Inpress Issue #1147 by TheMusic.com.au

VICTORIA'S HIGHEST CIRCUL ATING STREET PRESS

THE AUDREYS

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PH I L A D E L P H I A G R A ND JU RY JU S T I N TOW N E S EA RL E AX X O NN TOP O Z A L B U M S B O OK EX C ER PT

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COMING SOON

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ISSUE 1147

No.109

WEDNESDAY 3 NOVEMBER 2010

BRUNSWICK

Thursdays in November

Bakersfield Glee Club

PHILADELPHIA GRAND JURY 48

INPRESS 16 18 18 20 24 26 28 30 31 32 32 33 34 38 40 40 41

It’s over to you with our Mailbag and the week’s best and worst in Backlash/Frontlash The Front Line brings you the hottest industry news In The Studio keeps you turned on to your fave band’s movements Foreword Line brings you all the latest tour announcements No need to watch the ARIA Awards – we give you all the winners here The Charlatans make meditational music for David Lynch Antony & The Johnsons explore relationships with the environment on their new album, Swanlights Philadelphia Grand Jury finally have their own roadie 78 Saab’s advice to young bands is ‘seize the day’ Glenn Richards says the best cure for discomfort on stage is a hangover Killing Joke’s greatest legacy is educating their fans The Audreys killed at least one person making their new album On The Record reviews new releases Another exclusive extract from The 100 Best Australian Albums book Justin Townes Earle’s music is firstrate, even if his private life’s a mess Edwyn Collins couldn’t stop crying listening to his old music following his stroke Good Charlotte are happy propping up a bar

FRONT ROW 42 42 43 44 45 46 46 46

This Week In Arts plans your week ahead Xavier Samuel has a night he’ll never forget at the hand of Robin McLeavy in The Loved Ones TV Set looks at American talk show The View and Stephen Colbert Festival director Will Pyett talks about the Hello Darkness horror film festival Film Carew looks at The Social Network, Gainsbourg, Little Deaths, and American: The Bill Hicks Story Bam Margera discusses the new film Jackass 3D The Menstruum looks at a pair of exhibitions currently displaying at Conical Adam Wheeler talks about 2ndToe’s new production, Something Blew

48 49 49

Cultural Cringe dissects the Melbourne Museum’s 2011 exhibition on Tutankhamun Hannah Norris brings My Name Is Rachel Corrie to the stage Fragmented Fish goes on a road trip 7 Up looks at The Pleasuredome Of Relentlessly Fabulous Canadians

BACK TO INPRESS 50 50 50 50 52 52 52 52 53 53 55 55 55 66 66 66 67 67 70 70 72 78 81

Any member of The Beards who shaves will be kicked out of the band Former Live singer Ed Kowalczyk is keeping the faith Axxonn has a cold The Book Of Ships were happy sacrifice their first single The Weekend People aren’t scared of hard work Laura Imbruglia loves belting out some Johnny Farnham at karaoke Brian Henry Hooper cunningly enlisted Mick Harvey to produce his new album Matt Sonic may no longer be drumming in River Of Snakes Tash Parker feels settled on the Mornington Peninsula Nick Batterham tips his hat to Townes Van Zandt on his new debut album Our LIVE section has everything you need to know about the world of Melbourne live music! Gig Of The Week is wowed by Holly Throsby’s work ethic LIVE:Reviews wonders why Paul Weller nicked off so early Stu Harvey gives you a ShortFastReport Andrew Haug takes us to the dark side in The Racket Kendal Coombs leads the under-18s boardroom in the Department Of Youth Pop culture happenings in The Breakdown Dan Condon blues and roots in Roots Down Jeff Jenkins gets down and local in Howzat! If you haven’t appeared in Fred Negro’s Pub, your mother probably still speaks to you Our Gig Guide fills your diary for the weekend Gear and studio reviews in BTL Find your new band in our classy Classifieds

CREDITS

EDITORIAL

Group Managing Editor Andrew Mast Editor Shane O’Donohue music@inpress.com.au Front Row Editor Daniel Crichton-Rouse frontrow@inpress.com.au National Dance Editor Kris Swales zebra@inpress.com.au Contributing Editor Adam Curley Staff Writers Bryget Chrisfield, Michael Smith

Neilsen, Roger Nelson, Danielle O’Donohue, Matt O’Neill, Jordan Oliver, Adrian Potts, Paul Ransom, Symon JJ Rock, Adam Sharp, Nic Toupee, Rob Townsend, Dominique Wall, Doug Wallen, Rod Yates.

PHOTOGRAPHERS Chrissie Francis, Kate Griffin, Andrew Gyopar, Kane Hibberd, Lara Luz, Lou Lou Nutt, Gina Maher, James Morgan, Heidi Takla, Nathan Uren.

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INTERNS

sales@inpress.com.au National Sales & Marketing Director Leigh Treweek Victorian Sales Manager Katie Owen Bands & local advertising Dean Noble Sales assistant Kobi Simpson

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CONTRIBUTORS Senior Contributors Clem Bastow, Jeff Jenkins Overseas Contributors Tom Hawking (US), James McGalliard (UK), Sasha Perera (UK). Writers Nick Argyriou, The Boomeister, Paul Andrew, Atticus Bastow, Steve Bell, Tim Burke, Dan Condon, Anthony Carew, EJ Cartledge, Peter Chambers, Matthew Cheetham, Chris Chinchilla, Rebecca Cook, Kendal Coombs, Adam Curley, Cyclone, Michael Daniels, Wayne Davidson, Guy Davis, Carolyn Dempsey, Liza Dezfouli, John Eagle, Guido Farnell, Sam Fell, Bob Baker Fish, Johnny Gash, Cameron Grace, Stu Harvey, Andrew Haug, Andy Hazel, Anthony Horan, Rod Hunt, Layne Kim, Cookie Lee, Joey Lightbulb, Michael Magnusson, Baz McAlister, Keith McDougall, Sam McDougall, Tony McMahon, Adam D Mills, Count Monbulge, Luke Monks, Fred Negro, Mark

EDITORIAL POLICY The opinions expressed in this publication are not necessarily those of the publishers. No part may be reproduced without the consent of the copyright holder. By submitting letters to us for publication, you agree that we may edit the letter for legal, space or other reasons. ©

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Former members of Redfish Bluegrass, Red Hot Poker Dots, Maurice Frawley’s Yard Hands and The Re-mains play traditional 1920s country from Bakersfield 7.30pm

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MAILBAG

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FRONTLASH In danger... Randy & Wife

LETTER OF THE WEEK! HALL OF LAME Dear Inpress, Am I alone in being upset by the weekend’s broadcast of the ARIA Hall Of Fame? While it was admirable to see the likes of The Loved Ones, Models, Johnny Young, The Church and that country singing guy being honoured it was less than admirable seeing younger artists dishonour those same acts. Why were Diesel, Short Stack and Washington plonked on stage to ‘pay tribute’ to these inductees? Short Stack’s performance of Cara-Lyn was an insult to Johnny Young, who was sitting just metres away from this car wreck of a performance, while Washington may as well have just dropped her knickers and pissed on Steve Kilbey’s head with what she did to The Unguarded Moment. Why didn’t Young and Kilbey get to perform these songs themselves? It’s a little more understandable that another singer was brought in to sing a Loved Ones song, as Gerry Humphries passed away some time ago, and I understand that Diesel isn’t a bad singer but he certainly doesn’t possess the growling blues quality that Humphreys did. After the astoundingly good job Tina Arena did with her Young tribute (she sang Star), maybe she could have knocked out a Loved Ones song as well. Hopefully things improve next year or will we be watching Mahogany singing Pseudo Echo’s Listening? Ed Evans Box Hill

I DON’T LIKE CRICKET Dear Inpress, There it was on the front page of one of the Sunday papers: “Crowds fall… Governing body goes into deficit… Teens and women give up on…”, and then a couple of pages later, “Wake up call”. But no folks, it wasn’t about the Australian music industry, though it would be just as easy to put headlines like that into that context, but it was, of course, about cricket! It seems cricket is losing punters to AFL and NRL, both out there in the stadiums as the games are being played and back on the couch when the matches are on the telly. It’s all down to the research the powers-that-be have done into the problem of falling crowds and gone to the people to try and fix it in the face of the huge amounts of money the AFL and NRL are able to pump into promoting their particular games. Now, I’m not suggesting that we shouldn’t worry that cricket seems to be copping a bit of a ratings beating, but I can’t imagine Australia’s music industry would ever command the front page of any mainstream newspaper in a desperate plea for help. Now if we could only get a few cricketers along to a few more gigs, get the paparazzi snapping, all that kind of crap, perhaps their respective audiences would cross-pollinate and give the thugbie and AFL crowds a bit of a run. Or maybe what cricket needs is a Dave Faulkner theme song. Dave Via email

GIVEAWAYS

MEN OF LETTERS This gathering of blokes reading a letter to the woman that changed their life was funny and moving, with Bob Ellis and Tim Rogers our picks of the day. The only dud was Chas Licciardello’s way-too-long and way-too-unfunny missive to Michelle Obama,

RANDY QUAID We’re not sure if it’s genuine mental illness or a Joaquin/I’m Still Here-type deal, but his escalating warnings about a group of celebrity-extorting assassins he’s dubbed “star whackers” certainly has us intrigued.

HALL OF FAME After Steve Kilbey’s speech at the Hall Of Fame inductions, we think Julia Zemiro summed it up best – “Give that man his own show!”

BACKLASH Civility again reigns at the Birmy

WALK OF SHAME Washington, what were you thinking walking out during The Church’s Hall Of Fame performance? Best one of the night, and, you know, the band whose song you just performed.

BANDLESS BIRMY We were super bummed to hear the Birmingham Hotel will be closing its live band room later this month, saying its current business model is unviable.

LABOR PAINS State Labor’s dodgy attempts to discredit the Greens’ Melbourne candidate, Brian Walters, ahead of the state election is just another sign these turkeys have had too long in office. Email giveaways@inpress.com.au from 5pm Wednesday

The Chemists

DESIGN OUR COVER AND WIN BIG! Our Big Day Art competition is back. All you have to do is upload your impression of an act on next year’s Big Day Out bill at summerfestivalguide.com.au (go to the Big Day Art section). The competition is now open and entries close Friday 7 January. The prize? Not only will the entry judged the best appear on the front cover of Inpress, the lucky winner will also win a pass to the now-sold out Big Day Out, CDs by Big Day Out artists, design software and free entry to a CATC workshop.

It’s been a massive year for Perth lads The Chemist. The band were Next Cropped on Home And Hosed in 2009, and since then they’ve played a stack of festivals, relocated to Melbourne and released two EPs – The Wolves’ Howls Shatter The Old Glass Moon and the sublime Lullabies, home to gorgeous lead single Lullaby #1 (Mercy). The Chemist play the Grace Darling on Saturday 13 November and we have a Chemist pack to give away, containing a double pass to the show and a copy of both EPs.

WORD UP TO PRIZE WINNERS: Prizes must be collected from Inpress offices during business hours (9am-5.30pm, Mon-Fri). ID is required when collecting prizes. Prizes must be collected within four weeks of the giveaway being published. Please note, Inpress giveaway policy is that winners are permitted one prize per four-week period only.

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THE

FRONTLINE

IN THE STUDIO WITH BRYGET CHRISFIELD

INDUSTRY NEWS BY SCOTT FITZSIMONS Michael Chugg accepts the DVD ARIA from a shivering Ruby Rose and Dylan Lewis

WELLER WOES?

Reports emerged from Paul Weller’s concert at Melbourne’s Forum last week that the performer’s gig was cut short when the house lights came on as stage technicians were setting up for another encore. Fan-souvenired setlists from the night reveal that further songs were planned. A review published in The Age even asked the question, “where was Town Called Malice?” (referring to the singer’s 1982 hit with the band The Jam). Malice was listed to be played as was the title track of Weller’s current album, which the tour was named after, Wake Up The Nation. A spokesperson for Coppel Touring said that Weller had been changing setlists each night and they had no knowledge of any reasons for the gig to have been ended prematurely.

TAKEN OFF THE WIRE

GORILLAZ-GRAM

Currently fronting his Gorillaz live collective of about 70 players, Damon Albarn took time out on a day off in San Francisco over the weekend to call in and chat with In The Studio. Having played at Viejas Arena in San Diego the night prior, the former Blur frontman gushed about how American audiences have been responding to Gorillaz: “It’s actually been, for myself, an unprecedented reaction. I’ve never had this sort of level of – yeah! It’s been euphoric, I think, actually.” On what his band typically does to wind down after a show on this US leg of the Escape To Plastic Beach world tour, he shared, “We’ve been doing an awful lot of just trying to keep costs down, because when you’ve got a band that’s nearly 70 in number, and a lot of technical stuff to drive as well, we’ve been doing a lot of night journeys on buses.” The musical mastermind is not one to sit idle on the tour bus, however. “I’ve been writing an album on the road, which I’ll be finishing in a few days’ time, and I’m trying to put that out before Christmas,” he said matter-of-factly, going on to describe this latest project as “a Gorillaz sort of road diary”. Surely a separate plane for touring obligations is not out of the question. “We have had our own [plane],” Albarn admitted. “We do do that, but, I mean, not because we’re rock stars but because we actually need them.” While the virtual Gorillaz band – comprising 2D, Murdoc Niccals, Noodle and Russel Hobbs – is temporarily locked in the green room, Albarn has recruited an impressive slew of musicians (including one-half of The Clash, guitarist Mick Jones and bassist Paul Simonon) for the current touring line-up. Birmingham singer/songwriter Daley has also recently joined the posse on the road to perform the new Gorillaz single, Doncamatic (All Played Out), which is scheduled to drop on 22 November. This latest creation has already received considerable airplay on Triple J and is available for streaming online, but Albarn said the track wasn’t rescued from Plastic Beach flotsam. “I just did a new tune,” he explained. “I felt maybe Plastic Beach was getting caught up in a sort of slightly ambiguous world where everyone didn’t – you know, especially at radio and stuff, they didn’t quite understand it and maybe thought it was a bit conceptual and grown up for pop radio. So I just wrote a pop song. I mean, for me, it’s not that I can’t write pop music, it’s just that I don’t choose to write it all the time, you know? But when I do, it’s usually because I’m really into it.” Albarn has an undeniable knack for collaborations, often achieving refreshingly unexpected results from his chosen guest artists while retaining ample Gorillaz DNA. Has he ever come up against a brick wall when trying to get the best out of a collaboration? “It depends what point in the process you expect results,” he opines, “like, I mean, a lot of the stuff I’ve done – if I’d just left it how it was on that day, after working, it wouldn’t sound great. But it’s what you do afterwards, sometimes – the editing process – that’s important.” Has there been a time when Albarn has embarked on a musical project but it’s – “Failed?” Albarn intercepted. “Yeah, but all those things I just haven’t put out.” He laughed, “Obviously I’m very lucky, but you can’t like everything you do.” When Gorillaz and co tour our shores at the end of year, it will be the first opportunity for Australian audiences to witness the band’s vast catalogue live and Albarn confirmed we will be treated to the entire ensemble experience. Interestingly, The Fall are appearing in Melbourne the night before Gorillaz, who will park their tour bus outside Rod Laver Arena on Saturday 11 December, so a drop-in guest spot by Mark E Smith (who supplies vocals on Glitter Freeze from Plastic Beach) should not be discounted. The amount of money Gorillaz HQ invests in their touring operation to ensure fans hear the music as it was originally intended is enough to smoke your noodle. “We’re really not in it for the money,” Albarn stressed, “we’re in it because we love it and, the reception we get, it’s just so overwhelming that it’s worth it.” The last time Albarn graced us with his presence was 15 years ago fronting Blur.

A New York City judge ordered that file-sharing website Limewire be shut down after issuing a permanent injunction. Limewire, which had as many as 50 million users, was found to be intentionally involved in a “massive scale of infringement”. The lawsuit was originally brought to the website, and founder Mark Gorton, by the Recording Industry Association of Australia who heralded the decision. Both parties will return to court in January to determine damages, which could be unprecedented given that, allegedly, three billion tracks were being downloaded per month. It seems unlikely that Limewire will re-open despite chief executive issuing a statement saying that “our company remains open for business.” The website’s front page currently has a notice explaining that they’ve been forced to “stop distributing and supporting its filesharing service. Downloading or sharing copyrighted content without authorisation is illegal.” Previous websites that have come under attack from the music industry include Napster and Kazaa, which currently operate as legal music distribution sites, and The Pirate Bay, which remains open despite its founders serving jail time. Despite this decision in favour of the recording industry, it’s unlikely to scratch the surface of illegal downloading given the diverse services for file sharing currently online.

HOTEL PULLS PLUG ON MUSIC

The Birmingham Hotel has announced that the Fitzroy venue will cease to hold live music events as of Sunday 21 November, citing the financial pressures involving with hosting live music did not justify a viable business model. Primarily servicing the local scene, the venue has shows from Kieran P West, The Ska Masters, The Gun Runners, Kins and more planned up until their cessation date and the loss of the venue means the loss of another steppingstone stage to bigger venues. “We as the venue bookers would like to thank all the awesome bands and punters that have made our jobs so amazing and contributed to (what was) an incredibly vibrant and exciting music venue,” read a statement. The Birmingham will continue to operate with plans in place to refurbish the kitchen.

SPACE’S NEW FACE

After The Front Line previously reported that MySpace had made changes to its band profile layouts, the website has officially announced its relaunch. The new pages have less user customisation, including the removal of CSS coding, but hopes to create a more visitor-friendly interface by doing so. No longer competing with Facebook, which has dominated the market for the last two years, MySpace are hoping to remain a complimentary website with a focus on videos and music. The website currently claims to have between 125 and 130 million unique visitors a month (Facebook boasts 500 million) but owners News Corp haven’t released financial information, fuelling speculation that the website is draining its financial reserves and that News Corp are looking to sell. According to web analytics firm comScore, the number of unique worldwide visitors has dropped each month since March. In The Front Line’s experience, the new layout has been quicker to load but certain sections – such as pictures – are cluttered and slow. The beta version is currently available and will be available to all users this month.

NO VIBE FOR CLUB SHOWS

Indie/dance festival Good Vibrations has announced there will be no sideshows for their upcoming event, which boasts a line-up including Faithless, Phoenix, Nas, Cee-Lo Green, Miike Snow and more. Festival Director Jane English told The Front Line, “It’s Jam Music’s preference not to stage sideshows. We prefer to keep the international artists exclusive to Good Vibrations Festival. We are not typical promoters, we are part of the Merivale hospitality group, so in Good Vibrations Festival we create a magic place to see these artists perform… Rarely, an artist insists on a sideshow during the Good Vibrations Festival tour period – if they do it’s generally to generate some extra income or to be a headliner. This hasn’t happened this year.” English alluded to the fact that there may be impromptu performances during the festival’s touring period, but they will be at the will of the artists.

INSTRUMENTS DOWN

Legendary Jamaican reggae musician Gregory Isaacs died of lung cancer 25 October after a 40-year career. His prominence and vocal ability earned him the monikers Cool Ruler and Lonely Lover.

ANOTHER LABEL TEN

Remote Control records are branding 20 of their upcoming tours – including The National, Deerhunter, Fucked Up and Gotan Project – as a celebration of their tenth anniversary, which they celebrate this summer.

NEW TALENT SCORES NEW ARIAS

In line with the ARIA Awards’s new week-long format this year, the first genre awards have been announced. The inaugural Award for Best Hard Rock/Heavy Metal Album went to Parkway Drive for Deep Blue on Monday, while Best World Music Album was picked up by Djan Djan for their self-titled effort and Sound Relief, the DVD documenting the fundraising concerts for Victoria’s bushfire appeal, was named Best Music DVD on the same night. On Tuesday Dan Sultan picked up his first – and maybe not his last – ARIA for 2010 in the Best Blues And Roots Album category thanks to his record Get Out While You Can, The Wiggles’ Let’s Eat was named Best Children’s Album and Before Too Long: Triple J’s Tribute To Paul Kelly the Best Original Soundtrack/Cast/Show Album. In other news, Sultan and Guy Sebastian have been announced as further performers for Sunday’s main awards event. Organisers have also announced additional presenters Phil Jamieson, Operator Please, Ricki Lee, Stan Walker, Clare Bowditch, Tim Rogers, politician Bob Katter, The Chaser’s Andrew Taylor and Julian Morrow amongst others.

KINGS RULE CHART Kings Of Leon have retained their spot on the top of the ARIA charts for the second week running after debuting at the top spot with 26,462 sales – a substantial increase from the mere 3,600 copies that English screamo metal outfit Bring Me The Horizon controversially scored top spot with the week before. The two highest debuts were Triple J’s Like A Version 6 compilation of covers in second and Rod Stewart’s fifth Great American Songbook release. Billy Thorpe returns to the charts posthumously with Tangier debuting at 14, which was finished off by local musicians and friends, as does Goeffrey Gurrumul Yunipingu thanks to ABC’s Australian Story feature on the Indigenous singer/songwriter. His album Gurrumul jumped back into the charts at 19 in anticipation of his new album (completed and due early 2011 The Front Line’s told) and in sympathy for his mysterious and previously unknown illness outlined in the program.

SCOPE OUT THE YOUNG Gyroscope have been added to the line-up for the next JD Set event. With an emerging band to be added to the line-up yet, The Living End will be the headliners for the Sunday 28 November Western Australian event.

WE LOVE SOUNDS’ UNPAID DEBTS Dance festival promoters We Love Sounds went into liquidation last week, the decision made following losses on their most recent tour, which was headlined by Underworld and Tiga. A causality of a crowded festival market, the administration and liquidation processes are being handled by BRI Ferrier and the creditors list which The Front Line obtained has $434,554.80 worth of projected claims. Including almost $85,000 to the Taxation Office and sums of over $50,000 to members of the administration, magazines 3D World, Fairfax (publishers of The Sydney Morning Herald), The Brag and Vice are owned thousands each. Founder Ben Korbel did not want to comment on the matter.

PBS OPEN DAY Local Collingwood-located radio station PBS 106.7FM is holding an open day Saturday 13 November from 12pm – 3pm, allowing the public to get an insight into how the operation works, how to get involved or how to get airtime. The station is also looking for a new Sponsorship and Promotions Manager, a senior leadership role. Email hr@pbsfm.org.au for more information and criteria.

INPRESS WANTS YOU! Inpress is currently seeking editorial interns. If you’ve got a flair for writing and are passionate about music, you could be just the person we’re looking for. If you’re interested in working for Australia’s largest street press network, send your CV and a 200-word review of a new-release album or recent gig you attended to shane@inpress.com.au. Please note this is an unpaid position, but there is plenty of opportunity for advancement (and the chance to get your hands of loads of great music).

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SXSW SUPPORTER IN BRIBERY CLOUD Federal trade agency Austrade, which represents Australia at the South by Southwest Festival, may have breached anti-bribery laws a report in Melbourne’s The Age claims. It is alleged that the government agency helped organise benefits for foreign officials in an effort to win contracts for Securency, the Reserve Bank’s polymer banknote manufacturer. The Australian Federal Police declined to comment.

SYDNEY’S HALL OF FAME A “SUCCESS” After moving from Melbourne to Sydney and the Hordern Pavilion, the ARIA Hall Of Fame awards were described as a “success” by event producer Mark Pope to The Front Line. Disguised as an intimate hall from its woolshed origins, the venue proved suitable to the event, which was attended by major players from all aspects of the industry. Highlights included John Williamson’s induction and performance, Tina Arena’s speech and performance to honour “adopted father” John Paul Young and Steve Kilbey’s enigmatic speech and The Church’s orchestra-aided rendition of Under The Milky Way. Short Stack looked out of place in their homage to Johnny Young and Washington’s version of The Church’s Unguarded Moment was uninspired, the young starlet inexplicably walking out of the room during their Under The Milky Way performance whilst the rest of the room were transfixed.

BLUESFEST CROWNED THE BEST The Australian Event Awards have crowned Bluesfest as the Australian Event Of The year for the 2009/2010 period. The festival beat out various sporting, tourism, charity and corporate events for the title and also won the Best Cultural Or Arts Event over the Biennale of Sydney and WOMADelaide. “You think you’re going to get judged on a sales basis,” says Festival Director Peter Noble on the competition of events like the Australian Tennis Open, “therefore how do we compete? For people to go, ‘Your event has contributed this much to the music industry and to arts and culture in Australia and we’re giving it to you,’ I’m like, ‘Pinch me, this is not fucking real’.” With the festival’s first announcement due this week, Noble believes it’s the best first announcement they’ve ever had and equal to anything else offered in the country, “They may not be the biggest drawing artists in the world, but it’s how it brands you’re event.”

ST KILDA GETS NEEDED FUNDS The St Kilda Festival has had its financial worries eased thanks to a one-off grant of $100,000 from the Victorian State Government to ensure the event goes ahead in 2011. Outgoing Minister For The Arts Peter bachelor said at the announcement, “time was running out for the festival to secure a new major sponsor ahead of next year’s event and we did not want to risk the festival being cancelled.” Got news? Announcements? Gossip? Unsubstantiated but hilarious rumours? Send them all to frontline@streetpress.com.au.

THE

FRONTLINE

ON THE

MO ENVY

“It’s a soft boomerang of love, and no little porcupine brush can compete with a soft boomerang of love, baby.” JESSE HUGHES, Eagles Of Death Metal’s frontman and international ambassador for MOVEMBER, tells BRYGET CHRISFIELD that his ultimate man accessory is incomparable. “I was 16 when I was first able to grow a full moustache,” the indisputable King Of The ‘Tache, Eagles Of Death Metal leader and international ambassador for Movember, Jesse Hughes, shares, “but I didn’t really do it yet, because, you have to understand, my whole life in rock’n’roll has been like a werewolf, I just didn’t see my first full moon ‘til I was 30. And so I woke up one day – when I was about 31 years old – and I had a moustache, a pair of leather boots, a pair of leather gloves and a cape, and I don’t know where they came from. And then, bingo! I was the business.” Instant rock star, just add water. “That’s right, or speed.” Or Jack Daniel’s? “You know what? I have never been a drinker, because I feel like there’s a lot of work for a shitty high and the next morning you wake up and you’ve got substances in your moustache that are foreign and unknown.” Hughes has been Movember’s international ambassador “for almost a year now, it’s kinda like I was an ambassador in the making for my whole life,” he tells. “A moustache is an attitude. What a moustache should be saying, if it’s cultivated right, is, ‘I’m probably regularly getting my hands dirty doing something tough, I’ve shot a firearm before, I’ve been in a fight and I’ve never ridden a bicycle with a helmet’… I mean, I think when someone sees a freaky moustache and tattoos like mine, they could think, ‘This guy is going to attempt to be a rapist,’ or, ‘This guy’s gonna shiver my timbers in the best possible way’.” Although there is no doubt Hughes has been literally groomed to rep Movember, his motivations for getting involved run way deeper. “My father died of cancer, my grandmother, Natasha Shneider and now our bass player [Brian O’Connor] has been stricken with the disease.” As soon as O’Connor was diagnosed, the bassist’s extended band family sprang into action organising fundraising events to help raise money for his medical care fund: Them Crooked Vultures, Queens Of The Stone Age and Eagles Of Death Metal – with Dean Fertita (QOTSA/The Dead Weather) temporarily filling in on bass – all donating their services. “We’re in a constant state of fundraising,”

action. And then I realised something: for the generation of women that I’m dealing with, it’s to my advantage if I look like every one of them’s dad when they were just about three years old. It’s called the paging Doctor Freud.”

Hughes admits. “Brian’s got friends who care about him.” Once Hughes is on a roll, his passion for everything that Movember stands for is palpable. “What’s so truly sincere and legitimate and valid about Movember is that the organisation is genuine and not just like some bullshit charity cause for celebrities or entertainers to associate themselves with and look cool,” he opines. “Things like Movember, they don’t just drum up awareness for a particular problem, they drum it up within a context of concern... There’s no problem about checking out your health. I mean, what’s the worst thing that can happen? You could get better? And sometimes, you know, the fight is worth more than the outcome. My grandpa used to tell me, ‘I’m stupid. I’m willing to lose even if I know I’m gonna lose. I’m willing to take up a fight because sometimes the fight is the best example for everyone else to follow’.” And, of course, grandpa Hughes rocked an exemplary nose neighbour. “My grandfather had a classic, 1850s-style, hillbilly, Southern gentleman handlebar, it was beautiful, girl! My grandfather was black Irish and he didn’t have a fucking stitch of grey hair until the day he died, it was always jet-black. I have really goodlooking family members, that’s why it’s so difficult for me because I had to rely so much on voodoo magic to get any

So how does Hughes feel about the sheer volume of males wandering the streets with upper lip adornments during the month of Movember? Does he worry about standing out less? “Oh, no, no, no, darling,” he stresses. “Arnold Schwarzenegger was never happier than when everyone was lifting weights, because now everyone can really see how amazing a Mister Universe he was. If everyone grows a moustache, then they’ll have to try and compare it to mine. And honey, come on, please! As if there is any sort of comparison that can happen. It’s a soft boomerang of love, and no little porcupine brush can compete with a soft boomerang of love, baby.” Surprisingly, Hughes is yet to immortalise his soup strainer in song. “I somehow put a couple of hairs from my moustache in every song if you think about it, because, what I’m saying is: a moustache is an attitude. In my thinking, it’s almost symbolic of something. The word ‘metro’ has nothing to do with me.” Does he shed moustache hairs wherever he goes? “No, these are a precious commodity, baby,” he laughs. “The genetic threads alone from a single hair of my moustache would be unthinkable.” After pausing to ponder what sort of price these precious items would fetch on eBay, Hughes concludes, “I think it would have to go straight to Christie’s.” As international ambassador for Movember, is Hughes required to shave off his mo’ to start afresh on 1 November? “Hell no, girl,” he insists, “that just means I grow a second one on someone else’s face.” And, finally, what’s the going rate for a moustache ride? “Well that is an interesting thing, isn’t it?” Hughes muses. “Just through this last week, somebody’s family cow, and then I took a bag of beans for another moustache ride. But it’s normally their first-born child, like Rumpelstiltskin.” Head to au.movember.com for more info.

STEREO Rat A Tat Tat JASON COLLETT Anthology RAOUL MCLAY Down There AVEY TARE Everything In Between NO AGE Golden Sea OUR BROKEN GARDEN To Dreamers KELLEY STOLTZ Artefacts Of Australian Experimental Music Volume II 1974-1983 VARIOUS ARTISTS Cast The Demons Out JONNEINE ZAPATA Younger & Immature MUSCLES Sleep Forever CROCODILES

3RRR SOUNDSCAPE Mystery Twin MYSTERY TWIN On My Mind FABIENNE DELSON Sexuality Remix SEBASTIAN TELLIER Damaged/Controlled GB3/STEVE KILBEY Down There AVEY TARE And The Pioneer Saboteurs MICAH P HINSON Lara Versus The Savage Pack MIDNIGHT JUGGERNAUTS Greenland GRÜN Packs A Wallop THAT 1 GUY Various Small Fires PARIS WELLS

3PBS TIPSHEET Packs A Wallop THAT 1 GUY On My Mind FABIENNE DELSOL Pickin’ Up The Pieces FITZ AND THE TANTRUMS Everything In Between NO AGE Virginity BLEEDING KNEES CLUB Damaged/Controlled GB3 To Dreamers KELLEY STOLTZ Sleep Forever CROCODILES Sex With An X THE VASELINES Nightlife 5 ANDY C

www.joshowen.com.au

FRI NOV 5: Hillz Bar, Montrose, 8pm

(Solo)

SUN NOV 7: Cornish Arms, Brunswick 3pm (Solo)

MON 8, 15, 22, 29 NOV: Espy Front Bar, 9pm (band)

FRI NOV 12: Coburg Night Markets, Coburg (Band) More info at www.facebook.com/joshowenband

Studio album The Long Way in stores & iTunes now 19

FOREWORD LINE

NEWS FROM THE FRONT

YOUR NEW FAV BAND

Les Savy Fav’s unique approach to songwriting, not to mention the spastic and often unpredictable live performances of vocalist Tim Harrington, is pure art school – emerging from the Rhode Island School Of Design in 1996, the band sit easily alongside such hard rocking 1990s acts as the Jesus Lizard, Brainiac, Six Finger Satellite and Jawbox. In 2006, Australian audiences witnessed the live power of Les Savy Fav when the band visited for that year’s Laneway Festival, plus being part of the Popfrenzy Two-Timing tour with The Hold Steady and Thunderbirds Are Now! Returning next year to play the sold-out Laneway Festival, Les Savy Fav play their own show at Billboard on Tuesday 8 February. Tickets are on sale now from Moshtix.

T EN S E PR

BODY ROCK WEDNESDAY 3 NOVEMBER

RESIDENCY

SEABELLIES TANTRUMS THE GOOD CHINA ENTRY $10, 8.30PM

THURSDAY 4 NOVEMBER

JOY FM – LITTLE FISH

THE BOX ROCKETS THE VAUDEVILLE SMASH KREMLIN SUCCESSION FALLOW DANIEL CHAMPAGNE ENTRY $10, 7.30PM

Following the overwhelming response to their sold-out Adelaide date, Embodiment 12:14 are playing a one-off reunion show in Melbourne on Saturday 13 November at Bang at the Royal Melbourne Hotel. Supporting are Samsara and At Dark. It will be an extremely rare chance to see one of the most infamous bands to exist in Australian heavy music, exclusively playing their older material.

GET READY TO RUMBLE

Having already conquered his homeland of New Zealand with four hit singles and a number one, gold debut album in The Experiment, Dane Rumble has his sights firmly set on Australia. His debut single, Always Be Here, was the sixth most-added track to Australian radio in the week of release, securing major national airplay across the country, while his follow-up single, Don’t Know What To Do, will hit Aussie radio soon. Rumble’s Melbourne assault begins on Friday 19 November when he plays Revolver.

GOOD GIRLS

ENTRY $15 DOOR, $10 PRESALE THRU MOSHTIX, 8.30PM

Former Oz Idol runner-up/star-in-her-own-right Jessica Mauboy releases her new album, Get ‘Em Girls, this Friday. The record is home to the title track, featuring an appearance from Snoop Dogg, and Saturday Night, with Ludacris guesting, as well as contributions from Iyaz and Jay Sean. To celebrate its release, Mauboy will be performing and signing copies of the album at Highpoint Shopping Centre at 6pm this Friday.

SATURDAY 6 NOVEMBER

Frente

FRIDAY 5 NOVEMBER

RINCON QUIET CHILD (SA) AMIRALA THE CHARGE

OWN KIND BREAKING ORBIT I AM DUCK EYE PHANTOM ALICE

ENTRY $12 DOOR, $10 PRESALE THROUGH MOSHTIX, 8.30PM

E ES

MATINEE RESIDENCY

HUSKY KISSHEAD SIB

ENTRY $6, 4PM

YOU AND YOUR MUSIC A DJ CALLED MATT ENTRY BY DONATION, 9PM

TUESDAY 9 NOVEMBER

RESIDENCY

CHANGING FALLS SPECIAL GUESTS DJ MAMMAL VS REPTILES

Perth’s Gyroscope have been added to the line-up of the next JD Set gig, headlined by The Living End, set to take place at Hotel Rottnest on Rottnest Island on Sunday 28 November. The JD Set aims to give up-and-coming Australian acts the chance to play on bills alongside established artists. Acts in the running to score the support slot include Fare Evader, Good Little Fox, The Moderns, The Owls, The Scotch Of St James and The Snowdroppers. To vote for your choice head to thejdset.com.au. By voting punters will automatically go into the draw for a chance to score an access all areas gig experience for two, including flights, hotel accommodation, VIP tickets and a meet and greet with The Living End.

The glory days of iconic Melbourne venue the Punters Club will be celebrated over two huge gigs at the Corner Hotel later this month. The shows, curated by rock writer Mary Mihelakos, musician Angie Hart and former A&R man Craig Kamber, will raise money for the Leukaemia Foundation, the Dean Turner Trust and the Linda Gebar Daughters Trust. Acts performing on Saturday 27 November are Spiderbait, Hoss, Little Ugly Girls, Guttersnipes, Kim Salmon, Tirany, Spencer P Jones and more, while a Sunday 28 matinee show at the same venue hosts Frente, The Fauves, The Hollowmen, Kirsty Stegwazi, Died Pretty’s Ron Peno, The Glory Box and more. All artists will be performing material they would have played during the pub’s reign in the ’90s.

With a long overdue ARIA Hall Of Fame trophy planted firmly on the shelf, iconic Melbourne outfit Models can now get on with the task at hand: playing live. Rather than just trot out the standard greatest hits show though, Models have decided to perform their second and most compelling album, Local &/Or General, in its entirety, in the Prince Bandroom on Friday 25 February. Released in 1981, Local &/Or General would prove to be the link between the earlier Models (I Owe You Nothing, Happy Birthday IBM ) and the top ten chart hits (Barbados, Out Of Mind, Out Of Sight) to come. For this get together, Local &/Or General recording alumni Sean Kelly, Andrew Duffield and Mark Ferrie will be joined by latter-day Models drummer Barton Price in what the band firmly believe to be the definitive Models line-up. Along for the ride is Dave Mason, the former frontman for ‘80s pop eccentrics The Reels. Never one to stick to convention, Mason will re-imagine The Reels’ 1981 magnum-opus Quasimodo’s Dream in duo mode playing alongside a pianist. The show is the first initiative of Know Your Product, an essential album series presented by Feel Presents, the Australian partners in the Don’t Look Back series. More summer Know Your Product shows will be announced shortly. Tickets go on sale Thursday 17 February from feelpresents.com, the Prince public bar and Polyester and Greville Records.

GYROSCOPE GET SET

$5, 8PM

EL MOTH & THE TURBO RADS

Darkest Hour are returning to Australia for the first time since 2006 to remind local audiences why they’re one of the most revered metal bands of recent history. Since their inception in 1995, Darkest Hour have produced some of the most important music of their genre including 2000’s Mark Of Judas and 2005’s Undoing Ruin. Last year the band released The Eternal Return, and they are currently in the studio recording their seventh full-length for a February 2011 release. With Californian death metallers Carnifex in tow, they play the Hi-Fi on Friday 7 January. Tickets go on sale 9am Friday 12 November from thehifi.com.au, Oztix and Greville and Polyester Records.

TAKE A PUNT

RESIDENCY

HOUR OF POWER

EVENING SHOW

MONDAY 8 NOVEMBER

In early 2009, Warpaint’s self-funded debut EP, Exquisite Corpse, was released to critical acclaim. Mixed by John Frusciante (Red Hot Chili Peppers), the EP successfully captured the band’s sonic textures, intricate guitar lines, hypnotic vocals and driving post-punk rhythms. Full of gorgeous, sprawling songs that skirt the line between psychedelia and intimacy, the EP was the perfect precursor to their debut album. The Fool, released last week, weaves between psychedelic jams and hazy moments. The four-piece play the sold-out Laneway Festival, and perform at the Northcote Social Club on Thursday 10 February. Tickets are on sale now.

SUPER MODELS

SUNDAY 7 NOVEMBER

SOUL POWER

FOOL’S GOLD

BARON LAND The Barons Of Tang are promising one helluva knees-up as they prepare to launch their new EP, Knots And Tangles, at the East Brunswick Club this Friday. The seven-or-more-piece gypsy punks have enlisted manic rag-timers Flap!, ballistic gypsys The Woohoo Revue and the dark and twisted cabaret of Mr Fibby to help celebrate the release of their latest batch of tunes. Doors open at 8pm, entry is $15.

ENTRY $5, 8PM

COMING UP:

CHANGING FALLS (TUES IN OCT) HUSKY (SUNDAYS IN NOV) EL MOTH & THE TURBO RADS (MON IN NOV) CHANGING FALLS (TUES IN NOV) SEABELLIES (WED IN NOV) JOY FM FUNDRAISER: LITTLE FISH (4 NOV) RINCON (5 NOV) OWN KIND, BREAKING ORBIT (6 NOV) ALEKS & THE RAMPS (10 NOV) FAMILY OF STRANGERS (12 NOV) ART OF WOR (13 NOV) KUMAR SHOME (18 NOV) THE MISSION IN MOTION, VALENCIA (19 NOV) LAN PARTY (ALBUM LAUNCH)(20 NOV) THE COMMUNISTS (25 NOV) SADHANA (SINGLE LAUNCH) (26 NOV)

$2 CARLTON POTS EVERY MONDAY FRI 5TH NOV

BREASFEST 2010 FRI 26TH NOV

RAT VS POSSUM SAT 11TH DEC

ISHU “A WORLD IN PROGRESS” ALBUM LAUNCH

WED 3RD NOVEMBER

UN MAGAZINE LAUNCH

LOST ANIMAL

FRI 5TH NOVEMBER

FROM THE METEOR + ZENITH BREAST FEST 2010 MAN + THE PUBLICAN + THE STAR EXPRESS DJS

FRI NIGHT FRONT-BAR DJS

TWO BRIGHT LAKES DJS SIMON WINKLER SAT FRONT-BAR DJS

RAINBOW CONNECTION

DJS

SAT 6TH NOVEMBER

THE BOOK OF SHIPS (EP LAUNCH)

+ CITY CALM DOWN

SUN 7TH NOVEMBER

SUPERNATURALIST – HOMAGE TO DAVID ATTENBOROUGH

EASTERN GREY + TOWELS + SHEAHAN DRIVE +MATTHEW BROWN

NICCI@GETNOTORIOUS.COM

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FRI 12TH NOV TO SUN 14TH NOV

WORKERS CLUB FIRST BIRTHDAY BASH!

CATE@GETNOTORIOUS.COM

FOREWORD LINE

NEWS FROM THE FRONT

PREACHING TO THE CHOIR

Pub rockers band Choirboys make their return this summer with their 30th Anniversary – Never Gonna Die Tour. With a career spanning 30 years, Choirboys will crank out hits including Boys Will Be Boys, Struggle Town, Never Gonna Die, and commercial radio anthem Run To Paradise. The band are heading out on the road with their original line-up of Mark Gable, Ian Hulmes, Brett Williams and Lindsay Tebbutt, in support of Never Gonna Die: The Very Best Of. Choirboys play the Palms at Crown on Saturday 29 January.

T EN S E PR

NEW WORLD

UK-based world music supergroup Afro Celt Sound System will play the Hi-Fi on Wednesday 16 March. The group, in Australia to play next year’s Womadelaide festival, blend West African rhythms, Irish melodies, Indian bhangra, Arabic influences, dub, reggae and more. Their seven albums have featured cross-cultural contributions from a range of diverse artists including Robert Plant, Sinead O’Connor, Peter Gabriel, Johnny Kalsi (of the Dhol Foundation, Transglobal Underground), Emer Mayock, N’Faly Kouyate, Davy Spillane and Liam O’Flynn.

LIDDIARD SELLS OUT

As the winning reviews for his solo debut album Strange Tourist keep rolling in, we can confirm that Gareth Liddiard’s first album launch show at the Thornbury Theatre this Friday is sold out. Tickets to the second show at the same venue, this Saturday, are selling fast. Supporting The Drones frontman on Friday are Sailor Days, while The Ukeladies fill warm-up duties on Saturday.

ALL ABOARD

Grammy Award-winning US rockers Train return to Australia in January in support of their latest album, Save Me San Francisco. As well as performing at A Day On The Green at Rochford Wines on Sunday 6 February alongside INXS and Baby Animals, the band also play the Forum on Monday 7 February with Ryan Meeking in support. Save Me San Francisco includes the hit Hey, Soul Sister, which sat at number one on the ARIA charts for four weeks and topped charts in 16 other countries. Tickets to the Forum show go on sale 9am Monday. Frontier members can buy tickets from 2pm this Thursday.

S RE

HAIR WE GO As far as chance meetings go, the one that took place between Japanese art students Kazu Makino and Italian twin brothers Simone and Amedeo Pace in 1993 in a New York City Italian restaurant was particularly fortuitous. The result was a rather cosmopolitan rock band called Blonde Redhead, a name they grabbed from New York No Wavers DNA. In 1993, Blonde Redhead caught the attention of Sonic Youth drummer Steve Shelley, who eventually produced Blonde Redhead’s self-titled debut album. Although they are often compared to Sonic Youth, and although there are many good reasons for the comparison, nowhere else will you hear anything quite like the midnight hurricane of Blonde Redhead’s swirling, sharp-edged guitars, insistent upper-register keyboards, and tempestuous drumming. Though their ever-evolving sound often includes odd harmonies, pulsating funk rhythms and punk music, the band have become admired most for their ability to create direct-hitting, rather than avantgarde, sound. With new album Penny Sparkle in stores now, Blonde Redhead play the sold-out Laneway Festival and Billboard on Monday 7 February. Tickets for the Billboard show go on sale today (Wednesday) from Moshtix.

SIMPLY RED

After announcing a Laneway sideshow in Sydney last week, Melbourne Stornoway fans can rejoice with the news the band will perform at the Corner Hotel on Thursday 10 February. Blowing in from Oxford, UK, Stornoway are a bunch of songsmiths, scientists and men of the earth. The band’s debut album, Beachcomber’s Windowsill, led by critically acclaimed first single Zorbing, is a labour of love of extraordinary beauty that is by turns fiery, wistful and exuberant. Their charming brand of pastoral pop has won them fans across the globe, and Australian audiences finally get the chance to witness their blissful, timeless balladry in February. Tickets are on sale now from handsometours.com, the Corner box office and Polyester Records.

Currently winding up their nationwide tour with The Holidays, Papa Vs Pretty are riding a wave of Triple J airplay, had to turn away punters at their sold-out Sydney Heavy Harm EP launch and have recently clocked up a string of local and international support slots with the likes of Silversun Pickups and Surfer Blood. The Sydneybased three-piece are about to hit the road again for their own headline dates, and will see out the year with an appearance at the Pyramid Rock Festival. They play the East Brunswick Club on Wednesday 1 December with Stonefield and Fuzz Phantoms, and support Hot Hot Heat at the Corner on Monday 3 January.

BOIL OVER

STORN WARNING

PRETTY BOYS

Redcoats are a blend of vintage sounds infused with the untamed riffs of desert rock. Long-term friends Emilio, Rhys and Andrew formed Redcoats to pursue their love of raucous rock. The band’s line-up was completed early last year, when guitarist Neil Wilkinson joined the band. With the band’s songwriting chemistry complete, Redcoats quickly started experimenting and developing their signature sound. Midway through 2009, they worked with Rob Long and Lindsay Gravina at Birdland Studios to document some of their tunes, and they successfully launched said tunes late last year. Redcoats bring their finely-tuned live show to the Espy basement every Thursday in November – entry is free.

Whispers of Hot Water Music’s return began in April, when singer Chuck Ragan brought his Revival tour to Australia and started dropping hints. The re-formed punks are heading our way in December with New Jersey’s Bouncing Souls; the bands have already sold out one Corner Hotel show on Saturday 4 December – a second has now been announced, set to take place the following night at the same venue.

HEAVEN SENT Brooklyn’s Bear In Heaven and The Antlers will co-headline a show at the Corner Hotel on Wednesday 9 February as part of their first trip to Australia. Having both released universally acclaimed albums in 2009, the pairing of these two breakthrough bands is set to be one of the hottest shows of the summer. The groups have much more in common than one might think, as they both have in their own way created albums layered with varying soundscapes of sonic and lyrical levels. Their latest releases have both received huge critical acclaim and have caused whirlwinds of buzz in the blog world, with Bear In Heaven’s Beast Rest Forth Mouth and The Antlers’ Hospice earning Pitchfork’s Best New Music tag in 2009. Tickets are on sale now from the Corner box office. Both bands are also performing at the sold-out Laneway Festival.

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FOREWORD LINE

NEWS FROM THE FRONT

Bag Raiders

SECOND GOTAN SHOW

Tim & Jean

It didn’t take long for Gotan Project to sell out their Melbourne date on their upcoming Tango 3.0 Australian tour. With no tickets at all left for the Wednesday 8 December performance at the Forum, the group have announced a second show to take place at the same venue on Thursday 9 December. Tickets are on sale now from Ticketmaster. The group – Paris-based musicians Philippe Cohen Solal and Christoph H Müller and Argentinean acoustic guitarist Eduardo Makaroff – offer an arresting celebration of tango combined with downbeat ambient electronica, with guest musicians and a striking video backdrop by multimedia artist Prisca Lobjoy.

BIG BEATZ

Ciara is the latest artist to be added to the line-up of this year’s Summerbeatz festival, taking over Rod Laver Arena on Thursday 25 November. She joins a bill that includes Flo Rida, Jay Sean, Soulja Boy, Travie McCoy, Stan Walker and DJ Nino Brown. Akon has been added in other cities, but not Melbourne. A statement from the promoter read: “It’s with great regret that we announce that Akon will not be performing in Melbourne on the Summerbeatz 2010 Tour. This is due to restrictions put on us by the Melbourne venue Rod Laver Arena. We have toured Akon in Australia many times before and we are extremely disappointed that Melbourne misses out on seeing such an amazing and popular performer, however, this situation is completely out of our hands. We look forward to Akon performing in Sydney, Brisbane and Perth.” Doors open at 6pm; tickets are on sale now from Ticketek. Primus

FREE MUSIC DOWNLOADS! With this weekend’s weather looking much better than last week’s, we’ve got our hands on a couple of summery, beat-driven tunes for you to download for absolutely nothin’. Simply head to universalmusic.net.au/freedownloads/streetpressaustralia and get downloading. Way Back Home Harvard Bass Remix BAG RAIDERS A collection of thoughts, ideas and memories, Bag Raiders transcend typical dance and pop boundaries, showcasing the creativity of a band at the forefront of modern production. Bag Raiders’ debut self-titled album adds a new dimension in the cluttered and diluted dance world. The first taste of the record is Way Back Home. This swirling, anthemic affair is a dancefloor call to arms (or hands in the air), with a beautifully moody performance by Martin Soloman from Sydney band Wim, who broods his way through a poignant display of affection, percussion and ecstasy. Everywhere TIM & JEAN Tim & Jean are a fresh electro pop indie duo from Perth, Western Australia. Discovered by Triple J Unearthed, the band have received extensive airplay on the network with their demo Come Around and latest single Veronica. With connotations of a Passion Pit party in celebration of MGMT’s Oracular Spectacular, check out Tim & Jean weaving their magic on a cover of Fleetwood Mac’s Everywhere. Tim & Jean’s debut album is set for release in February 2011.

IN WITH FLYNN

IN THEIR PRIME One of the hottest double bills of 2011 hits the Palais on Thursday 3 March as Primus and Melvins join forces to play an all-ages sideshow of the sold-out Soundwave festival. Primus’s modus operandi is clear: twisted bass/drum grooves, insane ringmaster vocals with cartoonish lyrics, and cutting, off-thewall guitar riffs. Fronted by the inimitable Les Claypool, considered one of the most versatile and unique bass players alive, Primus offer up a zany and eclectic style of music all their own, throwing in a healthy amount of the bizarre for good measure. While other underground bands in the mid-’80s tried to be faster than Black Flag, more controversial than Dead Kennedys and louder than Sonic Youth, the Melvins laid down the blueprint that Nirvana, Tool and Soundgarden would draw from, sealing their undeniable legacy. More than 25 years later, the Melvins are continuing to drool their dysfunctional breed of distorted grooves and thudding dynamics. Tickets are on sale now from Ticketmaster.

