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ANDREWMORRIS 4pm, $12 +CHIMNEYS CALLUM G’FROERER ANDBRETTTHOMPSON DUO+ANDREW 8.30pm, $10 BROOKSTRIO 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 1169




INPRESS 14 Who’s playing what with Charts; the week’s best and worst in Backlash/Frontlash 16 The Frontline brings you the hottest industry news 16 In The Studio keeps you turned on to your fave band’s movements 18 Foreword Line brings you all the latest tour announcements 22 Disturbed tackle weighty issues on their latest album 24 All of Children Collide’s songs that start as jokes end up as singles 26 Frank Turner is a sucker for a sing-along 27 At her peak, Buffy Sainte-Marie was gagged by the FBI and CIA 28 Brendan Hitchens farewells the Arthouse 28 Halfway find inspiration in the everyday 30 On The Record rates new releases from TV On the Radio and Tim & Jean 32 Imogen Heap is not ruling out another Frou Frou album 32 Carus Thompson is likened to a young Springsteen in Europe 32 Dale Watson never uses a setlist 34 The recording of Beats Working’s second LP had band members hating each other 34 A chance nightclub meeting led to Diafrix’s Daniel Merriweather collab 34 Eat Skull usually get drunk when they record 34 Emperors’ rise has not been as rapid as it appears

FRONT ROW 36 36 38 38

This Week In Arts lists the events happening this week Simon Stone tackles Brecht’s BAAL for Malthouse Triple J Breakfast host Alex Dyson talks Good Az Friday Film Carew reviews Brighton Rock and Windows On Europe 38 British comedy duo NewArt Club take over MICF


BACK TO INPRESS 50 Gig Of The Week shall be Released 50 LIVE:Reviews is wowed by City & Colour 54 Our Record Store Day feature implores you to get off the ‘net and into your local record store 56 A look at some of this city’s finest independent record stores 68 Sarah Petchell will Wake The Dead with her punk and hardcore talk 68 Andrew Haug takes us to the dark side in The Racket 68 Kendal Coombs leads the under-18s boardroom in the Department Of Youth 69 Pop culture happenings in The Breakdown 69 Dan Condon blues and roots in Roots Down 72 If you haven’t appeared in Fred Negro’s Pub, your mother probably still speaks to you 73 Jeff Jenkins gets down and local in Howzat! 74 Our Gig Guide fills your diary for the weekend 79 Gear and studio reviews in BTL 82 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 Editor Adam Curley Staff Writers Bryget Chrisfield, Michael Smith

ADVERTISING National Sales & Marketing Director Leigh Treweek Victorian Sales Manager Katie Owen Senior Account Executive Nick Lynagh Bands & local advertising Dean Noble Arts, dance & fashion advertising Connie Filidis Sales assistant Kobi Simpson

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

Monks, Fred Negro, Mark Neilsen, Roger Nelson, Danielle O’Donohue, Matt O’Neill, James Parker, Adam Psarras, 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, Kate Griffin, Andrew Gyopar, Lou Lou Nutt, Gina Maher, James Morgan, Heidi Takla, Nathan Uren.

INTERNS Andrea Biagini

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

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

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, EJ Cartledge, 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


38 The King Tut exhibition captivates Cultural Cringe 40 The Menstruum is in awe of a Top Arts entrant’s work 40 The annual Spanish-language film fest, La Mirada, returns 42 Home renovations and relationship dramas clash in Malmö 42 Fragmented Fish looks at the bizarre oeuvre of José Mojica Marins 44 The Australian Brass Quintet gear up for Brass ’11 44 Beautifully Imperfect is circus exploring human fallibility 44 Ventriloquist Nina Conti touches down in Melbourne 46 Swedish comedian Carl-Einar Häckner shows us his meatballs 46 Bad Boys Of Musical Comedy are this week’s MICF guest columnists

PUBLISHER Street Press Australia Pty Ltd 2-4 Bond Street, Abbotsford VIC 3067 PO Box 1079, Richmond North VIC 3121 Phone: (03) 9421 4499 Fax: (03) 9421 1011

PRINTED BY Rural Press Victoria



FRONTLASH Yeeaah, boys!

First Light EASY STAR ALL-STARS Tambourine TEETH & TONGUE Kosciuszko JEBEDIAH For You OSCAR + MARTIN Unfamiliar Places BHAGAVAD GUITARS Cherish The Light Years COLD CAVE Ritardando FRONT END LOADER Neu Ideas STILL FLYIN’ Yuck YUCK Absence SNOWMAN


3RRR SOUNDSCAPE For You OSCAR + MARTIN Only The Lonely EP UNKLE Tambourine TEETH & TONGUE Screws Get Loose THOSE DARLINS Lazer Sword LAZER SWORD I Want That You Are Always Happy THE MIDDLE EAST Lover’s Holiday EP THEOPHILUS LONDON Funnelweb EP AOI Blood Pressures THE KILLS Space Is Only Noise NICOLAS JAAR

Killer first Splendour In The Grass announcement: we’re there!


PARTY TIME Seen the Beastie Boys’ star-stacked preview for Fight For Your Right – Revisited? How good’s it gonna be? Just consider the celebs who didn’t make the trailer cut: Kirsten Dunst, Martin Starr, Laura Dern, David Cross and Zach Galifianakis.

BACKLASH A-Grade fuckwit

TRIPLE J HIT LIST Kosciuszko JEBEDIAH Fragile Bird City And Colour Two Against One (ft. Jack White) DANGER MOUSE & DANIELLE LUPI Simple Man (ft. Daniel Merriweather) DIAFRIX Cutlass GHOSTWOOD You Are A Tourist DEATH CAB FOR CUTIE Ready 2 Go (ft. Kele) MARTIN SOLVEIG Hard Act To Follow LOW BUDGET Listening Party THE CAIROS April Fool MANCHESTER ORCHESTRA

SYN TOP 10 The River BELLES WILL RING Gold Dust Woman BERTIE BLACKMAN I Hate Sleep ft. Charlie Mayfair COPTIC SOLDIER Cosmic Strut (Faux Pas remix) DREAM KIT Jungle EMMA LOUISE Cameo Lover KIMBRA Priceless ft. Dialectrix & Joe New PEGZ I’m Gonna Cry YES/NO/MAYBE Freaks AND Geeks CHILDISH GAMBINO Lady Luck JAMIE WOON Witches LOW


CHILDS’ PLAY We knew Altiyan Childs was a grade-A fuckwit the first time we clapped eyes on him, and his antics this week have done nothing to change our mind. But we do love his fans’ Facebook messages of support: “If you cry I cry, If you fall I will catch you, If you leave I won’t leave but I will miss you”.

LOGIES TWITS Organisers have this year banned tweeting from the annual snorefest, ignoring the fact that five minutes on Twitter during last year’s broadcast yielded more gags than Nine’s entire primetime line-up.

VALE THE ARTHOUSE We’re gonna miss this punk rock institution when it closes in two weeks. Make sure you get down for one last drink.

Email from 5pm Wednesday

Ladi6 is New Zealand’s first lady of hip hop. Releasing her debut solo album Time Is Not Much in 2008, Ladi6 and her musical partner/producer DJ Parks relocated to Berlin for 60 tour dates across Europe supporting the likes of Gil-Scott Heron, Masta Ace and Mayer Hawthorne. Among all this touring, Ladi6 was busy working on her follow up offering The Liberation Of… which is set to be released in Australia in May. Supporting Ladi6’s show this Friday at the Corner will be fellow countrymen Electric Wire Hustle, one of New Zealand’s newest offerings, whose sound is a fresh combination of modern hip hop, psychedelia and soul. We have one double passes to give away!

to Unkle’s Melbourne headline show at Billboard on Friday 29 April as well as a copy of each of the following releases: new EP Only The Lonely, Where Did The Night Fall, War Stories and End Titles… Stories For Film.

Touring on the back of their fourth studio album, Where Did The Night Fall, Unkle are bringing their unique live sound to Australia for the first time since Big Day Out 2008. The most recent incarnation of Unkle contains influences from psychedelic rock to Afrobeat. We have a prize pack to give away that includes a double pass

Up-and-coming electro soul singer Fantine is a star on the rise. The dynamic performer has just released her debut single Rubberoom, which is the first taste from her upcoming debut EP. She launches it at the Northcote Social Club next Wednesday 20 April, and we have five double passes to the gig to give away. Each double pass also comes with two copies of the single.

Beats Working’s second album, Found The Sound, is getting rave reviews all around the country. With its eclectic beats and grooves that pass beyond the boundaries of hip hop, Found the Sound dabbles in everything from punk to soul, rock, electro and Latin. We have two double passes to give away for Beats Working’s album launch at Revolver this Friday.

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.







Eagles Of Death Metal frontman Jesse ‘Boots Electric’ Hughes will grace our shores next month to headline Cherry Rock festival. Hughes recently told In The Studio that his debut solo album will bear the title Honky Kong and is slated for a September release. “Making this solo record really required [Josh Homme’s] friendship in a way that I never expected,” he acknowledges, “‘cause it’s very important that – I mean, my friends know that I’m capable of doing things on my own, but you still have to put that shit in stone, you know?” The first few times Eagles Of Death Metal toured our shores, fans expressed disappointment that the Ginger Viking would not be behind the kit, but ticketholders were quick to realise Hughes alone was well worth the investment. Hughes approves of this sentiment: “That was the deal. Thank you. What you just said is truly the proof of how beautiful my friendship is with Joshua, because he knew exactly what was coming and he never prepared me for anything but reality. And he really pulled me in on his coattails and then I got my own coat. But we knew from the get-go that the main reason – I mean, let’s face it, from the first moment the only reason that anyone gave a shit is because Joshua Homme was in it, so that’s the only reason that I gave a shit about it. The deal was that we had to make people kind of forget him in a way, but, because he’s my partner, it’s been a weird thing because I want him to be on tour with me all the time. “Together we do unbelievably beautiful things. You’re only as great as the people you surround yourself with and that’s the first most valuable lesson I learned from Joshua is that you check your ego at the door. And most side projects never survive, so we accomplished our goal successfully. But now we want it, once I get done with the Boots Electric touring cycle, my next Eagles album I think ultimately will be like a supergroup band, because I want Joshua to be able to come back completely and there will be no concerns about any of that bullshit, you know?” When told his fanbase are frothing to hear future output, Hughes adds, “Hopefully the Boots Electric album will suffice so that I can take all the glory for a little while, but Josh [Homme] and I will be making another Eagles album.” While Hughes was in the studio recording the forthcoming 11-track set, “a lot of rad and unbelievable musicians” dropped by. “I got to have a rock’n’roll fantasy camp recording process scenario, if you must know,” Hughes extols. “Like, really, working with Money Mark was – he’s truly a mad scientist, he’s a fucking mad scientist and probably one of the greatest resources that our community has in terms of art.” Must we wait until September? Hughes plays CherryRock011 on Sunday 1 May.


The lead single, and also the opening track from Beastie Boys’ upcoming eighth album, was shared on the trio’s official Tumblr after it leaked onto the net last week. A message from Mike D (Michael Diamond) read: “This wasn’t really part of the plan, but since this track is out there we wanted to let you hear it here first, or maybe second. Enjoy.” Crazy, wah-wah-style organ that could be drifting out of The Addams Family mansion drives the melody and quickly becomes the funktastic hook. Of COURSE there’s gratuitous self-promotion and cowbell/ cymbal-heavy percussion and a chorus that even fools could memorise in a nanosecond: “Make some noise if you’re with me! ” Work on the trio’s forthcoming album was halted when Adam ‘MCA’ Yauch was diagnosed with cancer in July 2009. Yauch required surgery and he has since become a vegan after seeking treatment from Tibetan doctors. Make Some Noise is now available through digital stores and a 7” single, containing a Passion Pit remix of the track on the B-side, will be released to coincide with Record Store Day this Saturday. As for Hot Sauce Committee Part Two, you’ll have to wait until 3 May for this set, which was produced by the trio and mixed by Philippe Zdar. High profile guests appear on two of the 16 tracks – Don’t Play No Game That I Can’t Win (Santigold) and Too Many Rappers (Nas). A variety of pre-sale packages are currently available via the band’s website and, as expected, the artwork is badass and while you’re there you must check out the star-studded two-minute trailer for Fight For Your Right – Revisited (a 30-minute video that’s “coming soon”). The talent collated for this promotional clip includes Will Ferrell, Jack Black, John C Reilly, Ted Danson, Susan Sarandon, Alicia Silverstone, Laura Dern, Danny McBride, Elijah Wood, Seth Rogen, Kirsten Dunst, Chloe Sevigny and Rainn Wilson plus more. Impossible.





A portrait of Gareth Liddiard has been announced as a finalist for this year’s Archibald Prize. Artist Jason Benjamin’s striking image of The Drones’ frontman and now solo troubadour is one of the more immediate paintings among the finalists. A painting of Dallas Frasca by Melbourne artist Steve May was also submitted but not chosen by the judges. Musicians have often featured in winning paintings of the $50,000 main prize. In 2009 Guy Maestri won with a painting of Geoffrey Gurrumul Yunupingu and last year it was Sam Leach’s version of Tim Minchin that received top honours.


Warner Music has suspended the production of its The Diggers album and project after the Australian Army pulled their support. Based on the UK version titled The Soldiers, the album was to be recorded by three serving soldiers, with part of the proceeds going to Legacy – an organisation that offers support to the families of deceased veterans. However, the Australian Army questioned the use of the name ‘The Diggers’ and Warner has felt the best option is to suspend the project. Gordon Maddock, Warner’s vice president of commercial marketing, said, “Having served in the Army myself previously, this project has been one I personally had a great passion for from conception and I am absolutely devastated we have had to make this decision. ‘The Diggers’ is a name that all Australians are brought up to admire and respect and to change it risks losing the project’s unique local flavour. In our view, to use the ‘Soldiers’ brand would be un-Australian. I will do everything possible to get this project back on track.” Jeff Chegwin from UK production company Chegwin Patrick Productions said, “Our belief was that the project had the potential to exceed the UK release, given the incredible passion and support the Australian public has and always has had for their Diggers, demonstrated so emotionally around ANZAC Day. I am stunned by the Australian Army’s lack of support, given the incredibly positive reaction from the British Army.” A Defence spokesperson told The Front Line, “[The] Army regards the term ‘digger’ as commonly associated with the spirit and ethos of past and present serving members of the Australian Army, as well as a common use phrase or term. Any action which restricts the use of the term ‘digger’ by any other persons or organisations is of concern.” They said they’d “engaged in productive discussions with the organisation over the past month. Army’s intent was to negotiate contractual terms to ensure the protection of Army’s reputation and the wellbeing of its personnel. Army regrets that Warner Music Australia were not able to accept Army’s proposed amendments.” The Diggers had been offered a performance spot at the NRL’s ANZAC Day game.

MANI TO ROSES REUNION: “FUCK OFF” Rumours of a Stone Roses re-formation have hit a wall after the iconic Manchester band’s bassist Mani came out firing in the British press denying the fact. The latest report came from British tabloid The Sun, with the newspaper’s source saying that three members of the band, excluding drummer Reni (Alan Wren), had met up at the funeral of Mani’s mother, buried the hatchet and begun to plan a comeback. “It was an emotional reunion,” read The Sun’s quote. “There were no harsh words. It was a heartwarming breaking of bread. They had a lot to catch up on and have been in regular contact since.” In response though, Mani (Gary Mounfield) spoke to music press NME and berated the reports. “I’m disgusted that my personal grief has been invaded and hijacked by these nonsensical stories,” referring to the fact that talk of a reunion had started at the funeral. “Two old friends meeting up after 15 years to pay their respects to my mother does not constitute the reformation of The Stone Roses. Please fuck off and leave it alone. It isn’t true and isn’t happening.” There have always been doubts about Stone Roses reunions considering Mani’s opposition to revisiting old material. He attacked Peter Hook, of Joy Division and New Order, in September last year for touring Joy Division material. On Twitter he wrote, “3 things visible from space, great wall of china, peter hooks wallet stuffed with ian Curtis blood money, man citys empty trophy cabinet!” and “used to adore the man, now he’s a self centred sellout reduced to hawking his mates corpse around. (sic)”

THE BELLS TOLLS The nominations across the various categories of this year’s Australian Jazz Bells Awards, also known as The Bells and named after Graeme Bell, have been announced. The rich awards have a prize purse of $40,000, and the Song Of The Year category will be fought out by Andre Keller’s Place, Johannes Leubbers Dectet’s Ashes To Ashes and Eugene Ball’s Song From The Highest Tower. The new category of Jazz Blend Album features The Subterraneans’ The Subterraneans, Mark Isaacs Resurgence Band’s Aurora and Baz’s Lady From Toulouse. For the full list, head to Also announced were the Art Music Awards, presented by APRA and the Australian Music Centre. Finalists for the inaugural “art music”, jazz and experimental awards’ Performers Of The Year included Clocked Out and Speak Percussion with Refractions, Halcyon with From The Hungry Waiting Country, Jane Sheldon and Ensemble

FANS APPRECIATE DRAPHT’S LIFE Western Australian rapper Drapht has debuted atop the ARIA album charts this week with his new album The Life

Of Riley. The record has been released through his own label Ayems Records (distributed through Sony) after he split with Obese. Speaking to The Front Line, Drapht – real name Paul Ridge – said, “The reality of having The Life Of Riley on top of the ARIA chart is still pretty incomprehensible. Considering three years ago I was in the middle of a roof carpentry apprenticeship and could never even fathom the thought of being able to live off my music, let alone have a number one record, it’s all still a little surreal and mind-blowing to me. In the age of illegal downloads I cannot express how grateful and appreciative I am for all the people that have supported me and made this dream possible, I cannot thank you all enough.” Drapht’s manager Heath Bradby attributed the success to “a combination of a lot of hard work which has built up a genuine and expanding fanbase that are gagging for the record, and the fact that the album is actually a cracker, whether you are a fan of hip hop or not. Starting the campaign off with a platinum single [Rapunzel, which is now listed as double platinum upon re-entering the singles top 50 this week] doesn’t hurt either!” he said.

