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Wed 14 Aug: ULTRA Series Band Competition ; Thu 15 Aug: Metal Show feat: “Winter Gaunt” , “Atlantis Of The Sky” , “Mayfall” , “Pitchfork” ; Fri 16 Aug: Rock/Electro Show with “After Dark” and many special guests ; Sat 17 Aug 12pm: RockChick Ent presents Rock Show feat: “Room13” , “November’s Oath” , “1919” , “Jody” , “Another Avenue” , “Primal Envy” ; 7pm: Metal Evilution presents: “Lycanthia” , “Avarin” , “Awaken Solace” , “Temtris” , “Head In A Jar” ; Sun 18 Aug: 2pm: Core Show with “Endless Nights” , “Desengaged” , “A Moment Before” , “Resonance” , “Friend Or Foe” , “At The Gallows”

For band bookings please email

Bistro open Lunch and Dinner !!


This Week

Coming Soon

D-Block & S-te-Fan

Blues & Grooves feat.

Phil Emmanuel

Sat 10 Aug

Fri 16 Aug

Alexander Abreu

Anberlin (USA)

& Havana D’ Primera (CUB) Sat 7 Sep

The Mavericks (USA) Tonight Alive Fri 23 Aug

Thu 5 Sept: All Ages


For The Fallen Dreams (USA)

Fri 13 Sep

Fri 6 Sep

Fri 20 Sep: All Ages

Supernova U18s Fest feat. Wasted Penquinz, Toneshifterz + More


Stratovarius (FIN)

Hits & Pits 2.0 feat Black Flag (USA ) + The Ataris (USA) + Bad Astronaut (USA)

Sun 15 Sep

Fri 25 Oct

Spit Syndicate Sat 2 Nov: All Ages

Fri 4 Oct

Victor Essiet & The Mandators Sat 12 Oct

Sun 17 Nov




T H E D R U M M E D I A I S S U E # 1 1 7 2 T U E S D AY 6 A U G U S T 2 0 1 3

“When we were writing the album, we really wanted it to be an album that you could just turn on and play from start to finish.” Aluna Francis of ALUNAGEORGE (P23)


“Being in a band, you can never spend too much time thinking about the future.” Dan Smith of BASTILLE (P26)

I think egos are healthy.” Alister Wright of CLOUD CONTROL

“Cinema is one of the great time-machines that we have.”


Filmmaker Peter Mettler on THE END OF TIME (P31)

“Fuck, you can get let down by your mates sometimes but you just get on with it. There’s other good people in the world.” Ross Knight from COSMIC PSYCHOS (P20)


Our Sydney d superheroes have taken it a step further and created something immersive. Take the red pill and enjoy the ride.” James d’Apice reviews SUBURBAN DARK

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 GIG GUIDE EDITOR Justine Lynch CONTRIBUTORS Adam Curley, Adam Wilding, Alex Hardy, Andrew McDonald, Anthony Carew, Ben Meyer, Ben Doyle, 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

10 • To check out the mags online go to


l d Karnivooll played a very smart gig. They weren’t selfindulgent enough to think that with only a few weeks’ worth of listening, the crowd would have tolerated a set list dominated by new songs.” Monique Cowper reviews KARNIVOOL

“It’s easy to be mean about Kanye. He is the worst man alive, pretty much.” James d’Apice in GET IT TOGETHER (P39)

“The only songs that took a lot more thought in a way were the ones that were not quite my story.”

Cash Savage from CASH SAVAGE & THE LAST DRINKS (P31)

ADVERTISING DEPT Brett Dayman, James Seeney, Andrew Lilley CLASSIFIEDS ART DEPT Dave Harvey, Matt Davis COVER DESIGN Dave Harvey ACCOUNTS DEPT THE DRIVERS Grant, David, Julian, Ray, Paul, Al, Mark PRINTING Rural Press (02) 4570 4444 DISTRIBUTION SUBSCRIPTIONS Subscriptions are $2.20 per week (Minimum of 12 weeks). For more info go to 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 The Drum Media is also available on iPad via the iTunes App Store


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MOTHER OF GOD Unquestionably one of the largest and most varied Big Day Out line-ups has just dropped, positioning 2014 as one hell of a good year for live music right from the outset. Clap your peepers on this bill: Pearl Jam, Arcade Fire, Blur, Snoop Dogg aka Snoop Lion (pfft), Major Lazer, Steve Angello, Flume, The Lumineers, Tame Impala, Dillon Francis, MacMiller, Ghost, Grouplove, Flosstradamus, Portugal. The Man, Toro Y Moi, DIIV, The Naked & Famous, Big Gigantic, Pez, Mudhoney, Cosmic Psychos, Northlane, The 1975, Loon Lake, Kingswood, Bo Ningen, The Algorithm, DZ Deathrays, Peking Duk, Ben Morris, Rüfüs and more to be announced. If you can’t find plenty of good shit there then go home, you’re drunk. The travelling music mecca rolls through the usual locales on the following dates: Sunday 19 January, Metricon Stadium and Carrara Parklands, Gold Coast; Friday 24, Flemington Racecourse, Melbourne; Sunday 26 and Monday 27 January, Sydney Showgrounds; and Sunday 2 February, Claremont Showgrounds, Perth.

FULLY LOADED Fresh off the back of his latest stellar mixtape, Black Flag, Machine Gun Kelly will bring his spitfire rhymes to capital city venues for some very special hip hop nights indeed. Cited as the Hottest Breakthrough MC by MTV in 2011, the prolific Ohio MC has barely come up for air in the past two years, and at 23-yearsold is already positioned to carry on the future of freestyle. Fire away with the ammunition of Machine Gun Kelly on Wednesday 4 September, Capitol, Perth; Thursday 5, The Hi-Fi, Melbourne; Friday 6, Manning Bar, Sydney and Saturday 7, The Hi-Fi, Brisbane.

JUST SOMETHING ABOUT HOUSE MUSIC The joint is going to get trashed when triple j bring their much loved Saturday night House Party radio show out of the studio for some late, late nights. Shaping up to be evenings full of fresh gear, mashups, party favourite’s and everything in between, the line-up offers a veritable feast of beatmakers to get your rumps shaking. Catch Nina Las Vegas, Flight Facilities, Cassian, Tyle Touché and Wave Racer at these dates: Saturday 24 August, Metro Theatre, Sydney (under-18s, afternoon; 18+, evening); Thursday 29, Capitol, Perth; Friday 30, Metropolis, Fremantle; Saturday 31, The Hi-Fi, Brisbane; and Saturday 7 September, The Hi-Fi, Melbourne.


Matt Corby


Punter 1: “Who’d a thought nearly 23 years ago we’d all still be sittin’ here reading Drum Media?”

Punter 2: “But you try and tell the young people today that... and they won’t believe ya’…”

Punter 2: “Aye. In them days, we’d a’ been glad to have a set of gig listings.”

In this day and age of information overload, it’s hard to believe the integral part something like The Drum Media has played in the local music scene. Chances are, the first widespread mention a band would get anywhere, would be in the Drum. Be it something as small as a gig listing or paragraph through to a review or even a feature, the initial time you might have heard of an artist was in these pages. The comprehensive nature of the magazine has meant it’s been known as almost a “bible” for the local music scene. Well even The Bible has Revelation and so it comes to pass that you now hold in your hands what is the last issue of Drum Media as you know it.

Punter 3: “A set of incorrect listings.” Punter 1: “Without Friday or Saturday.” Punter 4: “OR gigs!” Punter 2: “On a filthy, ripped up bit of paper.” Punter 1: “We never used to have a bit of paper. We used to have to get them on the back of a bus ticket.” Punter 3: “The best we could manage was to use a piece of damp beer coaster.” Punter 4: “But you know, we were happy in those days, though we didn’t have access to much music information without Drum.” Punter 2: “Aye. My old dad used to say to me, ‘Money doesn’t buy you music information.’” Punter 1: “‘E was right. I was happier then and it was free. We used to get it off this guy at the pub.” Punter 3: “Guy at the pub? You were lucky to have a guy at the pub! We used to overhear it on the train. Half the info was missing.” Punter 4: “You were lucky to have a TRAIN! We used to have to catch it from a piece of paper blowing in the wind!” Punter 2: “Ohhhh we used to dream of a piece of paper blowing in the wind! Woulda been heaven to us. We used to have to go through a rubbish tip. We got woken up every morning by having a load of rotting fish dumped all over us! Paper in the wind? Hmph.” Punter 1: “Well when I say ‘paper in the wind’, it was only a serviette covered by tomato sauce, but it was a piece of paper to us.” Punter 4: “Right. We had to get all the overseas music magazines, look at inferior listings and coverage in the major dailies, look at flyers in record stores, listings on billboards and pole posters and when we got home, we still couldn’t find out what gigs were happening on Saturday night.”

But do not despair, your weekly fix will continue in the form of an evolved publication called The Music. Much as Drum was originally started as a desire to evolve from a group of workers wanting more from the existing publication they worked for, so too now will The Music have these beginnings based on evolving Drum to another level. There will not just be a new look (in design and size) and a new publication day (Wednesday), there will be an expansion of content. We will still cover music and arts to the high quality that you have come to know and expect from us. But we will also look to expand our scope into areas that have hereto been unable to be given due space, even though very relevant to our readers. We’re talking things like food, gadgets, fashion and more. To some this may seem like heresy. To more though we’re sure this will be a fresh reinvigoration to giving you extra coverage each week. Besides, the common complaint of the newsprint rubbing off on your fingers will now no longer be an issue with The Music’s glossy format, which is a total win. We’re excited by this move and hope you will be too and join us for the ride. And when you do, to paraphrase the person who has appeared on the front cover of Drum the most number of times – one Timothy Adrian Rogers – god bless the fuckin’ lot of you. See you next Wednesday. Mark Neilsen Editor, The Drum Media

12 • For more news/announcements go to

After filling out the GW McLennan tent at Splendour In The Grass, Matt Corby has announced that he will be taking his latest EP, Resolution, out on the road this spring. Get your swoon on when Corby plays the following dates: Wednesday 9 October, Wollongong University; Thursday 10, ANU Bar, Canberra; Friday 11, Hordern Pavilion, Sydney (licensed/all ages); Tuesday 15, Brisbane Convention and Exhibition Centre (licensed/all ages); Friday 18, Festival Hall, Melbourne (licensed/all ages); Wednesday 23, GPAC Playhouse, Geelong (licensed/ all ages); and Sunday 27, Arts Centre, Fremantle.

GLOBAL ROAMING The Sydney indie-dance crew Rüfüs have been getting it done for a few years now but have managed to slide under the radar. That’s all set to change, however, with Atlas, a debut record bristling with energy and vitality. It’s the soundtrack to the best night of your year and you didn’t even know it. Raise your hands towards the neon warmth when the trio play Cambridge Hotel, Newcastle, Thursday 12 September; The Hi-Fi, Sydney, Friday 13 (all ages); Efterski Festival, Thredbo, Saturday 14; Academy, Canberra, Friday 20; Waves, Wollongong, Saturday 21; Corner Hotel, Melbourne, Friday 27; The Zoo, Brisbane, Friday 4 October; Mojo’s, Fremantle, Thursday 10; and Villa, Perth, Friday 11.

R.A. The Rugged Man will be bringing his disarming and devastating tales of the streets our way for a headline tour shaping up to be a big one for rhyme lovers across the country. Through his career R.A. has done things his own way and earned mad respect from some of the greatest to ever hold the mic, including Notorious B.I.G. and Wu-Tang Clan. Ready to unleash on our shores, the New Yorker plays Friday 13 September, Coniston Lane, Brisbane; Saturday 14, The Standard, Sydney; Sunday 15, Transit Bar, Canberra; Thursday 19, The Espy, Melbourne; and Saturday 21, Rosemount Hotel, Perth.

I CAN SEE THE MUSIC! Offering complete aural stimulation while simultaneously demanding you to move, Sampology brings a party unlike any other. Gorge on the feast when the Brisbane bro brings his latest AV extravaganza out on the road, playing Coniston Lane, Brisbane, Friday 30 August; Snow Dome, Thredbo, Saturday 31; FBi 10th Anniversary, Carriage Works, Sydney, Sunday 8 September; Beach Hotel, Byron Bay, Sunday 15; Welcome To The Valley, Belvoir Amphitheatre, Perth, Saturday 12 October; and Brown Alley, Melbourne, Saturday 19.

LINE UP THE SHOTS If you’re looking for something different in metal, make sure you check out the heavy-as-fuck hoedowns from Korpiklaani when they sail in for their first Australian tour. Finland’s beerswilling brethren will surely be causing all kinds of calamity when they perform at The Zoo, Brisbane, Tuesday 22 October; Corner Hotel, Melbourne, Wednesday 23; Manning Bar, Sydney, Friday 25; and The Rosemount, Perth, Sunday 27 October.

WE KNOW YOU WANT THEM Two of pop music’s biggest stars of now are teaming up for a large double bill, with Pitbull and Kesha delivering their swag of hits live on stage this spring. They’ll play the following capital city dates: Wednesday 30 October, Brisbane Entertainment Centre; Friday 1 November, Rod Laver Arena, Melbourne; Tuesday 5, Perth Arena; and Friday 8, Allphones Arena, Sydney.

Leonard Cohen

AGE SHALL NOT WEARY HIM Even at 78 years young, Leonard Cohen is showing no signs of slowing down, with the velvet voiced Canadian returning Down Under for his first run of dates in three years. With his crack nine-piece backing band tackling the journey every step of the way, Cohen will play a host of all ages shows, happening Wednesday 13 November, Perth Arena; Saturday 16, Sydney Entertainment Centre; Wednesday 20, Rod Laver Arena, Melbourne; Saturday 23, A Day On The Green, Bimbadgen Winery, Hunter Valley; Saturday 30, Brisbane Entertainment Centre; Wednesday 4 December, WIN Entertainment Centre, Wollongong; and Saturday 7, A Day On The Green, The Hill Winery, Geelong.





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Cody Chesnutt – name-checked alongside the likes of Prince and Curtis Mayfield – arrives here in October with a four-piece band to electrify Australian audiences with his blend of R&B and gospel-tinged Southern soul. See Chestnutt live at the Metro Theatre on Saturday 19 October.

PARTON ME South Australian piano pop-rock band Bill Parton Trio have released their self-titled debut EP. Bill Parton Trio’s sound combines the catchiness of The Beatles with Coldplay-like chords and melodies, the impressionism of Jeff Buckley and Radiohead, along with the chilled-out mood of Zero 7. Bill Parton Trio perform at Heritage Hotel, Bulli on Thursday 29 August; Pot Belly Bar, Canberra on Friday 30; Lewisham Hotel on Saturday 31; Great Northern Hotel on Sunday 1 September; and Pacific Hotel, Yamba on Friday 6.

AJ Maddah

SOUNDWAVE BOSS MUSIC BIZ’S MOST POWERFUL PERSON AJ Maddah, the festival and touring powerhouse behind the Soundwave and Harvest events, has been named the most powerful person in the Australian music industry. The annual Power 50 list of the industry’s top powerbrokers has been released by the Australasian Music Industry Directory – published by Street Press Australia, publishers of The Drum Media – and they’ve named Maddah number one for managing to cultivate a punk and metal scene that provided a platform for Soundwave to grow into one of the country’s biggest festivals. The impact of that also re-empowered the Australian scene as a whole. He’s also pioneered a level of interaction with punters through that infamous Twitter account. Reacting to the news Maddah told, “To be perfectly honest I am shocked and a little bit uncomfortable. To paraphrase Groucho Marx, I do not care to be on any list that would have me at number one. I’m still learning on the job and taking lessons from masters like Michael Gudinski, Frank Stivala, Carl Nicholas, John Parker, Denis Handlin and Michael Chugg, all of whom are more knowledgeable than me and continue to be very generous to me with their time and advice.” He added, “I’ll keep the spot warm ‘til Michael Gudinski reclaims his rightful place in the next AMID.” The full list of 50 and its analysis is in the Australasian Music Industry Directory, while the top ten are as follows: 1. AJ Maddah – Soundwave, Harvest; 2. Michael Gudinski – Mushroom Group; 3. Michael Chugg – Chugg Entertainment; 4. George Ash – Universal Music Group; 5. Paul Piticco – Splendour In The Grass; 6. Jessica Ducrou – Splendour In The Grass; 7. Richie McNeill – Totem Onelove Group; 8. Janelle McCarthy – iTunes; 9. Richard Kingsmill – triple j; 10. Millie Millgate – Sounds Australia

INDUSTRY NOTES Independent label Inertia have announced they’ve acquired a 50 percent stake in Melbourne music publisher Gaga Music for an undisclosed amount. The Gaga team will remain in Melbourne, with Inertia directors Ashley Sellers and Colin Daniels joining the company’s board.

HAVIN’ MORE FUN Something With Numbers

REUNITED AND IT FEELS SO GOOD The Reunion Festival is back in 2013 and promises to deliver yet another amazing experience. Over one massive day and three stages, The Reunion Festival line-up this year includes a mix of emerging Central Coast talent and established acts like Something With Numbers (pictured), The Snowdroppers, Gay Paris, The Lazys, Tropical Zombie, Blind Valley, Taylor & The Makers, Paper Wolves, The Defiant Few, Sons Of Alamo, The Dirty Eights, Set Backs, Valley Of Kings, Bleeding Gasoline and The Rubix. It all happens on Saturday 21 December at the Entrance Leagues Club.

IT’S ELECTRIFYING GET SOME EXCORCISE Brisbane industrial rockers Darkc3ll have announced tour dates to celebrate the release of their second album (due out September), from which they’ve already released two singles: Six Hundred & Six Six and Exorcist. Catch Darkc3ll at The Basement, Canberra on Friday 25 October and Hermann’s Bar on Saturday 9 November.

Martha Davis & The Motels are confirmed for an Australian Tour hitting our shores in October. See them perform hits such as Only The Lonely, Take The L Out Of Lover, Total Control and Shame (just to name a few) at Newcastle Wests on Wednesday 13 November; Revesby Workers Club on Saturday 16; Penrith Panthers on Sunday 17; Entrance Leagues on Thursday 21; The Juniors on Friday 22; Waves, Wollongong on Saturday 23; and Hornsby RSL on Sunday 24.

FULL FORCE SWAGGER Things are going to hit all kinds of fever pitch when two of urban music’s biggest superstars partner up for three capital city dates along the east coast as part of the inaugural Episode One tour. This tour will see one of rap’s most successful MCs T.I. play his first ever Australian shows, joined by the ever smooth Akon. See both stars on Friday 11 October at Allphones Arena.

A major clean-up was needed at The Annandale Hotel after the iconic Sydney venue was broken into and robbed last week. Police Media have confirmed the venue was ransacked just after midnight on Friday morning, with thieves stealing an unknown quantity of alcohol and cash. Lisa-Maree Bray from Superstylin’ Entertainment said the “entire place was thrashed”. Last week’s Monks Of Mellonwah gig had to be cancelled due to the incident.

WANDERING TIGER With the release for their third EP, Wandering Eyes, this Friday, Sydney’s ever-growing favourites Tigertown are proud to announce the accompanying national tour. This year alone, they’ve completed a national run with Bob Evans before leaping right into an extensive run of their own on the back of the new EP’s radiosaturated first single, What You Came Here For. See them at Oxford Art Factory on Thursday 5 September.

GET SIETTA TO GO Sietta’s new single Let It Go is an artistic statement; James Mangohig weaves ethereal plucked harps, subtle sub bass tones and tribal percussion with the inspired Caiti Baker in her element. It’s a cinematic scene of high drama in slow motion. Check it out for yourself when they play at The Vanguard on Wednesday 28 August.


Melbourne City Council has unanimously voted to accept a petition sporting 6,000 signatures supporting the idea of a laneway to be named after late rock singer Chrissy Amphlett, which was presented to them in early July.

The influence of Splendour In The Grass is still being felt across the ARIA Charts this week, with festival headliners Of Monsters & Men enjoying the biggest jump in the Albums Chart top 50. Promoted to the main stage’s closing set of the weekend after Frank Ocean pulled out, the Icelandic indie-folk outfit’s album My Head Is An Animal jumped 21 places to sit at 17. Frank Ocean himself gained 13 positions with Channel Orange promoted to 11 and the not-so-secret band alt-J’s An Awesome Wave is up to 25. Last minute fill-in Lorde’s The Love Club EP moved up to two on the ARIA Singles Chart.



Canberra post-hardcore group Hands Like Houses have debuted at number 37 on the Billboard 200 chart this week with their second record Unimagine.

Hoodoo Gurus frontman and New South Wales live music ambassador Dave Faulkner has hit back at controversial columnist Andrew Bolt, after he attacked the government in the wake of $560,000 in funding over three years for the National Live Music Office. Pointing to the economic value of live music, Faulkner told, “Just how big does an industry have to be before a blowhard like Andrew Bolt thinks it is one worthy of attention from the Australian government?”

Super-duper new cosmic surf trio Dumb Blondes announce their run of first-ever live shows, to launch their debut single Into The Light. Dumb Blondes is a collaboration between Jordan Malane (Bleeding Knees Club), Nicholas Futcher (Kite Club) and Joel Abbott (current touring drummer for both bands). Catch them at the Upstairs Beresford on Saturday 24 August; Goodgod Small Cub on Wednesday 28; and Wilbur Lane, Cronulla on Sunday 22 September.

The Holidays

In mid-2012, four Sydney dudes came together with a singular goal in mind: to create some righteous punk rock. The result was Born Lion, with a roaring wall of sound made up of fucked up chords, angular rhythms, hard beats and double shouty vocals. New track D For Danger is no exception. In commemoration, the boys are hitting the road. Witness them live at the Great Northern Hotel, Newcastle on Wednesday 4 September, the Annandale Hotel on Friday 20 and Spectrum on Saturday 21.



The Holidays are hitting the East Coast this September and October for their first headline performances for 2013, which, along with the release of their new single Voices Drifting, mark their return to the local and international music scene. Voices Drifting is from the band’s new album (due for release in early 2014). See the band at Goodgod Small Club on Thursday 19 September.

Richard Clapton is a name that is synonymous with Australian rock music and this year marks his 40th year as a recording artist. To celebrate this auspicious occasion, Clapton is making his annual pilgrimage to Sydney’s State Theatre on Saturday 2 November for a night of nostalgia.

Lightning Bolt have become infamous for Brian Chippendale’s explosive and intense drumming combined with Brian Gibson’s earth crushing and complex bass techniques. Emerging from Providence, Rhode Island in ’95 as an art project, Lightning Bolt soon became known for destroying the conventional idea of live performances with their guerrilla style shows. Lightning Bolt return to Australia this October for ATP’s Release The Bats Festival and national tour, including a show at The Standard on Friday 25 October.

SIRENIA CALLING One of the pioneers of symphonic gothic metal artists, Sirenia will perform tracks off their recent new release Perils Of The Deep Blue, as well as a comprehensive selection of tracks across their discography when they tour Australia for the first time. See them perform at the Factory Theatre on Saturday 14 December.

BEARDOS REJOICE For the first time in history, Sydney will host its own World Beard Day celebration by staging a concert at the Annandale Hotel on Saturday 7 September, and headlining the evening will be Australia’s kings of totalitarian beard rock: The Beards. The event will be hosted by bearded comedian Dave Callan and will be streamed live right around the world. It will also feature various bearded bands from across Australia including Jackson Firebird, The Stiffys and Manchoir. In addition, punters and web-viewers alike can witness an array of beard-based activities in the Annandale’s ‘beard garden’, including a bearded man kissing booth and free bearded piggy-back rides.

FIRE IT UP Greek power metallers Gus G’s Firewind are hitting Australia for the very first time in October/November to unleash some damn fine European power metal. Known by many as the guitarist for Ozzy Osbourne and by his tenures in Dream Evil, Nightrage and as a touring player with Arch Enemy, Gus G and his Firewind crew have always kept the power metal flame alive. See ‘em live at the Manning Bar on Thursday 31 October.


The Finnish metal invasion that’s relentlessly pummelling our shores continues with Moonsorrow the latest group to announce dates for later in the year. The pagan beasts will tear apart Aussie venues throughout November, including the Manning Bar on Friday 22.

FBi Radio is proud as (spiked) punch to announce the second round of artists for FBi Turns 10! The festival’s second (but not final) announcement of acts includes FBi sweetheart Sarah Blasko, Kirin J Callinan, Bleeding Knees Club, Deep Sea Arcade, Oliver Tank, Katalyst, Fishing and Naughty Rappers Collective. It all happens on Sunday 8 September at Carriageworks.




On Monday 30 September at the Enmore Theatre, Cambodian Children’s Trust presents an extraordinary line-up of artists collaborating for a common cause – the Concert For Cambodia, to help break the cycle of poverty in South East Asia’s poorest country. It’s hosted by comedian Arj Baker, with special guest appearances by Jimmy Barnes, Lior, Diesel, David Campbell, Mahalia Barnes, Darren Percival and iOTA.

It has been nearly three years since The Screaming Jets have graced – or disgraced, if you like – the stages of Australia. They are now getting ready to embark on their first national tour in ages. Catch the show at Entrance Leagues Club on Friday 15 November; Waves, Wollongong on Saturday 16; Metro Theatre on Saturday 23; and Cambridge Hotel, Newcastle on Thursday 12 December.

Catherine Traicos & The Starry Night return to the stage at Proper Music Social at the Union Hotel in Newtown on Thursday 22 August to launch Light In The Dark, the first single from their upcoming album The Earth, The Sea, The Moon, The Sky. The single launch will be your only chance to catch Catherine & The Starry Night before she heads overseas for her first European tour.


14 • For more news/announcements go to

Catherine Traicos & The Starry Night


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to 9 June 2014. Expressions of interest close Monday 4 October, so for more info head to

Friday – a political satire set in a fictitious democracy where politics meets with sex secrets and scandals, just like real life. Witty and smart, this production looks at the nature of modern day politics and the battle between public responsibility and personal desire. Opening night, The Old Fitzroy Theatre, 8pm, runs to Saturday 31 August.

Short + Sweet Cabaret – applications are now open for performers to be a part of Short + Sweet Cabaret Festival held at New Theatre, 8 to 19 January 2014. Each performer will get ten minutes on stage each with all styles welcome. All acts must register and audition their performance. Registrations close Friday 18 October and auditions will be held on Saturday 26 and Sunday 27 October. for more info head to


Underground Film Festival (Magic Magic) Friday

THURSDAY 8 East Is East Night Market – a new night designer market held every Thursday at TAP Gallery. Handmade crafts from local designers. TAP Gallery, 6.30pm.

FRIDAY 9 Persona – a play about actress Elizabeth who one night falls silent in the middle of a performance. She is sent to the seaside to recover and discover what it was that made her silent. Belvoir, 8pm, runs to Sunday 18 August.

MAGIC UNDERGROUND ROOM Sydney’s seventh annual Underground Film Festival has been announced. This year the festival will host over 30 films from local and international directors over three days at the Factory Theatre. The festival will celebrate all films cult and underground. Opening the festival this year is Alejandro Jodorowsky’s psychoimaginary autobiographical, The Dance Of Reality. The festival will also include the psycho horror flick, Magic Magic, starring Michael Cera and Juno Temple. The film is set in remote Chile where a group of young Americans are on vacation. If a creepy Michael Cera isn’t your thing, there’s also edgy new doco, How To Make Money Selling Drugs, which looks at the $400 billion global industry of drug trade. You can also check out some underground cult classic films, such as Andy Warhol’s 1965 film, Poor Little Rich Girl, which was originally conceived as part of a series of films, featuring Edie Sedgwick. There will also be a special 10th anniversary screening of Tommy Wieseau’s film disaster turned cult masterpiece, The Room. Join in the tradition and throw a spoon at the screen when you spot a spoon-themed artwork and scream your lungs out - it’s the footy of cinema. The Sydney Underground Film Festival runs Thursday 5 to Sunday 8 September



The Audience – broadcast on screen in high definition, Helen Mirren returns to her role as Queen Elizabeth II at the West End’s sold-out shows of The Audience. A part of Riverside’s 25th Anniversary Celebrations. Riverside, 1pm, runs to Sunday 11 August.

Bollywood Coming To Sydney – Bollywood actor Shahrukh Khan will visit Sydney in October as part of Parramatta’s Parramasala Festival and will host a two-hour Indian variety show of dance, comedy and music. Khan has appeared in over 75 films, topped the Forbes list of Indian Celebrities in earnings and has been awarded one of India’s highest civilian awards for his contribution to Indian cinema. The Parramasala Festival 2013 will be held from Friday 4 – Monday 7 October.

SUNDAY 11 South Of No North – an exhibition of works by contemporary Australian artists Laurence Aberhart, William Eggleston and Noel McKenna. The collection includes paintings, sculptures and photography based around the built environment. MCA, runs to Sunday 25 August.

Woody – An Australian stop-motion animation, Woody won Best Animated Short at the Seattle Film Festival this year, officially making it eligible for submission to the 2014 Academy Awards. Woody will makes

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Queer Screen Film Festival – making its festival debut this year, the Queer Screen Festival will run for four days in September this year. The festival will kick off with French film and Cannes Film Festival winner, Stranger By The Lake, at Dendy Newtown. The festival will also be a fundraiser for the Mardi Gras Film festival. More details announced soon. Indie Gems Film Festival – this year is the festival’s fourth birthday, and will again showcase the best in local and international independent cinema. Opening the festival is Pharaoh Vs The Egyptians, directed by Sydney comedian Akmal Saleh. The festival will be held at Riverside Theatres, kicking off Thursday 12 and running through to Saturday 14 September.

its Australian debut at the Melbourne International Film Festival this month. Directed by Stuart Bowan, Woody is about a man with wooden paddles for hands who dreams of being a concert pianist.

CASTING CALL Vivid Sydney – expressions of interest for Vivid Sydney 2014 are now open for artists who use light, projections and installations to submit works and ideas for the chance to be a part of the festival next year. VIVID welcomes everyone from students to creative industry companies from around the world to submit an expression of interest for supply of design, lighting equipment, projection equipment, CBD buildings, etc. The festival will be a night event, running from 23 May

Stranger by The Lake




They say album number two can make or break you as an artist, but indie rockers Cloud Control hardly seem worried. And, as Heidi Lenffer and Alister Wright gear up for the band’s second release, they tell Natasha Lee they’re just glad to be back home. Cover and feature pics by Carine Thevenau. fter the release of their critically acclaimed debut, Bliss Release, Cloud Control jumped ship from their hometown in the Blue Mountains and did what most Aussie twentysomethings do – packed up and headed over to the UK.


Okay. Yes, this was a little different to your usual expat adventure, with the foursome committed to one mission: recording album number two. Thankfully though, this crosscountry recording sesh worked. But the whole creative sojourn wasn’t easy. Being in a band is hard work. Firstly, there’s the writing the music bit. Combine that with egos, attitudes and a generous amount of alcohol, and you have a recipe for both raucous success and tremendous tantrums. “I think egos are healthy, actually,” shrugs lead vocalist Alister Wright, who, along with band member Heidi Lenffer, has been holed up in Mushroom Records

HQ for most of the day, churning out interview after interview ahead of album number two’s release. Drum have snared the last spot in the interview circus for today. Everyone is tired, and everyone just wants to go home, meaning the barriers are relaxed, and the pair spend most of the time answering questions between themselves.“Yeah,” adds Lenffer, “ego isn’t always a bad thing.” The newie, Dream Cave, might not have that ‘London’ street sound stamped all over it, but Wright and Lenffer sure have embraced London’s alt.punk street fashion. The languid Wright, who is all arms and legs, is clad in a vintage Adidas pullover, ‘strategically’ ripped jeans (“they came like this,” he informs me when asked how he managed to rip them so badly) and a pair of black Doc Martins that he picked up at an op shop in London. Lenffer on the other hand credits her mum

with helping her in the fashion stakes: “She likes to take me shopping and buy me things.” Despite their earlier success, Wright admits that he lost focus of the band’s popularity Down Under while recording the second album: “Well… yeah. I mean, I don’t sit around wondering how popular we are,” he adds awkwardly, “but it is something you think about, you know, having been overseas for so long.” He needn’t have, however, with the group commanding a sellout performance at the Opera House as part of Sydney’s VIVID Festival – a one-off special that saw them debut, Dream Cave, in its entirety. “I think we did ourselves a service on this [album],” begins Lenffer. “This time around… we tried to write more feel good songs, like party songs.”

whole band set-up in the cave,” Wright corrects. “We just took in some mics and some stuff that we had already recorded and played them back in the cave for reverb.” Lenffer adds: “We actually recorded it in a place called Bear Cave, and it was actually a quarry. Like, when you listen to the album you can hear water dripping. That’s all from the cavern.”

“Oh right,” apologises a sheepish Lenffer. “Sorry.”