Following the announcement that the 2011 Laneway Festival has sold out, Portland heroes Menomena have released details of a Melbourne sideshow. Heading to Australia for the first time in their four-album career, the band will air tracks from their exceptional new record Mines. Their previous effort, the near-classic Friend And Foe, was much adored in indie circles, but Mines takes things to another level. Rolling piano lines, dirty guitar sounds and inventive percussion meld with sometimes stressed, sometimes delicate and sometimes soaring vocals. It’s an achievement made all the more impressive by the fact it was composed largely over email. Menomena play the East Brunswick Club on Wednesday 9 February. Tickets go on sale Friday from eastbrunswickclub.com.

KING SIZE BILL The Soundwave sideshow love keeps coming with a huge triple-bill assembled for those too young to vote. From Bradenton, Florida, We The Kings are one of the most engaging and exciting young acts around. Their latest album, Smile Kid, boasts bouncy riffs and killer hooks, but it’s with their live show that the band really come into their own. Whimsical and poetic, NeverShoutNever’s Christofer Drew crafts irresistibly optimistic songs, as evidenced on most recent album What Is Love?. The Maine have it all: the endearing vocals, a hint of electric punk and catchy hooks. With next year’s Soundwave festival sold out, the three bands are joining forces for an under-18s show at Billboard on Thursday 3 March. Tickets go on sale 9am this Thursday from Ticketek.

EVERY FRIDAY

EVERY SATURDAY LATE

EVERY SUNDAY FROM 4PM

SWING PATROL

LOVE STORY

POPROCKS

w/ Dr Phil Smith

THE SUNDAY SET

Classes at 6.30pm, 7.30pm and 8.30pm Social dancing 9.30pm Tickets $15 on door / $22 for 2 classes

and guests

No brainers and guilty pleasures!

THE HOUSE DE FROST

FREE ENTRY - From 11.30pm

FREE ENTRY - From 9pm

FREE ENTRY - From 12 Midnight

with 1928 (STROBE)

w/ AndyBlack & Haggis

w/ Andee Frost

This weeks theme: NIGHT & DAY FREE ENTRY - In the Carriage

WED 3 NOVEMBER

THURS 4 NOVEMBER

SAT 6 NOVEMBR

SUN 7 NOVEMBER

THE TOFF and SWINEVENTS presents

THE WEEKEND PEOPLE

KATE VIGO

NICK BATTERHAM

ALBUM LAUNCH with MACHINE TRANSLATIONS

EP LAUNCH with BRIANNA CARPENTER

Tickets $12+BF

Tickets $20the w/door CD + BF or $13 on door Tickets $10 $15 /on

Tickets $17+BF / $20 on the door

TUES 9 NOVEMBER

WED 10 NOVEMBER

1 + 2: RMIT MEDIA ARTS STUDENTS

OUT SET: RMIT SOUND ALBARE TRAVEL DIARY GRADUATES 2010

ANNUAL SHOWCASE

RECENT GRADUATES OF THE RMIT SOUND COURSE

ALBUM LAUNCH with TRACY BARTRAM PLUS JAZZ

Tickets $5 $15on onthe thedoor door

Tickets $19 + BF / $25 on door

FREE ENTRY

All presale tickets available through MOSHTIX: Phone: 1300 GET TIX (438 849) on-line: www.moshtix.com.au, or at all Moshtix outlets, including Polyester (Fitzroy & City)

GREAT MINES

EVERY THURSDAY LATE

MELBOURNE SONGWRITERS COMPETITION 5pm til 3am on weeknights and 5am on the weekend

We The Kings

EVERY MONDAY

Swing dancing classes

Thai dinner & supper

Bobby Flynn previews songs from his upcoming second album, and unveils his new band, at the Northcote Social Club on Wednesday 1 December. TZU’s Pip Norman, who has recently produced recordings for the likes of Urthboy, Sparkadia and Ash Grunwald, has been working with Flynn on new material. About to head into the studio to lay down the tracks for album number two, Flynn is inviting fans to join him throughout the recording process via Pledge Music. Pledge Music is a new platform that combines social networking technology with old school music biz know-how, as punters help fund the final stages of recording. Fans sign up for an exclusive insider experience, including personal updates and video blogs, as they join Flynn in the studio. There is also a range of other perks depending on the level of support committed to, such as exclusive merchandise and private performances.

THURS 11 NOVEMBER

SUN 14 NOVEMBER

TUES 16 NOVEMBER

WED 17 NOVEMBER

DANDELION WINE and BRILLIG ADEL

MONIQUE DIMATTINA

SiB – "JEZABELLE”

DOUBLE CD LAUNCH

WELCOME STRANGER album launch

Tickets $15 on the door Tickets $10 + BF / $12 on door

Tickets $10 + BF / $15 on door

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ALBUM LAUNCH with BLACKCHORDS Tickets $15 on door The first 50 receive a free copy of the album

SAT 13 NOVEMBER

LISA MILLER with STEPHEN CUMMINGS Tickets $20 + BF / $25 on door

THURS 18 NOVEMBER AWME 2010 presents

VIDEO LAUNCH and DANCING HEALS

CUMBIA COSMONAUTS, TIJUANA CARTEL, BUSBY MAROU & DJ SIMON WINKLER (TRIPLE R)

Tickets $10 + BF / $12 on door

Tickets $10 + BF

FOREWORD LINE

NEWS FROM THE FRONT

THE WHEEL THING

Get your roller derby fix at Puckhandlers in Reservoir this Saturday as the Dead Ringer Rosies clash with the Dolls Au-Go-Go in the second last Victorian Roller Derby League bout of the season, Movember Madness. The Dolls have had a golden winning streak this season and remain undefeated, while the Rosies are yet to taste victory. Tickets are $10 for adults and only $5 for kids under 12. A booking fee applies in stores. Tickets are on sale now from victorianrollerderby.com, Poison City (Fitzroy) and Route 66 (Prahran). A portion of ticket sales will be donated to the Movember Foundation to help them continue raise funds and awareness for men’s health.

T EN S E PR

KEEP UP WITH JONES

Vince Jones, one of Australia’s leading jazz vocalists, interpreters, trumpet players and composers, has just released his first new album in six years. Over the past year, Jones and his band have increased their live performance schedule, signed to Vitamin Records and re-released his complete back catalogue online and in stores. The new record, Modern Folk, was recorded live on different stages around Australia – at the Basement in Sydney, the Woodford Folk Festival, the Stonnington Jazz Festival and the Byron Bay Entertainment Centre, as well as two live tracks recorded at 301. Jones launches the record at Bennetts Lane this Saturday and Sunday.

THE AXEMEN COMETH

Some of this country’s finest guitarists will descend on Williamstown on Saturday 19 and Sunday March 20, as Guitars Across The Bay (the Melbourne International Guitar Festival) takes over 82 Nelson Place, Williamstown. A huge range of genres will be covered as more than 40 acts, including the RocKwiz Orchestra, Geoff Achison, Ray Beadle, Simon Patterson, Jimi Hocking, Ross Hannaford, John Dallimore, Collard Greens & Gravy and Fiona Boyes perform. Guitar makers and distributors will be exhibiting, with workshops conducted by some of the performers. Younger visitors haven’t been forgotten with ukulele classes conducted by the Newport Folk & Fiddle Club. Weekend and single day tickers are on sale now from Moshtix. For more info head to guitarsacrossthebay.com. Pennywise

SEES WORTHY You remember Thee Oh Sees from last summer’s run of ear-shaking double-headliners with local punk messiahs Eddy Current Suppression Ring. They brought and wrought will-breaking choruses and the mythological, perennial American teenage summer to Australian crowds at the Meredith Music Festival and their triumphant pressurecooker secret show at the Empress. They ruled our December, and they’re returning for a victory lap. Since touring Help last summer, Thee Oh Sees have released two new full-length albums. Warm Slime is their latest, and it’s a cracker. It’s a low-fidelity garage masterpiece, a dizzying, heavy and dangerous affair. Playing in support of Warm Slime, and previewing material from their upcoming album, to be recorded in February, Thee Oh Sees perform at the National Hotel in Geelong on Sunday 9 January and the Tote on Wednesday 12 and Thursday 13 January. Tickets go on sale Friday – Oztix for the Geelong show and thetotehotel.com for Melbourne.

BRUNSWICK FEST NAMES FIRST ACTS

The 23rd annual Brunswick Music Festival, set to take place from Wednesday 16 until Sunday 27 March, has announced its first batch of international visitors. Heading the line-up are US rockabilly queen Rosie Flores, Grammy-winning bluegrass/old timey player Tim O’Brien, nu-folkers Crooked Still, Tony McManus (dubbed the best Celtic guitarist in the world), Irish folk troubadour Andy Irvine, Chilean artist Nano Stern with his Chilean band (for the first time in Australia), the New Orleans/West Africa collaboration Charles Neville & Yousoupha Sidibe with The Mystic Rhythms Band, English guitar wizard Martin Simpson and plenty more. The opening street party will take place on Sunday 6 March.

NO GOOD VIBES SIDESHOWS

WISE UP With a brash new chapter of the band’s story unfolding – original singer Jim Lindberg left the group last year, to be replaced by Ignite vocalist Zoli Teglas – Pennywise are returning to Australia next year for the sold-out Soundwave festival. With a new album planned for early-2011, the band play the Palace on Tuesday 1 March. Supporting are legendary Swedes Millencolin, celebrating the tenth anniversary of their classic album, Pennybridge Pioneers, by performing it from start to finish (with a heap of hits from their other records thrown in). Tickets are on sale now from Ticketek.

Promoters of the Good Vibrations Festival have stated that no acts performing at next year’s event, taking place at Flemington Racecourse on Sunday 13 February, will be playing sideshows. A statement read: “Jam Music confirms it will be staging no artist sideshows as part of the 2011 Good Vibrations Festival tour. Those wishing to party with a line-up that includes Faithless, Phoenix, Nas & Damian Marley, Sasha, Ludacris, Cee Lo Green, Kelis, Erykah Badu, Miike Snow, Friendly Fires, Fake Blood, Rusko, Sidney Samson, Janelle Monáe, Mike Posner, Yolanda Be Cool, Koolism, Tim & Jean, Kill The Noise and Fenech-Soler, will need to make a hasty visit to gvf.com.au to buy tickets. The only opportunity to catch these amazing acts anywhere in New South Wales, Victoria, Queensland or Western Australia will be at the festival shows… Next week the line-up is set to rocket even further off the Richter scale, as Jam Music gets set to announce the full local line-up for the 2011 Good Vibrations Festival. Hold tight and watch out!”

ON THE KASE Australian country queen Kasey Chambers’ most recent album, Little Bird, was recorded with an all-star band that included John Watson on drums, Jeff McCormack on bass and her husband Shane Nicholson, Jim Moginie (Midnight Oil) and Chambers’ dad Bill playing all manner of guitars and stringed instruments. The album also features Missy Higgins, Camille Te Nahu, Brooke Harvey, Andy Toombs, James Gillard, and American country singer Patty Griffin. Chambers is in the middle of an extensive tour celebrating the album’s launch – the roadshow rolls through Ballarat’s Regent Theatre this Thursday, Geelong’s GPAC this Friday and the Palais on Saturday.

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EMPIRE OF THE ARIAS Okay, so last year we didn’t see the Empire Of The Sun sweep coming… But that hasn’t stopped BRYGET CHRISFIELD, ANDREW MAST and SHANE O’DONOHUE having another attempt at predicting the winners of the annual ARIA AWARDS. Cover and feature photos by KANE HIBBERD. Dan Sultan

BEST ROCK ALBUM: Nominees – Birds Of Tokyo BIRDS OF TOKYO; Bliss Release CLOUD CONTROL; Rush To Relax EDDY CURRENT SUPPRESSION RING; Golden Rule POWDERFINGER; Innerspeaker TAME IMPALA. Form Guide: Powderfinger have won three of the four times they have been nominated here. In 2008, Eddy Current lost out to The Living End. The rest of the field are fresh rock fillies. What we think: Powderfinger haven’t quite retired yet so we don’t see them handing their arena rock mantle over to Birds Of Tokyo just now. What we want: Seeing as there is no Psych Rock category, how about Tame Impala getting this? BEST INDEPENDENT RELEASE: Nominees – Magic Fountain ART VS SCIENCE; Get Out While You Can DAN SULTAN; Rush To Relax EDDY CURRENT SUPPRESSION RING; April Uprising JOHN BUTLER TRIO; We Are Born SIA. Form Guide: JB3 own the Indie cat with five nominations and three wins since 2001. The rest are first-timers. What we think: Every few years this category pulls out a wild card (Savage Graden in ’97, S2S in ’00). Could Art Vs Science be this year’s joker in the pack? Last time JB3 lost here was in ’06 to Hilltop Hoods. What we want: Dan Sultan – the only one here who has never been nominated in any ARIA category previously. BREAKTHROUGH ARTIST: Nominees – Restless AMY MEREDITH; Bliss Release CLOUD CONTROL; Hope Is For Hopers PHILADELPHIA GRAND JURY; Innerspeaker TAME IMPALA; I Believe You Liar WASHINGTON. Form Guide: For 20 years this was divided into separate Breakthrough Single and Album awards with a dozen artists taking out both (not always in the same year, go figure). So finally it’s rolled into one. What we think: With this category long dominated by female artists (or female-led bands), this will go to Washington. Unless judges think Amy Meredith is a chick. What we want: Be nice to see Cloud Control win – could result in the night’s politest acceptance speech. BEST GROUP: Nominees – Down The Way ANGUS & JULIA STONE; Birds Of Tokyo BIRDS OF TOKYO; Golden Rule POWDERFINGER; Innerspeaker TAME IMPALA; Love Lost THE TEMPER TRAP. Megan Washington

EST DANCE RELEASE: Nominees – Magic Fountain ART VS SCIENCE; Sometimes MIAMI HORROR; The Crystal Axis MIDNIGHT JUGGERNAUTS; Immersion PENDULUM; We No Speak Americano YOLANDA BE COOL & D-CUP.

Form Guide: It’s an even field with all newcomers to the category – although back in ’97 another band called Pendulum won here. Could this be an omen? What we think: The past four years have seen this dominated by those with the most crossover appeal (The Presets, Sneaky Sound System, TV Rock), so will judges take into account Yolanda’s massive global sales or Art Vs Science’s local sales? What we want: Show us ya Juggs! BEST URBAN ALBUM: Nominees – Running On Air BLISS N ESO; Round The World LOWRIDER; Good Gracious M-PHAZES; Soul-Fi SPACE INVADAS; Spitshine URTHBOY. Form Guide: This is BnE’s fourth Urban nomination (winning in 2008 but losing to cat dominators Hilltop Hoods other years) and Urthboy was here in 2008 as part of The Herd. What we think: With the Hoodies busy trick-or-treatin’, Bliss N Eso will spook ‘em with a second Urban win. What we want: Just like in 1978, Space Invadas should destroy all-comers. BEST COMEDY RELEASE: Nominees – The Blow Parade ANDREW HANSEN, CHRIS TAYLOR & CRAIG SCHUFTAN; Arj Barker Forever ARJ BARKER; Heath Franklin’s Chopper: Make Deadshits History HEATH FRANKLIN; Jimeoin On Ice Live JIMEOIN; Songs From The 86 Tram THE BEDROOM PHILOSOPHER. Form Guide: With the salad days of The 12th Man or Martin & Molloy (three wins each) long gone, there has not been a dominant presence in the Comedy cat for the past decade. However, this is Jimeoin’s fifth nomination and he has yet to score a win. What we think: Despite living up to its name, The Blow Parade involves two brands judges are bound to be attracted to, Triple J and Chaser. So unless there has been a sentimental swing to Jimeoin, this will Blow. What we want: Jimeoin – music awards are a natural home for those on ice. BEST ADULT CONTEMPORARY ALBUM: Nominees – Eat My Shadow ANGIE HART; Intriguer CROWDED HOUSE; The Rhythm And Blues JIMMY BARNES; Car Tape 2 LISA MILLER; Johnny Ray’s Downtown PERRY KEYES.

Form Guide: Crowded House won here back in 1989 while Barnsey was nominated in 2008. But it is Lisa Miller who has been here most often – this is her fourth nomination (the first Car Tape losing to Paul Kelly back in 2002). What we think: If the campaign for Perry Keyes to win is as strong as the recent one to get him to number one, the best the Sydney cabbie can expect is a $5 tip driving the winner home. And though young bucks have been winning here in recent years (Josh Pyke, The Panics, Bob Evans), it will be time to honour a heritage act again (last time was The Go-Betweens in 2005). Crowded House to win. What we want: C’arn, give it to Miller. The resulting sales bump may mean she can afford an mp3 player in her car. BEST ADULT ALTERNATIVE ALBUM: Nominees – Down The Way ANGUS & JULIA STONE; Basement Birds BASEMENT BIRDS; Modern Day Addiction CLARE BOWDITCH; Cinema THE CAT EMPIRE; I Believe You Liar WASHINGTON; Go Forth, Find Mammoth WHITLEY. Form Guide: A new category, spinning off from Adult Contemporary – perhaps in the hope of moving the new adults on the block to battle it out here and allow the oldies back on the AC winners’ block (the faces who bring mum and dad ratings to the broadcast). But is it a clean field? The Stones, the Birds, Bowditch and the Empire have amassed more than 60 ARIA noms and a dozen wins between them over the years (most of those to Birds’ Kevin Mitchell though). What we think: Young blood to blindside the pros. Washington to win. What we want: Would be a nice way for A&J to cap off a solid year making themselves household names. BEST POP RELEASE: Nominees – Head Of The Hawk BLUEJUICE; Half Mast EMPIRE OF THE SUN; Like It Like That GUY SEBASTIAN; Aphrodite KYLIE MINOGUE; We Are Born SIA. Form Guide: This is Minogue’s ninth Pop nomination – she has won here four times (most recently in 2002). Empire won this last year. What we think: If Guy Sebastian did to the ARIA panel what he said those X-Factor contestants did to him, he could be the favourite. However, the Pop award has tended to go to newbies in recent years (Missy Higgins, Veronicas, Blasko, Gabrielle Cilmi and, as mentioned, Empire). Despite winning a Best Music DVD award last year, Sia might be fresh enough for ARIA’s pop judges. What we want: We will clap for Sia.

Form Guide: If Powderfinger win it will tie them with INXS for the most Best Group wins. INXS won three of these awards between ’87 and ’92. The Powdies are tied on two wins apiece with Silverchair, The Cruel Sea and Crowded House. What we think: Bands with women win every ten years here – Killing Heidi in 2000 and The Black Sorrows in 1990. Could be A&J stumbled in at the right time. But it will be a photo finish with Powderfinger favourites to land this ‘gold watch’ as a retirement farewell. What we want: Julia is woman, hear her roar. BEST MALE ARTIST: Nominees – Dan Kelly’s Dream DAN KELLY; Get Out While You Can DAN SULTAN; Like It Like That GUY SEBASTIAN; April Uprising JOHN BUTLER; Fast Friends PAUL DEMPSEY. Form Guide: Only Butler and Dempsey have priors here. Butler’s amassed five noms and a win (in ’04) while Dempsey scored a nom last year (losing to Daniel Merriweather). Of course, Kelly is related to two-time winner Paul Kelly. History shows that repeat winners are liked here – John Farnham, Diesel and Alex Lloyd have three each while Kelly, Nick Cave and Jimmy Barnes have two apiece. What we think: Despite Sebastian being the first Idol graduate to be nominated here, will his recent fluffs on X-Factor blow it for him? Will the Dans split the indie judge vote? Will Dempsey smile? Butler to make it a second Best Male win. What we want: Two Dans enter, only one Dan leaves. BEST FEMALE ARTIST: Nominees – Modern Day Addiction CLARE BOWDITCH; Aphrodite KYLIE MINOGUE; Oh! Hark! LISA MITCHELL; We Are Born SIA; I Believe You Liar WASHINGTON. Form Guide: An interesting spread here. This is Minogue’s 12th Best Female nomination with only one win (in ’01). Bowditch odds fare well in comparison with two noms and one win. Mitchell was nominated last year but lost to Blasko. What we think: As with Best Male, repeat winners are favoured here (Wendy Matthews and Kasey Chambers have three each while Higgins, Natalie Imbruglia, Kate Ceberano and Jenny Morris have two each). However, recent years have been won by a string of new faces (Blasko, Bowditch and Cilmi). Washington will be the latest new face. What we want: It would be nice to see Bowditch or Minogue join the multiple winners’ set… Jeez, Imbruglia’s in there, what’s a person have to do?

Ian Kenny

FEELING POINTY

Our dapper cover stars and multiple ARIA Award contenders – DAN SULTAN, MEGAN WASHINGTON and IAN KENNY (BIRDS OF TOKYO/KARNIVOOL) – get in the mood by reflecting on past ceremonies and pondering whether a prepared speech is a necessity or a jinx. What has been a memorable moment for you from watching a previous ARIA ceremony? Dan Sultan: “I think when Gurrumul won an ARIA – that was pretty big. I remember hearing about it the next day and I felt pretty good about that, I felt pretty proud of him. That was a big moment.” Megan Washington: “The other day I was with my housemate and we were looking up ARIA performances and we were watching that video of Silverchair with Tim Rogers at the ’95 ARIAs, when Ben Gillies tried to jump through the kick drum. They were playing this Radio Birdman song [New Race] and at the end Ben Gillies ran out and he was meant to jump through the kick drum and someone was meant to put a slit in it so that it would actually split. And they forgot! It was really very funny.” Ian Kenny: “To be honest, I’ve heard a lot more about the ARIA ceremony than I have seen it. I can’t actually say that I have watched one yet – my bad. Nevertheless I am still very excited.” Who out of your fellow nominees would you most like to party with after the ceremony? DS: “Washo. Quote ‘Washo’. We met at the Paul Kelly tribute and we had a great time, like everyone over those few days, and then just saw each other at festivals over the last 12 months and we’re good mates.” MW: [As prompted by Dan on his way to the photo shoot set-up] “No one parties like Dan Sultan and I say that from experience. We got on it at Bluesfest – it was fun!” IK: “Myself and Adam [Spark, guitar] met Angus and Julia [Stone] at the nominations in Sydney and they were bloody lovely so I would very much like to have a drink with them again. I’m a massive fan of Sia too and would love to meet her and congratulate her on all the awards I’m sure she’ll clean up on.” What do you think makes for a good acceptance speech? DS: “I think not being too prepared and just saying what comes natural, for me anyway. I think some people need to prepare and some people prefer to prepare, and that’s all right. I find if I do that it just fucks me up [laughs] so I’m not good at that… One of the best things about actually winning is – it’s great to be nominated, you know, you hear the old cliché, but it’s true. It’s great to be in the mix, but to actually win, you get an opportunity to publicly thank a few people. It’s not the most important thing in the world, but I think it means a lot when you can do it.” MW: “Um, I dunno. Start with an element of reality, like, sometimes I’ve seen acceptance speeches where the person is just so overwhelmed by the moment that they actually end up making no sense whatsoever. I guess being really honest and being themselves and being as truthful as they can. All the record label people probably will wanna be thanked if I were to win an ARIA, which I’m not sure that that would happen. I guess those guys – the record label people – are kind of used to being forgotten [laughs]. If I didn’t thank my parents, they’d probably disown me: ‘You’re out of the will!’ ‘Fuck, I was drunk! ’ ‘You’re out of the will!’” IK: “I think some preparation isn’t a bad idea, but I haven’t had to do many acceptance speeches before so, if something does go off, I’ll probably stuff it anyway, ha!” SINGLE OF THE YEAR: Nominees – Big Jet Plane ANGUS &JULIA STONE; Plans BIRDS OF TOKYO; Clap Your Hands SIA; Love Lost THE TEMPER TRAP; How To Tame Lions WASHINGTON. Form Guide: Amongst a line-up of young bucks, The Temper Trap are the only ones with previous Best Single form. The Trappies were nominated last year, losing to Empire Of The Sun. What we think: Had the Commonwealth Games been a hit then Sia would be a shoo-in as Clap Your Hands was used extensively by Foxtel in its on-air promos. And, if Trappies couldn’t win for Sweet Disposition last year, they won’t win for Lost Love. Have Birds and Washington insinuated themselves enough? Nope, we tip the Stones to win. What we want: We’ll roll with the Stones. ALBUM OF THE YEAR: Nominees – Down The Way ANGUS & JULIA STONE; Birds Of Tokyo BIRDS OF TOKYO; We Are Born SIA; Innerspeaker TAME IMPALA; I Believe You Liar WASHINGTON.

Form Guide: Given that Powderfinger are the only act to win this award multiple times (three wins, with singer Fanning also scoring here for his solo set in ’06), how did they miss getting their final album in? What we think: All nominees are Album Of The Year virgins. Which cherries will the judges want to pop? We say the judges will go Down The Way with the Stones. What we want: We’d be happy to see any of these maiden acts joining the raised skirts of Album winners past such as John Farnham, Baby Animals, Tina Arena, Savage Garden and Empire Of The Sun as well as Icehouse, The Cruel Sea, You Am I, Regurgitator, Silverchair and The Presets.

WHAT: The 2010 ARIA Awards WHEN & WHERE: Sunday at the Sydney Opera House; broadcast from 8.30pm on Network Ten

Who do you think has been the ultimate Australian recording artist/band living or dead and why? DS: “Well, I mean the obvious ones: there’s Kev Carmody or Paul Kelly and I think Tim Rogers falls into that category as well in terms of the sheer amount of really good, top-class music and songwriting… Personally, I think if I could write half as many songs as those three people I just mentioned, then I’m not doing too bad, you know.” MW: “That is so hard. The Easybeats and Paul Kelly. Vanda & Young just wrote so many hit songs – it’s weird. Paul Kelly is the best in the world, the universe, I love him! Do the Finn brothers count ‘cause they’re Kiwi? For me, Split Enz and Crowded House are both really cool. I supported Tim on a solo tour and he would bust out I See Red or Stuff And Nonsense or whatever and I’m just like, ‘How the fuck did you write that?’.” IK: “I think Paul Kelly is a remarkable recording/performing artist. His career is some of the best Australian storytelling to date – always engaging, always honest. His songwriting – his voice is uniquely Australian. I also feel Paul Dempsey fills similar boots, too. He’s incredible. Hmmm… what’s with the Pauls today?”

TOUCHED BY THE HAND OF MOD

On the eve of a tour with his band THE CHARLATANS, style icon and long-time British indie legend TIM BURGESS gives ANDY HAZEL the lowdown on 20-plus years of being incredibly, incredibly cool.

“I

’m in Birmingham, England and I’ve just woken up. It’s 9am and I’m having a cup of green tea,” says Tim Burgess in an entirely un-rock’n’roll manner. Soon to embark on a tour with his group The Charlatans promoting their new album Who We Touch, this Salford lad has been calling Hollywood home for the best part of two decades. Is there any sense of homecoming? “Not in Birmingham no,” he says with a wry laugh. “It’s not my favourite part of Britain. We start our tour tomorrow in Newcastle. The warm-up gig went really well, we played for a really long time because our drummer has been taken sick and we had to rehearse up a new drummer. Jon [Brookes] had a brain tumour; he collapsed on stage in Philadelphia. We thought it was dehydration. Over the last couple of weeks, it’s become more serious. He’s getting it sorted out, so it’s as good as can be expected; we’ve been using Pete Salisbury from The Verve. We’ve had to learn two hours’ worth in a week, so it’s been a pretty intense time,” he says quietly.

“It’s as good as it can be, you know. When we were in Philadelphia he suggested Pete; from drummer to drummer.” This sort of brotherhood epitomises the history of The Charlatans. Unlike almost every other hyped band of the early ’90s British rock era, they have endured and maintained a strong core following. When it comes to working out what they did right, Burgess is at a loss. “I mean, over 20 years there’s got to be a few things we’ve had bust-ups about, but I don’t take it personally,” he says before pausing. “I answer this question a lot and I’ve not got a really stock answer for it. I’m a music obsessive and as a band we can play anything we want to and we have enormous respect for each other; I feel like they’re me brothers, y’know? Obviously, we fight as well, but we’ve got over a lot of things together. A lot of our friends from that time, they got married and have kids and this life it’s not for them anymore. They might lose the plot or maybe they find music for them is a lead onto something else like a TV career, but for us… I don’t know. As soon as we’ve done a record, I’m going around trying to find a new thing.”

“I don’t really see my drug years as being a problem, I’m just glad I don’t take them anymore. I was at a point in my life where that felt like the right thing to do. ...it was all part of my life which I’ve lived without regrets.”

Special Guests Last Dinosaurs

Influences on the band’s music have been as varied as the 20 years through which they’ve existed, with early records getting a fresh release from hip hop, drugs and the Britpop scene, and later albums from geography, esoteric books and films. “I wanted this album to be interesting in a filmic way,” Burgess explains. “I like the idea of [opening track] Love Is Ending as a credit sequence and an opening, then there’s a backtrack through the album like Memento or Wild At Heart; I’m a big Lynch fan, and I love the way he messes with a film’s narrative. I’ve been doing a musical project for the Lynch Foundation,” he says shyly. “He’s using my music for transcendental mediation [TM] classes at the Lynch Foundation. He asked me to supply some music for a compilation album or something along those lines; we’re meant to work on something together. I gave him an acoustic version of The Only One I Know and he really liked it – wrote me a letter!” he says, as excitedly as you or I would be. “I do a lot of TM and I think it influences everything I do. I’ve only been there for the last two years so it only influences the last album.” Sounds like a long way from Madchester and the heady days of Britpop. “I don’t really see my drug years as being a problem, I’m just glad I don’t take them anymore,” he says without provocation. “I was at a point in my life where that felt like the right thing to do. I’m at another point now where I feel I’ve got through those phases of my life to get here, and it was all part of my life which I’ve lived without regrets.” This open and carefree attitude oozes through Who We Touch, reminiscent of baggy’s cocky swagger and the loose West Coast hip hop Burgess fell for back in the band’s early years. As with most songs he pens lyrics for, there is a story behind it. “I don’t belong here in your garden/I should be up there on your throne/All the losers worship me.” Elsewhere Burgess has stated the song was about old manager Alan McGee, but today he has a different story. “I was in Gatwick airport a while back, and this Cockney scally chav girl with really bad make-up on is walking toward me and I bumped into her by accident and she did the L-shaped word to me on her forehead, y’know. And I was like ‘Fuckin’ hell, she thinks I’m a loser’. All The Charlatans’ fans are like me, so we’re all losers.”

ON SALE NOW TOTAL LIFE FOREVER OUT NOW

Renowned for giving away free songs, ringtones and downloads to subscribing fans, The Charlatans have always been big on catering for fans’ needs, whether it’s playing requests or giving away their last album for free. “I think the way we treat our fans has been a huge part of why we’re still around,” says Burgess keenly. “We give to them and they give to us, and it’s mutual respect in a lot of ways. The thing about giving away the album for free last time was more than just treating the fans well; it was a move in a lot of ways, it was a statement of intent, like a ‘Fuck you’ to the record company.” This attitude has won the band many younger, more recentlyrecruited fans such as The Pains Of Being Pure At Heart and The Morning After Girls; musicians who they are keen to work with. “With new stuff we’ve had remixes done by The Horrors who are friends of mine, and we give those away for free – more feeding the fans and picking up people who are interested to try and get their heads around it. It’s always interesting to be involved in the passing of information, and that’s what it’s all about, isn’t it? You never know where it will end up or what effect it will have.”

www.foals.co.uk WHO: The Charlatans WHAT: Who We Touch (Cooking Vinyl/Shock) WHEN & WHERE: Friday 12 November, Billboard

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NATURE BOY ANTONY HEGARTY, leader of ANTONY & THE JOHNSONS, ponders his relationship with the environment on new album Swanlights, writes GUIDO FARNELL.

ntony Hegarty, the transgender singer/ songwriter, is undoubtedly one of the most fascinating performers to have emerged in recent years. The three mesmerising, highly focused and pretty much flawless albums Antony has released to date with his merry band of Johnsons have won him a legion of diverse fans. Even truly legendary artists like Marianne Faithful, Yoko Ono and Laurie Anderson have spoken of his prodigious talent to Inpress in gushing superlatives. Swanlights, Antony’s fourth album, moves on from the wistfully elegiac The Crying Light to embrace themes of hope, love and renewal. “It’s been a bit of a mysterious album for me because there is this collision of a renewed sense of joy and yet at the same time there is this unrelenting sense of hopelessness,” explains Antony on the phone from New York. Unlike his previous efforts, Swanlights finds Antony taking flight into pagan poetry. It defies rational explanation but is understood on a more

intuitive level. “I got this idea that a swanlight was what you would see if a spirit jumps out of a body. My mum is a photographer and I was looking at her photos of swans and in keeping with my studies in Butoh where you can have these flights of imagination, I saw that the spirit would still kind of have this visible presence almost like a circuit of light; lines of light would emerge from the physical form. If it flew over a lake at night you would see its reflection in the water and this would be the swanlights. So a spirit removed from the physical would still have some presence in the natural world. I wanted to suggest that there are deeper layers and more intuitive ways of perceiving one another and our world. It’s about casting a more magical gaze on the world and seeing its constant state of unfurling and motion. Even when we are moving between life and death, it is a transformative moment which must be magical.” Antony might be singing about the end of the world but he isn’t singing about a flood in Pakistan or the consequences of thawing permafrost in Siberia. He might be a fan of David Attenborough but his work is a contemplative meditation on his relationship with his environment. “I suppose I am not dealing with facts but feelings and as an artist I wanted to document this feeling. We are all dealing with this on some level or another no matter how deep we stuff it. Climate change is on almost everyone’s mind now. I know that because I ask people and I am shocked at how broadly everyone from taxi drivers and grandmothers and highly educated people are all thinking the same thing. My own grandmother, who left school at 15, told me many years ago that the birds had forgotten to migrate. In England she had read that in The Sun. It was comical to her but also inconceivable. People would have laughed at you 50 years ago if you suggested that we could change the weather. The arrogance that humanity could change the weather and now so painfully we have to face the fact that we have actually changed it. We are at the beginning of a cycle which most reasonable scientists would say will have devastating consequences unless we have an awakening in our collective consciousness about it.”

“As a transgender kid there was not much I could really do with Catholic ideology.” Swanlights will also be released in tandem with a book of Antony’s collages and drawings, many of which have been exhibited. “I really think of these songs existing as emotional events within the visual landscape of the book. The book is a very detailed portrait of how I see the world and my dreaming of the world. It’s about seeking to engage the past and understanding its relationship to the present and my relationship to what may be pending in the future. There is this sense of my relationship between myself as a person with the natural world.” Antony admits that, ultimately, his fascination with these themes comes from attempting to fill a spiritual-shaped hole in his life. “I was raised as a Christian, as a Catholic as a kid. I was brought up to believe that I had a unique spiritual constitution that separated me from the rest of nature. I was taught to live a pious life here so that I was to be delivered to the spiritual realm, to some paradise in the sky. This is part of a typical sky god theology which promises us paradise that is waiting for us somewhere else after death. This is something which I have really deconstructed as an adult and I had started doing that as a kid. As a transgender kid there was not much I could really do with Catholic ideology. As a young adult and as an artist who is studying other ways of looking at the world I started to seek to forge a different sense of my relationship to the world and see it differently. As a result I started to see myself as a child of the world rather than separating my constitution from it. I started to think of myself as made of the same stuff as the natural elements of the natural world. Water, carbon, other elements and electricity; I mean, I am made of the same things as the rest of the natural world. So how could I be so different from the rest of the world in my spiritual constitution? How could this place have no spiritual value if it was made of the same stuff as me? “In my mind it changes the whole terms of engagement. Suddenly I’ve moved from being a member of society who is happy to plough through the resources of nature like the animals, trees, forests and oceans and just survive until we get to paradise elsewhere, to making the realisation that perhaps there isn’t a big difference between the spiritual and the manifest. There is the amazing Cherokee quote that I read recently suggesting that white people thought that they had been cast out of the garden of Eden but arrived at paradise when they discovered America. It’s a joke to us as we thought that we were born into the garden of Eden and have long since been expelled from it. In many indigenous cultures this is a typical approach to nature in that you are an inseparable part of it and that it physically embodies your spiritual history and future. This approach instantly creates a much longer story. We are no longer here for a quick window of 70 years before we pop off to the promised land where 17 virgins are waiting for us in some celestial landscape. This could indeed be paradise. This creative unfurling world could indeed be god’s most beautiful dream, her most lust-like mysterious reverie,” says Anthony, so eloquently explaining his latest album. As Anthony talks I feel that his cover of Nessun Dorma for a Lavazza commercial which I have been listening to is a lightweight distraction from Swanlights. “I have never worked for a commission on a commercial venture but it seemed harmless and I am a complete coffee freak so it was appropriate,” he explains.

WHO: Antony & The Johnsons WHAT: Swanlights (Spunk)

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THERE IS HOPE JADE PHAM finds PHILADELPHIA GRAND JURY frontman SIMON ‘BERKFINGER’ BERKELMAN hallucinating in the Sydney band’s London home.

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hiladelphia Grand Jury – the ‘Philly Jays’ – are a Sydney duo (plus drummer) featuring Joel ‘MC Bad Genius’ Beeson on bass and keyboard and Simon ‘Berkfinger’ Berkelman (the origin of ‘Berk’ is obvious, but maybe don’t ask where the ‘finger’ came from) on vocals and guitar. Australia fell in love with their catchy indie rock-meets-pop-meets-punk sound last year when the band released their independent debut album Hope Is For Hopers. You may know and dig the hit tunes Going To The Casino (Tomorrow Night), The Good News and I Don’t Want To Party (Party).

New album out now through Sony Music

Tall Poppy Syndrome. It’s an ugly thing. This writer never experienced it before. And then she met Berkfinger. He looks like an indie-punkster, has the voice of a soft cuddly tiny teddy, is super nice and friendly, yet somehow one can easily hate his guts. Oh Mr Rock Star jet-setting around the globe, hanging out with his rock star friends and living it up in Europe. “I’m very sick,” he groans, “I’ve come down with a weird fever. I’m hallucinating a little bit. I gotta make a cup of tea. I’m feeling kindda trippy. I think my body is finally broken down.” No, no, no. Don’t feel sorry for him. He hasn’t been struck down with a common cold like us common folk would. He’s been struck down by the 50-gigs in the UK and then making an album, crazy drives and a hell of a lot of stupid partying. Was it worth it Berkfinger, was it?! He shrugs. “You can’t have all the fun without pain.” There is a guilty twinge of pleasure knowing Berkfinger is suffering through this interview, even if it is over a warm cup of tea in the band’s sweet little house in East London. He says, “We got crazy lucky in Shoreditch. It’s a trendy area, a bit like Surry Hills in Sydney where I used to live – I like being able to walk to everything that I do [another reason to resent him]. We’ve been in the UK for six months. We’ve been all around; we’ve been to South Africa, we’ve been to America a couple of times. We’ll be coming back to Australia soon. We’re going to America for two weeks and then we’re going back to Australia for four months to do a tour.”

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Amidst the irrational sense of injustice and rage, one must begrudgingly acknowledge that some people in Australia, namely the hundreds who have already nabbed tickets to their upcoming tour, are probably happy the band are coming home for a 30-date national tour starting in November and finishing New Year’s Eve at the Pyramid Rock Festival. The Philly Jays are really looking forward to coming home for a little while. “I miss Aussie people and their attitudes. England is very stiff and very serious and into itself. The music scene is pretty lame and boring. They’re definitely not in one of their good periods. I will miss London in terms of, if there’s a big band you wanna see they’ll just be playing down the road for five pounds here. On any night of the week there’s always great bands to see. Like this week Jonathan Richman from Modern Lovers is playing three gigs just at little venues around the place and Mudhoney and stuff. It’s a pretty amazing thing about Europe having enough people here to have amazing acts around all the time.” Philadelphia Grand Jury are up against Cloud Control, Amy Meredith, Tame Impala and Washington at this weekend’s ARIA Awards in the Breakthrough Artist

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category. It’s a great nomination to score, though Berkfinger figures “we’ll come dead last because we’re not the type of band who’s in with the music business.” (ARIAs are industry-voted awards, and with that underdog statement Berkfinger quashes my TPS symptoms.) Philly Jays won’t be attending this year’s ARIAs ceremony, anyway; they have a gig on as any real band should. Besides, they won’t be able to top last year’s AIR Awards win, where after bagging the gong for Best Independent Single/EP the band invited everyone back to their hotel room. Bet the hotel regrets upgrading the band to a penthouse suite that can hold 400 revellers. When Hope Is For Hopers, the band’s ARIAnominated debut album, was due for a new pressing Philadelphia Grand Jury decided to add more tracks to the record instead of re-releasing the same album again. They added current single Save Our Town, several fun tunes and b-sides, and a live DVD which they collectively called Hope Is For The Hopeless. Pretty depressing title from such happy people. Philadelphia Grand Jury have a reputation for putting on a ripper of a rock show and The Save Our Town Tour of Australia will see the band mixing things up live. They’re bringing back with them a new drummer Susie Patten (of Brisbane band I Heart Hiroshima) who they found in Berlin hanging out with Peaches. “It’s going to be great. We’re playing some of the biggest venues we’ve ever played. Susie’s our favourite drummer yet and we’ve got a light show for the first time. We’ve made it very big and very exciting and very unique,” says Berkfinger, though the tease won’t reveal any more details about this larger-than-life light spectacle. “We’ll totally change everything we do as well – so for people who’ve seen us before and they’re coming back for more then they’re going to expect certain songs at certain moments but we changed that around completely.” Between a gazillion tour dates overseas the band found time to record three albums’ worth of material, some of which they’ll be debuting live in Australia on the forthcoming tour. All exciting stuff though Berkfinger seems most excited to have a roadie for the first time in Philadelphia Grand Jury history. “I’m very much looking forward to it because we’re independent and if you get a roadie he’ll get paid more than us so we’d always carry gear ourselves. But for this tour we can finally afford to pay for a friend to come with us. It’s going to be fun.” There’s no telling when Philadelphia Grand Jury will be back for another Oz tour. US major players Warner Brothers and Sire have been courting the band and Susie’s moving to New York so there’s every chance they’ll all move to the Big Apple (try not to hate them for that).

WHO: Philadelphia Grand Jury WHAT: Hope Is For The Hopeless (Boomtown/Shock) WHEN & WHERE: Saturday, Corner Hotel; Wednesday 8 December, Level One (Geelong); Thursday 9 December, Karova Lounge (Ballarat); Friday 31 December, Pyramid Rock Festival

NUMBERS GAME

After 15 years in the business, 78 SAAB’s BEN NASH says the best piece of advice he’d give his younger self would be to seize the day. DANIELLE O’DONOHUE listens and learns.

o celebrate the release of their new album Good Fortune, indie rockers 78 Saab took themselves off to the Metro in Sydney last Saturday to watch a set from new label mates You Am I. Fifteen years in the business and this night could just as easily have taken place in 1997. In fact, one of the songs on the new album, Never Gonna Be, first started to take form in a Brisbane hostel that very year. If you’re the type who looks for the meaning in everyday situations, it should be this – 78 Saab are in this for the long haul.

With his 15-month-old daughter enjoying an episode of Play School, Saab frontman Ben Nash is keeping one ear attuned to the loungeroom and the other pointed firmly in Inpress’s direction as he talks about sharing a label with You Am I. “We didn’t even know, but then we signed with [new indie label] Other Tongues and then it was just like, ‘Ah, You Am I is on there as well’. It feels great to be in such illustrious company. I’m keen for the Christmas party,” Nash says with a chuckle. “Bands like You Am I we looked up to when we were starting out. They were pretty much the sole reason we decided to start the band. I’m pretty sure there’s a lot of Australian guitar bands that thought, ‘That’s pretty good. I would like to do something as remotely as good as that’.”

cupboards forever but it’s funny how you start playing a couple of chords together and suddenly you’re like, ‘Where was that from?’ Aaah, that’s right. “We were doing a uni tour, so there was just like a lot of gigs at midday on a Tuesday and then we had the rest of the day to ourselves, so we’d end up back in hostel. We didn’t have any money really, so we’d be back in the hostel with a case of beer. We used to play a lot of guitar.” And 15 years on, 78 Saab still do.

WHO: 78 Saab WHAT: Good Fortune (Other Tongues) WHEN & WHERE: Saturday, East Brunswick Club

Though You Am I have a few years on 78 Saab, the four musicians that make up Saab have proven that, like their counterparts, they have the staying power to have forged a career over the course of 15 years and four albums. Nash says it’s only on nights when he’s out and he sees all the 18- and 19-year-olds out and about that he can feel every one of those 15 years he’s been making music. “It does feel like just the other day we were moving to Sydney and first starting to play and watching bands five nights a week, but the musical landscape has changed so much since then as well. “I tend to think about the ’90s in terms of Recovery, the ABC show – everyone would get up on a Saturday morning and it was such a good show. It went for three hours and the quality of the music was great. Then music went into this weird sort of dance phase, then it was new rock. Now everyone’s jeans are really skinny and it’s got a real ’80s vibe again.”

“[Going overseas] was always spoken about in the context of maybe it’s not the right time right now and we’ll go next album... if you feel like you’ve got a great, kickarse set and you feel like you’ve got a good bunch of songs, pay for those tickets and get over there.”

Nash jokes about the band making their next album more in the style of the dancier pop that currently seems to be a bit of a trend, but there’s definitely something reassuring about four guys, guitars and a soaring, ethereal sound. “We haven’t really shied away from that too much. We went through a phase of trying to add everything but the kitchen sink to songs, but with Good Fortune we just really kept on coming back. We spent more time subtracting stuff than adding on. Where I guess a couple of albums previous it was more like, ‘Wow, you mean we can do more than guitar?’ Sometimes it really works, I’m not saying that. But a lot of times now I’ll listen back and be like, ‘Um, why did we have that there?’ So in this way it seems that Good Fortune was very stripped back.” Though there seems to be some good studio advice in there for young musicians, such as think very carefully about why you’re adding embellishments to songs, Nash says that the advice he would impress upon his younger self, given the opportunity, would be to seize the moment. “I would probably say don’t think about it too much, because thinking about it too much can get in the way of great rock’n’roll. The other thing is, grab your opportunities while they’re there. Really go for it. I don’t think we have any hard regrets as a band, but I think one of the things that we probably wish we would have done was gone a little bit harder at getting ourselves overseas. “If I look back it was always spoken about in the context of maybe it’s not the right time right now and we’ll go next album and some of the feedback we were getting from people in the know was that was the best way to go. But I reckon these days if you feel like you’ve got a great, kick-arse set and you feel like you’ve got a good bunch of songs, pay for those tickets and get over there and just give it a go. “And I’m not ruling out that that’s not going to happen to us, but I mean life… we’re all sort of juggling different things. I’ve got my daughter and everyone’s either at uni or working or whatever. Obviously it’s a little bit harder for us to do that now, but I look back at 20 when there’s a little bit more room and say ‘Just go for it’. If your gut instinct says it, do it.” But what about that song from 1997? Nash casts his mind back. “It was just like the chords really and then the melody that had been sticking around since then. I don’t know how it came back into the equation. It’s got a completely new set of lyrics to it. We just wrote it back with a bit of time off in a Brisbane hostel I think. It came together quite well. I just always thought you put that stuff to the back

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JOKER’S WILD With key original members back in the fold, legendary post-punks KILLING JOKE have just dropped their 14th studio album. A candid JEREMY ‘JAZ’ COLEMAN tells EJ CARTLEDGE why the band have never written a love song.

t has been 30 years since Killing Joke released their self-titled debut and hurtled into notoriety. Lauded as one of the most influential acts of the punk/new wave era (making their mark on Nirvana, Nine Inch Nails, Soundgarden, Metallica, et al), Killing Joke also remain one of the most vilified. Apocalyptic lyrics, doomsday pronouncements, death-metal style vocal delivery and savage political indictments have served to set the band very much on the outer. Devoted followers of the group – labelled as ‘gatherers’ by singer/songwriter Jeremy ‘Jaz’ Coleman – are as passionate about Killing Joke’s philosophy, mysticism and politics as they are about the music. Formed in London in the late 1970s during the second incarnation of the punk movement, Coleman and

company fused an unlikely array of styles, such as goth, heavy metal and dub, with an incendiary awareness of the social, geo-political and environmental landscape. The semi-industrial sonic textures and end of the world prophesising are distinctly at odds with Coleman’s background and extra-curricular activities. He studied piano and violin and was a member of cathedral choirs in his youth. He is an ordained priest, has invested in two eco-villages in the South Pacific and Chile, composes classical work and opera (he is composer in residence for the Prague Symphony Orchestra) and has contributed to numerous film soundtracks. He is also terrific company and does a fine line in self-deprecation. “I’ve had bit of a secret life in Melbourne,” says Coleman. “When I’m in New Zealand I always go via

Melbourne and I lived there for a short time. When we did Pandemonium [Killing Joke bassist]Youth was producing Crowded House at the time and I ended up with Nick Seymour’s wife! But look, Killing Joke has always been something of a gauge for me. I’ve always stopped the band from being too successful, and there’s an element of truth in that; whenever Killing Joke has had big success, normally a war breaks out. So success in any way for us is a bad sign for humanity!” New album Absolute Dissent is the band’s 14th longplayer and the first to feature original members Geordie Walker, Youth and ‘Big’ Paul Ferguson since 1982’s Revelations. The four were reunited at Paul Raven’s funeral in late 2007 – he had replaced Youth on bass – and decided to tour again. The subsequent world tour and festival appearances more recently led to discussions about recording new material. According to Coleman, another album would have followed irrespective of Killing Joke’s membership. “There have been incarnations of Killing Joke,” he says, “and all have their virtue, but I’m very grateful I have the original line-up around me now. We’re all aware that we are very lucky; many of our peers and contemporaries are not on the planet anymore. I don’t think there is any other band from our era that is doing it for the same reason as we are. But we have our disagreements, believe me; it’s hard to reach a consensus. Recording as Killing Joke has always been a very traumatic experience. It’s difficult to reach agreement and it wreaks havoc on your personal life. But we love it and we come back for more.” Coleman insists Killing Joke have always served as a didactic vehicle for both band members and supporters alike. That and a ferocious outlet for self-expression. “Killing Joke for us has always been a social function,” he says. “The music is used to rid ourselves of anger and dissenting views, to get rid of these afflictions. It always has been. Youth said recently that if we could all have fallen foul of the law if we didn’t have Killing Joke in our lives. Killing Joke is, if you like, a homeopathic principle – we inject ourselves in performances with a little of the sickness of the outside world so we acquire a certain immunity. As an art form, the band has been used a social function to help us get through life. We’ve never written a love song, for example; all of our music is about things that disturb us so that we may come to terms with them.