It beat out KD Lang & The Siss Boom Bang, whose record Sing It Loud debuted at number two. There was another strong showing from Remote Control/XL Records’ Adele as her record 21 jumped Britney Spears and Glee to hold the number three spot. Emerging West Australian duo Tim & Jean landed just outside the top ten with their debut set Like What entering at 12. The single chart continues to be dominated by club and R&B tunes with Snoop Dogg’s Sweat (David Guetta remix) jumping Jennifer Lopez and Pitbull’s On The Floor for top spot. The first guitar-focused or rock track is arguably Avril Lavigne’s What The Hell in 21, with Panic! At The Disco’s The Ballad Of Mona Lisa at 26. There are only three local acts in the top 50, with Jessica Mauboy (featuring Brit Jay Sean) the highest of the Aussies at 36 with What Happened To Us. Offspring with The Origin Cycle and The Song Company and William Barton with Kalkadunga Man. Head to for the full information.

WHAT’S A SONG WORTH? The debate surrounding the value of a downloaded song has been reignited in America, with Boston student Joel Tenenbaum appealing against the value of a fine. The 27-year-old student has previously admitted to illegally downloading 30 songs and after an American court ruled in the favour of the Record Industry Association Of America, Tenenbaum was initially fined $675,000 before it was reduced to $67,500, after a judge ruled it “unconstitutionally excessive”. Speaking to the Boston Herald Tenenbaum said, “These damages are still absurd. When you consider that you can buy these songs for 99 cents each on iTunes, anything along those lines would seem a lot more in touch with reality. If the court wants to award damages for a punitive effect, how about 30 songs times $3?” The appeal, which is not expected to be resolved for months, is based on whether the anticopyright laws passed by Congress were indeed intended to punish the consumer to this extent.

FROM LANES TO FIELDS The Laneway Festival will have its own curated stage at London’s Field Day festival this August. The boutique Australasian festival had one of its own stages programmed by UK promoter Eat Your Own Ears and US agency The Windish Agency this year and the three teamed up at SXSW to present the day party Austin Or Bust. Laneway’s stage at Field Day will boast James Blake, Mount Kimbie, The Horrors, Twin Shadow and more. The move is viewed as a further attempt by Laneway to market itself as an international brand.

GRAMMYS CUT THE FAT Following on from the widespread debate and criticism of this year’s proceedings, the Grammys will be culling 31 categories from the awards for the next year as part of an overhaul of the event. Down from 109 to 78, some of the categories – particularly the separate male and female vocalists in pop, rock R&B and country genres – have been merged while the fringe categories of best rock or rap gospel album and best Hawaiian music album have been cut altogether. “All categories will remain, they’ll just be found in different genres,” said Grammy president and chief executive Neil Portnow, according to the LA Times. “The message isn’t about cutting, it’s about changing the way we present the awards.” There’s also been changes to the rules for awards, with each category now expected to attract 40 entries, rather than the previous 25. If there are between 25 and 39 entries now, there will be only three nominations in the category and if there are less than 25 it will be pulled. This reorganisation will kick in for next year’s 54th Grammy Awards and may inspire widespread changes in the ARIA Awards, whose attempts to reinvent itself this year were not as successful as hoped.

MOVES AND SHAKES Lindsey Martin has filled the role left vacant by Billy Ho as publicist of Obese Records.

VALE Former One Inch Punch and Mid Youth Crisis guitarist Heath McNally died last week at the age of 37.

BE ONE OF THE FOLK If you’re interested in taking part in the Woodford Folk Festival this year, either as an artist or a presenter, expressions of interest are now being taken by the organisers. The Woodfordia grounds were recently purchased by the Moreton Bay Regional Council to ensure the longevity of events held on the grounds, particularly the Folk Festival, held Tuesday 27 December to Sunday 1 January. Head to before 5pm, Friday 20 May to apply.

WORLD EVENTS Fête de la Musique Brisbane has confirmed the first acts to be playing the annual event, with The Umm-Ahhs, Lauren Moore and Tim Nelson & The Cub Scouts the first ones mentioned. Taking place in an estimated 450 cities worldwide, the Brisbane date happens Tuesday 21 June and applications are open until Thursday 21 April. Applications are now open for venues as well, with a focus on places that wouldn’t normally host live music. Salons, art galleries and plazas have already signed up to be part of the event. Head to for more information. Also accepting applications at the moment is the Australian World Music Expo, which is looking for local and international artists to fill the event’s showcase performance slots on the global stage. The event happens in Melbourne from Thursday 17 to Sunday 20 November and last year’s event featured more than 300 musicians. For applications head to

FRESHLY INKED Perth tropical indie four-piece Scenic have signed to label Future Classic, which itself signed a worldwide publishing deal with Kobolt Music Australia. The hope is that the deal will open up opportunities and film and advertising mediums for Future Classic artists. Gold Coast duo Husky Hicks, comprising Julz Parker and Leesa Gentz, have donated their folk/blues track Happy to the Cerebral Palsy League for use in the non-profit organisation’s 2011 television and radio campaign.

YOU WORKING? Melbourne’s PBS have a full-time position available in the role of sponsorship administrator, which requires good organisational skills and a knowledge of music across all genres. For more information email

Got news? Announcements? Gossip? Unsubstantiated but hilarious rumours? Send them all to




After years of planning, nine community radio stations in Melbourne and six in Adelaide this week are going digital. SAMSON MCDOUGALL gets the lowdown from two of the key players. Back row L-R: Lindsay Newton (Vision Australia Radio), Lucy Holmes (89.9 LightFM), Adam Knox (SYN), Mary Charlecrafte (3ZZZ), Richie 1250 (PBS), Carol Van Opstal (3MBS); front row: AJ (3KND), Fee Bamford-Bracher (RRR), Adrian Wong (3CR)

Competition And Consumer Commission] deliberations – a minefield of stuff. So to be finally here makes it very rewarding.” In a broad sense, digital radio is a good match for community broadcasting as it enables an increase of potential output by extending services beyond the time and space limitations of the analogue spectrum. Basically stations will be able to squeeze more of whatever it is they do into the same day and extend their content to a far greater listenership. Where commercial stations will invariably use any technological advancement for the increase of advertising revenue, community radio will actually reap the benefits of pushing programme development and creating new methods of information delivery. “Whatever platform for media is available it’s critical that it’s accessible and that it allows people to participate and that it’s not just the preserve of commercial interests, or just part of the massive ABC empire,” says Radio Adelaide General Manager Deb Walsh. “There’s a different type of media and range of content that’s produced when people get in there and do it themselves and it can’t be created by other models; it only comes out of the environment where people come in and determine the content themselves.”

This Thursday at 11am, nine Melbourne metropolitan community radio stations (3CR, 3KND, 3MBS, PBS, RRR, 3ZZZ, 89.9 LightFm, SYN and Vision Australia Radio) will simulcast, live from Federation Square, for the first time on a digital platform. In Adelaide the following day six stations (Radio Adelaide, Fresh 92.7, 5EBI, RPH Adelaide, Three D and Life FM) will be launched onto the digital grid and over the coming months more capital city community stations will join them with a regional rollout to come in the near future. Unlike the planned phase-out of analogue television to make way for a purely digital platform, digital radio will be offered as a supplement to current analogue services, which will include text and graphics and allow increased broadcast quality and reach. These events mark the Community Broadcasting Association Of Australia’s successful negotiation of the legal

and political minefield that has been the lobbying process. As Australia’s largest media sector (more than 350 longterm stations facilitated by around 23,000 volunteers) it was imperative that community broadcasting found its place in the digital realm. In an acronym and jargon-laden process that has taken more than a decade to complete, CBAA president and Melbourne metro station PBS manager Adrian Basso admits there were times when he wondered whether this moment would come. “I’ve been working in community radio for about 12 years now and even back then there was talk of digital radio,” Basso says, “so it’s nice to get to a stage of actual realisation. Years ago when we were meeting and looking at all the legislation and wondering whether there would be funding or no funding, we were looking at a lot of heavy documentation like contracts and ACCC [Australian

There is a commonality of interest in the community broadcasting sector that bonds the dramatically divergent continuum of stations together. Whether using the medium for religious programming, rural information or speciality music, news, information or foreign language shows, the key is communication. Regardless of who you are and what you have to say, community radio allows you to do so in an environment free of the influence of government and the advertising dollar. Melbourne’s nine and Adelaide’s six metro stations joining forces for the launches will be a public show of solidarity and celebration of the diversity of voice within the sector. Associations between community stations are nothing new, Basso explains, and the realisation of these years of hard work to get community radio up on the digital grid is a huge step in ensuring the continuation of relevant independent voice.

“Simulcasting the nine metro stations is our official way of celebrating the digital launch in a unique way,” says Basso of the Melbourne launch. “The launch itself is a strong indication of the community stations being very collaborative and if you combine the nine stations’ audiences it will be very potent in terms of impact. It’s a strong acknowledgement that we are an important part of the community and that we do say things and talk about things that other broadcasters don’t and won’t and never will.” The Adelaide launch in the city’s Central Market differs in that it will see the six metro stations set up in a circle yet broadcasting separately. There will be doughnuts in the shape of ‘0’s and ‘1’s being handed out by ‘servers’ who will be offering the public a ‘byte’. “We’ve got the corny angle covered,” says Walsh. In terms of ‘real life’ plans for new services, community radio sits in a unique position in that stations can freely explore new and exciting ways to integrate text and graphics into their information delivery without the burden of having to sell anything. Though initially much of the content available on digital radio will simply match the current content, Basso is excited about the realm of possibilities for new services and believes community radio will lead the charge in terms of finding exciting and innovative ways to make use of the medium. “We’ve always been embracing of new technology and innovative approaches,” he says. “I’m sure each station will do it a little bit differently, [but] the sector’s really used to squeezing as much from as little as possible.” “We’ve seen it with commercial radio so far that such is the extent of the advertising that the entire radio station becomes an advertisement,” continues Walsh. “We’re interested in doing something that on a platform level is very different. What we’re thinking about are different ways of communicating or different uses of radio that aren’t in the set of standard formats that exist on radio. We’re interested in a bit of a reinvention of the medium to take advantage of some of the fantastic advantages of radio like it being free, being inclusive of everybody and being something you can listen to while you’re doing something else. They’re the great advantages that radio has over other media.”













ENTRY $15, 9PM
























Joan Wasser, better known to fans as Joan As Police Woman, is coming to Australia for a headline tour with her band in June. The tour comes hot on the heels of her fourth solo album release, The Deep Field. When writing the record, Wasser says she was smitten by Marvin Gaye, Sly & The Family Stone, David Bowie, Curtis Mayfield and Stevie Wonder. Until her previous albums were released, Wasser was best known as a member of indie rock bands The Dambuilders, Black Beetle and Those Bastard Souls. As a violinist and vocalist, she contributed to albums by everyone from Nirvana through to The Scissor Sisters, Lou Reed, Nick Cave, Sheryl Crow, Sparklehorse and Depeche Mode’s David Gahan. She was then a regular favourite member in Antony & The Johnsons and Rufus Wainwright’s bands – all of which stands as testament to her inspired musical heritage. She plays the Athenaeum Theatre on Wednesday 8 June.


Different Strokes is a new, free night of rock/indie/ dance tunes and good times, hitting the Espy. Some familiar and new faces will be on the decks spinning aural delights. DJs include The Ferg, Naysayer & Gilsun, Indian Summer, Freshly Squeezed, Acolyte, Medicine, Ho ‘n’ Tell and Mary Tyler Moore. The fun kicks off on Easter Saturday (24 April) in the Espy’s Gershwin Room.

In the first week of May, The Rescue Ships (Sydney), Scott Spark (Brisbane) and Tash Parker (Melbourne) will ricochet between their home cities. The Rescue Ships are relatively new, combining the talents of Elana Stone and Brian Campeau. They have several stunning solo albums between them, but are now working on new songs and sounds together. Unearthed by Triple J early last year, Scott Spark released his debut album Fail Like You Mean It in September and toured country-wide with Washington. Aside from working on his second album, Spark’s also co-writing the anti-musical OMFG, set for the stage in 2012. His sound is some kind of threesome between Randy Newman, Fiona Apple and ELO. Tash Parker has been winning hearts since the 2010 release of her debut album, Waking Up With J Walker, and supporting artists including Gotye, Missy Higgins and Clare Bowditch. Don’t miss this trio of delights on Thursday 5 May at the Evelyn.


Electric Shadow will transform the Espy’s Gershwin Room into a cinematic, multi-sensory experience on Saturday 30 April. It will bring together big screen projections from Red Card Film Productions with performances by surf’n’western band Mikelangelo & The Tin Star, the glamorous and mesmerising Saint Clare, retro shakers Go Girl Gadget Go Go, underground multi-instrumentalist legend JP Shilo and the debut of new Melbourne group Mr Hyde.


Described variously as “pop rock jazz” and “chamberfunk”, the critically acclaimed Sunwrae String Quintet are embarking on a national tour in June. The Melbourne-based nu-chamber group perform a musical experience of mindbending textures, persuasive rhythms and spectacular improvisation. Director Rae Howell plays grand piano and vibraphone and has composed this series for piano and string quartet. Sunwrae’s 2011 Eavesdropping Tour features an exquisite, rare and intimate performance of their instrumental music, inspired by Howell’s recent residencies in South America and Europe. The Sunwrae String Quartet will play at the Iwaki Auditorium in the ABC Centre on Thursday 9 June.

SWEET, SWEET RELIEF The 2011 Christchurch Quake Relief Concert is an Easter Sunday arvo-to-late-evening extravaganza full of awesome acts, with a special set from a re-formed Mi-Sex. Other acts on the line-up include Mike Rudd (ex-Spectrum), Angie Hart & Blood Red Bird, Julia Dean (ex-Fur Patrol), Lotek, Clairy Browne & The Bangin’ Rackettes, Vince Peach, Dave Larkin Band, Spencer P Jones, The Council, Side Show Brides, Radio Star, The Wellingtons, Cash Savage, Pets With Pets, Polar Disco, Engine Three Seven, Vaudeville Smash, Massive Hip Hop Choir, Cherrywood and MC Jon Von Goes (Triple R). The concert will be held at Birrarung Marr on Sunday 24 April from 2-10pm and event proceeds will go to the 2011 Red Cross New Zealand Earthquake Appeal. Tickets are on sale now from Moshtix.


Support acts have been announced for Frenzhal Rhomb’s upcoming shows. Supporting them on Friday 22 April at Geelong’s Barwon Club and their sold-out Arthouse show on Saturday 23 April will be Melbourne thrash kids Party Vibez and sweaty punk rockers Anchors.


