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www.themusic.com.au
Enrol Gig Compose Collaborate Record Launch Tour Get signed What will your creative future look like?
Start JUNE 2012
Degrees and Diplomas in Music, Audio Engineering, Entertainment Business Management, 3D Animation, Game Design and Film and Television Production. Launch your creative journey through collaboration, education and training at JMC Academy.
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THE DRUM MEDIA • 3
THE BANDS THE INDUSTRY THE LOCALS THE ENCORES THE DJS THE GIGS THE PRODUCERS THE CLUBS THE REMIXES THE ARTISTS THE FESTIVALS THE GROUPIES THE ALBUMS THE TOURS THE FANS
LIVE NOW! 4 • THE DRUM MEDIA
WITH SPECIAL GUEST
BUTTERFLY BOUCHER
FRIDAY JUNE 8 YORK THEATRE SEYMOUR CENTRE TICKETS ON SALE WEDNESDAY MAY 2 Tickets available from sydney.edu.au/seymour or 9351 7940 OUT NOW | NEW ALBUM
COMING JUNE 1
www.missyhiggins.com
THE DRUM MEDIA • 5
WULSOH M FKDQQHO Y DQG JROGHQ HUD SUHVHQWV
VDWXUGD\ WK DXJXVW HORDERN PAVILION
LICENSED / ALL AGES
VXSSRUWHG E\ KRUURUVKRZ EULJJV WLFNHWV RQ VDOH QRZ
6 • THE DRUM MEDIA
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THE DRUM MEDIA • 7
NICHE PRODUCTIONS PRESENTS
THE BAMBOOS MEDICINE MAN NATIONAL TOUR
SYDNEY
BYRON BAY
Tickets on sale now through metrotheatre.com.au
Tickets on sale now through oztix.com.au
FRIDAY THURSDAY 22ND JUNE 28TH JUNE THE THE GREAT METRO NORTHERN The Basement
THE BAMBOOS NEW ALBUM MEDICINE MAN RELEASED JUNE 1ST
Book now on 9251 2797 9-1am Featuring Sydney’s best musicians
THEBAMBOOS.COM • FACEBOOK.COM/THEBAMBOOS • NICHEPRODUCTIONS.COM.AU
Y B R E D R E L L O G R LEA UE
SYDNEY
Ride On Theatre’s
THE STORY OF
Mary MacLane BY HERSELF
S V S N I S S A S S A E H T REST OF NSW
THE BEST OF THE
2 1 Y A M
E K SPORTS CENTPRM R A P IC P M LY O T5 SYDNEY 0PM, FIRST BOU :3 4 N E P O S R O DO
TICKETS $19.50* FROM TICKETDIRECT.COM.AU * BOOKING FEES WILL APPLY
FOR MORE INFO: WWW.SYDNEYROLLERDERBY.COM FOLLOW US ON WWW.FACEBOOK.COM/SYDNEYROLLERDERBYLEAGUE PROUDLY SPONSORED BY:
8 • THE DRUM MEDIA
BELINDA JONES & ASSOCIATES MABUZI AUDIO TECHNICA SYDNEY DERBY SKATES GALLERY SERPENTINE
Wollongong City Council is the major funding partner of Merrigong Theatre Co.
WITH SPECIAL GUESTS
FRIDAY 1 JUNE • HORDERN PAVILION TICKETEK.COM.AU
SUNDAY 3 JUNE • NEWCASTLE, PANTHERS MOSHTIX.COM.AU
WEDNESDAY 6 JUNE • WOLLONGONG, UNIHALL BIGTIX.COM.AU OZTIX.COM.AU
ON SALE NOW! frontiertouring.com simpleplan.com
THE ALBUM ‘GET YOUR HEART ON!’ OUT NOW THE DRUM MEDIA • 9
th f e or ha m rperl hoy te
l
900 PRINCES HIGHWAY, TEMPE PH: 9559 6300 www.valvebar.com.au WED 2ND 7PM THURS 3RD 7PM
“CAVALCADE”
PUNK/CORE/INDIE SHOW WITH SUPPORT FROM: “THE VIRTUE”, “UNCORRECTED”, “WITH SKIES BELOW”
“KORANIC”
PSYCHE/FUNK/JAZZ SHOW WITH SUPPORT FROM: “THE SHIPS”, “BIN JUICE”, “CURIOUS TEMPLE”, “BEATEN BODIES”
FRI 4TH 7PM
“DEAD SILENCE”
SAT 5TH 7PM
SWARM INDUSTRIES PRESENTS:
SUN 6TH 12PM SUN 6TH 4PM
HARD ROCK SHOW WITH SUPPORT FROM: “DELAWAREWOLVES”, “ONE NIGHT IN PARIS”
CHRIS LIBERATOR AND STERLING MOSS (UK) 100% LIVE SET IN UNDERGROUND PARTY NOT TO BE MISSED! SUPPORTED BY DIGITAL WHAX (MELB), ORION (BYRON BAY), THE HONEYMAKERS, MIKE BIG FX, $MONEY, RAINE SUPREME; EYE CANDY BY DISLA SYSTEM RUMBLE RED LETTER DAY MANAGEMENT PRESENTS:
SUNDAY STAMPEDE
FEAT: “MASKETTA FALL”, “EXIT ROW”, “BABY GRAND”, “MY LASTING REPLY”, “WE SAVED THE PARTY”
“REMMOSK”
SOUNDCLOUD SHOWCASE WITH SUPPORT FROM “PREZENCE” AND MANY MORE
COMING UP: Wed 9 May: Hardcore Punk Show with “Lukkey Haggard Vibes” and many more ; Thu 10 May: Bangkok Orphanage Fundraiser Show with Priscilla ; Fri 11 May: Metal Show feat: “Beyond Terror Beyond Grace’ Album Release with support form “Norse” , “Katabasis” , “Myraeth” , “Rise Of Avernus” ; Sat 12 May: DJ S.H.E. and David present: Sanctuary Reunion ; Sun 13 May: 1pm: Red Letter Day Management presents Global Battle Of The Bands - Sydney Heat ; 5pm: Rock Show with “62nd Strike” , “Rowling Stones” , “Physicall Graffiti” and guests.
For band bookings please email valvebar@gmail.com
Bistro open Lunch and Dinner !!
Tues Wed Thurs 3 May Fri 4 May
TRIVIA WITH KEVIN $500 PRIZE POOL
Weekly Jackpot 7.30pm
Winter Warmer Open Mic Night 7.30pm
BYO Instruments (PA Provided) Rock up to play
OPEN MIC NIGHT
THE BLAND + THE SAHARA SOUND
10 • THE DRUM MEDIA
with Mayday Dreamers + Hurricane Fighter Plane (WA) + DJ’s SATURDAY 5TH MAY
Mods Mayday
Featuring The Chords (UK)
ELEVEN:ELEVEN Sat 5 May + AVAINE For Bookings
FRIDAY 4TH MAY
7pm FREE 7.30pm FREE
WEDNESDAY 9TH MAY
Tim Chaisson (Canada) + Morgan Joanel
FRIDAY 11TH MAY
Abby Dobson + guests
7.30pm FREE
james@thelaunchsquad.com.au | www.thelaunchsquad.com.au
THURSDAY 17TH MAY
Jess Harlan + LISSA + Anthony Ousback
Fri 18/05 Stone Monks CD launch Sat 19/05 Liz Martin + guests Sat 26/05 Petulant Frenzy Play Zappa Fri 1/06 Little Wolf Fri 25/05 The Hang + guests Sat 2/06 Zoe Keating (US) Mon 4/06 Band For Bears Fri 8/06 The Secret City CD launch Sat 9/06 Tangled Up In Bob Sun 10/06 Matt Morrison CD Launch Tues 12/06 Harry Manx (US)
THE DRUM MEDIA • 11
COMING SOON WEDNESDAY 2ND MAY
Wednesday 9 May
THE WOOHOO REVUE PRESENT:
THE MORELAND’S BALL
Frog Fest Thursday 10 May Marshall Okell Friday 11 May Dragon
THURSDAY 3RD MAY
KIM CHURCHILL + Microwave Jenny + Benjalu
Saturday 12 May Abby Dobson Sunday 13 May Greg Attwells Wednesday 16 May The Blues Caravan
FRIDAY 4TH MAY
Friday 18 May
THE FLOOD
Chase The Sun Saturday 19 May Luke O’Shea
+ Jeremy Edwards and the Dust Radio Band
Sunday 20 May
SATURDAY 5TH MAY
MENTAL AS ANYTHING + Firetree
SUNDAY 6TH MAY
Paul Greene Wednesday 23 May Tiger Town Thursday 24 May Clairy Browne Friday 25 May Tim Freedman Saturday 26 May
HAT FITZ & CARA ROBINSON + Jackie Rainey (Ireland) + Steve Smyth MONDAY 7TH MAY
STEVE POLTZ (USA)
+ Anthony Hughes
Tim Freedman Wednesday 30 May Tiger Town Thursday 31 May Lionheir (Paul Appelkamp) Friday 1 June Camille and Stuie Sunday 3 June Holland Friday 8 June Diesel
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12 • THE DRUM MEDIA
$1
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Supported by:
THE DRUM MEDIA • 13
WEDNESDAY 2 8.00PM FREE (FRONT BAR) THURSDAY 3 8.00PM FREE (FRONT BAR) FRIDAY 4 7.30PM $10.00(PRE) $15.00(DOOR) SATURDAY 5 8.00PM $10.00(PRE) $15.00(DOOR) THURSDAY 10 7.00PM $10.00(DOOR) FRIDAY 11 8.00PM $12.00(PRE) $15.00(DOOR) SATURDAY 12 8.00PM $15.00(DOOR)
MUSO’S JAM THEY CALL ME BRUCE TANGLED THOUGHTS OF LEAVING + MENISCUS + HAWKMOTH + ADRIFT FOR DAYS + NIHILORE
HEIRS
+ AT DARK + THE VEIL + FORENZICS
MANNEQUINS
+ THE GIVE + BEC & BEN + THE MAZE
OUR LAST ENEMY (ALBUM LAUNCH) + DARKER HALF + HORRORWOOD MANNEQUINS
MINUS HOUSE (MELB) + ANUBIS + MISH + APE BC
COMING SOON: BITTER END (USA) CASCADE EVIL INVADERS IV
‘GOBOOKEM.COM’
CNR OF GEORGE + SWANSON ST
ERSKINEVILLE 3 DOORS FROM THE RAILWAY STATION
P 9565 1441 ROSEOFAUST@BIGPOND.COM
FRI 4TH MAY
JOHN KENNEDY
9PM
FRI 11TH MAY
TERRY SERIO’S
MINISTRY OF TRUTH 9PM Terry Serio's Ministry of Truth began in a Surry Hills, with their current sound and lineup established early in 2010. Jon Schofield on guitar, mando and accordion. Jason Burec rock steady on drums, the Kaldor brothers, John (pedal steel) and Peter (bass), with Terry and in violinist Kathryn Brownhill the most recent touch of textural colour. The band play gorgeous and gritty australian urban roots music: tall tales and true that draw their musical and lyrical inspiration from authentic roots country styles and themes with discernible influences from the likes of Hank Williams, Lou Reed and Gillian Welch.
FRI 18TH MAY 9PM
Noted Elvis fan, ABC Radio's Richard Glover, described John Kennedy's Sons of Sun VOL1 CD as "BETTER THAN ELVIS". Released in Sept 2011 SoS VOL1 found Kennedy paying tribute to those artists who started their careers at Sun Studio in Memphis where they created rock and roll. John Kennedy's 68 Comeback Special now launch the second CD in the series, Sons of Sun VOL2 at the Rose of Australia. The new VOL2 CD contains more Roy Orbison, Johnny Cash and of course, Elvis.
14 • THE DRUM MEDIA
THE
FLAMING STARS
Drew & Greg Dean (The Comets, Guitar & Keys), Andrew Travers (Andy 500, drums), Greg Marshall (The Barstuds, double bass) The Flaming Stars cover all aspects of 50’s music and the fun side of the 60’s, playing classic (and some lesser known but no less groovy) Rock ‘n’ Roll, Swing, Rhythm and Blues, DooWop, Bossa Nova, Pop and Jazz.
AUSTRALIAN TOUR 2012 SPECIAL GUESTS
DEEP SEA ARCADE LOON LAKE
/1 Ê£xÊ 9ÊUÊ/ Ê 18+ THEHIFI.COM.AU PH: 1300 THE HIFI
ON SALE NOW “ON THE RUN”, THE BRAND NEW KAISER CHIEFS SINGLE OUT NOW!
FRONTIERTOURING.COM KAISERCHIEFS.COM
Less travel time...
...more party time
Going to Splendour? Fly direct. Over 24 flights a day from Sydney direct to Gold Coast Airport, means you’ll spend less time travelling and more time enjoying the party. 12109
Fly with Jetstar, Virgin Australia or Tiger Airways direct to Gold Coast Airport.
THE DRUM MEDIA • 15
O UNTI PEN FRID L 3AM SATU AYS & RDAY S
LIVE 16 CROSS ST BAR DOUBLE BAY
GRILL TAPAS T APA
BOOKINGS
A AND ND COCKTAILS
9328 4411
WWW.BLUEBEAT.COM.AU
THURSDAY 3 MAY
GAIL PAGE
Gail has been one of the very best performers on The Voice, she absolutely laid waste to the others with her killin’ version of Gonna Put a Spell On You. She’s blessed with a classic soul and blues voice right outta the ol’school, equal parts church and bar-room. She reminds us of alltime greats like Etta James, Aretha Franklin, Wendy Saddington and Janis Joplin. Tonight is a chance to hear her live on stage with an all star band including Rob Woolf, Declan Kelly and James Haselwood, some of the most in-demand players in Sydney. Gail has won numerous awards for Best Vocalist, Best Blues Artist, Best Blues Album and more. Now hear why.
COOGE E FRI MAY 25
CASH
SAVAGE
& THE LAST DRINKS
+ KIRA PIRU & THE BRUISE
TRIPLE SHOT OF ORIGINAL ROCK SAT MAY 26
The Tonie Christian Band (CD LAUNCH) + CROWSFEAT SAT JUNE 16
FRIDAY 4 MAY
DIG PRODUCTIONS PRESENT
Crowsfeat + The Sahara Sound + The Adaptors Band Bookings
SCOTT, RICK, TIM AND ALEX FROM DIRECTIONS IN GROOVE PLUS GUESTS LAURA STITT AND LILY DIOR AND DRUMMER IAN MUSSINGTON (UK)
info@codeone.net.au - www.codeone.net.au
Tickets & info from www.coogeediggers.com.au
COOGEE DIGGERS 9665 4466 CORNER BYRON & CARR STREETS
Re-inventing the best of Directions in Groove and Eon Beats plus a brand new bag of jazzsoulfunk classics by Maceo, The Meters and more. A taste of the early 90s vibe when Dig, Incognito and Brand New Heavies were the happening sound, when the groove was king and Sydney was gettin’ down to funky jazz.
USE ME.
SONIC MAYHEM ORCHESTRA
MONDAY 7 MAY AND EVERY MONDAY WITH SPECIAL GUEST TRISH DELANEY-BROWN
Spectacular 11-piece band, plus guests, followed by a free-wheeling jam session, every week. Tonight’s guest TRISH DELANEY-BROWN was co-founder of ARIA-winning jazz vocal quartet The Idea of North, sang with them for 15 years and released six albums with them. SMO is James Ryan (tenor, baritone, flute), Aaron Michael (flute, soprano, alto, tenor), Paul Cutlan (baritone, bass clarinet, clarinet), Martin Kay (alto, clarinet), Warwick Alder, Simon Ferenci and Angus Gomm (trumpets), Dave Panichi (trombone), Greg Coffin (piano), Gordon Rytmeister (drums) and Karl Dunnicliff (bass). Rockin the room from 9pm, loud and live til very, very late. Only ten bucks to get in.
$12 STEAK & ALE DEAL
TUE-FRI 12-3PM -/.
THURSDAY 10 MAY
SENANI
Recently releasing the first single, Voodoo Girl, from her new album ‘Infinity’, soulfunk fusion songstress Senani brings together a mix of sensual popsoul and exotic elements from her Sri Lankan roots, with a wicked band of Australia’s elite musicians including tabla maestro Bobby Singh, sitarist Scott Benning, keyboardists Beau Golden (Jade Macrae, Stan Walker) and Fenix Martinez (Jessica Mauboy, the Martinez Brothers), guitarist Eric Rasmussen (Human Nature, Marcia Hines), drummer Stephen Lamante (Fantine Brothers) with the hip hop sounds of DJ Alex Svetlov.
COMING SOON
TIX ON SALE NOW - SEE WEBSITE FOR MORE
GANG OF BROTHERS - FRI 11 MAY JON STEVENS - THUR 17 MAY BLAXPLOITATION #2 - SAT 19 MAY FROM MELBOURNE INTERNATIONAL JAZZ FESTIVAL, CHRIS POTTER (USA) WITH THE JAZZGROOVE MOTHERSHIP ORCHESTRA - MON 4 JUNE SAMUEL YIRGA - SAT 9 JUNE KITCHEN OPEN LATE FRIS AND SATS
DELICIOUS LATE NIGHT TAPAS
4/
&2)
45% 7%$ 4(5 &2)
RIOT HOUSE COMEDY TUESDAY’S
$5 PINTS
$5 PINTS @ 5PM -7PM
RIOT HOUSE COMEDY SLIDERS & CIDERS $15: 2 SLIDERS & BULMERS SCHOONERS GET SCHNIT FACED
$10 Chicken SCHNITZEL, $12 PARMI’S
DJ’S FROM 5PM
$5 SPIRITS, $10 COCKTAILS FROM 7PM
3!4
DJ’S FROM 10PM
$5 SPIRITS, $10 COCKTAILS FROM 9PM 16 • THE DRUM MEDIA
THE DRUM MEDIA • 17
GIVEAWAYS
30
THE SANDRINGHAM HOTEL 387 KING STREET NEWTOWN / 9557 1254 S YEAR WWW.SANDO.COM.AU BOOKINGSCONTACT SANDO@ATOMICDROP.COM.AU WWW.MYSPACE.COM/THESANDRINGHAMHOTEL
MICHELE MADDEN (TOURETTES/MELDRUM) + FOO FOO FA NOO (GANA AND SCOTTY)
$10
THU 3 MAY
"ANDY GOLLEDGE PRESENTS…"
A GATHERING OF THE BEST SINGER SONGWRITERS IN SYDNEY FRI 4 MAY
BLIND VALLEY + THE PARTICLES + THE VENUSIANS + UNCLE BOB TOUCHED ME
+ ASHLEIGH MANNIX + RICK STEWARD $10 PRE-SALE / $15 DOOR SALE ***TICKETS ON SALE NOW WWW.OZTIX.COM.AU ***
$10
THE EXPERIMENTALS
BUNT AND SPECIAL GUESTS EVERY MON
SANDO SKETCH CLUB ***FREE ENTRY***
EVERY TUES
“THE SONGWRITER SESSIONS” ***FREE ENTRY***
COMING SOON WED 9 MAY ---
COREDEA + TTF + ELEPHANT + MAXWELL STONE + HATEMAIL
FRI 11 MAY ---
GUNFACE + BURN ANTARES + PAPERCRANE + THE BELLE HAVENS
"THE PLATFORM" NJE & DJ RILEY JM + MORE
R.U.S.T. + TOPNOVIL + THE BLAZIN' ENTRAILS (WA)
FRI 18 MAY ---
PAUL COLLINS (USA)
SAT 19 MAY ---
*** WWW.MOSHTIX.COM.AU & WWW.ZOMBIEDOGENTERTAINMENT.COM ***
LAPALUX (BRAINFEEDER/UK) + O OO (TRI ANGLE/USA) O O *** WWW.MOSHTIX.COM.AU ***
FRI 22 JUN ---
KRISS HADES + TRIBUTE TO BLACK SABBATH
+ ART SHOW
STREET LEVEL BAR WED 2 MAY ---
*** WWW.MOSHTIX.COM.AU ***
OLD MAN CROW
+ $3 SCHOONERS OF SANDO LAGER
THU 3 MAY --FRI 4 MAY --SAT 5 MAY --SUN 6 MAY --MON 7 MAY --TUE 8 MAY ---
JOHNATHAN DEVOY + SPECIAL GUESTS VIDEO JUKE BOX MICK O’SHEA & FRIENDS THE ROCKWELLS UNHERD OPEN MIC ADAM PRINGLE AND FRIENDS – FUNKY AS F#CK + TOOHEYS $6 NEW JUGS (7-8PM)
----------------DJ’S BISTRO----------------OPEN 7 DAYS SERVING GREAT PUB FOOD ALL NIGHT
18 • THE DRUM MEDIA
CALLING ALL CARS DO ANNANDALE
Currently on their national tour, Calling All Cars return to Sydney this Friday to play the Annandale Hotel, with supporting guests Strangers and Arts Marshall. We have three double passes to the show to give away.
FOR MORE GIVEAWAYS THIS WEEK HEAD TO FACEBOOK.COM/DRUMMEDIA AND CLICK ON THE GIVEAWAYS TAB
DRUM MEDIA
("SOUND PAINTER" ALBUM LAUNCH)
I-94 BAR PRESENTS
Saturday 26 through to Monday 28 May, the Sydney Convention & Exhibition Centre is hosting Song Summit, three days of workshops and sessions designed to help budding songwriters and professionals alike the opportunity to learn more and how to take your songs to the world courtesy the insights and experience of songwriters including Neil Finn, Imogen Heap and many,
Touring their third album, Given To The Wild, all distorted pop, psychedelia and soulful guitar wigouts, as one reviewer described it, UK guitar band The Maccabees are hitting the Metro Theatre Thursday 10 May and we have one double pass to the show to give away, though you must be over 18 to attend.
T H E D R U M M E D I A I S S U E 1 1 0 8 T U E S D AY 1 M AY 2 0 1 2
DALLAS FRASCA SUN 6 MAY
RELEASE THE SONG IN YOU
$10
SAT 5 MAY
SAT 26 MAY ---
METRO MACCABEES
$10
WED 2 MAY
SAT 12 MAY ---
many more. We have one double three-day delegate pass to give away if you’re serious about wanting to learn how to release the song in you.
NEIL FINN
Giveaways – Check it out for free stuff and head to Facebook for more! 18 The Front Line hits hard with industry fact and conjecture, plus Backlash and Frontlash. 20 Foreword Line – the latest news on tours, releases and more. 22 It wasn’t sex and drugs that fuelled the recording of Django Django’s debut album, but ice cream. 28 Mount Kimbie assures Drum they have new horizons to explore. 30 Fu Manchu say they’re a straight-ahead rock band and that’s the way they like it. 31 Using motherhood as inspiration, Bic Runga continues after her well-earned break from music. 32 Bearhug like to take things pretty casually, even the way they come up with their new album name. 33 When crowdsurfing goes wrong. Calling All Cars’ Haydn Ing recalls his BDO disaster. 34 Fear is driving The Darkness. 35 “We haven’t really found the sound yet, we’re working through it.” Says vocalist Dez Fafara of DevilDriver. 36 Orbital are determined to create something even more memorable next time round. 36 “It all happened very quickly,” says Husky about their success. 38 Few believed that Sick Of It All would last 25 years. 38 Capturing the happier moments in Liz Stringer’s life in album number four. 40 New songs have evolved from thoughts and travel and now The Maple Trail headspace is clear again. 40 A ‘60s child through and through. John Kennedy takes us through his love of early rock’n’roll. 40 On The Record reviews new release albums and singles from Catcall, Silversun Pickups, Damon Albarn and more. 42 Chris Maric gets local with hard rock and metal in The Heavy Shit. 44 PUBLISHER Street Press Australia Pty Ltd GROUP MANAGING EDITOR Andrew Mast EDITOR Mark Neilsen ASSOCIATE EDITORS Michael Smith, Scott Fitzsimons FRONT ROW EDITOR Cassandra Fumi frontrow@drummedia.com.au CONTRIBUTING EDITOR Adam Curley CONTRIBUTORS Aarom Wilson, Adam Wilding, Alex Hardy, Amber McCormick, Anita Connors, Anthony Carew, Bethany Small, Brendan Crabb, Brent Balinski, Bryget Chrisfield, Celline Narinli, Chris Familton, Chris Maric, Craig Pearce, Cyclone, Dan Condon, Danielle O’Donohue, Dave Drayton, Fiona Cameron, Gloria Lewis, Guy Davis, Helen Lear, Huwston, Ian Barr, Jake Millar, Jamelle Wells, James d’Apice, James Dawson, James McGalliard, Jessie Hunt, Katie Benson, Kris Swales, Liz Galinovic, Liz Giuffre, Lucia Osborne-Crowley, Mark Hebblewhite, Paul Smith, Paz, Pedro Manoy, Rip Nicholson, Rob Townsend, Robbie Lowe, Ross Clelland, Rod Hunt, Sarah Petchell, Sebastian Skeet, Sevana Ohandjanian, Shane O’Donohue, Steve Bell, Stuart Evans, Tim Finney, Tom Hawking, Troy Mutton PHOTOGRAPHERS Angela Padovan, Carine Thevenau, Chaz Webb, Cybele Malinowski, Josh Groom, Justin Malinowski, Kane Hibberd, Linda Heller-Salvador, Luke Eaton, Rod Hunt, Tony Mott ADVERTISING DEPT sales@drummedia.com.au
themusic.com.au
Sarah Petchell brings us local and international punk news in Wake The Dead. Tom Hawking sends us a snapshot of life in the Big Apple with New York Conversation. Robbie Lowe gives you a dose of music that makes him tick with Lowerider’s house, progressive and techno vibes. Viktor Krum asks you to Get It Together with the latest in hip hop. Dave Drayton gets Young & Restless with all ages goings on. Adam Curley muses on all things pop culture The Breakdown. Cyclone gives you urban and r’n’b news in OG Flavas. Michael Smith delivers some Blow with jazz and world music news. Go south as you enter Pedro Manoy’s Swamp Shack. Dan Condon features the world of blues and roots with Roots Down.
44 45 45 46 46 46 46 47 47 47
FRONT ROW
Jake Millar chats to New York street artist Craig “KR” Costello, PS3 game Twisted Metal reviewed and Bethany Small will Make You Look. 48 Dave Drayton chats to Fayssal Bazzi about Belvoir’s new show, Food Cultural Cringe focuses on Critical Stage and more from Jay and Silent Bob, Henry Rollins and Simon Amstell. 49 Delicacy are reviewed and we chat to Kate Baker whose new exhibition is just about wanting people to feel like they’re dancing. 50
LIVE
It’s all here: gig reviews, tour guide, what’s happening this week, gig guide, random shit and more. 51 Backstage and BTL – your guide to studios, recording, gear, courses and more. 62 The Classies – brought to you via iflog.com.au. 65 Brett Dayman, James Seeney, Andrew Lilley iflog.com.au
CLASSIFIEDS
ART DEPT artwork@drummedia.com.au Dave Harvey, Matt Davis COVER DESIGN Dave Harvey ACCOUNTS DEPT accounts@streetpress.com.au GIVEAWAYS/GIG GUIDE Justine Lynch THE DRIVERS Grant, David, Julian, Ray, Paul, Al, Mark PRINTING Rural Press (02) 4570 4444 DISTRIBUTION distro@drummedia.com.au SUBSCRIPTIONS Subscriptions are $2.20 per week (Minimum of 12 weeks) – Send your details with payment to Subscriptions Dept, The Drum Media, PO Box 2440 Strawberry Hills NSW 2012 (cheques/money orders to be made payable to Dharma Media Pty Ltd) ADDRESS Postal: PO Box 2440 Strawberry Hills NSW 2012 Street: Level 1/142 Chalmers St Surry Hills NSW 2010 Phone (02) 9331 7077 Fax (02) 9331 2633 Email info@drummedia.com.au www.themusic.com.au The Drum Media is also available on iPad via the iTunes App Store
LEVEL 1, 354 BOURKE ST. SURRY HILLS ST PLEASURES
LIFE’S GREATE
AND MUSIC GREAT FOOD LIZOTTE’S SYDNEY O OF MARRYING TW
BUY NOW AT RICKI-LEE
WED 30 MAY
02 9984 9933 AWARDED BEST ENTERTAINMENT RESTAURANT IN SYDNEY
02 MAY
03 MAY 04 MAY
05 MAY 09 MAY
10 MAY 12 MAY 13 MAY
Drum Media & Lizotte’s presents Live and Local Brian Cadd & Russell Morris Liam Burrows & His 6 Piece Band Hat Fitz & Cara Robinson Drum Media & Lizotte’s presents Live and Local Jimmy Barnes –SOLD OUT! Ruby Revue Mothers Day Lunch W O N N PE with Emma Pask O
RICKI-LEE
'DO IT LIKE THAT' LIVE DOORS OPEN 6PM. FREE ENTRY ALL NIGHT. SIETTA
MRS BISHOP, ANABELLE KAY DJ: KRISTY LEE POLAR NATION
03 MAY 04 MAY 05 MAY
06 MAY 08 MAY 09 MAY
11 MAY 12 MAY 13 MAY
SALOONS, KOOL THING DJ: KRISTY LEE
SASKWATCH
AWARDED BEST ENTERTAINMENT RESTAURANT IN AUSTRALIA 02 MAY 03 MAY 04 MAY 06 MAY 7&8 MAY 09 MAY 10 MAY
11 MAY 12 MAY 13 MAY
Lizotte’s presents Live and Local Hat Fitz & Cara Robinson Daniel Champagne James D Smith Jimmy Barnes Bic Runga Macquarie College Performing Arts Program The Ruby Revue Liam Burrows & His 6 Piece Band Mother’s Day Lunch. A Date With Effie
Calling all artists for Live and Locals! Contact events@lizottes.com.au Lizotte’s Sydney 629 Pittwater Rd Dee Why
Lizotte’s Central Coast Lot 3 Avoca Dr Kincumber
Lizotte’s Newcastle 31 Morehead St Lambton
w w w . l i z o t t e s . c o m . a u
FRI 11 MAY
SASKWATCH
TAYLOR AND THE MAKERS, KATE GOGARTY DJ: PHDJ MESSRS
SAT 12 MAY
MESSRS
THE WALKING WHO, SMOKE AND SILVER DJ: F.R.I.E.N.D/S
LIZOTTE’S NEWCASTLE 02 4956 2066
SAT 5 MAY
POLAR NATION
02 4368 2017
Lizotte’s presents Live and Local Daniel Champagne Hat Fitz & Cara Robinson Liam Burrows & His 6 Piece Band Steve Poltz Bic Runga Lizotte’s presents Live and Local Nick Rheinberger A Date With Effie Mother’s Day Lunch With Katrina Burgoyne
FRI 4 MAY
SIETTA
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THE
FRONT LINE
NEW SPLENDOUR VENUE APPROVED FOR TRIAL PERIOD Byron Bay’s North Byron Parklands site, which Splendour In The Grass will now move to next year, has been approved by the Planning and Assessment Commission [PAC] following a drawn out process of debate and approval. Last week the PAC gave permission for the grounds to host events during a five year trial period, up to the end of 2017. Three events per year will be permitted, none of which are to run longer that four days and there will be a maximum of ten days across the whole year. The capacity of each event will be allowed to grow each year with events in the first year allowed 25,000, 15,000 and 10,000 patrons for the large, medium and small trial events respectively. The site is 258.71 hectares big, with 93.29 hectares to be used for
INDUSTRY NEWS WITH SCOTT FITZSIMONS frontline@streetpress.com.au
events – 63 percent of the grounds have therefore been set aside as protected vegetation areas. In their approval the PAC wrote, “the Commission agrees with the Director-General of the Department of Planning’s assessment that the proposal will provide Byron Shire with a permanent cultural events site attracting visitors to the area and generating much needed employment, as well as providing environmental benefits arising from revegetation”. Splendour In The Grass will move to the grounds in 2013, after being held at Belongil Fields again this year. Mat Morris, General Manager of North Byron Parklands, admitted that the proposal had been changed a number of times throughout the approval process – they had hoped for more than three events a year initially. “It has been a long journey, we are pleased to finally gain approval,” Morris said. Splendour In The Grass co-producer Jessica Ducrou said that Splendour would now be permanently based in Byron Bay. MAT MORRIS, GENERAL MANAGER OF NORTH BYRON PARKLANDS, ON THE APPROVED SITE
ROADRUNNER RECORDS DOWNSIZE: AUSTRALIAN OFFICE UNDER THREAT?
A massive restructure from the iconic Roadrunner Records will reportedly see the closure of a number of offices around the world, resulting in major layoffs. The downsizing comes with the resignation of founder and CEO Cees Wessels. Billboard reported that approximately 36 staff members from around the world were let go last week, including 16 in the United States, which could be the only region where the label, a seminal name in successful rock and metal releases, will continue as a standalone. Staff who survived the chop are likely to become part of parent label Warner’s staff and carry on functions for the label there. As a result, Roadrunner may continue to have staff working on the label in every territory except the Netherlands, where Wessels founded the label in 1980. However Rock Sins are reporting that the majority of staff in the UK office have been retrenched and that they’ve heard the Canadian office will be shut. A representative from Roadrunner’s Australian office, located in Melbourne, declined to comment to The Front Line and Warner did not respond to our calls.
SPLENDOUR SELLS OUT IN RECORD TIME
After something of a quieter year in 2011, the sold out sign once again adorn the website of Splendour In The Grass as all tickets for the event were snapped up in just 43 minutes last week. The festival is reporting this as the fastest sell out in its 11 year history. The festival, which this year is headlined by Jack White, Bloc Party and the Smashing Pumpkins, has moved back to the lower capacity Belongil Fields in Byron Bay and dropped its ticket price since last year’s event, two factors which may well have contributed heavily to the sell out. Three day event passes, Saturday festival tickets and weekend camping passes were first to go, with Sunday close behind and Friday single-day tickets selling out last.
THE SUNNYBOYS ‘WILLING’ TO PERFORM AGAIN
Seminal Australian post-punk act The Sunnyboys may play again following their appearance at the Dig It Up! run of shows. The Hoodoo Gurus-curated event was held across multiple venues in Melbourne and Sydney, where it had expanded line-ups, and on single stages in Brisbane, Adelaide and Perth. Last week the festival’s promoter, Tim Pittman of Feel Presents, told Your Daily SPA that not-so-surprise guests (they were added to
Sydney’s event as Kids In Dust) The Sunnyboys, who broke a 14-year hibernation to appear, may play again. “As for playing again, there hasn’t been that discussion, but there’s some willingness there. No one could have quite known how it was going to happen, until it happened,” he said. “It was so mind-blowingly and overwhelmingly good that I think they’re considering it.” For anything beyond that, such as recording, he said, “I can’t see that happening in the immediate future”. Pittman was quite ill throughout the event and said, “My enjoyment has been reduced because of sickness, but people keep telling me that it’s been great.” Crowd numbers were, “Certainly where they need to be, but there’s room for a bit more.” The multi-room full line-up events in Melbourne and Sydney have been just ten percent below capacity, whereas the Brisbane leg, which has a smaller line-up, sold out in three days. “When you break out of that $70 bracket, people start to be more hesitant... It’s the nature of the audience that they never take to new ideas too quickly... but that’s allowed for,” he said. Having had such a strong year, he believes Dig It Up! is in a strong position to return next year. “I certainly do [think it will be back]. Quite how we do it, I’m not entirely sure.” He hopes that once again, it can be curated by an artist like the Hoodoo Gurus. “I’d like to, I enjoy doing things that way... I think the Hoodoo Gurus were the perfect host, they’re a melting pot of great acts.”
JACK WHITE LATEST ONE DIRECTION VICTIM
US alt.rocker Jack White’s highly anticipated solo debut has entered the Australian charts at number two, unable to dislodge boyband-of-the-year One Direction from the top spot. However, White’s Blunderbuss album did manage to nudge One Direction’s Up All Night from the top of the ARIA Digital Album Chart. Damien Leith’s Traveling Wilburys tribute album Now And Then was the next highest entry for the week, being the highest local debut at 12. Melbourne band Children Collide made the next highest showing in the local stakes, their Monument set entering at 16. Their previous album Theory Of Everything peaked at number five in 2010. Rounding out the week’s new entries were Birdy’s self-titled debut at 29 and Rufus Wainwright’s Out Of The Game at 38. Last week’s One Direction victim Kate Miller-Heidke experienced only a slight drop to five from last week’s debut position of two with Nightflight. While Cold Chisel, who suffered at the boy band’s hands the week before, find their No Plans set dipping to eight. Internationally, Australia’s Gotye celebrates a second week at number one on the US Hot 100 this week with Somebody That I Used To Know. Not far behind is another local, as Sia’s Wild Ones – a collaboration with Flo Rida – remains at number six. Sia has also topped the US Dance/Club Play
Charts with the track Wild One Twos, a reworking of the Wild One track by David Guetta and Nicky Romero (as Jack Back). Sia and Guetta also shot from 16 to 12 with Titanium (the song has also re-entered the Hot 100 at 79, having previously peaked at 66). Gotye and Kimbra’s Somebody... has crept up to number four, from seven last week, in the same chart – that song is also number on the US Rock and Alternative charts. Gotye’s Eyes Wide Open also debuted in the Hot 100 at 96 while the Making Mirrors album holds at number seven. Sydney’s Havana Brown also moved from 96 to 94 in this week’s Hot 100 with her Pitbull collab We Run The Night.
MOVES AND SHAKES
The Fuse Group’s Creative Director Bridie Connellan will finish up with the company this week, to take up a new role with Universal Music. As of Monday 7 May she will be the Artist Marketing Manager for Dew Process and Island UK.
FRESHLY INKED
Brisbane’s The Art Of Sleeping have signed a booking deal with Select Music, as well as announced a national tour in support of Owl Eyes. The band’s manager Stefan Emslie told theMusic.com.au, “I am extremely excited about our partnership with Select Music as they are evidently great operators. At this crucial point of Art Of Sleeping’s development it’s very important to pick a team that is passionate about the band, has a good track record and that is focused on the longevity of their product/performance. We have found this all in Rob G [Giovannoni] at Select Music.”
YOUR TICKET HOME ROUND THREE WINNERS Your Ticket Home have become the round three winner for the Red Bull Bedroom Jam, making it three from three for Melbourne based outfits. Entries for the competition are open until September, with a round winner announced every fortnight.
THE KILLERS’ SAXOPHONIST FOUND DEAD
The Killers’ saxophone player Tommy Marth was found dead in his Las Vegas home last Monday morning. Aged 33, Marth’s death has been officially ruled a suicide, the Las Vegas Weekly reports. An identity of the Las Vegas music scene, the community have offered their condolences to his friends and family. The Killers tweeted, “Last night we lost our friend Thomas Marth. Our prayers are with his family. There’s a light missing in Las Vegas tonight. Travel well, Tommy.” Marth played on two of The Killers’ albums, Sam’s Town (2006) and Day And Age (2008) and toured with them on the album cycle of the latter. He also played on albums by The Big Friendly Corporation and Black Camaro. He was also prolific amongst a number of local Las Vegas outfits. There is help available if you are feeling depressed. Contact BeyondBlue at beyondblue.org.au for more information.
SHANNON NOLL IN TWITTER SCANDAL
Media Watch last week revealed that the South Australian Tourism Commission (SATC) is using local celebrities to endorse their campaign for Kangaroo Island via their Twitter feeds for $750 (plus GST) per mention. The show’s host Jonathan Holmes claimed they were
INERTIA AND HUB LAUNCH NEW IMPRINT
Inertia and Hub Artist Services have announced HUB The Label, a partnership between the former, an indie label, and the latter, a management company. The first two releases for the label will be the fourth album from Dappled Cities and, later in the year, the debut album from fellow Sydneysiders Winter People. In the future HUB The Label will release titles from their management roster as well as ‘hand-picked’ Australian and international releases. HUB Artist Services’ Managing Director and owner Troy Barrott said that Inertia’s management “have built a contemporary company, with a global reputation and focus on innovation, independence and artistry at its heart. These are the same values we share at HUB. I can’t tell you how exciting it is to have the chance to finally work with Inertia on delivering some of our favourite artists and music to the world.” As well as the first two releases, the current Hub management roster includes Megan Washington, Glass Towers, Jordan Leser, DJ Monkeybrain and producer John Castle. Justin Cosby, Inertia’s co-founder and A&R Director said that the partnership “represents another exciting opportunity to invest in Australian music. The partnership is a testament to our shared commitment to local talent and providing artists with the best suite of services available”.
MUSIC WORKSHOP
MusicNSW will host their latest workshop, New Technologies In Music Tuesday 1 May at FBi Social. Free from 7pm, the featured speaker is Jai Al-Attas of One and Zappp. There’ll also be a live set from Tablatronics, who uses traditional instruments and iPads in his set.
ROMER RECORDS LAUNCH
Romero Records will launch the label and the new album from Darth Vegas, Brainwashing For Dirty Minds, at the Factory Theatre Friday 18 May. Also performing are The Tango Saloon and DJ Jay Katz. Romero are distributed through Newmarket Music.
CORRECTION
In last week’s The Front Line we labelled the Men At Work picture as having the late Greg Ham far right. He was in fact the far left in the shot.
FRONTLASH
BACKLASH
Right, now the jigsaw puzzle continues in earnest as you maximise your Splendour related action.
And just when are we meant to sleep between late July and early August?
ANNANDALE TOILETS
NOLLSIE
Thanks to the success of the Buy A Brick campaign, they’re being upgraded! Oh if only those old tiles could talk the rock’n’roll stories they’d tell…
Shannon Noll was allegedly paid for tweets promoting a tourist destination. He’s also appearing on Dancing With The Stars. Get back to the music we think.
SPLENDOUR SIDESHOWS
music 20 • THE DRUM MEDIA
alerted to the situation via an email forwarded to them. The email was sent out to celebrities’ agents, on behalf of the SATC, looking for celebrity endorsements: “They don’t want the tweet to appear endorsed, rather an organic mention, injecting your own personality into the tweet.” Media Watch pointed out that “serious celebs” in the US can command “thousands of dollars” for tweet endorsements. When approached by Media Watch, a spokesperson for SATC admitted they were “using ‘influencers’ in the promotion of great South Australian products.” Amongst the three uncredited examples they supplied to Media Watch was this tweet: “All this moving and dancing training! Think I need a break! I heard Kangaroo Island is awesome! Thoughts anyone?” Media Watch researchers reportedly discovered that tweet was sent from Shannon Noll (@Nollsie) – the former Australian Idol contestant has nearly 7,000 followers on Twitter. Media Watch compared the twitter endorsements to Australia’s infamous Cash For Comments scandal that rocked talkback radio many years ago.
themusic.com.au
SPLENDOUR SIDESHOWS
THE DRUM MEDIA • 21
FOREWORD LINE
NEWS FROM THE FRONT
TOUR NEWS ARGENTINA
JOSH PYKE DALLAS FRASCA
GOLDEN YEAR
All event and camping tickets to the annual Splendour In The Grass event Friday 27 to Sunday 29 July at Belongil Fields have completely sold out and in just 43 minutes. Visa delays have forced the rescheduling of a visit by Barry Adamson for a second time this year, his I Will Set You Free tour now seeing him play the Factory Theatre Wednesday 12 September. Tickets purchased for the original date remain valid for the new one, but refunds can be obtained directly from the venue.
Celebrating Bob Dylan’s 50th anniversary as a recording artist, with 47 albums and more than 500 songs under his belt, five of Australia’s distinctively 21st Century performers are joining forces to honour his remarkable legacy. Kav Temperley (Eskimo Joe), Josh Pyke, Kevin Mitchell (Jebediah, aka Bob Evans), Holly Throsby and Patience Hodgson (The Grates) along with a six-piece band will perform the very best songs from the Dylan songbook. Along with their Splendour appearance, the celebration will visit Sydney Opera House on Sunday 8 July.