The organic, unblemished musical mindset seems to have worked, with Dream Cave showcasing a more assured and mature sound than Cloud Control’s debut – the tracks more luscious and layered, with every quirk ironed out to produce a seamless albeit textured moodiness. “We stripped it back this time,” Lenffer reveals. “A lot of the demos were done on laptops, and we extract them from technology to a live setting – and making the songs strong in a live setting was really important to us.”

Instead, it appears old habits die hard, with the group relying on caves (which doubled as both influence and recording studio for Bliss Release) to help craft their sound. “Well, we didn’t do the

The pair reveal that the foursome, which includes Lenffer’s brother Ulrich

Wright agrees, adding: “Yeah, we tried to write songs that we could play at a festival or at a concert and they would all be enjoyable. ‘Cause, definitely, there’s some that only work in certain situations; they’re not really good for everything. But these, you could play anywhere.” The album’s 11 tracks take you on a hypnotic romp through an alt.psychedelic rock universe, set somewhere between 1965 and ’68. Despite the overarching Mamas & Papas and Beach Boys-esque sounds weaving their way through the album (specifically on the tambourine-happy Moonrabbit), Lenffer denies the band were reaching for any kind of hippy influences. “I know it sounds like it, but I wasn’t really listening to that kind of stuff at the time.” “You said you were influenced by Meditation Song? (from their debut, Bliss Release),” Wright interjects. “Oh yeah,” Lenffer continues, “that’s right. I was trying to write a song like one of our old songs. I was also into that Australian band, REM.” “Wait,” adds Wright, “they’re not Australian.”

on drums and Jeremy Kelshaw on bass, have a remarkably democratic attitude towards their music. And, despite the aforementioned existence of egos, they tend to operate on a greater good philosophy. “We bring different ideas to the table, don’t we?” Wright asks Lenffer. “You’re in the band,” she replies, “you tell me.” Wright continues: “Well, okay… sometimes we all work together, but a lot of the time it’s us bringing a whole bunch of stuff in and ruining it together.” Lenffer laughs, animatedly adding that “you can also form little alliances in the band. Like, if you think the song should sound ‘this way’, you can work with someone – almost like a proposal. You might do a drumming session with someone and then come up with a reason as to why the song should sound a certain way. It’s almost like negotiating,” she admits, before running her fingers through her hair and sighing, “it’s hard… But that said it’s as hard as it is easy. We share a similar philosophy rather than a certain sonic vision.” Wright, who’s been listening intently, widens his eyes and coos “Ooooooh!” while Lenffer continues, “Didn’t we a while ago… yeah, didn’t we try and come up with what we could say was like a foundational idea of the band, and it was ‘being excellent to each other.’” “Well…” begins Wright, “That was actually from Bill & Ted’s Excellent Adventure.” Undeterred, Lenffer continues: “Well, I think we inherited it,” adding (seriously) that, “we took it on as our own,” before the conversation swerves into how “not hot” Keanu Reeves has been looking recently. “Well,” defends a smiling Lenffer, “he’s looked good for so long that I think he’s allowed to start looking fat and old.” Excellent. WHO: Cloud Control WHAT: Dream Cave (Ivy League) WHEN & WHERE: Wednesday 28 August, ANU Bar, Canberra; Tuesday 10 September, Wollongong Uni Bar, Wollongong; Wednesday 11, Bar On The Hill, Newcastle; Thursday 12, Metro Theatre

TAKE IT AWAY For a band that embraces and embellishes the electronic soundscape, Cloud Control are oddly pedantic about creating a sound that can blossom live. “We just did our own thing,” muses lead vocalist Alister Wright when discussing their new album, Dream Cave. Wright and fellow Cloud Controler Heidi Lenffer reveal that even though demos were created on laptops, they worked tirelessly to re-imagine the sound for a live audience. “[The track] Promises is live… I mean the band is live, but we took a lot of takes to get it right. Dream Cave is also pretty close,” explains Wright, who looks to Lenffer for back up. “Yeah…,” she nods, before springing forward and exclaiming, “Oh! What about Happy Birthday?” At this, Wright’s eyes light up: “Yeah! Actually, Happy Birthday is exactly that. The first take is on the album.” “I think we were excited,” explains Lenffer, “you know, we had tried a new thing and we couldn’t replicate it after that. Like we tried to do it again and we did more takes but magic was in the first take.”




BACK IN TOWN Usually only chart-topping unit shifters hit the road promoting films documenting their fascinating career arc, but iconic rockers Cosmic Psychos sure ain’t no pop stars. Frontman Ross “Knighty” Knight talks to Steve Bell about fuzz, farms and famous friends.

or fans of Oz rock legends Cosmic Psychos it’s always been a bit of a mystery why the veteran outfit aren’t more venerated here in their homeland. For nigh on 30 years they’ve been an institution on the local scene, releasing a steady stream of great albums and eternally owning it onstage in their yobbishly boisterous but otherwise understated manner, but to many they’ve always been more famous for being a cause célèbre in the nascent years of the Seattle grunge explosion rather than for their own canon of brilliant fuzz-laden rock’n’roll.


Which is why new documentary, Blokes You Can Trust – the baby of director Matt Weston (until now best known as bassist for The Nation

Blue) – is such a timely reminder of this great outfit’s many merits and achievements. As people the Psychos have always been the most unlikely rock stars you’ll ever meet – especially songwriter and cornerstone Ross “Knighty” Knight (vocals/ bass) – and a lot of their charm has always been in their laddish, from-the-land bonhomie, a trait that endears because it’s so clearly genuine rather than some calculated affectation. “He did a top job,” the ever-jovial Knight offers of Weston’s efforts. “He was just given permission to do whatever he wanted and we didn’t really have much to do with it. It’s brought back a lot of good memories for me, that’s for sure. I’d forgotten how much fun I’d had – I could spend the rest of my life in a rocking chair with a couple of bottles of plonk laughing my head off thinking about everything. “The only reservation I had was that I didn’t want to make it a Ross Knight film, and there’s a bit of my private life in there I suppose, which doesn’t sit that easy with me because I’m a pretty quiet kind of a bloke, believe it or not. But it was a great opportunity; I didn’t know Matt at all when the idea came though, I sat down and had a couple of beers with him and thought, ‘Oh he’s not a bad bloke’ and away we went. All we had to do was answer a few questions, and he basically put boxloads of shit that we’d collected over the years together in some way – he did a good job sorting through all of that crap, because my filing system’s fucking terrible. What I can’t fit in my ute I just chuck in a box in the shed!” While the film provides fascinating insight into how the band’s formation was inherently linked to Knight’s upbringing in rural Victoria, and goes a long way towards explaining the band’s ongoing farm-related iconography – tractors, guns and bulldozers have always figured prominently in the Psychos’ lyrics and artwork – its power is derived mainly from providing a human dimension to this often gruff-seeming and ragtag outfit, and their delightfully flippant approach to a craft that’s often afforded far too much gravitas. “I’ve been so lucky to be in a band like the Psychos. We’ve never been serious about it – it’s had serious moments obviously – but it’s just been fun. We’ve just bumbled our way through – I guess we’re more famous for knowing famous people than we are as a band. And that sits alright with me, because I don’t give a stuff about the music side of it really – it’s just a hobby for me. But what a hobby! Some people collect stamps, I have to stand up onstage for fuckin’ an hour in some part of the world and drink free beer, it’s great fun!” Of course there is, as Knight suggests, always a serious side to any long-term endeavour, and a lot of this is broached with great poignancy in Blokes You Can Trust. For instance the acrimonious departure of founding drummer (and industry stalwart) Bill Walsh is dissected from all angles, and gives a fascinating insight into how interpersonal dynamics can affect a band’s bigger picture. “Yeah, that’s all really a personal thing I guess – it was really in-house and in-band business – but it had to be mentioned I suppose. It was disappointing at the time, but things move on – there’s more important things happening in the world than what’s happening within the inner sanctum of some shitty little pub band. Like I said in the film it’s disappointing and all that stuff but at the end of the day, fuck, you can get let down by your mates sometimes but you just get on with it. There’s other good people in the world.” Some things, however, can’t be brushed aside so easily, and the 2006 passing of the Psychos’ long-term guitarist Robbie “Rocket” Watts is fittingly treated with great love and respect. Indeed the scene of Knighty visiting his friend’s grave and sharing a beer with him (both literally and figuratively) is one of the film’s most powerful moments, especially when contextualised in relation to his longterm drug habit. “Yeah, that was the hardest thing to talk about,” Knight reflects softly. “Every day I think about the little bugger, and it’s a really hard thing to get over. You put a lot of time and effort into keeping someone ticking away there, and when it doesn’t work out in the end it’s pretty disappointing. But it’s great to see his little head back again. I couldn’t watch it – the first rough copies that Matt showed me when it was talking about Rob I had to go outside and have a beer. It was hard. He was such a wonderful bloke, and hopefully that comes over in the film; what a great guy he was. He was a pleasure to be around, that bloke – no matter what mood you were in he’d make you smile. He was just a lovely fella.” And of course the grunge royalty by whom the Psychos were always held in such high regard make an appearance to explain the band’s influence on one of music’s most important eras – key figures such as Eddie Vedder, Mark Arm, Steve Albini, Sub Pop founder Jonathan Poneman and Butch Vig all sing their praises – and this hammers home the overall importance of these most unlikely rock’n’roll heroes. “Yeah, it was a nice touch. Probably the funniest thing for me was that I was going through a pretty bum time during the making of the doco, and when Matt went over there and did the interviews with everyone they all put a little personal message on for me – I found that not only humbling but also so uplifting. That’s why they’re me mates – they’re really good people. That really lifted my spirits there for a while when I was really down in the dumps, it was a nice little touch. They were just nice little personal messages, some of them were funny but some were quite heartfelt – it was great.” WHO: Cosmic Psychos WHAT: Blokes You Can Trust (Umbrella Entertainment) WHEN & WHERE: Saturday 10 August, Metro Theatre; Sunday 26 and Monday 27 January, Big Day Out, Sydney Showgrounds

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THROWING SHAPES Shapeshifter have always been more than a drum’n’bass act. With new album Delta, they’ve proven it. Matt O’Neill speaks to bassist/producer Nick Robinson about the band’s transformation.


hroughout Shapeshifter’s storied career, there’s often been suggestions of a much broader musical tapestry. Their typical output has hardly been monotonous. A highly influential blend of modern soul, drum’n’bass and dub-reggae, Shapeshifter’s pioneering template has been embraced the world over – recent UK crossovers Rudimental but one of many examples of their disciples. Still, there have always been hints of something weirder.


From the outset, they’ve shown a proclivity for genrehopping. Their founding membership comprised graduates of metal bands, jazz schools and dub-reggae outfits and their output has reflected it. Debut album Real Time (2001) had borderline-jazz cuts like Inertia. Soulstice (2006) boasted experiments in hip hop (Southern Lights) and rave (Electric Dream). Shapeshifter Live (2007) was a full-fledged orchestral collaboration. I really like June Gloom by a band called Big Deal. It’s got some great grungy tracks, especially the last song on the album, Close Your Eyes – it’s an amazing love song with a killer guitar.

“If you receive an email with a link to the new James Blunt single, don’t click on it. It’s a link to the new James Blunt single!” Thanks for the heads up Mikey Guitar! @MikeyMutineer

“I think when we started we probably wanted to play a bit of modern music and just do gigs, really. Gigs in a couple of different places. It’s always been a very gradual thing for us. Doing whatever worked best for us at the time,” bassist, keyboardist and producer Nick Robinson says. “All we really wanted to do when we started was play around Auckland and, maybe, as a distant dream, one day make it over to Australia.” With new album Delta, they appear to have finally brought that broader tapestry into the foreground. The band’s fifth studio album ditches the distilled and immediate live band approach of 2009’s The System Is A Vampire in pursuit of rampant neon eclecticism. Wild electric guitar leads crash into dubstep breaks, new wave melodies bounce into electro bass drops and drum’n’bass becomes a mere component of a much larger machine. “At the moment, it’s probably the sound of the new Shapeshifter,” Robinson says, before laughing. “But, looking back at the last five albums, they’ve all been quite different. So, if I was a betting man, I’d bet that the next album will be as different again. There’s always a similar identity under everything, though. I just think it’s good to grow and challenge yourself and challenge your audience.” It’s an incredibly controversial move for the band. One of the most well-regarded drum’n’bass acts in the world, Shapeshifter’s latest evolution follows what is commonly regarded as their definitive album. Recorded with strictly live instrumentation, The System Is A Vampire marked Shapeshifter’s only successful attempt to date at marrying their sleek drum’n’bass production with their unstoppable live show.



It coincided with some of their greatest successes. The album was shortlisted for the inaugural Taite Music

“Oh, there was no animosity with Hospital,” Robinson clarifies. “There was very clear communication throughout. Hospital are a label with a very particular style of music and that’s why people like them. They know that. So, when we were writing, they thought some of it worked for them and some of it didn’t. They told us that it’d have to be Hospital. And we just kind of went – ‘well, that’s the album, for better or worse’. It was all very clear.”

“You know, I’m still surprised we have such an international following,” Robinson says candidly. “I mean, we’ve played quite a few places around the world where we didn’t grab more than 20 people – but then we play somewhere like the Czech Republic and just pack out the place with people singing along. We thought there were just a lot of backpackers, but then we realised they couldn’t speak any English.”

“There was never any trepidation about releasing the album, though. You know, we released Diamond Trade, which was one of the lead singles, and, you go on YouTube and there’s all these negative comments. I was like ‘wow, that’s kind of... good’,” he laughs. “When the album dropped, I went online to have a look at what people were saying and there were a lot of people complimenting us on just having the guts to put it out.”

Delta sounds nothing like The System Is A Vampire. In a way, it seems like a very strong reaction to it. Whereas System was the product of a strictly limited sonic palette, Delta was designed to be limitless in its potential sounds. The only ruling was that the album wouldn’t necessarily feature live drums – Delta becoming the only Shapeshifter album to date to not include one of their most celebrated stylistic trademarks.

Robinson remains philosophical throughout. It’s unsurprising, really. Having foreshadowed such a massive change for the majority of their career, Shapeshifter are amply prepared to deal with backlash. They’ve had it for every release they’ve delivered since their debut. Whether it be for implementing guitars or even just adding a vocalist to the fray, they’ve been criticised for it – but still they maintain.

“It wasn’t intended to be a really experimental album. It just kind of came out like that,” Robinson says. “You know, whenever we get together to make an album, we stockpile a lot of tunes and try to work on them all. The ones we like tend to come to the top. From there, we try and piece the album together. It tends to get difficult if we try and guide the process too much. It works best when it’s just a breakdown of what we like.”

“Like I said, I think it’s a good thing to grow and experiment as an artist,” Robinson says. “You know, if you look at all of our favourite artists, they’ve always grown and explored new ideas with every release. They always sound like a bit of a different band with each album. I think it’s great if we can challenge ourselves and challenge our audience with our albums. It’s something that’s really important to us as a band.”

It’s been a polarising release for the band. Some fans have embraced the changes, others have been highly critical. The band’s Facebook profile is rife with strongly worded opinions from both sides of the equation. Shapeshifter’s recent affiliates at Hospital Records, meanwhile, actually opted not

WHO: Shapeshifter WHAT: Delta (Ministry Of Sound/Universal) WHEN & WHERE: Friday 9 August, Metro Theatre

Peter Wilson chats to Dave Drayton about the puppetry of pelicans ahead of the new stage adaptation of Storm Boy.


Fifty years since the first publication of Colin Thiele’s children’s book, Storm Boy, and close to 40 years on from Henri Safran’s film version, the classic Australian story will finally grace the stage in an adaptation by Tom Holloway, directed by John Sheedy. Wilson will bring the pelican befriended by Storm Boy to life – alongside a mechanised menagerie of fellow pelicans Mr Proud and Mr Ponder, penguins and snakes. “The anatomics of how a creature works is really important, and the follow through is to get into the making and the articulation; it’s quite a complex process going from a drawing on a page to fully realising these creatures on the floor and being able to give them the exact quality that you want as a puppetry director,” Wilson explains. He talks like a puppeteer, considered hands always shaping his

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“It was definitely a massive pat on the back. We’ve always been fans of Hospital. We went over there and did a couple of gigs with Hospital line-ups, like Netsky and Danny Byrd. People who, you know, I love their music. We’ve listened to their music forever,” the bassist enthuses. “It was definitely an amazing development for the band and we were very honoured to have been signed.

to release the album at all – the band once again independently releasing via their Truetone Recordings imprint in New Zealand (and varying labels abroad).


hroughout a lengthy and celebrated career, Peter Wilson has brought to life everything from horses to dragons through puppetry. Most recently, he was the mastermind behind the towering King Kong, the puppeteered primate star of the musical of the same name. While his current project is a little smaller – a pelican is no match for a giant ape – the character in question, at least in Australia, is as well-known as Kong: Mr Percival.

“I like nonsense, it wakes up the brain cells. Fantasy is a necessary ingredient in living. It’s a way of looking at life through the wrong end of a telescope, which is what I do, and that enables you to laugh at life’s realities.” Dr Seuss

Prize in 2010 and led to sell-out tours around their native New Zealand. Most significantly, it saw the band signed to UK’s prestigious drum’n’bass label Hospital Records – winner of the Best Label title at 2011’s Drum and Bass Arena Awards. Robinson is still shocked.

conversation, pulling strings of thought or illustrating ideas with gestures so fluid they look choreographed. “There are three major articulated components,” Wilson says of his Mr Percival. “So you study what the shape and the look and the movements are of a pelican – how does it move and does it waddle and when do the wings go out at certain points and how does the gullet work. The key elements when you look at a pelican are his lovely feet, the bill – the really long beak and the bill – and his wings.” Shaka Cook and Michael Smith are the two actors under Wilson’s puppetry direction, both with only a handful of puppetry experience under their belts, though Wilson seems pleased to have two apprentices. “We realised one puppeteer was simply not enough; there are so many characters in this that we thought perhaps we should have two. I had a much better opportunity to create characters, I mean, at one point there’s three pelicans on stage, so how the hell do you do that with one person? “There’s the little baby pelicans, which he discovers in the nest,” Wilson cradles one hand, the fingers become hatchlings, “then with time passing the puppets grow, so they get this big,” Wilson, raising a hand to

below waist height, performs a reserved fluttering of large pelican wings, “and then they transform again into the life-size characters. They’re a combination of a rod puppet, a direct-control puppet and a Bunraku puppet. There are three ground-dwelling and three flying versions of the pelicans. The flying ones have wings that fold out – fully wide at the two-point-five metre width,” Wilson too now spreads full wings, “and as they’re released their wings spread out and they fly, and are seen to be flying off the stage.” WHAT: Storm Boy WHERE & WHEN: Friday 9 August to Sunday 8 September, Wharf 1 Theatre



THE SOUND OF SERENDIPITY AlunaGeorge are Aluna Francis and George Reid, it’s that simple. Francis sings, George makes beats, they put them together. Compare: maybe James Blake with Jessie J on top. Francis talks to Callum Twigger.

ormerly a reflexogist (google Aluna Francis + reflexologist, seriously), Francis first put sound to record with indie rockers My Toys Like Me back in 2009, an act probably now more renowned for having introduced Francis to Reid via Reid’s remix of Francis’ track with the band, Sweetheart, than for being a band. Reid himself played guitar before he moved into production. Francis met Reid through the remix, AlunaGeorge exploded from there: the duo released their first EP You Know You Like It on Tri Angle in 2012, with success coming from the EP’s single Your Drums, Your Love. Since the Anschluss of Aluna and George, Francis has leant her distinctly British vocals to high-calibre producers. She was featured surreptitiously in Rustie’s Afterlight (2012) alongside the Scottish beatmaker’s glacial synth; and again in Disclosure’s White Noise (2012), a track probably (over) familiar to Australian ears courtesy of triple j’s token carpet-bombing approach to introducing new music. Francis and Reid have also co-opted Florence + The Machine and Dirty Projectors through remixes – the former’s eponymous Florence being a natural analogue for comparison.


basically decide whether they trust you or not. That takes a lot longer than their initial wave of interest. You have to almost not believe it until it becomes solid and consistent in reality.” Francis is certainly grounded, and her perspective would do much to defuse the nuclear hype behind online debutants Azealia Banks and Iggy Azealia. WHO: AlunaGeorge WHAT: Body Music (Universal) WHEN & WHERE: Saturday 28 September, Listen Out, Centennial Park

Nonetheless, Francis disavows collaborations. “We’re not really much into collaborations as a thing, per se,” she says. “It’s just something that kind of every now and then should be quite nice. It’s helpful to experiment with people, but… you sort-of have enough to do just writing your own music, it sort of feels like a more important thing to do: to write AlunaGeorge stuff than to collaborate. We have some collaborations in the pipeline… you never say never, but we haven’t got anything planned at the moment,” she says. And the Disclosure track, apparently, was “a kind of happy accident, really. We did a couple of shows with Disclosure, we had chats backstage about the projects we were doing there and their new album and they were pretty much halfway through their new album tracks, they felt like they had their singles in the bag so we were kind of being pretty chilled, they invited me to the studio for a day. We just kind of ate some sandwiches and listened to some music and got down to some writing, and we pretty much finished it off mainly in a day, and then we had another day of recording the vocals where we put the finishing touches on the chorus, so yeah,” she concludes. How would Francis describe their own sound? “Complex, intricate beats, and sort-of slightly unusual sounds with kind-of old school songwriting; songs that you can sing back to yourself at the end of the day interwoven with that. AlunaGeorge are accruing a reputation for workaholism, with Reid telling British newspaper The Evening Standard’s David Smyth the duo spend more time together than with anyone else. Which in turn has lead to fairly insipid speculation the duo are romantically involved, because apparently in 2013 a man and a woman working together is somehow still a thing (The Observer titled a feature on AlunaGeorge A Musical Fling That Continues To Blossom). Reid has a girlfriend, Francis has a boyfriend. Still, as suggested in the corporeal title of the duo’s debut record Body Music, sex is a big deal in the songwriting process. “When we were writing the album, we really wanted it to be an album that you could just turn on and play from start to finish, and for it to be able to take people to a different mood,” Francis explains. “And it’s kind of... I don’t know if you’ve read about how we’ve coined it as ‘bedroom music’ in a sense: whatever you’re doing in your bedroom, from getting ready to go out to being kind of quiet and sad or having loads of mates back and turning your bedroom upside down, this should be a song for any one of those activities. It’s got quite an intimate feeling,” she confirms. Reid himself pinpoints where and when his half of the AlunaGeorge sound comes from; as he’s pointed out in a half-dozen interviews, it follows Pharrell’s groundbreaking work with The Neptunes to a T. It’s hip hop minimalism demonstrated by the now hyphenless Jay Z’s Magna Carta... Holy Grail (2013) to be in vogue, ten years since Justin Timberlake used it to validate he was more than just an ex-Mouseketeer castrato. Closer to home, AlunaGeorge are like a refracted reinterpretation of their contemporary Jessie Ware, whose underrated 2012 debut record Devotion reached a similar place by different means. Francis’ vocals are harder to place – she’s sharper and angrier than Florence, but not at all a rapper. A new decade’s Lily Allen, without the emotional baggage. At this, we discuss the internet as both a canvas and a labyrinth: the dead ends, pitfalls, surprises and inadvertent upsides it offers a mobile, global artist like Francis. Considering the duo ran second in BBC’s Sound Of 2013 poll without having released an LP at the time, online hype has been their friend. “I didn’t live in London, I didn’t have any musicians around me at school. I’d get an idea in my head about making music and I had to go online and find people that were likeminded, doing things in a serious way,” says Francis. “You’d find people that were doing [music] as a hobby, but had no ambition. You can more easily follow people’s ambition online because those were the ones that weren’t just accepting just playing in their bedroom with their mates, they’re more interested in finding likeminded people. And the only way for me to find that was to try on the internet,” she asserts. “The internet is an excellent tool, and the job that it does is hard to define,” Francis says. “It has a weird way of looking like it’s doing a lot more than it actually is, so as a band, if you’ve got a lot of hype online you have to be very, very aware that that means that hype is only online, and the challenge is yet to come where real people actually believe in you as a real artist that they can get their hands on, that they can come to the show and

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BACK IN BLACK Since inception, Black Rebel Motorcycle Club have been dividing audiences. As they prepare to return to Australian shores with the Harvest Festival, founding member Robert Been speaks to Matt O’Neill about staying the course.

t’s weird to think of Black Rebel Motorcycle Club as veterans. From the outset, they’ve been discussed (and debated) as representatives of some new vanguard or another. Originally thrown in with the neo-psychedelia of acts like The Dandy Warhols and Brian Jonestown Massacre (co-founder Peter Hayes a former member of the latter), they would later be sold as garage-rock revivalists alongside The Strokes and The Vines.


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


Midnight Oil, Box The Jesuit, Plug Uglies, Beats International


Crow – Sunburnt Throats And Happy Thunderclouds “Crow are a damn exciting find in Australia and they have a presence that cannot be denied.”


Porcelain Bus & Peyote @ the Harold Park Hotel


Throughout, they’ve consistently borne the brunt of accusations leveled at any band with a nostalgic outlook. Their authenticity has been an ongoing subject of debate. Their relative youth has seen them frequently derided as derivative. Astonishingly, they’ve managed to stick it out amongst it all. Formed in 1998, Black Rebel Motorcycle Club’s career is currently enjoying its fifteenth year. Their recent album, Specter at the Feast, is their seventh. “There’s kind of a philosophy of learning from the greats, the classics, the bands that we still think are the best bands,” co-founder, bassist and vocalist Robert Been says. “We don’t totally buy into whatever the new fad or sound at the time is... We’re still trying to keep our roots. Still learning from those bands who still did it the best. The best so far, anyway. We’re not really convinced that the latest thing is the best thing.” “So, in some way, we’re still just trying to better from those groups - and I would hope that’s the good side of ‘derivative’,” he counters. “Of course, then there’s the bad side of derivative – but I’ve never thought of us as stuck in any way. This record, in particular, was really important that we knew, in ourselves and for ourselves, that we were making something of worth. That happened before we even went into the studio.” There’s always been more to Black Rebel Motorcycle Club than such debates, of course. They’ve showcased surprising mobility throughout their catalogue. In addition to their celebrated garage-rock roots, their work has encompassed strands of shoegaze, country, gospel, psychedelia and countless other genres. 2008’s The Effects of 333 was an entirely instrumental ambient release, for example.

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


One of four copies of Melodie Francaise, a new compilation album featuring a stack of artists including Gossling, Big Scary and Vance Joy, singing classical French tunes. In French. Tres Bien!

“I don’t know if I’m surprised we’re still a band. I’m surprised that we’re a band that’s made a good amount of music that I am in no way embarrassed of,” Been says with a laugh. “I’m surprised that each record we’ve made, we’ve somehow survived it. You know, we’ve never had an easy album. I kind of worry about the day that we’ll have an easy one, because it could effect how it comes out.


Hugh Middleton: Death Cab for Cutie – Plans and Grizzly Bear.

The Trouble With Templeton touring from August. Check The Guide for dates.

24 • For more interviews go to

“Six albums, seven albums in... It can become a job. It can become a business. You can lose sight of that feeling that says: ‘you have to get a fucking album out, you have to get these songs out, you have to get these words heard’,” Been says. “It can be dangerous when you feel like you’ve got people working for you and you’ve got expectations that you have to deliver you’re supposed to get an album out. It’s what’s done.

They’re a remarkably professional band. Not in the sense of corporate polish or branding, but in the implementation of strategic policy. Black Rebel Motorcycle Club are, more than most bands, determined to make good albums. They listen to reviews, evaluate their mistakes from album to album and typically approach each release in their catalogue with a blueprint of what they hope to accomplsh.

“And, sometimes, you’re not ready. That’s one of the main reasons we took so long to make this album. A lot of people thought it was because of my father passing away and dealing with those issues for all of us – which were significant – but, if anything, it was more important this time that, without him there, that we all truly felt that it was important for us to come together and that this was something that was needed for all three of us.”

“Well, we learn things every album. [With] certain things, we want to make a point to better from the last,” Been says. “You know, there were certain things on [2010’s] Beat The Devil’s Tattoo that we wanted to make sure we didn’t do again. There was a kind of garagey-ness to recording the drum sounds that we tried to get. We wanted that record to feel lo-fi and, hopefully, bring a lot of feeling out of that rough, almost-punk, garage element. “But, there were a lot of dynamics that Leah [Shapiro, drums] played with that weren’t captured with that kind of recording,” he explains. “There are a lot of subtleties in what she does dynamically for the songs that, on this album, we wanted to make sure to address and remedy. There’s usually something quite particular to each album that we like to work on or fix-up for the next.” Ironically, the band threw out that approach for Specter At The Feast. The band simply followed their songs. As a result, Specter... runs the entire gamut of the band’s eclectic discography. Shades of dream pop and shoegaze rub up against blasts of classic rock’n’roll and understated blues. Already, it’s been hailed as one of the band’s best records to date.

The album has consistently been discussed in relation to the 2010 passing of Michael Been. Robert Been’s father, Michael Been had acted as a mentor for Black Rebel Motorcycle Club’s entire membership. He’d produced their albums and toured with them as a sound engineer. He passed away backstage at one of their performances. Still, Robert Been asserts that there’s more to the album. “It definitely affected us. It cast a shadow over the writing and recording of things. Even if we weren’t writing about it directly, it was in the room with us. So, if we’d have tried to avoid talking to it, it would have been worse. But, by making it clear and telling people that, we’ve tried to tackle it head-on and get people to leave us alone,” Been says frankly. “So no-one thinks they’re getting the scoop or figuring it out or whatever.” “I mean, of course, it affected the album,” he says. “Personally, I think some people are reading too much into it, though. But, hey, that’s going to happen, right?” WHO: Black Rebel Motorcycle Club WHAT: Specter At The Feast ([PIAS] Australia) WHEN & WHERE: Saturday 16 November, Harvest, The Domain

OLD-FASHIONED LYNCHING Musician first and comedian second, America’s Stephen Lynch returned to old-timey folk and bluegrass for his latest album, Lion, writes Baz McAlister.

alking about Stephen Lynch’s 2012 album Lion, his fifth release, one reviewer described the Pennsylvania-born comedic songwriter as an “evil Paul Simon”.


“Evil might be a bit harsh,” muses Lynch, when this is brought up. “And how do we know Paul Simon’s not evil himself? Why does he get a free pass, because he wrote Bridge Over Troubled Water? Okay, I guess if you write Bridge Over Troubled Water you do get a free pass.


“When I think back about each album, it was kind of putting everything we had into it. There was always things we were dealing with at the time that made it all feel – every single fucking time – like it was life-or-death, all-or-nothing. Like, everything felt like that,” he says. “Maybe when you get that deep into a process – get really obsessive with something – that’s how it’s always going to turn out.”

“But it’s an honour to be likened to one of the greatest singer-songwriters of all time and that sound was what I was going for – that is the kind of music I love and I was raised on and still listen to, to this day. The intention with this record was to play and record the kind of music I like, which I had never done before. The idea [on my other albums] was always to be as funny as possible; with this one, I wrote the music first and then tried to crowbar the jokes around it. And it worked!” Lion is a collection of beautifully written, atmospheric songs that also pack a punch with inventive, playful lyrics and slow-burn jokes. They’re not inaccessible works about grand themes – rather, they’re songs about tripping on acid at the mall, disagreeing about music with a partner, or questionable tattoo choices.

Nashville singer-songwriter Courtney Jaye, on the duets and backing vocals, adds a gorgeous, velvety sonic layer to the proceedings. Lynch says he’s in this for the music, and the comedy was a “happy accident”, but still considers himself outside both the worlds of music and of comedy. “I don’t play comedy clubs and that’s not where I cut my teeth, it was more music clubs, so I don’t feel part of that fraternity,” he says. “And I don’t tour with bands and have support acts and that sort of thing, so I feel like I’m not really part of the music world. I’m in my own little floating bubble between the two, and don’t really penetrate either one.” But Lynch has netted a wide audience all over the world since he inked his first record deal in 2000. He’s a familiar face in the US, where he’s been on TV frequently and he recently did a stint on Broadway playing the lead role in musical The Wedding Singer, based on the Adam Sandler film – but he says he relies on YouTube for his global fanbase. “YouTube is the new grassroots movement, thank god for it,” he says. “It would be incredibly easy to say ‘Fuck YouTube’ because they ruin the jokes... but it helps record sales, and it helps sell

tickets. I’m not a fan of the quality of the video or audio on there, but who cares? It allows people to share you with their friends, and I’m all for it.” The son of two teachers – who were formerly a priest and a nun – Lynch says his songs that poke fun at religion, such as Craig and Too Jesusy don’t cause familial tension. In fact, it’s quite the opposite. “My parents love those songs,” he says. “Trust me, there are songs that I’ve written that my parents have not enjoyed, but the ones that target the hypocrisy and the patriarchy of the church, they really love that shit.” WHO: Stephen Lynch WHEN & WHERE: Tuesday 20 August, Enmore Theatre






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be where the POWER is!