Texan minimalist art-pop duo YellowFever are poised and ready to pounce as they prepare for their inaugural visit to Australia this April and May. Their first official album is in the works and will be on a record store shelf near you later in 2011. Applying drums, guitar, organ and synth bass to their jerky rhythms and willowy arrangements, YellowFever are Jennifer Moore and Adam Jones, a highly talented kooky pair who manage to perfectly balance the complex with the refreshingly sparse. Already booked for the Sugar Mountain Festival, which takes place at the Forum, Fed Square’s No Vacancy Gallery and the Atrium on Saturday 30 April, the band have recently announced a show on Sunday 1 May at the National Hotel in Geelong and on Saturday 14 May at the Tote. Supporting them at the latter two shows will be psychedelic indie up-and-comers Love Connection.


The globe-trotting Wayne ‘Lotek’ Bennett is stepping out of his studio, shutting down his computer, and returning to the Bar Open stage for a special Easter Saturday 23 April free show. His widely-acclaimed International Rudeboy was album of the week on Triple R and more recently he recorded a version of Little Red’s Rock It for Triple J’s Like A Version. Lotek’s signature bass-heavy beats, added with infectiously catchy horn stabs and melodies, will make you bounce, so be prepared to lose yourself dancing to the Jamaican and English sound system cultural fusion that is Lotek and his eight-piece band, The Rebel Hifi. Doors open at 10pm, entry is free, with the band playing two sets.

CRASH HELMET Seminal hard rock band Helmet – they released their seventh full-length album, Seeing Eye Dog, in September last year – have announced their plans for a string of shows all over Australia in June and July. After sold-out tours of the US and Europe, the LA post-hardcore rockers are gearing up to head back to our shores for the first time in three years. Marking their first release on indie label Work Song, Seeing Eye Dog was produced by band leader/ vocalist/guitarist/songwriter Page Hamilton. It embodies the classic and utterly unique Helmet sound, pushing it into regions the banve has never before explored. Catch Helmet live on Saturday 25 June at the Hi-Fi.








































Afrojack, AKA Nick Van De Wall, is a Grammy Awardwinning DJ from the Netherlands, who has gone from strength to strength since starting his own label, Wall Recordings, back in 2007. After embarking on a series of collaborations with David Guetta, Diplo and Kid Kudi, he returned to the clubs in 2008 with Math and Drop Down. Take Over Control is the newest member to the ever-growing brood of hits, and has smashed club charts and radio stations all over the world. With huge interest and support from major labels stateside and with a tour already completed in the USA and at Stereosonic last year, Afrojack is back to wow his Aussie fans with a string of intimate club shows. Make sure you check him out on Saturday 4 June at Prince Bandroom, with support from Generik, Sunshine and Ando.


GET UP, KIDS. THEY’RE BACK It’s been more than ten years since five kids from Kansas City, USA crashed the party of every punkleaning teen worldwide with their breathless hooks and feverish intensity. In the blink of an eye, The Get Up Kids were suddenly the darlings of the underground, cementing their significance with 1999’s seminal Something To Write Home About. After famously calling it a day in March 2005, the band stunned the music world in November 2008 by announcing their re-formation. Their comeback album, There Are Rules, challenges the foundations of a scene they helped build. The band play Billboard on Sunday 7 August.


It has been two years since Derek Warfield & The Young Wolfe Tones graced our shores, and with a new album, Far Away In Australia, and new line-up, the group are returning for a national tour. The band played more than 180 shows in six different countries last year. Warfield has spent most of his life on the road, and many years on the frontline with the legendary Wolfe Tones until their break-up in 2001, and will now be joined on stage by the Young Wolfe Tones, who bring excitement, fun and passion to the Irish tradition. The group play Sunday 1 May at Prince Bandroom.



Since forming in 2003, The Go Set have released four albums that combine traditional folk instruments with punk guitars and timeless rock’n’roll energy. The Go Set have extensive tour experience, having just returned from their fourth European jaunt. Their blistering live show has seen them share stages with everyone from The White Stripes to Wolfmother. Their new EP, Fallen Fortunes, is the band’s fifth studio release, and they launch it with punk poet, cult legend and songwriter Attila The Stockbroker, who’s out here on his 30th anniversary world tour. Head to the Northcote Social Club this Saturday to catch this double-headliner. Doors at 8pm.


Strange Talk pair considerable musical talents from disparate backgrounds, with vocalist/producer Stephen Docker immersed in the classical world, playing violin for the Australian Youth Orchestra, and bassist/producer Gerard Sidhu crafting house and electro as a regular fixture on the Melbourne DJ circuit. Stange Talk have opened for bands such as The Rapture, Neon Indian and Marina & The Diamonds and appeared at the Parklife, Good Vibrations and Playground Weekender festivals. And now, as they’re about to release their self-titled debut album and new single Eskimo Boy, they’re heading out on their first headline tour. Catch them at the Northcote Social Club on Friday 6 May and Ballarat’s Karova Lounge on Saturday 7 May.


Local indie popsters Skipping Girl Vinegar are gearing up for the release of their second album, Keep Calm, Carry The Monkey, which is due to drop next month. The album features a guest performance from Canada’s beloved singer/songwriter Ron Sexsmith, and has already spawned a radio favourite in single Here She Comes. The band will follow the release of the album with a launch tour around the country – they play all-ages shows at Fairfax Studio at the Arts Centre on Saturday 4 June and the West Gippsland Arts Centre in Warragul on Friday 26 August.

Brent DeBoer is the drummer for The Dandy Warhols. Bob Harrow is the lead singer of the Lazy Sons. Gamma Lubulwa is the keyboardist for The Galvatrons. The three of them make up the core of Immigrant Union, and together they play some of the best damn countrytinged music this side of Tamworth. They play every Sunday at Old Bar this month with some killer supports to boot. Music kicks off at 7pm and entry is a measly $6.


Over the last four years, Mark E has established himself as a producer with a distinctive hypnotic and looping brand of disco and house. His debut album Stone Breaker is coming out mid-May, and he has been released on cult dance labels such as Running Back, Golf Channel, Jisco and his own label, Merc. Catch Mark E playing at a secret Melbourne boat party on Monday 25 April. For more info check out


Perth’s Rocket To Memphis have recently released their third album, Jungle Juice, which was recorded in New York and captures a raw jungle rhythm sound, with ‘60s garage and rockabilly influences. They are heading around to the eastern states in a couple of weeks, playing an instore at Off the Hip on Friday 22 April then heading to the Old Bar on Saturday 23 April and the Retreat on Sunday 24 April.

FRONT AND CENTRE Sydney rock’n’roll institution Front End Loader have announced a tour in support of the impending release of their new album Ritardando. The band play on Saturday 7 May at the Tote and Sunday 8 May at the National Hotel in Geelong.


Support acts for the upcoming House Of Pain He Who Breaks The Law Australian tour have been announced, with the rowdy Irish-American hip hop legends joined by Aussie live mash-up kings The Havknots when they play the Prince Bandroom on Friday 29 April. Combining the traditions of a music scene rooted in rock music with a future fringed with banging hip hop, The Havknots are winning fans with their in-your-face live show. Meanwhile, House Of Pain, who also play the sold-out Groovin’ The Moo festival at Bendigo Showground on Saturday 30 April, are challenging fans to create a track by sampling the group’s classic Jump Around. Your entry track must use at least 60 seconds of the original version of Jump Around, be between 180 seconds and 300 seconds in duration and be submitted in .wav format (44.1kHz, 16bit). Entries must be submitted by Tuesday 19 April, and only one entry per person is permitted. The first prize winner will receive a double pass to see House Of Pain live in their capital city, and have their track played at each venue. One runner-up will also receive a double pass to see House Of Pain live in their capital city.


Aaron Clevenger, AKA AC Slater, has come a long way from using his dad’s music collection to make mixtapes on a TDK D-C60 in the ‘90s. In fact, the last few years have seen him make the transition from underground hero to bona fide superstar of the bass music scene. Last year saw stellar remixes for Boys Noize (Yeah, Shine Shine), Crookers (Cooler Couleur), and Moby (Turn The Music Up), who went so far as to label the remix one of his top ten songs of the decade. With a remix of Chiddy Bang’s Here We Go set for release in the coming weeks, Slater has just been named as April’s exclusive resident for weekly Triple J show Mix Up. As well as the sold-out Groovin’ The Moo festival, Slater plays Roxanne on Friday 29 April.



The 2011 Stonnington Jazz program was launched last week, with more than 20 concerts taking place at the Malvern Town Hall, Chapel Off Chapel and a range of other venues. Artists performing include Vince Jones, Joe Chindamo, Allan Browne, Bob Sedergreen, Paul Grabowsky and Paul Williamson, alongside up-and-comers Sarah McKenzie, Nat Bartsch and Eamon McNelis. The festival, now in its sixth year, runs from Thursday 19 to Sunday 29 May.


SKRILLEX TO CREAM MELBOURNE Creamfields is now only two weeks away, and Melbourne has sold out first and second release tickets – only final release tickets are left. In related news, Skrillex will be performing a sideshow at the Prince Bandroom on Thursday 28 April with Belgium’s Mumbai Science. Tickets are on sale now from Moshtix. Creamfields hits Melbourne Showgrounds on Monday 25 April with Skrillex, Deadmau5, Martin Solveig, Simon Patterson, Gabriel & Dresden, Bingo Players, Skazi, Surkin, Dada Life, Nadastrom, Round Table Knights, Sandwell District and more.


Following on from the release and tour of their second album The Curse Of Us, indie poppers College Fall are heading back on the road to play some of the places they didn’t get to last time. They will also return to some favourite cities and towns with Swedish pals Lars Wallin & The TribeLars, who they first met when both bands performed at the wedding of Princess Mary of Denmark. Armed with a limited edition tour single Door Prize, College Fall will be playing previously unheard songs and acoustic versions of album tracks from The Curse Of Us and debut album Eleven Letters. Lars Wallin & The TribeLars are influenced by ‘60s folk/protest music, ‘70s prog/punk/reggae and the Dreamtime – resulting in a unique blend of the Australian bush crossed with the Bowery, New York in 1977. Wallin has, for more than ten years, worked with The White Cockatoo Performing Group from Maningrida, Arnhem Land. He has performed several times with Chris Bailey, opened for Blue King Brown and The New Christs. Now back in Australia, they play with College Fall at the Espy on Wednesday 20 April, the Elwood Lounge on Thursday 21 April, the Retreat on Saturday 23 April and Pure Pop Records on Sunday 24 April.


Born in Moscow to a Russian father and a Dominican mother, Fantine spent time living in Russia, the Dominican Republic and Perth. Now based in Sydney, the emerging electro soul singer/songwriter has just released her debut single, Rubberoom, the first taste of her debut EP, due soon. To celebrate the launch of the single, Fantine performs with her full live band at the Northcote Social Club on Wednesday 20 April.


Brighton’s sonic patchwork-pop juggernaut The Go! Team have just announced local supports for their upcoming Rolling Blackouts tour, which hits the Corner Hotel on Tuesday 10 May. Along with national support act Purple Sneakers DJs, six-piece psychedelic dancefloor dilettantes Northeast Party House will bring their infectious anthems to the Corner Hotel on Tuesday 10 May. The Go! Team also play the sold-out Groovin’ The Moo festival.


Bursting onto the R&B scene in his pre-teens with the group Immature, Marques Houston quickly became part of the ‘90s R&B phenomenon. The group’s success saw them appear in comedy flicks House Party 3 and House Party 4: Down To The Last Minute, and the television series A Different World. The group changed their name to IMx in 1999, and after releasing two more albums the trio went their separate ways in 2002. Houston embarked on his solo career soon after, releasing his debut album MH. Fast forward eight years and Marques has released four albums, with the singer returning to the silver screen in 2004 playing the role of Elgin in the hit dance movie You Got Served. Houston plays a one-off showcase at Number Five (Queensbridge Square) on Sunday 24 April.


Dan Kelly has just been added to the line-up for the Mirabel Foundation’s 13th Music, Mirth And Mayhem benefit concert, staged at the Hi-Fi on Monday 18 April. He joins a list of comics and musicians that includes MC Lawrence Mooney, Jimeoin, Dave Hughes, Tripod, Lehmo, Fiona O’Loughlin , The Verses (acoustic), Rebecca Barnard, Nick Barker, Greg Fleet and Anyone For Tennis?. The Mirabel Foundation cares for children orphaned or abandoned due to parental drug use. Tickets, which are close to selling out, are on sale now from Ticketmaster.



THE LURE OF EMMURE Having postponed their January Australian tour, New York metal band Emmure have announced they will make their return down under this June on their first ever headline tour. The band will be touring on the back of their fourth studio album, Speaker Of The Dead, released February. Joining Emmure will be Sydney heavyweights Shinto Katana. Saturday 18 June will see Emmure hit the Corner Hotel twice – they’ll be playing an afternoon show for under-18s and then a night show for over-18s. Tickets go on sale Monday.


The Workers Club is presenting a series of nights entitled the Released Series, acknowledging various independent labels and often under-appreciated pioneers, music obsessives and passionate music lovers everywhere. As part of the Released Series, the venue will be running the Released Record Stand, erecting a semi-permanent record stand each week. All labels involved will have the opportunity to have their releases available for sale not only on the night of their curated show, but for the duration of the series. The series kicks off tonight (Wednesday) with artists from Bedroom Suck Records appearing, followed by Chapter Records on Wednesday 27 April, Sensory Projects on Wednesday 4 May, Departed Sounds on Wednesday 11 May, Lost & Lonesome on Wednesday 18 May and Lofly Records on Wednesday 25 May.


MONSTER SESSION FOR MS After two successful years in Sydney and a lot of requests, Monster Session is finally coming to Melbourne. Monster Session – a charity show for Multiple Sclerosis that has donated $45,000 in the last two years to MS Australia – features bands from the ‘80s and ‘90s, with most of them re-forming for the show and some still going strong today. The Melbourne line-up for 2011 so far includes X, Cosmic Psychos, Bored!, Asylum, Seminal Rats, Lime Spiders, Screamfeeder, Depression, The Meanies, Splatterheads, The Fuck Fucks, Grong Grong, Seminal Rats, The Kelpies and Poppin Mommas, with more to be announced. Monster Session will be held at the Espy on Saturday 21 May. Visit for more information.

Fresh from a national arena tour supporting Good Charlotte, Short Stack have just announced their own national headline tour. Their most recent album, This Is Bat Country, is the follow-up to their 2009 gold debut album Stack Is The New Black. The album has spawned singles Planets and We Dance To A Different Disco Honey, and hit the charts running when it debuted at number six upon its November release. Supporting Short Stack on all shows are promising pop punks Heroes For Hire and Because They Can. Catch the bands on Saturday 2 July at Festival Hall.


On New Year’s Day, a few friends in their teens and early 20s lay scattered (in both senses of the word) on the living room floor of a friend’s house. In a final attempt to dodge their fast approaching hangovers they decided to have a brainstorming session… Can’t Say was the result. This Friday, Can’t Say will be launching at 34 Franklin Street in the city. Coming down for opening night will be D Cup, In Tongues, Parades DJs and a swag more. Find a password for cheaper and quicker entry.

BEST OF THE MIDWEST WE LIKE IT GRUFF Having just released a brand new solo album titled Hotel Shampoo, Super Furry Animals’ frontman Gruff Rhys has announced he will return to Australia next month. Catch his eclectic bent pop tunes in on Monday 2 May at Northcote Social Club. Tickets from the venue.

In Australia to support Washington on her upcoming Tour Of Laughter And Forgetting, US singer/ songwriter Lissie has announced her own headline show at the Northcote Social Club on Thursday 19 May. The success of her debut album, Catching A Tiger, has granted the singer the chance to tour with artists such as Ray LaMontagne, The Low Anthem and City & Colour. Named Paste magazine’s best new solo artist of 2010, Lissie has been known to cover Lady Gaga’s Bad Romance and Led Zeppelin’s Stairway To Heaven. Tickets from the venue.


