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Open...MON - THU...from 4pm ‘til late FRI...from 2pm ‘til late SAT - SUN...from 12pm ‘til late

Live Music Bookings



Summer Special Two for one meals on Mondays (excludes steak, fish and specials)

bookings: 9482 1333






ISSUE 1165




Thursdays 17 & 24

Sweet Jean Beautiful “aspirational folk” by Sime Nugent & Alice Keath 7.30pm

Sat 19 & 26 March

Yanto Shortis & Band He’s back!! The legendary Yanto Shortis is out of his four-year hiatus to play four cranking sessions of original, sophisticated, folk-tinged country. These will be special shows. 5pm Sat 19 March

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Who’s playing what with Charts; 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 Seekae are “quite shit” at recording Stone Temple Pilots are full of piss and vinegar Ed Kuepper is promising to rehearse ahead of this week’s shows The Triple Rainbow tour unites three of this country’s finest up-and-comers You won’t catch Leftfield trading on past glories On The Record rates new releases from Hercules & Love Affair and Peter Bjorn & John Thousand Needles In Red cringe at footage of their early shows

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This Week In Arts plans your week ahead Suite Synergy melds two of Graeme Murphy’s dance works Chunky Move’s Gideon Obarzanek flies solo in Faker The Butterworth brothers aim to demystify the artist Film Carew checks out the Melbourne Queer Film Festival ACCA’s New11 highlights the best in contemporary art The Melbourne Queer Film Festival celebrates its 21st birthday Cultural Cringe hangs out Moomba Trailer Trash provides a progress report on Guillermo del Toro’s latest project

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Hang ten with All India Radio Afro Celt Sound System’s live show is constantly evolving The Bell Parade pine for the warm sounds of the ‘60s and ‘70s Bright Knights want you to break out the Derwents Damn Terran waste no time in making a racket Watussi are big in Colombia Leadfinger are too ugly to be famous Massive are Australia’s biggest youth hip hop choir Mundy still gets royalty cheques from the Romeo & Juliet soundtrack Jimmy Tait sound a bit like Mazzy Star Nathalie Natiembe turned to music after bring struck by illness Red Rockets Of Borneo simply make music for fun Gig Of The Week is excited to hear that Justin Townes Earle is clean LIVE:Reviews passes judgement on Rihanna Sarah Petchell will Wake The Dead with her punk and hardcore talk 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 If you haven’t appeared in Fred Negro’s Pub, your mother probably still speaks to you Jeff Jenkins gets down and local in Howzat! Our Gig Guide fills your diary for the weekend Gear and studio reviews in BTL Find your new band and just about anything else in our classy Classifieds



Group Managing Editor Andrew Mast Editor Shane O’Donohue Front Row Editor Daniel Crichton-Rouse Contributing Editors Adam Curley, Bryget Chrisfield Staff Writer Michael Smith

ADVERTISING National Sales & Marketing Director Leigh Treweek Victorian Sales Manager Katie Owen Senior Account Executive Nick Lynagh Bands &Local Advertising Dean Noble Sales Assistant Kobi Simpson

DESIGN & LAYOUT Group Art Director Stuart Teague Inpress Cover Design / Art Direction Matt Greenwood Layout Matt Davis, Kieryn Hyde, Stuart Teague

ACCOUNTS & ADMINISTRATION Reception Holly Engelhardt Accounts Receivable Anita D’Angelo Accounts Payable Qing Shu

CONTRIBUTORS Senior Contributors Clem Bastow, Jeff Jenkins Overseas Contributors Tom Hawking (US), James McGalliard (UK), Sasha Perera (UK). Writers Nick Argyriou, The Boomeister, Atticus Bastow, Steve Bell, Alice Body, Tim Burke, Luke Carter, Dan Condon, Anthony Carew, Chris Chinchilla, Jake Cleland, Rebecca Cook, Kendal Coombs, Adam Curley, Cyclone, Guy Davis, Carolyn Dempsey, Liza Dezfouli, Lizzie Dynon, John Eagle, Guido Farnell, Sam Fell, Bob Baker Fish, Robert Gascoigne, Cameron Grace, Stu Harvey, Andrew Haug, Andy Hazel, Andrew Hickey, Joey Lightbulb, Michael Magnusson, Baz McAlister, Keith McDougall, Sam McDougall, Tony McMahon, Count Monbulge, Luke Monks, Fred Negro, Mark Neilsen, Roger Nelson, Danielle O’Donohue, Matt O’Neill, James Parker, Adam Psarras,


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Josh Ramselaar, Paul Ransom, Leonie Richman, Symon JJ Rock, Antonios Sarhanis, Ingrid Sjolund, Dylan Stewart, Nic Toupee, Rob Townsend, Danielle Trabsky, Dominique Wall, Doug Wallen, Jeremy Williams.

PHOTOGRAPHERS Senior Contributor Kane Hibberd Jesse Booher, Chrissie Francis, Andrew Glover, Kate Griffin, Andrew Gyopar, Lou Lou Nutt, Gina Maher, James Morgan, Heidi Takla, Nathan Uren.

INTERNS Stacey Elms-King, Stephanie Liew

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. ©

DEADLINES Editorial Friday 5pm Advertising Bookings Friday 5pm Advertising Artwork Monday 5pm General Inquiries (no attachments) Accounts/Administration Gig Guide Distribution Office Hours 9am to 5.30pm Monday to Friday

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PRINTED BY Rural Press Victoria

Bakersfield Glee Club Trad 1920s country from Bakersfield 9pm

Sun 20 March

Anthony Atkinson & the Running Mates Angular folk songs with a pop sensibility. 5pm



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SXSW Keep up with all the latest from the annual international music event SxSW as it takes place this week in Austin, Texas. Street Press Australia and are there so that you don’t have to be.

296 OFFICIAL BANDS OVER 50 AUSTRALIAN BANDS 4 DAYS NON-STOP GIGS This year’s SxSW promises the usual mix of arena names, underground blog faves, comebacks and chancer buskers. SxSW 2011 is where Duran Duran, The Strokes, Gayngs, Yuck, The Fleshtones and Yoko Ono can all be found gigging in the one city in the same week. Be first to find out how it unfolds through


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ON THE STEREO Screws Get Loose THOSE DARLINS Lecherous Gaze LECHEROUS GAZE Red Rockets Of Borneo RED ROCKETS OF BORNEO The Balladeer Hunter MIKE NOGA Several Shades Of Why J MASCIS Friday REBECCA BLACK You And I YOUNG REVELRY He Gets Me High DUM DUM GIRLS Queens Of The Stone Age QUEENS OF THE STONE AGE We Make The Music LEADFINGER


FRONTLASH Friday: the day before Saturday

FRIDAY ON MY MIND Rebecca Black’s hilarious Friday clip is a spot-on spoof nailing the vapidness of the current glut of tween stars. Problem is, it ain’t a gag. Once the laughter stops, check out the disturbing roster of similarly aged females on the books of the song’s LA-based creators, Ark Music Factory.

DALLAS DOES DALLAS Great to see local rockers Dallas Crane back for a one-off show (Sunday 10 April, the Tote), even if it is for a sad cause – the gig is a benefit for the bloke whose name the band co-opted, who has been diagnosed with cancer.

BIGGER THAN TEXAS Can’t wait to land in Austin, Texas for a few days of music madness at the South By Southwest music conference. The line-up, as ever, is huge, and we’ll be bringing you daily updates via

BACKLASH Barnesy: too much

TRIPLE J HIT LIST Sing It (The Life Of Riley) DRAPHT Angles THE STROKES Money And Run (Feat Nick Cave) UNKLE Rich People Are Stupid BALL PARK MUSIC Windows BROKEN BELLS The Sum Of It All THE HERD Lights On [Feat Ms Dynamite] KATY B The White Line BONJAH Build A Rocket Boys! ELBOW YSLM (You Stopped Loving Me) BURNS & FRED FALKE

SYN TOP 10 Blackbird BON CHAT, BON RAT Traitor INLAND SEA The Struggle LIAM FINN Hold Out Your Hand OH MERCY You Do The Maths STREET CHANT Black Eyes THE TWERPS Buffalo THE WAIFS For You WOOLLEN KITS Do You Need Someone? BETH DITTO Savage Night At The Opera DESTROYER


OBAMA’S (MISS) TAPE There seem to be some problems with the mixtape our PM Julia Gillard sent to Barack Obama; too much Barnesy (yes, there is such a thing), too many Kiwi tracks and a little too steeped in past successes. Jules (or her advisor) should have read High Fidelity before launching into the task.

TRIGGER HAPPY We should know not to expect too much from a state that elected an action movie star as its governor, but news that pollies in California are petitioning to carry concealed weapons for protection is too bizarre for words.

CLIMATE OF FEAR Great to see a decent crowd turn out for the climate change rally on Sunday, but as one ‘natural’ disaster is followed by another, even the most staunch denier must surely be waking up to the fact that we’ve well and truly cooked our planet.

Email from 5pm Wednesday

British electro punks Does It Offend You, Yeah? have returned with their long-awaited second album, Don’t Say We Didn’t Warn You, out now through Pod via Inertia. Thanks to Inertia and SPA we have an amazing prize up for grabs, which includes a keyboard, a drum skin, a signed t-shirt and a copy of the new album. To be in the running to win this awesome prize pack DO NOT email us, simply head over to the Inpress Facebook page. Entries close 5pm, Friday 25 March.

Nathalie Natiembé doesn’t need any tricks to fascinate. She starts every one of her shows with just her voice. Some say she’s like a griot playing with Créole as well as French. Natiembé lives on multiple influences, crossbred sounds, and is immersed in jazz, songs, reggae and a whole lot of rock. Following her performance at Womadelaide, she plays live this Thursday at the Toff In Town and we have two double passes to give away.

Canadian quartet The Trews return to Australia for the second time since their September 2010 album release. The Trews’ rock troubadour credentials are vast – four albums in seven years, two of them certified gold in their homeland, multiple awards and close to 800 live shows along with support slots for The Rolling Stones, Robert Plant, Guns N’ Roses and Kiss. Check out their killer live show when they play this Thursday at Geelong’s National Hotel and at Cherry Bar this Friday, Saturday and Sunday. We have three prize packs to give away; one for each Cherry Bar show. Each pack contains a double pass, CD, sticker and badge.

Ambient instrumentalists All India Radio return with a brand new line-up to launch their new album The Silent Surf. At their first show in more than a year, the band will be playing tracks from the new album plus old favourites from their 11-year back catalogue. Their new album has been described as “shimmering acoustica”, “post-rock space folk” and “lush”. Listen and see for yourself when All India Radio play at the Northcote Social Club this Sunday afternoon (2-5pm)with support from Cam Butler (Silver Ray, The Coralinas). Tickets are $10 at the door but we have three prize packs to give away, each containing a double pass and CD.

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.







This coming June will mark two years since The King Of Pop passed away, but that hasn’t stopped posthumous material from being rolled out. A collection of previously unheard Michael Jackson songs that were brought to completion by various producers, entitled Michael, was released on 14 December 2010 but failed to replicate the sales frenzy that saw the soundtrack to This Is It shift 890,000 copies in five weeks and record stores struggling to keep up with the demand for Michael Jackson bestofs immediately following his death. Michael came with a ten-page booklet claiming the album was in tune with what Jackson had been working on, up until the time of his death, and had originally planned to release as a follow-up to 2001’s Invincible. The second official single from Michael, a Teddy Rileyproduced number called Hollywood Tonight, comes with an accompanying music video and features an extraordinary dancer, Sofia Boutella. The story goes that Jackson was so enamoured by Boutella’s style (Google the clip and you’ll immediately see why) that he wanted to employ her for his O2 Arena shows but the dancer was still under contract for Madonna’s Confessions tour. According to The Huffington Post, when Jackson noted Boutella’s disappointment, he turned to his people and said, “I used to date Madonna. I should call her.” A scene in the video shows Boutella dressed in the style of MJ, nailing Jackson-inspired choreography and paying homage to her idol. As for the song itself, the basis for the lyrics harks back to 1999 when Jackson was staying at the Beverly Hills Hotel. Jackson then took these ideas to Brad Buxer and the pair worked on the music during the early sessions for Invincible. Work on Hollywood Tonight ceased as soon as Rodney Jerkins entered the fold to complete work on Invincible but Jackson’s notes show the collaborators returned to the song numerous times before his untimely death. Jackson asked recording engineer Michael Prince to put the latest mix on CD in 2008 so that he could work on it, but this unfortunately never came to pass. Riley’s production on the track reportedly stays true to the original demos, including the intro and outro. It’s also said that some of the operatic vocals were lifted from a tape that was left running during a recording session that took place in a hotel room. The fact that Howard Mann from Toronto bought a warehouse full of Jackson paraphernalia ad discovered the masters to 273 unreleased Jackson tracks therein, confirms the unheard tracks will keep coming. “The recordings belonged to the Jacksons. I bought them with the contents of the warehouse,” Mann told the American entertainment industry news website, Showbiz 411. As such, Mann believes he now owns the recordings and can release them as he sees fit without the permission of the Jackson Estate, although he has recently had some one-onone business dealings with Katherine Jackson. “My arrangements have nothing at all to do with Joe Jackson,” he stressed. Jackson’s estate signed a $250-million deal with Sony late last year, which translates to ten albums over the course of seven years. These releases will be comprised of a combination of both reissue and original sets. After watching This Is It, Jackson’s perfectionism stood out as a defining quality, which makes the idea of his unfinished musical sketches seeing the light of day without his final say all the more questionable. If you’re keen to “become part of the most epic, international, and crowdsourced Michael Jackson video of all time”, head to, select a role for yourself and get involved in the Behind The Mask project. Obviously the third single to be lifted from Michael.


Sonic Youth’s lanky frontman Thurston Moore has a new solo offering due out this year and it’s been produced by Beck. The album, titled Demolished Thoughts, is scheduled to drop on 24 May and some of the musicians he has rounded up include violinist Samara Lubelski (who also played on Moore’s previous solo album of 2007, Trees Outside The Academy), Mary Lattimore on harp, Bram Inscore on bass and Joey Waronker on drums.


A couple of tracks from Brooklyn quintet TV On The Radio’s forthcoming Nine Types Of Light set are now streaming. Will Do is a slow jam that kicks off with solo xylophone before a flood of eerie distortion and squally guitars enter the mix, underscoring plaintive vocals and strings. Hear that one on Soundcloud. In exchange for some details, you can also download Caffeinated Consciousness – a faster paced, jerky track (as the title suggests) with a belligerent vocal delivery that channels Mick Jagger. Both tracks bode well for the variety and quality that will surely be found within Nine Types Of Light, which is slated for a 12 April release.




Last Dinosaurs playing in Slide’s Laundromat. Pic supplied by Foxtel.

Rumours circulating that Melbourne’s prominent venue The Palace Theatre is under threat from developers may have been exaggerated. The Age is reporting that meetings have been held between planning consultants Urbis and State Planning Minister Matthew Guy for a 140-metre high apartment block and that the developers have the option to buy the premises should the planning talks be successful. The Front Line could not confirm the reports with the venue.

MERCH LABELS COME TOGETHER Two of Australia’s leading merchandising companies, Love Police and Australian Tour Merchandising, announced a merger of their merchandising interests last week. Love Police/ATM will be run by Love Police’s Brian Taranto, under Mushroom’s (who own ATM) Vincent Donato, who will act as managing director. Taranto originally worked for Michael Gudinski’s Mushroom Group, before splintering off and eventually creating his own label, Love Police. In a statement to The Front Line, Gudinski said, “I’ve always had the greatest respect for Brian Taranto and to see both our companies coming together and having him back in The Mushroom Group Of Companies is very exciting for us all. His knowledge and unique creativeness will add so much to the new entity.” The acquisition of Love Police – which currently services Big Day Out, Splendour In The Grass and many top-level Australian bands – will help ATM have a further presence in the local market as they’re usually associated with higher profile tours by the likes of Keith Urban, Taylor Swift and Kylie Minogue. Love Police’s touring arm, responsible for The Black Keys, Wilco and Justin Townes Earle, will remain a separate entity.

UNFD OFFERS WARNER PATH The Staple Group’s UNFD has signed a distribution deal with Warner Music for some of their artists. Recently launched as an amalgamation of the Boomtown label and Staple and Boundary Sounds’ managerial interests, existing distribution deals held by UNFD artists are likely to stay in place, while the option for Warner distro now exists. Currently on the UNFD roster are the re-formed The Getaway Plan, Miami Horror, The Amity Affliction, Philadelphia Grand Jury and more.

FORUM TO MAINTAIN LIVE MUSIC Current bookers of Sydney venue The Forum have announced that they’ll no longer be in charge of the venue, claiming in a press release that the venue’s ‘doors have closed’. The Front Line believes the new bookers will continue to host live music at the premises, although the identity of who will take control is unknown. Sounding disappointed in a statement, booking agent and Waterfall director Damian Comerford said, “The landlord has decided to capitalise on the success of Waterfall Entertainment and The Forum by negotiating a new lease to a national operator.” Waterfall declined to comment further. Comerford also said that Waterfall “will be announcing our next project shortly and are hoping to deliver as we have done in the past with both the Gaelic Club and The Forum with an exciting new venture”.


Announced on the Destroy All Lines-promoted Destroy Music tour, I Killed The Prom Queen’s reformation rumours have been confirmed. The band, however, will be without any of the four previous vocalists, with The Red Shore’s former singer Jamie Hope joining the returning line-up of Jona Weinhofen, JJ Peters, Kevin Cameron and Sean Kennedy. Destroy All Lines confirmed that Hope will be joining the line-up, although they did not confirm who will be taking up vocal duties. Weinhofen, now with Bring Me The Horizon permanently, sings backing vocals but rumours that he’ll be the lead vocalist appear to be incorrect. Hope took up vocals in The Red Shore following the deaths of the band’s frontman Damien Morris and roadie Andy Milner in a car crash. Hope was charged with negligent driving over the incident but was later found not guilty.

FIVE BIDDERS LEFT FOR WARNER The ongoing bidding war for the whole or parts of Warner Music has been whittled down to five prospective buyers in the second round of bidding. The five are speculated to be the five favourites from the original reports, including private equity firms Yucaipa Companies and Platinum Equity, the KKR-backed BMG, existing Warner Music shareholder Len Blavatnik’s Access Industries and fellow major label Sony. According to a report in the New York Post, the Warner board is divided as to whether to sell the whole company or just the Warner Chappell portion with a view to acquiring fellow struggling label, EMI.

UNIVERSAL WON’T REPLACE MORRIS Following the news that Sony had nabbed veteran Universal chairman Doug Morris to be their new CEO, the Universal Music Group has announced that Lucian Grainge will take up the slack in addition to his existing role as CEO of the company.


The John Steel Singers, Last Dinosaurs and Ball Park Music are the three Brisbane bands that will feature playing live in Foxtel’s in-production teen drama SLiDE, it was revealed in newsletter Daily SPA last week. Touted as Australia’s answer to Skins, the show is based on the exploits of five 17-year-olds and their graduation into adulthood and finishes up production in Brisbane and surrounds this week. Music coordinator Jemma Burns told Daily SPA, “I don’t want to give too much of the storyline away but one of the bands [Last Dinosaurs], they do a pop up gig at a laundromat which all the kids attend and then one of them is at a pool the kids hang out at [Ball Park Music] and there’s a gig on at the pool, which is fantastic, and we’ve created a whole music festival [John Steel Singers].” Expected to air on Foxtel’s entertainment channel Fox 8 (a pay TV network with a strong reputation for producing local programs such as Australia’s Next Top Model and Dangerous), it is expected to air before the end of the year. This show is Brisbane-centric and executive producer Dave Taylor said, “We’ve shot at Ric’s Bar, we’ve spent a lot of time shooting in the Valley, it is set in Brisbane. We were lucky with this series, we were able to shoot it all on location so we weren’t hemmed into regular locations like you would a soap opera or something. We were free spirits across the city, shooting wherever we needed to shoot the story.” “Brisbane is a huge part of the show,” Burns continues. “It’s almost like a character in the show, it will appeal to people who don’t know Brisbane as well but anyone who does know Brisbane, there’ll be so many references in there.”

MOVES AND SHAKES Sarah Stewart is the new Marketing Manager for Domino Records, whose parent company is EMI.

FIRES LOOK TO ROCK HARD Melbourne’s The On Fires have announced that their upcoming American tour will be sponsored by American website, – a video hosting website for fans of the now defunct Guitar Hero series, emerging bands, as well as karaoke and air guitar videos. The band decided to try their hand at international touring after the response from the Australian industry was “a little less inspiring” than the response they claim to have received from fans.

FRESHLY INKED Canberra/Sydney based hardcore melting pot I Exist has signed with Resist Records for their second album and follow up to I: A Turn For The Worst. The seven-piece is heading into the studio this week to start work on the record, returning again to Melbourne’s Goatsound Studios with Billy Anderson in the producer’s chair. The Gold Coast’s Nine Sons Of Dan have signed a management deal with A A A Entertainment. Fronted by Californian-born Jay Bainbridge, the band’s debut EP is Landslide. Also from the Gold Coast, punk trio Skinwalkers have signed with Greg Sawers Management, while their second EP Fall Or Resist is to be released through MGM. Independent label Blue Pie have been busy in the week that’s passed. They announced that hardcore label Left As In Sinister have joined their roster, as has 23-year-old Sydney R&B electro artist Chris Melotti. They also announced, along with tours, that Tasmanian-born composer Michael Horsphol has been nominated for the 2011 Hollywood Music In Media Awards.

HISTORIC THEATRE TO CHANGE HANDS The historic Theatre Royal in Castlemaine, Victoria, has been put up for sale. A letter from owners David Stretch and Sarah Burdekin was sent to members of the theatre’s website last week, outlining the plans for an imminent sale. Stretch said, “We are finding it increasingly difficult to effectively manage the business while dedicating sufficient time to the lives of our four children (and my partner!). Importantly, we have successfully grown the business to the point where it represents a significant commercial opportunity for a prospective purchaser. We are proud of the work we have done in building and broadening the business and hopefully, securing the long-term viability of this historic theatre.”

MUSIC’S FOOTPRINT The Sound Emissions website has been updated with new content regarding case studies of Homebake, Splendour In The Grass and tours by Missy Higgins and Silverchair/Powderfinger in regards to their attempts to educate the music community with information and recourses to reduce the environmental impact of the Australian music scene. Head to au for more.

TOURS DODGE THE MARAM The closure of Canberra venue The Maram to live music has thrown touring plans into disarray, with the likes of Propaghandi, Oh Mercy, Gareth Liddiard and Frenzal Rhomb all having to move their shows. It is understood that the venue is currently not hosting live music and though a representative could not be contacted, it is believed there are limited plans to reinstate it. A booking agent from one of the re-scheduled tours also declined to comment. Live music aside, The Maram has had a rough start to the year with a glassing having taken place mid-February.


The U2-soundtracked Broadway music Spider-Man: Turn Off The Dark has been put on hold and the release date shifted back for the sixth time, as the most expensive and technical show in Broadway’s history goes under a massive overhaul, according to The New York Times. The first step has been to relieve high-profile director Julie Taymor of her duties, as was speculated. The show has racked up the most preview shows in Broadway history, despite scathing reviews, and is increasingly embarrassing for the production team and U2, despite the financial success of the project. Speaking to Rolling Stone in a story for U2’s latest album No Line On The Horizon in 2009, The Edge was hesitant about Bono’s plans to score Spider-Man and it seems his trepidation was justified.

INSTRUMENTS DOWN Original bass player for Alice In Chains, Mike Starr, has passed away aged 44. Cause of death has not been confirmed, but Starr’s battle with addiction is well know and he appeared in a season of American reality TV show, Celebrity Rehab. Starr was arrested three weeks ago on an outstanding warrant and was found with unauthorised prescription medications on his person at the time. Got news? Announcements? Gossip? Unsubstantiated but hilarious rumours? Send them all to




The APRA Professional Development Awards are handed out every two years to assist emerging Australian songwriters and composers in getting themselves heard. DAVE DRI speaks to some of this year’s winners. APRA winners Alex Pozniak, Catherine Kelleher (Catcall), Brendon Boney, Harmony James, Rohin Jones, Timothy Stevens and Caitlin Yeo

“I guess the cash element is extremely important because it means that I can fast-track things I’ve wanted to do that I’ve needed to save up for, like travelling to do co-writes. Part of the pitch to try and win this was saying that I want to do some co-writes in Sydney – I’m based in Brisbane – and also to go to the States, both of which I’m in a position to do now, which will really help me consolidate my networks and get out there more.” The access to industry resources is something that is equally appreciated by Brendon Boney, taking out the indigenous category as part of the genre-blending duo Microwave Jenny. “We’ve been actually trying to figure out what to do with that. It’s kind of like somebody saying you can have more time then you need, and then trying to figure out what to do with it,” says Boyd. “Probably the biggest, most exciting part for us is trying to figure out what to do with that day [in the studio], because we do need a lot of mixing and recording to finish off some touches for an album we’ve been putting together.”

The winners of the 2011 APRA Professional Development Awards have been announced, with the eight winners of the bi-annual awards selected in the categories of The winners of the 2011 APRA Professional Development Awards have been announced, with the eight winners of the bi-annual awards selected in the categories of Popular Contemporary, Film & Television, Classical, Jazz, Indigenous and Country. The awards are a great opportunity for the recipients, who will get a massive leg-up as they each receive career-boosting prizes worth $25,000. Winners include Harmony James, recipient of the award

for the Country category, who was excited at the timing of the competition. “I won a MacBook as part of the package, which is so timely – my old MacBook was dying and there’s no letter ‘O’. I was typing emails and copying and pasting until the sentence made sense,” he says. For James, the significant cash prize element, complete with Studio 301 studio time, will unlock career opportunities. “We’re looking to do another album soon and the studio time will come in great for that, and there’s a heap of Sydney artists that I want to write with as well, so there’s certainly not going to be any problem using up that part of the prize.

This year’s round of the PDAs was one of the most popular yet, starting out with a talented pool of 2,500 music artists to whittle down to a group of 250 songwriters and composers. Of this shortlist, only eight winners were possible, providing great recognition for the recipients. Speaking of the honour of being in such esteemed company, Boyd was extremely positive on the implications of the win. “We don’t really see it as any kind of pressure of anything on us,” he says. “We put a lot of pressure on ourselves anyway to try and come up with the best performances and music that we can every time we do anything, so getting an award like this isn’t really any kind of pressure. It’s actually a bit of a relief and a nice feeling to get that kind of recognition.” Harmony James shares the excitement, speaking to Inpress while rushing through an airport. “It’s good,”

she says. “You put yourself out there and just try and get as many breaks as you can. You’ve got to cop your knockbacks as well, so when you get a really good win like this it’s just so encouraging.” The other recipients of 2011 PDAs include Sydney’s Caitlin Yeo for the Film & Television category, composer Alex Pozniak for the Classical category, and Melbourne’s Timothy Stevens in the Jazz category. The Popular Contemporary category awards three prizes, the winners being Rohin Jones (of The Middle East), Catherine Kelleher (performing as Catcall) and Zoe Randall (one half of the duo Luluc). Speaking after the announcement, Jones said, “The APRA PDA will do so much – I’ve been trying to get a studio together to do some more home recordings and I think I have most of what I need for the studio now because of the award. And I can kinda pay myself to record for the rest of the year. It’s a really sweet prize and will allow me to keep writing music.” Each APRA PDA winner receives prizes that will substantially support their burgeoning careers as songwriters and composers, including a cash prize of $10,000, a full day of studio time at Studio 301, and an Apple Macbook pre-loaded with Logic Studio. Additional category-specific prizes and industry development resources ensure that the 2011 recipients are afforded every opportunity to develop their respective projects on a national and international level. As Brendon Boney puts it, “It’s such a hard thing to actually get perspective on that you’re just as likely to be able to produce something that’s recognised nationally as anybody else in the country. There’s no reason why anybody from anywhere shouldn’t be able to do it.” With the 2011 APRA Professional Development Awards under their belts, this year’s winners have every opportunity to do exactly that.





Australia has gone wild for New York indie pop trio The Drums. Their show at the Corner on Friday 29 April has sold out, but don’t worry if you didn’t get a ticket because they’ve announced a second show on Thursday 28 April. The Drums’ highly anticipated return to Australian shores after their live debut here in the winter of 2010 will also include a five-stop regional festival extravaganza on Groovin’ The Moo. Confirmed as the national support act for The Drums’ headline shows are Tasmanian outfit, Tiger Choir, who recently supported Deerhunter.


After a highly successful DJ slot on the Big Day Out tour, Sampology has announced his brand new 2011 AVDJ show, the Super Visual Monster Mash, touring Australia from late April 2011. Sampology’s Super Visual Monster Mash draws inspiration from horror themes from yesteryear to today. Zombies, ghouly creatures and monstrous fun feature in this visual mash-up of exerts from films, TV shows, film clips, YouTube clips and vintage footage, all mixed live from Sampology’s turntables, magic Super Visual vinyl, mixer and drum machine, and projected on to a huge widescreen. Sampology is also donating $2 from every ticket purchased to the Premier’s Disaster Relief Appeal. Experience this audiovisual feast on Saturday 30 April at the East Brunswick Club.




ENTRY $7, 8.30PM





ENTRY $5, 8.30PM



For the first time in three years, Australian hip hopper Pegz takes his show on the road. Joining him as part of his show will be Melbourne’s Eloquor and DJ 2buck, while supports are Dialectrix and Dutch. He plays the Westernport Hotel in San Remo on Friday 13 May, the Karova Lijnge in Ballart on Saturday 14 May, Kay St in Traralgon on Thursday 19 May and the Hi-Fi on Friday 20 May.





The second annual Ballarat Acoustic Music Festival takes place again on Earth Hour night (Saturday 26 March) and is completely acoustic, showcasing the brilliant achievements of musicians throughout the Ballarat area and showing support for sustainable energy use. There will be no electrical amplification whatsoever and the entire night is lit using stored solar energy. Held at the Ballarat Observatory, performing on the evening are Rae Howell, Adam Simmons & Steve Heather, The Sljivovitz Orchestra, The Illuminators, Liz Frencham, Ali Bakhitarvandi & Mladen Ilic, Jacinta Dennett & Patrick McCabe and The Gus & Bags Acoustic Jukebox. With music ranging from new Australian composition for vibraphone and cello duet, sonic jazz exploration, Balkan-inspired dance bands, gospel vocal quintets, traditional Iranian music on traditional instruments, classical guitar and harp duets, upright bass player and singer solo sets, this family-friendly festival celebrates Earth Hour under the stars.

ENTRY $8, 8.30PM











ENTRY $5, 9PM $10 JUGS!




ENTRY $5 DOOR, 9.30PM $10 JUGS!


Hip hop artists Pez and Maya Jupiter will be spreading the message of respectful relationships to young people across Australia on their Change It For The Better tour. The tour is part of the Australian Government’s The Line campaign, which is a $17 million initiative to encourage respectful relationships in an effort to reduce the incidence of relationship violence. Launched last June, the four-year campaign uses social media, youth media and music to reach young people. Pez and Maya Jupiter’s four-week tour, starting in May, will see the pair perform all-ages shows in a mix of venues across Australia. As part of the tour, Pez and Maya will also be conducting master song writing classes in some high schools. Full dates can be found at




Joseph Arthur is in Australia performing at Bluesfest 2011 with new supergroup Fistful of Mercy (Joseph Arthur, Ben Harper and Dhani Harrison), but he will also be playing on Wednesday 27 April at the Northcote Social Club. Arthur’s unique solo shows are well known for combining his distinctive voice and haunting compositions with the use of a number of distortion and loop pedals that allows him to harmonise with his own voice and guitar, plus incorporate various rhythms into the songs. Painting while he sings has also become a staple of Arthur’s impressive solo performances, with the art available for sale after concerts, in online auctions, and to help raise money for various humanitarian relief efforts.

It’s been a year since Cassian’s last EP, but the kid’s been keeping busy, remixing the likes of Two Door Cinema Club, Flight Facilities, Sammy Bananas, Monkey Safari, Telonius, Scuola Furano and Human Life and collaborating with Miami Horror to co-produce a remix of their single Holidays. Somehow he’s found time to squeeze out a new EP filled with house, disco and samples, titled I Like What You’re Doing. Cassian is currently lighting up dancefloors across Europe and Asia in support of his new EP before returning to Australia for an actionpacked six weeks. Catch Cassian on Saturday 23 April at Super Disco, Sunday 24 April at the Festivus After Party at the Carlton Hotel (Geelong) and also at Creamfields on Monday 25 April.

Boy & Bear have sold out their second Corner Hotel show on Thursday 26 May. This sell-out streak continues to their hometown of Sydney, where their Metro show is also at full capacity. The band have just announced the final additions to their Autumn tour, adding a third Corner Hotel appearance on Wednesday 25 May. This is the last date to be announced on this tour. After playing to a full crowd at Golden Plains on the weekend just gone, Boy & Bear have headed to the US where they will be showcasing at numerous parties at Austin’s SXSW. heir track Mexican Mavis has been included on this year’s SXSW official iTunes free sampler. Tickets to the final Corner show go on sale this Thursday.





































Your favourite ladies of the Melbourne roller derby revolution are up and rolling for 2011! Our first double-header for 2011 sees a rematch between the Toxic Avengers and the Dolls Au-Go-Go after last year’s nail-biting grand final, while the Dead Ringer Rosies will face off against a regional All-Stars team made up of some of the top skaters from our sister leagues in Victoria. After the Toxics beat the previously undefeated Dolls 111 to 94, the Dolls will be out to prove that they’re still a force to be reckoned with. It all starts rolling on Saturday 26 March at the Melbourne Showgrounds.


Another year, another Earth Hour, another great reason to visit the Melbourne Zoo. On Saturday 26 March, the Melbourne Zoo will play host to its third year of Earth Hour Unplugged, this time with the lovable Clare Bowditch and band with support from Melbourne’s Jess McAvoy. Instead of sitting in darkness at home, grab your family and friends, arm yourself with a jam-packed picnic basket and get ready to be enlightened on the grassy knolls surrounding the Zoo’s bandstand for some amazing music. Gates will open at 5.30pm and there will be selected wildlife viewing until 7pm, which is when the music will kick off. And then from 8.30pm it’s lights out. Purchase your tickets from the zoo now so you don’t miss out.


BIMBOS AND COQS: BOTH SIDES Bimbo Deluxe of Fitzroy and Lucky Coq in Windsor will once again bridge the great divide between north and south of the Yarra River to bring Melbourne’s cultured crew The Best Of Both Sides. The two understated institutions will join forces for the third time to present the annual, seven-day festival. Common interest and a free shuttle bus will connect the two great pubs philosophically and logistically. Signed to this year’s bill is Melbourne production crew Mixed Messages, who’ll be taking to the north side stages whilst Congo Tardis will be bringing a superb South American influence south of the border. The reunion just wouldn’t be the same without family members Chamelion Records, Blackout, Melbourne Techno Collective and Haul Music turning up to cause a stir, and little cousin MISK. To top it all off, Jamie Stevens and Steve Ward will support Thankyou City in their live show extravaganza and renowned M-Division will bring up the underground. But perhaps the stars of the festival will be the $4 pizzas and drink specials. Join in the fun from Tuesday 19 to Monday 25 April.


A space with a natural amphitheatre, Bilyana is renowned for its beloved Festival Of Folk, Rhythm & Life. Established in 1996, FRL is known for its sense of innocence, connective qualities and rockin’ great live music. On Saturday 9 April Bilyana will be home again to ARIA Male Artist Of The Year, Dan Sultan, along with one of Bilyana’s greatest fans, the impeccably soulful Archie Roach. Joining this line-up is Sally Dastey (ex-Tiddas).

This year’s Melbourne Jazz Fringe Festival present its 2011 APRA Composer Commission written by Fran Swinn for jazz quartet and the Corde Lisse. Inform will combine these artforms in the stunning setting of BMW Edge and will feature Circus Oz virtuoso acrobat/aerialist Rockie Stone with the Fran Swinn Quartet. The Jazz Fringe Commission concert is one of the signature events of the Melbourne Jazz Fringe Festival, which was formed in 2005 to celebrate Melbourne’s groundbreaking creative jazz scene. It will feature more than 80 of Australia’s most celebrated improvisers in an inspiring ten days and nights of creative and groundbreaking music making. From Friday 29 April until Sunday 8 May, experience improvisation, groove, melody, mayhem, song, noise… and even a circus aerialist.


Blue Grassy Knoll return to the Melbourne Recital Centre on the Friday 8 and Saturday 9 April with new music to three classic Buster Keaton shorts in the Elisabeth Murdoch Hall. With both an evening and matinee show, this Melbourne International Comedy Festival event is sure to be a hit with adults and kids alike. Regular fi ve star hits of the Edinburgh Festival, Blue Grassy Knoll are one of Australia’s most loved gypsy/bluegrass ensembles. Playing their own film score composition to the short films, Blue Grassy Knoll’s charismatic presentation breaks down the barriers between audience and film.

JOSH ROCKS THE TIDE Following the huge success of his Australian 2010 tour, US singer/songwriter Joshua Radin returns to Australian shores this June to support the release of his forthcoming second album The Rock And The Tide. Radin started playing music after college and his demo, featuring his first composition Winter, found its way onto the TV sitcom Scrubs. Since then, his music has been featured in many other TV shows and films. Having been likened to Bob Dylan, Elliott Smith and Simon & Garfunkel, Radin’s selfdepreciating humour and anecdotes between songs adds a personal touch to all his performances. He plays at the Forum on Thursday 23 June.


Australia’s favourite adopted folk son Passenger (AKA Mike Rosenberg), has announced a final national tour for 2011. Rosenberg and his band will be performing songs from the critically acclaimed album Flight Of The Crow, which features collaborations with Josh Pyke, Boy & Bear, Lior, Katie Noonan, Kate Miller-Heidke and many others. Having shared stages with the likes of The Hold Steady, Kate Nash and Jools Holland, Rosenberg is one of the UK’s finest up-and-coming songwriters. A classic journeyman musician, cut from the same mould as Van Morrison, Neil Young and John Prine, Passenger has the unique ability to move from the humorous to heartbreaking with every song. Passenger plays the East Brunswick Club on Thursday 5 May.


Mikey Erg of New Jersey punk rock band The Ergs! has been added to the already impressive Star Fucking Hipsters line-up, featuring members of Leftover Crack and Choking Victim. He will play drums for Star Fucking Hipsters on their upcoming Australian tour. Support on this tour will be AC4, whose debut is 15 songs of intense power; it’s fast, furious, old-school hardcore by old guys thinking that they are young kids. Star Fucking Hipsters and AC4 play at the Arthouse on Thursday 14 April.

THRONES ALONE Legendary American doom metal bassist and avantgarde punk Joe Preston will be bringing his revered one-man-band, Thrones, to Australian shores for the first time this April. After his departure from both the Melvins and Earth in the early ‘90s and before playing in Sunn O)) and High On Fire, Preston was Thrones; now he’s making a comeback. See Thrones with special guest John Wiese at the Arthouse on Thursday 31 March, the National Hotel in Geelong on Saturday 9 April and at the Northcote Social Club on Sunday 10 April.


SOMEBODY CALL 777 Former Tea Party frontman Jeff Martin has formed a new band with J Cortez (The Sleepy Jackson/The Armada) and Malcolm Clarke (The Sleepy Jackson/Basement Birds). The Jeff Martin 777 project officially came together last year. While Martin spent the majority of the year touring both here and abroad, in between shows him, Cortez and Clarke would come together to record songs. The end result sees this trio come up trumps with their debut studio album, The Ground Cries Out. The album not only contains a fusion of Martin’s love of dark blues and Middle-Eastern rock, but also showcases a more rootsy side of him. Jeff Martin 777 are set to launch their album at the Prince Bandroom on Friday 6 May.

The Beyond The Pale art exhibition and poster sale is set to feature music posters of QOTSA, Mark Lanegan, Bob Dylan, Rage Against The Machine, Arctic Monkeys, Metallica, The Strokes, AC/DC, Eagles Of Death Metal and Foo Fighters. Held at Revolver, this one-night-only event has just got bigger with the announcement of bands set to perform on the night of Melbourne’s new weekly indie rock event, The Filth. Performing will be The Priory Dolls, who will be bringing their explosive onslaught of sound. Supporting them will be fellow rockers Mary Of The Moon and Rapid Transit. The Beyond The Pale art exhibition runs from 5-10pm in the back room and bands will hit the stage at 8.30pm next Wednesday 23 March. There will also be support performances by DJs Spidey and Mikey Young (Eddy Current) and entry is free.





A storyteller at heart with an angelic voice, Leah Flanagan can also wield a mean ukelele and guitar. Perhaps it’s Flanagan’s unique indigenous Australian, Irish and Italian heritage that sets her apart from many other singer/songwriters, but one thing is definite, it is her beautiful voice, warm personality and distinctive take on folk, soul and country music that has made her a favourite on the festival circuit. Witness her live performance at the Toff In Town on Thursday 31 March. She will be supported by Emma Donovan, one of Australia’s finest indigenous singer/songwriters. Seamlessly blending R&B, gospel, country and soul sounds and often singing in her traditional language, Donovan is celebrated for her ability to connect with her audience. These two great acts are in town for one night only!





















SOON TO BE AIRBOURNE After death-defying performances on the recent Big Day Out tour, Airbourne are back touring their homeland this June. The boys, hailing from Warrnambool, spent the last year rocking the world playing all sorts of big festivals in Europe and USA on the back of their 2010 release No Guts. No Glory. Airbourne are only back briefly before jetting off for another European tour. Wish them luck when they play at Inferno (Traralgon) on Thursday 2 June and at the Palace on Friday 3 June.


In anticipation of the release of their self-titled debut album next month, Floating Me have announced a national tour alongside Dead Letter Circus. Floating Me consists of members from some of Australia’s finest progressive rock acts of the past two decades – Karnivool, Cog and Scary Mother. From subtlety to pure power, the group bring the trip that music is supposed to – it’s cinematic, haunting rock with a twist. Catch Floating Me and Dead Letter Circus on Friday 1 April at Geelong’s Bended Elbow and on Saturday 2 and Sunday 3 April at the Corner.


The last few months have been nothing short of eventful for Royston Vasie. With reviews likening the band to formidable acts such as the Pixies, Nirvana and Mclusky, the Melbourne four-piece are set for big things. Having played with the likes of The Cruel Sea, Even and The John Steel Singers, Royston Vasie’s live show is something not to be missed. They’re about to embark on a run of shows to launch their cracking single Wreck Your Health, from their debut EP Welcome To The Pop Boutique. As well as supporting Stonefield on Friday 1 April at the Nortchote Social Club and The Vasco Era at the Espy on Monday 25 April, Royston Vasie are also playing on Friday 25 March at the Espy and Saturday 26 March at the Great Britain in Richmond. Both March shows have free entry.


An inland sea of visitors is expected to flood the twin Murray River towns of Echuca-Moama for the third annual Celtic Festival this weekend. Visitors will enjoy a great weekend of music, dance, workshops, art, puppet shows, activities for children and much more. Headline acts include the acclaimed festival favourites, Gaelic rock band Claymore, the high energy, multi-award-winning Scottish/Irish/ Australian band The Borderers and a concert by the Melbourne Scottish Fiddle Club, winners of two Golden Fiddle awards. Amongst the internationally recognised acts and artists confirmed are Big Rory and his hound Ochie, and Marc McBride, who has illustrated more than 50 book covers including the Deltora Quest fantasy series. More than 20 bands will perform in the many clubs, pubs, restaurants, parks and streets of Echuca-Moama.


Two of Jamaica’s reggae and dancehall heavyweights, razor-sharp lyricist Anthony B and original ‘bad gyal’ CeCile, are set to headline their first Australian tour this April when they embark on their Universal Struggle Tour II. Supported by local artists yet to be announced, the duo will be dropping some cutting-edge roots reggae and dancehall. Anthony B and CeCile will perform only one Melbourne show on Good Friday 22 April at the Monastery. Tickets are on sale now for $50+BF through

One of Australia’s most forward-thinking extreme music collectives, The Amenta, have announced that their latest release, VO1D, will be available for fans to download directly free of charge. VO1D is a huge multimedia release from the group, containing 16 audio tracks, four live videos and a new film clip for the re-recorded track Vermin. The Amenta firmly believe that this will be the first time that a release of this quality and quantitiy has been made available to fans for free and simply ask that people share, recommend and download the release. VO1D is available now for download exclusively from their website,, and the group will be touring the country for their Australian VO1D Tour to celebrate the release. The Amenta will perform with special guest Ruins at the Arthouse in Melbourne on Friday 1 April. They will also perform a solo show on Sunday 3 April at the Pelly Bar in Frankston.



AGGRO CONNECTION Los Angeles-based reggae and ska band The Aggrolites will be hitting the road in Australia this April. With the pending release of their latest album the five-piece band are set to educate Australian audiences with the thunder and punch of the reggae drums and bass, the ripping, soulful melodies of the organ and guitars, and Jesse Wagner’s heaven-sent voice. The Aggrolites’ new album, Rugged Road, will be released on CD next Tuesday 22 March and features the singles Trial And Error and Dreamin On Erie. The Aggrolites will perform at the Corner Hotel on Saturday 23 April. Tickets are on sale now through Oztix, and from the Corner Hotel box office.