JACKED UP An incredibly frank GLENN RICHARDS opens up to NICK ARGYRIOU about his debut solo record, his mental struggles with live performance and hissy fits in Melbourne. co-leased in Fairfield earlier this year to pump out 19 tracks that were shaved down to a 15-track/59-minute effort. No constraints, no pressure – just jamming with mates and exploring a post-Augie world. With the settled song length resting at 15, Glimjack was mixed in New York with Victor Van Vugt. So was Richards content with the final cut, being the hard taskmaster that he is? “We had the usual back-andforth on what should get the axe and we couldn’t agree but then I thought, ‘Nobody’s going to buy this record in a traditional sense or listen to it as an album anyway’,” Richards laments. It’s a realisation of the issues concerned with the state of the industry and the public’s buying habits that have many musicians feeling defeated and deflated from the get-go when creating records. Richards explains the feeling best: “It’s shit!”

mbitious and methodical in their approach, Augie March’s debut record Sunset Studies finished up being a 76-minute epic, while sophomore cut Strange Bird came in at 62 minutes. Then Moo, You Bloody Choir arrived safely at another marathon 66 minutes, before Augie March were finally reined in on their fourth record, with Watch Me Disappear whittled down to 44 minutes and 11 songs – a far cry from the collective’s 14-song/68-minute average. This is where the cracks started to appear. Producer Paul McKercher was gone and replaced by gun US engineer Joe Chiccarelli (My Morning Jacket, The Shins, The Strokes). Sony was looking for another hit. The band were flown to Neil Finn’s Roundhead Studios in Auckland. Augie March’s

heads were spinning. Frontman Glenn Richards felt like a product, not a performer, and a feeling of sanitisation swept through the Augie camp like a 17th-century plague. “I find it hard to take things terribly seriously now… I’m not nearly as ambitious, I suppose, just in terms of what I expect from the record-making process,” states Richards as he discusses his debut solo record, Glimjack. “The recording of Glimjack was purely about having some fun with some friends [Dan Luscombe and Mike Noga from The Drones, Ben Bourke and Richards’ brother Chris] and making good on a promise that we would do something together,” he states. The lads shacked up for a month in a decrepit ice-skating-sized rink Richards

With the title of the record taken from a term given to mid-17th-century London kiddie thieves, Richards saw the correlation between their vocation and the songs he writes. “I like the idea that this glim-jack kid would take people to their destination and it would either be a perfectly fine transaction and sometimes not,” he says. So with 50% of The Drones utilised during the recording of Glimjack, did Richards (I joke) harbour any desire to test his relationship with that band’s frontman, Gareth Liddiard, and approach their bassist, Fiona Kitschin, to play with him? “Yeah,” he laughs, “actually I love Fi’s playing but I’ve seen Gaz play bass in a couple of acts and I really like the way he goes so I probably would have got him before Fi,” he jests. With both men booking in for their respective album launches on the same night, Richards is stoked then chagrined when I reveal the fact that Liddiard has been engaged to play the following evening as well. “Nice, nice… it’s kind of annoying that he can do two though and I can do only one,” he laments. While Richards was content with Noga working over a meat’n’potatoes-with-a-twist style of drumming throughout Glimjack and Luscombe’s integral keys “playing on a fucked-up old piano – not a B3”, Richards’ musical relationship with brother Chris was one he took most comfort from. “We haven’t done much together but I think that will change and he was great playing most of the bluesy guitar next to Dan’s atmospheric presence,” says Richards. “Chris

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“When it comes to Killing Joke, it’s a very different space, it’s a different audience. Our audience very much differentiates Killing Joke from other bands – they are incredibly intelligent and not at all like the audiences for other rock groups. They have questioning minds. The gigs are where people meet up and it has been this way since the beginning, in 1979, 1980. If you like, it’s a kind of open forum of views and discussion. It’s also been the avenue for our further education. All of us left school at 16 and yet we’ve accomplished so much. It just shows that most things are achievable. It’s got me thinking that after 30 years of Killing Joke our legacy could be in the area of education and self-learning. I meet so many gatherers who tell me they started getting informed and educating themselves after taking an interest in Killing Joke.” Given the straight-forward time signatures and generally standard instrumentation of rock music, it seems remarkable that an accomplished classical and operatic composer like Coleman can still find inspiration and liberation within the medium. “I keep them in completely different mediums, different compartments if you like,” he says. “Killing Joke and classical music have very different functions for me. The orchestra for me is a romantic expression of landscape and a romantic concept of perpetual melody. I can explore sentiments and emotion that a band can’t touch. With Killing Joke, I use it to get to a transcendental state through repetition and mantra; it becomes a cathartic ritual. You’re never going to have an orchestra rocking a crowd of 4,000 people so the whole place is physically moving, but Killing Joke can.” Our discussion moves into murky waters and a hotch potch of observation and sentiment follows. From Peter Garrett’s involvement with the ALP (“absolute scumbag,” says Coleman) to going on three- and four-day benders with the late Joe Strummer (“I never had his phone number but didn’t need to – we just bumped into each other and went a bit mad”), Coleman is remarkably candid. He is aware and proud of his band’s legacy and wishes there more kindred spirits to carry the torch. “There are big changes happening on the planet,” he says. “I guess it’s good to be here to document them, but if I look at young bands now, there’s no real sense of rebellion in the music or in the spirit. They are driven more by the notion of being famous and celebrity.”

WHO: Killing Joke WHAT: Absolute Dissent (Shock)

is more talented and certainly a better guitar player than I am and it’s funny because he is far more excited about this project than me,” he laughs quietly. Admitting to never really enjoying live performance, Richards claims to be at his best when immersed in the writing process away from prying eyes. “It’s a double-edged sword – I know I have to play live but it sucks the life out of you.” Pressing on with this topic we discuss Richards’ reputation built up over the last decade-plus for being difficult and temperamental on stage. To the naked eye he has always been an uneasy cat who demands perfection. Richards also dedicates a tune on Glimjack to one of his best known traits, explaining on his website: “Harsh Critic owes a bit to Spencer P Jones and goes a long way to explaining the [Richards’] well established on and off stage hissy fits, (of which there have only really been about 12).” So what does Richards put it all down to? “I mean, you know, the greatest cure for discomfort on stage is a decent hangover… I just don’t enjoy [live performance] enough and a lot of people get into this music business because they are exhibitionists by nature and you couldn’t describe me in more of an opposite way. That said, I’ve had to come out of myself a little bit, but the biggest reason why I don’t enjoy it is that I don’t want to feel like I’ve humiliated myself when I get off – it’s not great motivation!” he admits. Richards also divulges that he seems to get most shitty when playing to Melbourne crowds but can’t explain why. “I don’t know why that is, I really don’t, but Dan and Mike will be good for bringing a lighter mood in so I should be alright,” he reassures. Richards concludes our insightful yarn by informing Inpress that he is at a songwriting point in his career where he’s “just snapshotting stuff” and while he’s pleased with Glimjack he believes the tunes just don’t maintain a thread like they did when he was writing for Augie March records. I love his honesty. “I’ll probably move out of [Carlton] and find a place with a bungalow – set up a studio and do things myself… maybe an album of Noël Coward covers or even think about a nice finishing chapter for Augie or a start of a new era, I don’t know, but of course the focus for now is on touring Glimjack,” he says. Brace yourself Melbourne. WHO: Glenn Richards WHAT: Glimjack (Sony Music) WHEN & WHERE: Friday, Corner Hotel

THEN THERE WERE TWO ARIA-winning combo THE AUDREYS ditched band members and called on some talented friends during the making of their third album. Singer/songwriter TAASHA COATES talks MICHAEL SMITH through the changes.

“T

here were a lot of changes,” Coates admits, as she chats on the line about The Audreys’ third album, Sometimes The Stars. “We’ve sort of gone back to just Tristan [Goodall, guitars, co-writer] and I, which is how the band started. We’ve always written the songs, but we’ve always had a band to bring the songs to, so this time we only used special guests on everything so that’s given it a different sound and we were able to experiment more with instrumentation and stuff.” Among those ‘special guests’ are the guys from Tripod (Scott Edgar, Simon Hall and Steven Gates), ex-John Butler Trio drummer Michael Barker, the increasingly ubiquitous Tim Rogers and jazz pianist Paul Grabowsky, who features on the song Poorhouse. “What is with that solo? It’s so insane! I love it!” Coates laughs. “It kind of makes you want to hit your head on a wall though, doesn’t it? ‘No more! Help!’ The guests became very obvious. Once we started listening to a track, we’d look at each other and say, ‘Hmm, this needs trombone’, or ‘Some insane jazz pianist’, or ‘Let’s get the boys from Tripod in to do some silly backing vocals’, or ‘Tim, yeah’. He’s an old friend and we knew he could add some really beautiful harmony vocals to [last track] Lonesome Valley.” As Coates mentioned, The Audreys had started out when she and Goodall, both Adelaide born and bred, decided to take time out from university and headed to Melbourne to try their hand at performing the songs they’d started writing together as a duo. Having decided that it was in a wistful country/blues-with-a-pop-sensibility kind of vein that their writing seemed to sit most comfortably, they returned to Adelaide and by 2004 had pulled together the original four-piece line-up. By the time they played WOMADelaide in 2005, they’d grown to a five-piece, though it was a six-piece by the time they went into the studio to record their 2006 debut album, Between Last Night And Us. Cracks began to appear in the band after their second album, 2008’s When The Flood Comes, with double bassist Lyndon Gray deciding to quit. The Audreys continued to tour, initially without a bassist, but by the time Coates and Goodall started writing for the third album, they’d realised drastic changes were needed.

Incidentally, there are ten tracks on the album, because then they translate so much more easily to the old 12” vinyl long-player format to which The Audreys have become so addicted – Coates admits to not even owning an iPod. The vinyl version of Sometimes The Stars is available, as are their two previous albums, in a limited edition gatefold cover. “Albums only used to be eight or ten tracks,” Coates reminds us, admitting that “when CDs have 16 or 17 tracks, I get restless – that’s too much.” WHO: The Audreys WHAT: Sometimes The Stars (ABC/Universal) WHEN & WHERE: Thursday 11 November, Ruby’s Lounge; Friday 12 November, Corner Hotel; Saturday 13 November, Theatre Royal (Castlemaine)

VE POLICE PRESENT

FIRST AUSTRALIAN TOUR | FEBRUARY 2011

THURSDAY 10 | NORTHCOTE SOCIAL CLUB “I really surprised myself how much I enjoyed LA. You know, I thought, ‘Aw, tacky LA, ra ra’ and then I just loved it. Wanted to get my boobs done and get a sunset tan within the week!”

“When it just came back to the two of us, we were a bit nervous about what that meant at first, but then we realised that it was an opportunity to open up the sound. So that happened quite naturally, but it was really fun. You know, strings and things like that, that we’d never really had on our records before.” At the end of last year, after a quick, apparently tequila-soaked trip to Los Angeles in July to play a couple of sold-out shows at Spaceland and the Hotel Café – “Great fun,” Coates admits, “I really surprised myself how much I enjoyed LA. You know, I thought, ‘Aw, tacky LA, ra ra’ and then I just loved it. Wanted to get my boobs done and get a sunset tan within the week!” – the pair did a quick tour around the country as a duo again to get a feel for what the new songs were sounding like without the band, and to see whether they could stand up with just voice and guitar.

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“We found that, on our second record, because everything was written with the band, when we stripped it down, sometimes they were hard to do just on our own. So we were really determined not to make that mistake again.

With Puta Madre Brothers

FRIDAY DECEMBER 17 St Kilda THE GERSHWIN ROOM

“The songs for this record took a while in the writing, maybe a year, maybe even more, which is not how we did our second record. We felt really rushed writing that record, which we wrote in about six weeks, which was really stressful [laughs] so we made sure we kept our toes in the water with writing, even when we were touring our last record. So they’ve evolved over a bit of time and there are different stages of how we were feeling and this and that, and then we’d say, ‘Ah, we need to write a murder ballad’, so we’d actually rub our hands together and say, ‘Right, who can we kill’.” That ended up becoming the gothic Little Molly, though it’s probably more death by misadventure than by murder. Coates actually invited Nick Cave to collaborate on a song with them, but the invitation was politely declined. The pair wrote a lot of songs in the period leading up to the recording. By the time they entered the studio, they knew which ten songs they’d record, though in the end, one of those ten was scrapped and another, Falling Down, was written and recorded on the final day. Recorded in Melbourne a couple of days at a time over a leisurely four months, Coates and Goodall reunited with producer Shane O’Mara, who had done their previous two albums, also contributing additional guitar parts. Joining Coates and Goodall on the album launch tour are multi-instrumentalist John Bedggood, who most recently toured through NSW as one-fifth of The Wilson Pickers but has toured with Tim Rogers and Bernard Fanning, along with the rhythm section that went out with Missy Higgins on her first national tour.

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with guest

CHRIS ALTMANN

FRI 12.11 | NORCOTE SOCIAL CLUB Tickets: northcotesocialclub.com, Ph: 9486 1677 or Corner Box Office 57 Swan Street, Richmond & lovepolice.com.au/tickets/joepug2010

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SINGLED OUT BY CLEM BASTOW

ON THE RECORD

LATEST CD REVIEWS

SINGLE OF THE WEEK

THE BEES I REALLY NEED LOVE Universal

TASH PARKER WAKING UP Inertia

MICAH P HINSON AND THE PIONEER SABOTEURS Full Time

ADMIRAL RADLEY I HEART CALIFORNIA Other Tongues

Remember when The Bees released Free The Bees and everyone had a little fit about retro-ism and appropriation and The Beatles and god won’t somebody think of the children? What it failed to note was that in spite (or perhaps because) of their expert impressions of the hits of yesterday, The Bees were/are actually pretty amazing. So, it’s nice to have something new – even if it doesn’t sound “new” – from them, and I Really Need Love, with its sunshiney harmonies, cheerful acoustica and faint sitars, is the best sort of pastiche. Go ahead and rob from the past to give to the future if you do it this well.

Buried in the concrete sprawl of Melbourne suburbia, it’s easy to forget how wholly unique and majestic the Australian landscape is. In Tash Parker’s debut album, Waking Up, the experience of this landscape is vividly conjured through Parker’s songwriting as she delicately weaves personal vignettes into rich, painterly descriptions of her surrounds.

Hobby/Other Tongues

The problem with Admiral Radley is Jason Lytle. Or more particularly the fact that he isn’t singing on every song. The former Grandaddy singer/composer opens proceedings with the title track and it it’s another joyous piece of Americana pop, the lost Grandaddy track that never was, and the best song on this album. But then the next piece has another singer and well, when Lytle is around everyone else sounds second rate. Lytle is back for the third, seemingly borrowing from David Bowie and Mick Jagger’s Dancing In The Streets, an exercise in naming every place they can think of. But seriously, Lytle could sing the phonebook and it would be heartbreaking. He ends up on five of the 11 songs, and there is real gold here that harks back to the kind of urban scattered beauty of his Grandaddy days.

THE VERSES FEAT DAN SULTAN RUNNING AWAY Warner As was ably demonstrated by their RocKwiz duet, there’s something beautiful about the way Dan Sultan and Ella Hooper’s voices mesh, so his addition to Running Away – which was already a lovely Petty/Buckingham-ish anthem – takes the song to great new heights. The Verses have been quietly toiling away at making some of the best pop songs in the country and this, as well as the album Seasons, is proof of their mettle.

GLASSER MIRRORAGE Matador/Remote Control There’s been a definite thread of mesmerising, trance-like arrangements in music this year, and I wholeheartedly approve. The latest to spin an aural web is Glasser, whose Mirrorage (helped no end, it should be noted, by the dizzying accompanying video) works faintly pagan drum loops with spooky synths and broken glass percussion – not to mention her glorious voice – to weave a spell that is broken only by the song’s abrupt conclusion. Divine.

LADY ANTEBELLUM I RUN TO YOU EMI

The simple yet heartfelt storytelling of Parker’s lyrics plants Waking Up firmly in the folk genre, but the album is heavily infused with jazz elements. This influence is most evident in the up-tempo opening track Move Around, with its syncopated beat and scat-like vocal phrasing. Jazz gives way to pop with the playful Not Unprepared, the first single from the album and a touch reminiscent of Emiliana Torrini. Parker herself acknowledges Torrini as an influence, as well as Joni Mitchell, Suzanne Vega, Feist and Holly Throsby, all of whom can be heard, but in Waking Up Parker has stamped her own original sound. Produced by J Walker (CW Stoneking, Andrew Morris, The Boat People) and Wally De Backer (Gotye), Waking Up successfully offers diverse and layered musical arrangements without overpowering Parker’s vocals. This is most artfully demonstrated on tracks When It Rains and I Take The Blame. The latter, an album standout and the most recent single, holds Parker’s delicate vocals steady against a background of orchestral rises and falls. Parker’s vocal range is impressively tested by the varying tones of Waking Up, including a dip into bluesy waters in Baby All The Time. There were times, however, where Parker’s sugary voice wore thin and I was glad for the harmonies of De Backer to thicken out tracks such as the soulful Understand. Overall, Waking Up successfully melds jazz, folk and pop into a sometimes joyful, sometimes melancholic, rich sensory experience.

For the bulk of his early albums it was difficult to divorce the young Texan singer/songwriter Micah P Hinson from the bio-tastic tales of drugs, destitution and prison spells which had marred his early adulthood, but these days Hinson has found love, married and reputedly found some semblance of balance in his life – although you’d be pressed to glean that from this, his fourth full-length collection of original material. And The Pioneer Saboteurs, continuing his trend of naming his albums after the band he’s assembled for the occasion, is a sprawling collection of American gothic narratives in the finest tradition of forebears such as Johnny Cash and Lee Hazlewood. The album opens with and is interspersed throughout by desolate instrumental passages which add to the already considerable textures, as do the subtly glorious string refrains (arranged by none other than Eric Bachmann of Archers Of Loaf and Crooked Fingers fame). Highlights include the tragic lovelorn balled Seven Horses Seen, the bleak centrepiece soundscape The Cross That Stole This Heart Away, the simple bounce of My God, My God, and the thundering She’s Building Up Castles In Her Heart, but it’s really a piece best listened to in its bleak entirety. Death and morbid imagery abound in the lyrics and the record is glum in tone – although that could simply be a by-product of Hinson’s perpetually croaky but constantly expressive croon – but it never mires in the pain, just seeming to seek understanding or escape. It’s an entirely different beast to its predecessors, but an album which finds Hinson analysing his take on the mythical American dream and providing us with plenty of fodder for thought in the process.

Adele Psarras

THE CREEPSHOW THEY ALL FALL DOWN Hellcat/Shock

MUSE MK ULTRA Warner

RIHANNA FEAT DRAKE WHAT’S MY NAME Universal Where exactly did it all go wrong for Rihanna? Was it just that Umbrella was so brilliant that everything else was doomed to sink into relative averageness? What’s My Name has a vaguely appealing downbeat synth line, and her vocal performance is a sweet nod to her pre-overproduced twang, but there’s an undeniable hollowness to her recent work that is hard to ignore. The addition of Drake’s rap (something about “the square root of 69”, take my wife for instance, please) only serves to make What’s My Name – and its place in her oeuvre – all the more perplexing.

SHORT STACK WE DANCE TO A DIFFERENT DISCO, HONEY Mercury It’s good to see that the Short Stack syntax (or lack thereof) is still going strong; how exactly does one “dance to a different disco”, honey? It’s almost as good as Sway Sway Baby’s “You’re so audio” (sure, why not). And how about the line “I know that you’ll miss me/So shut up and kiss me/Livin’ la vida loca”? They really are terrifically awful, aren’t they? Do people really, truly listen to them? Do people actually attend their gigs? We Dance To A Different Disco, Honey actually makes me long for a Lash revival.

Bob Baker Fish

Steve Bell

Whenever I hear a Hammond organ lurking in the background of a doleful adult contemporary track, something in my mind screams “THE WALLFLOWERS’ ONE HEADLIGHT”. So it is with Lady Antebellum’s latest, which feels cut from the same cloth as most of 1997’s countrified AOR – and it’s not the first time I’ve heard something decidedly Music From And Inspired By The Movie Con Air this past month. Is there some sort of revival happening that I don’t know about?

Do you ever want to take the Muse army, sit them down in a dark room, and force them to listen to some actual prog rock? Blow their minds with a little bit of Rick Wakeman’s noodliest moments, flog them over the head with a bit of King Crimson or Vanilla Fudge? Because MK Ultra – like, oh EVERYTHING THEY’VE EVER RELEASED – merely demonstrates the dearth of ideas in Muse’s music that makes it the perfect inspiration for Stephenie Meyer’s black hole of character development, The Twilight Saga.

It’s two members from Grandaddy and two from Earlimart, and they’ve formed this kind of sun-baked slacker pop supergroup that draw as equally from the Californian songsmiths of yesteryear as The Beatles. It’s folksy, poppy and kind’ve endearing, this slightly skewed version of indie pop music that, when they hit it, is just perfect. They do miss occasionally, however; at their worst they’re a little bit bland or derivative, yet the good moments make you forget the lapses, such as GNDN, in which Lytle brings it down singing “It goes nowhere, it does nothing”, and it’s a refrain that like any good pop song sticks in your head and refuses to let go. It’s hard to know if it’s my personal bias but every song Lytle is not on feels like a missing opportunity. If you’re mourning the demise of Grandaddy this may just help.

DAMON SMITH SAILOR ON A SHIPWRECK Love & Theft APACHE BEAT LAST CHANTS Pod/Inertia Take one North American tribe. Add a kit or two’s worth of tom toms. Chuck in a few synths and some gloriously fuzzy recording equipment. Maybe a mind-altering substance or two. Stir, and odds are you’re on your way to one hell of a party. Finally, drop into the mix a Sydneyraised wild vixen of a lead singer. This is Apache Beat. Apache Beat formed in 2007 in a small town called New York City. Five like-minded guys and girls with a penchant for creating hell-raising rhythms, splattering electro madness and a swirling of artistic convulsions, the group – fronted by the Karen O- and Courtney Love-channelling Ilirjana Alushaj – have quickly made waves on indie scenes near and far. Although they have toured with the likes of Gossip, Deerhunter, Crystal Castles and We Are Scientists, Last Chants is their debut album, and one that carries a none-too-subtle punch with it. The various guests that appear across the record – think drummer Brian Chase (Yeah Yeah Yeahs) on the sun-drenched, fuzzed-out It Will Be, or saxophonist Gabriel Andruzzi (The Rapture) on album highlight Nightwaters as two examples – are testament to the street-cred of Apache Beat. But when the riffs and beats of songs like Fear Of Falling or instrumental interlude A Break In The Light are as groovy and loose as they are throughout all of Last Chants, it’s clear that this group aren’t relying on their contacts to produce a quality record. At times claustrophobic in its density, at others raging with cacophony, but all the while being driven by beats and rhythms cast from the epic plains of native Indian tribes long ago, Apache Beat are a group to be feared. Last Chants is a taste of what’s brewing on the other side…

Sailor On A Shipwreck is the first longplaying release from alt.Brunswick/country piano man and songwriter Damon Smith, whose band, The Quality Lightweights, for anyone lucky enough to catch them, have been one of the unexpected pleasures of the local live scene for the last couple of years. Like the cover, with its red-and-greenshould-never-be-seen garishness and depth, this is a record both surprising and beautiful, accomplished and charmingly shonky, music to be listened to both whiskysoaked after your lover has left you and to calm those jangling first date nerves. It seems that every band in Melbourne at the moment that even hints at darkness sounds exactly like The Bad Seeds – as it should be in a lot of ways since they’re one of the best bands in the world – but it’s tough sometimes to put up with so many pale imitations. The great thing about Smith is that he covers similar territory but sounds nothing at all like Saint Nick. The instrumentation here is both sparse at times and lush, the vocals have a gravelly, crush-inducing wantonness and Smith’s perspective as a songwriter – most notably in standout track Professional Dancer – hints at the arrival of a truly conspicuous talent that, given the chance, will enthrall music fans for decades to come. As the title suggests, the imagery on this record can be quite spectacular, something like the stuff of the 19thcentury novel, but it also comes back into the personal and the universal with never a hint of jarring. This is something that few songwriters are able to achieve with anything like the smoothness Smith has done here. More to the point, though, the music perfectly matches the mood swings. Truly a stunning achievement. Tony McMahon

Dylan Stewart

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Three full-lengths in and this Canadian psychobilly outfit still have all of the face-bruising neo-doo-wop swagger that made them so damn loveable in the first place. Opening of course with a ‘sermon’ by keys player, The Revered McGinty, The ‘Show waste no time getting into hooks, hooks and more hooks. And, of course, you get a few lyrical jabs from the always soulful and sultry front lady, Sarah ‘Sin’ Blackwood, who eschews much of the horror shtick that made up the main content of the group’s previous releases. What you get instead is music that blurs punk and rockabilly, with elements of barbershop and ska, to create an interesting mash-up of musical history. On the downside, like many bands that quiff up before getting down, musically, this is very similar to The Creepshow’s past works – yes, it has a definite identity even within the very ‘genre’-sounding music that is psychobilly, but at points, the four-piece sound like they are plagiarising themselves. While this may be the band’s most mature outing to date, they haven’t lost their sense of humour (though it is still macabre) and overall, this is the act’s most upbeat and soulful release; any band that can sound this ready to bop while whirling through tales of murder, revenge and isolation are doing something right. And from the devastating left thrown by the frontwoman captured on the album cover, you wouldn’t want to be the one telling this act that they were doing anything wrong. Luke Monks

ON THE DVD

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OPETH IN LIVE CONCERT AT THE ROYAL ALBERT HALL Roadrunner/Warner

VARIOUS ARTISTS EUROVISION SONG CONTEST – OSLO 2010 EMI

For a band whose career began two decades ago in Sweden, utilising a meshing of obscure, ambient ‘70s rock and classic death metal à la Morbid Angel as their sonic foundation, Opeth’s continued rise has been surprising, surreal even. Not for lack of musical quality – more so how the band’s expansive arrangements have managed to win such an extensive following, to the point where they can draw fans from numerous musical spheres and comfortably fill large theatres worldwide.

The world of music could collapse under the greatness that is the Eurovision Song Contest. Cataloguing the brilliance of the 2010 contest, this DVD includes coverage of the semi-finals. And, don’t worry, there’s plenty of Alexander Rybak to go around if you’re a little nostalgic for the Norwegian pixie’s 2009 display.

While this isn’t Opeth’s first DVD release, for their devoted fanbase it may be the most anticipated, if only for the first live set included, which covers 2001’s Blackwater Park in its entirety. One of their most universally beloved releases, the show was filmed at London’s Royal Albert Hall as part of a series of gigs celebrating the quintet’s 20th anniversary. While the first set is taut to the point of exhaustion, the second set feels more relaxed, cherry-picking one track from each of their other eight full-length albums. Frontman Mikael Akerfeldt is visibly more relaxed during the second “observation”, his dry wit displayed (“We’re bringing death metal to fine culture,” he deadpans). The production values and light show are appropriately slick, yet not intrusive. Bonus features include a tour documentary (which underlines their perfectionism, to the point where Akerfeldt confesses to Opeth only having played five “perfect” shows throughout their entire career) and an insightful one-on-one interview answering fan-submitted questions. There are three versions available, including one with a limited edition vinyl box set, which will only be for the completists – for most the basic package should suffice. Brendan Crabb

There are many reasons why you must love Eurovision. These reasons prance around the stage in kitsch costumes with big hair and even bigger egos. The 2010 contest saw a bemusing insistence upon white pants, too much fake tan and dresses embedded with LED lights (hello Azerbaijan). Add to the mix a generous dose of crescendo-heavy ballads Celine Dion would be proud of, too many pelvic thrusts, a grievously uncoordinated Moldovian trumpet player, excessive wind machines, pyrotechnics, plus a general theme of fruit props, which saw Armenia dance around a giant apricot stone and the Poles base their choreography around apples. To our further enjoyment, there are awkward live crosses during the vote count (“This is Tallinn calling!”), enthrallingly pointless filler content and overly expressive hand gestures by the hosts. And then there are the performances. MaNga, the Turkish equivalent of Linkin Park, included a live robot, while Greece’s Giorgos Alkaios was utter flawlessness with his dancing tribe of oiled-up Greek men and Euro anthem Opa!. Next to these morsels of brilliance, efforts to present ‘serious’ singers fall short. While most Australians regard Eurovision as an amusing joke, it is difficult to comprehend the seriousness of the performers. It is this interplay between the cringeworthy and simply unbelievable that draws us into the tacky, sparkling cocoon of the Eurovision Song Contest. Stefanie Markidis

SLAYER LIVE INTRUSION Columbia/Sony

REM LIVE FROM AUSTIN, TX New West/Shock

It’s 1995. Slayer are touring Divine Intervention, their first album since replacing Dave Lombardo with Paul Bostaph on drums. Following the high of Seasons Of The Abyss and Decade Of Aggression, the newly formed Slayer also finds themselves a band made strangely peripheral by the grunge onslaught of the early-‘90s. Some argued at the time that if the relevance of Slayer’s musical hostility was being challenged then maybe they needed to make some hard decisions about the direction of their music? The answer delivered was pure metal – we are Slayer and fuck you all. They just drove that trusty satanic blade with as much force and certainty as ever. Many a fan on show has smashed their head open or even cut the Slayer moniker into their wrists in one instance.

Getting only sporadic runs on pay TV here, Austin City Limits is apparently the longest-running music series in the US. Being on the Public Broadcasting network over there means it avoids commercial imperatives, and thus artists queue for a turn without risk to credibility.

Live Intrusion has been out of print for some time. It was the original Slayer home video classic on VHS. Recorded on the last day of the American tour at Mesa Amphitheatre in Arizona, Slayer are primed and ferocious delivering a set encompassing tracks from Divine Intervention and a slew of brain-boiling classics. Killing Fields arrives with a nod to Bostaph and is a better example of the new material being showcased. But the desire for old Slayer really sends fans into a frenzy. At times it seems the entire crowd is the mosh pit, the overhead shots particularly effective as Slayer pump out Captor Of Sin, Angel Of Death and Chemical Warfare. There is also a cover of the Venom song Witching Hour, performed with backing from Chris Kontos and Robb Flynn of Machine Head.

It’s a chance to watch the REM dynamic more closely than in their more natural arena habitat, and certainly different than the lush textures they put on most of their records – even with extra guitarist and keyboards to fill out the sound. And while Michael Stipe looks suitably distracted in his ill-fitting suit, and sings those often totally obtuse words with conviction, and Mike Mills’ harmonies echo and his bass remains a beautifully fluid thing, Peter Buck’s plucked Rickenbacker guitar on Accelerate songs like Man-Sized Wreath makes you remember why this band were so special in the first place. He really centres the band through most of these 17 songs.

The band’s own video footage provides transition between tracks (Jeff Hanneman must have been the inspiration for Chris from Family Guy), with lots of vandalism, precociousness, drinking, insane fans and the lighting of farts to round out the Slayer offensive.

Put all that together, and REM are just about the perfect fit for a performance. This show actually dates from mid-2008, with the band finding their spark again. They were beginning to get comfortable with Accelerate – probably their best album this century. Thankfully, ACL doesn’t force the ‘unplugged’ philosophy on those appearing, the small-studio-but-amplified approach being akin to having them appear at your local.

For the casually interested, there are some of the morewidely familiar of their tunes – Man On The Moon, a nicely raw So. Central Rain, and the obligatory Losing My Religion done with some grace and style. Ross Clelland

Yukkoff

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HYPER MUSIC

ON THE RECORD

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The best music on the net with DCR

The great idea for this week’s column was to scour the internet for freebies from all the acts on the 2011 Laneway Festival bill and compile an awesome sort-of mix for you good folks. It wasn’t actually that difficult, which is proof that if you look hard enough online you’ll find anything for free, and legally at that. (You want Katy Perry’s new single, Firework? Download the Katy Perry Revenge iPhone app – which is free – and you’ve got the song at your disposal whenever you want.) One goldmine for free music from Laneway artists was Daytrotter. Daytrotter is an incredible website, and an amazingly comprehensive resource for live sessions by the sorts of bands that the Laneway organisers attract. If you’re a regular browser of pretty much any Americanbased indie music blog such as Pitchfork or Stereogum then you’re probably already aware of Daytrotter. If not, grab a glass of wine and let Hyper Music introduce you. What sets Daytrotter apart from the seemingly endless supply of other music websites is that they feature exclusive live sets from bands, who come into their studio – the word studio is loosely applied here – playing on the crew’s instruments. The end result is an incredible library of live music that is often times intimate and just as often ballsy, off-the-cuff and reckless. Each session is unlike any other live recording you’ll probably hear from the artists. It’s one of the best uses of the internet since Vincent Moon’s Take Away Shows (live video recordings published on La Blogothèque). Pheonix

BRIGGS THE BLACKLIST Golden Era

BRIAN HENRY HOOPER TROUBLE Spooky Records

GOOD CHARLOTTE Cardiology EMI

The term ‘skip hop’ was coined for an Aussie hip hop scene dominated by those from Anglo-Celtic backgrounds, though not necessarily middle-class – an irony lost on the makers of 2006’s Skip Hop doco. In the past, MCs such as the African-Australian N’fa have indicated that other Oz hip hoppers felt unnerved by their tackling racial issues. But, since then, Australian hip hop has become ever more diverse – musically and culturally. Shepparton’s Briggs should be the first Australian Indigenous superstar MC. He has the backing: The Blacklist is materialising on Hilltop Hoods’ label, Golden Era. Still, Briggs has said he’s “a rapper that’s Aboriginal, not an Aboriginal rapper.”

Whether by design or not, potentially never has the title of a new album been so apt for an artist whose reputation precedes him. The latest solo album offering from Brian Henry Hooper is titled Trouble and that label has hung around his neck like a millstone ever since his days with legendary hell-raising outfit Beasts Of Bourbon. Trouble is a follow-up to his excellent yet underrated 2008 album The Thing About Women, and it sees Hooper’s songwriting continue to excel. Apart from some great musicianship, the other thing that is notable is the growing confidence that Hooper has in his voice and the results speak for themselves.

On their last album, Good Morning Revival, Good Charlotte turned from bratty pop punk kids to chart-pop kings with songs like Dance Floor Anthem and Keep Your Hands Off My Girl encouraging kids to shimmy, shake and throw their hands in the air. Cardiology sits somewhere in between the various phases of Good Charlotte. The high gloss production is still present as are the big anthemic singles that seem to explode out of your speakers: Let The Music Play, Silver Screen Romance and Last Night.

The Blacklist follows the MC’s 2009 EP, Homemade Bombs, and its beatsmiths (76, Jaytee and Funkoars’ Trials) are back here, with Suffa also chipping in. For the most part, they adhere to a late ‘90s East Coast hip hop template, 76 helming a percussive, horn-led corker in The Checklist worthy of Just Blaze himself. Briggs is a hybrid of Big Punisher, Busta Rhymes and Savage – and not just in name. He takes no prisoners. The Blacklist offers banger after banger to rival the first single The Wrong Brother. Briggs’ influences are always apparent: he is a child of the gangsta rap era (Ice Cube couldn’t have found a better tour support!) equally exposed to East Co’ hardcore rap (MOP) – and punk metal (as heard on The Wrong Brother). Since Forever (The Storytellers) is a monster posse-cut with the Hoods – and an anthem for disenfranchised youth everywhere.

The Laneway artists that have all spent some time in the Daytrotter studios are The Antlers (recorded in October 2009), Beach House (February 2010), Bear In Heaven (October 2010), Deerhunter (November 2007), Foals (June 2008 and October 2010), Holy Fuck (May 2008), Local Natives (March 2009, January, May and June 2010), Menomena (August 2007) and Yeasayer (September 2007). Other artists that feature include The National (who contribute a cover of The Psychedelic Furs’ Pretty In Pink), Tame Impala, Tegan & Sara, Justin Townes Earle, Wavves, Of Montreal, Vampire Weekend, Architecture In Helsinki, An Horse, Bon Iver and Black Lips. Every session is available to download for free at 128kbps, and some sessions offer lossless versions for a couple of dollars. There’s also an iPhone app, which basically replicates the iPod app, streaming their sessions either at your choice or via a ‘radio’ option. Head to daytrotter.com. In addition to these Daytrotter sessions you can freely download new tracks from Blonde Redhead and Deerhunter via their record label 4AD at 4ad.com, whilst Yeasayer studio material is available from their band page on secretlycanadian.com. Moving on from Laneway, one of our favourite bands of this year, Surfer Blood, have recorded a cover of Pavement’s Box Elder, which was on the band’s debut EP Slay Tracks, which was released all the way back in 1989. Call us cynical but it seems a bit of a wanky choice, unless, you know, they actually are Pavement fans. You can hear the cover, as well as familiar songs Floating Vibes and Fast Jabroni, and a new track, I’m Not Ready, at halfwayhousemusic.com. Sophia Coppola has a new film coming out – Somewhere, which revolves around a Hollywood actor leading a live of excess who’s visited one day by his 11-year-old daughter – and, unsurprisingly, it features a pretty trendy soundtrack, albeit one that’s slightly more pop-orientated and mainstream than usual. Artists featured include The Strokes, Bryan Ferry, T Rex, Kiss and Sébastian Tellier, but also Foo Fighters, Gwen Stefani and The Police. Phoenix bookend the record with parts one and two of Love Like A Sunset, and currently in exchange for a retweet, you can get part three (remixed by Zdar and Tong) via glassnoterecords.com/phoenixretweet/index. html. As far as the song is concerned, it’s very much what you’d expect from a Phoenix song written for a Sophia Coppola film. Introspective and ambient, this remix adds elements of minimal tech, which replaces the original track’s Tangerine Dream vibe and turns it into a driving dancefloor anthem that will probably be played over the scene where the father goes clubbing. Or not.

Briggs has presence, skill, swagger and a sly humour, but he might modulate his flow over the course of the album – an album ain’t a live show. It’s only on the poignant Vicious Cycle that he slows things down and demonstrates his narrative prowess. Cyclone

The title track sets a lofty standard, accented by haunting backing vocals from Xanthe Waite, and borders on a personal mantra: “I’ve known trouble and I always will/’cause trouble is a part of me/I’m not afraid…trouble is my friend.” Three guest guitarists, Penny Ikinger, Spencer P Jones and Charlie Owen, add depth to What The Hell Was I Thinking, with another near perfect insight: “You used to be a prostitute/I got you for free/But I paid for it each time.” Hooper displays an innate ability to deliver clever insightful one-liners like, “Any time I watch TV/I live in a bold and beautiful world/Or that’s what I’m told,” from Wasting Away or the deeper, “In my bottom drawer you’ll find/All my secrets all my crimes/Everything that makes me who I was/Not who I’m meant to be”, sung in Take My Money. There is something special in all 11 tracks, be it the candid lyrics or the simple yet effective musical arrangements with key highlights added by Steve Boyle on piano and multi-instrumentalist JP Shilo, most notably on the violin. Ex-Bad Seed and buddy Mick Harvey has produced this album and his relationship with Hooper has seen the latter truly in his element and is evident in other standouts Am I So Blind, Promise To Myself, Right Now and the killer Stronger. There is something so brilliant in the darkness of the closer I Get Up Again (and check the YouTube clip) that it reeks of instant classic for this simple music servant.

Clearly the Madden twins, Joel and Benji, wear their musical hearts on their sleeves so there was also going to be more earnest songs like Harlow’s Song (named after Joel’s daughter) and 1979 (written after the Madden’s repaired their relationship with their long absent father) but these opportunities for the fans to feel an emotional connection to their favourite rockstars does little to dampen the enthusiasm of this album’s bouncier pop moments. And there’s certainly been far worse heartfelt, sincere songs written not only by the Maddens but by most songwriters at some point in their career. While the unabashed pop quality to the album is sure to rile anyone who stands on the Good Charlotte fence, it’s a bit too late to be whining about pop punk’s poppier aspects now. Best to just ignore GC completely or turn it up loud and bounce along with the rest of us. Danielle O’Donohue

The Boomeister

GOLD PANDA LUCKY SHINER Spunk/EMI Gold Panda is in that newfound realm of electronic music that’s hard to define. Taking cues from Caribou and Four Tet but blending with elements of world and acoustic music, Lucky Shiner is catapulted into the company of the aforementioned with its meticulously crafted songs.

THE NAKED AND FAMOUS PASSIVE ME, AGGRESSIVE YOU Somewhat Damaged This summer is no doubt going to be brought to you by Kiwi indie electro group The Naked And Famous. Their super-catchy synth-pop has already been drenching local radio, and they’re set to win all sorts of hearts when they tour Australia this month (and hit our shores again for all Big Day Out shows in early 2011). Smacking of Passion Pit, MGMT and, of course, their fellow countrywoman Ladyhawke, The Naked And Famous aren’t reinventing any musical wheels, but you know how it goes: if it ain’t broke, etc. (And just be grateful it’s not dub, New Zealand’s greatest export after sheep and, well, New Zealanders. There – Kiwi joke out. Sorry.) You’ve no doubt already had your day brightened by Young Blood, the single that debuted at number one on the New Zealand charts, and is doing pretty well this side of the Tasman, too. And the rest of the album doesn’t disappoint. New single Punching In A Dream takes us to a slightly darker, albeit still Lycra-clad place. Opening track All Of This is heavenly vocals over a killer-catchy drum track, while A Wolf In Geek’s Clothing gets industrial. The Sun is reminiscent of post-Kid A Radiohead; I do think TNAF do better with the more poppy, upbeat sound, but along with the ballad No Way, it does add to the album as a whole, bringing some light and shade into the mix. Album closer Girls Like You is a highlight, all synth-and-fuzzy-guitarsoaked Britpop. While I think that Passive Me, Aggressive You could have done with a touch more variety sound-wise (I would have liked No Way to remain acoustic throughout), the album is well-produced and well-deserving of the attention it’s already received. We’re sure to be hearing more of these guys soon. Two thumbs up. Ingrid Sjölund

DAVID CREESE WHEN YOU WERE A MAN Hour Of Need As a huge Dumb Earth fan, approaching the first solo album from ex-Dummies frontman David Creese was always going to be something of a challenge. And at first it’s safe to say I found the whole thing slightly discombobulating. Where was the brass? Where was the toned down Rowland S Howard-like guitar, always threatening to but never quite losing control? Is that a violin I hear? After getting over my own anal retentiveness, it became obvious quite quickly that this is a record that has a hell of a lot to offer. Creese has always been one of the most underrated songwriters in this country, and all 12 tracks on When You Were A Man are testament to this. What’s more, there is arguably a more comprehensive nakedness, fearlessness perhaps even, that makes itself known here in the writing, more so even than in the past, and a sense of narrative on display that is nothing short of extraordinary. The arrangements are deserving of special note as well. Piano, Hammond organ, mandolin and violin wrap themselves around Creese’s oftentimes murmuring vocals like a lonely child who has finally found a friend. The sparseness of the sound is almost extreme, but it is fashioned with such dexterity and grace that it often feels like a full orchestra. I found myself both heartbroken and exalted by the sheer beauty of the talent on display here. This is a quiet, meditative and understated record that will not be to everyone’s taste, but for anyone fortunate enough to be able to connect with it, When You Were A Man will become one of your most prized possessions. Tony McMahon

There’s even the delightfully Bon Jovi-esque Standing Ovation. Surely producer Don Gilmore’s only advice to frontman Joel Madden as he was walking up to the mic was, ‘imagine you’re standing in front of 50,000 fans and every one of the has a lighter held high above their head’.

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The song titles suggest a transformative journey beginning with the looping nasal beats in You. The emotional discovery, the charting of new territory, physically or emotionally, is dealt with in the nuances of each track. Parents is instantly different with its conversational opener leading into acoustic fare with screeching fingers on fretboards. Addressing the absence of percussion is the xylophonic march of Same Dream China, hopefully pattering along before being joined by snare. Snow & Taxis introduces snippets of sampled strings, short but integral to the record’s transformative tale, preparing for the Nintendo-esque bleats of Before We Talked. The real highlight comes in I’m With You But I’m Lonely, a revelatory moment for the protagonist of this synthesised story, softly ascending from faint keyboard notes as a cacophony of persistent beats begin to bare down. It’s a hidden gem that gathers pace and takes instrumentation in tow. A warped sitar lends a musical breather on India Lately, changing the record’s tone from strictly electronic and tying into earlier songs. The sequence comes to an end with You II, with a clear female voice elongating notes in a borderline Moby-circa-Play fashion. Whether this ‘you’ is a new entity or rediscovery of the old is to the listener’s discretion. Therein lies the beauty of Lucky Shiner. Sevana Ohandjanian

ON THE RECORD

LATEST CD REVIEWS

THE JIM JONES REVUE BURNING YOUR HOUSE DOWN Liberator/

CROCODILES SLEEP FOREVER Pod/Inertia

THE WALKMEN LISBON Fat Possum/Shock

Universal

Lurching like drug-afflicted survivors from the demise of San Diegan noise-punks The Plot To Blow Up The Eiffel Tower, Brandon Welchez and Charles Rowland caused a stir in the lo-fi community with the release of Crocodiles’ 2009 debut Summer Of Hate, yet for their second effort Sleep Forever they’ve expanded to a five-piece and fleshed out their sound to a whole new level without sacrificing their previous shambolic charm.

NYC’s The Walkmen have, on their sixth studio album, crafted a loving tribute to the Portuguese capital which clearly left a major impression via the band’s two visits. In a further departure from the more urgent, abrasive sounds of their earlier work, they’ve taken the subtle, slightly more textured approach of 2008’s You And Me one step further into a world filled with meandering guitar lines, innate percussion and, as is lead man Hamilton Leithauser’s bent, heart-breaking tales of loss and longing. Quite amazingly for the band that released 2004’s all-time classic Bows And Arrows, it might be their most complete, most beguiling and best record to date.

There’s a whole lotta shakin’ going on in the world of Jim Jones and his burly Revue. Playing the kind of music that ‘50s parents thought would send their kids straight to hell, The Jim Jones Revue pound at the piano, slap that bass and scorch the earth with old school rock’n’roll riffs that sound like they’re trying to wrest rock music back from all the earnest, chugging, dull bands who have forgotten that this kind of music should reek of lovin’, boozin’ and fightin’. Produced by Grinderman’s Jim Sclavunos on equipment you can bet on as being old as the hills, there’s a live energy about the whole album that few bands these days seem able to capture. The record is full of violence, treachery and more than a slight nod to Jerry Lee Lewis. Over the last decade plenty of bands have taken a walk on the wild side of ‘50s rock’n’roll but few recently have placed the piano quite so front and centre and it really does make The Jim Jones Revue a thrilling listening experience. You can easily imagine this band playing the clubs of Hamburg with a young Beatles back when they were playing songs like Long Tall Sally. But the relentlessness is its drawback. It would be nice to be given a chance to pause and draw breath, even if any slower songs were then exorcised for the live show, but as it is The Jim Jones Revue are heading our way for Big Day Out, and if Burning Your House Down is enlisted as evidence, great balls of fire, they’re going to rock pretty damned hard. Danielle O’Donohue

Opening gambit Mirrors kicks off with an extended trippy feedback intro that builds into a catchy-as-fuck psychpop number, riding on stomping drums that are physically impossible to ignore. It’s an amazing start to the album – at times it seems that they’ve set the bar for themselves scarily high – but over the ensuing hour they do their utmost to maintain this impressive standard. Stoned To Death betrays its druggy overtones in its title, the ‘60s-inspired organs snaking amidst it continuing through to the equally lysergic Hollow Hollow Eyes. Girl In Black drags a tad, but the title track is positively anthemic under its dense textures, while Hearts Of Love is shoegazey and reminiscent of Spacemen 3 in all their addled pomp. The Australian edition is affixed with some excellent bonus tracks, dominated by an awesome cover of Elton Motello’s risqué Jet Boy, Jet Girl (the precursor to Plastic Bertand’s Ça Plane Pour Moi) which is thrilling despite its relatively disturbing content. For the most part the music on Sleep Forever is joyous and uplifting, seemingly at odds with the doom-laden imagery of some of the lyrics, but the dichotomy works perfectly. Everything is so drenched in fuzz that in time you just come to accept its omnipresence – underneath it all there are some fine songs lurking, which at the end of the day is all that matters. Steve Bell

As with counterparts The National, one of the past decade’s best-kept secrets seems to have arrived at a point where their little idiosyncracies unite to form a complete sound; that this is accomplished via a work possessing such incredible range is further testament to not only their skills as musicians but their ability to refine songs to their very essence. Angela Surf City seethes with rolls of percussive thunder reminiscent of The Rat as short sharp bursts of guitar complement Leithauser’s nihilistic rant. Blue As Your Blood, with its horseshoe beat and flamenco-meets-surf guitar, might be the prettiest thing they’ve ever done. Victory is the aural equivalent of an air punch thrown out of a car window and the closing title-track is an epic six-minute meditative update of (Sittin’ On) The Dock Of The Bay, a comparison not made lightly.

ADEBISI SHANK THIS IS THE SECOND ALBUM OF A BAND CALLED ADEBISI SHANK Richter Collective Okay, so it’s a wordy title, but Irish three-piece instrumental electro math-rock group Adebisi Shank are not a band that – sonically at least – are prone to wasting time, and they waste no time in proving it on this record, the follow-up to 2008’s debut LP (you guessed it) This Is The Album Of A Band Called Adebisi Shank; no prizes for guessing the name of their EP. Opener International Dreambeat kicks things off with electronic pulses that stack like building blocks to give way to the spasmodic waves and crashes of guitars, which themselves are subverted by the smile-inducing undertow of bouncy arpeggiators. The first track alone makes one only imagine how they pull off the level of frantic depth they display here in a live setting. No time for daydreaming now, though; interesting things are happening: Masa’s opening falling guitar line, distorted bass groove and steady bass kick pull you right back in. Highlight Micromachines demonstrates all the points where the band really shine on this record: they mix sheer grimy funk in with stop-start, finicky melodies; both tied together by an urgency that borders on panic, the distortion and fuzz of the former curiously blending with the precision and technicality of the latter.

A line in the achingly beautiful While I Shovel The Snow states “half of my life I’ve been watching, half of my life I’ve been waking up”. If you haven’t already, wake up to the genius that is The Walkmen… you won’t be disappointed.

Interlude track (-_-), which is essentially a two-minutelong spirit-lifting amble, pulls the pace back a notch, while six-minute Logdrum also drops the beat a few times, and Frunk is – as suggested – a little more groove than move. However, these moments really amount to little more than breaks between assault waves; although, closer Century City really shows you how damn funky electronics and reverb can be. An exhausting listen, but simultaneously exponentially more rewarding.