SERIOUS BUSINESS From the Holocaust and climate change to a former girlfriend’s miscarriage, DISTURBED frontman DAVID DRAIMAN tackles some weighty topics on the band’s most recent chart-topper, Asylum. “The best way for me to deal with traumatic life experiences has been in the form of song,” he tells BRENDAN CRABB.


hart-topping crew Disturbed are renowned for penning simplistic, instantly memorable songs designed to be bellowed loudly at shows and moshed to during a night out at a rock club. Their lyrical fare was not necessarily about more thought-provoking themes, but that was the territory they veered towards in selected instances on latest disc Asylum, their fifth full-length record. Never Again addresses the horrors of the Holocaust, while the album’s first single, Another Way To Die, tackles the issue of global warming. Not exactly the type of subject matter many people – fans of Disturbed or otherwise – would associate with a band that once penned a track such as Droppin’ Plates (from their 2000 debut The Sickness). Google the lyrics and you’ll understand. “All you really have to do is look around at our world with open eyes and see what kind of havoc we’ve brought [about],” Draiman tells Inpress from his Stockholm hotel, more articulate, thoughtful and low-key in conversation than his polarising onstage persona might otherwise suggest (and all despite having just woken up). “Prior to the song being written, we’ve all been very aware of our environment and there’s certain things that are just undeniable. You can’t deny the recession of glacier caps, you can’t deny that when you descend an aeroplane into Los Angeles there’s a cloud of crap that you have to go through in order to get into the city,” he adds with a chuckle. “You can’t deny certain cities, industrial areas and the like aren’t in a perpetual state of night because the air is so full of soot, residue and pollution. You can’t deny the continued extinction of countless species on this planet by our negligence; you certainly can’t deny the catastrophe of something like the BP disaster. It’s all very much in your face and if you do have a conscience and you are worried about a future for your family and for your children, you kinda need to take stock of it. At least, if not try to do something about it – which I’m not saying that we’re even capable of doing – but at least speak your mind on it. At least be true to what you’re concerned about.”


On the flip side, Asylum also features one of the frontman’s most personal songs in the form of My Child, which details his former girlfriend’s miscarriage. “Yes, it was a difficult one. A very, very difficult one. [It] still kinda fucks with me when I play it or hear it. It’s a demon which has haunted me for years and it’s never easy to lose a life, to lose the potential of becoming a father and having a son, which is what he would have been. It’s something I very much wanted. I very much wanted to be a father – and I still do. But you know, losing that child was devastating and sometimes, or just about all the time, the best way for me to deal with traumatic life experiences has been in the form of song. It helped. It helped significantly.” As many heavy bands’ members age, maintaining any semblance of a genuine connection with their fanbase can prove problematic – one only need listen to Korn’s desperate grasp to hold on to their youthful vitality during their latest album for evidence. Multimillionaires pushing 40 years of age living in gated mansions with porn stars are not surprisingly going to find it difficult to relate to their typical teenage fan. However, Disturbed’s ongoing, immense sales successes (Asylum was the band’s fourth consecutive album to debut at number one in the US – a feat from a rock band only matched by Metallica and Dave Matthews Band) and appeal as a concert attraction indicate they haven’t lost touch with their younger following. Quite the opposite, actually, it would seem. Does he think channelling that kind of raw, primal emotion helps Disturbed better relate to their fans, even the younger ones, especially as the band members themselves age? “I think so,” the vocalist ponders. “I think people in general can smell a rat and know when somebody is faking or being contrived. I think we’ve always been very sincere in our message delivery and the subject matter that we speak about. I think they appreciate that and I think many people, either fortunately or unfortunately depending on how you look at it, are often very able to

relate to the bits of subject matter in these songs. The song can become cathartic for them as well; it becomes a source of empowerment and release and it’s only by recognising and acknowledging what’s happened to you that you’re able to get past it. I just try to pick bits of subject matter that I feel personally passionate about and that are either directly tied to my own life experiences or to views that I have of events and issues that plague our world and plague our planet. Just try to make sure that it’s subject matter that’s close to my heart and something that I can be as sincere and direct as possible about.” The new album’s level of success still seems surreal to the band, even after they’ve already become a household name in countless countries. “Oh, yeah,” he laughs. “It still does, especially considering the fact that it’s getting more and more difficult for rock records to do that. It’s getting more and more difficult for any record to really achieve the kind of numbers we were able to in our first week. It’s very much a surprise. I think it’s a strange situation for us to be [in], to be listed with all the names of these pop acts, hip hop and R&B acts and you name it. It’s very, very weird indeed,” he laughs again. “It’s just nice to know that the rock world is ready to make their statement when a Disturbed record comes out, that they stand behind us as vigilantly as they have.” Considering they’ve achieved so much within just a fivealbum career, some have argued that Disturbed have little left to prove from a commercial standpoint. Draiman leaps in quickly to disagree with such a sentiment. “I think we still have everything left to prove. You still need to transcend what you’ve done, you still need to maintain it, you still need to outdo what you’ve done. You still need to affect parts of the world you have not yet touched. It’s a big planet and there are many parts of the planet [where] we haven’t really made our mark yet. For the parts of the planet that we have made our mark on, we have a long, long way to go. Our potential certainly has not been reached, so I think we’re still full of hunger. We

still want to make it grow and cultivate it for years.” One such country Draiman hopes to further conquer is Australia. No small feat though, especially considering the band’s high chart positions and rapidly increasing drawing power as a live act on these shores. This time around, they’ll share the stage with American metal stars Trivium and As I Lay Dying. “[We’re hoping] to continue to grow things there,” he says without hesitation. “We’re expecting as an intense a crowd as we are accustomed to from the Aussies and [we want] to just raise the bar once again. Right now we’ve got three new songs in the set. We’re just playing a 65-minute set because it’s a festival run and there’s time to be shared between the bands. All the new material goes over huge – huge. We play Asylum, Another Way To Die and we just added The Animal to the set. The reaction for all three of them is monstrous, so we’re very pleased with it. “[We want] to bring the Disturbed live experience that people haven’t seen from us yet and to bring hard rock and heavy metal back to Australia in fine fashion. I’m pleased that things are growing [here] and I hope it continues to do that. You want to be always able to grow, you always want to be able to build your fanbase, you always want to be able to go to even larger venues, hit more territories within Australia, you want to go ahead and just permeate as much of it as possible. Not only go to number one, but stay number one for a couple of weeks. There’s always higher that you can aim; I don’t think you should ever limit yourself.”

WHO: Disturbed WHAT: Asylum (Reprise/Warner) WHEN & WHERE: Sunday 24 April, Rod Laver Arena

Metallica: transcend the metal genre

HERE TO STAY A recent review on online hard rock site Blabbermouth suggested that Disturbed had yet to prove themselves as possessing the staying power of heavy music luminaries such as Metallica or Korn. When Inpress mentions this to Draiman, it turns out he does have a sense of humour about it, even though Disturbed are one of said site’s posters’ favourite whipping boys. “It’s typical that you would have read something like that on Blabbermouth,” he laughs good-naturedly. “Only time will tell; I would never be so presumptuous as to say, ‘Oh, absolutely we do.’ All I can say is that we’re sure as hell going to try.”

On the metal message board front, it seems like Disturbed cop it from all angles. How does Draiman distance himself from all of that banter? “I don’t bother with it,” he emphasises. ”If I ever do go on the site [Blabbermouth] it’s just to read the news; I don’t look at comments. I’m not going to be affected by a few hundred manipulative little troglodytes who sit behind their keyboards and pass judgement on anything that has sold more than a hundred thousand copies,” he laughs. “I have no interest in it. It’s very valuable as far as news in the rock world is concerned, but as far as the commentary and everything else? I could care less, they can go fuck themselves,” he laughs. “The good ones, thank you. The bad ones – whatever. I’m the one doing the job, I’m the one out there – you’re the one sitting behind your computer.” However, like Metallica, Disturbed have transcended metal and hard rock in terms of their widespread following. One wonders how he has his own band pegged. “We still do view ourselves as a metal band,” he says. “It’s the classic metal bands that are our direct sources of influence and inspiration. I think if we had come out 20 years ago, there’d be no question of what category we fall into,” he chuckles. “I think there have been so many different genres and sub-genres within metal itself these days that it’s almost hard to classify anything anymore. I always find it incredible how insistent people are on stamping a label on something. Truth be told, it doesn’t matter to us what we’re ‘classified’ as. At the end of the day, we will always make the music we make and it will always be Disturbed. It won’t make much of a difference to us.”


THE SIXTH SENSE There are far fewer onstage injuries at CHILDREN COLLIDE shows these days, singer JOHNNY MACKAY tells TONY MCMAHON, as the band prepare to head out on tour in support of new single Arrows.


n the back of their frenetic second album, Theory Of Everything, a monster single, Arrows, and huge shows at the Big Day Out, Melbourne three-piece Children Collide are embarking on what promises to be a truly memorable series of gigs around the country. For anyone who has observed even the smallest aspect of this band’s hardworking yet still meteoric rise over the past years, the Arrows tour is sure to be nothing short of unmissable, with the band’s trademark energy and enthusiasm and straight-ahead musicality on display in no uncertain manner. For a perspective on what to expect, Inpress has tracked down guitarist and vocalist Johnny Mackay. The first thing we want to know is how fresh the single feels to the band after all this time. Interestingly, Mackay says the song has had something of a new lease of life. “Actually, it’s not that bad,” he explains. “We weren’t really playing it live at all,

so in a way it feels kind of quite new. We mix things around every tour and Arrows only recently came in.” How does Mackay see Arrows in respect to the rest of Theory Of Everything? It seems that, according to him, one should never underestimate the role of humour in deciding which songs to release. There’s probably even a profound life lesson in the story he tells, but this writer, for one, is too thick to say what it might be. “Nearly all the singles we’ve ever had, and my parts in particular, have been a kind of joke. In particular the chorus. The chorus was originally an outro that I wrote as a joke. Whenever that happens, it always ends up being a single. We tried it out as a chorus; we went into the studio and recorded it and kind of thought that it should be a single. That was how that happened, really. It seems that whenever I think I’m taking the piss, it ends up being a single.” Researching the press material available on Children Collide’s upcoming Arrows tour, it strikes Inpress that this is an extraordinarily well-structured undertaking, considerable deliberation having obviously been given to matters such as venues, dates and support acts. Surprising as it might sound – and without wanting to name names – this is not something that happens every day. A lot of bands subscribe to a much more laissez-faire approach that might involve a thought process consisting of little more than the notion that once a record is released it should be toured wherever and however it can be. Inpress thinks Mackay is being slightly modest when he deflects this praise onto those around him. “We’re very thoughtful about it. We’re very, very careful. And I can definitely attribute that much more to our agent and manager than I can to us. We’re very lucky to have those guys. They work all that stuff out very cleverly, so of course it’s all very intentionally and strategically put together to make it work.” Then there’s the question of whether or not this tour will throw up any new material. Is album number three beginning to take shape yet on the stage? Mackay appears to be slightly reluctant to talk about new songs, but doesn’t entirely rule the idea out. “You never know. We are actually beginning to write album number three. We’ll see. It’s weird, though, you know, we generally do our own tours now and the crowd tends to know all the songs – which is amazing and really humbling – so throwing in new stuff, sometimes it works and sometimes it doesn’t. We’ll just have to wait and see.” Fair enough. Let’s talk about the support acts. As mentioned above, the intricately planned nature of the Arrows tour even extends to choosing bands that will add fuel to the general fire of the show. Sydney’s Red Riders and Young Revelry, from Perth, both have long histories of performing with Children Collide, and Mackay indicates that this was a huge factor in their inclusion. And don’t think for a minute that just because he’s the frontman in one of Australia’s hottest bands that there’s going to be any television sets in swimming pools action: Mackay also says he’ll be snuggled up at a very un-rock’n’roll hour. “We did a tour years and years ago supporting Red Riders around the country. They were nice enough to take us out and it’s nice to be able to return the favour. And they’re all really good guys that we get along with. Sometimes it’s good to take a punt on a band that you don’t really know that much, but it’s nice that we know we’re going to have a good time on this tour. Although, it’s like eight or nine shows in a row, so I won’t be able to party at all. I’ll have to go to bed early. If I sing that many shows in a row, I need to do that. I have to be careful, but it’ll be great to be on the road with a bunch of good dudes.” And talking of being on the road, it’s tough to let Mackay go without asking about some of his band’s recent shows such as [US music conference] South By Southwest or the Big Day Out. Not surprisingly, his answer reflects more his status as fan than star. “South By Southwest was amazing. We’d been there before, so we were a little organised, or as organised as you can be at something so chaotic. Luckily we had a friend there who was really organised and she wrote everything down and helped us get out and see bands every day. I think that’s really important because it’s easy to get swept up in playing your own shows and not actually enjoying the festival. It’s so chaotic. The Big Day Out was, god, what you’d expect, really. It was amazing. We played quite early – we were on between 12 and one, I think – and we weren’t even on the main stage, either. We didn’t expect many people, but we’d get there every day and there’d be thousands of kids there watching us. Every day we were pleasantly surprised. We thought there’d be about 200 people, but I guess you forget about when you’re 16 and you save up all year for a Big Day Out ticket how passionate you are about seeing all the bands.” Of course, for every kid who has managed to save up for that concert ticket, there would be lots of fans who have yet to see Children Collide live. Mackay says they’re in for an injury-free display of an ancient internal Chinese martial art, but with a decidedly modern twist. “I guess the thing people do talk about with our live shows is that there is a couple of points in the set where we go a little crazy. We used to hit each other in the head with our guitars. Not intentionally. But we’ve recently developed a sixth sense where I feel like we’ve got awareness of each other. We can feel the headstocks of our guitars whizzing past our faces but we don’t connect any more. It’s like a sped-up rock tai chi.”

WHO: Children Collide WHEN & WHERE: Friday 22 April, Prince Bandroom



CROWD CONTROLLER “I don’t have time for the whole Nirvana not playing Smells Like Teen Spirit thing,” UK punk singer/songwriter FRANK TURNER tells DANIELLE O’DONOHUE as he prepares to mark a thousand shows of sing-alongs.


ust four days after English singer/songwriter Frank Turner plays his last show on his current tour of Australia, he’ll play a pretty special show at London nightclub the Hearn Street Car Park. Playing a show in London might not seem particularly remarkable, but it will mark a pretty impressive milestone – Turner’s 26 April gig at the Car Park is his 1,000th show. Even more remarkable than the milestone itself is the fact that Turner has counted, and not just counted but has a list of, every solo show he’s played since the break up of his punk band Million Dead. He also has a list of every Million Dead show he played. “I’m slightly OCD about the whole thing,” Turner says. “I’m absolutely, deeply mortified to say I didn’t keep lists before Million Dead, which really annoys the crap out of me right now because I toured with a few bands before then and it would be wonderful if I had the complete list of those as well, but I don’t.”

In the 1,000 shows and fi ve years that Turner has been playing since the demise of Million Dead, he’s performed every kind of gig imaginable all around the world. “I’ve played bedrooms, I’ve played rooftops, I’ve played squats, I’ve played hallways in many different places.” However, Turner has also toured through the US as a support act to The Offspring, supported Green Day, appeared at the Reading Festival, where he’ll return to take to the main stage this summer in the UK, and late last year played to several thousand people at Brixton Academy. It’s been a steady rise for Turner. The punk vein running through his passionate singer/songwriter fare makes it perfect for singalongs and a passionate response from his audience. His last album, Poetry Of The Deed, was picked up by Epitaph in the US and Turner became hot property. Now, as he arrives in Australia for a quick solo tour, his new album, England Keep My Bones, has been scheduled for release in early June – just in time for those UK festival crowds to learn all the words for sing-alongs. “I guess I have to confess that I’m a sucker for a sing-along and there are moments in my songs that are written with that in mind. I don’t know that that’s something to necessarily hide or be ashamed of in any way, but quite early on I started becoming one of those ‘sing-along artists’. Now it’s sort of become this thing that people make a conscious effort to make sure they know the words to certain songs so they can come to shows and yell along with everybody else. I’m not entirely sure why it’s evolved into this thing that people do at my shows, but I’m not complaining about it.” Turner says writing songs with a big sing-along moment doesn’t always work. An artist can never pick a crowd’s reaction to a particular song. “It’s not just about the singing along thing. I think every song you write is supposed to evoke certain emotions and go certain places and sometimes they’re successful and sometimes they’re not. I think everyone has songs that they think in the studio or in their bedroom or wherever, ‘This is the shit, right here’, and then you get it out in front of a crowd and no one gives a damn. And it gets quietly retired from the setlist. “There’s even songs that you start off liking but you get very bored of after a while, but if people want to hear them… At the end of the day I don’t have massive time for the whole Nirvana not playing Smells Like Teen Spirit thing simply because you should be grateful for the fact that everybody likes one of your songs. There are an awful lot of bands where no one likes any of their songs. We’re entertainers and we should be grateful for people liking some of what we do.” Though Turner’s tour down under is solo this time, he assures Inpress that next time we’ll get to see him in band mode. Though the line-up is permanent, and Turner rarely plays solo any more, especially at home in the UK, the moniker The Sleeping Souls has been a long time coming. “On a practical level it’s actually something that we’ve wanted to do for quite some time. We just had insane… well, not arguments, it’s just no one could agree on a name. I had some brilliant names for them but they turned them all down. Actually, my favourite one, I wanted to call them The 1970s – Frank Turner & The 1970s. I thought that was pretty cool. Not least because they were all born in the ‘70s and I was born in the ‘80s so I thought that would be cool, but no, that was rejected out of hand by the board.” Turner, though, can see the irony of naming the band now. Though Poetry Of The Deed was very much an album band, England Keep My Bones is much more of a solo album. But Turner believes it’s only his strengthening relationship with the band that has allowed the change. “It’s paradoxical, I think it’s because we’re better consolidated as a unit that has allowed this record to sound how it does. I think the thing with Poetry Of The Deed, for me, looking back on it, I was quite excited about having a band come into the studio. It was like my new toy. But as a result the arrangements on that record are very much gleaned as a full band and everyone plays on every song. “It’s fine, but looking back on it I kind of feel like the dynamic range of the arrangements on the record is not as wide as it could’ve been. Now because we’re a better consolidated unit and we’re more comfortable with each other, I feel confident in turning around to Nigel [Powell, drums] and saying, ‘You’re not playing on this song,’ or whatever it may be. I think the fact that we’re more settled is reflected in that.” And Turner admits he needed to make Poetry… in order to better understand the band dynamic and fi t them into his musical model. “Before Poetry Of The Deed, every record was basically me doing my thing. And Poetry… was the first time there were other people in the studio with me playing on stuff. I think it became a more collective thing for a moment. At the end of the day, I don’t want to just be in a normal band. If I did, I would do that. This is still my project and I’m still the dictator of the creative process.” Before he has to worry about England Keep My Bones and 1,000th shows, Turner has another important milestone. “I’m not just saying this to garner favour with an interviewer but I adore coming to Australia. It’s like my favourite place… to tour… ever. The first time I came over with Chuck Ragan, who’s an old friend of mine, and Chuck had been telling me for years that Australia was the promised land of touring and after a while… you know when someone keeps saying something for ages, you kind of start calling their shit. So he eventually invited me to come to Australia with him in order to prove a point, which he did very successfully. I am very excited about coming back.”