DOUBLE EDGE Bastille’s Dan Smith went from bedroom recording to number one album within less than four years. Ahead of the band’s Australian shows, Matt O’Neill speaks to the frontman about their meteoric ascent.

t’s typical for British musicians to suffer at the hands of their country’s notoriously vicious media culture. You have to especially feel for Dan Smith, though. He was a musician of singularly unremarkable ambition. Studying film at university, Smith made bedroom recordings for fun and friends. One such friend, armed with said recordings, entered him in a band competition. Now, he’s famous.


world is quite humbling and strange. In a good way, though. Really, we just wanted to be in a position to make another album.”

“Everything and nothing is a bit of a nice surprise at the moment,” Smith says. “You know, we weren’t really expecting anything to happen in the UK when we released our album. So, the idea of me talking to someone in Australia about shows we’re going to do on the other side of the

“We were really kind of naive about it, I think,” the frontman reflects. “You know, when we released the album, we just wanted to be able to make another one. If I’m being perfectly honest, we would have absolutely loved to have had an album in the Top 20. We’d have loved to have played a festival or two. Really, though. We just wanted to be in the position to make a second record.

Well, not famous. He’s hardly celebrity. Still, his band Bastille’s debut album Bad Blood did debut at number one on the UK album charts. They’ve delivered multiple charting singles, supported Muse and Emeli Sande and performed at Reading and Leeds festivals. Smith may not be celebrity – but, for a musician who never intended to leave his bedroom, he’s a lot closer to it than he ever expected or desired.

“I think, being in a band, you can never spend too much time thinking about the future,” he continues. “Nothing is ever certain. You know, before you get signed, after you get signed. There are so many bands that don’t even last long enough to make an album. There are so many bands that get to make their first album but don’t make it to their second. So, I think we’ve never really planned more than two or three months in advance.” He’s certainly notorious enough as to experience the flipside of the band’s success. Like many successful outfits, Bastille’s increased profile has prompted an equivalent proportion of vocal detractors. Smith bears the brunt of criticisms. His earnest vocal presence and hairstyle are both popular targets. The band themselves merely have to deal with an endless array of Coldplay comparisons – echoed even by the band’s supporters. “I think it’s a lazy comparison, personally. I think it comes down to the fact that they sometimes do really big songs with really big choruses and we sometimes do really big songs with really big choruses,” Smith muses. “I think we’ve always suffered at the hand of critics because we’ve never been that interested in defining what we do as a band. What we want to be and what we want to sound like. “You know, we’ve never called ourselves a pop band or an indie band or an electronic band. That’s not to say we’re doing anything pioneering – because we’re not – but we don’t sit comfortably within a genre. You know, we get all kinds of comparisons and descriptions thrown at us. Some cooler bands, some less cool bands,” he says. “A lot of people seem to think that I’m really heavily into ‘80s music or something.” It’s an odd array of criticisms that largely seem rooted in the idea that Bastille are in some way contrived or market-driven. Which is obviously a complete fallacy. As established, Smith has never been a musician with a plan. Externally, it may seem like the band’s trajectory has been a consistent escalation of acclaim from the outset – but it’s more chaotic than that. It took the band nearly a year to record their debut album. “We spent most of 2012 making the album. We recorded it in our friend’s little studio. Dip in and then come back,” Smith says. “Sometimes we’d work on it for three weeks and then duck out. Sometimes we’d work on it for a couple of days. By the end of the year, we’d finally got down to the fun stuff of mastering and finalising the artwork. So, yeah, it took us a full year to get the whole thing together. “Like a lot of debut albums, I think it’s kind of a culmination of everything we’ve done as a band to date, though,” he clarifies. “Like, we first started playing gigs nearly three years ago. It’s got songs we released when we first started out and songs that were only written right towards the end of the process. You know, it took us the full course of the year but a lot of the songs are even older than that.” To his credit, Smith has yet to succumb to the bitterness that tends to hit bands so rapidly introduced to his success bracket. In a similar coup, he’s relatively untroubled about maintaining Bastille’s winning streak. There’s a certain philosophical bent to his outlook. He doesn’t think much on the band’s next album. The frontman is confident that, even if they discard their accepted sound of synth-heavy anthems, Bastille will be okay. “I’ve got some ideas of stuff I’d like to explore on the next record. I’ve been thinking about getting guitars in and guitar sounds that would work with our songs. There are a couple of sketches of songs that I’d like to explore,” he allows. “But, past a certain point, there just isn’t much to say about the next album because that’s so far into the future. I don’t think we’re really scared of following up the success of Bad Blood. “In my mind, we can kind of do whatever we want, really. On our album, we’ve done indie tracks. On our mixtapes and stuff, we’ve done electronic and hip hop tracks. I think we’ve left ourselves with a lot of room to move. I don’t think people really care what the music sounds like as long as the songs are good – which, hopefully, they will be. Financially, the album will do what it will do.” “You know, this album has done so, so, so much better than anything we ever dreamed of,” the frontman laughs. “If this is as far as we get or as good as it gets, I think we’ll be alright. We’ve still achieved a lot more than we ever thought we would.” WHO: Bastille WHAT: Bad Blood (Virgin/EMI) WHEN & WHERE: Wednesday 14 August, Metro Theatre

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It is time for our evolution. From next week you are going to notice a lot of changes as we upgrade our beloved magazines and re-launch them as The Music. Each state will continue to produce their very own version with a local team of obsessed music fans. You will notice a shiny and rather impressive newsstand magazine format instead of a newsprint tabloid that is packed full of music, arts and entertainment news, features, and reviews. You will also notice that we have broadened our horizons and will be covering more of the things you are passionate about like food, fashion, travel, design, culture and lifestyle. It’s a better guide to living through music and it’s been written by music fans for music fans – you lot. It’s been exciting working on the new title and we can’t wait to show it to you. We hit the street every Wednesday so pick up a copy and let us know what you think. In the meantime hang with us at and check out the gig guide on your smart phone at





Magazine artwork and booking deadlines are Thursday 5pm prior to issue. To mak Email artwork to • New art sp

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ke a booking email or contact your local account manager. pecs and details can be found at



NEW HORIZONS Heading back to our shores for the first time since 2010, everything has changed for New Jersey’s Senses Fail. Frontman Buddy Neilson tells Eli Gould about his new job, his positive new outlook on life and how excited he is to get back to Australia.


ince forming as a bunch of rag-tag high school kids back in 2002, Bergen County, New Jersey’s post-hardcore lads have been on one epic 11-year journey. The band was started by vocalist Buddy Nielsen after he posted an advertisement on the internet seeking to recruit bandmates. Their rise in the thriving screamo/ emo scenes of the early to mid-‘00s saw the band’s profile skyrocket after the release of their debut EP From The Depths of Dreams. They were unlike any other band at the time given their aggressive style influenced by punk, hardcore, emo, and Neilsen’s talented voice and lyrics that were heavily influenced by emotion, poetry, literature, religion, philosophy and spirituality.


What was the most memorable day of shooting the documentary? The most memorable shooting day was in Seattle at Matt Lukin’s from Mudhoney/Melvins. I had been trying to confirm Eddie Vedder for an interview for the previous month, and had resigned myself to it not happening, and then after chatting to Matt for a few minutes he said, “Ed said he might pop in in a few hours and do the interview if that’s okay with you!”. They ended up polishing off a few cases of beer and demonstrated the 50 cent coin game to me – which you’ll have to check out the film to see, but involves a coin and Eddie’s butt. Two thirds of the funding for the documentary came from crowd-funding; do you see this becoming a way of the future? It has to be – I think it puts the decisions on what gets made into the hands of fans and the general public instead of being decided by a core body. I think the way things are going where certain groups are offering Matched funding is also a really healthy direction, but at the end of the day I think only the best of the bunch will get made. It’s an exciting time. Where did the idea in incorporate animation come from? I had always wanted to work with Lluis Fuzzhound for a while but we could never work out a project to do together. When I started initial interviews with the Psychos, so many of the stories were these ridiculous tales of late night drinking and stupidity that not only would not have any footage or photos to accompany it, but lent itself perfectly to animation to complement and further illustrate the absurdity of everything those drongos got up to. What was it like working with the Cosmic Psychos? I have my first AA meeting the next week. Cosmic Psychos: Blokes You Can Trust In cinemas Thursday 8 August We have ten in-season double passes to Cosmic Psychos: Blokes You Can Trust up for grabs. For your chance to win stalk Drum’s Facebook page.

For Buddy Nielsen life has never been better. The frontman now juggles a job with the band’s label Vagrant Records and is writing the music he always wanted to. “I have a close relationship with the people on the label,” he begins. “I started working at other record labels and basically they needed someone to do some specific things and I had the know-how and they gave me shot and I’m now taking on more responsibility.” The major change with the new record is the band’s progression from post-hardcore to a straight up hardcore, if not a melodic-hardcore sound. The album is by far the band’s heaviest to date, and has seen them stray away from their roots. Neilson attributes this major change to the new songwriters in the band. “[It’s] the fact we have different songwriters now; honestly that’s the main reason,” Neilson says rather satisfied before he adds “and I wanted to go in a new direction to be honest.” The frontman says his new positive outlook on life reflects through the new record and in a sense represents a new frontier for him. Neilson has battled depression and anxiety attacks throughout his life and they have been at the forefront of his lyrics in past releases. 2006’s Still Searching in particular showcased his struggles. Look no further than tracks like Can’t Be Saved where he laments “I’m stuck in a coma/ Stuck in a never ending sleep”, and in Shark Attack: “I’ve spent the last year paying a stranger to listen


Were you a fan of the Cosmic Psychos? No I wasn’t, I thought they were shit! Or maybe I just missed out on them growing up. It wasn’t until the suggestion was made to make a doco on them that I really checked them out and couldn’t believe what I’d been missing out on. I think not being a fan of the band really helped in digging out a story as well.

While only two members of its foundation remain today in drummer Dan Trapp and Buddy Nielsen, the two have found new life through their latest record Renacer and through the addition of the new members to Senses Fail. Their latest album released in March this year, Renacer is a Spanish word deriving the meaning of ‘rebirth’, a fitting name given the band’s current state. Renacer is the first album written by Senses Fail without founding lead guitarist and chief songwriter Garrett Zablocki, who now has his own solo project, Stereo Stargazer.

While reflecting on his journey through his personal life and with the band, Neilson is adamant Senses Fail remains his livelihood and what has kept him motivated. “Yeah it’s cool, I’m a completely different person to when I started [but I’m] just basically still in high school, really. Music is me – I mean it’s hard too – [but] it would be so hard to let go of the band because I feel like I’d be letting go of a big part of myself, I don’t know, I just love playing music.” The band’s first single off their latest album entitled Mi Amor also features an entire verse sang and written in Spanish. While the frontman has no Spanish heritage himself, he did it because he wanted to pay homage to a select group of loyal fans. “We have a really big Spanish following in America and I just wanted to do something different,” he explains. The video clip for the track has also garnered a lot of attention online, with many fans trying to decipher what the message of the video clip is. It shows the story of a young female, who falls in love with a teddy bear (yes a teddy bear), while the speculation online was rife Neilson admits it was some light-hearted humour. “I think the video came out really cool,” he laughs. “There’s no real message, I mean it’s supposed to kinda be a joke but

yeah people have been trying to read into it, but it was supposed to be a joke, it was supposed to be funny.” Neilson has been branching out with his musical expansions, where he started a hardcore band called Bayonet in 2009, but that has since been put on the backburner – given the direction Senses Fail are heading in now. “Yeah I don’t think I’ll be doing [Bayonet] anymore,” he says. “I mean I’d like to do some other stuff, I’d like to do some heavier stuff and some more experimental things. I don’t know, maybe we’ll do it with Senses Fail or maybe I’ll do it with another band, but at the moment I don’t have anything else I’m working on but I’m always interested in doing other things.” Neilson sounds fresh and filled with exuberance during our conversation. He finds himself with some down time between tours, speaking from his house in LA, having finished the European tour in support of Renacer. Those dates allowed the band to play their newer songs to a live audience outside of the US and he says they were generally well received. He says he is stoked to be coming back down to Australia, for the first time in three years. “Man I love Australia, so I’m excited to get back,” he says with gusto. “Unfortunately, it’s so quick. We’re just in and out; I wish I could stay a bit longer and enjoy it a bit more.” WHO: Senses Fail WHAT: Renacer (Staple/3Wise) WHEN & WHERE: Thursday 8 August, The Standard

GIMME SHELTER The Hayloft Project’s Delectable Shelter is yet another work tackling the apocalypse. Ahead of its Brisbane season, writer/director Benedict Hardie explains to Matt O’Neill how that was kind of an accident.

electable Shelter isn’t your typical postapocalyptic piece of work. You won’t find any cyber-punk aesthetics draped across the theatre. There are no abandoned cities or devastated towns looming on the horizon. As the title suggests, its characters stay safely sheltered away from the apocalypse. Well, relatively safely, anyway. Apparently, a choir of ‘80s pop enthusiasts stalk the halls, for some reason.


“The choir is very much integrated into the story,” writer/director Benedict Hardie teases. “It’s slowly revealed, over the course of the play, who they actually are. It initially appears that they’re just a Brechtian interlude sort of thing – you know, a song put in between scenes for a song’s sake – but, as you get deeper into the story, you actually start to realise that’s not the case. They actually have their own place in the story.” It’s a bit of a weird take on the end of the world. Which, frankly, is a relief. The apocalypse has become a surprisingly popular topic in fiction over the past handful of years. In 2013’s cinema alone, we’ve had two major comedy films tackling the

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to childhood thoughts about the love I am missing”, detailing his battle while on antidepressants. The singer says he is far removed from that negativity, anxiety and stress these days. “I’m not very negative anymore, there’s not much to be bummed about,” Neilson explains. “So that’s why life is good now; I’m definitely a new person I would say so.”

premise (This Is The End and The World’s End) arrive within months of each other. However, Hardie is confident he’s got a different spin. Largely because he arrived at the topic by complete accident. “Yeah, it’s turned out that it’s quite a theme. I read an article written back in 2011 that actually listed five or six plays that were on about the apocalypse even back then,” the writer says. “It’s definitely a trope. Personally, I wanted to write a play which was about the secret fears and irrational desires and prejudices that might be inside of us that we never have to face. In order to do that, I had to kill everyone alive except for five people. “And, suddenly, the secrets and desires of those five people are very important. If you’re the last five human beings alive, what you think and do not say takes on much more credence,” he says. “So, then, I found myself going down the sci-fi road with a certain amount of purpose. It was sort of an accidental sci-fi. What I wanted to write was a black comedy about prejudices and fears.” If it sounds too highfalutin or eccentric, it isn’t. Hardie and his company The Hayloft Project have road-tested the show extensively. By the end of its lifecycle,

Delectable Shelter will have toured to Mildura, Portland, Warragul, Hobart, Newcastle, Healesville, Sale, Bendigo, Castlemaine, Byron Bay, Sydney, Knox, Northcote, Moonee Ponds and Brisbane. Hardie sounds almost relieved when discussing the work’s reception. “It’s been really good. We’ve been getting return curtain calls at the end of each show. It’s going really well,” he smiles. “I think it’s quite an exciting show to tour. I’ve done a lot of touring work as an actor and I think Australia sometimes talks down to its theatre audiences. We take a lot of safe bets. And this show is most definitely not any kind of safe bet.” WHAT: Delectable Shelter WHEN & WHERE: Tuesday 13 to Saturday 17 August, Seymour Centre



THE END OF TIME What is time? That’s the central question of Peter Mettler’s meditative cinematic essay The End Of Time, a happily-philosophical documentary that explores notions of time through the artistic medium indivisible from time. He breaks it down for Anthony Carew.

inema is one of the great time-machines that we have,” says Mettler. “It’s one of the things that manipulates time so dramatically, and so much shapes our understanding of it. Every film that’s made is a film about time. Because it considers time, it plays with time, it manipulates time. We considered that in the structuring of our film: we wanted parts that went by quickly, other parts that went by slowly, and for there to be no familiar structure to indicate where you are within a predictable film narrative. Our hope is that you won’t really know how much time has passed watching the film; and for some people, it will feel torturously slow, and for others it will rush by so fast.”



So, um, what is time? “I get asked that a lot,” the 54-year-old, Toronto-based filmmaker laughs. “But my answer’s no better than any other.” The End Of Time isn’t an instructive text, but an interpretive piece that borders on tone-poem. “It’s a meditation on states of time; and, like time itself, there’s no explanation to it, and it’s totally all about your perception,” Mettler offers. “It’s not strictly about time. It’s about being, it’s about perception, about how we create concepts


to help us organise our minds. Like, how do we define change? How do we understand transformation?” Mettler initially set out to make a film not about time, but something just as elemental: the weather. “It began as an observation of meteorology – of clouds and wind and weather and water,” Mettler recounts. “I wanted to follow where water travelled through the world; through the clouds, through the Earth, through the human body. In the process of researching meteorology, the concept of time came up more and more. As one of the physicists says in the film: in many languages, the word for ‘weather’ and the word for ‘time’ is the same.” In Mettler’s mind, The End Of Time completes a “diaristic” trilogy of films on perception, the conclusion of a suite that began with 2002’s Gambling, Gods And LSD and continued with 2009’s Petropolis: Aerial Perspectives Of The Alberta Tar Sands. Where Petropolis portrayed mass environmental destruction at the hands of man, The End Of Time looks at nature razing the landscape, observing the movement of lava. “Watching lava is profound, it’s hard not to think of the beginning of the Earth itself,” Mettler says.

The End Of Time goes back before the beginning of Earth, its conversations tracing back to the beginning of other; especially those particle physicists working to create micro-level big-bangs in supercolliders. “I understand the big bang to be at the root of the concept of time, at least in physics terms,” Mettler says. “So I went there with that singular idea, but was of course given a whole lot more when I started talking to the physicists there. My perception of physics before was that there were certain laws, but when you talk to people working close to the boundaries of physics, the conversation is as fluid as when you’re talking about time. It’s no longer about hard laws, but theoretical, if not philosophical.”


Thomas Champion: Avocado and vegemite on toast for a ripping vitamin B hangover cure. The Preatures touring nationally. Check The Guide for dates.

WHAT: The End Of Time WHEN & WHERE: Sunday 11 August, Possible Worlds Film Festival, Dendy Newtown


CUE THE CHOIR Songs from the heart, stories from friends, they’re all grist for the creative mill that Cash Savage & The Last Drinks have developed into their second album, The Hypnotiser. Michael Smith asks the questions.

here’s a raw earthiness matched by a deep honesty in the music of Melbourne singer/ songwriter Cash Savage that demands a subtle sensitivity to the kind of gritty, dark rootsy soundscape within which she writes. So she struck gold in Graveyard Train’s co-singer, songwriter and guitarist Nick Finch, who produced the new album, The Hypnotiser, for her seven-piece band Melbourne’s Cash Savage & The Last Drinks.


“I’ve known Nick for about fifteen years,” Savage explains, “so when he said he wanted to produce the album, I drunkenly said yes, and the next morning I rang him and said, ‘Yes, that’s a great idea – let’s do that’. He’s quite an extraordinary musician – he’s got a very keen ear for things and I guess what Nick brought to the album was a lot of crazy ideas that really seemed to pay off. And he didn’t have to worry about steppin’ on any toes ‘cause he doesn’t have to be in the band van with any of us!” The sonic palette across the album runs from the bittersweet simplicity of Howling For Me – two guitars, two voices – to a full-blown 45-voice choir, strings and horns, the choir

something envisaged right at the beginning of the composing I’m In Love and title track, Hypnotiser, which Finch wrote specifically for Savage. “I know that seems crazy,” she admits, “but Nick helped me write I’m In Love and I actually have a recording of the night when we wrote it, and it’s got us, really drunkenly, singing the choir part in the background. Hypnotiser, when he wrote that, I don’t think he initially said choir, but when we were thinking about it more, we said, ‘Let’s try with the choir’. I mean, the lyric says, “Here comes the gospel choir”, so there aren’t a lot of things you can do other than have a gospel choir,” she chuckles. “Nick said when he wrote Hypnotiser, it was written for me. I would like to have written those lines but even as big a wanker as I am I don’t know how easily I could have written them for myself, but I really do enjoy performing it. As I said I’ve known him for fifteen years and we’ve been in bands together almost that whole time, or been musically intertwined, so we’ve written a lot of songs together and he knows me quite well so he’s definitely someone I would allow to write a song about me in that vein.

Stories We Tell @ Possible Worlds

“I always try and write for myself and with this album, I guess there were some things that I felt needed to be on there. I try and keep it as personal as possible. The only songs that took a lot more thought in a way were the ones that were not quite my story. So 95ks [To Sandy Point] is a friend of mine’s story, and when he told me [it] I said I want to write a song about that, and he said, ‘Fucking great!’

LISTENING TO Sigur Ros – Kveikur


Possible Worlds Festival of American and Canadian Cinema @ Dendy


Delectable Shelter @ The Seymour Centre


WHO: Cash Savage & The Last Drinks

Better Man

WHAT: The Hypnotiser (MGM)


WHEN & WHERE: Thursday 8 August, Hotel Steyne; Saturday 10, Goodgod Small Club; Sunday 11, The Junkyard, Maitland

This, the last ever edition of Drum Media before we evolve into The Music


Way too much KFC



FUCK THIS The Stiffys’ Jason Leigh tells Samson McDougall that their erection rock is no gimmick and that really they’re all heart.

ock rockers The Stiffys have their angle sewn up. Their mission statement: “The Stiffys are a two-piece rock’n’roll band that dress up like sailors and sing about erections. There is no deeper meaning to our songs and if the topic isn’t stiffies then we will not sing about it.” Their ambition: “To be Melbourne’s number one erection-based rock band...”


The sailor suits are about getting noticed, standing out from the humdrum. “The thing about the music business is that it’s an image-based business, you’ve gotta look snappy at all times,” says Stiffys bass-playing mouthpiece Jason Leigh, who, incidentally, does not have a stiffy during the interview. “You’ve gotta look your best. We like to dress up a little bit, we like to look sharp. We’re very popular with the ladies and we just wanna do whatever it takes to impress the ladies.” Their shtick has already granted them major support slots, national tours and spots on festival stages and they’ll now tour their latest single, Champagne. “It’s about something that’s really important to us,” says Leigh of the song. “We didn’t want to be one of those bands that just sings about anything, we really just wanted to open our hearts and sing about our favourite thing, which is champagne.” Themed rock a new concept. The Beards are kicking international goals right now with nothing more than songs

about facial hair; The Zimmers took the pensioner market by storm with their reinvention of punk tunes; there’s a band of spontaneous performing cyclists, The Cycologists, in Melbourne; there’s The Burqa Band, an all-female, indie-rock band from Kabul, Afghanistan; there’s even Mini KISS, a KISS tribute band made up entirely of midgets. “The thing about The Stiffys is that we’re not just some novelty band, we’re pouring our hearts out and just trying to express ourselves with our unique brand of rock’n’roll. I’d definitely be open [to a tour] if Mini KISS could commit to giving 110%.” Leigh and his buddy Adam Stagg have copped mixed receptions on tour. “Due to the nature of our unique brand of rock’n’roll, I think that some rooms can pose different challenges,” Leigh laughs. “Some of the more rural locations have taken a bit longer to become part of The Stiffys.” And they’re not exactly popular in your everyday establishments. “Due to the changing nature of society... We find that sometimes it’s hard for The Stiffys ‘cause we get turned away from a lot of restaurants and stores due to the nature of our unique brand of rock’n’roll and our drinking habits. We find that hanging out in Red Rooster stores is the best way to relax, have a nice time, have a couple of drinks in the bathrooms, eat rooster rolls, eat big macs, do kickflips, meet girls – things of that nature.”

TRAILER WATCH JOBS Leigh is not averse to the concept of adding, ahem, members to the band, it’s just a matter of logistics. “We’ve got about four girls that play horns with us and one that plays percussion with us whenever we can. The thing is with The Stiffys, because we’re so focused at all times on having such a nice time, it can be hard to lock down a rehearsal time with all of us. “There’s 24 hours in the day... Sometimes I just need time for me; sometimes Adam and I just need to focus on our music – it can’t just be about ladies 24 hours a day. It’s like, ‘C’mon, guys, let’s think about it for one second. We’ve gotta play rock’n’roll, we can’t just kiss girls all day. It’s not just some kind of kissing booth, we’re not Ian Thorpe.”

“Here’s to the crazy ones, the misfits, the rebels, because the people who are crazy enough to think they can change the world are the ones who do.” In cinemas Thursday 29 August

WHO: The Stiffys WHAT: Champagne (MGM) WHEN & WHERE: Thursday 8 August, Yours & Ours, Wollongong; Friday 9, Brighton Up Bar

For more interviews go to • 31



Bloods You know those bands where it even looks right, and just seems destined to work on several levels? If you didn’t realise that about Bloods already, consider yourself told. The right mix of just a bit cute, and just a bit snotty, and a range in their fizzy racket to appeal across several demographics. Golden Fang (Shock) is the EP that will build the momentum. Its new ‘single’, Into My Arms, is the bright skip to the coffee shop in under two minutes, following the previewer, Back To You, which covered the slightly moodier end of their acceptably punky love buzzes. Pick your favourite member now. That Kate Nash has already endorsed them makes some good sense, unlike the decision of her former major label home which ditched the former BRIT Award best girly winner – beating PJ and Bats For Lashes among others that year - for ‘being a bit too punky’. But OMYGOD! (Have 10p Records) isn’t exactly Pretty Vacant or Holidays In Cambodia. Verse/chorus fast, neat and sweet-ish, unlikely to be a career revival, but won’t offend the faithful either. A gear down from that The Kristen Fletcher Trio make a breezy notquite-acoustic swing on Playtime (Independent) that chimes through and smiles confidently knowing its making your foot tap just like they knew it would. In classy monochrome cover, and a full 12” slab of vinyl, you’re not quite sure what Fattura Della Morte’s Ouranaphobia EP (RTN) is going to offer, until crosschecking with Babelfish and Dr Google. If it came at you marked Fear Of Heaven by Bill Of Death, all would be somewhat clearer now wouldn’t it? Big, pounding, angst riddled, but mostly unrelenting in its assault, they’ll have troubled boys in black sweating in front of the stage. Note: despite name, actually from Newcastle, not Perugia. Wouldn’t it be better to be that little clearer in band naming? Like Pikelet is, of course, synth-based skirls of sound that never quite forgets there’s a song to get through. Combo (Chapter Music) also illustrates the evolution of the name from Evelyn Morris’ bedroom electronica to full band unit, with a complementary upswing in energy and layers of bleep and rattle to make something brighter, but still with a little mystery in it. Morris’ voice wanders around wide-eyed, seemingly quite happy with how it’s all fallen together. As well she should. There are two distinctive voices at play as Mark Seymour & The Undertow’s new single puts his gruffness up against Abby Dobson’s ever-honest fragility on Getting Over You (Liberation). It’s more of Seymour’s drift to country-tinged folkery, but there’s a nice bit of snark in this duet. There always being something in Abby’s vocal that even if she’s telling you to ‘Go to hell’ you kind of look forward to going, for it sounds lovely. Similarly, take Laura Veirs, and add Neko Case to her newest, Sun Song (Bella Union/PIAS), and there’s another thing of that perfectly Portland flavour, here done with a certain effortlessness that makes it just sound right. Quality. Rainbow Chan’s voice is also a thing of distant beauty, though it’s still a bit of a mystery how Haircut (Silo Arts) managed to premiere on The Huffington Post of all place on the interwebbery. Don’t argue, just accept. Song is a carefully restrained mix of looped and sampled layers, with her thought process weaving through, as the clippers come out. It has an intrigue. Tim Fitz is another one-man band, coming at you from an odd angle but thankfully never quite being describable with the appalling epithet that is ‘quirky’. Happiness Is Tugging At Your Heart (Independent) rattles at you with what sounds like kitchen drawer percussion, as he waits on the station platform for love to come to town. It’s running late, as usual. He distractedly converses with you, while looking down the track for the signals to change. Yes Ausmuteants, you are here largely on the title of 100 Ausmuteants Fans Can’t Be Wrong, 100,000,000 Bon Jovi Fans Can (Anti-Fade), but Geelong again proves itself worthy of note for its varied rackets, with All Talk chatting at you disaffectedly over a op-shop organ and slightly smart-arse attitude possibly traceable back to the outsider tongue poking of The Reels or Regurgitator of times past. That, naturally, makes it no bad thing. And Chicks Who Love Guns remains one of the great band names of Century 21, and Pencil Neck (Independent) adds to their catalogue with a gear-changing bit of softto-loud-to-louder messy racket that retains some swing and dynamic to it. It be rock, it goes well.

32 • For more reviews go to

DEAD LETTER CIRCUS The Catalyst Fire UNFD There is plenty of pressure on Dead Letter Circus with this release. As well as the usual weight that comes with a second album, it’s also the first without their original guitarist and, coincidently or not, comes within weeks of the long-awaited Karnivool album – a band whose void from the scene they have more than filled in recent years. Despite this burden it would appear that DLC like a challenge because The Catalyst Fire is everything you expect: powerful, energetic, uplifting and inspiring. Changes endured in the last few years have not affected their sound. There is less of the electronic influence you might expect from gaining a keyboardist and new lead guitarist Clint Vincent shares the distinctive tone of founding member Rob Maric. As a first single, Lodestar completely captures the essence of the band and this album. Kim Benzie’s vocals soar, Vincent’s guitar is elevating and it has a glut of power and drive. Opening track, The Cure, is hypnotic and immediately delivers the message that The Catalyst Fire will pick up lyrically where This Is The Warning left off: “We are the slaves who object in silence”, and a demand to “Show me where the progress exists without the protest”. Alone Awake features that DLC signature combination of slow heavy moments contrasted against fast-paced frantic melodies that leave you visualising Benzie bouncing on stage to a chanting crowd. Tracks like Say Your Prayers, I Am and Lost Without Leaders are all equally compelling and further develop the album’s mesmerising feel. The Catalyst Fire is self-assured, confronting and formidable but always, as we have come to expect from Dead Lead Circus, affirming and dynamic.



An Ocean Awaits/Fuse

Cartell Music

Swedish songwriter Johan Örjansson is the latest in a strong line of Scandinavians who manage to dial into authentic interpretations of folk and Americana. First Aid Kit, The Tallest Man On Earth and Kings Of Convenience among others have nailed the melodic richness and vocal sensitivities of folk music and Örjansson is doing the same, albeit with a stronger focus on alt-country.

For starters, there aren’t enough military-like drum and slow handclaps in music that might otherwise be called folk or soft pop. So thanks, Lou Doillon, for the track One Day After Another – that combination is an untapped resource. Actually, most of Doillon’s album can be considered in the ‘untapped’ category, as lots of press so far has discussed her place as a French model/famous person’s pedigree daughter (offspring of actor/singer Jane Birkin and director Jacques Doillon). Of course, good genes and a stellar bone structure don’t hurt, but this girl sounds great beyond that, a mixture of breathiness but also with some brass in her voice, not afraid to give a bit of kick where necessary and genre bend a bit.

Melancholic Melodies

His story is one of small hometown success and a string of albums that never managed to capture the strength of his live performance. A trawl through old recordings and the resurrection of his best songs, reconfigured and in many cases re-recorded has resulted in the new moniker Basko Believes and something of a ‘real’ debut album. The immediate and obvious touchstone for Örjansson’s style is Ryan Adams. He possesses an at times scarily similar vocal tone to Adams and highlights the similarities in the way he phrases his lyrics and bends and stretches notes with weary and tremulous heartache. The success of the album is a result of his ability to conjure such sounds and emotion but it also rides on strong songwriting, pacing and range. From the sparse dynamics of Houses to the brisk uplifting chorus of The Yellow Fields, the parched electric guitar and soulful feel of We Had A Secret Place and the delicate instrumental melodies that populate These Winding Roads and August Makes Me Cry, Örjansson nails those extremes and everything in between. Eleven tracks with not a weak one among them makes for a mightily impressive album. Fans of Americana should make sure they catch Basko Believes when he tours here later in the year.