PAINTING SOUND
Melbourne’s Dallas Frasca is stoked to announce the official release of her second album, Sound Painter, which will hit stores this Friday 4 May through Spank Betty Records/MGM. Recorded in New York with Australian producer Andy Baldwin, the album has been a true labour of love for everyone involved. And of course, to celebrate its release, Dallas Frasca will be hitting the road. To hear them first head along to The Northern Star in Newcastle on Friday 4 May, Sandringham Hotel on Saturday 5 or Transit Bar in Canberra on Saturday 18 August. ALBARE
INTERNATIONAL DIARY
Butterfly Boucher has been invited to open for Missy Higgins on her forthcoming first national tour in five years, playing the York Theatre, Seymour Centre Friday 8 June, Illawarra Performing Arts Centre, Wollongong Monday 11, Newcastle City Hall Wednesday 13 and the Playhouse Theatre, Canberra Thursday 14.
Jazz guitarist and composer, Albare (aka Albert Dadon), will be back in Australia via New York, to tour his latest album, recorded with a dazzling lineup of international jazz musicians. ALBARE iTD [International Travel Diary] LONG WAY, a document of the artistic journey that began on Dadon’s eighth birthday when he received his first guitar. He’ll be playing at the Seymour Centre on Saturday 9 June on a double bill that will also feature a solo performance of Renaud Garcia-Fons.
Fantine is Daniel Merriweather’s special guest when he plays Zierholz at the University of Canberra this Thursday, Wollongong Uni Bar Friday and the Bar on the Hill, Newcastle Uni Wednesday 16 May. Opening for the UK guitar band The Maccabees when they hit the Metro Theatre Thursday 10 May is Brisbanebased producer and songwriter Alex Ritchie, in his guise as Argentina. Local heroes Horrorshow will be opening for visitors Atmosphere & Evidence when they take the Hi-Fi stage Saturday 12 May. X-Factor finalist Johnny Ruffo is the special guest supporting artist who will be opening for America’s biggest boy band, New Kids On The Block, when they arrive in May, playing the Allphones Arena Saturday 26. All grown up, American sibling trio Hanson have added a second Sydney date, the Enmore Theatre Sunday 16 September, with their first, Saturday 15 at The Hi-Fi, having sold out.
RESIST THE THOUGHT
THICK AS BLOOD
CAN YOU RESIST?
BRUTALLY HONEST
Formed in 2004, Miami’s Thick As Blood are heading to Australia this June for a run of shows across the country. Joining them as main support are Newcastle’s Taken By Force, both will be thrashing their way to Axis Youth Centre in Canberra on Tuesday 19 June (all ages), The Loft in Newcastle on Wednesday 20 (all ages), Spectrum on Thursday 21 and Alpha Park in Blacktown on Friday 22 (all ages).
The Cure For Life Foundation is holding its tenth birthday celebration Cinderella Ball at the Hordern Saturday 5 May, with music from Gregg Arthur & The Velvet Set and Dragon, with the first single, Brainy Hands, from Brisbane’s Will Day & The Alibis’ new EP, Tales And Beginnings, as this year’s theme tune. Brisbane trio Greenthief are joining Numbers Radio on The Butterfly Effect’s farewell to singer Clint Boge tour, which hits Panthers in Newcastle Thursday 10 May, the UNSW Roundhouse Friday 11, Waves in Wollongong Saturday 12 and the UC Refectory in Canberra Wednesday 16. Sydney R&B/soul singer Senani launches her debut album, Infinity, Thursday 10 May down at Blue Beat in Double Bay. Joining Adelaide’s Leader Cheetah at FBi Social Saturday 12 May are Battleships and Achoo! Bless You. With his new album, No Man’s Land, out Friday, picking up the support slot for the forthcoming Australian tour by Mickey Avalon couldn’t have come at a better time for Kid Mac, kicking off at Fanny’s in Newcastle Thursday 17 May and the Hi-Fi Friday 18. Brisbane indie folk five-piece Art Of Sleeping will be joining Owl Eyes when she next heads up the east Coast on tour, pulling into the Oxford Art Factory Thursday 24 May. Jack Carty will be joining Perth band Blanche Dubois, who are on the road showcasing songs their third studio album, Young Heart, and new single, The Sum Of My Parts, at The Basement Circular Quay Saturday 9 June. A fourth and final concert has been announced for Tina Arena with the 60-piece Sydney Symphony in the Sydney Opera House Concert Hall Saturday 16 June. INXS get back out on the road on their Coast To Coast Tour, hitting Campbelltown RSL Friday 13 July and Penrith Panthers Sunday 15. American jazz guitarist Frank Vignola will be the very special guest when Tommy Emmanuel returns to Australia for his Live And Acoustic Tour in August, playing the Sydney Opera House Concert Hall Monday 6. 22 • THE DRUM MEDIA
Sydney metal band, Resist The Thought, have announced details of their debut album and an epic national tour. They’ve shared the stage with the likes of Suicide Silence, The Acacia Straing and All Shall Perish, and have now garnered enough momentum to propel themselves overseas to California to work with producer Dan Castleman (As I Lay Dying, Impending Doom) on their debut album, Sovereignty. To celebrate, they’ll be hitting the road for a national tour with special guest Hallower, playing at The Loft in Newcastle on Friday 18 May (all ages), Geewhizz in Gosford on Thursday 24, The Fitz in St Ives on Friday 25 (all ages), Venom in Sydney on Saturday 26 and Unanderra Community Hall in the ‘Gong on Sunday 27 (all ages).
DARTH VEGAS
DOUBLE CELEBRATION
MENISCUS
There have been far too many years between releases but Darth Vegas are finally be launching a new album, Brainwashing For Dirty Minds, Friday 18 May at The Factory Theatre, joined by The Tango Saloon and DJ Jay Katz. The evening will also be the official launch of the label, Romero Records, set up by Tango Saloon’s Julian Curwin. Double the celebrations! If you’re a fan of jazzy, carnival and death metal, this is an event not to be missed.
MORE DIRECTION
If you’d thought the One Direction craze had ceased, think again. They are coming back in 2013 and due to popular demand have already added more shows. The five-piece British boy band will be playing two extra shows at Allphones Arena, making it a total of four stadium shows for Sydney alone, with the addition of a matinee performance Sunday 15 September and an evening show Monday 16, the two previous shows scheduled for Saturday 14 and Sunday 15, both evening show.
SCOUTING FOR LOVE
They’ve already toured the country supporting Pluto Jonze and are currently with Ball Park Music, but Cub Scouts aren’t wasting any time, as they’ve announced their own headline tour for late May/June. In support of their new single, Do You Hear, their tour will see them take over FBi Social in Sydney on Friday 1 June.
NO ABSENCE
NEW EMPIRE
WARPED & READY
On the eve of their own East Coast acoustic tour, New Empire have received news that they’ve scored a slot on the US Vans Warped Tour. Looks like it will be a busy year for the Sydneysiders. Prior to heading off overseas, they’re playing The Standard on Friday 11 May, The Vanguard on Wednesday 6 June, Front Gallery & Bar in Canberra on Friday 8 and Saturday 9, Yours & Owls in Wollongong on Thursday 28, Glee Coffee Roasters in Tuggerah (all ages) on Friday 29 and Saturday 30, and the Brass Monkey on Sunday 1 July. Catch them on tour, because who knows? They may never come back to Australia!
Sydney post-rock (or, in their own words, “cinematic instrumental”) group, Meniscus, have announced the reissue of their 2007 debut EP, Absence Of I. The CD will be repackaged with new artwork and include a previously unreleased song, to be made available for free download on Friday 4 May. Naturally, to support the reissue, Meniscus are playing a bunch of East Coast shows. Catch them at The Wall at The Bald Faced Stag in Leichhardt Friday 4 May with Tangled Thoughts Of Leaving, Hawkmoth, Adrift For Days and Nihilore, The Hi-Fi in Sydney on Friday 25 with Dead Letter Circus, Fair To Midland and Twelve Foot Ninja, and the Sandringham Hotel in Newtown Friday 15 June with Alithia and Solkyri.
TORTURE AND MADNESS
BLUES SERIES
John Butler Band drummer Nicky Bomba and his other band Bustamento have announced a huge national tour. This will follow the release of his forthcoming album, Intrepid Adventures To The Last Riddim Islands, which sees Bomba bring his fans a taste of the jitterbuggin’, upbeat ska-infused expedition. The Intrepid Adventures Tour will visit the Snowy Mountains of Music Festival in Smiggins Hole on Saturday 8 June and the Darling Harbour Jazz Festival on Monday 11, where they’re joining international guests America’s Dr Lonnie Smith and the UK’s Trevor Watts & Veryan Weston among many .
Three of today’s leading blues players, Eugene ‘Hideaway’ Bridge (USA), Ray Beadle (Australia) and Matt Anderson (Canada) take to the road next month as the first instalment of The Blues Caravan. The tour was created as a channel to introduce new international and local blues artists to the Australian marketplace. The Blues Caravan series will feature individual sets from each artist with a finale that sees the three artists on stage together. Head along to the Brass Monkey on Wednesday 16 May, The Vault in Windsor on Saturday 19 or The Basement in Circular Quay on Saturday 20.
themusic.com.au
Three years might not seem that long, but when you’re a hungry Cannibal Corpse fan, it can feel like a lifetime. Yep, the undisputed kings of death metal are returning to Australia for the first time in four years to treat us to what has been promised as a “sarcophagic frenzy of sordid and demented proportions.” The band recently released Torture, the 12th album of their 24-year-long career. They’ll be bringing the mayhem to The Metro on Saturday 6 October.
BUST A MOVE
THE DRUM MEDIA • 23
FOREWORD LINE
NEWS FROM THE FRONT
SPLENDID SIDESHOWS!
A huge bunch of Splendour In The Grass 2012 sideshows have been announced. Spread across three venues, all those who missed out on festival tickets can now treat themselves to these shows instead! Happening at The Factory Theatre, a Communion showcase featuring Michael Kiwanuka and Ben Howard is happening Tuesday 24 July, while it’s The Afghan Whigs on Thursday 26, Band Of Skulls on Friday 27 and Youth Lagoon on Saturday 28 July. Sideshows at Oxford Art Factory will see Howler together with Zulu Winter on Wednesday 25 July, Father John Misty on Friday 27, Electric Guest on Tuesday 31 and Django Django on Wednesday 1 August. Finally, The Standard will play host to Friends on Thursday 26 July. Tickets for all shows go on sale 9am Friday.
FRIENDS
ELECTRIC GUEST
WE LIKE IT LOUD
House Vs Hurricane and Dream On Dreamer will be headlining Loud Fest 2012! Back for its fourth year, Loud Fest will be blasting through Sydney and Melbourne in June. House Vs Hurricane are currently recording their forthcoming album, Crooked Teeth, set to drop on Friday 29 June via UNFD. Dream On Dreamer on the other hand have spent the last nine months touring Europe and have pretty much perfected their enhanced live show. For new music and a taste of some awesome live sounds, head to The Annandale in Sydney on Saturday 2 June. There’ll be an all ages morning/arvo show and the evening will see an 18+ show.
24 • THE DRUM MEDIA
HOWLER
BLOOMING!
To celebrate the release of their debut full-length album, Neverblooom, Make Them Suffer have announced a massive 18-date national tour with some very special guests that includes Resist The Thought, Buried In Verona and The Bride. They’ll be playing at Tuggeranong Youth Centre in Canberra on Wednesday 4 July, Hot Damn in Sydney on Thursday 5, Manly Youth Centre on Friday 6 and Unanderra Community Centre in Wollongong on Saturday 7.
AMERICA IN AUS AGAIN
Legendary soft rock acolytes, America, had a whole string of radio hits back in the 1970s that you’ll still hear on any given classic hits station to this day. Two of the
band’s original members, Gerry Beckley and Dewey Bunnell, still tour the world under the America banner and are making yet another return to Australian shores this September. You can catch them playing the following shows - the Canberra Theatre on Sunday 9 September, the Enmore Theatre in Sydney on Monday 10 and WIN Entertainment Cetnre in Wollongong on Friday 14.
GEARING UP
Muscles is ready to jump on tour in celebration of his Manhood launch. The album is set to drop on Friday 15 June. To coincide with this, a brand new single off the aforementioned album, Ready For A Fight, is up for grabs online via modularpeople. com. To experience his brand new live show, head along to Cargo Bar on Saturday 23 June.
themusic.com.au
IN BRIEF The founding (surviving) members of The Beach Boys have reunited for a 50th anniversary celebration that includes the release of a new album, That’s Why God Made The Radio, which is due for release Friday 1 June. Silversun Pickups release their new album, Neck Of The Woods, this Friday, and the same day sees Kid Mac releases his new album, No Mans Land, as it does the new album, Sound Painter, from Dallas Frasca. Friday 11 May hip hop duo Sammy Scissors and Maggot Mouf release their album, Running With Scissors. Outsider garage duo from the south of France Looks Like Miaou release their self-titled debut album Monday 14 May, as do UK duo Cornershop their eighth album, Urban Turban, while Friday 18 sees the release of the next big Fabric remix compilation, this time put together by Berlin-based New Yorker Levon Vincent, Fabric 63: Levon Vincent, with Marina & The Diamonds releasing their new one, Electra Heart, The Medics releasing their Foundations album, and Mute signing Cold Specks release their album, I Predict A Graceful Expulsion. Friday 25 May sees the release of the debut album, Killing Saw, from German melodic metal band Mercury Tide, fronted by former Angel Dust singer Dirk Thurisch, with Regina Spektor releasing her album, What We Saw From The Cheap Seats, The Cult releasing their new album, Choice Of Weapon, John Mayer releases his Born And Raised album, former Perth band Snowman frontman Joe McKee his debut solo album, Burning Boy, Julia Stone releases her new solo effort, By The Horns, and Ultravox drop their first new album in 28 years, Brilliant, on the same day. Both their debut album, Acrobatic Tenement, and their final album, Relationship Of Command, by At The Drive-In are getting the expanded reissue treatment, both seeing release Friday 1 June.
THE DRUM MEDIA • 25
FOREWORD LINE
GHOSTFACE KILAH
KILLAH LINE-UP
The Rap City series of events is back in 2012 with its biggest instalment yet, bringing to Australia three absolute masters of the hip hop world in one enormous show - Ghostface Killah, DOOM and Chino XL. With a number of impressive records and collaborations between all three artists to their credit, can you afford not to catch these three hip hop masters when they hit the Enmore Theatre in Sydney on Saturday 2 June?
MAT MCHUGH
BEAUTIFUL GIRL
Mat McHugh of The Beautiful Girls has announced a tour to launch his latest album, Love Come Save Me. Incorporating elements of the past, present and future, he has released this musical documentation as a free gift to all fans. Watch him perform in an intimate setting at The Standard on Friday 1 June.
THE FLOORS
MOVING WITH THE FLOORS
Perth trio, The Floors, will be releasing their debut album in a couple of months time, but in the meantime have announced a national run of dates for their debut single, You Got To Move. The band is dedicated to producing an organic style of music that incorporates rhythm and blues with intricate and skilful guitar work. They’ll be playing The Vanguard in Newtown, Sydney on Thursday 31 May and, for the keen, The Grand Junction Hotel in Maitland on Friday 1 June. 26 • THE DRUM MEDIA
themusic.com.au
NEWS FROM THE FRONT
DEF WISH CAST
HIP HOP EVOLUTION
There can be no overstating the importance of the great Def Wish Cast when it comes to talking about Aussie hip hop. They were among the pioneers, influencing a raft of rappers who top the charts these days, and they continue to release fresh and exciting material to this day. The latest evidence of this comes in Evolution Machine, the group’s fourth record and only their second since reforming last decade. They’re heading out on the road following the album’s release of course and you can catch them at The Standard in Sydney Friday 25 May.
SAMPOLOGY
APOCALYPSE NOW
Queensland’s Sampology has announced an extensive tour of Australia, which he calls the Super Visual Apocalypse Tour for 2012 – an “audiovisual celebration”. The tour will showcase his new single, Stars, is set to drop Tuesday 1 May, with his debut album, Doomsday Deluxe, to follow shortly on Friday 1 June, and features a number of collaborations. The Super Visual Apocalypse tour hits Oxford Art Factory on Friday 8 June, Wollongong University on Thursday 21, King Street Hotel in Newcastle on Friday 22 and Trinity Bar in Canberra on Saturday 23.
THE TEA PARTY
WOULD YOU LIKE A CUPPA? In the decade between 1994 and 2004, dark and moody hard rock Canadians The Tea Party toured Australia a total of 12 times. Calling it a day in 2005 after eight albums and 15 years together, Australian fans might have thought their days of seeing the band together were over. Not so, as Jeff Martin & Co. last year reformed for a string of Canadian shows and festivals, which has grown into an international The Reformation Tour. The Tea Party will play Hordern Pavilion on Saturday 21 July.
WEDNESDAY 2 MAY R O C K L I LY P R E S E N T S I N T E R N AT I O N A L A C T
www.thebasement.com.au
The Home of Live Music Since 1973 SATURDAY MAY 5
MARS ATTACKS + PAT CAPOCCI ROCKABILLY NIGHT
THURSDAY 3 MAY
GAY PARIS
+ CONTRABAN + DOC HOLIDAY TAKES THE SHOTGUN FRIDAY 4 MAY CINCO DE MAYO FIESTA
DJ URBY + OUTLIER
SATURDAY 5 MAY
BLACK DIAMOND HEARTS
+ VIVIENNE KINGSWOOD SUNDAY 6 MAY 2PM BLUES SESSION
STEVE CLISBY BLUES EXPERIENCE
+ PAPA PILKO & THE BINRATS + MORGAN JOANEL
HOUSE SPIRITS, WINE & BEER MON-FRI FROM 5-7PM RSVP ON FACEBOOK
STEVE POLTZ
TAKE A LOOK
(CAN)
The charismatic storytelling folk singer returns to Sydney.
JAMES D SMITH
TUE 1 MAY
(WICKED)
The music theatre star plays in original mode.
HOTEL CALIFORNIA:
EAGLES SHOW
FRI 4 MAY
BRIAN CADD & RUSSELL MORRIS Two ARIA Hall of Fame legends of Australian rock.
SUN 6 MAY
THE BASEMENT INTRODUCES
TUE 8 MAY
All your favourite Eagles hits performed by Sydney’s ďŹ nest.
Two new acts for your listening pleasure.
WED 9 (CAN) Legendary blues guitarist and singer songwriter. MAY
HARRY MANX
BROTHERS IN ARMS - DIRE STRAIGHTS
A night to pay homage to the great band.
NATIVOSOUL
Roots, Reggae & Rock with traditional Latin & World rhythms.
FRI 11 MAY SAT 12 MAY
COMING SOON @ THE BASEMENT IN APRIL: MAY 15: ANDRIA (ALBUM LAUNCH) MAY 17: LARRY MCCRAY MAY 18 & 19: GREAT BIG GIG IN THE SKY (PINK FLOYD SHOW) JOIN US FOR HAPPY HOUR IN THE GREEN ROOM BAR 4.30PM – 6.30PM THUR & FRI
FOLLOW US ON FACEBOOK AND TWITTER ;OL :[HY 7[` 3PTP[LK ()5 ;OPUR HIV\[ `V\Y JOVPJLZ *HSS .HTISPUN /LSW ^^^ NHTISPUNOLSW UZ^ NV] H\ ;OL :[HY WYHJ[PZLZ [OL YLZWVUZPISL ZLY]PJL VM HSJVOVS .\LZ[Z T\Z[ IL HNLK `LHYZ VY V]LY [V LU[LY [OL *HZPUV
THE DRUM MEDIA • 27
PUSHING THEMSELVES
LABOUR DIVISION
Exploring the Django Django songwriting process with vocalist Vincent Neff.
It wasn’t sex and drugs that fuelled the recording of Django Django’s debut album, but ice cream. Nic Toupee talks to vocalist/guitarist and “old auntie” Vincent Neff.
T
o begin with, one might ask what exactly is a Django, anyway? There are people – Django Reinhardt, the gypsy guitarist; there’s film – Django, the classic spaghetti Western; even Django, some piece of fancy coding software. But at the heart of it, there seems to be no meaning to ‘Django’. Perhaps that’s liberating – an onomatopoeic opportunity to use a word with sound but without meaning. Certainly, something about it appeals to British psych-dancepop band Django Django who like the word so much they use it twice. Django Django formed in 2009 but have only recently released their first album and just to further show their love for the word that sounds like a guitar strum and looks like a spaghetti Western, their album is self-titled – which gives us Django squared. Currently on tour in Europe, to promote a release given five stars by The Guardian and a glowing review by the ever-unpredictable NME, singer/guitarist Vincent Neff gives some surprising insights into the making of Django Django. “It took us quite a long time to write the album,” he confesses. “It was all self-produced – we did it in Dave’s [Maclean, drummer] bedroom. We had written an initial few tracks, so we converted Dave’s bedroom into a home studio and worked on them there. We decided that we actually liked the way the sound was progressing and also, because at the time we were still unsigned, we didn’t have any money to go into a big studio anyway. So we decided to keep on with the way it seemed to be working.” Neff and the rest of the band – who have become known for an unconventional-sounding collage-ist approach to some well-worn forms (psychedelic, electronic, minimal, lo-fi) – found that after putting together those initial sessions in Maclean’s bedroom studio, they enjoyed the imperfections and uniqueness of the acoustic space far more than they might have a more glossy and produced result. “Dave worked really hard on getting a nice ambience to it and we realised we wanted to keep on with the way we were going. If we had gone with a producer, the album might have gotten cleaned up. All that highend production would have lost the earthiness of it.” The sonic results were gained by a delicate mystical balance of domestic chaos and luck, something the band lost forever when the album was done and they moved out of Maclean’s grotto. “Dave’s place is just a dirty flat,” Neff laughs. “It’s really small and has a double bed with a table at the end and lots of shit everywhere. He’s a hoarder and collects loads of masks, old broken record players that are in pieces, and heaps of vinyl. I’d go over there and spend thirty minutes cleaning up his room enough that we could work and then after he’d gotten himself together we’d start working “ Whilst his description suggests a certain bohemian charm – you can imagine the dishevelled yet cool squat, the kooky ornaments, the teetering piles of records and bits of audio equipment all leading to a charming lo-fi warmth – Neff recalls it in a far less romantic light. By the end of the recording the gloss of independent studio life had worn off and uncomfortable grotty reality was giving him splinters. “I hated it, in the end. I went around one time only to end up ringing the buzzer for half an hour just to try to get Dave to wake up. He was always in bed and I’d 28 • THE DRUM MEDIA
usually have to go to the shop and get him a Cornetto ice cream; he couldn’t start the day without it. I was like an old auntie buying him sweeties to keep him happy.” Whilst he had no background in studio production, Maclean’s Cornetto-fuelled ‘trial and error’ methodology came up trumps. “The recording process for the album was... very not typical,” Neff struggles to find adequate terms to describe climbing over bricolage and crouching on Maclean’s bed in search of the right minimal tonality. “Dave hasn’t done a course in recording or production, so it was very much his own process of experimentation. Over time, he’s learned – and we both learned – the best way to get something we were happy with out of what we had. It was all cheap equipment, we even didn’t have a drum kit so we would sample electronic kick drums and snares and use trebly sounds from recording guitar noises. Also, my vocal style is, I would say, quite unelaborate so Dave would layer it out to make me sound more impressive,” he laughs. Whilst Maclean was conjuring impressive vocal layers and percussive guitar squeaks, Neff took his developing resentment towards their cramped creative environment, added some design nous gained from a rather handy side career in architecture and built the band a new studio. He enjoyed the pristine and clean simplicity of it – at least for the first two days until Maclean moved in. “Dave mixed the final part of the album at his house and while he was doing that I was building a studio. I managed to get the studio soundproofed so we were in it for the last sections of mixing the album. I’m an architect as a second profession, so I did loads of research on acoustics and isolated Dave from it so he could concentrate on working. The new place is quite a big room – at least by London standards – and has big windows so there’s a lot of natural light. It feels quite homely for an old warehouse. But when it was done, Dave slowly started bringing crap there from his home, so now it’s starting to feel like Dave’s bedroom again! And once again I’m getting into my auntie cleaning mode. I’m not painting a very good picture of him, am I?” he laughs again.
“
stripped-back track, the next one we would make more up-tempo. Once we had done something with synths, we’d want to make something more raucous and rock‘n’roll. We kept trying to push ourselves in areas we didn’t think we could go.” Candidly, Neff also hears the points where those experiments haven’t quite come off. But the band is comfortable with their imperfections. “We realised, by the end of producing the album, that we had done a lot of things wrong at the beginning, but some of it was done so wrongly that it can’t be undone and has ended up as just a part of the song,” he laughs. “We decided that if we can’t get rid of something, we just have to try to make it as good as we can. We quite like accidents in songs, actually – weird and unconventional recordings. If something’s not recorded brilliantly but has a memorable sound, we’re interested.” He recalls a particularly pesky drum sound that became at first a cause for immense frustration and then finally a loveable quirk. “We couldn’t properly mic up the drum kit, because we weren’t in a proper recording studio. So we were getting this weird, bad drum sound. We spent ages trying to improve it and then in the end just accepted it is there – and now it’s actually the thing that makes the recording memorable! It’s a bit Bo Diddley. So sometimes when there’s not enough time to make stuff perfect, we have just gone with it and done something quick and really spontaneous.” Rather than rashly deleting some of those rougher diamonds and plump for a couple of singles, Django Django took a risk on their peculiar geology, a risk that seems to have paid off handsomely. Meanwhile, it leaves Neff and co. free (apart from fulfilling touring obligations and talking to inquisitive journalists) to fantasise about album number two.
I’D USUALLY HAVE TO GO TO THE SHOP AND GET HIM A CORNETTO ICE CREAM; HE COULDN’T START THE DAY WITHOUT IT. I WAS LIKE AN OLD AUNTIE BUYING HIM SWEETIES TO KEEP HIM HAPPY.”
Because the finished album spans a couple of years and two studios, not to mention an experimental and developing approach to writing and recording, it’s no surprise to hear Neff can hear the layers of their evolution as clearly as a geological slice. “I definitely think you can hear the different periods in our writing on the album and it’s kind of weird to hear some of them from even three years ago now. We would do a song over a few weeks, sit with it, do some gigs and then find a gap and do another song – and we did that for about two years. Only when we got to having nine or ten songs did we think, ‘Here’s an album.’ We weren’t writing songs we thought should go together, we were always just reacting to the last song we did. If we did a
“We love the album format and we’re keen to make a ‘the story so far’ type record. We love how an album can get a snapshot of a place and time and wouldn’t break from putting out albums. We’re already thinking of our next one, to be honest, planning what we think we’re going to do.” WHO: Django Django WHAT: Django Django (Because/Warner) WHEN & WHERE: Sunday 29 July, Splendour In The Grass, Belongil Fields; Wednesday 1 August, Oxford Art Factory
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“I write a lot of the initial melodies and guitar lines. I write a bit on guitar and some on piano. I come up with a lot of the initial starting points and small ideas for lyrics and then take them to Dave. In the early days it was just me and him before Tom [Grace, synths] and Jim [Dixon, bass] came on board, so I’d take him a melody, a guitar part or some bass. He would put a drum machine on and try different drum sounds and rhythms. We would find something that suited and go straight into the room where the computer was set up and start recording. Dave would then start mixing and arranging and he’d come back to me maybe three days later and say, ‘We need a part for this,’ and we’d write some more. “Once we had the basis of the track worked out and were ready to develop the lyrics, there would be a point for two or three days where I would go through lyric options and Dave would condense my ideas, distil them and then tell me what I was trying to say. He’d then suggest the basis of the story we are going to tell. We’d fire lines at each other and drink a lot and finally we’d come up with some narratives and stories – and some alternative narratives and stories. “Occasionally our songs have been based on live jams and then I’ve gone away and come up with some lyrics and melodies. Then Tommy comes up with some hooks and brings that back to us and we jam it again until we’ve come up with our final ideas. In a lot of those early songs where it was just Dave and me, we had a pretty limited palette to work with – just one keyboard that was kind of crap and a guitar. So those earlier songs were built around that really limited set-up. When Tommy came in we started to get more instruments to work with and so the songs started to take a different path. But I liked in the early songs how you’d have these different textures just squashed up against each other – the same instruments but one track acoustic and the next one a big loud ruckus and then something else again.”
THE DRUM MEDIA • 29
BALANCING THE DOUBLE-EDGED SWORD Two years after wowing the world and coining the term post-dubstep, uk wunderkinds Mount Kimbie find themselves on the precipice of overexposure. Kai Campos assures Brendan Telford that they have new horizons to explore.
D
ubstep as a genre exploded onto the UK, then the world scene in the mid2000s, becoming a commercial and culturally fashionable style of electronica at the turn of the decade. As with most genres though, by this stage it was overcrowded with a glut of soulless imitators that cashed in on the credibility that the music intelligentsia had given it, and the birth of tight, dark production, incessant drum-and-bass lines and static interplay between samples and vocals appeared headed for a meltdown. Two unlikely London lads set about revamping the sound and by 2010 with their debut LP Crooks And Lovers, Dominic Maker and Kai Campos, under the moniker Mount Kimbie, had changed the face of the electronic dance landscape. Alongside close friend James Blake and US compatriot
Flying Lotus, Mount Kimbie heralded a new dawn, a zeitgeist at once spontaneous and seemingly overnight. The existence of the record is almost as accidental as the effect its existence has since had. “I guess it was new to a lot of people, what we were offering, but when we brought the record out we saw it only as the album we wanted everyone to hear,” Campos explains. “Essentially we had done two EPs beforehand and there was this push to put out a longer one. I didn’t really see the point – I enjoyed writing these shorter records and I wasn’t sure that it would work in a longer format. Yet people kept saying that we wouldn’t ever be taken seriously if we didn’t go ahead and do it. I mean, we did want to do an album, but even we weren’t sure if we were ready, but we were contractually bound to do one! Even on the eve of its coming out I wasn’t sure if we’d done the right thing. An album is such a statement, you know? Four tracks can be taken as is, but an album is a big undertaking and has added weight and structure, how the tracks are placed and where. It was a daunting experience.” The success of the album still resonates now, a fact that has helped the band to grow into themselves. “Our success has been a slowburner,” Campos muses. “It grabbed people, but has kept on rumbling for two years! And at different place, at different times. I remember getting our royalty collection statement and you get these pie charts indicating where it’s coming from – and there’ll be this huge fucking chunk from Australia or something. In Australia, triple j played the hell out of Before I Move Off, which wasn’t even a single; no one had cottoned onto that one here at all!” Whilst dubstep originated in the UK, Campos doesn’t feel that the advent of Mount Kimbie has as much to do with geography as other musical movements.
There’s more to this story on the iPad “I think it’s been a mish-mash,” admits. “Living in London has had a profound on our lives in general, it’s an amazing city. But we were around 13 or 14 and on the internet we were hearing all kinds of music – and not always things that were already big here. In fact the first direction that people like us in our 20s take tends to be something we’ve discovered, rather than something that we’ve lived with and become a part of. I remember when I was at university before we started the band and I heard the first Flying Lotus album, all I wanted to do was replicate that. I wasn’t paying attention to anything else. I think that’s affected the way we access music forever more, so that idea of something being borne from geography is becoming more infrequent. London has loads of inspirational aspects – we wouldn’t have met, for starters, and there are a lot of people having ideas and acting on them – but it doesn’t define us or our music.” The now-iconic template of Mount Kimbie resulted from the melding of elements of post-rock, garage beats and traditional songwriting has been used by a multitude of bands all with their own agenda and degree of musical creativity, stretching the boundaries of what post-dubstep meant until the term became loose, indefinable and almost redundant within a year. “After Crooks And Lovers came out, we thought we had at least a year of hitching up vocals and using 808 toms before everything sounded the same,” Campos laughs. “It’s not a sound or a term we particularly aspire to anymore. For me now the term brings to mind a lot of fairly bland music… I don’t wanna sound like a bit of a dickhead or anything, but a lot of music that sounds like that album; I don’t really feel anything for it. Of course it’s completely flattering that our music has touched and inspired so many people in different ways. But it’s like anything, really – because people say we did something first, there are people who have come along who have clearly done it better than us, have actually improved upon what we were trying to do. But at the same time there is a lot of stuff that really misses the point. It can sound like an imitation; therefore we can’t connect to it personally, which is what music is supposed to do.” It has become a double-edged sword for them musically, for as much as Maker and Campos may want to distance themselves from the base sounds they helped create, they run the risk of ruining what it was that made them special in the first place. “That reaction to Crooks And Lovers leads us to want to do something radically different to what we have done previously,” Campos declares. “I’ve had to rein my ideas in though; [at one stage] I thought we might even be a punk band by now. We’re trying to find a way for our sound, which we’re still really proud of, to morph into something else entirely that’s interesting but can be seen as an honest progression rather than a kneejerk reaction.” Campos is currently trying to relax during their first tour of Russia, using it as a warm up for their impending Hi-Fi Shoreline shows here in Australia, yet it hasn’t all been smooth sailing. “It’s been interesting, quite different,” he offers wryly. “St Petersburg has been lovely, but Moscow is a bit of a headfuck, unlike any other place I have been to, it holds a certain intensity. The traffic is fucking horrendous and everything is just not… right! There is little organisation, we haven’t been allowed to do any soundchecks… We wanted to try out some new things, trial them before Japan and Australia, but it’s just been too hard, so we’ve just played and seen what happens! The audiences have been great though and, seeing as we’ve never played in front of these people before, it helps to create interest in the songs again. We’ll have a few days to get things together though. I’m sure we can come up with something a little different.” WHO: Mount Kimbie WHEN & WHERE: Friday 4 May, The Hi-Fi 30 • THE DRUM MEDIA
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KEEPING IT SIMPLE In a world of constantly changing tastes, Fu Manchu have kept their heads above water and stood by their old ways. Cam Findlay chats to frontman Scott Hill about the early days and el caminos.
D
id you grow up in the ‘90s? Did you have long hair, a skateboard, blue jeans and a trucker shirt that was way too short for you? Fair enough, not everyone did. But if you did, you were more or less a part of a very unique and uncompromising culture that grew out of ‘80s punk bands, and eventually developed into the sludgy stoner rock of the late-’80s and early-‘90s, before it arguably died on its arse with the rise and fall of grunge. And, if you were part of that culture, you’ve most likely heard of - or more likely loved - Fu Manchu, one of the great progenitors of that sound (before the eventual arse-dying). Releasing their debut single Kept Between Trees in 1990, Fu Manchu have survived the last 20 years, albeit with constant line-up changes, in relative safety as a band; they have never really compromised their sound, retaining the hard-rock edge tempered with a casual attitude that came to be with bands like Melvins, Kyuss and Acid King. Fu Manchu were just one in a long line in that aesthetic, but the fact that they have stuck buy it (latest album Signs Of Infinite Power was released in 2009) means that they have a healthy base of respect from fans and musicians alike.
“With the skating, I guess maybe because it’s aggressive and it gets people pumped up, which is a lot what skating’s about. I know when I go surfing, I wanna hear something heavy, so I just think it gets people amped. It’s not like a bring up religion or war or anything in my lyrics, it’s always just really basic stuff that appeals to me and the band in a simple way. And if that appeals to fans, then that’s great; that’s probably what we’re aiming for. We just want people to get into it, bob their heads and move around a little. There’s nothing really more to it.” WHO: Fu Manchu WHEN & WHERE: Thursday 3 May, The Hi-Fi
Speaking from his beachside SoCal home, founding member, guitarist and vocalist Scott Hill explains how the style of Fu Manchu developed. “I grew up listening to a lot of hardcore punk rock stuff from 1980 to 1987,” he begins, the musician’s laidback attitude exuding through his Californian drawl and penchant for the word “stuff”. “I still listen to all that stuff today as well. You know, I still look at it as Fu Manchu’s tunes as a slowed-down hardcore band. That’s the kind of stuff that got me amped to start a band and play guitar in the first place, going to see those bands play. It’s always there; there’s always a bit of that aesthetic entering into the stuff we write.” Speaking of the great stoner rock pilgrimage of the time, Hill goes on to rattle of a list of the big names in the movement, but not solely as inspiration; Hill explains that the growth of the sound lead him to go back in time to find its roots. “I’d heard bands like Soundgarden and Nirvana and the Melvins were always pretty big where I grew up. And The Obsessed, stuff like that,” he reflects. “Around about ‘88 was when that stuff became big and we went, ‘Oh, maybe we should put on our old Blue Cheer records and KISS records and check this stuff out again’. That’s where we eventually drew it from, from those old metal and rock bands that brought in a lot of fuzz and distortion and stuff that had lead on to the bands we were listening to at the time,” he reflects.
There’s more to this story on the iPad “It was still loud stuff, but it was slower and there was this whole new life the music took on with that.” Fu Manchu’s adherence to those principles may at first make them seem stale in the current climate of flash-in-the-pan styles and genres, but Hill is flippant about the need to accommodate. “I know people want to hear bands evolve and progress,” Hill elucidates, when asked whether there was any impetus to adapt. “I mean that’s great, I do to, but at the same time I don’t want to get a record from a favourite band of mine and all of a sudden there’s a drum machine and no bass or whatever and you go, ‘Huh?’. But you know, I can understand how people wanna hear something different. And we do try some different stuff sometimes, some mellower stuff, like California Crossing was a little cleaner than the previous records. But we’ve never really wanted to change, the old rock thing’s still there. “We’re just a straight-ahead rock band. That’s how we started and I think that’s how it’s always been. Obviously, everyone’s gotten a little better musically, but it’s pretty much always stayed the same. I knew what I wanted to play when I started and, like I said before, you know what you’re getting when you buy a Fu Manchu record; it’s gonna be a loud rock record. We’re not gonna be pulling out a reggae song on the record, you can be rest assured,” Hill says with a wry chuckle. “It’s always stayed the same, it’s just all four of us doing that really basic thing.” In some ways, the band takes avoiding trends to the extreme; Hill admits that he has very little knowledge of where music is nowadays. “It’s never really been something that’s important to us. You know, we’re friends with a whole lot of different bands, but to be honest, I really have no idea what’s happening in music today,” Hill laughs. “The last band I saw was [legendary Californian doom metal band] Fear and the played through their whole first record. I’m still spending my time seeing those bands that I grew up with. Whatever’s really happening, we don’t pay much attention to. In 1996, we were touring with Limp Bizkit and Deftones. So, you know, definitely out of our element there about what was happening with music, but whatever,” Hill finishes with breezy casualness, assuaging the point that he’s not too worried about that tenuous connection to certain musical abominations of the last 15 years. Along with the stringent belief in the basic rock format, Hill does little to complicate his lyrics. Instead, he bases everything on simple ideas, which goes par for course in connecting with fans. To this end, there has always been three very strong elements to the lyrical and contextual content of Fu Manchu songs; cars, skating and girls. “Growing up on a beach, there’s always been like custom vans and El Caminos and choppers and stuff around me and the band and we all grew up skating at the same time. And then our lyrics are very literal – I don’t get religious or anything, I just write lyrics about stupid stuff like cars and, like, UFOs,” Hill laughs. “There’s no deep meaning behind those lyrics, there just all things I see and like. It’s just stuff you remember. My dad got me into big muscle cars and customs and stuff and I just really liked that whole scene for the record artwork and song titles and stuff.
DUST AND DIRT RELEASE TOUR
BYRON BAY NSW
7 JUNE NORTHERN HOTEL TIX FROM VENUE/WWW.THENORTHERN.OZTIX.COM.AU
SYDNEY
16 JUNE THE METRO TIX FROM VENUE/WWW.TICKETEK.COM.AU
NEWCASTLE
17 JUNE GREAT NORTHERN HOTEL TIX FROM WWW.OZTIX.COM.AU
THE NEW ALBUM DUST AND DIRT OUT NOW FACEBOOK.COM/THEBLACKSEEDS
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THE DRUM MEDIA • 31
BIGGER THAN MUM Five years between albums saw motherhood not only the reason for the break from music for New Zealand’s Bic Runga, but also a source of inspiration, as Michael Smith finds.
T
he night The Mint Chicks played their final show, in March 2010, frontman, occasional self-harmer and multi-instrumentalist Kody Nielson decided to ensure the nails were firmly in the coffin, destroying the band’s two drum kits and telling the crowd to start their own fucking band. This is pretty standard sort of behaviour for a guy who would swing high above the band on lighting rigs during performances and notoriously took a chainsaw to a corporate sponsor’s signage at a 2005 gig. He’s the last person, therefore, you’d expect to settle happily into domestic bliss and parenthood with New Zealand’s elegant, petite, sophisticated and most successful “pop princess” export, Bic Runga. Together they’ve
produced a son, Joe, but now, six years after her last tripleplatinum-NZ-selling album, Birds, comes her new one, Belle. “It’s the first time I’ve worked with a producer,” the previously exclusively self-producing Runga admits, “He did an amazing job, but he comes from a completely different world. He’s also in Unknown Mortal Orchestra and his own project that’s called Opossum.” She could also have mentioned their own side project together, Kody & Bic, but handing over production duties to Nielson wasn’t the only big change for Runga in making Belle – she also started co-writing with other people. “That’s new for me. I hadn’t written with people before and just thought, ‘How come everyone else can do this and I can’t?’ So I just made myself do it. It’s actually really awkward at first [laughs], but it’s really rewarding ‘cause, you know, when you find a great collaborator you do things that are over and above what you’ve doing on your own stuff. “That was how Kody and I met. Our publishers put us together and I was a big fan of their band and we wrote Tiny Little Piece Of My Heart, which is the second single and it doesn’t sound like either of us really; it sort of sounds like The Supremes or some other ‘60s girl band thing. Then Devil On Tambourine, I’d written the melody and the guitar line and had that kicking around for ages and Kody went in and wrote the lyrics and he took it from this Miles Davis quote where he was asked who was playing on this record – I think On The Corner – and he says everyone except the devil on tambourine. “Then Dann Hume is from [expat NZ band] Evermore and he’s also a producer – he produced Lisa Mitchell’s big record, Wonder. He’s really young! I’m thirty-six and he was twenty-one when I met and wrote with him and it was like, ‘Whoa, you’re so full on!’ Youthful but yeah, this exuberant person and a really great producer, really clever. Evermore, they write these big stadium songs and I write these kind of little sad introspective ones, so we made quite a good writing team, because he drew a bit more out of my songs – at least to the point where I was in the room, rather than just imploding [laughs].” Two of the songs Runga and Hume wrote together made the final cut for Belle – Hello Hello and Good Love – are very much more outward-looking and celebratory than the songs that made her name, like her first single, Drive, which she originally recorded back in 1995 and became her first hit, with the album of that name hitting #1 in New Zealand. Along the way, she became one of the highest-selling New Zealand artists in recent history and was awarded an NZ Order of Merit. “Lyrics are hard,” Runga admits. “I’m a big fan of really great lyrics and you can always be writing better lyrics. Like I just got the new Leonard Cohen record and I was just like, ‘Oh yeah, that’s right – this is lyric writing,’ you know? Just to write better ones, that’s what drives me. “Everything Is Beautiful And New – that’s mumsy as, yeah,” she laughs again. “It is definitely a direct Joe song. I was reading to him these children’s poems by a New Zealand poet called James K Baxter and one of these poems was called The Seagull and it’s just all the things a seagull sees ‘with his bold bright eye from the sky’. I guess I was influenced by that poem because becoming a mum is seeing things from a completely different vantage point.”