WHO: Frank Turner WHEN & WHERE: Tonight (Wednesday), Arthouse


UNIVERSAL APPEAL Few songwriters have had careers as varied as that of BUFFY SAINTE-MARIE: she’s penned an Oscar-winning love song, had her music suppressed by the FBI and CIA, and introduced Native American programming to Sesame Street. DAN CONDON meets a true original.


uffy Sainte-Marie cut her teeth in the now renowned 1960s coffeehouse scene of New York’s Greenwich Village and Toronto’s Yorkville, as well as at folk festivals around the US, though she never intended to be a performer.

“I went to New York; I had just graduated from college – I had a teacher’s degree and a degree in Oriental philosophy and I thought I was going to go on and get my PhD,” she begins. “But all of a sudden I decided to try my luck at singing because I had been singing around my campus at the University Of Massachusetts. Besides the love songs I had written, I was also singing songs like Universal Soldier and Now That The Buffalo’s Gone. I never intended to become a singer, but I really believed in the power of song right from the beginning. I didn’t know anybody else who would sing any of my songs because, you know, I was just a young student, so I sang them myself.” It’s ironic, given she has become one of the most widely covered artists in contemporary music. Her 1962 song Universal Soldier became a protest anthem in the 1960s after Donovan’s rendition hit the Billboard charts and her stark, passionate protest music continued to be embraced by a huge number of artists from that booming folk scene. But Sainte-Marie’s adept knack at penning love songs has been her most fiscally successful endeavour; Joe Cocker and Jennifer Warnes’ version of Sainte-Marie’s multi-award-winning Up Where We Belong remains a staple on radio playlists the world over and her Until It’s Time For You To Go was covered by everyone from Elvis Presley to The Monkees to Françoise Hardy, to name but a few.

we wrote a whole lot of shows and they asked me to become a semi-regular on the program. “Though we did go to reservations and we did Native programming, we also did things about breastfeeding, which had never ever been done on television and probably haven’t since – it’s on YouTube, but people keep taking it down and other people keep putting it up. We also did sibling rivalry episodes and multiculturalism. I brought them to my backyard in Hawaii and we did all kinds of multicultural things. They were just the best; you can’t imagine what a privilege it was.” WHO: Buffy Sainte-Marie WHEN & WHERE: Wednesday 20 April, State Theatre; Monday 25 and Tuesday 26 April, Bluesfest, Byron Bay

“Even though a lot of people are still arrested by some of my protest songs, they don’t realise that it’s been my love songs that have enabled me to remain an artist without having to have another job,” she admits. “Most people aren’t even aware that I wrote Up Where We Belong or Until It’s Time For You To Go and some people think Donovan wrote Universal Soldier, because songwriters seldom have a publicist,” she laughs.

When I found out that I had FBI files, I had to see for myself.”

In the late 1960s and ‘70s, Sainte-Marie’s music began disappearing from radio playlists across the USA and the invitations for her to perform on popular television shows dried up instantaneously. Distributors would ship records, but they never made it to stores. Sainte-Marie figured her time in the spotlight had naturally ceased, though in the 1980s it was revealed that her music was being suppressed by both the Lyndon Johnson and Richard Nixon administrations due to its overtly anti-war, pro-indigenous sentiment. “They don’t tell you, ‘You better shut up or we’re gonna blacklist you,’ they just take you out,” she says. “Your name no longer appears. If you do get an invitation to a big television show, you’re told only to sing your love songs, that protest music is no longer in fashion so we want you to just bubble and squeak and sing your love songs. I didn’t find out until 20 years after the fact that I had been gagged in the United States. I had no idea, because I was having a huge career elsewhere and I just thought the public probably just got sick of me. I had no idea that there was any administration strategy to it. “When I found out that I had FBI files and things, I had to see for myself. I didn’t really believe that I did. I found out indeed it had happened to me. And about three years ago I found out that it wasn’t just the FBI, it was also the CIA. Some guy showed up on the internet, he was a former CIA agent, and he admitted to having been part of the suppression of my career and others during those times,” she sighs deeply. “It’s certainly not very nice but I think it has to be expected. I think that war is very important to some people. And if somebody’s into that – whether they’re part of a government administration or just part of some corporation who likes to make money – they’re not going to want to hear alternative opinions get very popular.” While she enjoys an active touring schedule these days, SainteMarie doesn’t feel her protest music packs the same punch it once did during the student movement of the 1960s. “The difference is, the audiences now are not being motivated by the draft and the Vietnam War, so something like Universal Solider doesn’t already have a built-in audience,” she considers. “It’s almost a novelty, because people so seldom hear something like that – a commonsense, easy to understand statement. Of course in the ‘60s it wasn’t just me, it was students everywhere who were using their guitars and their artwork and their social networking to bring a war to a close so they wouldn’t have to get killed in it. It’s a little different now.” While her music may have been suppressed in the 1970s, SainteMarie was reaching a wider audience than ever as she became a semi-regular on Sesame Street from 1976 through to 1981. “I’ve gotta say it was one of the best experiences of my entire life,” she says of appearing on the legendary children’s program. “I told them I didn’t want to do the alphabet or count from one to ten and I hung up the phone and thought they’d never call me back. The last thing I said to them was, ‘Have you ever thought about doing Native American programming?’ and they said, ‘No.’ But they called me back and said they’d like to do some Native programming, so


THE ARTY’S OVER The closure of North Melbourne venue THE ARTHOUSE at the end of this month will leave a gaping hole in our punk and hard rock scenes. BRENDAN HITCHENS reminisces with some of the key figures – from both sides of the bar – who’ve left their mark on the pub over the past 20 years. H-Block 101 in 2005

the success of the venue to its family-like environment, one that extends well beyond bloodlines to include bands and punters alike. Curating the final month of events, Collins says there will be something for everyone, from “new bands who are doing really well to old favourites,” listing Dennis Lyxzen from Refused’s new band AC4 as one of the shows he is most looking forward to, perhaps with a sense of irony that the man most famous for his Shape Of Punk To Come prophecy is a footnote in a venue that created just that. In 2001, H-Block 101 were at their politically charged best. Fresh from signing a deal with a Universal imprint and playing stadiums across the country with The Offspring, the band were set to take their blend of ’77-inspired punk rock to the world. A decade on and six years since calling it quits, their influence remains strong, selling out the venue’s final show in just 35 minutes. The longevity of the band was due in part to their shared ethos and lack of gimmick. Guitarist/singer Karl Mautner admits while there was some apprehension about momentarily reuniting, continuing a 20-year strong legacy was too hard to neglect.


t the end of the month, long-running North Melbourne venue the Arthouse will close its doors to live music. A beacon in the Melbourne music community, the venue, even listed in Lonely Planet, has hosted music six nights a week for the past 20 years. Over the next few weeks fans will have the chance to say goodbye as some of the country’s finest punk, hardcore and metal bands grace the stage for one last time. There’s perhaps no band with a greater connection to the venue than A Death In The Family. The group’s drummer, Matt Bodiam, also of H-Block 101, is part of the family that owns the venue. He literally calls the Arthouse home by living upstairs and has been running the recording studio attached to the building since 2004. Similarly, Atom Simpson, the band’s singer and former member of Days Of Iris, has spent time as band booker and bar manager. The band’s newest recruit, Jamie Hay, is certainly no stranger the stage and will be honouring the venue in its final month with his two other projects in Conation and Fear Like Us. Bass player Andrew Hayden also runs Poison City Records, a label with a strong affinity to the venue. “The Arthouse has been an integral part of Poison City since day one,” he reflects. “From giving the bands on our label a great venue to play

at, to hosting the Weekender Fest or just encouraging us to adopt that same sense of community that has been vital to the Arthouse for so many years.“ The band have shared the stage alongside Against Me, The Gaslight Anthem, Cro Mags and Sperm Birds and, in 2006, released their debut album, fittingly recorded at the venue. “We invited our good friend Frankie Stubbs (guitarist/vocalist from UK band Leatherface) to Australia for a few months to help us with the album. In hindsight I’m so happy we chose to record This Microscopic War in such a DIY kind of way and doing it within the walls of the Arthouse makes the memories of making this album all the more special.” Mention the word ‘Arthouse’ to any self-respecting hardcore fan and sure enough they’ll respond with a Mindsnare story. Since forming in 1993, the venue has been a ‘home ground’ for the band, taking to the stage on countless occasions. Gordy Foreman, drummer for both Frenzal Rhomb and Mindsnare, believes what sets the venue apart is the attitude of the staff and their enthusiasm for punk rock. “They’re just so willing to give any band under the loose umbrella of punk a go, regardless of whether they’re an overseas band that’ll sell out in five minutes, or some kids from a garage in Broady that’ll play to five mates on a Wednesday

night.” Although it’s been more than a decade since Frenzal Rhomb last played at the venue, it’s almost a yearly ritual for Mindsnare to play at, and sell out, the Arthouse. Listing Municipal Waste’s tour of 2006 as a personal favourite, Foreman also recalls the first time the sold out sign was placed on the Arthouse door for one of his bands. “The first time Mindsnare sold it out was crazy. Beltsy and I pulled up to a line of people stretching round the block and couldn’t actually believe it was for a show we were playing.” Former Tasmanian and now Melbourne band The Nation Blue played at the Tote’s initial farewell last year and singer/ guitarist Tom Lyncoln says there are parallels between the two venues. “As far as their contribution… they’re not buildings, they are more like institutions and I think that’s largely lost on the kind of people who speculate on property markets. The hole that this venue will leave could be argued to be even more substantial than what the Tote threatened just because of how ingrained the Arthouse is in a couple of large musical communities in Melbourne.” Dave Collins has been the band booker of the Arthouse since 2000, having spent countless nights at the venue prior as the bass player of Mid Youth Crisis. He attributes

AUSTRALIAN STORY Working with The Go-Betweens’ Robert Forster and hanging out with Shane Howard and Archie Roach has had a huge impact on Brisbane eight-piece HALFWAY, singer/guitarist JOHN BUSBY tells MICHAEL SMITH. In 2008, Halfway found themselves being actively nurtured by one of their Australian influences when Busby and Dale won the Grant McLennan Fellowship, which allowed them to travel to London for five weeks that November, writing along the way before returning to go into the studio to record An Outpost Of Promise with former Go-Between Robert Forster as producer. “The old Go-Betweens bass player John Willsteed has just joined the band, actually. It was one of those things – he just lived down the road and liked the band so he just joined!” The bulk of the material on the album had already been written before they won the Fellowship – in fact, demos of those songs were part of their submission – so apart from writing a couple more songs when they went to London, Busby and Dale used the time to refine the arrangements, though they also managed to play a few shows as a duo, including at the iconic Borderline, where not only did one of their American heroes, Townes Van Zandt, play his last gig but where Grant McLennan and Ed Kuepper had also played.


hen you check out their website, the rave on Brisbane eight-piece Halfway notes that their influences are Dylan, Springsteen, Big Star and The Replacements, and the kind of music they play can be filed under Americana. One listen to the latest album, An Outpost Of Promise, however, and it’s pretty obvious the music is very much rooted in the likes of Paul Kelly, Shane Howard, Neil Murray, The Go-Betweens and The Triffids. “We love all those guys, absolutely,” singer and guitarist John Busby, one of the two core songwriters, alongside Chris Dale, admits. “We met Shane Howard not long ago. Chris and I did a little songwriting retreat up north, back near our home [both are originally from near Rockhampton in northern Queensland], and he was doing it with Archie


Roach and it was one of the best times in my life, him and Archie around the campfires. It was amazing. “But yeah, we have a huge bank of music we get into when we write. We don’t try and be Americana in any fucking way, we just try and write good songs. We’re working on a couple of new ones now and we don’t genre-hop or anything but to keep it fresh we just try and take all our influences and make it our thing. I guess we do listen to a lot of American music but we listen to a stack of Australian stuff as well – you just listen to as much good music as you can. I guess it’s a bit of a music appreciation club, the band. We play basically rock’n’roll songs or pop songs; they’ve all pretty much got a rock backbeat and we just move from there.”

“In London, Chris and I really thought hard about the record and what sort of shape it was taking; not so much the shape of the songs – they were pretty much already together – just what songs were going to fly and what weren’t. Song selection’s tricky, what songs work together, trying to theme the record but keep a loose theme to it. “We’d made some pretty busy records [2004’s Farewell To The Fainthearted and 2006’s Remember The River] and obviously, with Robert, he’s a bit of a minimalist and there’s beauty in that, so we started with this record a different way. Rather than just have the band fly through the songs – ‘Yep, we like that, let’s record it’ – we worked from the ground up. So we started pitching the songs to Robert, just as an acoustic thing with Chris and I and we essentially added one instrument at a time as he’d come over to our rehearsal spot, all the way up to eight, and Robert would say what was working and what was clashing and we’d chat about it in detail. So everyone pitched their parts individually – which is quite unusual.”

“Sometimes the memory of things is way better than it actually was at the time, so from one perspective it’d be disappointing if the show didn’t live up to people’s expectations,” he says. “From another perspective, who gives a shit? It is what it is – four people getting back together to pay respect to a venue we love and end the 20 years that it’s been around with some good times, good friends and good tunes.” Describing the Arthouse as, “a place to see bands, hang out with like-minded people and be inspired – whilst still retaining your own identity,” Mautner and H-Block 101 have the near impossible task of performing a closing set at the venue that encapsulates the 20-year strong history. While The Drones sent off the Tote prematurely with an emotional rendition of God’s My Pal, what song will H-Block 101 blast out as the final ever song played at the venue? “I never even considered that dilemma until you mentioned it,” Mautner jokes. “We’ll either go with something energetic and inspiring to epitomise what the Arthouse has been about, or something scathing of the modern-day culture that causes such great venues to close in the first place.” London has the 100 Club, California has 924 Gilman Street, New York had CBGBs and Melbourne had the Arthouse. Vale the Arty.