Let’s celebrate that she’s got a song called Defiant that features a piano accordion (defiant, indeed!), that she’s happy to admit she’s “real smart at fucking things up” (in closer, Real Smart) and that she manages to do a spoken word intro to the title track and be sultry rather than cheesy (high degree of difficulty there). Building that title track into a chant-like crescendo that Ani DiFranco would be proud of (although with a bit less raw anger and political crank), the result shows just the right amount of melodrama. There are some slower, more direct folk-like moments too (Same Old Game and I.C.U. particularly), but we’re walking on just the right amount of genre convention and a nice little twist. Also an accomplished actor and performer, it’s taken a while for Doillon to get out this English debut – let’s hope there’s more to come. Liz Giuffre

Chris Familton

Monique Cowper





Big Village


Although Echobrain threw too many curveballs and Rock Star Supernova was unsurprisingly disastrous, since leaving Metallica bassist Jason Newsted has displayed why many considered him the “keeper of the heavy flame” during said band’s questionable mid-to-late’90s period. Playing with Voivod and Ozzy ensured his metal credentials remained intact, but after a period in relative obscurity he’s returned, full of piss and vinegar.

The success of Big Village is a story that can make us all proud to be Sydneysiders. The little boutique label that started out as the brainchild of a few highly talented but under-appreciated Sydney rappers and producers has grown into an independent label that bears comparison to its bigger brothers, Elefant Traks and Obese Records. With Second Front we have one of the most complete realisations of the BV artists-and-alleyways aesthetic yet, and one of the most outstanding Sydney releases of the year.

Since his return to the Diesel brand, Mark Lizotte has delved back into blues, written some great rock songs and now blends his favourite styles into this countrified album. As usual, it’s all about the guitar and the hooks, using his honeycomb voice to caress the melodies out of these mostly interesting songs. Let It Fly sees Diesel tentatively reach out to the country music scene, although parts of the album keep him in rock mode.

Heavy Metal Music

Rapidly following up a debut EP, Newsted has recruited new guitarist Mike Mushok (Staind) for their first fulllength. There’s fractionally more musical breadth, and Newsted’s gruff, Chuck Billy-esque snarl is adequate, even when spouting some of the cheesier lyrics. EP tracks, the frantic Soldierhead and accessible King Of The Underdogs, are also included, while doom-ish Nocturnus, Motörhead-influenced Long Time Dead and punchy Heroic Dose are also winners. There are hints of blues and Sabbath (Mission: Impossible-inspired Ampossible) within chugging guitars and he’s made a few borrowings from the much-vaunted (in this case predominantly Loadera) Metallica riff bank, with varying degrees of success. The pretension-free title says plenty about the earnest delivery, and there’s a tangible vitality evident within Heavy Metal Music that will ensure it receives a pass from many. The room to grow is most apparent across the second half of the (admittedly overly long) LP, which often meanders without adequate hooks to maintain interest. Having been set for life two decades ago, although unremarkable, this emanates an ethos of a veteran revelling in creating something new. After burrowing underground for a while, Newsted’s on a mission to reclaim as many fans as possible. This is a fair starting point. Brendan Crabb

Second Front

SD30 is the scene-setter. Rarely does a 30-second intro track deserve a mention but here, as the ticktick-tick devolves into the industrial buzz of next song, New Developments, we are transported to a world of back streets and bleep bloops. The title track is menacing: a vicious alien purr, grimey synth lines and neat cymbals. Pressure Tek is a particular highlight, making good on its woozy promise to “take you away”. Fallout, with a superfast lesson in rhyme from Mikeon, is suitably post-apocalyptic. Rapaport’s What Ya Know About That? is monstrous, urgent, irresistible. It’s a measure of the success of this record that the stellar list of guest rappers – Tuka, Jeswon, Grey Ghost, P.Smurf and more – are forced to concede ground to the backdrops SD paint. Each is enslaved to the all-consuming paranoia our hosts purvey. To be engaging is one thing; any music worth listening to must be engaging. With Second Front our Sydney superheroes have taken it a step further and created something immersive. Nothing left, then, but to take the red pill and enjoy the ride. James d’Apice

Let It Fly

Plucking on a banjo helps bring out the strengths on Be Your Throne, a rollicking folk tune. It salvages the awful start to the album, Moneymaker, a terribly clichéd song that sounds like a bad outtake from an Aerosmith album. Possibly the best track here, Last Shower, is a wonderful song that shows Diesel can do restrained without sounding ridiculous. He is joined by Canadian performer Tim Chaisson, who brings a wistful charm to proceedings. The other highlight includes a duet on If You Let Me Give, with Lila Gold matching Diesel’s silky vocal. There is no doubt that Diesel can play guitar and sing with a certain amount of soul. Ironically it’s on the heavier rock tracks where it all falls down. The title track and Sound Of Guitar are awfully trite and lack the depth of an artist of Diesel’s vintage. The good songs, like No Time Tonight and the inwardly stretched Navigate, are Diesel at his best. If only the weak songs had been edited out this would be one top-shelf album. Sebastian Skeet








The Hypnotiser

Ivy League

I’m A Bird

Another timely reminder – and what is it about this business that we seem to need reminding every couple of years? – that women can rock as hard as any of their male counterparts, Diva Demolition follow in the footsteps of not only The Runaways and the stars that band spawned, Lita Ford and Joan Jett, but the glam rockers of the late ‘80s, from the Crüe to Poison. Yup, this female-fronted four-piece from Brisbane are unapologetically retro rock – not riot grrl rock, but in-your-face, spandex-and-big-guitars rock.


Since relocating to the (currently) tropical climate of east London, the Cloudies have kept a relatively low profile, aside from some support slots (Weezer) and the odd festival. So it’s surprising that what you really notice with the new record is how much bigger everything sounds. Where 2010’s debut, Bliss Release, was an awesome little indie-pop record, Dream Cave is Cloud Control with a little bit more time, money and experience to spend in the studio, the latter they’ve managed to gain in a relatively short time.


Having spent the past couple of years playing to bigger and bigger audiences, it’s no wonder the album aims high, as it traverses between indie (Promises), dancehall (Island Living), surf (Moonrabbit), Stevie Nicks (The Smoke, The Feeling) and Fleetwood Mac (Happy Birthday), all the while maintaining Cloud Control’s uncanny knack for a catchy chorus and hypnotic melody. The lead single, Dojo Rising, relies on a mix of samples and ridiculous amounts of layering, managing to provide something different to pick out and notice with each listen.

“An album you can’t place or date; it’s universal, floating through space a cut above the rest.” Lorin Reid

Singer and bass player Kylie Cowling and guitarist Sherree Newton – ably assisted by guitarist Ricky Collision and, for this record, drummer Alex Carapetis – aren’t afraid to tip their hats to the boys in whose Rock N Roll Dream they’ve so obviously completely immersed themselves, namechecking Poison, Alice Cooper, Tommy Lee, The Doors, Hendrix, Bon Jovi, Freddy Mercury and Queen, Frank Zappa (and Dweezil), the Chili Peppers, ZZ Top, Led Zep and the Stones in the 2.58 minutes that it takes to get through the song of the same name (oh, and one rock chick – Courtney Love, surely for her attitude than he music). Either way, Diva Demolition totally immerse themselves in what’s become “rock’n’roll culture”, from the bands to the gear – guitars, mics, amps, radio – as metaphors for what has replaced a negligent lover in current single, Diva Disease, to peripheral activities that have attached themselves to it, like rollerderbying (Derby Girls), all delivered with big, chugging guitars, though not too much in the way solos, which are short and sweet and to the point. Otherwise, the girls sing of love, strutting and the other girl – the self-explanatory Bitch. Michael Smith

It’s a darkened country road. It’s in Cash Savage’s voice all the time. But it’s an Australian one of now, the city lights maybe just a fading glow in the rearview mirror. In various places, she’s behind the wheel – running to or from something, or trying to sleep in the passenger seat, or looking out the servo café window wishing she was on that bus to somewhere – anywhere – else. Her voice is rightly lauded: a range of thirsts, longing and the blues in it. And the band, with deep bowed violin and occasional blares of brass to get your eyes back on those white highway lines, serve her – but strong enough to never be completely overwhelmed by the howl she can exhale. Sure, there’s classic done-me-wrong country like Five Boys One Farm (“one bad divorce”) or the grim anecdote of 95km To Sandy Point – where the Black Saturday bushfires get overshadowed by having to face that ex you can do without seeing. There’s even an Appalachian-ish duet in Howling For Me – as she and guitarist Tim Neilson take a drive to bury… something, with just enough ambiguity to make you ponder what. But the real business here is the almost hymnal ache of I’m In Love – the banjo just a pluck underneath, and a mourning trumpet emphasising the arch in her back, and the fall she knows almost seems inevitable. Or, like the Early Morning Come Down Blues has it, sometimes “My beer don’t work/My wine don’t work/ My gin don’t work/And my weed don’t work”. Cash Savage provides the soundtrack for days like that.

While album two could have been album one repackaged, the gamble with shooting for beyond Thunderdome has utterly paid off, with the record sounding – along with Alistair Wright’s cryptic, oft times morose lyrics – something like the next Beach House album if Beach House are aiming to appeal to a wider audience. Dream Cave presents Cloud Control on a much grander scale and, even though it’s sad that the four kids we met three years ago have moved on, the people that are before us as grown-ups are just that little bit better.

Ross Clelland

Adam Wilding

“With its folk melodies and tales of love and longing, I’m A Bird is a soothing and uplifting record that feels like she’s playing just for you.” Ash Goldberg


Lamentations Wantok/The Planet Company


Independent “The great thing about this album is that it doesn’t surrender and lay down in front of you; rather it demands a bit of work from the listener and is rewarding if you’re willing to put the effort in.” Lorin Reid

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[REVIEWS REVIEWS] l i v e confessions to a bedroom wall poster of Phil Collins and getting emotional about the movie, Gladiator. Despite a career spanning more than two decades, the ex-Powderfinger frontman definitely hasn’t lost his punch. The all ages audience in the sold-out theatre agreed that the music had a timelessness to it that not too many can claim. There was enough cheering and wooing from the audience when Bernard Fanning walked on stage with his guitar to perform Wash Me Clean that this reviewer wouldn’t have been entirely surprised to see unmentionables sailing through the air.

Karnivool Pic by Josh Groom

Fanning reflected upon the remarkable difference between Tea & Sympathy and his newest album, Departures, before he made it to Songbird. The crowd might not have been sure how to take Here Comes The Sadist at first, but as it evolved into echoes of guitar-smashing funk gospel church, a fair chunk would have got up and followed at request. Placing the slower, heavier single, Watch Over Me, second to last was well done, and as the opening bars of hit track, Wish You Well, came on it was as if permission had been given to the crowd to let all their energy go at once; they just exploded with enthusiasm. The passion was carried right through to the choice to close with a cover of George Harrison’s What Is Life. Lily Seabrooke

KARNIVOOL, NORTHLANE BIG TOP LUNA PARK: 04/08/13 Maybe it was the cold Sunday evening on the harbour that forced the masses to pile into The Big Top as soon as doors opened. Perhaps it was the hype surrounding metalcore hometown heroes Northlane but more than likely the heightened anticipation of seeing Karnivool after a substantial absence from our stages was motivation enough. Northlane may be one of the buzz bands on the scene at the moment but their sound seemed an unusual fit on a prog rock bill. Songs like Quantum Flux and Dream Awake drew a substantial mosh due to the band’s intense energy. A big thumbs up to the guitarist’s novelty glow in the dark guitar, but a less favourable mention to the box that lead singer Adrian Fitipaldes appeared to have brought along to perch himself on. It was fair to say expectations were exceedingly highly for Karnivool’s return. When the title track from new album, Asymmetry, blasted through the speakers and Ian Kenny stood centre stage with fist in air, it was a powerful moment that declared “we are back”. They bravely launched into one of the most challenging songs on the new album, A.M. War. Surprisingly, it translated well live and the crowd lapped it up before being rewarded with Themata. As Kenny soon commented, Sydney were well up for it. Karnivool played a very smart gig. They weren’t self-indulgent enough to think that with only a few weeks’ worth of listening, the crowd would have tolerated a set list dominated by new songs. They road-tested Nachash, We Are, Amusia, The Last Few, Alpha Omega and Aeons with a solid crowd reaction that had many singing along to every word.

reminiscent of Cut Copy’s take on dance, with the bass and drums providing the meat on the danceable bone, with the understated synth and guitars riffs adding texture on top. Of course Jack Bourke’s vocals are also a clear standout, and early radio faves Dare and Burn Slow received the biggest receptions. A great set from the next Australian band to watch. And finally, coming to the stage to rapturous applause, Glaswegians of the moment CHVRCHES played an amazing set that justified the global hype which has followed them for months. While it’s easy to overlook, CHVRCHES are still a young band. You’d expect some growing pains, some missteps. That they are so self-assured speaks to their immediate chemistry as a band, and the strength of the previously unheard album tracks left the crowd in no doubt it could be one of the standout LPs of the year. As the trio raced through tracks from their debut album, what was striking was the heavier synths on display. Not surprisingly, these work superbly. New single, Gun, is a perfect example of this, with the contrast between the heavier synth and Lauren Mayberry’s sweet vocals perfectly highlighting the dark undercurrent of the song. Crowd favourite, Recover, also displayed a slightly heavier edge, which might be a sign of the direction the band is moving. The set showed a band ready for the limelight. Hell, even the lighting worked perfectly. Seldom do you leave a set where every aspect works so perfectly, or where a band’s rise seems so inevitable and well deserved. Timothy Scarfe

It is interesting that songs from the last album, Sound Awake, like Simple Boy, Sound Awake and New Day, appeared to be the crowd favourites, which would suggest that promoting a more progressive and intricate album like Asymmetry might prove to be challenging. Finishing on one of the new album’s highlights, Aeons, provided one of those spine-tingling Karnivool moments. It also left you with a strong impression that once audiences have had more time to really absorb the complexity of Asymmetry and the songs have developed a life of their own in a live setting, the next time Karnivool return to our stages is going to be absolutely epic. Monique Cowper

Bernard Fanning Pic by Peter Sharp


Chvrches Pic by Thomas Graham

CHVRCHES, CITY CALM DOWN OXFORD ART FACTORY: 02/08/13 Even though slow-burning electronica act, City Calm Down, is yet to release a debut album, each song was so eloquently constructed that it seems as if the guys have been at it for years. Many of the tracks are

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Melbourne lad Vance Joy arrived on stage as the opening act accompanied simply by an acoustic guitar, before he hello’ed the audience and launched right into the first track of his latest album, Emmylou. There was no doubt that his powerful voice and refreshingly shy humility made for a recipe that everyone instantly warmed up to. The admittedly short set was ended via ukulele, perhaps channelling a little Jake Shimabukuro in Playing With Fire, before closing with the still rising single, Riptide, the title of his upcoming solo tour. Fellow Melburnians Big Scary, consisting of duo Tom Iansek and Jo Syme, though acknowledging the difficulty of being the middle act, tackled it with aplomb. Their autobiographical commentary on the meaning of the names of the songs from their second and most recent album, Not Art, lent a certain extra flavour to the atmosphere that made up for any gaps in enthusiasm from the audience, including

VILLAGERS, COURTNEY BARNETT FACTORY THEATRE: 01/08/13 Humbly, Courtney Barnett dealt the Factory Theatre a few ditties, and with her sharp, dry turn of phrase and a guitar in hand, this little lady from Melbourne held the slow growing room at bated breath. Peaking with release Lance Jr, which encouraged audible gasps at the word “masturbate”, and the bloody hilarious Avant Gardener, Barnett’s straightforward songwriting and self-effacing stage presence proved to be a refreshing change to the Aussie music scene. From Melbourne to Dublin, Conor O’Brien’s brainchild Villagers delivered a tightly packaged bundle of self-proclaimed “depressive folk rock”, the five-hand coming almost straight off the Splendour In The Grass weekend to play their first ever Sydney performance. Anything but weary, the Irishmen kept punters completely enthralled with their beautiful mix of indie and raw emotion – Passing A Message, in particular, divulged O’Brien’s secret weapon early on – a delicate flip to crystal clear falsetto and the room was his. A perfect mix of their two records showcased why Villagers picked up a Mercury Prize nomination in 2010, and their poignant lyricism told such detailed narratives but also left a touch of mystery. Tunes like Set The Tigers Free or the politically-charged Judgement Call had O’Brien both playing his guitar and acting out the lyrics he sang, creating a fascinating collaboration of vocal and physical storytelling. The very, very big little man had incredible energy, allowing the music to completely take over his body as he jumped, hopped and paced around the stage. Dropping his left hand from the guitar’s neck during the climactic Nothing Arrived, he outstretched his arm with an unclenched fist as if to offer some of his energy to the fans below. Similarly, Daniel Snow writhed like a snake with the beat of his bass guitar and the whole band completely gave in to the power of The Waves.

Hart the most uncomfortable! Later, serious (or is that borderline-stalker?) fans threw baby clothes onto the stage for her young daughter Willow. Try brought the classically-trained film-clip to life in a virtuoso display of strength and sizzling sexiness. While Sober got one of the most enthusiastic reactions, as Pink revolved in a giant chandelier. For Raise Your Glass, Pink really pushed the boat out, dangling from the ceiling with toned, writhing men. The audience responded with a blinding display of raised champagne flutes with LED flashing lights. She did have to restart the piano ballad The Great Escape, but laughed it off with aplomb. Not to disappoint fans who missed the last tour’s gravitydefying, Olympic-sized displays of strength and agility, Pink’s finale was truly awesome. Harnessed and svelte, flying across the entire Entertainment Centre, belting out the fabulously arrogant So What, Pink’s voice didn’t falter once. Upside down, spinning around and landing on teetering podiums with ease, this pop-star is old-school professional. Clearly loving the frenzied crowd reactions, Pink flew over the audience, sometimes barely a metre above their screaming heads. A true performer, Pink was clearly adored by the faithful – and didn’t disappoint. Leah Creighton

COLD WAR KIDS, CABINS METRO THEATRE: 29/07/13 Music has an inescapable effect over many people and their genitals. For those not accustomed, it can be dangerous. One sultry riff or dirty beat and all of a sudden you can feel uninhibited sexual prowess more powerful than any amount of E.L. James could ever provide. This reviewer has read odes to this feeling when listening to Cold War Kids, but never fully understood it until it was presented live at The Metro. Cabins can be equally impregnating but there was just something off about the sound on the night. Off the bat Catcher In The Rye was sounding smooth, with Cabin’s characteristic sexy bassline and drum beat. Lead singer Leroy Bressington roamed the stage with buckling legs like he was the play thing of a puppeteer, while the rest of the band coolly played. Later songs sounded fuzzier than usual however, with incomprehensible words and blurring instruments. Even their usually excellent cover of Edwyn Collins’ A Girl Like You somehow fell short. While the boys were succeeding in presentation, they lacked in execution. Cold War Kids on the other hand were flawless in their performance, with an energetic live show that complemented the depth and range of their tracks. Clearly still buzzing from Splendour In The Grass, the guys were commanding in their presence as they bounced off one another on stage. The focus stayed on their earlier albums for most of the set, with surprisingly few tracks from their most recent release, Dear Miss Lonelyhearts – not that anyone in the crowd was complaining. The audience was very clearly knowledgeable in their back catalogue and they were out to prove it, with the most enrapturing moments of the night coming from the highlights of Cold War Kids’ debut album Robbers & Cowards. From the pounding beats of Something Is Not Right With Me, to the cuddle inducing piano of Tuxedo, the energy of the music was capturing, if not a little sexy. Cara Sayer-Bourne

Vocally, Villagers were spot on. Three-part harmonies and the frontman’s signature war cries at a distance from the microphone filled the room to its corners. A real shame to play to only a modest Sydney crowd; their performance deserved so much more. Mat Lee

PINK, YOUNGBLOOD HAWKE SYDNEY ENTERTAINMENT CENTRE: 30/07/13 Indie pop support Youngblood Hawke burst straight into the set, as if carbon-loaded. They belted out some lesser known tracks, with a vibrant graffiti backdrop, before launching into their infectious hit We Come Running. Alecia Moore, aka Pink expertly toed the fine line between new songs and old favourites. There were a few jarring elements, such as the anchor for the show: a sort-of-scary, sweaty clown-like figure called Rubix von Fukenhurtz. But, the coolest element was surprise. At the start of the show, while the audio-visual zoomed into a random seat in the audience, a hoodie-cloaked figure was focused on. Pulling off the hood, it was Pink. The people sitting next to her went into hysteria. Somehow, she made her way to the stage, unmolested, and began. Wow. Cheeky as usual, Pink said she loved her song How Come You’re Not Here the most, because it made her husband Carey

Cold War Kids Pic by Angela Padovan


Alt-J Pic by Josh Groom

ALT-J, SNAKADAKTAL, CITY CALM DOWN HORDERN PAVILION: 31/07/13 City Calm Down kicked the night off to the rapidly filling Hordern Pavilion. Electronica and atmospheric synth build-ups filled the air and when they got into it City Calm Down produced a brand of synth pop Joy Division might be proud to call son. A modern dance feel was infused into crowd favourites Sense Of Self and Pleasure And Consequence. The band sounded great, but lacked stage presence.


There was no need to fear, however, as always Bowditch isn’t about to leave anyone out to dry (or, in the nicest possible way, would she ever move too far from the spotlight).

Aaron Lyon. The latter had won an online application to play Bowditch’s single One Little River and going for it in whispy acoustic glory, Bowditch was as taken with Lyon’s performance as we were.


Starting with a hilarious intro which included a killer story about her previous time on the road (at 19-ish, stalking Jeff Buckley, so charming that it had to be real), it was at once totally gentle but also totally hilarious. The experience finally gave her a song she finished writing not too long ago – Amazing Life – and it’s not hard to see she really inhabits such a thing. Fans were given particularly props tonight overall, with several dedications to those who had clearly earned their audience merit badges early, which was a lovely touch. The mixture of funny stories and sweet, airy performances continued thoughout (highlights included Human Being and You Make Me Happy in particular), while Bowditch’s energy was infectious. Her performance of Your Own Kind Of Girl was heartbreakingly gorgeous solo, too – it easily could have disappeared into cliché country, but not in those capable hands. Her control continued when talking up (and playing with) support Tom Spender (who did a sweet folk/ electric guitar set to start) and audience guest-ie

Now the promise of some ‘participation’ came true as we were divided up to sing various parts of Bowditch’s back catalogue and, while it’s fair to say there was some silences that could have been rowdier (Bowditch chose to consider them ‘respectful’ rather than shyness from us), where we got into it, the place gently rocked. Later, Spender took his place proper on stage as a duet partner (sometimes a bit nervous, but charming nonetheless) and the two really let loose when re-telling, then leading a danceoff to Olivia NewtonJohn’s Can’t We Talk It Over In Bed (‘80s video with suitcase was also evoked) and ending with the two waltzing off stage. When they returned it was first for more audience help, as a lovely baritone-voiced punter read part of a TED talk on Bowditch’s phone (a bit of inspiration for a Saturday night, just because we could) and finally ending with a weird, yet wonderful, acoustic mashup of Love, Thy Will Be Done and Total Control.



THE STANDARD: 30/07/13 “Frontman Darwin Smith truly is the embodiment of a pop/rock star – funny, engaging, complex and entertaining, but most of all extremely talented.” Deborah Jackson

PSYCROPTIC, KING PARROT, BANE OF ISILDUR, NEW BLOOD BALD FACED STAG: 02/08/13 “Combining one of the nation’s busiest brutal outfits with arguably its finest extreme metal export seems like a real no-brainer.” Brendan Crabb

Liz Giuffre

Snakadaktal were just as punctual, and immediately endearing, showcasing a perfect mix of youth and wisdom, with each element complementing the other. The soft, breathy Phoebe Cockburn does most of the singing but Sean Heathcliff’s vulnerable vocals, similar to Alexander Gow of Oh Mercy, are perfect for this brand of indie rock. Combined, the two produce beautiful harmonies. Their hazy indie set was solid, but they stayed at one level, meaning the crowd lost interest at times. Finishing with Air brought the crowd back to life though, and overall the youngsters were quite impressive. Alt-J walked out on stage to Tyga’s Rack City playing, accompanied by an impressive light show decorating a backdrop of twisted gothic trees. After opening with the seemingly obligatory Intro, the UK quartet grabbed the Hordern Pavilion by the balls with favourites Tessellate and Something Good, and didn’t let go until after the encore. Joe Newman’s high, folk-inspired lazy drawl was immaculate, allowing the crowd to connect with the deep, at times confessional lyrics that many seemed to know. Newman’s harmonies with Gus Unger-Hamilton were a highlight, with their timing almost robotic. Without physically moving much, Newman gave it his all. Cameron Warner

James Blake Pic by Jodie Mathews

JAMES BLAKE, OLIVER TANK SYDNEY OPERA HOUSE: 29/07/13 It was enthralling to watch Sydney’s Oliver Tank construct his electronic, dreamwave tunes one layer at a time. Full of xylophone and wavering vocals, his cover of Snoop Dogg’s Beautiful was unexpected, and halfway through a very short set he whipped out a red electric guitar and slotted its gritty strums seamlessly into the mix. James Blake is unarguably the best hummer in the world, and the way his delicate voice crackled, reaching for that high note in the Retrograde intro, was as magical as expected. The performance began with a soundscape lightshow that was an assault to the senses before Blake and two of his oldest friends, the exceptional drummer Ben Assiter and guitarist Rob McAndrews took to the stage for the epic, sample-fuelled, instrumental track, Air And Lack Thereof. On the second song in, I Never Learnt To Share, Blake began looping his vocals – laying harmonies and melodies down over the original track. The mournful set progressed hypnotically, each song building in intensity and affront. His gentle vocals juxtaposed starkly with the thumping bass and changing rhythms. Blake leant into his dissonant organ chords as if pressing his life into the keys. He called the seated audience “caged birds” as he shrugged his shoulders along to the beat. A fairly introverted performance, the a cappella Auto-Tuned beginning of Lindisfarne I was a highlight, as was the incredible encore, when a huge grand piano was wheeled on stage, a personal Sydney Opera House dream come true for Blake as he wandered through his acclaimed cover of Joni Mitchell’s A Case Of You. Lorin Reid

CLARE BOWDITCH, SPENDER FACTORY THEATRE: 03/08/13 Another in Clare Bowditch’s Winter Secrets series, tonight was offered as a chance for some serious audience participation, which, to be fair, had a few of us up the back a bit nervous.

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We stick to quick, easy to demolish items, such as burritos, burgers and kebabs. Anything that can’t be kept for a long period of time. The Vernons Volume 1 EP out now.



At the recording studio I used in Bondi, nothing is within its use-by-date. While at the other recording studio I used in Redfern, there was a family fridge, so nothing very sexy either. Last night’s left-overs, Up & Gos, Powerade (my 14-year-old bro’s a swimmer), and dismembered human parts. The usual.

World’s End Bar

WORLD’S END BAR FILM Since breaking out with Spaced back in 1999 (wow, that long ago?), the trio of Edgar Wright, Simon Pegg and Nick Frost has cornered a neat little niche documenting the lives of pop-culture nerds in various states of stasis, arrested development and ongoing adolescence. With their latest outing, The World’s End, the three collaborators explore this territory with a slightly more mature approach in mind, looking at some of the more toxic aspects of nostalgia addiction. Of course, the guys behind Shaun Of The Dead and Hot Fuzz being who they are, they do so while throwing in an invasion of Earth by a benevolently sinister force. This takeover of the tiny English town of Newton Haven really cramps the grand plan of Pegg’s Gary to relive the glory days of himself and his four best high school friends (played by Frost, Martin Freeman, Paddy Considine and a scene-stealing Eddie Marsan) by re-enacting an epic pub crawl. Reluctantly drawn into Gary’s quest, the mates soon twig that something is NQR in the old haunts and find themselves facing off against an unpredictable enemy... as well as the issues of the past. Wright’s antic energy, crackerjack timing and terrific eye for detail remain as sharp as ever, and the ideas about moving on and cutting ties are expressed in ways often incisive but occasionally facile. Fans of the trio’s previous efforts will dig it, certainly, but The World’s End does indicate that it’s time for them to try their hand at something new. One gets the feeling they may think that as well.

Kate Kingsmill In cinemas Thursday 8 August


Though some might dismiss The Bling Ring as shallow entertainment or a glamorisation of petty crime, it’s an interesting comment — if a little sententious at times — on our obsession with celebrity culture (and blatant disregard for their privacy) and the way that broadcasting our lives via social media is second nature nowadays: if it’s not on the internet for all to see, did it really happen? Ahn and co. want nothing more than to be a part of the glitzy Hollywood A-list world and both their crimes and the aftermath allowed them that; first the (pretence of the) lifestyle, then the fame/infamy. Stephanie Liew

Sofia Coppola’s fifth feature, The Bling Ring, is based on the real-life events involving a group of teenagers robbing the homes of Hollywood celebrities, a fact that makes the film instantly more fascinating than it might otherwise be. A strong ensemble cast of newcomers mixed with big names such as Emma Watson and Leslie Mann (playing daughter and mother) brings what could have been a lacklustre script and onedimensional characters to life. In particular, Katie Chang and Israel Broussard give believable performances as the effortlessly cool, sweet-faced yet rebellious ringleader Rebecca Ahn and the shy, self-conscious new kid-turned-fashionista/Ahn’s best friend, Marc Hall. Although based on real people, it’s refreshing to see a woman of colour in a lead role, and a gay character who isn’t a caricature or stereotype. Watson also shines as the manipulative, sneering Nicki Moore.

In cinemas Thursday 8 August

THE WAY WAY BACK FILM No one needs to be told they’re around a three on a scale from one to ten, especially when they’re a shy teenager working out just where they fit into the world. But that’s just the kind of tough love – okay, callousness – dished out to 14-year-old Duncan (Liam James, whose underplaying takes a little getting used to) by the dickish Trent (Steve Carell, successfully going against type), his mother’s boyfriend. Fortunately, Duncan is about to have ‘one of those summers that change everything’, thanks to being taken under the wing of Owen, a carefree, charismatic water park employee played by Sam Rockwell at his most Rockwellian. (That’s to say,

Guy Davis In cinemas

Pluto Jonze’s debut album Eject out now.



The greatest trick the devil ever pulled was convincing the world he doesn’t exist. The most amazing trick Mark Ruffalo pulls is convincingly acting in this film. As a confused and out-of-his-depth FBI agent, his sustained sense of conviction over the two hours of this tangled, magic-filled ball of confusion is remarkable. In fact, the whole cast is impressive (hello Michael Caine, Woody Harrelson, Jesse Eisenberg). The questions is why they were convinced this overly complex story of a gang of illusionists robbing banks through magic was actually worth performing in. The film is at its best in the first 20 minutes. It starts with a punch and clearly establishes its basic premise. It’s clear from the outset that a refined suspension of disbelief will be required to appreciate the film. But then the high concept just gets waaaay too high.


plot twists aren’t explained, character motivations are unclear, there are terribly choreographed car chases, and one scene where Isla Fisher floats around in a giant bubble. Climax after climax, twist after turn, we lose these flimsy characters in a ridiculous maelstrom of a plot. No wonder poor Mark Ruffalo looks so confused.

The Way Way Back

The WTF factor is through the roof. There are inconsequential references to the GFC and the Eye of Horus, while the relevance of the illusionists naming themselves The Four Horsemen is never explored. Weird

Now You See Me more charming than 90 per cent of the human race.) That’s the set-up of The Way Way Back, a coming-ofage comedy-drama written and directed by Descendants screenwriting duo Jim Rash and Nat Faxon. While the subject matter may not be totally fresh (this reviewer found it a tad reminiscent of Greg Mottola’s Adventureland, a favourite of recent years), the pair’s conception and execution is clear-eyed and heartfelt enough to give Duncan’s summer journey towards selfesteem real resonance. What’s more, Rash and Faxon – aided by a terrific cast that includes Toni Collette, Allison Janney and the filmmakers themselves – don’t skimp on the sharp-tongued humour, making The Way Way Back both enjoyable and emotionally engaging.

Shanique picks out her “ideal” formal dress, but it’s a far cry from the one her mum has in mind. Ahhh, the drama! Formal Wars is a new reality series screening Thursdays on Seven (it premiered last week on Thursday 25 July).

Guy Davis Bling Ring

36 • For more reviews go to

In cinemas now






ARTS NEWS WITH JAMELLE WELLS drama The Railway Man stars Colin Firth and Nicole Kidman, Matthew Saville’s thriller Felony stars Joel Edgerton and John Curran’s Tracks is the true story of Robyn Davidson, who in 1977 set out on a solo 2,700km journey by foot across the Australian outback. The festival runs from September 5.

plus troupe, is possibly the most inventive, resounding mixture of sound plus vision to follow Disney’s joint effort in 1940 with Leopold Stokowski. Philip’s friendships, in home or work environments, with honoured pop or world songwriters/performers possess origins in the 1960s, when he first worked with Robert Wilson. Indeed, Philip is the first writer of songs to win wide, multieon listenership in diverse genres, together in time.