LAST DRINKS AT THE ARTHOUSE The Arthouse Hotel will hold closing celebrations to mark the end of the venue’s 20-year love of music, community and general mayhem. Lovingly run and lived in by one family for its entire 20-year lease, the Arthouse has gathered a larger extended family along the way and the closing fortnight will feature performances from some of the Australian bands who have made the Arthouse their home and helped put it on the map as one of Australia’s most popular punk venues. Reunion shows scheduled for the final fortnight include Mid Youth Crisis, Conation, Away From Now, Days Worth Fighting, No Grace and the legendary H-Block 101. Other Arthouse favourites who are set to appear in the final week include The Nation Blue, Fuck…I’m Dead!, Captain Cleanoff, Bodyjar, A Death In The Family, Lungs, The Nation Blue, Extortion, Hawaiian Islands and of course Mindsnare. Tickets for the various events are on sale now and can be purchased from the venue and Poison City Records. Further information regarding ticketing and line-up details is available at



Liverpool trio The Wombats will soon be back on Australian shores as they head down under to perform at the Groovin The Moo festival and their own headline shows around the country. In amongst their festival performances The Wombats will perform at Melbourne’s Palais Theatre on Wednesday 11 May, supported by Sydney band Tortoiseshell, who have been confirmed as their national support. The Wombats’ eagerly anticipated second album, This Modern Glitch, will be released this April with two hit singles, Tokyo (Vampires And Wolves) and Jump In The Fog, already released. Tickets for their Melbourne headline show are on sale now through Ticketmaster outlets.


Canadian punk rockers Propagandhi have announced that they will add a second Melbourne performance date to their Australian tour scheduled for May after their first show sold out quickly. In addition to the sold-out Wednesday 18 May performance, Propagandhi will also perform the following night on Thursday 19 May at the Corner Hotel. Tickets for the additional show are on sale now through

SOUNDS LOUD GETS EVEN LOUDER Oh Mercy, Illy, Radio Star and Trailer Park DJs have been added to this year’s Sounds Loud Festival, joining the likes of Muscles, The John Steel Singers, Stonefield, Ruby Rose (DJ set), Dialectrix, The Melodics, Numbers Radio, The Killgirls, Gold Fields, We Are Fans, 23 Angles Of Attack and MindPilot, with more still to be announced. The festival takes place at Queens Park in Moonee Ponds on Saturday 9 April. Entry to the all-ages event is free.


Bob Dylan – celebrated poet, artist, singer, writer, actor and radio announcer – has just added a second Melbourne show as part of his much anticipated tour in Australia over April 2011. Paul Kelly – one of Australia’s greatest songwriters and considered a national treasure by many – has been confirmed as the special guest to open proceedings at Dylan’s concerts. These Bob Dylan concerts with Paul Kelly as guest will be very special evenings of grace and greatness featuring live renditions of some of the finest works penned by both artists. They were already playing on Wednesday 20 April at Rod Laver Arena, and now they’re also playing on Thursday 21 April at the same venue.

Oh Mercy

A star of ‘80s American TV series V, Jane Badler has since made Melbourne her home and although she continues to act, she has also expanded her talents as a musician. This Friday Badler will release her stunning new album, Tears Again, which is the second album to be released in collaboration with Sir’s Jesse Shepherd. Tears Again is a bleary panorama of Miami beaches, key parties and rehab centres; lyrically and musically the album reflects Badler’s long and varied career in Hollywood B-films and television soaps throughout the ‘70s and ‘80s. To celebrate the release Badler will perform her Melbourne album launch at The Toff in Town on Saturday 14 May, her first headline performance following her sold-out show at The Famous Spiegeltent. Badler will perform with Sir and other guests yet to be announced.


SHOW YOUR COLLARBONES Electronica duo Collarbones are releasing their much anticipated debut album Iconography this week. To coincide with the release, they will also embark on an album launch tour. Iconography is an artefact of its mode of production, pieced together over the internet. Travis Cook (Cyst Impaled) and Marcus Whale (Scissor Lock) shared files until instrumentals were at a point where Whale could lay down elegant R&B-laden hooks over the chopped samples and digital soundscapes. The result is an album brimming with ideas that pulls in diverse influences from the experimental to the mainstream. Don’t miss Collarbones when they play on Saturday 9 April at the Workers Club.

Deez Nuts

After exploding onto the Australian music scene in 2009 with their debut album, The Peaceful Atom Is A Bomb, Sydney rockers Regular John, have just been announced as the support band for the legendary Motorhead who will be heading to Australia for a national tour this March and April. Forget your bibles. Bring your earplugs. This communion is sure to be sacrilege. Motorhead and Regular John will be rocking Melbourne’s Festival Hall on Saturday 26 March and tickets are selling fast through Ticketmaster so get in quick to avoid disappointment.


Two of Australia’s most distinctive melodymakers are coming together this Saturday for a special show at the Toff In Town. Fresh from their Australian Music Prize nomination, psych-pop wonders Pikelet are joining forces with ascendant chanteuse Brous and band for a special one-off double bill performance. It’s been a huge 12 months for Pikelet, who have been supporting bands all over the country, and this is set to be one of the final Melbourne appearances for the group before they head into seclusion to work on their next album. Co-headliner, Brous, led by well-known Melbourne musician Sophia Brous, have emerged with a new body of music and a gifted band that have been captivating audiences since they began playing not long ago. This is the first time these two goddesses of melody have performed together and is definitely an event not to be missed. Doors open at 8.30pm this Saturday and tickets can be purchased on the night for $10.


DESTROY MUSIC IS HEAVY Heavy music fans in Australia are set for yet another treat this year with Destroy Music, a festival headlined by The Amity Affliction and a recently re-formed I Killed the Prom Queen held at Billboard on Friday 20 (18+) and Saturday 21 May (under-18). The undercard is just as unrelenting, featuring Deez Nuts and US band Of Mice And Men. Punters who buy a pre-sale ticket from will get a free Amity Affliction t-shirt, while everyone who buys a ticket by the end of March goes into the draw to win either a Santa Cruz skateboard signed by the Destroy Music 2011 bands or a C1RCA shoe and clothing prize pack including t-shirt, cap, hood, shoes and jeans. There are five of each up for grabs. Tickets go on sale from Moshtix and Ticketek this Friday.

Got Texas fever? It’s that time of the year when Austin becomes the centre of the music world thanks to the annual SXSW gathering. This year, Street Press Australia (publishers of The Drum Media, Inpress, Time Off ) is going to be on ground and keeping those of us back home up to date via Here will be daily blogs, live Twitter feeds and Facebook updates, keeping us informed of the latest buzz bands, the backroom deals and, most importantly, the local talent representing Australia. This year, more than 50 Australian artists are showcasing at SXSW, including Art Vs Science, Bliss N Eso, Washington, Wagons, Wolf & Cub, The Jezabels, Hungry Kids Of Hungary, The Holidays, DZ Deathrays, Cloud Control, Blue King Brown, Boy & Bear, The Amity Affliction, Wagons, Little Red, Drawn From Bees, Dan Brodie and truckloads more. This year’s SXSW promises the usual mix of arena names, underground blog faves, comebacks and chancer buskers. This week in Austin is where Duran Duran, The Strokes, TV On The Radio, Gayngs, Yuck, Grimes, The Fleshtones, Wise Blood, Wu-Tang Clan and Yoko Ono can all be found gigging in the one city in the same week. And our team have pledged to keep (relatively) sober so we can be the first to find out how it unfolds. For daily updates and breaking news, subscribe to the Your Daily SPA newsletter (sign up via themusic.


PERFORMANCE ANXIETY The problem with crafting an excellent second record that sounds nothing like your first is working out how to play it live, SEEKAE’s JOHN HASSELL tells TONY MCMAHON. Cover pic by LUKE STEPHENSON.



fter 2009’s brilliant debut album, The Sound Of Trees Falling On People, Sydney eight-bit electronica outfi t Seekae quickly became darlings with a number of critics and forged a better-than-solid reputation as a must-see live act. But, this year, their unique yet somehow still engagingly familiar brand of lo-fi ambient sounds is given new gravitas with the release of their second record, +Dome, a stirring mix of laidback listening and rhythm and melody that makes the listener want to jump out of their seat, not just in order to move with the music but with genuine excitement as well. The soundscapes on this record are so intricately and carefully rendered that the only comparison this writer can think to make is that of a novelist at the absolute top of his form: Marcel Proust with In Search Of Lost Time springs immediately to mind. Although he refuses to be drawn on comparisons of his band to the great French writer, vocalist and synth player John Hassell says +Dome is the kind of record he hopes lasts longer than the latest pop hit. “I think it’s far more of a grower than the last record. We tried to layer it as much as possible, rather than a bunch of songs that just have that one hook that gets stuck in your head, know what I mean? It was more of trying to make it almost one whole entity rather than just a collection of songs.” Did the amount of work that went into +Dome have anything to do with why it’s been so long between drinks? Trees Falling on People was released in 2008, after all. But according to Hassell, it’s not quite as simple as all that. “There’s a number of reasons. We were really busy touring and practising and going around doing our live shows, so we really didn’t get much of a chance to create new stuff. But the main thing was that with this album, we wanted to take time off from playing live. We wanted to do something very different to the last one. We wanted to take the time to practise the instrumentation we wanted to integrate into it: cellos, clarinet, all that kind of stuff. The last album was done so electronically, we wanted to make this one – I don’t know – more of a band release.” So, what about the decision do something so radically different from the band’s debut? Where did that come from? Interestingly, Hassell returns to the subject of durability over time, as discussed above. “I think the main thing that separates this record from the last one is that the first record was so individual. We wrote a lot of the songs by ourselves, then we just sort of brought them together. We’d play them to each other and then go, ‘That sounds great, cool, that’s on the album.’ With this one, we wrote everything from scratch, as a band. That was the main thing that contributed to making it sound new. On top of that, most of the first record was done on a computer and we wanted to move away from that. We’re obviously still very electronic, but we wanted to bring in as many live things as we could and get used to recording with mics and playing with live drums and singing as well and acoustic guitar. You know, we wanted to get really serious about our music and we kind of figured out that you can’t just play songs on a computer and hope people enjoy it and leave it at that. You’ve got to think about the whole picture, really, you’ve got to think about how you’re going to play it live. If you want any kind of longevity, you’ve got to write music that you think you would want to listen to yourself.” While +Dome is more than enjoyable on several different levels as a record, there is the not unpleasant feeling when listening to it that this is music that is best seen live. As he’s alluded to earlier, getting up on stage was at the forefront of Hassell’s mind while working on the record, but that doesn’t mean he isn’t scared shitless.

“To be honest with you, I’m really quite nervous. It was one of those things, as soon as we’d finished the album, we kind of went ‘Hang on, now we’ve got to play it live’. I think the main thing is that we want to play with more people than just us three. So, we want to get some strings up there on stage with us – we want to get a clarinet player; hopefully the guitar I played on the album, I can replicate that live, even though I’m not a very good guitarist. I think the main thing is, rather than trying to make everything sound exactly like it does on the album, we want to try and – I’m not sure of the best way to put this – appropriate the sound,

maybe, so that it’s something unique and individual live but so that you can still recognise it from the album.” This, naturally, brings up the age old paradox of punters not wanting a live show to sound exactly like a record – one may as well stay at home and listen to the CD if this is the case – but not wanting the music to be unrecognisable, either. Hassell says that this is not the only tricky balancing act Seekae have to negotiate. “When we’ve played Melbourne in the past, it’s always been at places like the Corner or the Tote, much more rock’n’roll kind of venues, and this time

you’ve got to write music you would want to listen to yourself.”

AN INCONVENIENT TRUTH Standing out beaconly throughout musical history are those artists, like Seekae, brave enough to have made the choice not to follow successful records with carbon copies. Concerned more with beauty and art than bank balances or instant acclaim, these pioneers of credibility have shown the way for countless other musicians whose desire to make music has little, if anything, to do with riches and is more concerned with big questions such as compulsion, integrity and truth. Famously called ‘Judas’ by a heckler with a sense of biblical history and an aversion to electric guitars, not to mention suffering the same derision from countless music scribes as well, Bob Dylan was clearly onto something with his 1965 album Bringing It All Back Home. With the unique brand of perversity that we would come to know and love over the next five decades, Dylan turned the folk music establishment on its head by spitting out amplified songs such as Subterranean Homesick Blues. But folk’s loss was our gain, and the world in general, if not perhaps the folk world in particular, has been a better place ever since. Although it’s highly probable that Fleetwood Mac were simply too stoned to be able to make Rumours 2, their 1979 double album Tusk still presents as one of the most radical of radical departures. The rambling, almost incoherent title track and single was edited down from a synapse-scorching ten minutes to three for radio play, and various other songs on the album sound more like an experimental noise band from Brunswick than the Biggest Pop Band In The World, which the Mac so assuredly

were at the time. Like all truly visionary art, Tusk, predictably, bombed. But looking back on it now, three decades later, it seems a lot more punk than anything The Clash were doing at the time. After the straight ahead punk, Ramones-esque Pink Flag in 1977, English band Wire followed up with Chairs Missing – ruminative yet danceable, introspective yet accessible, downright weird in some parts, especially by the tamer standards of the day. This was decidedly not what the punks of the time – who thought the ‘movement’ was all about fashion rather than innovation – were expecting, and Wire suffered accordingly: monstrously under appreciated until very recently. Not inconsiderably, Chairs Missing also paved the way for 1979’s 154, arguably one of the greatest records of that or any other era. Modern day equivalents are tougher to find, what with the Nothing New In The Zoo philosophy permeating the thinking of many in the industry. But Melbournevia-Adelaide outfit The Dumb Earth traded in their angular, chaotic jazz punk discord for a sublimely beautiful, expertly arranged mix of quiet strings and piano, and almost imperceptible drumming, combined with heartbreakingly personal songwriting on 2006’s Dry Land. The result was one of the most harrowingly moving albums of the decade, proving once and for all that innovation, exuberance and daring, though it might not pay dividends financially, still rewards its practitioners – not to mention the music loving public – in infinitely more valuable ways. Tony McMahon

we’re playing at the Toff In Town, so that should be a room that is a bit more conducive to our sound. Another thing that comes into it as well is that a lot of people are going to have the old record, so they’re not necessarily going to want to hear all these new songs. In that sense, you have to attempt to make the new music that much more appealing. That’s one of the hardest things to do. That’s one of the things we’re most nervous about, I think: some of these new songs need to grow on you, they don’t have that initial impact that a lot of the songs on the first album did.” But talking of impact, one of the highlights of +Dome is the spectacularly eclectic array of samples on show throughout the record. The band have obviously put some effort into collecting them over the past couple of years. Not surprisingly, Hassell is a big fan of recording the things around him and doesn’t come off as someone who is too impressed with pre-packaged sounds. “There are a lot of mics in our studio that we never use because we share with another band. We were sick of the songs that we had on our computers already, so we took the mics home and then, just over the course of the weeks, we just fooled around with them. One of the songs on the album is actually the drummer recording with a mic inside a Coke can, just sort of kicking it around. For me, there’s something that’s so much more exciting about that kind of thing. You’re not just using a default sound. It can be a bit of an effort, but I think if more bands got into it, they’d find they could really get something out of it. I don’t think sample packs would exist if more people were adventurous.” Putting a mic in a Coke can is pretty lo-fi, but Hassell says that, while his band does love the old school sound, anything they do that could be conveniently labelled as such is more of an accident than anything else. “We definitely admire that aesthetic. Things that sound crusty and old and very analogue is always something we’ve been interested in. I think we’re actually getting crustier and crustier as we’re doing our own recordings. I mean, we’re quite shit at recording, so to have that lo-fi thing going on as well behind it, it’s always going to sound sort of home made. While some of it is quite polished, we still very much wanted to give it that human touch. It’s that human error, you know, adding something positive to the end product. So, yeah, I guess we’re pretty lo-fi, but I wouldn’t limit ourselves just to that.” In parting, Inpress – interpreting the band’s name as a play on the word ‘seeker’, and noticing Hassell’s extensive use of the word ‘want’ – suggests that aspiration might be a defining characteristic of the band’s philosophy, especially when combined with the audacious nature of +Dome. Aspiring for knowledge, for music that is more than the sum of its parts, more than just background noise or something to dance to. Hassell agrees, but says it’s also probably got something to do with not being able to concentrate. “I definitely agree with that. We’re really yearning to do something that we haven’t seen done before. We do have very short attention spans, which isn’t always a good thing, so we do like to keep things new and refreshing. That’s not to say that our music is the most original thing in the world, but we’re constantly trying to do something different to what is happening everywhere else, or something different to what people expect of us.”

WHO: Seekae WHAT: +Dome (Rice Is Nice) WHEN & WHERE: Monday 25 April, Toff In Town


STONE LOVE Eclectic Californian rockers STONE TEMPLE PILOTS are about to play the first ever dates on our shores after two decades of anticipation. TYLER MCLOUGHLAN jumps into bed as tucked up guitarist DEAN DELEO tells a story of how he always knew the band members would come together again, and what the future now holds.


cores of times, Scott Weiland has broken the hearts of grown men and women alike, none more so than those of Australia who have been teased and taunted with the prospect of announced Stone Temple Pilots, and later Velvet Revolver, tours that faded away upon the frontman’s admittance to yet another rehab facility. On the eve of their debut Australian appearance, guitarist Dean DeLeo reflects instead upon the natural lead into Stone Temple Pilots’ return, and how good he feels to be touring their self-titled album of last year to another territory that has endured the band’s two-decade absence. “We’ve done shows between 3,000 and 20,000 people and I’ll be honest with you, there’s been a few nights where people have been so loud I’ve missed [drummer] Eric’s count for a song, and

I’ve missed the downbeat because I couldn’t hear him,” explains DeLeo of South American audiences through his gently deep drawl. “They not only sing all the words, but they sing all the guitar parts as well,” he says incredulously. “They sing what I’m playing – loud! “We played Rio the other night; it’s very special for us being raised on the Jobim and the [João] Gilberto stuff that came out of Rio de Janerio – the bossa nova stuff. And for Robert [DeLeo, bassist] especially – Robert walked out during the show and played The Girl From Ipanema and everyone in that place sang that song with Robert beautifully, on key, just gorgeous,” he gushes. Releasing Shangri-La Dee Da to lukewarm reception in 2001, the band imploded while touring the fifth studio album, appearing to finally succumb to the volatility of a frontman in a perpetual state of addiction. When Weiland joined Velvet Revolver in 2003, the future of Stone Temple Pilots looked bleak. Even through the worst moments, DeLeo insists he knew he’d play music with his bandmates again. “I absolutely did. I didn’t know when, and I surely didn’t know it was going to be seven or eight years before we got back together. Getting away from each other was very, very healthy. It was very healthy. We had grown tired of one another’s routine and we had been literally shoulder to shoulder for many, many, many years and we were just under one another’s skin, you know? We know when we kind of got away from one another, everybody delved into different things and it was very, very healthy for us to get out and work with other people and basically live and learn. All of us became parents, or went off and had kids and families and really had this opportunity to experience life,” he recalls of the hiatus. So how does it feel then, to return to the rehearsal room for the first time after such an expanse of time?

we were just under one another’s skin…”

“Well, it felt like your bed, you know? Sometimes it’s messy but at the end of the day it’s warm and cosy,” he reflects, before noting 1994 single Vasoline as the first song played at the reunion rehearsal for their 2008 return show at the Harry Houdini estate in Laurel Canyon. The shows kept flowing, and once back in the touring groove, so too did the new material which would become their sixth studio album, simply titled Stone Temple Pilots. “We went out on the road and we toured and toured and toured – again we were on the road for, oh goodness, close to a year. And we very naturally said: ‘This is going great. I’m enjoying your company, you’re enjoying mine – this is a lot of fun. Let’s go record some new music’. So it was just the natural progression. Scott especially, he seems to get… he just always wants something new to bite into, so I know he was a big proponent of like, ‘Let’s get in the studio, man. Let’s go in and make a record’.” DeLeo is comfortable as hell back in the Stone Temple Pilots’ crib, as indicated by a return album filled with a level of guitar intricacy exploring varied genres, rather than relying on turning past tricks to squeeze out new content for a guaranteed market. He credits this merely as his attempts to keep up. “My brother Robert sets a pretty high bar. He sets a pretty high bar and we all have to kind of come into that level. And quite honestly, I feel like I’m just starting to get the hang of that guitar. I feel like I’m getting my way around it better than I have before, so yeah, there is a tremendous amount of comfort I have with it, but there’s also a tremendous struggle I have with it. I want to know more and sometimes it gets a little frustrating because I know what I want to hear, but sometimes I’m just not proficient enough to play it and I just need a little time with it and I’ll eventually get it out. I do have a new level of understanding and comfort with the instrument these days, I suppose,” admits the man who continually courts critical acclaim for his style. Securing artwork created by American artist Shepard Fairey, renowned for his Barack Obama Hope poster during the 2008 election campaign, the cover is a further positive sign for the future of Stone Temple Pilots. “We felt that even by putting our name on the cover muddled it, so we said: ‘That should just be the image – the peace sign. It’s so beautiful and so universal, we don’t want anything else on there’. Shepard graced us by allowing us to use that, and we didn’t want anything in its way – not even the name of the band,” he states firmly. Should the band members continue to take such sentiments to heart, DeLeo is confident that there will be no slowing down for Stone Temple Pilots. “Oh goodness no – I’m far too full of piss and vinegar for that,” he laughs in earnest. He rattles off the countries still to visit on this tour and proudly adds: “And then I think we’ll make another record.”

WHO: Stone Temple Pilots WHEN & WHERE: Saturday, Festival Hall



TAKE TWO ED KUEPPER is promising a fresh take on two of his classic albums when he plays them in their entirety this weekend, writes SAMUEL J FELL.


f you look closely, you’ll still find Ed Kuepper in Brisbane, his natural habitat, the place where he spent his formative years and made his musical mark as guitarist for the Saints back in the mid-1970s. You’ll still see him on stage, too, all over the world, gnarled like old wood and just as musically strong and established, piecing together his art from whatever he finds lying around in his head, with whomever he feels a connection to at the time. Some connections are severed, not to be reunited, but others beg to be redone, to be dusted off and pushed up on stage before a new generation of music fans eager for something different and off the well-beaten track so many others these days tread. Kuepper left The Saints in the late ‘70s and formed the equally seminal Laughing Clowns, who released a slew of records through the early ‘80s, before Kuepper began what must surely be regarded as one of the most prolific solo careers ever seen in this country. The release of Electrical Storm in 1985 marked the beginning. It was a record which firmly put Kuepper on the

map as an artist in his own right, a musical force to be reckoned with on any, and every, front. So he released a few more records, an EP or two, and then dropped Today Wonder in 1990, which opened the floodgates even further and the scene was treated to something new and different and Kuepper-stained with almost every passing year. Truly did this man know what he wanted to do. During those years, Kuepper built up a strong musical relationship with Mark Dawson, a drummer and percussionist who accompanied him on many of those early solo recordings, and so this brings us to now, and to the music that begs to be dusted off, as Kuepper and Dawson strike out together to re-imagine those two records, Electrical Storm and Today Wonder. “That was so long ago, I think it was in the days when you’d run an ad in the street press or something, I think that’s how Mark and I met up,” muses Kuepper, providing some history on this musical partnership. “So Mark basically joined my band at the time, very shortly after Electrical Storm was recorded and ended up playing on seven or eight albums I did after that, so we worked together for quite a long time,” he continues. “And a lot of that was as a duo. We did a lot of touring after Today Wonder was recorded. We didn’t do a lot in Australia, but we did a lot of European touring. So the intention of these shows I guess, is to reignite some of that, and hopefully we can.” The question that begs to be answered, then, is why? “Well, I was asked to do these shows,” Kuepper explains. “I was presented with the concept and I kind of thought, even though Mark didn’t play on the original recording of Electrical Storm, he did end up being the drummer who ended up playing all that stuff live. So he does have a connection point, and Today Wonder, I think if you’re going to look at that in any way, Mark has to do it, because that was basically him and me. We haven’t worked together for yonks, I can’t remember how long, maybe 15 years, so when the offer came up, I got him on the line to see if he was interested, because we hadn’t had a lot of communication, and for all I knew it was the last thing he wanted to do. But he was keen, and I’m pleased that he was.” It’s interesting to note, that despite the fact Kuepper and Dawson have a solid history of performing as a duo and that Today Wonder featured just them, Electrical Storm was more of a band record, featuring Louis Tillett on piano. It’ll be interesting to see how Kuepper and Dawson perform this material. “What I’m going through at the moment is, ‘How do we actually do these songs?’” Kuepper concurs. “It’s obvious to anyone who knows my stuff that we’re not going to go out and do note-for-note recreations.

for all I knew it was the last thing he wanted to do.”

“We’ll just be looking at it differently. I don’t think I can just go back and do it the same. The interesting thing that I find, because I haven’t heard Electrical Storm in so long, maybe 20 years, is that you listen back and you’re confronted with, ‘Oh, I’ve actually changed, I actually do things differently’, which I find interesting. I haven’t gotten stuck in a rut anyway.” These shows are being billed as Electrical Storm and Today Wonder being “re-imagined”. As Kuepper says, they’ll certainly sound different from the original recordings, but how, exactly, is he looking to ‘re-imagine’ them? “I think, especially when you take into consideration the way a lot of my recordings are done, they’re done sort of quickly,” he muses. “It’s like, this is what they are now, or at that point in time, and then a few years down the track, I might feel real differently about them. Hopefully, as songs, they stand up, the way that you play them. Because I’ve never really stopped and things just keep evolving artistically, which some people like, some people don’t… but I’ve never played a song the same way twice in my life. I guess if you want the record, listen to the record, but if you want an interpretation done live, then you come to the live show. It’s pretty straightforward to me.” So how these two albums will appear on stage now will be quite different to how they were originally recorded, and so it seems like it’ll be quite spontaneous. “We will actually rehearse,” Kuepper says with a laugh. “To be honest, I’m thinking, ‘How are we going to do some of these songs?’ It doesn’t sort of scream out to me in a few cases. But hopefully as we get closer to the dates and start loosening up in a few rehearsals, it’ll kind of become obvious as it happens.” So begins yet another chapter in the musical like of Ed Kuepper, ‘re-imagining’ a couple of modern classics with just Dawson as his foil, rock’n’roll his muse. So to look ahead, where to next? Kuepper is constantly changing and evolving, trying new things, so what’s on the cards after this project? “I’ve been working my way through an album of new songs and I’ve had a number of different changes of approach to it, so I really can’t say an awful lot about that, but it is developing… And people have been asking if there’s any further things planned with Chris Bailey, and at this point in time, I’d say that’s probably unlikely. I think we might have changed too much over time.” Kuepper certainly has changed a lot over time, and this is one of the major reasons he’s still such a force to be reckoned with. It’s an ongoing evolution here, and one which is far from done.

WHO: Ed Kuepper WHEN & WHERE: Friday (Electrical Storm) and Saturday (Today Wonder), Famous Spiegeltent


FULL ON, ALL THE WAY Hometown heroes become interstate icons as local darlings EAGLE & THE WORM, WE SAY BAMBOULEE (NSW) and BALL PARK MUSIC (QLD) do the hard yards for their co-headlining Triple Rainbow tour. JARRAD BROWN, RUSSELL FITZGIBBON and SAM CROMACK, from the above bands respectively, set aside some time to cross some borders with MITCH KNOX. How did you come to be a part of the Triple Rainbow tour? SAM CROMACK (Ball Park Music): “After being lucky enough to be selected as Triple J Unearthed winners, we thought we should cash in on the opportunity and organise a tour with some of the other winners. Previously, we had seen this concept be successful for Washington, Philadelphia Grand Jury and Hungry Kids Of Hungary. When we suggested the idea to We Say Bamboulee and Eagle & The Worm they were keen and, well, the rest is history.”

dance-worthy, you get to sing and swear. I’ll probably make some bad jokes. It’s definitely worth it.” RF: “Folks, and other people too, should jump on these shows because a triple headline is even more intense than a double headline. This stuff doesn’t happen every day. Plus I think it would be impossible not to have fun with this line-up, it’s pretty guaranteed as a frown smasher.”

What are you looking forward to about this tour? RUSSELL FITZGIBBON (We Say Bamboulee): “Everything except paying for petrol. There’s so much to love about travelling around with great new bands that we’re yet to play with. Adventure, sweet music, collaborative cover songs, pub food; these are the things we have in mind. And the best thing is that Melbourne, Sydney and Brisbane each get one of their own plus two bands’ worth of foreign exotic cities.”

WHO: Eagle & The Worm, Ball Park Music, We Say Bamboulee WHAT: Triple Rainbow tour WHERE & WHEN: Friday, National Hotel (Geelong); Saturday, Northcote Social Club

SC: “I think touring is generally pretty exciting. It’s draining and weird, but I believe that’s part of the appeal. You’re temporarily removed from your normal day-to-day life. Suddenly you’re travelling with friends and arriving in strange new places each afternoon. I think this tour takes us to a few new towns and venues, so I’m excited to see what’s on offer. I have never played in Cronulla. I hope I meet a fulla from Cronulla.” JARRAD BROWN (Eagle & The Worm): “The weather. I have snaked my way out of some of Melbourne’s more under-par efforts this summer by gallivanting up and down the East Coast with EATW. Getting out of town every once in a while to play some shows is as good as a holiday.” Why do you think your bands’ musical wares will complement each other? JB: “I don’t expect that any of us will sound the same. I’m looking forward to more of a sport-like atmosphere between the bands, ‘one-upmanship’ if you will. I’m looking forward to the kind of low-key inter-band pranks and douchebaggery that accompany these kinds of tours. The kind of douchebaggery that gets lots of ‘likes’ and ‘comments’ on Facebook.” SC: “We’ve played with Eagle & The Worm before. They’re great guys. There’s a lot of them – just like us. I guess we have similar styles. To be honest, our gig with them was the most drunken event we have ever participated in. I don’t think we were too remarkable that night. We Say Bamboulee will bring some diversity, which is good. I hate watching a show of bands that all sound too alike. In fact, I’m listening to We Say Bamboulee right now and it’s great. Now I actually feel excited about going on tour and getting to know some new musicians.” RF: “Although we all have very different sounds I think the main theme will be an appreciation for excellent songs. Fun and songs. Also, it may turn into a bit of a party competition.” With all three headlining acts hailing from different capital cities, are you expecting tangible hometown favouritism in the atmosphere at each gig in those places? JB: “Yes, definitely. EATW will start favourites in Melbourne and likewise for the other bands in their hometowns. But never underestimate the power of the underdog. With expectation comes pressure… I hate when support bands come in from out of town and totally smoke us at our own game. It’s happened once or twice before and could happen at the Northcote Social Club.” RF: “Having three headline acts will hopefully mean that people turn out from start to finish! I think everyone will be totally into the chance to see sweet bands that are from interstate as well as their hometown heroes.” SC: “Yes. Obviously we’ve played scores of shows in Brisbane; we’ve adapted to the crowds and learnt what to expect. However, I suppose nothing but good can come from learning about different audience attitudes around the country. In our hometowns, we’ll be expecting to draw a typically good response, but it should be interesting how the three bands fare in the areas where, really, none of us belong. But at the end of the day, who cares? It’s not a competition.” Do you have anything planned to make this run of shows stand out and be super-special and memorable for everyone? JB: “I have been thinking about [a] rainbow-themed sing-along idea… I need to raise the idea with the other bands. It sounds terrible on paper…” SC: “Not at this stage. We’ve been busy (translation in band-speak: lazy). I know we have plans to learn some covers and do some collaborations with some of the other band members, although that trickery has become fairly standard for tours. Maybe I should buy some mildly impressive fireworks/confetti. I’ve been meaning to do it for a fair while now. Or maybe our band should get matching shoes. There’s 12 feet in our band; it could look impressive.” RF: “I think the most memorable thing will just be a run of amazing sets. There might be some secret ideas involving other artists, local delicacies, data projectors and inversions against gravity. But the legality of all that is yet to be determined, so surprises abound.” Ultimately, why should folks mosey along to check this shindig out? JB: “That’s up to the folks at home. But the folks should know that all the shows are $10 on the door (if there are tickets left after pre-sales): not a bad deal to see three interstate bands. I’m not so poetic with genre-descriptive word grabs – folks these days know to check out MySpace, Bandcamp and Facebook. I think the three bands have free stuff to download, or stuff on iTunes.” SC: “I was talking before about the band members endeavouring to enjoy themselves, but also about the importance of the audience enjoying themselves. I would have to think that Ball Park Music puts a fairly large focus on the audience enjoying themselves. Our music is fairly simple; it’s


ERAS OF ELECTRONICA Not content to rest on laurels, LEFTFIELD’s NEIL BARNES tells CYCLONE that he is still very much a fan, and a part, of contemporary electronic music.


long with Underworld, The Prodigy and The Chemical Brothers, Leftfield led the ‘90s electronica revolution. The Brits’ 1995 Leftism, a manifesto of sorts, is deemed a definitive dance album. But in 2002, and still in their prime, Neil Barnes and Paul Daley parted ways, a ‘greatest hits’ materialising miserably three years later. Then, last year, out of the blue, Leftfield resurfaced on the live circuit – with Barnes alone at the helm. Orbital’s comeback shows surely had greater fanfare (or hype) – Leftfield was grassroots. What’s more, Daley’s determined not to participate in any reunion, instead focusing on his DJ career. Touring with the Future Music Festival last weekend – ahead of Coachella – fans should invest in earplugs: Leftfield are notoriously loud (plaster fell from the ceiling during an early performance at the Art Deco Brixton Academy.) So why now for a rebirth? “Basically, it seemed like a really exciting time in music,” Barnes states.

“I felt like Leftfield had probably ended a bit before its time and that there is still quite a lot of opportunity for a new and younger generation to hear the music that we made. Some promoters in England had came to me – or both of us – with the idea [of Leftfield returning] and asked us whether we’d be interested. I thought it’d be a really brilliant idea, so I decided to actually forge ahead and bring the music back in its original guise to start off with.” The Londoner has been impossible to pin down since before Christmas when the tour was announced and Barnes sounds like a man with a lot on his plate. Daley has given his blessing to Leftfield’s gigging, Barnes confirms. Was he not tempted to jump onboard? “You’d have to ask him now,” Barnes responds cheerily. “I think he’s made it really clear that he just wanted to concentrate on his own stuff and left it with me to do this… [But] it’s gone so well in this country [the UK] – it’s been a fantastic success. That’s why I’m bringing it to Australia, because it’s gone so well. We had a really long run in the UK last year at festivals – and we did a very big tour, finishing at Brixton Academy, where we did two sold-out nights with a pumping sound system. So I didn’t have any doubts whatsoever that I could bring it to Australia!” Barnes admits that he initially had some trepidation about handling everything himself. “To start off with, I was concerned. I felt, ‘Oh, wow, how can I possibly do this on my own?’ It’s a big responsibility getting all the songs back together again and getting the original vocalists. Most of the first part of last year was spent in rehearsals… [Yet] after we’d been playing for quite a while, it just felt like a very natural experience and it became the entity – it just became the Leftfield live experience. So those fears went quite quickly and I enjoyed it – I enjoyed the sound of it and thought that this represents the music really strongly now. I was quite confident that it was as good as anything Leftfield had ever done before.” In Australia, Barnes will be joined by cohorts old (reggae legend Earl Sixteen, Birmingham MC Cheshire Cat and Djum Djum) and new. “I found a fantastic drummer to take Paul’s place on stage.”

I felt like Leftfield had ended a bit before its time…”

Barnes is a Londoner through and through and speaks with a working-class accent. And it was in London Leftfield originated as Barnes’ solo vehicle in 1990 – he produced the single Not Forgotten. Enter Daley and the duo broke through with Open Up, featuring John Lydon, AKA Sex Pistol Johnny Rotten. Today Barnes insists that the punk provocateur is nothing like his evil media persona. “Actually, I have to say that John in the studio is a real pleasure to be with and a real professional person. Often the stories that you read about people, and how they are, just aren’t like that. I’ve done quite a lot of work with John over the years and he’s always proven himself to be totally brilliant in the studio and great fun to be around. That track was one of the easiest tracks that we ever put together… He was absolutely awesome – I mean, if he wasn’t, I’d tell you he wasn’t!” Leftism was overlooked by the Mercury Music Prize judges in favour of Portishead’s Dummy, yet its influence has been as profound, with Sasha among those heralding it. Leftfield pioneered progressive house, but they also experimented with dub, hip hop and electronica, creating hybrids. However, the pair only ever issued two albums, the last, Rhythm And Stealth, in 1999. Afrika Bambaataa ‘rapped’ on the lead single Afrika Shox, Leftfield pre-empting the noughties’ electro nostalgia, while other tracks echoed Jeff Mills’ minimal techno – a genre as antithetical to the pop charts as you can get. Above all though, Leftfield were mainstream. A version of Phat Planet accompanied a high-profile Guinness ad. Leftfield songs were licensed for soundtracks such as Hackers, Trainspotting and Vanilla Sky. Nevertheless, Barnes doesn’t want to continue trading on past glories. He’s switched on to contemporary music, declaring James Blake’s dubstep album to be “outstanding”. He rates the mysterious Forest Swords from England’s Wirral Peninsula, whose Dagger Paths encompasses a subversive Aaliyah cover. Barnes also digs The XX, Mount Kimbie, Joy Orbison and the hip hop-leaning Darkhouse Family. “I’ve got a very eclectic taste.” He admires The Chemical Brothers’ recent Further, mentioning it more than once. Barnes is conscious of his old competition – and, ironically, The Chemicals, too, headlined Future. And Barnes still follows techno (“I like some more bangin’ techno”), namechecking London’s Perc Trax. Leftism debunked the myth that, in contrast to rock, dance music doesn’t lend itself to the album format. “Electronic music and dance music, whatever you wanna call it, is just as capable of making good albums as bad albums as any other area – there are good albums, there are bad albums, there are brilliant singles…” Barnes asserts. “I could also give you examples of rock albums I think are really overrated,” he adds. Is another Leftfield album probable – even in this digital age? “Yeah, absolutely – I definitely would consider doing new music,” Barnes laughs knowingly. “In fact, I’m starting to do new music at the moment.” Busier than ever.

WHO: Leftfield WHEN & WHERE: Friday, Palace







SASKIA SANSOM THE SILVER SHIP Independent With its alternately delicate and thunderous soundscape of percussion by Jim White, The Silver Ship is the glorious centrepiece of the EP that shares its title, a collection of songs of eerie beauty (the moody Rosemary is a particularly captivating dirge). I recall crossing paths with Sansom back in the good old bad old last days of Melbourne’s rock revolution, and thinking she could mop the floor with most of those pretenders. That it took five years or so from then for The Silver Ship to materialise is a testament to her dedication to her work, and her work – these intelligent, romantic sketches, propelled by her womanly voice – was worth the wait.

MIKE POSNER BOW CHICKA WOW WOW Sony Yes, Bow Chicka Wow Wow, the song, is a thing that’s real. The zenith of R&B inspiration is now a body-spray/deodorant advertising jingle. Not only that, but Posner’s near-parodic slow-jam chorus also contains the same “down dickydown-own” that made Guy Sebastian’s Like It Like That so perplexing. Anyway, what gives, Posner? Is this a joke? Because I think even Boyz II Men would dismiss this as a bit too much. I feel stupiders having for listened to it.





Regardless of the fact that this is the band’s sixth album, most people will arrive at a PB&J record with expectations of stylish, featherweight pop. When Young Folks hit it felt like such an effortless sliver of genius that you’d expect its composers and producers to be able to turn out a dozen more like it, which made its accompanying album Writer’s Block a relative disappointment. With Gimme Some there’s no Young Folks but further, no attempts to write anything light and catchy or even produce the album themselves, which is remarkable given the experience they’ve had behind the desk. Breaker, Breaker outlines this in a blistering 99 seconds of supercharged guitar-driven pop with a suitably thrilling film clip.

Today Sweden, the hub of pop kitsch, is cool, being home to Lisbeth Salander, True Blood’s Alexander Skarsgård and Robyn. But, just as pop fans are salivating at the (tiny) prospect of an ABBA reunion, what do we get but a new Roxette album?

The ocean at night can be a mysterious thing; it’s eerily calm but you can just feel those ominous undertones. Bright Knights’ debut album The Ocean And The Night is just that, generally calm and collected but it can get a tad moody at times. And like the ocean slowly tugging away at a piece of driftwood washed up on the beach, it will eventually draw you in and swallow you whole.

The band don’t seem in a particularly good mood throughout Gimme Some. There’s no joy in their delivery, from the opening repeated lines of “I don’t think you are sorry for what you did/I know you need it and you just don’t know how to quit ” through to the closing “I know you don’t love me and I know the reason why”. While heartbreak has been the impetus for some of the greatest indie pop songs of all time (say, The Field Mice’s If You Need Someone or The Concretes’ New Friend ), here the writers seem too scared to fully explore them, content with initial feelings of bitterness and anger, keeping the songs short for fear of giving too much away.

Charm School is Roxette’s first full album since 2001’s Room Service – and Fredriksson’s brain tumour the following year. Here Gessle’s vocals come more to the fore – he takes the lead on the stompin’ (and bombastic) rock opener Way Out – yet he can’t match Fredriksson. Some of Charm School could have been recorded in Roxette’s ‘90s heyday – not necessarily a good thing. Big Black Cadillac is rock’n’roll parody. However, the nostalgic No One Makes It On Her Own, performed by Fredriksson, is a big piano-laden ballad that you can imagine hearing in a taxi one late night.

Peter Morén’s Lennonesque piercing vocal and slapback echo haunts the album, a likeness that does the band no favours. Instead, it’s when they stretch out and show a hint of vulnerability as on the closing IKYDLM that they get interesting and the production of Per Sunding (of Swedish indie pop gods Eggstone) gets something to explore. Andy Hazel

Roxette – singer Marie Fredriksson and songwriter/ guitarist Per Gessle – are invariably described as an ‘80s outfit, but they didn’t cross over globally until 1988’s smash The Look. They contributed It Must Have Been Love to the Pretty Woman soundtrack. Their last mega hit, the all-too-symbolic Fading Like A Flower (Every Time You Leave), coincided with the grunge revolution. Nevertheless, Roxette had enough humour to entitle 1995’s ‘greatest hits’ Don’t Bore Us – Get To The Chorus!.

Roxette’s electronic programming is outdated, the single She’s Got Nothing On (But The Radio) self-consciously ‘funky’ dance. They’re at their best when not trying to sound contemporary while removing themselves from ‘90s power rock. Roxette duet on Speak To Me – a song with the drama of classic U2. Only When I Dream is beautifully jangly and Dream On a little Jenny & Johnny. I’m Glad You Called is melodic acoustica. And Gessle’s After All might be a Beach Boys cover. Indeed, Roxette still have more credibility to make a comeback than Ace Of Base.

From the onset of first track Post Modern Lines it’s pretty easy to see why Scott Horscroft (Silverchair, The Presets, The Temper Trap) was keen to mix and produce the album – they sound pretty gosh darn similar to The Temper Trap but with less high-range vocals and a hell of a lot more nasality. You’ll also find some comparable Death Cab For Cutie references too. Despite the stock standard melodic indie rock they base their influences on, the five-piece from Melbourne know what they want and are very focused on bringing it to us. The Ocean And The Night is laidback and unpolished, despite Horscroft’s help, layering breathy vocals over lonely guitars and moody synths. Nick Russo’s eccentric voice seems to strain to reach the standards he’s set for himself but his talent as a songwriter is not to underestimated. Bright Knights tackle the sparse balladry of Explosions And Guns with ease while still offering great hooks and melodies on Bright Lights and This Love. Despite the hooks, it does take a few listens to actually get into the album, but if you’re willing to give The Ocean And The Night some time, it will burn its way into your heart. Rachel Tinney


What is this supposed to be? It teeters somewhere between something Midnight Juggernauts/The Presets-esque and some kind of Tears For Fears outtake. It’s the sort of music that invites only lazy common-denominator comparisons, because there is very little in Light It Up that inspires anything beyond realising that you have, in fact, just listened to a song.

SELENA GOMEZ & THE SCENE WHO SAYS Walt Disney/Universal While I wasn’t aware that Gomez had an actual band, she is totally hilarious on Wizards Of Waverly Place and this song is excellent. It reminds me of the best of the Michelle Branch/ Vanessa Carlton era, with just a hint of musical theatre, combined with a sweet message of self-acceptance/selfesteem – “Who says you’re not star potential? Who says you’re not presidential? ” – that makes it the sort of song I will likely sing very loud in the shower for years to come.

OSCAR + MARTIN DO THE RIGHT THING Two Bright Lakes/Remote Control Side note: god I wish Slam Dunk would reform and do a triumphant series of bedroom gigs. Because that’s what I think whenever I hear a faintly DIY duo making cut-and-paste beats with naïve vocals (a la Oscar + Martin); Do The Right Thing is super sweet, if occasionally too sweet, but this is minimalist R&B-ish pop par excellence.

BRITNEY SPEARS TIL THE WORLD ENDS Sony Britney will always, always stay dear to my heart, but I’m not sure how supportive I am of this whole The Room-dubstepremix direction she’s heading in with the two tracks dropped from Femme Fatale so far. Hold It Against Me was little more than a punning club banger, and now Til The World Ends has expanded on that template (but only barely) to create a song seemingly tailor made for the Supré change-room soundsystem that remains more or less unlistenable anywhere else.

CULTS GO OUTSIDE Sony You know, I have real issues with the purloining of things like Jonestown (as this song does, with its sampled recording of Jim Jones saying: “To me, death is not a fearful thing. It’s living that’s treacherous”) for pop gain. Yeah, it gives an ‘edge’ to your dippy sunshine pop, but at what cost? It reminds me of the sole time I saw The Flaming Lips and they played footage of napalm raids in Vietnam in their cosmic slideshow. It got them an emotional response, which they wanted, though probably not the one they expected.