THE NEW ALBUM
FEATURING THE SINGLE “NO REFLECTION” OUT THIS FRIDAY 4 MAY
As well as being her producer, Nielson also plays keyboards in Runga’s live band, and his brother and fellow former Mint Chick, Ruban Nielson, contributes bass and guitar to the album. The album itself was put together from sessions across several studios including Serj Tankian’s in California and, would you believe, Babajim Istanbul Studios? “I was trying to make this record for a long time before I met Kody and when he took over I just said, ‘Look, I just can’t do this – you’re going to have to help me finish it,’ and I gave him all the production credit because really I was just chasing my tail. I’d produced all my own records before but this was different; I just had to accept that I needed help. It was fun to learn the confidence to let other people help you. “I didn’t go over [to Istanbul] but I have a harp, like a proper orchestral harp player and she lives in Turkey. The title track to the album is called Belle and it’s this theme song to a French children’s TV show and I just recorded it at home and sent it over to her in Turkey and she put harp on it. That’s another mumsy song, but it’s okay. If I’d made this record completely by myself, it probably would have been like Belle and like Everything Is Beautiful And New, which are kind of lullabies really. But having all these other writers on it gave it a bit more variation and that’s what it really needed. I didn’t want to make something that was just for mums. Not that there’s anything wrong with that, but it had to have like a broad range, this album.” WHO: Bic Runga WHAT: Belle (Sony)
MARILYNMANSON.COM | COOKINGVINYL.COM | SHOCK.COM.AU/MANSON
32 • THE DRUM MEDIA
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WHEN & WHERE: Tuesday 8 May, Lizotte’s, Kincumber; Wednesday 8, Lizotte’s, Newcastle; Friday 11, IPAC, Wollongong; Saturday 12, City Recital Hall; Sunday 13, Street Theatre, Canberra
SHORT SHARP POP Sydney triple-guitar pop threat Bearhug take it all pretty casually by the sound of things, or that’s the impression frontman Ryan Phelan gives Michael Smith.
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rontman of Sydney five-piece Bearhug, Ryan Phelan is calling from a café not from his place from which he’s managed to lock himself out. He reckons it’s down to having been awake too long and when it rains his key freezes up, but he’s cool. After all, he’s chatting about the band’s debut album, Bill, Dance, Shiner, a long time coming perhaps for a band that got together nearly five years ago, whose members had all attended the same school but had only become friends once they’d left. “Yeah, it took us a while,” he admits. “And we were very conscious about trying to make it an album rather than a collection of songs. To me, it works as an album because, although it jumps all over the place in terms of mood and everything, but I don’t know, I guess there’s a specific sound that goes through it. The sound is quite cohesive even though it does… We wanted to make a kind of weird album I guess; we didn’t want to make an album full of straight indie rock songs or an album full of the opposite of that, whatever that is.”
“My girlfriend actually suggested the name Bill Dance, then it was going to be called Sump and we eventually just had this quite enormous Facebook thread between us where the five of us did mostly irrelevant things, but we were just putting what everyone was thinking about names, which were usually just words and it ended up being that… Yeah, just that. It’s nice, even though there’s no real connection between the words.” WHO: Bearhug WHAT: Bill, Dance, Shiner (Spunk/Co-operative) WHEN & WHERE: Friday 4 May, GoodGod
It’s quite a short album too, with only nine songs, though that does include the seven-minute Cold Stream, but then their first release, the 2008 Cartoon Islands demo EP, was eight songs long. “It’s perceived as an album a lot of times,” Phelan admits. “I guess it is an album, though it’s short. Especially in this day and age aren’t albums getting shorter and shorter anyway from what I can see? I guess a lot of times albums aren’t listened to as albums anymore I’m sure, with iTunes and all that. There were a few other songs that we scrapped; I think we scrapped maybe three or four other songs for a lot of reasons. Personally I like shorter albums. Also, if we tried the other songs, they weren’t exactly ready and we really didn’t have a lot of time in the studio, so it would have been too much of a risk I think.” There was obviously something about Bearhug that their eventual label, Spunk, which distributes recordings by Arcade Fire, Joanna Newsom and a major influence on Bearhug, Broken Social Scene, whom they supported in their 2010 Sydney Splendour sideshow, recognised long before they’d even started thinking about recording. “Aaron [Curnow, label manager] sent us a message years and years back, pretty much when we first started – I didn’t know who Spunk were; I didn’t know who any label was but it was very… I didn’t know much at all. And then they started to contact us about the [Spunk] Singles Club and we had just put out that first batch of stuff. Then from that, I think it was six months after that or something, they came to us again for more of an actual signing.” They contributed the track, Snow Leopard, to the 2009 Spunk Singles Club compilation, which was followed by their first official Spunk release, the To Anything EP, itself a more traditional four songs long. The Bearhug sound has been described as having something of a ‘90s West Coast American guitar sound, the band citing influences as diverse as My Morning Jacket, Pavement and Tom Waits among many – and it’s certainly harks back to a more melodic sound than your aforementioned regular inner city indie sound. “I guess it’s different when you have three guitars in a band and you kind of lean towards, I guess, that sound. The way we achieve it, it’s kind of flowing in terms of it all happens really quickly and it’s just everyone just kind of going on what they feel like playing over the track. It never turns into a bigger… what’s the word… The songs aren’t exactly a real thought out process I guess, just whatever feels right when we start working with an idea. Some songs I’ll have a basic skeleton and I just bring it everyone and we just flesh it out – it usually happens very naturally and pretty quickly. “A lot of the lyrics themselves aren’t that structured either,” Phelan expands, though a little vaguely. “Kind of all over the place. I don’t know… Sometimes it’s hard for me to remember how I even wrote them.” Working with three guitarists – Jesse Bayley and Kyle Taylor joining Phelan, with Mitchel Cumming on bass and Nicholas Mabbit on drums – you need to be far aware of where you are in the mix than you do with a more traditional rock line-up. “I guess it all comes down to tone. I mean I don’t use any pedals; the other two guys use pedals. We used quite a bit of keys as well. So that was mainly the two other guys because I would be playing rhythm without a pedal so we’d always sound kind of the same. I mean the most I would change up would be an acoustic, but they knew how to sort of, you know, meld their sounds together so they’re not doing the same thing.” Bearhug had toured with Philadelphia Grand Jury on a tour where producer Tim Whitten, whose credits include records by Powderfinger, the Hoodoo Gurus and Augie March among many, was acting as their live sound engineer and he expressed interest in recording them. So he became the obvious choice to co-produce Bill, Dance, Shiner, written and rehearsed up over some seven months in their rehearsal space in Hibernian House in Sydney, with the album’s title itself, Phelan explains, an amalgamation of “little things”, Shiner the title of the album’s second track.
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THE DRUM MEDIA • 33
KNOCKOUT BLOW All bands remember their first Big Day Out tour, right? Danielle O’Donohue finds out why Haydn Ing from Calling All Cars draws a blank.
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ouring with the Big Day Out is a significant milestone for any upcoming Australian band. But Calling All Cars frontman Haydn Ing is a bit hazy on some of the details of his group’s run on this year’s festival. Ing’s Sydney Big Day Out appearance ended in the back of an ambulance after being knocked out cold by a flailing arm as he jumped into the audience only a couple of songs into his band’s set. The Melbourne singer admits that while his memory of the day isn’t great, he’s seen the YouTube footage and has been able to fill in a few blanks. “I was crowd surfing and saw one of those circle pits so I thought I’d get in the middle of that and as I was running towards
it, he didn’t see me and I didn’t see him and we just collided,” Ing says with a wry chuckle. “I was completely out. I woke up on the stretcher in the ambulance. It was pretty full-on. Tom [Larkin, Calling All Cars’ manager] was freaking out. He was down the front. But as soon as he knew I was okay, he was like, ‘Sweet, publicity.’” But like the rock’n’roll trooper he is, Ing was back onstage a couple of days later in Melbourne – although his feet were firmly planted in front of the mic for the entire set. Because he’s such a physical performer this certainly isn’t the first time Ing’s ended a set a little worse for wear, but he admits he’s never had to leave a gig in an ambulance before. But don’t expect the Calling All Cars stage show to change his onstage antics too dramatically. “I haven’t been hurt to that extent before. I really badly hurt my foot one time jumping off the speaker, so I had to limp around for the rest of the show. But I just need to learn how to do it better. Practice makes perfect.” It’s been a pretty big summer for the Melbourne threepiece. Fresh from the August release of their second album, Dancing With A Dead Man, the band was one of four young local acts picked to support Foo Fighters on their December stadium tour. Calling All Cars are no strangers to big stadium rock shows, having toured Australia with AC/DC and with Queens Of The Stone Age, but Ing says the notoriously nice Foo Fighters certainly know how to make a support band feel welcome. “All the crew took us aside and were like, ‘Here’s a pass. You can go anywhere you want. You’re allowed in the Foo Fighters band room, just don’t be a dickhead.’ It was rad. We were hanging out with them afterwards. Just being there and standing side of stage and watching Dave [Grohl, Foo Fighters vocalist] do things was crazy. He brought me out onstage in Perth and I was having a conversation with him. That was pretty bizarre. I was standing there going, ‘What the fuck is happening right now?’”
There’s more to this story on the iPad While on tour the band couldn’t resist the opportunity to film a clip to announce their BDO appearance starring their famous tour-mates. The YouTube video features appearances by Foo Fighters’ Grohl and Nate Mendel, Fucked Up’s Damian ‘Pink Eyes’ Abraham and Tenacious D’s Kyle Gass and Jack Black. “We got to meet Jack Black and everyone backstage at the Perth show and we said, ‘Is it cool if you do this video?’ and explained it to them. And he goes, ‘Yeah, that’ll be sweet, but before I do that I actually want to see what I’m endorsing.’ So at one point in Adelaide there was Jack Black and Dave Grohl standing side of stage while we were playing. I was like, ‘Holy shit!’ Then after we all played we were having a drink and hanging out and Jack was like, ‘So are we going to make this video?’ The quote he actually said to us was, ‘You called the cars and they came.’” After such an eventful summer, Calling All Cars have taken a step back out of the limelight to begin the process of writing album number three. For Dancing With A Dead Man, the band wrote about 40 tracks that they whittled down to the album’s final 12 songs. The plan this time is to again write a lot more songs than are needed, so the three band members have decamped to a tiny little town on the New South Wales south coast for a little inspiration and a lot of peace and quiet. The town has a population of just a couple of hundred people. “When we walk into the town you can tell we’re not from around there. We get those typical comments like, ‘You’re wearing your sister’s jeans, mat.’ Yeah, good one.” Compared to the busy lives the boys all lead in Melbourne, life in a sleepy coastal town means there’s a lot of time for writing songs. To be blunt, there’s not a lot else to do. “There’s absolutely nothing else. There’s music or be bored,” Ing says. “The last two albums we did in Melbourne. There’s too many distractions in Melbourne. Too much good coffee. We’re aiming to get about fifty songs done and at that point we’ll demo them properly and try and find a producer.” The band’s first two albums have been produced by their manager Larkin, but Ing says it’s time for a change. “He wants us to do that as well. He’s had enough of us,” Ing says with a laugh. But the singer says it’s far too early to start thinking about specific names, though they’re hoping to end up with an overseas producer. Before they can narrow down names there’s a lot more writing to get done so the band can begin to work out what this new album will sound like. If Calling All Cars’ debut, Hold, Hold, Fire, and Dancing With A Dead Man are anything to go by, there’s a pretty good chance listeners will be in for a lot more highenergy, blistering rock. If they’re really lucky, Calling All Cars might even preview a new song or two. WHO: Calling All Cars WHEN & WHERE: Thursday 3 May, Transit Bar, Canberra; Friday 4, Annandale Hotel 34 • THE DRUM MEDIA
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PARALLEL UNIVERSE Although The Darkness have an unwavering bravado onstage, it’s actually fear that is driving the band. With the British rockers returning to stages around the world, immaculately curled bassist Frankie Poullain puts Benny Doyle on notice.
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own the phone from his Hackney apartment in East London, Frankie Poullain is sounding like a man enjoying his second bite of the cherry. His former band The Darkness are riding high once again following their return to the stage last year and the boys haven’t wasted a moment making up for lost time. They’ve already completed tours around their native England, and America, as well as recording a new album as the follow-up to their 2005 release One Way Ticket To Hell... And Back. It’s casually mentioned that the morning after this interview they have a photo shoot with Scarlet Page, the daughter of Led Zeppelin guitarist Jimmy Page. Yep, it seems like rock’n’roll has well and truly returned to Poullain’s world and the 45-year-old is more than chuffed. “First it felt unreal; then it felt nerve-racking; then it felt a bit magical coming back y’know,” Poullain tells. “Now it just feels a bit surreal really, it does. Actually, surreal is probably the right word. Not often in life do you do that, do you go back and do something that you thought that you’d never do again. So it’s a pretty strange feeling and it sort of feels like a parallel universe really.” Poullain isn’t wrong in voicing his disbelief. It’s doubtful many rock fans expected to see The Darkness on stage again, let alone back in Australia, following their split in 2006. The fact that Poullain is with them on this journey is all the more incredulous, considering his rash departure in 2005. Depending on which reports you believe, the circumstances were either due to musical differences or a proclaimed ‘freeze out’ by a cocaine-addled frontman Justin Hawkins. But that is neither here nor there. Whichever the case, Poullain regrets it got to that point in the first place. “I never thought it should’ve happened,” he laments. “I got offered a few different things in various bands, but it wasn’t really the kind of thing that I wanted to do. So I hadn’t really played in a band for six years actually until I stepped into a rehearsal room with these guys and we went through a few songs – and it sounded terrible just because we hadn’t been together for so long. Then we just started laughing and soon we were
playing again like we did back in the day. Obviously, there are a lot of talented musicians out there, but I feel very blessed to have that kind of chemistry when we connect with each other; I feel very fortunate.” Although The Darkness last toured Australia in 2006, for Poullain it’s actually been almost a decade since he’s hit our shores, his last visit during the 2004 Big Day Out. Slotted in barely after lunch on the main stage, The Darkness thrived in the stifling conditions, the set full of costume changes, pompous glances and the anthemic singalongs that a field full of beer swilling revellers were gagging for. The bassist recalls the experience with reciprocated fondness. “Ah yeah, the Big Day Out,” he draws out the words with a dreamlike ease. “I remember The Dandy Warhols. I remember the girl playing keyboards in The Dandy Warhols was at the side of stage dancing and her boobies were jiggling up and down, ‘cause she never used to wear a bra. I remember Courtney from The Dandy Warhols too; he was quite an articulate guy and a real interesting character. And I remember Peaches – she was just amazing and really kicking arse back then. She blew me away and that was a great discovery, her music. “The Kings Of Leon were there too, they were really nice little kids at the time, just getting into it, really young pups,” he continues. “But in those five, six years following they’ve probably aged 15 to 20 years because they have just worked so hard and that’s probably what screwed them up, y’know? They just toured too much. But they’re great guys; really nice lads, very talented and I hope they can come back and sort out all their problems.” In early 2011, it was announced that the original Darkness line-up would be reuniting, Poullain reclaiming his former role from replacement Richie Edwards. The quartet returned to stage in emphatic fashion at the Download Festival, a celebration only made possible by one thing. “We just needed time really,” he admits. “We needed different people involved in the band and around the
band – guiding us – and just more positive energy, y’know, realising what we missed, realising we all missed each other and that we missed having the most fun you can possibly have, being in a rock’n’roll band together, just standing onstage together – you really miss it.” The response to that show was critical to the position the band now find themselves in, ready to take on all-comers once again. “Big time,” he agrees. “You always feed off the energy of the crowd and you enjoy receiving that visceral kinda response from people. There’s a real symbolic relationship between you and the crowd and it’s a really important part of it. It’s just something you sense, when you are playing a song to someone and you feel as though you’ve got that edge, that unknown quantity, the X-factor that makes people excited again.” Poullain explains that album number three is in the bag for the band. If lead single Nothing’s Gonna Stop Us is anything to go by, then the only shock for Darkness fans will be the wild, upper-lip caterpillar Justin Hawkins will be trying to smuggle through passport control. He says that the album will be a 14-track extravaganza, full of the trademark bombastic rock that exploded on to the scene like a codpiece full of dynamite back in 2003, however, he remains mum about the title. What is obvious though is that The
Darkness are embracing their identity once again and are riding that horse into the sunset. Sure there is apprehension, but being able to capture that unstable energy and build their performance on it might see The Darkness growing on us just one more time. “We’re always egging each other on. Before Download we were imagining standing in chicken feed, just scratching around, just waiting – we were all really petrified,” he confides. “So we try to really create this element of fear and really encourage it. We do it on purpose because we really want to be on note and fear creates those great moments within yourself. It’s a strange place to be, like, you don’t want to be vomiting every night or you’d turn into Karen Carpenter. It’s just all ‘bout making things hard for yourself, y’know, you don’t want to be in that comfort zone – that’s the worst place to be,” he concludes. “But right now, we’re probably more energetic than we were in 2004, just because we are trying to make up for lost time.” WHO: The Darkness WHEN & WHERE: Saturday 5 May, Panthers, Newcastle; Sunday 6, UNSW Roundhouse; Thursday 10, ANU Bar, Canberra
live
Crossing Red Lines with
Parapluie Rufflefeather and the
Pepperheads at Mona Vale Hotel saturday may 19th
Doors Open 7pm Mona Vale Hotel, 2 Park Street, Mona Vale Cnr Barrenjoey rd and Park st Tickets $10
Last chance to catch
Crossing Red Lines
before a break for overseas travel
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THE DRUM MEDIA • 35
STILL BEHIND THE WHEEL Within days of finishing Coal Chamber’s initial reunion shows down under, vocalist Dez Fafara was straight back out on the road with his main gig, Devildriver, who have Australia in their sights again. Brendan Crabb goes to the end of the line.
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t the time of speaking to DevilDriver mainman Dez Fafara, the growler is in Portland, Oregon, deep into yet another lengthy bout of touring. They’re also slowly but surely writing their next album, the follow-up to last year’s Beast. “We haven’t really found the sound yet, we’re working through it,” he admits. “I’ve heard a few tunes, one of which I think is absolutely magnificent. It’s coming together slowly. I want to take it back a little groovier, definitely – and with bigger hooks.” The US metal act are renowned for being prolific in the studio and undertaking a gruelling tour itinerary; like any high profile band their schedule is often strictly mapped out well in advance. So when he’s asked what the tentative timeline is for writing and recording a new platter, the answer is a little surprising. “No timelines for me, my friend. We’re free agents right now, so we’re looking for record labels and when that’s all done… All I know is we’re gonna come see you, then go do huge festivals in Europe for six weeks and then in July, I’m taking the first break that I’ve taken in over sixteen years. So during that break we’re gonna get ourselves together with labels and start writing, but we have no timeline right now, producers or any of that.” Having spoken in the past about the strong work ethic instilled in him as a child – something he in turn expects from those around him – Fafara’s voice audibly brightens when discussing taking an extended breather. “Well, in sixteen years I’ve never taken more than a few months off, so this one’s going to be at least nine months to a year. I think DevilDriver’s been putting a record out every two years and doing an extensive amount of touring. I think it’s important that we come off and go away for a while. I do better living on the road, so recharging, it doesn’t really come into play. I also want to spend time with my family. My wife and my kids are really important to me and I haven’t given them enough time of my life, so I’m gonna set some time aside.” Even the much publicised reunion of Fafara-fronted nu-metallers Coal Chamber (he says that on the announcement, they were offered countless tours and record deals) will be put on hold, despite the
fanatical reactions at the Australian shows. “That was wonderful, magnificent,” he says of their Soundwave Festival appearances. “It’s always a good time when I come down, but it was really cool to bring Coal Chamber after a decade, see the response and watch everybody singing the words. I’m really appreciative of the way that everything went down.” As enjoyable as that experience was, the vocalist previously proclaimed they would be taking baby steps with the reformation. “I’m not even really thinking about the Coal Chamber world right now. I’m thinking about coming off with my family and getting into a new DevilDriver record, so that’s really where my head’s at. Coal Chamber, the only analogy I can give is the woman analogy. You’ve got to date her for a while to see what’s gonna happen. So I’ve only been on one date with her and that was to Australia. We’re gonna go do South America together in September, then after that, I’m gonna see what happens.” Past glories aside, also requiring DevilDriver’s immediate attention is their label situation and aforementioned free agency. Roadrunner has been Fafara’s record company home since Coal Chamber’s 1997 self-titled debut, so there’s plenty of history there. “I can’t really comment too much until the business is closed and the books are done,” the vocalist explains. “If I have it my way, we’ll stay with Roadrunner Australia, but separate from Roadrunner for the rest of the world. We’ve already separated from the United States label, so we’re free agents completely right now. So we’ll have to see where it goes.” Having played in two high-profile heavy metal bands during that 15-year period with Roadrunner and experiencing the peaks and valleys (gold records contrasted by substance-abusing bandmates; worldwide tours compared to ugly, public band break-ups) that inevitably come with such success, Fafara has more than his share of stories to tell. It’s asked if the 45 year old has any plans to recount some of his experiences in written form. “Yeah, I’ve been approached several times, actually, to do autobiographies. I just don’t know when that time
is; I think it’s kind of premature. I’ve had a lot of stories obviously and a pretty long career, but I don’t think it’s time to slow down and write a book at this moment. That being said, we’ve kind of been scripting some different chapters in what I would talk about. But it also seems a little too early for me to talk, because if I do a book, I’ve gotta do it honest, right? There will be some dirt and I’m not one to mudsling, so there has to be an appropriate time for me to tell all. And I don’t think right now is that time.” That seems to be the difficult balance to strike with autobiographies – there’s a desire to not throw anyone under a bus, but conversely a need to be completely honest too. “Well it is, because you want to tell the appropriate story, you want to say exactly how it was. When I was growing up in my home, I was dealing with domestic abuse most of my life before I ran away from home. There’s a lot of stuff that one wants to go into within the career, different managers, different people within my career. If I can’t tell the whole story and I can’t tell it truthfully, then I might as well wait until I feel that it’s the appropriate time to do so. That being said,
there’s also something in the works that I want to do, that’s kind of along the lines of an autobiography, about just never giving up in life, how I got to where I am and how I went from where I was as a kid to where I am now. So there is a possibility to write a story like that, without doing all of the dirt that has to go along with a musical autobiography of my life. So, we’ll see.” Perhaps he can write another proverbial chapter when DevilDriver return to Australia alongside melodic death metal crew Darkest Hour and death metal mainstays Six Feet Under. “It’s our first real headliner, so we’re gonna play well over fourteen songs; you’ll get a proper headlining set. We’re bringing some great bands with us. It’s a great bill and you’re gonna get 100 per cent energy from us, so hopefully the crowd gives us the same in return. You don’t stand still at a DevilDriver concert - no one does.” WHO: DevilDriver WHEN & WHERE: Saturday 5 May, The Hi-Fi
TIME BECOMES A LOOP Wonky, the comeback album Orbital fans didn’t know they had to have, has been widely praised as the seminal rave duo’s finest work since their ‘90s heyday – and Paul Hartnoll tells Kris Swales that he and brother Phil are determined to create something even more memorable next time round.
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hile many of their first wave of ‘90s stadium techno contemporaries have done more to tarnish their reputations than enhance them with their studio output since the turn of the century, Paul and Phil Hartnoll called time on Orbital at the perfect moment in 2004 – with the law of diminishing returns not quite in full effect and their standing as one of dance music’s finest live outfits intact. The brothers Hartnoll wisely went their separate ways, with Phil working the DJ circuit and recording a collaborative album under the Long Range moniker, Paul finally taking those piano lessons he didn’t get around to as a child, recording the orchestra-based The Ideal Condition album and teaming up with superproducer Flood to man the boards for The Music’s 2008 swansong, Strength In Numbers. But in 2009 the lure of taking Orbital back on the road proved too great, the ensuing ‘greatest hits’ tour bringing them back to Australia for the first time since 1992 and confirming to fans new and old that the old battle station was still very much operational. The Hartnolls, too, were invigorated – so much so that the touring experience proved the genesis for eighth studio album, Wonky, a release that pulls off that delicate act of sounding both classic and fresh with more cohesion than they’ve managed across an entire longplayer since 1999’s The Middle Of Nowhere. And as Paul Hartnoll reveals, it’s born from the same headspace that birthed the 1993 classic Orbital 2 known as the Brown Album. “It’s born out of two years of playing live and a year of DJing,” Hartnoll tells us shortly after whisking his three young children off to school. “I haven’t been out clubbing for the last ten years really, I’m not that interested anymore in going out to nightclubs and that sort of thing – I’m at home with my family enjoying that sort of life; you go through different phases. But it was good to go out there, play all these festivals and kind of catch up with ‘so what’s music doing now?’ It kind of opened my ears again to what’s going on and all of that and all 36 • THE DRUM MEDIA
of the experience we had from playing live all got put into this album. We were playing all our old favourites and at the end of it we were like, ‘Well let’s make an album of stuff we can play live, let’s think about it like that – let’s put into this album what we want to hear live and what we think would improve our live set.’ “When we did the Brown Album we were very much on the road all the time and it was very much a live environment, so you write for whatever it is you need or you’re feeling at the time, don’t you? That’s where we are with this album. It’ll be interesting, ‘cause we’re already thinking about another album and I don’t know that that’ll be the same. But that could be a good thing, you know – keep it fresh, keep it changing all the time.” It was that struggle to keep it fresh that saw Orbital hang up their signature torch headsets in the first place. While 2004’s Blue Album saw the duo sign off with a reasonable facsimile of their trademark sound, 2001’s The Altogether, while having the odd standout moment, like their reworking of the Doctor Who theme, was a frustratingly slipshod effort from an act who seemed to have lost their way. “I think it was a directionless album,” Hartnoll agrees. “I think it was the sound of people searching. When you’re a creative person and you’re a bit lost that’s what you do, isn’t it? You kind of search. Possibly what should’ve happened is those en experiments shouldn’t have been put out as an album, they should’ve been exactly that – a way of going through stuff until we found, ‘Ahh, this is where we are, this is what this album’s about.’ I kind of think that The Altogether and the Blue Album, there’s probably one good album between the two of them. But that’s why we stopped, because we did two albums that we weren’t 100 per cent behind. From a creative point of view, you’ve gotta try, you always want to try, you’re not going to give up that easy, but when you’ve done two albums where you’re not entirely happy then it’s time to move on and try something different.”
Orbital do sound refreshed on Wonky, yet entirely like themselves. Anthems-in-the-making such as Stringy Acid and triumphant closer, Where Is It Going?, would slay dancefloors of any era, while New France is one of the biggest vocal-driven tracks of their career – Zola Jesus another addition to the list of vocalists they’ve enlisted before they were stars, headed by longtime friend Alison Goldfrapp as far back as 1994’s Snivilisation. “It was almost like internet dating,” Hartnoll explains the Zola Jesus connection. “We’d never heard of her, but we’d got to a point that felt like, ‘Oh, this needs a wailing, strong kind of female, gothic kind of vocal.’ And so were listening to stuff, didn’t really find much, put the word out to some of our friends and someone in the US said ‘What about her?’, dialed her up on Spotify and we were like, ‘Ah brilliant, she’s perfect.’ She was up for it from the start but she nearly didn’t have time because she was touring a lot. So basically it just so happened she was coming to London to do a gig in the last week we were recording our album,
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so she was able to come down for a couple of days and make it up and record it there and then.” Orbital’s impending run of Australian dates will see them touting a scaled-back version of the production that has recently seen them return to the Royal Albert Hall for the first time since 1995, with Hartnoll promising a 50/50 mix of the old and the new. “We haven’t hammered Australia like we’ve hammered the UK, but that’s something I plan to rectify over the next five years,” he adds, before asking our assessment of their finest albums and greeting the anointing of the Brown Album and 1996’s In Sides with a knowing nod. “Okay, I think that’s pretty much in tune with most of the universe. Another thing I plan to rectify and change.” WHO: Orbital WHAT: Wonky (ACP/Liberator) WHEN & WHERE: Saturday 5 May, Metro Theatre
mtvexit.org
Traffickers feed on hope.
THE DRUM MEDIA • 37
MUSH RUSH Recording their debut album, Forever So, slowly and carefully over quite a while, since its release Husky have found themselves catapulted into hyperdrive. Michael Smith investigates with frontman Husky Gawenda.
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t’s barely six months since Melbourne four-piece Husky released their debut album, Forever So – and what a few months it’s been. February saw them touring Germany with European duo Boy, which helped put their EP into the German iTunes Top 30. The following month they were gigging around New York City and Los Angeles, as well as Canadian Music Week before heading down to Austin, Texas to play the official South By South West Sub Pop records showcase, having become the first Australian band to sign with the prestigious Seattle-based label. Once they finish this latest spin around the nation, they’re heading back off overseas to put in some dates in Europe, the UK and two separate runs in the US supporting labelmates The Head & The Heart and Shearwater. It’s all quite a contrast to the long, quietly methodical process of recording the album over several months in a studio built into a bungalow in his backyard, as singer and guitarist Husky Gawenda, admits. “I still wonder how we got that right, you know? It’s been a long time since we finished the record and we recorded it in our own studio and produced it ourselves and I still wonder how the hell we did a decent job on it, but I guess we did. I think when you work with a label, the thing you want more than anything is for them to be in it because they love what you’re doing, not because they have a vision for what you could be – and that’s really important to us.” Much of the accelerating momentum around the band that has seen them enter the international touring circuit is, naturally, down to getting signed to Sub Pop, onetime home of Nirvana and Soundgarden and these days Fleet Foxes, The Shins and Beach House among many. “I think it was a little bit of luck on our side. Our manager was in Seattle and had a meeting with Jonathan Poneman – the President of Sub Pop – and it was unrelated to us, but he ended up with a copy of our album in his hands at the end of that meeting. Then we got a call from them saying, you know, they loved the record and they wanted to talk about releasing it. The guys came down to Melbourne
not long after that and watched a show and hung out for a couple of days – they were desperate to see kangaroos and koalas – and yeah, we went from there. So it kind of came out of the blue.” As it happens, Husky were already looking to go over to South By South West, something obviously worth doing for any Australian band with an album to promote, even though when they scored a place in this year’s contingent they had yet to get signed to an international booking agent or label. Suddenly they found themselves not only signed, but opening their label’s showcase event on the back of a debut album that doesn’t get released there or in Europe for a few weeks yet.
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“It was pretty surreal to be honest. I mean it all happened very quickly and it’s happened quicker than I had time to get used to it happening. Life’s a bit like that at the moment; a lot of things happening very quickly with not enough time to get used to them. South By South West is like nothing I’ve ever seen before. I was told when I was there – I don’t happen to know the official figures – but I was told something like 400,000 people come into Austin for the festival and I heard figures thrown around like 8000 bands. I’m not sure if that’s true, but I wouldn’t think it that far off; there were so many people and just so many bands it was very hectic and amazing in a lot of ways, but also it’s kind of a tough gig for a band. The playing conditions are not usually ideal, you don’t get much time to set up, you’ve got to load your gear through crowds of people… It’s a bit of a slog but I think it’s worth doing if you do it right.” They left Austin after about five days of being there and by the end, Gawenda admits the band was were pretty happy to get out of there. “Not that we didn’t have a good time, but I think we needed a rest,” he laughs. “So we went from Austin to New York and spent a few days there and I guess playing in New
York is just a kind of dream that most musos have. We did a place called The Mercury Lounge, a very nice little venue on the Lower East Side – we were supporting an artist called Grace Woodroofe there – and then we did another one called Bowery Hotel, which is also on the Lower East Side. That was a [radio station] KTRW DJ from LA, who puts on these nights in New York and LA, so we played one in LA as well. We drove down to Philadelphia, did the Rocky run up the stairs, which was a bit of a thrill for all of us as big fans [laughs], spent a couple of days in Toronto for Canadian Music Week and on our way home we stopped in LA, played a couple of gigs there.” All of which you’d think was heady enough, but it followed a solid two-week blitz of Germany, opening for the aforementioned Boy – six intensive weeks covering thousands of kilometres.
“Germany was really amazing. It was a very different experience to the US. Boy are playing to 1000/2000 capacity venues all over Germany and I think we travelled to seventeen different towns and cities around the country. Germans are definitely a different breed of live music goer. Whenever we walked out on a stage – they’d never heard of us; again we had nothing going on in Germany – in a 1500-capacity venue and it would be full and silent – and that’s for the support band. That’s definitely not something I’ve experienced here in Australia.” WHO: Husky WHEN & WHERE: Wednesday 2 May, Wollongong UniBar; Thursday 3 and Saturday 5, Oxford Art Factory; Sunday 29 July, Splendour In The Grass, Belongil Fields
25 YEARS AND COUNTING Few believed that Sick Of It All would survive to see 25 years in the game. But all these years later the New York hardcore stalwarts are not only surviving: they’re thriving. Mark Hebblewhite discusses this longevity with vocalist and co-founder Lou Koller.
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e-recording material is an extremely tricky proposition. Often it’s done for the wrong reasons – to get out of contractual obligations, or as a result of intra-band strife when there is a desire to wipe one party’s previous musical contributions off the face of the earth. But even when the intention is good – say a desire to update classic material for a new audience, or to make right some technical problems that marred the original recording – a host of things can still go wrong. Most often the new recordings simply fail to match the spirit of the original. How can you recreate the magic of a time and place long gone? Sometimes it’s the adversity and unfortunate circumstances that make a recording great. Just ask Black Sabbath, who recorded their seminal debut in a day, for a measly (in modern terms) $1200. All this makes Sick Of It All’s Nonstop – an album full of re-recorded material from across their career – all the more amazing. Think you can’t make the likes of Injustice System, Ratpack and Clobbering Time sound better than the originals? Then think again, as these versions simply kill. “We knew we were taking a risk going in and re-recording these songs,” frontman Lou Koller admits the nervousness the band felt when embarking on the project designed to celebrate the band’s 25th anniversary. “Some bands do it and they’re full of themselves. They try and make the songs reflect what’s hip at the time and they just end up ruining them. Our reasoning for doing this was nothing like that. We’ve always felt that these songs are freight trains when we play them live, but on the old recordings they sound like crap. At one stage we played around with just re-doing the entire [1989 debut] Blood, Sweat And No Tears album, because that’s the one where we really didn’t know what we were doing and our inexperience shows in the sound of the record. But as time went on we each of us got the idea to do certain tracks and so we just ended up doing an album that covered a wider spread of our albums.” Koller credits producer Tue Madsen for Nonstop’s vicious sonic punch. Madsen is the wunderkind 38 • THE DRUM MEDIA
knob twiddler who was responsible for breathing new energy into the ‘Alleyway Crew’ when he took the helm for Sick Of It All’s 2006 masterpiece Death To Tyrants, an album that ended up heralding a creative renaissance for the veteran punkers. “Tue has done such a great job on every record he’s done with us, including the new one,” says Koller. “When we came to work with him we’d just left Fat Wreck Records and were at a bit of a crossroads. Everything was great on that label but we felt we’d fallen into a rut. Fat Mike would let us do anything we wanted, but that led us to sort of drift a little because we did have that total freedom. “So we took some time off and thought about what we liked with all the old records and really re-focused on what makes Sick Of It All what it is as a band. So we had the songs; Tue helped us make them sound as good on record as they did when we rehearsed them. For Nonstop he said to us that if we were going to re-record all these songs we had to do it in an old school way. He wanted the songs to have the energy they have when we play them live. So he gave us four days to do twenty-seven songs and we only got through twenty of them. We must be slowing down in our old age [laughs], but there’s no doubt that his approach worked because the songs finally sound how we want them to on a record.” In many ways Sick Of It All are the most high-profile example of the venerated New York hardcore scene. But do the boys really relate at all to the metalised offerings of Sheer Terror, Cro-Mags and mid-period Agnostic Front? “In the beginning we were known as being a very ‘metallic’ hardcore band – or so the punk fanzines thought. But over the years a lot of other New York hardcore bands really did embrace metal a lot more than we did ‘til it got to the point where we weren’t considered that kind of band in comparison. It’s funny, we grew up listening to the whole New Wave of British heavy metal, but as musicians we had limited ability – in the beginning at least – which
made us more ‘punk’ than a really proficient metal band. And of course we also grew up listening to all the Oi punk bands and the West Coast punk rockers like Face To Face and Bad Religion, so that was also an influence for our band’s sound as well.” So does the term ‘New York hardcore’ even mean anything to a band like Sick Of It All? “It really is a beast of its own at this point,” Koller reckons. “I think it goes beyond what bands sound like – it evokes different things in the minds of different people. To this day I have friends who can’t convince friends of theirs to come and see us play because they think, ‘Oh Sick Of It All, they’re NYHC and that whole scene is full of violent people and gangsters who’ll beat us up.’ Thing is, yeah, we did come out of that scene, but we always stood up against that sort of thing. But for other people it’s the opposite. The label evokes great respect – and that’s not only among hardcore fans, but punk rock fans and metal fans seem to love a lot of the bands. So, yeah, we
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acknowledge where we come from but we don’t allow ourselves to be completely defined by the label.” With 25 years under their collective belts, Sick Of It All could be forgiven for easing off on the intensity levels, but according to Koller that’s the furthest thing from their minds. “As you get older you do mellow a bit,” he laughs, before going on to note that many members of the band are now ‘punk rock parents’. “But when it comes down to it we love what we do and the energy and excitement is still there, whether it be touring or making new music. So we’ve got no plans to ease up. We’re playing plenty of shows and are in the early writing stage for a new record that will hopefully come out early next year. This is all we know – and it’s too late for us to get nine-to-fives.” WHO: Sick Of It All WHEN & WHERE: Friday 4 May, Cambridge Hotel, Newcastle; Saturday 5, Manning Bar; Sunday 6, Zierholz @ UC, Canberra
THE DRUM MEDIA • 39
THE FUN FOURTH
STATELY SOUNDS
With album number four, we get to hear a happier, poppier Liz Stringer than we’ve heard before, but it was only natural, she tells Michael Smith.
Nick Argyriou wraps his head around the musical moods of Aidan Roberts, aka The Maple Trail.
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n her last album, Tides Of Time, Melbournebased singer/songwriter Liz Stringer stripped things back pretty much to just voice and guitar, but for her fourth album, Warm In The Darkness, she decided to stretch out a bit. Yet for all the expansion of the musical palette evident – the addition of horns, big fat electric guitars and harmonies – there’s still plenty of space, allowing the emotion in Stringer’s voice and lyrics to shine through. “I guess the songwriting is still at the heart of it, so they’re still very, I guess, song-based songs as opposed to sound-based songs – if that makes any sense,” she laughs. “But it’s just I’ve never been so liberal with the amount of guitars and I think the songs are a bit more… needed a different treatment. But it still managed to not hem the songs in too much. “And I’m a bit of a serial harmonist – as a friend of mine calls me – and I’ve sung backing vocals on a lot of albums and arranged them and harmony singing is something I really enjoy. So it was a really great treat for me, ‘cause I arranged these kind of soul harmonies as well, to get Suzannah [Espie] and [bass player] Tim [Keegan] in to sing them.” Stringer thinks the songs were calling out for something a bit bigger. “I mean these songs, on the whole, are a bit more happy and less dark and intricate – they’re very verse/chorus/verse/chorus/ bridge/chorus and quite hooky – so then I felt like it would be good to give them a bit of extra bells and whistles, whereas the songs on the other albums haven’t ever needed them. I guess you look at what you think will best serve the song and the sentiment of the song and it just happened to be a bunch of songs… I mean you write a lot of songs and then you tend to group them into groups that are going to go well together and these songs all have that similar kind of guitar pop sort of thing going through them.” So what, you might wonder, was prompting Stringer, who has established herself as very
much a folk meets blues-based songwriter, into this more brighter, guitar-based pop direction? “I think it was always going to happen,” Stringer admits. “I really love that sort of music; as a listener it’s really satisfying and I don’t know whether I was maybe happier [laughs] or maybe more confident, to try it, ‘cause in a way first of all I’m a folk artist and that’s what I do, but in some ways this stuff comes even more naturally to me than a lot of that dark folk stuff. So it’s just a natural thing that was always going to happen at some point. “I think in a way, it requires a bit more confidence or self-assurance to write about something that is kind of happy. I mean it does for me I think, ‘cause I always assumed that the darker side of life is what I write well about, but actually that’s not true. It’s just a natural evolution of how I’m writing and I think just naturally there were some songs that weren’t completely depressing,” she laughs heartily, “which really surprised me. I don’t think I could have written songs like that five years ago and I just think that my palette has extended or it’s just naturally a direction that I’m going to. But I think it’s definitely a sort of pragmatic thing; I don’t think I’ve always done that easily.” WHO: Liz Stringer WHAT: Warm In The Darkness (Vitamin) WHEN & WHERE: Thursday 3 May, ANU Bar, Canberra; Friday 4, Grand Junction Hotel, Maitland; Saturday 5, Camelot Lounge; Sunday 6, Yours & Owls, Wollongong
idan Roberts is on his way home to the Blue Mountains via train when we connect, then disconnect and then connect again. He’s just come off, and is about to launch back into more shows, on the latest Lanie Lane tour. The man’s third solo release under The Maple Trail moniker has just been freed and his production workload is as hectic as always. Then there’s Tubular Bells For Two, the musical project Roberts shares with Daniel Holdsworth. Through Tubular Bells For Two the pair interpret the classic ’70s Mike Oldfield record, Tubular Bells, in a multi-layered sonic spectacular that finds two men playing over 20 instruments to realise its sound. He’s clearly got a bit on has Roberts, so downtime is crucial. “I’m really looking forward to getting back home tonight because I feel like I’m always running off somewhere,” he laughs. “I mean between Lanie’s stuff [Roberts plays guitar], Tubular Bells, Belles Will Ring [his original band] and The Maple Trail, I’m pretty much full to the brim these days.” Pulling together all of this incredibly assorted backcatalogue of genre and melodic activity has placed Roberts in good stead, with his creativity now flourishing more than ever. Cable Mount Warning is a wonderfully textured, dreamboat of a release that recalls the works of Nick Drake and Oldfield to name a couple and, as Roberts explains, the effort expended crafting the album was as graceful as the resonances we hear on the finished product. Time spent writing the album spanned some 18 months and took Roberts to New Zealand, the Blue Mountains with Belles Will Ring bandmate Liam Judson who mixed Cable Mount Warning, as well as to Roberts’ urban home-studio in Stanmore in suburban Sydney. “I remember hiking a lot through New Zealand and because I find remote places really inspiring – it gives my brain room to be creative – ideas and words started coming together,” he says. Carrying his notebook around the abundant NZ landscape, Roberts would pace himself mentally before heading back to New South Wales to begin piecing the puzzle together.
“Cable Mount Warning came from all of these thoughts I had that were bubbling away from the other bands I’m in and from all the travel,” he explains. Old songs have resurfaced and been re-written, new songs have evolved and now The Maple Trail headspace is clear again. “I was constantly committed to things every night and living in a loud area and I felt like I needed to get back to a quieter existence I once had when living in the hills [Blue Mountains],” he informs. That said, the actual recording took place in Stanmore, yet Roberts still managed to streamline the sound of the record into a calmer mode. Writing in the restful mountains before laying down the tracks in urban Sydney, planes buzzing overhead, would be Roberts’ principal challenge, but he made it work in his favour. “In the record you can sometimes hear aeroplanes so I decided to embrace it; like doing an acoustic-guitar take then a gigantic jumbo [jet] would come over, but I liked it because it gave the record a sense of place,” he says. Moving back to the Blue Mountains in the middle of 2011 allowed Roberts to complete the recording in the “nice timber house” he rents from his mother. Finding whatever acoustic instruments were strewn about the place at the time, Roberts was all of a sudden shaping an almost entirely barebones soundscape. “I hadn’t planned it that way but acoustic parts were coming through more and more: pots and pans, distorted acoustic guitars, the violin bow,” he explains. Intimate, wintery, sparse and stately, Roberts has no doubt generated 2012’s most intellectual Australian folk album thus far. Get on board. WHO: The Maple Trail WHAT: Cable Mount Warning (Broken Stone) WHEN & WHERE: Thursday 3 May, The Vanguard
SUN LOVER For singer/songwriter John Kennedy, singing favourites has proven a welcome diversion, as he tells Michael Smith. ons Of Sun Vol 2, the companion to last year’s Vol 1, is for the most part covers of tracks originally recorded by artists whose careers began in the legendary Sun Studios in Memphis in the mid to late 1950s – Johnny Cash, Roy Orbison and, of course, Elvis – by local singer/songwriter John Kennedy. An obvious passion, neither record would have happened if it hadn’t been for an invitation to do something a little different, as he explains.