Phillip Glass The lipogrammatic constraint involves writing a story with the omission of one, or several, letters. The first sentence of this column, for example, is a lipogram in B, D, J, K, Q, U, X and Z, though it was not written with that intention. The act of compelling oneself to write lipogrammatically heightens the importance of the void left by a letter removed from the alphabet. Inspired by the recent production of Philip Glass’ Einstein On The Beach, I have devised a ‘musical lipogram’ constraint that gradually omits the seven letters denoted to pitches in Western musical notation (the diatonic scale): A, B, C, D, E, F and G. I have rewritten Glass’ biography ( php) under increasing lipogrammatic constraint: the first line (the title) a lipogram in A; the first paragraph a lipogram in A and B; the second paragraph a lipogram in A, B and C; and so on, until the sixth and final paragraph, a lipogram in all seven letters in the diatonic scale. A: Philip G’s Life Story AB: Through his music opuses, his symphonies, his compositions for his own troupe, plus his diverse co-written works with others like Woody, or Ziggy’s other self, Philip did implement surprising plus unprecedented impression upon the music plus erudite life of his times. ABC: The opuses – Einstein… plus the one surrounding ‘the expedition’ ‘twixt numerous others – get performed throughout the world’s forerunning houses, often to full houses. Philip’s written songs for experimenting performers plus for prized movies like The Hours plus Kundun, while his first film work with Godfrey Reggio

ABCD: He set off in life in 1937, growing up in ‘Monument Metropolis’. He swots in the University in the metropolis where MJ got superiority while #23 (position SG), where L&M possesses origins in 1945, plus in the most populous region of Pitkin with the one before the fourth member of Les Six to stop living. Exposing himself querulous with most of the then-thought-of ‘present’ tunes, he moves to Europe, where he peruses with the illustrious tutor of Virgil Thomson plus Q. Jones. Other previous work is nigh with the ‘lute of the orient, virtuoso/ writer of songs (who works with the pop group from the UK who wrote Help, Something, You Never Give Me Your Money, Sun King, Piggies, I Will, Helter Skelter, Revolution 1, Revolution 9, Good Night, It’s Only Love, Dizzy Miss Lizzy, Two Of Us, I Me Mine, Flying, The Fool On The Hill, I’m Only Sleeping, Love You To, For No One, Got To Get You Into My Life, Tomorrow Never Knows, plus others). Philip went in return to New York in 1967 so he forms the P.G.E – seven purveyors of live songs tinkling on keys plus numerous instruments from the grouping often using willow strips quivering from respire, noise more intense, then run through the mixer. ABCDE: This unknown song Philip sought to know is in opposition to glut, profusion or surplus. Though Philip thinks this uninspiring; opting for songs with hints of its own song, sousing in its twists or turns. ABCDEF: Nothing “in opposition to glut or surplus” in his output. Throughout 25x12 months, Philip inks 20+ opus in sundry proportions; 8 symphony (with unknown songs in working); two ivory songs plus songs with violin, upright, strings, timps; plus songs to go with moving 8mm. ABCDEFG: Philip works with P. Simon, P. Smith, N. Muhly… Philip rolls out homily, workshops, plus solo shows or shows with his P.G troop.

Legally Blonde Former soapie actor Kym Valentine is suing the producers of Neighbours for discrimination and wants them to rehire her in the role of Libby Kennedy, which she played between 1994 and 2011. Valentine says production company Fremantle Media Australia, legal director Steven Rosser and producers Susan Bower and Neal Kingston failed to provide a safe work environment after she got sick with pneumonia in 2008 and suffered a collapsed lung on a flight from the US to Melbourne. The actor says she was devastated after Michala Banas was cast to play her character Libby. It’s understood Valentine’s contract expired at the end of 2011. Legally Blonde has won five Helpmann Awards including best musical, direction and choreography. Lucy Durack also won the award for best female actor in a musical. Other award winners at the function in Sydney include King Kong, which won four awards for costumes, lighting, sound, scenery and Outstanding Theatrical Achievement. Sydney Theatre Company won six theatre awards for The Secret River, including best play, best direction and best new work. Colin Friels won best actor for Death Of A Salesman at Belvoir Street Theatre and Alison Bell best actress for Hedda Gabler at the State Theatre Company of South Australia. The Toronto International Film Festival has unveiled a first wave of titles to screen, including new Aussie features by Jonathan Teplitzky, Matthew Saville, Ivan Sen and John Curran. The films have been picked for the festival’s Gala and Special Presentations programs. Jonathan Teplitzky’s Second World War

Following a performance at the 2012 London Olympics Closing Ceremony STOMP returns to Australia for a national tour this month with new routines, new choreography and new music. The show’s become a global phenomenon over the last 22 years, performed to an estimated 15 million people in 50 countries. It’s still based around eight performers using everything from supermarket trolleys to Zippo lighters, plastic bags, bin lids and even the kitchen sink to hammer out an explosively feel-good rhythm. The show started at the 1991’s Edinburgh Festival with a single drum hanging around co-creator/director Luke Cresswell’s neck. Screen Australia has appointed Graeme Mason as its new Chief Executive Officer. With over 20 years of international experience in film, television and multimedia businesses, Mason has worked with large US studios, a UK television network, independent producers and government agencies. Picked from 250 international candidates, he’ll start his new role in November. Let’s hope Australia benefits from a Globe Theatre plan to perform Shakespeare’s Hamlet in every country in the world. The tour will start in London next April to mark Shakespeare’s 450th birthday. The final performance is meant to be back at The Globe in April 2016: the 400th anniversary of the playwright’s death. Artistic director Dominic Dromgoole has told the media a cast of 12 will start out in Europe then tour to North America, Africa, Australia, Asia and the Middle East, performing in palaces on beaches and various other locations. Cate Blanchett recently stated in interviews she thought she was going to get fired during the making of Woody Allen’s new movie Blue Jasmine. Blanchett said she returned to the project after a break working in the theatre because it gave her the chance to work with one of her heroes – but it was a tough job. She plays a woman who reconnects with her sister after suffering a life crisis. Blue Jasmine will be released in Australia September 5.

For more opinion go to • 37







Frank Ocean

Bone There’s a scene in Cool Hand Luke, the 1967 film starring Paul Newman, in which Newman’s Luke is forced to dig a ditch in a prison yard and then fill it in again. When the prison guards come to inspect his work, their response is inevitable: “What’s your dirt doing in Boss Keen’s ditch?” a guard asks the thin, worn-out man, signalling yet another all-night digging session. The scene marks Luke’s eventual (though not permanent) taming by the prison system, the point at which the delinquent finds the light through discipline – or, to us, the point at which the rebel hero is broken through enforced, meaningless and torturous repetition. Though heartbreaking in Newman’s hands, the turn of events doesn’t exactly surprise. It’s the same salvation story seen through history: the nuns who give their bodies to repeated labour to find the grace of god; the rows of those in military service moving in unison for the greater good; the explanation to a young woman or man that a menial job will provide a foundation for a worthy life. Echoes of those stories can also be heard in the forthcoming new album from Melbournevia-Perth group Bone. Leaden math-rock rhythms drag screeching and buzzing guitars and frontman Jon Shub’s shouted refrains to create one of the most affecting Australian rock albums heard in recent times, a relentless but so-listenable run of tracks under the title For Want Of Feeling (out through Tenzenmen Records on 16 August).

Thank God for James Blake. The Brit solely repped the alt.urban side at Splendour In The Grass (and as part of its travelling road show series) with his postdubstep soul when Frank Ocean cancelled because of “vocal issues”. Ocean performed the one sold-out gig in Melbourne yet reportedly struggled to hit the notes. It’s the second time the Odd Future singer has suspended Aussie dates – previously he (quietly) canned 2011’s Future Music Festival to finish channel ORANGE. That went on to be proclaimed ‘Album Of The Year’ by several critics but, while nominated for the Grammy equivalent, contentiously lost to Mumford & Sons’ Babel.

In 2013 there has been some choice alt.R&B from Solange, inc. and Rhye. Now we have AlunaGeorge with Body Music on Island Records. The retro-futurists, bound for the Listen Out fest, placed second in The BBC’s Sound Of 2013 poll, California’s Haim (who, for the record, sound more like Toto than TLC!) the victors. Singer-songwriter Aluna Francis, originally in the electro-pop My Toys Like Me, linked up with producer George Reid, guitarist in the math-rock Colour, in 2009, airing music online. This year the Brits enjoyed a UK smash with Disclosure in the twitchy Inner City-esque anthem White Noise.

This tour Blake’s band, last here in March, played theatres, with the show focussed on the magnificent Overgrown. The R&B Life Round Here featured new arrangements, while an unexpected highlight was a classically ravey rendition of Voyeur – very ‘90s Detroit techno. Alas, Blake didn’t perform the RZA-blessed Take A Fall For Me as he did at Coachella with the Wu-Tang Clan don himself. Blake’s set remains centred on the music, with no visuals. His approach to music may be innovative but, beyond that, he avoids gimmickry. He doesn’t even sell merch! Blake is truly the successor to Japan’s David Sylvian, who experimented with synthbased soul in the ‘80s. The New Romantic’s ambient Ghosts was a curious pop hit (Tricky recently sampled it). What’s more, Sylvian & Co radically reconfigured the Motown standards I Second That Emotion and Ain’t That Peculiar. And they recorded songs with titles like The Experience Of Swimming that Blake – and Ocean – might dig. ‘80s illwave, indeed. In Melbourne Blake, no slacker, also DJed at a tour afterparty.

Body Music combines the slinky downtempo feel of Jessie Ware, influenced by quiet storm and ‘90s R&B, with the ‘80s synth-pop nostalgia of Little Boots, plus contemporary glitch and bass music. The obvious standout is the engaging You Know You Like It, first heard back in 2011. In fact, a few Body Music songs will already be familiar to long-time AlunaGeorge fans, another being the airy Your Drums, Your Love. A bigger problem is that Francis, a former reflexologist from Wales, has a tiny, fragile, almost childlike voice – described by one UK critic as “a cross between Aaliyah and Lily Allen”. As such, Attracting Flies isn’t as venomous as its lyrics suggest. The opener Outlines is shimmery nightbus balladry that could be Katy B chillin’. Bad Idea is an ‘80s song looking for MTV. The upbeat Lost And Found is a throwback to Shanks & Bigfoot’s two-step garage Sweet Like Chocolate. The LP’s later tracks are a lil’ samey – or undeveloped – although the title-track has an ethereal charm. Awesomely, Body Music closes with a cover of Montell Jordan’s 1995 This Is How We Do It!

There’s a small debt owed by the record to My Disco – and that band’s beats-based side project Kangaroo Skull will provide a DJ set at Bone’s Melbourne album launch. But where My Disco’s sharp repetition comes in the name of precision (or perfectionism, a need for cleanliness), Bone’s stilted patterns sound more like self-imposed punishments. On Pedestal, the album’s searing second track, reluctant introductory guitar notes bend around a heavy, laboured drumbeat before they become a cascading horror-film score that turns over (and over and over) as Shub yells, “Fuck a pedestal, give me a platter.” Shub’s vocals, swathed in distortion, are all about lives left to stagnate. Following the fast-paced deep groove of See The Boy, Shub exhaustedly calls, “Monday through Wednesday/Every second weekend.” The clanging No Seed has him warning, “You let yourself get too damn dry/ Now there’s no living seed in your seed pile/ No seed, no life…” That lyric tells a fair amount about Shub’s lyrical outlook and provides enough explanation for the band’s chosen sounds and structures. The blame for all this stagnation rests squarely on the individual; penance comes in the form of repetition, of hard physical labour that eventuates as a record. It could perhaps as easily been a ditch, or a war for that matter. But where wars and ditches aim for salvation, and where the objective reality of those things shows us torture, Bone aim for something far more basic and leave little room for sympathy. It’s there in the title. Throughout For Want Of Feeling, what the band seems to be striving for is humanness itself, or a single version of that; striving to find a place where humanness isn’t buried in deadpan jokes, double meanings, brands and icons, layer upon layer of the stuff that takes us away from ourselves. There’s no one to blame for the need to labour for this but ourselves, and by the end of the record, it’s up to the listener to decide whether Bone have made any ground. They aren’t giving any great revelations away, but they’re certainly putting in the elbow grease. Even Luke would have broken before the hammer-and-nail tones of final track Bath Time. After five years of writing The Breakdown each week for Street Press Australia’s east coast titles, this is my final entry for this column. I’ll be back writing for SPA in a new capacity in September.

38 • For more opinion go to

It’s a pity that Ocean didn’t complete his run since he’s been previewing material, including the track Pray. Earlier in the year Ocean, who typically shuns interviews, told Radio 1’s Zane Lowe that he’s progressing on a second album with Pharrell Williams and Danger Mouse as collaborators. Lately he vibed in the studio with London teen King Krule, a post-dubstep indie act due to debut with 6 Feet Beneath The Moon this month. You can hear Ocean on Oceans, arguably the redeeming cut on Jay Z’s otherwise predictable Magna Carta... Holy Grail. Meanwhile, Ocean’s rival The Weeknd will drop Kiss Land in September. So far the Canadian has circulated two singles – he’s just followed the murky title-track with Belong To The World.

THE HEAVY SHIT METAL AND HARD ROCK WITH CHRIS MARIC bone-crushing death metal, Claret Ash serve up soul-reaping black metal, thedevilzwork give you industrial-strength groove and Kunvuk wrap it up with their wicked heaviness.


Rosetta Rosetta have been awesomely described as writing ‘deeply atmospheric heavy music for astronauts’ and if that sounds exactly like something you want to check out then hunt down their new album, The Anaesthete, which is available online this week via the guys from Monolith. Norma Jean will also release a new album this week. Wrongdoers is long player number six for them and sees them as potent as ever. More tours? Sure, why not? Finnish Vodka maniacs Korpiklaani have excited a lot of people by locking in Friday 25 October to turn The Manning Bar into one big party. For the shredders, Greek power metallers Gus G’s Firewind will be at The Manning on Thursday 31 October. In November it gets real diverse with prog visionaries Between The Buried And Me and The Contortionist playing Metro Theatre on Saturday 16 and The Basement in Canberra on Sunday 17. Finally, another great act from Finland who I never expected to see over here, Moonsorrow will play Manning Bar Friday 22 November. Start hocking your gear if you want to see ‘em all! In their 12-year career The Butterfly Effect sold over 200,000 records and played over 500 shows. Not bad at all for a local band! This week sees the release of Effected, their warts and all doco DVD that also includes an epic six-camera shoot of their very last show, filmed at the Palace Theatre in Melbourne. Speaking of Aussie bands and DVDs, Frankenbok’s Home Is Where The Stage Is, which I spoke about a few weeks ago, comes out this week too!

THURSDAY The Valve is putting it on for the late-night shoppers with Miscreation giving you some

If you’ve never heard Giles from Dragonsclaw belt out a big high-pitched scream full of metaaaal then now’s your chance as the band put on their only Sydney show for the year at The Stag and fill a whole set with classics from Rainbow, Sabbath and Dio interspersed with their own stuff from their new album, Judgement Day. Cursing Stone are in support and tix are ten bucks. Attila hail from the US and while boasting brutal grooves and the typical core-type sonics, aren’t above partying like the children of Motley Crue. It’s not all tattoo sleeves and hard stares for these guys, hehe. Heading this way for the first time they hit Wollongong tonight as part of the Hot Damn Road Trip and will be at The Factory on Sunday with Alesana for an all-ages run before wrapping it up in Canberra on Tuesday at The Basement.

SATURDAY Venom will be bringing back the ‘90s tonight. Which is great if they stop the countdown at about ‘97, before the nu-metal brigade began to take over, hahaha!

SUNDAY It’s Sydney Rock N Roll & Alternative Markets time again! If you haven’t been yet, make sure you get down and check out the awesome stalls, food and bands. It takes over the entire Manning House – three levels of fun and variety all in the name of R&R. This time the musical lineup features Spurs For Jesus, doom-country merchants The Toot Toot Toots, Hanks Jalopy Demons and a guest mystery band. The Solid Gold Hell DJs are back too! Afterwards, head over to Taverners Hill Hotel in Leichhardt for The Sunday Night Confessional where Michele Madden will confess her sins via six strings and a shot of whisky while being bathed in candlelight. Setting the mood will be Terry Serio, Kath-Judenn Lassiter and Gary.

AFI First up this week is the news that one of my favourite Australian hardcore acts have decided to call it a day. After finishing up an extensive tour of South-East Asia and Japan, Melbourne’s The Broderick have announced they will not be making music together anymore. It also looks like there will be no farewell shows either. This is the end. After a very long time between records, The Broderick finally released their debut full-length last year. Called Free To Rot, Free Of Sin, the band destroyed minds with their brand of heavy hardcore, with the album hitting the top of a lot of 2012’s album of the year lists (mine included). The band released a statement early last week saying that their shows in Asia “will be the last shows that we will ever play as we have decided that we will no longer be an active band”. I’m a bit upset about this for now, and look forward to seeing what musical pursuits the band members move onto next. In better news, you’ve all heard the new AFI track, I Hope You Suffer, over the last few weeks. Now we finally have details of a new record. To be released 18 October through Universal Music, the album is called Burials. The ninth studio fulllength for the band, the LP was recorded in LA with Gil Norton (Pixies, Patti Smith, Foo Fighters). Singer Davey Havok says of the album, “This record is of silence, of burials and the burials that result from that silence. It’s of betrayal, cruelty, weakness, anxiety, panic – deep and slow – despair, injury and loss.” While slightly cryptic, it sounds like typical AFI fare to me, and if that first track is anything to go by, Burials may well be a contender for album of the year. At the very least, it will definitely be better than Crash Love. This weekend is your opportunity to catch the legendary Toe To Toe out and about with Throwdown and Worst Possible Outcome. I reported when the shows were originally announced that Against were also supposed to be on the show, but unfortunately they have had to pull out of their New South Wales appearances. Irrespective, the line-ups are great and you should head on down and check them out. Thursday 8 August you can catch the bands with Taken By Force at the Cambridge Hotel in Newcastle. Friday 9 August, the acts move down to Sydney for a show with Hostile Objects and Deadly Visions at Valve Bar. Finally, on Saturday 10 August, Wollongong gets hit with Boneless and Deadly Visions also playing these shows. Last week marked a year since Tony Sly lost his life. To mark the occasion Fat Wreck Chords have released more details regarding the release of a tribute album, with the proceeds from the compilation to go to the Tony Sly Memorial Fund. In a press release, the label said, “While we continue to mourn Tony our friend, we also celebrate Tony the artist through his songs.” The Songs Of Tony Sly: A Tribute will be released through Fat Wreck on 29 October and will feature the likes of The Gaslight Anthem, Bad Religion, The Bouncing Souls, Rise Against, NOFX and more than 20 other artists delivering their interpretations of Sly’s songs. Head over to the Fat Wreck website for all the details. Last up for this week, I mentioned a couple of months ago that Doomriders were in the studio working on a new album. As promised, I have details so here they are! The album, Doomriders’ third full-length, will be released 15 October through Deathwish Inc and will be called Grand Blood. It is their first album since 2010’s epic Darkness Comes Alive and according to reports this record sees the band pushing themselves into new sonic territory, apparently exploring noise rock influences among others. Pre-order information and new music premieres are expected very soon, so stay tuned to the Deathwish Inc website for all the details.









Spurs For Jesus Rex Dallas is one of the iconic names in Australian country music and it’s great to see the family tradition continuing with his multi-talented granddaughter Ashleigh Dallas, who is releasing her first album, Dancing With A Ghost. That family influence goes way back to when Ashleigh was a mere two and a half and had her first music lesson. By six she was playing the fiddle and later developing her skills on mandolin, acoustic guitar and banjo. Things really took off when she was asked to join Kasey Chamber’s band, touring here and internationally. Kasey has taken great pride in nurturing Ashleigh’s career, most recently as a singer/songwriter in her own right, and has co-produced her debut album along with Matt Fell at Foggy Mountain Studios. Joining Ashleigh as songwriting collaborators on the album are Bill Chambers, Busby Marou and Kelly Menhennet, with the end result a highly eclectic slice of contemporary Australian country music. Also on the new album front is an equally eclectic debut outing from Wollongong-based guitarist Illya Szwec. Illya is probably best known on the Australian music scene as a sideman, having played and recorded with artists such as the Wolverines, Declan Kelly, the Continental Blues Party, Bridie & The Boogie Kings, Eugene ‘Hideaway’ Bridges and Kate Meehan. Needless to say he has been a picker in high demand with a guitar style steeped in the tradition of American soul, blues, country and roots music. Having hosted his own radio show on the ‘Gong’s VOX FM for over 15 years it’s obvious he is a real student of the Americana traditions and this is certainly reflected in his ability to cut just about any style. His debut album, Introducing Illya Szwec, runs the gamut from soul and blues to Jamaican-style blue beat and features a who’s who of the local music scene including Clayton Doley, Rob Woolf, Pat Powell, Troy Blanch, Declan Kelly, Jacob Cook and Rowan Lane – to name just a few. Throughout the ten tasty tracks Illya’s guitar playing is rock solid, laid-back and funky, seldom over-flashy and would not be out of place in the studios of Muscle Shoals or Stax. Add to this the very soulful vocals from the likes of Pat Powell, Troy Blanch and Stephanie Marchant plus some immaculate keyboard grooves from Doley and Woolf and you have a very satisfying package. Look out for a big album launch party at Blue Beat later this year. One event that always sells out in Sydney is the hugely successful Fifties Fair at the wonderful Rose Seidler House in Wahroonga and if you are looking to attend now is the time to book your tickets as all admission is pre-sale. This year features the Pat Capocci Combo, along with A Man Called Stu and Brisbane’s Miss Teresa & Her Rhythmaires. Add to this a great range of stalls selling all things ‘50s, rock’n’roll dance classes, a display of classic cars and your chance to tour the iconic Rose Seidler pad and it’s easy to see why this event is so popular. The Fifties Fair runs from 10am to 4pm on Sunday 26 August with bookings essential via the Historic Houses Trust website. And speaking of popular events the Sydney Rock ‘n’ Roll & Alternative Market returns to Manning House and Manning Bar at Sydney University this coming Sunday from 10.30am. As usual there’s a huge entertainment component with the rambunctious Spurs For Jesus (pictured) heading a bill that also features The Toot Toot Toots, Hanks Jalopy Demons, Kieron McDonald Combo, a special guest mystery band and DJs Limpin’ Jimmy & Swingin’ Kitten and the Solid Gold Hell crew. Add to this the usual array of jam-packed stalls, the popular Tiki Bar courtyard and some sexy classic cars and you have the complete day out. The Shack is packing out! Pedro is going even further into the swamp and this is the final Swamp Shack column.

New Sydney music! Oooh, it’s a scary phrase, isn’t it? The insertion of the word ‘Sydney’ in there? Scary. You’re being begged to like the thing before you’ve heard it and because you’re from the same city. ‘You’re from Sydney. So is this music. So you will like this music. #sydney’. It’s muddy thinking, and it’s employed too often. Yuck. On the flipside, let’s get excited about some new music from… Sydney! Jimblah will have his newie Phoenix with us in September. Ahead of the release he’s shared the single March. It’s, um, it’s immense. The size and scope is disarming. Righteous anger. Purity of spirit. Drive. Light and shade. It’s all rolled together in four stunning minutes. Catch it. And don’t forget that you’ll get a chance to catch Jim with (fellow Sydney music makers!) Horrorshow on the forthcoming King Amongst Many tour. New and Sydney and due out in September? Let’s turn to Loose Change, the Big Village duo of Ellesquire and Rapaport with P Major on the beat. Recently the boys sent out Shoosh. The clip is good fun. It opens with Sydney graffiti and rap superhero Swarmy G boarding a train. It traces the adventures of our heroes dealing with CityRail’s finest: irritating teens, dancing girls – you know the deal. For flow nerds, Ellesquire’s verse is particularly ear-catching. Generally known as a smooth, melodic, beat-rider, he switches gear on Shoosh. There’s a Mike Skinner moment, a late-‘90s Eminem echo, plus some jokes. It’s a stop-start, pitter-patter affair. Unexpected! There was a time when we used to sweat on Mantra releases, even though he’s not from

Sydney. Nearly a decade ago we fell in love with his collab with Whispa, Equills. Later we heard from Illzilla. The solo release was a phantom, though; a ghost, a rumour. It wasn’t until 2010 that we got to come to grips with the first instalment of his solo Power Of The Spoken trilogy. When we did, we were hooked. It was inevitable. Since then, Mantra has been more prolific. The final instalment in the trilogy, an album called Telling Scenes, will be ours to have and to hold from 13 September. In support of the release? A 25-date national tour with Seth Sentry and Grey Ghost. Can’t say fairer than that, right? We’ll speak about the tour again. For now you can check out Break Tradition and hear our hero slay a big Cam Bluff tune. It’s easy to be mean about Kanye. He is the worst men alive, pretty much. He’s one of those cheeky chaps who has created the veneer of okay politics through being conscious of his contradictions. This is an easy out, though: being conscious of your problems is not the same as addressing them. Also, in I’m In It, the best cut from Yeezus, he says, “Eating Asian pussy/All I need is sweet and sour sauce”. So – you know – he’s awful. But! He has set up Donda’s House, a charity named for his English professor mother and charged with helping at risk youngsters in Chicago. Donda’s House, with the help of long-time Kanye collaborator and battle rapper extraordinaire Rhymefest is running a program called Got Bars? where students will get taken through the basics of making and recording music. They also get dietary advice. Good? It’s the sort of thing that makes you think that beneath all the pure awful, there might be a little of Kanye that’s only partially awful. That said, he still makes amazing songs, even though he’s not from Sydney. New The Weeknd Kiss Land (ugh…) will be out 10 September. Belong To The World has been buzzing around a little bit. Love In The Sky is out now. The theory goes: each The Weeknd release is worse than its predecessor. If Kiss Land continues the trend the time may soon come for us to leave Mr Tesfaye behind.


Breakaway The awesome Loud Fest! finally hits Sydney this weekend. After visiting some other cities along the east coast, it’s now our turn for this awesome, actionpacked and all ages punk festival. It’s going down this Sunday at the Factory Theatre, so get down early as the bill – headlined by Americans Alesana and Attila, alongside Confession among others – boasts 15 bands! Also on Sunday the Sydney Rock ‘n’ Roll Alternative market takes over Manning Bar and House from 11am. In amongst the stalls and forgotten vinyl gems there’ll also be a bunch of music featuring Spurs For Jesus, The Toot, Toot, Toots, Hanks Jalopy Demons and the Kieron McDonald Combo. Just $5 gets you in for a great day out and if you or a sibling are under 12 you can get it free! Travelling back in time, on Saturday Newcastle’s noisiest legends Lenin Lennon play with Ted Danson With Wolves and Hence Therefore at Black Wire Records. Regressively time travelling once more – on Friday local rock/pop punk band Breakaway take over the Chatswood Youth Centre with This Sanctuary, The Cavalcade, What It’s Worth, Like Fools and Indecent Exposure, but before they do, we lined up guitarist Michael Bonic for a bit of a chat. For the uninitiated, what can you tell us about Breakaway? We are a Sydney-based rock band who have established ourselves over the past year through extensive national touring with successful headlining shows and support slots for bands including Flyleaf, Hit The Lights, State Champs, Heroes for Hire, Hands Like Houses, The Mission in Motion and Closure In Moscow to name just some.

What’s the best show you attended as a young’n? The best show I’ve been to was actually my first gig ever, seeing Story Of The Year live at The Big Top in Luna Park with The Audition and The Mission In Motion. Mitchell, who plays bass for Breakaway, and myself were best mates in high school and we both went to the show as our first ever gig. Reason being that there are countless bands who are amazing on record but SOTY are part of the handful who can back-up their records with phenomenal live shows and the gift of actually bringing every song to life in a raw, cohesive and emotional set. Why do you think it’s important to play all ages shows? AA shows are definitely an integral part for any band. As a band, all we want is to reach out to everyone of every age and every demographic to share our stories and messages, but the younger fans are where we try and focus a lot of our attention. It’s in those younger ages where people tend to develop and ingrain themselves with their passions, interests and values. Whether it’s through the lyrics, the music or through our live show, for us to be able to help any of them through that time period, as a positive influence, is a huge accomplishment for us. The floor is yours; sell us the show at Chatswood Youth Centre on Friday… After a mammoth two-month tour starting on Easter in support of our last single, At The World’s End, we’ve been working largely behind the scenes for the past month pinpointing the exact sound we want to define ourselves for our next release/s and writing brand new songs accordingly. The show at Chatswood Youth Centre will be the first chance for our AA fans to experience the new Breakaway through our revamped live set complete with some sneaky new songs that you won’t be able to hear anywhere else. Any tips for young musos? Keep at it! It is a really tough mechanism of expression and no matter how good you are there will always be something new that’s going challenge you. Overcoming those barriers and writing your own songs that tell your own personal stories is one of the most rewarding feelings you can ever have.

Robert Babicz So much good music around at the moment! I seem to be right in the middle of those epic moments where everything I listen to is a definite keeper. Most sounds grabbing me are tech-house and the driving, loopy kind of techno. These tunes are consuming my DJ sets, and have been working a treat keeping those late night dance floors like Spice jumping all the way into the morning light. I’m now going to share some of this music with you, so if you’re into these sounds like myself, I suggest you have a listen… First up, and I’m not kidding, this is a track I’ve had on repeat at home for the last five days – it’s a remix of Fabricio Pecanha’s Plastic Fantastic from none other than the talented Robert Babicz. Wow, this track really gets under your skin! Call it what you want, but I’ll label this style of music good old fashion progressive-house. There’s no denying when it comes to making music that Robert Babicz is in a league if his own. The production value and feeling in his music always leaves me very inspired and uplifted. I’m sure his 285,000plus Soundcloud followers would agree! Have a listen to Plastic Fantastic, and I hope you get the same feeling as me, and while you’re at it, listen to Sonntag (Rodriguez Jr. Remix). This timeless sounding track is gaining plenty of love across the world. Also, there are some free downloads on his Robert Babicz Soundcloud. Get onto it! Techno time… Here are a few goodies doing the rounds... Jon Guard & Alan Fitzpatrick team up for a solid release on Quartz Rec From Here To There. The original has a pretty much straight up bland tech-house vibe, although the ROD Remix hits the spot for me. The track wastes no time locking you into a cool loopy hypnotic slow building groove, reminding me a bit of a few older Reno Cerrone records I have! If you’re feeling this then have a listen to Steve Rachmad’s Trow remix (Maan), this being another serious tech chugging groove perfectly suited for a smoky dark room. Next up, a solid tune from David Alvarado called Ysleta. This is another hypnotic loopy techno monster much like previous tracks mentioned. It’s just been released on the excellent Ovum label. Get it into you; it will shake you to pieces! So will Rework’s Any Other, and that’s the most asked for track name in my sets lately. This is very tasty – the unmistakable driving bass certainly demands your attention. Staying on a techno tip and D’Julz and has a new tune called Da Madness. Go straight to the Rolando for a good, fun, tripped-out journey through wobbly bass and energetic percussion patterns. Some others to look out for: Human Halo Groove All Night (Patrick Chardronnet remix). Deep vibes with this one! Rob Amboule Pushin On is one of my favourite deep-house tracks floating around at the moment… There are some good build ups and fun moments in this. Mihai Popoviciu Burnin – can this guy do anything wrong? He has to be one of the most consistent tech-house producers around at the moment. And finally… I just finished a mix for the launch of a new Sydney podcast/mix series called Wireless Radio. This will be a good spot on the internet to discover some great dance-music locally and abroad. I’ve been told of some of the upcoming exclusive sets, and they are impressive! Check out the Wireless Radio Facebook or Soundcloud pages for more information… Happy music hunting and see you next time.

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LITTLE MAY Name: Liz D Li Drummond, d vocalist/rhythm li t/ h th guitarist it i t

How long have you been together? We have been together as Little May for a year. Hannah [Field] and I wrote our first song when we were about 17 (it was truly terrible FYI) and since then we have always been writing on the side. We had a jam with Annie [Hamilton] last year and it wasn’t long before we decided to form as a band and really pursue music.

How did you all meet? We all knew each other before we discovered we could play music. We grew up and went to school in the same area and have always had mutual friends.

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? You could choose between Half Moon Run, Local Natives and alt-J.

Would you rather be a busted broke-butrevered Hank Williams figure or some kind of Metallica monster? A friend recently told me that my stance reminded him of Robert

Trujillo (this honestly happened), so I feel like I just have to lean towards Metallica. I think it honestly wouldn’t matter though, as long as we were happy and able to keep making music.