Ed Matthews

Mitch Knox

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THE COUNTDOWN CONTINUES: BEST OZ ALBUMS 60–21 Part two of our three weeks of exclusive extracts from the new book THE 100 BEST AUSTRALIAN ALBUMS by JOHN O’DONNELL, TOBY CRESWELL and CRAIG MATHIESON. This week we uncover six of the albums that clock in between numbers 60 and 21 in the book. verse lyrics) and release (the catchy chorus, the great harmony vocals and blistering outro guitar solo).

was the holy grail and everyone in the circle knew that their next album was AC/DC’s chance to grab it.

Sunnyboys is as infectious as ebola. Every song is a potential single, from the moody Liar and Let You Go to the frenetic, hip-shaking It’s Not Me and Tunnel Of Love to the album’s closing track and pièce de résistance I’m Shakin’. The album was an immediate hit and their live shows left packed houses in a sweat-soaked, wasted mess.

As always, Highway To Hell was delivered with undeniable gusto and with just enough of a cheeky grin as to render criticism of sexism or stupidity or repetition null and void. And anyway, AC/DC never paid their critics any mind. Some years later, Angus addressed the band’s naysayers head-on: “I’m sick to death of people saying we’ve made 11 albums that sound exactly the same. In fact, we’ve made 12 albums that sound exactly the same.” Sadly, Highway To Hell was to be the swansong album for Bon Scott, who would die only six months after the album was released, choking on his own vomit after a huge night on the booze. Scott would see the album hit the top 20 on the US Billboard Chart and head toward a million sales in the US, but he was gone before he could see AC/DC become one of the biggest acts of all time. Listening back now, it’s hard not to hear Highway To Hell’s brilliant title song as prophetic, as Scott growls:

THE REELS QUASIMODO’S DREAM Polygram

“No stop sign, speed limit

[Released: May 1981]

Nobody’s gonna slow me down...

Funny how things turn out. The Reels are now best known for the title track of this, their second album – a deeply melancholic ballad with an oblique, opaque lyric. This wasn’t what Polygram signed up for when they inked a deal with The Reels, who had been a shiny, cheeky, quirky pop band on their eponymous debut LP in 1980. The record company really would have preferred they stay that way.

Hey Satan, payin’ my dues

But as pub rock took over the music scene, The Reels – singer Dave Mason, guitarist Craig Hooper, drummer John Bliss, bassist Paul Abrahams and keyboard player Colin ‘Polly’ Newman – embraced synthesisers. And the more they played, the less ‘rock’ they got. They added Karen Ansell, another keyboard player, in 1980. Quasimodo’s Dream was recorded over a period of nine months at Albert Studios. The band was often fighting. They were also fighting with their record label who wanted According To My Heart on the LP while the group didn’t. The resulting album is almost bi-polar. There are the pop songs like After The News, For All We Know, Shout And Deliver and According To My Heart (they lost that battle). And then much of the rest of the album is keyboard-based instrumental interludes. Through it all, Mason’s heavily produced vocals have a sweetness and an ethereal quality much like late-period Brian Wilson. The album’s title track Quasimodo’s Dream is Mason’s masterpiece (although Mason disagrees). The sense and the soul of the song lie in the melancholic tune that’s enlivened by ripples of synth and percussion and the image of Quasimodo – the hunchback of Notre Dame, one of literature’s most unloved characters, a man whom fame did no favours. This is a man who wants to be somebody, anybody.

Playing in a rockin’ band... I’m on the highway to hell

MODELS THE PLEASURE OF YOUR COMPANY... Mushroom

Don’t stop me.”

Around 1995–’96, You Am I were at their most magnetic and inspired, running on success and adrenaline, booze and chemicals, camaraderie and passion. They knew they were on a roll and they didn’t want to lose it or compromise it. Less than 12 months after the release of their classic sophomore album Hi Fi Way, they were hunkered down in the studio with 16 songs, creating another great album: Hourly, Daily.

Melbourne electronic outfit Models followed a distinctly perverse and disjointed course from the outset. From the brash electropop of their debut album AlphaBravoCharlieDeltaEchoFoxtrotGolf (1980) through the half great mini-album Cut Lunch (1981) and the dark dementia of Local And/Or General (1981), the band had taken all manner of stylistic twists and turns. And with the exception of singer/ guitarist Sean Kelly and keyboard whizz Andrew Duffield, Models seemed to find and lose members every other week. Their genius seemed like quicksilver – there one moment, on one track, gone the next. The Pleasure Of Your Company…, however, changed all that. With a line-up that had solidified to include Kelly, Duffield, drummer Barton Price and bass player, singer and repentant pop star James Freud, Models were playing with a genuine dynamic and raw power. If the band had found its groove, the other crucial element in the creation of The Pleasure Of Your Company… was the album’s producer, Nick Launay. In Launay, Models found a musical soulmate and together they created a truly inventive and idiosyncratic electronic rock album. “It was really unfortunate for anyone who worked with Nick after us,” Freud laughs. “INXS did The Swing straight after The Pleasure Of Your Company… and Michael [Hutchence] was saying it was just horrible, all the time Nick was talking about working with us.”

UNDERGROUND LOVERS LEAVES ME BLIND Guernica/4AD [Released: December 1992] In 1992, when they’d barely got out of Melbourne and had just a little-known debut album to their name, Underground Lovers were awarded the support slot of the year – one that could potentially make or break their career – when The Cure asked for them as opening act on their long anticipated Australian tour. The venues were arenas, far away from the Underground Lovers’ spiritual home, the tiny Punters Club in inner-city Fitzroy. But instead of being intimidated, the five-piece faced down the crowd and industry expectations: their contractually obligated 45 minutes contained just four songs by the final date, culminating in an epic 15-minute version of a propulsive new track, Your Eyes. When the band’s second album, Leaves Me Blind, came out later that year, Your Eyes, now down to a mere eight

SEND IN YOUR TOP TEN TO WIN BOOK & CD PACK

“Hourly, Daily was my garbled attempt at a song cycle,” says Rogers. It moves through the hours of a day in the life of suburban Australia, following different stories like diary entries from a diverse cast of characters. “We were away from home and touring so much that I was thinking quite romantically about Australia, about where I live, and the workings of everyday life.”

WHAT: The 100 Best Australian Albums WHEN & WHERE: Out now through Hardie Grant

AC/DC HIGHWAY TO HELL Albert Productions [Released: August 1979]

Entries close 5pm, Wednesday 17 November

Mushroom

The band’s signature song, Alone With You, captures the excitement and trepidation of a first date, but the naive charm of this moment is undercut by the darkness of lyrics like “We can lock away the bad memories together/Close the doors to the past, forever” and later “All I have is alcohol to let me go.” The result is a great pop song that is equal parts tension (in the

In interviews at the time, singer/guitarist/songwriter Tim Rogers talks about how he reacted to the increased focus and positive critiques of his songs on Hi Fi Way by becoming more ambitious and “a little egotistical”. Meanwhile, Rogers and band mates Andy Kent (bass) and Russell Hopkinson (drums) were heavily under the spell of late ’60s English music, including the likes of The Who, The Kinks, The Small Faces’ Ogden’s Nut Gone Flake and, in particular, The Pretty Things’ SF Sorrow. The latter is one of rock’s first concept albums, a precursor to The Who’s Tommy, and follows the journey of the character Sebastian F Sorrow from birth through love, war, tragedy, madness and old age.

So what do you think the best Australian albums of all time are? Email your top ten list to bestozalbums@streetpress. com.au and you also get yourself in the running to win a copy of The 100 Best Australian Albums and a copy of its companion CD release, Songs From The 100 Best Australian Albums (Sony). We have ten packs of the book and accompanying five-CD set plus ten copies of the five-CD release for runners-up - the CD features tracks from 95 of the top 100 albums in the book (including tracks from the albums featured this week: Quasimodo’s Dream - The Reels; Alone With You - Sunnyboys; I Hear Motion - Models; Promenade - Underground Lovers and Good Mornin’ - You Am I). Start making lists now and don’t forget to number them in order from one to ten - that way we can make our own list. [Kudos for the flood of entries so far too. We have seen everything from the Young Einstein soundtrack through to albums by The Venetians and Moving Pictures listed.]

[Released: September 1981] Sunnyboys is a stunning work of guitar pop/ rock minimalism. Complemented by the brilliant one-dimensional artwork, the album hotwires the youthful exuberance and anxiety of Jeremy Oxley’s songs and delivers them with a visceral powerpop attack, with melodies and harmonies to die for. It’s an album that looks as striking as With The Beatles and sounds as simple, daring and thrilling as Beatles For Sale.

YOU AM I HOURLY, DAILY Ra/rooArt [Released: July 1996]

[Released: October 1983]

Whether it’s the strident, heavy techno pop of I Hear Motion, the frenzied 79 AD, the rousing communal chants on No Shoulders, No Head or the keyboard heavy psychodrama of A Rainy Day, the band and Launay managed to create a coherent album with a vibrant, unique production veneer. While its sounds and feels were state-of-the-moment, they stand up well almost 30 years later.

SUNNYBOYS SUNNYBOYS

minutes, was just one of many highlights. Underground Lovers – vocalist Vince Giarrusso, guitarist Glenn Bennie, keyboardist/vocalist Philippa Nihill, bassist Maurice Argiro and drummer Richard Andrew – were an unassuming looking outfit, almost deliberately so, but their music was striking. Giarrusso and Bennie, the creative fulcrum, instinctively knew what they wanted, mixing panoramic grooves anchored by Argiro’s precise funk bass with great waves of guitar noise and ethereal keyboards.

It was a pivotal, make-or-break time for AC/DC and in the lead up to the recording of Highway To Hell everyone was feeling the pressure. The band was massive in Australia, a big band in the UK and Europe but the USA

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FATHER FIGURES Forget what you read in the tabloids. GOOD CHARLOTTE’s JOEL MADDEN tells DANIELLE O’DONOHUE he’d much rather prop up a bar than walk a red carpet.

hen Good Charlotte frontman Joel Madden was in Sydney recently doing promo for his band’s new album Cardiology, he found himself at a local bar. Faced with the unappealing prospect of a 4.30am hotel wake-up call to catch his flight back to LA, Madden instead chose to spend his last night in Sydney in the bar, meeting the locals and getting his chat on. “We love making friends and we like to have a good time,” Madden explains. “It’s always funny to me when people are like, ‘How are you hanging out in this bar right now?’ and I’m like, ‘Because I wanted to have a drink’. I think we over-compensate sometimes because growing up we were these little, awkward, friendly guys who didn’t really feel like they belonged or fitted in, whether that was all in our head or not. “It’s just such a good feeling to meet strangers. I went to a bar and I ended up just hanging out with all these guys that had gotten off work and they had come to the bar and I felt like I was back in Maryland at a bar in my hometown with a bunch of my friends and I’d just gotten off of work and it was a really nice feeling.” These days work for Madden involves constant world travel, expensive studios with the biggest producers in the business and a constant level of buzz surrounding his private life with partner Nicole Richie and their two children, daughter Harlow and son Sparrow. But life for Madden and his twin brother and Good Charlotte guitarist Benji wasn’t always so luxurious.

dad’s a good dude. He’s an easy relationship in my life. He just made some bad decisions and as a man now with children I would want my children to give me a second chance if I made some bad decisions. “In 1979 we just wanted to tell the beginning of that story. You know what I mean, that before all that there was this guy that loved his wife and kids and he worked really hard and somewhere along the line he lost his way. But at the beginning of it I remember how good it was. There were a lot of things he gave us. It’s good.”

WHO: Good Charlotte WHAT: Cardiology (EMI)

The pair have made no secret of their working class background and Madden says even now, he feels like it’s important to put in eight hour days at his day job.

W I T H

S U P P O R T

F R O M

ARE PROUD TO PRESENT

“At the end of the day we kind of do approach this as a job. Obviously it’s a really fun job, but it’s a job we do try to take seriously. We feel like if we didn’t work as hard as we can then we’d be unappreciative of the opportunity that we’ve been given. Where we’re from people have to work very hard just to get by and we just feel like we’re the luckiest guys on the planet. “I mean literally, we always talk about it, we feel like it’s like minimal talent but what we lack in talent or natural ability we make up for in working really hard.”

“You want your dad to pat you on the back and say, ‘Good job, I’m proud of you’ or you know, ‘You’re becoming a man’. There’s so many things that I didn’t get to experience with my dad, so I was kind of angry.”

With such a strong work ethic Madden confesses the band’s decision to scrap early recordings of Cardiology and start again with a new producer (Don Gilmore was called in to replace Howard Benson) was a difficult one – not in a musical sense, but in a money sense. “It was the common sense factor that we had spent money making it and we felt really frustrated in that. We don’t believe in wasting money and I can’t believe that we just spent all this money. “We had only gotten about halfway done. But at the end of the day that producer is not going to go, ‘Oh, we only made half a record so you only have to pay me half’. He wants all his money. And to me that’s just one of those things around the music industry; the dude was never in the studio. He’s a big time producer – I get it, he’s talented, he’s had a lot of success, but we kind of got talked into it. And I think the mistake that we made was second guessing ourselves. “About halfway through we listened to the finished songs that we had done. And it just really wasn’t us. We just had to make the call. It wasn’t a hard call because at the end of the day, even though it was frustrating with all the time and the money that we put into it, we were just like, ‘Look, we can’t put this stuff out’. Someone could listen to a Good Charlotte record and not think it’s that complicated or anything and I get that but for us, our records have to have a vibe that our records have.” While that vibe includes songs about partying and being pratty punk kids, a thread that runs through the Good Charlotte catalogue is also Joel and Benji’s relationship with their father. On second album The Young And The Hopeless Madden sang The Story Of My Old Man, an angst-filled teenage response to growing up with an absent father. On Cardiology, Madden, now a father himself, has fleshed out his father’s story in 1979, a much happier snapshot of family life. “There’s a father-son relationship that you totally can’t replace. It’s something that’s just naturally there. So as a son you don’t know how to express yourself but you really want to know your father. You want your dad to pat you on the back and say, ‘Good job, I’m proud of you’ or you know, ‘You’re becoming a man’. There’s so many things that I didn’t get to experience with my dad, so [when writing The Story Of My Old Man] I was kind of angry. “Then after I had my first child, my daughter Harlow, my brother found my dad after like 12 years or something. It was a long time and we got reconnected and it’s really good because I’m a man now and my

MELBOURNE WED FEB 9TH AT THE CORNER

ALSO APPEARING AT LANEWAY 2011 T I C K E T S A V A I L A B L E F R O M T H E V E N U E A N D C I V I L S O C I E T Y. C O M . A U twitter.com/inpressmag

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THIS WEEK IN

ARTS ROBIN MCLEAVY

EVIL THINGS

WEDNESDAY 3 A Vague Trembling Of Stars – exploration of Federico Garcia Lorca, the women presented in his trilogy, and the fire that propels them towards life in the face of dearth. Concept by Polly Sara, created and performed by Keira Lyons, Ellen Rijs, Polly Saram and Janine Watson. Closing Night. La Mama Theatre, 7.30pm.

THURSDAY 4 Hello Darkness film festival opening night – this year’s festival kicks off with the Australian premiere of Evil Things, from debut director Dominic Perez, which revolves around a group of five friends in upstate New York for a birthday who happen to stay in an isolated country house. Greater Union, Russell St, 7pm.

FRIDAY 5 Macabre – Indonesian addition to the torture porn canon, about a group of friends that offer help to a girl in the remote countryside. Part of Hello Darkness. Greater Union, Russell St, 9pm. Songs For Nobodies – the story of five anonymous women who all had brushes with fame, combing live performance and music. Opening night. MTC’s Fairfax Theatre until 23 December. We Are What We Are – debut film from Mexican director Jorge Michel Grau about three teenage siblings that have to look after themselves after the head of the family passes away. These teenagers also happen to be cannibals. Part of Hello Darkness. Greater Union, Russell St, 7pm.

SATURDAY 6 The House Of The Devil – superb film that channels the creepy haunted house and Satanic panic subgenres to perfection about a young woman who accepts a babysitting job in a remote house. If you want to feel completely unnerved for 90 minutes, this is your film. Part of Hello Darkness. Greater Union, Russell St, 7pm. Nightmares – Ozsploitation slasher classic inspired by the success of John Carpenter’s Halloween, about a woman who, due to seeing her mother die in a horrific car accident as a child, is obsessed with shards of glass. 30th anniversary screening. ACMI Cinemas, 4pm. Outcast – debut feature from director Colm McCarthy, this film explores ancient Celtic mythology via the harsh backdrop of a modern British housing

estate. Stars James Nesbitt. Part of Hello Darkness. Greater Union, Russell St, 9pm.

SUNDAY 7 The Silent House – first-person horror story shot in one continuous take about a father and daughter that take a cleaning job in a remote country house. Part of Hello Darkness. Greater Union, Russell St, 5pm. Wound – latest film from New Zealand’s first ever splatter horror director David Blyth, this tale of a woman’s decent into madness is billed as David Lynch and Bad Taste-era Peter Jackson directing A Clockwork Orange. Apparently it’s not for the squeamish, either. Part of Hello Darkness. Greater Union, Russell St, 7pm.

MONDAY 8 Red, White & Blue – raw film (both in stock and emotion) about one man’s revenge. For those that love their revenge delivered in cold blood as well as fans of Austin, Texas. Part of Hello Darkness. Greater Union, Russell St, 7pm.

TUESDAY 9 The Animals & Children Took To The Streets – the latest twisted tale from 1927 involving a dystopian metropolis of inner city paranoia. Opening night, 7pm. Beckett Theatre, Malthouse until 28 November. Irréversible – revisiting of Gaspar Noé’s most infamous film, starring Monica Bellucci, Vincent Cassel, and Albert Dupontel, and told in reverse. You will have heard about this film – now’s your chance to see it in the cinema, where it belongs. Part of Hello Darkness. Greater Union, Russell St, 7pm.

ONGOING Becky Shaw – latest comedy from Law & Order writer/producer Gina Gionfriddo about a women who sets up her best friend with her husband’s mysterious co-worker, setting off a cataclysmic chain of events as a result. Lawler Theatre until 14 November. Insomnia Speed Shop – exhibition of custom skate decks designed by Melbourne tattoo artist Joel Melrose on ’80s board shandshaped by Josh Feggans. For Walls Gallery at Miss Libertine until 12 November. Tangled – exhibition of new works (original artworks, new and rare prints) by American artist Audrey Kawasaki, a collection described as “innocent and erotic”. Outré Gallery until 10 November.

DATE WITH THE NIGHT THERE’S A NEW AUSTRALIAN HORROR FILM IN TOWN WINNING ACCLAIM FROM BOTH AUDIENCES AND CRITICS: THE LOVED ONES. GUY DAVIS SPEAKS TO STARS ROBIN MCLEAVY AND XAVIER SAMUEL. An actor may not get many opportunities to portray a love-struck teenager with some deep-seated psychological issues and a penchant for performing lobotomies on the hunky boys she likes, so it’s perhaps understandable that Robin McLeavy jumped at the chance to play the shy, sweet, and completely fucking bonkers Lola in Australian writer-director Sean Byrne’s bloody and blackly funny horror movie The Loved Ones. “It was so appealing and so repulsive at the same time,” laughs the softly spoken McLeavy, whose off-screen personality is a marked contrast to the full-throttle madness she gradually reveals in the movie. “But I fell in love with Lola when I read the script.” Indeed, Lola does initially seem lovable, especially when she musters up her courage to ask fellow highschooler Brent (Xavier Samuel) to the end-of-year dance. Already attached, Brent gently turns down her invitation… which was probably a bad move in hindsight. Because when Lola gets a crush on a boy, she and her all-too-attentive daddy (John Brumpton) use all manner of methods to bring him around to their way of thinking. In fact, it can probably be summed up in one nifty line of Loved Ones dialogue: “Get the drill, Daddy.” If it sounds like torture porn, well, it is a little. But The Loved Ones distinguishes itself from the pack thanks to its gallows humour, Byrne’s sharp visual sense, a soundtrack with some choice cuts (Kasey Chambers’ Not Pretty Enough is perfectly used here) and the cast’s committed performances.

While theatre veteran McLeavy has the eye-catching role, and makes the most of it, she’s well-complemented by Samuel, whose profile has been on the rise thanks to work in films like September, Newcastle, and, of course, The Twilight Saga: Eclipse, in which he played Riley. Samuel’s Brent is put through the wringer both physically and psychologically in The Loved Ones – even before he runs afoul of Lola, he’s consumed by guilt over his culpability in the car crash that killed his dad a year earlier. Upon reading Byrne’s script for the first time, he was daunted by the myriad challenges the role of Brent would present, whether it was conveying the character’s emotional pain or undergoing a wide variety of tortures at the hands of Lola. “I knew Robin was involved and having seen her onstage I was really looking forward to working with someone who would challenge me to be better,” he says. “And something Sean and I talked about a lot was the stages that the story goes through – he wanted to make sure I didn’t expend my energy all at once.” But Samuel was also intrigued by The Loved Ones’ sense of humour, and the way Byrne was interested in playing with the conventions of the horror genre. “I got the feeling Sean wanted to create a kind of pop horror movie, one that takes something a lot of people can relate to – the whole school dance thing – and then throws this intense horror into it. As if a school dance wasn’t torturous enough already!” While the scenes between Samuel, McLeavy and Brumpton get pretty intense, the actors are quick to dispel any notion that method-style mind games were employed to get the

set in an appropriately bloodthirsty mood. “It’s kind of absurd the amount of pain Xavier’s character endures, so we certainly weren’t playing any mind games!” says McLeavy with a laugh. “Although if I had my time again…” The confrontational scenes were rehearsed prior to shooting, says Samuel, “so it was a case of me rocking up and going, ‘Who are these crazy people?’. But Robin and John had such fun as this weirdo tag-team that’s getting such a kick out of the violence they’re inflicting on me. The whole trust issue was something we worked out fairly early on, though, and the instruments of torture were generally made of rubber so everything turned out okay.” For someone who displays such gusto as a psycho, McLeavy admits she’s no horror fan. So she initially found the research material – DVDs of Carrie, Misery and Natural Born Killers, true-crime books about serial killer Jeffrey Dahmer – provided by Byrne a little hard to stomach. “I was actually going on a holiday before we started filming and I was going to take all this reference material with me but I found it really disturbing so I decided not to,” she recalls. “But while I was away I found myself thinking about Lola’s psychology and how I could tap into that without turning into a psychopath myself. I was recommended a book by neurologist Oliver Sacks, and he

describes his patients’ symptoms in this very colourful and poetic way. I found that to be a great key to getting inside Lola in a way that made sense to me. It was even kind of fun.” According to McLeavy, Lola’s issues stem from being rejected by boys due to being “awkward and inept and self-conscious, so she has this weird vibe about her. And her dad has led her to believe that if someone rejects you, you punish them. So that’s where her really violent, vengeful retaliation comes in. Plus I get the feeling she’s been trained in the fine art of torture from a young age.” It’s hard not to be won over by McLeavy when she laughs how “it’s so much fun” to play this rather unbalanced individual. But she has no desire to get herself pigeonholed as the next scream queen, despite the overwhelmingly positive reaction to her performance from audiences here and overseas. “People are kind of scared to meet me, which I think is very funny because I’m pretty normal, even meek and mild,” she says. “I’ve received a few horror scripts but I think I’m gonna have to go in the opposite direction for a little while, find a nice rom-com or period piece.” WHAT: The Loved Ones WHERE & WHEN: Screening in cinemas from Thursday

MONKEY GRIP AUTHOR FOR WOMEN OF LETTERS Women Of Letters have announced that the November edition, being held at Thornbury Theatre Sunday 28, 2.30pm, will feature journalist/ HANNAH GADSBY former politician Mary Delahunty, musicians Georgia Fields and Lisa Miller, comedian Hannah Gadsby and author Helen Garner. Stories will be told, letters will be written (this month with the theme, ‘The letter I wish I’d written’), wine will be drunk and Davey Lane from You Am I will be spinning songs. Head to womenofletters.com.au for more information and be quick with your ticket purchase.

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TV SET

GIVEAWAYS

If there’s a genre that Australia does well it’s horror. From the glory days of such ‘Ozploitation’ scarefests as Nightmares (1980) and Next Of Kin (1982) through to the massive success of Wolf Creek (which, as well as renewing interest in classic Australian horror, helped relaunch the genre in this country and spawned countless imitations) we’ve made a name for ourselves as a land with a few fucked-up tales to tell. The latest, The Loved Ones, has been doing very well for itself at festivals across the globe and is finally getting a national theatre release from Thursday. Starring thespian Robin McLeavy and Twilight Saga: Eclipse star Xavier Samuel, the film takes as many visual and thematic points from Pretty In Pink as it does Carrie.

(Let’s just say dude shouldn’t have rejected girl’s prom invite.) Thanks to Madman Entertainment we’ve got ten in-season double passes to giveaway. For your chance to win one email giveaways@inpress.com. au with ‘THE LOVED ONES’ in the subject line.

It’s Halloween (well, it was) and that means, you know, parties, pumpkins, and a new Saw film. But this year’s instalment of the Saw franchise is special for two reasons: one) it’s the first to be shot in 3D, and two) it’s the last film they’re making. Ever. (Well, that doesn’t mean much in horror franchises, does it? But it does mean there won’t be one for a while.) In Saw 3D a self-help guru who claims to have survived a Jigsaw trap gets more than he bargained for when he publishes his story. Saw 3D is screening in cinemas now. Thanks to Hoyts we’ve got five in-season double passes to giveaway. For your chance to win one email giveaways@inpress.com. au with ‘SAW 3D’ in the subject line.

STEPHEN COLBERT

WITH ANDREW MAST Weird things happen on The View (1pm weekdays on Nine and 11.10am weekdays on W). The US chat show is co-anchored by Barbara Walters and Whoopi Goldberg and a few other opinionated women (not as well known here as in the States), who mouth off about popculture topics, news, and current affairs. They also welcome visiting celebrities to share their couch, both to plug their latest project or just dish dirt. It is now one of the go-to shows on US network schedules; it’s a stopover for anyone from President Obama to a scandalised celebrity in need of a public mea culpa to readjust their image. Recently the show experienced a walk-out by Goldberg and co-host comedian Joy Behar, incensed by the bigotry and arrogance displayed by rightwing guest, Fox News orator Bill O’Reilly. Last week Goldberg and guest Joan Rivers (on the couch as a proxy for Prince Charles – truly! – to flog his new kids’ book) went for each others’ jugulars over whether or not they thought Mel Gibson was a racist (Goldberg, a friend of Gibson, got very nasty). Ever since the show’s ratings soared due to on-air skirmishes between former host Rosie O’Donnell and token conservative hostess Elisabeth Hasselbeck (famous for being in the Aussie-based cycle of Survivor), the show has gotten mouthier and shoutier. Even simple medical tip segments have you on the edge of your seat, waiting for someone to make a smarmy healthcare comment or somehow bring the topic around to abortion. And they’re off. MA MÈRE too, guests seem almost Strangely, petrified of the panel of hosts. Even the acid-tongued Sarah Silverman behaves politely on the show (as she discussed her childhood bed-wetting) while Snoop Dogg acts like he is visiting his girlfriend’s parents to discuss his future when appearing. But the most bizarre thing yet had to be comic actor Stephen Colbert’s appearance last week. Colbert’s day job is playing a conservative pundit called Stephen Colbert (pronounced Cole-burr) who has his own news show The Colbert Report. Colbert plays the role so well his guests often seem bewildered, not sure if they are being seriously interviewed by Colbert or having the piss taken out of them by the other Colbert. A knowing raised eyebrow toward the camera lets the audience in on the joke – Colbert occasionally slips out of character as he breaks up laughing but he always manages to make composing himself one of character’s foibles. It’s easy to forget that he once played a closeted gay teacher on the beserk Strangers With Candy, which he developed with Amy Sedaris.

Colbert’s trip to The View was in character. It was an extension of the ever-increasing blur between Colbert’s fictional character and Colbert the actor/political satirist. Colbert was there to plug a rally taking place in Washington that he and fellow comedian Jon Stewart had organised as a riff on a mass gathering of fundamentalist conservatives organised earlier in the year by Fox News figurehead Glen Beck. What started as a notexactly small prank snowballed into a giant PR dream and finally a political march the whole world was watching. Left-wing commentators began to condemn Colbert’s rally as dangerously playing in conservatives’ hands while the right sat by bemused. He maintained character, haranguing his critics and cheering on The Tea Party movement. At the same time he was pushing ahead with the biggest anti-Tea Party statement that could be made. In the lead up to the rally, which took place on the weekend, Colbert went a-spruiking. So Colbert cosied up with the ladies of The View on their six-seater couch. He staged a mock walk-out in reference to the O’Reilly stoush and they joked around a bit while plugging the rally. It was then that Walters (famous in the ’80s for making celebrities cry about personal issues) began asking her guest questions only the real Colbert could answer. First she asked about his Catholic upbringing and his 11 siblings, which Colbert answered honestly and then deflected with a joke about his mother’s womb. He leapt nimbly back and forth over the fourth wall. Until Walters rolled out the big one. She asked about his father and two brothers dying in a plane crash. Holy fuck. Colbert glanced down, hesitated, and began to talk about ‘faith’. He then paid a heartfelt tribute to his mother (the very same one he just cracked a womb joke about) while evoking one of his character’s wide-eyed poses as he visibly held back a tear or two. For just a moment the cynical satirist, who once got his legion of 3CR MURAL - BY TOM CIVIL followers to pepper Wikipedia with random falsehoods, let us glimpse this deeply-buried self. It was uncomfortable. For the fan. It was weird. It was The View. Colbert and Stewart’s rally drew huge crowds on the weekend. And, while Washington city officials do not offer crowd estimates, Colbert tweeted that six billion people were in attendance. It was a typically cynical dig at Beck who has outrageously claimed that over half a million people gathered at his march in August. Whoever thought that a battle of the TV hosts could be played out so publically and, in doing so, create history. It’s almost as weird as an episode of The View.

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WILL PYETT

DARK NIGHTS

AMER

TONIGHT MARKS THE OPENING OF THE SECOND HELLO DARKNESS FILM FESTIVAL, WHICH SHOWCASES THE BEST FILMS FROM THE HORROR CANON. ANTHONY CAREW SPEAKS WITH FESTIVAL DIRECTOR WILL PYETT. When the Hello Darkness film festival arrived on Melbourne screens in 2009 in its maiden incarnation, the fest crowned itself as Australia’s first-ever horror film festival. At essence, its existence seemed somewhat unnecessary: given their eternal popularity, the world hardly needs more horror films on screens. But the festival proved itself, by dint of its programming, to be something unexpected. Rather than giving slaving genre fanboys all the familiar

blood-and-guts they could handle, Hello Darkness had the revolutionary idea of programming horror films that actually dared to go beyond the clichés. As in: not screening horror films just because they’re of the genre, but because they’re good.

of-love”, with Rachael Cotra, one of the partners/designers behind Fat clothing stores. “We like to push the boundaries of horror, get people thinking about what ‘horror’ might actually entail. There’s a lot more to horror than, say, the Saw franchise.”

“It’s our goal to show only good cinema, first and foremost, that’s united in sharing a dark element,” says Will Pyett, who founded Hello Darkness, as not-for-profit “labour-

The second Hello Darkness furthers this idea: its programming includes Jorge Michel Grau’s near-mythical We Are What We Are, a minimalist Mexican art-movie about a family

that just happen to indulge in ritualised cannibalism; Gustavo Hernandez’s single-continuous-take shrine-to-eeriness mood-piece The Silent House; and Hélène Cattet and Bruno Forzani’s Amer, the fest’s closing night film, a rapturous work-of-art merely posing as historical homage; transcending its immaculately styled recreations of Argento visual tics and becoming a unique piece of cinema, a nearsilent study of the female corporeal

(as both ‘beauty’ and meat) whose kooky edits create a genuinely tactile sensibility. Sure, the programming picture isn’t wholly rosy: Macabre is silly, bloodsplattering torture-porn shlock from Indonesia; Red, White & Blue slums it in one of cinema’s worst sub-genres, the revenge-movie; and Outcast is old Celtic mythology reimagined via that same godawful blue-tinted direction that you can watch in, say, those Underworld movies. But, those are small blips given Hello Darkness dares to bring back two of the mightiest on-the-edge pictures of the ’00s: Fabrice Du Welz’s absurdist-comedy reading of

backwoods-hick survival-horror, 2004’s The Ordeal, and Gaspar Noé’s balls-out destruction of the revengemovie’s suspect morality, 2002’s Irréversible. “We were looking at getting Enter The Void this year, and maybe doing a whole Gaspar Noé retrospective,” Pyett explains, “but unfortunately, just due to timing, that didn’t happen. We still thought screening Irréversible would be worthwhile, because it’s such an affecting film, and it’s a film a lot of people have never actually seen in a cinema.” Hello Darkness also includes a Horror Forum, a panel discussion that precedes a screening of Ti West’s The House Of The Devil, a much-loved ‘classic’-styled horror flick whose authentic late-’70s/ early-’80s art direction (including a magnificent Fawcett haircut on mumblecore it-girl Greta Gerwig) masks a film that happily lets suspense gather slow and gradual. Topics to be tossed over during the Forum apparently include “the biological basis of our love of being scared”. “I love the feeling that [horror films] generate in you,” Pyett offers. “Getting scared is just one aspect of it; there’s also the tension, the build-up, that slow, uneasy feeling of impending dread, when you know something bad is about to happen but the filmmaker just draws it out, slowly.” WHAT: Hello Darkness film festival WHERE & WHEN: Greater Union Cinemas until Thursday 11 November

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THEATRE REVIEW SOMETHING BLEW Theatre Works A perfect bride, standing perfectly still, in a perfect dress with a gracious smile and a perfect veil is ceremoniously cocooned in plastic, like a caterpillar before a metamorphosis takes place. Set against our current political backdrop where gender is fluid and where equal rights to same-sex marriage is as hotly contested as it is hotly obfuscated, this opening scene and its clever use of everyday domestic props provides us with a vivid metaphor. Towards the ending of this telling opening sequence, several of the dancers – a sensuous bridal party perhaps comprising friends and ex-lovers – are busily weaving and winding about the stage tending to and preserving the bride. Thereby preserving the traditions for which she is also the emblem. As the party turn away from her, trailing into the distance they leave behind them long

FILM

silvery trails and tendrils of plastic food wrap, the traces of tradition, entangled, glinting in the light. It’s a difficult image that seizes us; the stillness and containment signified by marriage becomes instead an open web, one subject to corrupting forces, one that can trap strangers like flies. Something Blew offers us some enduring images and it poses some difficult questions, too. Blew is, after all, a deeply inflected word conjuring different meanings to the more traditional ‘something blue’ signifying fidelity and true love in the old bridal rhyme. Blew is conflicted and ironic, suggestive of slang, porn, forces of nature, poetry, even hubris. The first act of the work has the dancers stay and play together en masse. The second act splintering into sublime partnering and some mesmerising duets. At times rapturous choreography evoking the prism of emotions encountered during ‘young love’. Ironically, in the closing scene the bride is a ‘he’, swathed in blue light, dressed in a garment fashioned from

silvery trails and tendrils reminiscent of the perfect bride at the outset. Unlike her, he is not still, he has adapted into a dervish of en pointe, demi pointe, jettes, plies, street style, and somersaults able to negotiate any obstacle or fury or slant or sleight with the grace of ballet, and the stillness is contained within. Until Saturday PAUL ANDREW

SECRET WARS ROUND TWO NEXT WEDNESDAY Secret Wars is no longer simply a Sydney thing, with the event hitting Melbourne recently (which makes a lot of sense). The second round in the premiere live art battle in the country will be held at 1000 £ Bend Wednesday 10 November, and will feature Everfresh Crew member Phibs vs illustrator Pierre Lloga. Artists have 90 minutes and only black markers/acrylic paint to work with. Tickets can be purchased through Moshtix.

CAREW

THE SOCIAL NETWORK

WITH ANTHONY CAREW In preparation for last week’s award-winning Film Carew’s Worst Genres In Cinema countdown, your humble columnist was trading notes on possible entries with Front Row’s erotically-hyphenated editor-inchiefdom, Daniel Crichton-Rouse. And one idea that didn’t make the cut – a ‘deleted scene’ if you will – that was high on our list of the despised depths of genre was the omnibus movie, where numerous directors helm segments of a story tenuously stitched together with a lame over-arching concept. Which leads me to Little Deaths, an omnibus movie consisting of a bunch of embarrassingly bad, excruciatingly unamusing sketch-comedy-show “vignettes” about love/dating/ sex/etc. Once you get over the essentially-egotistical pleasures of this film being shot in Melbourne and featuring people you know in the credits, there’s nothing of any artistic merit to validate its place on local screens. It’s a dreadful, dreadful entry into a dreadful, dreadful genre. Watching The Social Network, I felt old. That’s not the effect that David Fincher’s picture is going for; in fact, by enshrining incredibly-recent history with an air of weightiness, it’s aiming to flatter the youth of its intended audience. But, watching it, it wasn’t hard to wonder about the lengths of poetic license that Aaron Sorkin’s screenplay takes in

its dramatisation of the beginnings of Facebook. It’s a creation myth, with Facebook founder Mark Zuckerberg as its devil, but the greatest myth is its moments of inspired creation. Early on, its title character addresses the germinating seed of the website by asking “how does this differ from Friendster or MySpace?” And the answer is, of course, it doesn’t, really, at all. In fact, as anyone who was on Friendster in 2003 – y’know, old people like me – could attest, Facebook was little more than a facsimile of an already-existing website. Yet, Sorkin still wants to author wondrous eureka moments endemic to stories of ‘invention’; including a memorable one in which Zuckerberg ‘invents’ socialnetworking Relationship Status (something that, y’know, already existed) after being grilled about whether some girl in some class of his has a boyfriend or not. Quibbling over facts is rarely the right way to appreciate – or, indeed, to criticise – some based-on-a-true-story motionpicture; the poetic license that Sorkin takes is, indeed, what makes the drama; what turns a narrative based on Ivy League jerks squabbling with other Ivy League jerks via lawsuits into a story worth telling; what takes the story of a bunch of masturbatory geeks and their casual misogyny – the fact that the girl who ‘inspired’ the Relationship Status revolution is never seen nor known seems too poignant – into a great

paean for the awkward, sociallymaladroit loner, who isn’t exactly an asshole but just keeps acting like one. Sorkin’s screenplay is rich in cross-referencing dialogue, recurring motifs, and overthought putdowns; but for every wondrously-wordy bit of babbled dialogue, there’s also countless instances where characters speak the drama aloud or symbols are openly discussed, thereby no longer being symbols. Such meta writing works best with a meta director on board (think that ultimate marriage of such: Kaufman and Gondry) but Fincher, here, is in incredibly pedestrian form, all back-and-forth montages and other montages and lots of montages. After the heights of Zodiac (one of the most satisfyingly dissatisfying films ever to annoy multiplex drones) and the lows of The Curious Case Of Benjamin Button (a piece of shit sold as a pound of pâté), here Fincher lands squarely in the middle. American: The Bill Hicks Story does what all aspiring documentaries about dead cult figures should: features not a single celebrity talking-head, no rhapsodic tributes from Bono or Henry Rollins or any other eternal gasbag. Instead, Matt Harlock and Paul Thomas interview Hicks’ family, childhood friends, and closest pals, and uses their words to draw narrative lines between the bits of choice archival footage – its titular stand-up comedian on stage, spewing bile – that are, clearly, its most important contribution to capturing the spirit of its subject. Hicks is, in the filmmakers’ estimation, the ultimate American: one who used his freedom-of-speech to articulate the harsh truths skirted around by polite society. If you’re to reduce the life of Serge Gainsbourg to the most twodimensional stereotype, it goes like this: he sang pervy songs, he was weird-looking, but he slept with lots of hot celebrity women. Coincidentally enough, that’s exactly what happens in Gainsbourg, the obligatory biopic that, in the wake of La Vie En Rose, couldn’t be a more transparent awards-show chaser if it tried. Sure, former-comic-book dude Joann Sfar has a couple of wrinkles – an animated ‘devil’ haunting Gainsbourg, luring him to the dark side – but they’re effectively just dressing on dreadful genre clichés.

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BAM MARGERA AT THE PARIS PREMIERE OF JACKASS 3D

“We used this phantom camera that just films everything in, like, such ridiculous slow motion that, like, you can see every little detail. Even if you splash water in somebody’s face, like, you could see every little, like, piece of water,” he says, laughing. As is to be expected, Margera broke a significant amount of bones this time around. “I broke my clavicle and then I broke three ribs and then I busted my kneecap really bad, and then I broke my foot,” he says matter-of-factly. “We’d film for ten days straight and then they’d send us home to rest for a week so we could go back for more. Every time I’d go home I’d get more hurt than filming Jackass, like some 50-year-old crackhead lady hit me in the head with a fucking baseball bat and put me in the hospital for two days.”

PORTRAIT OF AN ASS WITH THE THIRD JACKASS FEATURE FILM, JACKASS 3D, OUT THIS WEEK MATTHEW HOGAN HAS A BEER WITH ITS STAR BAM MARGERA WHILE HE’S IN THE COUNTRY TOURING WITH CKY. Originally airing on MTV for three seasons in the early 2000s, Jackass was a highly controversial show featuring a gang of American stuntmen performing dangerous and ridiculous stunts. With featurelength films continuing to shock in 2002 and 2006, Jackass 3D is set to feature Johnny Knoxville, Bam Margera and the rest of the guys’ most dangerous stunts yet. With 3D films coming out almost every week and each with a bigger budget than the last, Margera says it was about time a 3D movie came

out that didn’t feature blue aliens or cuddly CGI creatures voiced by celebrities. “I think that’s the reason of why we wanted to do that, because everything is like CGI and kids films or something like that. Now we’re gonna have a 3D movie with, like, shit, piss and barf,” he promises. “It’s just stuff that you wouldn’t normally see in 3D, and when you see this movie you’ll never look at 3D the same ever again!” But 3D filming isn’t the only new technology the lads used in this film, as Margera reveals.

KIND OF BLEW PAUL ANDREW TALKS TO 2NDTOE ARTISTIC DIRECTOR ADAM WHEELER ABOUT THE DANCE COLLECTIVE’S NEW PRODUCTION, SOMETHING BLEW. Something old, something new, something borrowed, something blue. It’s one of the western world’s

most familiar phrases when it comes to weddings and commitment ceremonies, however when an

Refering to an incident that happened outside the pub he owns in West Chester, Margera’s bad run extended to New Zealand, where he was touring with his brother’s band CKY. He was drugged at their gig and refused entry on a plane to Australia. Still, while he hasn’t gotten over roofies and crackies, he is dealing with his deathly fear of snakes. “That’s another thing in this movie which is dumb on my part, because you never tell Jackass members what you’re afraid of because then they’ll bring it on,” he offers. “In the second movie they locked an 18-wheeler truck with me in there with a cobra. This time they basically sabotaged me [with] 100 of all different kinds of snakes. There was, like, seriously, pythons, cobras, anacondas – any snake you can think of it was in there. By the time I actually made it to the top of this 12-foot cage, I ran out of arm strength to pull myself out so I was just hanging there, looking back, seeing all these snakes and I am like, ‘I am not going to fall on all these snakes’. Meanwhile they’re still throwing snakes on my back as I’m trying to climb out, and I’m like crying at this point begging for dear help!” WHAT: Jackass 3D WHEN: Screening in cinemas from 4 November

ancient saying like this gets stuck down the pants of a dance collective like 2ndToe, anything is possible. “It’s a great rhyme isn’t it?” company Artistic Director Adam Wheeler says. “‘Old’ is the link to ancestors, to forebears; ‘something new’ is a no-brainer; ‘something borrowed’ represents the ties to others, to friendship, to kin. Yes, we got the first three concepts all okay, but had absolutely no idea about the fourth: blue. So we decided to start

CAREW

FTHE I L M MENSTRUUM BLACK GHOSTS BY ROBERT LUKINS The realisation that I was without my spectacles hit hard and strangely late; mornings are blurry and I’d not noticed the absence until trying to count out coffee money. The glasses were two trams and two walks away, in a bedroom that wasn’t mine, in a wardrobe, on a shelf, between some makeup and deodorant. So later, holding a salute to my brow against the welcome but hostile afternoon, I take longer than I should to navigate the concrete steps of Conical gallery, Rochester St, Fitzroy. It’s inside, up and around. Through the doorway, it’s empty of any audience and it’s a split show until 13 November: Nicki Wynnychuk’s P-H/P, and SPACE (BLANKET) by Andrew Liversidge. I’ve been to the shops on the way and I’m now very conscious of this, and myself. A fogged vision makes a person, more than usual, a peculiarly preoccupied stripe of selfish. I go to take the exhibition brochures from the wall and I’m embarrassed by my plastic bag of milk and dips, all warming. I take the brochures, though it would hurt to read them, and I begin to wonder what one thing requires of another. Wynnychuk’s four works are variations on boxes, constructed of found guff – cardboard, brick, picture frames, and clear sheeting. They are small, like pets, and arranged unguarded on the floor of the gallery’s hallway and far, open room. Walking past, I just know I’m going to break something. Thinking this, worrying, the goddamn monster of Andrew Liversidge all at once comes at me from its close, partitioned hiding spot. I let out a real sound, like a mouse being stood on. But, but – it’s just a pair of tall trousers and volleys dressed over a body cast, the torso and head covered in a silver shroud. A disclosure: I sometimes work in the same building as Liversidge, and see his long-shanked frame coming at me down the hall. Now, with the proof of human elements removed by the aluminium fleece; the skin, the breath, it may as well be a man leaning still in that room. The two artists are separated by space and a cheap wall, but they are a perhaps unwilling double act. Fragile plinths, Wynnychuk’s pieces dare you to restrain from violence. Liversidge hell-near bullies you to fight his fleshless brother. investigating. It seems that blue on a wedding dress represents modesty, fidelity and purity. Things which we pretty much don’t have any more. “Today, we are all sexually free, we have all done something we are not particularly proud of, and most of the time, whatever we want, we want it now and we know how to get it. “Yes, it’s true, this work doesn’t paint a pretty picture and in devising this piece we looked at desire at its most basic and primal function, we looked at the complexity of desire and the rigmarole of love, the tumult of love, we have examined what feels like the complete lack of importance of tradition.” Wheeler is not simply hinting at the most candid and messy experiences of dance professionals in his midst, he is touching on the feelings of emerging artists everywhere now, “and to be honest I think we all need a big hug. We hope that this work will make punters ask themselves questions like, ‘What is it you really want from a relationship in 2010?’.”

ANDREW LIVERSIDGE, 2010

Made of ideas, not technical nuance, I wonder if these things need to be read rather than seen. Having the artists’ explanations in my hand, by no eye trumpets, I wonder if I should be there at all or if anyone should care what I think of it. Certainly, no – but these things exist in a room like they never could as

simple thoughts or in a retelling. They should be met. As I leave there is a bicycle and a vacuum cleaner in the stairwell and I seriously consider taking the bike, I don’t know why. I look at it and can hear a gallery man on a phone. “Yeah, yep,” he says, loud, but not to me.

WAR OF THE WALLS TAKES OVER COLLINGWOOD SPACE This Sunday (7 November) Collingwood Underground Arts Park will play host to War Of The Walls, bringing five street artists together for a live art battle. With two hours to win the respect of the crowd, Adnate, Simz, Twos, Club Muchacho, and Inqmonkey will be under the watchful eye of two guest judges, each hoping to be crowned the war victor. DJ Prequel will also be spinning tunes. Head to warofthewalls.iwannaticket.com.au for tickets.

When it comes to sketching in the backdrop for relationships today, Wheeler is adamant. “Baggage and free porn on the internet is the killer,” he says. “As 20-somethings, we can no longer meet innocent people who have not been marked by previous relationships. We have to play the game, say the right things at the right time and hope love finds a way.” It was Wheeler’s own 26th birthday party that provided five strangers with the opportunity to become friends. “I had recently met five new people, recents graduates from VCA who showed a real flare for dancing, art and a good time. I had the idea for producing a birthday event featuring a night of solos and duets about things I always wanted at a birthday party but never had. “Together, we put on a show at The Laundry, North Fitzroy, dancers in superhero costumes, leaping out of cakes, fighting in jumping castles, dressed up as giant pin the tail on the donkeys, and so on. The show was a huge success and 2ndToe Dance Collective was born.” This recollection reminds him of another.

“And the name 2ndToe is kinda strange, just like the collective, I guess. It came from the idea that we align our body to the earth in a parallel position, it’s sort of a link between the hips, the knees, and the way we hold the second toe. This anatomical stuff is also the foundation of our genre and we quite like that people generally find anything about the toes weird or a bit gross. I would like to think this is also a way to describe our work. “And, coincidentally, we run a popular youth program called Toe Jam. Get the idea? “Dance is the universal language, no matter what your up bringing is, your past, your future. You can watch dance and get something from it and whatever you see is alright, is okay, and no one can tell you differently. The human body, the way it can move, distort, bend, fly, and fall can provoke so many emotions within us. Life is complex; take what you can, read whatever you want.” WHAT: Something Blew WHERE & WHEN: Theatre Works until Saturday

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C U LT U R A L

CRINGE REVIEW

TUTANKHAMUN

XXX

WITH REBECCA COOK If you think kids today are spoilt and pandered to then consider having a nine-year-old king. Imagine it would be Ben 10 on TV all day, banning of all vegetables except potatoes and a thorough investigation of insects added to the school curriculum. Sounds ludicrous today but in the halcyon days of the pharaohs it actually happened – King Tutankhamun (Tut) was only nine years old when he ascended to the throne at the height of Egypt’s power. Sort of explains some of the stuff that went on in ancient Egypt.

Pyramids – massive block sets; statues to mythical creatures; and lots of complex drawings (not a lot of butchers paper about though). If you want to know more and you’re not afraid of dying from a pharaoh’s curse then you’re in luck because in April next year the King is coming to town – and I don’t mean Elvis. In a major coup, the Melbourne Museum has secured Tutankhamun And The Golden Age Of The Pharaohs, a rarely lent out exhibition organised by the National Geographic Society with cooperation from the Egyptian Supreme Council of Antiquities.