STEVE KILBEY & MARTIN KENNEDY WHITE MAGIC Inevitable Music DOES IT OFFEND YOU, YEAH? DON’T SAY WE DIDN’T WARN YOU Pod/Inertia The light guitar arpeggios and wavering theremin that initiate Don’t Say We Didn’t Warn You – the second full-length album from British electro rockers Does It Offend You, Yeah? – are a promising start, but as soon as the persistent and unshifting beat and whining synthesisers that dominate the remainder of opener We Are The Dead drop in, all hope should be abandoned immediately: this album is genuinely sloppy. It’s like god took Mindless Self Indulgence, Klaxons and any indistinguishable German electronic band, took out all the interesting parts, arbitrarily threw them in a mixing bowl and haphazardly spilled the remains all over a CD. The vocals are tragically low in the mix throughout John Hurt: it could otherwise be an interesting track, full of spasmodic synth lines and a couple of interesting shake-ups, but the instrumentation is so harsh – and the vocals woefully unable to offset the sense of aural attrition – that it actually becomes kind of a chore to get through. Pull Out My Insides wishes it was written by Phoenix, because at least they pull off cheery electro-pop rock with an air of expertise, but nonetheless is actually one of the album’s strongest songs – alongside the anthemic and largely instrumental Yeah and the slow-build crescendo of closer Broken Arms – if only because it doesn’t really sound like the band who wrote it. The rest of the time, though, there seems to be a heavy focus on the same squealing/slightly fluctuating synth sound and glaringly simple rhythm sections that cannot be saved even by samples from former ECW owner Paul Heyman (Wrestler) and guest vocals from UK rapper Trip (Wondering ). Presumably it could be great if you were tripping balls in a club, but otherwise… Mitch Knox

HERCULES & LOVE AFFAIR BLUE SONGS Shock/Moshi Moshi Nostalgic house music can be incredibly powerful when done right, when songs are assembled with personality, intent and deft production. The odd thing about Hercules & Love Affair (HLA) is that there is no real identity associated with the band, and so it is that Blue Songs seems to fl oat around a musical concept of Chicago house-influenced pop with no real heart. While this might be fine if you want to switch off and relax with the last warm breeze of summer and some good conversation, there is little offered in the way of dynamics or arresting beats as their debut boasted. Most associated the earlier incarnation of HLA not with ringleader Andy Butler, but guest Antony Hegarty, who sang on their most notable track, Blind. Here, the big-name guest is Kele Okereke, who turns in a limpwristed effort on the insipid Step Up. More impressive is the gliding, pulsing bassline, heavily compressed brass and four-to-the-fl oor beats of Falling (almost worth the price of admission alone) and My House, which oozes late-’80s nostalgia in an infectious way, the only songs which really build on their beginnings. Nostalgia seems to be the main motivation of ringleader Andy Butler on assembling Blue Songs. While it can be glorious to be reminded of an era when someone resurrects their hybridised version of it, it’s less exciting when their version is so faceless and any chance to connect with the music is challenged by shifting vocalists, none of whom leave a strong enough impression. HLA leave their boldest move for last, with a bizarre, beatless, breathy cover of Sterling Void’s seminal It’s Alright, which only reminds how great the Pet Shop Boys’ cover was, a band whose Behaviour album Blue Songs would dearly love to be. Andy Hazel

There’s no doubt that something truly special happens when The Church frontman Steve Kilbey and All India Radio’s Martin Kennedy combine their formidable creative talents. Their debut record, Unseen Music Unheard Words, was a slow burn delight of monumental yet somehow subtle proportions and their follow-up, White Magic, is equally beguiling, delightful and strangely, wonderfully intoxicating. Inpress realises it’s only early in the year, but come December, there’s no doubt this record will still be sitting atop this writer’s best-of list. The obvious comparison here is to a kind of inner-city Melbourne version of Angelo Badalamenti, having attended one too many Bad Seeds gigs perhaps, but with a Bacharachian/Gershwinian sense of how to successfully combine the accessible, the grand and the poetic. No easy feat. Opener The Demo gives us some idea what we’re in for with a mix of atmospherics and good, old fashioned toe-tapping rock, never venturing far away from a delightful collision of fun and seriousness. Then Kilbey confirms his status as one of this country’s most iconoclastic lyricists straight off the bat with track number two, Close. For track three we are treated to a guitary and rhythmic Intense, not just churchy, but Churchy as well. And things progress –always interestingly – from there. It’s fascinating to contemplate why Kilbey – as mentioned a terrific lyricist in his own right – feels the need to work with Kennedy and why the ridiculously talented Kennedy feels the need to work with Kilbey. No doubt part of the answer is that there is something here both of their others projects don’t provide. But rather than dwelling on lack, it is much more interesting to celebrate the amazing fusion represented on White Magic, and to simply be thankful that something so alarmingly delightful exists at all. Heaven help us, what will album number three be like? Tony McMahon



ISRAEL CANNAN WALK Poets Corner Records




Musicians will go to varying lengths to ensure that there is authenticity of experience attached to their records. Disillusioned with the music industry following the release, Cannan had be disappointed by the process involved in his debut EP, All Things Change. Rather than remain in the soul-destroying surroundings he found himself in, he decided that he would try the old school route of hitting the road to see what he could learn. The result, Cannan’s debut album Walk, was written, produced and performed solely by the singer while he spent time busking in some of Australia’s remotest regions.

They’ve only been around for a relatively short time, so you’d be excused for not knowing an awful lot about Melbourne fi ve-piece Red Rockets Of Borneo. I too fell into the great unknown category, but after just one listen to their debut self-titled album I thought I’d better turn that all around. Two Jameses on guitars, Feros and Deane, along with vocalist Jean-Philippe Lopez, bassist Katherine Karvess and drummer Paul Instance, have put together a rocking and rolling punk outfi t drawing on rockabilly roots with some inspiration from ‘60s and ‘70s guitar-based bands. Given how much I’m digging this release, me thinks this humble reviewer will turn punter and head out to the CD launch at the Old Bar this Friday.

In listening to any DeVotchKa album, one thing is always clear: Nick Urata’s vocals are always going to be divisive among the audience. With a wail akin to Muse frontman Matthew Bellamy, Urata’s vocals will make or break this album for many listeners.

Alexander Ebert, Edward Sharpe & The Magnetic Zeros’ band leader, plays every instrument on his debut solo effort and each song has been lovingly crafted with layers of (often unidentifiable) sound. All of his doors of perception are flying open and Ebert leads a communal mantra, Awake My Body, during which he could even be playing a Melody Pop. The intriguing artist also boasts a whistle worth hiring out and there’s something about the pacing and flow of Truth’s verses that borrows from hip hop (or maybe even MIA’s Paper Planes – seriously!). Ethereal BVs demonstrate Ebert’s impossibly high vocal range and the harmonies throughout call to mind an enthusiastic church congregation.

The story in itself relies on the romantic notion of an artist struggling in the name of their art. But a good story will only get you so far, especially once you have returned to the world which had once left you feeling lonely and empty. Luckily, Walk delivers, rendering Cannan’s time out on the road worthy of retelling.

The album tells seamlessly the story of a life-changing experience. Contained within the album’s 13 tracks are all the highs and lows of self-discovery. The hopeful wanting of Set Me Free appears almost resolved by the album’s closing title track. With the antagonistic angst of Where The Story Unfolds and blissful Letting Go en route, Cannan’s journey is both an intriguing and engaging listen.

This album gets off to cracking start with the breakneck speed of Victim Of Fashion, with its punk overtones slashing their way through rocking guitar riffs in two minutes of frenetic energy. Just Like Blood displays a darker swagger, full of boozy blues inspiration, whereas the strangely yet aptly titled Sphygmoid is considerably more pared back. The punk rock tone returns for another rocketing two-minute wonder in Wake Me At Sparrows and might best sum up the RROB attitude: “Gotta keep it raw/Gotta strip it back.” Cold Blooded Lover and Party Bones are both another slight change of direction but work equally well sounding a little like a nod to The Damned on valium with Jello Biafraesque vocals. This listener can easily envisage crowd participation for their Plastic Radio Singalong as there is something innately catchy about it. It’s appropriate there’s a track titled Swagger Like A Storm and don’t ask me to describe Ghengoid, but it is a cute closer. Maybe it appeals to a basic, primeval nature but Fuck Shit Up for mine is a real standout and has me doing the pogo in my lounge room.

Jeremy Williams

The Boomeister

The question is, however, is Walk any more unique for the journey Cannan undertook? With All Things Change having introduced a complex writer with a rasp in his voice to world, Walk is arguably an extension of Cannan’s early work. Yet, there is one subtle difference. While Cannan’s songwriting abilities have never come into question, the connection to his material is evidently enhanced on Walk.

Already devoted DeVotchKa fans, on the other hand, won’t be shocked by the overpowering vocals, but they may be surprised at the Arcade Fire-like direction of the two opening tracks, with their pulsating rhythms and epic, crescendoed violin arrangements. For the first ten minutes of 100 Lovers, DeVotchKa’s multicultural influences (for which they have become so well known) appear to be nowhere within earshot. As the album progresses, however, the band’s melange of eastern European gypsy, Spanish flamenco, American folk and Mexican Mariachi (among plenty of others) gradually reveals itself: the surfy guitars and gypsy accordion of The Man From San Sebastian, the lone whistle and children’s chorus in Exhaustible and the somewhat distracting Mariachi horns in Back Luck Heels. In the bricolage of exotic influences, however, 100 Lovers often gets caught up in trying to show how much World Music: 101 homework its creators have done that the end result comes across, well, a little spiritless. DeVotchKa have served up a tapas plate of world music mixed in with their undeniably American lyricism, but offer no main dish for listeners to really sink their teeth into. Perhaps 100 Lovers was intended this way, but considering the palpable technical skill of the band, it seems a shame that DeVotchKa haven’t nurtured a style long enough in 100 Lovers for new listeners to not feel confused by the musical Lonely Planet guide flick-through. That said, the final track Sunshine is wonderful – a sustained, violin-heavy, cinematic masterpiece – it’s just a shame it took DeVotchKa the rest of the album to get to that point. Sara Savage

A charmingly unconventional turn of phrase – “Would you call the earth an arsehole for turning ‘round and ‘round?/ You know it never, ever stays in just one place” – pulls the listener in beyond the immediately appealing melodies and quirky arrangements to discover as many expressions of profound experience as there are tunes (ten): Old Friend sees the narrator confronting death; an intense love connection is portrayed in A Million Years. Ebert’s appearance would allow him to wander off the street into any nativity play, completely unnoticed, and his recordings – like an Edward Sharpe & The Magnetic Zeros live experience – have a cathartic effect. He uses exaggerated breathing as percussion during closer Let’s Make A Deal To Not Make A Deal, which is hypnotic and soothing, and this track also houses Ebert’s most random lyrical phrase yet – “Drop your fears like little turds/ Then, my dear, the magic words”. If you’ve ever made a daisy chain and frolicked in a field, wished to be selected from the audience to play guest tambourine with your favourite band, or crapped in a composting Portaloo and then heaped on a generous scoop of sawdust, Alexander is for you. Bryget Chrisfield


THE REAL DEAL It took more than a decade to complete, but when penning THOUSAND NEEDLES IN RED’s new single, guitarist TRISTAN ‘TRIZO’ BOUILLAUT felt a powerful presence guiding him. BRENDAN CRABB gets into the spirit.


hen writing their new single, the Jeff Martin-produced Into Eternity, Tristan Bouillaut and vocalist/songwriting partner Clint Boge (also of mega-selling Brisbane rockers The Butterfly Effect) felt a special force helping steer their efforts to finish a song that had effectively been 15 years in the making. “It’s pretty close to my heart,” Bouillaut explains of the hard rock act’s new track. “The song is about a conversation my father had just before he died. I was at my brother’s wedding and my godfather told me, ‘I’m going to tell you something, because I think you’re old enough to know what happened.’ He was the last one to see him alive.” He recalled how, due to his illness, his father’s eyes had to be sewn shut as his tear ducts stopped working. “The music practically wrote itself,” Bouillaut admits. “I didn’t feel like I was on my own for this process. I sent Clint the music and told him the story. Clint translated my story

into some incredible and very moving lyrics.” Did the axeman have any reservations about enlisting someone else to write lyrics for a song that was so deeply personal? “Clint is family, so no; it wasn’t [difficult] at all. If I was going to get anyone in the world to do it, it’s Clint. I knew he’d do an awesome job and understand how I feel about family. I’m really happy with how it came out and it seems to be touching a lot of people. It’s my story, but people take it in their own way. When I put the preview up on Facebook, I had 35 messages straight up, people telling me, ‘I lost my mum’, ‘I lost my dad’, ‘It’s great that I don’t have to go through this on my own – thanks for sharing this story’. “It was never meant to be a ‘poor me’ kind of thing – it’s a tribute to someone you’ve lost. I didn’t have a deadly issue [with it] that had to come out in a song. It was just the right time to express it. Every time I started writing it, it was just too sappy, corny and crap. It just seemed to go down this path; [this time] the music wrote itself and Clint said the same about the lyrics, they just came to him when he was driving home. We have our own thoughts about that – maybe someone was looking over our shoulders.” Working with Martin (who also contributed 12-string acoustic guitar and piano to the song) was also a revelation for the Bouillaut/Boge tandem. “Jeff’s a legend; he’s done a lot with music,” the guitarist enthuses. “We were honoured that he took it on, as he’s pretty much only produced himself and The Tea Party. He has a real old-school way of working, which we like as well. He made me use a stack of different guitars I wouldn’t normally use and tunings I hadn’t even heard of,” he laughs. “So I’d be learning to play in those. He brought a lot of experience. We didn’t just want someone to say, ‘Okay, the tracks are done, let’s polish them.’ We wanted a musician who could contribute. It was really good to have a producer put everything into it – that’s a first for me. I’m not going to name any names, but there are a lot of producers who sit on their hands and just flick this switch or that switch. Production should be hands-on. We had spoken on the phone but never actually met… It wasn’t until he rocked up on the first day that we met him. He hugged me and said, ‘Let’s make rock’n’roll.’ I would love to work with him again – Jeff is the real deal. He lives and breathes music.”

It wasn’t until Jeff Martin rocked up on the first day that we met him. He hugged me and said, ‘Let’s make rock’n’roll.’”

However, the quartet (who also feature bassist Ayden Mitrovich and drummer Phil Eades) will be self-producing their debut album – of which Into Eternity is the first single – due to be recorded in May/June. “Jeff was absolutely fantastic for Into Eternity, but we want to go a little bit different on this album. It’s hard to explain, but it’s very different. The single was a really good process and set a good standard for what the album will be. I think the album will be diverse, but a lot heavier and the songs are more matured. We’ve got the formula a little more matured than on the [self-titled] EP and [recent single] Brand New Day.” Having formed in 2009 and undertaken their first bouts of touring last year, it’s refreshingly honest when Bouillaut admits that perhaps hitting the road so early on was a tad premature. “The first time we went out we probably shouldn’t,” he laughs. “It’s a different band [now]. I’m looking at YouTube footage and I’m cringing – ‘Can we get rid of this?’ It’s a totally different band. Obviously we knew we’d be tested by The Butterfl y Effect fans and the industry people, standing up the back with folded arms, analysing us, ticking that box and crossing that one. But it feels like we’re more accepted now and have some support. It feels good.” It’s been that regular activity on the touring front which has largely enabled them to attain a discernable identity. “We didn’t do too badly on the first tour, but I think a lot of it was based on hype of the band. The second tour, a few more were coming in for a listen. Now, we’re not basing it off bullshit – we’re the real deal, we’re selling out venues and it’s not just people coming out for a look. “This tour, the show is different. We’re bringing a bucket of new songs as well as the old stuff. It’s funny saying that, calling it old stuff, because it was a year ago. But so much has happened since then. It does feel like a long time ago and the quality control of everything has changed. Expect a new show, a new energy, lots of production and a big rock show. This band works really hard on the live show. We’re not a political band and about forcing ideas down anyone’s throat and Into Eternity isn’t about that either. But we want to get it out to as many people to hear and then they can make up their own mind. It’s hard to fool audiences in this country.”

WHO: Thousand Needles In Red WHAT: Into Eternity (Independent) WHEN & WHERE: Thursday, Bended Elbow (Geelong); Friday, Espy; Saturday, Ferntree Gully Hotel; Wednesday 23 March, Karova Lounge (Ballarat)





WEDNESDAY 16 I Take Your Hand In Mine – a series of readings by Anastasia Malinoff and Paul English, directed by multi awarding winning director Ariette Taylor. Based on the letters between Anton Chekov and his wife Olga Knipper, written during the last six years of his life, this is the memorable but little known love story of the playwright himself. Fortyfivedownstairs, 10am. Repeats tomorrow at 10am, 21 March at 1pm and 6.30pm. These are the isolate – Ed McCallister is a happily married man who is neither happy nor married. When overlooked for a promotion at work he returns home to find a woman, possibly his wife, baking cakes and contemplating suicide… all he wanted was someone to remember his birthday. A Mutation Theatre and Theatre Works co-production. Opening night, 8pm. Theatre Works until 27 March.

THURSDAY 17 Photography Night Walks – grab a camera and take a wander with like-minded folks around the Melbourne CBD, followed by instant visual gratification at Loop. Walk-in held 6.30pm to 8.30pm, with the screening held at Loop from 9pm. Check photographynightwalks@ for more info. Also held Sundays.

FRIDAY 18 Reason And Rhyme – a collaborative exchange exhibition between Gerturde Contemporary and St Paul St Gallery, Auckland, featuring works by artists Damiano Bertoli, Julian Dashper, Richard Frater, Starlie Geikie, Maddie Leach, Simon Morris, Campbell Patterson, Hanna Tai, Mimi Tong, and Jake Walker. Curated by Emily Cormack, Charlotte Huddleston, and Amita Kirpalani. The exhibition investigates the urge to structure and channel creative production through systems, grids and frameworks. Opening day. Gertrude Contemporary until 16 April.

SATURDAY 19 A Behanding In Spokane – Australian premiere production of the latest work from the superb playwright Martin McDonagh (The Pillowman, The Lonesome West, In Bruges), about a man hunting down something that was taken from him as a young lad 30 years prior, leading to a dingy motel room and an encounter with two seedy characters who claim they’ve got the goods. Final day. Sumner Theatre, MTC. Destiny – exhibition of Japanese lowbrow and kustom kulture. Opening weekend includes meetand-greet with Mr G, Makoto, and Ghosy, along with Nash from Japan’s Burn Out magazine. Kustom Lane Gallery until 27 March. Lost Paintings – Albert Tucker: Images Of Modern Evil – collection of paintings (accompanied by


supporting works on paper and studies) by Albert Tucker never before exhibited in its entirety. A highly important part of Australian art history. Opening day. Heide Museum Of Modern Art.

SUNDAY 20 Connected – world premiere of Chunky Move’s new work. Teaming up with Californian artist, Reuben Margolin, Chunky Move’s Gideon Obarzanek animates both the body and the machine through physical connection between the dancers and Margolin’s purpose-built sculpture. Closing night. Meryln Theatre, Malthouse.

MONDAY 21 Don’t You Have Docs? – program of short documentary films screened on the third Monday of each month. Melbourne film collective Don’t You Have Headphones? present a selection of between six to eight short docs curated around a different theme or style. Run in partnership with online film site MUBI Garage, films are sourced from all over the globe. Loop, 7pm.

ONGOING Apologia – Robyn Nevin stars in this Australian premiere production of Alexi Kaye Campbell’s (The Pride) Apologia, about an art historian noted for her leftist attitude and radical nature, who holds nothing back in her autobiography except that she has two children; on her birthday her sons arrive with their own versions of her life story. Fairfax Studio, MTC until 9 April. Dance Massive – biennial festival celebrating contemporary dance in all its forms. Opening today, the festival runs for two weeks and features works from Chunky Move, Force Majeure, Shaun Parker, and ReelDance. See au for program details. Daniel And Matthew Butterworth – exhibition of works by these two brothers, boasting confrontation, exigency, humour, and the thong. Includes Daniel’s shortlisted 2010 Doug Moran National Portrait Prize entry Best F’n Self Portrait Ever. Bridget McDonnell Gallery, Hampton until 2 April. Dreams Come True: The Art Of Disney’s Classic Fairy Tales – exhibition featuring hundreds are artefacts from the Disney vault, or, more specifically, the Animation Research Library. Features sketched, frame cells, drawings, concept art, and more, from the likes of The Little Mermaid, Snow White And The Seven Dwarfs, and Cinderella. ACMI until 26 April 2011. Victorian Indigenous Art Awards – exhibition of finalists of the Awards for 2011, featuring artist talks each Saturday. Today’s talks: Eileen Ballangar, Megan Cadd, and Kamahi Djordan King from 2pmFortyfivedownstairs until 2 April.

DANCING UP A STORM BALLET ICON GRAEME MURPHY TELLS LIZA DEZFOULI THE STORY OF HOW TWO OF HIS WORKS ARE FINALLY BEING BROUGHT TO FRUITION, TOGETHER, AS SUITE SYNERGY. Graeme Murphy is as excited as a new father. “I didn’t think I would ever see them again,” he says. “I look and I go, ‘Gosh, that’s something that I thought would never happen!’” ‘Them’ are two of his dance pieces, Synergy and Free Radicals, created during the 30 years Murphy was artistic director of the Sydney Dance Company. The two works are being melded to create a hybrid piece called Suite Synergy, which is the inaugural show from the brand spanking new Mod Dance Company. Since retiring from the role of Sydney Dance Company’s AD, Murphy has been freelancing his skills but now he dons the mantle of Chief Patron of Mod Dance Company. “I’m just the choreographer,” Murphy says matter-of-factly, in reference to his role in this debut production. It is somewhat disarming to hear Murphy describe himself as ‘just the choreographer’. He is, after all, a recipient of the Australian Dance Awards Lifetime Achievement Award. “I’ve got a body of work that is huge; 30 years of a repertoire. Now I am a happy choreographer — without the pain of being the artistic director.” Of Suite Synergy Murphy says, “The sum of the two works is much more impactful than each individual piece. The idea was to put the strongest part of these two works together, pick the eyes out…” Brett Morgan, AD of Mod, was pivotal in bringing the two performances together to create Suite Synergy.

He and Murphy have often worked closely together; Morgan took over the SDC in a caretaker role after Murphy’s retirement. “Brett always said, ‘There’s life in these works,’” Murphy says. “He’s been instrumental in marrying the two works; the humour, the high peaks; he had to find the strength to put them together. It’s a potent mix; a new design; it’s a very different, powerful piece.” Morgan, Murphy says, “probably comes with a more objective eye than I do. He has a great sense of theatricality and is incredibly respectful of the works.” Murphy is positively evangelical about Mod. “One unified vision is incorporated in Mod management; they’re so enthused, so excited, full of innovation,” he says. “They’re helping to create a new dance industry starting from a completely different point.” The fact that Mod is independent of government money and is funding itself privately is, according to Murphy, an incredible and unique strength. “Mod is a different animal to other companies. When does contemporary dance have independence, a new dance company not using the normal blueprint? It’s a different model — dangerous territory; the safety nets aren’t there. That’s what I take my hat off to. “Brett has put together a terrific team of dancers. Eighteen incredibly beautiful dancers have

been handpicked from across the country. They’re young kids fresh out of training; a new generation of thoroughbreds. It’s an exciting moment for me, a chance to work with dancers again. In my freelance world I’m often in a situation where I see opening night and maybe one more show. Now I’m going to see a whole new breed of dancers, a new group of people with different way of approaching things, who are passionate about this.” Murphy is conscious of the opportunity Mod Dance Company is offering to a significant number of young talents. “Eighteen dancers!” he exclaims. “Dance companies are big if they’ve got ten dancers... That’s 18 dancers who don’t have to leave the country. Keep talent in Australia! Creatively, it’s the beginning of something that could offer them a satisfying and fulfilling career.” The brief Mod sets itself is to provide dance as ‘an alternative and accessible product that will reach a broader community’. Murphy believes that it will be influential in bringing dance to an ever increasing number of people. “Mod is spreading the word as widely as possible to the broadest number possible — bring them all in! People tend to adore one aspect of dance; it can be a segmented art form. But in the words of Mickey Rooney, ‘There are many ways to get a show on the road.’

“There is a need in dance; certain holes which can be filled by what Mod Dance Company has to offer. It’s important and healthy for the industry.” Suite Synergy involves live music. The original pieces are fiercely percussive and the new work is accompanied on stage by four musicians, another thing that thrills Murphy. “People have said, ‘This should be on Broadway — this is a show!’ The live music, the costuming… In the world of subsidy and dance you can’t sit down and ‘do a show.’ I love dance when it crosses all these boundaries.” He can see the potential for Mod Dance Company to tour, for sure. “Dance doesn’t have to be in the same language.” Four of the Mod dancers have performed the two original works that make up Suite Synergy, the others were taught by dancers of that era who were involved. “They care so much, respect it so much, they love the work,” Murphy enthuses. “It’s so inspiring, the speed with which it’s come about. There’s a limited time to make 18 dancers into a family. Brett has been so totally involved in selecting the right people.” MOD Dance Company was launched on a hot Wednesday night in February at Melbourne’s distinctive art hotel, The Cullen. Graeme Murphy told the gathering he was in ‘awe’ of the MOD team and talked of how much this venture means to him. “It is incredibly momentous to see my past, present and future in this room.” WHAT: Suite Synergy WHERE & WHEN: State Theatre, the Arts Centre Wednesday 23 March to Saturday 26



my goolies with my valueless but tastefully-framed arts degree. Now, the seventh floor, I turn and turn and am at the optimistically large donation box that stands guard to the entrance to Blindside gallery. Peopleless, doorless — inside, contraptions are banging. The room is Paul Yore’s and styled with blinding dyes and these set-off clatter machines, and there, a rainbow; a My Little Pony is glued to a revolving record player, a wire tied to her back which lets a bead thump over and over into a circle of drums. Over there, a pineapple strums musical strings. A dildo spins, blue water is spurting into bowls — the room is a horror carnival in miniature.

BY ROBERT LUKINS I’m waiting for the elevator with an awful woman who seems convinced that charisma is measured in decibels. She won’t stop and after nearly ten minutes I’m almost sure the lift isn’t coming, and going to the stairs I can still hear her, screeching and cackling at a poor and silent arts student — ‘Oh, don’t worry about me, dear. I am crazy, I am. Don’t worry about me, I’m crazy.” — who must be regretting her timetabling of this moment to visit the Nicholas building. Taking the deep stone steps by two, I’m now happy for the inconvenience, at my transport’s sudden lack of mechanisation.


It is a tower worth being lost in; twisting clockwise up and around and over and again, and everywhere are lockers and doors on the walls at your chest, positioned above a height that could be useful, and signs glued on tiles and glass doors that suggest an invitation but which are in fact strict in their excluding. Being in this place is being at a party that you heard of through a friend, is like the


parties you dreamed of having when you were 13, is attended entirely by people who don’t know you but know each other too well, and which started a long, long time ago. All the way, up and up, clockwise and round, there are windows which crack open to a view of the central and hollow core of the building. Where you might imagine

LIZA DEZFOULI TALKS TO CHUNKY MOVE’S ACCLAIMED ARTISTIC DIRECTOR AND CHOREOGRAPHER GIDEON OBARZANEK ABOUT HIS NEW SOLO SHOW, FAKER. ‘Faker’ isn’t a moniker you’d ever think to attach to Gideon Obarzanek. After all, he’s Melbourne’s best known choreographer, known for dance works telling of human frailty with directness and honesty. ‘Faker’ comes from experiences Obarzanek had working with a young dancer who’d asked him to choreograph a piece for her, a solo work that never emerged. “It didn’t work out,” Obarzanek says. “So I made a work about the work that was never made.” The result is a performance quite different from what audiences are used to seeing from Chunky Move. “It’s about her experience and my experience, about our respective expectations, about the co-dependency that can happen between a dancer and a choreographer.” The events that inform the show occurred during six months Obarzanek took off in 2009 to gather himself, so to speak. “I’d become, over the years, quite distanced from what originally interested me about dance,” he explains. “I wasn’t performing, I wasn’t dancing; I was much more involved in being a choreographer and becoming a director and administrator. I wanted to reconnect with my initial interest.” The work is also inspired by something universal that Obarzanek has learnt along the way. “The doubt that happens to a person…” he muses. “It’s irrespective of them gaining wisdom and experience. I thought that doubt would diminish with age and experience but it is a fundamental part of the creative process.” Reassuring news for anyone struggling out there to hold onto belief in themselves and their work. Why didn’t the two succeed in creating the solo work? “There was nothing from my end,” says the much-lauded choreographer. “I was dredging my imagination for ideas. And not finding much that I thought was interesting or worthwhile.” While thinking


of a response to this, Obarzanek elaborates: “I didn’t have a motive to make a work. Normally I’d have ideas, things I want to do. Once I’d gathered ideas I’d start developing them. In this situation someone asked me to create something for them. In retrospect, the whole story of me trying to make the work was more interesting.” Faker is structured around a letter from the dancer to Obarzanek, written after the period of working together. Although there wasn’t an actual letter as such, the piece is informed by videos from the workshops, Obarzanek’s memories of the work they did together and a rehearsal diary kept by both of them. “It comes from a long process,” he says. “A diary we were both involved in writing.” How is the show weighted between movement and voice? “I am reading her letter, then I do what I asked her to do,” explains Obarzanek. “It’s task-based; it switches from speaking to demonstrating. The stage is like a studio environment.” Faker, he says, doesn’t involve the use of shiny technology or complicated lighting; it’s a simple show in comparison to recent performances from Chunky Move. “It’s really just a bare stage with a desk. It’s really naked,” he says. “I’m not naked!” he quickly adds. “The piece is exposed, revealing.” Does he wonder whether he might not be baring too much of his soul to the audience? “I’m usually pretty honest,” he replies.“Pretty straight up. I don’t find that too much of an issue. But other people have said that in doing this show I’m ‘very brave’. I don’t know if that’s a positive or a polite negative! It is quite confronting, the show. But once I’m on stage doing it, I have a job to do; I don’t take it extremely personally.” WHAT: Faker WHERE & WHEN: Beckett Theatre, Malthouse Wednesday 23 March to Saturday 2 April

a steel spine, the Nicholas has a bare concrete square and a shaft of unreplenished air and the odd birds of blown scraps and rubbish. I would mention urban labyrinths and physicalised bureaucracies and Kafka, but I would then feel duty-bound to hire 15 first-semester philosophy students to suspend me by my ankles and repeatedly pound

I’m through this, thrilled but escaping this, the second room is a halcyon with its wings outstretched. Sophie Knezic’s Fiat Lux is only a sun-white room and a window of digital colour: it is a moment of real peace. In a firetrap gallery, on a maze floor, in a hip and outmoded belfry on the corner of a screaming world; I am for a second in a beautiful truth. In rare silence, I am my own friend, and so, am a god.


STRIPPING SMIKE IN A DEBASED ERA, WHEN A SIMPLE LINE CANNOT BE DRAWN BETWEEN ONE POINT IN TIME AND THE LAST, WHAT DEPTH OF RELATIONSHIP CAN AN ARTIST HAVE WITH THOSE THAT CAME BEFORE? ROBERT LUKINS SEEKS ADVICE FROM BROTHERS, DANIEL AND MATTHEW BUTTERWORTH. Jean Baudrillard talked of a rupture; of this irretrievable point at which the central organising principle of our world shifted from that of production to that of simulation. The moment at which this occurred is necessarily impossible to isolate, but more importantly, it is a moment from which there can be no return. Big Bad Baud: The end of labor. The end of production. The end of political economy. The end of the signifier/ signified dialectic which facilitates the accumulation of knowledge and of meaning, the linear syntagma of cumulative discourse. Popping Jean briefly on ice — the brothers Butterworth’s forthcoming

show aims to “humanise and demystify the astist”, asking, “if highly regarded artists of the past were around today, what would they be painting?” In answering this, through painted works dipping between irreverence and confrontation, the boys put hands to the neck of post-Derridean thinking. Their shared exhibition on the eve of opening, the brothers Butterworth make answers as one — distinction between them unwanted or impractical. Their paintings interacting with celebrated practitioners of old, they are clear on whether they feel divorced from the history of art. “No we don’t. If anything the artists

La Mama Courthouse Written by former theatre critic for The Age Leonard Radic and directed by Stefan Mrowinski, The Revengers’ Comedy follows the breakdown of two middle-aged, middle-class relationships. Max (Martin Mulvany) is bitter after being sacked and is attracted to younger, former colleague Mallory (Jenita Spirtovic), all creating friction between he and his materialistic wife Helen (Lesley Harris). Meanwhile Robert (Steven Kennedy) has grown bored with his wife Jane (Renee Palmer) and is in the throes of leaving her for younger woman Polly (Beth Litson). Billed as a black comedy, the story examines relationships without really coming up with anything new. These are pretty stock-standard characters caught up in familiar situations — which would be fine if the comedy was, well, a bit funnier.

we reference would celebrate our work… obviously we are always looking for inspiration, whether that be from living or dead.” The pair have developed a working relationship that pivots between individual articulation and collaboration. When constructing joint pieces, Daniel will often start the procedure, slapping paint, moving the work to the point when he will pass the canvas and stewardship to Matthew. In a work such as Smike, in which they have tattooed and taken the clothes from Tom Roberts’ portrayal of Arthur Streeton, they simultaneously add and remove layers of complexity. We are left to think of “the male, relationships, sexuality, and masculinity.” We are also tossed into a confusion of lineality, and again, into Baudrillard’s darkly funny and onesided conversation: and at the same time, the end simultaneously of the exchange value/use value dialectic which is the only thing that makes accumulation and social production

It has its moments but also misfires occasionally. The characters were uneven, often switching mood too suddenly and just not quite fitting together even in their fragmenting lives the way they need to to be fully convincing. As for the acting, unfortunately two members of the cast appeared to be well beneath the task. They really need to lift their game early in the season. When Kennedy, Liston, Palmer, and Spirtovic took to the stage, however, there was real chemistry and energy. All had their moments to shine, all were clearly immersed in their roles, and in lesser hands I’m not sure this play would have been as enjoyable. I still found some aspect of their characters sometimes a little unconvincing but by then was engaged enough by the overall dynamics of their relationships to let this slide and simply sit back and enjoy. Until 20 March

LEE BEMROSE possible. The end of linear dimension of discourse. The end of the linear dimension of the commodity. The end of the classical era of the sign. The end of the era of production. Daniel and Matthew Butterworth have made a smooth dance of sharing an idea; “The process is made easy because our style and approach complements each other. We like the challenge of bringing our two styles together to create a cohesive image.” In acting together, they make a twin with their subject, or if not a twin, then at the least a temporary spouse, and the upshot of this is something to be considered — there is the idea of the cool smile, of a gesture which ultimately encapsulates all its ambiguity. Humour can be a slippery fish, it can turn and it can bite. WHAT: Daniel And Matthew Butterworth WHERE & WHEN: Bridget McDonnell Gallery, Hampton until Saturday 2 April





WITH ANTHONY CAREW The Melbourne Queer Film Festival opens t’morrow, and, as always, there’s plenty of films that’ve gotten a gig due to their content, not their merit. But, do some digging, and there’s good work to be witnessed. Like Kaboom, Gregg Araki’s return to his own ‘Teenage Apocalypse’ shtick; his latest flick one part ironic college-movie of youthful sexual liberation, one part ridiculous paranoia/conspiracy-thriller happily hurtling t’wards the end of the world. Heartbeats has an awesome set-up: two Québeçois hipsters tear into a cocky, handsome, Louis Garrelesque dufus from across the room at a party, but, not long after, they’re both besotted with him, to the point that they become passiveaggressive rivals. The pic’s French title translates as Imaginary Lovers, and that holds: these once-pals projecting all kinds of romanticised thoughts onto the floppy-fringed fop who’s the object of their shared affections/intentions. Twenty-oneyear-old Xavier Dolan takes obvious cues from Truffaut, Honoré, Woody Allen, and Wes Anderson, but barely out of adolescence he’s already a functioning filmmaker with particular panache. And Heartbeats is a marked step up from his 2009 debut I Killed My Mother; ditching adolescent self-obsession and hysteria for a droll, smirking comedy-of-manners that captures an existential early-20s emptiness riddled with dreams of turning crush into conquest. Prima Donna: The Story Of Rufus Wainwright’s Debut Opera is no simple tag-along, bonus-disc extra, but standalone artwork. Chronicling the flamboyant songsmith toiling on his maiden opera, George Scott sees the symbolism: this undertaking the culmination of Rufus’s entire existence. Prima Donna becomes,




then, less about Wainwright at work, more the story of his life, his career, his family. It’s a fully-rounded, wellmounted portrait that grows poignant when Wainwright’s mother, Kate McGarrigle, begins dying of cancer. Who Took The Bomp?: Le Tigre On Tour spends much time in Australia. Stuck on the Big Day Out 2005 line-up — which boasted, as usual, a hyper-masculine bill of vile, boys-own corporate rock catering to a crowd of white-power bogans — the proudly-feminist, queer-friendly Le Tigre crew suffer idiotic interviews, metal dufuses, and creepy fans. Kerthy Fix’s flick finds familiar hotel-rooms, backstages, and tour buses; but Kathleen Hanna’s awesomeness (“I was being told by mainstream music critics that I was a fat, retarded slut who didn’t know what I was doing”) and the band’s killer rollerskate jams make this well worth witnessing. The Last Summer Of La Boyita adds a wrinkle to the notion of the coming-of-age movie; Julie Solomonoff’s tale of a rural Argentine summer not about nascent sexual exploits but about the arrival of hormones and the at-times brutal war they fight on the body. It’s not amazing in execution, but has depth of theme: also mocking the myth of ascribing ‘innate’ characteristics to pre-adolescent kids, and hammering children into traditional gender roles.

Room In Rome finds Julio Medem eschewing his auterist ways for a flimsy two-girls-in-a-hotel-room conversation-piece. Like the stillon-in-cinemas(!) Certified Copy, the smart talk is filled with lies, illusions, and allusions; the blank canvas of travelling-encounters taken as opportunity to author imagined histories and lives anew. Though, here, there’s lots of slow pans down dames’ bodies as they’re pretending to have sex. There’s a definite strain of gay drama that revels in outing the most manly of men (the Brokeback effect?), and Brotherhood initially seems like naught more: a tale of two skinhead goons going bareback. But Nicolo Donato’s film doesn’t stop at such ‘scandal’, exploring its full dramatic, thematic complexities: oppressed people transferring their oppression; the neo-Nazi sect symbol of Danish society; these seething schisms of race/creed the demons lurking beneath the progressive façade of once-Viking lands. There’s no glorious coming out or personal emancipation; just hate, violence, and the corrosive toxicity of masculine anger. Undertow does a similar thing with two strapping men in a Peruvian fishing village, but Javier FuentesLen’s film also avoids dramatic trappings; his salty parable equating the shame/lies of a closeted life as spiritual limbo. Amazingly, this means — in the middle of an earnest drama — there’s a good-times! montage involving a ghost playing pranks on people. Family Tree also finds a talking ghost, though this one’s nasty: egging a proud paterfamilias into outing himself in his waning years. Essentially helming a parlour drama (with incongruous hints of Fassbinder) Olivier Ducastel and Jacques Martineau dare to roll with a concentration-camp/closet metaphor in a film that feels more stagey and cold than one would expect from the guys who made AIDS cuddly and warm in Jeanne And The Perfect Guy and Funny Felix.

Australian film Griff The Invisible has been getting a lot of hype due XXX to its quirky take on the superhero story, and the fact it stars Ryan Kwanten (True Blood, Red Hill). By day Griff (Kwanten) is an everyday office worker, in an everyday town. He lives a secluded life, bullied by co-workers (Toby Schmitz) — his protective brother his only friend. By night Griff assumes his other identity, roaming the dark streets protecting the innocent and the vulnerable from the dangers that lurk in the shadows — he is the hero, Griff The Invisible. We’ve ten in-season double passes to give away, each with a signed copy of the single Doing The Best We Can by Sydney band Kids At Risk, as featured in the film. For your chance to win one of these prize packs, email with ‘GRIFF’ in the subject line.


WIM WENDERS TO APPEAR AT GERMAN FILM FESTIVAL One of our favourite annual film festivals, the Audi Festival Of German Films, has announced its tenth anniversary program, which aside from being packed full of great German cinema, also boasts a very special guest. Wim Wenders (Paris, Texas, Wings Of Desire, Buena Vista Social Club) will present his new film, Pina, which just premiered out of competition at the Berlin International Film Festival last month. Pina could be considered the world’s first 3D arthouse film, a collaboration with German contemporary dance choreographer Pina Baunsch, who

BEST OF ANDREW LLOYD WEBBER COMES TO MELBOURNE It’s difficult not to like Andrew Lloyd Webber; whether it’s Cats, Evita, Joseph And The Amazing Technicolour Dreamcoat, The Phantom Of The Opera, or our arts editor’s favourite, Jesus Christ Superstar, there’re certain songs that you all know, and that have transcended popular music to become immortal classics. And so now the fact that a show is coming to town promising a greatest hits package, we’re exciting – and you should be, too. The Music Of Andrew Lloyd Webber comes to Regent Theatre Saturday 19 March to Sunday 27, bringing with it the likes of All I Ask Of You, Don’t Cry For Me Argentina, Superstar, and more. Hopefully even a little Starlight Express? The songs will be performed by musicians who’ve been touring the country in productions such as West Side Story, Mamma Mia!, and Cats, with direction from Stuart Maunder and musical supervision by Guy Noble. For more information visit Tickets through Ticketek.

passed away in 2009. As Reuters note, “The 3D effect is discrete in Pina, compared with that in Hollywood blockbusters, yet gives depth to the dance scenes and draws the viewer into the theater.” A Q&A with Wenders will be conducted after the film screens at the Sydney Opera House, closing the festival. In addition to this 3D dance-performance film, the opening night film will be Goethe!, a costume drama in similar vein to Shakespeare In Love; the smash hit comedy of this year’s Berlinale,

Almanya; Close To You, about an emotionally blank man and a blind girl; thriller Nagna Parbat, set in the Himalayas; The Murder Farm, a stylish drama about an alpine village harvesting dark secrets; and The Weissensee Saga – A Berlin Love Story, described as Romeo & Juliet behind the Wall. The Audi Festival Of German Films screens at Palace Cinema Como and Kino Cinemas Thursday 7 to Monday 18 April. For more information, visit Australia.

THEATRE REVIEW THE LAUDANUM PROJECT: THE PENNY-TOY MAN Retreat Hotel, Abbotsford Poor John Proctor went insane, from what he saw in Wainwright Lane. ’Tis 1884; evil skulks in the cobbled alleys of London’s Spittalfields. ‘Toys for girls and toys for boys’ sings the Penny-Toy Man, spruiking spiders and bats, but his song slowly fades from the streets as news of bloodied little corpses fills the shops, taverns, and brothels. Something must be done! If you relish your gothic Victorian melodrama seeping visceral and gruesome detail, this is the show for you. Consummate story teller Alphonse Cheese-Probert (accompanied on the keys by Heapus Maximus) takes the audience on an imaginary walking tour of the

East End populated by eel sexers, clown baiters, and gusset scrapers, along with cart horses Malcolm and Reliable Dave, and little ghosts with their faces on upside down. The Penny-Toy Man is lavish with minutiae: Cockney London is verbally mapped out as a bloodied wonder of grime, fish-rot, and decay. Albert Scratch, the Penny-Toy Man, was last seen clinging to the spire of the Church of Christ. Nobody knows exactly what became of him. With song and lugubrious, macabre poetry, The Penny-Toy Man is an imaginary ghost ride of horror delivered with glee; a story so awful and odorous it causes gas lamps to splutter and die. It has to be heard to be believed. This new work by The Laudanum Project is in a genre of its own creating replete with fascinating, unforgettable images. Be warned. Next performance on 18 April



exhibit artists we already knew; artists we have seen exhibiting for years. It baffled us as to why the show was called ‘new’. “To us, they weren’t new at all — great artists yes, but they weren’t ‘new on the scene’. Our sense of ‘newer’ was not necessarily artists who already fit the familiar Gertrude Contemporary Art Space curatorial styling or those who have already shown extensively in contemporary art spaces; no, we wanted to show ‘new’ work, unseen work, maybe even work that will be seen in ACCA’s NEW show in a few years time.”

THE AUSTRALIAN CENTRE FOR CONTEMPORARY ART LAUNCHES ITS NEW11 EXHIBITION THIS WEEKEND, SHOWCASING WHAT THE GALLERY DEEMS TO BE THE BEST IN CONTEMPORARY ART. PAUL ANDREW EXPLORES WHAT EXACTLY ‘NEW’ MEANS. It’s hard work constructing ‘Paradise’. Artist Dan Moynihan is juggling saws, hammers, nails, spotlights, fake palm trees, and a skeleton right now while producing his latest installation, The Warm Memorial: The Dan Moynihan Experience. If you get the feeling the title of his work sounds like the title of a ’70s concept album, you’re vaguely on track; Moynihan adores pop culture — film in particular. According to NEW11 curator Hannah Mathews, Moynihan’s most vital artistic influences are largely cinematic: “Heist films are his favourite.” Mathews is clearly a fan of Moynihan’s brand of heist schlock. She enthusiastically recounts two of his most recent installations. “It’s all good, clean fun with Dan; outdated humour, grandad-style humour, a terrific Groucho Marx mask on a grand scale, and at the Hell Gallery in Richmond last year, a supermarket heist titled In And Out, No Funny Business, [featured] a bunch of robbers sitting around in the supermarket drinking strawberry milk, rough sculptures made from crumpled newspaper and polystyrene foam dressed in heist gear, a parody

of all those Pink Panther and Ocean’s Eleven films. The familiar phrase ‘get in, do the robbery, get out quick’… for Dan, drinking strawberry milk during a heist is just plain common sense.” Mathews has completed a number of successful residencies overseas since completing her curatorial studies at University of Melbourne in 2002, and was invited by ACCA mainstay and long-serving artistic director Juliana Engberg to curate NEW11 after contributing to ‘the curatorium’ for NEW10. On a serious note, careful not to mention actual figures, Mathews hints at just how lucrative these annual artist commissions are. “The Balnaves Foundation fund these annual commissions; they are long-term supporters of the arts. Their commitment to the NEW exhibition series has enabled ambitious and exciting work to be made by some of Australia’s most interesting artists. Based on the German Kunsthalle model, ACCA has a strong commitment to commissioning new works. This partnership for NEW exhibtions is a good fit, some of the artists have themselves received grants from Arts Victoria, City of Melbourne, the Australia Council, and

WA’s Department of Culture and the Arts. ACCA is also able to draw on support from its corporate sponsors too.” For Moynihan, being selected to exhibit in NEW11 is simply an “extraordinary and stressful opportunity”, a rare chance to flex the imagination with a decent budget. Opportunity like this is not without its shortcomings, Moynihan is barely able to string words together while attempting a Herculean feat, fashioning a mountain of sand into his designated gallery recess while perfecting bright hot pink coloured paint just so for the walls. When asked about an older work, a work recently acquired by a major collection, After The Laughter Comes The Tears, by the Museum for Old and New Art in Tasmania, it’s easier to chat. “It was a pair of movie seats sinking into a floating soiled carpet,” he says, “with a big popcorn container on its side spilling what’s left and exposing a hole in the bottom.” We laugh. Relishing the pathos contained by this recent acquisition provides a cue for the curator about

Kucera adds that, like Moynihan, RMIT graduate sculptor Matsuri Yamana also creates “good clean fun”, immersive environments with a feel for paradise.