What part do you think Sydney plays in the music you make? The whole Sydney music scene has been really motivating and inspiring. We have a huge support network here; a lot of our friends are in bands, work in music or are just big music fans. Hearing what everyone else is listening to and seeing what other bands are doing has really pushed us to experiment and take different approaches to writing and arranging our own music – particularly in recent times. We have all grown up in Sydney too, along with the people who have inspired us to write.

Is your band responsible for more make-outs or break-ups? Why? Break-ups. Ninety-five per cent of the songs we have written are about break-ups. Hopefully we can be responsible for some make-outs soon. That would be nice.

What reality TV show would you enter as a band and why? WifeSwap. That show is legendary! Hannah and Annie are small so they would be the children (Hannah has just informed me that she is actually more of a “deep-voiced” husband

figure) and apparently I would be the protective mother. If we entered ourselves onto a show like The Blockk or Masterchef it would be a disaster. Building and cooking is no one’s forte. Except maybe Annie, she cooks vegetables well.

If your band had to play a team sport instead of being musicians which sport would it be and why would you be triumphant? I don’t know if we would be able to agree on one sport. Hannah would want to play netball, I would want to play volleyball and Annie would want to play something like... croquet. We would all give up and be triumphant at the pub.

What’s in the pipeline for the band in the short term? Over the last 12 months we have been focusing on gigging anywhere and everywhere, so it is a priority for us to get back to writing. We have our second single and video clip coming out in a few weeks, shortly followed by the release of our debut EP. We are also in the middle of planning an east coast tour in December.

Website link for more info? Little May play Thursday 8 August at The Vanaguard. Boardwalks is out now.

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news POP ‘N’ ROCK

FRONTLASH THE MUSIC All new mag coming next week.

ELECTION ANNOUNCEMENT Finally, months of speculation have ended and we can sort this mess once and for all.

BIG DAY OUT They promise a big line-up and delivered.

SHIFTY With their fifth studio album, Delta, recently debuting at number one in New Zealand, SHAPESHIFTER are about to hit the road once again, bringing their explosive live show back to Australia. This Friday they’ll be tearing up The Metro with the help of rising electronic star Kilter.


Josh Adams has been playing and writing music from a very young age, though it’s not been until recently that he’s ventured out of the bedroom and into the live scene to share his efforts. This Tuesday sees the bashful yet incredibly talented performer boast his unsung talents at the Coogee Bay Hotel with a collection of equally passionate and captivated songwriters, including Neotokyo’s Chris Tantchev performing both acoustic renditions of the band’s songs and his own solo work, Chris Williamson and Brigit Munrae. Kevin Rudd election announcement

VENDING MACHINES Ones that steal your money suck. That snacky treat is trapped in there forever now!


THE DRUM MEDIA Farewell to the old girl.

ELECTION ANNOUNCEMENT We have a month of campaigning ahead of us.




Self-described as “Missy Higgins meets The Waifs”, Jenny Biddle performs folk music the way you’d expect it to sound with a description like that; soulfully, sweetly and deeply personal. Armed with her self-made guitar, Jenny will be making the trip up from Melbourne to join the smooth, sexy and sophisticated Cathrine Summers, who herself will be joined for the first time by her newly-assembled band, Summers Soul. The Shane Pacey Blues Trio will be injecting a solid hit of big-sounding blues to the event, which takes place this Friday at Eastern Lounge in Roseville.

More than just your average roadside market, the Rock ‘n’ Roll & Alternative Market extends over three levels – indoors and outdoors – of Manning House with a collection of some of the most unique music-culture related stalls imaginable. What makes this market unlike any other is the quality lineup of rockabilly acts performing throughout the day. This Sunday, expert cattle wranglers Spurs For Jesus will be headlining, with the support of doom-country outfit The Toot, Toot, Toots, hillybilly rockers Hanks Jalopy Demons, Keiron McDonald Combo and an unannounced mystery band.

DROP OF SNOW Roots rockers The Snowdroppers are just about to release their third and final single from their second album, Moving Out of Eden, but before they get around that, they’re still doing the rounds with Grinspoon. Before The Snowdropppers get out on their own, they’ll be helping Grinspoon wrap things up at the Enmore Theatre this Friday.


Sydney’s noisiest psych band, Dead China Doll, are an outfit shrouded in enigma. It’s been five years since we’ve seen a release from the outfit, but that five-year gap has seen them support some of the biggest names in drone and sludge (most recently Boris and Om earlier in the year). This Wednesday, they’ll be adding another impressive name to the list, as they support San Fran drone duo Barn Owl at GoodGod. This is the Australian debut for Barn Owl, so it’s only fitting that they’ve gotten some of the noisiest bunch on board, with Broadcasting Transmitter also supporting.


Ziggy Pop, the new home for some of the more eccentric rock’n’rollers on the scene, has been offering a music policy of rock, punk and other junk since late April at Spectrum, after having outgrown its previous host venue. That’s not the only change that Ziggy Pop has undergone; with the mid-week rock’n’roll hangout becoming something of a favourite for many, the night has grown to make room for more live music. This Tuesday, Ziggy regulars The Lockhearts will be performing alongside The Sculptures, The Bitter Sweethearts and acoustic singer/songwriter Chris Rose.

To celebrate the third birthday of Skydreams, they’ll be putting on a celebratory affair at GoodGod this Thursday, paired with the launch of two records and a sweet line-up of pop, psych/garage and electronic beats. Melbourne’s Major Napier will be releasing his pop gold EP, Please Stay, Black Vanilla will be dropping their latest mixtape, Black On Black On Black, and also performing on the evening will be East River, B.Deep and King Tears Mortuary.


CTRL ALT DELETE Earlier in the year, futurist dub duo Standish/ Carlyon released their debut album, Deleted Scenes. The album saw the pair move further away from the full-band arrangements of their earlier project Devastations, further embracing sparse and dense arrangements with a focus on rich baritone vocals. Unsurprisingly proud of their progress, the pair are continuing to promote the release this Friday at GoodGod with the support of Four Door, Horse Macgyer and DJ Nigel Yang (of HTRK).


Soaked in genuine country nostalgia, The Mountains blur the lines between surf, folk and country to deliver warm tracks reminiscent of the golden age of country music topped with their own Australiana flavour good measure. In the last 12 months, the four long-time pals have done a lot of touring, supporting Justin Townes Earle, The Rubens and, most recently over a hefty 15-date tour, ex-Middle East singer/songwriter The Starry Field. In support of the second single, Sun, taken off their debut EP, The Mountains continue to tour, with a performance this Thursday at Yours & Owls in Wollongong followed by a performance at Bedlam Bar in Glebe on Friday.

THE FAMILIARS Answered by: Michael Hardy EP title: Ampersan How many releases do you have now? Three singles: Your Friends, Start It Up and Time. One EP: Ampersan. Was anything in particular inspiring you during the making? I was listening to lots of QOTSA... I think we just wanted to make something loud but musical. There’s so much soft indie pop coming out of Australia these days so we went against the grain. What’s your favourite song on it? All These Things. Matty is a boss when it comes to writing. We’ll like this EP if we like... Loud guitars and happy melodies. When and where is your launch/next gig? We’re touring the east coast next month. FBi Social in Sydney on Friday 9 August is the place to be if you want to check us out. Website link for more info?


GRRRL POWER Following the release of their quirky pop tune, Lover Of Mine, Brisbane all-girl trio Avaberee have taken a different route with the release of their newest single, Running Out, delving back into their ‘80s influences whilst simultaneously tackling a modern pop finish. With their new, refined musical direction, Avarabee are heading out on the road with Sydney songstress Iluka in what will be their most extensive tour yet. Bec Sandridge will be performing alongside the two acts this Friday at SG Presents in Seaforth, then Elle May takes Bec’s place on Saturday at Brighton Up Bar.

42 • For more news/announcements go to

Dark, intricate and powerful, Roger Vs. The Man is a unique collaboration of musicians trained in the fields of rock, jazz and classical. The band are well aware of the live stage being their prime environment, so this Wednesday they’re taking on the Brighton Up Bar with soulful blues balladeer Aaron Lyon and passionate bluegrass singer/songwriter Bob Stamper.

CARELESS WHISPERS Late last year, young Gold Coast singer/ songwriter Candice McLeod, just 21, released her debut single, Whispers. From that point on, she has been relentlessly touring the country to promote the single. Her combined love of the open road and music, she continues to share her gypsy soul with audiences all throughout NSW, this week with a show Sunday at Mundos Tapas Bar at Rydges in Cronulla.

SHAUN KIRK Album title: The Wick Sessions Where did the title of your new album come from? It’s pretty straightforward, really. The whole album was recorded live in one session at The Wick Studios in Melbourne - hence The Wick Sessions. How many releases do you have now? I’ve released three albums since 2010. How long did it take to write/record? The record is a combination of old songs and a new song, Every Dog Will Have Its Day, as well as some covers from artists like Howlin’ Wolf, Keb’ Mo’ and the late Dutch Tilders. Was anything in particular inspiring you during the making? The awesome crew that I worked with on the day. The album is available as a live DVD also so we had film crew, photographers and audio engineers all in to help out! What’s your favourite song on it? I guess my favourite song to play on this one would be Every Dog Will Have Its Day. Will you do anything differently next time? My next album is going to be recorded over a number of days and will include a rhythm section, which will be an exciting and new experience for me! When and where is your launch/next gig? Friday 16 The Hi-Fi; Saturday 17, The Entrance Leagues Club, Central Coast. Website link for more info?

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Ambient pop duo Water Graves has simple beginnings, starting as a project in the bedroom of member Coel Healy, before evolving into an electronic soundscape that combines lo-fi textures and watery synth tones with dreamy vocal harmonies. After supporting XXYYXX, they’re on tour to showcase their transformative live sets and will be hitting up FBi Social this Friday.

Forming mid-2012, Sydney-based indie-folk outfit Little May create sprawling yet intricate heartwarming harmonies. With nods to the likes of fem-folk trailblazers such as Julia Stone and Holly Throsby, their debut single, Boardwalks, proves the outfit as the next instalment in a growing genre of guitar-driven indie folk. Catch them at The Vanguard this Thursday.

FAKERS Seven-piece collective Fraudsters aim to deliver a uniquely styled exploration of a range of styles: Dub, ska and reggae. Don’t reckon it can be done? See them mash out a few tunes for yourself when they grace the stage at Katoomba RSL this Saturday. They’ll be joined by Papa Gonzo and drumming troupe, King Parrot Bloco de Samba.

GREAT CRATE One of the many small gems in Sydney, The Record Crate, will be playing host to a trio of garage outfits with a DIY ethic to match the little bar cross record store cross venue that they’ll be gracing. The unfortunate truth is that venues like these have an undetermined lifespan, so the dimly-lit stage will be getting a workout to end all workouts with the aid of garage alt-rockers Royal Chant, Designer Mutts and Bright Falls.

Answered By: Gavin Bowles Single title? Faceless Man What’s the song about? It’s about struggling with your identity and feeling lost, but trying to find a positive outlook.


Ballarat-based dance five-piece Gold Fields could be described as something of a buzzband, and the hype surrounding their freshly released debut album, Black Sun, further confirms that. The album scored the title of Triple J’s Feature Album of the Week, and in an equally exciting accomplishment, the band were also dubbed one of MTV’s Artists To Watch in 2013. Off the back of the album’s release, Gold Fields took to the road in order to promote the album, but due to the overwhelming success, they’ve decided to keep the tour going a little while longer. This Thursday, Phoebe Starr and This Mess will be joining them at Wollongong Unibar.

RETURN OF MARY In early 2002, ‘90s grunge outfit Mary’s Lie took a rather long break from music. Ten years on and the hiatus was starting to look like a permanent departure. The band remained friends and the topic of reforming became increasingly rooted in seriousness, until all of a sudden, their reformation became a reality. The outfit got straight down to business and now – a year into their reunion – Mary’s Lie have completed an EP, which they’ll be launching this Saturday at the Entrance Leagues Club.



Twenty-five years of songwriting and performing has seen multi-instrumentalist Diesel become an incredibly dynamic musician. The years have not aged him, rather, they’ve led him to become the well-seasoned artist that he is today. His new album, Let It Fly, seems him embracing the tests of time with all the growth that has followed and everything he’s gained; new friends, new instruments and new stories. To ring in the release of Let It Fly, Diesel will be putting on a series of special Fans First events involving Q&A sessions and signed album copies. There will be a limited number of tickets available for his performance on Tuesday at GoodGod.

Following on from Melburnian indie-rock quartet Hollow Everdaze’s residency in the Tote’s Cobra Bar and shortly ahead of their upcoming Wavves/ Unknown Mortal Orchestra support, the fourpiece outfit will be hitting the road in support of their eight-track-long mini-album. They’ve made a bit of departure from their earlier material, and will be ringing in the new album this Thursday at FBi Social with Contrast, Dead Radio and Black Springs. The next evening they head to the Terrace Bar in Newcastle, the only difference being Treehouse swaps Black Springs as the support.


The first single to be lifted off Sydney rockers The Model School’s debut album was released around this time last year. The band have been keeping fans firmly on their toes, with the debut album still not yet released a full year after that taster. These sultans of suspense have been working away hard, and with the finish line now something not too far away, they’ll be offering a preview of what’s to come this Friday at the Oxford Art Factory’s side bar, joining Restless Leg as they launch their own debut album.


Sydney melodic hardcore outfit Perspectives are a hard-working young bunch and that hard work has certainly paid off for them. Since their formation a mere two years ago, the band have released a split EP with Germany’s White Fields and have supported the likes of La Dispute, Defeater and Basement. This Thursday, the band will be supporting yet another big name, as they join Endless Heights and Bare Bones at the Standard for the launch of Senses Fail’s latest album, Renancer.


Since the release of her 2011 debut album, Wolf, Cash Savage and her band The Last Drinks have used their time well, gracing the stages of country theatres, urban venues and a rather sizeable collection of festivals. On top of the constant touring, the band was subject to an intensive recording period, in which their most recently released and well overdue second album was spawned. This Saturday will see the launch of The Hypnotiser, which will be taking place at GoodGod.



FREE BIRDS Having earned his musical stripes over many years both here and overseas Simon Meli and his band The Widowbirds have decided to take their rootsy rock show around the country. Recent Voice contestant Meli’s unique and captivating sound has drawn comparisons to a young (very young) Rod Stewart and Paul Rodgers. See for yourself when he fronts The Brass Monkey this Thursday.

Last year saw the release of Sydney indie rock tenpiece The Tango Saloon’s third album, Shadows & Fog, a release that was met with an abundance of praise. It doesn’t feel as though it’s been a great deal of time since that album was released, but The Tango Saloon are gearing up to release a follow-up, and they’ve now got a single and corresponding video to offer up a little taste of the impending record. The new single/video, In Black And White, will be launched at the Camelot Lounge this Sunday.

HAIR OF THE DOG Dog Trumpet, an outfit made up of brothers and former Mental As Anything members Pete O’Doherty and Reg Mombassa, have five critically acclaimed albums under their belt, and sure enough, their sixth release, Medicated Spirits, holds much the same promise. This Friday, they’ll be celebrating the release of this psych-folk, country and semiabstract blues effort at the Clarendon, boasting releases from the album as well as favourites from their two-decade-long back catalogue.

How long did it take to write/record? The writing of the song didn’t take long; it was written about a year ago. The recording took about three days, which also included the recording of another track (coming out soon).

THE APE Answered by: Raul Sanchez Single title: Crawl Back

Is this track from a forthcoming release/existing release? At the moment we just have two new tracks recorded, we’re hoping to record a few more by the end of the year and release a full EP sometime next year.

What’s the song about? Ape love. Not the “I just met you and I’m head over heels” thing; more the weary, dependent lover thing. How long did it take to write/record? The demo’s been kicking around since 2005 and we recorded the track in a few hours. It gave us a bit of grief. Agars went in and re-did the drums; that really brought it to life.

What was inspiring you during the songs writing and recording? At the time I was listening to a lot of Radiohead, I’m not sure whether that shows in the song or not. And I’m always listening to Queens Of The Stone Age.

Is this track from a forthcoming release/existing release? This is the first ‘focus track’ – I believe that’s what you call them these days – from our upcoming full-length debut master opus, The Ape.

We’ll like this song if we like... Hmmm, Queens Of The Stone Age? We’ve had people say it sounds a bit like Incubus or Pearl Jam.

What was inspiring you during the songs writing and recording? Snails, lizards, snakes, Komodo dragons – all kinds of belly-crawling critters that crawl their way back to the hearts and loins of their better halves.

Do you play it differently live? Relatively. We usually play our songs pretty much the same live. Maybe with a little more energy, that’s what we always try to bring to our live sets. When and where is your launch/next gig? Our single launch is at Spectrum (upstairs on Oxford St) on August 9th. We’re sharing the stage with our mates Eddie Boyd And The Phatapillars and The Pipes. Website link for more info?


We’ll like this song if we like... Lying naked in the sun, sipping on a cold beverage, being rocked by a good groove.

TOTAL CONTROL It’s been constant success after success for garage rock outfit British India, and there’s a pretty good reason for that. Continuing their legacy of creating well-received albums, the Aussie quartet have just come out with yet another chart-topping album, Controller. To celebrate not only the release of this album, but also last year’s signing with Mushroom Music Group and the popularity that followed their most recent singles, British India are in the midst of an 18-date tour, during which they’ll be making an appearance at the Winterfest party at UTS this Friday.

Do you play it differently live? Yeah, it’s based around a guitar loop, so sometimes it’s hell chasing that thing around. I think most of the songs have a bit extra bite and snarl live. When and where is your launch/next gig? Friday 9 August, The Annandale

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You can give back to the community just by being savvy about which cafe or restaurant you choose to dine at. Brendan Hitchens looks into ethical eateries. Pics by Holly Engelhardt. Engelhardt


*That Contain Foods

1 LifeMoneyis aBackLemon– Meatand ILoafWant My

2 The Salmon Dance – Chemical Brothers


n Britain, The Sustainable Restaurant Association have in place a ranking system that assesses eateries based on their environmental, ethical and social impact. After running for the past three years, the scheme will go international this year as they, in their own words, “help diners identify those restaurants doing the right thing”. Author, television chef and restaurateur Kylie Kwong advocates the program. “Any initiative that brings to our attention the absolute importance of environmental, ethical and social practices within our workplace, and in this case, the hospitality industry, is surely positive,” she says. Though the SRA’s plans to rank and highlight food organisations who are making positive impacts to the environment and society is only in its infant stages, ethical eateries in Australia, and particularly Melbourne, are by no means a new concept. STREAT is a social enterprise that supports disengaged youth by training them in the hospitality industry using their four Melbourne cafes. “Many of our young trainees are referred to us through various social service agencies, including Melbourne City Mission, The Salvation Army and Mission Australia,” says STREAT’s marketing manager Ian Johnson. “The William Angliss Institute has been a fantastic training partner for STREAT since we started in 2010. They have provided Certificate

I and II hospitality training programs that are specifically tailored to meet the needs and abilities of our trainees.” Since its first humble food cart opened in 2010, STREAT has now sold over 350,000 meals and coffees, provided 30,000 hours of paid employment to its youth, trained 52 young people in the program and graduated six full classes. The majority of STREAT graduates are now working, most for the first time in their lives. Along with their training programs, STREAT also offer customers a unique loyalty card that supports the community. “Basically, for every nine coffees or meals you buy, we give the tenth one to a homeless person.” Also situated in Melbourne and servicing the community in their own unique way, Shebeen is a bar like no other. Donating 100% of their profits to organisations tackling poverty in the developing world, every beer, wine, cider and margarita sale sends funds back to the drink’s country of

3 Peel Me a Grape – Anita O’Day

origin. “We work with seven beneficiary partners that work in the ten countries that our products come from,” says bar manager Simon Griffiths. “Drinking an Ethiopian beer helps to provide agricultural pumps to rural farmers in Ethiopia via KickStart, a Negra Modelo provides a loan to a small business in Mexico via Root Capital and a glass of wine from Stellenbosch provides local language books to South African school kids via Room to Read.” Griffiths says the response to the bar has been overwhelming, “It’s amazing to see Shebeen’s concept getting people excited. It’s gone wild on social media but also resonated with audiences that we never expected; we regularly have groups of 65-75 year old women in for lunch, which is an absolute delight – and I don’t think they found us on Twitter,” he laughs. “As a 20-something year old, I fell in love with the concept of doing something good whilst doing something that I loved – going to a bar,” says Griffiths, who hatched the idea with University friend Zanna McComish in 2007. He now harbours plans to take the concept interstate and one day, overseas. “We’re looking first to expand within Australia, and will then look for opportunities overseas.”

4 Ice Cream – Sarah McLachlan

5 Jam Stew – Deep Purple


Similarly to Shebeen, Kinfolk is an inner city Melbourne café that re-directs 100% of their profits, in this case between four development projects in Australia and abroad. “When people come up to the till to pay, they get to nominate one of the four projects we support,” says general manager Jarrod Briffa. “There’s two in Africa, through Y Generation Against Poverty: one of them is a child protection group and the other is a community development project in Rwanda. There’s one in Melbourne with Urban Seeds which is a social inclusion project for marginalised and homeless people and there’s Palm Island, with The Cathy Freeman Foundation, which is based around bridging the gap for Indigenous disadvantage.” Since 2012 and with the support of their loyal customers, Kinfolk have been able to distribute over $65,000 to their project partners. Briffa says the café, which has been so successful it is outgrowing its premises, has seen the benefits of their donations first hand. “The money is great for helping all the projects but it’s also great for spreading the word for what they are doing. I think where the biggest outcome for the project is, is that people are connected to their causes through something they do every day. Through buying a coffee you’re learning about these issues, what these projects are doing and you’re able to contribute, without having to take money out of your pocket.”

44 • To check out the mags online go to

Portt lan nd And yet another awesome #mexibreakfast with @lloydhoneybrook TACOSSSSS Going to miss this when we head West next week! with Lloyd James Honeybrook at Uno Mas.


[THE GUID IDE] g i g s

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


PRESENTS THE STIFFYS: Aug 8 Yours & Ours; 9 Brighton Up Bar SHAPESHIFTER: Aug 9 Metro Theatre COSMIC PSYCHOS: Aug 10 Metro Theatre JOSH PYKE: Aug 22 Small Ballroom Newcastle; 23 Enmore Theatre; 24 Unibar Wollongong THE TROUBLE WITH TEMPLETON: Aug 22 Transit Bar Canberra; 23 Goodgod Small Club PLUTO JONZE: Aug 23 Yours & Owls Wollongong; 24 Goodgod Small Club; 31 Small Ballroom Newcastle


DIESEL: Aug 6 Goodgod Small Club; Oct 11, 12 The Basement; Nov 1 The Abbey Canberra DAN PARSONS: Aug 7 Soda Factory SEA LEGS: Aug 7 Spectrum SAM BUCKINGHAM: Aug 7 Lizotte’s Kincumber; 10 Royal Exchange Theatre Newcastle; 28 Lizotte’s Dee Why ILUKA: Aug 8 Grand Junction Hotel Maitland; 9 SG Presents Seaforth; 10 Brighton Up Bar; 11 Front Bar Canberra BOY OUTSIDE: Aug 8, 15, 22, 29 Redfern’s Arcadia Liquors THE STIFFYS: Aug 8 Yours & Ours; 9 Brighton Up Bar WORLD’S END PRESS: Aug 8, 15 Brighton Up Bar HOLLOW EVERDAZE: Aug 8 FBi Social; 9 Terrace Bar Newcastle; 10 Phoenix Bar Canberra CASH SAVAGE & THE LAST DRINKS: Aug 8 Hotel Steyne Manly; 10 Goodgod Small Club; 11 The Junkyard Maitland SIMON MELI & THE WINDOWBIRDS: Aug 8 Brass Monkey; 9 Cambridge Hotel; 10 Coast Hotel LEE KERNAGHAN: Aug 9 Penrith Panthers; 10 Newcastle Wests Leagues Club STANDISH/CARLYON: Aug 9 Goodgod Small Club WAX WITCHES: Aug 9 World Bar BEARS WITH GUNS: Aug 9 Gearin Hotel Katoomba THE APE: Aug 9 The Annandale FRENZAL RHOMB: Aug 9 Carmen’s Miranda; 10 Mona Vale Hotel ALISON WONDERLAND: Aug 9 Academy Canberra; Sep 7 Oxford Art Factory; 11 Charles Sturt Uni Wagga Wagga GRINSPOON: Aug 10 Enmore Theatre COSMIC PSYCHOS: Aug 10 Metro Theatre PEKING DUK: Aug 10 Smirnoff Snow Dome Thredbo PAUL KELLY: Aug 13, 14 City Recital Hall; 16, 17 Anita’s Theatre Wollongong; 18 Llewellyn Hall Canberra MIDNIGHT JUGGERNAUTS: Aug 14 Bar On The Hill Newcastle; 16 Metro Theatre; 17 Zierholz @ UC VIOLENT SOHO: Aug 14 Brighton Up Bar MONKS OF MELLONWAH: Aug 14 Yours & Owls Wollongong; 16 Australian Brewery Rouse Hill ISAAC GRAHAM: Aug 14 Lizotte’s Kincumber; 15 Phoenix Bar Canberra; 16 August Black Wire Records CHICKS WHO LOVE GUNS: Aug 15 Frankie’s Pizza HOLY HOLY: Aug 15 High Tea; 16 The Newsagency MOVING PICTURES: Aug 15, 16 Lizotte’s Newcastle; 17 Revesby Workers Club; 24 Dee Why RSL; 30 The Juniors Kingsford; 31 Concourse Theatre Chatswood GLASS TOWERS: Aug 16 The Standard TULLY ON TULLY: Aug 16 White Eagle Polish Club Canberra; 17 Brighton Up Bar SHAUN KIRK: Aug 16 The Hi-Fi; 17 Entrance Leagues Club; 18 Grand Junction Hotel Maitland MAJOR LEAGUES: Aug 16 Brighton Up Bar; 17 Upstairs Beresford BLOODS: Aug 16 Brighton Up Bar; 17 The Terrace Bar Newcastle THE STABS: Aug 17 Goodgod Small Club JOHNNY CASS: Aug 18 Botany View Hotel; 22 Rock Lily; 23 Old Manly Boatshed; 25 Towradgi Beach Hotel Wollongong; Sep 8 Jamberoo Pub; 26 Brass Monkey FANNY LUMSDEN & THE THRILLSEEKERS: Aug 20 Front Gallery Canberra; 21 Yours & Owls Wollongong TOM WEST: Aug 21 Soda Factory DIRT FARMER: Aug 22 Brighton Up Bar KING GIZZARD & THE LIZARD WIZARD: Aug 22 Goodgod Small Club JIMMY BARNES: Aug 22 Enmore Theatre; 29 Newcastle Camp Shortland THE TROUBLE WITH TEMPLETON: Aug 22 Transit Bar Canberra; 23 Goodgod Small Club ASHLEIGH MANNIX: Aug 22 August Grand Junction Hotel Maitland; Sep 11 Derkenne Courtyard Newcastle University; 12 The Standard; 15 Front Gallery Canberra; 18 Bar On The Hill Lawn Newcastle University; 18 Cambridge Hotel SETH SENTRY: Aug 22 Cambridge Hotel; 23 Entrance Leagues Club Central Coast; 24 Waves Wollongong; 28 The Station Jindabyne; 29 Zierholz @ UC THE BEASTS OF BOURBON: Aug 22, 23, 24 Factory Theatre JOSH PYKE: Aug 22 Small Ballroom Newcastle; 23 Enmore Theatre; 24 Unibar Wollongong IMMIGRANT UNION: Aug 22 Frankie’s Pizza; 23 The Lass Newcastle; 24 Union Hotel MARLOW: Aug 22 The Basement Canberra; 30 Spectrum CATHERINE TRAICOS & THE STARRY NIGHT: Aug 22 Union Hotel Newtown STONEFIELD: Aug 23 Small Ballroom Newcastle; 24 Oxford Art Factory PLUTO JONZE: Aug 23 Yours & Owls Wollongong; 24

HUNGRY KIDS OF HUNGARY: Aug 23 Oxford Art Factory; 24 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 PAPER KITES: Aug 30 Small Ballroom Newcastle; 31 Metro Theatre BIG SCARY: Aug 30 Factory Theatre; 31 Zierholz @ UC JAPANDROIDS: Aug 31 Manning Bar


6 AUGUST 2013 Old School Funk & Groove Night: 505, Surry Hills Open Mic Night: Avoca Beach Hotel, Avoca Beach Lo Five: Deus Cafe, Camperdown Songs On Stage feat. Chris Raicevich + Sandra Kelly + Samantha Johnson + Guests: George IV Hotel, Picton Jacques Barratt + Laura Hughes: Harold Park Hotel, Glebe Bruce Mathiske + George Golla: Lizottes Central Coast, Kincumber Steve Tonge: Observer Hotel, The Rocks Co-Pilot: Orient Hotel, Sydney Ziggy Pop Tuesday feat. +The Lockhearts + The Sculptures + The Bitter Sweethearts + Chris Rose + DJ Creatura Noctis: Spectrum, Darlinghurst Pink: Sydney Entertainment Centre, Darling Harbour Danny Elliot + Dee Donovan + Grooveworks + Sharna Le-Grand: The Cube, Campbelltown Tuesday Night Live: The Kent Hotel, Hamilton Alain de Carne: The Local Taphouse, Darlinghurst Claude Hay: The Station (Jax Bar), Jindabyne Chu with Gillex + Dollar Bear + Rees Hellmers + Moody + DJ Migz: World Bar, Kings Cross


Nathan Haines: 505, Surry Hills Hobophonics + Silver Age: Beach Road Hotel (Valley), Bondi Beach Arctic Sevens + Safia + Surecut Kids + Bernie Dingo: Beach Road Hotel (Rex Room), Bondi Beach DJ Dan de Caires: Beach Road Hotel (Public Bar), Bondi Beach D’Luna + Harmony hART: Brass Monkey, Cronulla RVTM + Aaron Lyon + Bob Stamper: Brighton Up Bar, Darlinghurst

46 • To check more gigs online go to

Songs On Stage feat. Angelene Harris + Guests: Cat & Fiddle Hotel, Balmain Happy Hippies: Ettamogah Hotel, Kellyville Ridge Barn Owl + Dead China Doll + Broadcasting Transmitter: Goodgod Small Club, Sydney Live & Local feat. Maia Jelavic + Cave Dwellers + Sam Buckingham: Lizottes Central Coast, Kincumber Kevin Welch + Bill Chambers: Lizottes Newcastle, New Lambton Live & Local: Lizottes Sydney, Dee Why Andy Mammers Duo: Maloneys Hotel, Sydney Judenn Lassiter: Mars Hill Cafe, Parramatta Eric Snow + Revolution Blue + Alexis + Angelena Locke: Mars Hill Cafe, Parramatta Josh McIvor: Mean Fiddler Hotel (Sub Bar), Rouse Hill Leon Fallon: Observer Hotel, The Rocks Souled Out: Orient Hotel, Sydney Darren Heinrich Trio: Play Bar, Surry Hills Lonely Boys: Scruffy Murphy’s, Sydney Sea Legs: Spectrum, Darlinghurst Alex Hopkins: Summer Hill Hotel, Summer Hill Pink: Sydney Entertainment Centre, Darling Harbour World Music Wednesday feat. El Orqueston: The Basement, Circular Quay Songs On Stage feat. Helmut Uhlmann + Tracey Chamberlain + Cheyne McFarlane + Guests: The Loft, UTS, Broadway Iluka + Avaberee: The Pier, Port Macquarie Dan Parsons: The Soda Factory, Surry Hills Grinspoon + The Snowdroppers + The Hated: The Station, Jindabyne Jack Carty: UNSW Roundhouse, Sydney Ultra Series Band Competition+Various: Valve Bar & Venue, Tempe The Wall with A-Tonez + Tigerlily + Pablo Calamari + Taylor Wolf + more: World Bar, Kings Cross The Mountains + Love Hate Rebellion + The Halls + Guests: Yours & Owls, Wollongong

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 TWELVE FOOT NINJA: Sep 12 Zierholz @ UC; 13 Waves Wollongong; 14 Manning Bar; 19 Small Ballroom Newcastle; 20 Entrance Leagues Club; 21 Mona Vale Hotel ILLY: Sep 14 Metro Theatre PEACE: Sep 17 Zierholz @ UC; 18 Beach Road Hotel; 19 Newcastle University; 20 Wollongong University; 21 Oxford Art Factory 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 THE DRONES: Sep 28 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 REUNION FESTIVAL: Dec 21 Entrance Leagues Club


