to a greatsounding room with good gear for everyone. Is the studio capable of holding a full band at once for recording? Both studios have heaps of space. The Rollins Room is 30 metres squared and The Boosh Room is 36 metres squared, so there’s plenty of space to get everyone in, set up and still move around. We’re an impoverished indie band – do you offer any deals for acts in our situation? We do discounted rates for weekdays and discounted rates for full-day bookings. Impoverished bands are something Housefox Studios cater for; the concept and way that Housefox has been built and set up allows bands that don’t have the cash to go and spend 700-800 smackaroos a day on a studio access to record, mix and master at an extremely affordable and value for money price! Do you have any in-house instruments at the studio acts can use, or is it totally BYO? Housefox has everything from a range of vocal and drum mics – Rode, Shure, Audix, MXL – through drums, guitars, basses, acoustics, congas and bongos and all sorts for hire. What’s the access to the studio like with regards to parking, flat load, etc? Parking is right out front of the building and the load in is so, so, so easy – back your car straight up to the roller door, load gear straight into the studios... Three to five metre all-flat load – easy! Working in the studio can be arduous and we’ll need a break – what are the amenities in the local area? Housefox has snacks, tea and coffee, and there are cafes and shops just down the street with Brookvale Hotel, which has a super cheap and awesome grill, just a two-minute walk. What are your contact details? Housefox Studios, 19 Orchard Rd, Brookvale, Sydney Ph: (02) 9939 3708 housefoxstudios.com