Moynihan’s latest install. “The colours are intense, psychedelic, like the packaging of that suntan lotion made from coconut oil that people used to splash all over. Reef Oil. Combine that image with bad movies, think Castaway, the atrocious Tom Hanks flick. He played a Fed Ex agent stranded on a tropical island after a plane crash. He fumbles for ways to survive. It’s a take on an old story, Robinson Crusoe, [that] was written back in the 18th century.” Opus opportunities aside, NEW exhibitions at ACCA have their share of critics — venting spleens about unnecessary celebrity, about excessive funding, about artists-

as-spectacle, the dated modernist “newness” concept and the institutional chestnut, “NEW, says who?” In January, Trocadero, a popular ARI in Footscray presents its own annual awards exhibition, NEWer, highlighting recent visual arts graduates including artists like Matsuri Yamana, who produce art by more humble means. Artist and Trocadero organiser Anne Kucera explains, “ACCA’s NEW series is certainly a reference point for these things and the gallery committee played on the idea of ‘new’ in its context of ‘unknown/known’. Being practicing artists ourselves we found that ACCA’s NEW shows tended to

“The sensibility of her work is beautiful,” Kucera says. “She made these amazing billowing clouds from cotton balls, wadding and chicken wire. She had a ladder which you could climb and then engulf your torso completely inside a cloud.” While art debates continue, artists like Yamana and Moynihan get on with making installs that enthrall. Moynihan sums up it up as such: “Humour for me is the process of amusing myself; extending that to an audience via the installation can be tricky, being laughed with or laughed at doesn’t really bother me — a laugh is a laugh is a laugh. ‘How does Moses make his coffee? Hebrews it.’ That’s the stuff that inspires me.” WHAT: NEW11 WHERE & WHEN: Australian Centre For Contemporary Art Saturday 12 March to Sunday 15 May




In Laos and Thailand the term kaothey is used. For cultures living on the Indian subcontinent, the Hindi term is hijra. In the US and Canada people say two-spirit. In Mexico, muxe. Polynesian cultures use terms like fa’asamoa or fa’afafini. Indigenous communities in Australia embrace a slang word, sistagirl. In the universal western idiom, however, it’s transgender or trans. It’s against this backdrop where some of the most fascinating films in this year’s Melbourne Queer Film Festival are set. Transgender activist Sally Goldner is an eloquent speaker on politics and social change on the world stage and is herself a compelling subject in one


of this festival’s groundbreaking documentaries. “Although I’ve been strongly involved in activism since 1998, it wasn’t abundantly clear until 2009, [that activism] was my calling,” she says. “I believe there was — to quote the title of Anthony Venn-Brown’s book A Life Of Unlearning — a lot of unlearning to do to clear away the barriers, to achieve a fuller connection between my soul and my daily activity. “In 2008, I worked with a person using the techniques known as the ‘cutting of the ties’. This involved clearing negative ties to family — with no harm done to them, no sticking pins in voodoo dolls. It helped break ties with values, especially security and financial safety, belonging to my family but not me. “In 2009, being clear that some sort of ‘corporate career’ was not the answer, I wasn’t sure what was me. A conversation with a wise person in the polyamorous community — polyamory being multiple ethical relationships — was the clincher. He said [that] what you do isn’t so much the key, so long as it’s in line with your values. [It was a] lightbulb moment.” Last June Goldner was feted with the 2010 Activist Of The Year Award by the ALSO Foundation, Victoria’s peak body for recognising human rights achievements for lesbian, gay, transgender, bisexual, and intersex communities. And since her lightbulb moment, Goldner has devoted more energy to activism, continuing the pioneering work provided by Transgender Victoria since it formed in 1999. Her role as radio presenter for Out Of The Pan on community radio station 3CR is one platform for her work. “Out Of The Pan is one of my favourite parts of the week,” she says. “I just love radio; the spontaneity. From a community perspective, the show has saved




We’re gearing up again for that special time of year when it’s ok to wet yourself in public... with laughter! That’s right folks, the 25th annual Melbourne International Comedy Festival kicks off on March 30 running through to April 24 and Inpress will once again, for the 11th year in a row, be publishing the largest most comprehensive free guide to what’s on, what’s hot and what deserves rotten tomatoes. With over 600,000 festival goers checking out over 300 shows, this is your chance to ride the MICF wave and let festival attendees know about your show. Comedy is thirsty work so for non-comedy festival advertisers there will be plenty of people to eat and drink or just to chill while they catch their breath. Full colour ads at mono rates and those unable to submit finished art, we can design your ad free of charge. The 2011 Inpress MICF guide ide hits the streets of Melbourne on March 30.


Artwork Deadline March 16


Please contact : or on 03 9421 4499 to book your space



at least one trans person from a horrible fate, which is very humbling. The show offers a voice to parts of the queer and similar communities who sometimes get ignored — trans, bisexual, polyamorous, BDSM, those working in the sex industry who may be shunned because they don’t fit the easily assimilated into mainstream school of thought that has dominated supposedly queer thinking for the last 30 to 40 years.” Conversation turns to history, to trans milestones. Goldner cites the 1966 Compton Diner riot in the Tenderloin district of San Francisco as the most vivid transgender activism flashpoint: “This was three summers before Stonewall, the so-called beginning of same sex social justice.” Goldner is frustrated and angered that transgender events are swept aside by the history-keepers. “Not to mention 1984 [in] South Australia — thank you Premier Don Dunstan — [which was] the first Australian jurisdiction to offer some form anti-discrimination protection for trans folk, and in 2000, Victoria, comprehensive trans protection.” It was at a series of national forums including TransDestinations 2008 and Health In Difference 2010 where Goldner met Crystal, another documentary subject in this year’s festival. Sistagirls, by filmmakers Donna McCrumm and Andy Canny, is a compelling portrait of a sistagirl community on the Tiwi islands seen through the eyes of award-winning indigenous photographer Bindi Cole. Goldner describes Crystal and OutBlack activist Ron Johnson, who died recently, as “stalwarts, the embodiment of community, working with indigenous people from ground up, dealing with everything, basic survival skills to health care to social skills to suicide prevention.” Festival director Lisa Daniel is pleased by the groundswell of wellproduced trans films being made. “The MQFF has been relieved over the past few years to see a much greater variety of trans films like

When Cringe was young, she and her brothers used to tape large garbage bags together, hold them over their heads and jump from the first floor balcony. We also tried helium balloons after birthday parties but we suspected we never really had the optimum amount for a long-haul flight. The result was always the same — we pretty much went straight down, as did many of the 19 contestants in Sunday’s Moomba Birdman Rally. Thousands of Victorians lined the Yarra to watch grown adults jump into the Yarra, in some cases with costumes that were less aerodynamic than three black Glad bags. Mary Poppins had the right idea — at least she had an umbrella — but the folks dressed as tall ships, a crash-test dummy, or cars seemed to have misconstrued the purpose of the competition. The dude with the jet pack strapped to his back looked so promising, but it was (no surprise here) a hang-glider-styled contraption that won this year’s event. Scott Delbridge ‘flew’ 11.9 metres surpassing five-time winner, defending champion Michael Paul. Cringe can only imagine how intense the competition might be — opponents driving past each other’s front yards once a week from January trying to catch a glimpse of this year’s new flying device or spying on early developments being deployed off the diving boards at Doncaster Aquarena.


The bravest part of the annual Birdman Rally is not plunging from a great height with nothing but a tiara and a lap-lap to break your bellyflop, it’s the water in the Yarra. Maybe serious contenders train in the Ganges or the Yangtze to get their immunity levels up prior to the event. Since it began in 1955, Moomba has had a potted history, being scaled up and scaled down with the times. Cringe recalls that several years ago it seemed to have been rebranded

as ‘Waterfest’ and appeared to go for three months; this year it ran for four days between Friday 11 March and Monday 14. It still had the waterskiing and old favourites such as the Birdman Rally, but some of the flashier elements such as large water-based projections have been replaced by bigger music and cultural components. The Vasco Era, Sally Seltman, Dan Kelly, Lisa Miller, Ross Wilson. and The Audreys headlined a very strong local music program while Bollywood dance classes, Japanese drumming, and dance theatre workshops took the plastic coating off those lead-laden synthetic teddy bears, and thousandyear old rides in the carnival. Also helping to off-gas the reams of toxic plastic and give the festival a sheen of cool were this year’s Moomba Monarchs Ruby Rose and Mick Malthouse. While Moomba as a festival has ebbed and flowed in popularity over the years, so have the monarchs. The first monarch, the Queen of Moomba, was first crowned in 1955 and the King was incorporated 12 years later. In 1988, political correctness saw that a non-gender specific role replaced the King and Queen and then the entire thing was retired from 2000-2009. Last year the King and Queen roles were resurrected with Molly Meldrum and Kate Ceberano holding court. With Malthouse reigning this year so close to the start of the footy season, festival organisers are at least guaranteed the support of those typically die-hard Magpie fans. these doing the festival rounds,” she says. “The quality has vastly improved with the quantity, and rather than exclusively educational films that existed a few years ago, we’re seeing a wide cross-section of genres and story lines being explored; fantastic documentaries as well as excellent narratives that just happen to feature trans characters. “These films are in their infancy in film industry terms; the trans community has to continue to get behind trans screenings much like their gay brothers did years ago. Putting your bum on festival seats is a really important way of letting the film industry know that there’s an audience for quality transgender material.” This year the Melbourne Queer Film Festival comes of age — it’s 21 years old and still screening films. “Not bad for three part-time staff and lots of volunteers,” jests the Daniel

in a moment of mirth. “Queer film festivals are still a very important part of our community. There is a sense of concern in the film festival community about illegal downloading, pay-per-view websites, video on demand, and so forth, but I firmly believe that audiences still want to see good quality film in a festival environment, together. “Films like Transamerica, Brokeback Mountain, Milk, and The Kids Are All Right are still few and far between, and whilst television is a more adventurous medium, film lags behind in depicting queer lives on the screen. Queer film festivals are as important as they have ever been.” WHAT: Melbourne Queer Film Festival WHERE & WHEN: ACMI Cinemas, Astor Theatre, Greater Union Russell St, and Loop Thursday 17 March to Sunday 27

KOMING UP AT KUSTOM LANE There are a few events coming up at Kustom Lane Gallery worthy of attention, starting with this Sunday’s Market For The Cool, a vintage and collectable swap meet featuring hot rod, custom, Tiki iconography, dragster bikes, skate, clothing, and “just cool shit”. The market kicks off at 8am. The following weekend sees the launch of Destiny, an exhibition of Japanese lowbrow and kustom kulture art from Mr G, Makoto, and Ghost, who’ll be in attendance alongside Nash from Japan’s Burn Out magazine. Saturday 19 March and Sunday 20 will be your chance to meet the artists, while the exhibition remains open until Sunday 27. Further afield, starting Sunday 3 April will be California Screamin’ Downunder 2, an all-Australian lowbrow/kustom kulture exhibition and art competition (winner gets a trip to LA and to have their art exhibited at Gasoline Gallery) – if you’re interested submit your art via by Sunday 27 March. Then in May Kustom plays home to Tiki’N’Toxica, a Tiki art extravaganza featuring the works of Brad Parker (Tiki Shark), Tom Laura (Big Toe), Doug Horne (Swampfire Lounge), who’ll all be in attendance, along with Marcus Thorn (Tiki Beat) and Dave Kohlman. Head to for further information.



WITH GUY DAVIS In the wake of what has occurred — and, sadly, continues to occur — in Japan, it seems remiss to talk about the effect such a disaster may have upon the development of a movie. But that’s Trailer Trash’s area of expertise, such as it is, and so one has to speculate on how the physical and psychological trauma resulting from this catastrophe may well stall out the next project by Guillermo Del Toro, a project that was shaping up as a replacement for another Del Toro production that stalled out at the last minute. Anyone who’s followed the career of the Mexican filmmaker will probably be aware that he’s had a hankering to bring HP Lovecraft’s novella At The Mountains Of Madness to the screen for years now, and that his increasingly high-profile — including the near-universal acclaim for his dark fairy tale Pan’s Labyrinth and his being handed the reins of the two-part Lord Of The Rings prequel The Hobbit — was helping bring that dream closer to fruition. Indeed, once Del Toro’s involvement in The Hobbit ended, with original Rings director Peter Jackson settling into the director’s chair, it quickly became apparent that At The Mountains Of Madness would be his next film. What’s more, he had a couple of heavy hitters backing him up, with James Cameron aboard as executive producer and Tom Cruise reportedly in place to play the lead role. Admittedly Cruise’s lustre has faded a little in

recent years but he’s still seen as an A-lister around the world, and the presence of a big-name star and the man behind Avatar and Titanic looked to help ensure that the seemingly ‘un-filmable’ story of explorers in Antarctica discovering and unearthing a frozen race of ‘Elder Things’ synonymous with madness, misery and unspeakable evil. Of course, not even Lovecraft’s Old Ones are powerful enough to take on the Hollywood economy, and after a string of big-budget, geek-friendly box-office bombs (the words Scott Pilgrim Vs The World have come up a lot) Universal, the studio behind Del Toro’s proposed picture, decided it couldn’t take the risk of throwing down $US150 million on a gruesome, uncompromising monster movie that would reportedly have to make somewhere in the neighbourhood of $US550 million worldwide to turn even a tiny profit. So the plug was pulled on At The Mountains Of Madness a few weeks before production was set to begin in earnest. Yes, it’s a bummer, but Del Toro and his team were said to be keeping positive, apparently shopping the project to other studios. In the meantime, however, Del Toro was offered a similar project titled Pacific Rim. Another movie with big ol’ monsters, yes, but the script coverage to date indicates that it’s more in the style of, say, Independence Day than Frank Darabont’s The Mist. Given the events of recent days, however, how are audiences likely to

LIVE REVIEW JACK DEJOHNETTE – JACK JOHNSON: SOUNDTRACK TO A LEGEND Melbourne Recital Centre Drummer Jack DeJohnette is renowned for his work with the likes of Keith Jarrett, John McGlaughlin, and Herbie Hancock, but also for his appearance on some of Miles Davis’ most seminal outings such as Bitches Brew. In fact the night was very much about Miles, recreating and expanding upon Davis’ score for the 1971 doco on boxer Jack Johnson. It’s quite an incredible soundtrack, bold upbeat rock, almost country jazz, and sees Davis very much in his crossover fusion phase that characterised his work in the ’70s. Probably the last thing you would equate with boxing. All of which made this night so fascinating. DeJohnette wasn’t playing on the original, so one wonders why he would choose to tackle such an iconic score. He’s joined by a bunch of young English jazz dudes, who deftly provided that kind of throbbing jazz funk groove that Miles had laid down, take to a tale that opens with Japan ravaged and devastated by gigantic creatures? Any student of film history knows that the original 1954 Godzilla (or Gojira, if you wanna get all geeky) was something of a response to the atomic attacks on Hiroshima and Nagasaki, an artistic exorcism of

the ensemble now using this as a point from which to make it their own. There was definitely some similarity, however many exceptions. DeJohnette for example provided these rollicking cascading beats during the fight scenes, staring intently at his monitor, attempting to Mickey Mouse the hits. Often though you’d lose yourself in the film, almost forgetting the ensemble were subtly crafting music underneath, such as when they aped the sounds of a train. That was of course until they’d loop some dialogue like “I like money, lots of money,” or stray cheekily into Sketches Of Spain, and even In A Silent Way, and it’s during these moments that you relaise who the legend this homage is dedicated to. If it wasn’t already obvious, an image of Miles appeared behind the band as the film finished, watching intently over them as they returned for DeJohnette’s Third World Anthem, and here the players lifted the soundtrack shackles and really reached out and really demonstrated their chops free from distractions. When they finished the audience were on their feet. Amazing.

BOB BAKER FISH sorts. But even if it takes a couple of years for Del Toro to get a megaproject like Pacific Rim into cinemas, will it still be too soon for us to thrill at the spectacle it offers up, given the real-life disaster footage currently running day and night?




ALL INDIA RADIO hit the beach with their latest ambient foray. Main man MARTIN KENNEDY ponders getting away with it and American TV with PAUL RANSOM.

AFRO CELT SOUND SYSTEM’s live show has evolved but is no less full-on, founder SIMON EMMERSON tells BOB BAKER FISH. real multicultural affair with members and guests from the UK, Ireland, Senegal, Guinea, France and Kenya.

enjoyed that experience and that album actually got us so many new fans, especially overseas. But then, at a certain point, I decided that I wanted to do instrumental again and so that’s what we did with this new one.”


eople tend to sit on the floor at our gigs,” concludes Martin Kennedy. “Other bands tend to get offended at that but I don’t mind at all.”

The lack of mosh pit madness is not the only thing that marks All India Radio out from the crowd. Over eight studio albums and numerous TV soundtrack ‘appearances’ Melbourne’s masters of lush indie ambience have piled up the accolades and won themselves a dedicated, if somewhat sedentary, fanbase. Their latest release, The Silent Surf, will doubtless augment their reputation as purveyors of beautiful cinematic instrumentals. The man at the helm of All India Radio, Martin Kennedy, ponders the genre tagging. “I guess that’s what I’m into,” he says. “I love all the old school ambient artists like Brian Eno and Harold Budd, that sorta thing. I also like the shoegazey stuff, like the Cocteau Twins and Slowdive. The very slow, introspective music is what I’m into.” The Silent Surf certainly underscores that, with its gentle overlapping, shimmering guitar sounds and addictively swaying melody lines. As Kennedy explains, “I wanted a particular sound. It’s hard to say precisely what that sound was but I wanted it to echo old surf and old western movies. It’s hard to describe exactly how that came out but I did set out to create a mood for this album.” It’s a very soundtrack approach and although this record has a distinctively unified sound and vibe, All India Radio albums are not always so structured. “Sometimes I just go with my gut but at other times I have deliberately made the decision to make an album sound different,” Kennedy admits. “For example with Fall [from 2008] where I decided that I wanted to try something with vocals. I really

If there is one thing that binds the band’s back catalogue together it is the introspection that Kennedy alluded to earlier. There is something avowedly internal about all these lovely records. “But I don’t think too much about it, it’s more about what I feel,” the story goes. “That probably comes across as sounding pretentious but that is actually how it happens. I usually start a song on acoustic guitar and just sorta see how it goes from there; but if I start to get too complicated and I’m not feeling it I just ditch it… Some people tell me I probably should think about it a bit more and try to expand my horizons and I have tried that but I keep going back to what I like.” At which point there is slightly nervous laughter about the fact that All India Radio are still ‘getting away with it’. “Don’t know how long that will last but so far, so good,” Kennedy jokes. “I hope there’s another ten years of doing this because there’s always more people to reach… We have a pretty small, niche audience but with every album we release we reach a few more people, and just in the last few years it’s been reaching the right people, especially in America. That’s how a lot of the soundtrack work has come about.” CSI Miami, Michael Moore’s Sicko, Food Safari and even the lamentable Bondi Rescue have featured All India tracks. Indeed, if pushed on what his ambitions are going forward, Martin Kennedy cheerfully nominates TV soundtracks. “To get a song onto an American TV show is better almost than releasing a record because it gets you more fans than if you spent thousands of dollars on a PR person or a tour.” In the meantime there are the 12 gorgeous, downtempo tunes of The Silent Surf to swoon along to. I’m sure there’s some cheap surfing metaphor that could apply but really, it’s just a beautiful ride.

WHO: All India Radio WHAT: The Silent Surf (Independent/MGM) WHEN & WHERE: Sunday 2pm, Northcote Social Club


“I think if we were a kind of boys band and had all grown up together and came from the same neighbourhood and went to the same school we would have all moved on by now,” laughs Emmerson. “But it’s a very strange alchemical mix of styles and personalities. But the main thing is just enjoying playing together and the fantastic live shows we’ve done.”


imon Emmerson, guitarist and producer from Afro Celt Sound System, is very excited about returning to Australia. It’s not only because it was during their incendiary live performances at Womadelaide more than ten years ago that the group finally felt like a true live band that could bring it on the big festival stages. Nor is it about remembering the enormous trees and parrots of Adelaide’s Botanical Gardens. Rather, it’s all about the heat. As we speak Emmerson is rugged up in bed as the UK is experiencing some of the most extreme cold it has for a long time. In fact Emmerson’s village is cut off and schools are closed. But in lieu of a hot water bottle his thoughts are on the other side of the world, and more particularly Womadelaide. “I DJed there one afternoon and it was so hot the vinyl was melting,” he offers wistfully. “The needle was actually sticking in the vinyl. I really was hot. You couldn’t stay in the direct sunlight.” Afro Celt Sound System are one of the more unique fusions around, traditional Irish and West African melodies and percussion colliding with all manner electronics and beats. “The first album was an experiment really,” Emmerson offers. “We opened the doors to the studios we built in the grounds of Real World during a weekend open day and invited musicians and friends of mine from Ireland and from the Baaba Maal band from when I was working in West Africa. Everyone turned up and played over backing tracks we had prepared.” Initially the idea was to have a series of guest producers come in, yet after a few gigs it quickly became apparent that they could become a real band. Now 15-odd years and seven albums (including a best-of compilation and a remix album) down the track it’s a

As the album title may indicate, the brothers Daniel and their comrades in The Bell Parade are firm believers in the superiority of classic songwriting, and aren’t afraid to admit that their influences either are from the ‘60s and ‘70s, or sound like they are. Both Daniels believe that although it is nearly 50 years ago that The Beatles were writing, they, and their ilk, contributed something to the sonic legacy of the 20th and 21st century that has often been mimicked but never eclipsed. “Being a fan of things from the ‘60s and ‘70s, when the ‘album’ was an important thing, that was a time where people released albums like [The Beatles’] Revolver: you got prototype electronic sounds next to music hall – and those things can go together. We decided, ‘Let’s make them like that, anymore’ – things that sound like The Everly Brothers or like The Band or up-to-the-minute guitar sounds: an album that doesn’t all sound like the same thing, but many things we love.” “I’ve been a Beatles fan since I was 13,” Albert adds. “I love the wide variety of styles that they use, and that they spend the time on making them: The Beatles stopped touring and spent all their time on making records,” he comments admiringly. “From the ‘70s I find Joni Mitchell interesting emotionally. She was one of the first songwriters who bared herself completely and I can connect with her a lot.”


Yet the music has also continued to evolve. “People have been coming to our live shows and rediscovering the music,” he continues. “We’ve got a fantastic drummer. We’re moving away from the conventional sound system. When we first came to Australia we didn’t have DJ decks but we had MIDI gear and DATs; we had a whole sound system and I was mixing stuff live on the stage. It was based around the concept of a reggae sound system where you have a DJ and you have people coming on and performing over the dub plates. We didn’t have the DJ and the dub plates but we had the sound system. Now we do have an element of that, and we do have a section of the set where we get really clubby, but we’ve got a real drummer and I think it’s just become a lot more live, a lot more vibrant.” Emmerson is at pains to point out that this isn’t a cynical reformation just to pay the mortgage – these guys seriously love playing together, and it’s this authenticity that you can hear in the music. “It’s a pretty full-on live show,” he laughs. “It’s like a very enthusiastic animal that keeps coming at you wanting to play.”

WHO: Afro Celt Sound System WHEN & WHERE: Tonight (Wednesday), Hi-Fi

An innovative video clip is drawing attention to local rockers BRIGHT KNIGHTS, writes JEREMY WILLIAMS.

Matt, the producer/engineer of the group, has his priorities set on capturing that oft-mythologised ‘warmer’ sound of older production. They – apparently – don’t even record ‘em like that anymore…


“It was incredible, a real homecoming gig for us. All the gigs that we’ve done recently have just really reaffirmed our love of the band and everything it’s come to represent to people.”


THE BELL PARADE pine for the warm sounds of the ‘60s and ‘70s, brothers ALBERT and MATT DANIEL tell NIC TOUPEE.

e started back around 2004, initially as a two-piece,” Albert Daniel explains, mapping out The Bell Parade’s long trajectory to releasing their first album Let’s Make ‘Em Like That Anymore. “When my brother Matthew came back from overseas he joined; we added a bass player and started playing gigs. We were all influenced by bands like Teenage Fanclub, The Beatles, You Am I, Even, also Joni Mitchell and that era of songwriting.”

After a five-year hiatus the group are back performing live, playing at the UK Womad in the summer, feeling the same kind of hunger for playing live that they all felt initially.

is. A clearly excited Russo reveals, “We have started getting responses from all over the globe. It seems to be all over the internet, which is great. And we are seeing some really great results.” While the response has been more impressive than they could have forecast, the clip is not quite complete. An encouraging Russo ensures to those interested, “There are plenty still to go. So we hope that people continue to get involved.”

“The textures of the sounds they captured,” Matt is at pains to explain, “they knew how to record things well, and their guitars have nice forms to them. The style of production back then was definitely warmer. In the ‘80s and early ‘90s aesthetics really changed, and that production format doesn’t appeal to us – thin guitars, cold reverb, big spaces. We like warmth and closeness which is more reminiscent of ‘60s and ‘70s production. I don’t think it’s particularly unique to us to hark back to that time – you can hear it in bands like The Strokes these days.” As much as the Daniels are happy to admit their veneration of an older era, a golden age of production values, they hope the album transcends any particular time. The Bell Parade have been compared to The Lemonheads and Teenage Fanclub, but as Matt explains, they’re optimistic that their music transcends a particular era, belonging instead to a sound which is perennially ‘classic’. “I imagine the songs all take place in a ‘classic song’ landscape, and a timelessness threads them all together. You can imagine some of them coming out in the ‘60s and ‘70s – there’s a hidden weight to them. For me they exist in a land where classic songs live.” Albert adds his perspective on their singularity: “The Beatles, ‘70s albums – that’s the sort of stuff we love but what we play doesn’t sound like that – you don’t hear us and go ‘That’s the band that sounds like Teenage Fanclub,’ he posits hopefully. “It’s not like we’re just digging into our parents’ record collection – our dad is from Egypt and mum is from Italy; none of those records were ever in the house! I like Oasis as a reference point – they are ‘90s but all their influences are ‘60s.”

WHO: The Bell Parade WHAT: Let’s Make ‘Em Like That Anymore (Independent) WHEN & WHERE: Friday, Grace Darling


t is a well-known fact that the music industry is a hard one to crack, however, there is occasionally an artist or group whose innovative approach sets them aside from the pack. Just ask yourself if Gaga’s well-produced pop would have had the same impact without the quirky package to sell it. While Melbourne quintet Bright Knights may not be vamping it up for their Semisonicesque single This Love, they have found their own distinct approach to garnering attention for the track. “My cousin, one of the Nicks in our band – there are a couple of Nick Russos in the band – he’s our keyboard player and our artist. He does our website and our film clips and he had a really great idea for our film clip.” One of the band’s many Russos (“it’s a family affair”), Karl, tells us a little bit more about Drawing This Love, a unique opportunity to get involved with the video to accompany the track. “We’ve shot a video of little Nick singing the songs and a little bit of other footage as well. He’s output this video footage at eight frames a second. That has left us with over 2,000 individual pictures that we are issuing out to Bright Knights fans, friends and whoever is interested. They just need to sign up, download, colour in and submit the frame back to us. Then we are stitching together a hand-coloured video clip.” What started out as an idea to get just their friends, family and local fans involved in the band has demonstrated to them just how powerful the internet

With the band set to launch the single with a gig at the Revolver this weekend, the boys plan on revealing the video so far to those that turn up. “What we have been doing on the website is updating the video as the frames come in. You can watch the video there with the uncoloured frames and then every so often the coloured ones pop in. It is starting to look really cool. So we may showcase that at the gig to generate a little more interest in the video.” With the film clip project raising lots of attention for This Love, what is the track all about? “My brother Nick actually wrote the song, but from talking to him I can tell you a little bit about it. He wrote the song in the middle of a uni course he didn’t like, and the song references the things in life that could possibly pull you through that heartache. Things to look forward to and things to carry you through, which is a bit of a lyric in the chorus. It is a bit of a tough one – I need to phone a friend in Nick on that one!” With the sentiment briefly explained, Russo, who co-wrote the track Amavi alongside his brother Nick on the band’s debut album The Ocean And The Night, is more comfortable talking about the track’s sonic content. “It is quite a sort of sweeping, soothing sort of chorus vocal. We had someone, when we were recording it in the studio, mention that it sounded a bit like The Church. It is very sweeping. If you give it a few listens, then that chorus just keeps rolling over inside your head.”

WHO: Bright Knights WHAT: The Ocean And The Night (Independent) WHEN & WHERE: Saturday, Revolver



Local trio DAMN TERRAN make a furious racket and they make it quickly, writes DOUG WALLEN.

The MASSIVE hip hop choir have built a name as one of Melbourne’s most exciting youth music projects. ALEKSIA BARRON speaks to member MAZNA KOMBA.

Having self-released the EP, the trio have since made a video clip for Rational Economic Man. Envisioned by a filmmaker friend, it was set in an Abbotsford warehouse and aimed to capture the cumulative energy of a packed-out warehouse gig. The director strapped micro-cameras to the band as well as various audience members, ultimately combining the viewpoint of each. It’s a step towards bottling the band’s live fury.


ean, mean and itching for a fight, the songs of Damn Terran are also short, loud and noisy. While none of that alone is not wholly unique, the Melbourne trio’s kinetic assault blurs the best bits of punk, post-punk and garage rock. The band’s live show has kicked up buzz accordingly, as has a debut EP and its scathing new single Rational Economic Man, complete with the refrain, “You make money and you die.” There’s nothing revolutionary about this sort of racket, but there’s a scrappy purity to it. “It is a back-to-basics style,” says drummer Leigh Ewbank, who founded the band with his singer-guitarist brother Lachlan. “It suits our personality and approach to music: it’s a bit furious. And we’re happy to keep things succinct. Each song has a point to make, and we make the point and finish. There’s no point dragging it on forever.” Damn Terran started back in 2007, the modest product of two brothers jamming. Armed with a bassist that departed in early 2009, “we played a shitload of really bad gigs and got a hell of a lot of experience,” recounts Ewbank. After a six-month hiatus, they enlisted current bassist Ali Edmonds and truly kicked into full gear. Then they cut the aforementioned EP, Pet Hate, which packs seven songs into just 22 minutes. It’s a tight ball of bitterness, chaos and flinty melodies, and the songs are anthems above all else, careening with hard-bitten guitar, burly bass and bruising drums. The EP was recorded at the city’s much-respected studio Head Gap during the first of last year’s fluke two AFL Grand Finals. “I think we probably missed out on four or five barbecues,” Ewbank deadpans. “I’m not really a sport enthusiast, and I don’t think the rest of the band are. We finished off the session to find out there was a draw.”

Since Massive’s formation, what began as a passion project has seen the group in higher and higher demand. “After we started doing community gigs, we got asked by a lot of corporate organisations to perform at their annual meetings and their Christmas parties,” says Komba, reflecting on Massive’s rapid increase in bookings. “After that, word of mouth got out. People who saw us perform wanted us to perform at other events, stuff like that.” Recently, they appeared as part of the 2011 Moomba Festival, which was a personal highlight for Komba.

Ewbank demurs when asked about Damn Terran’s name, but a quick search reveals “terran” as a common sciencefiction term that usually denotes someone of terrestrial origin. He does point out, however, that the name is often mistaken for other things, be it Damn Terrain or, as The Age once put it, the flood-appropriate Damp Terrain. Whatever way, the name hints at the trio’s brash simplicity. With the EP out and the single now getting a push, the band are aiming to launch another single in the second half of the year. An album should follow naturally, as there are already a fair few songs to choose from since the EP. “This is the first batch of songs that Ali’s really been involved in from the outset,” says Ewbank. “They’ve got a bit of a different sound coming through, which we like.” Speaking of a specific sound, the band have called itself post-punk in the past, but as mentioned above, there are all sorts of aggressive styles battling for supremacy in the end. Imagine a punk band recording in its garage for an indie label, and you’re on the right track. “I leave classifications to the reviewers,” he responds. “We just stick to doing what we do best, which is get in a room and belt out some tunes.” That takes us back to the whole point of Damn Terran: fierce anthems that wield acidic lyrics as social commentary and yet dive for the jugular all the same. “As a drummer,” Ewbank concludes, “my influences are someone like Dave Grohl, who gives it all he’s got and that’s it. It’s pretty simple.”

WHO: Damn Terran WHAT: Pet Hate EP (Independent) WHEN & WHERE: Saturday, Yah Yah’s



ike many members of the Massive hip hop choir, Mazna Komba got involved thanks to a friend of a friend. “I found out via my sister, who had a friend whose track was being used by Massive,” says Komba. “Basically, I went to the first workshop, and I enjoyed going there, so I just kept going.” Komba is one of the 20-odd people who make up Massive, all of whom are aged between 17 and 25. The choir is the brainchild of Mary Quinsacara and Liss Gabb, who organised the first meetings of the choir in March 2010. “They had an idea to start a hip hop choir that can be sung by the masses,” says Komba. “They did a lot of research on it and they found out that there wasn’t anything like it in Australia.” Under the direction of choir director Andrea Khoza, the group focus on creating multi-faceted tracks that take the essential elements of hip hop, R&B and soul, but work when sung by a large group of people. “We do our own tracks – original tracks sung and composed by members of the choir,” says Komba proudly. “We come up with all the ideas for how the music gets put onto the beat, and how the melody gets sung. There’s many heads put together, and we come up with powerful lyrics and powerful songs.” The Massive members, naturally, get a little help from their friends. Beats are principally provided by Momo, better known as one half of hip hop group Diafrix. Also, under the tutelage of Demi Sorano, most of the group’s songs incorporate movement in some form. “Most of the tracks have dancing, or stepping or Auslan,” says Komba, adding that using sign language in their tracks has been particularly rewarding.

“Oscar met [Joel] in Colombia, and noticed he got a great sound from local bands he was recording,” Sebastian notes. “We flew him over to Australia to co-produce and record us, and then Oscar went to New York and mixed the sessions in Joel’s studio there.” Fans of Santana – which is lucky, as they’re supporting him on his upcoming Australian tour – the band were looking for a certain vintage funk sound which was – to use a Latin cliché – completely sympatico with Hamilton’s production aesthetics. “We wanted this 1970s Latin funk sound, but with a new modern flavour: not exactly like came out of the ‘70s, but not too digital. Our new album has got a nice blend of those two things and we have to thank him for

WHO: Massive WHEN & WHERE: Saturday, Drum Festival, Lonsdale Street, Dandenong

deprecation, but speaks with a sincerity that rings more than true. “I’d love to really leave it at that, but when you have somebody offer to put your record out there, I want to do my bit and let people know it’s out there.” Though Cunningham may not be dreaming of stadium rock star status, he does admit that music is more than just a hobby for him. “I am not totally in some bubble or anything. I do whatever I can to let people know about it. I wouldn’t say I am totally ignorant, I know people want to hear good records and I want to hear them too. I feel this record is well made, so I feel good about getting it out there.”

Bringing Hamilton on board for the new material – some of which is on the 1000% Guapo EP and some is hoarded for the album – was a snap decision: a barely-considered instinctive move which luckily paid off… er… handsomely.

Wherever within this range of possibilties the truth lies, what is in no doubt is the success Watussi have been enjoying the last two years. Having just returned from a tour of South America, Watussi are about to release both a new EP, 1000% Guapo (translates to ‘1000% handsome’), and, following that, another album. Both were recorded before their South American jaunt with NY producer Joel Hamilton, who has worked with Tom Waits, Elvis Costello, Justin Timberlake and Talib Kweli. Most appropriately, they found him where else but in Colombia, recording some local bands, explains percussionist Vicente Sebastian.

In the future, there are hopes for the choir to expand, for their streak of quality bookings to continue, and to continue to push the boundaries of songwriting. However, most important for Komba is that the choir remain an exciting, creative space for its members. “It’s just a lot of fun,” she says happily. “It’s really empowering and for me, personally, it’s my favourite part of the week.”

Too ugly to be famous, LEADFINGER’s STEWART CUNNINGHAM is making music for the right reasons, he tells JEREMY WILLIAMS.

that. He’s quite an inspiration and knew exactly where we were coming from and what we wanted to do.”


Komba certainly isn’t the only member to have joined the group by chance. Some have come along looking for one thing, but finding something else entirely. “A lot of the people who are part of the choir got involved with it by word of mouth,” explains Komba. “One girl got told about it by a student teacher at her school. She came to the rehearsals thinking that the person would be there, but they weren’t.” Still, the inclusive atmosphere of the choir won the girl over: “She just decided to stay.” Now, she’s one of the most active members of the group.


Big in South America, funksters WATUSSI have finally managed to capture the party vibe from their shows on record, writes NIC TOUPEE.

he first line of any interview or review of Sydney-viaColombia Latin fusionists Watussi inevitably starts with their name, which apparently means ‘the most handsome man at the party’. See, it’s happened again. But, y’know, try as I might, I can’t find any evidence of it in a Colombian dictionary. Perhaps it’s a word you don’t find in dictionaries, and Colombian-born lead singer Oscar Jimenez is pretty likely to have a goldmine of local phrases up his sleeve. Or perhaps it’s an effective urban mythology, calling attention to the band’s various… attributes.

Much of the group’s strength is drawn from their diverse backgrounds and talents. Becoming a part of Massive doesn’t rely as much on auditioning or filling a particular role – rather, members are drawn in by the tolerant, collaborative atmosphere. “There’s a whole heap of young people from different, diverse backgrounds,” says Komba, adding that the songwriting process allows all the members to contribute. “Everybody gets to put in their own ideas at the same time. It works,” she says simply.

“Sometimes you take risks in music and they work out and sometimes they don’t. He was a risk that definitely worked out,” Sebastian admits. “Before we met him, we were going to go in and produce ourselves but made a quick decision, got some money gathered together and went ‘Yeah, let’s go for it!’ Colombia is obviously a good luck charm for Watussi, as the band’s next visit was by invite – to play at a Colombian theatre festival. “We got invited to [play at] Festival de Teatro in Bogota, Colombia. It’s the biggest festival for theatre in South America, and every night they have live music and thousands of people go. We were the only band from outside South America to be invited. We got a lot of publicity and were interviewed on all the major TV stations… that gave us some offers but we haven’t been able to make going back happen yet – but we’re looking at doing a lot more in South America and the States soon.” For their upcoming tour, Watussi will be trying to balance crowd favourites from their ARIA-nominated first album, Tequila, Sangre y Fuego, with new sounds, but their crowds are pretty accustomed to their recorded material turning into loose jams. “We’re constantly jamming on things,” Sebastian admits. “With the songs we’ve already recorded we’ll be doing something a bit different, a bit of a live re-work. I think we’re very much a live band – in some ways the first album was not totally representative of that but with this EP and album you get a lot of that party vibe we put out on stage.” WHO: Watussi WHAT: 1000% Guapo EP (Independent) WHEN & WHERE: Tonight (Wednesday), Rod Laver Arena; Sunday, Northcote Social Club


tewart ‘Leadfinger’ Cunningham started his musical journey back in the mid-’80s as a founding member of Wollongong’s Proton Energy Pills, before performing in an array of acts, from the wilds of Brother Brick through to the forceful Yes-Men. But for the past few years, Cunningham has been found at the helm of four-piece Leadfinger. With two DIY albums under their belt, Leadfinger are about to release their new album on Impedance Records. Clearly flattered at the prospect of Leadfinger’s label debut, Cunningham is keen to tell us a little bit more… “It is called We Make The Music and we got the title and part of the inspiration for the title song from the scene in Willy Wonka And The Chocolate Factory when that little girl says to Gene Wilder, ‘I don’t want that!’ He looks at her very sinisterly and says, ‘We are the music makers, we are the dreamers of the dream.’ I just like the whole attitude of that.” Rather than chasing the disillusioned world of fame and fortune, Cunningham is a firm believer that the music should do the talking. “I’m not saying I am doing it for totally altruistic reasons. I have fun when I go on tour but I don’t have any delusions about being famous. I am too ugly to be famous. Just look at my teeth, they are all crooked and I have a big nose. I am not into that at all. It is about songs and playing music.”

So, for someone who is clearly a passionate music fan as well as a performer, who does he look to for inspiration on taking the right route? “I really like people like Steve Earle, he just writes his songs and does his thing. There are too many to choose from. It is hard not to think of influences there, rather than who did it right. I was always a big fan of Rory Gallagher, he kind of did it his own way. He wasn’t blues and he wasn’t rock, it was kind of hard to pinpoint him. He was a great guitarist but he was a bit of an underrated songwriter, he just went out there and played wherever he could. I always thought he did it the right way.” Having played the music game for more than 20 years, Cunningham is clearly a man of his word. So what of We Make The Music? While we already know Cunningham’s inspiration, he has been less vocal about its content. Yet as he starts to explain, it becomes clear that the film quote says more about the project than you would initially think. With real admiration for Willy Wonka’s ‘I am creating something here and I really don’t care what you think’ approach, he admits that “taking that further it is a theme throughout the album. I won’t say it is about playing in bands, but it is about making music, art and relationships. That you have to try and rely on people and things fuck up. It is all tied in with that.”

WHO: Leadfinger WHAT: We Make The Music (Impedance) WHEN & WHERE: Friday, Tote; Saturday, National Hotel (Geelong)

The modest musician is not falling into the trap of self-



THE NAME GAME JIMMY TAIT is the evolving project of local songwriter SARA RETALLICK. JEREMY WILLIAMS hears about the latest incarnation.

Irish singer/songwriter MUNDY has always felt a connection with Australia, largely due to a ridiculously popular movie soundtrack, MICHAEL SMITH discovers.

that, “I like to look as the name Jimmy Tait is the band more so than me. It has always been my project and I have always written the songs, so I am guess I am the driver in a way.

It was a cover of the Steve Earle song, Galway Girl, featured on the Live And Confusion album and thrown in as an encore at the gig in Dublin Street in 2005 where the album was recorded, that proved a winner, becoming the biggest download single in Ireland that year and topping the Irish charts in 2008. It paid for the posh studio in which he recorded Strawberry Blood.


undy, born Edmund Enright in the rural Irish town of Birr, has just finished mixing his new album, Shuffle, a collection of his favourite American songs. “I kind of did this as a side project and it took a little bit longer than I thought because I just got really into it. So it’s kind of an Americana album. Initially, when I finished the last album, I thought I was going to do it in a day or two and I started recording songs I knew off by heart, songs like Buckets Of Rain by Bob Dylan and Kathy’s Song by Art Garfunkel. It’s just something I wanted to do.”

Opting to stick with the nickname he gained at school, Mundy was busking in the streets of Dublin and doing open mic nights when he was spotted and, just shy of 20, got himself signed to Epic and released his debut album, Jellylegs, in 1996, selling a respectable 50,000 copies worldwide. Unfortunately, major label world and Mundy proved an uncomfortable fit and by 2000, they’d parted, Mundy setting up his own label, Camcor, named for the river that flows near his home in Birr, and releasing his second album, 24 Star Hotel, two years later. He still managed to shift more than 45,000 copies in Ireland alone. Raining Down Arrows followed in 2004, Live And Confusion in 2007 and Strawberry Blood in 2009. Now he’s got the Shuffle album out of his system, Mundy is working up a new set of original material for the next album.

“Recording and writing come more naturally for me. I find performing to be a bit more challenging,” Retallick goes on. Admittedly shy, Retallick has been playing guitar since the age of ten, yet it took her a long time to get up the confidence to write her first songs. However, once she had started writing, it was followed by an almost immediate move into performance. Bolstered by the material, Retaillick adopted her pseudonym and set off on the road – she has already seen toured Europe as well as established a name for herself on the home front.

“I’m kind of lucky in that when I’m not going out with my band or on my own, I play with [accordionist] Sharon Shannon, who is kind of more on the traditional side of things. Irish music is thriving but with the singer/ songwriters, we’re finding that in the last couple of years we’ve had to play twice as many gigs to half the people. But since I was last in Australia I’ve played the Royal Festival Hall in London opening for Lisa Hannigan and did a Christmas tour with Sharon, so it’s been pretty busy.” Last here in 2009, Mundy is returning to Australia as part of the Shenanigans Irish Music Festival, this time bringing his full band and supporting one of the world’s longest surviving and best known Irish ballad groups The Wolfe Tones (“a very political Irish band,” Mundy reckons) and Irish-Australian five, Celtic Fire. Almost inevitably, when an Irish artist performs outside Ireland, the majority of the audience that turns up to the gigs, unless you’re U2 – and there’s bound be to a big contingent there too – are Irish expats. “It’s usually for me two-thirds Irish and a third other,” Mundy admits. “That’s probably a bit closer to half and half in Australia. The one big connection actually I have with Australia is the Romeo & Juliet soundtrack, that film by Baz Luhrmann. (The soundtrack included Mundy’s To You I Bestow, his debut single from the Jellylegs album, and that soundtrack sold more than 11 million copies worldwide.) I still get a nice surprise every year or so when a cheque comes through and it’s not from my own albums but that soundtrack!”