Hitseekers: 3 Wise Monkeys, Sydney The Vampires: 505, Surry Hills Boy Outside: Arcadia Liquors, Redfern Andy Mammers: Austrailan Hotel & Brewery, Rouse Hill Sons of the East + Thieves + Kallidad: Beach Road Hotel (Rex Room), Bondi Beach The Mountains: Bedlam Bar, Glebe Simon Meli & The Widowbirds + Alex Bowen: Brass Monkey, Cronulla Worlds End Press + Moon Holiday: Brighton Up Bar, Darlinghurst Claude Hay: Brumby Bar & Bistro, Jindabyne Femme Locale: Camelot Lounge, Marrickville Brian King: Campbelltown Catholic Club, Campbelltown Angelene + Michael Anderson: Coach & Horses Hotel, Randwick Dan Spillane: Dee Why Hotel, Dee Why St George Scream Band Competition: Forest Inn Hotel, Bexley Songs On Stage feat. Peach Montgomery + The Pug + Guests: Forest Lodge Hotel, Forest Lodge Little Bastard: Frankies Pizza, Sydney Iluka + Avaberee: Grand Junction Hotel, Maitland David Agius: Hillside Hotel, Castle Hill Owen Campbell: Hoey Moey, Coffs Harbour Cash Savage & The Last Drinks: Hotel Steyne, Manly FBi Social feat. Hollow Everdaze: Kings Cross Hotel, Kings Cross Open Mic Night with Michael McGlynn: Kirribilli Hotel, Milsons Point Kevin Welch: Lizottes Sydney, Dee Why Dave White Duo: Maloneys Hotel, Sydney Aimee Francis: Manly Leagues Club, Brookvale PJ Neverland: Mars Hill Cafe, Parramatta Ziggy: Newport Arms Hotel, Newport Open Mic Night with Alex Hopkins: Northies (Beach Bar), Cronulla

Steve Tonge Duo: O’Malleys Hotel, Kings Cross Sarah Paton: Observer Hotel, The Rocks The White Bros: Orient Hotel, Sydney Youngblood Hawke: Oxford Art Factory, Darlinghurst Billboard: Scruffy Murphy’s, Sydney The Vanns + Jacob Pearson + Renny Field: The Bucket List, Bondi Beach Adele & Glenn + Speck: The Green Room, Enmore In Cahoots with +Ash King: The Local Taphouse, Darlinghurst Lime Cordiale: The Soda Factory, Surry Hills Senses Fail + Endless Heights + Perspectives + Bare Bones: The Standard, Surry Hills Little May + Annabel Kay: The Vanguard, Newtown Radioutkast: Transit Bar, Canberra Gold Fields + This Mess: Uni Bar, Wollongong Bryan Estepa + The Nature Strip + Luke Russell & the Proposition: Union Hotel, Newtown She Rex: UNSW Roundhouse, Sydney Battleships + The Money Go Round + Safia + The Dead Heads: Upstairs Beresford, Surry Hills Caution! feat. Miscreation + Chud + Claret Ash + Kunvuk: Valve Bar & Venue, Tempe Propaganda with Gillex + Moody + Urby: World Bar, Kings Cross The Stiffys: Yours & Owls, Wollongong


9 AUGUST 2013 DJ Patsan: 5 Sawyers, Newcastle Feel Good Friday Jazz Session: 505, Surry Hills Nick Connors: Absolute Thai, Charlestown Alison Wonderland: Academy, Canberra Summerland Kings: Avoca Beach Hotel, Avoca Beach Dragonsclaw + Cursing Stone: Bald Faced Stag, Leichhardt Gelato: Bar 100, The Rocks Tim Rossington: Bar Petite, Newcastle

Fresh Friday feat. Tyree (Smashproof) + Moyfl y + Song Selecta: Beach Road Hotel (Rex Room), Bondi Beach Various DJs: Beach Road Hotel (Public Bar), Bondi Beach The Delltones + Rebel Rousers: Belmont 16’s, Belmont Moonlight Drive Duo: Belmore Hotel, Maitland Johnny B: Blackbird Cafe, Sydney Ian Moss + Hearts. beats.mind.: Brass Monkey, Cronulla The Stiffys: Brighton Up Bar, Darlinghurst Living Chair: Bull & Bush, Baulkham Hills Simon Meli & The Widowbirds: Cambridge Hotel, Newcastle West Nadya & the 101 Candles Orkestra: Camelot Lounge, Marrickville DJ Tom Annetts: Campbelltown Catholic Club, Campbelltown The Underground feat. Ember + Robust + Mitchos: Candys Apartment, Potts Point Frenzal Rhomb + Nerdlinger + Ivan Drago: Carmens, Miranda Gen-R-8: Cessnock Supporters Club, Cessnock Two Good Reasons: Charlestown Bowling Club, Charlestown Benn Gunn: Chatswood RSL, Chatswood The Sanctuary: Chatswood Youth Centre, Chatswood

Bjorn Again: Enmore Theatre, Enmore Kurt Williams: Figtree Hotel, Wollongong Armchair Travellers Duo: Fitzroy Hotel, Windsor Bears With Guns: Gearin Hotel, Katoomba Tom Trelawny: General Gordon Hotel, Sydenham Standish/Carlyon + Guests: Goodgod Small Club, Sydney Cass Eager: Great Northern Trading Post, Laguna Joe Echo: Harbord Beach Hotel, Freshwater Dan Lawrence: Hillside Hotel, Castle Hill Marty’s Place: Hornsby RSL, Hornsby Dr Zoom Duo: Hotel Jesmond, Jesmond FBi Social feat. The Familiars: Kings Cross Hotel, Kings Cross Castlecomer: Kirribilli Hotel, Milsons Point OMG! Duo: Lakeside Village Tavern, Raymond Terrace The Continental Blues Party: Lazy Bones Lounge, Marrickville Kevin Welch + Bill Chambers: Lizottes Central Coast, Kincumber Pseudo Echo: Lizottes Newcastle, New Lambton Rick Price: Lizottes Sydney, Dee Why KP + Dave Mac: Manly Leagues Club, Brookvale Ignition: Marlborough Hotel, Newtown Mashup Friday with Zannon & The Faders: Marquee, Pyrmont

BARN OWL: Aug 7 Goodgod Small Club

Crizzly + Samrai + Matt Ferreira + Natnoiz + more: Chinese Laundry, Sydney Mesa Groove: Club Cronulla, Cronulla Scratch: Club Singleton, Singleton Pete Hunt: Cock’n Bull, Bondi Junction Kryptic: Coffs Harbour Hotel, Coffs Harbour Mangrove Jack + Lose Change + Alison’s Disease + Old Time Glory + The Hun + The Acid Monkeys: Corrimal Hotel, Corrimal Terry Batu: Courthouse Hotel, Darlinghurst Matt Price Duo: Cronulla RSL, Cronulla Flamin’ Beauties: Crown Hotel, Sydney Back To The 80s + Greg Agar: Crows Nest Hotel, Crows Nest Mandi Jarry: Croydon Park Hotel, Croydon Park Renae Stone: Customs House Bar, Circular Quay Natalie Carboni: Dee Why Hotel, Dee Why Greg Bryce & The Bad Bad Things: Duke of Wellington Hotel, New Lambton The Headliners: Dundas Sports Club, Dundas The Bondi Cigars + Shane Pacey Blues Trio + Cathrine Summers + Jenny Biddle: Eastern Lounge, Roseville The Furious Five: Engadine Tavern, Engadine

Busking On Mars feat. Dubious Blues: Mars Hill Cafe (by the front window), Parramatta Pep Romanelli: Mars Hill Cafe, Parramatta Shady Rhythm: Matraville Hotel, Matraville Matt Jones Trio: Mean Fiddler Hotel (Fiddler Bar), Rouse Hill Shapeshifter + Kilter: Metro Theatre, Sydney Nick Kingswell + James Fox Higgins Trio: Mona Vale Hotel, Mona Vale John Hill : Monkey Bar, Balmain Uncovered Duo: Moorebank Sports Club, Hammondville Coastal Craze: Nelson Bay Diggers Club, Nelson Bay JJ Duo: North Sydney Leagues, Cammeray David Agius: Northies (Sports Bar), Cronulla Hue Williams: Oasis on Beamish Hotel, Campsie Fallon Brothers + Carl Fidler: Observer Hotel, The Rocks Let There Be Bon ACDC Show: Orana Hotel, Blacksmiths Reckless + Stephanie Jansen: Orient Hotel, Sydney Restless Leg + The Model School: Oxford Art Factory, Darlinghurst

[THE GUID IDE] g i g s Two Minds: Parramatta Leagues, Parramatta Luke Robinson: Parramatta RSL, Parramatta Backlash: Penrith Gaels, Kingswood Lee Kernaghan: Penrith Panthers, Penrith Andy Mammers: Penrith Panthers (Terrace Bar), Penrith Jed Zarb: Quakers Inn, Quakers Hill Jazz Nouveau: Revesby Workers, Revesby Bounce: Scruffy Murphy’s, Sydney Hooray For Everything: Seven Hills/Toongabbie RSL, Seven Hills SIMA feat. Sandy Evans + Bobby Singh: Seymour Centre (Sound Lounge), Chippendale Bunker + Velvet Lane: Silk Hotel, Maitland Stormcellar: Stockton RSL, Stockton DJ Zok: Tahmoor Inn, Tahmoor Wildcatz: Tattersalls Hotel, Penrith The Ape: The Annandale, Annandale Sketch The Rhyme+Various: The Basement, Circular Quay Grand Theft Audio: The Exchange Hotel, Hamilton Knievel + The Wednesday Night: The Green Room, Enmore Kolo Sensation: The Kent Hotel, Hamilton The Lead Bellies: The Mark Hotel, Lambton Owen Campbell: The Pier, Port Macquarie Royal Chant + Designer Mutts + Bright Falls: The Record Crate, Glebe Project Blue: The Sly Fox, Enmore Soft & Slow feat.+Pink Gin: The Spice Cellar, Sydney Love Me feat. Tina C + Yana Alana + Tommy Bradson + Annabel Lines + Genevieve Fricker + The Von Trap Family Singers: The Standard, Surry Hills Hollow Everdaze: The Terrace Bar, Newcastle Come Out Swinging 2 feat. Ray Beadle + Monica Trapaga: The Vanguard, Newtown Gus n Ella: The Vineyard Hotel, Vineyard Lo Five: The White Horse Hotel, Surry Hills KG Duo: The Windsor Castle Hotel, Newcastle Radioutkast: Town Hall Hotel, Newtown Zoltan: Town Hall Hotel, Balmain The Lonely Boys: Unity Hall Hotel, Balmain Declan Kelly & The Rising Sun + Bexley De Lion + Woodlock + DJ LIz Bird: Upstairs Beresford, Surry Hills Winterfest feat. British India + more: UTS, Ultimo Toe To Toe + Throwdown + Worst Possible Outcome + Hostile Objects + Deadly Visions: Valve Bar & Venue, Tempe Punkfish: Warners at the Bay, Warners Bay Alex Hopkins + DJ Marty: Wentworthville Leagues Club, Wentworthville Rock Solid Duo: Windsor Leagues Club, South Windsor Black Rose: Woolpack Hotel, Parramatta Mum feat. Wax Witches + Bachelor Pad + Blvck + This Mess + more: World Bar, Kings Cross


10 AUGUST 2013 Wildcatz: 3 Wise Monkeys, Sydney DJ Fooey: 5 Sawyers, Newcastle Gervais Koffi + The African Diaspora: 505, Surry Hills Harbour Master: Abbotts Hotel, Waterloo Dean Kyrwood: Absolute Thai, Charlestown 3 Way Split: Appin Hotel, Appin Klay: Austrailan Hotel & Brewery, Rouse Hill Marty Simpson: Bar Petite, Newcastle Ryde Duo: Bay Hotel, Bonnells Bay Back To The 80s: Bayview Tavern, Gladesville Cabins + Hitting Trees: Beach Road Hotel (Rex Room), Bondi Beach Various DJs: Beach Road Hotel (Public Bar), Bondi Beach Isbjorn + DJ Richie Ryan: Beach Road Hotel (Valley), Bondi Beach Aaron Hood: Beauford Hotel, Mayfield The Cruisers: Belmont 16’s, Belmont Viagra Falls: Belmore Hotel, Maitland Johnny B: Blackbird Cafe, Sydney Wayne Pearce & The Big Hitters: Blacktown RSL (Celebrity Room), Blacktown Professor Groove & The Booty Affair + Chloe West + Double Dutch DJs: Brass Monkey, Cronulla Christie Lamb: Brewhouse, Kings Park Iluka + Avaberee + Elle May: Brighton Up Bar, Darlinghurst Miriam Lieberman: Camelot Lounge, Marrickville Groovology: Campbelltown Catholic Club, Campbelltown Unleashed feat. Vengeance + Luke La Beat + Stalker: Candys Apartment, Potts Point Remains Wise: Carousel Inn, Rooty Hill David Agius: Castle Hill RSL (Terrace Bar), Castle Hill Angie Dean: Castle Hill RSL (Piano Lounge), Castle Hill Soulganic: Castle Hill RSL (Cocktail Lounge), Castle Hill Dr Zoom Duo: Cessnock Supporters Club, Cessnock Function + Pixl + Kerry Wallace + more: Chinese Laundry, Sydney Hue Williams: Club Ashfield, Ashfield After Party Band: Club Cronulla, Cronulla Simon Meli & The Widowbirds: Coast Hotel, Budgewoi Bucket Hugger: Coffs Harbour Hotel, Coffs Harbour Stormbringer: Corrimal Hotel, Corrimal Zoltan: Cronulla RSL (Sharkies), Cronulla Hand Picked: Crown Hotel, Sydney Flux: Crows Nest Hotel, Crows Nest Matt Jones: Dee Why Hotel, Dee Why Wellsy: Duke of Wellington Hotel, New Lambton

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

Endless Summer Beach Party: Eastern Suburbs Legion Club, Waverley The Sphinxes: Engadine Tavern, Engadine Grinspoon + The Snowdroppers + Dave Larkin Darwin Theory: Enmore Theatre, Enmore Mary Lie: Entrance Leagues, Bateau Bay Black Diamond Hearts: Golden Sheaf Hotel, Double Bay Cash Savage & The Last Drinks + Twincest: Goodgod Small Club, Sydney KP: Greystanes Inn, Greystanes Heath Burdell: Harbord Beach Hotel, Freshwater Chickenstones + Chucks Wagon + Nicky Green: Harbord Bowling & Recreation Club, Harbord

Jess Dunbar: Northies (Beach Bar), Cronulla Greg Agar: Northies (Sports Bar), Cronulla Party Central: Oatley Hotel, Oatley Sarah Paton + Geoff Rana + Shane Flew: Observer Hotel, The Rocks Cass Eager: Old Manly Boatshed, Manly The Party: Orana Hotel, Blacksmiths 2 Fold + Jimmy Bear: Orient Hotel, Sydney 4 Bar Avenue: Overlander Hotel, Cambridge Gardens Gene & Sofie: Parramatta Leagues, Parramatta The Remixes: Penrith Gaels, Kingswood Jazz Express + Urban Stone: Penrith RSL, Penrith

FRENZAL RHOMB: Aug 9 Carmen’s Miranda; 10 Mona Vale Hotel

Hot Damn! Road Trip feat. Attila + Hellions: Hostage X, Wollongong Moonlight Drive Duo: Hotel Jesmond, Jesmond Reckless: Huskisson Hotel, Huskisson Bobby C: Iron Horse Inn, Cardiff Papa Gonzo + King Parrot Bloco De Samba + The Fraudsters: Katoomba RSL, Katoomba Armchair Travellers Duo: Kingswood Sports Club, Kingswood Alex Hopkins: Kirribilli Hotel, Milsons Point One Night Stand: Lakeside Village Tavern, Raymond Terrace Lee Kernaghan: Level One, Newcastle Leagues Club, Newcastle Pseudo Echo: Lizottes Central Coast, Kincumber Rick Price: Lizottes Newcastle, New Lambton The Supreme Motown Show: Lizottes Sydney, Dee Why Mad Hatters + Julianne Jessop: Manly Leagues Club, Brookvale Grant Smillie: Marquee, Pyrmont Busking On Mars feat. Jerome & Julianne + Pep Romanelli: Mars Hill Cafe (by the front window), Parramatta Tony Williams: Mean Fiddler Hotel (Courtyard), Rouse Hill Jamie Lindsay: Mean Fiddler Hotel (Fiddler Bar), Rouse Hill The Epics + John Field: Mean Fiddler Hotel (Woolshed), Rouse Hill The Lonely Boys: Mercantile Hotel, The Rocks Cosmic Psychos + Front End Loader + Bruce: Metro Theatre, Sydney Frenzal Rhomb + Frank Rizzo + Coffin: Mona Vale Hotel, Mona Vale Outlier + DJ Shayne Alsop: Mounties, Mt Pritchard Gen-R-8: Nelson Bay Diggers Club, Nelson Bay Kirk Burgess: Newport Arms Hotel, Newport Rock Solid Duo: North Sydney Leagues, Cammeray

Joe Echo: PJ Gallaghers, Moore Park One Hit Wonders: PJ’s Irish Pub, Parramatta Repressed Records 11th Birthday Celebration with Constant Mongrel + Woollen Kits + Bed Wettin’ Bad Boys + Yes I’m Leaving + Destiny 3000: Red Rattler, Marrickville Lets Groove Tonight: Revesby Workers, Revesby BNO Rockshow: RG McGees, Richmond Omissions + Underwood Mayne + Tobi Blefari + Flick The Bean: Roxbury Hotel, Glebe Kadence Duo: Royal Federal Hotel, Branxton The Beatels: Ryde Eastwood Leagues Club, West Ryde Paper Wolves: Scruffy Murphy’s, Sydney I’m Yourz: Seven Hills/Toongabbie RSL, Seven Hills SIMA feat. Mister Ott: Seymour Centre (Sound Lounge), Chippendale Andy Mammers: Sir Joseph Banks Hotel, Botany The Middle Names: Spectrum, Darlinghurst Pink: Sydney Entertainment Centre, Darling Harbour Muddy Feet: Tattersalls Hotel, Penrith Adam Katz Duo: The Basement, Circular Quay Rapture: The Belvedere Hotel, Sydney Bjorn Again: The Concourse, Chatswood Misbehave: The Exchange Hotel, Hamilton The Vinyl Schminyl!: The Green Room, Enmore DBSTF + Toneshifterz + Hard Dance Aliance + Morel: The Hi-Fi, Moore Park Pacha feat. Timmy Trumpet + SCNDL + Ember + Ben Morris + Fingers + Pablo Calamari + more: The Ivy, Sydney Owen Campbell: The Kent Hotel, Hamilton

TOUR GUIDE 18 The Basement; 19 Clarendon Guesthouse Katoomba; 20 Beaches Hotel Thirroul CLAIM THE THRONE: Sep 14 Hermanns Bar ILLY: Sep 14 Metro 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 THE DRONES: Sep 28 Metro Theatre XAVIER RUDD: Oct 4 Big Top Luna Park BOY & BEAR: Oct 24 ANU Bar Canberra; 25 Enmore Theatre; Nov 15 Waves Wollongong

TWELVE FOOT NINJA: Sep 12 Zierholz @ UC; 13 Waves Wollongong; 14 Manning Bar; 19 Small Ballroom Newcastle; 20 Entrance Leagues Club; 21 Mona Vale Hotel

Goodgod Small Club; 31 Small Ballroom Newcastle LYALL MOLONEY: Aug 23 The Standard HUNGRY KIDS OF HUNGARY: Aug 23 Oxford Art Factory; 24 Small Ballroom Newcastle THE BLACKWATER FEVER: Aug 23 Spectrum; 24 Lass O’Gowrie TRIPLE J HOUSE PARTY ft NINA LAS VEGAS: Aug 24 August Metro Theatre (two shows) DUMB BLONDES: Aug 24 Upstairs Beresford; 28 Goodgod Small Cub; Sep 22 Wilbur Lane Cronulla SIETTA: Aug 28 The Vanguard CLOUD CONTROL: Aug 28 ANU Bar Canberra; Sep 10 Wollongong Uni Bar; 11 Bar On The Hill Newcastle; 12 Metro Theatre SNAKADAKTAL: Aug 28 Bar On The Hill Newcastle; 30 Metro Theatre; 31 UniBar Wollongong I, A MAN: Aug 29 Brighton Up Bar EGO: Aug 29 Goodgod Small Club THE VERNONS: Aug 29 Bucklers Canteen Bondi; 30 Brighton Up Bar JEREMY NEALE: Aug 29 Transit Bar Canberra; 30 Goodgod Small Club; 31 Yours & Owls Wollongong VANCE JOY: Aug 29, 30 Oxford Art Factory BILL PARTON TRIO: Aug 29 Heritage Hotel Bulli; 30 Pot Belly Bar Canberra; 31 Lewisham Hotel; Sep 1 Great Northern Newcastle; 6 Pacific Hotel Yamba TRIGGER JACKETS: Aug 30 Bald Faced Stag CASTLECOMER: Aug 30 Yours & Owls Wollongong; 31 Transit Bar Canberra TUMBLEWEED: Aug 30 Wollongong Town Hall; Sep 28 Annandale Hotel LET IT BE ft DOUG PARKINSON: Aug 30, 31 Concert Hall Sydney Opera House THE SMITH STREET BAND: Aug 30 Great Northern Newcastle; 31 The Annandale; Sep 4 Transit Bar Canberra THE PAPER KITES: Aug 30 Small Ballroom Newcastle; 31 Metro Theatre BIG SCARY: Aug 30 Factory Theatre; 31 Zierholz @ UC FOR OUR HERO: Aug 31 Metro Theatre SAMPOLOGY: Aug 31 Smirnoff Snow Dome Thredbo BOB EVANS: Aug 31 Captains at Mariners Batemans Bay; Sep 1 Clarendon Guesthouse Katoomba; 5 Lizottes Kincumber; 15 Lizottes Newcastle; 19 Lizottes Dee Why; 21 The Abbey Canberra THE STRIDES: Aug 11, 18, 25 Hotel Steyne; 14 The Basement; Sep 8 Barrenjoey High School Avalon; 26 Lizotte’s Newcastle; 27 Heritage Hotel Bulli; 29 Honky Tonks Canberra; Oct 5 The Basement 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 PIGEON: Sep 4 Beach Road Hotel; 5 Transit Bar Canberra; 6 World Bar THE GROWL: Sep 4 Goodgod Small Club BORN LION: Sep 4 Great Northern Newcastle; 20 Annandale Hotel; 21 Spectrum MONEY FOR ROPE: Sep 4 Yours & Owls Wollongong; 5 Beach Road Hotel; Bar On The Hill Newcastle; 6 Spectrum TONIGHT ALIVE: Sep 5 The Hi-Fi TIGERTOWN: Sep 5 Oxford Art Factory NORTHLANE: Sep 5 Studio 6 Sutherland; 6 Basement Canberra; 7 Blacktown Masonic Hall; 8 Cambridge Hotel THE SNARSKI BROTHERS: Sep 6 The Vanguard THE WOOHOO REVUE: Sep 6 505; 7 City Diggers Wollongong HELM: Sep 6 Bald Faced Stag JACK CARTY: Sep 6, 7 Brighton Up Bar; Oct 3 Lizotte’s Newcastle; 4 Clarendon Guesthouse Katoomba; 5 Heritage Hotel Bulli; 6 Front Gallery Canberra THE PREATURES: Sep 6 Oxford Art Factory; 26 Transit Bar Canberra KIERAN RYAN: Sep 7 Goodgod Small Club TERRY FRANICS: Sep 7 Goldfish THUNDAMENTALS: Sep 8 Carriageworks; 25 Beach Road Hotel; Oct 3 Small Ballroom Newcastle; 4 Carmen’s Miranda; 6 Splashes Wollongong; 31 Entrance Leagues Club; Oct 1 Baroque Room Katoomba BARBARION: Sep 12 Beach Road Hotel; 13 The Standard LOREN KATE: Sep 12 Lizotte’s Kincumber RUFUS: Sep 12 Cambridge Hotel; 13 The Hi-Fi; 20 Academy Canberra; 21 Waves Wollongong TWELVE FOOT NINJA: Sep 12 Zierholz @ UC; 13 Waves Wollongong; 14 Manning Bar; 19 Small Ballroom Newcastle; 20 Entrance Leagues Club; 21 Mona Vale Hotel PIKELET: Sep 13 Goodgod Small Club; 14 The Terrace Bar MAIDS: Sep 13 Hostage X Wollongong; 20 Small Ballroom Newcastle; 27 World Bar WOLF MAIL: Sep 13 The Old Manly Boatshed; Oct 4 Lizottes Dee Why; 17 Lizottes Newcastle;


PINK: Aug 6, 7, 9, 10 Sydney Entertainment Centre; Sep 1, 2, 4, 5 Allphones Arena BARN OWL: Aug 7 Goodgod Small Club SENSES FAIL: Aug 8 The Standard YOUNGBLOOD HAWKE: Aug 8 Oxford Art Factory SHAPESHIFTER: Aug 9 Metro Theatre FUNCTION: Aug 10 Chinese Laundry ATTILA: Aug 10 Hostage X Wollongong; 11 Factory Theatre; 13 Basement Canberra ALESANA: Aug 11 Factory Theatre BASTILLE: Aug 14 Metro Theatre DON MCLEAN: Aug 15 WIN Entertainment Centre; 29 Canberra Theatre; 30 Enmore Theatre MILLIONS OF DEAD COPS: Aug 16 Hermann’s Bar FLYLEAF: Aug 17 Metro Theatre PANGAEA: Aug 17 Goodgod Small Club CARTEL: Aug 18 The Annandale ASH: Aug 20 Metro Theatre JOAN BAEZ: Aug 20 Concert Hall Sydney Opera House; 24 Royal Theatre Canberra OBEY THE BRAVE: Aug 20 Pot Belly Canberra; 21 Sohier Park Hall Ourimbah; 22 Hot Damn; 23 Studio Six Sutherland AWOLNATION: Aug 21 Oxford Art Factory THE MAVERICKS: Aug 23 The Hi-Fi GUTTERMOUTH: Aug 23 Manning Bar; 24 Beachcomber Hotel Toukley; 25 Cambridge Hotel THE GAME: Aug 24 Grand Hotel Wollongong; 27 Metro Theatre; 28 Panthers Newcastle BEING AS AN OCEAN: Aug 24 Spectrum; 25 Bald Faced Stag; 26 Yours & Owls Wollongong LINDSEY STIRLING: Aug 28 Metro Theatre FAT FREDDY’S DROP: Aug 29, Sep 3 Enmore Theatre ANDREW STRONG: Aug 30 The Star Pyrmont ALL TIME LOW: Aug 30 UNSW Roundhouse JAPANDROIDS: Aug 31 Manning Bar CYNDI LAUPER: Aug 31 Royal Theatre Canberra; Sep 6, 7 Enmore Theatre; 14 WIN Entertainment Centre Wollongong THE REAL MCKENZIES: Sep 4 ANU Bar Canberra; 5 Manning Bar ANBERLIN: Sep 6 Panthers Newcastle; 7 The Hi-Fi MACHINE GUN KELLY: Sep 6 Manning Bar KELE (DJ SET): Sep 11 Beach Road Hotel; 14 Snow Party Thredbo KVELERTAK: Sep 15 Manning Bar PEACE: Sep 17 Zierholz @ UC; 18 Beach Road Hotel; 19 Newcastle University; 20 Wollongong University; 21 Oxford Art Factory RUDIMENTAL: Sep 18 UC Refectory Canberra; 24, 25 Enmore Theatre LAMB OF GOD: Sep 21 UNSW Roundhouse FOALS: Sep 28, 29 Enmore Theatre BRING ME THE HORIZON: Oct 6 Hordern Pavilion DEVIN TOWNSEND PROJECT: Oct 11 Metro Theatre EVERY TIME I DIE: Oct 19 Manning Bar THE BREEDERS: Oct 28 Enmore Theatre


LOUD FEST: Aug 11 Factory Theatre A SOFTCORE GATHERING...: Sep 15 Metro Theatre OUTSIDEIN: Sep 21 Factory Theatre FOLK BY THE SEA: Sep 27 – 29 Kiama Showground LISTEN OUT: Sep 28 Centennial Park BOOMERANG FESTIVAL: Oct 4 – 6 Tyagarah Tea Tree Farm GREAT SOUTHERN BLUES FESTIVAL: Oct 4 – 6 Narooma SYDNEY BLUES & ROOTS FESTIVAL: Oct 24 – 27 Windsor FAT AS BUTTER: Oct 26 The Foreshore Newcastle STEEL ASSASSINS: Nov 1, 2 Bald Faced Stag NEWTOWN FESTIVAL: Nov 10 Camperdown Memorial Rest Park RETURN TO RIO: Nov 15 – 17 Del Rio Riverside Resort Wiseman’s Ferry HARVEST: Nov 16 The Domain HITS & PITS 2.0: Nov 17 The Hi-Fi MULLUM MUSIC FESTIVAL: Nov 21 – 24 Mullumbimby HARBOURLIFE: Nov 23 Fleet Steps, Mrs Macquarie’s Point STEREOSONIC: Nov 30, Dec 1 Sydney Showgrounds VANS WARPED TOUR: Dec 1 Barangaroo; 6 Exhibition Park Canberra FESTIVAL OF THE SUN: Dec 13, 14 Sundowner Breakwall Tourist Park REUNION FESTIVAL: Dec 21 Entrance Leagues Club SUMMERNATS: Jan 2-5 Exhibition Park Canberra BIG DAY OUT: Jan 26, 27 Sydney Showgrounds;

To check more gigs online go to • 47

[THE GUID IDE] g i g s Ryan Daley: The Mark Hotel, Lambton Hollow Everdaze: The Phoenix, Civic Martin Eyerer: The Spice Cellar, Sydney Claude Hay: The Station, Jindabyne Paul Robert Burton Duo: The Windsor Castle Hotel, Newcastle Smirnoff Coconut D-Frost feat. Peking Duk + Kid Kenobi: Thredbo Village, Thredbo Matt Price Duo: Town Hall Hotel, Balmain King Tide + Gang Of Youths + DJ Kristy Lee: Upstairs Beresford, Surry Hills Stanley Knife + The Fuck Outs + Deathcage + Eager 13: Valve Bar & Venue, Tempe Overload: Warners at the Bay, Warners Bay Remember The Time - Michael Jackson & Whitney: Wentworthville Leagues Club (Starlight Room), Wentworthville Singled Out: Windsor Leagues Club, South Windsor Glen Campbell & John Denver Show: Windsor RSL, South Windsor Cakes with Wellsaid + Rubberteeth + The Bollocks DJs + more: World Bar, Kings Cross

Angelene + With Fox + Simon Day: Trinity Bar, Surry Hills The Ramalamas + The Model School: Union Hotel, Newtown Line Of Fire (Emcee Battle): Valve Bar & Venue (Afternoon), Tempe Stormcellar: Wallarah Hotel, Catherine Hill Bay Greg Lines: Western Suburbs Leagues Club, Leumeah Andy Mammers Duo: Woolloomooloo Bay Hotel, Woolloomooloo Rest with Sad Disco + 16 Tacos + Mitch Lowe + Rave Doss: World Bar, Kings Cross


11 AUGUST 2013 Matt Jones: 3 Wise Monkeys, Sydney DJ Jonathan: 5 Sawyers, Newcastle Klay: Ambervale Tavern, Ambervale Angelene: Bar 100, The Rocks DJ Nicolas (Duo): Bar Petite, Newcastle Bernie Dingo: Beach Road Hotel (Public Bar / Afternoon), Bondi Beach Bloom: Belmont 16’s, Belmont The Flipped Out Kicks + Missing Link: Botany View Hotel, Newtown The Tango Saloon: Camelot Lounge, Marrickville Chris Atkinson: Campbelltown Catholic Club, Campbelltown Bob Allan: Collingwood Hotel (Afternoon), Liverpool Heath Burdell: Coogee Bay Hotel, Coogee Krishna Jones: Crossroads Hotel, Casula Fallon Brothers: Ettamogah Hotel, Kellyville Ridge Loud Fest 2013 feat. Alesana + Attila + Hand Of Mercy + Storm The Sky + Feed Her To The Sharks + Hellions + The Sweet Apes + Elegist + Confession: Factory Theatre (All Ages), Marrickville Evie Dean: Fitzroy Hotel, Windsor Dan Spillane: Harbord Beach Hotel, Freshwater


Arms Attraction: The King Street Brewhouse, Sydney

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

SHAPESHIFTER When it comes to live drum’n’bass, there are few groups – if any – on the planet that can hold a torch to the power of New Zealand five-piece Shapeshifter. The genre-defying group have taken the sounds of the south worldwide and create an energy onstage that has seen them send crowds into a frenzy at festivals and club shows around the globe. With the “heavy soul” of new album Delta ready to showcase, the band are crossing the pond for some select capital city shows, which includes The Metro, Sydney, Friday 9 August.