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“I’m with the label – Foghorn – and they asked if any of their artists would be interested in recording a Roy Orbison cover version for possible inclusion on a Roy Orbison tribute album, so I did a recording of Only The Lonely. It never made the cut for the compilation, but they said to me, ‘Do you want to put it up on iTunes, see if you can sell a few copies?’ So I said why not put together a couple of other covers from the same era and call it Sons Of Sun? And that’s how it started.”
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or finding some more obscure music, but enjoying the challenge of approaching them as a vocalist.” So Kennedy threw himself into recording some of his favourite songs by some of his favourite artists and while it might seem an odd sort of digression, his own musical niche can best be described as urban and western, so the nod back to the progenitors of rock’n’roll through the streams of rockabilly, country and blues through the conduit of Sun Studios makes a lot of sense.
While Kennedy has always prided himself in being a totally original artist, even right from his very first band, JFK & The Cuban Crisis up in Brisbane back in 1980, he did the odd cover. One that has been with him from the start is Johnny Cash’s I Still Miss Someone, which he’s now recorded for Vol 2. “That’s just one I’ve grown up with. My parents had a Johnny Cash greatest hits cassette back in the late ‘60s and it’s been one I’ve been meaning to record for many, many years. It’s a lot of fun doing these songs, but the main impetus behind it is that I’ve been doing the singer/songwriter for many years and still enjoy that, still write, but through that Roy Orbison cover invitation, it was an opportunity to actually enjoy myself as a vocalist in the studio, not having to worry about producing my own original material and just either have fun doing a cover or reinterpreting some classic songs
“I’m more of a ‘60s child,” Kennedy admits, “and like many or most music fans of the period influenced by The Beatles, but obviously became aware over the years of the fact that a lot of their influences came from that early rock’n’roll period – not necessarily all Sun, but certainly Carl Perkins is a huge hero of George Harrison and The Beatles covered a lot of his tunes and then my version of the Carl Perkins song, Honey Don’t, is pretty much from The Beatles influence. So I’m basically tracing my roots, filtering them through what were my immediate influences, back to their source, which was very early rock’n’roll from Memphis.
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WHO: John Kennedy’s 68 Comeback Special WHAT: Sons Of Sun Vol 2 (Foghorn/MGM) WHEN & WHERE: Friday 4 May, Rose Of Australia; Sunday 20, Petersham Bowling Club
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THE DRUM MEDIA • 41
SINGLES/EPS WITH ROSS CLELLAND
MISSY HIGGINS
ON THE RECORD
Unashamed Desire Eleven
Ah, Missy. That nice, slightly awkward, sensitive girl with guitar, writing those confessional songs of the slightly awkward and sensitive type that became a template for probably too many that followed. What set her apart even more was the fact she let herself walk away from it for five years. The return is something quite different. Still honest, but now almost confrontational, and the feeling she now knows herself a lot more, the music now beds of warm electronica, and bound to be all over your radio and telly.
LISA MITCHELL Spiritus Warner
Ah, Lisa. That nice, slightly awkward, sensitive girl with a voice that wisps and swoops and yet somehow never quite sounds like an affectation. It’s kind of odd to watch those ‘reality’ programmes promoting ‘talent’ – one of which actually spawned her – and realise they still haven’t worked that something other than a generic cover of It’s A Man’s World might serve them better if they seek fame beyond the next commercial break. With its trilling cascades of piano, and that voice, this is individual, and quite involving.
ROMY Home
Independent Ah, Romy. That nice, slightly awkward, perhaps sensitive girl who has gone from being part of Ben Lee’s teenage years to Macromantics’ tangential hip hop, then making spiky punky noise as A Gender, and now – under her own name – offering what appears to be un-ironic disco dance pop music. Home is a shiny, sugar-coated jube of a tune that maybe has something a little more chewy at its core. It bubbles along, and you may bubble along with it. World class really – though she probably didn’t even consider that.
EMMA RUSSACK
THEESATISFACTION
DAMON ALBARN
JASON MRAZ
Sub Pop/Inertia
Capitol/EMI
Atlantic/Warner
Seattle future-soul musicians THEESatisfaction dig deep on their commercial debut, awE naturalE. It’s a record that looks to the future as much as the past, so while it’s informed by black jazz from the ‘70s and hip hop in its formative stage in the early ‘80s, its delivery system is made up of loops and synth experimentation and warm, post-dubstep production (think of the organic folktronica of Bibio with the abstraction of Actress).
Damon Albarn doesn’t really give anyone a chance to miss him. When he’s not reuniting his legendary Britpop band Blur, he’s touring with Gorillaz’s cartoon miscreants or recording Congolese music for a charity album. Thus it’s not surprising that Albarn is already onto his second opera, though Dr Dee differs greatly from 2008’s Monkey: Journey To The West. This is a soundtrack that blends Afro-pop with choral arrangements and sweeping orchestral strings to create a netherworld of ethereal pastoral sounds with a broad operatic air to the entire affair.
Love Is A Four Letter Word is much more lighthearted and accessible, but also far more cautious, than Jason Mraz’s previous records. While it conspicuously lacks Mraz’s typical cynical lyricism and unusual guitar lines, the album is instead an impressive collection of perfectly constructed pop songs, all of which are infectious in their simplicity.
awE naturalE
Dr Dee
After throwing out a warbly synth mess for the opening track it rapidly morphs into a focused exploration of several different styles. The muted funk of Bitch segues into the angular, clockwork piano-driven rhythms of Earthseed, and the playfully sleazy loops of Sweat (complete with horns covered in digital syrup) are nicely juxtaposed with the strange jungle jazz haze of Juiced. God offers the clearest window into their jazz roots with beautifully cut piano loops and soft yet sinewy drum breaks that could’ve been lifted from a Jazz Messengers piece. There’s a lovely tension maintained in the music as the girls manoeuvre lithe phrase work inbetween the jostling instrumentation. Shabazz Palaces’ Palaceer Lazaro guest stars. They rhyme about politics and relationships but it isn’t the sole focus. This isn’t a thematically heavy album, but it’s not without substance. Stasia Irons and Catherine Harris-White have beautiful voices that stand tall amongst the best contemporary African American R&B singers but don’t bother with the pomp and superfluous vocal gymnastics of pop stars. The sexually-charged Deeper is an excellent showcase of their natural talent, blending relaxed rhymes with sensuous harmonising. Despite its sophisticated ecosystem of influences it’s a very unique album, and the first real revelation of this year.
Telling the story of Dr John Dee, 18th century polymath and advisor to Queen Elizabeth I, Albarn has pulled out all the stops, frantic shrieks joining pitch-perfect sopranos on Watching The Fire That Waltzed Away, moody gothic harpsichords on Oh Spirit Animate Us and chanting choirs on Tree Of Beauty. The ambience conjured is dark and powerfully enigmatic, though it may not map out the journey of Dr Dee in a way that makes it inherently operatic without the context of seeing it on the stage. The only inconsistency is in the form of Albarn’s voice itself. He cameos along the way, appearing in the middle of The Golden Dawn and sounding like a gentle Cockney grocer on Apple Carts. The songs themselves are beautifully constructed, proof once more that neither age nor time is dimming Albarn’s creativity, but they are merely songs that belong on a different record. Perhaps Albarn should consider a turn to folk music for his next project. Chances are he already has and it’ll be another stroke of bizarre genius. Sevana Ohandjanian
Matt MacMaster
Love Is A Four Letter Word
The Freedom Song opens with a powerful, smooth vocal line, further complemented by an interesting melody and by the introduction of an upbeat, reggae instrumental section – that makes for a very catchy opening track. This promising introduction is unfortunately cut short by the following track, The Woman I Love, whose lyricism and instrumental lines are less poignant and altogether less interesting than the foregoing track that unfortunately set the tone for the rest of the record. The album’s lead single, I Won’t Give Up, while certainly catchy and flawlessly constructed, feels somewhat contrived and overproduced. A taste of Mraz’s original, darker, and more inquisitive vocal and instrumental content presents itself in 5/6, as the syncopated drum line, deeper vocals and darker lyricism makes for a refreshing change to the previous tone of the album. These experimental instrumental lines make an appearance again in Be Honest, but the lyrical content here is again simple and underwhelming. The record closes with The World As I See It, which again is fairly simplistic but is a standout in terms of its production quality and smoothness of sound and as a result is certainly one of the catchiest songs on the album. A perfect choice of closer, this song embodies all the triumphs of this album in terms of establishing itself as a catchy, well-constructed pop record, even though it is at times slightly repetitive and mildly disappointing. Lucia Osborne-Crowley
Tonight Spunk
Ah, Emma. That nice, now anything but awkward, but still sensitive girl who is about to present a self-produced album at a stilltender age, after touring South America to add to her life experience. If anything, her music has simplified from the occasionally jazzy meanders it sometimes used to take. The slow march of this is a diary of needs – emotional and otherwise – she could still be working out herself. It’s an oddly impressive creation, even in the discomfort it can sometimes provoke. Or maybe because of it.
SOPHIE KOH I Understand MGM
Ah, Sophie. That nice, gracefully awkward, sensitive girl who here has made something of soft, aching, longing, which may get her that little more notice and notices she’s always deserved but never quite seemed to achieve. Here, her voice is the human, honest, emotional instrument expressing loss in terms that make perfect sense as a thought process, even while your heart is tearing itself into bits. If you don’t know that feeling, consider yourself fortunate in some way, but maybe not whole until you do. Special.
JONATHAN BOULET This Song Is Called Ragged Modular
The token male of this week’s selection – ah, so you noticed that? – Boulet elbows his way in merely on the basis he is making pop music that is both distinctively his and perfectly to fashion. The tribal/surf/gamelan orchestra/ junkyard in a forest plonking rattle that identifies his work is beginning to take different angles as he develops beyond the merely precocious. The hope is he will be allowed to develop more, rather than going for the quick, short-term payoff. For he is worth more than just being this week’s jean commercial.
LIZ STRINGER
BLOCKHEAD
SILVERSUN PICKUPS
Vitamin
Ninja Tune/Inertia
Warner
Liz Stringer is one of Melbourne’s most powerful singers yet seems so far to have slipped under the radar outside her home state. Her deep, throaty vocal is unique and strangely unaffected, so it’s no wonder that on this album, her third, she is joined by some of Melbourne’s luminaries who obviously ow a great talent they hear it. This album is quite simple and straightforward in its production and instrumentation, evolving out of a rock band format.
Manhattan’s Blockhead – aka Tony Simon – has been producing alternative hip hop since before people even started using ridiculous genre-isms like ‘alternative hip hop’. As far back as the late-‘90s he’s been producing for Def Jux artists like Aesop Rock as well as making a name for himself on Ninja Tune in his own right.
Neck Of The Woods, the third album for Los Angelesbased Silversun Pickups, builds upon the band’s diverse sonic textures that have seen them attract comparisons to grunge kingpins The Smashing Pumpkins. However, on this release, while the aural landscape is definitively SSPU, the band have taken strong musical direction from moody ‘80s pop, as opposed to sourcing from their familiar influences, perhaps in an effort to shake off the stigma of being tagged a post-grunge band.
Warm In The Darkness
Interludes After Midnight
Continuing with her love of blues and roots, Warm In The Darkness is quite an upbeat album relying on great players laying down solid tracks. On Heart’s Been Trembling, we get a dose of the blues via The Rolling Stones. The guitar interplay wouldn’t be amiss on a record like Exile On Main Street. Angela and In Anybody’s Language are melodic and straightahead, sounding incredibly well-oiled with her voice at the helm. On Colourblind, Matt Walker’s lap steel guitar makes this an almost country track. The intricate work of players like Matt Walker on guitar and John Bedgegood on keyboards, help create the darker and deeper moods of this album. Stringer’s songs and playing are still roots-based and have an integrity the match of great artists like Lucinda Williams and even the late Janis Joplin. Hopefully this album will bring her a larger audience at festivals and shows nationally. Sebastian Skeet
Despite his global presence New York is placed front and foremost on this record, making the opener Never Forget Your Token an ode to the subway system with a couple of well placed samples. Even though he uses NYC for the start of the journey, the record isn’t afraid to travel. We take a trip to California for Meet You At Tower Records, and when the psychedelic folk vocals mash together with a sample from deep south rapper Young Bleed’s Give And Take, we’re pretty much touring the whole of the US in five minutes. Panic In Funkytown is probably slightly too fast to be considered what used to called trip hop, but it’s heavy sampled rhythms conjure up late nights nodding and smoking bongs. Hungover Like Whoa slows down further, and the watery atmospherics and lagging beat are the stuff next-morning nightmares are made of. Midnight Blue is so deep and heavy that it’s hard to not get completely sucked into its dark void, and to contrast this he sandwiches it in between the much lighter Tools Of The Industry and the glitchy swirling shuffle breaks of Snapping Point. On his fifth album for Ninja Tune, Blockhead has both paid respect to his past and delivered what would be expected, as well as pushing forward with new ideas and juxtapositions – traits that make him a compelling artist. Chris Yates
42 • THE DRUM MEDIA
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Neck Of The Woods
First single, Bloody Mary (Nerve Endings), slowly broods in layers, based on a wafting keyboard line and ethereal choral backing vocals, before coming into focus with a singular guitar and vocal line. Lead singer Brian Aubert’s vocal delivery remains characteristically husky, further emphasising the band’s mystery. Listening to a SSPU album is best done as a whole and in a singule sitting; extracting a specific track doesn’t give the scope needed to put the album into context. While Skin Graph, Dots And Dashes and Gun Shy Sunshine are your more obvious SSPU tracks, Simmer explores an electronic-based sound and The Pit delves into some of that trashy ‘80s pop. Here We Are (Chancer) is a mellow, reflective song. Neck Of The Woods is a dark album of self-discovery for singer Aubert and while it doesn’t have the obvious standout tracks that have littered previous albums, the songs are beautifully structured and produced immaculately to effectively reflect the band’s subtle songwriting nuances that will ensure this album will sound different on each listen. James Dawson
first single, The World Is Ours, the unashamed pop of That Girl and Shoulda Been, or on the slower electro ballad, Swimming Pool. But there are more moments where she displays a more refrained approach to slower-burning hooks like on August, such as on I Believed and the Europopflavoured I’m In Love With A German Film Star. A long-time coming it may have been, but Catcall’s debut is a rich treasure trove of the kind of intelligent pop that for obvious reasons only shows up these days when indie artists take a risk on being popular.
CHARLIE HORSE
HERE WE GO MAGIC A Different Ship
Chris Yates
Laughing Outlaw/Inertia
Secretly Canadian/Inertia
As the name suggests, Charlie Horse are firmly in Americana and country rock territory, though not of the gentle strum and folk-leaning variety. Instead they are riding a more ragged and parched sound that tips its hat to the likes of The Rolling Stones, REM and Drive-By Truckers.
Before they hit our shores for Splendour, get on board and grab Here We Go Magic’s latest release A Different Ship. Aptly named, the album shows growth from the four-tracked, one tom, one microphone, a synth and an acoustic guitar of their 2009 self-titled release. The now five-piece group take full advantage of their extended musical scope with lush layered harmonies in Over The Ocean and most other tracks. At times used to good effect, in some places it somewhat dilutes the snuggling velvet texture of Luke Temple’s voice that is so captivating on Hard To Be Close. Traversing from sonic exploration on Miracle Of Mary through to steady rock four/four on Made To Be Old and Make Up Your Mind, A Different Ship is a little bit Bright Eyes, a little bit Radiohead.
FACT FILE
Based in the Blue Mountains, the band have captured a wilderness and backwoods feel in many of their tracks with imagery akin to a Cormac McCarthy novel and Southern gothic references to dead roses, woods, monsters and horses. Charlie Horse aren’t limited to just country rock styles – they also show they were raised on Australian bands such as The Church, while the dark funk rhythm of Am I Not Your Baby No More channels the Divinyls. I Hope I’m Not A Monster is an impressive debut album of heroic, widescreen rock’n’roll that demands repeated listens. Chris Familton
Their synth fascination demonstrated on Alone But Moving is balanced by accessible indie rock such as How Do I Know, giving the album an overarching identifiable mood without becoming dreary or self indulgent. The overall timbre haunts each track while delivering songwriting gems such as “Not moving does not mean you don’t move” and “You know the Swedish know music, but do they know mine?” A balance of folk and synth tonalities underwrite the album with harmony achieved through contrasts. The track to track jarring such as from the instrumental Intro to the acoustic led folk album highlight of Hard To Be Close, seems a deliberate attempt to showcase their range, but is always tempered with a balancing contrast, seen in the bookend instrumental coda of A Different Ship. Kristy Wandmaker
Ivy League/Liberation It’s been a long time since Sydney’s Catcall (Catherine Kelleher) parted ways with her Kiosk bandmates and branched out on her own to start making some tunes that can only fairly be described as starkly different to her previous endeavours. Her experiments with hip hop that were the main focus of her earlier Catcall work have been put aside for a focus on polished pop and the results are outstanding. After the short intro of The Warmest Place, a line referenced in the album’s superb opener, August,the track itself is a reworked version of the track that appeared first on her debut EP, bigger and beefier, but the production flourishes have not taken away any of the charm of this infectious success. It takes no more than a looping organ line with big stomping beats for her to pull an amazing track out of almost nothing. Satellites follows immediately – it’s an Empire Of The Sun-style indie dancefloor classic waiting to happen and steers away from some of the more ‘80s pop sounds that populate the record. These moments can be found most obviously on
DID YOU KNOW? Prior to her work under the moniker Catcall, during her teenage years Catherine Kelleher was in a DIY punk band called Kiosk. She spent most of her years listening to punk music, as VD she explains: “I loved noisy bands so much. It was the only thing I could understand.”
D
The Warmest Place
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The key to the classic qualities the band harness is their songwriting, the guitar playing and the sweetly bold vocals of Crystal Rose. She really stands out as a distinctive singer with her Nico-meets-Chrissie Hynde husky tone. On tracks such as Dead Roses and All The Pretty Horses you feel like you’ve heard the songs before with their hook-laden vocal melodies, but Rose and Charlie Horse are most definitely carving out their own sound from those who’ve come before. Paul McDonald’s guitar is both tough and tender but always with a strong backbone, lending it a heads-up and proud sound rather than melancholic strumming.
CATCALL
Length: 12 tracks, 39LIVE minutes Mood: Lively, warm, bold
VD
I Hope I’m Not A Monster
Utilising her love of all genres, her previous EP, Anniversary, explored the realm of hip hop music. Her sound has now evolved into the lush, ‘80s inspired dance pop. The title of the album reflects the comforting words from a friend after the passing of Kelleher’s father, as she explains: “I thought a lot about the idea of what happens after you die… The Warmest Place became this place where my dad was and he was safe there and he was okay.” And this led to the theme of her debut. To Catcall, The Warmest Place is subject to interpretation for everybody. “It can be heaven, your bed, your bed tangled up in someone’s body, an island, sex, love, a summer’s day, a womb, a cup of tea, freshly baked bread… anything that brings comfort.”
SELECT TOURING PRESENTS
FRI 11 MAY THE METRO
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THE DRUM MEDIA • 43
THE HEAVY SHIT HAZMAT
THRASHING IN
Thrash metal band, Hazmat, will be playing a string of shows in for their LA Studios 2012 Australian tour. They’ll be playing in Sydney on Friday 4 May at Lucky Australian Tavern and Newcastle on Saturday 5 at Hamilton Station Hotel. Keep an ear out for more tour dates as they will be supporting Tim ‘Ripper’ Owens later in the month. What was the experience like creating this new album? Two weeks of blood, sweat and beers. Actually, we had dry recording sessions. We wanted to match the professionalism of the production team at Damien Gerrard Studios. They gave us the pro treatment, which made for a great experience. Where do the band’s major influences lie? Our major influences are buried back in the San Francisco Bay area circa 1983. We love early eighties thrash, Megadeth, Exodus, et al. We also draw inspiration from Aussie thrash pioneers Addictive and Mortal Sin. The band is known for providing a “listenable metal” experience. How would you describe your sound? The bastard son of Megadeth, Testament and Exodus: slow and heavy to fast and thrashy riffs, catchy choruses with layered harmonies built on a solid rhythm section.
scored the opening slot on The Ocean show at The Annandale happening in May too! Good stuff. If you want to see what raw, pent up emotion being released via tortured vocal chords sounds like, head over to The Stag and have a look. Melbourne’s awesome Heirs who recently supported French bleak buggers, Alcest, are sharing the stage as well Anathema worshippers The Veil and experimental noisemakers Forenzics
After three long years, those gory masters of death metal, the forever being censored, Cannibal Corpse are coming back to town in October. Their new album Torture does just that. It’s also been called ‘ceaselessly hostile’ which I very much like. Diarize Saturday 6 October and remind yourself to be at The Metro. There is way too much happening this week to discuss anything else so let’s get to it.
WEDNESDAY
I guess she bugged them enough that they said she could stay! Michele Madden’s five week residency at The Sando has been turned into a full time gig! Mr Devoy’s 100 show record now has a contender! This week Madden has got Blackie back as well as gypsy jazz man, Marcus De Pasquale. Jo Dabron will kick off proceedings. Be there, you fucks (her words, not mine haha).
THURSDAY
Get your bongs out and head to The Hi-Fi at Fox Studios to see one of the pioneers of desert stoner rock, Fu Manchu, groove and wail like only men with the munchies can. Sure Kyuss and obviously QOTSA have bigger public profiles but that don’t necessarily mean they are a superior crop. Joining the fuzz are Matt Sonic and The High Times. It’s good to see some other burbs putting gigs on. Over at the Kogarah Hotel, Yours Truly featuring Ken Stewart and David Robinson will be playing along with Russell Neal. If you like your old school real old school like The Who, The Jam, The Kinks and The Small Faces, this is definitely for you.
FRIDAY
CANNIBAL CORPSE The Stag gets a visit from Perth this week with Tangled Thoughts Of Leaving coming over to co-headline with Meniscus, who are re-releasing their debut EP called, The Absence Of I. They are heading to Europe in July too! Rounding out the bill are Hawkmoth, Adrift For Days and Nihilore
SATURDAY The big gig of the week has to be this all ages one that’s happening at The Hi Fi. Fresh-ish off the Soundwave bill, Dez has now had enough time to grow his goatee back, saddle up with the rest of the guys in Devildriver and return to what seems to be his adopted home. Their fifth album, Beast, is um…a Beast of an album and you’ll get plenty off it. Six Feet Under will be giving them a run for their money though; Chris Barnes and his death metal horde have never been here before so the pressure is on to give a killer performance. Their new and ninth album, Undead, will be out on Tuesday 22 May and is a nonstop head bash for 40.2 minutes. Darkest Hour kick the evening off with their patented metalcore attack and are a close second in the album count with their seventh and latest, The Human Romance.
What can we look forward to on your upcoming LA Studios 2012 Australian tour? Punters can look forward to seeing an awesome lineup at every show on this tour. We have partnered with cornerstones of the Australian underground metal scene. This tour isn’t just about Hazmat, it’s a testament to the power of collaboration. Our tour partners Metal Evilution, Metal Castle Promotions, Metal of Honour, Blackbelle Music and Hardline Media have all come through for us to make this tour a success.
Punk’s not dead and neither is true old school hardcore and it doesn’t get much truer or hardcore than seeing Sick Of It All, Agnostic Front and Toe To Toe get all sweaty and bloody and encourage you to do the same. Feel like venting? Be at the Cambridge in Newcastle tonight.
SIX FEET DOWN UNDER
WAKE THE DEAD
Featuring the legendary godfather of death metal Chris Barnes, Six Feet Under have been delivering their brilliant brand of unapologetic metal since 1993. Australian fans have waited what seems like an eternity for them to tour and they finally get their chance to see them this May when they team up with DevilDriver and Darkest Hour, playing Saturday 5 May at The Hi-Fi. We grabbed Barnes for a few quick questions in the lead up. You recently released the first track from your forthcoming studio album. What else can we anticipate from this album? For it to be the most crushing Six Feet Under album ever released. You stated, “I’m in pretty much the best headspace I’ve been in since myself and Allen West started this band in 1993”. Can you tell us what inspired this and in particular, any songs that you feel reflect this best? I had a great time during the recording and writing of this album and it was due to the great songwriting of Rob Arnold and all the awesome songs and riffs that he brought to the table; [it] gave me an easy job of writing some interesting lyrics and vocals. I’m very proud of this whole record and so is Rob. Being known to possess one of the most dominant and instantly recognisable voices of the death metal genre, what kind of pressure does that put on you and the band, if any? None. With your own brand of metal to uphold, do you feel that the addition of new guitarist Rob Arnold and new bassist Jeff Hughell has impacted your sound as a band? Yes, Rob’s involvement has totally impacted our sound in a positive way and Jeff is an awesome player, so I’m sure he will be a great addition to our writing in the future. On your site, you stated that “There’s a lot of emotions going on across the record, and I guess that the dark horror that humans cause is my niche”. What inspires your lyrics – anyone or anything in particular? The music inspires the lyrics I write. 44 • THE DRUM MEDIA
If you feel like a run out west and a stray bullet from Greystanes doesn’t deter you, then go a bit further out to the Lucky Australian in St Mary’s where local thrashers Hazmat (who embody the spirit of Megadeth, Mortal Sin and Addictive – remember them!??) will be tearing it up in an all ages show of force along with Red Bee, Victorian’s Mason and Soulforge
So another tour connected to the almost sold-out Hardcore 2012 line-up has had its dates announced. I am of course talking about the mighty Terror, and joining them across the country will be Melbourne’s Iron Mind. This tour coincides nicely with recently reported announcements of Terror’s new album, Live By The Code, due for release later this year. All the band and label websites have been updated with teaser art for the release, and for hardcore fans this will probably be the most anticipated release this year. Anyway, the Sydney dates are the band’s two appearances at the Hardcore shows, however, Newcastle will also get a show at the Cambridge Hotel on Friday 6 July. One of the tours that I was most looking forward to in the coming month or so was the Murder By Death tour that was supposed to be happening mid-May. Unfortunately, after the events were taken down from Facebook earlier in the week, it was announced that the tour has now been cancelled and it’s not looking like another one will be happening anytime soon. Initially slated for February, the tour was moved to May to accommodate some more appropriately-sized venues. The promoter, Jung Hearts, claimed that the tour was cancelled due to an investor going walkabout. In the meantime, the band issued a vitriolic statement: “We have just been told and are forced to announce with great sadness and bitter anger that our Australian tour has been cancelled by the promoter.” The statement from the band went on to say that nothing – flights, visas, etcetera – had been organised. It has also been a solid week for announcements regarding the release of new records from some really excellent bands. First up, Make Do And Mend have revealed the art and tracklisting for their upcoming debut for Rise Records, the follow-up to the incredible and highly acclaimed End Measured Mile. The record is to be titled Everything You Ever Loved, and is set for release Tuesday 19 June. The release coincides nicely with the band’s appearance on the entirety of the Vans Warped Tour, and hopefully the new album will see the band return to our shores very soon. Also on the new release front, I think I mentioned a few weeks ago about California’s The Ghost Inside getting ready to go into the studio to record their third album. Details were announced last week for the release, including some pretty interesting artwork that is a big
METAL AND HARD ROCK WITH CHRIS MARIC
If you want to trade one type of circle pit for another likely more violent one, then be at the Manning Bar where the triple bill hardcore attack of Sick Of It All, Agnostic Front and Toe To Toe will keep the cleaners busy long after everyone has gone home. Hard As Nails have made it to the semi-finals of that band comp I mentioned a few weeks back. The showdown is happening this evening at The Bridge Hotel in Rozelle A band that is just as intense as SOIA and AF but in a totally different way is At Dark. I like ‘em a lot. They
Ah, The Shire. If only the TV producers included stuff like this in that awful waste of airtime that’s soon to hit the box. Buried In Verona spent half a year in Sweden dicking around and occasionally laying down tracks for their third album, hilariously titled, Notorius (as in Notorius BIG) yo yo – they will be playing a homecoming show of sorts at St John’s Place in Sutherland with special guests Never See Tomorrow, Stories, The Ocean The Sky and two bands up from Victoria, I Explode Like and Glorified. It’s Club Led time once again up at The Sly Fox in Enmore. This time, the band that rose from the ashes of Transcending Mortality, Avarin show their metallic wears. They are joined by special guests, Soulforge who hail all the way from Broken Hill and who also have a former member of Dungeon in the ranks. It’s free, it starts at 9pm and it’s pure metal. Hazmat have dragged their touring mates Mason up to Newcastle for a show at the Hamilton Station Hotel tonight and roped in Osmium Grid to play too. If you’re staying close to the city, Venom have got Elysian, Anno Domini and Trauma Victim all playing live and the usual cheap ass drinks to stretch your play money further.
SUNDAY
The Mod attack continues at The Union Hotel in Newtown with Yours Truly, Urban Guerillas and Steph Miller’s Winterstation The Hardcore Trio mentioned above (SOIA/AF/TTT) will play their third show in a row at Zierholz in Canberra tonight – there is no time off when you’re down for life eh. The competition is on though. Over at The Street Theatre, Rollins will be doing his spoken word thing, so if you really are too old ‘cause it’s too loud, this is the option for you. I envisage a great end of tour party tonight between all these legends stuck in our nation’s capital. heavy@drummedia.com.au
PUNK AND HARDCORE WITH SARAH PETCHELL
TERROR departure from their previous art aesthetic. Titled Get What You Give and produced by A Day To Remember’s Jeremy McKinnon, the album will be released in Australia Friday 22 June and the tracklisting and an album teaser are floating around now. I’ve heard one report from someone close to the band that the tracks are amazing, so this is definitely a release I’m looking forward to. And as with Make Do And Mend, hopefully the release will see the band hit our shores again ASAP. Earlier this year, the webosphere went mental over the American Nightmare/Give Up The Ghost reunion shows. If you weren’t able to make it, it looks like fans are going to be able to get a slice of the action with scant details released last week announcing hardcore label Deathwish Inc will be releasing a documentary sketching out the reunion and the shows. There is a trailer online now (you can probably catch it on the Deathwish website or their YouTube channel), but stay tuned for more information as it’s available. Another surprise this week was the release of the first song from Pure Love. The project is the one that former Gallows vocalist, Frank Carter, left his original band for and is completely different in sound as well. Joining him in this endeavour is Jim Carroll from The Hope Conspiracy and Suicide File. Anyway, the band have posted a new video for their song, Bury My Bones. It is taken from their debut album, to be released in coming months through Vertigo Records, and is available as a free download through the Pure Love website (the song, not the album). It’s cool to see Frank Carter sing rather than scream his way through a song, and the tongue-
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in-cheek lyrics really impress, but this is a much more rock’n’roll and less angry affair than we’re used to from Carter (I believe the first lyric is “I used to sing songs only about hate” or something similar). No matter what you think about Sydney pop punk act Heroes For Hire, one thing is sure, this band work hard! The four-piece is hitting the studio to record album number three less than 12 months after releasing its predecessor, Take One For The Team. The band have enlisted Steve Klein of New Found Glory to help them out with the task, flying him into Sydney so that they can record at home this time. Said Klein of the task, “Clearly these guys were in need of a real hero, so I thought I should lend a hand and produce their record.” The new issue of No Heroes is online now at noheroesmag.com. Inside the digital covers of this issue are Mastodon, an interview with punk rock photographer Ricky Adam, blues-punk band The Snowdroppers, letlive, Raised Fist, Melbourne’s In Trenches, Brisbane’s Marathon, Heaven Shall Burn, Sick Of It All and Toy Boats. Check it out online now. Also, don’t forget that the New York United Tour hits Newcastle, Sydney and Canberra this week. The lineup is mental – Sick Of It All, Agnostic Front and Toe To Toe – so these are really shows that you can’t miss. The tour hits the Cambridge Hotel in Newcastle on Friday 4 May, the Manning Bar on Saturday 5, and then Zierholz at the University Of Canberra on Sunday 6. wakethedead@drummedia.com.au
NEW YORK CONVERSATION
TALES FROM THE BIG APPLE WITH TOM HAWKING
It’s been a while since your correspondent has actually written about music here, but this month there’s been so much goodness to see it’d be remiss not to share some of it. Take, for instance, the night of 13 April, which among other things will go down in history as the night Hole reunited at tiny Brooklyn venue Public Assembly. NY Conversation wasn’t in attendance at that particular show – I’m not particularly upset by this, however, because I was at the Guggenheim instead, watching Julianna Barwick and Grouper play one of the most genuinely entrancing shows I’ve seen all year. Result. They were playing as part of something called Divine Ricochet, which is a regular series of musical events at the gallery through April – apart from this show, there were performances scheduled by Zola Jesus and Cold Cave later in the month. The Guggenheim turns out to be a pretty wonderful place to see a show, and not only because the $25 ticket also gets you into the museum itself to see whatever’s on (doors open at 8pm, and the bands aren’t on stage until 10.30pm or so.) The exhibition that’s on at the moment is a retrospective of the work of one John Chamberlain, a local sculptor who made abstract brutalist works from old car parts. Apparently, the music is meant to reflect the art on display, which makes Barwick a strange choice – her airy vocal textures are as far from twisted metal and savage form as you could possibly imagine. Frankly, though, it doesn’t really matter, because it’s a privilege to see her live in such a gorgeous setting, conceptual continuity be damned. It’s remarkable to see how she builds up her songs layer by layer – she uses the same simple loop pedal idea that a million other artists have used over the last few years, but by pretty much completely eschewing any sort of percussion or rhythmic structure, she creates music that sounds like no one else at all. Grouper’s work is perhaps more fitting for the emotions evoked by Chamberlain’s work – her work is just as abstract as Barwick’s, but where the latter’s sound is all air and light, Grouper’s music comes from a place that’s far less pretty and far more intense. She takes a seat on the stage and invites everyone else to sit down too, which is probably just as well as a) the marble floor is kinda brutal on your back after a couple of hours of standing and b) the set she proceeds to play is far better suited to sitting and spacing out than it is to standing and actually watching, because it consists of one note. For an hour.
LOWERIDER
HOUSE, PROGRESSIVE AND TECHNO VIBES WITH ROBBIE LOWE
Unless you have been living under a rock I’m sure you have heard the news that the legendary artist known as Prince is making his way down under. Great news as there’s loads of Prince fans out there and this was evident at the rate his shows were selling out! I was gutted missing him the last time he was here – if my memory serves me correct I think it was around 2003 – so I wasted no time getting tickets this time around. Like many I grew up listening to Prince records. Yes, I’m just one of his many fans and Purple Rain, Raspberry Beret, Die For You are some of my all-time favourite tracks. I can’t wait to see him playing the classics live! JULIANNA BARWICK It’s interesting to watch the reactions that Grouper’s music elicits from the audience, which appears to consist at least as much of art lovin’ types as it does fans of either artist performing. Some look bewildered, and a few start to filter out about 15 minutes in, when it starts to become clear that this really is all that’s going to be happening for the next hour or so. A couple of people behind us just talk through the music until someone finally tells them to shut up. But most attendees seem pleasingly well-disposed towards the idea of sitting through an hour-long drone set. In a way, this is the most minimalist approach to music you could possibly imagine: an exploration of the infinite possibilities of a single tone. To my ears, at least, it’s not boring in the slightest – for all that the pitch of the note doesn’t change, the timbre and texture of it most certainly do, with subtle variations drifting in and out of the sound as the minutes tick by. The result is almost meditative – you close your eyes and just drift away, and all of a sudden five or ten minutes have passed while you’ve been somewhere else completely. It functions as a kind of sonic tabula rasa for your emotions – the music is so blank it invites you to invest it with your own meaning. As a friend observes afterwards, “Julianna Barwick’s music represents an unattainable emotional ideal: life isn’t really that beautiful… [while] Grouper’s performance released everything I try to hold back, filling in the space of what she wasn’t saying.” Indeed. And all in the setting of perhaps the most spectacular art gallery in the world. I’ll take that over Courtney Love any day, thanks. More NY Conversation at nyconversation.com!
There’s finally some good news for any Trevor Rockcliffe fans out there as the British DJ/producer will be playing in Sydney June 10 at the Metro. Apparently he is playing a mammoth five-hour set too – that’s a fair dose! If you’re like me and like your techy, funky basslines that often whisper on techno, then this is a gig not to be missed. I’m actually really looking forward to seeing him play. I have a pile of his records that I’ve picked up through the years – all good ones too! One of my favourites is his co-production with Christian Smith. The project is called Destination and Definition Of Love was the feature track released on Carl Cox’s Intec label. This is a monster tune. I could call it a classic-sounding techno record as it marches along and locks you into a serious hypnotic groove. Bit of a timeless sound going on with this – just means it’s easy to pull from the depths of a record collection for a fresh run from time to time. Another Rockcliffe favourite of mine is The Groove (Tech House Mix). I may have mentioned this record before in the past because it’s one that never really left my record box; the best word to describe this tune is explosive! Admittedly it doesn’t really do that much but I guess the loopy catchy vibe, bassline and percussion, et cetera is enough to turn heads. I like surprising the dancefloor with this track. Usually I play it unexpectedly in a conservative deep/tech house set. Sounds like a freight train coming through the speakers! (One way to get a dancefloor’s attention.) So you should definitely consider seeing this chap play live. I’m sure there will be plenty of these freight train moments! I fly out to Bali this weekend. Good timing I say because the weather in Sydney just taunted us with the first
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PRINCE signs of winter. I’m only there for a week but that’s fine as it’s enough to take a break and recoup. I’m also playing two gigs at the Anantara Supper Club – both at sunset on the rooftop that overlooks the beach at Seminyak. I did this last year around the same time – it’s turning into a yearly ritual and that suits me fine! The venue and location speaks for itself really and that particular area in Bali is a constant hive of activity. Before I get out of here, some tunes to keep you warm. First up, a nice sounding deep house track from the every so consistent Seva K. My Love is ear candy and Downtown Party Network do a great job on the remix, making it DJ-friendly. Check out Delano Smith’s Wires. This is a good example of how house music doesn’t have to be complicated and over-produced. It’s a case of using a few good sounds and keeping it simple! Shonky’s back with another stomper called The Minneapolis Touch and yep, there’s a good chance it will be rinsed. Also check out Oracy’s Hold Me, Shenoda’s Night Eater and Till Von Sein & Fritz Kalkbrenner’s Blueprint (Kollektiv Turmstrasse Remix). All good listening! Until next time…
THE DRUM MEDIA • 45
GET IT TOGETHER Remember The Very Best? The name is only a mild misnomer. The combination of Esau Mwamwaya and Radioclit’s Johan Hugo was a beacon of excellence for those of us who like good music and, in particular, for those of us who like good music and spent their childhood listening to Paul Simon’s Graceland on repeat. It sounds like it’s from Africa. It sounds like there are white people involved, though. The first we heard of The Very Best was 2009’s Warm Heart Of Africa and it was incredible. (If we were paying closer attention we would have caught 2008’s Esau Mwamwaya And Radioclit Are The Very Best. We missed it. We’ve since updated our catalogue. You should too.) Anyway, The Very Best have a new album out on 17 July. It’ll be called MTMTMK. A bit of bad news for fans of this collab-happy clique: K’Naan is a part of the new album. Let’s hope his contribution is easily kept in quarantine. Graffiti! It’s the name for the squiggly writing on your favourite T-shirt that you think looks great but you can’t read. You’re not really meant to be able to read it, you see. If you can’t translate the squiggles, then they’re not for you. If you have to ask you’ll never know, and all that. If you can read the squiggly writing then you’ve probably spent the last few years of your life frustrated that the internet – a promising place at once anonymous and graphically unlimited – has failed to become grafftopia. I know you enjoy Instagram but, really, for every excellent Ironlak tweet, there are a thousand Banksy memes or terrible aliases cluttering up an otherwise promising information super-highway. Anyway, ozhiphop.com is having a crack at getting its graffiti forum filtered, formalised and updated. There’ll be barriers to entry with current users approving new users; “sorting the men from the toys” is the promise. There’ll be sketch battles too. Squiggle writers, get on this. El-P is a boring guy. True story. We interviewed him for Drum Media one time. We asked him what it was like being the king of nerd rap or something like that. His response was that he would “punch (us) in (our) shit” if we had asked him that question. Touche, touchy! Yawn. Anyway, regardless of the content of his character he makes incredible music,
BREAKDOWN
HIP HOP WITH VIKTOR KRUM
The pairing of music-streaming and social networking isn’t exactly new. Last.fm has long listed ‘top artists’ on user profiles. Other existing streaming services in Australia such as JB Hi-Fi’s NOW and Rara allow item-by-item sharing to Facebook and Twitter. But with Swedish-based streaming service Spotify still to launch in Australia and Rdio (created by Danish Skype founders Janus Friis and Niklas Zennstrom) getting its official launch via club-based events around the country this week, an integration of music taste into online social lives this deep is relatively new to us. The thinking behind opening up an individual’s listening habits to a public network also isn’t difficult to guess. Taste-sharing has been a building block of social groups since animal hides were the fashion; for the music industry, peer-to-peer publicity is a major part of how music is sold and careers made. But Rdio is also a progression in social media that speaks to an old conflict in music-based subcultures: how you act alone versus how you present yourself in the company of others. Even without stepping into that sociological minefield, we’re readily presented with how it relates to evolving social media etiquette and privacy issues: 46 • THE DRUM MEDIA
ALL AGES WITH DAVE DRAYTON
I mentioned just how good Night Hag are last week, ahead of their all ages Sydney 7” launch. I’m happy to say the guys are still kicking about, playing tonight (Tuesday) at The Pharmacy. They’re joined by my new favourite band Lenin Lennon, as well as Tired Minds, Drillbit and Obat Batuk. The Pharmacy actually was a pharmacy, and now it’s an all ages venue that rules. Easy as that – go! Then go to the Lucky Oz Tavern on Sunday, because they’re changing things up from the usual metal fare with an acoustic/pop/rock mixture featuring Masta Gravity, Mirrors in Iceland, The Gentlemen’s Club, The Howling Kitschen and headliners Hey Baby from 2pm for just $10.
THE VERY BEST and has done since his days as part of Company Flow in the 1990s. He dropped a track recently called The Full Retard and it is a microcosm for him. Only boring people enjoyed Tropic Thunder. Only boring, boring people adopt internet memes as part of real life. Only boring, boring, boring people say (and think true) things like, it “isn’t making fun of retarded people – it’s people condescending to retarded people. I mean, honestly. Blow me.” The song is absolutely amazing, though. Insane beat, solid raps. Buy it and you’ll be financing a boring person. With songs this good, I can live with that. Cancer4Cure is his new album, with us later this month. The name is boring but, if past history is anything to go by, amazing tracks await. While we’re all watching Lil B’s lecture, it’d be easy to miss his new mixtape. (That’s, like, what? His 45th tape? This month? We’ve long since stopped counting. Incredible work ethic.) Trapped In BasedWorld is the name. You’ll probably love it. We did. And, of course, we appreciate the irony of calling out people for using internet memes in real life on the one hand and celebrating Lil B – a walking internet meme if there ever was one – on the other hand. Dudes, on Saturday 12 May Atmosphere are playing with Evidence at HiFi. I know, I know: yawn. Right? Wrong. Horrorshow are in support! It’ll be a fun night for you, and then you can leave just as Slug walks on stage. Good plan. Jokes! We heart you, Rhymesayers. getittogether@drummedia.com.au
POP CULTURE THERAPY WITH ADAM CURLEY
I’d been having one of those days, wallowing in the misery of one song that I kept skipping back to again and again. It began at my laptop and moved to my iPhone as I left the house, then later to the iPod dock in my kitchen which is hooked up to an old stereo, making loud company of my sullen soundtrack as I washed the dishes and let my neighbours in on the fact that I was having ‘a moment’. It had occurred to me already, however, that even without subjecting my neighbours to my one-track playlist, others could have been in on my mood. I was listening to the song through Rdio, the subscriber-based streaming site and app that also acts as social media. That means it allows you to ‘share’ albums and songs, to create playlists and be recommended music to which others in your Rdio network have been streaming. (Like Twitter, you ‘follow’ people, record labels, magazines, etc.) It also means that on any given occasion, anyone in your network can see what you’re listening to that minute and also look at your listening history. If I’d synced the site to my Facebook account and not opted out of the site posting my listening activities in Facebook’s Music Dashboard on my Timeline, even more people would have known what I was up to.