WHO: Mundy WHAT: Shenanigans Irish Music Festival WHEN & WHERE: Saturday, Forum


Clearly excited, and somewhat relieved to finally be unleashing the long-awaited debut album to the public, Retallick would describe Jimmy Tait as “an evolving sound, in a way. Not so much that it is changing, but there is a lot of light and dark. It has a lot of quiet times and chaotic times. I have always wanted to involve that contrast.”


ife if full of ebb and flow. When one thing starts, there is no telling where it might lead. What Sara Retallick saw initially as a personal experiment with songwriting, soon took on a life of its own. A completely organic unit, Jimmy Tait, the band, are all set to release their eponymous debut album some two years after they recorded it. Retallick takes up the story. “Jimmy Tait started as a solo project, which was just me, obviously,” she explains. “The name actually came from my grandfather’s name. It just kind of came about that that was the name I went under. I thought it had a good ring to it, I guess. A friend of mine cottoned on to the name and started calling me Jimmy Tait as an everyday sort of thing. So I just decided to use that name when I started making music. “I played a few shows around Melbourne for about eight months or so,” she continues. “It was less than a year. Then I decided to put a band together – the first one we had was just me on guitar, singing, drums and organ. So we played shows with that line-up for a while and recorded this album, which was recorded almost two years ago now. Since then we’ve had a few line-up changes for various reasons. So I am now the only original band member along with Eugene [Holcombe], our keys player, who is about to leave the band as well.” Rather than force forward with her own ideas, Retallick has let Jimmy Tait take on a life of its own. Regardless of the ever-changing line-up, Retallick insists

Nathalie Natiembe’s life has been spent in and around this hotbed of cultural dispute and expression, and her songwriting embraces and continues the tradition of maloya into the 21st century. She’s no purist, though – blending the maloya blues with rock’n’roll, electronica and jazz – but always underpinning her songwriting with the stories of contemporary Reunion. “I sing a lot about conflict in Reunion,” Natiembe explains with the assistance of an interpreter. “Mainly about social conflict, because the unemployment rate in Reunion is very high. There are no jobs, there’s a lot of discrimination and a large difference between poor and rich – and it’s getting bigger. The rich are getting richer and the poor poorer,” she observes with sadness. “There is a lot of tension within Reunion and people have to live with very little resources at the moment.” Whilst Natiembe’s younger years were spent watching and experiencing Reunion’s charged cultural atmosphere, and absorbing the musical melange resultant of a panoply


Though it may have been a long and winding road to get to this debut release, Retallick is already focussing her energies on what is next. With a European tour ahead of them, Retallick promises that she won’t make people wait quite so long for the next Jimmy Tait recorded outing.

WHO: Jimmy Tait WHAT: Jimmy Tait (Independent) WHEN & WHERE: Friday, Workers Club

The members of RED ROCKETS OF BORNEO are enjoying themselves a lot more than in previous bands, writes SAMSON MCDOUGALL.

of cultural histories entwined, she didn’t pick up a guitar herself until personal tragedy gave her the need to express and process through song. At this point, she became a self-taught ‘griot’ – a singer and poet, teller of social tales, provider of political ideas, and a chanteuse, with songs of love and heartbreak in Reunion’s streets.


With their album launch at the Workers Club this Friday, Retallick would suggest looking up their single and album opener Goodnight for a little insight as to what to expect. “Purely because I think it has all the parts of the band that I see as the strong points. It has a build-up into the loud end section, which is quite chaotic. It is a bit of a country-ish song, in a way.”


NATHALIE NATIEMBE’s songs address the social and economic challenges facing her home of Reunion Island, she tells NIC TOUPEE.

irstly, a short geography lesson: Reunion Island, near Mauritius and Madagascar, where Nathalie Natiembe grew up and learned her craft, is – quite frankly – a fascinating cultural example of the dramatic shifts and waves of European colonisation and trade development… yes, this is relevant, so please bear with me. It was first occupied by the French, discovered by the Portugese, and then variously inhabited by people from any number of countries with which France traded or where they colonised, giving Reunion Island very early roots in African, Chinese and Indian cultures – all before 1800. It has a history of occupation, poverty and political unrest, and from this a music culture where politics and song have always mixed. So much so, that a form of political blues music often associated with slave protest songs called maloya was banned by Reunion authorities until the 1980s.

Rather than await comparisons, she is equally open to the process of suggesting her own, albeit based on the opinion of others. “A lot of people compare us to Mazzy Star. I am not sure if that is just the kind of flow, sparsesounding, female vocal-driven thing. That wasn’t intentional. But I guess you could compare us to Mazzy Star.”

mixtapes that we gave each other there were three or four songs that were the same – we were on the same path. Then we got my housemate Paul [Instance], a singer/songwriter who I found out played drums, to come along and with his songwriting abilities we started mixing it up. Then we got Kat [Karvess] on board to play bass and she just fi tted in beautifully. Now it’s not as stinky in the rehearsal room.

“I came from a family where there are musicians, but only after I turned 30 I came to music and creating song. The reason why it was that late is that something tragic happened within the sight of my eyes and music came to me as a cure, to help me get over the tragedy I had been through,” Natiembe soberly recalls. “I never learned music – it just came out – like that. I am an auto-didact – I taught myself.” Natiembe’s musical influences span everything from Indian, Chinese and African sounds, rock and jazz – all available to her in Reunion as she was growing up courtesy of the many travellers passing through, the tourist economy having been paramount to Reunion’s finances for many years (Reunion is home to some stunning World Heritage area which has brought an endless stream of agog punters from far flung places). However, she has been just as influenced by bog-standard heavy rock – like any teenager of her era and beyond, she loved the long-maned prog masters. “As long as I can remember I have loved music. I had older brothers who were listening to jazz, blues, hard rock and heavy metal. I am really inspired by the music and sound of the ‘70s: Pink Floyd, Deep Purple. But I mainly sing about what is happening in my homeland, what is happening to people here in Reunion.” Returning to Australia for Womadelaide and an Australian tour around that, Natiembe, interestingly, noticed some similarities between Australia’s citified sprawl and the far smaller Reunion on her last visit. Perhaps – even though she sings in French – that’s something we can perceive in her approach to music, and one of the reasons why she is so warmly received. “I found a lot of similarity with Reunion,” she relates. “The melting pot of cultures you have is very similar. There are a lot of different populations of people here who have come from different origins.” WHO: Nathalie Natiembe WHEN & WHERE: Thursday, Toff In Town


f nothing else, the Melbourne music world vomits forth a hell of a lot of decent rock’n’roll music. It’s no wonder that so many acts fall by the wayside before even giving it a proper crack. Red Rockets Of Borneo are the figurative phoenix from the ashes in this respect – the classic trash to treasure story. As swaggering frontman Jean-Philippe Lopez explains, it took the demise of one act for this band to come to realisation. “There were a couple of members from Rogue Royalty, James Feros and James Deane, and I was in Big Shot Manoeuvre with Feros on lead guitar,” says Lopez. “We folded just before we released our EP. We were so disgruntled with it all and after a few months of not playing music we thought, ‘Let’s make our own band.’ Within a couple of weeks we’d written ten songs; it was really organic, the way it happened.” The music industry can be a cruel and frustrating place. Backing is hard to come by, gear and rehearsal space is not cheap and the grind of nightly gigging is no pleasure ride. Lopez admits that his limited experience of the ‘scene’ has been a bit of a mixed bag. Through this stemmed the ethos of Red Rockets – to do it for themselves and to hell with the consequences. “The whole idea was to make some music that got us amped and just good time rock’n’roll,” he continues. “It started off with us making mixed tapes of stuff that got us amped. It’s funny ‘cause we all had tape players in our cars, it was old school. Out of those

“We really wanted to feel happy about what we were doing. We were pretty angsty about our other band[s] breaking up and not playing music, so this was all about having fun; that hasn’t stopped.” He goes on to talk of the irritation of writing songs, recording them a year later and then having to pretend they’re still relevant in the live arena. Red Rockets, he explains, would not let this happen. “We decided to go in and record straight away in 2009. We went in and recorded it in two days and mixed it in two days. Everything clicked. “We’re all committed to it. We try to start rehearsals early so we can get them done ‘cause we’ve all gotta work the next day but we’ll get to 1am and we’re fucked. It’s more a case of being excited to play than it being a drag to have to rehearse. It’s pretty rare and new for me ‘cause the last band was a bit of a slog and hard work.” Their party-time vibe really comes across in their tunes and with a bit of community radio play and a growing support base, you’d say the Rockets are on their way. I wondered whether increased coverage led to increased pressure to live up to this town’s rock’n’roll legacy? “We don’t feel pressure,” Lopez continues, “apart from the pressure to excite ourselves in terms of moving forward. It’s all about music that pleases us. The music industry’s got enough pressure involved with it as it is. Like gigging all round the place for fuck all and dragging your shit around for maybe six Melbourne [Bitter] cans. Obviously we don’t do it for any of that, but it’s just kind of funny how it works sometimes.”

WHO: Red Rockets Of Borneo WHAT: Red Rockets Of Borneo (Independent) WHEN & WHERE: Friday, Old Bar

ISSUE 1165 - WEDNESDAY 16, 2011





THOUSAND NEEDLES IN RED: March 17 Bended Elbow (Geelong); 18 Espy; 19 Ferntree Gully Hotel; 23 Karova Lounge (Ballarat)


AFRO CELT SOUND SYSTEM: March 16 Hi-Fi THE TREWS: March 17 National Hotel (Geelong); 18-20 Cherry Bar JUSTIN TOWNES EARLE: March 18 Forum LEFTFIELD: March 18 Palace THE DOOBIE BROTHERS: March 18 Palais CHRIS ISAAK: March 19 Mornington Racecourse; 20 Trak USHER: March 19, 20 Rod Laver Arena JOE PUG: March 20 Toff In Town ATTILA THE STOCKBROKER: March 20 Drunken Poet

BALL PARK MUSIC, EAGLE & THE WORM, WE SAY BAMBOULEE: March 19 Northcote Social Club THE HOLIDAYS: April 9 East Brunswick Club HALFWAY, KNIEVEL: April 15 Espy; 16 Yah Yah’s BEST OF BOTH SIDES: April 1925 Lucky Coq and Bimbo Deluxe CHILDREN COLLIDE: April 22 Prince Bandroom; 23 Ferntree Gully Hotel

Chris Isaak Saturday Mornington Racecourse; Sunday Trak

THE AGGROLITES: April 23 Corner Hotel


After a rocky 2010, which saw the release of his excellent fourth album, Harlem River Blues, but also a cancelled tour, a stint in rehab and a post-show arrest (battery, public intoxication and resisting law enforcement), Justin Townes Earle has been in high spirits on this, his fourth Australian tour in three years. The son of famed country star Steve Earle, and named after celebrated but tragic singer/ songwriter Townes Van Zandt, Earle’s shows so far around the country have confirmed reports the singer is currently clean. He’s been in much better form on this trip than last, which can probably also be attributed to the superior Harlem River Blues material, which draws on gospel, country, folk and blues influences. Earle has also slipped some Springsteen, Lightning Hopkins and Replacements material into his sets on this run. The excellent bill also features US troubadour Joe Pug.

DISTURBED, TRIVIUM, AS I LAY DYING: April 24 Rod Laver Arena ELI PAPERBOY REED: April 27 East Brunswick Club HOUSE OF PAIN: April 29 Prince Bandroom UNKLE: April 29 Billboard DARWIN DEEZ: April 29 Hi-Fi KYUSS LIVES: May 8 Billboard PEGZ: May 13 Westernport Hotel (San Remo); May 14 Karova Lounge (Ballarat); May 19 Kay St (Traralgon); May 20 Hi-Fi BLUE KING BROWN: May 20 Forum BOY & BEAR: May 25, 26, 27 Corner Hotel; 28 Bended Elbow (Geelong)

Rihanna pic by Heidi Takla she look hot while she struts around? Undisputedly. Rihanna straddles the canon shaft of a lollie-pink tank wearing a Mickey Mouse helmet. Ooh matron! In case you didn’t make the association between a turret and a cock, she sings Hard perched thus. There’s a four-piece band onstage, and the guitarist is particularly noteworthy during a flamenco guitar solo. The creepy strains of Disturbia are brought to life by four-legged stilt creatures and we prepare for the show to cover new ground, which it doesn’t.


THE WAIFS: March 16, 17 Forum THOUSAND NEEDLES IN RED: March 17 Bended Elbow (Geelong); 18 Gershwin Room; 19 Ferntree Gully Hotel GLENN RICHARDS: March 17 Karova Lounge (Ballarat); 18 Nortchote Social Club ILLY, M-PHAZES: March 18 Corner PIKELET, BROUS: March 19 Toff In Town BALL PARK MUSIC, EAGLE & THE WORM, WE SAY BAMBOULEE: March 19 Northcote Social Club HOUSE VS HURRICANE: March 19, 20 (U18) Corner BOY IN A BOX, DANGEROUS: March 22 Northcote Social Club




CELTIC FESTIVAL: March 18-20, Echuca-Moama



ATTILA THE STOCKBROKER: March 25 National Hotel (Geelong); April 16 Northcote Social Club WEIRD AL YANKOVIC: March 23 Palais DOOM: March 24, April 2 Espy FOR TODAY: March 24 Pony; 27 Mustard Pony (Lilydale); 29 Musicman Megastore (Bendigo) EDDIE VEDDER: March 24, 25 Palais FINNTROLL: March 25 Billboard PEANUT BUTTER WOLF, JAMES PANTS: March 25 Espy GERRY & THE PACEMAKERS: March 26 Palms at Crown MOTORHEAD: March 26 Festival Hall



oys and gals clad in Rihanna-inspired fashion and make-up loiter around the merch stand, hoping to pick up an extra RiRi-approved accessory to complete their look. Those who are at first sceptical about a DJ’s ability to effectively warm-up an arena-sized crowd are immediately silenced by Calvin Harris. He opens with his own belter, I’m Not Alone, and spins tracks of the David Guetta ilk that are perfect for a tween demographic such as Martin Solveig (Feat Dragonette)’s Hello (ugh) and The Time (Dirty Bit) by The Black Eyed Peas. The Scottish DJ’s shout-outs demonstrate a gravely voice and his decision to give up singing/performing live to return to DJing seems to have freed him up to party harder. America’s Got Talent /YouTube sensation Alexis Jordan does a guest spot, singing Happiness live, and the under-age chicks in attendance dance in a worryingly suggestive fashion. Harris’ closing track Bonkers by Dizzee Rascal sees a young, male dance enthusiast in general admission locking into the beat and pulling focus – a definite contender for ‘Junior So You Think You Can Dance’. The visual feast that is Harris’ schmancy LED console takes some time to disassemble before the stage is set for Rihanna. After a prolonged video mash-up featuring a sleeping Ri-Ri – dream sequences incorporating flashes from her music videos – the artist appears onstage and is slowly raised into the air on a hydraulic platform as the crowd squeals. Lights suddenly illuminate a figure at the end of the catwalk and, boom! Turns out we were hoodwinked by a Rihanna decoy! This is more a ‘huh?’ than an ‘aha’ moment however, and a trick that would be more suited to diverting paparazzi. A couple of backing vocalists (concealed in the dark) sing half of Rihanna’s lines in Only Girl (In The World) and the siren with the fire engine red locks belts out those notes she does sing too close to the mic. Does

It’s been almost a year since Rihanna’s Last Girl On Earth tour kicked off, and it looks dated. The chorey is so simple it seems as if it’s been dummed down so as not to show up Ri-Ri’s lack of ability (and, no! She’s not sporting heels high enough to warrant the so-subtle-you-need-a-magnifying glass hip isolations). Rihanna even changes the hand she holds her mic in to sort out a wedgie! This would have to be the first lesson you learn at Johnny Young Talent School: NOT to adjust hungry undies. She has stockings permanently covering her famous derrière anyway. The ballad-heavy set could have used Eminem’s parts during Love The Way You Lie. None are fooled into thinking there’s no encore since the Barbadian hasn’t yet invited us under her Umbrella. It’s the closing song and red-confetti rain pours down over the crowd as Rhianna shouts, “Melbourne it’s raining!” Bizarrely, she isn’t wielding an umbrella, or wearing pointe shoes, and doesn’t perform any choreography from the hit song’s clip. We are left feeling a little like Rihanna doesn’t have the talent required to back it up live and her videos are obviously cleverly edited to give the impression that she’s a better dancer than she is. She supplies some live vocals, but we’re left unsure as to how much she actually sings over pre-recorded parts and at times she sounds pitchy. True: She’s one of the most beautiful females on the planet, but so is Beyoncé and she knows how to put on a killer live show. A fellow concertgoer describes what he just saw as “average”. Many in attendance tonight leave with a diminished opinion of the Good Girl Gone Bad. Bryget Chrisfield


PAUL COLLINS: March 26 Tote BASSNECTAR: March 26 Brown Alley UNWRITTEN LAW: March 27 Billboard LIONEL RICHIE, GUY SEBASTIAN: March 29, 30 Rod Laver Arena USHER: March 31, April 1, 2 Rod Laver Arena DEREB THE AMBASSADOR: March 31 Northcote Social Club THRONES, JOHN WIESE: March 31 Arthouse, April 9 National Hotel (Geelong), 10 Northcote Social Club BB KING: April 1 Hisense Arena URIAH HEEP: April 2 Palais BEYOND THE PALE: April 2 Castlemaine Town Hall; 3 Theatre Royal (Castlemaine) DIE! DIE! DIE!: April 2 Ding Dong Lounge LUKA BLOOM: April 5 National Theatre DEAD KENNEDYS: April 6 Billboard THE SCRIPT: April 6 Festival Hall THE MAGNIFICENTS: April 7 Espy TIM BARRY: April 8 Arthouse Hotel WHITE LIES: April 8 Prince Bandroom CYNDI LAUPER: April 8, 9 Palais CHERRY POPPIN’ DADDIES: April 9 Corner BEN OTTEWELL: April 10 Corner; 12 Karova Lounge (Ballarat) JIMMY EAT WORLD: April 10 Trak; 11 Palace BARRY MANILOW: April 11 Rod Laver Arena (postponed) GOOD CHARLOTTE, BOYS LIKE GIRLS: April 13 Rod Laver Arena FRANK TURNER: April 13 Arthouse MARTHA TILSTON: April 13 Northcote Social Club GRACE JONES: April 14 Palais STAR FUCKING HIPSTERS: April 14 Arthouse LADI6: April 15 Corner BRUNO MARS: April 16 Festival Hall ZZ TOP: April 18 Festival Hall IMOGEN HEAP: April 18 Palais MICHAEL FRANTI & SPEARHEAD: April 19 Palace BOBBY LONG: April 19 Palais; 29 Northcote Social Club RODRIGO Y GABRIELA: April 19 Palais IRMA THOMAS: April 20 Corner BLIND BOYS OF ALABAMA, AARON NEVILLE, MAVIS STAPLES: April 20 Palais Theatre LOS LOBOS, RAUL MALO: April 20 Prince Bandroom BOB DYLAN, PAUL KELLY: April 20, 21 Rod Laver Arena FELICE BROTHERS, CAITLIN ROSE: April 21 Prince Bandroom ELVIS COSTELLO: April 21 Palais TONY JOE WHITE: April 21 Caravan Music Club (Oakleigh); 22 Boogie Festival; May 12 Thornbury Theatre; 13 Meeniyan Town Hall DEREK TRUCKS & SUSAN TEDESCHI, ROBERT RANDOLPH AND HIS FAMILY BAND: April 22 Palace SWITCHFOOT, EMERY: April 22 Eastland Shopping Centre carpark rooftop ANTHONY B, CE’CILE: April 22 Monastery AGGROLITES: April 23 Corner Hotel CHRIS BROWN, JESSICA MAUBOY: April 23 Rod Laver Arena DISTURBED, TRIVIUM, AS I LAY DYING: April 24 Rod Laver Arena TOOTS & THE MAYTALS. LUCIANO & THE JAH MESSENJAH BAND, WARRIOR KING: April 24 Palace WARREN HAYNES: April 24 Corner RAUL MALO: April 25 East Brunswick Club THE HORRORPOPS: April 25 Corner Hotel LEON RUSSELL: April 25 Palais CAITLIN ROSE: April 26 Toff In Town ELI PAPERBOY REED: April 27 East Brunswick Club JOSEPH ARTHUR: April 27 Northcote Social Club ESCAPE THE FATE, PIERCE THE VEIL: April 27, 28 Billboard INDIGO GIRLS: April 29 Palais THE DRUMS: April 28, 29 Corner Hotel DARWIN DEEZ: April 29 Hi-Fi HOUSE OF PAIN: April 29 Prince Bandroom QUIET RIOT, WARRANT, LA GUNS: April 29 Palace UNKLE: April 29 Billboard HERBIE HANCOCK: April 30 Palais TRINITYROOTS: April 30 Corner JUSTIN BIEBER: May 2 Rod Laver Arena MAROON 5, SARA BAREILLES, RY CUMING: May 5 Rod Laver Arena CUT COPY, THE HOLIDAYS: May 5 Palace PASSENGER: May 5 East Brunswick Club HUGH CORNWELL: May 7 Hi-Fi JEFF MARTIN 777: May 7 Prince Bandroom


KYUSS LIVES: May 8 Palace THE GO! TEAM: May 10 Corner THE WOMBATS: May 11 Palais DATAROCK: May 12 East Brunswick Club GARY NUMAN: May 14 Forum JANE BADLER: May 14 Toff In Town SUICIDAL TENDENCIES: May 15 Billboard JOHN GRANT: May 18, 19 Toff In Town PROPAGANDHI: May 18, 19 Corner Hotel BEN FOLDS: May 20 Palais OF MICE AND MEN: May 20, 21 Billboard JAMES BLUNT: May 21 Plenary Hall JOE BONAMASSA: May 26 Palais TIKI TAANE: May 28 Corner NEVERMORE: June 10 Billboard KINKY FRIEDMAN, VAN DYKE PARKS: June 16, 18 Toff In Town; 17 Prince Bandroom RISE AGAINST: July 21 Festival Hall JOSHUA RADIN: June 23 Forum KINGS OF LEON: November 13, 14 Rod Laver Arena

Belle & Sebastian pic by Jesse Booher


THOUSAND NEEDLES IN RED: March 23 Karova Lounge (Ballarat) THE PRIORY DOLLS, MARY OF THE MOON, RAPID TRANSIT: March 23 Revolver (Upstairs) LAST DINOSAURS, PAPA VS PRETTY: March 24 Karova Lounge (Ballarat); 25 Northcote Social Club BRITISH INDIA: March 24 Saloon Bar (Traralgon); 25 Bended Elbow (Geelong); 26 Corner GEORGIA FAIR, DANIEL LEE KENDALL: March 24 Empress Hotel; 25 Longboard Surf Cafe (Dromana); 26 Baby Black Cafe SHANE NICHOLSON: March 24 East Brunswick Club; 25 Substation (Williamstown) HOLLY THROSBY: March 25 Corner JOHN STEEL SINGERS, JONATHAN BOULET: March 25 Karova Lounge (Ballarat); 27 Corner Hotel SPARKADIA, OPERATOR PLEASE, ALPINE: March 25, 26 Hi-Fi TUKA: March 25 Evelyn ROYSTON VASIE: March 25 Espy; 26 Great Britain BRITISH INDIA: March 26 Corner CLARE BOWDITCH, JESS McAVOY: March 26 Melbourne Zoo BONJAH: March 26, 27 Northcote Social Cub BOY IN A BOX, DANGEROUS: March 29 Northcote Social Club MILES AWAY: March 31 East Brunswick House Vs Hurricane Saturday (18+) and Sunday 12.30pm (U18) Corner Hotel

GOLDEN PLAINS MEREDITH SUPERNATURAL AMPHITHEATRE The Supernatural Amphitheatre is blessed with near-perfect weather for the fi rst day of Golden Plains. The number of attendees seems a little down from previous years, but the enthusiasm of punters isn’t affected in the slightest. An oh-so-fitting fi rst act comes in the form of Sonny & The Sunsets. Their set is upbeat, jangly and ramshackle in all the right measures. Traversing ’60s surfer rock and no-nonsense garage sounds, they are a great band to get the GP ball well and truly rolling. Wielding his axe like a true ‘80s punk rocker, Cosmic Psychos’ frontman Ross Knight shows why they are the origin and inspiration of so many iconic Australian punk bands. With his bass almost hanging down to his knees, he thrusts his crotch back and forth while the simplistic lyrics and guitar solos bring out the bogan in us all. It’s perfect beer-guzzling music because, as Knight screams over and over, “It’s a nice day to go to the pub, to the pub, to the pub.” With a sound that’s half bratty and half bored, Memphis six-piece Magic Kids come off like a more twee counterpart of labelmates Girls, who played last year’s Meredith Music Festival. Both bands repurpose wide-eyed, reverb-y ’50s and ’60s pop, although Magic Kids bring in more of the chintzy lushness of, say, The Lovin’ Spoonful. While the songs lean towards the mid-tempo and nondescript, the band’s set gets considerably more rocking for the last few songs, including the breakout, little anthem Superball. It must be difficult to be the child of a hugely successful and renowned musician such as Steve Earle. But as the afternoon passes by, Justin Townes Earle steps well out of his father’s musical shadow and proves himself every bit as good as his dad. There’s nothing groundbreaking about his songs – an acoustic-strummed and often plaintive meld of ’70s Nashville-style country Airbourne pic by Jesse Booher

Club; April 1 Seaford Community Centre (Frankston) LEAH FLANAGAN, EMMA DONOVAN: March 31 Toff In Town THE HERD: April 1 Corner STONEFIELD: April 1 Northcote Social Club THE AMENTA, RUINS: April 1 Arthouse BIG SCARY: April 1 East Brunswick Club ELECTRIC EMPIRE: April 1 Evelyn Hotel FLOATING ME, DEAD LETTER CIRCUS: April 1Bended Elbow (Geelong); 2, 3 Corner AUDREY AULD: April 1 Albert Park Yacht Club Port Lounge; May 3 Northcote Social Club EAGLE & THE WORM, NORTHEAST PARTY HOUSE, CARNATION, THE SOLOMONS, NEON KNIGHTS: April 2 Victoria Star (Pier 1, Docklands) THE AMENTA: April 3 Pelly Bar (Frankston) THE LITTLE STEVIES: April 2, 3 Toff In Rown; 14 Ararat Live; 16 Karova Lounge (Ballarat); 17 The Loft KING CANNONS: April 2 Northcote Social Club THE JEZABELS: April 6, 7 Corner THE RECHORDS: April 7 Fitzroy Town Hall GARETH LIDDIARD, DAN KELLY: April 7, 8 East Brunswick Club OH MERCY: April 7 Karova Lounge (Ballarat); 8 Corner Hotel

and bluegrass – but he does what he does with pitch-perfect pathos. The shoes and boots of the audience come off and are held up high in the air as an endorsement of Earle’s goodness. He’s a bit bewildered by the infamous Golden Plains salute but soon realises he is being afforded the ultimate stamp of approval by the crowd. There’s no faulting The Clean’s song selection, casually spanning classics like Draw(in)g To A (W)hole, Anything Can Happen, Oddity, and Whatever I Do Is Right. Unfortunately, David Kilgour seems unable to hear his guitar throughout the set. His growing frustration prompts him to walk off stage at the end of a droning rendition of Don’t Point That Thing At Me, cutting the set short. Despite the cult Kiwi trio being in fi ne form, the technical issues prove a real bugbear. Joanna Newsom is surprisingly lacklustre. She complains repeatedly about not being able to hear herself in the foldback – which, of course, is a fair enough gripe. “This is the fi rst festival we’ve played in ages,” she tells the crowd, “and I hope it’s the last.” Yeouch. Regardless of the sound issues, she makes a valiant attempt to play as well as she can, but is clearly uncomfortable and agitated and, unfortunately, it hampers the mood of the gig. She needn’t have worried too much about the sound issues as – apart from her harp being washed out somewhat on the windy, wily Meredith moors – she and her band sound rather nice as they draw from material both old and new. How does anyone hope to top Os Mutantes? As luridly psychedelic as ever, the robed Brazilian seven-piece is even more over-the-top live. Every song is a full-blown fi nale, and frontman Sérgio Dias is that kooky uncle who can wail on the guitar. All the ‘hits’ are here: A Minha Menina, Baby, Panis Et Circenses, and Bat Macumba. There’s even a bit of While My Guitar Gently Weeps. Swelling like an epic rock opera, the set unites everyone present in blind joy. When there is such a high level of expectation Jamie Lidell pic by Jesse Booher

of pale yellow butterfl ies flutter about above the crowd, and the sound mesmerises everyone along with it to create an amazing show. What a shame the sun has disappeared, as Bethany Consentino walks on to the stage with sunglasses and a ‘70s summer beach party outfit. Best Coast offer the perfect summer tunes for the simple life as they put on a no-frills show with cutesy sounds. But it’s their newest band member, Consentino’s Mini-Me, who offers the most entertainment as a seven-year-old fan is invited onstage to shake the tambourine and sing along to her favourite songs… all of them. Long since confi rmed as a national treasure, Robert Forster still puts on a breezily great show, this time heading a four-piece band. At once dapper and daggy, he moves through such beloved solo tunes as The Circle and 121 as well as The Go-Betweens’ immortal Head Full Of Steam, Darlinghurst Nights, Spring Rain and Surfi ng Magazines. There are three straight songs about rain, but thankfully the actual rain holds off and Forster closes with the bristling Here Comes The City.

around a band and a festival there is a lot of room to fall, but The Hold Steady entertain no such notions. Blasting a gapless, breathless rush of smart and verbose punk rock, the band pack so much energy into the music and frontman Craig Finn comes across like Woody Allen if Allen had dabbled in brilliant punk rock instead of respected jazz clarinet. Though much of the incredibly dense lyrics are lost, the sheer thrill of songs like Hot Soft Light, Sequestered In Memphis and the twin guitar attack of Rock Problems seal the deal that this will be one of the shows of the festival. It’s hard to take Airbourne seriously when everything that comes out of lead singer Joel O’Keeffe is an unintelligible mass of screams, sweat and saliva that could turn the Supernatural Amphitheatre into a supernatural tornado or force. The cock-rock ballsy attitude gets a fi st-pumping return from the crowd as the band shake, jump and perform a marathon running from one side of the stage to the other. The tornado has well and truly hit. And it’s made of leather and hair. If watching Airbourne is like watching Jersey Shore (as one punter acutely notes), then watching Wavves is akin to watching a reality TV show. Will he lose it this week? Will he argue with the crowd or his band? As it turns out the recipient of Nathan Williams’ bitter ennui is an overly aggressive security guard, the sound guy and “fucking grasshoppers”. Opening with So Bored and King Of The Beach before continuing to get mopey about California and being young, the brilliant lo-fi haze of his recordings is lost live, and the songs become more mechanisms for eliciting a steady stream of bodies across the crowd barrier. Job done.

Wallentin’s limbs every bit as expressive as her mighty voice. The halting-yet-commanding There Is No Light is a deconstructive highlight, and the band closes with its defi ning My Heart. Townsville-based musical collective The Middle East seem a bit of a wildcard on the line-up, but quickly establish themselves onstage as masters of spacey, pared-down arrangements with songs such as The Darkest Side. It isn’t the most uptempo set, but they sound faultless, with music that’s reminiscent of early Augie March in the best possible way. Their harmonies are wonderful and their set lulls along at just the right pace. As soon as opener Like The Ocean, Like The Innocent Pt 2: The Innocent comes drifting over the audience in a beautiful cloud, The Besnard Lakes have taken today’s music programming to another level. With vocals that range from falsetto solos to darker harmonies, they deliver a set that focuses on the heavier tracks and receives a well-deserved and overwhelming shoe raise. Nature puts on a show as thousands

Possibly the band most people are most excited for, Belle & Sebastian prove that the plane fares for 12-strong band plus crew was not wasted with a complete blinder of a set. Though meek in voice, Stuart Murdoch is anything but onstage. Careering along the front row, crowd-surfi ng, high-fiving – he never stops moving. With a set that’s heavy on If You’re Feeling Sinister and The Life Pursuit plus a version of The Kinks’ Victoria that gets everyone on side, they are a perfect match for this site, these songs and festivalgoers. (Even if certain tough-looking musicians occasionally yelp and fl inch at an unexpected insect landing on them.) From the fi rst note of his set, Jamie Lidell is a spectacular powerhouse of white boy soul. Songs such as The Ring are delivered with mindbending amounts of sass and oomph and the crowd responds in kind by dancing their collective derrières off. Lidell sounds even better than he does on record and puts on a consummate, impassioned performance that’s rather bloody impressive. He bounds about the stage like a frog in a sock and still manages to be utterly dapper and charming. God bless the madcap Englishman and his Motown-worthy pipes. Landing a pressure-heavy 9pm slot on the last day is Architecture In Helsinki, who have returned to the stage recently, from a year-long absence, with a new look and new songs. Unsurprisingly, it all goes brilliantly and the new look – white suits and tails with blue sparkly bow ties – matches their mid-‘80s, lightweight electro-pop perfectly. Mixing in crowd-amping new versions of old

Os Mutantes pic by Jesse Booher

favourites, it’s the new songs that really impress. Deep Down will be all over the radio and in the charts before the year’s out, while the titles Escapee and Desert Island won’t mean much now but are sure signs the band are stronger than ever and their forthcoming album is something to hanker for. While Hawkwind are fascinating from a ‘how will they do it?’ angle (the answer is with robotic dancing girls on stilts and overlooking your classic single), World’s End Press take that awkward, 2am-after-the-headliner slot and run it into the ground. Earning deafening vocal love and several hundred elevated shoes partway through their blinding single Faithful, WEP are a bizarre beast. One misstep and their blend of ‘80s beats, fl ailing dance moves, sparkling Lamé and rubbery basslines would come crashing down, but their sheer energy, sincerity and undeniable conviction means they become an unlikely high point in a festival with its success largely based on familiar acts playing familiar songs in a familiar setting. While that’s essential to a certain degree, this year’s Golden Plains is one full of surprises, the most welcome of which is the programming: eclectic, complimentary and, almost impossibly, without a dud. From Graveyard Train’s piercing cry of “Wake the fuck up Golden Plains! ” as they redefi ne the role of opening Day Two, to the micro-second thought process written on hundreds of faces as, “Who’s Imelda May?”’ turns to, ‘Holy shit this is awesome!” the only sensible reaction is: “Golden Plains, you clearly know what you’re doing, please carry on.” Andy Hazel, Adrian Potts, Leonie Richman and Doug Wallen

FUTURE MUSIC FESTIVAL FLEMINGTON RACECOURSE A parade of denim hot-panted laydeez and singletwearing dudes wander down Epsom Road as the sun beats down on our shoulders and ponchos have been left at home in denial of today’s weather forecast. Complaints that cans of Coke taste “just like Coke” suggest punters are sharing ‘travellers’ and kickstarting the party even before they reach the gate. Stafford Brothers & Timmy Trumpet herald our entry with sounds as subtle as a town crier while “The Future Will Always Be With You” slogan fl ashes up on the giant screens. A dude whose alarm clock must have sounded drop o’clock this morning tumbles down the grand stand, and we’re away. Showing a surprisingly shy demeanour as she struts on stage, New Zealand newcomer Zowie demonstrates a dynamic rarely seen in the current sphere of super-confident chanteuses. She may be shy and retiring when the music isn’t blasting, but as soon as the sound kicks in she visibly allows the beat to fl ow through her veins. A slow start sees her warm into the infectious Broken Machine, by which time the crowd has quadrupled and Zowie blushes with delight. The Silent Disco is hugely popular and it takes a solid hour to get in. Still, once you’re in the (curiously half-empty) tent, it’s defi nitely worth the wait. With the music spinning right in your ear, while others dance around you, the experience is both shared and intimate. There are two channels available and on one of these is Melbourne’s own Frazer Adnam. He provides some excellent remixes, most spectacularly Martin Solveig’s Hello and Angus & Julia Stone’s Big Jet Plane. It’s a highlight for sure.

The unprecedented nice weather continues in time for this morning’s slow ease back into reality. Triple J favourites Boy & Bear sound impeccable live, offering a very sweet and soft backing track to the ridiculously long coffee line that currently holds half the crowd. As they speak the obligatory praise of the festival, they sound somewhat insincere and lacklustre, but that doesn’t hold the crowd back from adoring the popular Crowded House cover, Fall At Your Feet.

Playing to a home crowd gives the Gypsy & The Cat boys a boost of confidence as they walk on stage to an overwhelming mass of cheers. From the opening bar of Time To Wander through to the chanting refrain of Jona Vark, the relaxed Xavier Bacash and Lionel Towers have the audience eating out of the palms of their hands. Slipping in a timely plug for their album Gilgamesh will ensure that this Future Music Festival appearance has positive effects elsewhere. Clever boys.

Not many Aussies know Sweden’s Wildbirds & Peacedrums – yet. Comprised of spouses Mariam Wallentin and Andreas Werliin – she singing and playing steel drum and percussion while he drums – the duo makes improvisational avant-pop with a smouldering blues edge. Obscure though they may be, their set goes down a treat,

Despite the rain, the crowd waiting for Kesha is packed so tightly that, even way back, there’s no room to move. When she appears, wearing

45 Tame Impala pic by Andrew Glover

a heavier re-imagining of Down Down Down. They’ve actually reworked a few of their songs. If I Know You is let down by its new incarnation as minimalist Eurotrash, but Are You The One? plus trance elements is welcome. Behind them is an excellent light show of twisting, tunnelling spirographs that elevate the music. The highlight is the perfect This Boy’s In Love. Clearly one of the most anticipated acts of the event, the crowd burgeons in the build up to MGMT’s appearance. As the Connecticut boys take to the stage, a quiet descends, but a lull is never a good sign. With the MGMT boys relying heavily on their less-successful second album, Congratulations, cries for Kids and Electric Feel dominate their set. When the boys slip in an Oracular Spectacular things pick up, but many a crowd member is lost during the in-between times. London-based Kiwi DJ and radio presenter Zane “put your hands up” Lowe loves nothing more than a bit of audience participation. Albeit asking the crowd to scream, his clear favourite is the call of “Aussie! Aussie! Aussie!” With the audience loving every moment of this booty-shaking set, the earblistering call of “Oi! Oi! Oi!” is always returned with unshattering glee. With a universal set chosen to please, Lowe more than achieves his goal.

The Presets pic by Andrew Glover

only a US fl ag, she begins with Sleazy. If she’s not lip-synching, then the mix on the vocals is incredible. Kesha makes her show a spectacle, fi ring a confetti gun on Tik Tok, grinding on semi-naked dudes throughout and dressing like a giant penis at one point. Her songs are obviously terrible but the sodden crowd loves them. As soon as the rain sets in, spray-tanned bodies bolt for cover while hardcore music fans stand their ground. Tame Impala’s mic’d-up vintage amps set the scene. The Perth lads commend us for choosing not to watch Kesha on the neighbouring stage and Desire Be, Desire Go – with a completely disconnected instrumental interlude spliced within the arrangement – sends the crowd off on one. Paisley patterns morph, lava lamp-style, on the backdrop screen. This band locks so easily into a groove and then maintains it tenaciously, with a vice-like grip. If you’ve got Mark Ronson vigorously nodding his head sidestage, you know you’re onto something.

Steve Aoki pic by Andrew Glover

Art Vs Science takes the stage before a minimal crowd, beginning with Flippers. The band is tight and the sound is full, but the crowd – thoroughly drenched and bitterly cold – doesn’t really respond until Magic Fountain, which is promptly followed by the rumbling house bass of Bumblebee. But the best is saved for last with the closer ParlezVous Francais. It ends with Dan Mac standing on a monitor and performing a guitar solo with one hand while sculling a beer with the other. The Flight Facilities DJ/production duo sport headwear appropriate to their namesake: a captain’s cap and aviator helmet. Their Crave You (Feat Giselle) smash provides the perfect lead-in for Mark Ronson & The Business Intl. Ronson kicks things off with the lively, gamer soundtrack Circuit Breaker and his Business Intl includes: Miike Snow’s Andrew Wyatt, who impressively supplies both his own and Boy George’s vocal parts throughout Somebody To Love Me; Spank Rock, whose contagious energy never falters; and the surly, former member of The Pipettes, Rose Elinor Dougall (whose British accent is always front and centre when she takes the mic). Even a pounding bass speaker that makes a dangerously loud popping sound stage right plus torrential rain can’t keep the Future outdoor massive down! When Ronson hits the decks and introduces Spank Rock to the mic to showcase one of the American rapper’s tracks – Shake It ‘Til My Dick Turns Racist – many new fans are won. Bang Bang Bang concludes a victorious set and Ronson marvels at our steadfastness during the day’s most inclement weather conditions. The Presets spoil an appreciative crowd by opening with Talk Like That before shifting into


Rules to enter the Future Stage’s D Barrier specify “no broken limbs, no wheelchairs” and when you see the mayhem Dizzee Rascal creates, you can imagine it’s possible to exit the area with a broken limb as souvenir. From opener Jus’ A Rascal, through immediately addictive new track Bassline Junkie (“big, dirty, sneaking bass”) to the paralysing double punch of the Holiday/Bonkers encore, the Sowf Lundan rapper takes us there. There’s confetti canons during You’ve Got The Dirtee Love (on which Florence Welch’s vocals are sampled in absentia) and former X Factor contestant Daniel Pearce (who sings on Dirtee Disco) forms part of the basketball kitted-out Dizzee’s entourage this time around. Pearce also lends his pipes to Dance Wiv Me (dashing our hopes of seeing Calvin Harris, who is also currently touring our shores with Rihanna, makiong a surprise guest appearance). Rascal always gives his all and gnarly tracks such as Sirens somehow don’t sound out of place alongside his recent, club-friendly content. As a surprise, Steve Aoki takes over from Don Diablo a half-hour ahead of schedule. Immediately, the ballbouncing bass compels the crowd to start dancing and makes it impossible to stop. He drops some excellent hard electro, including In The House and the Bloc Party cover Helicopter. Apart from stopping every 15 minutes to yell “Motherfucking Melbourne!”, Aoki is actually a really fun performer, spraying champagne across the crowd and stage diving onto a giant inflatable thong. The growing crowd appreciates it. Squished between Dizzee Rascal and Chemical Brothers, James Holroyd is scantly noticeable in the mayhem between the two big names. However, his hypnotic beats both soothe and excite the wanton crowd. Cleverly understated, Holroyd keeps the audience moving without ever trying to pre-empt the brewing frenzy. Holroyd is a man who is aware of his slot and provides the perfect transition with subtle style. Pool noodles make an inventive signpost for lost mates, which is a necessity by the time our headliners Chemical Brothers hit the stage. The pacing of this one-and-a-half-hour slot on the duo’s Further tour is flawless: you sway, you stomp then you finally surrender with arms outstretched – Out Of Control. There are elements from the Flat Nose George-created visual extravaganza that accompanied their last visit to our shores in 2008, off the back of We Are The Night, still intact (including ‘Acid Clown’) and the graphic representations threaten to burst from or careen through the screen. The pile of wooden planks transformed into a whinnying, bolting equine force during Horse Power gets our blood racing. UK dance music legends – Tom Rowlands and Ed Simons – sure know how to create music that skates the jagged surface between terror and ecstasy. Words of warning cross the screens: “Don’t Think/Just Let It Flow.” If you obey, you’ll dance your demons away while the genesis of many tracks you’ve heard throughout the day is revealed. What, no Salmon Dance? We could have floated upstream all the way home. Bryget Chrisfi eld, Rob Gascoigne and Jeremy Williams

THE DC3 NORTHCOTE SOCIAL CLUB “I Was The Guy In TISM” proclaim The DC3 t-shirts: in the post-TISM world, Damian Cowell – DC Root and, more popularly, Humphrey B Flaubert – once took measures not to oversell his past in ‘that’ band of balaclava-d banditos. But now, knowing it will get a good mention

regardless (especially by Triple J interviewers who just can’t drop the thing), Cowell has embraced his former persona and band. Cowell, Henri Grawe and Doug Lee Robertson – The DC3 – all grace the stage, suit-clad and dapper, and burst into the band’s debut Melbourne show. Many DC3 songs come from Versus Art, a Damian Cowell joint created for the Mona Gallery in Hobart – but you don’t need the pieces, or CD, to enjoy. Though my father always told me never to trust someone who says “trust me”… trust me. The DC3 is a vast move away from ROOT!, as a musical group and an entity. Fans will notice a link to the TISM sound, if only for its acquisition of electronica and DC’s spritelier dance style. The aforementioned single gets hoots and hollers of recognition and the meme-gold of the “Push Button, Receive Bacon” musical mantra gets a laugh from nerd to nerd. Carpenters in hi-vis come up onstage and begin building a wooden structure that promises to be big and jutting. It begins to look like that hideous yellow and red display in Flemington (for real, what is that shit supposed to be?) and the crowd is happily confused. Henry Fuckin’ Wagons next – with sax solo from The DC3’s Grawe – and the local grapevine will probably go bananas with rumour that Cowell and Henry Wagons are locked in some sort of Mega Shark/Giant Octopus epic battle of Melbourne rockers but, in truth, Cowell’s taunts are meant in the spirit of friendly competition and sarcasm… probably. The apocalyptic Melbourne Burning follows; it’s a good example of Cowell’s lyrical dexterity – a fact that sometimes got lost in TISM’s masks and moves, or ROOT!’s cowboy hats. Cowell can write a biting social commentary or pun-slathered rant better than most, and, more importantly, he just carries it better. You don’t feel like you’re being forced to be impressed when you watch Cowell. He has nothing to declare but his genius, clearly. In a move that Melbourne would surely love to see taken on board, the band forgo the usual encore fake-out and jump straight into closer The No Longer Popular Google Search Word Party: “Pump up your Reeboks/Fire up the Coke and Mentos/Hamster dance and hugs are free/And let’s make poverty history.” Ps. The wooden structure becomes a coat rack. The DC3: subverting your expectations since 2011. Lisa Dib

TRICKY, THIEF & WOLFGRAM FORUM Doc Martens litter the thoroughfare of the Forum and it all feels like a blast from the past. Hip hop tunes fi ll the air with the support of the night, Thief & Wolfgram decorating their tracks with the scratching effect that helped defi ne ‘90s rap music. A tang of nostalgia is felt as this outfit fi nishes up and Tricky takes the stage. The Bristol-born musician has had an impressive career that has spanned the past two decades. He started out as a member of Massive Attack and then garnered international fame from his solo debut album Maxinquaye (1995) and has collaborated with artists such as Neneh Cherry and Björk. It’s fair to say that Tricky has been ingrained in our ‘90s music vault as pioneer of the trip hop collective. His career has been kicking on with albums such as Blowback (2001) and Vulnerable (2003) and now he is on tour to promote his ninth studio album Mixed Race (2010). The show begins with an instrumental version of You Don’t Wanna. For the duration of this track (which has the same bassline as Sweet Dreams by Eurythmics) Tricky stands topless with his back to the audience, letting the anticipation grow. And it does, especially for those die-hard fans standing close to the stage, but for those a bit further back it feels rather lacklustre. The gig comprises many covers such as Lovecats by The Cure, which features on Vulnerable, and also Motörhead’s Ace Of Spades, a song that lasts well over ten minutes with Franky Riley leading the vocals. During this song Tricky invites fans up onstage to dance with him, Iggy Pop style. Finishing up with Past Mistake (from Knowle West Boy), the show is not bad but it isn’t exactly great or emblematic of the kind of genre-defying, boundary-breaking artist that Tricky once was, during his heyday. Danielle Trabsky


Kisses will feel like hits and hits will feel like kisses as two female-fronted rock heavyweights land blow after blow at the Bendigo Hotel this Friday night. The Rebelles are a 15-women girl-group. From The Ronettes to The Ramones, The Rebelles’ great wall of passion is delivered with punk energy, harmonic panache and a come-on glint, backed up by their very own rockin’ four-piece band. Hailing from Ireland, New Zealand and Queensland, rock’n’rollers Thee Knockouts come at you like a freight train, fronted by the forgotten lovechild of Ronnie Spector and Johnny Rotten. Spinning tunes will be Mr Doo Wop himself, DJ Peter Merrett. Entry is $10 from 8pm.