The exhibition focuses on the 18th Dynasty, a 250-year period during the “Golden Age” of Egyptian artistry and when Tutankhamun and his ancestors reigned. King Tut’s tomb was only discovered in the 1900s and it was in fairly good nick, so the artefacts truly do give us an insight into this period of history. Included in the 130 artefacts on display is Tut’s royal diadem – the golden crown that Howard Carter discovered still on the head of the mummy, which Tutankhamun wore as king – and one of the gold and inlaid canopic coffinettes that contained one of his mummified internal organs. “Egypt’s ancient treasures are among the world’s greatest cultural legacies. This exhibition provides a rare opportunity to view these amazing artefacts and learn more about ongoing research on the life and death of the boy king,” encourages Terry Garcia, National Geographic Society’s executive vice president for Mission Programs. Proceeds generated from the world tour are being used to help conserve Egypt’s ancient treasures and support the construction of the new Grand Egyptian Museum (GEM) in Giza, where these antiquities will be housed for future generations. “Most people only have the chance to learn about Tutankhamun and his era in school books,” said John Norman, president of Arts and Exhibitions International. “This exhibition brings people inside his world to behold some of his most precious treasures, as well as play a part in preserving them for future generations.” The question, though, is: are you brave enough to brave it? And I’m not talking about the queues of school

ABOUT A GIRL A SHORT LIFE BUT A LONG LEGACY. LIZA DEZFOULI TALKS TO HANNAH NORRIS, PERFORMER OF THE CONTROVERSIAL ONE-WOMAN PLAY, MY NAME IS RACHEL CORRIE. For those of us who can scarcely imagine standing fast in front of a military bulldozer to protest the demolition of someone else’s home, a work for theatre, My Name Is Rachel Corrie, provides an affecting insight into the life of an extraordinary young woman. “As an actor I get to live her life,” kids who’ve been drinking cans of fizz and eating red frogs since Doncaster. Many of the explorers who first discovered the tomb died in mysterious circumstances which led people to believe they’d been cursed. This superstition isn’t limited to B-grade movies and horror novelists; Zahi Hawass, Secretary General of Egypt’s Supreme Council Of Antiquities, who is quoted in the Melbourne Museum’s media release, is also quoted on Wikipedia recounting many personal stories of deaths that related to moving mummies and excavating tombs. On a positive note, he also recorded an incident where a sick young boy obsessed with ancient Egypt experienced a miracle cure when he looked into the eyes of a particular mummy. Either way, Cringe reckons Melbourne Museum will be lifting its OH&S to a new level when the exhibition arrives.

enthuses Hannah Norris, who plays the titular role. “She was always very active; really involved in the community. She was only 23 when she died… but having her own voice encourages other people to know that they do have a voice; that it’s not only when you vote.” My Name Is Rachel Corrie was co-created by esteemed English actor Alan Rickman with Katharine Viner from the writings of Rachel Corrie, the young American peace activist killed in Palestine in 2003. “She’d only been in Gaza six weeks when she was killed,” says Norris. “This was a conflict she’d become interested in very recently.” The play has been performed throughout the world, attracting

much controversy in New York where it was removed from theatres under pressure from certain people, who, according to Norris, “have opinions about the play before they actually see it”. “It’s not an attacking piece,” she elaborates. “It’s a defending piece. Rachel was compassionate to both sides.” Researching the role has given Norris some wonderful moments of insight into the individual who was Corrie. “I get to read my character’s diary. She sees the world in a unique way and tells it quite beautifully, with flair. I get to know her thoughts. You do get to meet this person. On the internet there’s an interview with Rachel in Gaza four days before she died. You get to see her, hear her

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frontrow@inpress.com.au talking. You can hear the stress in her voice from being in that situation.” Corrie’s parents are currently in court launching a civil suit against the state of Israel over their daughter’s death. “They both threw in their jobs to continue Rachel’s work,” adds Norris, “I don’t think of that as an extremist thing to do any more.” Over and above her actual story, the fact that Corrie, “a writer from a very young age,” as Norris puts it, was so eloquent herself in documenting her life has informed the theatre piece: the director, Daniel Clarke talks about how “this production has considered Rachel as an artist and questioned how she may have creatively brought her story to the stage.” Fortunately the play hasn’t been staged in Melbourne before. “Its Australian premiere was in Sydney two years ago,” says Norris. “I didn’t get in quick enough. And there’s a separate production in Brisbane at the moment.” Having said that Norris is hoping to tour her show to the regional centres after its Melbourne season. Norris just happened to pick up the script to My Name Is Rachel Corrie from a shelf in a London bookshop, just because it was written for a young woman. Once she read it she knew she had to perform the role. “Rachel is someone people can identify with. Their daughter, their friend, someone they go to work with. Rachel is someone we know.” WHAT: My Name Is Rachel Corrie WHERE & WHEN: fortyfivedownstairs until 14 November

7 UP

GENEVIÈVE BUJOLD WITH JEREMY IRONS IN DEAD RINGERS (1988).

THE PLEASUREDOME OF RELENTLESSLY FABULOUS CANADIANS BY CAM GRACE 1. Geneviève Bujold 2. Robbie Robertson 3. Atom Egoyan

FRAGMENTED THE GOOD, THE BAD, AND THE WEIRD WITH BOB BAKER FISH We’d been driving for days. The heat was oppressive, the landscape bleak and unforgiving. We had no real destination in mind, just driving through outback Queensland. Carnarvon Gorge was on fire, an eagle had just bounced off our windscreen, becoming the roadkill it was trying to feast on, and we’d just visited the surreal alien landscape of Bladensburg National Park where The Proposition was filmed.

4. Joni Mitchell 5. ‘Laughing’ Len Cohen 6. Donald Sutherland 7. Gordon Lightfoot

FISH REVIEW

Of course, it was 45 degrees and a few refreshing XXXXs with the locals in the North Gregory Pub in Winton – the place where Waltzing Matilda was first performed live – soon turned into a pub crawl and the next thing you know it’s morning, everything hurts and it’s going to be a scorcher again. It was under these conditions that we met George. For some reason my travel companion, Yukkoff, was curious about the dinosaurs. He figured that since we’d come out all this way we

might as well see what all the fuss was about. About ten years ago a Western QLD farmer noticed some fossils on his land. He arranged a dig, invited the local museum out, and discovered an endless stream of dino bones, even some new species that they’ve imaginatively dubbed Clancy, Banjo and Matilda. In order to finance the process they’ve since established the Australian Age Of Dinosaurs museum. Nursing our hangovers we drove out to what was ostensibly a large shed perched on top of a hill. Whilst dino bones don’t necessarily give me the Triceratops horn, the place was air conditioned, and in my condition it’s all it took. I met George when I went up to pay for the tour. He was a beaming guy in his early 20s wearing a wide-brimmed Akubra. He was just your regular slightly nerdy dinoobsessed country boy, with nothing altogether peculiar aside from the wispy glue-on joke shop moustache he was sporting. That was until he spoke. “Here’s your change, matey, we’ll be ready in a tick,” he bellowed and I almost shat myself. I didn’t know whether to run or collapse in hysterics. I completed a mixture of all three and unconvicinglyy slunked jerkily away to compose myself. Was he taking the piss? His voice came from a much older man, possibly an AM radio host from 30 years ago; deep, broad, folksy, but slightly hysterical, like a family of aliens had burrowed into his voice-box and were using his vocal chords as a trampoline. He was born with his voice broken, then when puberty struck it attacked. It was at this point that I realised that the tour was going to be difficult.

We were joined by a nervous, very effeminate Indigenous guy from the centre, stuttering through his first tour, as well as a rabid multiplesyndrome-afflicted dino fanatic who peppered the poor guide with an avalanche of inane questions. “I was just wondering if they’re the same species of dinosaur as any Saurapod from America?” he enquired at one point. Our exhausted guide deferred nervously to George. “That’s a good question,” offers George. “Oh, okay.” “They’re an offshoot from the same family but they adapted and evolved to their environment.” “So they didn’t bloody swim from America then?” enquires the syndrome. “Nah,” says George before pausing for a few beats, “but if they did it was quite a swim.” He laughs heartily. We all join him. Dinosaur humour is fun. We left George and the dinosaurs and slowly headed back towards the coast. But George wasn’t ready to leave us. He fuelled the remainder of the trip. We wondered about his life away from dinosaurs, whether he was a Tyrannosaurus Rex with the ladies. By day he dusts dinosaur bones, by night we wondered what darker bones he was dusting. We reasoned that that his voice wasn’t previously

so deep, that after years of suffering debilitating bouts of tourettes yodeling he overcome it via, well, it’s too silly to print. But rest assured George was never far from our minds. He seemed like a great movie character, but we reasoned that he was so strange that the suspension of disbelief required was too much for mortal man. In a place where millions of fossils lay underneath the ground and billions of flies swarm above it, perhaps it is only natural that a George springs forth. So it came as quite a shock when last week Yuckoff sent me a frantic text telling me to immediately tune into Channel 7. I turned it on and there you have it, George in a swimming pool with hot young twins. George, it seems, has gone from amateur paleontologist and Warhammer 40000 fanatic to the set of Beauty And The Geek. And let me be honest, it’s highly likely that George breeding with a ‘beauty’ could perhaps result in the next phase of our species, proving the absolute justification of reality TV programming as our evolutionary future. Sometimes you wonder if the people on reality TV are actually real people with real lives, real feelings and emotions. Well, having encountered George in the outback in his element, I for one can say no fucking way. George is so far beyond real it’s scary.

CORRECTION REGARDING MY DREAM Last week we ran an announcement about the China Disabled People’s Performing Arts Troupe’s upcoming tour of Australia with their show My Dream. However, the Sydney dates were listed. Here, then, are the Melbourne dates for CDPPAT: Saturday 13 November and Sunday 14 at Palais Theatre. Head to mydream.asia for more information.

PLAYING IT STRAIGHT

LIVE AND LET LIVE

His music has been described as gloom pop, art metal and fucking stupid loud, but TOM HALL– AKA AXXONN – tells BENNY DOYLE it’s just honest.

Despite the messy break-up of Live, singer ED KOWALCZYK is keeping the faith, he tells NIC TOUPEE. Despite his reassurances, the more overtly Christian stance of his new album might catch some of his fans off guard, used to a more vague, quasi-mystical perspective from the Live experience. He has traded samadhi for sin but Kowalczyk hopes he can still inspire any listener.

“Definitely in terms of genres, in some songs I feel like I cross about three different styles, from pop to ambient to full-on doom metal. And in terms of peers that inspire me, Lawrence English, a sound artist here in Brisbane, is a big influence, as are local doom band No Anchor and even guys like Parades and other people I know personally. I kinda hear different things in different bands that I like and it’s more those things that inspire me,” he says.

om Hall has a head cold, which, as he explains, “just makes me angrier than anything. Everything just ends up sounding more brutal. I feel sorry for the audience.” An idea that Axxonn could be a soundscape any more brutal than what is presently being peddled by the young Brisbanite is a scary prospect. But don’t be scared, Hall just wants to see you enjoying yourself. “I’m trying to evoke some kind of reaction from everyone, not so much physical; just more about stimulating people and making them feel good,” he explains. “Axxonn off the bat can sound pretty tense and sick especially given the level of distortion I use. At the end of the day, if you disengage all the distortion pedals, the melodies are quite dainty and pretty… just with walls of distortion. As such, I’m quite often astounded at the variety of people that really get into Axxonn.” Let’s Get It Straight is the new single and title track of Axxonn’s new album. At varied times, the bleeps, bloops and brutal distortion that make up Axxonn have been described, amongst other things, as stretched metal, art metal, fucking stupid loud and gloom pop. However, these are from people who undeniably do not know Axxonn’s music as well as the man himself. Hall is careful not to wrap himself up in any tag that PR types want to attach to his work. “At the end of the day, Axxonn for me is taking segments of different genres I enjoy and putting them together. I’m constantly amused at how other people explain it. It definitely sits somewhere between electro and doom. I really try and keep it open. I don’t have one word that can really sum it up other than ‘honest’,” he says.

Hall is presently under the pump with live shows, press and all the other associated bullshit that goes into an album release. It’s serious business that unfortunately is required, but looking over the tracklisting for the album, it’s quickly noted that as Axxonn, he hasn’t lost his sense of humour. Perfect For Acid, Cod & Chips and Frosties 2L are just some of the sensational titles that you can find on the new album. An enquiry into their origins uncovers even better stories than hoped for. “The track names come from the European tour Axxonn did last year. Like for instance, Golfini is just like a cardigan you take out in the evening to keep you warm. While Frosties 2L is this super disgusting 2L bottle of cider you can buy in Glasgow for £1.50. It’s in a plastic bottle and just so nasty,” Hall recalls, chuckling at the memory. “And in Italy, I was just astounded at the chocolate milk. It’s just amazing, it’s like your drinking chocolate – I can’t even explain it, it’s so phenomenal. I got a total choc milk addiction while in the country.” With roughly 150 shows last year across Australia, Europe, Asia and North America, Hall is shunning any thoughts of jetlag or slowing down, confessing that he is just a sucker for the road punishment. “[Touring’s] alright,” he says. “It’s the way I like it. If I’m sitting at home here in Brisbane for a few months or more, I start getting itchy feet. I get jealous of people going to airports, it’s bizarre. At the end of the day, I have an unquenchable thirst for touring.” WHO: Axxonn WHAT: Let’s Get It Straight (Useless Art) WHERE & WHEN: Friday, Abbotsford warehouse party; Saturday, Old Bar; Friday 26 November, National Hotel (Geelong); Saturday 27 November, Lithuanian Club

LOSS CAUSE

“I think, in general, goodness is at the heart of reality, although it can be wrapped in music that has the blues, darker keys or intensity in the vocal. My record digs deep into the soul and people can chew on the music and take what they want to take from it. I worked really hard on the lyrics. It’s not easy to keep it full of your own faith and still bring people together from all walks of life, in particular my personal faith in Jesus Christ.”

Kowalczyk explains that he turned to Christianity after an intense spiritual quest, but doesn’t want his fans to feel alienated by it.

“About two years ago I started to feel a general malaise about the music we were making,” he explains. “I had hit a drought inspiration-wise, and thought, ‘I have been doing this the same way for 15 years – what would happen if I did an acoustic tour or a solo career, or found new musical partners?’ As soon as I started to think about that I got really excited, and my perceived limitations were blown away. The spring of creativity started to flow again.”

Some fans might find the title of his album Alive a little odd considering this is his fresh, postLive new start. Kowalczyk hopes the similarity will act as pied piper for former followers.

nyone familiar with Live will be aware that they were popular for a certain kind of elegiac, stadiumstyle rock: the kind of songs where hands, lighters, mobiles – anything – went up in the air; songs about being stronger, higher ideals, personal growth through adversity, yadda yadda. The band dissolved in 2009, with lead singer Ed Kowalczyk accused by his bandmates of unscrupulous behaviour involving outrageous financial demands and behind-the-scenes inveigling with the band’s business set-up. Kowalczyk, who subsequently relaunched himself as a solo artist and is currently touting a new album and new outlook, tells a different story.

Although his new solo work is grazing fresh sonic pastures, he assures fans that the basic principles behind his songwriting have not changed particularly. “The core of what I do hasn’t changed: the heart of my craft remains the same,” Kowalczyk states reassuringly. “What makes a difference is having a new producer, a new studio environment and in particular my new drummer Ramy Antoun – the way he interpreted my songs in the studio blew my mind in a good way. He gave my music a new spark.”

“...Aagh is perhaps the strongest track on the record. As a new band with no public profile, we thought when it came to dropping the first single off the record we’d go with something else and be prepared for it to do nothing, for it to be sacrificed. Now that we’ve moved on from that and the album is out we thought we’d give ...Aagh its time in the sun. We also got involved with Fishing, a production duo from Sydney who did a great remix for the single. And our bass player laid one down as well. The single includes both remixes and we have a clip for it too, our first.” So, would Calf say that …Aagh is representative of Dark Continent, Cold Century as a whole? In answering, he mentions the band’s brilliant artwork, as well as being worried about coming across as a tosser. “...Aagh is certainly representative of the record, as much as a single track can be when the record is made up of some disparate elements. Essentially the album has two strands. One being busy, up-tempo, dense, guitar-led tracks, the other being more sparse where the keyboards come more to the fore. The thing that holds them all together is the sentiment in the vocals. The lyrics revolve around thoughts of having neglected

WHO: Ed Kowalczyk WHEN & WHERE: Friday, Forum

Adelaide folk-rockers THE BEARDS only write songs about beards. Frontman NATHANIAL BEARD only talks about beards too, JADE PHAM discovers. come up to me at shows and they’ll point out someone with a small beard and they’ll say, ‘Aw, how shit’s his beard?’ but that’s not what it’s about. I tell the person, ‘Don’t do that. Instead focus that negative energy on the beardless.’ They’re the people that need to be singled out and made examples of, not people with beards. Having a beard is about diversity, you can play with it, do what you want with it. Having a clean-shaven face is all about conformity. It’s about being like every other person. Having a beard is the complete opposite of that.”

things and people, of loss, of hope in the face of loss, of questioning whether you’ve chosen the right option, of mutual exclusivity. Weaving through all this is the thought that we live in an age that is bunkum, that the enlightenment has failed. Therein lies the link to the album’s artwork. That’s a bit of a wank now, isn’t it?”

...A

“I called the album Alive because the trajectory of my heart and soul over the last few years has been to come alive – it symbolises the regeneration of my passion for music,” he argues. “I knew people might relate it to the old band name Live, and that’s okay, but the truth of it is that the word itself encapsulates how I was feeling. People are saying, ‘This is like the music of yours that I fell in love with in the mid -’90s,’ so the title seems appropriate in that way too. It feels like a bridge between that chapter and this one.”

REAL LIFE HAIRYTALE

THE BOOK OF SHIPS’ debut album deals with some heavy lyrical themes, but frontman D.A. CALF hopes he doesn’t sound like a wanker, he tells TONY MCMAHON.

agh is the second single from local outfit The Book Of Ships, whose debut album, Dark Continent, Cold Century, caused quite a stir when it was released last July. Inviting favourable comparisons with everything from Conor Oberst to Japanese pop, this is a record that demands attention from the moment it hits the player for its nuanced production and lyrical intelligence. Frontman D.A. Calf says that … Aagh was always a good candidate for a single.

“It has been a full circle journey of spiritual rediscovery for me. I was raised that way and my lyrics have always been directed towards a spiritual search. My focus on this record was to express my personal feelings about god but keep it so everybody felt welcome. I look up to U2 for the way they do that – in particular, Bono’s ability to express himself and his spirituality in ways which are uniquely Christian, and speak to that strongly but also appeal to the masses.”

As a whole, The Book Of Ships’ music could be referred to as headphone-friendly, with careful production values and intricate layering of arrangements. Not incidentally, Dark Continent, Cold Century was recorded in an abandoned bowling club and mixed by Scott Horscroft, who has worked with The Panics, The Presets and Silverchair. Given this, what does that mean for the band’s live shows? Calf makes the valid point that gigs are not necessarily something one should be thinking about in a studio setting. “We try to be true to the songs and play to their strengths live. There are some tracks on the record we don’t play live and some new tracks in the set that will probably be on the next record. When making the record there was no concern to limit it to what could be reproduced live. I’d much rather make the best record I can and then work out how to represent it live. Live and recorded versions can be two different and equally valid interpretations of the one song. All up it’s a loud, thick, energetic sound.” For the single launch at the Workers Club, Calf says he’s just glad to be back on his feet and looking forward to the supports, some bonding and the future. “We’re keeping things pretty simple this time around – somewhat raw and energetic. I’ve been in a leg cast for the last eight weeks so the first show vertical will be a treat in itself. We are playing with two bands we think rather special – City Calm Down and Sleep Decade. In the new year we are looking at adding some interesting new elements as we move towards the next record and some internal changes but for now we just want to bash out the songs and connect with some people.”

WHO: The Book Of Ships WHEN & WHERE: Saturday, Workers Club

long time ago (2005) in a far away land (Adelaide), four bearded men got together to play a one-off show, performing songs exclusively about beards. They did it for fun and ended up accidentally starting something like a cult based on beard-appreciation, which they encourage all men to join and women to support. Many facial hairstyles, two albums and 24 songs about beards later, Nathanial Beard has lost his ability to write songs that aren’t about beards. “I sat down the other day to write a song about a guy stranded in a desert dying of thirst and it ended up being about beards. The guy had a beard!” Beard is in his hometown feverishly growing his own beard in preparation for the band’s November tour, cleverly named the Movembeard Tour. Beard’s beard is an impressive beast, flowing down to just below his manly nipples and framed by two beardbraids on each side. The first and last time he was clean-shaven was when the whole band shaved for the making of their Growing A Beard film clip. “It was horrible, it was the worse day of our lives,” Beard recalls. “I’ve had a beard since I was 20. It felt wrong at the time, it felt wrong the whole way through. We’ve never done that again; we never will, either. If anyone ever shaves again they will not remain in the band. It’s not permitted.” Even though drummer John Beardman has “the most amazing beard in the band – the biggest and the best,” Beard believes, “The war’s out there. We’re brothers. We are a band of bearded brothers. Some people will

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The Beards’ mission to educate people on the way of the beard with their shows has now expanded to encouraging participants of Movember to make the commitment and grow that mo into a full beard. Beard says, “They have no idea! They’re amateurs. They’re growing moustaches for the novelty. They should grow a beard because it’s the right thing to do. There’s all the issues of hygiene, these guys don’t know that facial hair, you have to wash it like any other hair. You gotta wash it and condition it. I normally wash mine at least once a week, usually twice a week.” Beard encourages the bearded, unbearded, and antibeards to come along to The Beards’ Movembeard Tour. The bearded can celebrate their beards and everything a beard stands for, unbearded people should come so they can be educated and taught that not having a beard is wrong and hopefully they will leave the show and change their ways. The anti-beards (namely wives and girlfriends) also need to be educated because Beard hears “a lot of bearded men come up to me and say their wife doesn’t like their beard or beardless men come up to me and say their girlfriend won’t let them have a beard. Then I tell them, ‘If she doesn’t let you have a beard then she doesn’t love the real you because the real you definitely has a beard.’ They need to be taught the beard and beard growing and stop encouraging this ridiculous fad of shaving that has gone out of control for the last 100 years! It’s not okay and we’re saying, ‘NO!’” (Number of times you’ve read the word ‘beard’: 58.) WHO: The Beards WHEN & WHERE: Thursday, Sand Bar (Mildura); Friday, Ding Dong; Saturday, National Hotel (Geelong)

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COVER GIRL

GO WITH THE FLOW

A karaoke obsession has prompted LAURA IMBRUGLIA’s November residency at the Old Bar, she tells ANTHONY CAREW.

Magic Dirt and Midnight Woolf guitarist RAUL SANCHEZ is happy to go where new band RIVER OF SNAKES takes him, he tells SAMUEL J FELL.

“It gets really boring if you do the same exact set of the same songs each week of a residency,” Imbruglia says. Imbruglia, now relocated to Melbourne, will try the same trick over a month-long stint of November Wednesdays at the Old Bar: first a solo acoustic show, then a full-band show, a night of country covers with Even as her backing band and, finally, a karaoke rumpus.

wo years ago, Laura Imbruglia moved into a house in Sydney that was just around the corner from a pub. In fateful circumstance, her local just happened to have free karaoke nights on Friday and Saturday. And, after initially being puzzled by the diehards and enthusiasts in attendance, Imbruglia – yes, you know who her eldest sibling is – was soon even ‘touring’ to karaoke nights at bars not nearby. “The same people were always there,” says the 27-year-old singer/songwriter. “There’s just a family of karaoke people in Sydney that go to the same venues. There was this really old guy – he must’ve been 86, 87 – who’d go to different venues on different nights. He did Vanessa Amorosi, Absolutely Everybody, and ABBA, Waterloo; just songs you wouldn’t expect an old guy to do. He was awesome.” And Imbruglia? What are her karaoke stand-bys? “As a performer, when I’m singing my own songs,” Imbruglia offers, “I get this serious look on my face, and I have to concentrate on playing the guitar. I don’t just get to be an entertainer and sell the song. It’s fun to just get up there and sing cheesy ballads. I like singing John Farnham, Two Strong Hearts, and Meatloaf, I’d Do Anything For Love.” At first, Imbruglia considered making a documentary on the cult of karaoke before deciding to usher karaoke into her own world. At a residency at Sydney’s Excelsior Hotel, she closed with a karaoke night, where she served as MC and occasional performer of Salt-N-Pepa songs.

man. Midnight Woolf are chugging along nicely, and so River Of Snakes are somewhere else to channel his musical wonts, and it seems, once he and Sonic, and then bassist Elissa Rose, came together, things began to form quickly indeed. “Totally, we all had a very strong vision about the musical direction,” Sanchez confirms. “We knew what we wanted to do, what we didn’t want to do,” he goes on. “We all love that kind of music, straight ahead and heavy.” Sanchez goes on to say that the band have corralled together around 11 tracks, which is interesting, given they’re about to release a double A-side – why the single release and not a full record at this point? It certainly seems, listening to Sanchez talk, that they’ve got the chops and the material to deliver such a thing. “Yeah,” he laughs, somewhat resignedly.

Imbruglia’s karaoke obsession almost harkens back to her earliest performative experiences: busking as an adolescent on the NSW Central Coast, in a “prime position” between the KFC and the pelicans. But Imbruglia certainly wasn’t pushed into it by stage parents: the Imbruglia parents only really had two bands in their record collection, The Carpenters and The Seekers, and the closest Dad came to intervening was getting into a fight, on Laura’s behalf, with a rival busker muscling in on her outside-the-KFC turf. Having earnt a hide of “thicker skin” via her teenaged suffering, Imbruglia became fearless as songwriter: writing blunt, blatant confessionals; proudly wearing her star-made family name; and, even, daring to make herself the butt of her own jokes. Her eponymous 2006 debut LP posed her, on the cover, as Frida Kahlo; the songs therein self-portraits not always flattering. Her second LP, 2010’s The Lighter Side Of…, cartoons Imbruglia as Alfred E Newman. The big joke being that this Lighter Side is a plunge into the emotional shadows. “It’s a pretty dark, depressive break-up album,” Imbruglia admits. And, yet, the irony of the title has, somehow, proved elusive. “Weirdly, some people have taken it literally. But, mostly just in regards to the music.” Instead, it’s a record heavy with confession and bitterness. “I don’t know how to write any other way: I’m fairly upfront as a person,” Imbruglia says. “Writing almost all of the songs about one person, let’s just say that person didn’t like it. But, that certainly doesn’t make me feel guilty about it; it’s this age-old thing that artists have always done.”

s their name suggests, River Of Snakes are here to drown you in a slimy mass of sleazy sludge, rock’n’roll as it should be with no pretention and no thought other than to turn it up and belt it out. “Yeah, that’s the main gist,” smiles guitarist/vocalist Raul Sanchez, on what the band’s MO is. Sanchez is, of course, the man responsible for the likes of Midnight Woolf and the muddy guitar sounds of Magic Dirt – River Of Snakes are his latest musical venture. “Yeah, well, Magic Dirt, we’re just trying to take time off, find our feet, if that’s possible after what happened,” Sanchez muses. “So me and Matt [Sonic, from Matt Sonic & The High Times] started jamming on Sunday arvos [late last year] and we both started playing guitar. But one day Matt set up his drums in the room as something different and I’d just written these riffs, so we thought, ‘Let’s try this out’, and it was like, ‘Oh shit, this sounds good’. So I brought in my big amps, turned the fuckin’ thing up… Wrecking Ball was written that day, and Hole In The Night as well… It was just very casual.” After the untimely death last year of Magic Dirt bassist Dean Turner from a rare form of tissue cancer, Magic Dirt, of course, called a halt to proceedings. There is no word at this point as to whether or not they’ll resume, but in the meantime, the best form of consolation is music – Sanchez knowing this as much as the next

WHO: Laura Imbruglia WHEN & WHERE: Wednesdays in November, Old Bar

MAKING TROUBLE

Having been in the music industry for more than 25 years it is handy to pick up some good friends along the way. “Yeah, look, I guess I was a little cunning,” Hooper says. “The last Beasts Of Bourbon album was recorded in North Melbourne’s Newmarket Studios and I also recorded my last album, The Thing About Women, there too. I knew Mick Harvey was going to be in town so I made sure I had the studio for those couple of weeks, so once it was booked I rang him up and said, ‘I’m in the studio, what are you doing today?’. Mick said, ‘Actually, I’ve got a bit of time off, wouldn’t mind

Harvey ended up producing the entire album. “Obviously with somebody like that, he’s not just the knob-twiddling type, he wants to make sure he gets the sounds down and his skill is picking the right piece at the right time. He is quite delicate with the music and, as he often says, ‘I’m a musician and I like to play musical instruments’. Mick often plays bass for me and on this record played a fair bit of percussion and acoustic guitar which allowed me to concentrate on singing, an area I’ve wanted to improve on the last couple of efforts. So along with Mick and Steve I had regular players JP Shilo, Angus Boyle and Jo Brockman and also had great guest musos in Charlie Owen, Spencer P Jones, Penny Ikinger and vocalist Xanthe Waite.” “I’ve got my A-team for the gig,” he says of the album launch. “I’m really looking forward to it. It’s not often you get the band that actually made the record to represent the sound live so it’s always a good day when that happens. I’m looking forward to playing some tracks like Am I So Blind. It’s sparsely arranged; three guys – me, Mick and Steve – playing a song with a guy trying to sing to the best of his ability. Obviously the album title track and opener Trouble is self-explanatory and just sums up everything I’ve gone through, and Wasting Away means a bit to me too and is for my lovely new wife. I also particularly like I Get Up Again, so much so I was thinking about having it as the title of the album. The album is out through Spooky Records here but overseas it will be out through Bang! Records and they didn’t want the song on the record as it is slightly incongruous to the rest of the tracks so a compromise was reached where it has become a secret track on that version.” Thankfully no such secret listing here in Australia and that mind-blowing number will no doubt be one of the evening’s highlights.

WHO: Brian Henry Hooper WHAT: Trouble (Spooky) WHEN & WHERE: Friday, Espy Gershwin Room

WHO: River Of Snakes WHAT: Wrecking Ball single (Independent) WHEN & WHERE: Friday, Tote

MARK WOODWARD, singer with THE WEEKEND PEOPLE, tells EJ CARTLEDGE his band aren’t afraid of hard work.

hearing a couple of numbers’. All I had at that point was the laptop with a couple of badly recorded duets with Steve and compared with the scratchy, skeletal stuff we had, it started filling out with Mick’s help.”

There’s certainly no hurry, although as Sanchez tells with a laugh, he’s always in a hurry, but this is a project that’s more likely to just build on its own merit in its own time and to hell with what anyone says or thinks. “I don’t know, I guess at the moment we’re just gonna play around,” Sanchez says on what the plan is for River Of Snakes. “There’s some news that’s happened in the last few weeks, and that’s that Matt will probably not be playing drums anymore. Basically, he’s very busy with The High Times and he’s gonna concentrate on that which is all fine, that’s good. The rest of us just thought we’ve gotta keep going, keep powering ahead.” There’s no doubt they will, it’s just how it’s gotta be.

WEEKEND WARRIORS

With a little cunning, BRIAN HENRY HOOPER enlisted Mick Harvey to produce his latest record, he explains to THE BOOMEISTER. Pic by LIZ REED.

rian Henry Hooper arrives at a local watering hole without his trademark bodyshirt and suit, though still appearing polished and very relaxed. In fact, he almost has that ‘the cat that swallowed the canary’ look. It seems he is attempting to contain his enthusiasm and pride in his new release, albeit poorly. This project began its life around two years ago. “I flew up to Brisbane with [longtime collaborator] Steve Boyle to record an album with engineer and producer Skritch Needham [ex-Tex Perkins’ Dark Horses],” he explains. “But I went up there with half-finished songs and using people I never really played with before and the sessions just really didn’t work out. So I came back to Melbourne with my tail between my legs and a bit lighter in the hip pocket, but I thought, ‘Shit, there are some good songs here. I just really want to record it over again’.”

“I guess we kinda wanted to test the water. I was keen to record an album, but due to finances and time and stuff, we thought, ‘Well, let’s just go to Birdland, do it in two days and just record’,” he explains. “We actually recorded three songs; the other one isn’t finished, so that’s really it. But I think it’s a good way to just try something out… but absolutely [we’ll record a full-length], and I’d like to definitely have it done by the middle of next year, or the end of next year, but definitely something within the next year.”

do the parts ourselves. We then found two people who wanted to play in the band permanently, Peter and Sarah. From that point we started playing live with the full band. It was an interesting as there had always been a level of intimacy playing as a duo, just piano and guitar, and part of that was possibly lost with the full band, but the more we play the better our live sound has become, so we’re gradually clawing that intimacy back.”

riginally conceived as a songwriting project between Mark Woodward (guitar, vocals) and Nicholas Roy (keys, vocals), The Weekend People started life as a guitar and piano duo. As the songs began to flow the pair envisaged setting them down in a more permanent fashion and so began a seemingly endless saga of home recording, moving house, rejigging and further gigging. Along the way they recruited Sarah Holmes for bass duties and Peter Guidera behind the kit. As the extended line-up worked to find their feet as a four-piece, their debut album began to take shape. For frontman Woodward, the challenges of recording on the run took place over a long period of time. “Yes, it was a large amount of work,” he says on the eve of The Weekend People launch. “We made it hard for ourselves by opting to do it at home. I’ve learnt my lesson there. There’s always something to distract you when working from home. Plus as it goes along you get better and better at recording; what you recorded six months ago doesn’t seem to cut it now. So it can end up like a never-ending project. I used Pro Tools for the most part, plus other bits and pieces of equipment.” Naturally, as the group’s make-up evolved there was a certain shifting in dynamics, although Woodward suggests a full band complement was always on the cards. “We’d always planned to have an expanded line-up,” he says, “although when we started recording Nick and I would either draft in session musicians or

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As for the style of music on The Weekend People’s self-titled debut, a close look at Woodward’s influences will provide some handy clues. “Locally, I just love The Drones and what Gareth Liddiard has done with his solo album,” he says. “Another big influence on our album is Leonard Cohen; it would be a dream to support him. I’m also a big fan of Bright Eyes and Conor Oberst’s solo stuff. It’s not so apparent with us but some of the tracks have an alt.country feel, which I put down to my admiration for Bright Eyes. I’m also into the Felice Brothers at the moment, and Radiohead, who would obviously be a big influence for a lot of people. But I go through phases with who I’m listening and that will help shape my music, although I guess if one was more savvy you’d write music that is currently popular. I just tend to write what I like listening to.” The band’s Melbourne launch is just on halfway through an East Coast tour and Woodward is keen to make a mark. “The tour is going to be tough – we’re giving ourselves something of a workout,” he says. “But you’ve just gotta start…you’ve gotta get the ball rolling. If you’re going to do four shows you might as well do eight and fill up the time away as much as possible. And it’s difficult to cut through. Things have even changed in the time that I’ve been involved in bands and putting out albums. Distributors don’t want as many copies and there’s a real push to put things online. That said, I love the packaging of albums and I think we’ve done a great job with this one. We had pretty clear ideas it all has to be about collaboration. Adding Peter and Sarah was a natural fit. We’ve really landed on our feet.” WHO: The Weekend People WHAT: The Weekend People (Independent) WHEN & WHERE: Thursday, Toff In Town

SEA CHANGE

PAST, PRESENT, FUTURE

Having settled on the Mornington Peninsula, WA-born TASH PARKER feels like she’s home, she tells JEREMY WILLIAMS. Pic by JAMES BRYANS.

Former Earthman NICK BATTERHAM tips his hat to Townes Van Zandt on his new solo album, he tells THE BOOMEISTER.

“By being able to write about it, it means I am over it and have worked it through. If I am not ready to deal with something then I tend not to mention it.”

Nowhere, but it is the songs Baby Blues and Hospital Song that Batterham picks as the work he is most proud of. “Hospital Song is a very direct one which I wrote in about half and hour and recorded as I wrote it.” Batterham in fact wrote, performed and recorded almost the entire album at his home studio. “Having returned from the hospital where I had said my final farewell to someone incredibly dear to me and experiencing those final moments and gleaning that person’s acceptance of the position they find themselves in. This is a pure expression of an event and I do find it quite moving, and difficult to perform.”

Though Parker freely admits to being a fan of famous musical storytellers, particularly Joni Mitchell, it was for her own means of expression that Parker turned to storytelling in her lyrics. “I don’t actually consciously think how to write, the songs just come to me. When I first started, I wrote songs as a way to communicate with people. I used to find it hard to articulate how I was feeling and songs helped free that up.”

“T

he album took two years to record, but some of the songs on there are eight years old and some brand new.” It cannot be said that Kimberley-born, Somers-based singer/songwriter Tash Parker has rush-released her debut album. Instead of vying for major label attention, the singer, who relocated to the Melbourne area to further pursue her musical ambitions, spent time on the road developing her sound and time in the studio collaborating with four different producers to ensure she could say just what she wanted. “Initially the album was not going to have a title, but then once it was all recorded and registered some friends pointed out that a title is important. They said I should choose something that sums up what it is. So we just tried to find a common theme. Waking Up matched with both the artwork and the songs’ themes of journey and self-awakening.” Waking Up could not be a more apt title for the collection. Born and raised in the small remote town of Kununurra in Western Australia, Parker initially relocated to Melbourne. “After eight months I couldn’t cope with city life. So I moved again, this time to Somers, which is in the Mornington Peninsula. It has been the final stop on my journey and it feels like I am at home.” However, it is not just a geographical reawakening that is covered on the album’s subtle revelations. Whilst Somers is an open ode to her new home town, Taking Back Her Name tackles her parents’ separation. “Songwriting is a bit like therapy for me,” she explains.

With Parker not having to complete a record in a matter of weeks like many major label signings, Waking Up is unlike any mainstream pop offering. The singer has poured her heart and soul into the record over an extended period, with each song representing a different aspect of her ever-changing life. “I feel like each song is unique. It is a bit of a patchwork quilt for me. However, some people who have listened to it say it sounds like a beautiful, complete journey.” “I wanted to make sure the record was not just the same as what I do live. I wanted to ensure it became a magical experience, something I could just lose myself in.” Having honed her craft on the live circuit, Parker wanted to ensure that those who have already seen her live would be able to see her in a fresh light upon hearing Waking Up. “There is so much you can do when recording that you can not do live, that I wanted to be able to use all the sounds that I would not normally be able to.” That said, Parker promises that her album launch will be the perfect midway point between her usual set and her new record. “I will be playing with a six-piece band. We are going to try and recreate some of the sounds, but the show is also about more than that. I want it to be a complete experience, incorporating storytelling and stunning visuals. There will even be an art exhibition!”

WHO: Tash Parker WHAT: Waking Up (Independent) WHEN & WHERE: Sunday, Northcote Social Club; Saturday 13 November, Melodica Festival, Wesley Anne

ick Batterham has just finished saying his goodbyes to a group of friends after playing a set in the courtyard at Pure Pop Records. Inpress’s initial question of how he felt the set went, as a warm up for his upcoming launch of his debut solo album, Second Lovers, was swiftly turned around. “Don’t call it a warm up, it was a normal gig for me and I really love the Pure Pop venue and it’s a pleasure playing there,” he says. After spending time with Batterham, I learn his response is a sincere, righteous one, borne from respect of all that is good in the industry and particularly a love of music itself. “The album title is inspired by a Townes Van Zandt track called Second Lover’s Song and though I can’t play favourites with Townes’ songs, it is a beautiful song. There is something in the spirit of that song about being with someone who has been with other people and learning to not love jealously, accepting that the past is exactly what it is and the present and future is the stuff that matters. So in making a ‘mature age’ record and writing lyrics of unprocessed emotion and with a certain level of self-knowing, whether that makes it make life easier or harder knowing more about the person you are… Most people are with someone who has been in love before and been in love before themselves and they bring that dynamic to a relationship.” This underlying theme makes up the lion’s share of Second Lovers. Songs that make an instant connection and earmark them as key tracks are Everything You Need, Good Things Come, Thirty Four, From Now On and Getting

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“Baby Blues is of similar intensity, quickly written as a direct response to an event but it’s a little more oblique. It has taken on several dimensions over time. It started out being acutely about one thing but I realised in writing it the lyrics had an ambiguity. You can make up your own mind if it’s about post-natal depression or about relying on a dependant type of love and realising that love of yourself might be the only love you should count on. I struggle to play that one live too. Everything You Need and Getting Nowhere are the biggest production numbers; you know, the most ‘hi-fi’ moments. “I am really looking forward to the launch and it will be great to have a big crowd. I’m dealing with structuring a set where every song has a different set-up. I’ll play half the songs by myself and the other half with either the full band or parts thereof.” Batterham has surrounded himself with quality musician mates in long-time collaborator/guitarist Nick Murray (The Earthmen/Strip For Cash), Cordrazine members Rohan Heddle and Jethro Woodward and bassist Tristan Courtney from support band Blackchords. “It’s funny, I get more nervous playing in front of a small group of friends than a big crowd like opening for Cordrazine. But this will be wonderful.” Given the quality of this album, the launch promises to be a treat and the first 50 paying punters will receive a copy of the record.

WHO: Nick Batterham WHAT: Second Lovers (Head Records/MGM) WHEN & WHERE: Sunday, Toff In Town

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ISSUE 1147 - WEDNESDAY 3 NOVEMBER, 2010

TOURS

PRESENTS

Les Savy Fav February 8 Billboard

THE BARONS OF TANG: November 5 East Brunswick Club GARETH LIDDIARD: November 5, 6 Thornbury Theatre JINJA SAFARI: November 18 Karova Lounge (Ballarat); 19 East Brunswick Club SHIHAD: November 19 Corner Hotel MY DISCO: November 20 National Hotel (Geelong); December 3 Hi-Fi

THIS WEEK

FOZZY: December 2 Hi-Fi THE LEMONHEADS: December 2, 3 Corner Hotel

INTERNATIONAL

ROBIN GIBB, BONNIE TYLER: November 3 Rod Laver Arena

THE FALL: December 10 Billboard BUILT TO SPILL: January 1 Corner Hotel

ED KOWALCZYK: November 5 Forum ENGELBERT HUMPERDINCK: November 5, 6 State Theatre

NATIONAL

CLASSIC ALBUMS LIVE - DIRE STRAITS’ BROTHERS IN ARMS: November 4 Arts Centre MUSCLES: November 4 Eureka Hotel (Geelong); 5 Prince Bandroom REDCOATS: November 4 Espy THE NAKED & FAMOUS, SEABELLIES: November 4 Federation Square CROWDED HOUSE: November 5 Rod Laver Arena WORLD’S END PRESS: November 5 Northcote Social Club ILLY, 360, SKRYPTCHA: November 5 Hi-Fi Bar THE BARONS OF TANG: November 5 East Brunswick Club KASEY CHAMBERS: November 6 Palais HOLLY THROSBY & THE HELLO TIGERS: November 6 Northcote Social Club

GIG OF THE WEEK HOLLY THROSBY Saturday, Northcote Social Club Holly Throsby’s recent single Here Is My Co-Pilot is the first taste of one of three new records the Sydney singer/songwriter will be dropping over the next few months. The first, See!, released a couple of weeks back, is a kids’ album. With guest spots from Darren Hanlon and Jack Ladder, it features songs about fish and mice, motorboats and shadows (kids love that shit). It was recorded back-to-back with Throsby’s next album proper, Team. The follow-up to her 2008 ARIA-nominated A Loud Call, it saw the singer reunite with long-time friend and producer, Tony Dupé, to record in a 19th-century Methodist church in Wildes Meadow, New South Wales. That experience was far removed from the ten days Throsby spent in a New York studio with Sally Seltmann and Sarah Blasko mid-year, where the three recorded an album planned for release in the new year.

THE NATIONAL: January 9, 10 Palais THEE OH SEES: January 9 National Hotel (Geelong); 12, 13 Tote BEACH HOUSE: January 10 Hi-Fi BLONDE REDHEAD: February 7 Billboard BEAR IN HEAVEN, THE ANTLERS: February 9 Corner TWO DOOR CINEMA CLUB: February 9 Prince Bandroom STORNOWAY: February 10 Corner FOALS: February 10 Palace WARPAINT: February 10 Northcote Social Club YEASAYER: February 10 Billboard

brought forth a re-awakened heavy soul to the stage. Whether it was the jagged melody of From The Floorboards Up or the quasi-psych indulgence of Echoes Round The Sun, Weller’s riffs rolled around the venue along with his rich, comforting vocals. Nation cuts lived up to expectations, Moonshine careering as recklessly as it does in recorded form while Andromeda and 7 And 3 Is The Striker’s Number showed Weller could still get raucous. And Fast Cars/Slow Traffi c, the song that reunited him in the studio with former Jam bandmate Bruce Foxton, was a head-spinning highlight.

Paul Weller pic by Kane Hibberd

UPCOMING INTERNATIONAL

JOE PUG: November 12 Northcote Social Club; 13 Meeniyan Hall; 14 Caravan Music Club LEONARD COHEN: November 12, 13 Rod Laver Arena THE CHARLATANS: November 12 Billboard INGRID MICHAELSON: November 13 Corner Hotel THE NEW PORNOGRAPHERS: November 13 Hi-Fi BONE THUGS-N-HARMONY: November 13, 22 Espy Hotel METALLICA: November 18, 20, 21 Rod Laver Arena BARONESS, AKANAME: November 19 Espy - Gershwin Room DANE RUMBLE: November 19, Revolver MANIC STREET PREACHERS: November 20 Forum RICHARD BONA: November 25 Melbourne Recital Centre KAKI KING: November 26 Corner Hotel; 27 Queenscliff Music Festival LEO SAYER: November 27 Palms at Crown CUTE IS WHAT WE AIM FOR: November 28 Hi-Fi (under-18s arvo, 18+ evening) SHAWN MULLINS: November 30 Toff In Town U2: December 1 Etihad Stadium STICK TO YOUR GUNS: December 1 Musicman Megastore, Bender Alternative Club (Bendigo); 2 Colonial Club; 3 Seaford Community Hall BLONDIE, THE PRETENDERS: December 1, 2 Palais; 4 Rochford Wines SOLA ROSA: December 2 Roxanne FOZZY: December 2 Hi-Fi MARY GAUTHIER: December 2 East

JUNIP: January 4 Corner Hotel

With nods to earlier solo work (and the fans who hang onto that era), Weller led his band through Broken Stones, Peacock Suit and The Changingman. Although those waiting to hear something from his Wildwood period went unrewarded. And despite the star’s occasional snide remark (he introduced a cover of Marvin Gaye’s How Sweet It Is as a song by one of his favourite Australian bands), Weller seemed to be enjoying himself as he played through what seemed to be his entire guitar collection as well as jumping behind the keys – and at one stage playing both keys and guitar at the same time.

LIVE: REVIEWS PAUL WELLER FORUM

r Weller was in fine form for the first of his two Wake Up The Nation shows in Melbourne. Or was he? Tonight his tongue was as sharp as his clobber. Oh, and his hair was immaculate. His straight-faced between-song banter included complimenting the audience for being out on a Tuesday night as well as congratulating us on getting his most recent single to number one here (note for non-Wellerites, that track was far from a chart-topper in Australia). Prickly much? But hey, given he has a solid two decades’ worth of solo material to plunder as well as a career-best new album to showcase, it must sting to have the audience give its most enthusiastic response to his Style Council hit of 1984, Shout To The Top. He’s Paul Weller, he’s earned the right to be prickly.

Weller stacked the night with tracks from his most recent releases, ripping through works from Wake Up The Nation (2010), 22 Dreams (2008) and As Is Now (2005). Surprisingly, what seemed at times ponderous and overreaching on the 22 Dreams opus sounded like it was created to sit alongside the material from the albums that came either side of its release. The dad rock undertones of recent years were banished and Weller

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Weller also seemed to be defying safety regulations by chuffing away on a chain of ciggies through the last part of his set, almost with the same wild abandon that he chuffed away on a string of old Jam standards. Where Weller once shied away from rehashing his mod-punk past, he now attacks the songs of The Jam with renewed gusto – and he’s not scared to tweak the arrangements. Pretty Green, Start and more got an airing. If they were contractually obligated, it certainly didn’t feel that way, the opening bars of That’s Entertainment as thrilling as ever. But the night ended abruptly. Weller and band provided one encore after which they exited the stage. The techs arrived to set things up for another encore but despite an imploring crowd, the houselights came up and the exodus began. Did Weller skip out? Surely he was going to deliver Wake Up The Nation’s title track? The song did lend its name to the tour after all. But no, the Modfather had scooted off. Andrew Mast

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Illy Friday Hi-Fi

Brunswick Club; 3 Caravan Music Club THE LEMONHEADS: December 2,3 Espy Gershwin Room HOT WATER MUSIC, THE BOUNCING SOULS: December 4, 5 Corner Hotel KORN: December 5 Festival Hall ARCHITECTS, COMEBACK KID, THIS IS HELL: December 5 Billboard JACK JOHNSON: December 8 Sidney Myer Music Bowl GOTAN PROJECT: December 8, 9, Forum THE FIELD: December 9 East Brunswick Club CLIPSE: December 9 Prince Bandroom BROADCAST: December 9 Hi-Fi BON JOVI: December 10 Rod Laver Arena; 11 Etihad Stadium THE FALL: December 10 Billboard GIRLS: December 10 Corner Hotel GORILLAZ: December 11 Rod Laver Arena LINKIN PARK: December 12, 13 Rod Laver Arena DEAD MEADOW: December 14 Beck’s Festival Bar - Forum MUSE, BIFFY CLYRO: December 14, 15 Rod Laver Arena EL GUINCHO: December 15 East Brunswick Club THE REVEREND HORTON HEAT: December 17 Billboard THE EAGLES: December 17, 18, 21, 22 Rod Laver Arena ADAM BRAND: December 17 Warrnambool Entertainment Centre; 28 Colac RSL; January 25 York On Lilydale (Mount Evelyn); 26 Regent Cinemas (Ballarat); 27 Hallam Hotel; 28 Gateway Hotel (Geelong); 29 Kinross Woolshed (Thurgoona) MARINA & THE DIAMONDS: December 28 Hi-Fi Bar ARRESTED DEVELOPMENT: December 29 Espy NEON INDIAN, CASIOKIDS: December 29 Revolver ARMIN VAN BUUREN: December 31 Etihad Stadium HOT HOT HEAT: January 3 Corner Hotel JUNIP: January 4 Corner Hotel SLEIGH BELLS: January 7 Prince Bandroom DARKEST HOUR, CARNIFEX: January 7, Hi-Fi INTERPOL: January 7 Palace THE NATIONAL: January 9, 10 Palais THEE OH SEES: January 9, National Hotel (Geelong); 12, 13 Tote MOS DEF: January 14 Palace Theatre KENNY ROGERS: January 25 Regent Theatre THE MISFITS: February 4 Hi-Fi Bar BLONDE REDHEAD: February 7, Billboard TRAIN: February 7, Forum LES SAVY FAV: February 8, Billboard MENOMENA: February 9, East Brunswick Club BEAR IN HEAVEN, THE ANTLERS: February 9, Corner STORNOWAY: February 10, Corner Hotel WARPAINT: February 10, Northcote Social Club MICHAEL BUBLÉ: February 22, 23, 25 Rod Laver Arena IRON MAIDEN: February 23 Hisense Arena PENNYWISE, MILLENCOLIN: March 1, Palace PRIMUS, MELVINS: March 3, Palais ROXY MUSIC, MONDO ROCK: March 3 Rod Laver Arena WE THE KINGS, NEVER SHOUT NEVER, THE MAINE: March 3 Billboard RIHANNA: March 7, 8 Rod Laver Arena THE CHEMICAL BROTHERS: March 9 Rod Laver Arena AFRO CELT SOUND SYSTEM: March 16 H-Fi USHER, TREY SONGZ: March 19 Rod Laver Arena URIAH HEEP: April 2 Palais THE SCRIPT: April 6 Festival Hall

Little Red pic by Lou Lou Nutt

NATIONAL

THE CAT EMPIRE, BLUE KING BROWN, DIAFRIX, THE VASCO ERA, ANBESSA GEBREHIWOT, YOUSIF AZIZ: November 11 Prince Bandroom REDCOATS: November 11, 18, 25 Espy A FAMILY OF STRANGERS: November 11 Bended Elbow (Geelong); 12 Evelyn; 13 Pelly Bar (Frankston) THE RED SHORE: November 11 Hi-Fi Bar; 25 Colonial Hotel; 26 Extreme Life (Warrnambool); 27 Musicman Megastore (Bendigo); 28 Bended Elbow (Geeelong) EAGLE & THE WORM: November 12 East Brunswick Club EMBODIMENT 12:14: November 13, Bang LAJAMANU TEENAGE BAND, DUGANDA STREET SOUNDS: November 18 Federation Square THE TONGUE, SPIT SYNDICATE: November 18 National Hotel (Geelong); 19 Northcote Social Club MAMA KIN: November 19 Playhouse - Arts Centre; 27,29 Queenscliff Music Festival; December 11 Toff In Town SHIHAD, TRIAL KENNEDY, BLACK DEVIL YARD BOSS: November 19 Corner DRAWN FROM BEES: November 20 Pure Pop (4pm); 20 Revellers North DANIMALS, KYU: November 20 Northcote Social Club THE VASCO ERA: November 25 Northcote Social Club; December 18 Karova Lounge (Ballarat); 24 Barwon Club RAT VS POSSUM: November 28 Workers Club I EXIST: November 27 Arthouse THE LIVING END: November 28 Hotel Rottnest (Rottnest Island) PAPA VS PRETTY: December 1 East Brunswick Club BOBBY FLYNN: December 1 Northcote Social Club KYLIE AULDIST, DEEP STREET SOUL: December 2 Federation Square JORDIE LANE, JEN CLOHER: December 3 Corner Hotel BELLES WILL RING: December 3 East Brunswick Club DRAPHT: December 3 Prince Bandroom HUMAN NATURE: December 10 Melbourne Convention And Exhibition Centre GOSTELERADIO: December 17 Curtin Bandroom BONJAH: December 18 Hi-Fi Bar CHOIRBOYS: January 29 Palms At Crown MODELS, DAVE MASON: February 17, Prince Bandroom

FESTIVALS

MELBOURNE MUSIC: September 29October 10 Melbourne City PARKLIFE: October 2 Sidney Myer Music Bowl and King’s Domain ANGLESEA MUSIC FESTIVAL: October 8-10 WANGARATTA JAZZ FESTIVAL: October 29-November 1 AUSTRALASIAN WORLD MUSIC EXPO: November 18-21 SUMMERBEATS: November 25 Rod Laver Arena QUEENSCLIFF MUSIC FESTIVAL: November 26-28 SHINE ON: November 28 Pyrenees Ranges STEREOSONIC: December 4 Melbourne Showgrounds MEREDITH MUSIC FESTIVAL: December 10-12 FALLS FESTIVAL: December 28-January 1 Lorne PYRAMID ROCK FESTIVAL: December 29-January 1 Phillip Island NO SLEEP TIL MELBOURNE: December 17 Melbourne Showgrounds SUMMADAYZE: January 1 Sidney Myer Music Bowl BIG DAY OUT: January 30 Flemington Racecourse SOUNDWAVE: March 4 Melbourne Showgrounds FUTURE MUSIC FESTIVAL: March 13 Flemington Racecourse APOLLO BAY MUSIC FESTIVAL: April 8-10 Apollo Bay

of an entrance to the virtually empty dance floor. Their three-chord ‘80s-style Oi! punk gave my ear blisters scabs and rapidly erased any residual sense of well being left over from the first band. Kent from Late Arvo Sons described Sydney’s Carborator as a cross between The Rolling Stones and The Stooges. He wasn’t far wrong. These dudes – largely familiar faces with members of Dead Farmers and Songs – have got something very special. They transcend country, punk and blues with loose abandon and dabble in varied structural styles and combinations. Clearly much greater than the sum of their four parts, Carborator are one to watch.