YOUNG & RESTLESS
RDIO CAPTURE navigating which details of your life you keep to yourself and which you share with your online networks. In Rdio, viewing someone’s listening history requires visiting their profile on the website. To see what someone is listening to, you hover your curser over their name in a list of those who are online at any given moment. I wouldn’t presume too many in my network noticed my repeated misery song – except that, as a social media site, Rdio is hugely successful. (Full disclosure: I, along with other music writers and those in the ‘music industry’, have been given short-term free access to Rdio as it launches. The cost of the service starts at $8.90 a month for web-only access.) The simple, interactive interface and its use of album artwork makes discovering new music fun and easy. Making ‘mixtapes’ feels social again. Perhaps it’s because you see everything your network is listening to and not just what they’ve chosen to show you, the site feels friendly and unpretentious. It isn’t perfect: there are major gaps in the collection on offer. I dare say that had specific other albums been available, my misery song would have been different, which throws up all kinds of issues around how taste and the presentation of an online self can be limited by technology (or licensing deals). But as a teacher of how we really listen to music – and what we really listen to – Rdio is perhaps unprecedented in Australia. Which is why, for now, I don’t mind too much that others can see my weird little habits – or who I listen to when I’ve got a case of the sads. breakdown@drummedia.com.au
Coming up on the weekend of Friday 11 – Sunday 13 May is the 351 Camp at Collaroy. 351 comprises three days of music and hip hop dance workshops, seminars and performances aimed at engaging, supporting, encouraging and empowering young people to make steps towards new creative and personal goals. Working alongside wellknown artists you will get the opportunity to write, dance, record and perform, and learn more about the performing arts industry while discovering ways to put positive thoughts into action. Registrations are now open, and considering past events have included sessions with The Potbelleez & Blue MC, Bliss N Eso, Australian Idol Vocal Coach Erana Clarke, Justice Crew and a heap more, it’s worth heading to www.mmad.org.au/mmad_forms.php to get a registration form and get involved. As we mentioned last week, Rock The Schools is now well and truly underway. We caught up with Jay Bainbridge, vocalist for Gold Coast act Nine Sons Of Dan, who are the band for the first leg of the tour, hitting high schools all around the state, to get a little more info. This week they hit schools in Randwick, Waverly, Glenwood and Leumeah. Have a word to your principal and see if he can organise a show - put the c(h)ool back in school and all that. For the uninitiated, what can you tell us about Nine Sons Of Dan? We are five good friends who grew up in the same small town, surfing and playing music together. Our drummer Flakey needed to record a band for a uni project and it was such a natural thing for us to all hang out and make music so NSOD was born. Why did you want to be a part of Rock The Schools? I think the more kids know about the music industry and how it works the better prepared they can be for a career
NINE SONS OF DAN in it. Being prepared and having the experience helps you from making the wrong mistakes and it’s an opportunity that we never had when we were starting out that would have been invaluable. It’s great that we can give the kids an opportunity to share from our experiences. How do all ages shows compare to the over 18’s scene? The kids get way more into it at all ages shows and at schools they seem to go crazy! We do love to play over 18 shows but I think AA is always a bit more fun. Did you ever play at your own high school during your time as a student? Yes, I always played at any opportunity the school would give me. My most memorable performance was at my school graduation. I played an acoustic version of Everlong from the Foo Fighters. And just a few months ago I took the band back there and we did a rock show and it was great to show my old teachers what I’ve been up to. What’s the best piece of musical advice you got when you were in high school? There are a lot of different artists and people out there, but there will never be another you, so be proud of who you are and what you do! Your individuality is your strongest asset. A final message to the schools you’ll be playing at? Get ready to rock and have a good time. allages@drummedia.com.au
OG FLAVAS Trey Songz (aka Tremaine Neverson) hasn’t always been on OG Flavas’ radar. Other R’n’B artists are more hyped, or simply more notorious. But now OG is on the wagon. The self-proclaimed Prince of Virginia lately hosted intimate playback sessions of his new album material in Sydney and Melbourne, impressing industry figures with his professionalism and down-to-earth demeanour. Big American urban stars never, ever court Australians this way. Of course, Neverson was in the country for Supafest, the urban festival embroiled in controversy after it emerged that Diddy and Missy Elliott weren’t coming. (Bet the promoters wish they’d thought of that 2Pac hologram idea.) Most of the post-tour coverage has centred on Chris Brown, a tabloid magnet. To be fair, even Brown’s critics would have to acknowledge that the dude works hard. Still, it’s a mystery why sweetie pie Neverson, who’s cut countless strategic cameos, isn’t as big as Brown – although he’d be the last one to start a beef. The two are friends. Hopefully, Neverson’s fortunes change when his fifth album, Chapter V, drops in August. In Melbourne’s Sing Sing Recording Studios, the slim Neverson, sporting all-black casual attire and a baseball cap, previewed five tracks, in addition to Chapter V’s lead single, Heart Attack. Heart Attack is a quiet storm ballad with production by Benny Blanco – who’s worked on such hits as Katy Perry’s I Kissed A Girl and California Gurls and Maroon 5’s Christina Aguilera-featuring Moves Like Jagger – plus Rico Love. Kelly Rowland appears in the video. Neverson grooved to the songs in a chair, his back shyly turned. 2 Reasons (with TI) is a hip hop banger with tongue-in-cheek lyrics, the two reasons for Neverson’s partying being “drinks and bitches”. The third song, Dive In, is the one OG rates the highest. It’s a slow jam that evokes Prince’s classic balladry (especially Insatiable), as well as R Kelly with its wordplay. But the production of Dive In is cutting-edge, possibly influenced by Drake’s illwave posse with its ambient synths. Frank Ocean devotees should love it. Neverson shared another song inspired by his mum, Without A Woman. Simply Amazing is a power ballad with an acoustic rock vibe (think: Ryan Tedder). Neverson finished the sesh with a second club track, Ladies Go Wild, which he actually wrote in a portable studio on his tour bus during an informal afterparty! Neverson and his friendly management team spent time discussing his new game plan in the candle-filled studio, guests served cocktails named for his songs. The
themusic.com.au
URBAN AND R&B NEWS BY CYCLONE
TREY SONGZ singer is aware that today’s music business is transient – audiences can be fickle. Neverson candidly admitted, too, that his early albums (starting with 2005’s I Gotta Make It) floundered, but he’s learnt from them. He finally broke through with 2010’s Passion, Pain & Pleasure. (Nicki Minaj cameo-ed on the popular single Bottoms Up.) Neverson has recently issued two freely available mixtapes – again unusual, not to mention generous – and an EP, Inevitable. And he’s cultivated his fanbase, Trey’s Angels, by gigging solidly in North America. However, Neverson also wants to interact personally with music’s “gatekeepers”, as he refers to them – the press, radio and retailers. These days urban acts are bona fide pop stars and so they often circumvent the old R’n’B networks, favouring the mainstream media, who, ironically, once shunned them. Not Neverson. He’s an inclusive kinda guy. When one journo asked him about his new songs’ production credits, Neverson sought a piece of paper and pen and wrote them out. The star joked that he’s not used to handwriting – but his script was neat, the details meticulously recalled. Following his session at Sing Sing, Neverson stayed on to record more music – and this on a Friday night! He was stunned to learn that Aaliyah laid down some of her final songs in the same complex while in town to shoot Queen Of The Damned. Trey Songz an Aaliyah fan? That’s gotta be another reason to dig him. And Neverson himself is pursuing an acting career. He’ll next star in The Texas Chainsaw Massacre 3D. ogflavas@streetpress.com.au
ROOTS DOWN At deadline time I have very little information about this tour, so please stay tuned to this column for more information soon, but I can confirm that swamp pop legends Lil Band O’ Gold are on their way back to Australia for a tour this June. The band are made up of some of the finest musicians Louisiana has ever produced, true legends, and when they came out to Australia for the first time a couple of years ago, the reception they received was absolutely enormous. So much so that the band’s new record, a tribute to Fats Domino simply called Lil Band O’ Gold Plays Fats will be available in Australia before anywhere else in the world. The record shows the respect these guys have purely through the guests they’ve enlisted for this album – Robert Plant, Lucinda Williams and Ani DiFranco, and our very own Jimmy Barnes and Tim Rogers. All I’ve heard so far is that they’re playing The Basement on Sunday 24 June, but hopefully we can announce a shitload more dates next week. Considered by many to be one of the few key connecting artists between music of the East and the West, Harry Manx is truly more than just your average musician. He’s a devotee of his craft, even going so far as to spend five years studying the Mohan Veena – a 20-stringed instrument that can loosely be described as a cross between a sitar and a slide guitar – in India with its creator Vishwa Mohan Bhatt. His love of American blues and folk styles as well as Indian Hindustani classical music
PUT YOUR NAME DOWN BLUES AND ROOTS WITH DAN CONDON
enlisting singers to accompany them than they ever before, getting people like Tim Rogers, Aloe Blacc, Daniel Merriweather and Megan Washington (again) in on the action this time around. But really, it’s all about the band, which is comprised of some of the classiest players in the country. In support of the record they’re jetting around the country yet again and you can see them bringing that funk to The Metro on Friday 22 June. HARRY MANX has meant that the music he produces is utterly unique, but thankfully he pulls it off with aplomb. Manx must really love Australia as he has toured here countless times over the past decade or so and he is back very soon with dates up and down the East Coast all through May. World music journeyman Yeshe supports and you can catch them both at The Basement Wednesday 9 May, The Clarendon Guesthouse, Katoomba Thursday 10, Lizotte’s, Newcastle Thursday 17 and Friday 18 and Lizotte’s, Kincumber Saturday 19 and Sunday 20. One of the greatest bands in the country, both live and on record, are local deep soul masters The Bamboos and I’m very excited to hear that they have a new album by the name of Medicine Man just about to come out, with its release set for Friday 1 June. They’ve gone even further when it comes to
If you went along to see The Pogues last month and enjoyed it as much as I did then you’re probably still on cloud nine after such a triumphant performance, one far better than that Shane MacGowan delivered alongside his other band The Popes around ten years ago. Well, in an interesting turn of events, it looks as if The Popes (who it must be said were great, it was just their frontman who struggled) are going to be over in Australia later this year for a tour of their own. The band have a new record called New Church, which is set to be released very soon and they’ll be out here for the first time sans MacGowan in support of it. As far as what you can expect musically, it’s pretty standard Celtic punk, but executed by some of the best in the business and as such very much worth seeing. They play the Polish Club in Canberra Saturday 23 June, The Vanguard Thursday 28 and a Wollongong date to be confirmed on Saturday 30. More info as it comes to hand.
Led by fusion, in the sense of world music, classical and jazz, acoustic guitarist and composer Guy Strazz launches the new album, Eastern Blues (Rufus/Universal), with his quartet, featuring Aaron Flower on electric guitar, Hugh Fraser on basses and Toby Hall on drums, Thursday night in the Café Church, Glebe. Showcasing compositions from his new quartet album, Walkabout (Newmarket), New York City-based Australian sax and woodwind player Adrian Cunningham is back in Sydney for one night only, playing 505 Saturday with special guests. Saturday sees the Edge Cinema in Katoomba hosting the 2012 Blue Mountains 1920s Festival documentary film premiere of Roaring 20s And All That Jazz!, from 1pm, with Greg Poppleton & His Bakelite Broadcasters kicking things off at midday. Poppleton and the band also play the VE Day GI Dance Friday at Elizabeth Bay House. The celebration of progressive folk, Frogfest, actually embraces a little jazz, as the appearance of guitarist Ben Haputmann’s combo, BOB, makes clear. Frogfest
The popular Shake, Rattle and Roll dance night has found a new monthly home upstairs at the Clarendon Hotel in Devonshire Street, Surry Hills. The venue has a great wooden dance floor and a late licence. Spinning the incredible selection of rockabilly, swing, rock’n’roll. classic r’n’b and jump blues platters will be DJs Brian and Rod Almighty. Shake, Rattle and Roll is on this Friday and thereafter on the last Friday of each month, free admission. Singer songwriter Rory Faithfield was born in Australia but these days bases himself in Dublin where he’s immersed himself in the rich Celtic musical traditions.
When Ash Grunwald made the decision to leave the beautiful stretch of life he’d enjoyed along the Great Ocean Road, it was impossible to foresee what the picture of his new existence on the North Coast of NSW would look like. But there were hopes of warm days, enormous blue skies, waves in abundance and a new community of friends that would bring as much amusement as they would inspiration. The film clip to Longtime, the first single from his forthcoming album Trouble’s Door (out Friday 11 May), is the visual encapsulation of those imaginings realised: the life that Grunwald has worked so very hard to achieve, for himself and his family in a small community north of Byron where getting Xavier Rudd, Pete Murray, Fingers, Kram, Scott Owen (The Living End), Dave Rastavich, Bob McTavish and more down the beach for a lazy afternoon... is just no big deal at all. It’s online now for your viewing pleasure. Grunwald also recently announced a national tour, which sees him play The Patch in Wollongong on Thursday 21 June, Newcastle Leagues Club on Friday 22 and The Metro on Saturday 23.
CULTURAL REVELATION JAZZ/WORLD WITH MICHAEL SMITH
Gail Page – Blue Beat
FRIDAY 4
BEN HAUPTMANN kicks off Friday night at the White Eagle Club, Canberra, with The Woohoo Revue, BOB, Dave Carr’s Fabulous Contraption, Mr Fibby and Cracked Actor, the latter dropping out Saturday at Katoomba RSL, while Sunday at Kantara House on the Central Coast, BOB and Carr’s band are joined by The Rhythm Hunters and Chaika.
The Coffin Brothers Band – Sound Lounge Keyim Ba – 505 Scott, Tim, Rick and Alex from Directions in Groove – Blue Beat El Orqueston – Camelot Lounge ShawNuff Swing Band with John Redmond – Newtown Jets Rugby Leagues Club Michael Griffin Quintet – Norton’s On Norton Liam Burrows’ Hollywood Goes Swing – Lizotte’s Dee Why
SATURDAY 5
Edoardo Santoni + Leonie Cohen Trio – 505 James Valentine Quartet + Dan Barnett – Golden Sheaf Gadjo Guitars – Camelot Lounge
Wanderlust - Sound Lounge Yuki Kumagai & John Mackie – Well Connected Café Leichhardt Liam Burrows’ Hollywood Goes Swing – Lizotte’s Kincumber
THURSDAY 3
SUNDAY 6
Dave Panichi Septet – 505 Paul Sun Trio – Jazushi Papa Pilko & The Bin Rats + Big Blind Ray & The Wailing Wall – Camelot Lounge
blow@drummedia.com.au
TUESDAY 1
THE SWAMP SHACK
The recent death of Jimmy Little saw the loss of one of this country’s most loved and talented singers and a true Australian icon. You can celebrate Jimmy’s remarkable life and musical legacy this Thursday at the Sydney Opera House with a concert organised by his long-time manager Buzz Bidstrup together with numerous friends and supporters. The concert will follow a State memorial for Little and will feature some of the country’s leading artists and musicians including Col Joye, Judy Stone, Archie Roach, Lou Bennett, James Henry, Paul Kelly and many more. Admission to the concert is free but you’re encouraged to donate to the Jimmy Little Foundation with donation points in the Concert Hall foyer. If you’ld like to attend you need to go the Opera House website and register or alternatively ring (02) 9250 7777 to secure tickets. There’s a limit of two tickets per person.
A LONGTIME COMING
roots@drummedia.com.au
BLOW Born in Bondy in France, jazz singer Tricia Evy grew up on the Caribbean island of Guadeloupe where she formed her first trio in 2007. Invited to Sydney by singer and trombonist Dan Barnett, Evy is joined by French saxophonist Rémi Meurice, and local musicians Barnett, pianist Matt McMahon, bass player Karl Dunnicliffe and drummer Andrew Dickeson Wednesday night at 505, while she also guests with the James Valentine Quartet at the Golden Sheaf, Double Bay, Tuesday 8 May.
The creators of one of the most diverse folk festivals in the summer line-up, The Illawarra Folk Festival, are searching for artists to play the 2013 festival. “We are getting ever increasing artist applications,” stated the booking committee. To make the process easier for the artists, bands will now simply fill in an ‘expression of interest’ on the festival’s website. The festival is also searching for tutors to help run the festival’s Folk Music School.
Six Degrees – midday Mr Big Stuff Café, Maroubra The Swinging Blades – Marrickville Golf Club Bobby Singh’s Sounds Of Varanasi – Camelot Lounge
ROCKABILLY/PSYCOBILLY/ALT.COUNTRY WITH PEDRO MANOY
Band launch their new EP at the Wickham Park Hotel in Newcastle and the Musos Club Jam Night holds court at the Carousel Inn Hotel. At the National Press Club in Canberra, Finn call the shots from 7pm.
FRIDAY
JIMMY LITTLE His fourth and latest album, Songs For Sooner, has been described as “a sublime, heart-stoppingly beautiful album from a major new Australian folk talent.” Renowned for his dynamic and highly entertaining performances, Faithfield is back to play a one-off special show at the Petersham Bowling Club Thursday 10 May.
Hat Fitz & Cara Robinson move to Lizotte’s at Kincumber while the Marshall Okell Band join the Widowbirds at the Old Manly Boat Shed. The Bellhops swing Blacktown RSL and Wards Express launch their new CD, Five Lanes, at the Lakeview Hotel in Oak Flats.
SATURDAY
Dallas Frasca plays the Sandringham Hotel while Hat Fitz & Cara Robinson play Lizotte’s Dee Why.
WEDNESDAY The Beaches Blues Jam hosted by Illya Szwec rocks Beaches in Thirroul from 7pm. Graham & Jenny Griffith have a popular residency at the Teru Café at 33 Glebe Point Road playing an eclectic mix of country, Hawaiian and old timey sounds. At the Sandringham it’s Old Man Crow in the street level bar.
THURSDAY Out Of Nowhere play their unique brand of country at the Petersham Bowling Club from 7pm. Queensland’s Hat Fitz & Cara Robinson start another southern sojourn at Lizotte’s in Newcastle. The Marshall Okell
SUNDAY
James T Rockwell and Co hit the Sandringham Hotel from 4pm while The Continental Blues Party get lowdown at the Bondi Icebergs from 4.30pm. John Lee Calder and friends play the White Horse, Surry Hills and the Little Blues Festival featuring the Roller Coaster Blues Band takes over Toukley Golf Club, both gigs from 5pm. Chris Turner & The Cave Men play the Bald Rock Hotel, Rozelle from 6pm. Hat Fitz & Cara Robinson finish with the Brass Monkey from 8.30pm. swampshack@drummedia.com.au
themusic.com.au
International jazz sensation, Melody Gardot, releases her third album, The Absence, Friday 25 May through Decca. In 2010, Gardot had a revelation during an overnight trip to the desert to Marrakech: “So many languages and so many cultures and yet I was taken by how similar the spirit of music is the world over.” The album is a culmination of Gardot’s yearlong globetrotting – from the deserts of Morocco to the beaches of Brazil – all written by Gardot and produced by composer and guitarist Heitor Pereira.
KEEP COOL
Grace Knight is one of Australia’s finest vocalists, with a career spanning 35 years that has seen her embrace a number of musical genres. Now Knight delivers her sixth solo album, Keep Cool Fool, that includes some cool jazz (I’m A Woman, Am I Blue, It Ain’t Necessarily So), nostalgia (Sentimental Journey), and surprisingly divine versions of Your Cheating Heart and Down By The Salley Gardens.
AT NUMBER ONE
Brazilian guitarist and composer, Luiz Bonfa, who died aged 78 in 2001, currently sits atop the US Billboard Chart, thanks to Gotye’s single, Somebody That I Used To Know, which has become the first Australian single to top the main US chart since Savage Garden’s, I Knew I Loved You, in January 2000. Bonfa is credited as co-writer of Gotye’s single for two notes - D and C notes - played on nylonstring guitar that introduce the Gotye single – from his 1967 song, Seville.
BOOTS ‘N ALL
Fresh from shows with Justin Townes Earle and at the West Coast Blues and Roots Festival, WA’s favourite alt.country band, Ruby Boots, are strappin’ on them boots and heading east in support of their new single, Wise Up. They’ll be playing Camelot Lounge Thursday 17 May with The Eastern, Lass O’Gowrie in Newcastle Saturday 19 with James Thomson and The Dennis Boys Band, Wollongong Surf Club Sunday 20 and Transit Bar in Canberra Thursday 24 with The Wedded Bliss and The Ellis Collective.
STAY COOL
The Audreys have announced their first tour in 18 months in support of their compilation release, Collected. Dubbed the Cool, Calm And Collected Tour, The Audreys’ Taasha Coates and Tristan Goodall will tour as a duo playing tracks from across their three ARIA Award winning albums, as well as B-sides and new material at the Heritage Hotel in Bulli Sunday 24 June, the Brass Monkey Tuesday 26, Clarendon Guesthouse in Katoomba Wednesday 27, Lizotte’s Newcastle Thursday 28, The Vanguard Friday 29, Lizotte’s Kincumber Saturday 30 and back to The Vanguard Sunday 1 July.
KEITH IS GRAND
New Zealand-born and Australian-raised Keith Urban, who has become a country superstar in America, was recently inducted into the illustrious and exclusive Grand Ole Opry, believed to be the first Australian to receive the honour. THE DRUM MEDIA • 47
FRONTROW@DRUMMEDIA.COM.AU
THIS WEEK IN
ARTS
HUGO WEAVING AND GERALDINE HAKEWILL IN SYDNEY THEATRE COMPANY’S LES LIAISONS DANGEREUSES
TUESDAY 1 Salmon fishing in the Yemen- Dr. Alfred Jones is a henpecked, slightly pompous middle-aged scientist who embarks on an outlandish plan to introduce the sport of salmon fishing into the Yemen. Chauvel Cinema, 9pm. Tanya Lee Sobiesiak – an exhibition from Australian-based artist, Sobiesiak, who is gaining a reputation for her in depth style of oil-based paintings. Meet the artist tonight, Tap Gallery, 6pm – 8pm, exhibiting until 6 May.
WEDNESDAY 2 Mulholland Drive - written and directed by David Lynch, the film that made Namoi Watts a household name. It captures the beautiful but dangerous netherworld of Hollywood, deconstructing the dream factory and ‘land of opportunity’ myth. Focusing on two women who inadvertently walk a fine line between truth and deception. Part of AGNSW’S Postcards from LA series, Domain Theatre, 7.15pm and 9.42pm, repeats Sunday 6 May, 2pm.
THURSDAY 3 The Sydney Comedy Festivals Great Debate - a bunch of comedy geeks battle it out - with language and wit - in an oldfashioned debate. In the Blue corner are Tommy Dean, Randy and Dave Thornton, while in the Red corner are Dave Callan, Sammy J and Felicity Ward. Steven K Amos will be the master of ceremonies - we wonder if they’ll have cue cards prepared or will just riff it? Part of the Sydney Comedy Festival, Enmore Theatre, 9.30pm. Tim Rogers: Rogers Does Rogerstein - You Am I frontman Tim Rogers live on The Stables stage. Rodgers will perform new songs written with his long-time and enigmatic collaborator, Shel Rogerstein, inspired by their travels together. Closing night, SBW Stables, 9pm.
FRIDAY 4 Reasons to be Pretty – a play for anyone who’s ever written a letter to an ex or felt ugly, LaBute’s first play to transfer to Broadway and be nominated for three Tony Awards. The familiar struggles of wanting to be loved, wanting to feel attractive and wanting to understand each other is the bedrock of this comedy. Boy Meets Girl, Boy Dates Girl, Boy Compares Girl with Other Girl. Preview performances, 8pm Darlinghurst Theatre Company, until 3 June.
SATURDAY 5 Gerry – directed by Gus Van Sant, with Casey Affleck and Matt Damon as two young men on a metaphysical odyssey through a hostile desert landscape, the journey becoming increasingly abstract and hypnotic. Friendship is tested 48 • THE DRUM MEDIA
to its limits and isolation becomes universal. Part of AGNSW’S Postcards from LA series, Domain Theatre, 2pm. Strange Interlude – written and directed by Simon Stone after Eugene O’Neill, a play about one Nina Leeds, who has lost the love of her life in war. Overcome with grief, she quits university, falls out with her father and moves away from home, consoling herself in a series of sexual flings. Eventually settling down in a comfortable but unexciting marriage with Sam Evans, she begins a 15-year affair with his best friend Ned Darrell. This modern play interweaves between soliloquy and dialogue. Opening night, Belvoir Upstairs, 8pm until 17 June.
SUNDAY 6 Ip Man II - the acclaimed sequel to Ip Man, a film that follows supreme master of Wing Chun martial arts, a style popularised by Bruce Lee, to Hong Kong. Ip Man takes on a corrupt cabal of local martial artists, ending in a spectacular MMA slugfest. Part of White Rabbit Gallery Film Club, White Gallery Theatrette, 2pm.
ONGOING Les Liaisons Dangereuses - a drama about sexual politics written by Christopher Hampton for the stage after the Choderlos de Laclos 1782 novel. The Marquise de Merteuil and Vicomte de Valmont plot an elaborate game of revenge, seduction, humiliation and cruelty, a salon amusement that soon escalates into a brutal battle between former lovers, sex and love the weapons of choice. Starring Hugo Weaving and Pamela Rabe, directed by Griffin Theatre Company’s Artistic Director, Sam Strong. STC Wharf 1 Theatre, 8pm until 9 June. Blue - an exhibition from Australian painter Brett Whiteley, who not only embraced traditional modes of beauty but also notoriously challenged them. This collection connects with the Matisse quote, “An artist must possess nature. He must identify himself with her rhythm, by efforts that will prepare the mastery, which will later enable him to express himself in his own language.” Brett Whiteley Studio, Surry Hills, until 7 July. Macbeth - the story of a man who happens upon three witches who predict he will soon be king. Directed by Peter Evans and written by William Shakespeare, Evans fulfils a longheld ambition to collaborate with Dan Spielman, in the title role, and Kate Mulvany, who plays Macbeth’s highly erotic wife. This Macbeth reveals what the lure of power can do to a man, and the devastation it can wreak on a marriage and a nation. Sydney Opera House Drama Theatre until 12 May, 7.30pm.
GREAT GRAF Jake Millar previews the upcoming Merecedes-Benz Fashion Week, and in particular the arrival of New York street artist Craig “KR” Costello. When you think of fashion week, it’s unlikely art is the first thing that springs to mind. And street art perhaps even less so. But as it happens, some of the most creative and colourful attractions during this year’s event are set to take place away from the catwalk. As Mercedes-Benz Fashion Week arrives in Sydney for a showcase of the country’s best and brightest designers, so too does renowned New York street artist Craig “KR” Costello. And perhaps it’s fitting. After all, it seems you can scarcely turn around these days without bumping into some new graffitibased exhibition or event. If ever there was an artistic practice that’s on trend right now, street art must surely be it. Thanks to fashion week major sponsor
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Maybelline NY, which is handling make-up at the fashion shows, KR has been flown to Sydney to create a series of live and lively art installations around the city. His first piece saw him head into Sydney’s concrete jungle to take over Angel Place, where he transformed the CBD laneway into his very own urban canvas. These days of course, KR’s artistic endeavours are slightly more sophisticated than a hoodie and spray can – the artist put a scissor lift and a fire extinguisher to very good use, as he worked to liven up a four-metre sculpture. The installations also included a contribution from Ruby Rose, who happens to be the face of Maybelline NY. As well as the Angel Place centrepiece, KR will also be creating a series of works in and
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around the Overseas Passenger Terminal at Circular Quay, the venue for this year’s fashion week. Best known for his ‘dripping ink’ technique, KR honed his craft on the streets of New York and San Francisco. It was during this time he experimented with mixing new inks to achieve the effect he wanted and that would go on to become his signature style. Before long he developed KRINK (KR’s ink), which has since become a successful brand in its own right, collaborating with the likes of Nike and Incase over the years. His fashion week contributions also mark an interesting crossover of street and public art, indicating just how far the form has come in gaining broader appeal and acceptance. Much public art can appear, frankly, a little staid. For KR however, the ability to work within the environment in which his piece will be experienced gives them an experimental quality: “Public art is a critical part of society and culture and my work is influenced by the
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A walk down memory lane in the gaming community can be many things - a blessing, a curse - but in this title we have machine guns mounted on a hearse. Yes we’re talking about none other than Twisted Metal. I am sure memories are flooding back to you as you read this, and not much has changed in the world of twisted metal. The violence, the blood, the gore… It never left this place. Armed to the teeth with over-the-top vehicles of death, the aim of the game has remained very much the same. Shoot, maim and kill. While you’re not trying to run your fellow person off the road and into oblivion, you’re treated to some rather intense cutscenes disturbing almost. The story remains heavily focused around Sweet Tooth, our favourite twisted metal mascot. Many would argue there is nothing creepier than a clown, unless he’s a homicidal maniac. Competing in Twisted Metal there are a wide variety of vehicles, weapons and arenas from which to choose. Unfortunately, after
only a short while you can’t help but feel it’s already been done before. The endless barrage of bullets and the quick pace of the game make it tough to survey your surroundings and makes it virtually impossible to have a second’s rest. Although there are many arenas and styles of matches to partake in, déja vu runs rampant through this release, and something similar could be said about the soundtrack. While it will bring back some of that ‘old school’ simplicity we love so much, there’s just no room to take this title any further than it’s already gone. The same destruction and carnage awaits you here, just as it did on the PS1. Thankfully a bit crisper and cleaner and sweet tooth these days is looking a lot meaner. No real surprises here but fans of the franchise can do no wrong in picking up the latest title as who doesn’t love sticking the keys in the ignition and chucking a chain gun on the bonnet. Drive safe boys and girls. James Seeney WHAT: Twisted Metal (PS3)
Sure, a week-long fashion show might not be everyone’s cup of tea, but it’s also a great opportunity to see one of the world’s most successful and talented street artists at work. Whether you’re familiar with KR’s past artistic projects or a newcomer to street art in general, it’ll be fascinating to see what he comes up with. Hey, he’s painting with a fire extinguisher. What’s not to love? WHAT: KR at Mercedes-Benz Fashion Week. WHERE & WHEN: Angel Place & The Overseas Passenger Terminal, until May 4.
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BY BETHANY SMALL
TWISTED METAL (PS3)
surrounding urban environment. My sculpture and paintings are an evolution, organically growing from graffiti through the experimentation with materials. Re-purposing existing tools, like a fire extinguisher, creates the drip paint aesthetic, which is now more widely known in my work. This collaboration with Maybelline NY will bring New York City soul and vitality to the streets of Sydney.”
Having spent most of March not being at home (Art Month) and then most of the start of April out as well (MCA, recovering from Art Month), I just recently realised that I have a big old backlog of recorded episodes of the first series of Work Of Art, a show that aired on Bravo in the US last year and is now screening on STVDIO locally. It’s basically like Project Runway except that it’s about art. Three episodes in I’m finding it absolutely worthwile for feeling kinda superior without also feeling like you’re being cheeseburger-party-during-TheBiggest-Loser exploitative. In place of Heidi Klum there is China Chow, who is a person I do not know much about other than she’s actressed and modelled and is terribly well-connected in the sort of way that’s not really very evident to people who aren’t all that wellconnected. She wears expensive clothes and does seem to have been around quite a lot of art and art people during said well-connected upbringing and adult life. She seems not super-smart but poised and confident in her opinions. Where Tim Gunn would be, there is Simon de Pury, a Swiss guy whose
name is probably not pronounced how you think it is and who is part of a big auction house that sports his name. He announced at one point that he got his first erection while looking at a Renoir, which, LOL. There is no Michael Kors figure, although a bunch of the special guests they bring on as judges are highly successful artists, so the practitioner-at-top-of-field box is covered. But there is a Nina Garcia, in that she writes about fashion and Jerry Saltz writes about art and he is a regular judge on the show and also someone I think is very knowledgeable about art. (Regular readers may recognise him as the one who is married to another art critic, Roberta Smith, a couple I want for parents.) And the artists: they are a good reality show batch, with the Old One, the Traditionally Super-Hot Girl Who Is All About That, the Several Who Are Kinda Overweight, the Moody Creative Cliché Boy, the One Who Looks Cuter Than S/He Actually Is Because Most Of Them Are Not That Good, and the Rachel Leigh Cook In Never Been Kissed One. Three episodes in and I can’t really remember any of the art.
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WITH JAMELLE WELLS Critical Stages, the national professional organisation for independent theatre, is the latest arts group to take up residency in the Seymour Centre. This takes the number of resident companies at the Centre to four, alongside Shaun Parker and Co, chronology arts and SIMA Jazz. In the past six years, Critical Stages has become Australia’s leading producer of touring theatre from the independent sector, touring 14 productions. Sydney Theatre Company’s production of Uncle Vanya has won two prestigious Helen Hayes Awards for last year’s performances at the Kennedy Center, Washington. STC Co Artistic Director Cate Blanchett won Outstanding Lead Actress in a Non-Resident Production for her performance as Yelena, and Hugo Weaving won Outstanding Supporting Performer in a Non-Resident Production for his performance as Astrov. Both are now getting rave reviews for their performances in separate STC productions. Blanchett is in Gross und Klein at the Barbican in London while Weaving is on stage at STC’s Wharf 1 in Les Liaisons Dangereuses. Miami prosecutors are investigating if Australian actor Matthew Newton has a mental illness. He was arrested twice last month in the US, with police alleging the latest incident involved punching a hotel clerk. Prosecutors say they were unaware Newton might have a mental illness until they came across Australian media reports. Newton’s Sydney-based lawyer, Chris Murphy, has raised the issue on Twitter and in Sydney court hearings. Legs on the Wall are off to London for a large scale outdoor work
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in Birmingham Square in June. Called The Voyage, it’s one of the Cultural Olympiad opening events. The event has been created by Motionhouse, one of the UK’s foremost dance theatre companies. Professional dancers and aerialists will join a large community choir and live musicians. Other Australian acts either in London or heading there for the Cultural Olympiad include members of the STC and Brisbane group, Circa. Christopher Tooher will take on the job of new Executive Director for Sydney Festival, joining Festival Director Lieven Bertels. Tooher is currently General Manager for Bell Shakespeare Company and prior to that worked as a producer at Sydney Opera House and CEO of the Illawarra Performing Arts Centre in Wollongong. He is well respected in the arts for his commitment to a number of boards including Australian Dance Theatre. Belvoir and Kim Carpenter’s Theatre of Image production The Book of Everything has opened at the New Victory Theater in New York to rave reviews from notoriously tough critics. General Manager Brenna Hobson says following in the steps of Diary Of A Madman, the tour will build on Belvoir’s international reputation for presenting imaginative and engaging theatre. Directed by Neil Armfield, it follows the story of a child who sees things others can’t imagine, and whose spirit and curiosity wins over those around him. Rose Byrne has taken on the role of new ambassador for Australian Theatre for Young People. She will share it with Director Baz Luhrmann. Byrne is currently starring in the American television series, Damages.
REVIEW JAY & SILENT BOB PIC BY MACLAY HERIOT
FEED THE WORLD
the differing effects that does have on them,” explains Bazzi.
Amidst much laughter and selfflattery, Fayssal Bazzi tells Dave Drayton his play, Food, aims to wine and dine Belvoir with foreign flavours.
“I made myself a chilli chicken and beef salad,” says actor Fayssal Bazzi, his current diet seeming worthy of discussion as he’s due to appear in the Belvoir/Force Majeure co-production of Steve Rodgers’ Food in Belvoir’s Downstairs Theatre. “I think my protein intake has certainly increased!” he jokes boisterously. Though these kinds of culinary specifics are also worthy of note, given the physically demanding rehearsal process for Food, which brings together Rodgers’ writing and directorial vision and the unparalleled physical theatre experience of co-director and artistic director of Force Majeure, Kate Champion. Understandably, it’s demanding a fair bit physically from the cast. “It’s been a delight to have the physical and movement aspect, not short on the fact that we start every day with an hour of yoga followed by a bit of Pilates, so if nothing else we’re getting really fit,” jokes a high-spirited Bazzi. “It’s funny having someone come from an angle that you’re not used to thinking about, you know? Like how you can tell a whole story without saying anything, just with the way you’re facing or the way your body is moving, you can get rid of whole passages of speech and tell that whole passage in a simple movement. Once you step outside of your comfort zone, which are the words, you realise how powerful that can be. It’s just something
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that, as an artist, you don’t really think about until someone hits you over the head with it. “It’s a little different than most things obviously, having both Kate and Stevie both directing - Kate just bringing her own movement, dance-y feel to it and Stevie handling the words side of it - but it’s all coming together pretty nicely.” Food tells the story of two sisters, played by Emma Jackson and Kate Box, who grew up in a greasy takeaway joint on the side of a country highway. This is a world populated by semi-trailers and Chico rolls, grease traps and sloppy pies. As they grow older, one sister leaves, the other remaining in the world in which they grew up. The separate lives they’ve led collide when she returns to the takeaway joint, her experience of the world fuelling a plan to turn it from roadside eatery to restaurant. Which is where Bazzi comes in, as Hakan Leventoglu, aka Hassan The Beautiful, aka Hassan, Son Of Handsome. “That’s the translation of his name from Turkish!” Bazzi laughs modestly, as though by confirming the role one could
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HENRY ROLLINS PIC BY JOSH GROOM
JAY & SILENT BOB GET OLD Enmore Theatre, 23/04/2012 It really is all in the name. Getting on stage a half hour after the scheduled start time (because there were some troubles getting the family – yes, the family – in the car from the hotel) Jay & Silent Bob, AKA Jason Mewes and Kevin Smith, were introduced by none other than Smith’s own wife, “the only woman stupid enough in the world to have sex with Kevin Smith.” So yes, they are old, family men now, but they most certainly are still Jay and Silent Bob. After this brief introduction we’re treated to a graphic retelling of Mewes’ recent attempt to have sex with his wife on Bondi Beach and for all the top notch juvenile humour on offer it’s perhaps Mewes’ strained face and furrowed brow when acting out a simulated ejaculation that reveals how age may have wearied him. It’s the first of many simulated ejaculations we will witness tonight, the most impressive of which occur during the staple segment of the popular podcast made from these stage
shows, the “Let Us Fuck” game. The locally-flavoured “Jason Mewes Wants To Screw A Kangaroo” and “Dingo Ate My Labia” were well received by both audience and audience participators. And on the note of participation, the duo went above and beyond when involving the audience tonight. As much as this show has been heralded as a way of keeping Mewes’ sobriety on track through the audiences’ help and presence, Smith and Mewes give just as much back to the audience in their honesty and inclusivity on stage. King of cult Smith MCs the evening, and as expected obscure pop culture references – everything from ‘Bennifer’ (Afleck’s wife hates Smith, apparently) to incredible detail about the Australian episode of The Simpsons – abound. With this the first of their final three shows in the country it was earmarked by the duo as their own Star Wars-esque trilogy. The only question being, would this be of A New Hope or the Phantom Menace proportions… Smith summed it up perfectly, “This shit was Empire Strikes Back!” Dave Drayton
HENRY ROLLINS Seymour Centre Opening act, writer and comedian Bruce Griffiths, drew lots of laughs via a deadpan comic demeanour and by his many observations, one of which went something along the lines of “I came across a road sign which read “END ROAD WORK” and I thought, ‘I don’t have that that sort of power.’” This and other similar rapid-fire observations that followed no common theme and appeared in no particular order drew plenty of laughs and it was a feat in itself for him to remember all his one-liners, of which there were several over the course of about 20 minutes. Saturday evening’s show, one of four sold-out nights at the Centre as part of the Comedy Festival, drew
a wide cross-section of people of different ages, reflective of Henry Rollins’ mass appeal, something he’s managed to maintain since entering his fifties. Equally, there was a number of topics, ranging from recent trips to India that had him eating rat livers, a trip to North Korea that involved two good cop/ bad cop hosts, and his experiences at a Pentecostal rock concert in Kentucky with venomous snakes, as well as his punching a guy at a Black Flag concert and keeping the guy’s teeth. There were also more serious moments, including one in which he told of his heartbreaking time spent in Haiti’s capital Port-Au-Prince, delivering soap and soccer balls to people housed in the makeshift tent towns that have been set up in the city since the
mistake him for suggesting he was also worthy of such a title. Hassan is brought on board as the chef at the new restaurant, and throws a male presence into the arena as the two sisters redefine their relationship. “He’s a bit of a nomad. As the play progresses you find out that he’s originally from Turkey, you find out about the women he’s been with in his life and the impact that they’ve had on his life and he just brings a touch of magic to the show and to the lives of the two female characters. It’s been a pleasure to play. “The girls are turning their takeaway shop into a restaurant, so he basically helps them develop their friendship as he comes in as the third hand; a foreign kind of touch to their lives, something they’re not used to. And he’s also just a man, a ‘man’, because a lot of the problems the girls had faced in their upbringing [were] the effect of men in their lives, you know? One of them had the attention of men and the other one didn’t and now there is a man who has basically infiltrated their personal lives and it’s interesting to see earthquake almost two-and-a-half years ago. Few have the same knack for infusing an event with so much life and enthusiasm to make you wish you were there, and equally entertaining was Rollins’ aptness in casually referring to his heroes like The Ramones, Tom Waits and Iggy Pop, without any obvious segue, yet managing to make it fit within the context of the main story arc. Rollins also managed to squeeze in his obvious patriotism and his severe criticism of his government’s many failings, such as the war in the Middle East, the health system, etcetera, in two-and-a-half hours of non-stop talking where he did not consume one sip of water the entire time. It was enthralling to observe how much conviction he holds behind every human failing, yet despite all that he maintains an improbable sense of optimism that was rather addictive. He ended the night explaining that we are what keeps him motivated and reciprocated we are why he was there and judging by the applause, you would say the feeling was mutual. Season ended Adam Wilding
He’s not only bringing a foreign touch to the restaurant portrayed on stage. As hinted at, Bazzi’s Turkish translation skills are more than up to scratch, which, coincidentally, is how he first became involved with Food. “Stevie, a few years ago, actually showed me the script and just wanted some notes on some of the Arabic and the Turkish that was being used so I had actually seen the script initially maybe two or three years ago. As we were developing it and it got closer to the day and we’d done a couple of workshops, as well as seeing the different takes that Kate would have compared to Stevie’s ideas – I think it’s really important as well that Kate was in the room,” Bazzi digresses, clearly relishing the dual-handed directorial approach, “because Stevie, as the writer, you know, he could be very precious about things but then with Kate there as a separate eye. As beautiful as the writing would be, she could say, ‘We don’t actually need this for the storytelling.’ So it’s been something that’s been inside my head now for two years.” While he was originally helping only with the translations, through the readings, workshops and other developments the character of Hassan held undeniable appeal, and Bazzi remained cautiously optimistic that he’d get to play the role. “I was quietly confident that role was always mine,” he admits before adding, still laughing. “I didn’t doubt that.” It’s the kind of confidence and appeal Hassan exudes – “When I arrive there’s a kind of intoxicating effect I’m supposed to have on the audience – we’ll see if that happens,” Bazzi says, again laughing – though if he falls short of intoxicating there’s not too much concern; audiences are wined and dined during the performance. WHAT: Food WHERE & WHEN: Belvoir Downstairs Theatre until Sunday 20 May.