David Agius: Horse & Jockey Hotel, Homebush The Strides: Hotel Steyne, Manly Lazy Sunday Lunch with Rick Price: Lizottes Central Coast, Kincumber Dirt Roads & Wildflowers: Lizottes Newcastle, New Lambton Pseudo Echo: Lizottes Sydney, Dee Why Rock n Roll & Alternative Market feat. Spurs For Jesus + The Toot Toot Toots + Hanks Jalopy Demons + more: Manning Bar, Camperdown

48 • To check more gigs online go to

Greg Agar: Mean Fiddler Hotel (Courtyard), Rouse Hill Jess Dunbar: Mill Hill Hotel, Bondi Junction Ryan Daley: Nelson Bay Diggers Club, Nelson Bay Marty Simpson: Northies (Beach Bar), Cronulla Sarah Paton: Northies (Sports Bar), Cronulla Antoine: O’Malleys Hotel, Kings Cross Carl Fidler + Three Wise Men: Observer Hotel, The Rocks

Imposition + Free Willy + The Grace Brothers + Mistaken + Black Diamond: Orana Hotel (Afternoon), Blacksmiths Outlier Trio + Elevation - U2 Tribute: Orient Hotel, Sydney One World: Overlander Hotel, Cambridge Gardens Dwayne Elix: Penrith RSL, Penrith Ted Danson With Wolves + FreT + Mas Carne + Emma Brown: Petersham Bowling Club, Petersham Wards Xpress: Pyrmont Bridge Hotel, Pyrmont

Christie Lamb + Jonathan English: Revesby Workers, Revesby Iluka + Avaberee + Bec Sandridge: The Front Cafe & Gallery, Lyneham Cash Savage & The Last Drinks: The Junkyard, Maitland Giant: The Kent Hotel, Hamilton DV8: The Mark Hotel, Lambton The Continental Blues Trio: The Merton Hotel, Rozelle The Jaded Vanities: The Vanguard, Newtown

MON 12 AUGUST 2013

Brackets & Jam Revisited: 505, Surry Hills The Great Australian Songbook feat. Angry Anderson + Alex Smith + John Paul Young + Wendy Matthews + Shannon Noll + Monica Trapaga + Richard Clapton + Catherine Britt + Glenn Shorrock + Jeff Duff + Damien Leith + Steve Balbi + Doug Parkinson + Simon Meli + Sarah McLeod + Rick Price + more: Enmore Theatre, Enmore

Songs On Stage feat. Helmut Uhlmann + Chris Brookes + Massimo Presti: Kellys on King, Newtown Gary Johns: Novotel - Brewery Bar, Sydney Olympic Park Steve Tonge: Observer Hotel, The Rocks


13 AUGUST 2013 Old School Funk & Groove Night: 505, Surry Hills Open Mic Night: Avoca Beach Hotel, Avoca Beach Paul Kelly + Urthboy: City Recital Hall, Sydney Nath Valvo: Harold Park Hotel, Glebe Bruce Mathiske: Lizottes Central Coast, Kincumber Cambo: Observer Hotel, The Rocks Co-Pilot: Orient Hotel, Sydney Attila + Hellions: The Basement, Belconnen Luke Wellington + Hazzy Bee + Airhart: The Forresters, Surry Hills Tuesday Night Live: The Kent Hotel, Hamilton








11 AUG



Sydney’s Australian Institute of Music (AIM) is opening a campus in Melbourne, right in the CBD at 120 King Street, with applications now open for the first intake, the first term commencing Tuesday 28 January next year. The first year will see AIM offering a Diploma and Bachelor of Music in Contemporary Performance and Composition & Music Production, and a Bachelor of Entertainment Management. AIM will be holding an information evening between 6pm and 8pm at the Intercontinental on Collins Street Wednesday 28 August.

SOUND BYTES The Vaccines recorded their latest EP, Melody Calling, at Eldorado Studios in Burbank, LA, with producers John Hill (Rihanna, M.I.A., Santigold) and Rich Costey (Muse, Franz Ferdinand).


Brooklyn-based synth-pop outfit St Lucia, essentially Jean-Philip Grobler, recorded and produced the debut album, When The Night, due out in October, with additional production and mixing from Chris Zane (Passion Pit), Rich Costey (Muse, Foo Fighters) and Andy Baldwin.

These New Puritans’ Field Of Reeds is a sprawling experimental release encompassing field recording, classical orchestration and avant-garde electronics. Jack Barnett takes Matt O’Neill through the mechanics of assembling the band’s third album.

ield Of Reeds is an almost wholly unique recording. A stark about-face, their latest release sees These New Puritans almost completely ditching both the percussive dancehall and hip hop influences of their last album, 2011’s Hidden, and the visceral post-punk flavours of their debut, 2007’s Beat Pyramid. In their place are lengthy, amorphous compositions spliced together from classical orchestration, found sounds and analogue electronics.


The process of recording the album was lengthy, convoluted and frequently eccentric. The majority of work was done within Berlin’s Funkhaus Nalepastraße. From 1956 till the fall of the Berlin Wall in 1990, the concert hall of the former German Democratic Republic, Funkhaus Nalepastraße encompasses large orchestral spaces and smaller, more intimate rooms previously used to record radio plays. The former allowed the band to record their expanded musical arrangements, the latter their experimental foley room found sounds. “We started in Berlin because we wanted to start with the ensemble stuff,” bandleader and co-producer Jack Barnett explains, the group having taken the unusual step of recording strings, reeds and brass before anything else in the process. “Berlin was where we had a lot of conductors we trusted and a really big space to record. These amazing old German, like post-war, radio studios – this absolutely huge complex of spaces. “Like the German equivalent of Maida Vale studios here in Britain,” the frontman clarifies, referencing the current home of the BBC Symphony Orchestra and the one-time home to John Peel’s Peel Sessions. “So you’ve got these great big rooms made of wood and of stone and then you’ve got these weird spaces with staircases that lead to nowhere – which is where we recorded a lot of the sound effects and that sort of thing.” In recording, Barnett and co-producer Graham Sutton prioritised an obsessively regimented live approach. This applied equally to recording instrumentalists,

electronics and samples. Drummer (and frontman’s brother) George Barnett was forced, for instance, to play up to 76 takes for Fragment Two. Jack Barnett explains he approaches recording takes in quite a clinical way. Each performer is expected to satisfy a list of predetermined criteria before they’re given their leave. “I’m really analytical with this sort of thing. There will always be four or five specific qualities that I want to capture within any given part. Referring specifically to the drums in Fragment Two, there are so many things that I wanted to capture with that drum part. Little dynamic lifts, that sort of thing. I basically have a little checklist. It’s all about the nuances. I think nuance is really important in this sort of music.” Again, this approach wasn’t limited just to instrumentalists. The entire band spent a whole day smashing glass in the studio for the conclusion to The Light In Your Name. The band used a variety of unusual approaches for capturing their sound. A Neumann Model Head microphone for example, which models human hearing, was used for shattered glass. In another instance, they brought a live hawk into the studio to sample the sound of its wings as it took flight. “We have this thing about really close, intimate recordings – lots of little details. That’s why we had to bring the hawk into the studio. We were never going to get those details outside where it’s windy and full of ambient noise. Especially since we were trying to get the sound of the wings. It’s a very quiet sound, a hawk taking off, so you need relatively low ambient noise. I don’t think we used the Head microphone, though. I think it was just a DPA condenser mic.” Surprisingly, Barnett and Sutton still retained a remarkably practical approach when recording the album’s most unusual elements. Adrian Peacock, who possesses what is commonly considered the lowest singing voice in England and features on the album’s title track, was recorded as a standard vocalist. Wrangling

a magnetic resonator piano (a recent mechanical invention perhaps most crudely explained as an e-bow for piano), their approach was equally straightforward. “Well, it’s still a piano, basically. We recorded it essentially like any other piano. I think we just ended up using a Coles 4038. Like I said, it’s the same as recording a grand piano. Some of the sounds it produces are a massive extension of the piano’s range and application – but it’s still, to all intents and purposes, a piano.” A significant portion of the album’s assembly ultimately came down to mixing and editing. By the end of tracking, Barnett and Sutton were left with a series of recordings spanning (many) takes of sound sources ranging from children’s choirs and hawk feathers to shattered glass and magnetic pianos. Determined to keep the live aesthetic, Barnett shied away from comp tracks. The whole process saw Sutton and Barnett in the studio for 12 hours a day for nearly two months. “I generally try to use as many full takes as possible, yeah,” Barnett describes the process. “People go mad copy-and-pasting everything together – so there’s none of that. All of that stuff works for some music, that copy-and-paste culture, but with this kind of music it just sounds crap. There’s so much energy and momentum built into the music. Too much editing and copy-and-pasting would just lose that, I think.” WHO: These New Puritans WHAT: Field Of Reeds (Infectious/Liberation Music)





Born in Sydney but based in LA for many years, Grammy Award-winning mixing engineer/producer Mike Shipley passed away Friday 26 July. Shipley was probably best known for engineering/mixing on many a Mutt Lange production, from Def Leppard to Shania Twain. He got his first big break working for London’s Wessex Studios in the late ‘70s, engineering sessions for, among others, Sex Pistols and The Damned. He relocated from London to Los Angeles in 1984 to work on an album by The Cars, and over the intervening years engineered, mixed and/or produced albums by artists as diverse as The Corrs, Maroon 5, Kelly Clarkson, Keith Urban and the aforementioned Twain and Leppard. Last year, Shipley won Best Engineered Album and Best Bluegrass Album Grammys for his work on the Alison Krauss & Union Station album, Paper Airplanes.





LOGIC PRO X TANNOY PRECISION 6.1 The Tannoy Precision 6.1 is the latest in the precision series offered by Tannoy. Intimate with their products for over 20 years having purchased a pair of 611s while at uni, this reviewer’s always loved the sound quality from Tannoys and has a lot of time for the brand. The 6.1s are a great option for the project studio market, and with a beautiful gloss black finish and dual concentric driver these look the part. The sound again from these is great, nice and detailed with stunning mids and treble, never too harsh and always exciting. The bass could be considered a little light depending on your tastes but couple this with a beefier amp and these would satisfy most people’s tastes. The Precision 6 is an honest monitor, perhaps getting a little loose with double bass but definitely a convincing monitor in most cases. Tannoy have always had a knack for producing natural high ends that never get too harsh but always seem so free and airy. These are no exception. This reviewer’s used the passive and also the self-powered Precision 8s, and you can still find the last model Precision 6 for sale at the Sound On Stage website. The JBL 4328P LSR come highly recommended, too. The JBLs seem to have a more aggressive high end and perhaps a slightly more coloured sound, but these Tannoys once again just seem to get it so right. With beautiful balance and great sound staging, the paper pulp cone and titanium dome tweeter housed in the dual concentric arrangement deliver the sound to the listener with conviction and right on time. Instruments are tight, solid and detailed and vocals are hauntingly present. This is a great new monitor from Tannoy and project studios all over the world should be grabbing a pair if you can. Again they’re not cheap, but then again this is a premium product. Barry Gilmour

50 • For more interviews go to

Apple has done an amazing job with designing the latest version of Logic. This is a real overhaul, drawing on some elements from GarageBand and really doing justice to the traditionally great features of Logic. Pages could be written on this, but rather, let’s focus on the main elements and overall feel. First thing to note is that Logic Pro X does not support 32-bit plug-ins, but plug-ins have been at 64-bit for ages so it shouldn’t really be an issue. This is a @GB install with a 30GB download for the entire content library once you launch it. The new menus are more logical; the appearance is a little, okay, maybe a lot like GarageBand and Final Cut Pro – all in all a good overhaul to the GUI. Drummer and drum kits! This is amazing. Apple drafted some of the industry’s best drummers and engineers to put together virtual drummers with individual playing styles and kits – 20GBs worth of drum kits! These sound fantastic. The overall effect is really convincing with great-sounding samples and really natural feel to the performance. You can then make it complex, soft, hard – whatever you like for the production and it all just works. Then there’s Stacks, where you can take a bunch of tracks and nestle them all together to tidy things up, a neat way to arrange your screen for mixing. There are new bass amps and effects that rock too, and the new iPad app for remote control of all this. The app is going to grow into something bigger than Ben Hur, but for the minute by all accounts it works very well indeed. The menu bar may be a little annoying but this is an exceptional piece of work by Apple. There are some aspects drawn from Ableton Live and lots from GarageBand, but all the parts seem to merge perfectly. This is a great feature-packed DAW at the PRO level. Expect to see this on an ever-growing number of people’s purchase lists. Nice work Apple. Barry Gilmour

HK LUCAS NANO 300 This is the pro audio element of Hughes & Kettner and this German designed, Chinese built mini PA is quite a performer. I remember the first time I heard this, the guys at CMI invited me to the demo in a hotel in Surry Hills and we entered a darkened room together… All were seated comfortably and everything seemed nice and legit, so we proceeded. The guys played a video presentation on a projector and the sound was full and rich as the presentation progressed through a wide range of audio dynamics. When it ended, two lights began to fade up to reveal two tiny satellite speakers and a small sub woofer! Really? Could all that sound be coming from this? I was impressed. We proceeded to examine this little beast and I picked up the sub. Three kilos? Really? So it was quite clear straight away that this thing was aimed at the one-man show. Whether you play acoustic guitar and sing, or play keys and sing, this is for you. You can place the two satellites on top of the sub on some pretty nifty rails or mount them on mic stands and connect with XLR cables. The sub has a three-channel mixer, an input for iPod and although it’s a small package, it’ll fill a decent-sized room with sound no problem at all. Frequency response is pretty good considering the lack of mid-range drivers, but the sub really delivers on this front. It’s a surprising package and can be coupled with a little case on wheels and other accessories. It’s not all that cheap at around the $1,300 mark but you get a lot for your money and save your back at the same time, so do yourself a favour and put the kid’s seat back in the car, stop worrying about lifting that heavy PA and stick one of these in the bag. Distributed by CMI and available Barry Gilmour

JBL LSR4328P I’ve been using these monitors for a while now and installed them in a few studios and I have to say I really like them and so does everyone I know that’s used them. The true test of a monitor is how listenable it is. You can use a multitude of fabulous speakers out there for an endless list of uses – from tracking, mixing, mastering or just enjoying – and the one thing you have to put up with is your personal opinion of them. Put a variety of monitors in a well thought out and built acoustic environment and you’ll truly hear the nuances of each, and the same applies here. However, these monitors offer room mode correction, an advanced form of self calibration that calibrates the monitor with a mic you plug into the back and set up in the listening position, and the speakers perform a frequency sweep to compensate for different rooms and standing waves. This is a pretty simplistic form of calibration and the results vary dramatically if you move the mic just a few inches in any direction, but you’ll be surprised just how effective it can be. The speakers also come with software that you can load onto your computer to adjust the performance further. You just link the monitors with a CAT5 cable and terminate the last monitor in the chain (these can be used for surround mixing) and the speakers will communicate. There’s a variety of dip switches on the back, XLR (AES) and analogue and SPDIF connections also. Internal mono amplifiers drive the speakers, and power is by standard IEC socket. Mounting is also possible via screws around the bass port on the rear and there are handles on either side. These are heavy units with an 8” polymer-coated paper dome and a soft-silk dome tweeter. Barry Gilmour



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SONGWRITER SEEKS MANAGER Songwriter seeks manager to promote original songs I have recorded in professional studio. Rob 0416007600 iFlogID: 22336

Get your Band or Business Online Cost effectively and PROFESSIONALLY - from $299 including Hosting and email addresses! Contact info@ or see www. iFlogID: 21941

Get your Band or Business Online Cost effectively and PROFESSIONALLY - from $299 including Hosting and email addresses! Contact info@ or see www. iFlogID: 21945

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High Definition YouTube video demonstrations of cymbals. ZILDJIAN, SABIAN, PAISTE, UFIP, MEINL, WUHAN, STAGG, PEARL... user/sydneypollak iFlogID: 19834

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

Proactive, experienced and friendly live sound engineer with quality equipment. Free pre-production, call Helmut on 0433946982 for an obligation free discussion.

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:// videos?view=0&flow=grid iFlogID: 20825

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

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


BEST PRICE IN SYDNEY Perfect For Posters, Album Covers, Flyers. Pro Gear, Pro Lighting With a Profesional Attitude. Live, Studio or Location. For More Info Call Gus: 0415617346 guspo1@

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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 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. iFlogID: 22527


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YOUTUBE & FACEBOOK VIDEOS Self promote through Facebook and Youtube is one of the keys to using social networking to build your following. We can provide: *Live Recording *Interviews with band *Music Video Productions

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Mastering from $120 per track. 1st track free before committing for new customers. Quality gear, analysed & treated room. Not “el cheapo”, hear the difference. Enquiries ph: 02 98905578 iFlogID: 21487

Mastering from $120 per track. 1st track free before committing for new customers. Quality gear, analysed & treated room. Not “el cheapo”, hear the difference. Enquiries ph: 02 98905578 iFlogID: 21475

JBL-6000 watts F.O.H JBL-3000 watts F.B. 24 can light show Professional in every aspect/musician as well Always great rates iFlogID: 22409

Live sound for any band, from folk, jazz, country, to rock and metal. From small pubs and theatres to The Metro. Many years experience. Phone Rick 0243293435 or email spadge301@

100 A4 Gloss only = $40 100 A3 / SRA3 Gloss only = $80 250 SRA3 Gloss only = $150 100 A3 Matt only = $50 MANY more options call 9264 4776 BlackStar Design 104 Bathurst Street Sydney iFlogID: 22605

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

REHEARSAL ROOMS REHEARSAL STUDIOS AT WINDSOR ** 3 Rooms with Vocal PA ** 1 Large Room with fold back ** Open 7 days Contact: 02 4577 9777 iFlogID: 22641

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Get the most out of your songs! Work with Producer/Engineer Sean Carey (ex Thirsty Merc guitarist) a multi-platinum ARIA selling artist with 10+ years recording experience. Work in a postive, creative atmosphere in a classic recording studio - Trackdown Studios at Camperdown. A blend of the best new gear and vintage mics, amps and guitars and Piano for a perfect sound. Sean can Produce, arrange, record, mix and perform on your songs and help you get them to the right places. Very competitive rate. info@seancarey., 0424923888. iFlogID: 22164

MULTIPURPOSE VENUE FOR HIRE NEWTOWN LOCATION Great for meetings, events, functions, rehearsals, performances and group classes! Parking, stage and seating available. Email, call 8006 0363 or call/SMS 0415 123 111 iFlogID: 22509

Want to save BIG? Use a SMALL but completely PROFESSIONAL music studio. Try Hawkesbury Music Studio in beautiful East Kurrajong! (15 minutes north of Windsor) Call James: 0490077658 or HawkesburyMusicStudio iFlogID: 22557

Recording Studio, Parramatta, $40hr casual rate. Audiophile quality. All genres. Also on location. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days. No acoustic kits. iFlogID: 21471

Recording Studio, Parramatta, $40hr casual rate. Audiophile quality. All genres. Also on location. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days. No acoustic kits. iFlogID: 21479

Recording, Mixing and Mastering services Inner West, Sydney Digital Editing, Analogue Tape Recording, Full range of microphones and equipment. Contact Peter Holz: 0437 712 927 iFlogID: 22110


Petersham/ Sydney. Real guitar for committed students in a fully equipped music studio. Learn Jazz, Rock, Blues, Contemporary , Funk, Latin , Gypsy, Folk, Country and other popular styles. Learn at a pace and in a direction you want to go. Beginners to advanced, all aspects of guitar are supported. Comprehensive digital recording available. Special introductory offer and gift vouchers. Contact Craig Corcoran: 0430344334 iFlogID: 22347

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

POSTERS FULL COLOUR POSTERS AT AMAZING PRICES 100 A4 full colour on Gloss only $40 •• 100 A3 full colour on Plain only $50 •• 100 A3 full colour on Gloss only $80 •• More prices visit WWW. BLACKSTAR.COM.AU

Wanna record professionally and impress your mates?, I have the knowledge and a portable-highquality homestudio that will make you sound like a pro, I`ll come to your place! gonzalo. 0405612815




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FREMANTLE RECORDING STUDIOS offering mixdowns under 24 tracks for $150. Recalls $50. Home recordists may benefit from having a quality mix of their work by a professional engineer at a well known recording studio that’s had plenty of Triple J experience. 72 input Toft atb mixing console w/ analog equalizers and compression. Email info(at) au, call 0415 738 155.

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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://


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Piano accompanist available for examinations and performances within Sydney with several years experience. Rates at $80p/h (min half-hour). Phone Gavin: 0479122216 or email muro_

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16 chan A&H Mixwizard DR4800 4 x 15” + horn monitors on 4 sends (2400w) 2 x dbl 15” + horn full range cabs (2600w) 2 x 18” front loaded subs (1200w) FX: LexIcon PCM80, TC M1 Comps: DBX 160x x 2, Drawmer DL241 EQs: DBX2231s Mics: SM57s, 58s, Beta58 wireless, Beta52s, Rode NT5s, AT AE6100s, AT AE5400 vox condenser Tama mic stands Radial DI’s Amps: Quest QA3004s, QSC PLX1804s 12 x Chauvet par 64 LED can light show Light Emotion DMX controller Side of stage stereo mix Very experienced easy going and reliable operator Chris 0431 017 035 From $400 Sydney metro

RECORDING STUDIOS Have you got a song in your head? Music producer/multi-instrumentalist available for singers and songwriters. Real drums, piano & guitars. Email or phone 0425 210 742

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Get your Youtube video ranking fast! Buy 5,000 views delivered in under a week! More views = higher Youtube/ Google ranking! Paypal $20 to with video URL in comments box.

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

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Video sound quality recording, editing, mixing & mastering for film. Video editing full HD. Music arranging / composition & production for film. Voice overs dubbed into video etc. $40 hr. Enquiries ph: 02 98905578

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 email: vangelis2133@


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

THE SQUARE (Live Music Venue) wishes to run more nights per week at our Sydney Central Venue. So if you can stop whingeing long enough about there being “No Venues Anymore” and want to promote a night or just get your band on the bill, Contact us ASAP:

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YAMAHA HS80M Studio Monitor Speakers (PAIR) - Fantastic clarity and definition for your studio. Brand new with warranty - $750.00. BEST PRICE GUARANTEED AT LAMBA! (02)97588888 -


Lights To Party located on Sydney’s northern beaches provide all your sound and lighting hire needs for everything from band lights, uv lighting, special effects, lasers and much more! See or call now on 0433 501 613 for a quote!


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FILM PRODUCTION Music Clips, Live Performances, Promos, Showreels. Let us help you to promote your work or shoot your next gig. $50 per hour for filming and editing. For DVD and online delivery. We also do websites and blogs. A Edit Website Design Film or Make-up www. aeditwebsitedesignfilmor make-up. Phone: 0421 302 045

GUITARS Matts Vintage Guitars - Fender Gibson Martin Rickenbacker Guild Gretsch Vintage and USA Buy-Sell-Trade Ph.0413139-108 www.mattsvintageguitars. com

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. iFlogID: 22531

Session Bass Player Andrew Challoner is available for any recording. Special offer - 1st track FREE for any new clients! Hear the difference a real bass player can make. 0410-625-981

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TUITION AAA EXPERT GUITAR TUITION All levels and most styles including: Fingerstyle guitar, open tunings, slide guitar, flat picking, improvisation, rock, country, blues guitar (acoustic and electric), folk, celtic styles, music theory, arranging, ear training, singing, bluegrass and folk style banjo and mandolin. PHONE JOHN: 0431953178 iFlogID: 22760

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

Book now, visit

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DRUM LESSONS -NORTHERN BEACHES Drum Lessons for beginner to advanced players. Students will learn to read music, develop great technique and play many styles of music. My aim is to build student’s playing ability to be ‘band ready’. Lesson given at my home. $25 half hour. Call Ron McCarthy on 0415364671. iFlogID: 22832

Drum Lessons Sydney. 15+ years teaching experience. Learn exciting grooves, rudiments, hands and feet techniques, stick control, posture, counting, time keeping, fills, reading, co-ordination exercises. claudioking@ - 0415 332 132 iFlogID: 22432

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 iFlogID: 20676

Eastern Suburbs guitar/ukulele/bass/ slide lessons with APRA award winning composer. Highly experienced, great references, unique individually designed lessons from Vaucluse studio. Learn to play exactly what YOU want to play! iFlogID: 16690

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! info@ 0280060363 iFlogID: 22404

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

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@

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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 iFlogID: 22292

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Drum Kit-experience as a Drum Roadie, 20yrs+ playing in more than 10 bands & a Billy Hydes cert.-beginner to advanced, all ages ph.Simon on 0439585121 or sebassodrums@

GUITAR TUITION Guitar Tuition by qualified experienced teacher B MUS Hons Dip Ed, teaching contemporary guitar, theory, technique, improvisation, HSC preparation. Limited places available. Inner West, in your own home or my studio 0405 627 330 iFlogID: 21045


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


LIVE RECORDING.. Pro shot single cam video plus multitrack audio up to 24track. Mastered to DVD, HD youtube files, perfect for showreel, online promotion. $350 or 0411342989 iFlogID: 19797


MUSIC VIDEO PRODUCTION We offer high quality, creative music videos to suit your style & budget. Portfolio of over 30 artists. Seen on MTV, Channel [V], CMC, rage iFlogID: 18477

Inner Sydney. Blues & Roots, Rock & Pop. Learn piano from a professional musician & piano teacher with more than 25 years experience. Individual sessions designed around your musical requirements. Techniques and impro for BLUES, JAZZ, SOUL, FOLK, COUNTRY, ROCK & POP... Don came 2nd place at the International Blues Challenge in 2012, Memphis. Performers and songwriters get your songs to the next level. Sheet music provided. Recordings can be made. Beginners to advanced. 0425 201 870

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

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 0405612815

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Professional all round live/session drummer 30 years experience in the music industry. Covering all styles and topics, teaching from my home studio. Please call Mitch on 0418267827 for rates and times available. iFlogID: 22795

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!, 0405612815 iFlogID: 22487

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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

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 iFlogID: 21465

Mature aged bass player wants work. Bass guitar and/or double bass. 50’s, 60’s, 70’s, 80’s, R+R, Pop, Blues, Country, Jazz. Excellent gear and very experienced. 0403357019 iFlogID: 22737



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

Experienced Drummer/vocalist available for R&R/rockabilly/jazz band. phone Bill on (02) 9807-3137 or eMail:

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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

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, 0405612815 iFlogID: 22507


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Experienced Soul Reggae R’N’B Blues Funk drummer (36yo) available for work preferably in Northern Beaches. Call Michael 0402 549423 email See me playing drums: sydneypollak iFlogID: 22146

20 year old guitar player looking to start Rock N’ Roll band. Influences: Placebo, The Smashing Pumpkins, Joy Division, The Smiths, New Order and NIN. Tom: 0401722767 (18-25). iFlogID: 21079

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

HOSTING SHOPFRONT GIG Large 65m2 space on Oxford St to host a shopfront gig. Perfect for a gig. Any bands musicians are interested contact me 0416 960 673 iFlogID: 22700


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Seeking experienced lead & backing singers, bass, keyboard, sax & trumpet players for REGGAE band in Northern Beaches. Call Michael 0402 549 423 or email

METAL BASS PLAYER WANTED. Playing original dark & heavy metal music. Call Mitchell on 0401620221 or email if interested.

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

BASS PLAYER NEEDED Bass player needed for black keys style band. About to shoot film clip. PR campaign starting. Already getting radio play nationally. Central coast area preferred. Just finished successful tour wanting to tour again. Contact kurt:

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).


B/player wanted for Dio Tribute band. Call Steve 0404 357 319. iFlogID: 22838

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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

SINGER female vocalist looking to form pop rock/alternative band in brisbane with influences from circa survive, versa emerge, tonight alive etc. ton_lili@ iFlogID: 21707

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


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

Bass Player wanted for original Heavy / Hard Core / Punk band. Currently writing set and musical input welcome, easy going dudes. Looking for creativity and energy... Contact Jake 0402539280 iFlogID: 22706

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DRUMMER NEEDED. Drummer needed for a metal based band in Sydney. Influences: Sepultura, FNM, Melvins, Ghost, Neurosis, Black Sabbath, Killing Joke, Wolfs in the throne room, Burning Witch, Slayer, et cetera. Some challenging material included. Mark 0416 551 339

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BASSIST WANTED for established inner west based band. must have own transport, own equipment, professional outlook and love to play LOUD! www. call Dee 0431 317 613 iFlogID: 22806

AUDIO PRODUCTION COURSE, $660 Advertise your gigs the right way! Get professional and creative posters that people will remember. email: nreece. iFlogID: 22787


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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 iFlogID: 22285

IRON MAIDEN COVER SHOW Iron Maiden show searching for a drummer.. We have played gigs & as soon as we fill these positions we intend to push for work. Must have own equipment & transport. We rehearse at Wetherill Park. If interested please email

Full colour posters done same day. Visit and check out our prices. iFlogID: 22661

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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

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 iFlogID: 22363

Rock drummer needed to complete covers/originals rockband. Must have reliable gear and professional attitude. Were Campbelltown based. Call Will 0419 614 313 iFlogID: 22808

Thrash metal / heavy metal band Black Reign require a lead guitarist. Rehearse in Wollongong. 0418 291 465. iFlogID: 22834

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

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

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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. au 02-9950-3977 iFlogID: 22279

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. iFlogID: 22258

VOCALIST WANTED Vocalist wanted for original Heavy / Hard Core / Punk band. Currently writing set and musical input welcome, easy going dudes. Looking for creativity and energy... Contact Jake 0402539280 iFlogID: 22704

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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 HawkesburyMusicStudio

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

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Iron Maiden show searching for a guitarist. We have played gigs & as soon as we fill these positions we intend to push for work. Must have own equipment & transport. We rehearse at Wetherill Park. If interested please email


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GUITARIST Get that great gig by learning how to sing. Learn to harmonize and take the occasional lead with voice lessons from Rosanna Mendez. Mic technique, harmonies, voice technique, theory etc. More at Inner West. 0431 157 622.

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 call 9264 4776 BLACKSTAR DESIGN 104 Bathurst Street Sydney

Prince show requires 2 female backing singers dancing required. Contact Giles 0411 165 235.

TRUMPET Looking for an experienced trumpet player to form a horn section for a Northern Beaches based REGGAE band. Call Michael 0402 549 423 or email iFlogID: 22365

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Bassist wanted for established band. Some influences: Type O Negative, My Dying Bride, Tiamat, Pink Floyd, Sisters Of Mercy. 2nd album in pre-production. Further overseas touring likely in 2014. Must have quality equipment, own transport, availability to tour. SMS or call 0407955353 for more details.


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

What happens when you start paying attention? When you become an active member and start participating in this elusive thing we call life. WWW. WHATISTHEHAPS.COM iFlogID: 17980

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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


Mature Guitar player (hobby) INNER WEST seeks other musicians to jam on cover songs....60’s - 90’s...influences; Ac Dc, The Angels, Billy Idol, John Cougar, ZZ Top etc

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Unopinionated basist who’s not in umpteen other bands required for Sydney’s most pointless garage-psych band. If you’d like to play with a bunch of middle aged losers in the inner west contact Stevie 04155 21179 Pete 04253 52066 Or visit www.thespaced. com to email and check out our shit.


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Learn to play the kaleidoscope way unique colour coded method made simple download your books and stickers and you will learn in no time have heaps of fun as well.

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


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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



Indie Artists Get Your Own Feature Channel Just For Your Band Here!

Drummer needed for a metal based band in Sydney. Influences: Sepultura, FNM, Melvins, Ghost, Neurosis, Black Sabbath, Killing Joke, Wolfs in the throne room, Burning Witch, Slayer, et cetera. Some challenging material included. Mark 0416 551 339

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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



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

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:

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NEED AMAZING ALBUM COVER ARTWORK? Get your record the attention it deserves - turn heads and get listens with artwork by the award winning Wealth & Hellbeing Creative www. iFlogID: 22741

Quality Professional Websites designed and hosted for bands and businesses. Multimedia and Social Integration included from $300. See or contact iFlogID: 21949



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

MERCH R US BAND MERCH A TEAM Merch R Us are the one stop Band Merch solution. 20 years in the biz! Graphic Design & high quality Screen Printing. Fast turn-arounds on 100% cotton shirts are our specialty. Call us first! 02 9531 7752 or drop us a line iFlogID: 22826

WEBSITES FROM $450! Express your artistry and/ or showcase your band with a custom designed website. FAST, SIMPLE, AFFORDABLE, LIFETIME SUPPORT AND UPDATES. Contact Jake 0449 053 509 iFlogID: 22068

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Drum Media Sydney Issue 1172  

Drum Media is a Sydney icon. The people behind Drum virtually invented what has come to be known as street press. For over 15 years, Drum ha...

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