Blue Heat play the Studio (Geelong) this Friday, Spenserlive this Saturday and the Mordialloc Food And Wine Festival this Sunday at 3pm. HOW DID YOU GET TOGETHER? Richard Tankard, keyboards/vocals: “Formed as a guitar-based trio in the early ‘90s in Warrnambool and somehow morphed into a seven-piece with horn section.” HAVE YOU RECORDED ANYTHING OR DO YOU PREFER TO TOOL AROUND IN YOUR BEDROOM? “Three albums: Marooned (1995), Irresistible Behaviour (1996) and Live At The Continental (2009).” CAN YOU SUM UP YOUR BAND’S SOUND IN FOUR WORDS? “Big swing blues funk.” IF YOU COULD SUPPORT ANY BAND IN THE WORLD, WHO WOULD IT BE AND WHY? “Little Feat (also a seven-piece), or Los Lobos for their unique approach to roots music, their sounds and impeccable musicianship.” IF A HIGHER POWER SMITES YOUR HOUSE AND YOU CAN ONLY SAVE ONE RECORD FROM THE FIRE, WHAT WOULD IT BE? “Dennis Walter – Feelings.” DO YOU HAVE A LUCKY ITEM OF CLOTHING YOU WEAR FOR GIGS AND WHAT IS IT? “No.” IF YOU INVITED SOMEONE AWESOME ROUND FOR DINNER WHAT WOULD YOU COOK? “Gruel.” WHAT’S YOUR FAVOURITE PLACE TO DRINK IN MELBOURNE? “MCG.”


Holy Pistola will be taking the stage at the Bendigo Hotel this Saturday night. The four-piece garage-meets-swamp rock band blew everyone away at the Bendigo’s recent QLD flood fund gig, and helped raise a lot of cash for the Premier’s fund, so the venue has been itching to have them back. Expect big guitar and dirty bass with a drummer who doesn’t know the meaning of quiet, blended with vocals that come loud and proud. Support on the night comes from 12 Inch Clocks and Dirt Magnet Aricochet. Entry is $10 from 8pm.


Stutter, in association with Ladyz In Noyz Australia, presents the Ladyz In Noyz Showcase at the Gasometer Hotel in Collingwood on Wednesday 23 March, featuring some of Australia’s fi nest female avant/noise/improv performers. Nine artists perform from 8.30pm – the line-up features Bleach Boys, Bonnie Mercer, Daisy Buchanan, Eko Eko Azarak, Juarez, Onnie Art Onion, Oranj Punjabi and DJ Ieva. Ladyz In Noyz Australia (Volume 1) will be available on the evening.


Alpine Areas are excited to announce the launch of their vinyl and download only label, with the fi rst release by Melbourne band Cuba Is Japan! The 7” release is lifted from Cuba Is Japan’s forthcoming full-length album, Canvas, inspired by the fi rst circumnavigation of the world by Portuguese explorer, Ferdinand Magellan. The 45rpm single will come with hand screen-printed


Back on our shores for the fi rst time since 2000, punk poet Attila The Stockbroker takes his sharp tongue and social surrealist rebel verse to the Drunken Poet this Sunday eve. Inspired by the ethos of punk rock, the radical politics of Joe Strummer and the taking down of ‘fashionism’, Attila has been travelling the world spreading his message for 30 years. Having previously travelled our land with Weddings, Parties, Anything, Attila returns armed with his Mandola, a collection of new songs, and a healthy dose of rage. Attila will make you roar with laughter and seethe with rage – be there by 6.30pm.


She’s The Band are an all-female Adelaide supergroup including members of Miss Golly Gosh, *10 #, Hightime and Lunar Tricks. They bring their mix of punk, hardcore and jazz to Melbourne this week and play the Prague in Thornbury this Saturday night with Bitchslap, Cash Savage & The Last Drinks and The Hunting Club (including members of Taste The Venom). Entry is $10 from 7pm.


After red hot gigs at the 17th Thredbo Blues Festival in January and a couple of cracking spots in Warrnambool during February, Blue Heat are ready to tear it up live again in March. The band will be performing for one night only at the Studio in Geelong this Friday from 8pm. This is the first time the band has performed in Geelong for a number of years. The last time was New Year’s Eve 2008/2009 at the Bluestone Festival and before that the Limelight Lounge in 2006! A bonus for those attending is that Blue Heat will be supported by Warrnambool’s very own Tom Richardson (solo) and The Blackwater Rise.


Plump Daddy J takes his beloved Hustlers back to the Great Britain Hotel this Sunday, where the usual suspects and a host of invited guest players will grace the stage for two sets of Melbourne’s finest, blues-based pub rock. The show will be kicked off by the Plumpster and Delta guitar bluesman Tom Anon playing some old-school, Robert Johnsonstyle acoustic blues, so there will be something for everyone to enjoy on the night. Entry is free from 7pm.


Week three of a month of Spencer P Jones presenting the line-up at the Drunken Poet sees Jules Sheldon taking to the Poet stage for the fi rst time. Inspired in equal parts by the classic songwriting of The Go-Betweens and The Triffids through to the chaos of The Drones and The Gun Club, Sheldon writes honest tales accompanied by quality playing that belie his age (the guy is 18 for Chrissakes!). Completing this Saturday double of youth and experience, Spencer P Jones will follow with a set of his own. Things kick off at 9pm.

covers and wool-knitted outers, limited to 300 only. The official launch party will be on Friday 1 April at the Workers Club. Also playing on the night are friends A Dead Forest Index, Pow Pow Wow (debut gig, featuring Ben Ely of Regurgitator) and Sans Gras. Gig-goers can get free entry with knitted tickets – hidden in guerrilla sites around Fitzroy. It’s $10 to get in otherwise, and it casts off at 8pm.


TRACEY LAYS IT DOWN Too much goodness for one venue! To celebrate the wrap up of her new album, Fire From Burning, soon to be released through Vitamin, Tracy McNeil and her band will be high-fiving and blowing whistles this Friday at Yah Yah’s. Joining in the festivities, is Adelaide indie pop sensation Southie, who has been high-fiving his way through Australia on a national tour and the wonderful Isaac De Heer who will kick off the show at 9pm. Tickets are $8 at the door.

Do you get to Thursday and find your arse wanting to groove? Us too! The working/studying/lazing week is just too bloody long to wait for the weekend. Well, here’s a tip: White Boyz Can’t Funk at Cherry Bar this Thursday. Named by famed soul DJ Vince Peach as “Melbourne’s best live soul act,” the band play funk, R&B and soul originals from the sleek streets of Fitzroy. Entry is $8 from 8pm.


None The Wiser are putting the finishing touches on their long awaited album. They have a new drummer, a new outlook on life, and will probably have a new name very soon. Be sure to catch them before they change their name and you never hear of them again! They play the Public Bar this Friday with Human Pollution and newcomers Lizard Punch. Get on down for some beer-swilling fun!


On Saturday 9 April, Cam Butler & The Shadows Of Love will fill the lovely acoustics and atmosphere of the Northcote Uniting Church with their sweeping and cinematic instrumentals. Taking time out from recording tracks for the follow-up to their acclaimed Eternal Return album, renowned instrumentalists This Is Your Captain Speaking lend support along with the electrified bouzouki-ness of Blood Red Bird. It’s an early gig – doors open at 6pm, with the first act at 6.30pm. Entry is $12.


After a two-month break while lead singer Lincoln MacKinnon spent time in Cambodia teaching music to disadvantaged children, The Dead River Deeps will return with one hell of a bang as they play Yah Yah’s on Friday 25 and the National Hotel in Geelong on Saturday 26 March. With the successful release of their singles Right Side Of You/Killer In Me and their debut full-length album A Room Full Of Beggars, The Dead River Deeps will mesmerise and enthral as they shake the walls full of their infectious rock. Joined by good friends The Voodoo Economic (Friday night), The Killing Liars, The Stutterers (Saturday only) and Guthrie it’s sure to be one hell of a weekend.


With great momentum, Headmistress Kitty Rock brings you Bent Cabaret, a night of burlesque ladies with new recruits debuting every month! March is a massive month for The Bad Ladies with the opening of their boutique and head office at 77 Johnston Street in Collingwood, where you can purchase pre-sale tickets for their next event at the Bendigo Hotel this Thursday. The night promises new bombshells and routines and a lot of St Patty Day specials. The stellar line-up introduces one of the newest Bad Ladies, the six-foot southern American beauty Lucinda Lou, along with resident MC Ladybird supported by Lil Miss Ruby Q (NYC), Babycakes and Miss Deviant. Entry is $15 from 8pm.

I SEE FREELY After a great run towards the end of last year, which saw Free To Run launch their second self-titled EP adjoining their film clip All I See, to then support Nat Col & The Kings and Electric Mary, it’s now time for the season opener. It will be held at the Espy in the basement this Saturday. Joining the heavy rock line-up will be Super Fluid, Jack’s Union and 180 Proof. Entry is free.

What I’m listening to right now is…

Freedom – Jonathan Franzen.

Jesse Malin & The St Mark’s Social – Love It To Life.

The best film of all-time is clearly…

What I’m watching right now is… 30 Rock, Entourage, Mad Men. What I’m reading right now is… Life – Keith Richards, The Elegance Of The Hedgehog – Muriel Barbery,

The Godfather. The one song I wish I’d written is… Sick As A Dog – Aerosmith. The Trews play the National Hotel (Geelong) this Thursday and Cherry Bar this Friday, Saturday and Sunday.




DESERT ISLAND SONGS WITH CLEM BASTOW REBECCA BLACK FRIDAY When you live on the internet like I do, being there for the birth of a meme is a special moment. Sure, we all like to think of ourselves as online trendsetters, but the reality is that we’re often closer to the distant family member who emails you about “This hilarious dancing baby animation I just found!” than we’d like to admit. Sometimes, just sometimes, though, you can see a meme create itself. It’s not quite attack ships on fire off the shoulder of Orion, but it’s still pretty special. This is exactly what happened last Friday. My brother posted a YouTube clip on my Facebook page, accompanied only by my favourite emoticon, :| Around the same time, the video turned up on Reddit and The Daily What and Tumblr and just about every other social networking/lulz-peddling sit on the web.

DAMN THE MAN Having been described as “just the right amount of dangerous”, Damn Terran have rightfully earned a reputation for being one of Melbourne’s most incendiary live bands. The band’s debut single Rational Economic Man will be launched this Saturday as Damn Terran take no prisoners at Yah Yah’s, aided and abetted by fellow agent provocateurs Ouch My Face, Brat Farrar (members from Digger & The Pussycats and YIS) and Plast Her Ov Paris.

The video was, appropriately enough, Rebecca Black’s Friday, a sort of unholy melange of Ke$ha, Selena Gomez, Andrew WK and early Mandy Moore. The plot is fairly simple: Black wakes up, goes to school, then parties all weekend. The execution, on the other hand, is utterly bewildering. Black warbles such eternal existential truths as “Which seat can I take?” and “Fun, fun, think about fun – you know what it is” and “Tomorrow is Saturday/And Sunday comes afterwards”.

Sounding like the bastard lovechild of The Cramps, Sonic Youth, Screamin’ J Hawkins, The Stooges, Dead Kennedys, Link Wray and The Loved Ones, Red Rockets Of Borneo launch their self-titled debut album at the Old Bar this Friday. Like a short, sharp, bristling shock to the system, Red Rockets Of Borneo play straight-up punk rock’n’roll and listening to their self-titled debut album you can tell they have a helluva fun time doing it. Channelling snippets of rockabilly and fi fth-gear rock’n’racket, the Melbourne-based five-piece have penned ten songs of adrenaline-riddled mirth on the album. Supports are Drunk Mums, Sid Air and She’s The Band (Adelaide). Entry is $10 from 8.30pm.


The second annual Ballarat Acoustic Music Festival takes place again on Earth Hour night (Saturday 26 March) and is completely acoustic, showcasing the brilliant achievements of musicians throughout the Ballarat area and to show support for sustainable energy use. There will be no electrical amplification whatsoever and the entire night is lit using stored solar energy. The only event of it’s kind in Australia will be held at the Ballarat Observatory (corner Cobden and Magpie Streets) and Rae Howell, Adam Simmons & Steve Heather, The Sljivovitz Orchestra, The Illuminators, Liz Frencham, Ali Bakhitarvandi & Mladen Ilic; Jacinta Dennett & Patrick McCabe and The Gus And Bags Acoustic Jukebox will perform on the evening. The fest runs from 7.30-11.30pm and tickets are $50 – phone 5332 7526 or email bas@ to book.

In a series of mystifying shots, she sits high in the back seat of a convertible SUV (that appears to be being driven by a 12-year-old boy) while two girls sway nervously on either side of her. Then there’s a rap cameo from an anonymous black dude with a vague speech impediment (also driving an SUV) before the triumphant conclusion at a party (full of children) in which Black dances next to a tree held down by fishing-wire. Her delivery is the best part: “Friday” becomes “Fry-ee-day”; “I see my friends” becomes “I SEE MY FRANS”. And the line “We we we so excited, we so excited” speaks for itself. Black is 13 years old; prior to Friday she had just scored the lead role in her high school production of Oklahoma! (no word on whether she’s playing Laurey or Ado Annie; based on her obvious vocal prowess I’m betting on Annie). Now, in what is either a dream come true or a waking nightmare, Rebecca Black has scored the lead role in the theatre of the internet. How does something like this happen? It turns out Friday was “produced” by ARK Music Factory, a Los Angeles company that falls somewhere on the horizon of good taste between the Johnny Young Talent School, Toddlers & Tiaras and one of those vanity recording studios that allows you (at massive personal expense) to live out your dreams of pop stardom. Typically those places cater to depressed 40something businessmen, but ARK Music Factory plays straight into the dreams and wallets of fame-hungry children and their accommodating/ delusional parents. ARK fly children to LA to record these songs and videos. EVERYONE is to blame here. And who’s surprised? As a crystallisation of the society of the spectacle and the fame machine that has been fuelled by the instant/empty notoriety that comes with shows like American Idol and The Real World (since Big Brother never really “happened” in the States), Friday is startling. Rebecca Black can’t really sing: nobody has told her that. Instead, for the right amount of cash, a company will pretend she can by providing her with one-size-fits all production and songwriting. Tellingly, the fees for these services aren’t listed on the ARK Music Factory site. What’s the saddest part of all of this for Rebecca Black and her family: the price of instant fame, or the cost? I kept thinking of Stephen Sondheim’s 1990 musical, Assassins: “I just heard on the news, how the mailman won the lottery [...] The delivery boy’s on Wall Street and the usherette’s a rock-star” and of that band of nobodies yelling, “Where’s my prize?” Or, alternatively, depending which musical suits you better: America, FUCK YEAH!


Only The Sea Slugs launch their new single at the Workers Club tonight (Wednesday). HOW DID YOU GET TOGETHER? Sasha, vocals/guitar: “I stole our keyboarder from another band, and began rehearsing in a boatshed with him, for approximately one year. We then had a drummer join, only to leave shortly after, then our guitarist Dean hit us up – he’s still with us. Then Scott our bass player hit us up – he’s still with us. And finally Liam, our beloved drummer, not drama, is here to stay too. Lengthy process, but worthwhile.” HAVE YOU RECORDED ANYTHING OR DO YOU PREFER TO TOOL AROUND IN YOUR BEDROOM? “We just finished our debut mini-album Street Music, and all songs from that were written in a bedroom, toilet and warehouse – the three most creative spaces we know.” CAN YOU SUM UP YOUR BAND’S SOUND IN FOUR WORDS? “Melodic. Unassuming. Rhythmic. Fresh.”

Wolves At The Door play the Espy this Thursday and the Workers Club this Friday. HOW DID YOU GET TOGETHER? James Gates, guitar/vocals: “We met through a mutual friend a few years back and ended up writing a song. We’ve been together ever since though that song is thankfully long forgotten… Alex [Board] has just recently joined the band as our permanent drummer.” HAVE YOU RECORDED ANYTHING OR DO YOU PREFER TO TOOL AROUND IN YOUR BEDROOM? “We have recorded an EP at Blackbird Studios with Sam Ford. Ash [Hendriks, guitar] also has Pro Tools on her laptop so she records songs with that too… we are just about to release the first single, Colours, off our next EP which I think will be out June/July.” CAN YOU SUM UP YOUR BAND’S SOUND IN FOUR WORDS? “Moody, haunting, meandering and umm… mysterious. Or so people have said.” IF YOU COULD SUPPORT ANY BAND IN THE WORLD, WHO WOULD IT BE AND WHY? “Hmm, probably Radiohead for Ash and me because they are in our humble opinions one of the greatest bands of our time and I think that to even be acknowledged on the same bill as them would be quite an achievement. Yes, that’ll do…”

ANDREW’S NEW HORIZONS Recorded amidst the vistas of Mt Nebo, it is no surprise that Horizons, the latest single from celebrated Brisbane-based troubadour Andrew Morris is as musically expansive as its title suggests. Morris will be heading to Melbourne to play songs from his album Shadow Of A Shadow at the Wesley Anne on Sunday 17 April. Supports come from new start-ups Chimneys.


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. They play two sets, so you don’t have to get home too early and have sad-face that it’s Monday.

DO YOU HAVE A LUCKY ITEM OF CLOTHING YOU WEAR FOR GIGS AND WHAT IS IT? “No, not really… I know Ash doesn’t like wearing silk though, she gets all steamy…”

WHAT’S YOUR FAVOURITE PLACE TO DRINK IN MELBOURNE? “I haven’t been yet but Ash is pretty fond of the Black Cat. I’m excited about my first time in Melbourne so I’ll have to go to a bunch before I can pick my best one…”

IF A HIGHER POWER SMITES YOUR HOUSE AND YOU CAN ONLY SAVE ONE RECORD FROM THE FIRE, WHAT WOULD IT BE? “Run DMC’s Tougher than Leather Vinyl, the first record I stole off a homie’s older brother when I was five, paved the way for us kids, and that record just brings back the best memories of brick fences, beatboxes and ice blocks in summer.” DO YOU HAVE A LUCKY ITEM OF CLOTHING YOU WEAR FOR GIGS AND WHAT IS IT? “I’m in phases from month to month and don’t have anything I like to repeat, so I suppose that is the lucky charm, not wearing the same shit all the time. I once wore high socks and shorts to all our shows over summer – they were all very fun nights.” IF YOU INVITED SOMEONE AWESOME ROUND FOR DINNER WHAT WOULD YOU COOK? “You’ve never had cheese and tomato sandwiches like these before. Throw a homemade cheesecake in for dessert – I can whip those freshhhh. There could be some beers.” WHAT’S YOUR FAVOURITE PLACE TO DRINK IN MELBOURNE? “Carlton Club roof is dope, but Degraves is the spot for coffees and some nice dudes playing jazz, some nostalgic western tunes and some amazing looking Melbourne females. Definitely hitting that spot this time around in the morning. Yep!”


IF YOU INVITED SOMEONE AWESOME ROUND FOR DINNER WHAT WOULD YOU COOK? “We’re both more about the drinking part of an evening. Big meals make us sleepy so maybe just some tasty little tapas treats or something to accompany the various beverages that we have provided. Preferably spicy things…”

IF YOU COULD SUPPORT ANY BAND IN THE WORLD, WHO WOULD IT BE AND WHY? “I would love to support Outkast on a national tour of the USA, keeping everything very free, drinking and smoking Phillies with Andre and Big Boi would be a wonderful experience. We don’t have music anything like theirs, however – some of our tracks have true hip hop feels, and I’d love those two cats to rap over our instrumentals.”


OVALS PSYCH OUT Psychedelic prog rockers The Ovals are due to launch their sophomore EP Into The Eyes Of Those That Sleep at Cherry Bar on Friday 25 March. The Ovals have built upon and expanded on their previous effort, 2009’s Innerspace, to create an EP of singular vision and addictive appeal. Supports on the night come from Tehachapi and Buried Feather.

Head to Pony Bar this Saturday, where the craziness begins with Fighting Mongoose, an energetic three-piece rock band who formed at Southern Cross University in 2004 drawing from such influences as Tool, The Mars Volta and FNM. Then, 2 Quirks take up the mantle, with an instruMENTAL/ experiMENTAL/prog rock/funk extravaganza. They’re followed by The Contortionist’s Handbook, a four-headed brainchild of local Melbournites, featuring experimentation with percussive funk and punchy dramatic rock. Finally, headlining the night, Vitruvian Man draw inspiration from a plethora of styles – they’re anything but conventional, incorporating compelling riffs, complex time signatures, powerful harmonies and striking melodies. Entry is $10 from 9pm.


With a voice “like a 747 taking off”, Suzie Stapleton and her band descend upon the Old Bar tonight (Wednesday) in a rock-fuelled manic attack to celebrate the release of their fi rst musical baby together, Bring Back The Night. How could they not arrive in such a fashion with Rui Pereira (ex-The Drones) on guitar, drumming ninja Helen Buckley fiercely wielding two sticks, and madman Thomy Sloane (of Thomy & The Tanks fame) keeping things warm downstairs. Featuring a stylophone and superb list of support acts, this will be a special time indeed.

GRUNT FOR THIS Gruntbucket, with their heady mix of psychedelia, electric dirge and freewheelin’ rock’n’roll, will see you shakin’ and a-wailin’, movin’ and a-groovin’, with a sound that is from, of, and for the heart at the Retreat Hotel this Saturday night. They’ll be joined by Plague Doctor from 10pm so make sure you get along early. Then, recover on Sunday with the ever-soulful songstresses The Wolfgramm Sisters performing at the Retreat. The ladies will be performing two sets from 7pm onwards. As always, entry to the Retreat is free.


Last year Kim Salmon played a month of Sundays at the Old Bar and didn’t repeat a song once. With different bands each week he covered material from The Surrealists, The Scientists, Beasts Of Bourbon, Precious Jules, Salmon and more. It was something special and we all thought it was a one-off. Well, the man is a musical legend and has many depths to plumb so he’s doing it all again through March! Expect songs from The Darling Downs, The Surrealists, Kim And Leanne Play Scientists and Precious Jules. As with his November residency there will be no prior announcements of what material he will play on any given Sunday. The only way to make sure you don’t miss out is to be there. Entry is $8 from 7pm.


Celebrating the recent release of their Own Worst Enemy video and single, Bonfire Nights are hitting the road to play a quick succession of shows in Melbourne, Sydney and Brisbane this month. Now officially a trio, the tour also marks the last Australian shows for the band for some time as they announce they’ll be relocating to the UK to record and tour from May. The band play Weekender at Ding Dong Lounge on Saturday 26 March – entry is $10.



Get to the Builders Arms Hotel this Friday and treat yourself to a bath of music. Let the voice of Hayley May wash over you, unwind to the emotive sounds of Jumpin’ Jack William, soak in the aroma that Sam Lawrence presents and let the melodies of Harmony resonate with your soul. The evening will be one of healing and giving, as these performers offer themselves through their music. Entry is $10 in the bandroom from 8.30pm.

On a street, in a city, on an island, in the sea, stands a boy, and a girl, guitars in hand, ready, waiting. A party is about to start. Folk duo Since We Kissed share their stories and clever lyrics with Gateless Gate as they introduce their new mix of guitar, Irish bouzouki and drums after a crafty collaboration with AppleJack’s drummer. Catch this folk mash-up at the Great Britain Hotel in Richmond. It’s free from 8pm.


In an old Irish convent, refurbished as an international dormitory, two guys from Melbourne ended up across the corridor from each other. In the midst of all the foreign languages, Spanish fiestas and Irish weather, they started hitting boxes and plucking strings. The Grinders were born, cutting their teeth on cheap whiskey and playing songs on the kitchen floor. Catch their countrified up and low beats at the Great Britain Hotel this Saturday with special guests. It’s a free one and kicks off at 9pm.



I, A Man are hitting the stage north of the river for the first time since winning over the crowd at St Kilda Fest, playing the Cornish Arms in Brunswick this Saturday night. You can look forward to hearing their textural, finely crafted pop songs, which focus on sonic experimentation from their forthcoming EP due out in May. Playing alongside them are the dreamy Montreal Movement who will be playing their last show before band members take off for overseas adventures. DJ Gupstar will be supplying the rocking tunes before and in between bands, so this is definitely a show not to be missed! Entry is free from 9pm.

Tony Kopa is a musician who has worked with Jon Stevens, Cold Chisel, INXS and had a Mushroom Records-signed band in the early ‘90s called The Truth. He learnt his skills growing up in Melbourne, but was born in Christchurch, NZ. Like so many people, Kopa was horrified by the devastation of the Christchurch quake and has a personal connection to the disaster as many of his family still reside there. With help from many Melbourne musicians, Kopa have put together The Christchurch Quake Benefit Concert called Hands Across the Tasman. It happens at the Espy Gershwin room on Wednesday 23 March and features Vika & Linda Bull, The Red Eyes, The Wolfgramm Sisters, Direct Influence, Josh Owen Band, Past To Present, Jahrukus and Christchurch’s own OG. Tickets on sale from and doors open at 6pm.

FUZZY BANG This Saturday night, Bang hosts the official House Vs Hurricane after-party! Members of House Vs Hurricane and Your Demise will be performing special guest DJ sets in the main room. It’s also the after-party for the Worn Wild alternative clothing market! Playing live in the main room are Fuzz Phantoms (featuring frontman Darren Cordeux of Kisschasy) with support from The Aura Cura and Keen Must Die. You can even win a copy of the new Funeral For A Friend album Welcome Home Armageddon! For more info and club pics head to or facebook. com/bangnightclub. Entry is $15 from 9pm.




All things under 18 with KENDAL COOMBS

Hardcore and punk with SARAH PETCHELL



he Push Start Battle Of The Bands grand fi nal went off with a bang on Sunday at the annual Push Over festival at the Abbottsford Convent. Conveniently located indoors away from the rain on the Green Stage, the competition fi nalists impressed many a sheltering punter to remain indoors and check out all the newcomers. The judges were blown away by the diversity of the acts and had nothing but praise for all fi nalists. At the end of the day, however, Push Start is a competition and somebody had to win, and for the 2010/11 series that band was eastern suburbs fivepiece Amber Lamps, who I’m not sure understand the meaning of ‘audio-visual’, but were very impressive and I’m sure converted many more to their excitable fanbase. The prized APRA songwriting award went to The Fire Alive, whose heavy blues rock sensibilities impressed the judges very much. The came a long way to the competition, all the way from Colac, so it was good to see them recognised for their efforts. Venturing outside the comfort of the Green Stage room to check out the rest of the festival it was good to see people of all ages unperturbed by the rain and the ‘no moshing’ signs as they jumped along to the likes of Stonefi eld, Gold Fields, Last Dinosaurs and the newly named Hunting Grounds (formerly Howl), who seemed as confused by their new name as the crowd did. The metal stage was packed to overflowing. Not wanting to step into the middle of what looked to be a human washing machine I opted to check out the hip hop stage which had a small group of passionate attendees and a smattering of break dancers practising their moves at the end of the stage. Despite the weather, I did have fun, particularly laughing at the mud-soaked Future Music punters leaving their festival early and catching a conveniently timed train home. So Push Over and Push Start are over for another year – that just means that if you’re in a band or thinking of being in a band, now is the time to start rehearsing, writing some songs and preparing your act for heats of the Push Start Battle Of The Bands competition 2011/12 series. They will come around sooner than you think.


The Hoist By The Tracks is going nautical, and you’re invited. SYN and the Signal FReeZA crew head up another month of live local music, but this time on the high seas… of the Yarra. Warm up with a set by alt.pop sensation Kate Vigo in the Signal space, then cruise in style to the acoustic sounds of Karl Christoph and another very special guest to be announced. Bands start at 6pm, boat leaves at 7pm sharp. Tickets are free but limited so reserve your spot now by emailing signal@melbourne. with your name and number. You can catch Opposite Of Ordinary with special guests Hunting Grounds, Cat Or Pillar, Triact and Rhinoblaster at EV’s Youth Centre in Croydon. Entry is $12 on the door, doors at 6.30pm.


The South Eastern Skate League heat is on featuring We Rob Banks, Take Your Own and Clint Flick at the Lilydale Skate Park from 10am. Entry is free. Hand Of Mercy head to Pheonix Youth Centre in Footscray with special guests Harvest, Hallower, One Vital Word, Of Whispers and The Rose Line. Doors open at 2pm, entry is $15 on the door. Stone Temple Pilots and Grinspoon play Festival Hall from 7.30pm. Tickets start at $88 through Ticketmaster. Usher hits Rod Laver Arena. Tickets are available through Ticketek.


House Vs Hurricane and special guests Your Demise and Nazarite Vow play the Corner Hotel from midday. Tickets are available at the Corner Box Office.


The Amity Affliction



o it’s been a bit of a slow news week this week. But there have been some tantalising hints of what is to come later this year, as well as some questions answered and a couple of local gigs happening around the place. First up, what is Soundwave Revolution? If you were at Soundwave you may have seen the advertisements up for it on the big screens and around the place at the venue, but beyond that very little information has been provided. Then Soundwave organisers started dropping hints on their Twitter feeds and a Facebook page was set up so you could ‘like’ the event and a website created where you could sign up to the mailing list. So far not much information is available, but according to cryptic tweets of AJ Maddah (Soundwave organiser) it will be happening around 24 September 2011 and perhaps Minus The Bear will be playing, as he “has a feeling Minus The Bear may be here in late September”. About two weeks ago a video surfaced on the interwebs that set chins wagging with suppositions, rumour and some fact. I’m talking about the Destroy Music Tour and even though it was trying to be secretive with hints like “this was a tour a few years ago, if you can remember who played on it”, it ended up being one of the worst-kept secrets. Now it has been announced (via another video at it can officially be revealed that The Amity Affl iction and a re-formed I Killed The Prom Queen (who will be fronted by Jamie Hope, former vocalist of The Red Shore) will be touring the country this May. Joining them will be Deez Nuts and Californian metalcore band Of Mice & Men. Melbourne, you better be ready for this, as the tour will take over Billboard on Friday 20 May for an 18+ show and then Saturday 21 May for an under-18 show. Tickets go on sale this Friday and I recommend getting your mitts on them as soon as possible because those babies are really not going to last long. With barely seven weeks or so to go before the Arthouse Hotel closes its doors, there are so many amazing shows going down there over these next few weeks that you should definitely get down to the venue for last drinks. The list of shows that are happening are all up on the Arthouse website, but I will be updating you all week by week. This week, Saturday has a line-up that makes me nostalgic for 1998, as 28 Days will be headlining with Raised By Wolves, First Base and Cavalcade. Doors are at 8pm. Sydney’s The Mission In Motion are feeling


RACKET Metal, heavy rock and dark alternative with ANDREW HAUG Another rock soldier taken from us – former Alice In Chains bassist Mike Starr passed away last week after a long battle with drug addiction. Starr’s body was found in a Salt Lake City home. Cops say they were called to the house at 1.42pm. They do not suspect foul play. The members of Alice In Chains have released the following statement regarding Starr’s passing: “Jerry and Sean are mourning the loss of their friend and ask that the media respect their privacy – and the privacy of the Starr family – during this difficult time. Their thoughts and prayers are with the Starr family.” Many other rockers who knew Starr are pouring in with tributes such as Slash – “Really tragic news about Mike Starr. RIP.”; Motley Crue’s Nikki Sixx – “RIP Mike Starr. Another fallen soldier to addiction…; Steven Adler (Adler’s Appetite) – “I love and will miss my brother Mike Starr and I’m doing whatever it takes to not hurt all my friends and family that way!! Peace and love my brother Mike Starr!!!”; Matt Sorum (Velvet Revolver) – “Drugs and alcohol aren’t a joke. Please take care of yourself and respect yourself. We lost Mike Starr today. Rest in Peace man”; and Mark Morton (Lamb Of God) – “Horrible news. RIP Mike Starr.” According to the Daily Mail, former Iron Maiden singer Paul Di’Anno was jailed last week after he falsely collected UK government benefits by claiming he suffered nerve damage to his back that prevented him from working. Di’Anno, 52, was sentenced to nine months for swindling £45,000 (approximately $72,000) in benefits. He was told he would serve at

fresh and pumped after playing the Sydney Big Day Out as well as a quick run of shows along the East Coast. Now the Taperjean Records artist are about to embark on a national tour in support of their new single, What Do You Do. The single is available from the band’s Bandcamp as a free download in celebration of the tour and is the third single to be released from their debut full-length, Somewhere Safe. The band will be playing an 18+ show at the East Brunswick Club on Friday 6 May. Tickets are on sale now. New Jersey pop punk powerhouse Saves The Day were just in the country as a part of the Soundwave Festival. This week they have announced that they have just signed to New York based independent label, Razor And Tie Records. Having had an on and off again relationship with Vagrant Records for the past decade, the band have decided to release their seventh album, Daybreak, through the New York label. This is the band’s first album since 2007’s Can’t Slow Down, and their first with new guitarist Arun Bali following the departure of long-time member David Soloway. A release date is yet to be announced, though they had previously mentioned last September that the album was nearing completion, so hopefully it will be sooner rather than later.

least four and a half months of the sentence behind bars before being released on conditional bail. According to, HBO has cast Metallica’s Lars Ulrich in the movie Hemingway And Gellhorn, starring Nicole Kidman and Clive Owen. Ulrich will play Dutch documentarian Joris Ivens in the TV movie, which will follow the couple’s relationship from the time they met in 1936 through the time they spent together in the Spanish Civil War. Finally, Florida-based death metal veterans Morbid Angel have set Illud Divinum Insanus as the title of their eagerly awaited new album, due on 7 June via Season Of Mist. The album was recorded at Mana Recording Studios in St Petersburg, Florida with engineer Erik Rutan (Hate Eternal). The new CD will be the band’s first to be recorded without longtime drummer Pete Sandoval, who last year underwent back surgery for a deteriorating disc problem. Filling in for him on a temporary basis is Tim Yeung (Divine Heresy). According to a posting on his Facebook page, Ratt singer Stephen Pearcy is “finally going to lay down lead vocals for the new solo music in a few days”. In addition to his solo work, Pearcy is focusing on running his record label, Top Fuel Records, as well as launching Battering Ramm, a group in which he plays guitar and whose music he has described as “way more aggressive than anything I’ve done in the past”. Pearcy posted a message on Twitter last week stating that Ratt will remain inactive for the remainder of 2011 while he pursues other projects, including the release of a new solo album. He said, “Ratt with me involved will not be active in 2011, maybe longer. No new record, tour, or life with me until things are back on track! Until then, MIA.” American technical death metal innovators Origin have announced the addition of vocalist Jason Keyser (Skinless) to the group’s ranks. Canadian all-girl metal band Kittie have completed work on the material for their sixth album, tentatively

Also in release news, Rival Schools (featuring the legendary Walter Schriefels) have unleashed their most recent effort, Pedals, upon fans after over a decade of recording silence. If you don’t know who Rival Schools are, they are perhaps ones of the most hugely influential pioneers of the post-hardcore genre. Their 2001 album, United By Fate, defined what brilliance in this genre sounds like and with Pedals they remind critics and music fans alike why they have earned these titles. Since reforming in 2008, the band have been touring the US and Europe relentlessly. We can only hope that with the new album, they will soon add Australia to that list. There’s been an addition to the Propagandhi tour that is happening this May. Melbourne, you can be very proud of yourselves as you are the fi rst city (of what I’m sure will be many) to sell out a show. I am talking about the show at the Corner Hotel on Wednesday 18 May. But never fear if you missed out on tickets, as a second date is now on sale for the very same venue. This Canadian punk powerhouse will be playing a second show on Thursday 19 May and, as I said, it will also be at the Corner Hotel and tickets are on sale now.

due before the end of the year. The band write on their Facebook page, “Pretty sure we’re done writing for the new album! Fairly positive this is the most pissed-off-sounding record we have ever had!” Former Skid Row singer Sebastian Bach has commented on the sounds you can expect on his forthcoming new album: “This CD will follow along the lines of Skid Row, Slave To The Grind, Subhuman Race and Angel Down. If you like rockin’ guitar riffs, high-energy songs and performances, deadly drums of doom and earshattering screams, we got your rock right here!” Swedish metallers In Flames have officially recruited Niclas Engelin from fellow Swedes Engel as their new second guitarist. Engelin has been touring with In Flames for the past couple of years as the replacement for Jesper Strömblad, who quit the band in February 2010 in order to continue receiving treatment for his alcohol addiction.

TOURS, TOURS, TOURS Finntroll – Friday 25 March, Billboard Disturbed, Trivium, As I Lay Dying – Sunday 24 April, Rod Laver Arena Quiet Riot, Warrant, La Guns – Friday 29 April, Palace Alestorm – Saturday 14 May, Corner Hotel Suicidal Tendencies – Sunday 15 May, Billboard Morbid Angel – Friday 27 May, Hi-Fi The Haunted – Saturday 28 May, Hi-Fi Nevermore – Friday 10 June, Billboard Andrew Haug hosts Triple J’s The Racket every Tuesday from 10pm – racket. Email



BREAKDOWN Pop culture therapy with ADAM CURLEY


ife is full of challenges. Sometimes one of them is taking Michael Stipe seriously. He’s posted pictures of himself in his undies on the blog (dedicated mostly to gym junkies and pop punks taking mirror shots of themselves naked/post-hair-styling, clutching their Apple products like organ extensions) and written restaurant reviews on Gwyneth Paltrow’s ‘lifestlye guru’ website, GOOP, possibly the stupidest pretend-acronym title ever given to anything. As all long-time REM appreciators know, however, Stipe is usually taken the least seriously when he’s seen to be taking himself very seriously. How many times have Everybody Hurts and Losing My Religion been used to soundtrack parodies, or had their own clips parodied, not just by virtue of their worldwide recognition and susceptibility to lyrical reinterpretation but also due to their unyielding earnestness? And every time a journalist questions the remaining songwriters of REM, Peter Buck and Mike Mills, about Stipe’s lyrics, their vague ’we don’t focus on lyrics’ answers can only draw cringes imagining Stipe’s refusal to spell out his words’ meanings to his bandmates – perhaps not reason for criticism point-blank, but certainly full of uncomfortable possibilities for over-serious wankery. The disparity between the humoured (good or otherwise) media courting and the more sombre ‘artist’ approach to his work with REM has at times suggested that Stipe views his musical output as something that is ‘created’ rather than purged; that it is separate from other aspects of his life. He is, of course, not alone there, but the walls he’s often placed around it, and the reverence he’s given it, have at times lent an air of pretence to his band persona, as if he’s acting the ‘rock musician as artist’ role the way he thinks it should be played, even if frequent self-deprecating jibes at himself also occasionally suggest he thinks he isn’t worthy of it. For all Stipe’s image-building, however, so much of REM’s prolific songwriting has been filled with ideas that do expand on the New York art-rock and punk lineage, as well as truly inspirational moments – even (or especially) the unyieldingly earnest ones. Not to mention some almighty pop songs. Even when the songwriting hasn’t worked, it’s often been a failure borne from trying; a melody or lyric that was too ambitious.


Blues ‘n’ roots with DAN CONDON


he man known as the Gypsy Of The Blues, Eddie Kirkland, died in a road accident two weeks ago. Born in 1923 to his 12-year-old mother, Kirkland ran away from home when he was 12, stowing away on the Sugar Girls Medicine Show truck with whom he performed around the country for a year. He then settled in New Orleans where he boxed and played guitar for money before joining the Army and fighting in World War II. Kirkland’s biggest break as a musician came after he met John Lee Hooker at a party late in the 1940s – Kirkland hit the road as Hooker’s second guitarist before becoming his tour manager at some stage in the 1950s, at which time he started making some solo recordings. The 1960s saw Kirkland score a gig playing with Otis Redding, after which he recorded his biggest hit, 1965’s The Hawg, but he then retired from music and decided to become a mechanic – most likely due to the fact he had nine children to feed! He got back in the game as the blues had a resurgence in the mid-’70s, becoming friends with Foghat and surrounding himself with a team that would allow him to make records and get some good shows. Since the turn of the century Kirkland established himself as a genuine road warrior, crossing the United States endlessly, always driving himself to shows all over the country. Sadly he passed while on the way to a show, getting hit by a bus attempting to perform a U-turn. He was 87 years old. To stay sombre for just a moment longer, I’d like to also acknowledge the passing of Herman Ernest III, one of New Orleans’ truly great drummers. His most well known work came with Dr John’s Lower 911 band, but he also played on a wide variety of jazz and funk sessions from some very

So what to make of REM’s latest album, Collapse Into Now (Warner); a record featuring some of the most overtly ‘inspirational’ lyrics of Stipe’s career – see the track Every Day Is Yours To Win – and the most world-embracing concept since 1992’s Automatic For The People. (That’s probably if you don’t count 2001’s Reveal, but anyone who can figure out what Imitation Of Life is about has a mind so beyond logic it likely doesn’t require a whole lot of inspiring.) Promo for the record has had Stipe espousing the meaning of the album’s title as thus: “…it is time now, in the absolute present, to re-think and re-imagine what this century could offer us all.” (From an interview posted on last week.) Pretty lofty stuff. Then there’s Stipe’s image. Recent photos have him looking more like a piece of Lower East Side scenery than ever: the deep facial lines and eye glasses that have seemed to plant themselves on him even since 2008’s Accelerate, as well as a now permanent uniform of suits and scarves. There’s certainly a line he’s following here, dotted by Bob Dylan and Lou Reed and, more recently, Stephin Merritt. Maybe they all hang out at the famed LES dive bar Max Fish together and trade tips on how best to wear flat caps. Who knows? Stipe has, at least, forged a strong friendship with his childhood idol, Patti Smith, whose vocals appear numerous times on Collapse Into Now. At 51, on the band’s 15th record, it’s unreasonable to think it’s all affected, but, as ever, it can probably be concluded that Stipe is still being fairly pretentious and living up to his heroes, that he’s tried to create something great and worldly, that there’s possibly a part of him that thinks he isn’t worthy of doing so. It can also be concluded that Collapse Into Now contains truly inspirational moments, and some beautifully drawn songwriting peppered with stylistic advancements. It probably won’t be taken too seriously by some, but it’s like that with the good ones.

cool N’yawlins cats. He had been battling cancer for some time, though still drummed whenever he felt well enough to do so, but the disease claimed his life – at the age of 59 – last week. They’re fresh from a recent showing at the CMC Rocks The Hunter festival, which would have undoubtedly won them plenty of new fans and now The Wilson Pickers, Australia’s favourite multi-state based bluegrass, folk and country group, are preparing for the next stage in their already action-packed career as they head to Europe for the very fi rst time in a couple of weeks time. The group already have a couple of ARIA nominations and a swag of high profi le supports under their belt, but this attempt at establishing an audience overseas is a big leap for the group that will hopefully pay dividends. Before they leave, the band are going to play a final Melbourne show at the Northcote Social Club on Friday 8 April with support from Sal Kimber and Sweet Jean. Doors open at 8.30pm and tickets are available for $17+BF from the venue right now. They also make an appearance at the Castlemaine Music Festival, helad at Lot 19 on Saturday 3 April, alongside Jeff Lang, Jo Jo Smith, Abbie Cardwell, Sweet Jean and more. The recent Blues Harp Blowout show that was held at Grand Central as a fundraiser for the blues community in Queensland so badly affected by the recent floods was a monumental success, with $2040 raised for the Royal Mail Hotel in Goodna. The Royal Mail is a massive part of the blues scene up north and the area of Goodna was the worst hit suburb when the natural disaster wreaked havoc at the beginning of this year. The venue has really been struggling to reopen its doors so this cash injection will be a great help to them and perhaps even more importantly, the knowledge that there is a strong blues community in other areas of the country looking out for them will be absolutely invaluable as they continue the tough job that is reopening their venue. Nice work to all the organisers and musicians and all of you who got along. I hope you all enjoyed Golden Plains. Once this hangover pisses off I’ll write something about my highlights from it. Let’s hope it’s next week…




Drum Theatre and the City of Greater Dandenong have announced the exciting Drum Festival 2011 program, featuring the beats that inspire and the beats of Dandenong. Highlights of the festival include free performances, workshops and evening events at Drum Theatre this Friday and Saturday. Friday 18 March at Drum Theatre opens the festivities at 1pm, with the incredible Taikoz presenting a special school performance, which is followed by an evening performance. Saturday morning kicks of at the Dandenong Market at 10am with South Sudanese Equatorial Association, Batacuda Band and Colin Bogaar with a Dandenong school children performance. Meanwhile, in Drum Theatre master percussionist Ray Pereirawill will hold workshops from 9am12pm. There’s stack more on, too! Tickets for the evening performances and workshops are on sale at Drum Theatre Box Office on 9771 6666.