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SIMON AMSTEL - NUMB Factory Theatre It’s Simon Amstell, but not as you know him. Best-known for his work as a panel-show host in the UK, Numb is the comedian’s stand-up contribution to the Sydney Comedy Festival. The title relates to Amstell’s feeling of detachment from the world, his experiences and emotions and, while you kind of just want to give him a hug, it also makes for some seriously good material. Topics include his tricky relationship with his father, his hit-and-miss love life and his newfound spiritual enlightenment – gold mines of comical gems, all. While the show’s recurring theme is his social awkwardness (“I can only talk to people like this, when I’m on stage and lit from above”), it’s actually in moments when he’s interacting with the audience, working off the cuff, that he’s at his witty best. He’s awkward and needy and vulnerable, for sure. But Jesus he’s funny. Season ended Jake Millar
DECLAN GREENE WINS PLAYWRIGHTS AWARD Declan Greene is the winner The Max Afford Playwrights’ Award 2012 for his script, Eight Gigabytes Of Hardcore Pornography. Described by the judges as “compelling and repulsive”, the play immerses the audience “in the lonely world of over-forties internet dating.” The Melbourne-based writer said, “I am absolutely honoured to receive this award and thankful to the judges for seeing its potential and giving it this opportunity to develop.” Greene’s plays include A Black Joy, Moth and Pompeii, L.A, and have been produced at the Malthouse, Sydney Opera House and Brisbane Powerhouse THE DRUM MEDIA • 49
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FILM
DELICACY Delicacy features a recently widowed Audrey Tautou attempting to move on with her life and, contrary to the film’s title, her efforts at ‘seizing the day’ don’t involve starting a restaurant or bakery. It’s just one of the few surprises this conveyor-belt slab of French whimsy has in store; that it hasn’t been subtitled in Comic Sans is the other. Tautou is fast becoming the Kate Hudson of nominally ‘arthouse’ Gallic fare; with the unique brand of anti-gravitas she lends to each role, she proves in Delicacy’s early scenes to be one of the few actresses twee enough to make bereavement seem like the most adorable thing ever. Following her husband’s death, Nathalie (Tautou) devotes herself to work, navigating two rebound possibilities in her slick, handsome boss Charles (Bruno Todeschini) and Markus (Francois Damiens), a gawky gaptoothed Swedish co-worker she impulsively kisses in a grief-induced
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universal and the fundamental through the particular. “One of the things that really struck me when I was talking to Venettia about what I wanted to capture, is that as well as saying she’s always loved dance she explained that when she’s dancing is the only time she feels truly authentic, and I found that really interesting.” In the attempt to capture something about dancing, Baker’s photographs record Miller ‘dancing from within’, i.e. improvising in response to her environment, rather than with planned choreography or to a particular piece of music.
DANCE POETRY
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daze of which she later has no recollection. Typical of the film’s perfume-commercial cuteness, this spontaneous gesture fills the hulking Markus with a confidence that leads him to strut through the Paris streets, scored to T-Rex’s Bang A Gong (Get It On), attracting the aroused gazes of gorgeous women passing by. The rest of the film concerns Nathalie and Markus’ sexless courtship, and it’s goodnatured, sweet, bereft of surprises and completely facile. Bizarrely lacking in the travelogue value these French trifles usually offer, the action is largely confined to the office, though a scene in which Markus finds romantic courage in an Obama speech on TV (I mean c’mon) scans as an awkward shoutout to Stateside audiences. Tautou needs a career 180, pronto. Ian Barr WHAT: Delicacy WHEN & WHERE: Opens May 3, playing at Selected Cinemas
Kate Baker tells Drum she just wants people to feel like they’re dancing, or at least imagine they are at her new exhibition, La Poesia della Danza. “My hope,” Kate Baker says of her current body of work, “is that La Poezia della Danza will allow anybody to feel what the dancer feels and somehow understand and connect with her dance, her poem.” She has created this series of photographs of dancer and choreographer Venettia Miller as an exploration of the experience of dance as a means of selfexpression and also of connecting with the world, as an evocation of
what it is like to dance rather than a documentation of someone dancing. “A lot of dance photography can be so static,” Baker explains, “but I want people to be able to walk into the gallery and feel like they’re dancing… or maybe that they’re imagining that they could be.” In treating dance as an expressive medium, and invoking other music and poetry as forms of signification through the titles of her works, Baker alludes to the
Baker’s essentialist approach extends to the photographic technique used for these works, although a few more parameters are in place. The images are silvergelatin photography, with both the film and the paper being lightsensitive, and the look and finish of the works are the result of careful testing and experimentation. “I knew what feel I was looking for,” she explains, “and so I spent a lot of time working out how to achieve that, learning how certain things work and, you know, removing some of the variables. But there’s still something intangible in film, an element of surprise, because what you capture on film - you can’t turn your camera around and look at it like you can with a digital
camera - so what you have on film is a mystery until you develop it.” There seem to be parallels here, between the trained dancer improvising and the trained photographer capturing the improvised moments, and the works turn those technical expertises into an experience that might not otherwise be accessible to the viewer. Again, the emphasis is on the feeling the work offers, which Baker thinks of as “something that comes from you but is bigger than yourself. It’s like by doing something you find out everything that you’re a part of, the world and you.” It’s a sort of approach towards the capital-R Romantic capital-S Sublime, this treatment of movement as an act of meaningmaking and the suggestion of different forms of expression as different creative languages, different ways of developing and communicating with the world in and through “pure moments of joy,” as Baker calls the moments she attempts to capture. The individual act is abstracted into universality, a being more than a seeing. WHAT: La Poesia della Danza (The Poetry Of Dance) WHEN & WHERE: 10am-5pm until Thursday 17 May, Harrison Galleries
GIVEAWAYS We have some double passes to give away to Irvine Welsh’s Ecstasy. This dark romantic comedy is based on the controversial book, Ecstasy, by Irvine Welsh, also author of Trainspotting, is a film that combines Welsh’s provocative characters and superb storytelling with shocking thrills and dark humour, that weaves and dodges its way through neon-soaked night clubs to the historic streets of Edinburgh. Directed by Rob Heydon, for the chance to win enter at www.facebook.com/drummedia
TOUR GUIDE FEATURE TOUR
KIM CHURCHILL
Renowned guitarist and singer/songwriter, Kim Churchill, has recently released his second album, Detail Of Distance. Following recent Byron Bay Bluesfest and The Gum Ball Festival appearances, he is currently on a national tour to support the release. Microwave Jenny and Benjalu will be supporting. Witness Churchill’s guitar skills and catch him live at the Brass Monkey on Thursday 3 May, The Standard on Friday 4, The Heritage Hotel in Bulli on Saturday 5 and Sunday 6 and Transit Bar in Canberra on Thursday 10.
DRUM PRESENTS
BIG SCARY AT OXFORD ART FACTORY. PIC: JOSH GROOM
BIG SCARY GEOFFREY O’CONNOR, MOSMAN ALDER OXFORD ART FACTORY 27/04/12
Brisbane six-piece Mosman Alder opened proceedings with a memorable set of dramatic indie rock. With violins and keys surging under the rich baritone of lead singer Valdis Valodze, their dark, rolling sound is reminiscent to The National. On a completely different note, ex-Crayon-Fields frontman Geoffrey O’Connor followed with a set dripping with ‘80s romanticism and laser lights. Playing tunes from his debut solo album, Vanity Is Forever, O’Connor’s set overall was slow-paced, thick with keys, electric drums, chimes and vocal sincerity. Lead single Whatever Leads Me To You was one of the more infectious numbers, in a set that erred dangerously close to a karaoke vibe. Despite O’Connor’s dramatic and often camp onstage presence, this was a set that felt a little dull. Contrasting the light and synthetic feel of their predecessor, Melbourne duo Big Scary were warm and grungy from the get-go. Tom Iansek’s agile voice proved a highlight throughout as they raged through material from their debut album Vacation and also threw in a few new tracks. A long instrumental led us into Autumn with its happy marching beats and Iansek placed back behind the keys. Followed by Mix Tape, the pair then launched into new material that was soaked with blues influence, rich keys, rolling drums and perfect
harmonies. Secrets a defiant tale of an ex-lover (from what this reviewer could gather) is perhaps the best lyrically, but the low impassioned track that followed connected better thanks to Iansek’s presence back at the front of stage. In fact, this is the only downfall of Big Scary live. While drummer Jo Syme beams constantly from behind the drumkit, drifting beautifully from joyful grunge to closed-eyed passion, there is a slight loss of momentum every time Iansek jumps from guitar to behind the keyboard. However, this is a small gripe in the face of such organic beauty. Beauty indeed flashed through the performance of latest single Leaving Home, with Iansek reaching the vocal heights of Jeff Buckley, before dropping into the wolf howling of Belgian Blues. Edging towards the end of the set, the more up-tempo groove of Purple got the packed crowd jumping before the pair finished off with their best-known single, Gladiator. An example of this band at their best, Gladiator teams jangly raw music with vocals that leap from restrained whispers and catcalls to Iansek’s falsetto wails. This was their first sold out Sydney show and it was a cracker; hopefully just one of many to come. Big Scary are not only intelligent songwriters but also authentic, humble performers – just the shot in the arm our local scene needs. Katie Benson
SYDNEY COMEDY FESTIVAL: May 1 – May 12 various venues PIGEON: May 2 Cambridge Hotel FU MANCHU: May 3 The Hi-Fi KIM CHURCHILL: May 3 Brass Monkey, May 4 The Standard, May 5 & 6 Heritage Hotel, May 10 Transit Bar MOUNT KIMBIE: May 4 The Hi-Fi BIC RUNGA: May 8 Lizotte’s Central Coast, May 9 Lizotte’s Newcastle, May 11 IPAC Gordon Theatre, May 12 City Recital Hall Angel Place ANDREW WK: May 10 The Standard THE MACCABEES: May 10 Metro Theatre PUBLIC ENEMY: May 11 The Metro GROOVIN’ THE MOO: May 12 Maitland Showground, May 13 University Of Canberra GASOLINE INC: May 18 Town Hall Hotel DEAD LETTER CIRCUS: May 23 The Patch, May 24 Zierholtz @ UC, May 25 The Hi-Fi, May 26 Entrance Leagues Club, May 27 Cambridge Hotel DEVIN: May 23 Oxford Art Factory TIM RIPPER OWENS: May 24 Cambridge Hotel, May 25 The Basement Canberra, May 26 The Hi-Fi, May 27 The Patch BOY & BEAR: May 29 & 30 State Theatre, May 31 Newcastle Uni, Jun 1 ANU Bar, Jun 2 Waves, Jun 17 Entrance Leagues Club YOUNG GUNS: May 31 The Hi-Fi MISSY HIGGINS: Jun 8 Seymour Centre, Jun 11 Illawarra Performing Arts Centre, Jun 13 Newcastle City Hall, Jun 14 Canberra Theatre COME TOGETHER: Jun 9 Big Top Luna Park TRIAL KENNEDY: Jun 15 Oxford Art Factory, Jun 16 Cambridge Hotel THE AUDREYS: Jun 24 Heritage Hotel, Jun 26 The Brass Monkey, Jun 27 Clarendon Guesthouse, Jun 28 Lizotte’s Newcastle, Jun 29 The Vanguard, Jun 30 Lizotte’s Kincumber, Jul 1 The Vanguard FLIGHT OF THE CONCHORDS: Jul 5 Sydney Opera House, Jul 6 Sydney Entertainment Centre, Jul 10 Newcastle Entertainment Centre, Jul 11 WIN Entertainment Centre ZULU WINTER, HOWLER: Jul 25 Oxford Art Factory ELECTRIC GUEST: Jul 31 Oxford Art Factory DJANGO DJANGO: Aug 1 Oxford Art Factory
NATIONAL EMILY BARKER: May 1 Café Lounge, Apr 4 Front Gallery & Café PIGEON: May 2 Cambridge Hotel THE WOOHOO REVUE: May 2 Brass Monkey, May 3 Yours & Owls, May 4 White Eagle Polish Club, May 5 Katoomba RSL MICHAEL PETER: May 2 Old Many Boatshed, May 3 Hamilton Station Hotel, May 4 Tea Gardens Hotel TRANSVAAL DIAMOND SYNDICATE: May 2 Yours & Owls, May 18 Old Canberra Inn HUSKY: May 3 Oxford Art Factory
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CALLING ALL CARS: May 3 Transit Bar, May 4 Annandale Hotel KIM CHURCHILL: May 3 Brass Monkey, May 4 The Standard, May 5 & 6 Heritage Hotel, May 10 Transit Bar THE STRUMS: May 3 Oxford Art Factory, May 4 Yours & Owls, May 5 Great Northern Hotel Newcastle DANIEL CHAMPAGNE: May 3 Lizotte’s Kincumber, May 4 Lizotte’s Newcastle, May 11 Camelot Lounge, Jun 7 Yours & Owls, Jun 14 & 15 The Front Canberra BEARHUG: May 4 Goodgod BELLUSIRA: May 4 The Square DALLAS FRASCA*: May 4 Northern Star Newcastle, May 5 Sandringham Hotel, Aug 18 Transit Bar JOHN WILLIAMSON: May 4 Campbelltown RSL, May 5 North Sydney Leagues Club, May 6 Castle Hill RSL, May 23 99 On York FROGFEST feat. THE WOOHOO REVUE, CROOKED FIDDLE BAND and more: May 4 White Eagle Club, May 5 Katoomba RSL, May 6 Kantara House, May 9 Brass Monkey, May 11 Cambridge Hotel, May 12 Red Rattler HAZMAT: May 4 Lucky Australian Tavern, May 5 Hamilton Station Hotel LIZ STRINGER: May 4 Grand Junction Hotel, May 5 Camelot Lounge, May 6 Yours & Owls HEIRS: May 5 Bald Faced Stag THE FUNKOARS: May 5 Annandale Hotel SAN CISCO: May 9 The Standard KING GIZZARD & THE LIZARD WIZARD: May 10 Goodgod THE BUTTERFLY EFFECT: May 10 Newcastle Panthers, May 11 UNSW Roundhouse, May 12 Waves, May 16 UCU Bar PAUL GREENE: May 10 Front Gallery, May 12 Clarendon Guesthouse, May 18 The Factory, May 20 Brass Monkey JAM XPRESS: May 11 Cherry Bar, May 19 King Street Hotel Newcastle OUR LAST ENEMY: May 11 The Wall, May 26 The Basement Canberra NEW EMPIRE*: May 11 The Standard, Jun 6 The Vanguard, Jun 8 & 9 Front Gallery Bar Canberra, Jun 28 Yours & Owls, Jun 29 & 30 Glee Coffee Roasters, Jul 1 The Brass Monkey THE GETAWAY PLAN: May 11 The Standard JOHN PAUL YOUNG: May 12 Capitol Theatre LEADER CHEETAH: May 12 King’s Cross Hotel PLANET LOVE SOUND: May 13 King’s Cross Hotel BEN WELLS & THE MIDDLE NAMES: May 16 Cambridge Hotel, May 17 Goodgod, May 18 Yours & Owls, May 19 The Phoenix EXPATRIATE: May 16, 23 & 30 Spectrum KIMBRA: May 17 Enmore Theatre RUBY BOOTS: May 17 Camelot Lounge, May 19 Las O’Gowrie, May 20 Wollongong Surf Club, May 24 Transit Bar TZU: May 17 Cambridge Hotel, May 18 Annandale Hotel CATCALL: May 18 Oxford Art Factory, May 19 Chino’s DAMN TERRAN: May 18 King’s Cross Hotel ELEN LEVON: May 18 Mean Fiddler GASOLINE INC: May 18 Town Hall Hotel THE DRUM MEDIA • 51
TOUR GUIDE LIZ MARTIN: May 18 Lass O’Gowrie, May 19 Notes, May 31 Yours & Owls, Jun 1 Front Gallery and Café GUTHRIE: May 18 Old Canberra Inn, May 19 Phoenix Canberra RESIST THE THOUGHT*: May 18 The Loft Newcastle, May 24 Geewhizz, May 25 The Fitz, May 26 Venom, May 27 Unanderra Community Hall JOSH PYKE: May 19 Seymour Centre BONJAH: May 19 The Lair DANIEL MERRIWEATHER: May 20 The Standard THE MORNING NIGHT: May 20 The Vanguard DEAD LETTER CIRCUS: May 23 The Patch, May 24 Zierholtz @ UC, May 25 The Hi-Fi, May 26 Entrance Leagues Club, May 27 Cambridge Hotel OSCAR JIMENEZ: May 23 Lizotte’s Central Coast, May 24 The Basement Sydney, May 25 Lizotte’s Newcastle, May 26 Clarendon Guest House ADELE & GLENN: May 24 The Vanguard CLAIRY BROWNE & THE BANGIN’ RACKETTES: May 24 Brass Monkey, May 25 Goodgod OWL EYES: May 24 Oxford Art Factory SPLIT SECONDS: May 24 Goodgod THE MISSION IN MOTION: May 24 Great Northern, May 25 The Patch, May 26 Annandale Hotel TIM FREEDMAN: May 24 Burning Log, May 25 & 26 Brass Monkey, Jun 8 Centro CBD, Jun 29 Lizotte’s Newcastle, Jun 30 Lizotte’s Dee Why, Jul 1 Lizotte’s Kincumber, Jul 6 & 7 The Basement Circular Quay, Jul 27 Street Theatre, Aug 2 & 3 Clarendon Guesthouse, Aug 4 The Vault DEF WISH CAST*: May 25 The Standard EMPERORS: May 25 Cambridge Hotel, May 26 King’s Cross Hotel FRANKENBOK: May 25 The Junkyard, May 26 The Basement Canberra PVT: May 25 Opera Theatre Sydney Opera House TIJUANA CARTEL: May 25 Oxford Art Factory, May 26 Northern Hotel Newcastle PJ O’BRIEN: May 26 Beaches Hotel Thirroul SEEKAE: May 27 Opera Theatre Sydney Opera House BOY & BEAR: May 29 & 30 State Theatre, May 31 Newcastle Uni, Jun 1 ANU Bar, Jun 2 Waves, Jun 17 Entrance Leagues Club FLAP!: May 30 Front Gallery and Café Canberra, May 31 Camelot Lounge, Jun 1 Great Northern Hotel Newcastle THE FLOORS*: May 31 The Vanguard, Jun 1 Grand Junction Hotel THE TEMPER TRAP: May 31 & Jun 1 Concert Hall Sydney Opera House LISA MITCHELL: Jun 4 Christ Church Cathedral Newcastle, Jun 7 St Stephen’s Uniting Church 360: Jun 8 Waves. Jun 29 The Metro MISSY HIGGINS: Jun 8 Seymour Centre, Jun 11 Illawarra Performing Arts Centre, Jun 13 Newcastle City Hall, Jun 14 Canberra Theatre SAMPOLOGY*: Jun 8 Oxford Art Factory, Jun 21 Wollongong University, Jun 22 King Street Hotel Newcastle, Jun 23 Trinity Bar Canberra TRIAL KENNEDY: Jun 15 Oxford Art Factory, Jun 16 Cambridge Hotel THE AUDREYS: Jun 24 Heritage Hotel, Jun 26 The Brass Monkey, Jun 27 Clarendon Guesthouse, Jun 28 Lizotte’s Newcastle, Jun 29 The Vanguard, Jun 30 Lizotte’s Kincumber, Jul 1 The Vanguard
INTERNATIONAL
FU MANCHU: May 3 The Hi-Fi SICK OF IT ALL, AGNOSTIC FRONT: May 4 Cambridge Hotel, May 5 Manning Bar, May 6 Canberra University RALPH MCTELL: May 4 Balmain Town Hall THE CHORDS: May 4 & 5 Notes ORBITAL: May 5 The Metro DEVILDRIVER: May 5 The Hi-Fi STEVE POLTZ: May 5 The Basement, May 6 Lizotte’s Kincumber, May 7 Brass Monkey, May 8 Lizotte’s Newcastle THE DARKNESS: May 5 Newcastle Panthers, May 6 UNSW Roundhouse, May 10 ANU Bar THE MOUNTAIN GOATS: May 6 The Metro, May 8 The Clarendon BIC RUNGA: May 8 Lizotte’s Central Coast, May 9 Lizotte’s Newcastle, May 11 IPAC Gordon Theatre, May 12 City Recital Hall Angel Place TIM CHAISSON: May 9 Notes, May 10 The Vault, May 11 The Vanguard, May 20 Rock Lily, May 22 & 23 Lizotte’s Newcastle, May 25 & 26 The Brass 52 • THE DRUM MEDIA
roaring crowd. Murphy is a creative force so sure of his style and carries a uniqueness that’ll push him to the top of the Australian music scene.
Although audial complexity showcases levels of skill and ability, it can often lead to inconsistencies and result in a sense of artistic disjointedness. This certain logic directly applies to Kiwi two-piece psych-rockers Cairo Knife Fight, who although undoubtedly talented musicians and visionaries, fail to execute their chosen aesthetic with clarity as a result of convoluted instrumental dynamics.
Celline Narinli
GOODGOD 27/04/12
Monkey DEUS: May 10 Manning Bar ANDREW WK: May 10 The Standard THE MACCABEES: May 10 Metro Theatre PUBLIC ENEMY: May 11 The Metro DIGITALISM: May 11 The Hi-Fi MORGAN PAGE: May 11 King St Hotel Newcastle, May 19 Soho PRINCE: May 11 & 12 Allphones Arena ATMOSPHERE: May 12 The Hi-Fi FRANK TURNER & THE SLEEPING SOULS: May 12 Manning Bar PARIAH AND BLAWAN: May 12 Goodgod THE EASTERN: May 13 Grand Junction Hotel, May 17 Camelot Lounge CITY & COLOUR: May 14 & 15 Enmore Theatre WAVVES: May 15 Oxford Art Factory KAISER CHIEFS: May 15 The Hi-Fi MUTEMATH: May 16 The Hi-Fi NICKI MINAJ: May 16 Hordern Pavilion BAHAMAS: May 17 King’s Cross Hotel MICKEY AVALON: May 17 Fanny’s, May 18 The Hi-Fi BRIAN JONESTOWN MASSACRE: May 17 The Metro, May 18 ANU Refectory, May 25 Level One, May 26 Oxford Art Factory PAUL COLLINS: May 19 Sandringham Hotel SHOWTEK: May 19 Hordern Pavilion, May 26 Tennis Centre BITTER END: May 20 The Wall THE OCEAN: May 22 ANU Bar, May 23 Annandale Hotel DEVIN: May 23 Oxford Art Factory DAVID MYLES: May 24 The Vault, May 25 Clarendon Guesthouse, May 26 The Basement, Jun 1 Brass Monkey, Jun 2 Lizotte’s Central Coast, Jun 3 Lizotte’s Newcastle FLORENCE + THE MACHINE: May 24 Sydney Entertainment Centre, May 25 Concert Hall Sydney Opera House TIM RIPPER OWENS: May 24 Cambridge Hotel, May 25 The Basement Canberra, May 26 The Hi-Fi, May 27 The Patch NATURALLY 7: May 25 State Theatre NIGHT LIKE THIS feat. DANNY BROWN and M.E.D.: May 25 Opera Studio TOM VEK: May 26 The Studio Sydney Opera House EFTERKLANG: May 26 Opera Theatre Sydney Opera House JANELLE MONAE & THE ANDROID ORCHESTRA: May 26 & 27 Concert Hall Sydney Opera House MY BRIGHTEST DIAMOND: May 27 Opera Theatre Sydney Opera House BRYCE DESSNER, NICO MUHLEY, SUFJAN STEVENS: May 28, 29 & 30 Concert Hall Sydney Opera House IMOGEN HEAP: May 29 Concert Hall Sydney Opera House S CLUB: May 31 Wollongong Uni, Jun 1 UNSW Roundhouse, Jun 2 Newcastle Panthers YOUNG GUNS: May 31 The Hi-Fi ZULU WINTER, HOWLER*: Jul 25 Oxford Art Factory FRIENDS*: Jul 26 The Standard ELECTRIC GUEST*: Jul 31 Oxford Art Factory DJANGO DJANGO*: Aug 1 Oxford Art Factory
FESTIVALS
CAIRO KNIFE FIGHT, CORPUS
CULBURRA BEACH FESTIVAL: May 11 – 12 Waratah and Banksia Community Halls GROOVIN’ THE MOO: May 12 Maitland Showground, May 13 University Of Canberra VIVID LIVE: May 25 – Jun 3 Sydney Opera House LOUD FEST*: Jun 2 The Annandale SNOWY MOUNTAINS OF MUSIC: Jun 8 – 11 Perisher Snowy Mountains DARLING HARBOUR JAZZ & BLUES FESTIVAL: Jun 9 – 11 Darling Harbour COME TOGETHER: Jun 9 Big Top Luna Park HARDCORE 2012: Jul 7 & 8 The Hi-Fi SPLENDOUR IN THE GRASS: Jul 27 – 29 Belongil Fields, Byron Bay SYDNEY BLUES & ROOTS FESTIVAL: Oct 25 – 28 Windsor BASTARDFEST: Nov 9 & 10 The Basement Canberra, Nov 17 Sandringham Hotel * indicates new or amended listing this week
Opening for Cairo Knife Fight were local punk duo Corpus who provided a promising start to the evening, delivering effervescent, high-powered jams to the tiny GoodGod venue. Thrashing out contagious riffs against a pounding beat, frontman Keiron Steel showcased his voluminous vocal capabilities whilst simultaneously convulsing around the stage, igniting diluted slamdancing in audience members. The two-piece impressed with their palpable ability to multitask, with Jack Bruun-Hammond not only demonstrating his remarkably tight drumming abilities, but also his harmonic vocal yells which were intermittently exhibited throughout the set. Corpus managed to find a balance between crowd involvement in their set, communicating directly with their respective audience and enigmatically secluding themselves within their own musical capsule, keeping the crowd relentlessly engaged. The mood shifted however when Cairo Knife Fight took the stage, immediately dispensing face-melting and over-amplified anthems to the overwhelmed members of the audience. Though the duo strive to innovatively fuse psychedelic, stoner rock and metal, channelling Queens Of The Stone Age and Pearl Jam, as well as illuminating their skilful abilities to layer guitar and drum loops, they provide in something which is slightly too knotted and thus somewhat overpowering. Regardless, Cairo Knife Fight are indisputably epic, with monumental breakdowns and bellowing vocals in The Violence Of Action, which opened the set. The Origin Of Slaves followed shortly after, a track that was not as dense as others and was easier to consume as a result of infectious synths against looped guitars. The duo deviated from this clarity continuously with The Secrets Of Sin, which was mind-numbingly chaotic and hence re-iterated Cairo Knife Fight’s pressing need to refine their sound. Ava Nirui
CHET FAKER, FLUME GOODGOD 28/04/12
The crowd flocked to the stage – like moths to a light – as soon as opener Flume released his finger from the synth pad to reveal the introductory beat of his magnificent set. This abrupt migration was bewildering, but created a great atmosphere, especially once the crowd became completely involved with the music produced from the Sydney beatsmith. His mature arrangement of samples, hip hop and electronica made for a surreal and otherworldly experience. One of this reviewer’s biggest pet hates is when people talk through the entire duration of a gig that they’ve paid to go and see. Chet Faker’s sold out EP launch had a bad case of the rowdy crowd, to the point where you couldn’t hear the impressive layers and intricacies of his music. This, coupled with technical difficulties that affected the amplification of his vocals, the rude and obnoxious audience chatter drowned out a lot of the sound. Chet Faker’s (real name Nick Murphy) sound and style have been associated with a lot of sensual words, most notably sex, beats and downtempo r’n’b. But tonight, punters saw him diversify his style and arrangements a little more into jazzier avenues as he was backed by a full band. Cigarettes And Chocolate – as Murphy stated “are two of my favourite things” – opened his set and was probably the perfect choice as it provided a smooth transition from the sounds just heard from Flume. An interesting facet of his performance was the inclusion of an acoustic drum set. If you’re familiar with his EP, acoustic is the last word you’d use to describe it, especially on the percussion side of things, as he mostly uses synth pads/percussion. This worked, but at times also didn’t. It was refreshing to hear a raw percussive drive (during songs like No Diggity), but then at other times (like I’m Into You) it just didn’t provide punters with that oomph (and natural percussive groove) that is so well executed on the record. Grooving to the soulful ‘90s Blackstreet cover and singing along to the “doo-doo-doo-doo” of I’m Into You, the crowd however proved to be worthwhile in the end. Love And Feeling was a standout live, its soaring and desperate vocals in the chorus challenging the
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DERRICK MAY, KRAFTY KUTS CHINESE LAUNDRY 28/04/12
Saturday night was like an old-school dance music fan’s wet dream: Krafty Kuts, one of the key figures in nu-school breaks’ formative years and Derrick May, techno’s “innovator”, under the same roof. Despite together having more years of DJing experience than this reviewer has had on the planet, both demonstrated that they are still as relevant as ever. Krafty Kuts combined his trademark turntable skills and penchant for funk that won over his early fans at the Garden Party with more contemporary heavy basslines and squeaky, glitchy lead synths that this generation of lovers of syncopation look for in their music. Of course there were also plenty of his own edits and bootlegs thrown in for good measure, including a classy re-edit of New Order’s Blue Monday. In the Cave, Murray Lake eased the punters into the night with a well-paced, tightly mixed warm-up set that weaved its way through various deep house and techno vibes, including a well-timed dose of Mushrooms by Marshall Jefferson & Noosa Heads. As soon as Derrick May took to the decks, the already high levels of energy in the room kicked into overdrive and for the next four-and-a-half-hours the room was comfortably full of enthusiastic punters following May through every twist and turn he took, like a group of mesmerised followers hanging intently onto every word their prophet benevolently bestows upon them. It didn’t matter if it was fun, funky disco and house from the likes of Mike Clark and Inner City, slamming tribal grooves (Killa Productions’ Jingo in particular went off), warm, melodic vibes, or crunchy, aggressive techno, the crowd lapped up the music and just kept wanting more. Of course, May obliged. And his skills; my Lord, his skills. Anyone would think the mixer had slept with his wife the way he abused the faders and EQs. If you weren’t dancing, it was probably because you were staring in disbelief at how quickly his hands were working. It was a night where both track selection and technical ability shone, which is a rare treat these days. Andrew Wowk
REDD KROSS, BED WETTIN’ BAD BOYS, BLOODS OXFORD ART FACTORY 24/04/12
Redd Kross main men Jeff and Steve McDonald were still teenagers when they released their debut album Born Innocent. Thirty years later the kind of loud, fuzzy rock that thrilled the young Californian teenagers finally seems to be seeping back into the Sydney live scene and both this gig’s supports did a pretty good job of it. Bloods embraced an almost cartoony fuzzy pop style that was still pretty raw but with plenty of hinting at the promise lying within. Frontwomen Sweetie and MC traded vocals effortlessly, a theme that was to continue for the rest of the night. The Bed Wettin’ Bad Boys started off loud, brash and exciting. They lost some momentum later on depending on which of three band members was taking care of vocal duties, but the sounds being wrenched from the guitars almost made up for any other quibbles. With shades of the The Replacements informing them, Bed Wettin’ Bad Boys looked for all the world like a bunch of guys who just want to plug in and turn it up. Considering there’s only a handful of songs on Born Innocent that last longer than two minutes, Redd Kross wasted no time powering through their debut album. Despite being in his 40s, Steve McDonald still sounded like the bratty teenager yelling out the name of each track before the band would jump in and start throwing those battered hooks around. Born Innocent may be the band’s punkiest, thrashiest album, but Redd Kross have always known the value of a sweet, sugary hook. Giving these short, sharp songs their due thanks to super tight playing and just as much energy as can be heard on the original recordings, Redd Kross then gave their fans a little treat playing later songs such as Lady In The Front Row and Jimmy’s Fantasy. Music has always been a cyclical thing, but seeing the young bands on this bill paying homage to Redd Kross, it sounds like garage rock and power pop may be peeking their heads out from the underground. Danielle O’Donohue
THE GUM BALL
DASHVILLE 27 & 28/04/12 Set against the backdrop of the beautiful Hunter Valley, The Gum Ball music festival had a wonderful vibe from the outset. While relatively small as far as festivals go, this event was exciting and relaxed in equal measure and somehow managed to maintain all the exhilarating aspects of a festival while avoiding all the usual practical ailments. With an effective set up and an amazing variety of genres and characters, this festival really is a hidden gem. The Saturday opened with the Perch Creek Family Jug Band, an energetic ensemble that livened up the crowd from their early morning haze with their eclectic array of instruments combined with their quirky lyricism. Between the banjo, guitars and double bass as well as the frontwoman’s impressive dance moves, the set was bound for success. Continuing in the vein of the first act, Eucalypso were incredibly energetic and unashamedly quirky, catering to The Gum Ball’s older demographic. Apart from some fairly invasive sound mishaps in the early parts of the set as well as the occasional vocal weakness, the set was vibrant and enjoyable. Without allowing the ball to drop for a moment, this was closely followed by Roesy. The oneman act changed the tone of the festival entirely, with his understated yet powerful vocals and clear, smooth guitar sound. While he did not receive the same energy from the crowd as the preceding acts, Roesy certainly displayed musical prowess that demanded attention and respect. The Dashville Progress Society then appeared onstage. Unfortunately the breadth of number and variety of instruments involved in the performance did not translate to depth of sound and this set suffered from an ongoing sense of slight confusion and inconsistency. Having said this, the band was hugely energetic and created an incredible vibe among the audience and certainly managed to lift the mood of the festival significantly. One of the day’s unexpected highlights came from the following set with the various reggae and funk beats of Benjalu, whose infectious beats and incredibly full sound were then coupled nicely with soothing vocal harmonies and insightful lyricism. The Delta Riggs then came on stage with phenomenal vigour and played an overwhelmingly energetic set of heavy guitar music and intense vocals. Another of the day’s highlights came with the appearance of Fire! Santa Rosa, Fire!, who impressed the crowd with their smooth guitar melodies and ephemeral vocals. Unfortunately, the sound balance was not still quite right during this set and the stunning vocals of Caitlin Duff and David Williams were drowned and slightly lost at times. Particularly during the latter half of the set, these powerful vocals as well as the band’s overall musical cohesion were extraordinary and the group triumphantly carried this through to the end of the set, all the while with a certain attractive casual air about them. With a vocal charisma and sophistication particularly reminiscent of Mumford & Sons, Kim Churchill then commanded the audience’s attention. The vast assortment of powerful vocal harmonies confirmed the performer’s overall musical prowess and contributed to the superior cohesion of his performance. Mat McHugh mixed up his set, performing cover songs such Bob Dylan’s Don’t Think Twice, It’s All Right, which warmly invited audience members from all age groups to involve themselves. McHugh went on to perform impressive renditions of Beautiful Girls hits Periscopes, Music and Blackbird. Clairy Browne & The Bangin’ Rackettes’ set, while not as outstanding as those immediately preceding it, was nonetheless energetic and powerful. It combined upbeat rhythms with saxophone, guitars and impressive vocals to create a satisfying and well-rounded set. As night fell as the mood of the festival intensified, Ash Grunwald took to the stage. The set was one of the most upbeat of the day and his energy and fervour were clearly infectious from the crowd’s positive response. Grunwald was joined on stage by Vika & Linda Bull, whose strong harmonies complimented his voice flawlessly. Once again, the sound became somewhat distorted as the set progressed into heavier, more psychedelic guitar lines but was reclaimed with the group’s performance of John The Revelator towards the end of the set.
‘70s guitar flanging, ‘80s rolling bass, ‘90s grrl riot guts and an unmistakable earnestness for the music makes for a timeless rock quality.
The energy and atmosphere of the festival then increased tenfold with the performance by futuristic soul/r’n’b/hip hop duo, Sietta. The pull of the duo’s slow, heavy beats was felt across the entire festival and the whole crowd was on their feet before long. The group opened with Doormat and the vocal prowess of Caiti Barker commanded the audience’s undivided attention. The set went from strength to strength as the duo progressed through the tracks from their debut album, with What Am I Supposed To Do? and No Longer Hurt standing out as highlights.
Kristy Wandmaker
GOSSLING, WINTER PEOPLE, HAYDEN CALNIN BRASS MONKEY 29/04/12 The Brass Monkey was filled to the brim with punters sitting down to dinner, wine and a side of Gossling on Sunday night. Hayden Calnin began the proceedings with a beautiful solo set that showcased his incredible vocals. With a bare range of instruments to work with, his stripped back sound was a testament to his voice. A looping device was used to build sound upon sound up throughout songs, his vocals often used in place of other musical tools. His music was lapped up by the audience which, in spite of tasty distractions, hung off his perfectly pitched work.
Unfortunately, this powerful musical dominance was not sustained by Custard. The set, while doubtlessly impressively energetic, had a certain abrasiveness to it and the group’s vocals did not quite carry atop the heavy guitar lines, making the performance feel slightly disjointed. The audience nevertheless thoroughly enjoyed their hit tracks Pack Yr Suitcases, Anatomically Correct and especially Girls Like That (Don’t Go For Guys Like Us) and the band were not permitted to leave without an encore. The headline set, performed by eccentric indie collective Jinja Safari, was by far the most impressive performance of the day. The band’s unassuming guitar melodies and calming forest sounds filled the space both with total serenity and powerful excitement. Every distinct element of the group’s sound was transmitted with stunning clarity and sophistication, with the band’s layered vocal harmonies proving particularly entrancing. The band’s musical complexity and refined sound were best illustrated in their performance of Mud, whose simple yet commanding chorus was inspired an amazing response from the crowd. This was followed by the insightful lyricism of Mermaids, the exciting tribal drum lines of Vagabonds and finally the pure intensity of Peter Pan and Stepping Stones. With an audience so completely involved in every line of every song, the end of this set came alarmingly quickly. Luckily, the band played an exciting encore before drawing to a close what really was an incredible day of such varied and exciting musical experience. Lucia Osborne-Crowley
STONEFIELD, THE DELTA RIGGS, KINGSWOOD THE PATCH 26/04/12
Few groups make the violin sound as sexy as Winter People. Their folk/country/rock sound was well paced and broken up nicely with different tempos. While two violins initially seemed like it might be overkill, they worked well together, playing competing melodies to give their songs a strange sense of danger. The crowd was distracted at first, but warmed up to the band very quickly when they realised how good they were. Diners were completely silent in anticipation when Gossling took to the stage and she did not fail to deliver. Her ethereal voice pierced the room with incredible power. Performing what she called the “mullet set” (business up front, party at the back), Gossling began with a run through of her catalogue of slower tracks that took the audience on an emotional ride of love – both unrequited and reciprocated – and heartbreak. The second half of her show gave her a chance to display her more sultry and fun side as she took on various personas. Apart from being an incredible singer, Gossling was also very personable as she interacted with the crowd, even if at times it was awkward. It made the audience fall in love with her endearing and quirky charms even more. She was the perfect end to the weekend. Cara Sayer-Bourne
There was something not quite right about Kingswood’s opening track. This was easily explained by the loss of a bet that put all members on different instruments. Their actual sound is somewhere between Faith No More and Pink Floyd. They easily slip from the grind of Sun to a milky blues standard and the new live rocker So Long. With lyrics such as “Die! Die! Die! I’m gonna cut off your head” and the free single Yeah Go Die, you can tell they’re a band full of love.
…um, what? If this title confuses you, you probably haven’t heard of All My Alien Sex Friends, a pretty mysterious band getting around Sydney playing pretty awesome pop/punk, which, allegedly, “sounds like an alien having sex.” They’re supporting Rocket’s release of their brand new EP. Dreamboats, a supergroup consisting of members of Richard In Your Mind and Belles Will Ring, will also be taking to the stage. See it all this Wednesday night at FBi Social.
INDULGE YOUR VICES Thursday night presents three bands at FBi Social for free – but you’ll have to RSVP. Starting with the fast and fuzzed noises of Royal Chant, who take pride in making too much noise, stopping off at Melbourne band The Pretty Littles, and finishing up with noisy local boys, Deathsquare.
OZ HIP HOP OUTCASTS Join some of our most prominent Australian hip hop acts this Thursday night at FBi Social for a night of seduction, confusion and pleasure. With a new single out in May titled Slap Slash Devil, Old Men of Moss Mountain will be presenting a truly unmissable show for hip hop devotees, supported by Big Dumb Kid, Deadbeat and Hazy.
BLOOD IS GOOD Sydney indie band, Bloods, will be hitting up FBi Social this Friday, alongside countrytinged power-pop six-piece Briscoe and Lily So & Co. With Briscoe about to head off on a huge tour for their latest single, Day Job, and with Bloods on the precipice of exploding, this could be your last chance to catch this remarkable pairing in such intimate confines.
THINGS ARE IMPROVING RAPIDLY Sydney indie band, Rapids, are releasing their debut EP, Holland Air, this Friday night at FBi Social. Rapids are all about overseas travel and rebellion and arrests in foreign countries, so this show promises to be pretty wild.
TAKING THINGS HEAD ON
Roller Derby is a burgeoning sport in Australia, and things are heating up pretty quickly. This Thursday night, roller derby photographer Gunther Hang will be exhibiting 18 large-scale photographs of the fast-paced, high-contact sport. The exhibition, titled Brutal Beauty, and is part of the Head-On Photographic festival.
FULLY MODERN This Friday night, Western Australian boys Usurpers of Modern Medicine stop off in Sydney touring with their brand new EP, Turbo Handshake, all epic experimentations with electronic rhythms and guitar, and crazy propulsive beats. Catch them at Blackwire Records in Annandale.
Can you spell rock gods? T.H.E.D.E.L.T.A.R.I.G.G.S. Down to a five-piece sans keys, they kicked out a rock set. Armed with harmonica, hats, harmonies and haircuts to die for, the lads battled a reluctant crowd. Conjuring images of The Black Crowes, the band that seem the best comparison are Dr Teeth & The Electric Mayhem. Bowel-rattling bass held the groove throughout, while the odd noodling solo was perfectly formed in depth and length. Old stayers are pleased by the inclusion of the requested All The Little People. It took a Daft Punk cover to get the entire crowd onside, but on a tough night they left the stage with a room of chanting new fans. It must be hard to be on tour with your mum and rock out. More likely though, it is this grounding that keeps Stonefield from becoming tattooed Proactiv sellouts and focuses them on their own spectacular brand of ‘70s psychedelia. But don’t undercut their talent by writing them them off as another ‘70s prog rock tribute band. There are some bands who fit more ideas into one song than other bands do in a career. Some do it for the sake of it, others, like Stonefield, harness it to form a rockslide of sludge and sharp edges. All the hits were here, including the tour single Bad Reality, Black Water Rising and Through The Clover. The new tracks were a little rougher but Ruby Skies was an instant favourite. As they swung into the regular cover of Magic Carpet Ride the house lights came up. Unperturbed, the girls rocked through another five tracks, closing with a killer rendition of Led Zeppelin’s Whole Lotta Love. Their combination of ‘50s stomp drums, ‘60s Hammond soul,
DREAMY ALIEN SEX
SUNDAY AFTERNOON TUNES This Sunday, Yours Truly and Urban Guerrillas will be hitting up the Union Hotel in Newtown. They will be shamelessly revealing their Modesque influences courtesy The Who and The Jam, as this Sunday marks the close of the Mod’s Mayday weekend in Sydney. Steph Miller’s Winterstation will kick off the afternoon. It will also, believe it or not, be completely free.
OUT OF THE COFFIN This Friday, jazzers The Coffin Brothers Band are hitting up the Sound Lounge celebrating their 21st birthday.
WANDERING Over 20 years together and with only minor changes in personnel, Wanderlust has developed a unique fusion of jazz, Latin, funk and African music they can call their own. This Saturday night, catch them at the Sound Lounge.
DON’T PROCRASTINATE
This Thursday night at the Annandale Hotel, Lani the Procrastinator will be launching her brand new EP, written during the boring times in her career as a copywriter. Her work ranges from the dreamy and nostalgic to rock-tinged ditties. She’ll be supported by The Campervan Dancers, Andy Golledge and Rosie Rivette.
themusic.com.au
LIKE CLOCKWERK This Wednesday at The World Bar, The Wall goes up again – the Wednesday night art on the walls that is, accompanied by some live dubstep, hip hop and electro. Come one, come all to hear the sounds of DJs Secret International Dubstepper, Doctor Werewolf, Clockwerk, Brothers Grimm and stacks more. THE DRUM MEDIA • 53
CHICKS WHO LOVE MUM
THE CITY SURROUNDINGS
The big Saturday night of alternative live music, MUM at the World Bar, is renowned for creating awesome lineups out of the best undiscovered bands. This week though, MUM’s outdone herself with Chicks Who Love Guns, Doc Holliday Takes The Shotgun, Danger Dannys, Bachelor Pad and a whole heap more. Seven bands, multiple rooms, all night long – sounds like the perfect Saturday night.