A full list of the Arthouse’s final shows can be found at

Busby might feel that what Halfway are doing is rock’n’roll, but it’s obviously a form with a strong element of folk/roots/country, and the thread that weaves those genres together is storytelling. “I guess the stories… I draw on the past a bit; I try not to get too wrapped in sentiment or whatever. One or two are always about home. I come from Rockhampton, which is a pretty small town, a pretty tough little town – there are plenty of stories there – and my dad, he led a pretty amazing life and I draw on a lot of his stories. He used to be involved in race horses, he was a race rider and a trainer and all this stuff, so I pinch stories from him – I just pinch ‘em from all over the place really. “[The song] Monster City is about home, Bluebird Tattoo is the sort of thing you make up; I just worked on it from the point of view of these two guys… I just draw inspiration from one thing and kind of try and turn it into another. You never want to be too straight down the line with these things, you want to leave a certain amount of room for interpretation, you know. I guess just going out and being a kid and you see things go wrong or go good… “It’s like any story that sticks with you, resonates or whatever. Tortilla Code, just a bunch of us read the book [John Steinbeck’s 1935 novel, Tortilla Flats ], which was fantastic, and I had a few chords and Chris said, ‘Give me a go at this, I’m going to pinch these characters from Tortilla Flats,’ and we’d never done that before so it was exciting you know, seeing our little version of the book take flight. “It’s the working week as well,” Busby admits – he’d taken time out from the day job to take the call for this interview. “You can get a lot of stories from the average bloke. I love stories about just people’s days – well obviously you wouldn’t want to document every fucking day but every now and then you get a day where you go, [a realising] ‘Right…,’ you know what I mean? That’s the beauty of a song because you can make something quite simple quite beautiful.”

WHO: Halfway WHAT: An Outpost Of Promise (Plus One/Shock) WHEN & WHERE: Friday, Espy; Saturday, Yah Yah’s






OUCH MY FACE BUILD A HOUSE/EYEBALL TO EYEBALL MGM Look, if by some banal circumstance Ouch My Face aren’t your favourite Melbourne band yet, I feel bad for you, son. The brilliance of their debut EP has sustained me this past year or so, and now patience is rewarded with this exceptional double A-side. Build A House is cut from the same scathing cloth as Obscena Misdemeanour, finding Celeste Potter in fine screaming form while Steven Huf and Ben Wundersitz churn in metal symbiosis; on the flip side, the sinister playground chant of Eyeball To Eyeball is sparse and exhilarating. There’s nothing about this band that isn’t on point and thrilling, and there’s nothing about that that’s not summed up by this single.

JENNIFER LOPEZ FEAT LIL WAYNE I’M INTO YOU Universal Sometimes it’s easy to forget that once upon a time – the turn of the century, if you need a reminder – J-Lo was a seemingly permanent presence at the top of the charts. Now, there’s something oddly out of time about her musical persona; perhaps it’s because so far both singles from her latest have sampled or referenced dance pop sounds that were already stale in the mid-’90s?

THE KILLS FUTURE STARTS SLOW EMI Though I’m not normally one of those “play your old stuff” fogeys, there’s something pleasing about The Kills’ having returned (in some way) to their more visceral simplicity after the offputting metallic tang of Midnight Boom. There’s a strange melancholy to Future Starts Slow, in spite of its Kills™ sturm und drang; maybe it’s because the chiming guitars have a hint of that particularly maudlin brand of thoughtful ‘80s stadium rock a la Simple Minds. Either way, it’s good to have you back, guys.


YEO BAG-O-ITEMS Other Tongues


This album is a perfect display of why three-time Grammy winner Lucinda Williams was once named America’s Best Songwriter by Time magazine. Although somewhat more demure instrumentally than previous records, Blessed still manages to exhibit the same lyrical intensity and depth that has come to be her trademark.

Yeo Choong plays every instrument and sings almost every harmony on his second album, Bag-O-Items. Following on from his debut Trouble Being Yourself, released independently back in 2007, Yeo’s new gem, courtesy of Other Tongues, is an album that consists of stories about the everyday. Whether he’s singing about food or the ups and downs of relationships, Bag-O-Items is an eclectic mix of energy and passion combining funk, hip hop, R&B, rock and electronica.

A review is first and foremost a recommendation. So I should begin by saying that I cannot recommend the latest effort from Brisbane ‘new music’ stalwarts Topology highly enough. Difference Engine is an extremely accomplished record. It is rich and gorgeous and playful and urgent. It has charm and depth and, above all, vitality: life, vigour, exuberance.

One of the most remarkable things about Williams is that she is able to jump from doing a ballady blues number one minute to belting out good old-fashioned rock as it should be, the next; it’s unpretentious, melodic and at times, harrowing – a skill which few artists have been able to master, but which many fail dismally at all the time. Luminaries Elvis Costello and Matthew Sweet perform electric guitar and back-up vocals respectively on Buttercup, Soldier’s Song, Convince Me and Copenhagen, giving Blessed a laid-back, bluesy feel. It’s the kind of record to listen to if you want to set the mood for a great night in with a bottle of vino. Not every artist can sing with a slur and pull it off without sounding like they’ve consumed a few too many glasses of whisky. Williams’ weary slur, however, which has become increasingly more prominent over the years, coupled with her raspy intoxicating voice, rather than detracting from the music, adds gusto to the already incredibly raw honesty of her songs. Tianna Nadalin

Hey Mr Sound Man is the first track off the record and one that bursts with attitude with Yeo claiming, “You ain’t heard a motherfucker like me before”. Sounding quintessentially ‘90s, Yeo’s deep voice is alluring and this track is fun and catchy. Good Food, Music & Love is also a standout, toe-tapping, feel-good song about the three essential ingredients to a good time. Big Heart is a little melancholic about troubled love – “I let you stay with me, but you let me down” – though the chorus is upbeat and optimistic: “Don’t sweat the small stuff little guy/it only looks big ‘cause you’re just a little guy”. With eight tracks clocking in at less than 30-minutes, Bag-O-Items is an album that is an easy and enjoyable listen. Genre-bending and nuanced, it showcases Yeo’s creative musical talent. This bedroom producer from Brisbane who was discovered through Triple J Unearthed has a slick sound and a promising career ahead and this album has been gaining attention from around the country. Yeo has been touring recently to promote the new album, and his Thursday he supports Kimbra at the Corner Hotel. Danielle Trabsky

More specifically, Topology’s seventh album since their formation way back in 1997 comprises four distinct works over ten movements, all for a basic quintet of piano, bass, viola, violin and saxophones, with the addition of djembe on Robert Davidson’s exquisite Exterior. There is an extent to which Difference Engine can be understood as an exploration of the relationship between the mathematic and the organic, the mechanical and the vital: or to put it somewhat more poetically, the difference between clockwork and a pulse. X174, for instance, is named after a bacteriophage and was composed in part by mapping DNA letters to pitches to create melodic and harmonic material. The record itself is named after “the world’s first computer”, Charles Babbage’s “difference engine” from 1822. All this is evident acoustically primarily in terms of the use of repetition which, although it is undoubtedly a key part of the compositional vocabulary, never (d)evolves into a full blown minimalism. Rather, it provides the music with its heartbeat and its considerable drive, if not necessarily its soul. That comes, of course, from the performers themselves: Babbage, Hoey, Powell, Colbers and the two Davidsons. This is an album which sounds as though it has been wrought from the best part of 15 years of both friend- and musicianship. James Parker

AVRIL LAVIGNE SMILE Sony There can be nothing more cringe-inducing than a formerly tween-focused artist trying to break out of the shackles of their non-threatening past by unleashing a spray of swears. Take this opening line, for example: “You know that I’m a crazy bitch […] But you don’t really give a shit/You go with it/’Cause you’re fucking crazy rock’n’roll.” Later, she burbles, “Last night I blacked out, I think/What did you put in my drink? ” OKAY AVRIL, WE GET IT. Embarrassing and depressing.

QUEEN FEAT ARMAGEDDON AKA GEDDY I WANT IT ALL/WE WILL ROCK YOU Sony Speaking of embarrassing and depressing, here’s the “best” song from the storied cinematic masterpiece, Sucker Punch. This plodding “mash-up “ of Queen’s two biggest/dumbest songs with a frat boy rap by the otherwise anonymous Geddy (or is it Armageddon? Make up your mind, dude), with a refrain that runs “You got what I want and I need it right now/Give it to me baby, I don’t care how”, it’s the perfect match for FHM-mag visions of cheesecake painted as female empowerment.

MOBY THE DAY EMI Man, remember when we all lost our minds about Play? Remember when he licensed all those songs and it wasn’t that bad, because we actually wanted to hear them everywhere? Yeah, well, those days are long gone, and The Day sounds a bit like a Home Brand “Heroes”/Low-era David Bowie attempting to chase both the Packed To The Rafters audience and his very own ‘Triple M Rocks’ bumper sticker. It is, as you might have guessed, a fairly sickmaking combination.

SADE STILL IN LOVE WITH YOU Sony There’s something impressive about artists like Sade who never really change, and just keep powering along at their own speed, doing what they’ve always done regardless of fashion or label meddling. In other words, Still In Love With You is the sort of extremely classy slow-jam that you would hear in an ‘upmarket’ wine bar in Toorak or Camberwell, or perhaps in the background of the next Love, Actually. Which, despite those rubbish descriptors, is actually pretty great.


ELI ‘PAPERBOY’ REED COME AND GET IT Capitol/EMI The major label debut from soul pop youngster Eli ‘Paperboy’ Reed sees the man-boy with the puffy cheeks, the licks and pipes, pump up the production and pile everything on an express train with a one-way ticket to love street. Anyone familiar with his swing and big-band style or who managed to get a glimpse of him and his band impress at Falls Festival a few years ago will be happy to know that Come And Get It is a whole lot of fun, full of big brass numbers soaked in a bag full o’ ‘60s dye, “oh ohs”, “baby yeahs” and Ace Ventura hair. The old time and easy listenin’ Young Girl kicks things off in true Paperboy fashion with that horn section laying the foundations for some foot-tapping. Following on is Name Calling, a presumptuous bash full of energy and questionable lyrics that nonetheless works well in dancefloor situations. The first single and title track Come And Get It shows off Reed’s unbelievable voice, which he backs up with some super-fast strummin’. I Found You Out is another standout track that will appease those who enjoy the positive side of life, and another little sleeper that needs mentioning is Pick Your Battles, a nice string-led, slower number that’s well beyond the age of the man singing. Where the album will let some down is the repetitive nature of the tracks, and more so the same themes and “c’mon baby”s bordering on tedious, especially for those after a bit more substance. It helps if you’ve seen Paperboy live because he’s such a likeable guy, even if this isn’t your cup of coffee, but album three doesn’t quite have the longevity for repeat listens. Still, if you want music that ain’t too complicated and is something you don’t have to think too hard about, this may well be right up your shiny brass alley. Adam Wilding

THE VACCINES WHAT DID YOU EXPECT FROM THE VACCINES? Columbia/Sony It’s always a little daunting to get one’s hands upon a much-hyped band like British outfi t The Vaccines. The buzz from the UK press, hugely successful shows at the recent South By Southwest conference in Texas, and constant airplay (did someone say over-saturation?) on Triple J, have all conspired to lay huge expectations on the band’s debut album, What Did You Expect From The Vaccines?. The Vaccines have only been together for about a year, so the rapid rise is certainly an impressive, though not unprecedented, achievement. So is What Did You Expect From The Vaccines? any good? Well, besides the title being a grammarist’s nightmare, actually, yes. Yes it is. From frenetic opener Wreckin’ Bar (Ra Ra Ra) to slow burners Wetsuit and All In White, the album is full of catchy indie pop anthems that will have skinny-leg jeans and manicured facial hair filling audiences for at least another year or so. There isn’t any genre-bending or experimentation here, but for a good time and a slice of indie street cred, this is a record that will more likely impress than not. The recording quality adds to the overall feeling of restrained improvisation, with plenty of reverb on Justin Young’s vocals deliberately mudding the layers of Blow It Up, although the clarity of tunes like Post Break-Up Sex and the aforementioned highlight Wetsuit showcase the similarities between Young’s voice and that of Noah And The Whale’s Charlie Fink. Eight-minute closing track Family Friend (plus secret track) displays a certain restraint that will hopefully see The Vaccines’ career path follow the trajectory of, for example, Franz Ferdinand, reaching – and catching – the stars. At 37 minutes it sure isn’t going to set the world on fire straight away, but all signs point to a band to watch from here on out. Dylan Stewart

TIM & JEAN LIKE WHAT Mercury Records How depressing is this: Perth duo Tim & Jean, AKA Tim Ayre and Jean Capotorto, have a combined age of 38 years. And between them, they have a grip on the Australian music scene that even the most successful 38-year-old rocker would envy. Their debut album Like What is full of the electro pop that music snobs from Melbourne to Miami will struggle to deny. Full of synths, harmonic vocals and cheeky vocals (“She gets all the boys but she loves the girls” – Afrika ), Like What will have house parties a’rocking and booties a’shaking well into the night. It’s tough to write a bio about a couple of young blokes who started jamming when one of them was still in Year 11, but basically, Tim & Jean have been crafting these tunes in their bedrooms for a couple of years now, and once the duo were finalists on Triple J Unearthed High, the fl oodgates opened. Although their influences derive from the 1980s (think Prince, Bowie), the comparisons between Tim & Jean and other current electro darlings such as MGMT, Passion Pit and a 2007-era Muscles cannot be denied. They recorded most of Like What in Capotorto’s home studio, with additional mixing and recording done in New York. It’s difficult to give an electronic album kudos for sounding improvised and loose, given that so many of the sounds upon it are so tightly constructed, but from the drumbeat intro on the opening title track, it’s clear that Like What is an album of fun times. Whether Tim & Jean will be able to translate the record into a live setting a la The Presets and Cut Copy remain to be seen, although having toured with the likes of Moby, Franz Ferdinand and, gulp, Art Vs Science, surely they’ll have some more aural treats for their fans. Dylan Stewart



ALELA DIANE ALELA DIANE & WILD DIVINE Rough Trade It’s difficult to imagine Alela Diane as anything other than a folk musician. Born to musician parents, she taught herself to play guitar while growing up in Northern California alongside Joanna Newsom – she seems destined for folk royalty. And with her third album, Alela Diane & Wild Divine, she may well be set to achieve it, delivering on the promise of previous works, The Pirate’s Gospel and To Be Still. It is Diane’s remarkable voice that dominates, and its full-throated twang is perfectly accented by the restrained instrumentation provided by Wild Divine (which features her husband and her father, both on guitar). Diane is at her finest with the warm-throated yodel of Elijah, and the mysterious drawl of Suzanne. The subtle banjo beneath her clear, strong call makes The Wind an exercise in folk bliss, while the driving Alela Diane & Wild Divine feels sunnier than previous works, but beneath the warm surface Diane flirts with darkness – the line “How can we learn to lose?/ Death is a hard act to follow ” (from The Wind ) is a deviation from her familiar folk themes. Desire is seductive and enthralling, as is the delicate rhythm of Heartless Highway. Of Many Colours and Long Way Down venture into straight-up Americana territory, which is pulled off without a hitch. On her third album, Alela Diane is by no means reinventing the wheel, and nor should she be. Alela Diane & Wild Divine are well on their way to folk pop perfection. Ingrid Sjölund




The first time you listen to new TV On The Radio album Nine Types Of Light, it sounds like these normally abrasive, chaotic experimentalists have chilled the fuck out. But fear not, dear friends. It’s not all sunshine and rainbows in the state of Brooklyn. The squalls of cutting guitar, the jerky rhythms, the songs that sound like someone’s forgotten to turn off the in-studio radio before hitting the record button, and those maniacal horns are all still there. Apart from lead singer Tunde Adebimpe’s immediately identifiable voice, the thing that sets this band apart from just about everyone else out there are those sharp and dastardly horns.

The Felice Brothers – a close-knit band of two brothers and three long-term friends – recorded most of the songs that made up their first three albums in a converted chicken coop in upstate New York. Their sound has always been distinctly earthy American country folk, so it comes as something of a surprise that their new longplayer is quite as expansive as it is.

Following the departure of their primary lyricist and bassist, not to mention the uncomfortable hiatus following their second release Pretty. Odd, Panic! At The Disco are back with their third full-length album, and ready to seize your average angst-ridden teenager’s heartstrings with gusto.