LITTLE RED, SPARKADIA FORUM Tonight’s support band, or rather Sparkadia founding member Alex Burnett and backing band, set the scene with an intro tape that sounds as if it fell off the wagon en route to the Wild West. All onstage abide by the all-black band uniform policy. Burnett is the sole surviving original member of Sparkadia, a name we used to hear a lot that has only recently returned to the airwaves back-announcing the latest Talking Like I’m Falling Down Stairs single. Burnett’s vocals are incredibly distinctive, which tends to become monotonous over an entire set. The frontman really gets into Mary and obviously has a strong, personal connection to this particular track. His delivery brings him to his knees, which only serves to emphasise what has been lacking up until this point. Little Red are dressed for the theatre in stylish collared shirts, ties and/or blazers. Drummer Taka Honda dons a black shirt under a white suit and is clearly channelling the Hoff. The band launch straight into Lazy Boy, with Quang Dinh at the mic, which incorporates a fantastic injection of brass from legendary trumpeter Jack Howard (Hunters & Collectors) and co. Next it’s Dom Byrne’s turn to hog the mic with Little Bit Of Something and then the final alternating vocalist, Tom Hartney, gets his turn to shine. Hartney’s barnet is looking sharp and he may have taken a snapshot of Paul Weller into the salon. He totally owns Jackie Cooper from the first Shout!inspired “We-e-ell” to the final refrain – “So fine she blows my mind.” Little Red’s four-part harmonies are polished to perfection and the band members are sensitive to exactly when an individual instrument should rise to prominence within the mix. They’ve also got the alternating frontman thing down, with each of the three lead vocalists offering something completely different through both their personalities and timbres. Byrne tells us of I Can’t Wait – “it’s about looking forward to tomorrow,” and Dinh introduces Forget About Your Man as “the dirtiest song [he’s] ever written”. Honda scales his drum stool for a trademark, drunken-uncle dance but has lately added some pelvic thrusting to his repertoire. Rock It positively explodes (as expected) and Byrne discards his guitar so he can invest everything he’s got into conducting the exuberant clap-along. Honda swivels about on his drum stool again during the intro to Chelsworth. Yes, it’s hilarious, but such behaviour shouldn’t detract from the poignant, wistful atmosphere that this song so masterfully creates. There’s a fairly extended break before the encore and some punters from down front about face and head towards the exit. Come on, peeps – they haven’t yet played Coca Cola! Of COURSE they return to the stage and It’s Alright is the biz, with Byrne positively bursting out of his skin with excitement. Coca Cola hits the spot. As we queue up for a squizz at the merch and to see whether there are still any Little Red dresses in stock, we spy Howard catching up with a mate who exclaims (clearly referring to Byrne), “Geez, he’s enthusiastic, isn’t he?” Little Red have never sounded better and Byrne wins the Frontman Of The Night award. Bryget Chrisfield

MAGGOT FEST Tote The Tote don’t leak (much). Mother Nature dished up the most miserable day in recent memory for the inaugural Maggot Fest at the famed Collingwood home of all things damp and sticky. From the opening bars of Queensland’s Eat Laser Scumbag! it was clear that organiser Tim Scott’s vision of a (kind of) replacement festival for the sadly absent Flip Out was going to be realised in the sickest style. The aforementioned’s three-vocal hardcore hooked the smattering of early-comers and the mix saw some of us reeling for the earplugs. The tightest and fastest version ever of The 3Ds’ Outer Space induced full body tingles and illuminated an already smokin’ set. Bloody Hammer are about five different kinds of fuckin’ scary. I was thankful for my early perch near the back to avoid singer Yeap’s slam stomper

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Bits Of Shit are a very different kettle to Bloody Hammer, but equally frightening in other ways. Their music is crazed, deranged, off-kilter and a wee bit mental. Apart from that it’s pretty hard to know what to say. Except of course they are probably the greatest band in the whole damn world. Bought the 7” and the t-shirt. I’ve always been a fan of Late Arvo Sons and this stage was made for ‘em. Singer Mark Lording has got a serious voice, like he’s gargling road base or something. Their set was welcome relief from the barrage of heavier stuff with some sweet melodies and lines. They brought out a truckload of new songs and stuck it to one of the larger crowds of the day. Nourishment led to me missing Peewee and Bed Wettin’ Bad Boys. Returning to the unhinged chaos of Useless Children was the highlight. Their stuff is rock’n’roll as a definition. It’s filthy discordant mayhem with pulsing rhythms, unsettling beat patterns and feverish pace. They mean it and you can tell. I’m in love. Where the hell have they been all my life? As per usual the end of this was a bit of a blur. What I do remember is local wunderkind Evelyn Morris belting out some of the sweetest drums of the day with True Radical Miracle (the few women that played left strong impressions amongst the meat and veggies), five mummies smashing out Mummies covers to a slowly dissipating audience and noting the rain had all but stopped as I brawled for a cab at the close. Samson McDougall Mariachi El Bronx pic by Lou Lou Nutt

MARIACHI EL BRONX FORUM A rainbow-coloured sombrero lands at Matt Caughthran’s feet. He looks down at it and the Bronx singer seems not to know whether to be offended or not. Caughthran has travelled all the way from the States to Melbourne just to play this one Australian gig with the Mexican folk variation of his hardcore day band. This is how we greet the Melbourne International Arts Festival’s attempt at widening our cultural awareness – with a Taco Bill sombrero. *Sigh* Caughthran picks up that hat and begins to riff upon the meaning of the words on the hat: Taco Bill. “I’m a Taco Bell man, would I like Taco Bill?” He contemplates putting the hat on but doesn’t, “I guess this is as much as you get about Mexican culture here – a bunch of white guys playing mariachi.” He musn’t realise that we also get Breaking Bad and Weeds, plus the occasional Speedy Gonzales cartoon. But Mariachi El Bronx’s take on Mexican culture is not to be underplayed. Dressed in traditional mariachi uniform (is that called a uniform?), Caughthran’s almost-croaky voice takes on a romantic troubadour quality when enveloped in the music’s signature acoustic strings, melodic horns and minimal percussion. The band rollick through their best known material: Cell Mates, Slave Labour, Silver And Lead. The set is short but very, very sweet. Eventually, though, Caughthran changes his mind about the rainbow sombrero and places it on his head for an entire song. The song finishes, he removes the hat, flings it into the audience and muses, “I just set Mexican culture back about 50 years.” Christopher Norman

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BANG

PURPLE SNEAKERS NEXT

PURPLE SNEAKE AK RS

BANG

PURPLE SNEAKERS

N EXT

BANG

NEXT PURPLE SNEAKERS

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PEANUT BUTTER FACE

LONDON FIELDS

Oi! Get down to the Bendigo Hotel in Collingwood this Saturday for a night of punk rock chaos. With six bands for six bucks, the gig will feature Last-Call, Wot Rot, Cabin Fever, Leprosy and Glen & The Peanut Butter Men. That’s only five bands, you’re right. Well then you’ll just have to be there to find out who the sixth is. Ooooooh! Bands kick off at 9pm.

The view from EC4 with JAMES MCGALLIARD It could be argued that in most music there is no silence (excepting pop songs with false endings). But like the holes of a Henry Moore sculpture, the absence of something can be as important as its presence, and it is the sale of that absence that has made news in the latest bizarre story relating to the British pop charts. UK Christmas number one singles often fall into simple categories – it used to be the novelty song or the seasonal song, but in the last few years a new category of the reality TV show winner has been added. This modern paradigm was subverted last year when, through the actions of a Facebook group, Killing In The Name by Rage Against The Machine became an unusual Yuletide chart topper, keeping The X-Factor winner from the top slot, and annoying Simon Cowell in the process. In an attempt to make such acts of defiance against The Man a new tradition, this year there are moves to keep talent show hopefuls at bay by promoting the idea of getting John Cage’s 1952 composition 4’33” to number one slot in 2010, once again through an orchestrated Facebook campaign. Although sometimes derided as pretentious, Cage’s composition (which had an early working title of Silent Prayer) isn’t really 4’33” of silence, but rather 277 seconds of deliberately not making noise. It was a deliberate response to the rise of Muzak at the time of its composition, and was written in three movements (purportedly of 30”, 2’23” and 1’40” duration). In live performance, the inclusion of ambient sounds, be they shuffling audience members, or your own breathing or the sound of blood circulating around the body, are key to the experience. Cage Against The Machine (as it’s come to be known) currently has 45,000 followers on Facebook, and things were looking very promising – until a rival silent record was announced. The Royal British Legion hopes to raise funds for veterans of conflicts by releasing Two Minute Silence via iTunes next Sunday. In the UK, the Armistice silence is still marked at the 11th hour of the 11th day of the 11th month, but the major ceremonies take place on the Cenotaph on Whitehall on Remembrance Sunday which is commemorated on the second Sunday each November. Here the beginning of the silent observance is marked by a cannon fired in Horse Guards and its end by the playing of The Last Post, followed by the laying of wreathes by the Queen and leaders of the main UK political parties. The video to accompany Two Minute Silence mirrors this, showing a parade of known faces, from David Tennant to David Cameron, via Thom Yorke staring solemnly (or perhaps balefully) into the camera. They hope it will help them to meet the £36m target they’ve set for this year’s appeal, and reach number one on Remembrance Sunday. The Royal British Legion is undoubtedly a good cause, but will the mp3-buying public play this game twice in two months, even if it is for charity? In a strange homage to The X-Factor, the ‘winning’ charity for proceeds from Cage Against The Machine will be selected by a public vote. As far as videos go, I preferred The Scottish Falsetto Sock Puppet Theatre’s tribute to the 4’33” campaign (which you can find on YouTube). If CATM does succeed, will it get any airplay? Radio stations have an automatic emergency cut-in if more than a prescribed amount of ‘dead air’ occurs. A live broadcast of a performance of the composition by the BBC Symphony Orchestra on BBC Radio 3 a few years back required special measures to be taken to prevent the stand-by system cutting in. But as far as Christmas goes, it now seems there a new contender in the ring. Another Facebook group set up to challenge The X-Factor’s chart dominance is snowballing. This one is attempting to get Surfin’ Bird, a 1963 single by The Trashmen (as featured in an episode of Family Guy) to the coveted Christmas number one. The group has already amassed around 11,000 members at the time of writing and the support of BBC Radio 1 afternoon DJ Scott Mills. But, as with all such movements, the question as to whether any group members will actually buy the song is another matter altogether. I can think of some records that would be better if silent – anything by the Kings Of Leon would be a good start. But, personally, I hope both silent records manage to top the charts. Silence to remember the dead is profound – as Hamlet’s last words chillingly declare, “The rest is silence.” But as far a Christmas goes, what could be more appropriate than a piece of music that is truly Silent Night? Comments/feedback inpresslondon@yahoo.co.uk Previous columns can be found at londonfieldscolumn.blogspot.com

SEE RED

Redcoats is a blend of vintage sounds infused with the untamed riffs of desert rock. Midway through 2009, the band worked with Rob Long and Lindsay Gravina at Birdland Studios to document some of their tunes. Later in 2009 they launched this recording to a packed crowd. Now, Redcoats take their special blend of blues-laden rock to the Espy basement to play every Thursday in November. Entry is free.

LITTLE JOHN POPS OUT Melbourne-based four-piece Little John are purveyors of country gospel. Folk with balls. A combination of angelic harmonies and the old-time sound of the American folk tradition delivered with raw energy, grit and brawn. They are set to launch their debut album Put Your Hands On Me at the Northcote Social Club on Saturday 13 November with support from Clinkerfield and Roller One. Entry is $10 from 8.30pm. You can also catch them at their live in-store at Pure Pop Records in St Kilda on Sunday 14 November from 6 to 8pm with support from Roller One.

ALBARE’S JUST JAZZY

DIRTY UPSTAIRS

ANDREW’S HEAD GAP

Hard rock band The Dirty Sirkus are hitting Revolver Upstairs tonight (Wednesday) with their wild and crazy stage antics with a rockin’ night in store! Trashing the stage with them will be The Charge, Swear No Allegiance and Tassie band Your Damn Neighbours. Prepare yourself for a loud night of rock’n’roll from 8pm. Entry is $10 on the door.

JAN PLAYS GRAND

Jan Preston, known as the queen of boogie woogie piano, is visiting Victoria in November and plays one show only in Melbourne at the beautiful Montsalvat Gallery, Eltham, this Saturday from 3pm. With nibbles and wine available, this toe-tapping boogie piano music is the perfect release in the gorgeous setting of the Montsalvat Arts Collective to enjoy a lazy Saturday afternoon. Preston will be joined by guest musician Mike Pullman on percussion, and the show, on the magnificent Steinway Grand at Montsalvat, will not only contain the joyful magnetic rhythm of the boogie and ragtime piano style, but will also showcase some of Preston’s recent film music, such as her theme to the iconic ABC TV series Australian Story. Bookings on 9439 7712.

With a brand new album and his all-star band, Travel Diary, acclaimed jazz artist Albare will hold a launch gig at the Toff In Town on Thursday 11 November from 7.30pm. Named after the album title, Travel Diary consists of Joe Chindamo on piano accordion; saxophonist Rob Burke; Evripides Evripidou on bass and Tony Floyd on drums. And, as always, Albare’s beautifully seductive, liquid guitar playing will lead the audience on an elegant sonic journey of his fresh and original compositions, reminiscent of a leisurely southern European holiday. Tickets are $19+BF from Moshtix or $25 on the door. Singer/songwriter and former Tiltmeter frontman Andrew McDonald has had a successful run of shows lately, moonlighting all over town and has also wrapped up recording his debut solo record at Head Gap Studios. McDonald will be dragging his unplugged six-string back down to the Empress Hotel this Saturday for an afternoon acoustic session between 4 and 6pm. Support comes from Mark & Glen.

OLD PONYBOY

On Tuesday 9 November, up-and-coming genreblurring act Ponyboy are playing at the Old Bar along with guests The Little Sisters and Crywank. Ponyboy is the musical moniker of songwriter Nathan Kearney, who started playing music with a few other small-town misfits, banging out twominute punk gems and throwing themselves around the stage, but over the years his musical tastes expanded and he found the songs he was writing wouldn’t fit into the drums/bass/guitar dynamic. Thus, Ponyboy was born. Featuring cello, violin, mandolin and harmonies, Ponyboy are not an easy band to pigeonhole. Utterly unique and massively entertaining, their show should not be missed.

PICNIC WITH FIELDS

Melbourne-based indie pop chanteuse Georgia Fields is launching her debut self-titled album with a very special performance at the Thornbury Theatre on Friday 12 November. To celebrate the release, Fields will be transforming the resplendent art deco ballroom into an ‘indoor picnic’, complete with tartan rugs, lanterns and greenery (note: punters may bring their own blankets if they choose, and picnic snacks and beverages will be available on the night). Fields will be recreating the album arrangements live, with the help of her incredible Mini-Indie-Orchestra, an impressive 16-piece ensemble featuring brass, woodwind, strings, tuned percussion, rhythm section and a cordless drill. With special guests Angie Hart, Charles Jenkins, and D Rogers, this will be one special gig. Tickets are $16+BF from thethornburytheatre.com.

To celebrate the launch of their debut single Wrecking Ball, River Of Snakes will play at the Tote this Friday with savage special guests Warped, Scul Hazzards and Bitchslap. River Of Snakes, a heavy noise-drenched alt.rock trio, was formed by Magic Dirt’s guitarist Raul Sanchez, Matt Sonic and Elissa Rose (The Loveless) early this year. In the light of Sonic’s departure, the drum stool will be filled on the night by three drummers including Adam Robertson from Magic Dirt, Lluis Fuzzhound and Dante Gabriele both from Midnight Woolf. So if you like your nights loud, heavy and demented, head on down for a killer line-up of noisy punk rock! Bands start at 8pm entry is only $12.

FRUIT ROLL UP

Every Monday night at 8pm, Fruit Jar’s Old Timey String Band take to the stage at the Old Bar and start playing their barn-stormin’, squaredancin’, fiddle-playin’, toe-tappin’, knee-slappin’, foot-stompin’, tobacco-chewin’, jaw-droppin’, old-timey tunes that’ll make you wanna pick some cotton and drink some white Jesus moonshine. It’s an 8pm start and the band play sets. Get into it.

BUTTON PUSHER Perth’s TOMAS FORD enjoys provoking extreme reactions from his audiences, he tells NIC TOUPEE.

SONIC BREAKS FREE

Psychedelic rockers Matt Sonic & The High Times present the eagerly awaited launch of their debut single Break Free Your Mind, a pummelling journey through the freedom of love and redemption from heartache, at Ding Dong Lounge on Friday 12 November. With special guests all-girl frock’n’rollers Bunny Monroe (returning from their US tour) plus Peninsula punk funksters Tub O Vas and DJ Mermaid, Matt Sonic & The High Times will headline a night destined to do just as their single says. A limited run of signed singles will be available at this local launch only, and tickets are $13 through Oztix.

SNAKES IN TROUSERS

‘E

lectro disco showman’ is Perth troubadour Tomas Ford’s confident moniker. And don’t underestimate the importance of the word ‘showman’ in that attention-grabbing tag. For Ford it’s all about the audience – so much so that his long-awaited first album is dedicated to the crowd he has known, loved and sometimes terrified. “This record, which I have been working on since 2006, is based on my relationship with the audience,” Ford explains. “In fact, it’s actually called Tomas Ford Vs The Audience. It’s sort of a ‘70s prog concept album.” Ford has based the material for the album on experiences – both positive and horrific – he has performing his anarchic live show. “On stage I’m interested in provoking a reaction from people. After a while their personal boundaries get broken and then for the next hour, while I’m performing, there will be anarchy going on! It’s a cool thing to get audiences to experience,” he asserts. “I hope that maybe there’s a small chance that something in their brains will snap and then awesomeness can happen inside of them,” Ford says, redolent with vaguely good intentions. “No type of awesomeness in particular is required, just general awesomeness. I’m not proscriptive with my politics. But it doesn’t quite always work out like that.” Ford uses songwriting to spill the beans on some of the more intense reactions he’s had from a crowd. “Quite a bit of the album was written on a bus in Adelaide during a frankly agonising Fringe Festival a couple of years ago, for example. There’s another song that’s about a show that went terribly wrong – there were threats and near assaults…” Ford concedes that his live performances have tended to get a little strange sometimes, and that can provoke some more extreme reactions.

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“There’s a power relationship inherent in any audience-performer relationship and people are, to an extent, used to being prescribed ideas by the person on stage,” Ford reasons. “Most bands will get people to start bouncing or throwing their hands in the air. I do try not to be entirely dictatorial – often the audience come up with best ideas. But I do want to create an ongoing feeling of anarchy. When it goes from me saying something to an entire audience doing it and us all doing things together it becomes a beautiful thing.” There are some surprises in store for the new tour, promises Ford. As his album begins to shape up, he is working his way towards a Ziggy Stardust-like transformation. “I’m changing things a little bit: I’m rehearsing right now for the next run of shows and there are going to be some radical transitions in the way I perform. I’ll be focussing on beats more and allowing the musicality of what I’m doing to come through a bit more. What I’m trying to achieve is about making creative spaces, intensity and creating a one-on-one connection with the audience rather than a traditional band set-up – on stage, the songs are a vehicle my for showmanship. At the moment in my head that resembles a pop concert in a Kylie Minogue-y and David Bowie-y kind of way, which is fun.” Ford, who DJs in Perth, running an ‘80s and ‘90s trash request night, says he was anti-pop until an epiphany changed his entire outlook. It seems Kylie Minogue was responsible for some of his new approach to musicality. “I was really closed off to that kind of music until I went to a Kylie concert four years ago. It was a revelation; I realised that I really enjoyed pop music! I had hated it until then, and then once I got into it I realised I dug it to an embarrassing extent. I ended up getting into the depths of ‘80s high NRG dance music, and three months ago I had a new jack swing phase which was quite pleasant.”

WHO: Tomas Ford WHEN & WHERE: Saturday, Pony

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SALVOS ARE MAGIC

The Magic Bones and Scarecrow Blonde will be in Geelong on Saturday 13 November, teaming up with the Salvation Army to raise awareness and understanding of homelessness in the region. Walking Home is an annual event run by the Salvos and the community is invited to show their support by registering to walk or by donating to the cause. Walkers will arrive home to Johnstone Park by around 4pm when the entertainment kicks off. Indie grunge outfit Scarecrow Blonde are onstage at 5.40pm and psych rockers The Magic Bones are on at 6.30pm.

HIT FACTORY The VICTORIAN ROLLER DERBY LEAGUE have just scored themselves a brand new training venue, the Factory, writes SARAH ‘BELLA DUBOIS’ BELLA. – we’ll teach you the rest. Places are limited and registration is essential, so get in quick.

HICK MAKES IT TO TEN

OWL EYES A LAUNCH With the release of her debut EP Faces, and gigs with dance duo Metals and folk royalty Custom Kings, the last month has been non-stop for 19-yearold songstress Owl Eyes (AKA Brooke Addamo). Her vocals have already taken pride of place on It Can Wait, the new single from Melbourne hip hop artist Illy, which has gained national airplay on radio all over the country. Owl Eyes’ own debut single 1+1 has also just been added to Triple J rotation. Catch Owl Eyes launching her EP at the Workers Club on Friday 12 November with The Ocean Party and Undercolours. Doors at 8pm.

Queensland’s barely illegal SixFtHick have been bleeding on the boards for 15 years now with no breakups, breaks or broken legs. Well over 1,000 shows, 38 East Coast road trips, an incalculable number of flights, three European tours, four albums, three EPs, three 7”s and multiple side projects would have sidelined a lesser band a decade ago but the beat goes on. Now finally, one show to celebrate! SixFtHick blow out the candles at the Tote this Saturday, launching their Bite Marks/Glue In Your Locks 7” (on Spooky) with guests Kretch and Thommy & The Tanks.

erby fans, we have a factory! The new VRDL training warehouse, the Factory, was officially opened at the start of October. We held a Factory warming party and invited some of the people who’ve made this possible for us, like MC Services, who resurfaced the factory floor; Fiona Richardson, member for Northcote, who’s been a tireless campaigner for roller derby; and of course our sponsors Inpress. We had the Minister For Sport, James Merlino, cut the ribbon for us – although, as we are rollergirls, we do things a little differently, so we had Mr Merlino cut a skate lace instead. Johnny Soprano performed his song She’s Into Derby Now for us and I developed an affection for the ukulele that I didn’t know I had. Delightful!

GO-GO DEEP

Soul-A-Go-Go, Australia’s biggest monthly soul and funk shake down, is turning up the heat and shaking off the winter chill as it welcomes one of Australia’s best funk bands to the stage this Saturday – Deep Street Soul. Alongside Deep Street Soul in the Funk Room, catch The Breakdown’s DJ Manchild, Rampage’s Zac Rampage, Soulgroove 66’s Pierre Baroni (in a rare funk room performance) and special guest Jaystride. The Soul Room features Miss Goldie (Boss Action) and Pierre Baroni plus Soul-A-Go-Go favourites Juck Roche and Andrew Young. It all happens at the Johnston and entry is $10 or $5 for PBS members from 9pm.

HUMP DAY TANGO

Gold Tango will be commencing their Tote residency tonight (Wednesday). The band will be performing a set of uniquely styled pop songs from their upcoming album, due to be released early 2011. Joining Gold Tango for the first show of the residency will be Breaker Morant, Bloody Hammer, Caught Ship and Cocks Arquette DJ Simon Karis. Next week Gold Tango will be joined by Dick Diver, Slow Hog (members of My Disco) and Lower Plenty (members of Deaf Wish, UV Race, and The Focus). Entry is $8 from 8pm.

ALLEY GALS Feeling the urge to rock out on the dancefloor to some indie pop riffs? What about a little booty? Then Friday night at the Bendigo Hotel is the place to be. Catch Snakadaktal, five indie pop kids who describe themselves as a fun pocket-rocket band, followed by all-girl indie rock outfit Mannequin Alley. Lastly, DJ Fu will put some revs in your engine, spinning up a storm of hip bop, booty and random fun-time tunes. Doors open at 8.30pm and entry is $7.

TASTE TEST GARETH LIDDIARD

The best record I stole from my folks’ collection was... Jimi Hendrix, Smash Hits. It was a tape. I remember the first time I heard it, too. Hey Joe was so heavy. “I’m gonna shoot my old lady”… okay then. And The Stars That Play With Laughing Sam’s Dice sounded like it was 100 years old and all damp and mothballed until the wah wah comes in and everything explodes. It absolutely blew my mind. It’s like I discovered life on another planet. I will never feel that way again. The fi rst record I bought with my own money was... Shit. The second was Led Zeppelin III. The record I put on when I’m really miserable is... Black Flag’s The First Four Years. It has so much spirit in it, it never fails. The guitar

playing is so completely mental and all the singers have great character, and it’s really groovy even though the drums are usually borderline hopeless. They were genius. The record I put on when I bring someone home is... Scott 4 by Scott Walker. Or Maria Callas. Just anything. I usually just stick iTunes on random. I have about three weeks of music on my iTunes but my mate Burke has about ten. He’s nuts. The most surprising record in my collection is... I have a lot of weird stuff. As far as pop culturetype stuff goes, I like modern R&B when it’s good. I like Van Halen, I’ve got a bit of that. David Lee Roth and Sammy Hagar – I like both. Eddie can play. I’m not a big rock guy, though, and I’m not a big Western White Middle Class Music guy either. Life is too short and 99% of WWMCM is starting to get a bit retrospective and self-defeating. It’s rotting in its own comfort. The last thing I bought/downloaded was... Abdel Hadi Halo & The El Gusto Orchestra Of Algiers. This is a Moorish kind of thing. It has a lot in it but it’s Moorish mostly I guess. It’s really dirty and mean. Abdel is from North Africa. It’s all sung in Arabic so the phrasing is totally different from English stuff. He reminds me of Blixa Bargeld in the way he sings. You don’t really know what he’s on about, but whatever it is, the shit’s intense. Gareth Liddiard plays the Thornbury Theatre this Friday and Saturay.

We think that you should come and make our Factory even warmer by becoming a skater. The dates for our next Fresh Meat intake have just been announced, so if you think you can derby, send an email to vrdlfreshmeat@gmail. com to register. You’ll need your own skates and protective gear, and some basic skating skills

FRENCH A PONY

Remember, remember the 5th of November, for this Friday Pony will be hosting an evening of significant musical interest. An eclectic bill of Melbourne’s finest acts will be on show upstairs. Unrolling the proceedings will be psychedelic five-piece The Kremlin Succession, followed by the concrete/ surf music of Black Waves (formerly The Galaxy Folk). The later half of the evening will play host to The Bonniwells, finishing with garage folk act French & McCarthy coming off a run of shows in Western Australia. It will be the duo’s first show in Melbourne since September, previewing new material for a soon-to-be-released second EP. Doors at 9pm.

Saturday 6 November sees your next fi x of derby action at Puckhandlers, Reservoir, when the golden girls, the Dolls-Au-Go-Go, take on the pink ladies, the Dead Ringer Rosies. The tides can turn pretty quickly in derby. Last year, the Dolls were the brand new team on the block and they finished at the bottom of the ladder. This year, they’re the powerhouse of the VRDL with an undefeated season – that’s five games in a row now. They’ve got some pretty complex strategy going on, not to mention the shiniest gold hotpants since a Kylie Minogue video. On the other side of the coin, the Rosies were last year’s grand final winners and the previous team to beat, but this year, after a nightmare run of injuries and illness, they’re yet to win a game. However, the Dolls only pulled off their last victory by nine points, and the Rosies are on their way back up thanks to some star new players like Ruby Ribcrusher. Personally, I’ve got my money on the Rosies, but either way, it’s going to be close. And don’t worry: in roller derby, we’ve got overtime. This will be our last bout at Puckhandlers, so make sure you can tell your friends that you were going to derby games back when they were held in Rezza. And where are we headed to next? Let’s just say that our grand final will have room for more than twice the number of fans we have now. Watch this space… WHAT: Movember Madness WHEN & WHERE: Saturday 7pm, Puckhandlers (Reservoir)

WARPED ENDING

This Sunday, Cherry Bar in ACDC Lane presents Warped with support from The Poppin’ Mommas. Ladies and gentlemen, this is the farewell show for the legendary geetar drunken masters that are Warped. “The last great rock show from the last great rock band,” Cherry co-owner James Young reflects. “Quite truthfully, having Warped play their last ever show here is one of the biggest honours in our decade of dirty rock’n’roll at the Cherry Bar.” Ben ‘Lightning Boy’ Watkins, Todd Trevor, Sammy Crawford and Cris Wilson are Warped, one last time! Entry is $12.

MOSE NOSE SHOWS

DANG GOOD TANG

The Barons Of Tang launch their new EP Knots And Tangles with a frantic knees-up at the East Brusnwick Club this Friday, with über-manic rag timers Flap!, the ballistic gypsy tunes of The Woohoo Revue and the dark and twisted labyrinth of cabaret and dire observation (all the way from Canberra) that is the beloved Mr Fibby. The mashed up bedlam and beauty of Knots And Tangles starts from the cover (designed by talented artist/ Barons drummer Sean Wyer) and seeps all the way through this gem of an EP. Entry is $15 from 8pm.

If you love colourful, quirky bands performing jug, blues, hokum, western swing and jazz, then you’ll enjoy Mysterious Mose, a six-piece goodtime band with kazoos, washboard, jug and saw spicing up the strings, vocals and harmonies! They play the Edinburgh Castle this Saturday, kicking off at 9pm, followed by the wonderfully rambunctious Melbourne Ukulele Kollective, then the gorgeous Sophisticated Hulas (the effervescent Betty France and Cate Jardine doing close harmonies, supported by Rob Stephens). Mose will then close the night with a high energy set! Entry is $5 from 8.30pm.

COLD POWER

SOFTY CHEMIST

This Thursday is one to look forward to and will certainly be one to remember when three of Bayside’s best acts get together at Revolver Upstairs for a huge evening of punk, funk, rock’n’roll and all in between. Kicking off the night is Cold Hiker with their tight, mellow indie sound, followed by Clowns who have a solid reputation for their fast, energetic live shows that always leave an audience satisfied. Headlining the night will be The Villas, who are emerging into the Melbourne scene as a refreshing take on the funk rock genre, mixing piano, strats and harmonies. Entry is $5 from 8pm.

DEPRESSION’S SO PUNK

The godfathers of Australian punk, Depression, play their first ever show at the home of Melbourne punk, the Arthouse Hotel, this Friday. This is sure to be an historic show! Depression were one of the first punk bands to put out LPs back in the early ‘80s when there was no label support and went on to be one of the most recognised punk bands in the country. With supports from Earth, Throwdown (Sydney) and Cabin Fever, this is sure to bring out the mohawk in everyone. Entry is $12 from 8.30pm.

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Due to the steadily inflating statistics that indicate the world, in its chaos, is flooded with people struggling to get a good night’s sleep, The Chemist thought it a good idea to record an EP consisting of sweet, soft lullabies – with a twist or two. Their second EP, Lullabies, is an irresistible platter of glock’n’roll, promising golden slumbers before terrorising the child in us all with its creepy affi rmations. With a mammoth line-up of shows about to kick off, The Chemist headline the Grace Darling on Saturday 13 November with tickets on sale through Moshtix.

DIAL OOO

Oooaaardvark (pronounced ‘triple owe aardvark’) are the Australian band you can be excited about. Dirty, raw, technical rock with a psychedelic tinge, combining the light and dark of Godspeed You! with the polyrhythms of Meshuggah, the clean guitars of Sonic Youth with the drums of DJ Shadow, and the existentialism of Albert Camus with the psychedelia of The Doors and early Pink Floyd. Catch them live at Cherry Bar this Friday, supported by Boy Rides Monster and The Darrens. Entry is $12 from 8pm.

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SPIRIT FINGER

Since launching their new album Grand Standard, The Adventure Spirit have been on the road, touring regional Victoria and having a great blast in the process. Their first Melbourne appearance in weeks will be at the Empress Hotel, supporting Hannah Acfield as she launches her new album this Friday. You can see them the next day at the Original Mould Emerging Artists market at 1000 £ Bend.

INDEPENDENT GEORGE

Melbourne Fresh presents King George, Callum Padgham, Death Valley Mustangs and William Blaxland kicking it at Revolver Upstairs this Friday. A night with the lot! King George are a well-oiled rock duo with great songs; Padgham bubbles over with comedic pop brilliance, and Death Valley Mustangs were winners in the Melbourne Fresh Showcases at Revolver Upstairs last year. Tickets are $12+BF on sale from Moshtix and Polyester (City and Fitzroy) or $15 on the door from 8pm.

ATMOXSPHERIC INDIE

TheMOXIE will be joined by friends The Pretty Littles, Hayden Calnin and Ponyboy this Friday at the Grace Darling. A range of alternative genres including minimalist folk, melodramatic pop, indie and rock will be on show before TheMOXIE take to the stage. Referencing artists like The National, Interpol, Beach House and Björk, the group manoeuvres between alluring shades of alternative indie rock and atmospheric pop songs. This four-pronged line-up of alternative goodness promises an absorbing night of spring revelry for all. Entry is $5 from 9pm.

NYMPHS PUT OUT

The Nymphs are gearing up to launch their debut EP on Friday 12 November at the Grace Darling Hotel. The EP is a beguiling mix of old school charm and 21st century savvy with equal parts reverence and irreverence to the past – The Nymphs have crafted an entrancing

and musically aware first statement. With support from hypnotic Melbourne band The Twoks and sultry songstress Steph Brett, the theme is undeniably ‘vintage’, so get in the spirit! Entry is $10 from 8.30pm.

VIGO WHERE YOU GO

Since Kate Vigo’s jam-packed EP launch in May at which all were blown away by her alternative and seductive electro pop, she has been heard on national radio, won a trip to Sydney to take part in the APRA Song Summit, appeared on ABC’s Art Nation, had a song featured in new Channel Ten show Offspring, and now locked herself away to write her new album. Fear not! The hibernation is not strict as Vigo will be hitting the Toff In Town this Saturday as part of a mini tour. With a set featuring eclectic pop and stylised rock, Vigo is joined by amazing ensemble musicians known as The Underground Orchestra. Tickets are $17+BF from Moshtix and support comes from Brianna Carpenter.

Hannah Acfield and Rose Wintergreen play the Empress this Friday. HOW DID YOU GET TOGETHER? Hannah Acfield: “We met at a songwriting group session at the APRA Song Summit conference this year. We were in a group with Clare Bowditch and Robert Forster. We got along well, kept in contact and realised we were both releasing our EPs around the same time. We decided it would be more fun to do it together.” HAVE YOU RECORDED ANYTHING OR DO YOU PREFER TO TOOL AROUND IN YOUR BEDROOM? HA: “My latest CD is my second professional recording but I studied contemporary music at the QLD conservatorium and recording was a major aspect of the course.” Rose Wintergreen: “Warm Chocolate Heart is my first professionally recorded release but I enjoy playing around with different sounds at home. It’s part of the songwriting process.” CAN YOU SUM UP YOUR BAND’S SOUND IN FOUR WORDS? HA: “Earthy, real, honest and beautiful.” RW: “Warm, lush, minimalist, cathartic.” IF YOU COULD SUPPORT ANY BAND IN THE WORLD, WHO WOULD IT BE AND WHY? HA: “Sia. I love how creative and catchy her music is, the layering of her vocals and her melodies are amazing. She’d also be excellent fun to hang out with!” RW: “Clare Bowditch. She’s an incredible musician, and cultivates such an honest, warm connection with everyone in the audience. I think her music and approach encourages people to feel without fear and to think about challenging issues that aren’t often discussed openly by most successful musicians. Her fans respect this and cherish it – it would be an incredible privilege to play to such a switched on audience.” IF A HIGHER POWER SMITES YOUR HOUSE AND YOU CAN ONLY SAVE ONE RECORD FROM THE FIRE, WHAT WOULD IT BE? HA: “Songs In The Key of Life – Stevie Wonder. He’s brilliant.” RW: “If it was literally only one record, as in the records you play on record players, it would have to be Kate Bush, Never Forever. I don’t own it – I don’t own any records, but grew up listening to my dad’s. If his house caught on fire, I would run in to save it. The music is gorgeous and the artwork is lush and mythical. One of the most beautiful and perfect packages I’ve ever seen.” DO YOU HAVE A LUCKY ITEM OF CLOTHING YOU WEAR FOR GIGS AND WHAT IS IT? HA: “No, but I don’t but I only ever seem to have one guitar pick so I guess it’s lucky I never seem to loose it.” RW: “No, but I try to be comfortable.” IF YOU INVITED SOMEONE AWESOME ROUND FOR DINNER WHAT WOULD YOU COOK? HA: “Minestrone for sure.” RW: “If they have no allergies or food intolerances, then Atlantic salmon steak with sweet potato mash and broccolini and snow peas, or roast lamb with roast vegetables (carrot, sweet potato, pumpkin, beetroot, potato, zucchini) and lightly steamed beans, with mushroom and red wine gravy.” WHAT’S YOUR FAVOURITE PLACE TO DRINK IN MELBOURNE? HA: “I’m not a huge drinker but I do love Bar Open.” RW: “My favourite places to drink alcohol are at home or at someone else’s place. I’m not so much into bars. But I love going out for coffee and brunch. My favourite place in Melbourne is Retro Café in Brunswick Street.”

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SHORT FAST

REPORT

Hardcore and punk with STU HARVEY shortfast@inpress.com.au xx

Low, The Maine and Boys Like Girls. “A band like All Time Low should have no business being associated with a band like Senses Fail, but they are,” he said. “There’s no similarity whatsoever in everything that we do. It’s weird. The Maine might as well be Matchbox 20. All Time Low might as well be Mickey Mouse Club. I like All Time Low, by the way. I do actually like them. I just like making fun of them. They did it to themselves. They could have been a fucking real band, but they decided to play the game, which is good, but the game never works.” After reading this interview, Boys Like Girls drummer John Keefe tweeted: “I just read this interview that Senses Fail did... talking shit on bands like The Maine, and ATL... because SF had any impact on music... shut up.” Nielsen has since responded via Twitter saying: “I’ll shut up when you guys start writing your own songs”. Zing! I’m scoring that as Nielsen 1, pop punk boy bands 0. Speaking of Senses Fail, their new album The Fire hit stores last Friday.

SHORT FAST REPORT TOP 5

I don’t know about you, but I’ve always wanted to hear what it would sound like if New York Hardcore vets H2O covered De La Soul or A Tribe Called Quest. Finally my prayers will be answered because frontman Toby Morse has revealed the band will be releasing a covers album. Titled Don’t Forget Your Roots, the album will see the band not only tackle ‘90s hip hop but also bands more close to home like The Clash, Ramones, Descendents, Dag Nasty, Verbal Assault, Madball, Gorilla Biscuits, Suicidal Tendencies, Minor Threat, Rancid, Social Distortion, Circle Jerks, Mighty Mighty Bosstones and Warzone. Even shite like U2 will get the H2O treatment. The album is coming out in 2011 on Bridge 9 Records; don’t forget the band will return next year to be part of Soundwave. Drummer Chris Hornbrook from Poison The Well (who recently announced a ‘hiatus’) has begun work on a new musical project. While there are not many details about the yet-to-benamed band, online comments state that the group are looking for a singer. Currently there are five instrumental tracks posted online, which are available to those who wish to audition for vocal duties. If you think you’ve got the chops and (I assume) want to move Stateside, check out the songs at thatbandwithnoname.bandcamp.com. Darkest Hour will be returning to Australia in January and they’re bringing Carniflex with them. They play the Hi-Fi on Friday 7 January. Buddy Nielsen of Senses Fail is never short of an opinion and that’s why we love him. Recently Nielsen was asked his thoughts on the new wave of radio-friendly pop punk bands such as All Time

THE

RACKET Metal, heavy rock and dark alternative with ANDREW HAUG theracket@inpress.com.au Well, it’s not a new full record but at least it’s some new music, right? French metallers Gojira will enter a Los Angeles studio next week with producer Logan Mader (ex-Machine Head guitarist) to begin recording a new four-song EP, the proceeds from which will benefit Sea Shepherd, an anti-whaling organisation. The EP will feature appearances by several “very special guests”. “We’ll record and produce four songs that we will sell on our website without going through traditional ways,” guitarist/vocalist Joe Duplantier said. “The benefits of sales will be donated to Sea Shepherd. There will be guests from the international metal scene on the record.” Drummer Vinny Appice (Heaven & Hell/Dio) told Metal Shop that he has launched a brand new project, tentatively dubbed Kill Devil Hill, which includes contributions from former Pantera and current Down bassist Rex Brown. “I’ve been working with a new band,” Appice said. “Right now it’s called Kill Devil Hill. It’s a cool thing. This thing just kicks ass. Unknown singer... His name is Dewey Bragg, Mark Zavon on guitar and Rex Brown from Pantera has played on some of the tracks. He’s involved in it, too. And it just kills. So this will be out next year. We just hooked up management.” Washington, DC group Darkest Hour will embark on a five-date Australian tour in January 2011 with support from Carnifex. Tickets go on sale 12 November at 9am. Motörhead will issue their long-awaited new

Anchors’ Bad Juju. Melbourne melodic punks Anchors are about to release their debut album, Bad Juju, and it’s a cracker. The album was recorded in August/September with Joel Taylor (The Abandonment, The Broderick, In Trenches) at Three Phase Studios in Melbourne and mastered by Alan Douches (Brand New, Lifetime, Every Time I Die). Look out for it in good stores from Friday. Then check them at the Arthouse this Saturday for the launch! The Damned Things. You might remember earlier this year we were talking about a new, kinda-supergroup called The Damned Things. Featuring Anthrax members Scott Ian and Rob Caggiano, Every Time I Die’s Keith Buckley and Fall Out Boy’s Joe Trohman and Andy Hurley, the band will release their debut album Ironiclast on 10 December.

DEPARTMENT

OF YOUTH All things under 18 with KENDAL COOMBS accessallages@inpress.com.au

Face The Music will make its triumphant return to the Arts Centre in a bit over a week for the third year running. On Friday 19 and Saturday 20 November, a truckload of music industry professionals from all over the world will fill the program, which you can check out online at thepush.asn.au right now. There you can also find out how to get your hands on tickets before it’s too late, and you can register for the Push Songs workshop. This program has been running concurrently with the Face The Music summit since the beginning and has helped countless artists craft that masterpiece. This year Melbourne songwriter Charles Jenkins (who is also this year’s Push Songs director and operator) is offering six lucky attendees the opportunity to have their songs workshopped, refined and improved in a one-on-one consultation. So what are you waiting for? Get your tickets, get registered for special workshops and get involved or you’ll always wonder what you missed.

THURSDAY The Naked & Famous play the main stage at Federation Square from 6pm. This event is free. You can find out more about Fed Square Live at fedsquare.com/facebook/live.

FRIDAY

Milestones. Fantastic Brisbane pop punk band Milestones have just released their debut seven-track EP on new label Stay Home Records. Make sure you check out the CD Growing Up Is Getting Old and support the band and label by checking them out at stayhomerecords.com.

Rock up and dance at City Breaks, a free evening of jammin’ at Signal, Flinders Walk, Northbank from 6pm.

The Get Up Kids. The band are recording with Bob Weston (whom they worked with on their epic Four Minute Mile album) and will self-release a new full-length album in late-January. Titled There Are Rules, singer Matt Pryor explained the decision to go it on their own: “We had a really great relationship with Vagrant but we felt that with the proverbial rebirth of the band we wanted to start our own label. Do everything ourselves like we did in the beginning”.

The Message DJ Forum is on at Signal, Flinders Walk, Northbank from 1pm. This event is free so make sure you get there early to secure your place.

Depression. Catch the legendary Melbourne punks this Friday night at the Arthouse with guests Earth, Throwdown and Cabin Fever.

studio album, The World Is Yours, on 13 December. xx The band’s first release on the newly formed Motörhead Music label, in association with EMI Music Services, was recorded with long-time producer Cameron Webb. After sacking their drummer for ditching his costume, Finnish heavy metal monsters Lordi have announced the addition of drummer Otus to the group’s ranks. Otus, whose name stands for “creature”, is the tenth member in the Lordi family tree. Commented Lordi main man Mr Lordi: “We are not really sure who or what he is, he is just… a creature, a thing. He is a mixture of a butcher, an executioner, an alien, a lizard and a zombie. Tough dude. And definitely one of the ugliest members in our family...” Finnish “battle metal” warriors Turisas have completed work on their as-yet-untitled third album for an early 2011 release via Century Media Records. The CD was recorded between March and September 2010 at Sound Supreme studios in Hämeenlinna, Finland and was mixed by Jens Bogren (Opeth) at Fascination Street studios in Örebro, Sweden. The album was produced by vocalist and main songwriter Mathias ‘Warlord’ Nygård. Commented Nygård: “Focusing fully on the work on our third album, I’m happy to tell you that we’re done! The workload has been enormous, and at times I’ve wished I’d known better, formed a punk rock band and kept things simple! But to achieve real progress, you really have to dig deep and see what you’re made of. Take bites so big you almost choke. We’ve stayed true to our ideology of releasing music only when we have something new to come out with, not repeating ourselves or just copying what we’ve done in the past to feed the market, so this should be killer! Now we only have to figure out how to play these new songs!” Gore-metal originators Exhumed are currently at Arcane Digital Recording in Arizona with engineer Ryan Butler (Misery Index) recording the vocal, bass and guitar tracks for their first full-length album since 2003’s Anatomy Is Destiny. Commented Exhumed guitarist/vocalist Matt Harvey: “So far we’re really

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SATURDAY

Our PlaYce Corangamite Youth Achievement Awards featuring Kerry O’Shae, Leigh Rosolin, Dance Struck, Hannah Duffus & Aaron Hayward, Morris Currell and Sam O’Neil takes place at the Terang Civic Hall from 6pm. This event is free.

psyched on what’s been oozing out of the speakers! The guitars are sounding really aggressive right out of the box. I can’t wait to get into the vocals and flesh out the songs. We have 18 songs to work through while we’re here and then we’ll sort through and cherry-pick the heaviest, ugliest tracks for the new record, which is gonna be titled All Guts, No Glory. I think it builds on all the best shit from our first three records and should disgust and revolt any poseurs out there!” It’s scheduled for a 2011 release via Relapse Records. Poisonblack, featuring former Sentenced frontman Ville Laihiala, have finished recording a five-song preproduction demo for the group’s upcoming album. Laihiala said, “I am happy about the way they are starting to build up.”