This Friday night, up-and-coming posthardcore band, My City Screams, are releasing their new EP, Surroundings, to an all ages audience at Yo Yo’s Youth Centre in Frenchs Forest. The band have a heavy sound and relentless, youthful energy.
PRETTY SOLID
Every Wednesday night Lizzote’s Dee Why and Drum Media team up every week to present a talented lineup of emerging acts in an intimate live setting. This week’s lineup includes Michelle Christensen, Emma Graces, La Mere de Django and Chasing Ghosts. Bookings will be essential for this one.
This Saturday night, Solid Gold Hell presents the return of A Big Fat Country – dirty urban roots with some kick. Dusty Duets – the remnants of wild surf rock band Goons of Doom – as well as Al Creed, famous for his time with New Christs and Hell Crab City, will support them.
FULL EVILUTION
BY POPULAR DEMAND
Veteran pop/rock’n’rollers Brian Cadd and Russell Morris return to deliver their combined impressive catalogue of hits at Lizzote’s in Dee Why Thursday night with support from Liza Ohlback.
GOING THE DISTANCE
SWINGING HOLLYWOOD
HAVE YOU CAUGHT THE CULPRIT? This Friday night at The Square, beautiful alternative-rock group Bellusira will launch their brand new single, Culprit, all relentless drums, ‘chuggy’ guitars and glorious harmonies taking the term ’alternative rock’ to new levels.
FOR THE BENEFIT OF
FROG IS THE AMALGAMATION OF FOLK AND PROGRESSIVE (PROG) STYLES, AND FROGFEST IS A CELEBRATION OF THIS GENRE. BEGINNING LAST YEAR AS A SINGLE EVENT IN SYDNEY, THE FESTIVAL RETURNS IN 2012 AS A SEVEN-DATE TOUR THROUGH NSW, THE ACT AND VICTORIA, HITTING THE WHITE EAGLE CLUB FRIDAY, KATOOMBA RSL SATURDAY, KANTARA HOUSE CENTRAL COAST SUNDAY, BRASS MONKEY WEDNESDAY 9 MAY, CAMBRIDGE HOTEL NEWCASTLE FRIDAY 11 AND RED RATTLER SATURDAY 12. ORGANISER DAVE CARR, ALSO PART OF DAVE CARR’S FABULOUS CONTRAPTION, EXPLAINS A BIT MORE ABOUT THE FESTIVAL AND THE MUSIC.
JOINING FORCES
This Saturday night at the Sly Fox Hotel, two heavy-metal acts – Sydney’s Avarin and Broken Hill’s Soulforge – will tear the place apart, bringing big, intense metal sounds to Sydney.
Renowned Australian singer, songwriter and guitarist Kim Churchill will be hitting up The Standard this Friday night, accompanied by Microwave Jenny and Benjalu. This show comes hot on the heels of the release of his second album, Detail Of Distance.
FROGFEST 2012
Hollywood goes swing with Liam Burrows and his elaborate six-piece band Friday night at Lizotte’s Dee Why.
HOME RUN Winding up their extensive series of Australian shows, roots musicians Hat Fitz and Cara Robinson, self-styled “musical gypsies” of the nation’s roots/blues scene, will play Lizotte’s in Dee Why this Saturday, previewing tracks from forthcoming album, Wiley’s Way.
DAVE CARR’S FABULOUS CONTRAPTION FROGFEST started out last year as a single event in Sydney, and this year it’s stretched to a seven-date tour. What do you think is the main influence/drive for this festival to become bigger? The main drive was to take the music to more people to gain more exposure for the bands. Multiple shows also make it more worthwhile for bands to travel long distances to the gigs. And let’s not forget that more shows mean more fun!
HAVE A TIPPLE WITH A SONGWRITER
The Tipple on Chalmers Street will now be hosting Songwriters’ Live every Tuesday night. This week, the night will feature performances from Suzy Connolly, Karl Broadie, Sarah Bird and Emad Young. .
FULL KIT
How would you describe the presence of folk and progressive music styles in Australia? There seems to be indie-folk everywhere, and there are festivals for traditional folk music all over the place in Australia. Progressive music exists in Australia but it’s underground and can be difficult to discover, which is a big reason for FrogFest’s existence. The Bird’s Robe Collective is doing a great job of promoting progressive music in Australia too.
A typical Friday night extravaganza at Kit & Kaboodle this Friday night, featuring as it will Devola, Mailer Daemon, Homophonics, Adam Sandleh, and more, so prepare for a wild night of indie/electro extravagance.
JOIN THE CLUB MAJOR RAISER WITH DOMINIQUE BIRD FROM MITZI What’s the benefit gig for? Major Raiser are a youth charity organisation that throw parties with a purpose to raise money for needy organisations. This time around they’re supporting the Music Outback Foundation. M.O.F is a not-for-profit charity that runs music workshops and provides musical instruments to kids in remote communities. They’ve been around for a few years now and have expanded to three states and territories. Why do they need the help? As a nonprofit organisation, M.O.F. rely solely on donations. For the charity to continue to run and expand, they need our support. What’s the current situation? People who live in remote areas in Australia still experience inequities in areas such as health care and education. Luckily, charities like the Music Outback Foundation are doing something to change this. Who else is helping out on the night? Acts playing with us are Glass Towers, Castlecomer, Colour Coding, Conics, Lancelot, Deckhead and Athson. It should be a rad party! Why is music/art appropriate for this cause? Major Raiser was founded on the idea of partying with a purpose – using live music as a vessel for social change. It’s a great way for people to donate to a charity and have some fun at the same time - everybody wins. When and where can we help out? Saturday 5 May, Beach Road Hotel, Bondi For more info see: Majorraiser.org.au. 54 • THE DRUM MEDIA
The Musos’ Club Jam Night is on again this Wednesday at the Bald Faced Stag Hotel in Leichhardt, then again on Thursday at the Carousel Hotel in Rooty Hill, so dust off your old guitar and get ready to get down with some roots and blues noises. And, even better, it’s totally free.
What is it that drives you to take part in the celebration of these genres?
HAZARDOUS
RECKLESS RIOT
High-energy rock will invade the Oxford Art Factory’s Gallery Bar this Thursday night. The Rin and the Reckless will kick off the show, followed by The Strums, then headliners The Watt Riot. As always, the Gallery Bar shows are totally free!
Sydney dance music landmark Lightsounds has been around since before we can collectively remember, but now it’s had to relocate – away from the rickety yellow building on Parramatta Road and into a glossy new showroom in Canterbury. Help Lightsounds celebrate their new premises at their opening this Saturday with free DJ sets, giveaways and prizes galore.
This Friday night, Sydney blues/roots ensemble Wards Xpress, led by the mighty Ross Ward on guitar, bring their charged live show to the Oak Flats Lakeview Hotel. With one track sitting in third position in the most-played Australian Blues & Roots Chart, head on down and see what all the fuss is about.
PAGE PLAN Gracing the Heathcote Hotel from 3pm Sunday, free, is Australia’s best kept secret - the ever-soulful singer Gail Page, truly The Voice that got away.
METAL FEAST
Before there was Countdown, there was The Go!! Show, originally hosted by the late Ian Turpie and then by Johnny Young, a TV show that introduced its viewers to the delights of ‘60s popsters as diverse as The Masters Apprentices, Normie Rowe, Ronnie Burns, Bobby Bright, Dinah Lee and too many more to mention. Friday night, catch all of the above at the State Theatre in the bigger than Ben Hur Go!! Show Goes Gold.
AT THE END OF THE TRAIL
This Thursday, classical pop duo The Maple Trail will fill the Vanguard with their beautiful, lush sounds as part of a tour on the back of their latest album, Cable Mount Warning.
Frogfest, a celebration of progressive folk bands featuring The Woohoo Revue, The Crooked Fiddle Band, Dave Carr’s Fabulous Contraption, BOB and Mr Fibby, will be stopping off at the White Eagle Club Canberra this Friday night, Katoomba RSL this Saturday and Kantara House on the Central Coast Sunday night.
What can festival-hoppers expect from FROGFEST 2012? Expect a blurring of boundaries – postapocalyptic hoedown, crazy men with deadly tales, heavy metal banjo and webbed feet.
GO! SHOW GOES GOLD
A trio of death core bands will hit up The Hi-Fi this Saturday night. Devildriver are making a monstrous impact on the metal scene with their thunderous grooves, haunting vocals and crushing live performances. Darkest Hour have a rare kind of sustained ferocity and irreverence, while Six Feet Under have been delivering a certain brand of unapologetic metal since 1993.
XPRESS YOURSELF
There are some pretty strict do’s and don’ts that go with the festival environment. Are open-toad (ouch!) shoes allowed? Anything that hints at French cuisine will probably not be the most tasteful option for these events. If the combination of folk and prog is frog, then the combination of folk and rock must be frock, so a frock would be relevant.
THAT’S DARK
Sydney deathcore heavy-metal band, Blackened Beneath, will haunt the Penrith Hotel this Friday night, thrashing out their dark lyrics and heavy rhythms, so be prepared.
SPEED OF LIGHT
LEAP FROG
This Friday night, two thrash-metal rock bands will take over the Lucky Australia Tavern in St Marys. Melbourne thrashers MASON will support HAZMAT on their L.A. Studios Tour.
It’s such an enticing combination – a style that is so heavily rooted in the distant past combined with a style centred on exploring new avenues within music. There’s so much variety in what the style can involve, so I’m really looking forward to hearing a number of bands in a row, each with their own stylistic amalgamation.
PUTTING OUT A CALL
This Friday night, Australian heavy-rock trio Calling All Cars will take to the stage at The Annandale Hotel. It’s been a huge year for these guys, performing at festivals up and down the country and having their album hit the ARIA charts.
themusic.com.au
VINCE IS BACK He played guitar in the original Billy Thorpe & The Aztecs and then joined The Bee Gees, in London, their ‘60s pre-disco incarnation, and now Vince Malouney is doing it for himself all over again at the Clarendon Guesthouse in Katoomba Friday night.
SONIC JAZZ DAY Every Monday night, 11 of Sydney’s hottest jazz musicians take over Sydney’s newest live music venue for sophisticated lovers of the finest in music, Blue Beat in Double Bay, to take a collective journey into the unknown. Dubbed the Sonic Mayhem Orchestra, catch saxophonists James Ryan, Aaron Michael, Paul Cutlan and Martin Kay,
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THE DRUM MEDIA â&#x20AC;¢ 55
ALL IN THE HANDS
FROM FATBOY TO CHAT ROOMS
SHOWSTOPPING ACOUSTIC GUITARIST DANIEL CHAMPAGNE FEELS AT HIS BEST ON A STAGE, SO A LIVE EP WAS THE LOGICAL RELEASE HE TELLS MICHAEL SMITH.
AS THEY EMBARKED ON THREE SHOWS IN VERY DIFFERENT PARTS OF THE COUNTRY, FUNKOARS TOOK IT IN TURNS TO GIVE US A FLY-ON-THE-WALL VIEW OF LIFE IN ONE OF AUSTRALIA’S MOST HAPPENING HIP HOP GROUPS
work and which ones weren’t, even when on stage playing the songs. As it turned out, five of the six tracks came from this one show that felt right.
The show itself could not have gone better; the venue sold out, the sound was great, the vibe even greater. This was the Canberra we have come to know and love. After the show consisted of us hanging and chatting with what seemed like everyone who came to the show and having to politely refuse countless offers of personal house parties consisting of “anything we want”, Canberra’s hospitality was in full effect. We posed in the obligatory photo with the venue owner and briskly made our way back to the hotel; we had an early start the next day to make our way to Bateau Bay.
“Technically it’s all quite similar from night to night – I usually make the same mistakes occasionally, usually sing the same words hopefully and the guitar parts are all, give or take, quite similar, so yeah, it was about getting the right vibe.” Originally inspired by his guitarist father rehearsing with his band in their country backyard, Champagne started playing at the age of four, eventually getting tutored in classical guitar for ten years before striking out in search of his own musical voice, embracing everything from two-hander playing techniques to guitar body percussion.
All of 22, Daniel Champagne, who grew up in NSW’s south east, released his debut album, Pint Of Mystery, last year. He followed it up with solid touring that took him not only all over the country, but also to festivals in Canada and in Europe, including Belgium’s Labadoux Festival. This month he’s released a third and live EP, aptly titled Real Live, recorded for the most part at Lizotte’s Kincumber. “I’ve been playing so many live shows for the last few years,” he explains, “and I haven’t spent that much time in the studio, so maybe I’d like to think I’m a bit better at performing than recording and so the best way to do the recording is while I’m performing. I think we had thirty-five shows recorded and all I wanted to do was an EP of six or seven songs and out of all those shows, you could tell pretty soon which ones were going to
“It’s more familiarity with the fretboard. Playing classical guitar for ten years, I got all the muscle skills to be able to look at the guitar, change my direction and work out the sound that I wanted to try and make my own. When you’ve got a lot of space you can get really creative and basically muck around, holding down the stuff that sounds good.” WHO: Daniel Champagne WHAT: Real Life (Independent) WHEN & WHERE: Thursday 3 May, Lizotte’s, Kincumber; Friday 4, Lizotte’s Newcastle; Saturday 5, Clarendon Guesthouse, Katoomba; Friday 11, Camelot Lounge; Saturday 12, Culburra Beach Festival, Culburra Beach; Thursday 7 June, Yours & Owls; Saturday 9 and Sunday 10 June, Snowy Mountains Of Music, Perisher Valley; Thursday 14 and Friday 15 June, Front Gallery, Canberra
SHOW ONE - LAUNCESTON BREATH OF LIFE FESTIVAL Written By Hons The trip to Breath of Life Festival started with the hard decision of whether to wear the newly purchased GOPRO camera into the shower. Deciding not to bless the world yet again with full frontal nudity of myself I strapped the camera to my head post-shower and started my journey to Launceston, filming POV from my bedroom all the way to Tassie. After six hours of transit, two flights, numerous awkward stares and assuring the Virgin Blue staff that the flashing light meant the camera was on standby mode I finally arrived at Launceston airport. I thought I’d treat myself to a mini holiday with my better half and her friends by camping for a few days before the festival. Two days of relaxing beers and fishing in the beautiful but freezing rivers of Tasmania was exactly what I needed before my body was reintroduced to jumping around like a dickhead on stage for an hour, after the group’s few month rests from touring. Before I knew it, it was Sunday morning and once again I strapped the GOPRO onto my head and jumped into a cab towards the festival. With only just enough time to watch Fatboy Slim destroy the main stage and have a shoe pelted directly into my face at close range in the crowd during Illy’s set, it was time to meet up with the rest of the guys backstage for a sneaky lastminute rehearsal in the tour van. The crowd was nuts, throwing every piece of footwear onto the stage during the set. I had the sudden thought that we should have been selling shoes in the merch tent - we would have cleaned up. Wore the GOPRO throughout the set and got some amazing footage of the crowd and a thong catch that would make my SAPSASA cricket coach proud. After the set we were privileged to share the main stage with our friend Drapht for a track and then watch the Hoods set the bar just that little bit higher for every other hip hop act in the country!
HAVE YOU HEARD
HURRICANE FIGHTER PLANE YOUR MUSIC IS…? Freakbeat/Powerpop WHICH ACTS INSPIRED YOU TO PRODUCE YOUR OWN MUSIC AND WHY? The Creation, mid ‘60s The Who and Syd’s Pink Floyd ‘cause their music was exciting, their look was sharp and their sound had a dangerous edge. WHAT’S YOUR WILDEST AMBITION FOR YOUR MUSIC? To make it big in Europe before triple j even knows who we are. WHY SHOULD WE COME AND SEE YOU? Because we may never return, so this may be your only chance! HOW DO YOU FIND THE LOCAL LIVE SCENE? In Perth, it’s exploding with talented musicians and great songwriters desperate for more exposure. WHAT’S YOUR GREATEST ROCK’N’ROLL MOMENT? Smashing a Rickenbacker 330/6 through a 4x12 amp at a house party. FOR MORE INFO SEE: facebook.com/hurricanefighterplane or wearehurricanefighterplane.blogspot.com NEXT AVAILABLE AT: Friday 4 May - Sunday 6 – Mods Mayday 56 • THE DRUM MEDIA
SHOW TWO - CANBERRA - TRADIES CLUB Written By Sesta
ON THE ROAD
This Friday night at Wollongong Uni Bar, Australian female vocalist Fatine will support Daniel Merriweather. After playing virtually all the Australian festivals, from Splendour to Playground Weekender, in her role as guest vocalist and co-writer with Space Invadas, she’s branched out on a solo career. Fatine has already released two singles to critical acclaim – Rubberoom and Eleven. Come along and see what this new young performer has to offer.
A crisp gentle breeze, a distinct lack of smog for a capital city, an unusually large force of customs officers and high-tech security equipment for a domestic arrival area... We must be in Canberra. Coupled with a vibrant enthusiasm we only wield on the first night of the weekend we happily made our way to soundcheck. After ensuring our microphones were intrusive enough to disturb all of Canberra we indulged in the several packets of Twisties the venue provided us for sustenance while we killed time over a quiet cup of tea and a game of Pazaak.
themusic.com.au
Upon returning to the hotel Trials and I, as usual, realised we had none of the on-the-road supplies that demanding and flustered divas such as ourselves need at 4am so we took some sort of miraculous moving infinity tunnel to the ground floor in search of the 24-hour servo the man at the bottle shop made reference to earlier that day. Canberra is a cold and eerie place at 4am. It’s a place that will get the conspiracy juices of even the most hardened sceptic such as myself flowing all over the place but, that said, looking the way we do nobody bothered us. After gathering the necessary supplies and taking unnecessary but hilarious “selfies” in a public toilet we made our way back to the hotel. A short cut we had made on the way to the servo was now blocked by a shadowy figure gently repeating the word “hello” outside of what looked like a derelict business front. The long way home was looking rather attractive.
SHOW THREE - BATEAU BAY - LEAGUES CLUB Written By Trials On the way to beautiful Bateau Bay the only sustenance I had managed to scrounge was courtesy our favourite airline Virgin. Although they had repeatedly made it clear to me that although I hadn’t ‘achieved’ enough points to use the most convenient bathrooms (although I did, quickly) there was no warning that today’s snack would be something conjured up by literally throwing food scraps in the air and seeing what stuck together. Piece of almost genuine shit in my belly later and we had arrived. We had never played here before so fingers were crossed all night between taking turns in the Pokie syndicate between me, X and Hons waiting for tonight’s proceedings to jump off. Our good friends from Sydney Drakezilla & Swarmy came down to give us a hand and absolutely belted the guts out of it. Swarm had a new set with a nuts vocalist and DJ dropping body tricks while Drizake and his mate Vince drove the scandal bus getting some ladies on stage to serenade them. The set was classic, hung around and got half in the bag with the locals, ruined some T-shirts and retired back to the Backpackers. In the three to four hours we had gone the local network seemed to switch from regular viewing to what really goes down around here. The channel had turned into a seedy chat room costing about five dollars a message but free for girls. I quickly noticed there were other people that rode performance horses and liked big butts, so I charged my telephone and settled in for the night. WHO: Funkoars WHEN & WHERE: Annandale Hotel, Saturday 5 May
THE DRUM MEDIA • 57
TUE 01 ADAM PRINGLE: Sandringham Hotel, street level BRAVE IT THROUGH THE NIGHT: Brass Monkey - Cronulla EDOARDO SANTONI, LEONIE COHEN: 505 - Surry Hills EMILY BARKER: Café Lounge - Darlinghurst IAN BLAKENEY: Dee Why RSL JAMES D SMITH, ADAM DE ROMA: The Basement - Circular Quay MAGGIE BLINCO, ANNIE BYRON, JULIE HUDSPETH, DONNA LEE, LINDEN WILKINSON: Riverside Theatre - Parramatta OMG!: Scruffy Murphy’s - City PETER HEAD: The Harbour View Hotel - The Rocks ROXIE RAY: Opera Bar - Circular Quay STEVE TONGE: Observer Hotel - The Rocks SUZY CONNELLY, KARL BROADIE, SARAH BIRD, EMAD YOUNAN: The Tipple Bar - Surry Hills THEY CALL ME BRUCE: Maloneys Hotel - Sydney
WED 02 ANDY MAMMERS DUO: Maloneys Hotel - Sydney BERNIE SEGEDIN: Dee Why RSL
MICHELE MADDEN, BLACKIE, FOO FOO FA FOO, MARCUS DE PASQUALE, JOE DABRON: Sandringham Hotel - Newtown MICHELLE CHRISTENSEN, EMMA GRAVES, LA MERE DE DJANGO, CHASING GHOSTS: Lizottes Sydney - Dee Why
THU 03
ANDY MAMMERS: Harbord Beach Hotel - Harbord
DAN SPILLANE: Mean Fiddler Hotel, Sub Bar - Rouse Hill
BIG BEN: Marlborough Hotel - Newtown
BENN GUNN: Newport Arms Hotel - Newport
BIG WAY OUT: Scruffy Murphy’s - City
DJ PAULY: Marlborough Hotel - Newtown
BRIAN CADD & RUSSELL MORRIS, LIZA OHLBACK: Lizottes Sydney - Dee Why
GEMMA: Observer Hotel - The Rocks
BRYTHM: Artichoke Gallery Café - Manly
HUSKY, YARDVARK, JACK R REILLY: UniBar University of Wollongong
BUDDY SIOLO TRIO: Opera Bar - Circular Quay
I’M WITH STUPID: O’Malleys Hotel - Kings Cross JOSEPH TAWADROS: Red Rattler - Marrickville KRISHNA JONES: Opera Bar - Circular Quay MANDI JARRY TRIO: Northies, Sports Bar - Cronulla MARK HOPPER: Artichoke Gallery Café - Manly MICHAEL PETER: Old Manly Boatshed - Manly
58 • THE DRUM MEDIA
YOURS TRULY, RUSSELL NEAL: Kogarah Hotel
JEREMY ROSE QUARTET: The Spice Cellar - Sydney
ZOLTAN: Beverly Hill Hotel
KIM CHURCHILL, MICROWAVE JENNY, BENJALU: Brass Monkey
KORANIC, THE SHIPS, BIN JUICE, OLD MAN CROW, CURIOUS TEMPLE, ANONANON: Sandringham BEATEN BODIES: Hotel, street level Valve Bar - Tempe PETER HEAD: The Harbour KURT WILLIAMS: View Hotel - The Rocks Sackville Hotel - Rozelle PETER PHELPS, DENNIS LANI THE COARD: Riverside PROCASTINATOR, Theatre - Parramatta CAMPERVAN DANCERS, ANDY PIGEON: Cambridge Hotel - Newcastle COLLEDGE: Annandale Hotel - Annandale REPLIKA: Scruffy Murphy’s - City LIONEL ROBINSON: Dee Why RSL ROSS MAIO: Belmont 16’s - Belmont MARCUS WHALE, FLUER WIBER, ANDY SAM & JAMIE SHOW: MEDINA, THE RUSTY Orient Hotel - The Rocks SPRING SYNCOPATORS: SHELLY AND Red Rattler - Marrickville ROBERTSON: Club MARTY from Rivers - Riverwood RECKLESS: Coogee THE SILVER LINING: Bay Hotel - Beach Bar Arthouse Hotel - Sydney MICHAEL MCGLYNN: THE WOO HOO REVIEW: Greengate Hotel Brass Monkey - Cronulla - Greegate TRANSVAAL NICKY KURTA: DIAMOND SYNDICATE, Dee Why Hotel GUTHRIE: Yours and PAPA PILKO AND THE Owls - Wollongong BIN RATS: Camelot TRICIA EVY, REMY Lounge - Marrickville MAURICE: 505 - Surry Hills PAUL SUN TRIO: WOLF AND THE Jazushi - Surry Hills GANG: Lansdowne PETER HEAD: Hotel - Chippendale The Harbour View Hotel - The Rocks
CAVALCADE, THE VIRTUE, UNCORRECTED, WITH SKIES BELOW: Valve Bar - Tempe
DAVID AGIUS: Summer Hill Hotel - Summer Hill
HUSKY: Oxford Art Factory
CAMBO: Observer Hotel - The Rocks CARA KAVANAGH DUO: O’Malleys Hotel - Kings Cross DANIEL CHAMPAGNE: Lizottes, Kincumber DAVE PANICHI SEPTET: 505 - Surry Hills FU MANCHU: The Hi-Fi GAIL PAGE: Blue Beat - Double Bay HEATH BURDELL: Northies, Sports Bar - Cronulla
PHILL SIMMONS: Campbelltown Catholic Club - Caf‚ Samba PROPAGANDA DJs: The World Bar - Kings Cross RAOUL GRAF: Gymea Bay Hotel - Gymea RISE REMEDY, ANGELENA LOCKE: Mars Hill Café Parramatta SAM & JAMIE TRIO: Maloneys Hotel - City STEVE SMYTH, KATE GOGARTY: Hard Rock Café - Darling Harbour THE MAPLE TRAIL, HOT SPOKE, EIRWEN SKYE: The Vanguard - Newtown THE STRUMS, THE DRIFFS, RIN & RECKLESS: Oxford Art Factory, Gallery Bar - Darlinghurst THE WOO HOO REVIEW: Yours and Owls - Wollongong TIM ROGERS: SBW Stables - Darlinghurst TOM TRELAWNY: R.G. McGees - Richmond VALAR, TIM FITZ: Paddington Uniting Church
FRI 04
DIRECTIONS IN GROOVE, LAURA STITT, LILY DIOR: Blue Beat - Double Bay
LIAM BURROWS AND HIS SIX PIECE BAND: Lizottes Sydney - Dee Why
DIRTY DEEDS - AC/DC SHOW: Heathcote Hotel
LIZ STRINGER, VAN WALKER: Grand Junction Hotel - Maitland
DJ LOK: Oceans Bar - Coogee
2 OF HEARTS: Sportsmans Hotel - Blacktown
DJ LORD: Chinese Laundry - Sydney
AM 2 PM: Revesby Workers, Skyline Lounge ANTHEMS OF OZ: Wentworth Leagues Club AVA TORCH, TODD HAWKEN, VENUS VAMP: The Vanguard - Newtown BEARHUG: GoodGod Small Club - Sydney BELLUSIRA, THE WIRE, THE HUNGRY MILE, ARKADIAN: The Square - Haymarket BERNIE SEGEDIN, REX GOH, GARY FREDERICKS, NOEL DAVIES, STEVE BULL, LLOYD G, MICHAEL ROHAEK: The Basement - Circular Quay BLACK DIAMOND HEARTS: Crows Nest Hotel (late) BLUE SUEDE ROCKERS: Belmont 16’s - Belmont BRIAN CADD & RUSSELL MORRIS: Club Singleton BRISCOE, THE BLOODS, MUSHU: Kings Cross Hotel - Kings Cross CALLING ALL CARS, STRANGERS, ARTS MARTIAL: Annandale Hotel - Annandale CHASING KARMA: Engadine Family Tavern COUGER DUO: Vineyard Hotel - Vineyard DAN LAWRENCE: Parramatta RSL DAN LISSING DUO: Crows Nest Hotel (early) DANIEL CHAMPAGNE: Lizotte’s Restaurant, Lambton DANIEL MERRIWEATHER, FANTINE: UniBar University of Wollongong DARKER HALF, GRAVES: Club 77 - Darlinghurst DAVID AGIUS: Panthers, Terrace Bar - Penrith DEAD SILENCE, DELAWAREWOLVES, ONE NIGHT IN PARIS: Valve Bar - Tempe DEUCE: Hotel Jesmond DEVOLA, MAILER DAEMON, HOBOPHONICS, ADAM SANDLEH: Kit & Kaboodle - Kings Cross
DJ TONE: Oatley Hotel DR ZOOM DUO: Nelson Bay Diggers Club EBONY & IVORY: Matraville Hotel - Matraville EL ORQUESTON: Camelot Lounge - Marrickville FACE COMMAND, BATTLE POPE, MR BAMBOO: Town Hall Hotel - Newtown GARY JOHNS: Novotel - Brewery Bar, Olympic Park GIMME FIVE: Cohibar - Darling Harbour GIRLS TALK: Kingswood Sports Club - Kingswood GREG POPPLETON’S BAKELITE BROADCASTERS: Elizabeth Bay House HEATH BURDELL: The Tipple Bar - Surry Hills HIP NOT HOP: Stacks Bar - City HOORAY FOR EVERYTHING: Customs House Bar - Circular Quay HORNET: Exchange Hotel - Newcastle INTIMATE LOUNGE MUSIC: Fairfield RSL, Supper Club IVAN DRAGO: Jacksons On George, George St Bar JAMES D SMITH: SSA Club, Albury JESS DUNBAR: Terrazza Restaurant - Chatswood JESSE: Crown Hotel - Sydney JOHN KENNEDY: Rose of Australia Hotel - Erskineville JOHN LEIGH CALDER: Dee Why RSL KEITH ARMITAGE: Harbord Beach Hotel - Harbord KEYIM BA: 505 - Surry Hills KIM CHURCHILL, MICROWAVE JENNY, BENJALU: The Standard, Darlinghurst KNUCKLEHEAD ORCHESTRA: Town & Country Hotel - St Peters KRANSKY SISTERS: Belmont 16’s, Star Lounge - Belmont
themusic.com.au
LUKE DIXON DUO: Cronulla RSL MANHATTAN JINX, FIREARMS, TRUE GENTLEMEN, TEN PACES: The Roxbury Hotel - Glebe MANYANA: Cessnock Supporters Club MARK TRAVERS, MANDI JARRY: Castle Hill RSL MARSHALL OKELL, THE WIDOWBIRDS: Old Manly Boatshed - Manly MATT JONES DUO: PJ’s Irish Pub - Parramatta MATT LYON: Red Cow Hotel - Penrith MATT PRICE: Massey Park Golf Club - Concord MATT ROBERTS: The Watershed Hotel - Darling Harbour MAX POWER TRIO: East Leagues Club - Bondi Junction MICHAEL & LUCAS: Kirribilli Hotel - Kirribilli
ROB HENRY, FALLON BROTHERS: Observer Hotel - The Rocks SAM & JAMIE BAND, ANDY MAMMERS: Dee Why Hotel SARAH PATON: Northies, Sports Bar - Cronulla SIETTA, MRS BISHOP, ANABELLE KAY, KIRSTY LEE: Upstairs Beresford - Surry Hills SMOOTH SOUNDS: Mars Hill Café Parramatta SOUND STREAM: Engadine RSL - Engadine STORMCELLAR: Kincumber Mountain Kiosk SUPERDRIVER: Chatswood RSL - Chatswood SWINGING SIXTIES: Manly Fishos - Manly
MUM DJS: The World Bar - Kings Cross NEILL BOURKE: O’Malleys Hotel - Kings Cross ONE HIT WONDERS: Campbelltown Catholic Club-Club Lounge PEACOCK DREAMS, DYAN TAI: Beach Road Hotel - Bondi PETER POWERS: Revesby Workers, Whitlam Theatre PHIL SPILLER: Artichoke Gallery Café - Manly PHONIC: The Stag & Hunter Hotel - Mayfield POSTCARDS: Hillside Hotel - Castle Hill RAIN JULZ: Jacksons On George, Luna Lounge REAR VIEW - PEARL JAM SHOW: Bull & Bush - Baulkham Hills
SAT 05 11:11, AVAINE, THE SAHARA SOUND: Excelsior Hotel - Glebe 7 SOULZ, SUPER FLORENCE JAM, THE VANNS: Bridge Hotel - Rozelle A BIG FAT COUNTRY, DUSTY DUETS, BIG AL CREED, THE SQUARE: The Square - Haymarket
AJAPAI: Arthouse Hotel - Sydney
THE DUO: Duke of Wellington Hotel New Lambton THE FLOOD: Brass Monkey - Cronulla
THE MAYDAY DREAMERS, HURRICANE FIGHTER PLANES: Notes Live - Enmore
MOUNT KIMBIE: The Hi-Fi
ZOLTAN: PJ Gallaghers - Drummoyne
THE COFFIN BROTHERS: Sound Lounge, Seymour Centre - Chippendale
MIKE COOPER, GILBERT WHYTE: Illawarra Jazz Club - Wollongong
MOONLIGHT DRIVE DUO: Belmore Hotel - Newcastle
VANITY: Scruffy Murphy’s - City
ADRIAN CUNNINGHAM: 505 - Surry Hills
THE LEISURE BANDITS, CERAMIC DOLLS: Opera Bar - Circular Quay
MOHI CHASE: Oasis on Beamish Hotel - Campsie
USURPER OF MODERN MEDICINE, MAKING, LENNIN LENNON, RAT KING: The Pharmacy -
THE BLAND: Excelsior Hotel - Glebe
MICHAEL PETERS: Tea Gardens Hotel - Bondi Junction
MIKE MATHIESON, CHRIS ALEXANDER: Bankstown Sports Club
TWO STOMP: The Mark Hotel - Newcastle
THE ROCKER FELLERS: Charlestown Bowling Club THE STRUMS, THE MAZE, DISCO IS DEAD, RIN AND THE RECKLESS: Yours and Owls - Wollongong THEY CALL ME BRUCE: Quakers Inn - Quakers Hill THIEVES, LOUIS LONDON, THE JONES RIVAL: Oxford Art Factory, Gallery Bar - Darlinghurst TOKYO DENMARK SWEDEN, BATTLESHIPS, THE RUMINATORS, BELL WEATHER DEPARTMENT, BELLE & THE BONE PEOPLE, THE HARTS, THE MONKS OF MELLONWAH: Oxford Art Factory TONI TONI LEE: The Spice Cellar - Sydney TOTALLY GAGA - THE AUSTRALIAN LADY GAGA EXPERIENCE: Sly Fox Hotel - Enmore TOUCHWOOD: Wallacia Hotel - Wallacia
AVARIN, SOULFORCE: Sly Fox Hotel - Enmore BACK TO THE 80’S: Bayview Tavern - Gladesville BEN FINN DUO: Ettamogah Hotel - Rouse Hill BINARY FINARY: Space Nightclub BLACK DIAMOND HEARTS: Rock Lily - The Star Casino - Pyrmont BLONDE 182: Stacks Bar - City BLUE MOON QUARTET: Fairfield RSL, Supper Club BOOTY CALL: East Leagues Club Bondi Junction BRIAN CADD & RUSSELL MORRIS: Charlestown Bowling Club CADELL, BROWN SUGAR, WONDER WOMEN, LLIJA: Bar 100 - The Rocks CHASM, DJ NEIL ARMSTRONG: GoodGod Small Club - Sydney CHRIS LIBERATOR, STERLING MOSS, DIGITAL WHAX, ORION, THE HONEYMAKERS, MIKE BIG FX: Valve Bar - Tempe CHRIS PATON: Northies, Sports Bar - Cronulla CHRIS TURNER & THE CAVEMEN: Taverners Hill Hotel - Leichhardt DALLAS FRASCA: Sandringham Hotel - Newtown
FREE POOL 6.00 - 10.00
SUN
6 MAY
DAME JOAN’S LOVE CHILDREN ALL LIVE SPORT ON THE BIG SCREEN
DARLEY ST BISTRO OPEN DAILY 12.00 - 9.30PM SUNNY COURTYARD - WEEKLY SPECIALS - CHILDREN WELCOME BOOKINGS: PHONE 9517 1133
THE DRUM MEDIA • 59
DANIEL CHAMPAGNE: Clarendon Guest House - Katoomba DAVE STEVENS: Observer Hotel - The Rocks DAVE WHITE EXPERIENCE: Marlborough Hotel - Newtown DAVID AGIUS DUO: Sydney Rowers Club - Abbotsford DES GIBSON: Lansvale Hotel - Lansvale DESPARATE HOUSEBLOKES: Oatley Hotel DEVIL DRIVER, DARKEST HOUR, SIX FEET UNDER: The Hi-Fi D-FLAT: Kings Cross Hotel, Level 4 DIVAMANIA: Cronulla RSL DJ BRYNSTAR: Oceans Bar - Coogee DJ EK: Bay Hotel DJ YOUNG APPRENTICE, DJ MATT HOARE: Kings Cross Hotel - Kings Cross DOLLSHAY: Mean Fiddler Hotel - Rouse Hill DORA D BAND: Castle Hill RSL - Cocktail Lounge
GREG POPPLETON’S BAKELITE BROADCASTERS: Elizabeth Bay House
JAMES ZABIELA, FLUME, JEFF DRAKE, WHITECAT, RAULL: Chinese Laundry, Boat Party - Sydney Harbour JESS DUNBAR: Novotel Rooty Hill JOHN LEIGH CALDER: White Horse Hotel - Surrey Hills JOHN WILLIAMSON: North Sydney Leagues, Cammeray JOSH MCIVOR: Sir Joseph Banks Hotel - Botany KEEP THE FAITH - BON JOVI SHOW: Bull & Bush - Baulkham Hills KOTADAMA: The Stag & Hunter Hotel - Mayfield
ELEVATION-U2 SHOW: Emu Plains Sport & Rec Club
LOOSE BAZOOKA: Belmont 16’s - Belmont
GEN-R-8: Nelson Bay Diggers Club GIAN: The Mark Hotel - Newcastle GILBERT WHYTE: Artichoke Gallery Café - Manly GLASS CHAIN: Hornsby Inn GREG BYRNE DUO: Huskission Hotel - Huskission
KURT WILLIAMS: Waverley Bowling Club LAWRENCE BAKER: The Belvedere Hotel - Sydney
IGUANA: Duke of Wellington Hotel New Lambton
LIZ STRINGER, LIZ MARTIN: Camelot Lounge - Marrickville
GAV DARBY: Ettalong Beach Hotel
KIM BURGESS: Collingwood Hotel - Liverpool
HUSKY: Oxford Art Factory
ELECTRIC BLUES JAM: Central Coast Hotel - Gosford
FUNKSTAR: Mounties, Terrace Bar - Mt Pritchard
KATRINA BURGOYNE: Kirribilli Hotel - Kirribilli
HEIRS, THE VEIL, AT DARK, FORENZICS: Bald Faced Stag - Leichhardt
LAURIE BENETT: Penrith RSL, Castle Lounge (Arvo) - Penrith
FUNKOARS, DEF WISH CAST: Annandale Hotel - Annandale
JAMES D SMITH: Lizottes, Newcastle
HAT FITZ & CARA ROBINSON: Lizottes Sydney - Dee Why
DV8: Belmore Hotel - Newcastle
FREE FALLIN’: Royal Federal Hotel
HEIRS: Black Wire Records- Annandale
GIG OF THE WEEK
MANDI JARRY: Ettamogah Hotel (afternoon) - Rouse Hill MARK TRAVERS: PJ Gallaghers - Drummoyne MATT JONES: Castle Hill RSL - The Terrace MATT PRICE: Hillside Hotel - Castle Hill MENTAL AS ANYTHING: Brass Monkey - Cronulla MICHAEL STEWART: Jacksons On George, Luna Lounge MICHEL CLEIS, LEE VAN DOWSKI: Entertainment Quarter, Moore Park MIKE MATHIESON, CHRIS ALEXANDER: Sutherland United Services Club Sutherland MILLENNIUM BUG: Penrith RSL, Castle Lounge
LIZ STRINGER, JEREMY EDWARDS, JULIANNE HENRY: Yours and Owls - Wollongong
MOUNT KIMBIE
London’s premier post-dubstep duo Mount Kimbie return to Australia this month as part of The Hi-Fi Shoreline Series. After a series of acclaimed EPs the duo dropped their 2010 debut Crooks And Lovers. The Hi-Fi Shoreline Series visits cities Brisbane, Melbourne and Sydney celebrating the recent opening of the Sydney venue. To immerse yourself in their post-dubstep offerings, head over to The Hi-Fi on Friday 4 May. MITZI, GLASS TOWERS, CASTLECOMER, COLOUR CODING, LANCELOT: Beach Road Hotel - Bondi
SET IN MOTION, DAN SWEETO, MY LASTING REPLY, TARA FAVELL: Annandale Hotel (afternoon) - Annandale
THE DARKNESS, VOODOO SONS: Panthers Newcastle
NOVA TONE: The Belvedere Hotel - Sydney
SHARRON BOWMAN: Brewhouse - Marayong
ONE HIT WONDERS: Tracks, Epping Hotel - Epping
SICK OF IT ALL, AGNOSTIC FRONT, TOE TO TOE: Manning Bar, Sydney Uni Camperdown
THE SHACK, BLACK HATS, LEON & TONI, DAVID KNIGHT: Tramshed Community Arts Centre - Narrabeen
ORBITAL: Metro Theatre - Sydney PEE WEE FERRIS: Kings Cross Hotel, Level 3 PETER MCWHIRTER: Campbelltown Catholic Club-Club Lounge POLAR NATION, THE WALKING WHO, BLACK BIRD HUM, DJ BERT & ERNIE: Upstairs Beresford - Surry Hills
SIMON LAING: Jacksons On George, George St Bar SKY BAR: The Watershed Hotel Darling Harbour SKYSCRAPER: Engadine Family Tavern SONS OF MERCURY: Scruffy Murphy’s - City
PROFESSOR GROOVE & THE BOOTY AFFAIR: Blue Beat - Double Bay
STEVE EDMONDS BAND: Peden’s Tavern Hotel, Cessnock
REBEKKA NEVILLE BAND: Pier 26 Summer Hill
STEVE MARQUEZ: The Roxbury Hotel - Glebe
RENAE STONE: Northies, Beach Bar (afternoon) - Cronulla ROB HENRY: Harbord Beach Hotel - Harbord ROCK BUSTERS: Macarthur Tavern - Campbelltown SAM & JAMIE BAND: Crows Nest Hotel (late) SCOTT DONALDSON: Kirribilli Hotel - Kirribilli SECRETS IN SCALE, ROMEO MOON: Oxford Art Factory, Gallery Bar - Darlinghurst
STEVE POLTZ: The Basement - Circular Quay STEVE TONGE: Observer Hotel (afternoon) - The Rocks THANDIWE PHOENIX, KIT LENNON: Opera Bar - Circular Quay THE CASTAWAYS, JCONNEXION: Kingswood Sports Club THE CHORDS, DIVISION 4, HURRICANE FIGHTER PLANE: Notes Live - Enmore THE CLAPTONE: The Spice Cellar - Sydney
THE GROOVEMASTERS: Jets Sports Club - Tempe
THE SWEET JELLY ROLLS, THE HOT GRASS: Mars Hill Café - Parramatta THE WOO HOO REVIEW, THE CROOKED FIDDLE BAND, DAVE CARR’S FABULOUS CONTRAPTION, BOB: Katoomba RSL TIM BOFFA, JAMES TAYLOR, SHAUN KEBBLE: Kings Cross Hotel, Rooftop TRUE LIES: Exchange Hotel - Newcastle TWO STOMP: Cessnock Supporters Club USURPER OF MODERN MEDICINE: Black Wire Records- Annandale WANDERLUST: Sound Lounge, Seymour Centre - Chippendale WARDS XPRESS: Lakeview Hotel - Oak Flats YELLOW SOX: Cohibar - Darling Harbour YUKI KUMAGAI, JOHN MACKIE: Wellco Café & Wine Bar - Leichhardt ZOLTAN: Revesby Workers, Skyline Lounge
SUN 06 3 WAY SPLIT: Oatley Hotel (afternoon) - Oatley AFTERNOON DJs: The Watershed Hotel - Darling Harbour ANTOINE: O’Malleys Hotel - Kings Cross
shady lane 60 • THE DRUM MEDIA
themusic.com.au
MATT JONES DUO: Northies, Sports Bar - Cronulla MATT PRICE: Ettamogah Hotel - Rouse Hill
STEVE EDMONDS BAND: Towradgi Beach Hotel Afternoon TELL ME A STORY: Camelot Lounge, Arvo - Marrickville THE DARKNESS, VOODOO SONS: Roundhouse, UNSW - Kensington THE GENERATORS: Riverstone Sports Hotel - Riverstone THE LEISURE BANDITS, DIANA ROUVAS: Opera Bar - Circular Quay THE MOUNTAIN GOATS, CATHERINE TRAICOS: Metro Theatre - Sydney THE ROCKWELLS: Sandringham Hotel, street level THE WHITE BROS: Ettamogah Hotel (afternoon) - Rouse Hill
ARLEY BLACK: Royal Federal Hotel BLUES SUNDAY: Artichoke Gallery Café - Manly
MICK AQUILINA: Campbelltown Catholic Club-Club Lounge
BRIAN CADD & RUSSELL MORRIS: The Basement - Circular Quay
MIKE BENNETT: Observer Hotel (late) - The Rocks
CHRIS TURNER & THE CAVEMEN: Bald Rock Hotel - Rozelle
MIKE MATHIESON, CHRIS ALEXANDER: Bankstown Trotting Club
CHRISTIE LAMB: Campbelltown Catholic Club - Caf‚ Samba
PINK CHEVYS: Penrith RSL, Castle Lounge
YOURS TRULY, URBAN GUERILLAS, STEPH MILLER & THE WINTER STATION: Union Hotel - Newtown
REMMOSK, PREZENCE: Valve Bar - Tempe
ZOLTAN: Mean Fiddler Hotel - Rouse Hill
CONTINENTAL BLUES PARTY: Bondi Icebergs - Bondi DAME JOANS LOVE CHILDREN: Botany View Hotel - Newtown
RESIDENT DJs: Jacksons On George. Aphrodisiac RICH & FAMOUS: Belmont 16’s - Belmont
DAN BEAZLEY: Nelson Bay Diggers Club
ROB HENRY: Observer Hotel - The Rocks
DANIEL CHAMPAGNE: Mudgee Brewing Company
RYAN COLLINGS: Observer Hotel (early) - The Rocks
DAVE WHITE DUO: Northies, Northies Bar - Cronulla
SATELLITE V: Marrickville Bowling Club
DAVID AGIUS: Harbord Beach Hotel - Harbord
SHANE MACKENZIE: Cohibar - Darling Harbour
DJ TONE: Oatley Hotel
SIX DEGREES: Mr Big Stuff Café Maroubra Beach
FATT LIP: Overlander Hotel - Cambridge Park
pigeons ep launch with special guests
MASTA GRAVITY, MIRRORS IN ICELAND, THE GENTLEMEN’S CLUB, THE HOWLING KITSCHEN, HEY BABY: Lucky Australian Tavern - St Marys
SOULDFOOD ON SUNDAY feat, BOBBY SINGH, VINOD: Camelot Lounge - Marrickville
MATT VAUGHAN, VINYL RICHIE, MC GAFF-E: Phoenix Bar, Exchange Hotel - Darlinghurst
hello vera warmly invite you to their
MASKETTA FALL, EXIT ROW, BABY GRAND, MY LASTING REPLY, WE SAVED THE PARTY: Valve Bar - Tempe (Early)
SLIPPERY SID: Petersham Bowling Club
TICE & EVANS: The Mark Hotel - Newcastle WE SAVED THE PARTY, LARYKAN, BABY GRAND, MADISON: St James Hotel - Sydney
MON 07 ANDY MAMMERS: Novotel - Brewery Bar, Olympic Park BERNIE: Observer Hotel - The Rocks COPE STREET PARADE: 505 - Surry Hills COUGAR: Carousel Inn - Rooty Hill STARFISH CLUB: Clovelly Bowling Club
May 11th at FBi Social, Kings X Hotel $12 w/
FREE EP!
e nte r t a i n m e nt
R E W PO 50 N IO T I ED
Pre order your copy of AMID now!