So before you start moaning that TVOTR have gone soft, really listen, because it is all there. It’s just hidden a little deeper, nestled under the veneer of love songs and slightly more accessible pop. The whole album makes for a thrilling but sinister musical experience. Though New Cannonball Blues is the closest to TVOTR of old, songs such as Repetition and No Future Shock are just as successful at building that all-too familiar unsettling atmosphere. Rather than leaving their old sound behind, TVOTR are just getting better at melding it into whatever new sound they want to explore – and on Nine Types Of Light that means exploring the form of the love song. Keep Your Heart is more tender and gentle than we’re used to from this band but it sits well amongst the entire collection of songs. And that is the mark of this band’s talent. Whether shocking you or caressing their way through a love song, TVOTR have recorded ten tracks that more than stack up against their already compelling catalogue. Danielle O’Donohue

Alongside the more familiar sounds of piano and guitar, Celebration, Florida bursts with horns, ambient synths, big drum beats, bigger basslines, piano, violin and accordion. Not only that, but you’ll even find rave beats and acid jazz here. That’s right, acid jazz. Indeed, you know this album is going to be an experimental outing when a cacophony of raucous schoolyard chanting infiltrates the chorus of opener Fire At The Pageant. While the urge to push the envelope and develop their sound is commendable, the strongest moments on the record still come when The Felice Brothers are at their most delicate, when Ian Felice’s fragile voice sounds as though it could crack at any time. Through the sorrowful reminiscence of Oliver Stone, for instance, Felice’s vocal is so beautiful over soft ivory tinkling that all other sounds – the horns and the added ambience – even though they are pared back, still seem somehow intrusive. However, for all the bells and whistles of Celebration, Florida, The Felice Brothers’ sound remains atmospheric and the sense of genuine Americana is strong. Crucially, their fine storytelling is still present and, whether they are embellishing their songs with added dimensions or not, no-one tells a good old fashioned yarn like The Felice Brothers. Rob Townsend

With the exclamation point firmly reinstated, Panic!’s drastic line-up change does not appear to have hindered their pop sensibilities – instead, it has opened the doors for frontman Brendan Urie’s pen to hit the page, in turn creating a record which perfectly blends the high points of their two previous efforts. But while Vices & Virtues does away with the unnecessary mellow ‘60s-influenced undertones of Pretty. Odd, it noticeably lacks the lyrical bite and pop culture references which made their debut A Fever You Can’t Sweat Out an instant success. Nonetheless, their recent effort is a mature one – laden with addictive pop hooks, layered instrumentation and grandiose choruses, Vices & Virtues is a solid effort. Opening track The Ballad Of Mona Lisa seems like a logical choice for first single, with its twinkling pianos, haunting string arrangements and shout-along chorus, setting up (yet not entirely giving away) the direction taken on the rest of the album. In songs like Hurricane, the emo-pop sound finally rears its head, immediately hinting at the classic Panic! sound as heard and loved on Fever. Personal favourite Ready To Go (Get Me Out Of My Mind) is full of energy and danceability, and is the perfect track for jumping up and down on your bed to, excited for the day ahead. While Vices & Virtues is overall a less cohesive album than Fever, it is a welcomed-return to Panic’s original sound, and remains a convincing and entertaining voyage – one that is sure to win back old fans as well as draw in new ones. Lana Goldstone



MEET THE NEW BOSS He rose through the roots ranks in Australia, but in Europe CARUS THOMPSON is likened to a young Springsteen, he tells TONY MCMAHON.

One of the earliest success stories of the Brit School – other alumni include Amy Winehouse, Kate Nash and Jessie J – IMOGEN HEAP last year moved back to her family home to record her third studio album, Ellipse. By JEREMY WILLIAMS.

of us, putting out lines together. Then at the end, we sat back and listened to it and we just had to have a glass of red and celebrate because, you know, before that there wasn’t anything, and we’d made this thing that we were both really proud of, and it was something really special.” Thompson certainly seems to have carved a workable little niche for himself in Europe where other artist have perhaps not been able to. Interestingly, he says it’s a Boss thing.


ravelling troubadour Carus Thompson has certainly been living up to his title lately. In the last year, he’s recorded a sublime new album, the aptly titled Caravan, in England, Germany and Australia, toured relentlessly across Europe and supported Dave Matthews, Damien Rice, John Butler and The Waifs. Luckily for us though, Thompson has decided to sit still long enough to back the Australian release of Caravan with a national, full-band tour, his first in nearly four years. And the Melbourne via Western Australia singer/songwriter says that, while this is a record that was made on the road, it’s not necessarily that much about the road.


think the secret is that [the Brit School] attracts people who want to do music for a living,” Imogen Heap says. “I don’t think there was anywhere else in England at the time that did that sort of thing. I went in its second year and it was still very much trying to find its feet. It’s partly funded by the BMI [British Music Industry] and so there is this sort of knowledge that it is where people go if they want to do well. They are well connected.” Heap is one of the Brit School’s earliest success stories. Having gone at a time when there were few music school alternatives, she thrived on being able to live out her musical ambitions. It doesn’t take much thinking time before Heap reveals a liking for fellow Brit School alumnus Amy Winehouse. “She really feels the music,” Heap says. “I hope, god willing, she will be able to keep going for a long time. The Brit School gets its fair share of celebrity wannabes, but you can tell that she really feels the music.”

how someone heard my music that I’ve been told.” You are probably more likely to know Heap from soundtracks including The Last Kiss (Hide And Seek ), The Chronicles Of Narnia: The Lion, The Witch And The Wardrobe (Can’t Take It In ) and Just Like Heaven (Spooky ). It could be argued, though, that it was American teen drama The OC that brought Heap to the attention of a whole new audience. For the show she recorded a harrowing a cappella cover of Leonard Cohen’s Hallelujah, which was used as the backdrop to the season two closing scenes. “A cover really isn’t a big thing for me. I got asked to do it and I had some free time and it sounded fun, so I thought, ‘Why not?’ One song I really thought [about covering] which kind of makes Christmas more magical is More by Bobby Darin. It’s so unashamedly happy that it makes me smile every time I hear it. I have no idea what I could do with it though.”

Heap has played music from an early age and is classically trained in many instruments, including piano (her first instrument) cello and clarinet. It is little wonder that with her diverse musical ability, Heap has, to date, self-produced all her own work. Speak For Yourself in 2005 took Heap’s career to the next level. Amongst the many nominations the album received, there were two Grammys. Suddenly, the world was at her feet. Had she wished to, she could have worked with anyone she wanted. “Why would I do that? It’s a great luxury to be allowed the privilege of working on my own records,” she says. Only briefly, back in 2002, was there the spark of collaborative interest. “I met Guy [Sigsworth] when I was 17. We kind of did each other a favour. I worked with his band. I love his band Acacia. He produced my first single, Getting Scared. Guy’s an absolute genius.” Sigsworth and Heap went on to form Frou Frou. The initial concept was that Sigsworth would put together an album, featuring tracks written and produced by him alongside a singer, songwriter, poet or rapper. Heap was the first to be invited along to partake in his new project. He never invited anyone else. “It was a brilliant record. I got so much out of working with him, but it wasn’t easy. I had to get used to him producing and he had to get used to me doing some of the writing.” Though there is nothing in the pipeline, Heap wouldn’t rule out a future project with her “favourite producer on the planet. I plan on making music for another 50 years. We are both so busy right now, but it will happen one day.”

“It is important to try and have fun when recording. I definitely feel relaxed and comfortable in the house.” Heap took a big step when recording her third and most recent solo album Ellipse, she moved back to her family home. Her hope was to release a record that she could say was “truly me”. Though when she moved she had no idea what the record would be about, she realised during the period to build her home-studio that the move in itself was her start. “The house developed the sound of my record. It has the sound of my family house. I had this fear of building a studio at the same as a fear of endless possibilities of where to start. I had some songs written before I started recording, which is rare for me. But I decided that the house should be the starting point as that’s where I am.” It didn’t take long before the house started to come alive for her. She had never noticed as a child that the house had its own distinct sound. “The house started to speak to me as a musical instrument. Whilst waiting for the studio to be built, I would be sat around and I could hear things I had never noticed before. Things I was too busy as a child to hear. Like the boiler clicking, the freezer turning on during the day, the squeaking of the floorboards and the dripping of the taps in the kitchen. They became my inspiration.” Being back at home sparked childhood innocence in her, which aided musically and lyrically. The newfound playfulness allowed her to rediscover the sounds of dragging a drumstick along the banister or moving the light panels in the studio to create a sound. “As a kid you are unafraid to show the emotion you feel.” Lyrically it enabled freedom – previously, on a track such as A-Ha, Heap “wouldn’t have been confident enough to let that side of me out of the closet. I have written numerous songs like it before, but never felt ready to release one. There were some like it on Speak For Yourself, but this time round I just felt comfortable enough to say I am who I am.”

It is hard to believe that six years have passed since Speak For Yourself, given that Heap’s popularity has been growing rapidly in the interim. This could be thanks to the constant use of her material in everything from films to contemporary dance pieces. “Someone told me recently that they went to a restaurant where you eat in bed. I can’t remember its name. But anyway, there they were having this nice romantic meal in bed when the waiter, who was also a performance artist, came over and started to take all his clothes off. The music he was taking his clothes of to was Hide And Seek [from Speak For Yourself ]. That’s the most bizarre version of


WHO: Imogen Heap WHEN & WHERE: Monday, Palais

“They just love singer/songwriters in Europe and the tradition has been around a long time. Whereas in Australia I got my breakthrough in the roots scene, in Europe they just see me as a singer/songwriter a bit like Bruce Springsteen. A couple of newspapers over there referred to me as something like a young Springsteen, which was really nice.” Despite the fact he has, quite obviously, been tearing up the continent, Thompson is decidedly looking forward to playing his home country again. This is especially true of his adopted hometown and a certain venue in particular. “The Corner’s always been a great place for me. The Corner really sums up what’s great about the Melbourne music scene. You walk into a venue like that you can just feel the bands that have played there. It’s just a great place for a rock’n’roll gig.”

“I wrote it on the road, but it’s an introspective and a nostalgic record in that I was really thinking about everything that I’d done in my life,” he explains. “You know: the bands I’d been in, the people I’d known, the chances I’d had and the choices I’d made. I don’t think I necessarily write songs about that on the album, but I think the songs are informed by that meditative space, if you like.”

Thompson has recently described his desire to succeed in the music industry as similar to that of a footballer who wants to play to their potential. Being a Melbourne publication, Inpress goes looking for a particular player Thompson would liken himself to: the silky skills of a James Hird? The workman-like output of a Robert Murphy? The ten-metres-out tragedy of a Richo?

And talking about the writing, Caravan’s title track would be one of the songs of the year so far, up there with anything National Treasure Paul Kelly ever wrote for narrative power and evocative imagery. Thompson says he’s reasonably fond of it, too.

“Oh Jesus, that’s a hard one. I’m probably going to have to say someone really bad. You know who I really like? Robin Nahas. I love watching him play. But yeah, I changed from the Dockers to Richmond when I moved to Melbourne, so I’ll take Richo.”

“I co-wrote that with Yanto Shortis. You have to wear your heart on your sleeve, it’s got to be no bullshit, you know? And co-writing can be really fantastic for that thing of doing something that you might not normally do. I came up to Yanto and he had the first verse written and most of the chorus and I was, like, ‘Man, that’s really something, I’ve gotta get my hands on that.’ So we just sat there, the two

WHO: Carus Thompson WHAT: Caravan (MGM) WHEN & WHERE: Thursday, Drouin Bowling Club; Friday, Pelly Bar (Frankston); Saturday, Corner Hotel

STILL DRIVEN Releasing more than an album a year for the past 15 years, truck-lovin’ country star DALE WATSON is up for anything on stage, he tells DOUG WALLEN. Once Watson became a touring musician, his newfound travelling suddenly brought everything rushing back. From there came a strong pull to begin writing odes to the workers who crisscross those vast American motorways. “That was part of my memory as a kid, all the movies and the songs,” he shares. “And then on the road as a musician, I realised we’re riding the same roads and have a lot of the same habits, having to be up so late and eating at truck stops. Just different cargo.”


t’s time for another visit from Dale Watson, the American country rebel who’s been coming to Australia regularly since he first broke out in the mid-1990s. He’d already been performing for a decade and a half then, and by now he’s a true veteran. With more than 20 albums to his name, the Texas songwriter has recorded in Johnny Cash’s cabin studio as well as the iconic Sun Studio, released live records and a Christmas one, and penned two entire albums of truck-driving anthems. He rose to fame with his debut Cheatin’ Heart Attack and has stayed ruggedly unique ever since. In fact, Watson both self-produced and self-financed last year’s Carryin’ On. That’s because he had a specific vision: a band of vintage Nashville legends organised by steel guitarist Lloyd Green, who has played with Cash, George Jones and The Byrds. Thus came guitarist Pete Wade, pianist Hargus ‘Pig’ Robbins, fiddler Glenn Duncan, and upright bassist Dennis Crouch, each trailing a staggering CV. So it was a once-in-a-lifetime album that might never have been made otherwise. “I was signed with Hyena Records,” Watson recounts. “When the market crash happened here, they lost their financing. I thought I’d just do it myself. So I did, and luckily a label picked it up and I made my money back. But it was a labour of love. If I didn’t get my money back, I’d have been okay with it.” Just prior to Carryin’ On came 2009’s The Truckin’ Sessions Vol. 2, a sequel to the 1998 collection that Watson describes as his most “long-lived” album. “It seems to never go out,” he notes. His fascination with the almost cult-like trucking lifestyle began as a child, when his country-singing father drove trucks and the CB radio craze was sweeping the States.

Trucking songs have long been a staple of country music, as have drinking songs and other examples of larrikin wit that gel well with Watson’s Aussie fans. Watson has penned his fair share, from Tequila, Whiskey And Beer, Oh My to Truckin’ Queen, about a flamboyant cross-dressing trucker. “You can’t take yourself too seriously,” he argues. “Slow, hurtin’ songs you need to purge the sadness, but you also need to lighten up and laugh at yourself.” He cites Johnny Cash’s definition of country music as songs about life, love, death, and anything else that someone can experience. “Everything you can think of as a human emotion,” Watson concludes. “You’ve gotta have all that.” That might explain the drastic range of Watson’s work – from happy or funny to lonesome or tragic – but how about his prolific pace? The man has released an album every year or so since the mid-1990s, and he’s constantly on tour. Even as he returns to Australia, he’ll be debuting songs from an upcoming Sun Studio-recorded album that’s in the vein of Johnny Cash’s original backing band The Tennessee Two. “I do write a lot,” he admits. “I write mostly on stage these days, because we play five and six nights a week. I do like to get the songs out. If they sit around, I’ll forget about them.” As to whether all his songs are up for grabs live, there’s no question. “We don’t go by a set list,” he confirms. “People’ll holler for stuff from the first album, the third album, our last album. We’re prepared to do anything.”

WHO: Dale Watson WHAT: Carryin’ On (Koch Records) WHEN & WHERE: Tuesday 19 and Wednesday 20 April, Cherry Bar; Thursday 21 to Tuesday 26, Bluesfest, Byron Bay




Eclectic hip hop crew BEATS WORKING emerged from recording their second album hating each other, but the results are worth it, writes TONY MCMAHON.

They might be mates, but it took a chance nightclub meeting for Daniel Merriweather to end up on the new DIAFRIX single, MC MOMO tells JEREMY WILLIAMS.

listening to Pearl Jam and then in the middle we’ve got a bit of a Rage Against The Machine/[Red Hot] Chili Peppers head, then there’s me, I’m the youngest, and I’m kind of straight out Ice-T, you know?”

With sing-along single Simple Man already making headway on radio, and with an equally impressive film clip to increase its appeal, what was it that inspired the pair on a lyrical level? “The track is just about keeping life simple,” Momo explains. “Sometimes we don’t need everything. Excess is a bit of a fuss, if you know what I mean.”

The recording of Found The Sound took quite a while, which does show in a positive way on the finished product, but Delaney admits that it wasn’t all wine and roses.


ith a desire to broaden the horizons of hip hop and a terrifically diverse new album, Found The Sound, emerging NSW outfit Beats Working are embarking on an East Coast tour that should have all music fans, let alone those interested in the future of hip hop, absolutely enthralled. Blending elements as diverse as punk, soul, electro and Latin, this record can be described with the overused term eclectic, but it actually goes beyond this to present as a truly interesting and adventurous piece of work. Vocalist Tullum Delaney, AKA Mr Mullet, says that Beats Working’s unique sound comes from the record players at the various band members’ homes. “I guess our band is made up of five really different dudes,” he says. “Everyone listens to really different music when they go home. I guess that’s the start. From there it’s about the process of trying to come up with something that we all enjoy. It’s kind of the thing we have going down. Now at our gigs we have all sorts of people: we have old people, young people, it’s all pretty different from the hip hop shows around Newcastle where I’m from, so we thought we’d just run with that.” Is there something in the air when it comes to mashing things up? Not withstanding the fact that it’s always been an important element of hip hop, there seems to be an awful lot of it going on at the moment. But Delaney makes the astute point that being contrary has always been part of the human condition.