LOCAL GIG GUIDE

Depression, Earth, Throwdown, Cabin Fever – Friday, Arthouse Medusa – Saturday, DV8 Black Majesty, Keys To Perdition, Wonderland – Saturday 13 November, Central Club Kriss Hades, Heirs, Agonhymn – Saturday 11 December, East Brunswick Club

TOURS, TOURS, TOURS

Ted Poley (Danger Danger) – Wednesday 10 November, Corner Hotel Metallica – Thursday 18, Saturday 20 and Sunday 21 November, Rod Laver Arena Fozzy – Thursday 2 December, Hi-Fi Andrew Haug hosts Triple J’s The Racket every Tuesday from 10pm – triplej.abc.net.au/ racket. Email theracket@inpress.com.au

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THE

Straight Arrows

BREAKDOWN Pop culture therapy with ADAM CURLEY In a month in that seemed to largely serve the purpose of pushing music further to either side of the current divide – ie The Black Eyed Peas finally cracking the code on what the most annoying sound in the world is with their new single (though they had been getting pretty close previously) and every day welcoming a new album variation on that Justin Bieber song slowed down 800 times with one of those kids’ butterfly mirror paintings for artwork – there has been some stuff that defied it all and fell into awesome. As always, I won’t go into detail on all of it because heaps of people have already beat me in declaring the new Deerhunter album excellent (it is) or getting on the whole Zola Jesus bandwagon (because she’s kind of cool) or telling me about how good Kimbra is live (seriously, if one more person tells me, I’m going to find her, kidnap her and drag her around with me just so I can whip her out and say, “I know, I’ve got her right here”). I will, however, begin by repeating the praise for My Disco’s new album, Little Joy (out through Shock), because it’s just so damn fine; as brutal as it is strangely beautiful, cementing the crevice between rhythm and melody until you can’t tell where one begins and the other ends, and throwing up some excellent new sounds and ideas into their thing. It is kind of funny because absolutely every sentence written about the band, including that last sentence, is like a journalist deciding they should write some poetry when they get home from work and smoke a joint: they think it’s the best thing ever written when it fact it’s the worst and means nothing. This is what My Disco inspire. They make us want to be better people. Sydney’s Straight Arrows released the superb first track from their debut album (which is out on 19 November through the also great Rice Is Nice Records) – Bad Temper is a condensed piece of ‘60s garage pop that flies by way too quickly. It’s also probably the most ‘professionally recorded’ of all the recent slap-dash recordings by Sydney bands doing this kind of thing at the moment (and I’m by no means mocking because the RIP/ Juvenile ‘gang’ are doing it better than anyone else in the world). Will it flag the mushrooming of this sound into ‘Australian radio’ proper? Do we even hope so? Who knows any more.

ROOTS DOWN

Blues ’n’ roots with DAN CONDON rootsdown@inpress.com.au The Port Fairy Folk Festival has announced its line-up for 2011 and it’s awesome! Mary Black, Luka Bloom, Breabach, The Cottars, Crooked Still, Dark Horses, Rosie Flores, Andy Irvine & Rens Van der Zalm, Les Chauffeurs á Pieds, Tony McManus, Martin Simpson, The Nano Stern Band, Tim O’Brien & Two Oceans Trio, Andy White, David Bridie, Rosie Burgess Band, The Gin Club, Dan Kelly’s Dream Band, Racz ‘N Waters, The Little Stevies, Frank Yamma, Deborah Conway & Willy Zygier, Bob Evans, Shane Howard, Jordie Lane, Blue Shaddy, Joe Chindamo Band, Liz Stringer, Vika & Linda, The Barleyshakes, The Bostocks, The Bushwackers, The Go Set, The George Jackson Band, Wheelers And Dealers, Jane Germain & The Yahoos, Ali Mills, Shane Nicholson, Tribute To Johnny Cash, Akasa, Bombay Royale, Valanga &Andrea Khoza, Madre Monte, Oka, The Barons Of Tang, Mic Conway’s National Junk Band, Christa Hughes and Mr Percival are the first acts announced. It happens in Port Fairy from Friday 11 to Monday 14 March; head to portfairyfolkfestival.com to grab your tickets now! An eclectic blend of folk, alt.country and soul has seen Alex Hallahan become a muchloved performer in the local scene over the past couple of years. He will continue to spread the sound he has become renowned for throughout November, kicking things off with a couple of shows this coming weekend. You can witness his unmistakable talents when he plays two sets in the Builders Arms’ front bar from 4pm on Saturday and then once more when he drops by Bar Nancy on Sunday from 8pm. Hickinbotham Winery are once again hosting one of their Blues On The Vine shows this

Back to Melbourne: Cailan Burns isn’t news to anyone who’s adored his artwork (and there are many, unless it’s just all the scags I hang out with) but, for the most part, as his musical project Mystery Twin he’s been, well, do we have to go there? Now that can change. Mystery Twin’s truly gorgeous self-titled album is out through Sensory Projects and sounds a bit like Scarlett Johansson walking through a Japanese garden but with a whole lot more interesting shit going on. That isn’t stereotyping, either. Apparently he’s spent time in Japan and used some synths and bells that he purchased there in the recordings. Yeah, someone going to Japan and actually buying something useful. It’s a wonder of a record. Just quickly because I need to get it out: Warpaint’s debut album The Fool (Remote Control) is amazing. I know we’re really not supposed to talk about this movie but it’s like someone grew up listening to the Empire Records soundtrack and decided to turn all those washy, semi-goth ‘90s indie torch songs into new diary-entry-like deadpan pop. Oh the days when Renée Zellweger had body fat. Someone told me about France’s Zombie Zombie releasing an EP of film director John Carpenter’s theme interpretations (I saw it on the Dazed Digital playlist) and I haven’t been able to stop listening to it (you can get it through iTunes). The Halloween theme is a cheapsounding-in-a-good-way, squelchy-dark synth coast while Escape From LA beat-plods before opening into dire harmonies. Pretty great. Lastly, probably not news, but an introduction to that Teenage Crime by Swedish producer Adrian Lux opened up the world of his film clips, all made by director Tobias Hansson, and they’re all excellent. They’re all pretty much the same, but still excellent, from the men-sitting-and-staring in the Can’t Sleep clip to the fruit-smooshing of Strawberry. Go waste a bit of time with them. Just avoid the Ministry Of Sound remixes.

Saturday night and, as per usual, they’ve made sure the music will be of an incredibly high standard. Providing the tunes this time around will be Chris Wilson Band, who will no doubt turn in another passionate and spirited performance as only they can. Joining the fun are blues performer of the year entrants Tabasco Tom & Doc White. You can still get tickets – give Gary Jones a call on (0425) 776 613. Gemma Ray is described as a UK pop-noir starlet; her sultry voice and sparse, unique guitar playing come together to make one hell of an engaging performer. Late last year she holed up with Heavy Trash’s Matt Verta-Ray to record It’s A Shame About Gemma Ray, an impromptu recording of some of her favourite songs from throughout history – it’s a corker of a record and will no doubt sound fantastic on the live stage. Head along and catch her for yourself when she plays the Grace Darling on Friday 19 November. Tickets are available from Moshtix now for $18.10. The Australian Blues Music Chain Awards are held each year as a part of the Goulburn Blues Music Festival. Nominations for the 2011 event are open now, so if you think you have a crack at winning then head along to austbluesfestival.laing-entertainment.com.au, download the nomination form and send in your CD for a chance to win one of the gongs. The festival is all set to happen throughout Goulburn from Thursday 10 to Sunday 13 February. If you’ll allow us time for speculation, the WOMADelaide festival line-up will be announced in just a couple of weeks’ time, though the organisers have already given us a sneak peak at a few acts on the bill. Afro Celt Sound System, Nitin Sawhney, Hanggai, Creole Choir Of Cuba, Alan Kelly, Rango, Rajendra Prasanna and Omar Souleyman are all already announced to play that legendary festival, but a look at the New Zealand WOMAD festival taking place in Taranaki in March reveals some hints as to who might make the trip over for the Australian instalment. With artists like Amadou & Mariam, Horace Andy and Juan De Marcos Afro Cuban All-Stars on that bill, it could just be time to get those hopes up!

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FOUND YER MIND

Lost & Found is a classic vinyl-influenced rock’n’roll night running every Wednesday in Revolver’s back room. Each week features Revolver’s legendary stalwarts Spidey, Adalita and Mary M alongside newly promoted resident DJs Gupstar and Decameron. Each week DJs spin lost and found soul, rock and indie records until dawn. Better yet, every week features a special guest on the decks. On top of the rockin’ tunes, Colonel Tan supplies cheap Thai eats from 5 to 11pm each night. Entry is free and its kicks off at 10pm.

TASTE TEST STEPH SETZ – SEABELLIES

HOCK FIN

KERRYN GETS A POSSE This Sunday get down to the Bendigo Hotel for a huge showcase of eclectic acoustic acts of the female kind – seven to be exact! Featuring the whimsical sounds of Peny & Soph, the enchanting Shannon Kennedy, the heartfelt Carolyn Bryers, the earnest Laura K Clarke, the soul folk sounds from Al Parkinson, the melodic harmonising duo Seafarm and the wit, folk and funk of Kerryn Fields. All this for $5! Show kicks of at 3pm with a BBQ in the beer garden.

EASTERN FOUR-WAY

What could be better than some quality couch time on a Sunday night in front of some David Attenborough or Carl Sagan documentaries? How about swapping the couch for the Workers Club and having some of Melbourne’s best spaced-out bands providing a live soundtrack to the action on the big screen! Supernaturalist is happening this Sunday and the soundtrack will be provided by Eastern Grey (ambient supergroup featuring members of The Emergency, A Dead Forest Index and Tantrums), Towels, Sheahan Drive (Gus Franklin of AIH) and Matthew Brown. It’s an early show with doors at 5pm. Entry is $8.

Sierra Fin are heading off to launch their Lost Man’s Lie single along the East Coast. The track is the first single from their debut album, Cautionary Tale Of The Beautiful Blackout, an 11-part song cycle with symphony orchestra. The album was produced by ARIA Award-winning producer Paul McKercher (Sarah Blasko). The four-piece are known for their onstage theatrical antics and bowties, and will no doubt impress when they hit the Curtin Bandroom on Saturday 27 November.

BIG ONE RISING

Four-piece Texel Rising will slam the Great Britain Hotel this Thursday with a concoction of psychedelic and broom-closet alternative rock stemming from early‘70s trip-rock and blending egregious frequencies, resulting in a juicy tangle that will suck you sideways. As the psych rock scene emerges in Melbourne, bringing a breath of fresh air to any hard music lover, Texel Rising are on a mission to conquer. Underwater Jesus support and entry is free from 9pm.

SEXY PANG

The renewed Pang are returning to the scene of their incredible debut at the Great Britain Hotel (check out YouTube). Soaring guitar, thunderous bass, astounding drums and a sexy siren to sing her heart out and steal yours, The Pang deliver their eclectic and sophisticated songs with an arsenal of infectious melodies and killer hooks. They hit the GB this Saturday with Rouge Foncé, a new band with a sinister and energetic disposition on a mission to bring the worlds of burlesque and rock together. Entry is free from 9pm.

The best record I stole from my folks’ collection was... It’s a toss-up between Fleetwood Mac’s Rumours and Led Zeppelin IV. Either way, I’m sorry Mum, any chance of their return was lost years ago! The fi rst record I bought with my own money was... If I hadn’t had the collections of two older siblings to ‘borrow’ from it would have been Smashing

Pumpkins’ Mellon Collie And The Infinite Sadness (‘90s double-LP bliss), but in reality I think it was probably Jeff Buckley – Grace. I can still pinpoint when I first heard it – that’s a kind of jaw-dropping awe that doesn’t fade. The record I put on when I’m really miserable is... Probably any Radiohead or Sigur Rós. The record I put on when I bring someone home is... Oh, some corny jazz for sure. George Benson anyone?! The most surprising record in my collection is... Neil Diamond… thieved from Dad probably, or Korn. The last thing I bought/downloaded was... Fire! Santa Rosa, Fire! and Beach House. Seabellies play the Evelyn every Wednesday in November and Federation Square this Thursday from 6pm.

LAURA STEALS YR SHOW

On Wednesday 10 November, catch Laura Imbruglia as she kicks off her November residency at the Old Bar in Fitzroy. Imburglia will take the stage for an intimate solo performance: just you, Laura and her guitar… and everyone else there, including the wonderful Davey Lane (You Am I, The Pictures) who’ll also be playing a few tunes. Also, keep your eyes peeled for Imbruglia’s upcoming video for the Nobody Steals Yr Show single.

WET, YOUNG AND READY

The launch of the debut EP from Melbourne’s freshest three-piece, Wet Young Dolphin, goes down at Yah Yah’s this Friday night. Titled Hands On The Man, the recording captures the band’s burgeoning intensity for the slightly askew, lighter and darker sides of raw, heavy rock. Watch as Wet Young Dolphin emerge from the murky depths for a ‘wet launch’ of their new baby, supported by Chaos Kids, Buried Feather and tunes by DeeBazzaGee. Doors at 9pm.

SHUFFLE AWAY FROM UNI

Swinburne Uni student radio hosts 3SSR On Shuffle, a monthly indie night at the Bendigo Hotel. Kicking off this Thursday with rock trip hop outfit Changing Falls, young pop rockers Almaria and melodic rock concoction About The Noise, this is one for all those who love their music fresh and their feet on the dancefloor well into the night (it’s not like anyone ever has classes on Fridays anyway – at least not ones that can’t be ditched). The tunes start at 8pm and entry is $5.

SNIFF PAINT

After successfully launching their EP as a two-piece, Paint Me A Phoenix are back on the same stage at the Empress Hotel this Thursday as a four-piece! Supporting them are very special guests Coba Fynn, all the way from Glasgow. Both sides of the planet are contributing to this night of superb indie pop and heartfelt song. This is Coba Fynn’s only Melbourne show so don’t miss it! Entry is $5 from 8pm.

EEEEEE, CLAIRE! After launching her debut album, Craft Savvy Criminal, in Melbourne, Perth and Seattle in the US, Claire Hollingsworth is back to play a very special gig at the Builders Arms this Thursday. Okay, we say special but Perth’s gig had a sword-swallowing pirate, so it’s pretty unlikely that can be topped. Then again, you’ll just have to go to find out. In support are Oliver Clark and Craig Eulenstein, and entry is $6 from 8pm in the band room.

BIG GUN GOES OFF

Push it on down to Pony this Thursday for an interstellar night of feel-good dance-jams to make you sweat, sweat ‘til you can’t sweat no more. Guitarguitar-drums trio Big Gun set out to gently nestle their brilliantly simplistic kosmische riffage into the deepest crannies of your cerebellum. New age fun with a vintage feel! Local indie rock heroes The No Real Need specialise in a distinctly acerbic strain of melody, lacing their atmospheric post-punk opuses with a great deal of pop smarts. Charming two-piece Ferrytails push the boundaries of the grunge blues guitar/drums paradigm, and Colour Age play expansive music that blends melody with sweeping atmospherics. Doors at 8pm.

TRIBUTE TO THE MAX

Checkerboard host a special memorial gig for the much loved and awed Dave ‘Max’ Meredith, longtime wild card guitarist for this cult band (originally Checkerboard Lounge). Max, who died tragically at the age of 44, defined the sound and feel of this loose-cannon, improv-prone blues band. The gig at Bar Open on Sunday 14 November will act as a benefit for his children and will feature many guests and friends from past Checkerboard days, such as Tim Neal, Ian Collard and the Rev Mick O’Connor (to name a few), to pay a musical homage. Doors at 8pm.

DYLAN’S SOFT BALLS

DOOM IS DIRE With influences mired deep in the bowels of doom and the NWOBHM, Melbourne tragedy mongerers Dire Fate are journeying to the Prague in Northcote on Saturday 13 November to level mountains and damn souls. Laying dormant for over a year, Dire Fate rises up with new members, a bigger sound and a hellish mission to turn faces into paste. Be afraid, or be doomed.

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After putting down his red SG Gibson and going out solo with a busted up washburn acoustic, Dylan Peters has played any place that can put up with his opinions on love, life, disillusionment and continually getting kicked in the balls. In a previous life Peters was the lead singer of garage rock band The Dirty Romantics, and since going solo he has discovered that, although he may be a country/folk/blues-inspired artist, all roads eventually lead back to rock’n’roll. Catch him at the Edinburgh Castle this Friday with Slowjaxx from 8.30pm in the dining room.

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TRACY’S NEW FIRE

Canadian singer/songwriter Tracy McNeil moved to Melbourne in 2007 with only her suitcase and her highly acclaimed debut album, Room Where She Lives, just three short days after its release in Canada. After a long and successful run with Jordie Lane in Fireside Bellows, McNeil has returned to her solo material with a pocket full of songs and a stellar band. The group have been honing their sound over the past year and a half with a recent showcase at the 2010 Brunswick Music Festival supporting international country artist Mary Gauthier. In January, McNeil and band headed into Tender Trap Studios in Northcote to record her second solo album, Fire From Burning. They play the Caravan Music Club – 95 Drummond Street, Oakleigh – this Sunday from 3pm. Tix are $12+BF from caravanmusic.com.au.

CHERRY PIE

Cherry hit the legendary Pure Pop Records this Sunday. Cherry is the combination of a voice that demands your attention with its finesse and grace, and layers of tight acoustic guitar melodies. Louise Lindsay (vocals/guitar) and Matt Heylbut (lead guitar) united their strong musical backgrounds in 2008. Their dedication to the craft has seen them this year release their first self-titled EP, which highlights their talents through sophisticated songwriting and soulful melodies. They play at 4pm and best of all it’s free.

READ UN READ UN

Un Magazine, one of Melbourne’s leading contemporary art journals, is launching its latest issue tonight (Wednesday) at the Workers Club. Un Magazine 4.2, edited by Angela Brophy, will feature artist pages by DAMP and Andrew McQualter and many more reviews, essays and interviews. To celebrate, Un will host a launch party from 7pm with performances by Make Up Sex (Sophia Brous and Tarquin Manek) and Lost Animal (Jarrod Quarrell). Entry is free and you can even grab a free copy of the magazine hot off the press!

UPRIGHT POSTURES

New Zealand’s The Postures are pumping iron and getting makeovers for their fi rst ever tour over the pond. Having just completed a thorough tour of their homeland with equally noisy label-buddies God Bows To Math, the three-piece will be taking on Melbourne with their unique brand of stripped-back noise layered with bare bones

punk-rock. You can see them slay on Friday 12 November with Sons Of Lee Marvin at the Old Bar and Saturday 13 November at Pony (2am).

PARKER CAN’T LOSE

Listening to Tash Parker is like stumbling across a secret patch of serenity in the middle of a crowded city. Part of you wants to call a friend, to tell them about your discovery, but another voice in the back of your head tells you to keep the place a secret, keep it yours. For one special night this Sunday at the Northcote Social Club, Parker and her six-piece ensemble will be recreating the soundscape of her well-crafted debut album, Waking Up, with support from Goodnight Owl and Ben Abraham. Entry is $12 from 8pm.

PIG WITH GRUNT

Chew down on a meaty mixed bill at the Prague this Friday, where highlights include vintage heavy wizardry from Sotis, modern technical toughness from Broozer and a rare

set from devastating sludge rockers Cement Pig. Sandwiching all this riffery will be Examino and the most excellently monikered Fighting Mongoose! Get it ‘round ye.

GARDENERS NOT GOVERNMENTS

Have you heard about the WA government’s plan to compulsorily acquire the land at Walmadani (north of Broome) from the custodians Goolarabooloo and Jabirr Jabirr communities for a liquified natural gas plant? If you’re against the move, show your support for the Goolarabooloo and Jabirr Jabirr communities at Bar Open this Sunday, with music from Kutcha Edwards and the Ancient Free Gardeners, as well as photographic and written works for sale. Entry is a gold coin donation and all funds raised go towards the Goolarabooloo Legal Fighting Fund. Doors at 6.30pm.

Passionbox play Penny Black this Saturday. HOW DID YOU GET TOGETHER? Fabian, drums: “Basically, Michael Langley had written a few songs and recorded an album back in 2000 with musicians he knew and decided to call the band Passionbox. Me, Peter [bass] and David [piano] joined the band to record second album Another Face and shortly thereafter Renee [violin] came on board. Mick [guitars] then joined the band for the latest album, Fragile Beating Thing. Funny thing is we have all known each other for quite a while and some of us have played together in various bands over the years. We’ve all found ourselves together now in this incarnation of Passionbox. Call it fate, karma, whatever – it feels right and the band is really settled and focused.” HAVE YOU RECORDED ANYTHING OR DO YOU PREFER TO TOOL AROUND IN YOUR BEDROOM? “Of course I love tooling around in the bedroom, but we’re talking about music, right? We have also recorded a few things as mentioned before. We did Fragile Beating Thing with this line-up in 2009 and we’ve been gigging around town and really enjoying the response.” CAN YOU SUM UP YOUR BAND’S SOUND IN FOUR WORDS? “Passionate musical storytelling.” IF YOU COULD SUPPORT ANY BAND IN THE WORLD, WHO WOULD IT BE AND WHY? “Kiss – not that we sound anything remotely like them, but they are my childhood heroes.” IF A HIGHER POWER SMITES YOUR HOUSE AND YOU CAN ONLY SAVE ONE RECORD FROM THE FIRE, WHAT WOULD IT BE? “Other than ours it would be Irwin Thomas, The Evolution Of Irwin Thomas. One I always play to bring me back when life seem’s to get the better of me.” DO YOU HAVE A LUCKY ITEM OF CLOTHING YOU WEAR FOR GIGS AND WHAT IS IT? “My trusty black shirt…” IF YOU INVITED SOMEONE AWESOME ROUND FOR DINNER WHAT WOULD YOU COOK? “Lasagna – my specialty.” WHAT’S YOUR FAVOURITE PLACE TO DRINK IN MELBOURNE? “World Bar, Southbank and Cafe Romantica in Brunswick after a hard night’s rehearsal… great ice cream, too!”

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IN GOOD NICK

Weekend People

Also launching at the Toff this week is Nick Batterham, who’s unveiling his stunning solo debut, Second Lovers, on Sunday. Even though Nick made the album at home, the sound is big. “I was pretty spoilt in the ’90s making expensive records, so it’s hard to be satisfied with anything less for my own recordings now,” Nick explains. He enjoyed self-producing, but adds: “Sometimes it’d be nice to have someone operate Pro Tools so I didn’t have to run backwards and forwards all the time. I’d love to train the dog to press the space bar, but she’s more interested in chewing my drumsticks.”

ROCK NERDS UNITE

HOWZAT! Local music news by JEFF JENKINS

THE WEEKEND PEOPLE ON THURSDAY Two old school mates. One has been in a successful musical comedy outfit, the other has seen Triple J jump on to his solo work. Meet The Weekend People, who are launching their self-titled debut album tomorrow (Thursday) at the Toff. Mark Woodward from Man Bites God went to school with Nicholas Roy, who recently released his debut solo album, ...In A Shoebox Under The Bed. “We were both heavily involved in music and theatre,” Mark recalls, “but it took us a while to become good friends. I actually found him to be quite loud and annoying when I first met him. I think, ultimately, it was music and smoking that we really bonded over.” Mark was inspired by a host of Aussie acts, including You Am I, Snout, Something For Kate and The Lucksmiths.

So what’s behind the name “The Weekend People”? “It had been kicking around for a while when Nick and I started working together. I just really liked it – there’s something evocative and distant about it, which suits our style, I think. When we started writing together, we were both busy with other projects – Nick with his solo work and me with Man Bites God – so we treated our work together as a bit more of a side-project, so the name seemed appropriate.” How does the band fit in with Nicholas’ burgeoning solo career? “Not surprisingly, with his album taking off, things have been a little hard to manage, and for the time being we’re playing as a three-piece. That said, we’ve been working on some demos for the next album, so we’re looking forward to being able to make the two things co-exist a bit more easily.” The album has been a long time coming – The Weekend People did their first gig six years ago, at the Empress with Man Bites God and Rob Clarkson. Has Mark had a favourite description of the band’s sound? “There was a review a while ago that described us as ‘distantly beautiful’. That sat pretty well with me.”

It’s such a rock nerd thing to do – compile a list. As the title suggests, The 100 Best Australian Albums by John O’Donnell, Toby Creswell and Craig Mathieson ($60, Hardie Grant) ranks the best Aussie albums – with Midnight Oil’s Diesel And Dust at number one. The book will make you happy and angry (Howzat! is pleased that Ben Lee made the cut, staggered that Joe Camilleri didn’t). An even nerdier thing to do is to collate the stats. The results? The book confirms Melbourne is the rock capital. By Howzat!’s count, 40 of the albums come from Melbourne (followed by Sydney with 38, Brisbane 11 and Perth four). We love bands – 75% of the entries come from bands. Just nine of the 100 albums come from female artists or bands fronted by women (ten, if you count The Hummingbirds). The ’80s were the glory days, according to the authors – 34 of the albums come from that decade, followed by the 2000s (24), the ’70s (19), the ’90s (15) and the ’60s (eight). Howzat! maintains that 1979 was music’s greatest year, but that year provides just three albums. The greatest year, according to this list, is 1980 (six entries), followed by 1986, 1988 and 2008 (five each). The list’s biggest seller – AC/DC’s Back In Black (number two); the lowest – Beaches’ self-titled set (95). Twenty-four of the albums charted in the US. No act has more than two entries, but five artists have three: Barnesy (two Chisel, one solo), Don Walker (Chisel and Tex, Don & Charlie), Neil Finn (two Crowded House, one Split Enz), Nick Cave (two Bad Seeds, one Birthday Party) and Ed Kuepper (two Saints, one solo). The book also recognises the work of producers (take note, ARIA Hall Of Fame). Mark Opitz and Nick Launay

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lead the way with four entries each, followed by Tony Cohen and Charles Fisher (three each).

CHART WATCH

Zoe Badwi spends a second week in the top ten. Freefallin’ ZOE BADWI (number ten) Planets SHORT STACK (17) Plans BIRDS OF TOKYO (20) Rock It LITTLE RED (27) Choose You STAN WALKER (28) Get ’Em Girls JESSICA MAUBOY (31) Clap Your Hands SIA (33, debut) Freak Tonight SCARLETT BELLE (35) Addicted BLISS N ESO (40) Billy Thorpe’s posthumous album lands at number 14. Jack JOHN FARNHAM (number three) Down The Way ANGUS & JULIA STONE (six) The Very Best Of CROWDED HOUSE (12) Tangier BILLY THORPE (14, debut) Little Bird KASEY CHAMBERS (16) Birds Of Tokyo BIRDS OF TOKYO (17) Gurrumul GURRUMUL (19) Running On Air BLISS N ESO (21) Midnight Remember LITTLE RED (23) Immersion PENDULUM (24) Marcia Sings Tapestry MARCIA HINES (28) Rage And Ruin JIMMY BARNES (29) Angel Without Wings CAM HENDERSON (29) Hillsong Chapel: Yahewh HILLSONG LIVE (31, debut) I Believe You Liar WASHINGTON (32) From The Inside Out STAN WALKER (33) We Are Born SIA (34) Always & Forever MIRUSIA (38)

HOWZAT! PLAYLIST

Mascara THE WEEKEND PEOPLE Everything You Need NICK BATTERHAM Comfort Me THE AUDREYS Save! CHARLES JENKINS Nectarine GB3

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THU 04

LOVE A JJ Fresh from the studio and with the release imminent for his brand new third album, harmonica-weilding troubador JJ Symon returns to the Builders Arms for an evening residency during the month of November. Every Friday starting at 6pm, Melbourne’s unsung pioneer of contemporary post-folk, rhythm and blues will deliver two sets of acoustic material from his two acclaimed albums along with preview performances of material from his new masterpiece, Mayday. Entry is free.

WED 03

ATM15, Callum G’ Froerer Quartet 303 Big Left, Damon Smith Bar Open Chris Altman The Gem Default Jamerson, Maya Victoria & Matt Faisandier, Oranj Punjabi, Slow Hog, Mitchell Brennan Galvobones, The Leafs, Hellcat Ninja Ohm Edinburgh Castle Hotel Gold Tango, Breaker Morant, Bloody Hammer, Caught Ship, Simon The Tote Jackson Firebird, Dice, Jess Paige, Dom Cooley & The Shit Hats Esplanade Lounge Laura Imbruglia, Davey Lane The Old Bar Lost Animal, Make Up Sex Workers Club Mariel Koroinbulu Wesley Anne Melbourne Songwriters Competition The Toff In Town Open Mic Night Bendigo Hotel Open Mic Night Grind ‘n’ Groove Bar Open Mic Night The Bender Bar Open Mic with Matt McFarlane Brunswick Hotel Sea Bellies, Tantrums, The Good China Evelyn Hotel Sean Nicholas McMahon’s Western Union Retreat Hotel Sean Simmons The Standard Hotel The Bonniwells, Frowning Clouds Cherry Bar

The Dirty Sirkus, The Charge, Swear No Allegence, Your Damn Neighbours, Lost and Found in the Backroom, Spidey, Adalita, Mary M Revolver The Naked and Famous, Alpine Northcote Social Club The Ska Masters, The Ska Vendors, The Operators Birmingham Hotel Trivia night Glenferrie Hotel Tully & the Thief Rainbow Hotel Tyson Slithers, Kenny Cornflakes, Prisms, Celery Empress Hotel Urgent Blood, Use of Weapons, Death O’Connor, Seaweed The Arthouse Wine, Whiskey, Women, Mandy Wragg, Alice Keath The Drunken Poet

Alastair Burns High Society Cocktail Lounge Ben Carr Wesley Anne Big Gun, The No Real Need, Ferry Tails, Colour Age, Throbulator Pony Boof, Victoriana Gaye Retreat Hotel Brew Ha Ha Comedy Night, Matt Elsbury, Bart Freebairn, Tommy Dassalo, Pete Sharky Gertrudes Brown Couch Brothers Grim & the Blue Murders, Delaney Davidson, Pops & The Murdered Birds The Old Bar Changing Falls, Almaria, About The Noise Bendigo Hotel Claire Hollingsworth, Oliver Clark, Craig Eulenstein Builders Arms Hotel Coma, Vulpine, Reds Under the Bed, The Loop Birmingham Hotel Cookin’ on 3 Burners 303 Cuba is Japan, Slocombe’s Pussy, Agonhymn, Abre Ojos The Tote In Tongues, Bewilderbeast Ding Dong Lounge Jimmy Stewart The Drunken Poet Kizzy The Bender Bar Lemon Squash, Boogs, Adam Bartas, Mike Metro, Kizzam, Luke Will Dakota, Ringwood Michael Paynter Flemington Racecourse

Paint Me A Pheonix, Coba Fynn Empress Hotel Palomino, Western Unions Edinburgh Castle Hotel Radio Star, Stonefield, The Raffaellas, New Birds Esplanade Lounge Redcoats, Fangs, Mushroom Horse Esplanade Basement Rock Aerobics, Andrew Higgs Band, Stomp Box, Chinook Yah Yah’s Scul Hazzards, Talbot, Wicked City, Breathing Shrine Bar Open Sugarbeat Cherry Bar Texel Rising, Underwater Jesus Great Britain Hotel The Bakersfield Glee Club Union Hotel Brunswick The Beards Sand Bar, Mildura The Box Rockets, The Vaudeville Smash, Kremellin Succession, Falloe, Daniel Champagne Evelyn Hotel The Naked and Famous, Alpine Northcote Social Club The Rose Line, Mayfair, Through The Eleventh Hour, Sheer Abandon, Red Letter Day Next The Villas, Clowns, Cold Hiker, 3181 Thursdays, Hans DC, WHO Revolver The Villians Lair, The Phantom Agents, Chevrolet Rise 161 The Weekend People, Machine Translations, Love Story with 1928, Tranter, Rad Pitt, Megawuoti The Toff In Town The White Electric, So Many Voices, 8 Bit Love Brunswick Hotel Wolf vs Fire, Supergreen, Thrashdance, Canvas City Streets The Arthouse

FRI 05

DECAPITATING DAVIDSON This Thursday, New Zealand-raised one-man ghost orchestra Delaney Davidson brings his strange spook stories to Melbourne. Having toured almost every corner of the world alongside the likes of Holly Go Lightly and Reverend Beat Man, spreading the words of the dead, the dilapidated and the drunk, in a sharp suit, combed hair and a smirk that never becomes a smile, Davidson has a new album, Self Decapitation, out on cult label Voodoo Rhythm Records (CW Stoneking, Monsters). Catch the the founding member of legendary Swiss group Dead Brothers when he plays the Old Bar this Thursday with special guests Brothers Grim & The Blue Murders and Pops & The Murdered Birds. Doors open at 8.30pm.

Aleks & The Ramps, MSG, Patinka Cha Cha Public Bar At War With Gods, Porcelain Skies, Conscience is Calling, Arrowfield Bada Bing @ Pier Live Black Smith Hopkins, Paulie Bignell, Rastanaught Esplanade Basement Brian Hooper Band, Hunter Dienna, MJ Halloran & The Sinners, Strangers From Now On Esplanade Gershwin Room Chris Wilson Rainbow Hotel Count X Abode Craig Williams Glenferrie Hotel

Depression, Earth, Throwdown, Cabin Fever The Arthouse Dirty York The Gem Dylan Peters, Slowjaxx Edinburgh Castle Hotel French & Mc Carthy, The Bonniwells, Black Wave, The Kremlin Succession, The Shake Up, Pink Fitt Pony Gareth Liddiard, Sailor Days Thornbury Theatre Glenn Richards, Kes Trio, The Underminers Corner Hotel Good Vs Evil, DJ Johno Precinct Hannah Acfield, Rose Wintergreen, The Adventure Spirit, Mark Nunan Empress Hotel Illy, 360, Skryptcha The Hi-Fi JJ Symon Builders Arms, early show JJ Symon & The Monochromes, The Deserters, DJ Traffic Jam Retreat Hotel July Days, The Peeks, Red Leader, Kieran Christopherson Brunswick Hotel Kelsey & the Manmadelake, Coral Lee’s Pepper Tea’s 303 King George, Callum Padgham, Death Valley Mustangs, William Blaxland, Mike Callander, Lewie Day, Nick Jones, Craig McWhinney Revolver Lily and King Station Street Café and Wine Bar Mad Nanna, Light Lion, Holy Samolly Builders Arms Hotel Muscles, Strange Talk, Theives of Aon Prince Bandroom Ninety Nine, Lee Memorial, Do The Robot, DJ Jemma The Old Bar OOOAAARDVARK, Boy Rides Monster, The Darrens Cherry Bar Poprocks at the Toff, Dr Phil Smith The Toff In Town Rincon, Quiet Child, Amirala, The Charge Evelyn Hotel River of Snakes, Warped, Scul Hazzards, Bitch Slap The Tote Rohan Blackmore, Daniel Champagne, Josh Wellington Wesley Anne Seedy Jeezus, Pretty Suicide Lyrebird Lounge Shaun Kirk Grind ‘n’ Groove Bar Simmer Bar Open Snakadaktal, Mannequin Alley, DJ Fu Bendigo Hotel Strangers From Now On, The Mohan Veena, The Ovals, Cordyceps John Curtin Hotel

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VAN WITH A MAN Sean Nicholas McMahon’s Western Union play the Retreat Hotel front bar tonight (Wednesday) in acoustic mode from 8.30pm. On Thursday night at the Retreat it’s the album launch for Victoriana Gaye (featuring Jeff Raglus) with support from Jody Bell’s Boof (in duo mode). Friday night is The Deserters and JJ Symon & The Monochromes, and Saturday night welcomes Sal Kimber & Her Rollin’ Wheel back from their overseas tour to play with help from The Stetson Family and Wild Turkey in the front bar from 7.30pm. Sunday sees Van Walker & his Cracked Country Lips playing the Retreat beer garden in the afternoon followed by Stretch And The Truth. And Tuesday night is Rock Aerobics classes from 7pm in the main room – take a towel and $10 and get fit to good music. DJ Shaky Memorial (Mary M) will keep the tunes coming afterwards. Teenage Shutdown, Sye Saxon, Wigin Lee Gertrudes Brown Couch The Barons Of Tang, The Woohoo Revue, FLAP!, Mr Fibby East Brunswick Club The Beards Ding Dong Lounge The Little Stevies Caravan Music Club The Moxie, The Pretty Littles, Hayden Calnin, Ponyboy Grace Darling Hotel These Hands Could Separate The Sky, Hoodlum Shouts, Wil Wagner & The Smith St Band, Daybreak Birmingham Hotel Traditional Irish Music Session, Dan Bourke & Friends The Drunken Poet Vadim, Sarah Love, Thief & Wolfgramm, Rusty (Electric Mary) Esplanade Lounge Wet Young Dolphin, Chaos Kids, Buried Feather, Adalita Yah Yah’s Wilfred Jackal, PhDJ, Bad Horse, Em-Sem, Rundosrun Miss Libertine Worlds End Press, Gloves, Sophia Brous, Butcher Blades Northcote Social Club Zinnia Blue The Bender Bar

SAT 06

78 Saab, Intercooler, Tall Buildings East Brunswick Club Alastair Burns Pint On Punt Alex Hallahan Builders Arms, early show ANCHORS, Face Eater, Craterface, Night Hag, The Dos Pack The Arthouse

Apache Medicine Man, The Angry Plant, Brothers Johnstone, Moose Jaw Rifle Club, Sarah Brett Brunswick Hotel Bad at Knitting, Craig Westwood, Micah O’Donavan Public Bar Bowcaster, Fathoms, AXXON, Seri Vida, DJ Bryant Jones The Old Bar Buddy Love Kojo Brown Catfish Voodoo The Drunken Poet City Escape, This Town, A Forest Bang City Escape Royal Melbourne Hotel DJ Nathan Jones, DJ Reg Chapman John Curtin Hotel Double Shot of Blues, Adam Toms & the Gravity Line Chandelier Room Dr Nick The Hawthorn Fats Wah Wah Grind ‘n’ Groove Bar Frank Lee Darlings Cheesy Greats Lentil as Anything French Fries, Polygon Palace, The JSB’s, MuGen, Phil Para Esplanade Lounge Gareth Liddiard, The Ukeladies Thornbury Theatre Glen & The Peanut Buttermen, Wot Rot, Leprosy, Cabin Fever, Last Call Bendigo Hotel High Fangs, Sole Stickers, Yis, A Dom a Dozen Yah Yah’s Holly Throsby, Kieran Ryan, McKisko Northcote Social Club Humidity Entertainment, Primary Source, Jester Crew, The Lounge Detectives Esplanade Jan Preston, Mike Pullman Montsalvat Gallery

Jon-E, Steve Punch, Syme Tollens Abode Jules Sheldon Edinburgh Castle, early show Kate Vigo, Brianna Carpenter, The House deFROST, Andee Frost The Toff In Town Kids In Cults, Aural Window, Decortica, Eves Protégé, Elemental Burn Esplanade Gershwin Room Kins, The Ocean Party, Jack Poulson Birmingham Hotel Loon Lake, Mad Dash, The Hyphenators, The Latonas Rats @ Brown Alley Mr Palmer Precinct Mysterious Mose, Sophisticated Hulas, Melbourne Ukelele Kollective Edinburgh Castle Hotel Neal Mathews, The Stirling Collective, The Cuttaway Kid, Ocean vs Daughter Empress Hotel New Dub City Sound Bar Open Nick Charles, Short Cut Road St Andrews Hotel Oh Ye Denver Birds, Hello Satelites, Owl + Moth, Great Earthquake Grace Darling Hotel Ownkind, Breaking Orbit, I Am Duckeye, Phantom Alice Evelyn Hotel Pagen Elypsis, Maundz, Syntax, Neat Street, Matik, Nick Thayer, Mat Cant, Ransom, Julien Love Revolver Penny Ikinger, Crystal Thomas & The Flowers Of Evil, Daddy Long Legs Builders Arms Hotel Philedelphia Grand Jury, Howl, Bear Hug Corner Hotel Rio, Red, Black Carnival Party, Banda Pagodeando The Hi-Fi Samuel Bester, Virtual Proximity, Alpha Channel, Zeal 303 Sixfthick, Kretch, Thomy & The Tanks The Tote Skarlet Blue, Wonderland, Highway Blonde Cherry Bar Stan Walker Flemington Racecourse Steel Birds, Matt Chapman Cornish Arms Hotel Steller, DJ’s Tim and Ash Glenferrie Hotel Stephen Bowtell Rainbow Hotel The Bakersfield Glee Club Labour In Vain The Beards The National Hotel, Geelong The Book of Ships, City Calm Down Workers Club the F100’s Union Hotel Brunswick

30 Gertrude St, Fitzroy (03) 9417 6420 IUOL=?A ?KI CANPNQ@AO>NKSJ?KQ?D

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74 JOHNSTON ST FITZROY 9417 4155 WWW.THEOLDBAR.COM.AU OPEN EVERY NIGHT

WEDNESDAY 3RD NOVEMBER

LAURA IMBRUGLIA DAVEY LANE

THURSDAY 4TH NOVEMER

Wed. 3rd (Wine, Whiskey, Women) 8pm: Mandy Wragg 9pm: Alice Keath

12PM - 3AM 8PM FREE

12PM - 3AM

BROTHERS GRIM & THE BLUE MURDERS DELANEY DAVIDSON (NZ) POPS & THE MURDERED BIRDS 8:30PM $12

Thurs. 4th 8pm: Jimmy Stewart

FRIDAY 5TH NOVEMBER

12PM - 3AM

NINETY NINE

Fri. 5th 6pm: Traditional Irish Music Session with Dan Bourke & Friends

LEE MEMORIAL DO THE ROBOT (QLD) DJ JEMMA

8.30PM $10 1AM FREE

SATURDAY 6TH NOVEMBER

12PM - 3AM

BOWCASTER

FATHOMS AXXON - LAUNCH SERI VEDA DJ BRYANT JONES

Sat. 6th 9pm: Catfish Voodoo Sun. 7th 4pm: Heather Stewart Duo 6.30pm: Edna Kenny (Edna Kenny)

SUNDAY 7TH NOVEMBER

Tues. 9th 8pm: Weekly Trivia

MONDAY 8TH NOVEMBER

8.30PM $8 1AM FREE

12PM - 3AM

T'A KIM SAMON RETROSPECTIVE' KIM SALMON X 2 SETS DJ TJ HONEYSUCKLE

7PM $8 12AM FREE

5PM - 1AM

FRUIT JAR'S OLD TIMEY STRING BAND 2 X SETS

All Shows Always Free!

TUESDAY 2ND NOVEMBER

8PM FREE

5PM - 1AM

PONY BOY

THE LITTLE SISTERS CRYWANK LIFE DRAWING UPSTAIRS

The Drunken Poet, 65 Peel Street (Directly opposite Queen Vic Market). Phone: 03 9348 9797 www.myspace.com/drunkenpoets

8PM FREE 7PM

BANDBOOKINGS@THEOLDBAR.COM.AU

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gigguide@inpress.com.au The Gallant Trees, Vicuna Coat The Bender Bar The Harlots, Oceans Between, Mike Galiccio Empress Hotel, Arvo Show The Pang, Rouge Fonce Great Britain Hotel

Tomas Ford, Bewilderbeast, Neon Knights, Keith! Party, Sole Stickers, Grandmaster Vicious Pony Tone Deaf Showcase, Kingswood, Atlas Tone, The Run Run, Secretive George Ding Dong Lounge

STEVIE IN THE CARAVAN Hailing from Melbourne, folk pop darlings The Little Stevies have built a reputation as a mustsee live act all over the land down under, drawing keen, loyal, Little Stevie-loving fans wherever they go. The band recently recorded their second album with producer Ethan Allen (Tim Finn, Kirsten Hirsh) in the US and then performed a short run of shows around North America including showcasing at the OCFF conference in Canada and CMJ in New York. This Friday night, The Little Stevies play the Caravan Music Club in Oakleigh. Tickets are $12+BF from caravanmusic. com.au or $15 at the door from 7.30pm.

Wild Turkey, The Stetson Family, Sal Kimber & The Rollin’ Wheel, DJ Xander Retreat Hotel

SUN 07

Alex Hallahan Bar Nancy Alex Legg Grind ‘n’ Groove Bar Black Eyed Susans Trio, Liz Stringer, Waz E James, The Shambelles, Brunswick Blues Shooters, Chelsea Drugstore, The Stetson Family Lomond Hotel Chevrolet Rise Lord Newry Hotel Dandelion Jackson, Paul Turner, Hot Licks Jazz Band 303 Dirty F, Kansas City Heat, I Am The Riot, Chico Flash The Tote Eastern Grey, Towels, Sheahan Drive, Matthew Brown Workers Club Electric Empire Maroondah Festival Fred Negro’s Kooky Karaoke St Kilda Army & Navy Club

Headspace, Dale Ryder Band, Bad Boys Batucada Esplanade Lounge Heather Stewart Duo, Edna Kenny The Drunken Poet Hobsons Choice The Gem Husky, Kisshead, SiB Evelyn Hotel Hustler Reunion show Great Britain Hotel Jason Singh Precinct Jed Rowe Band St Andrews Hotel Jesus Hands Terminus Hotel Jimmy Clinkerfield Edinburgh Castle, early show Kerryn Fields, Peny & Soph, Shannon Kennedy, Carolyn Bryers, Laura K Clark, Al Parkinson Bendigo Hotel Kim Salmon, DJ TJ Honeysuckle The Old Bar Kutcha Edwards, Ancient Free Gardeners, Crouching Tiger DJs Bar Open Lionel Lee, Sarah Carroll, Marcel Borrack Rainbow Hotel Luau Cowboys Hickinbotham Winery Major Chord Builders Arms, early show Marc Vazquez, Meliki Chandelier Room

Melody Moon, The Stirling Collective, Tim Anders Builders Arms Hotel Michael Meeking & The Lost Souls Union Club Hotel Michael Plater, Alex Watts & the Foreign Tongue Empress Hotel, Arvo Show Nick Batterham, Blackchords, The Sunday Set, Andyblack, Haggis The Toff In Town Open Decks Night The Bender Bar Patron Saints, Penny Ikinger Lyrebird Lounge Pjarma Party, The Mudcakes, Alora Wesley Anne Rapacious, Muzzle, The Buegs, Last Flowers, Mic Man Ox, Joel Spence & The Mercury Drive, Belle Havens Esplanade Gershwin Room Reigning Men, The Beat Disease Yah Yah’s Revolver Sundays, Boogs, Spacey Space, Radiator, T-Rek Revolver Rod Payne & Fulltime Lovers Yorkshire Stingo Hotel Sammy Horner Spenserlive

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Saskia Sansom, Brendan Welch Empress Hotel Sean Nicholas McMahon’s Western Union The Standard Hotel Super Juice, Cloudmouth, Jesus, Mineo & his Gypsies The Arthouse Tash Parker, Goodnight Owl, Ben Abraham Northcote Social Club The Bakersfield Glee Club, Roz Girvan, Suzannah Espie, Sarah Carroll, Little John Union Hotel Brunswick The Detonators Groovers Lounge The Pardoners Williamstown RSL The Women of the 60s Gertrudes Brown Couch Tracey McNeil Caravan Music Club Urban Sprawl Brunswick Hotel Van Walker & the Cracked Country Lips, Stretch & The Truth Retreat Hotel Warped, Poppin Mommas, The Devil Rock Four Cherry Bar Wild Turkey Manhattan Hotel

MON 08

Adam Simmons Quartet 303 Fruit Jar’s Old Timey String Band The Old Bar Josh Owen Band Esplanade Lounge Laughing All the Way Revolver Passionate Tongues - Poetry and Spoken Word Brunswick Hotel Splode Film Night, Spy Smasher Returns Empress Hotel Swing Classes The Toff In Town

TUE 09

Changing Falls Evelyn Hotel Chilliad, Carouselle, Red Deer, Gunpowder Plot, Sleeping With the Enemy, Atrum Aequora Esplanade Lounge Cine - Cult, Lady Terminator 303 FLAP! Northcote Social Club Hello Morning Wesley Anne

Jimmy Stewart The Gem Melbourne Fresh Industry Showcase, Hudson, Galaxy, The Thousands, Kids Without Bikes, Sonic Scout, Cocoa Soul, Never Cheer Before You Know Whos Winning Revolver Ponyboy, The Moving Targets, The Little Sisters, Crywank, Life Drawing The Old Bar RMIT Media Arts Students Showcase The Toff In Town Rock Aerobics, DJ Shaky Memorial Retreat Hotel The Brunswick Discovery, Crooked Projects, The Rosannas Brunswick Hotel Weekly Trivia The Drunken Poet

Wed 3RD

CHRIS ALTMAN FRI 5th

DIRTY YORK SUN 7TH

HOBSONS CHOICE TUE 9TH

JIMMY STEWART

289 WELLINGTON ST COLLINGWOOD 94195170

KITCHEN OPEN 6 NIGHTS

The Australasian World Music Expo presents the Wantok Musik Label Launch

FRANK YAMMA “Countryman”

ALSO OUT ON WANTOK MUSIK

“....will tug on your heart like any deep Johnny Cash song would” Inpress

“...as spiritually charged as...Gurrumul...or Archie ..." 4 1/2 Stars The Australian

Sat 20 Nov at The Toff in Town with special guests King Kadu (Torres Strait, Australia) and Gilius Kogoya (West Papua).