PRE ORD ER NOW
VISIT WWW.THEMUSIC.COM.AU/STORE THE DRUM MEDIA • 61
BEHIND THE LINES IN THE STUDIO: LISA MITCHELL BROUGHT TO YOU BY
WITH MICHAEL SMITH
301 APPLE LOGIC 101 COURSE
Studios 301 Sydney will be presenting their next Apple Certified Logic 101 course Friday 11 to Sunday 13 May in their Neve studio in Alexandria. The three-day course, to be taught by Anthony Garvin, will cover audio and MIDI recording and editing, drum programming, tempo and time manipulation, arranging, mixing, automation and troubleshooting. And for those of you interested in becoming an Apple Certified Pro, there’s an optional exam at the end of the course. For registration or enquiries, contact phone (02) 9698 5888, email danielle@studios301.com or visit studios301.com/sydney/sydlogicmain.htm.
ADAM MILLER AT GUITAR FACTORY The Guitar Factory in Gladesville hosts another exclusive performance by an internationally respected guitarist, this time the 2002 Australian Fingerstyle Guitar Competition winner Adam Miller, on Tuesday 8 May. An endorsee of Jeff Traugott Guitars, Miller’s “interactive concert/album launch” kicks off at 7pm. Bookings are essential, tickets are $20 and include a copy of his album, Out Of My Hands, with all proceeds going to MS Research. Call (02) 9817 2173.
REMEMBER THE 78RPM RECORD? Well, just like 33rpm and 45rpm vinyl records and, to a lesser extent the pre-recorded cassette, would you believe that one label, the San Francisco-based Tompkins Square, has decided to issue a series of 78rpm 10” vinyl discs? Most new turntables will play 78s and it seems artists Tom Waits, Elvis Costello and Nick Lowe have all recently released 78s, so Tompkins Square have released two titles themselves, from Luther Dickinson from the North Mississippi Allstars and fellow American artist Ralph Stanley. Whether the format will appeal to any but a very small audiophile crowd must remain a moot point, but since each pressing is a mere 500 copies of each, and were released on Record Store Day, you never know.
SOUND BYTES Patti Smith’s new album Banga, her 11th, was recorded at the legendary Electric Lady Studios in New York City and co-produced by Smith and her band. It will be released in June. Former Black Flag/Descendents drummer Bill Stevenson, whose production credits include records for Rise Against, NOFX and Propagandhi among many, has been enlisted to produce the next album by San Diego metal five-piece As I Lay Dying. American hardcore/metal innovators Shai Hulud are recording their fourth album with Hulud vocalist and current New Found Glory guitarist Chad Gilbert (H20, A Day To Remember, Terror, Trapped Under Ice) producing. Swiss five-piece Gotthard recorded their latest album, Firebirth, in their own Yellow House Studios in Ticino, in the south-west of the country, their guitarist Leo Leoni co-producing with Paul Lani (Robbie Williams, David Bowie, Adrian Belew, Megadeth). New York five-piece The Walkmen recorded new album, Heaven, with producer Phil Ek (Fleet Foxes, The Shins, Band Of Horses) at his Seattle-area studio in the woods. Brooklyn’s POP ETC, formerly The Morning Benders, recorded their self-titled album over much of last year at both Headphone Cave and Pull Studios in New York City as well as in Los Angeles at SoundEQ Studios. Though largely producing themselves, the album also features contributions from Danger Mouse and Andrew Dawson (Kanye, Lil Wayne).
THREE YEARS AFTER RELEASING HER DEBUT LP, WONDER, TO A CHORUS OF PRAISE, LISA MITCHELL HAS RETURNED IN FULL FORCE. SHE TALKS TO ANTHONY CAREW.
L
isa Mitchell’s new single, Spiritus, has just been released digitally and is due out as an EP on Friday. It sets the table for her second-full length, due September, and effectively finished. And, so, how does she feel with the album done? There’s a long pause. “I don’t really know what to say,” Mitchell answers, eventually. “But I’m just smiling as I’m not saying anything. So I guess I’m feeling really excited. It’s like I’ve got this secret that I want to tell everyone. I’ve got this really expectant feeling, like I’m pregnant or something. I can’t wait to tell the world all about it.” The 22 year old is not saying anything whilst travelling in a car, en route from Sydney to Goulburn, where she’s shooting a giant-dress-and-dancer-filled video for Spiritus — with regular video-clip collaborateur Vaness Caswill — in an open field. Mitchell describes her new single as “a real moment of extroverted joy and expression… full of energy and light and hope and joy,” and the video’s “loose choreography” is meant to convey a sense of freedom. Mitchell is full of semi-mystical sentiments when talking about Spiritus, but the as-yet-untitled LP doesn’t carry the same kind of happy platitudes. “Right near the end, I wrote a lot of heavier songs, and that totally changed the dynamic of [the album].” One of those songs is Halloween, for which Mitchell took inspiration from a viewing of Gus Van Sant’s youth drama, Restless, which starred Mia Wasikowska and Henry Hopper as star-crossed lovers. “There’s this really beautiful scene in it where they run away on Halloween, and they first get together. It’s a really heavy film, and it really clicked with me. So, after I watched that I wrote this really heavy song with just Dann [Hume] on drums and me on a really overdriven electric [guitar]; so it’s really heavy both sonically and emotionally.
Another source-of-inspiration came from minimalist French composer Erik Satie, to whom Mitchell tips her hat with Erik, a tune found on the Spiritus EP. The piano-playing on the album itself, though, is not nearly so delicate and minimal. “There’s a lot more songs on the record with more of a driving, fuller band sound. And a lot where I’m playing on the piano. I find when I’m writing on piano it feels a lot more cathartic, heavier. The physical action of hammering a piano is, for me, much more forceful, more passionate.” Mitchell recorded the album at The Stables, a studio built by the Hume brothers of Evermore on a property in Gisborne South, an hour outside of Melbourne. “I have a feeling it could turn into one of these iconic Australian studios,” she suggests. “It’s built into the shell of an old stable; they’ve built it themselves within that structure. And their dad was an interior designer, so he has an amazing sense of how to use the space, so it just looks so beautiful. It’s an amazing space to be in.” Having grown up in Albury, Mitchell easily took to the almost-rural surrounds. “Because I’m from the country, being out there made me feel really at home, really safe, really at one with the cosmos,” she laughs. “We’d just get out of the studio, go for a walk, get inspired that way. And being out of the city, you can really lock yourself away for two or three days at a time and be away from distractions, not get lured out by coffee shops.” The ‘we’ in this equation largely boils down to Mitchell and Dann Hume, who served as producer and multi-instrumentalist on the record (“I think he’s almost overqualified for Evermore; for just being the drummer in a band”). The pair first collaborated on her debut album, Wonder, that found Mitchell finally shaking off her teenaged Australian Idol baggage and finding critical acclaim, credibility,
and platinum-selling local success. Befitting that narrative, it seemed more telling that Mitchell won the Australian Music Prize in 2010, than it did that she scored three ARIA nominations. All that commercial and critical success meant that, when time came to follow up Wonder, Mitchell “definitely” felt the weight of expectations. “I definitely went through this period, at the start, when I was just writing, of feeling so pressured, and really quite trapped. I felt unspontaneous, if that’s even a word.” Eventually though, Mitchell came to a liberating conclusion. “I realised this was just one of several – or ten or twenty or fifty or a hundred – albums I was going to make, or projects I was going to embark on and that I shouldn’t get so hung up on it. That felt like this real revelation to me, and even now I keep thinking that way whenever I’m doing something; it’s a real freeing perspective to have.” WHO: Lisa Mitchell WHAT: Spiritus (Warner) WHEN & WHERE: Monday 4 June, Christ Church Cathedral, Newcastle; Thursday 7, St Stephen’s Uniting Church
STUDIO PROFILE
Studio name: The Cauldron (Alchemy Music Group) Answered by: Sammy Kannis (producer) What’s the studio set up you have there equipment-wise?
Acoustically designed by Richard Priddle Control room and Overdub booth. Console: Hybrid Neve/8816 NEVE VR channels - 24 Fader Control Surface Monitoring: KRK, YAMAHA Platform: Protools HD 10 Convertors: Apogee, Avid Digidesign Outboard: Neve, Thermionic Culture, 1176, Tube Tech, API, PEACH, Mangetec Mics: Beez Neez, Rode, Shure, AKG Any tips for artists entering a studio for the first time? Drop out of your head and into your heart and let the magic flow. Which notable artists have worked at the studio? Leo Moctezuma (Pink, Christina Aguilera, Ricky Martin), Sierra Montana, The Patience Project, Beca Sopher, Tamara Jaber Who do you have on staff and what’s their background in the industry?
Laurie McCallum recorded the self-titled debut album from WA hard punk four-piece Chainsaw Hookers at his Sumo Sound Studio in Perth, the band producing and then sending it off to be mastered at West Westside Mastering in New York by Jamal Ruhe.
The Cauldron is part of production company Alchemy Music Group . Sammy Kannis is the principle producer/engineer with 15 years experience in this side of the industry - he’s owned and operated large format studios in his time.
Hayley Clare aka Venus Fire’s new single, The Sound, was a collaboration between Steven Schram (Little Birdy, Eagle & The Worm) and Tommy Spender (Kimbra, Offcuts) in terms of engineering and mixing, all done at Schram’s mix room, The Bangkok Ninja Academy above the East Brunswick Club in Melbourne, Schram working on the drums and mixing. The record was mastered by Martin Pullan of Edensound, the last thing mastered at his South Melbourne studio before he relocated the facility.
Analogue vs digital – discuss.
62 • THE DRUM MEDIA
“When a song like that comes into the mix, it makes you re-look at what the whole vibe I was going for was,” Mitchell countinues. “I like that there’s really dark and annoyed areas to it, because there’s real dark, annoyed moments of my life. And, contrasting with that, there’s these real moments of joy. I feel like it’s a good, honest account of my life.”
Our facility is a hybrid of both analogue and digital. There are pros and cons to both, but when you can find the right balance there’s no difference. The most important ingredient in any recording is the performance and how well it is captured. The beauty of DAW is it allows you capture multiple performances at speeds unavailable on traditional “analogue” tape-based systems, which ensures the artist stays in the right “head space” instead of waiting
around while you rewind or realign your machine. The rest of the production process is subjective. Can bands bring in their own engineer? Absolutely. Is the studio capable of holding a full band at once for recording? The Cauldron is designed for overdubs, vocals and mixing. We have an affiliate studio for tracking drums and for “live” tracking of bands. This way we keep costs down all round. We’re an impoverished indie band – do you offer any deals for acts in our situation? All reasonable budgets are workable.
themusic.com.au
Do you have any in-house instruments at the studio acts can use, or is it totally BYO? There’s a selection of guitars and keyboards available. What’s the access to the studio like with regards to parking, flat load, etc? Easy. Flat access. Working in the studio can be arduous and we’ll need a break – what are the amenities in the local area? We’re located five minutes drive from Cronulla Beach and five minutes walk to parks and local cafes. What are your contact details? info@alchemymusicgroup.com.au
cos Cos we g ive a sh it
STUDIOS
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matt the mover
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0412 823 595 www.mattthemover.com.au Type to text
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WEâ&#x20AC;&#x2122;RE CHANGING THE RULES OF RECORDING Studio 1 (SSL Room): Was $1300 + GST Per Day
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CD Duplication 50/100/200 50/100/200 CD in jewel case with 4 booklet and rear inlay Full colour, proofs, delivery and GST included $197/ $332/ $605 50/100/200 CD in clear sleeve with 4 page booklet, proofs, delivery and GST included Full colour $140/ $215/ $370
Barcoding available $44.00 inc www.AcmeMusic.com.au KevinW@AcmeMusic.com.au 07 3107 1688 - 02 9008 1177
YOUR AD IN THIS SPACE CALL ANDREW AT DRUM MEDIA ON 9331 7077
NOW $499 + GST PER DAY WITH ENGINEER Studio 2 (Harrison Room): Was $550 + GST Per Day
Call now to secure your booking! Dates are filling fast! 02 4362 3299 info@thegrovestudios.com www.thegrovestudios.com
NOW
$250 + GST PER DAY
Studio 3 (Hybrid Mix Room): Was $400 + GST Per Song
NOW $300
+ GST PER SONG THE DRUM MEDIA â&#x20AC;˘ 63
BTL - BEHIND THE LINES
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PH: 02 9981 1489 64 • THE DRUM MEDIA
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TUITION
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Want to know what it takes to record a song? Book in an obligation free Q&A session in our recording studio at Five Dock. Visit www.musicentourage. com or email hookmeup@musicentourage.com You’ll never regret recording your songs... but we garuntee you’ll ALWAYS regret not doing it! ***Every song Produced, Mixed & Mastered to Radio Release Quality*** studio@musicentourage. com www.musicentourage.com
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COLOUR BACKGROUND
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PICKS AND STICKS STUDIO. Private Guitar lessons from an experienced teacher. All levels, All ages, All styles. Improvising, Theory, Song Writing, Technique Seven Hills, Sydney. Call Dave 0410 963 972 or email davemormul@hotmail.com
iFlogID: 16948
GUITAR TUITION BY MAL EASTICK Enrolling new students now for 2012. Tuition customised - beginners to professionals. Blues, rock, tone & theory my specialties. 39 years professional experience, national concert touring level, 4 Gold & 2 Platinum albums. Central suburban Sydney location. M: 0407 461 093 - E: mal@maleastick.com
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For a limited time. Free online and print classifieds Book now, visit iflog.com.au
SINGING LESSONS
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MUSIC VIDEO PRODUCTIONS
Professional drummer/percussionist/vibraphonist available for performances/recording. Toured with international acts such as Dianna Krall, David Campbell and Patrizio Buanne. Have huge range of instruments including vibraphone. More info at www.davekemp.info
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Professional mature-age Drummer/Vocals/reads/ back acts/shows - all styles including jazz - available for casual work. phone:(02) 9807-3137 Mob:0413-931-897 eMail: nadipa1@yahoo.com.au
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Southerly Busters, cruisy bluesy R & R 3 piece band require Drummer. Vocals great but not essential. 40+ sense of humour,sutherland shire. Call Steve 0408 088 263
iFlogID: 18224
Singing lessons in a positive environment with a highly experienced and professional singer/songwriter. Lessons tailored to suit individual needs. Also beginners guitar. www.realvoice.net.au for more details. Inner West, Rosanna 0431 157 622.
iFlogID: 18004
SLIDE GUITAR TUITION All styles from Duane Allman and Ben Harper to Blind Willie Johnson and Son House. www.acousticfingerpicking.com tel. John 0431953178
Professional & affordable photo & video productions,industry experienced team. Make your stunning looking,1080p HD music video,enjoy the process.Check us out on web or contact Dave 0280185520 musicvideoproductions.com.au Yours, creative MVP Team
iFlogID: 18230
VOCAL TUITION for students having problems with pitch, placement and breathing. tel. John 0431953178
iFlogID: 17755
VocalHub - Sing like no one is listening! Singing lessons for vocal technique and care, audition tips and repertoire in a encouraging and supportive environment. Visit: http://www.vocalhub.com.au
iFlogID: 17102
VOICE LESSONS - technique, repertoire, coaching. All styles classical to contemporary by performer/ teacher with 20 years’ industry experience. Located in Darlinghurst. Reasonable rates. Phone Lincoln 0408 960801
iFlogID: 18251
Wanted left handed electric guitar teacher Parramatta area, Contact John at... rodt1114@yahoo.com
iFlogID: 16308
SINGING TEACHER WITH STUDIO
ARE YOU KEEN TO RECORD YOUR DEMO BUT DON’T WANT TO WASTE MONEY ON A DEMO YOU’RE NOT 100% HAPPY WITH? AS A PROFESSIONAL SINGER OF 18 YEARS AND SINGING TEACHER OF 7, I CAN NOT ONLY RECORD YOUR DEMO IN MY STUDIO WITH THE SAME QUALITY AS YOUR COMMERCIAL STUDIOS, BUT ALSO GUIDE YOU VOCALLY THROUGH EACH SONG COVERING TECHNIQUES SUCH AS BREATHING, PRONUNCIATION, DYNAMICS, PHRASING, SUPPORT AND OF COURSE EMOTION. OR WHATEVER ELSE IS REQUIRED TO OPTIMISE ON YOUR RECORDING. WHETHER YOU ARE LOOKING FOR AN AGENT TO REPRESENT YOU, WANTING TO AUDITION FOR BANDS OR MUSICALS, AN ACTOR COMPLETING YOUR PORTFOLIO OR WANTING TO DO FOR YOUR OWN ENJOYMENT OR AS A GIFT, PLEASE CALL ME TO DISCUSS YOUR NEEDS. FOR ONLY $70PH I WILL ENSURE YOU HAVE A MORE POLISHED AND VOCALLY PROFESSIONAL DEMO THAN YOU WOULD HAVE OTHERWISE ACHIEVED AT A COMMERCIAL STUDIO. IF YOU ARE PERSUING A PROFESSIONAL CAREER YOU ONLY GET ONE CHANCE WITH YOUR DEMO. IT’S IMPERATIVE YOU PUT YOU ‘BEST FOOT FORWARD’ TO AVOID HEARTBREAK AND DISAPPOINTMENT. SO TO GET STARTED ON YOUR BEST RECORDINGS TO DATE OR FOR ANY QUESTIONS, PLEASE CALL LOUISE; 0452 006 693.
iFlogID: 18193
VIDEO / PRODUCTION D7 STUDIO MUSIC VID FROM $250 music vid $250. Live gig edits, multi angles, fr $125 a set, 1 live track $100. All shot in full HD. d7studio@iinet. net.au 0404716770
iFlogID: 13368
GUITARIST 18 year old guitar player looking to form Rock N’ Roll band. Influences: Guns N’ Roses, Aerosmith, Led Zeppelin, New York Dolls. Preferably in South. Call Tom on 0401722767. Experienced northern beaches based covers band lead guitarist available, reliable and passionate with all necessary gear and transport. Looking for casual or regular gigs call 0412586286
VOCAL TUITION AND COACHING
iFlogID: 17958
iFlogID: 14261
iFlogID: 13358
iFlogID: 17759
In vocal trouble? Want to sing in tune? Bella Musica’s Foundation Technique Course is now open for new pupils. The course covers basic vocal technique and will personally guide you to your goals, amateur or professional. Vocal Coach Meera Belle is an experienced artist and teacher working across all genres from opera to contemporary. Visit www.meerabelle.com to see what singers say about her teaching. Phone 0406 512 162.
TOP INTERNATIONAL DRUMMER available. Great backing vocals, harmonica player and percussionist. Gigs, tours, recording. Private lessons/mentoring also available. www.reubenalexander.net
iFlogID: 18286
Musician/Guitarist seeking fame. I play blues and have a good ear for melody and improvisation. Im looking for likeminded people who want to start touring. Go to peterbuckley.me
iFlogID: 18014
OTHER MUSIC VIDEOS offer a great way to gain exposure. Immersion Imagery has worked with over 30 artists and strives to offer creative quality Music Videos. Visit www.immersionimagery.com or email info@immersionimagery.com for a no obligation quote
iFlogID: 18088
MUSICIANS AVAILABLE BASS PLAYER Bass player available, Mature, plenty of experience in Rock, Swing, Country, Blues, and Pop. High standard and best equipment. I play Double Bass as well. Easy going. Ph 0434475785
iFlogID: 18066
Electric & upright bass. Good gear. Comfortable in most styles. Experience performing live and in the studio. Check out my website if you wanna hear more. http://www.wix.com/steelechabau/ steelechabau
Guitarist and drummer looking for established Singer/ band with agency backing for working. Originals or covers. All Genres kindjohn@hotmail. com
iFlogID: 18058
We are a friendly jazz band playing music to any style for romantic situations, weddings, anniversaries, small cozy clubs - very affordable. contact Chris 0419 272 196 ventura@yayabings.com.au
iFlogID: 15177
SINGER FEMALE SINGER INNER WEST Looking to join a working cover band, band who wants to gig or form a duo/trio with guitarist/keys. Repertoire: indie rock, rock, jazz, funk, pop or a blend. I don’t have a recorded demo but used to sing in a rock cover band in Perth and happy to audition. If this appeals, call Kate on 0449 620 876.
iFlogID: 18311
iFlogID: 16159
Professional Bass Player available for session work, gigs, functions, tours, casual or permanent work. Flexible rates. Pro gear, pro attitude, extra reliable and easy going. Check my site for more info. www.marcosgil.info
iFlogID: 17909
DJ
MUSICIANS WANTED BANDS Accomplished Rhythm Guitarist required for dedicated originals band based in Western Sydney. Must be a competent acoustic and electric player with great gear and tone. Age 24-35. Scotty 0408 289 384
iFlogID: 18024
Dj available Dubstep to Drum&bass. Willing & able to adapt to your event. Low hourly rates. Everything negotiable. Easygoing, flexible entertainment. Call for a quote today. KN!VZ Entertainment Group Ph:0415680575
iFlogID: 16661
DJ AVAILABLE DJ for all occasions - Parties, Formals, Weddings. House, Electro, Dance, Hardstyle, Dubstep, R’n’B and Hip Hop. Latest Pioneers equipment and great Lighting Effects. Call Jake’DJ Splice’ 0423255668 or inbox - www.facebook.com/#!/pages/Dj-Splice
iFlogID: 17801
RINTOUL DJ/Buttonpusher. Plays most genres from Dubstep to Gabber. Punctual. Reliable. Up to $100 p/h ono. m:0438848155, e:rintouldj@ hotmail.com for bookings.
iFlogID: 18117
DRUMMER A1 PRO DRUMMER AVAILABLE for freelance gigs, tours etc. Extensive touring experience, great time/tempo/groove, great drum gear and pro attitude. Sydney based but will travel. More info, ph 0419760940. www.mikehague.com
ALT/PUNK/ROCK BAND guitarist looking for drummer,bassist,second guitarist to start band. 80s 90s alt/punk/rock/grunge.. replacements,wipers,husker du,dinosaur jr,... etc,call or txt todd 0401504832...inner sydney
iFlogID: 18097
ATTENTION ALL CHICK ROCKERS Auditions for bass players, drummers, guitarists. If you love L7, Hole, Bikini Kill, Magic Dirt, Steel Panther, heavy hard fast rock ‘n’ roll this is the band for you. Looking to tour with well-known USA band at end of year. Serious musicians only. Please call Mel 0401 017 275.
iFlogID: 17577
BLACK METAL GUITARIST WANTED Fatigue, new Sydney Black/Thrash Metal band need a tight, fast guitarist. Songs written and demoed, visit soundcloud.com/ totalfatigue to listen. Influences include Absu, Melechesh, Blut Aus Nord, Deathspell Omega. Interested parties email nightmare_screams@hotmail.com.
iFlogID: 17940
CANBERRA Band Members Wanted. Drums, Bass, Vocals for hard rock originals. Please send emais to stuntmoose@gmail.com for info and demo.
iFlogID: 13230
iFlogID: 17712
A1 TOP PRO DRUMMER AVAILABLE FOR SESSION FREELANCE WORK, TOURS ETC. EXTENSIVE EXPERIENCE, TOP GEAR, GREAT GROOVE AND TIME. SYDNEY BASED, WILL TRAVEL. PH 0419760940. WEBSITE www.mikehague.com
Drummer requires cover band &/or the setup of a cover band. Simple popular dance songs, etc. Muso’s who catch on quick needed. Regular work the aim, with favourable outcomes. Phone 0403 063 922 or text Drew - experienced drummer.
iFlogID: 18334
Experienced Soul / Reggae / R’N’B / Blues / Funk / Rock drummer (36yo) available for work preferably in Northern Beaches. Call Michael 0402 549 423
iFlogID: 17324
iFlogID: 17772
Experienced bass player with pro attitude is looking for musicians for prog/alt rock outfit. Commintment, love to music, realiability is required. Great opportunity to bring in their own ideas. 0411743248
iFlogID: 18298
First 2012 Sydney SoundClouders Meetup featuring live performances from RemmosK and Richard Lawson and DJ sets from MC Swanson to showcase songs, sounds and collaborations.
iFlogID: 18226
FREE RECORDING Audio students seeking bands to record & mix in a professional studio. Located in Sydney CBD. Must be able to play to a click track. Text 0433442255
iFlogID: 16983
Guitarist wanted for weekend workshop with bass player and drummer. Workshop only-we focus mainly on jazz standards, reggae, rock and funk grooves. ph 0414 421 252.
iFlogID: 18150
GUITARIST WANTED Sydney’s premier rock band ‘Talk it up’ are now auditioning for a second lead/rhythm guitarist. Vocal ability preferred. We are agency backed performing three to four shows per month. Experience, pro gear and attitude essential. Check out our website www.talkitup.net.au call Craig 0417 411 244
iFlogID: 18174
KEYS+FEMALE SINGER WANTED Keyboardist and Female Singer to join Eric Clapton cover band. Rehearse in the west. Will be doing quality gigs. Keith 0404017202
DRUMMER + BASSIST + US = BAND! Inner west Sydney two piece looking for a drummer & bassist. Structured dissonance within pop songs. we like brainiac. melvins. pj harvey. sonic youth. my bloody valentine. plus a million more. total music nerds. le passione! text nat 0406727076 include some details about yr experience, history and location etc. or email liam synthetic.pigeon@gmail.com
iFlogID: 18207
Drummer looking for a band (Inner Sydney)? Tired of being “just the drummer”? Do you play like Keith Moon, Ginger Baker, Mitch Mitchell... or better? Email walrusblues@hotmail.com
iFlogID: 18195
Drummer wanted for original blues rock/folk band. Think Black Crows, Janis Joplin, Led Zeppelin, Niel Young with a Pink Floyd twist. Looking for solid timing to sit with professional musicians. Commitment and ability to rehearse in Campbelltown at least once a week is essential. Please email mlaharna@iinet.net.au for more info. Thanks.
iFlogID: 18340
Experienced drummer with a commitment to practice and regular rehearsals required for Melbourne-based alternative rock band. Influences QOTSA, Foo Fighters, Nirvana… www.myspace.com/mollydredd 0411 372 469
iFlogID: 18236
iFlogID: 16936
MATURE RHYTHM GUITARIST wanted for covers and originals.Band is ready to start gigging as soon as you are ready.Influences:Queen,Zep,Kiss. No time wasters! Based in Campbelltown.Please contact Will on:0419614313
experienced energetic drummer wanted for sydney 3 piece. age 20-30. influences: ramones, queen, nirvana, brian-jonestown-massacre, beatles etc.100% commitment needed as we wanna get proper busy. call dee 0431317613
iFlogID: 18228
iFlogID: 17876
New fresh artists, creatives & musicians wanted for tri annual event, great exposure/networking - must have own equipment, get your name out thereemail chicpetiteevents@hotmail.com
Yo Fuckers! Royal Ace needs a new drummer, were an established rock band wanting you to come bang shit. Check us out and shoot us a message facebook.com/royalaceband PEACE!
iFlogID: 18100
Pro singer wanted for established 5 piece band Newcastle band Newcastle area. Covers , originals hard rock,blues,pop,rocknroll exp band gigged with Angels,paid gigs booked Peter 4984 4731
iFlogID: 17882
RHYTHM GUITARIST Mature rhythm guitarist wanted for covers and originals band,ready to start gigging. Queen,Zepplin,Kiss.No time wasters.Based in Campbelltown.Phone Will on 0419614313
iFlogID: 18211
Singer required for 3 piece jazz /funk band with a good repertoire of tunes. Will also consider working with singers wanting to develop their repertoire. Contact 0414 421 252.
iFlogID: 18148
Singer required for Latin Duo. Must be able to sing in Spanish. 0416020051
iFlogID: 18182
SINGER: ROCK COVERS BAND Singer wanted for band playing classic rock material from the 60’s to current. M or F. We are 4 very experienced players looking for someone who is passionate about playing quality music. Would best suit someone on the north shore or northern beaches. Call Noel on 0409 455 280
iFlogID: 17858
GUITARIST ACOUSTIC GUITARIST OR KEYBOARD PLAYER WANTED. To join Mature Vocalist and Rhythm Guitarist/ Drummer MOR repertoire. Regular rehearsals working towards gigs. Based in Penrith. 043 279 0076
iFlogID: 18280
18 year old guitar player looking for another guitar player. Influences: GN’R, Aerosmith, Zeppelin, New York Dolls. Preferrably someone in the south (Shire). Call Tom on 0401722767
iFlogID: 13407
GUITARIST NEEDED Guitarist needed for a female-fronted original rock and roll band. Influences-The Bellrays, The Paybacks, The Stooges, The MC5 etc Phone Jeff on 0405 225 267
iFlogID: 18264
GUITARIST REQUIRED
Untalented Libertines/BlocParty/SexPistols inspired singer/songwriter/guitarist seeks bandmates who are also inspired by these bands, willing to practice, prefer making originals rather than covers & who are easygoing. Inner West/Sydney, How bout it?
iFlogID: 13790
young guitar player looking to start metal, punk band. influences include metallica, ozzy, black sabbath megadeth, trivium, bullet, anthrax, slayer slipknot and many many more. email space1996@hotmail.com if interested
BASS PLAYER
iFlogID: 18258
Established Sydney band need Bass Player ASAP. Tours booked, new EP recorded. Looking for good attitude, own gear & transport, keen to tour. Age 20-30. Please contact Sash on 0409579688 anytime
iFlogID: 17057
DRUMMER aggressive solid drummer needed for band. have material written and demos recorded. rehearse in the wollonong area, keen to gig asap. age/sex/ skill level not important. contact 0403508102 for demos
iFlogID: 14021
CENTRAL/COAST. BLUES/ROCK COVERS ORIGINAL BAND.require DRUMMER TO JAM REGULY, MAYBE PLAY LIVE LATTER MUST BE KEEN TO PLAY/JAM. SUIT DRUMMER WITH PREVIOUS BLUES TO BLUES/ ROCK COVERS EXP. PH 0449536661
iFlogID: 17839
SINGER ACAPPELLA COMMUNITY CHOIR looking for tenors and basses to join our trip to The Port Stephens Choral Festival in September. Call 0414 869 352 or email info@thecleftomaniacs.com
iFlogID: 18344
iFlogID: 18260
ROCK LEAD GUITARIST WANTED
THE PREHISTORICS are looking for an accomplished lead guitarist for establshed original rock band. Checkout website to review songs: www. theprehistorics.com If you dig it, phone Brendan on 0430 1977 17
iFlogID: 18114
KEYBOARD Keyboard player wanted for original blues rock/ folk band. Think Black Crows, Janis Joplin,Led Zeppelin,Niel Young with a Pink Floyd twist. Backing vocals and or lead an advantage but not essential. Commitment and ability to rehearse in Campbelltown at least once a week is essential. Please email mlaharna@iinet.net.au for more info. Thanks.
iFlogID: 18342
and PROFESSIONALLY from $299 including Hosting and email addresses! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au
Guitarist seeks female singer to form working cover duo using backing tracks . Must be versatile and confident singing songs from katy perry and pink to Pat Bennatar (as an example). Will provide all support for right person. Located on central coast but will travel for right person.Contact David 0433892027 or email:thescarletpimpanel@ hotmail.com
iFlogID: 18290
GOSPEL SINGERS WANTED for non-denominational music ministry to record triple-CD in Perth. World-class, passionate and devotional vocalists sought. View www.THE001Music.com for details. Jesus is KIng! Reverend Eslam. God Bless You!
iFlogID: 15450
Logos, Hosting and 5xemail addresses and much more! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au
iFlogID: 13864 Limited Edition mens tees and hoodies with a sense of humour. All hand-screened and numbered. monstrositystore.com
iFlogID: 13611 Your Album Cover?! It’ll look killer with the help of the award winning Wealth & Hellbeing Creative team! Turn your local look into an international standard release: www.wealthandhellbeing.com Call Lix 0405809066
iFlogID: 18086
iFlogID: 13088
Great Vocalist Needed for Alt/Prog Rock band. Band has lots of playing/touring experience and needs YOU to fill the void. Lots of material ready to go. Contact Ayden 0421633283
iFlogID: 17972
iFlogID: 17993
EARPLUGS FOR MUSICIANS Protect your hearing with custom moulded earplugs designed to reduce the level of sound without adversely affecting the frequency response of the music. Choose between 10,15 and 25dB attenuation. Fitted by professional audiologist, by appointment only. Ph 9387 3599
iFlogID: 18054
iFlogID: 18022
PARTY CENTRAL/ABSOLUTE DIVAS ‘Party Central / Absolute Divas’ requires a professional female lead vocalist. We are a Sydney-based, agency backed, 5 pc cover band with regular work. You must be able to commit to Friday & Saturday night gigs. We are looking for someone who projects confidence and can sing harmonies. Please call Troy on 0400 27 5154. You will then need to forward a head-shot and demo (if avail) to andrea8884@gmail.com
iFlogID: 18254
Pro singer wanted for established 5 piece band Newcastle band. covers and originals. Hardrock,blues.pop,rocknroll. Exp band gigged with Angels 2 booking agents paid gigs booked. Peter 4984 4731
iFlogID: 17692
SINGER WANTED FOR SYDNEY GRUNGE BAND Less than 24 years old please. influences: Silverchair, Nirvana, AIC, Sabbath etc Contact Daniel on 0403 885 433 for more info and demos.
iFlogID: 13145
SERVICES
CUSTOM MADE MUSICIAN PLUGS Musician Plugs come in four different filter choices to reduce the volume of loud music to a safer level. They will not distort the tonality of the music, rather simply reduce the volume ‘equally’ across all tones. Fitted by a qualified hearing professional we have a number of locations throughout Sydney as well as in the CBD. To make an appointment call 9223 0225.
SINGING, BASS, GUITAR, DRUMS
iFlogID: 15216 Get your Band or Business Online Cost effectively and PROFESSIONALLY - from $299 including Hosting and email addresses! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au.
iFlogID: 15454 Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $399 including UNLIMITED pages, Hosting and 5xemail addresses and much more! Contact info@bizwebsites.com. au or see www.bizwebsites.com.au.
iFlogID: 13862 If you want to use DRUGS, that’s your business If you want to STOP, we can help. Narcotics Anonymous 9519 6200
The School of Rock offers tuition in singing, bass guitar, electric guitar, drums and song writing techniques. Our instructors have years of experience showing young musicians how to play and take that talent onto the stage. For more information visit our website at www.schoolofrockinnerwest. com.au or www.zenstudios.com.au. Ph: 9550 3977
iFlogID: 17764
SYDNEY RADIO SCHOOL Is now accepting enrolments. Take the first step towards a career in the media.
iFlogID: 18304
www.na.org.au
iFlogID: 16217
LEARN MASSAGE Join our friendly massage team and earn $50/hr while training (no experience necessary) girls text your name to 0450 758 399
SINGERS WANTED
BEAUTY SERVICES
School of Rock teaches students from primary school to high school, from anywhere in Sydney with any level of musical talent. School of Rock helps students form a suitable band based on each of their musical likes and level of experience. Classes run every day of the week (Weekdays: 4.30pm – 6.00pm, Saturday/Sunday: 8.30am – 10.00am) at $320/per term (including all teacher fees, room and instrument rental). Each term includes a free recording session @ Zen Studios and a live show at The Valve Hotel in Tempe. Contact Ash 0450406-201. www.schoolofrockinnerwest.com.au
OTHER
Indie Pop singer wanted for recording of already written songs, for album release and small tour (acoustic duo) .Contact jonathan@thesongshop. com.au Melodic Rock Vocalist wanted by dedicated originals band based in Western Sydney. Join a pro level band with studio, pro gear and songs with great hooks. Scotty 0408 289 384
SCHOOL OF ROCK - ZEN STUDIOS
Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $399 including UNLIMITED pages,
FEMALE SINGER WANTED
iFlogID: 18282
Chasing ORA, an original female fronted Indie/Rock band is looking to recruit a talented guitarist for live shows, writing, and studio work. Check out Chasing ORA’s videos at www.facebook.com/chasingora. If you’re looking to take on an exciting project and if this is something you can be passionate about please register your interest by email at chasingora@hotmail. com. Please provide examples of your playing and as much detail as possible about yourself.
iFlogID: 17027
Band needs versatile bass player!! Originals and covers. Mix of Tool, Evanescense, Winehouse..... whatever! We have female singer, guitarist, drummer....all 19yrs. Based in Northern Beaches. Please call Ziggy 0432872290!
iFlogID: 18284
A great opportunity exists for an experienced male and female vocalist to join the ranks of an exciting live band specialising in classic and contemporary rock covers from the 70’s to now. The band is currently looking at expanding its repertoire and lineup. You will need to be 100% committed to an established working band. Check out our website to see what we do www.framedmusic. com.au & send your CV or demo to framedmusic@ hotmail.com
iFlogID: 18308
TURBOWITCH seeking drummer, bassist, second guitarist & vocalist PSYCHEDELIC OLD SCHOOL DOOM METAL inf by Black Sabbath, Led Zeppelin, Wolfmother, Quest For Fire, Witch + many more. age 21-26. Sydney central based. contact: turbowitchaus@gmail.com
iFlogID: 17985
Northern Beaches based Classic Rock Covers Band seeks Keyboard player. Check stonedogs. com.au to see if we might be a good match for your talents! BVs definitely an advantage. Email band@ stonedogs.com.au
iFlogID: 16750
SHARE ACCOMMODATION AVAILABLE
Need to promote your restaurant, club and make it the place to go? Contact us now, because providing good entertainment is a personal skill. Chris 0419 272 196 ventura@yayabings.com.au
iFlogID: 15175 What happens when you start paying attention? When you become an active member and start participating in this elusive thing we call life. WWW.WHATISTHEHAPS.COM
iFlogID: 17980
TUITION MUSIC PRODUCTION COURSE 6 WKS.
Looking for an affordable and fully insured removalist service? MOVESYDNEY.COM PH: 0412228251
iFlogID: 18292
WANTED OTHER Basketball Players Wanted for Eastern Suburbs comp - info@eastsbl.com.au
iFlogID: 18170
WANTED! TATTOOED PEOPLE
iFlogID: 17016
Fully Qualified & 8yrs Experience, Thai Massage $49/hr or Sensual Balinese Aroma $69/hr. In/Out calls, Male/Female Welcome. www.takecaremassage.com.au - By Anson 0433646338
iFlogID: 17428
GRAPHIC DESIGN FULL COLOUR BAND GIG POSTERS @ AMAZING PRICES 100 A4 full colour on Gloss = $40 100 A3 full colour on Plain = $50 100 A3 full colour on Gloss = $80 100 SRA3(32 x 45cm) full colour on Gloss = $80 WWW.BLACKSTAR.COM.AU
iFlogID: 16754
A practical guide to computer based recording with the bulk of the course being hands on with no more than 2 students per work station. The course is software neutral. The software and platform take a secondary role to the concepts that are being taught. Six 3 hour lessons over six Saturdays @ $660. Students are able to use the teaching resources anytime during the six weeks course for free. Contact Zen Studios 02-9550-3977. www.zenstudios.com.au
iFlogID: 17932
Get your Band or Business Online Cost effectively
KEYBOARD PLAYER WANTED Alternative rock band with it’s own recording studio from the northern beaches is looking for a keyboard player. Having your own gear ie sampler/ keyboard and the ability to play bass/guitar would be an advantage but not necessary. Contact: firebrandproductions@hotmail.com
iFlogID: 17789
For a limited time. Free online and print classifieds Book now, visit iflog.com.au
If you have tattoos, show them off. Be a part of my portrait photo project, young/old/male/female all walks of life. Be photographed and score a free portrait. Call Sandra: 0422680556
iFlogID: 18141
OPEN DAY MAY 19TH, 11AM – 3PM 55-57 Wentworth Ave, Sydney 2000
FO N I E R O M FOR ww.sae.edu VISIT: w
E EDU
0 SA CALL: 180
CRICOS: 00312F (NSW) 02047B (VIC) 02431E (WA) Please contact relevant campuses for further information regarding open days, tours, course programs and FEE HELP options.
DIPLOMA & DEGREE COURSES IN:
Games Design 3D Animation Graphic Design Games Programming Web Design & Development
OPEN DAY May 19TH 10am – 2pm
74–78 Wentworth Ave, Surry Hills, 2010
Proudly part of the SAE Institute Group CRICOS Codes - 03204G (QLD) 00312F (NSW) 02047B (VIC) 02431E (WA)