BOY IN A BOX – TIJ PRIDDLE about nine, went down to the local CD store on the main street of Avalon and bought Dude Ranch by Blink-182. I took it home and put it on at full blast. After about an hour of shits, fucks and dick jokes Mum asked me to turn it down a notch. She told me not to take it over to my grandparents’ and play it. A week earlier I had taken One Hot Minute by the Red Hot Chili Peppers over to my grandparents’ and shown them my favourite song, which was Pea. The record I put on when I’m really miserable is... I tend not to listen to music when I’m feeling down, but if it had to be anything I’d probably put Huey Lewis – The Power Of Love on to pick myself back up… Or maybe Billy Joel’s River Of Dreams – that gets me in a good mood. The record I put on when I bring someone home is... It’s never the same situation when you bring someone home, is it? It depends on the person, how the day/evening has gone… I guess you can never go wrong with Rubber Soul. Or, for that matter, anything from The Beatles – except maybe Beatles For Sale.

MJ IS DANGEROUS Blues punks MJ Halloran & The Sinners return to the Melbourne live scene for a few shows prior to a June European sojourn. Playing at the Lyrebird Lounge in Ripponlea this Saturday from 9pm, MJ will be joined by a special guest Sinner, a member of New York band Woman, as well as Brian Henry Hooper. It’ll be brutal. Hell yeah!

Redcoats support Stone Temple Pilots at Festival Hall this Saturday. HOW DID YOU GET TOGETHER? Andrew Braidner, drums: “Uncle fate forced us into it.” HAVE YOU RECORDED ANYTHING OR DO YOU PREFER TO TOOL AROUND IN YOUR BEDROOM? “We have recorded a few bits and bobs, but we do like to tool around in our bedrooms too. Some of our tooling will be on display for the general public to see in EP form in the next few months.” CAN YOU SUM UP YOUR BAND’S SOUND IN FOUR WORDS? “Smelly lost boys jamming.” IF YOU COULD SUPPORT ANY BAND IN THE WORLD, WHO WOULD IT BE AND WHY? “The Beatles, when you couldn’t hear a thing they were doing because of all the screaming girls. I think it would have been a ridiculous sight and also, who knows, maybe a couple of them would fancy us instead, or at least give up with them and come see us. Obviously not the really good ones, but we would understand. We can’t compete with the likes of George Harrison.” IF A HIGHER POWER SMITES YOUR HOUSE AND YOU CAN ONLY SAVE ONE RECORD FROM THE FIRE, WHAT WOULD IT BE? “I wouldn’t want to upset any records by naming a favourite. It is too hard. But if it came to the crunch, I still couldn’t decide and I would throw myself in front of the collection so it could live on without me. The world needs the music more than it needs me.” DO YOU HAVE A LUCKY ITEM OF CLOTHING YOU WEAR FOR GIGS AND WHAT IS IT? “The one thing I always do is not wear shoes, which isn’t really what the question asked but it’s the only thing that I do for every gig and I think it’s pretty lucky.” IF YOU INVITED SOMEONE AWESOME ROUND FOR DINNER WHAT WOULD YOU COOK? “I would take six of the finest hot cross buns in Melbourne, stick them in the oven ‘til golden, then butter them up real nice. I would eat four leaving two for my privileged guest. There would also be an option for tea and/or orange juice.” WHAT’S YOUR FAVOURITE PLACE TO DRINK IN MELBOURNE? “Rhys’ house. He’s the bass player. I am not a big fan of the outside world, too noisy. How are you meant to have a reasonable conversation with someone amongst such ridiculous noise?”



What better night for shit to get hard, fast and brutal than a Friday. Whether you’ve been banged up in the factory, making dicks’ coffee, pouring beers or packing boxes like a bandit, the weekend is fi nally here. So take a load off, get yourself a refreshing beverage and cut sick to the thrashy, trashy hardcore sounds of Seaweed, Right Mind, Last Measure and Free World this Friday night at Pony. Doors open at 9pm.


It has been a very long time since 28 Days graced the stage at the Arthouse. So long no one can quite recall. Was it ten years? Possibly. But that doesn’t matter now because this Saturday night they are back! Back to where it all started 13 years ago, and they have a brand new song, Sing It To Me, to plug – a blend of vocals, drums and two kinds of guitar designed by NASA to go straight to your ears to create happiness and a thirst for beers! Joining the lads are our own catchy, melodic punks Raised By Wolves, First Base and Cavalcade.


The last few months have been nothing short of eventful for Royston Vasie, the thundering four-piece from Melbourne. With reviews likening the band to formidable acts such as Pixies, Nirvana and Mclusky, the band are set for big things. Having played with the likes of The Cruel Sea, Even, and The John Steel Singers, Royston Vasie’s live show is not to be missed. They’ve just released their new single, Wreck Your Health, from their debut EP Welcome To The Pop Boutique – a track that has inspired Triple J to take the band under their wing – and play the Espy front bar on Friday 25, and the Great Britain on Saturday 26 March (both free) before joining Stonefi eld at the Northcote Social Club on Friday 1 April.


Kris Keogh ain’t some poser from Northcote; he’s from Arnhem Land, he plays the harp and then fucks it up so bad via his own self-made software that it sounds like destroying the future of music. He’s on a national tour to launch his new album – Processed Harp Works, Volume 1 – out next week on Sydney label New Editions, part of the empire that is New Weird Australia. Live, Keogh plays the Monome, a box with 256 buttons and lights ready to rip your eyes out and gouge your head with the most beautiful noise you ever imagined. He plays the Builders Arms this Saturday with Clue To Kalo and Genevieve & Jezebel. Entry is $6 from 8.30pm.

The most surprising record in my collection is... The best record I stole from my folks’ collection was… Hmmm, I think my earliest memory of record stealing would have to be Diesel And Dust by Midnight Oil from my dad’s collection. Or maybe it was Thriller from Mum. For some reason we didn’t have a record player at home so I had to guilt my grandparents out of theirs (which they never used). Even at a young age I still remember the sound of a record blowing my mind. The first record I bought with my own money was… I saved up all of my lunch money when I was


Clairy Browne & The Bangin’ Rackettes could make a blind man stare, a deaf man dance and all the single ladies shake it with the sounds of hard-hitting northern soul, jump blues, devastating doo-wop, ska and feverish gospel straight out of New Orleans via a backyard operation in Malvern. The band set their own scene: sweaty, gritty 1964 dancehall; big make-up and even bigger hair; late night dirty dancing; making out in the car park; cigarettes hidden in beehives; and a sinful shake’n’grind. Catch them at Red Bennies this Thursday – entry is $10 from 8pm.

That’s kind of a hard one. I have lots of albums in my collection that people would find surprising given the music I play. I have Fever by Kylie Minogue in there. I think it’s awesome: great production, great songs… The last thing I bought/downloaded was... Dr Dog – Shame, Shame. If you haven’t already heard it you should definitely go out and buy it. Or any album of theirs. I also just got Kanye’s Beautiful Dark Twisted Fantasy. Boy In A Box play the Northcote Social Club every Tuesday in March.


Hotel Wrecking City Traders return after surviving a bloody ordeal involving a kitchen knife and one of the member’s hands to play their instrumental noise rock with a heavy focus on improvisation and a love of loud volume and the psychedelic. The duo hit the Prague in Thornbury this Friday with the addition of glorious fuzz in the form of River Of Snakes, the swirling psychedelic nod of Buried Feather and the honey-lubricated chainsaw that is Pollux B. Entry is $10 from 8pm.


A fresh Melbourne outfit, The Daedals sound was born under the influence of the great soul and funk of the late ‘60s. Think Motown and the R&B of Aretha Franklin, James Brown and Otis Redding. Mix that with the Meters, Booker T and Donny Hathaway and what you get is a dancefl oor-fi lled Friday evening to welcome in the weekend. Even touching on some soulful jazz and funky soul, this five-piece band is sure to get your groove going. They play the Royal Melbourne Hotel, free from 5.45pm.


Kids Of Zoo have been progressively moving further and further away from the conventional structures of rock’n’roll. It gets at you and in you, right up in your face like some confrontational moment that makes you wanna go them, yet when the song is over all you wanna do is hug them. Be sure to take your medication before seeing them this Friday at the Victoria Hotel in Brunswick with guests See Saw. It’s free from 9pm.


With the Arthouse Hotel in its final glorious months, Three Last Words and The Quarters team up with Bright At Night and The Tonics to put on a show you won’t soon forget. The closure of the Athouse marks the return of Three Last Words, who will be launching their new independent EP Hometown Advantage, while The Quarters are launching Tik Tik Boom, a teaser for their upcoming EP set to be released later this year. Entry is $5 from 7pm.

IT’S A SWAMP THANG Local songwriter Owls Of The Swamp launches his brand new single, So Far Away, this coming Friday at Bar 303 in Northcote. There’ll be special guests onstage and support sets from Ainslie Wills and Ma Petite. Entry is only $10 and includes a limited printed edition of the single with a bonus live B-side.


The kings of Canberra, Assassins 88 and TV Colours, are returning to Melbourne and like last time will no doubt leave a trail of smashed cans, drum kits and hearts. Their split 7” on the always ace Dream Damage has been kicking minds and blowing arses. Assassins 88 have swapped the bass for guitar, with less noise and more melody. TV Colours is the one-man recording project from hometown hero Bobby Kill. Kill it he does! They play Yah Yah’s on Sunday 20 March with Rites Wild – or Stacy Wilson – Adelaide’s queen of experimental psych/pop who will be launching her illmatic EP, all sinister droning and hypnotic synth-bliss, as well as Melbourne pop heroes Woollen Kits. Doors at 7pm.


multiple rooms all night! For more info and weekly club pics check or facebook. com/nextnightclub. Entry is $15 from 9pm.


Melbourne’s The Pups are known as much for their instrument swapping as they are for their stop-start, quiet-loud, infectious pop tunes, both of which they intend to show off at the Evelyn Hotel this Thursday. As usual, The Pups are taking along a few friends; kicking things off will be Footy, who’ll be blowing the whistle on all things musically conventional with their expressionistic piano duels, followed by country slickers and local players The Sinking Tins with half a tram carriage full of instruments, a swag full of songs, and, at last count, about five broken hearts. Entry is $5 from 8.30pm.


After a relocation from Mildura to Melbourne there are few better ways to celebrate than a residency as the Espy Basement and a host of other Melbourne shows. Jackson Firebird settle into Melbourne with their unique style consisting of fat guitar, hard-hitting drums and the unconventional sounds of a mic’d-up, upside-down ‘bottle bin’. Described by Spiderbait frontman Kram as “the best band in a long time… like AC/DC meets John Spencer Blues Explosion”, they play the Espy this Thursday (and every Thursday this month), as well as Cherry Bar this Friday and Pony this Saturday in the red-eye 2am slot.

Notorious Melbourne rock’n’rollers Swedish Magazines are back with Wino Havoc, the highly anticipated (if not tardy) follow-up to their 2005 debut album Eat More Baby. Wino Havoc began life back in 2007, recorded by the band on their own equipment in their garage, and was almost completed when they were evicted for noise and damage (or wine and havoc). It eventually came together and this Friday they launch it at the Tote with help from Leadfi nger, Jack On Fire and Beat Disease. Entry is $10 from 8pm.


Van Myer are an up-and-coming band with a real feel for their craft. Fusing elements of alternative rock and stadium rock, with the raw power of soul, the five-piece are drawing comparisons to such diverse acts as U2, Gossip, The Replacements, Red Hot Chili Peppers and The Killers. With a style that sits comfortably between alternative and mainstream, they launch their debut selftitled EP at the Toff In Town tonight (Wednesday) with support from The Yazoo Street Scandal and Holliava. Entry is $12 from 7.30pm.

This Thursday, Next hosts a massive St Patrick’s Day party! Dress in green for a discount at the door, take part in the great potato hunt and get loose with special St Patty’s Day drinks (green beer!). Playing live will be Melbourne post-hardcore/ metalcore legends Forgiven Rival with support from Hand Of Mercy (NSW), Of Whispers and One Vital Word! Get in early and hang out in the beer garden to hear the new Dropkick Murphy’s album Going Out In Style in its entirety thanks to Dew Process, and score copies of the new DRUGS album too! Resident DJs play the best punk, hardcore, emo, metal, alternative, rock, indie, electro, dubstep, retro and party tracks across



Tonight (Wednesday) at the Arthouse is a showcase of up-and-coming Melbourne hardcore kicked off

by melodic new kids Right Mind and Left For Wolves. Distant Wreck, who are taking a break from writing an album, will be hitting the stage with some raw and confronting hardcore, grinding their way through riffs drenched with melody. Rounding off the night, headliners No Way Out, also on a break from writing, will be playing some crushing new tracks of metal-infused hardcore from their upcoming release. Entry is $5 from 8pm.


Tone Deaf presents the debut EP launch for one of Australia’s most buzz-worthy acts, Crooked Saint, this Friday at Revolver! Starting out as a bedroom recording project, Crooked Saint saw multiinstrumentalist Tim Wheatley tinkering around at home before Michael Badger, frontman and songwriter for The Demon Parade, hopped on board and they set about arranging and re-recording the demos for their Every Angry Inch EP. Joining them for the launch will be Dancing Heals, Rimply Sed and the Tone Deaf DJ crew. Get down early to ensure you get in! Entry is $12 from 9pm.

heart of Rock’n’Roll Town, while The Fearless Vampire Killers will dig into their surfabilly rocking blues. Entry is free from 9pm!


The Hope Addicts are heading back overseas in May for another European tour. The album is almost fi nished and will be released in Australia later in the year. Before they go though, they’re playing one last show on Thursday 14 April at the Old Bar. Joining them on the night will be Lindsay Phillips, The Orphanage Duo and The Holy Sea, who have all put out new albums in the next 12 months to critical acclaim. It’s a great line-up and it all kicks off at 8pm for those have school the next day.


All-round comical motherfucker and ladies’ choice Mark Mitchell currently plays solo as Clue To Kalo and it sounds like that magical dust from SuperTed has been sprinkled on your boombox. And you’re on acid. And in love with someone who doesn’t like you. Clue To Kalo plays the Tote this Thursday, joined by the fried-out maximalism of Cocks Arquette, new guitar/ drums/organ bass trio Pearls and Footscray champs Caught Ship. Entry is $10 from 8.30pm.


The Jack London fashion chain presents the brand’s fi rst stand-alone show at the 2011 L’Oreal Melbourne Fashion Festival tonight (Wednesday) and the after-party is taking place at Revolver Upstairs! The party will see The Frowning Clouds and The Fearless Vampire Killers take the stage, as well as high-profi le DJs Punk Drunk Damo (Triple J) and Adalita (Magic Dirt). The Frowning Clouds will play their ‘60s garage and R&B straight from the

KINS WHIP IT Kins play the Builders Arms Hotel each Thursday in March to celebrate the digital release of their new single, Lake Troposphere. The single comes from their debut mini-LP, which carries the awesome title Dancing Back And Forth Covered In Whipped Cream. There has been a great swell of talk around this band since jumping onto the scene recently. They have announced their plans to relocate to the UK in August, so be sure to get down this Thursday to catch them with Tom Jansek (Big Scary) and Van Morrissey. Entry is $6 from 8pm. The best things in life are still free – download Lake Troposphere at


Stonefield x

6am and midnight. The new digital-only stations are exempt from Australian music quotas until at least 2013. What is the story overseas? Two examples: the Canadian content rule started at 25% and was increased to 35% in the ’90s. In France, the government stipulates that 40% of all music played on the radio must be in French. Of course, not everyone believes in quotas and levies. Perhaps they’re a socialist ideal, running counter to the free market. But the more Australian music that people hear, the stronger the local scene will be. Play it and they will come. The public will be asked to contribute to the government review. More info can be found at


HOWZAT! Local music news by JEFF JENKINS

RADIO GA GA The rumour is that commercial radio will urge the Federal Government to drop Australian radio quotas. Howzat! argues that local quotas should be increased. Here are five reasons why: Of the ten most-played songs on Australian radio last week, not one of them was Australian. For the fourth week in a row, not one Australian single has been in the national top 20. Nearly three months into 2011, just one local single – Guy Sebastian’s Who’s That Girl – has hit the top ten. Just one Australian single – Who’s That Girl – has gone to number one in the past 17 months. Just one of the 20 most-played songs on Australian radio last week was a homegrown hit – Jebediah’s She’s Like A Comet at number 11 – according to The Music Network’s Hot 100.


As Kathy McCabe wrote in The Herald Sun and Daily Telegraph last week, “If you are listening to commercial radio stations, chances are you are not hearing Australian music.” The Communications Minister, Senator Stephen Conroy, announced the “convergence review” on 2 March, to look at what media regulations remain relevant in the changing media world. The government hopes to encourage “a diversity of voices and protect Australian stories”, but wonders whether quotas “remain appropriate in a converging environment”. The Commercial Radio Australia Codes Of Practice And Guidelines states: “The commercial radio industry is committed to supporting the music of Australian artists and composers.” Really? The Australian “quota” depends on the station’s format. Stations with a mainstream rock, album-oriented rock, contemporary hits, Top 40 or alternative format (Fox, Nova, Triple M) are required to have at least 25% Australian content. And at least one-quarter of these songs are to be new releases (not more than 12 months old). The Australian quota for hot/mainstream adult contemporary, country and classic rock stations (Mix and Classic Rock) is 20%. And the quota for soft adult contemporary, hits and memories, and gold/classic hits stations (Gold) is 15%. The “Australian performance period” is between

If commercial radio doesn’t think there are enough quality acts to meet local quotas, they should check out the finalists for the US-based 2011 International Songwriting Competition. Half of the 16 finalists in the Rock category are Aussie acts, including Children Collide, Calling All Cars and Dappled Cities. Six of the 14 Adult Contemporary finalists are locals, including Skipping Girl Vinegar, Glenn Richards, Paul Dempsey and Oh Mercy. Six Aussies are among the 15 nominees in the Pop/Top 40 category, including Kimbra and Paris Wells; while Caitlin Harnett, Kasey Chambers, Matt Corby and Basement Birds are vying for the Folk/Singer/ Songwriter award. Judges include Peter Gabriel, Rihanna, Tom Waits, Robbie Williams and Jerry Lee Lewis.


Three acts in six days and all of ’em capable of conquering the world. On Tuesday, Howzat! saw Boy In A Box kick off their Northcote Social Club residency. They’re the local version of The Gaslight Anthem, with a killer new single, Glitter, Gold, Ruin. More on ’em in next week’s Howzat! On Thursday, we ventured to the Retreat to see WA country singer Tenielle, who’s now based in Sydney. She certainly knows how to tell a story, with a wonderful country voice, filled with heartbreak and joy. Tenielle could easily become Australia’s new country queen. Finally, we caught the family band Stonefield at Push Over on Sunday. Magnificently marketable, with a brilliant singing drummer. The sky’s the limit.


If you want serenity, move to Bonnie Doon. If you live in the inner-city, you should embrace its culture, diversity and excesses. St Kilda’s finest record store/venue, Pure Pop, is battling some ridiculous noise complaints. But the great gigs continue, albeit inside the store, with this weekend’s highlights including Bryan Estepa playing songs from his wonderful new album, Vessels, on Saturday at 4pm. Bryan follows the similarly impressive Adrian Whitehead, who’s on at 3pm.


Still no homegrown hits in the national top 20. Friday To Sunday JUSTICE CREW (number 28) Who’s That Girl GUY SEBASTIAN (33) Rapunzel DRAPHT (37) The Waifs land at number three. Temptation THE WAIFS (number three, debut) The Experiment ART VS SCIENCE (nine) Great Barrier Grief OH MERCY (13, debut) Down The Way ANGUS & JULIA STONE (22) Adalita ADALITA (23, debut) Running On Air BLISS N ESO (28) Birds Of Tokyo BIRDS OF TOKYO (31) Twenty Ten GUY SEBASTIAN (32) Listen Here JASMINE RAE (35, debut) Aftermath HILLSONG UNITED (39)


Glitter, Gold, Ruin BOY IN A BOX Better Than Leaving TENIELLE Accidentally THE LITTLE STEVIES Downlow WAGONS Let It Go BRYAN ESTEPA

140 Sydney Rd


9387 6637



















Wed 16th




Wednesday 16th March Grumpy Bastard Trivia




Thursday 17th March The Bucket Room local and interstate singer songwriter night




Friday 18th March Jess and Madame Lash

TUES 22nd


Jimmy Stewart residency

Saturday 19th March Dead Pilot 9:30pm

Sunday 20th March Jay Hoad 7:30pm

Monday 21st March The Swann Collective Chilled Blues



All events at Grumpys Green are Free entry 125 Smith Street, Fitzroy



WED 16

Afro Celt Sound System, DJ Jumps The Hi-Fi Air Force Band Geelong Performing Arts Centre Crooked Still, Lucy Wise, The B’Gollies East Brunswick Club Dizzys Big Band Dizzy’s Jazz Club Fromage Disco DJs New Guernica Gregory Page, Kate Walker, Dan Lethbridge Wesley Anne Hung Le, Tommy Little Comic’s Lounge Jay Hoad Rubys Lounge Jimmy Stewart, Fergus Mcalpin Retreat Hotel Kate Ceberano, Mr Percival The Famous Spiegeltent Kevin Bloody Wilson Her Majesty’s Theatre Ballarat Lazerface, Dixon Cider, Dead, The General The Tote Leigh Barker Band, Dan Sheehan 303 Les Chauffeurs A Pieds, Evelyns Secret Northcote Social Club Luau Cowboys Marquis Of Lorne Hotel Mandy Connell, Marilla Homes The Drunken Poet Mary Black Palais Theatre Matt Glass, Le Belle, Dancing Heals, Copse Esplanade Lounge Matt Radovich, PCP Lounge Bar May Johnson Veludo MJ Halloran & The Sinners, Brian Henry Hooper & His Band Lyrebird Lounge No Way Out, Distant Wreck, Left For Wolves, Right Mind The Arthouse Only the Sea Slugs Workers Club Open Mic Bendigo Hotel Open Mic Brunswick Hotel Open Mic Grind ‘n’ Groove Bar Open Mic The Bender Bar Petar Tolich, Stand & Deliver Co., Crown Powerfuck, Circuits, Clowns Evelyn Hotel Rebecca Barnard Caravan Music Club Regent DJs The Regent Bar Santana, Watussi Rod Laver Arena Simon Connolly, Kikuyu Edinburgh Castle Hotel Suzie Stapleton, Immigrant Union, Merri Creek Pickers The Old Bar


Sweet Jean The Gem The Bowers (Duo Show) The Standard Hotel The Fearless Vampire Killers, Frowning Clouds, DJ Punk Drunk Damo, Adalita Revolver The Waifs, Mama Kin Forum Theatre Trivia Grumpys Green Trjaeu, Red Hymns, Little Killing, Call Me Professor Bar Open Van Myer, The Yazoo Street Scandle, Holliava The Toff In Town Vice Grip Pussies, Bombastic Plastic Cherry Bar

THU 17

Air Force Band Geelong Performing Arts Centre Alwan Claypots Seafood Restaurant Beccy Cole, Adam Harvey Hamilton Performing Arts Centre Bent Cabaret, Lady Bird, Lil Miss Ruby Q, Babycakes, Miss Deviant Bendigo Hotel Betty France, The April Maze, Dearly Wish, Kane Muir, Boy Red Wesley Anne Blackchords The Vineyard, Silversix, Code Luke Lounge Bar Clairy Browne & the Bangin’ Rackettes Red Bennies Clue To Kalo, Cocks Arquette, Pearls, Caught Ship The Tote Comedy Night Rubys Lounge Davey Lane The Gem DJ Constanze Sircuit Eurotrash DJs Eurotrashbar Flats & The Friendly Few Edinburgh Castle Hotel Forgiven Rival, Hand Of Mercy, Of Whispers, One Vital Word Next Funhouse DJs Co., Crown Gateless Gate, Since We Kissed Great Britain Hotel Glenn Richards, Amaya Laucirica Karova Lounge Hung Le, Tommy Little Comic’s Lounge Ill Bill, Sabac Red, DJ Eclipse, Briggs, Brad Strut, Fluent Form, Young Lean Corner Hotel Jackson Firebird, Andrew Higgs Band, Death Valley Mustangs Esplanade Basement

James Sherlock Trio Bennetts Lane Juggernaut Eureka Hotel, Geelong Kins Builders Arms Hotel Kotet, Auour 303 Mark Phillips Elwood Lounge McAlpines Fusiliers, Sforzando Retreat Hotel Nathalie Natiembe, One Africa, King Moran, Lamine Sonko The Toff In Town Negative Magick New Guernica Open Mic Plough Hotel Paul Capsis, Jane Badler, Christa Hughes, Christine Johnston, Kate Ceberano The Famous Spiegeltent Pretty Suicide, Desecrator, La Haime, Ill Omen, A13, Throbulator Pony Simon Phillips Veludo Skyscraper Stan, Jimmy Deadman Communion, Leon Thomas The Old Bar Son Tres Mi Corazon Spectrum The Fleece Hotel Strange Love, The Screaming Jesus, No Stairway, Push to Twist The Prague Streams of Whiskey The Vic Sweet Jean Union Hotel Brunswick Tatu Rei Dizzy’s Jazz Club Tessa & The Typecast, Gold Fields, Ella Thompson Grace Darling Hotel The Book of Ships, Red Aces, Mic Newman, James Steeth, Joel Alpha, Aaron Trotman, Sam Gudge Revolver The Bucket Room, Local Singer Songwriter Night Grumpys Green The DC3, PB Croft Caravan Music Club The Enclosures, Oblako Lodka, Mad Nanna Empress Hotel The Kilniks, Men they Call Jane, Champagne Reggae Brunswick Hotel The Pups, The Sinking Tins, Footy Evelyn Hotel The Ramshackle Army Dan O’Connell, Carlton The Tear Aways, Human Pollution, Take Your Own, Foxtrot The Arthouse The Trews National Hotel The Waifs, Mama Kin Forum Theatre Thousand Needles in Red, Twelve Foot Ninja The Bended Elbow

Tim O’Brien, Luke Plumb, Peter Daffy East Brunswick Club True Radical Miracle, Lower Plenty, Concrete Life Bar Open Where Were You At Lunch, Oscar Vincente Slorach Thorn, Marco CherGibard, Ghost Gums, Troy Naumoff Yah Yah’s White Boyz Cant Funk Cherry Bar Wolves at the Door, Goodnight Owl, Sleep Decade, Leagues Esplanade Lounge

FRI 18

3D DJs CBD Club A Million Dead Birds Laughing, Dawn Of Retribution, Teramaze, Odiousembowel Barwon Club Ali E, Ladie Dee The Sporting Club Andrew Reid, Craig Schneider Dizzy’s Jazz Club Backwood Creatures, Tonksgreen, DJ Trevor Travis Retreat Hotel Bended Elbow DJs The Bended Elbow Bond Lounge DJs Bond Lounge Carl Cox Billboard Cheapshot, 10K, cTrix, Dot.Ay, God in Pants, Pselodux Ladida City Calm Down, The Fearless Vampire Killers, The Run Run, Kill Andrew, Rusty (Electric Mary) Esplanade Lounge Crooked Saint, Dancing Heals, Rimply Sed, Tone Deaf DJ’s, Mike Callander, Andy Hart, Lewie Day, Nick Jones Revolver Darren Heinrich Trio The Jazz Basement DJ Mike $, DJ Mich, DJ Hazit The Loft DJ Nikkos, Joe Sofo, Kitty Kat Co., Crown DJ Shane The Regent Bar Eagle and the Worm!, We Say Bamboulee, Ball Park Music National Hotel Fat Gold Chain, Knight at the Discotheque, Brother Nature Edinburgh Castle Hotel Fifteenth Avenue Blue Diamond First Floor DJs First Floor Five Venoms, Elektrik Dynamite, The Duvtons, Kill The Matador The Arthouse Glenn Richards, Amaya Laucirica Northcote Social Club

Good Suns Grind ‘n’ Groove Bar Grab My Junk, Danny McGinlay, Kelly Ann Doll, Ellashaye D’More, Peachy Dream Red Bennies Harmony, Sam Lawrence, Jumpin’ Jack William, Hayley Builders Arms Hotel Hero Twin Builders Arms, early show Hotel Wrecking City Traders, River of Snakes, Buried Feather, Pollux B The Prague Illy, Flagrant, Pagen Elypsis, BBS Corner Hotel In Trenches, Night Hag, Collapsed, Distant Wreck Esplanade Basement Jean Paul, Chestwig & Caswell, Mike Kay, JPS, Nam Roxanne Parlour Jess, Madame Lash Grumpys Green Jessica Moussi, Air Embolism The Bender Bar Jimmy Tait, Silver City Highway, Matt Bailey, Time For Dreams, Wolves at the Door Workers Club Jon Montes Abode Justin Townes Earle, Joe Pug, Lanie Lane Forum Theatre Kevin Bloody Wilson Sphinx Entertainment Centre Kids Of Zoo, Seesaw The Vic Kisstroyer Shoppingtown Hotel Ladida DJs Ladida Lane Chaser Rubys Lounge Leftfield, Infusion, Kasey Taylor, Sean Quinn The Palace Theatre Little Freddie & The Pops, Smoke Machine Bar 362 Lolo Lovina, The Woohoo Revue East Brunswick Club Matheson Karova Lounge Matt Dwyer Churchill’s Restaurant Mu-Gen, NXR Eurotrashbar Mustered Courage Wesley Anne None the Wiser, Human Pollution, Lizard Punch Public Bar Owls of the Swamp, Ma Petite, Ainslie Wills 303 Peril, Sef, Achos, Shaggz, Dinesh, NYD, Unique Marrakech Lounge Pete Hawkes Elwood Lounge Poprocks at the Toff, Dr Phil Smith The Toff In Town Post Percy, Thomas Pollard, Pingu, Simon TK New Guernica

Red Rockets Of Borneo, Drunk Mums, Shes the Band, Sid Air, DJ Eucalyptus The Old Bar Rick Price, Colorado Quartet, Ed Bates, Luke Moller Trio, Rodger Bergodaz, Tim Matthews Frankston Arts Centre Seaweed, Right Mind, Free World, Last Measure, Mesa Cosa, Slugger Fontaine, Charlie Cooper Sircuit DJ’s, Gavin Campbell Sircuit Sketchenry Veludo Swedish Magazines, Leadfi nger, Jack On Fire, Beat Disease The Tote Terry McCarthy Special The Gem The Analyte, Left Feels Right, Assemble The Empire, Chiliad Evelyn Hotel The Bell Parade, The Grapes Grace Darling Hotel The Bell Parade, With Grapes Grace Darling Hotel The Black Jesus Experience, Chris Gill The Famous Spiegeltent The Blue Jays, Dirty York, Jason Lowe Cornish Arms Hotel The Bombay Royale Bar Open The Daedals Royal Melbourne Hotel The Doobie Brothers Palais Theatre The Holy Sea Empress Hotel The Rebelles, Thee Knockouts Bendigo Hotel The Trews, Jackson Firebird, Hey Fever Cherry Bar Thousand Needles in Red, Twelve Foot Ninja, My Secret Circus Esplanade Gershwin Room Tim Rogers, Adalita Caravan Music Club Tony McManus, Martin Simpson Brunswick Town Hall Tracy Mcneil Band, Southie, Isaac de Heer, Andrew Young Yah Yah’s Traditional Irish Music Session, Dan Bourke & Friends The Drunken Poet Traid Marc, J Waters, Mystori, Drift ‘n’ Diction Brunswick Hotel Vince Jones Quartet Bennetts Lane

SAT 19

10 Dollar Souls The Post Office Club Hotel 1928, Tranter Co, Sleeves, Mu-Gen, Megawuoti, Dceed Eurotrashbar

28 Days, Raised By Wolves, First Base, Calvacade The Arthouse Andrew Reid, Fem Belling with Roger Clark Quartet Dizzy’s Jazz Club Andy Baylor, Ed Bates, Garrett Costigan, Rick Dempster, Chris Altman East Brunswick Club Arabian Prince, Phil Para Esplanade Lounge Art Of War, Tread, Vincent, The Design Esplanade Gershwin Room Azucar Mi Corazon Ball Park Music, Eagle and the Worm!, We Say Bamboulee Northcote Social Club Beccy Cole, Adam Harvey The Palms Ben Smith Rainbow Hotel Bended Elbow DJs The Bended Elbow Bish Bash Bosh, The Buegs, Seri Vida Public Bar Blue Heat, Tom Richardson Spensers Live Bois et Charbon Wesley Anne Bright Knights, Sticky Fingers, The Young Faithful, Airwolf, 1 Fish, Two Fish, Dust, Ransom, Paz, Nick Thayer Revolver Cave of the Swallows, March In Moscow, Star Caps on Will, Looking For Scarlett, Catch Release, Kieran Christopherson Brunswick Hotel Cheese Excursion, Menage, Tabasco Junkies The Tote Chris Isaak, Joe Camilleri & The Black Sorrows, Melinda Schneider, Danielle Spencer Mornington Racecourse Collective Trak Showroom Continental DJs Continental Hotel Dave Gray The Gem Dead Pilot Grumpys Green DJ Sideways Barwon Heads Hotel DJ Streethoe, The Underminers, Gruntbucket, Plague Doctor Retreat Hotel Eagle and the Worm!, The Thod, Teskey Brothers, Smokin’ Todlers, Triact, The Charlies Warrandyte Festival Electric Empire The Arts Centre Fastrack, My Dynamite, Empra Ding Dong Lounge First Floor DJs First Floor Free To Run, Skyland, Jack Union, Super Fluid Esplanade Basement

Fuzz Phantoms, The Aura Cura, Keen Must Die Bang GURIGURU 303 Holy Pistola Bendigo Hotel House Vs Hurricane, Your Demise, Nazarite Vow, Sounds of Sirus Corner Hotel I A Man, Montreal Movement, DJ Gupstar, Blabe Runner Cornish Arms Hotel Illy, Flagrant, Pagen Elypsis, BBS Karova Lounge Israel Cannan Bertha Brown Jacket Off, Cosmic Tonic Veludo Jensen Electric Elwood Lounge Jon Von Goes, Mick Thomas, Bob Starkie, Ian Bland, Marcel Borrack, The Orbweavers Caravan Music Club Kate Vigo & The Underground Orchestra The Famous Spiegeltent Killing Floor Blues Band, Razors of Ockham, Acoustically Yours Chandelier Room Knave Knixx, April Dawson, Daniel Power, 3 Feet of Beat Red Bennies Kris Keogh, Genevieve & Jezabel, Clue To Kalo Builders Arms Hotel Late Arvo Sons, Baptizm Of Uzi, Lower Plenty Grace Darling Hotel Legion Ix, Inexordium, Immersion, CreeH8 Barwon Club Lowtide, Fourteen Nights At Sea, North Atlantic Sky Band, DJ Blumpy The Old Bar Maitreya Reconnect, Neelix, S.U.N Project The Hi-Fi Merri Creek Pickers Edinburgh Castle Hotel Mike & Bill Whispering Hills Winery Mr Jimmy Edinburgh Castle, early show New Dub City Sound, ALI MC, Lotek, Culture Connect Bar Open Ouch My Face, Damn Terran, Brat Farrar, Plast Her Ov Paris, Myles Gallagher Yah Yah’s Paulie Bignell & the Thornbury Two, The Detonators Guitars Across the Bay Pikelet, Brous, The House deFROST, Andee Frost The Toff In Town Poco La Pax, Buttertime, DJ Mos Devs, Edd Fisher, Zander Evelyn Hotel Regent DJs The Regent Bar

Wed. 16th (Wine, Whiskey, Women) 8pm: Mandy Connell 9pm: Marilla Homes Thurs. 17th CLOSED Fri. 18th 6pm: Traditional Irish Music Session with Dan Bourke & Friends Sat. 19th 9pm: Spencer P. Jones presents Jules Sheldon 10pm: Spencer P. Jones Sun. 20th 4pm: The Stetson Family 6.30pm: Attila The Stockbroker Tues. 22nd 8pm: Weekly Trivia

All Shows Always Free! The Drunken Poet, 65 Peel Street (Directly opposite Queen Vic Market). Phone: 03 9348 9797

57 Ricki-Lee, Finlo White, Joe Sofo Co., Crown Samara Williams The Bender Bar Shaun Kirk Grind ‘n’ Groove Bar Shaun Kirk, The Boogaloos, Highway 41 Horns St Andrews Hotel Shes the Band, Bitchslap, Cash Savage & The Last Drinks, The Hunting Club The Prague Sons Of Lee Marvin, Damn The Torpedoes The Vic Soul Clap DJs Shamiana Spencer P Jones, Jules Sheldon The Drunken Poet Stone Temple Pilots, Grinspoon Festival Hall Syme Tollens Abode The Cartridge Family, Vika & Linda Bull Brunswick Town Hall The Grinders Great Britain Hotel The Lloyd Weir Builders Arms, early show The Senate Blue Diamond The Trews, Jamie Robbie Reyne & the Broken Hearts, Bitter Sweet Kicks Cherry Bar

Thousand Needles in Red, Twelve Foot Ninja Ferntree Gully Hotel Three Time Thrill Rubys Lounge Ukeladies Orchestra w/special guests Marquis Of Lorne Hotel Usher, Trey Songz, The Potbelleez Rod Laver Arena Vince Jones Quartet Bennetts Lane Vintage DJs Jettblack Vitruvian Man, The Contortionists Handbook, Two Quirks, Fighting Mongoose, Jackson Firebird, Charlie Cooper Pony Watussi Theatre Royal (Castlemaine) Yanto Shortis & Band, Bakersfield Glee Club Union Hotel Brunswick

SUN 20

Afrodescia Alumbra All India Radio, Cam Butler, Watussi, Jess Harlen, Plutonic Lab, Chris Gill Northcote Social Club

Anthony Atkinson & The Running Mates Union Hotel Brunswick Assassins 88, TV Colours, Woollen Kits, Rites Wild, Yah Yah’s Staff Yah Yah’s Baron Sunday, The New Loutonians, Glycerine, Tommy and the Fog Brunswick Hotel Chris Isaak Trak Showroom Cold Harbour Lyrebird Lounge Daniel Bowden, Bonnie Anderson, Psyde Projects Veludo Defektro, Encircling Sea, Dead Boomers, SGC, Fucked, ITGB The Tote DJ Wallace The Sporting Club Drew Howell Elwood Lounge Emma Russack Edinburgh Castle, early show Eric Bogle Brunswick Town Hall Funk Buddies John Curtin Hotel Gunn Music Competition Esplanade Gershwin Room GURIGURU Blue Diamond Headspace, Dale Ryder Band, Bad Boys Batucada Esplanade Lounge

House Vs Hurricane, Your Demise, Nazarite Vow, Illy, Flagrant, Pagen Elypsis, BBS Corner Hotel Jay Hoad Grumpys Green Joe Pug, Chris Altmann, Andyblack, Haggis The Toff In Town Karen Heath, Planet Love Sound, Glasfrosch Evelyn Hotel Kim Salmon Retrospective, DJ Commission Flats The Old Bar Large No 12’s Labour In Vain Leslie Avril St Andrews Hotel Maddy Serong Carringbush Hotel Master Gun Fighters, Poolside Fiasco, Vicuna Coat, Water Music The Prague Matt Iseman Comic’s Lounge Michelle Meehan, Les Thomas Chandelier Room Muckle Pup, Heidi Elva, Jamie Basic, Opa! 303 Nick Lovell, Australian Conservation Foundation Fundraiser Wesley Anne

Nicky Del Rey & The Slowtown Social Club Clare Castle Hotel Open Decks The Bender Bar Open Mic Bendigo Hotel Pirates of Beer, Chris Wilson Band, Ian Collard, Ben Peters East Brunswick Club Plump Daddy J, Hustlers Great Britain Hotel Ron Peno, Cam Butler, M.O.T.O The Post Office Hotel Salsalando The Night Cat Silk Road DJs Silk Road The Band Who Knew Too Much Caravan Music Club The Decoys The Standard Hotel The Detonators Davey’s Hotel The Fish, Poor People Grace Darling Hotel The Murderballs Bar Open The Olivettes Builders Arms, early show The Ramshackle Army The Vic The ReChords The Gem The Stetson Family, Attila the Stockbroker The Drunken Poet






The Trews, Hayley Cooper, Kingswood Cherry Bar The Wolfgramm Sisters Retreat Hotel Three Last Words, The Quarters, William Tell, The Tonics The Arthouse Usher, Trey Songz, The Potbelleez Rod Laver Arena WD4T, Tom Carty, Kashmere Club, Buddha in a Chocolate Box, The Still Trees The Hi-Fi Whiskey Priests duo feat. Kim Volkman & Tim Deane Marquis Of Lorne Hotel

MON 21

Collider 303 Dangerous, Boy in a Box Northcote Social Club Fruit Jar’s Old Timey String Band, ‘Crotchety Knitwits’ The Old Bar Harry Hookey, Ali Barter Veludo

James Kane & Friends New Guernica Monday Night All Stars Marquis Of Lorne Hotel Monday Night Madness! Brunswick Hotel Project Puzzle Evelyn Hotel Sircuit DJ’s Sircuit Snowy Belfast Esplanade Lounge Swing Patrol, Johnny T, Ramona Staffeld The Toff In Town The Swann Collective Grumpys Green

TUE 22

Annie Smith, Neville Turner Quartet Dizzy’s Jazz Club DJ Streetparty, Swick, Tranter Co, Smokin’ Todlers, Polyavalanche, Streetcore DJs, Boobs & Booty Eurotrashbar Heartspace records Wesley Anne Imola, The Beautiful Change, Curtis Why, Gallant Trees, Susan Lily, David Oharom Esplanade

Jack Stafford Foundation Gertrude’s Brown Couch Jessica Moussi, Malia Slomans In Rotation 303 Nigel Wearne, Cat & Clint, Luke Watt The Old Bar Open Mic Dan O’Connell, Carlton Open Mic Night Veludo Post Percy New Guernica Red Bull Music Academy Info Session, Peanut Butter Wolf, James Pants, Melbourne Fresh Industry Showcase Revolver Rock Aerobics, Adalita Retreat Hotel The Brunswick Discovery Brunswick Hotel The Graveyard Train The Famous Spiegeltent The Word, The Murderballs, Peter Evelyn Hotel Weekly Trivia The Drunken Poet


BANG Saturday Fuzz Phantoms, The Aura Cura, Keen Must Die

BAR OPEN Wednesday Trjaeu, Red Hymns, Little Killing, Call Me Professor Thursday True Radical Miracle, Lower Plenty, Concrete Life Friday The Bombay Royale Saturday New Dub City Sound, ALI MC, Lotek, Culture Connect Sunday The Murderballs

BENDIGO HOTEL Wednesday Open Mic Thursday Bent Cabaret, Lady Bird, Lil Miss Ruby Q, Babycakes, Miss Deviant Friday The Rebelles, Thee Knockouts Saturday Holy Pistola Sunday Open Mic

BLUE DIAMOND Friday Fifteenth Avenue Saturday The Senate Sunday GURIGURU

BRUNSWICK HOTEL Wednesday Open Mic Thursday The Kilniks, Men they Call Jane, Champagne Reggae Friday Traid Marc, J Waters, Mystori, Drift ‘n’ Diction Saturday Cave of the Swallows, March In Moscow, Star Caps on Will, Looking For Scarlett, Catch Release, Kieran Christopherson Sunday Baron Sunday, The New Loutonians, Glycerine, Tommy and the Fog Monday Monday Night Madness! Tuesday The Brunswick Discovery

BUILDERS ARMS HOTEL Thursday Kins Friday Harmony, Sam Lawrence, Jumpin’ Jack William, Hayley Saturday Kris Keogh, Genevieve & Jezabel, Clue To Kalo




Friday Hero Twin Saturday The Lloyd Weir Sunday The Olivettes

Wednesday Crooked Still, Lucy Wise, The B’Gollies Thursday Tim O’Brien, Luke Plumb, Peter Daffy Friday Lolo Lovina, The Woohoo Revue Saturday Andy Baylor, Ed Bates, Garrett Costigan, Rick Dempster, Chris Altman Sunday Pirates of Beer, Chris Wilson Band, Ian Collard, Ben Peters

CARAVAN MUSIC CLUB Wednesday Rebecca Barnard Thursday The DC3, PB Croft Friday Tim Rogers, Adalita Saturday Jon Von Goes, Mick Thomas, Bob Starkie, Ian Bland, Marcel Borrack, The Orbweavers Sunday The Band Who Knew Too Much

CHERRY BAR Wednesday Vice Grip Pussies, Bombastic Plastic Thursday White Boyz Cant Funk Friday The Trews, Jackson Firebird, Hey Fever Saturday The Trews, Jamie Robbie Reyne & the Broken Hearts, Bitter Sweet Kicks Sunday The Trews, Hayley Cooper, Kingswood

CORNER HOTEL Thursday Ill Bill, Sabac Red, DJ Eclipse, Briggs, Brad Strut, Fluent Form, Young Lean Friday Illy, Flagrant, Pagen Elypsis, BBS Saturday House Vs Hurricane, Your Demise, Nazarite Vow, Sounds of Sirus Sunday House Vs Hurricane, Your Demise, Nazarite Vow, Illy, Flagrant, Pagen Elypsis, BBS