“ Papua New Guinea's most celebrated musician returns, Telek has lost none of his mesmerising beauty in gentle Lullaby like melodies and soothing vocals, while his more upbeat songs preserve the lively PNG stringband aesthetic. ... Akave Review by Seth Jordan, Limelight Magazine

Book Now 1300 438 849

www.theplanetcompany.com / www.wantokmusik.org twitter.com/inpressmag

gigguide@inpress.com.au

BANG

Saturday City Escape, This Town, A Forest

BAR OPEN

Wednesday Big Left, Damon Smith Thursday Scul Hazzards, Talbot, Wicked City, Breathing Shrine Friday Simmer Saturday New Dub City Sound Sunday Kutcha Edwards, Ancient Free Gardeners, Crouching Tiger DJs

BENDIGO HOTEL

Wednesday Open Mic Night Thursday Changing Falls, Almaria, About The Noise Friday Snakadaktal, Mannequin Alley, DJ Fu Saturday Glen & The Peanut Buttermen, Wot Rot, Leprosy, Cabin Fever, Last Call Sunday Kerryn Fields, Peny & Soph, Shannon Kennedy, Carolyn Bryers, Laura K Clark, Al Parkinson

BIRMINGHAM HOTEL

Wednesday The Ska Masters, The Ska Vendors, The Operators Thursday Coma, Vulpine, Reds Under the Bed, The Loop Friday These Hands Could Separate The Sky, Hoodlum Shouts, Wil Wagner & The Smith St Band, Daybreak Saturday Kins, The Ocean Party, Jack Poulson

BRUNSWICK HOTEL

Wednesday Open Mic with Matt McFarlane Thursday The White Electric, So Many Voices, 8 Bit Love Friday July Days, The Peeks, Red Leader, Kieran Christopherson Saturday Apache Medicine Man, The Angry Plant, Brothers Johnstone, Moose Jaw Rifle Club, Sarah Brett Sunday Urban Sprawl Monday Passionate Tongues - Poetry and Spoken Word Tuesday The Brunswick Discovery, Crooked Projects, The Rosannas

BUILDERS ARMS HOTEL

Thursday Claire Hollingsworth, Oliver Clark, Craig Eulenstein Friday Mad Nanna, Light Lion, Holy Samolly

Saturday Penny Ikinger, Crystal Thomas & The Flowers Of Evil, Daddy Long Legs Sunday Melody Moon, The Stirling Collective, Tim Anders

NORTHCOTE SOCIAL CLUB

The Rose line

CARAVAN MUSIC CLUB

Friday The Little Stevies Sunday Tracey McNeil

CHERRY BAR

Wednesday The Bonniwells, Frowning Clouds Thursday Sugarbeat Friday OOOAAARDVARK, Boy Rides Monster, The Darrens Saturday Skarlet Blue, Wonderland, Highway Blonde Sunday Warped, Poppin Mommas, The Devil Rock Four

CORNER HOTEL

Friday Glenn Richards, Kes Trio, The Underminers Saturday Philedelphia Grand Jury, Howl, Bear Hug

EAST BRUNSWICK CLUB

Friday The Barons Of Tang, The Woohoo Revue, FLAP!, Mr Fibby Saturday 78 Saab, Intercooler, Tall Buildings

EDINBURGH CASTLE HOTEL

Wednesday Galvobones, The Leafs, Hellcat Ninja Ohm Thursday Palomino, Western Unions Friday Dylan Peters, Slowjaxx Saturday Mysterious Mose, Sophisticated Hulas, Melbourne Ukelele Kollective

EMPRESS HOTEL

Wednesday Tyson Slithers, Kenny Cornflakes, Prisms, Celery Thursday Paint Me A Pheonix, Coba Fynn Friday Hannah Acfield, Rose Wintergreen, The Adventure Spirit, Mark Nunan Saturday Neal Mathews, The Stirling Collective, The Cuttaway Kid, Ocean vs Daughter Sunday Saskia Sansom, Brendan Welch Monday Splode Film Night, Spy Smasher Returns

EMPRESS HOTEL, ARVO SHOW

Saturday The Harlots, Oceans Between, Mike Galiccio

NEXT IN LINE This Thursday at Next sees The Rose Line headline with support from Mayfair, Through The Eleventh Hour and Sheer Abandon. The Next team are giving away tickets to No Sleep Til Melbourne as a part of the GWAR Party this week! Also score copies of the new Good Charlotte record, the new Helloween record and the Glee Rocky Horror Picture Show record! Also pick up tickets to see the scariest aussie flick to come out in ages, The Loved Ones, thanks to Madman. Playing acoustic in the beer garden is Red Letter Day. There are also DJs playing the best punk, hardcore, emo, metal, alternative, party, indie and retro across multiple rooms all night! Entry is $12 from 9pm. For more info and weekly club pics check destroyalllines. com or facebook.com/NextNightclub. Sunday Michael Plater, Alex Watts & the Foreign Tongue

ESPLANADE BASEMENT

Thursday Redcoats, Fangs, Mushroom Horse Friday Black Smith Hopkins, Paulie Bignell, Rastanaught Saturday Humidity Entertainment, Primary Source, Jester Crew, The Lounge Detectives

ESPLANADE GERSHWIN ROOM

Friday Brian Hooper Band, Hunter Dienna, MJ Halloran & The Sinners, Strangers From Now On Saturday Kids In Cults, Aural Window, Decortica, Eves Protégé, Elemental Burn Sunday Rapacious, Muzzle, The Buegs, Last Flowers, Mic Man Ox, Joel Spence & The Mercury Drive, Belle Havens

ESPLANADE LOUNGE

Wednesday Jackson Firebird, Dice, Jess Paige, Dom Cooley & The Shit Hats Thursday Radio Star, Stonefield, The Raffaellas, New Birds Friday Vadim, Sarah Love, Thief & Wolfgramm, Rusty (Electric Mary) Saturday French Fries, Polygon Palace, The JSB’s, MuGen, Phil Para Sunday Headspace, Dale Ryder Band, Bad Boys Batucada Monday Josh Owen Band Tuesday Chilliad, Carouselle, Red Deer, Gunpowder Plot, Sleeping With the Enemy, Atrum Aequora

EVELYN HOTEL

Wednesday Sea Bellies, Tantrums, The Good China Thursday The Box Rockets, The Vaudeville Smash, Kremellin Succession, Falloe, Daniel Champagne Friday Rincon, Quiet Child, Amirala, The Charge Saturday Ownkind, Breaking Orbit, I Am Duckeye, Phantom Alice Sunday Husky, Kisshead, SiB Tuesday Changing Falls

GERTRUDES BROWN COUCH

Thursday Brew Ha Ha Comedy Night, Matt Elsbury, Bart Freebairn, Tommy Dassalo, Pete Sharky Friday Teenage Shutdown, Sye Saxon, Wigin Lee Sunday The Women of the 60s

GRACE DARLING HOTEL

Friday The Moxie, The Pretty Littles, Hayden Calnin, Ponyboy Saturday Oh Ye Denver Birds, Hello Satelites, Owl + Moth, Great Earthquake

Wednesday The Naked and Famous, Alpine Thursday The Naked and Famous, Alpine Friday Worlds End Press, Gloves, Sophia Brous, Butcher Blades Saturday Holly Throsby, Kieran Ryan, McKisko Sunday Tash Parker, Goodnight Owl, Ben Abraham Tuesday FLAP!

PONY

Thursday Big Gun, The No Real Need, Ferry Tails, Colour Age, Throbulator Friday French & Mc Carthy, The Bonniwells, Black Wave, The Kremlin Succession, The Shake Up, Pink Fitt Saturday Tomas Ford, Bewilderbeast, Neon Knights, Keith! Party, Sole Stickers, Grandmaster Vicious

PRINCE BANDROOM

Friday Muscles, Strange Talk, Theives of Aon

RETREAT HOTEL

Wednesday Sean Nicholas McMahon’s Western Union Thursday Boof, Victoriana Gaye Friday JJ Symon & The Monochromes, The Deserters, DJ Traffic Jam Saturday Wild Turkey, The Stetson Family, Sal Kimber & The Rollin’ Wheel, DJ Xander Sunday Van Walker & the Cracked Country Lips, Stretch & The Truth Tuesday Rock Aerobics, DJ Shaky Memorial

REVOLVER

Wednesday The Dirty Sirkus, The Charge, Swear No Allegence, Your Damn Neighbours, Lost and Found in the Backroom, Spidey, Adalita, Mary M Thursday The Villas, Clowns, Cold Hiker, 3181 Thursdays, Hans DC, WHO Friday King George, Callum Padgham, Death Valley Mustangs, William Blaxland, Mike Callander, Lewie Day, Nick Jones, Craig McWhinney Saturday Pagen Elypsis, Maundz, Syntax, Neat Street, Matik, Nick Thayer, Mat Cant, Ransom, Julien Love Sunday Revolver Sundays, Boogs, Spacey Space, Radiator, T-Rek Monday Laughing All the Way Tuesday Melbourne Fresh Industry Showcase, Hudson, Galaxy, The Thousands, Kids Without Bikes, Sonic Scout, Cocoa Soul, Never Cheer Before You Know Whos Winning

TERMINUS HOTEL

Sunday Jesus Hands

THE ARTHOUSE

Wednesday Urgent Blood, Use of Weapons, Death O’Connor, Seaweed Thursday Wolf vs Fire, Supergreen, Thrashdance, Canvas City Streets Friday Depression, Earth, Throwdown, Cabin Fever Saturday ANCHORS, Face Eater, Craterface, Night Hag, The Dos Pack Sunday Super Juice, Cloudmouth, Jesus, Mineo & his Gypsies

City Escape

LABOUR IN VAIN

Saturday The Bakersfield Glee Club

Thursday The Rose Line, Mayfair, Through The Eleventh Hour, Sheer Abandon, Red Letter Day

Wednesday Wine, Whiskey, Women, Mandy Wragg, Alice Keath Thursday Jimmy Stewart Friday Traditional Irish Music Session, Dan Bourke & Friends Saturday Catfish Voodoo Sunday Heather Stewart Duo, Edna Kenny Tuesday Weekly Trivia

THE GEM

Wednesday Chris Altman Friday Dirty York Sunday Hobsons Choice Tuesday Jimmy Stewart

THE HI-FI

Friday Illy, 360, Skryptcha Saturday Rio, Red, Black Carnival Party, Banda Pagodeando

THE NATIONAL HOTEL, GEELONG

Saturday The Beards

THE OLD BAR

Wednesday Laura Imbruglia, Davey Lane Thursday Brothers Grim & the Blue Murders, Delaney Davidson, Pops & The Murdered Birds Friday Ninety Nine, Lee Memorial, Do The Robot, DJ Jemma Saturday Bowcaster, Fathoms, AXXON, Seri Vida, DJ Bryant Jones Sunday Kim Salmon, DJ TJ Honeysuckle Monday Fruit Jar’s Old Timey String Band Tuesday Ponyboy, The Moving Targets, The Little Sisters, Crywank, Life Drawing

THE STANDARD HOTEL

Wednesday Sean Simmons Sunday Sean Nicholas McMahon’s Western Union

JOHN CURTIN HOTEL

Friday Strangers From Now On, The Mohan Veena, The Ovals, Cordyceps Saturday DJ Nathan Jones, DJ Reg Chapman

THE DRUNKEN POET

THE TOFF IN TOWN

BANG AND THE CITY City Escape headline Bang this Saturday with This Town, A Forest. The crew will be giving away a tonne of rad stuff this week! Win a double pass and meet-and-greet with Korn at their show at Festival Hall! Score movie tickets to see the new films The Loved Ones and Machete! As always there will also be killer DJs playing your favourite punk, hardcore, emo, alternative, metal, indie, retro and party tracks until the early morning! Entry is $15 from 9pm. For more info and club pics head to destroyalllines. com or facebook.com/BangNightclub.

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Wednesday Melbourne Songwriters Competition Thursday The Weekend People, Machine Translations, Love Story with 1928, Tranter, Rad Pitt, Megawuoti Friday Poprocks at the Toff, Dr Phil Smith Saturday Kate Vigo, Brianna Carpenter, The House deFROST, Andee Frost Sunday Nick Batterham, Blackchords, The Sunday Set, Andyblack, Haggis

Monday Swing Classes Tuesday RMIT Media Arts Students Showcase

THE TOTE

Wednesday Gold Tango, Breaker Morant, Bloody Hammer, Caught Ship, Simon Thursday Cuba is Japan, Slocombe’s Pussy, Agonhymn, Abre Ojos Friday River of Snakes, Warped, Scul Hazzards, Bitch Slap Saturday Sixfthick, Kretch, Thomy & The Tanks Sunday Dirty F, Kansas City Heat, I Am The Riot, Chico Flash

THORNBURY THEATRE

Friday Gareth Liddiard, Sailor Days Saturday Gareth Liddiard, The Ukeladies

UNION HOTEL BRUNSWICK

Thursday The Bakersfield Glee Club Saturday the F100’s Sunday The Bakersfield Glee Club, Roz Girvan, Suzannah Espie, Sarah Carroll, Little John

WESLEY ANNE

Wednesday Mariel Koroinbulu Thursday Ben Carr Friday Rohan Blackmore, Daniel Champagne, Josh Wellington Sunday Pjarma Party, The Mudcakes, Alora Tuesday Hello Morning

WORKERS CLUB

Wednesday Lost Animal, Make Up Sex Saturday The Book of Ships, City Calm Down Sunday Eastern Grey, Towels, Sheahan Drive, Matthew Brown

YAH YAH’S

Thursday Rock Aerobics, Andrew Higgs Band, Stomp Box, Chinook Friday Wet Young Dolphin, Chaos Kids, Buried Feather, Adalita Saturday High Fangs, Sole Stickers, Yis, A Dom a Dozen Sunday Reigning Men, The Beat Disease

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1000 RECORDS

MASTERED

Come and celebrate Indie Masters 1000th record mastered in 10 years. As a comemerative offer we are giving away our 1000th mastering session free of charge!

INTERACTIVE MUSIC INSTRUCTION GUITAR | KEYS | DRUMS | VOCALS The SoundLab is an epic event space & music tutorial studio offering unique interactive sessions.

Get your FREE INTRODUCTORY SESSION visit:

WWW.THESOUNDLAB.COM.AU Ph:9510 4455

See our website for more details: www.indiemasters.com.au Or call: 0434 891 434 INDIE MASTERS â&#x20AC;&#x201C; Mastering Home For Independent Artists since 1000 records ago.

MASTERING INDEPENDENT MUSIC 1 Bakehouse Lane, Fitzroy North, 3068.

Studio (in the relaxed bush between Ballarat and Geelong) and mobile multitrack recording. Servicing all western district areas Professional equipment, experienced engineer.

FREE RECORDING DAY SPECIAL NOVEMBER - DECEMBER! Engineer credits include: 2 X ARIA AWARD WINING â&#x20AC;&#x153;Gurrumulâ&#x20AC;?

(conditions apply)

Hourly, day and weekly rates available on website

CALL or EMAIL: jeremy@leftofelephantsound.com.au M: 04521 836 876 WEBSITE: www.leftofelephantsound.com.au www.myspace.com/leftofelephantsound

EMPLOYMENT

CD / DVD

ENTERTAINMENT

WWW.ZENARCADE.COM.AU Online distro & store for rare and hard to get CDs and DVDs at amazing low prices! PUNK / RIOT GRRRL / INDIE music specialists JUST IN - BETTIE PAGE DVDs including box-set! Zen Arcade Music - Melbourne

Blackoutmag.com is a music community driven Independent Rock web-zine that brings you the very best of everything that ROCKS!! We are after contributors for the site. If you’re up for it jump onto Blackoutmag.com and check it out... iFlogID: 8583

NOT AVAILABLE FOR FREE ADS. CL

LIVE SOUND EQUIPMENT, STUDIO NEEDS, PA SPEAKERS, MIXING CONSOLES, MICROPHONES, SIGNAL PROCESSING, CABLES, MULTICORES, STANDS ROAD CASE SPECIALISTS – READY TO GO AND CUSTOM MADE

Calling for talented DJS to play at various Melbourne nightclubs! Our events cater for genres: house-music, rnb, trance, indie-pop, techno, soulful-house, deep-house, tech-house etc. To work with a well established promotional crew in Melbourne, call our Music Manager: 0416503925. iFlogID: 8829

NOT AVAILABLE FOR FREE ADS. CL Get PAID to party! Melbourne’s Favourite nightclub are seeking young, enthusiastic clubbers to promote their night! Those who love Facebook are encouraged to apply. No experience required. Ideal for university students. For further information call our Marketing Manager on 0416503925. iFlogID: 8714

Soloists and Duos required for private events, weddings and corporate functions: Please visit www.livebandsaustralia.com.au and click on performer sign up to register.

iFlogID: 8705

DRUMS $250 for a 20” cast, hand-hammered ride cymbal? If you are not Dreaming already, go to www.cymbalsplus. com. Dream Cymbals and Gongs, Metro Drums plus more. iFlogID: 6985

BASIX CUSTOM BIRCH MAPLE DRUMKIT 5 Piece + Pearl Rank System 12’ & 13” Mounted Toms 16” Floor Tom with legs 14” Snare 2 x Boom Stands 1 x Hi Hat Stand 1 x Snare Stand VIC 0410 467 863 $1150 iFlogID: 8939

SABIAN CYMBALS Sabian 20” AA Rock ride, Sabian 17” med thin crash, Sabian 14” AA Regular hihats all with Ragone case. As new, $700, ph 0419760940 iFlogID: 5821

GUITARS FENDER PINK PAISLEY STRAT.

iFlogID: 8773

E-STORE : WWW.GIGGEAR.COM.AU SALES@GIGGEAR.COM.AU CALL : 1300 289 997 FACTORY 18 / 21 BARRY STREET, BAYSWATER, 3153 SHOWROOM HOURS MON – FRI : 9.00AM-6.00PM; SAT 10.00AM-4.00PM

Talented UK professional DJ looking for Club work around Brisbane and the Goldcoast. Vast amounts of experience worldwide and excellent mixing skills. Playing Rnb, Hip Hop and Dance music. All bookings can be made by contacting Mike on 0415078714 iFlogID: 8941

SELF-EMPLOYMENT 4GET WORK 4EVER!! Sack your Boss! Start your own prosperous online business in the personal development industry NOW! “If Nothing Changes ........ Nothing Changes” So what are you waiting for?! A company built on integrity, leadership & empowerment www.gr8biz4us.com

Genuine 1980’s Pete Townshend jap model. all original. in case. amazing action. beatiful tone and sustain. plays great. nice patina. very rare. suit collector. EXCELLENT CONDITION! $2500.00 Ph Jimbo on 0428744963. iFlogID: 5835

FENDER STANDARD STRATOCASTER

Brand New Fender standard Stratocaster.(Mexico) Updated model including new tinted neck. Different colour options available. Package includes Guitar, gig bag and stand. RRP $1100 Logans Price $756 Heaps of other Fender bargains instore. Logans Music (02) 9744 2400 www. loganspianos.com.au AUTHORISED FENDER DEALER iFlogID: 6618

GIBSON SG STANDARD LEFTY

AMPS

Brand New Gibson SG Standard Lefthanded guitar. Heritage chrery finish including Gibson hard case. Logans Price $1999 WOW! (righthanded also available!) Logans Music Burwood (02)97442400 www. loganspianos.com.au AUTHORISED GIBSON DEALER iFlogID: 6614

GUITAR & BASS FX PEDALS

BRAND NEW BLACK AB2 BASS STARTER PACK: $350 AB shape bass 34” scale length 20 fret Built-in tuner VOL/TONE controls Comes with: BA15, DVD, Bag, Extra Set of Strings, Strap, Cable, Picks, Manual + COMPLIMENTARY WHITE PAGES BASS TAB iFlogID: 9096

MIXERS FS: Digidesign C|24 - BRAND NEW, still in the box. ONLY $8000!!! INCLUDES: $2500 worth of DB25 to RTS break out cables at no extra cost. Will also deliver within sydney and help to install! Call Brent 0406 501 192

HIRE SERVICES KARAOKE & JUKEBOX HIRE Superstar Karaoke & Jukebox Hire is friendly, efficient and affordable. We’ve also got the BIGGEST selection of songs with over 10,000 karaoke tracks and over 5,000 jukebox songs. Plus, we update our song lists monthly so we have the classics and all the newest hits! Visit www.superstarkaraoke.net.au today and see how we can assist you with making your next party or function one to remember. iFlogID: 6041

MUSIC PUBLICITY AND MARKETING

Petticoats & Gallantry has launched a new range of exclusive, boutique handmade & decorated false eyelashes perfect for going out. With a mix of over-the-top dramatic lashes suitable for Performances, Burlesque, Drag and even just for a special night out, you’re sure to find some one-ofa-kind false eyelashes to wear. Each pair is customised and decorated by hand in a variety of themes, and commission orders are very welcome. www.petticoatsandgallantry.com.au Look for us on facebook for exclusive promotions.

Promoting a CD? Want to let fans know about your gigs? Take your band to the next level with our competitive rates for your marketing and publicity needs. We strive to bring our artists to as wide an audience as possible conducting a broad media campaign which encompasses national print media and online promotion and an artist administration area allowing access to realtime 24/7 campaign results. We can also look after your paid advertising, sourcing some of the most competitive pricing. Contact 0402257148 or www.aaaentertainment.com.au

How To Get More Fans? Advertise your band on FACEBOOK! * * * Facebook Advertising Guide shows you how you can advertise on Facebook without braking your budget. Stepby-step instructions with illustrations. 122 pages. Now only $29.95 + postage. www.bit.ly/FacebookAdGuide

Need Sound for small functions/pub/ private events ? For as low as $100, you get a professional PA system, complete with a human operator as well for the evening. Contact Chris 0419272196

iFlogID: 6658

Score a Brand New Unopened Rode K2 tube studio condenser mic for a great price!! $890 check out features at factorysound.com Call to do the deal 0411083379 iFlogID: 9094

Tim Steward returns to Melbourne with WE ALL WANT TO, playing The Birmingham on 30th Oct. www. zenarcade.com.au is selling THE SANDINISTAS!(Tim-gtr,vcls) ltd ed 7” single of 2 great CLASH songs Straight to Hell b/w Complete Control! iFlogID: 8707

MUSIC SERVICES BAND MERCHANDISE

PEAVEY WINDSOR GUITAR AMP

BASS

iFlogID: 8721

iFlogID: 9001

iFlogID: 8976

iFlogID: 6510

VINTAGE GUITARS FENDER GIBSON MARTIN RICKENBACKER Buy Sell Trade www.mattsvintageguitars.com 02-9518-0150

RADIO BONDI IPHONE APP - FREE!

iFlogID: 8840

100 Watt all valve/tube head. HUGE hardcore tone. Incredible bottom end. Has been professionally modified 2 channel foot switchable. Runs EL34 power valve. Mint condition $750.00 ono. 0428744963. Cooroy

SCHECTER $1450 ONLY I AVAILABLE IN AUSTRALIA BRAND NEW IN BOX LIMITED EDITION MODEL “Twin Tribal” black, Duncan Designed pickups, Grover tuners, full-neck tribal inlays. Standard 25.5” scale “Devil” with extended 26.5” scale “Scorpion”... SYDNEY 0414 473 483

iFlogID: 8686

Ashton BA150 Bass Amp for sale. Excellent condition. Hardly used. Good clear sound and easy to use. Small mark on left hand side.

marshall MC212 2x12 extension cabinet for sale in kiama area.. 2x65 watt celestion speakers mono/ stereo inputs, 8ohms each input, both spekers brand new ,perfect condition,2 carry handles, and 4 screw in wheels, $350 o.n.o interested.... call at 0435510600

iFlogID: 8787

iFlogID: 6545

BURLESQUE & DRAG EYELASHES

FOR SALE

iFlogID: 8571

iFlogID: 6287

Sydney Spring 2010 - a compilation CD. www.swimmingpoolrecords.com

OTHER

NEW WAY COMMUNITY CHAPEL

BadCat ‘Hot Cat 30’ Head and 2x 212 Cabs and Covers... plus deluxe aluminium road cases for all 3 (not in picture). Am selling for overseas move. Only serious buyers, call to talk price! 0411083379

Special Packages available for artists and bands!! Whether being recording/ mixing. With networks to many studios around town your project will sound great and professional whilst working within a budget!! OUR PASSION IS TO CREATE RECORDS THAT GIVE THE LISTENER A HARD HITTING, FRESH SOUND THAT PUSHES BOUNDARIES, WHICH STANDS UP AMONGST THE INTERNATIONAL MARKET. WE SPECIALIZE IN HIP HOP/R&B BUT LOVE AND DO ALL GENRES. For a full list of our credits see myspace.com/mixinthelab. Contact us on 0424 462 945 or Email at thelab1@hotmail.com

iFlogID: 8947

VOLUNTEER

iFlogID: 5909

AmpliTube iRig. Plug your guitar into your iPhone/iPod touch/iPad and jam anywhere with world class guitar and bass tone right in the palm of your hand - from the leader in studio-class guitar and bass software. Simply plug the iRig interface into your mobile device, plug your instrument into the appropriate input jack, plug in your headphones, amp or powered speakers, download AmpliTube for iPhone Free and start rocking! You’ll have at your fingertips the sound and control of 3 recombinable simultaneous stompbox effects + amplifier + cabinet + microphone just like a traditional guitar or bass stage rig! Add amps and effects as you need them — you can expand your rig with up to 11 stomps, 5 amps, 5 cabinets and 2 microphones in the AmpliTube iRig app custom shop. ONLY $59.99 UNBEATABLE Logans Music (02)9744 2400 www.loganspianos.com.au

iFlogID: 8937

iFlogID: 8532

NEW WAY COMMUNITY CHAPEL a small independent and non-denominational, inner-city Christian Church would really like to be in touch with someone who plays a musical instrument to assist us in our Worship Services held every Sunday night from 5.00pm. Time wise? Involvement could be weekly or fortnightly and hopefully voluntary. For more information? Go to www.newwaychapel.org.au or phone Pastor David on 33665412. We’re looking forward to hearing from you.

SPECIAL OFFER!!!!

THE SPACED ARE HERE!

iFlogID: 5801

iFlogID: 8656

MASTERING Would you like your EP mastered for $450 (ex GST)? Or how about your album mastered for $900 (ex GST)? Matthew Gray Mastering - world class mastering from where you are right now. Check out the blog for details matthewgraymastering.com/blog. iFlogID: 8926

OTHER $ Promoters / Performers $ – Awesome Venue looking for promoters to start new nights and bring crowds. CBD, big capacity, late licence. PA, DJ booth & stage. Open to any style. Big opportunity $$$. Call Joe 0401 368 005 iFlogID: 9061

Australian Broadcasting Media(ABM) is on the lookout for female dj’s to assist in creating a new radio station! call Andy 0405900486 iFlogID: 8810

Excellent quality “road tough” guitar & bass effect pedals featuring rugged aluminium chassis construction, quality hardware & sturdy control knobs. All the effects you could ever need including metal, distortion, chorus, flange, phase, delay, overdrive, wah wah etc at great prices - starting from as low as $39.00 Order direct from our website www.ubersonic.com.au or contact us sales@ubersonic.com. au for more info iFlogID: 9037

GUITAR AMPLITUBE IRIG

www.myspace.com/thespaced

iFlogID: 5584

EP RELEASE So ya love rock? You ain’t never heard it like this! Download ENVY - IMAGES FOR THE LONELY out now on Itunes. Experience the new face of Melbourne rock! iFlogID: 9117

Can’t get the right hook, lick or riff for your track? Got writers block or just stuck for ideas? Call me on 0439 457 791 (10AM - 6PM), I might be able to help out! Jeff. iFlogID: 8605

GET YOU AND YOUR MUSIC ONTO AUSTRALIAN RADIO STATIONS+SMART PHONES AND INTERNET RADIO STATIONS WE’LL PLAY YOUR SONG 300 TIMES IN 1 MONTH FOR LESS THAN $2 A TIME.THATS A LOT OF COVERAGE FOR LITTLE MONEY EMAIL andy@zfmcountrywide.com iFlogID: 8997

HOW TO GET AIRPLAY? We’ve got the answer with over 30 FM & 30 internet radio stations as well as iphone/nokia apps we can make you shine just call Australian Broadcasting Media (ABM) on 0405900486 and ask for Andy iFlogID: 8808

Now you can leave feedback on your favourite tracks, vote 1-10 and like or dislike. A new user experience is coming this month, stay tuned! www. soundornot.com. iFlogID: 8795

We’ve had a few more artists sign up over the past week, come check them out. Also, the site is changing, so bookmark us and stay tuned! www.soundornot.com. iFlogID: 9092

PA / AUDIO / ENGINEERING

some of the most appreciated vintage and modern gear in combination of a myriad of assorted software and plug-ins that provides our clients an incomparable advantage in the sense of both the analogue and digital domains. THIS IN COMBINATION WITH MANY STUDIO CONTACTS AROUND TOWN, YOUR PROJECT WILL SOUND GREAT AND PROFESSIONAL WHILST WORKING WITHIN A BUDGET!! For a full list of our credits see myspace. com/mixinthelab. Contact us on 0424 462 945 or Email at thelab1@ hotmail.com iFlogID: 6285

Would you like your EP mastered for $450 (ex GST)? Or how about your album mastered for $900 (ex GST)? Matthew Gray Mastering - world class mastering from where you are right now. Check out the blog for details matthewgraymastering.com/ blog.

different ages and different levels (from beginners to advanced). $35/hour Located in Bondi Phone: 0410041979 iFlogID: 8454

SINGING LESSONS Certified Speech Level Singing (SLS) Instructor. Learn the Technique of over 120 Grammy award winners. Extend your Range. No more Breaks/Flips. Develop Strength. All Styles. Eastern Suburbs. www.myspace.com/mazvocalstudio Contact Maz: maz@mazmazak.com iFlogID: 9090

SONGSKOOL Learn how to write songs! Australia’s first songwriting school, now in it’s 8th year! Beginners and Intermediates welcome! Small classes. www.songskool.com tony@ songskool.com Mob 0403072974

maiden,Kalmah,Dethklok 0403138542

Blake

iFlogID: 8711

Tired of paying exorbitant amounts of money for studios? Get professional quality guitar tracks done for your demo/album online. Contact for more info. iFlogID: 8953

DRUMMER WANTED-PRO METAL BAND!

PRO TROMBONIST AVAILABLE

Hard-rock / Metalcore band seeks committed, self motivated drummer capable of playing to a Pro standard. Must be available for regular gigs, rehearsal. Must have a great work ethic and be easy to get along with, and share the same passion to pursue music full-time.

iFlogID: 8654

iFlogID: 6445

VIDEO / PRODUCTION HAVE YOU SEEN MIKE HUNT

DO YOU AND YOUR BAND WANT TO STAND OUT? WE HAVE THE BEST STUFF FOR YOUR GIG’S, WE ARE THE PROFESSIONALS IN SOUND AND LIGHT, WE HAVE THE TOP OF THE LINE GEAR AND WE ARE READY TO GIVE YOU AND YOUR BAND THE SHOW YOU NEVER FORGET Call Roger on 0447025967

REPAIRS

Professional Trombone player available for gigs, session and tours. Jazz, Funk, Latin, Pop, Rock and Classical. Can sight read, improvise and write parts. Contact Brendan 0409833827.

ROCKIN’ REPAIRS - GUITAR TECH

iFlogID: 4099

iFlogID: 5704

THE CHEMISTRY OF SOUND

As Engineers/Producers our passion is to create tracks that give the listener a hard hitting, fresh sound that sonically sounds PHAT and pushes the boundaries of what music currently sounds like in Australia, which stands up amongst the international market. WE SPECIALIZE IN HIP HOP/R&B BUT LOVE ALL GENRES. We’re located at Level 7 studios and the studio is decorated in some of the most appreciated vintage and modern gear which provides our clients an incomparable advantage in the sense of both the analogue and digital domains. Artists we’ve worked with include: Pharrell Williams, N.E.R.D., Kanye West, INXS, Black Wallstreet and a myriad of local artists such as Hyjak, Potbelleez, Vice Verser, Thundamentals, Fame, Tycotic, Rai Thistlewaite (Thirsty Merc), Wendy Mathews, Gin Wigmore, Tim Freedman (The Whitlams), Carl Riseley, Hoodoo Gurus, Wes Carr, You Am I, and many more. Contact us on 0424 462 945 and check out myspace.com/mixinthelab iFlogID: 6186

PHOTOGRAPHY

Do you live to play? Whether you’ve just bought a new guitar or an old favourite is feeling a little faded, we’ll bring the best out of it! Rockin’ Repairs is based in Point Piper in Sydney, Australia and offers restrings, setups, upgrades and repairs for all guitars and basses; no matter what you play or how you play it, we’ve got the tools and techniques to breathe life back into even the most mistreated guitar. We treat every instrument individually; time, care and love is taken with each job to get the best from your guitar. We work hard to give you the feel and the sound you want. 0405 253 417 tara@rockinrepairs. com www.rockinrepairs.com iFlogID: 5992

TUITION ************ITALIAN VIOLIN TEACHER************Years of experience, also AMEB. All levels welcome. West Ryde $30/half hour. 0415783160 or 1300 28 38 58 iFlogID: 8863

1-on-1 ELECTRIC & ACOUSTIC guitar tuition available for beginners and intermediate guitarists (ages 8-18). Tuition available for anyone on the North Shore (between Hornsby & Chatswood). Can also assist HSC students. Limited spots available! Ph. 0405 400 844 or avsguitar@hotmail. com iFlogID: 8536

Trish Watson Photography! A young western sydney based photographer with a flair for creativity. Specialising in band promotional and live photography, events and portraiture. Let your eyes be the judge! web: http:// trishwatsonphoto.com email: trishwatson@live.com

ABSOLUTEBEGINNERS4 GUITAR&KEYS

iFlogID: 8912

Australian Bands Only.Do you have A You Tube Rock Band Video you want to promote,if so Mike Hunt wants to promote it.Just send your link to admin attention Mike Hunt and we will do our best to list you for free worldwide at www.clearhunt.com

Do You Want That Million Dollar Sound On A Small Budget! CityOfNineGates is a studio near Bondi Beach that specialises in Contemporary and Urban music. To hear samples of recent projects and see testimonials – www.cityofninegates.com For Pricelist- cityofninegates@gmail.com iFlogID: 9057

SONICBOY STUDIO for solo artists and songwriters! Work with a Producer with cuts and credits! In Melbourne, interstate clients welcome! Demo’s/ Singles/EP’s/Albums www.sonicboystudio.com tony@sonicboystudio.com www.myspace.com/sonicboystudio Mob 0403072974 Tel 0398891558

iFlogID: 8918

Music Videos / Video Clips offer a great way to gain exposure, increase your fan base and re-enforce your image. www.immersionimagery.com iFlogID: 8667

We’ve made clips for El Duende, Line Drawings and Grace Before Meals. Get your band on Rage and Youtube, or make a video for your myspace page. Fantastic concepts and slick production that wont break your budget. www.dynamicscreencontent. com.au, facebook.com/dynamic. screen.content 0413555857 iFlogID: 9080

MUSICIANS AVAILABLE

iFlogID: 8652

THE LAB STUDIOS

DRUMMER EXPERIENCED SUNSHINE COAST BASED DRUMMER LOOKING FOR (OR TO START!)TALENTED LOCAL POPULAR ROCK COVERS BAND TO GIG ONCE/TWICE A MONTH. OWN GEAR AND TRANSPORT. CALL PHIL 0459 239808 (PEREGIAN AREA)

BRISBANE INSTRUMENTAL TUITION: Acoustic and electric guitar. Connor Cleary is a sought after blues and roots player, he is available to teach guitar in his studio located in Paddington, Brisbane. Limited students so be quick. CALL NOW ON O410634559 We are experienced risk takers that not only know the rules, but also know when and how to break them! We have been engineering and mixing for over 15 years and have worked in Sydney’s top studios. We also have our own Mixing/Production studio called The LAB, located at the famous Level 7 studios which is decorated in

iFlogID: 8629

Drum Lessons Location: Gladesville Billy Hyde Drumming Academy Trained. 15 years experience, all ages, levels and experience. Home Studio. Michael Mob: 0402 663 469 iFlogID: 9041

SAX TUITION IN BONDI Easy way to learn saxophone for students of

Acoustic Pop-Rock Specialist -www. jasonayres.com-

iFlogID: 5777

MUSICIANS WANTED BASS PLAYER 3 mid week inner Sydney original venues looking for original solo/duo acoustic acts and commercial rock acts. Acts touring interstate welcome. For more information contact: NowMuzik nowmuzik@gmail.com iFlogID: 9051

Are you a nasty, dirty, low down bassist? I am looking for you if you are. I am a early 30’s guitarist wanting to shake the world up a little bit.Devlin 0404739617.almost all styles and all peoples considered. CALLING ALL BASS PLAYERS Sydney Fusion Band , The Three Wise Monkeys has just launched a Free iPhone app for a limited time. Search on your iPhone APP store for “Three Wise Monkeys” or go to www.threewizemonkeys.com iFlogID: 9065

FEMALE BASSIST/VOCALIST WANTED. New band, booking gigs from November..looking to incorporate a committed lady who is keen to sing a little. Recording next year...Go to www.myspace.com/killandrewmusic for more information and to hear demo’s..or call andrew on 0403671588. Shins, BeachBoys, Pixies...Pop/Noise..wilco.

DRUMMER for gigs,tours,sessions etc. Good equipment, professional attitude. Many years pro experience working with well known artists. Please check out my website, www.mikehague. com Ph 0419760940 iFlogID: 5819

GUITARIST 20 Year old Guitarist influenced by most types of metal, hardcore and metalcore wanting to form or join a band. Have own transport and 100% committed. Western suburbs but willing to travel. iFlogID: 8633

Early 30’s Guitarist/de-Bassist looking for a noise grind stoner death punk recording project/band ie the melvins, entombed, pigdestroyer, darkthrone, sonicyouth, jucifer, shellac etc Open to all peoples and all ability levels. Have own gear and don’t mind sharing. 0404739617 iFlogID: 8771

Lead guitarist join a heavy central coast. ful Fate, Judas

looking to form/ metal band,on the Influences: MercyPriest, Metallica,Iron

Heavy Metal Band looking for drummer under 17. In South/eastern suburbs. Broad Influences. Must Have double kick and experience. Own Transport or available practice space. Personality preffered but not required. call Colin 0433081222

3 mid week inner Sydney original venues looking for original solo/duo acoustic acts and commercial rock acts. Acts touring interstate welcome. For more information contact: NowMuzik nowmuzik@gmail.com

Looking for a creative, dynamic drummer. We like Grizzly Bear, QOTSA, Radiohead, Sonic Youth, Nick Cave, Deerhunter, PJ Harvey. Demo can be found at www.myspace.com/ theowltreemusic Must have own car and gear. We rehearse in Richmond. Contact Alex on 0409771952. iFlogID: 8920

looking for a drummer to join a metal band in kiama region, influenced by slayer , megadeth, sabbath, guns and roses, ozzy, maiden , priest etc,good gear is a must. and a serious attitude. interested? contact at jamiesonhill@ hotmail or 0435510600 Play with passion! Versitile drummer is needed for our Sydney based originals band. Complete freedom to enhance our song writing with your ideas and drumming skills. You must be reliable with own transport and gear. www.myspace.com/insideoutoz (0408) 232110 Veneita vendel@ bigpond.net.au iFlogID: 8757

Synth-Pop act seeking Electric Drummer with own gear. 2-3 rehearsals a week. Gigs being booked now! Must be experienced, love the genre and be a great performer. Check us out at www.myspace.com/divineknightsmusic and email divineknightsmusic@myspace.com iFlogID: 8877

GUITARIST 3 mid week inner Sydney original venues looking for original solo/duo acoustic acts and commercial rock acts. For more information contact: NowMuzik nowmuzik@gmail.com iFlogID: 9049

Are you a nasty, dirty guitarist? I’m a 30’s guitarist/de-bassist wanting to shake the world up a little bit. melvins, pigdestroyer, baroness, sonicyouth, entombed, shellac, darkthrone etc If you dig some of these bands help me form an underground project/band. iFlogID: 8783

CALLING ALL GUITARISTS Sydney Fusion Band “The Three Wise Monkeys” has jst released an iPhone APP. Get it free for a limited time. Search for “Three wise Monkeys” on your iPhones App Store or go to www. threewizemonkeys.com iFlogID: 9055

Guitarist required for south/ eastern melbourne Metal band. Influences are Slipknot and BulletForMyValentine(early). Must be able to get to practice when asked. Must have fair experience and broad knowledge. call or txt colin 0433081222. iFlogID: 8984

GUITARIST WANTED TO TEACH

CALLING ALL DRUMMERS Sydney Fusion Band , The Three Wise Monkeys has launched a Free iPhone app. Search on your iPhone APP store for “Three Wise Monkeys” or go to www. threewizemonkeys.com iFlogID: 9063

iFlogID: 8801

DRUMMER WANTED FOR METAL BAND. WOLLONGONG AREA, ORIGINALS, HOME RECORDING. influences: Amon Amarth, Bloodbath, Tool, COG, Strapping Young Lad, Pantera... Contact us for more details. Mark Email: krammusil@hotmail.com Phone: 0402621247 Troy Email: mrc.1984@ yahoo.com.au Phone: 0431165853 iFlogID: 8990

DRUMMER WANTED. New band,

iFlogID: 8900

SYNTH-POP ACT SEEKING SYNTH KEYBOARD PLAYER. Rehearsals 2-3 times a week in Newtown. Gigs being booked now. Must have own gear, be experienced, love the genre and be a great performer. Visit www.myspace. com/divineknightsmusic and email divineknightsmusic@myspace.com iFlogID: 8879

We seek guitar players who are looking to earn money teaching guitar. Training and teaching materials are supplied. Teach from one of our schools or your own location. Limited positions available. Visit www.g4guitar.com.au for details. iFlogID: 7447

KEYBOARD FEMALE KEYBOARDIST/VOCALIST WANTED. New band, booking gigs from November..looking to incorporate a committed lady who is keen to sing a little also..Recording next

AWESOME DESIGNS AT AFFORDABLE PRICES www.melissahowarddesign. com for a full list of services including logos, posters web and much more. 0402796254 iFlogID: 8943

Do you need a new website? Want a great price without sacrificing quality? Make an impact online with a website that sells your business. 1-4 Page Website from $500. 5-7 Page Website from $800. 8-20 Page Website from $1200. iFlogID: 8789

GIGS FM muso’s...good enough for fm radio? wanna prove it? chance in a lifetime to get yourself out there and it won’t cost a cent!(and you wont charge me).Sorry Sydney only at present. Interested? contact andy@ gigsfm.com

FULL COLOUR POSTERS

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Visit our website for an extensive price list and other services! iFlogID: 6348

MUSICIAN & BAND WEBSITES

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ROCK COVERS BAND WANTED! EXPERIENCED SUNSHINE COAST BASED DRUMMER LOOKING FOR (OR TO START!)TALENTED LOCAL POPULAR ROCK COVERS BAND TO GIG ONCE/ TWICE A MONTH. OWN GEAR AND TRANSPORT. CALL PHIL 0459 239808 (PEREGIAN AREA) iFlogID: 8934

SYNTH-POP ACT SEEKING PROGRAMER/MD/KEYBOARD PLAYER. rehearsals 2-3 times a week in Newtown. Sydney gigs being booked now. Must have own gear, be experienced, love the genre and be a great performer. Exp in Logic. Visit myspace. com/divineknightsmusic and email divineknightsmusic@myspace.com iFlogID: 8881

SINGER Early 30’s guitarist forming band. I am hoping to find a singer with some skills on an instrument.I detest naming bands as I have my own style but I dig the MelvinsEntombedSonicYouth PixiesJuciferFugaziBaroness Darkthrone, To play a mix of noisepunkdeathdoomindiegrind. iFlogID: 9124

FEMALE VOCALIST/BASS/KEYS/ WANTED. New band, booking gigs from November..looking to incorporate a committed lady who is keen to sing a little..and..who..can..play.. either..keys..or bass..also. Recording next year...Go to www.myspace.com/ killandrewmusic for more information and to hear demo’s..or call Andrew on 0403671588. Shins, BeachBoys, Pixies...Pop/Noise..wilco. iFlogID: 8902

hey, looking for a singer, near or around kiama for a metal band, influences include, megadeth, slayer, pantera, guns and roses, ozzy, sabbath, maiden, priest etc etc. if interested contact at jamiesonhill@ hotmail.com or call 0435510600 iFlogID: 8671

SONG WRITER You MUST be a great male singersongwriter! Drummer is forming a fast paced original alternative rock band to get signed to a 360 deal. Must be ambitious, self-motivated, committed, reliable and have a lot of drive. Musical direction: Muse and The Killers etc. Age: 18-30. Rehearsing at Wetherill Park N.S.W. Only contact me if you want to get signed to a 360 deal! Phone Will: 0413 772 911. iFlogID: 8735

SERVICES

www.blackstar.com.au 100 Colour A4 Gloss Posters = $40. 100 Colour A3 Matt Posters = $50. 100 Colour A3 Gloss Posters = $80. More options to choose from Posters • Flyers • Handouts • Business Cards. We print your job within hours. • bsd@zip.com.au iFlogID: 8928

VIOLIN ITALIAN TEACHER - want to really learn all the tricks fast? AMEB exams or come just for fun. Years of experience. $30/half hour Ryde. 0415783160 iFlogID: 8682

VIOLIN TEACHER FROM ITALY - years of experience in Sydney AMEB or just for fun. Ryde Area. $30/half hour. Interested also in employment opportunities in other areas. 0415783160 iFlogID: 8727

Create your presence online and get noticed. Sydney based web designers are here to help you create and design your website with ease. We specialise in building websites that work. When you hire us to design your website we’ll give you a product that looks great and that actually works for your business or service. Packages start from $400 Call Richard or Kelly on 0424 125 169

SHARE ACCOMMODATION AVAILABLE Large Single bedroom Furnished Unit A minimum & maximum stay of 3- 4 months in Brighton near beach. Furnished with storage & accessories.Excellent for Summer! Call Ron 0401658007 iFlogID: 8620

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WANTED

MYSPACE BAND PROFILE FROM 200$ I’m starting a new business in CSS programming and I’m willing to charge very cheap to gather some folio with customized myspace profiles. This price will certanly increase after some productions, so be quick to not loose the oportunity. To know more about my work visit www. fugadalula.com.br/blog To quote: renato@fugadalula.com.br Thanks!

AMPS Rnb artist seeks volunteer web designers and online promoters/ managers to help create a buzz and distribute music online ultimately an building international a fan base checkout www.myspace.com/parafnaliasynced and email me exel1@ live.com iFlogID: 8831

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Reapers Image Design.All your multimedia needs met-logos,cd art & layout design,posters,stickers,video editing & filming,DVD construction, Multimedia solutions. Cheapest rates in Melbourne, we’ll beat any other legitimate quote. reapersimagedesign.com.au 0417 393 706

GUITARS LOOKING FOR ESP Looking for an Esp Horizon black. New or used. Email For more info. wtf_juice@hotmail.com iFlogID: 5875

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OTHER

OTHER ATTENTION: BAND/BUSINESS OWNERS - Learn to build premium quality, professional looking DIY Websites to promote your band or business. Attract traffic to your website(s) and Massively BOOST ATTENTION & PROFITS!! Goto ebizpro2go.com.au or call 1800610489 for a FREE Report! iFlogID: 8483

LIVE MUSIC photographer with industry experience. Rates open for negotiation. Sydney based photographer who is a big supporter of the underground music scene. Visit - www. alicepractice.net to view pictures or - alicepractice_x@hotmail.com to contact. iFlogID: 8895

NOT AVAILABLE FOR FREE ADS. CL Ataglance Media We specialize in a wide range of media from Music videos,weddings,adventure cinema photography, short independent films and advertising. We use high definition cameras and use the latest updated programs for editing. www. wix.com/Ataglance/glance iFlogID: 9059

SENIOR FIRST AID TRAINING $90 Senior First Aid training fully registered and approved. Just $90 Blacktown area. Group discounts avail. www.valiant.net.au Call 1300 600 343 iFlogID: 8972

TUITION BEAUTY SERVICES

P&O have teamed up with DJ Bootcamp to bring u Australias 2nd, 8 day/3 island professional DJ Course Cruise.Our First cruise was sell-out, so we’re doing it again! Learn professional DJing and enjoy, food,entertainmet,accommidation (1-4 people to a cabin) and 3 islands!Early booking discounts plus $75 bucks on board spending money if booked before Oct 31st, 2010.Go www.djbootcamp.com.au to book 95472578 info. DJ Bootcamp’s P&O Cruise sets sail July 17, 2011 so move it, move it, move it! iFlogID: 8304

MUSICIANS WANTED

If you want to join a band, form a band, find a new band member, get exposure, or just jam, then www. ozjam.com.au is for you! Whatever instrument or genre of music you play, Ozjam can connect you with other talented, like minded musicians who are looking to jam, gig, and even tour the World! Ozjam is loaded with features, it’s free to join and with over 4000 members its fast becoming the largest online music community in Australia today!

P&O/DJ BOOTCAMP CRUISE

GRAPHIC DESIGN

OTHER

GET SIGNED TO A 360 DEAL!

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drummer wanted for band. we sound like this www.hiyolb.com. if interested email: heroinyourownlunchbox@gmail.com

year...Go to www.myspace.com/killandrewmusic for more information and to hear demo’s..or call Andrew on 0403671588. Shins, BeachBoys, Pixies...Pop/Noise..wilco.

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iFlogID: 6426

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JASON AYRES

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A four week course that gets you playing fast. Individual tuition. Chords, Rhythm, Songs, Theory. 25 years specializing in teaching beginners! Gift vouchers available. Call David on 96603877 Annandale/ Inner West area.

BASS FOR BEGINNERS

SINGER

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Equipped with 13 years of bass guitar and musical experience, Rachael offers an introductory level of tuition for beginning musicians focussing on areas of technique, music theory, rhythm and performance. Open to all ages. Bass ownership not essential, studio location Eastern Suburbs. Contact 0415273252 or rachael.rees@ hotmail.com.

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Kontrol Productions is a highly professional production company that specializes in the production of music video’s. We employ a range of industry professionals to insure that our products are of the highest industry standards. For more info visit www. kontrolproductions.com

TOP PRO DRUMMER AVAILABLE

RECORDING STUDIOS

SAXOPHONIST AVAILABLE. Experienced saxophonist based in Sydney is looking for bands and studio sessions. Jazz, funky, afro, reggae, latin, rock, folk. If interested contact me at 0410041979. Cheers. Lorenzo

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MUSIC VIDEOS - B.Y.O. concept or let us serve you up something fresh! Let’s grab a cuppa and flesh it out ;) www.sketchbook.tv

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OTHER

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PROFESSIONAL SOUND AND LIGHT

booking gigs from November, looking to incorporate a committed drummer, Recording next year. Go to www. myspace.com/killandrewmusic to hear demo’s. for more information Call Alexander on 0428 880 665 or email killandrewmusic@gmail.com. Shins, Beach Boys, Pixies...Pop/ Noise, wilco.

ATTENTION: BAND/BUSINESS OWNERS - Learn to build premium quality, professional looking DIY Websites to promote your band or business. Attract traffic to your website(s) and Massively BOOST ATTENTION PROFITS!! Goto ebizpro2go.com.au or call 1800610489 for a FREE Report! iFlogID: 8481

MISS WORLD AUSTRALIA FINALIST ALEY GREENBLO has been selected to represent SYDNEY and attend the NATIONAL FINAL OF MISS BIKINI WORLD AUSTRALIA IN DARWIN. Aley will be competing against 34 other girls and the winner will represent Australia at the international final. Aley is currently MISS GLOBAL AUSTRALIA, MISS SUPRANATIONAL AUSTRALIA and a MISS EARTH finalist and is in search for a sponsor. Diesel Promotions will be filming the 11 day Miss Bikini World competition for a reality TV show which will provide great exposure. Aley will also be photographed during the competition and these photo’s will be circulated through the press and gain major publicity. In return, Aley has allowed her pictures for advertisement purposes for your own business. Additionally your logo and website link will be put on the official MISS BIKINI WORLD AUSTRALIA website as well as on Aley’s blog and other social networking pages. Aley is currently also engaging in Social Media, utilising Facebook as a way to engage with the public, increase my fan base, and raise awareness for local charities to protect the environment. The page will be custom designed, and is offering a sponsor to completely brand her Facebook page. You will also have the opportunity to run competitions on my page, as well as offer discounts, and engage with my audience. Working with a top global marketing company based in Australia, the Facebook fan page will have 10,000 fans by the end of August 2010. These fans are highly targeted towards your demographic, and will be a great way to engage with them. Please see Aley’s blog for more info about her and we look so forward to hearing back from you http://aleygreenblo.blogspot. com/ Facbook: Aley Greenblo Email: aley_greenblo@hotmail.com

For a limited time. Free online and print classifieds Book now, visit iflog.com.au 82

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