CORNISH ARMS HOTEL Friday The Blue Jays, Dirty York, Jason Lowe Saturday I A Man, Montreal Movement, DJ Gupstar, Blabe Runner

DIZZY’S JAZZ CLUB Wednesday Dizzys Big Band Thursday Tatu Rei Friday Andrew Reid, Craig Schneider Saturday Andrew Reid, Fem Belling with Roger Clark Quartet Tuesday Annie Smith, Neville Turner Quartet

EDINBURGH CASTLE HOTEL Wednesday Simon Connolly, Kikuyu Thursday Flats & The Friendly Few Friday Fat Gold Chain, Knight at the Discotheque, Brother Nature Saturday Merri Creek Pickers

EMPRESS HOTEL Thursday The Enclosures, Oblako Lodka, Mad Nanna Friday The Holy Sea

ESPLANADE BASEMENT Thursday Jackson Firebird, Andrew Higgs Band, Death Valley Mustangs Friday In Trenches, Night Hag, Collapsed, Distant Wreck Saturday Free To Run, Skyland, Jack Union, Super Fluid

ESPLANADE GERSHWIN ROOM Friday Thousand Needles in Red, Twelve Foot Ninja, My Secret Circus Saturday Art Of War, Tread, Vincent, The Design Sunday Gunn Music Competition

ESPLANADE LOUNGE Wednesday Matt Glass, Le Belle, Dancing Heals, Copse Thursday Wolves at the Door, Goodnight Owl, Sleep Decade, Leagues Friday City Calm Down, The Fearless Vampire Killers, The Run Run, Kill Andrew, Rusty (Electric Mary)

Saturday Arabian Prince, Phil Para Sunday Headspace, Dale Ryder Band, Bad Boys Batucada Monday Snowy Belfast Tuesday Imola, The Beautiful Change, Curtis Why, Gallant Trees, Susan Lily, David Oharom

EVELYN HOTEL Wednesday Powerfuck, Circuits, Clowns Thursday The Pups, The Sinking Tins, Footy Friday The Analyte, Left Feels Right, Assemble The Empire, Chiliad Saturday Poco La Pax, Buttertime, DJ Mos Devs, Edd Fisher, Zander Sunday Karen Heath, Planet Love Sound, Glasfrosch Monday Project Puzzle Tuesday The Word, The Murderballs, Peter

GRACE DARLING HOTEL Thursday Tessa & The Typecast, Gold Fields, Ella Thompson Thursday Tessa & The Typecast, Gold Fields, Ella Thompson Friday The Bell Parade, The Grapes Friday The Bell Parade, With Grapes Saturday Late Arvo Sons, Baptizm Of Uzi, Lower Plenty Sunday The Fish, Poor People

JOHN CURTIN HOTEL Sunday Funk Buddies

LABOUR IN VAIN Sunday Large No 12’s

MARQUIS OF LORNE HOTEL Wednesday Luau Cowboys Saturday Ukeladies Orchestra w/special guests Sunday Whiskey Priests duo feat. Kim Volkman & Tim Deane Monday Monday Night All Stars

NEXT Thursday Forgiven Rival, Hand Of Mercy, Of Whispers, One Vital Word

NORTHCOTE SOCIAL CLUB Wednesday Les Chauffeurs A Pieds, Evelyns Secret Friday Glenn Richards, Amaya Laucirica Saturday Ball Park Music, Eagle and the Worm!, We Say Bamboulee Sunday All India Radio, Cam Butler, Watussi, Jess Harlen, Plutonic Lab, Chris Gill Monday Dangerous, Boy in a Box

PONY Thursday Pretty Suicide, Desecrator, La Haime, Ill Omen, A13, Throbulator Friday Seaweed, Right Mind, Free World, Last Measure, Mesa Cosa, Slugger Fontaine, Charlie Cooper Saturday Vitruvian Man, The Contortionists Handbook, Two Quirks, Fighting Mongoose, Jackson Firebird, Charlie Cooper

PUBLIC BAR Friday None the Wiser, Human Pollution, Lizard Punch Saturday Bish Bash Bosh, The Buegs, Seri Vida

RETREAT HOTEL Wednesday Jimmy Stewart, Fergus Mcalpin Thursday McAlpines Fusiliers, Sforzando Friday Backwood Creatures, Tonksgreen, DJ Trevor Travis Saturday DJ Streethoe, The Underminers, Gruntbucket, Plague Doctor Sunday The Wolfgramm Sisters Tuesday Rock Aerobics, Adalita

REVOLVER Wednesday The Fearless Vampire Killers, Frowning Clouds, DJ Punk Drunk Damo, Adalita Thursday The Book of Ships, Red Aces, Mic Newman, James Steeth, Joel Alpha, Aaron Trotman, Sam Gudge

Friday Crooked Saint, Dancing Heals, Rimply Sed, Tone Deaf DJ’s, Mike Callander, Andy Hart, Lewie Day, Nick Jones Saturday Bright Knights, Sticky Fingers, The Young Faithful, Airwolf, 1 Fish, Two Fish, Dust, Ransom, Paz, Nick Thayer Tuesday Red Bull Music Academy Info Session, Peanut Butter Wolf, James Pants, Melbourne Fresh Industry Showcase

ROXANNE PARLOUR Friday Jean Paul, Chestwig & Caswell, Mike Kay, JPS, Nam

THE ARTHOUSE Wednesday No Way Out, Distant Wreck, Left For Wolves, Right Mind Thursday The Tear Aways, Human Pollution, Take Your Own, Foxtrot Friday Five Venoms, Elektrik Dynamite, The Duvtons, Kill The Matador Saturday 28 Days, Raised By Wolves, First Base, Calvacade Sunday Three Last Words, The Quarters, William Tell, The Tonics

THE DRUNKEN POET Wednesday Mandy Connell, Marilla Homes Friday Traditional Irish Music Session, Dan Bourke & Friends Saturday Spencer P Jones, Jules Sheldon Sunday The Stetson Family, Attila the Stockbroker Tuesday Weekly Trivia

THE GEM Wednesday Sweet Jean Thursday Davey Lane Friday Terry McCarthy Special Saturday Dave Gray Sunday The ReChords

THE HI-FI Wednesday Afro Celt Sound System, DJ Jumps Saturday Maitreya Reconnect, Neelix, S.U.N Project

Sunday WD4T, Tom Carty, Kashmere Club, Buddha in a Chocolate Box, The Still Trees

THE OLD BAR Wednesday Suzie Stapleton, Immigrant Union, Merri Creek Pickers Thursday Skyscraper Stan, Jimmy Deadman Communion, Leon Thomas Friday Red Rockets Of Borneo, Drunk Mums, Shes the Band, Sid Air, DJ Eucalyptus Saturday Lowtide, Fourteen Nights At Sea, North Atlantic Sky Band, DJ Blumpy Sunday Kim Salmon Retrospective, DJ Commission Flats Monday Fruit Jar’s Old Timey String Band, ‘Crotchety Knitwits’ Tuesday Nigel Wearne, Cat & Clint, Luke Watt

THE PRAGUE Thursday Strange Love, The Screaming Jesus, No Stairway, Push to Twist Friday Hotel Wrecking City Traders, River of Snakes, Buried Feather, Pollux B Saturday Shes the Band, Bitchslap, Cash Savage & The Last Drinks, The Hunting Club Sunday Master Gun Fighters, Poolside Fiasco, Vicuna Coat, Water Music

THE STANDARD HOTEL Wednesday The Bowers (Duo Show) Sunday The Decoys

THE TOFF IN TOWN Wednesday Van Myer, The Yazoo Street Scandle, Holliava Thursday Nathalie Natiembe, One Africa, King Moran, Lamine Sonko Friday Poprocks at the Toff, Dr Phil Smith Saturday Pikelet, Brous, The House deFROST, Andee Frost Sunday Joe Pug, Chris Altmann, Andyblack, Haggis Monday Swing Patrol, Johnny T, Ramona Staffeld

THE TOTE Wednesday Lazerface, Dixon Cider, Dead, The General Thursday Clue To Kalo, Cocks Arquette, Pearls, Caught Ship Friday Swedish Magazines, Leadfinger, Jack On Fire, Beat Disease Saturday Cheese Excursion, Menage, Tabasco Junkies Sunday Defektro, Encircling Sea, Dead Boomers, SGC, Fucked, ITGB

THE VIC Thursday Streams of Whiskey Friday Kids Of Zoo, Seesaw Saturday Sons Of Lee Marvin, Damn The Torpedoes Sunday The Ramshackle Army Union Hotel Brunswick Thursday Sweet Jean Saturday Yanto Shortis & Band, Bakersfield Glee Club Sunday Anthony Atkinson & The Running Mates

WESLEY ANNE Wednesday Gregory Page, Kate Walker, Dan Lethbridge Thursday Betty France, The April Maze, Dearly Wish, Kane Muir, Boy Red Friday Mustered Courage Saturday Bois et Charbon Sunday Nick Lovell, Australian Conservation Foundation Fundraiser Tuesday Heartspace records

WORKERS CLUB Wednesday Only the Sea Slugs Friday Jimmy Tait, Silver City Highway, Matt Bailey, Time For Dreams, Wolves at the Door

YAH YAH’S Thursday Where Were You At Lunch, Oscar Vincente Slorach Thorn, Marco Cher-Gibard, Ghost Gums, Troy Naumoff Friday Tracy Mcneil Band, Southie, Isaac de Heer, Andrew Young Saturday Ouch My Face, Damn Terran, Brat Farrar, Plast Her Ov Paris, Myles Gallagher Sunday Assassins 88, TV Colours, Woollen Kits, Rites Wild, Yah Yah’s Staff

THIS WEEK: Thursday 17th St.Pat’s Day. with STREAMS OF WHISKEY (Pogues + Irish classics) Friday 18th KIDS OF ZOO and SEE SAW 9pm free

Saturday 19th SONS OF LEE MARVIN and DAMN THE TORPEDOES 9pm free

Sunday 20th tHE RAMSHACKLE ARMY 5pm in the beer garden

KITCHEN NOW OPEN Mondays Free Pool Tuesdays BBQ + Cheap Jugs

Wednesdays Trivia Thursdays 12 Parma or Vegie Burger + Pot ANNA’s GO GO ACADEMY From 6.30, Cheap jugs

COMING SOON: 25.3 Buried Horses + Jack On Fire 26.3 Smith Street Band 1.4 Bits of Shit + Bad Aches We’re open everyday from Midday. Kitchen open for Lunch 12 - 2.30, Dinner 5.30 - late + All Day Sunday. Function Room Available 380 Victoria Street Brunswick Ph: 9388 0830

~ Sunday 27th March ~~ ~ Thursday, March 10th

DARREN WOMEN OFHANLON LETTERS w/ special guests Doors at 2:30pm

Doors 7pm, Tickets from $24 + BF

~ Thursday 9th April ~ ~ Friday, March 11th ~

STEVE SEDEGREEN BOHEMIAN w/special guest Axle Whitehead and Martin Martini. BALL EXTRAVAGANZA DoorsTickets from 7:30pm Doors, 8pm, from $35 + BF

~ Sunday 10th April ~ ~ ~ Saturday, March 12th

CHOIR OFBLUEHOUSE HOPE & INSPIRATION w/(formerly Palomino and ofThe Girls the Choir HardOily Knocks) Tickets $30 + BF Doorsfrom at 7:30pm

~ Coming up 18th ~ ~ ~ Friday, March

DAMIAN HOWARD CHARLES NEVILLE (USA) AND THE PLOUGHBOYS RENEE GEYER w/ special guests DEBORAH Tickets fromCONWAY $15 + BF Tickets available at: or

The Thornbury Lounge Transports to you a 1920's infused room where creative music, good conversation and great company can be had. The sort of room Susie Parker would've loved to have held court in.

~ Wednesday, March 23rd ~

THE STEVE SEDERGREEN TRIO w/ Palomino and The Oily Girls From 8.00pm, Free Door

~ Thursday, March 24th ~

KOSOVO MOTIF w/ special guests

From 8.00pm, Free Door

The Thornbury Theatre

859 High Street, Thornbury. Ph 9484 8787



The Comics Lounge in North Melbourne will, from 7.30pm, host the Melbourne session of this year’s Fender Guitar & Amp Roadshow on Tuesday 22 March, designed to be “a fun-filled and informative evening” where you get to see and hear some of the new Fender product range as used, live on stage, by a band fronted by American guitar clinician Greg Koch. Signed to Steve Vai’s Favored Nations label back in 2001 by the man himself, Koch has been described by US Guitar Player magazine as “fiendishly talented”. On the night, Koch will be joined by session guitarist James Ryan, who currently works in Vanessa Amorosi’s band, bass player James Gillard from The Flood, and a few other guests, all of them putting the latest Fender gear through its paces, including the 60th Anniversary Telecaster guitar and Precision bass, Mustang amps, Road Worn Player guitars, American Special basses, Custom Shop and more. Now, while the event is free, it’s an exclusive event and limited capacity, so you’re advised to reserve your seat by emailing your full name to register@, and the guys will confirm your registration via email as soon as possible. The Roadshow runs two hours and doors open 7pm.


UK record producer and engineer Pat Moran has passed away aged 63 of the early-onset degenerative Pick’s disease. Beginning his career as a musician in a band called Spring, by 1975 he was working as an assistant engineer when a band called Queen came into the studio in which he was working to record a couple of songs that would end up on their A Night At The Opera album (Mike Stone was the executive engineer, Roy Thomas Baker of course the producer, the album itself recorded across several studios in the UK). Within five years he’d graduated to producer, working on Iggy Pop’s 1980 album Soldier, Hawkwind’s 1982 album Choose Your Masques, Robert Plant’s 1983 album The Principle Of Moments and Big Country’s 1991 album No Place Like Home, among many.


Transatlantic duo The Kills took themselves into Key Club Studios in Benton Harbour, Michigan, where they recorded their previous album, Midnight Boom, to cut their latest, Blood Pressures. The British guitarist of the group, Jamie Hince, who co-produced the album with Bill Skibbe, suggested in a press statement that the reason for returning to Key Club was that, “It was an absolute second home, with no distractions. I delved into sampling and programming. I spent a lot of time with drum kits. That isolation was just great. You get absolutely high off playing music all day long.” Key Club is a 24-track analogue/ digital facility run by Skibbe and Jessica Ruffins, who co-engineered the album with Skibbe, and features among other things a custom mixer made by Flickerfinger for Sly Stone.


If you’re looking to raise your profile as a band, get more and better gigs, the answer might be as simple as getting your stage show to look and sound as good as you know it can be. Lightsounds has a huge range of stage lighting and audio set-ups at band-friendly prices. Lighting can really set you apart from the crowd and as we know a little production goes a long, long way. Take, for instance, the user-friendly LED Par Bar, four LED spotlights on a T-bar that you can control with a foot controller or simply run sound active. It can be set up in minutes and packs away into a guitarsized carry case. Add a small fog machine and before you can say U2/360 you’ve got an instant light show. Sick of seedy, overpriced rehearsal rooms? You can buy your own Wharfedale PA for the cost of about 20 rehearsals and, so long as your own rehearsal space is neighbour-friendly, you could even throw your own gigs and parties. All of the above and more are available right now at Lightsounds, so go to au to find where your local store is located.


Back in February, before they toured as part of the recent Laneway festivals, Oxford, UK five-piece Foals spent two weeks working on new material in Studio 2 at 301 Sydney with local producer Jono Ma and assistant Sam Weston. By the by, did you know that producer Nick Launay mixed the track, Rococco, included on the Arcade Fire’s Grammy Award-winning album, The Suburbs, produced by the band with Markus Dravs, here in Australia, in 301 Sydney’s Studio 2?



THE PROFILER JAMES TULCZYN – COLVAN SOUND TRACK each other in a recording space and ‘nail’ a take, there is a thrill attached that I have not experienced elsewhere. Then to listen back to the recording and have that same feeling re-emerge – you know you’ve got a great take! East Brunswick All Girls Choir, White Woods, Ivy St are these such recording experiences, and the type I hope to experience many more of in the years to come.” Are there any pieces of gear that you couldn’t get by without?

What areas of engineering do you specialise in? “Location-based studio recording, live show recording, live sound mixing, mastering albums through tape machine.” What is your favourite kind of project to work on? “Anything recorded on location at Christmas Street in Fairfield, Melbourne or Fern Tree, in the hills of Hobart – the big room acoustics of both spaces are amazing and allow enough separation to track a band live. In these spaces, my favourite projects are when I can Iock myself away with a band for a weekend and smash out the bed tracks of an album while energy is high. The bed tracks are the foundation of an album and a great album relies not only on great songs, but great takes. I’m a firm believer that nothing should ever be ‘fixed in the mix’. When a five-piece band can all play live together and vibe off

“Tape machine, Hamptone tube preamp, Dynaudio BM 6A monitors – if i’m going to red-line a tape machine or drive some tubes to add character to a track, I rely on my workhorse monitors to know how much character is right. Vintage Neumann U87, Bees Neez Arabella tube mic, AEA R92 ribbon, my pair of AKG C414 ULS and pair of Avenson StO-2 are my go-to mics, and always by my side, whether I’m in my own recording space or another studio.” What song/album can we listen to to get the best idea of your work?

then took to an approach similar to how I record choirs or orchestral ensembles – spread the band about the large recording space with reference to a central listening spot. In this case we had the drums up close, guitars and keys amps further back, and bass right up the back of the room – the result is a perfectly blended room wash.” Do you have your own studio? If so what kind of set-up are you using? “I record on location to a portable analogue and digital recording set-up – with the help of a Tascam half-inch tape machine, Metric Halo digital interface onto Logic 9 and unique preamps, such as my Hamptone Tube and JLM 99v. I have more than enough gear to fill my van, which I regularly take across Bass Strait for sessions in and around Hobart.” Do you have any advice for young or inexperienced artists who are heading into a recording studio?

“East Brunswick All Girls Choir’s Essendon 1986 or Paint Your Golden Face’s self-titled album. Upcoming releases from White Woods, The Native Cats and James Parry contain my finest work to date.”

“Demo, demo, demo your material and think outside the square. My best recordings have been when the artists have come into a session and have driven the recording process; they know the parts, how they should sound, and how the parts should blend together. I can then add the sparkles of production, rather then being tied down with the nitty-gritty of tracking.”

What do you like to see from an artist or band in the studio?

Contact details: James Tulczyn, Colvan Sound Track – 0417 516 599

“The willingness to experiment and go ten steps further in chasing the sound of an album. White Woods was one such great experiment where my standard set-up of live tracking a band in a circle just wasn’t working. I


JEREMY WILLIAMS checks in with REGAN LETHBRIDGE from Melbourne-based roots/reggae rockers BONJAH as the band wrap up recording of their second album.


he essence of this record is about being as open and honest as possible. It is all about serving the songs. If a song doesn’t need an electric guitar or it doesn’t need drums, whatever is going to serve the song the best, whatever is going to do the most justice then that is what we do. It is all about the song.” Having formed as a quartet in Tauranga, New Zealand back in 2006, the now quintet Bonjah have decided to the raise the bar which they set with their highly acclaimed 2009 debut album Until Dawn. Currently holed up in the studio in their adopted home of Melbourne, guitarist Regan Lethbridge can barely contain his excitement as he calls from the studio to tell me about the band’s progress (a new single, The White Line, has just been released). “This is our last day,” he says. “It has been incredible. Exciting. It has been going great. We have really knuckled down and just focused on honing songs. We are doing the whole ‘less is more’ thing and just playing together. We are stoked with how it has turned out. We are over the moon. We can’t wait for people to hear it.” How have the band approached that famous difficult second record syndrome? The answer comes with clarity and serves only to enhance the notion of Bonjah as one of Australia’s hardest working bands. “We did a lot of pre-production, a lot of writing trips and practising the recording techniques and stuff,” Lethbridge explains. “With our friends Fraser Montgomery and Cam Fleming, we did a whole bunch of stuff. We just made sure we were as prepared as possible. Then actually in the studio, we have been recording everything we do together.” But before we jump ahead to the eight-day recording process that has so enchanted Lethbridge, let’s focus on the writing of the upcoming record and those aforementioned writing trips. “I am a believer that the best songs are written out of nowhere. As soon as you try and write a song it ends up being shit. The best ones just come out of you and you don’t where they have come from. If you look at our latest single, The White Line, I just started strumming along the chord progression. We were demoing on the writing trip, we just literally pressed record and we kept the second take. The song that was born that quickly ended up being our most successful song to date.” Rather than get caught up in band squabbles over which ideas work and which don’t, Bonjah find their writing trips fruitful and rewarding and there is clear evidence of respect for each other’s abilities. While in the past songwriting duties have fallen on the shoulders of Lethbridge and vocalist Glenn Mossop, this time around they have tried to all bring something to the table. “Five minds involved is better than one. Everybody listens to different sorts of music and we got a lot of different feelings on each song.

“When you play an idea to the band, the band just start playing what they feel. We don’t tell each other what to play or do. Say Mozzy brings an idea to the table, we will just play along and find something in it. Sometimes it catches on quite quick and others it takes a while but you know if you have a good song from the very start. It is just great to literally pluck something out of fresh air, work on it and see the fruits of it rather than labour on something that isn’t working.” By maintaining an organic honesty to proceedings, the mutual respect between band members ensures that any criticism remains constructive in relation to their end goal. However, each member is also resolutely aware that they all have their own ingredients to bring to the table. “In terms of instrumentation and musicianship, we just let each other do our thing. We pop in the odd suggestion here and there, but we never tell Glenn, the singer, a melody. He comes up with all the melodies. He is also a lyrical genius – he writes all our lyrics and he writes some pretty deep things. We’ve been playing together professionally for almost fi ve years now and we just know each others’ styles, what works and what doesn’t.” Having only one album to their name, Bonjah realise that their skills have been honed on the live circuit and as such have returned to the traditional recording method of a band simply playing for real, rather than piecing together the parts in post-production. “We have done so many live shows, we wanted to get that togetherness and the live feel. We have done 400-plus shows and we

wanted that to translate on the record. Everything has been done in the one room. We have overdubbed the odd guitar here and there and obviously the harmonies, but a lot of the vocals were done in one or two takes. We’ve just experimented sonically a bit more, with delays. It has just been very fresh. We are working with a guy called Steven Schram, who is producing it, and he has been brilliant. He is an amazing producer and has put everything together we need for this record.” While they have left many of the technical decisions to their experienced producer, Lethbridge is more than aware of how their growth as musicians has changed their perception of what is needed to create a strong record. “We are just more mature as songwriters and we have grown as artists, so we are more aware of playing live and the musicianship. We just had a better idea of the overall sound and that is where Stephen Schram came in, he is just brilliant at drum sounds and giving each song its own life and its own character.” In addition to reverting to the band in a studio scenario, Schram also suggested that recording to tape would only heighten the authentic sound that the Bonjah boys were craving. “All our favourite records have been recorded on tape. It was just a no-brainer. It just gives it a nice, warm, rounded sound. It’s a very minimal difference, but I believe you can hear the difference.” Bonjah’s second album is due for release in May. They play the Northcote Social Club on Saturday 26 and Sunday 27 March.






Engineer credits include: 2 X ARIA AWARD WINING “Gurrumul”

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

CALL or EMAIL: M: 0421 836 876 WEBSITE:

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1960s Vintage Kingston Acoustic Guitar Single “0” Size Body - with hard case. Neck joins body at 12th Fret Good Delta Blues style guitar. Ph: 0402327153 iFlogID: 11511 Fender Pink Paisley Strat. Genuine 1980s model.all original.plays great. beautiful tone and action.very case.$2500ono. Ph.0428744963.Cooroy iFlogID: 11484

KEYBOARDS Roland RS-505 Paraphonic $1799 Ultimate analogue string synth! Pics, sounds and details at: iFlogID: 11984 Yamaha CS-15 $899 Perfect condition. Modified for extra fast LFO. More pics, sounds and details at: iFlogID: 11986



Want to get paid to party, make friends and rule the nightclub world? Tarantula Music is now seeking hosts /promoters for Melbourne club Killer. For more info simply email meagan@tarantulamusic. with “promoter wanted” in the subject heading iFlogID: 11545 Want to get paid to party, make friends and rule the nightclub world? Tarantula Music is now seeking hosts/promoters for Sydney clubs SFX and Trash. For more info simply email andrew@tarantulamusic. with “promoter wanted” in the subject heading iFlogID: 11547

SELF-EMPLOYMENT I need people to send eMails to Libraries around Australia offering a new music Book for sale. Applicants need their own computer - payment is commission based via Paypal. Contact Bill on (02) 9807-3137 or eMail: iFlogID: 11519

FOR SALE AMPS 80 watt 12”combo with reverb,saturation and more.2 channel footswitchable.USA made.great fat tone.VGC.$350. Cooroy. Ph.0428744963 iFlogID: 11486 Vase’Trensetter 60’all valve guitar amp. genuine 1960’s.australian made.c/w 2 2/12 matching cabs.Huge fat perfect working condition.$1200. Cooroy iFlogID: 12027


A’ASIAN MUSIC IND. DIRECTORY Pre-Order your copy of the April 2011 Australasian Music Industry Directory now! Visit and click ‘store’. iFlogID: 11930 Legal Alternative Marijuana try a sample pack today iFlogID: 11537 THE CHURCH “A Psychedelic Symphony” Sunday April 10. Sydney Opera House - 2 Tickets-Row S/Seats 39&40. $160 iFlogID: 12052 THE CHURCH “A Psychedelic Symphony” Sunday April 10. Sydney Opera House - 2 Tickets-Row S/Seats 41 & 42. $120 iFlogID: 12054

PA EQUIPMENT Australian Monitor F300 foldback wedge / floor monitor. 300W continuous 500W peak. 15” bass driver, 1” compression driver, 60x40 degree horn. Seven available. $299 ea. Princess Theatre, Woolloongabba, Brisbane. Ph 0400 404 919. iFlogID: 11560 CARVER 1800W PA. rack mount.split mono. with Bose controller/pre amp.8 speaker outputs.very case.VGC.cost over $2500. sell $850.Ph.0428744963.Cooroy. iFlogID: 11482 For Sale including: Mixers, Power Amps, Equalizers, Road Case, Speakers, Speakers Stands, Mics, stands, Drum Kits,etc. www. iFlogID: 11790


GIBSON Epiphone SG Bass Guitar.Great fat tone and action.Solid Mahogany. Perfect Condition. $350. Ph.0428744963. Cooroy QLD. iFlogID: 11615

CD / DVD Attention Musicians, Record Collectors, Universities, Libraries - new Book available (print/cdROM/direct download) compiling 100 years of popular music. GO TO www. for free web-site and information on how to buy. Enquiries: (02)9807-3137 eMail: nadipa1@yahoo. iFlogID: 11523

DJ EQUIPMENT EX Hire Dj equipment and lighting sale. Lots of lighting to choose from and Pioneer cd players.Friday 4/3/11 at Feel Good Events factory 3/35 clyde st Ferntree gully.7pm till 9pm. iFlogID: 11599

Gig Launch is Australia’s first online booking agency, connecting artists and promoters globally. We’re currently on the hunt for artists to play worldwide festivals and events, with heaps at home. Go Aussie, Go Gig Launch! iFlogID: 11527 SnakeEyeProductions offers EPK’s also know as an electronic press kits they work as a bio/ show reel, to promote your band to bookers/promoters/labels and venues. PH0416120639 E - iFlogID: 11471

HIRE SERVICES For as low as $100, you get a professional sound/pa mixer system with an operator for the evening. Suitable for weddings, pub/clubs band gigs, private parties etc. Contact Chris 0419272196 iFlogID: 11749


DRUMS Yamaha Rock Tour, Cymbals & Cases Piano Black maple and mahogany blended 24, 13, 18, 14 copper snare Hardware, dbl kick, all cased, 14’ Zildjan dyno hats, 22’ wekl ride, 18’ paragon crash, 19’ dark energy crash, $3000 Sydney; matt: 0425820547 iFlogID: 11575

GUITARS 1940 Supertone Singing Cowboys Vintage Guitar with original case. This guitar is super, lots of Soul, excellent condition. iFlogID: 11509


OTHER Best Quality Backing Tracks - Get a custom made backing track for your original songs or covers. Any key...any style! Ready for live performances! Visit www. or call 0403 498 103 iFlogID: 12049

Get your Band or Business Online Cost effectively and PROFESSIONALLY - About Us, Photogallery, Videos, Audio Jukebox, Gig Dates, Social Networking integration, and much more from $399 including Hosting! Contact or see iFlogID: 11587 Get your Band or Business Online Cost effectively and PROFESSIONALLY - About Us, Photogallery, Videos, Audio Jukebox, Gig Dates, Social Networking integration, and much much more from $399 including Hosting! Contact or see iFlogID: 11591 Get your Band or Business Online Cost effectively and PROFESSIONALLY - About Us, Photogallery, Videos, Audio Jukebox, Gig Dates, Social Networking integration, Search Engine Optimisation. + much more. Contact or see iFlogID: 11583 Get your Band or Business Online Cost effectively and PROFESSIONALLY - About Us, Photogallery, Videos, Audio Jukebox, Search Engine Optimisation and much more from $399 including Hosting! Contact or see www. iFlogID: 11589 JOIN US on facebook, help us share and promote fresh, new, independent music from around the world. Like our page and we’ll keep you updated! Share your music, we want to hear it and want to share it! iFlogID: 11933 Major Music Group is a brand new Brisbane based business that offers independent bands affordable publicity, photography, graphic design, website creation, bio writing and more. Check us out at www. and get 15% off all packages when mentioning this ad. iFlogID: 12013 Mark McKinnon-Bassett is a qualified acoustic consultant specialising in small ‘home studios’ with owners looking to optimise their acoustics without any construction, major modifications or purchases. For a full list of services see iFlogID: 11621 is free to join, and with over 4500 members its fast becoming the largest online music community in Australia! If your looking to join or form a band, find a band member or get exposure check Ozjam out today! iFlogID: 11719

RECORDING STUDIOS **VOCAL RECORDING** $50 AN HOUR! PRO STUDIO IN SURRY HILLS INCLUDES ENGINEER! If you need good quality vocals for demos/albums, simply bring along backing track/s or pre-recorded track/s to sing over! Call Danielle: 0425-213-721 5mins walk from Central Station iFlogID: 11862 Demo Song Production - have your songs professionally arranged, produced, mixed & mastered for only $309. We’ll even supply a session vocalist. Call 0403 498 103 (*conditions apply) iFlogID: 12047 Have you got a song in your head? Get it recorded with a multi-instrumentalist producer in a relaxed, friendly studio. Experienced in arrangement, composition, performance and production. Affordable rates Call Greg 0425 210 742 iFlogID: 11660 Looking for something more than just a recording studio? Want to work with a recording company that will support you long after the recording project is completed? visit or call 0403 498 103 iFlogID: 12045 Professional Studio, With creative vibe and wide variety of equipment see email jordi@fireantstudios. iFlogID: 11723 Record with former London based EMI Publishing Engineer in his spacious Melbourne (Balaclava) warehouse studio. Live room, heaps of space, free parking available. Latest digital & original valve gear. Call Tony for chat about your next project. 0437-244-371 iFlogID: 11730

REHEARSAL ROOMS “The Jam Room” in Parramatta is now open for band rehearsals from 8pm-12am Mon-Sun. Would suit regular rehearsing bands. $30/hr. Option to record live

rehearsals for demo’s. 0407125837 - info@jamroom. iFlogID: 11429


Mesa-Boogie amps, Boutique pedals.Keep my number on file for future reference Brad Kypo 0404 065 976. iFlogID: 11632


ROCKIN REPAIRS - GUITAR TECH RESTRINGS-SETUPS-UPGRADES-REPAIRS Do you live to play? Whether you’ve bought a new guitar or a favourite is feeling faded, we’ll rejuvenate it! We work hard to give you the feel/sound you want! 0405253417 iFlogID: 9348


VIDEO / PRODUCTION Bands who have made videos with us include El Duende, Line Drawings and K-Lab. Get your band on Rage and Youtube. Fantastic concepts and slick production that wont break your budget. See examples on Call Darrin on 0413555857 (Sydney) iFlogID: 11636 MUSIC VIDEOS offer a great way to gain exposure. Immersion Imagery has worked with a variety or atrists and strives to offer quality creative Music Videos at an affordable price. Visit www.immersionimagery. com or email info@immersionimagery. com iFlogID: 11423 SnakeEyeProductions offers EPK’s also know as an electronic press kits they work as a bio/ show reel, to promote your band to bookers/promoters/labels and venues. PH0416120639 E - iFlogID: 11473 SnakeEyeProductions specializes in live gig film clips for your website or myspace. Filming is done in HD with broadcast quality equipment, we also edit clips and provide DVD transfers/authoring and uploads. A great way to promote your music.. PH-0416120639 E-snakeeyeproductions@ iFlogID: 11469

MUSICIANS AVAILABLE DRUMMER Proficient Session Drummer Working Out of Sydney City Looking for new Projects for 2011 No particular style preference Call me for any info 0425820547 iFlogID: 11492 Session Drummer Available! Proficient in Rock, Blues, Country, Pop, R & B, Hip Hop, Metal. Own transport. Variety of gear. First session FREE (for producers and recording engineers only). Competitive prices for bands. Call scott on 0423 630 176. www. iFlogID: 11885

GUITARIST Freelance Guitarist available for orignal/ covers fill ins or recording sessions. Top pro gear, Fender/Gibson guitars, Ulbrick/

We are a friendly jazz band that plays music to the style of Nat King Cole. Perfect for romantic situations, weddings, anniversaries, small cozy clubs - very affordable. For more information, contact Chris 0419 272 196 - iFlogID: 11753 We are a jazz band performing music to the style of Nat King Cole. Perfect for romantic situations, weddings, small cozy clubs etc. For more information, contact Chris 0419 272 196 - iFlogID: 11751


SONG WRITER Songwriter available. I write commercial, popular songs with broad appeal. To hear a sample of my work go to au/raoulmclay. 0434 300 959. iFlogID: 11964

MUSICIANS WANTED BASS PLAYER ###FREE iPHONE APP### Sydney Underground Fusion Virtuosos, The Three Wise Monkeys, Download the 3WM iPhone app for Free for a limited time @: Track Previews, Videos, gigs, and social interaction, the Ultimate portal for Three Wise Monkeys. iFlogID: 11451 Bass Player & Drummer wanted for a rock band. Age not an issue, must have decent equipment & own transport. Only people from Sydney need apply. Please contact 0419615184. iFlogID: 11838 Bass player wanted for a rock band. Age not an issue, must have decent equipment & own transport. Only people from Sydney need apply. Please contact 0419615184. iFlogID: 12025 Bassist & singer wanted! (Seperate people). Aged between 18-25. Guitarist & drummer are very serious to start a metal band w/regular jams and gigs. Influences include Pantera, Metallica, Maiden, Sabbath & more! Contact Justin on or 0432905175 for more info \m/ iFlogID: 11425 Bassist wanted for female fronted psychedelic/ shoegaze/ ambient/ dream-pop band. Gigging all over Melbourne with radio play. Aged between 25 and 32. Rehearse weekly in Brunswick. For more information please write to iFlogID: 11437 Bassist with basic singing skills aged 18-21 wanted for established touring Brisbane indie/rock/pop band. Influences include: Bloc Party, Vines, Coldplay, Muse. Must be a rad, easy going person with own transport and gear. Find FUSHIA on facebook, iTunes and Myspace. iFlogID: 11506 Funk rock/alt. rock is looking for a committed bass player in the northern beaches area. available to do weekly rehearsals and regular gigs. must also be between 18-28yr of age. if interested please call nick on 0430 377 383 iFlogID: 11663 Inner Sydney venues wanting original artists, bands and solos, for mid week gigs. interstate and international touring artists welcome. Contact for more information. iFlogID: 11447

DRUMMER ###FREE iPHONE APP### Sydney underground Fusion Virtuosos, The Three Wise Monkeys, Down load their 3WM iPhone App for FREE for a short time only at: www. Access every 3WM track, video, upcoming shows and social media. The Ultimate 3WM portal! iFlogID: 11455

DRUMMER NEEDED!!! Ipswich based guitarist (18) looking for committed drummer to start acoustic/roots band. Practice/ jam at least twice a week. A few influences are Ben Harper, Xavier Rudd, John Butler... If keen call, email Justin 0424 790 014, iFlogID: 11717 Drummer Wanted Diverse progressive metal band looking for drummer with metal background. We play regular gigs and we’re ready to record. Must have own gear and transport. Must be professional and motivated. Call Shane: 0427 009 059 iFlogID: 11704 Drummer wanted for a rock band. Age not an issue, must have decent equipment & own transport. Only people from Sydney need apply. Please contact 0419615184. iFlogID: 11840 Drummer wanted for Sydney alt, electro indie rock band with management, triple J play, rage etc. Must be available for some touring with interstate shows currently booked. Please email any demo’s, myspace link, details etc to iFlogID: 11689 DUMMER NEEDED!!! Ipswich based guitartists(both 18) and bassist(16) are looking for a committed drummer to start rock/alternative/punk band. A few influences are Grinspoon, Jebidiah, Red Hot Chili Peppers etc... If your keen call/txt Justin 0424790014. iFlogID: 11497 Inner Sydney venues wanting original artists, bands and solos, for mid week gigs. interstate and international touring artists welcome. Contact for more information. iFlogID: 11449 Melbourne Band Looking for a heavy style drummer(27+)styles Oldschooldeath/drone/stoner/anti-popnoisepunk/ indie,grunge. the Melvins, Sunno))), Entombed, Fugazi, old school Soundgarden/Pumpkins, Black Sabbath/Flag, the Hard-Ons etc Band ready except for you. Richmond rehearsals, 0404739617 iFlogID: 11973

GUITARIST ###FREE iPHONE APP### Sydney underground Fusion Virtuosos, The Three Wise Monkeys, Down load their 3WM iPhone App for FREE for a short time only at: www. Access every 3WM track, video, upcoming shows and social media. The Ultimate 3WM portal! iFlogID: 11453 18 year old Guitar player looking for another guitar player to start a band with. influences: Guns N’ Roses, Aerosmith, Led Zeppelin, AC/DC. Call Tom on 0401722767. I live in the sutherland shire. iFlogID: 11883 2nd Guitarist wanted for Melbourne indie/ stoner/rock/metal/noisepunk Band. the Melvins, Fugazi, Black Sabbath/Flag etc Age 27+ Goodish gear Open mind Richmond rehearsals. For more info and samples of sounds contact Kurt 0404 739 617 iFlogID: 11966 Inner Sydney venues wanting original artists, bands and solos, for mid week gigs. interstate and international touring artists welcome. Contact for more information. iFlogID: 11443

Piano/keys player wanted to work with singer. iFlogID: 11995 Well established Sydney based Pop / Rock covers band requires experienced keyboardist. Paid gigs, agent backed band. Must have own transport, and be between the ages 18-35. Please send bio to iFlogID: 11734

OTHER Bands who want exposure in front of small/med size crowds iFlogID: 11830 The Bipolar Bears (as seen on SBS) are one of Victoria’s Rock’n’Roll Institutions playing their own bank of rock music & advocating mental health issues. WANTED: Professional standard musicians. Visit Contact: Dan McGuiness 0403 455 378 iFlogID: 11765 Up & coming bands wanted for gigs-get yourself some exposure in front of small/ med size crowd-send band details & contacts to iFlogID: 11874 VIOLENCE IN ACTION, Sydney improvisation/game piece collective inspired by John Zorn and Frank Zappa is looking for new members from all musical backgrounds. Contact us here to join up/get more information: iFlogID: 11761

SINGER female singer wanted for duo/trio. Guitarist with experience looking for Singer/Muso for duo. Led Zeppelin, Heart style covers and originals. acoustic and electric. Aiming to do bars, beer gardens etc. Have gear... iFlogID: 11531 Lead singer required for Wollongong based agency backed P!NK tribute show. No need to look like P!NK as wig & costume supplied. Must have live experience,be vocally capable, have dance ability & professional attitude. Own transport essential. Nikki 0414424880 iFlogID: 11970 Looking for singers/songwriters to collaborate in indie/electronica project. Contact for demos! iFlogID: 12023 Singer wanted for 8 piece soul and reggae band. We are ready to gig and have showcased really successfully now need an experienced and rehearsed singer to join us and take off! Rehearse in St Peters, Sydney iFlogID: 11901

SONG WRITER Inner Sydney venues wanting original artists, bands and solos, for mid week gigs. interstate and international touring artists welcome. Contact for more information. iFlogID: 11441 OzSong International Songwriting Competition is now accepting submissions! Grand prize winner chooses to fly to either Sydney or Nashville, with accommodation, studio time and airfare paid. Runner ups receive home recording gear. More at . iFlogID: 11529

Inner Sydney venues wanting original artists, bands and solos, for mid week gigs. interstate and international touring artists welcome. Contact for more information. iFlogID: 11445

Queen Bee Design offers graphic arts and social network services for your business or personal needs. Services include: business cards, logo design, T-shirt design, brochures, posters, banners, setup and management of facebook, twitter, myspace and more. Visit us at iFlogID: 12031 Want to stand out from the crowd? Matte Blac Design. Album design, Gig posters, T-Shirt design, corporate identity, advertising material and more. Competitive Pricing!!! Call Matt on 0423 384 439 for a no obligation quote. Fast turnaround guaranteed 100% Original iFlogID: 11554

OTHER Composer/Sound Designer seeks Animator or game designer to collaborate on a short piece. The result being a quality showreel that demonstrates our respective talents. If you are interested contact for more info and demos. iFlogID: 11792 Do you want to tour or record? Need help sourcing funds for? Professional, affordable, down to earth grant writing and tour coordination services iFlogID: 11611 ROYAL HOTEL BONDI ROAD SATURDAY MARKET-Designer clothing, jewellery and accessories, 11-4PM. If you are a stallholder and would like a stall call Andy 0426275655, $30 with table iFlogID: 11671

SHARE ACCOMMODATION AVAILABLE Room available by 14th of March. To share 2 bedroom unit on upper story great view! 140pw Bond 400 Near beach, shops, supermarket & bus stops. Looking for a reasonable, easygoing housemate to share with a female Uni student. iFlogID: 11467 Small furnished room above Bridge Road (Richmond) shop available. Share flat with 1 male muso. Female non-smoker preferred. $120 p.w. + bond + share bills. 0434 300 959. iFlogID: 11771 Wonga Park. Females to share large house. Bus stop at front gate. 2 rooms available. $114 each P/W. Share expenses. 9727 1656 iFlogID: 11997




Natural Dreadlocks and dread care. Monstrosity Dreadlocks, Inner Sydney. All services $30 per hour (SALE). All hair types. Ph 0421356410 iFlogID: 11821

Melbourne based prog/dnb band Full Code need a proficient guitarist and/or a keyboardist. Influences: Tool, Deftones, Mars Volta, RHCP, Amon Tobin, Noisia, Squarepusher. Hear our music @ www. Contact us by email or phone Ph 0459 931 5086 iFlogID: 11747

Custom Band T-shirts, Singlets & Hoodies, Band Posters, Business Cards, Flyers, Stubby Coolers.. plus more!! Fantastic Prices and Free Delivery within NSW www. iFlogID: 11657


LEARN to screenprint your own band t-shirts. Day or evening workshops, 3x2 hour lessons only $95 (INCLUDES FREE TEE!) Learn awesome skills. Arrive with ideas, leave wearing your design. Ph 0421356410 iFlogID: 11823



Keyboard player wanted for a rock band. Age not an issue, must have decent equipment & own transport. Only people from Sydney need apply. Please contact 0419615184. iFlogID: 11842

Get your Band or Business Online Cost effectively and PROFESSIONALLY - About Us, Photogallery, Videos, Audio Jukebox, Gig Dates, Social Networking integration, Blogs, Search Engine Optimisation and much more from $399 including Hosting! Contact or see iFlogID: 11585


Excellent graphic design and entire website work - discounted (sometimes free) for musicians. Accredited, certified, all staff aged 20-25. Prices start from $50. Send an email through with mock up or ideas for your website or graphics! to: kielchallen@ iFlogID: 11903 Filmmaker available

Seeking manager or management for Australian,female vocalist returning to Sydney from Tokyo. A versatile vocalist, I’ve recorded many albums and have name in the game music industry.I would like to be booked for decent gigs and studio work. iFlogID: 11415 Are you a new fashion designer? Launch my label is a networking event helping emerging talent with exposure.We are looking for designers who would like to showcase their collections at our catwalk launch party- end of July. iFlogID: 11922 WANTED: MUSIC FOR SURF VIDEOS We’re looking for great new music to be featured on surfing movies, DVDs, TV Shows & other video content. Great opportunity for exposure & placement with other Australian & International artists. Contact smcclimont@ iFlogID: 11721

iFlogID: 11564

GREAT DEALS ON ALL GUITARS, AMPS & BASS GEAR WORKSHOPS 5:00PM – 7:00PM *Registration for all workshops essential. RSVP




Roland product night with Josh Munday. Demonstrating the new GR55 guitar synth, BR800 Recorder, Cube amps and boss pedals.

Mannys, “the best advice you can give a musician.”

Bret Garsted one of Australia finest Guitarists demonstrating ESP Guitars


Bret Garsted one of Australia finest Guitarists demonstrating ESP Guitars 161 St. Georges Road, North Fitzroy. 9486 8555


Guitar and amp maintenance workshops during the month – check store for details.

For a limited time. Free online and print classifieds Book now, visit

Inpress Issue #1165  

Melbourne is one of the few true rock’n’roll capitols of the world. And Inpress magazine is the voice of this great rock’n’roll city. For ov...

Inpress Issue #1165  

Melbourne is one of the few true rock’n’roll capitols of the world. And Inpress magazine is the voice of this great rock’n’roll city. For ov...