“With our first album, we collected the songs together until we had enough for an album. This time around, we actually set out to make an album. In the process of trying to get the best result possible, there were a lot of conflicts of interest, a lot of arguing basically. By the end of it we hated each other. And it was a pretty long process. I think it took us about two years all up. It took another year mixing the masters and now it’s finally on the shelves, which is a massive relief.” On the subject of playing the album in a live setting, Delaney is adamant that this is always in the forefront of the band’s mind. So much so that it even informed the final shape of the songs themselves. “When we set out to make with our songs, we always keep in mind how they’ll sound live. Making music in the studio is great and releasing it as independent artist is always exciting, but the fun for us really is playing it live. We really set out to make them enjoyable tracks live. We actually have ideas about that during the recording process. Often that will lead to the track being where it ends up in the final product.” And it seems Melbourne audiences are in for a fun, eclectic night at Found The Sound’s local launch. “We just finalised the line-up and it’s some old school Melbourne hip hop legends that we’re real fans of called Low Budget, so we’re really excited to be playing with those guys. We’re really happy to be coming down and playing the show.”

“Yeah, they’re putting something in the water, mate. I think it’s fair to say that it’s in our nature to try and do something different, to pull right when everybody else is pulling left. There’s also an age difference as well. Some of the older guys in the band grew up

WHO: Beats Working WHAT: Found The Sound (Hydrofunk Records) WHEN & WHERE: Friday, Revolver

MESS AROUND Sounds almost like a live show, doesn’t it? Given the semidelirious atmosphere, the group’s music would translate well to a live setting wouldn’t it? According to Enbom, it all depends who’s in the band. “Sometimes it does and sometimes it doesn’t. We go through people in the band a lot and each line-up is different. I think this one is sounding really good. I think this one is going to be fine. It’s usually fine, you know. We try and do things a little differently. With the way we make our music, you can’t necessarily recreate that on stage. I mean, the songs will be recognisable. If anything, I suppose, they’ll be more rocking probably.”


Inpress catches up with frontman Robert Enbom over Skype. Fittingly, he smokes and drinks some kind of canned beverage throughout our talk, and opens by admitting that Eat Skull are not much of a road band. “We haven’t really done that much touring. We went to Europe once, but other than that we’ve just toured the US one time, up and down the West Coast. It sounds like it’s going to be good. We’re not used to really touring that much, especially lately. Especially with the last album, we didn’t really tour it that much.” When it comes to the elements that go into making Eat Skull’s signature chaotic sound, Enbom makes some more admissions. “Well, it’s been a while since we’ve put out a record, you know, but, when we record, we just wanted to record our songs as they happened, sort of. It involved a lot of accidents. We usually get pretty drunk when we record. You know, you combine that with a room that’s real messy, you don’t know where the cables are, it just kind of ends up sounding that way.”



iafrix may have formed a decade ago, but the Footscray duo really became a notable mark on the music map with the release of their debut album Concrete Jungle in 2009. Demonstrating a fusion of African rhythms with Australian hip hop, it was clear through their lyrical prowess that MCs Momo and Azmarino had more than just booty-shaking beats. Having taken a short break between the touring of Concrete Jungle and the writing and recording of their impending second release Pocket Full Of Dreams, it is clear from the first taster of their new album, the luscious single Simple Man, that the pair have decided to change their approach, as Momo happily explains. “It is a lot more leftfield than we did for our first album, just a bit more expressive,” he says. “We touch on some very different topics in comparison to our first album. It is an opportunity to try explore some different things, so we are making the most of it.” While the album title is seemingly optimistic, the thoughtful musician sees their wording as multifaceted. At face value, “Pocket Full Of Dreams just captures all the different topics that are in the album,” however, it is also synonymous with Diafrix’s approach to both their career and life in general. “You’ve got to have a dream, a vision, in order to get somewhere,” Momo says. “Whether it is just that you want to get a car, you have to have a goal. We are just capturing all these different things that drive us, that make up what it is that we are doing.”

While the pairing seems pretty logical, it appears that fate played a hand in the collaboration; as they say, some things are just meant to be. “That was a very interesting collaboration, actually,” Momo says. “We were in the studio and we had just finished writing the lyrics for the song. We wanted to get someone on the chorus and we were thinking of a few different options. We decided it would be nice to get Daniel Merriweather on the track. We thought, ‘Shit, how are we going to get in contact with him?’ We had thought we would leave it at that and pass the idea on to a few different people. That night I walked into a nightclub and I bumped into him. He was down from London. I was like, ‘I’ve been talking about you today and I was wondering if you could come to the studio and have a listen to see if you are into [singing on a track]…’ He was really into the track. He came into the studio and laid everything down and was really happy about it.” “I just came back from an overseas trip, from Southern Korea and Cambodia, I have come back to Melbourne and hear that certain radio stations have picked up on the track,” Momo says. Though Simple Man is already riding high, Momo is anticipating his next challenge. “Each goal we tick off, it is like that is cool and we are happy with it, but there is always something else we are after.”

WHO: Diafrix WHAT: Simple Man single (Illusive) WHEN & WHERE: Saturday, Festival Hall; Friday 20 May, Forum


Getting drunk and losing shit is how Portland’s EAT SKULL got their chaotic, lo-fi sound, frontman ROBERT ENBOM tells TONY MCMAHON over a cold one.

ortland, Oregon scuzz-punk popsters Eat Skull make impossibly blurry, unbelievably noisy and incredibly fun music. Their latest album, Wild + Inside, bears this out in no uncertain terms. The enjoyment these guys are having literally leaps from the speakers and infects the listener like the world’s coolest new zombie virus, and the question then becomes, how great would Eat Skull be to see live? Well, the good news is that the band are making the ridiculously long trip out here to play.

While the track would have without any doubt been equally successful without a cameo appearance, Daniel Merriweather’s choral vocals add an extra dimension to Diafrix’s duologue. “I’ve known Dan for about five years or so,” Momo says. “I used to bump into him and catch up for a few drinks here and there when he was living in Melbourne. But I hadn’t seen him in ages as he has been living overseas.”

And Eat Skull have been compared, rather cleverly, it has to be said, to New Zealand’s glorious Flying Nun garage sound, which Enbom takes as a huge compliment. “I love The Clean. We played one time with [Clean frontman] David Kilgour; that was great. People have really been started getting into them the last couple of years here in America. That probably hadn’t quite happened yet when we played with him, but it didn’t matter, it was just fantastic.” Talking of New Zealand, though, Eat Skull’s support on this tour comes from Kiwi band The Renderers and Australia’s own Slug Guts, both of whom Enbom has looked into. “I’m really excited to be playing with The Renderers. Slug Guts, I’ve only seen a couple of their videos on YouTube. They seem cool.” In preparation for this tour, Enbom has been bravely immersing himself in the murky waters of Australian English, but his progress has been slow. Naturally, he turns to Inpress for help. “I’ve got a friend online who’s trying to teach me some Australian phrases, but I don’t have them down yet. I think I’m going to take some lessons before I get there. He’s taught me ‘fair dinkum’, there might be something about sheep shaggers in there but I forget. Have you got any you can teach me?” For some reason, ‘fair suck of the sav’ is all that comes to mind. “Oh yeah, I know that one. Do you say ‘fair dinkum’ first and then go ‘fair suck of the sav’? Is that how it works?’ Not exactly, no, but whoever said Americans were inward looking?

WHO: Eat Skull WHEN & WHERE: Saturday, Workers Club

The rise of Perth’s EMPERORS is not as rapid as appearances may suggest, GREG SANDERS tells NIC TOUPEE ahead of their EP launch this week. words ‘stratospheric rise’ and ‘came out of nowhere’. He asserts that the truth is far less glamorous.


e’ve just released an EP called Sam,” explains Greg Sanders, guitarist with Perth-based Emperors. “We wrote the songs for it over a year ago and recorded it quite a long time ago. Originally we were trying to do album, but we weren’t happy with a couple of the songs, so we truncated it and decided to put out an EP instead.” Emperors are on the road promoting Sam, the EP that was meant to be an LP. They’re speaking to Inpress at an absurdly early time of the morning, after their Sydney gig the night before. It seems that not content with giving them a surprisingly warm crowd for their gig, the city wanted to give them one or two souvenirs to remember her by as well… “We played at Phoenix Bar which was really cool, a good crowd, which was unexpected, really. You never know if people are going to turn up, so we hope people liked it. We had a few drinks afterwards,” he chuckles, remembering the night’s aftermath, “and our bass player [Zoe James] fell over on the dancefloor! She slipped on a drink, not shaking her booty or anything, but then again she can’t remember, and after that our drummer [Dave Knowles] fell in the elevator. He was carrying cymbals and tripped over. Ended up upside down.” Sanders turns from the phone and the voice of James, the unfortunate bass player, can be heard. Sanders returns with an important clarification. “She thinks it might have been Thriller when she fell over.”

Last year seemed dramatically and suddenly successful for Emperors, tipped in Rolling Stone as one of the acts to watch out for in 2011, supporting bands like Manic Street Preachers and The Big Pink and being named Most Promising New Act at the West Australian Music Industry awards. Sanders is all too familiar with the

“Adam [Livingston, vocalist] and I have known each other a long time – we were in a band together in Perth many years ago. A while after that split we had a drink together and decided to try to write some songs. We recorded some on eight-track and were happy about them, so recruited Zoe to play bass and another drummer we’ve since replaced. We thought, ‘Why not jump into a studio and record them?’ so we had a record out before we’d even played any gigs. We didn’t come out of nowhere, we’d just been rehearsing for a while, because I didn’t think the quality of the live show was quite there,” he admits. “We probably rehearsed for about six months before we had a show ready, even though we had a song on the radio. Even then, we were pretty crap live for our first few gigs but it was a pretty good learning experience. It made us get our shit together.” While Emperors have been achieving radio play and starting some fires, Perth has been under the microscope to find the next Tame Impala, sprouting the inevitable wave of bearded psych-rocking soundalikes. Sanders reports that Emperors feel a little like the only indie kids in the village. “We play indie rock, and five or ten years ago there used to be healthy scene, but now there’s a trend for psychedelic and experimental bands here in Perth. There are also a few good punk bands, but after a band like Tame Impala, there are so many bands trying to do similar stuff here. Which is fine,” he qualifies hastily, “but we’re not part of that. We try to write songs that sound like our favourite bands, like old Weezer, The Replacements, Pixies, Built To Spill… Adam and I love ‘90s grunge bands, and listening to them growing up was a pretty big influence. There are actually a few great bands here but not enough venues – only four or five. It’s crazy because the interest in pop music just keeps increasing.”

WHO: Emperors WHAT: Sam EP (MGM) WHEN & WHERE: Friday, Grace Darling


WOLF WHISTLES From being primed for pop stardom to becoming one the UK’s new folk heroes, MARTHA TILSTON has trekked a long road, CYCLONE discovers.

New Zealand’s LADI6, known to her family as KAROLINE TAMATI, has been whipping up a frenzy with her latest hip hop-informed soul cuts. By DOUG WALLEN.

or not, but I’m just gonna enjoy experimenting… we’ll see where we go with it.” Between albums, Tilston sang on Zero 7’s Yeah Ghost – and she’s not adverse to even electronica.

tracks, Sepalot was happy to swoop in and fill that gap. The album is focused yet diverse, merging hip hop, soul, funk, and electronics without calling much attention to that fusion. Tamati sings and raps with smoky smoothness, easily recalling everyone from Lauryn Hill to Macy Gray to Janelle Monae. Asked if there’s been a recent renaissance of strong-minded acts with soul roots, she replies, “That’s always existed. I mean, look at Aretha Franklin. There’s always been strong female soul singers saying, ‘Respect your fellow man.’ There are flavours of the month, and we certainly had this retro soul sound emerge, but they come and go.”


lie a lot of the time when people ask me,” says the woman born Karoline Tamati in reference to her stage name, Ladi6. If she is in fact telling the truth this time, it comes partly from her lifelong family nickname, Lady, and partly from a teen rap battle with a friend. But whatever its origin, the moniker has served the feisty Kiwi performer well. After cutting her teeth in the female hip hop crew Sheelahroc and then the jazzy soul troupe Verse Two, she went solo and released a debut that went gold in New Zealand. She has since toured with Mayer Hawthorne and Gil-Scott Heron, done a six-month stint living in Europe and recorded her second album while decamped in Berlin. What prompted all that time overseas? The usual limitations of New Zealand when it comes to truly breaking out? Actually, it was much more accidental than that. Tamati had mastered 2008’s Time Is Not Much in Berlin and picked up some gigs there, which led to a six-week tour last year. “And six weeks literally turned into six months,” she explains. “We just kept getting asked to do more shows. We had packed up our whole lives, so we decided, ‘Why not?’ And we decided to make an album too.” That album, The Liberation Of…, was recorded with her usual producer and collaborator, DJ Parks, as well as German beat maestro Sepalot. The latter had played with Ladi6 in Melbourne supporting US. artist Ohmega Watts, and a collaboration in New Zealand followed. Just weeks later, in fact, Sepalot’s camper van was parked in Tamati’s driveway. They bagged a song called Go Get It, which appeared on his album Red Handed. So when the second Ladi6 album was found to require three more instrumental backing

Coming to Melbourne with the fellow genre-mingling Kiwis of Electric Wire Hustle, Tamati is confident in what she’s accomplished with The Liberation Of… “The first album took four years to make,” she recalls. “I feel like it lacks consistency. We did this one from beginning to end in eight weeks, so it’s definitely more consistent. It’s a lot more up-tempo. That’s from doing just under 60 shows in six months. That’s what we were doing, and that’s the sound that came across.” She wasn’t always so confident. Surely any artist going solo after years spent in large groups faces some degree of doubt from within. But it simply got to a point where Tamati knew she could do it on her own, without all the politics of a band. “The way technology was going in 2004,” she says, “I was able to go out and do this just with a DJ without needing a full backing band. That idea came from me having a huge hip hop background. It was like, if these rap guys can go out there and do it, I can too.” At the same time, she had had a son at age 23 and, fed up with the band thing years later, decided to do something for herself: either get a uni degree or go solo. We know which road she chose, but that doesn’t mean it’s been entirely a smooth one. Laughing, she admits, “The degree would have been much easier.” WHO: Ladi6 WHAT: The Liberation Of… (Question Music) WHEN & WHERE: Friday, Corner Hotel


rit nu-folkster Martha Tilston discovered that she was pregnant on her 2008 Australian tour. “I did a pregnancy test in a radio station, which was really silly,” she confesses. It was at the ABC in Sydney and, Tilston laughs, mercifully post-interview. Last year Tilston re-emerged from a modest maternity break with Lucy & The Wolves, her best – and most expansive – album, the singer/songwriter gliding from pastoral soul into jazz and magic realist pop (Kate Bush is a favourite artist). Laura Marling and Mumford & Sons may be hailed as leaders of Britain’s folk renaissance, but Tilston has been active since the early 2000s. She first attracted mainstream attention with 2007’s Of Milkmaids & Architects. Lucy & The Wolves, Tilston says, “was quite hormonally led,” as she started it during her pregnancy. She focused more on the lyrics, whether writing about love and relationships or tackling socio-political issues such as the environment. The mum-to-be realised she had a greater stake in the future. “It suddenly all felt more real.” And Tilston was feeling bolder. “I needed to say what I really felt from the heart and try to not worry about what reviewers are gonna say or anything else. So, even though it’s not a particularly upbeat album, it’s very truthful.” The ‘Lucy’ of the title is the kind of free-spirited woman who is vulnerable to the envy – and censure – of others. Tilston has already begun her next project in the Cornwall refuge she shares with her producer husband and daughter. Now out of “the baby bubble,” she’s eager to venture out. “I feel like I’m going through a bit of a new stage now,” Tilston reveals. “The writing I’m doing at the moment feels a bit more optimistic somehow. I’ve even got an electric guitar, actually! I just felt I wanted to have a go [with it]. I don’t know if it’ll work

Tilston is an all-rounder, something attributable to her very bohemian, and modern, upbringing. She was introduced to music by her singer dad Steve Tilston, who, after separating from her artist mother, married Celtic folkie Maggie Boyle. Tilston’s stepfather is a theatre director. Tilston, who paints, does her own artwork. What’s more, she herself originally planned to act, attending drama school, only to experience disillusionment afterwards. The struggling thespian was ill at ease auditioning for ads – and musicals. “I’m not a great dancer!” Still, Tilston hopes to act again – and compose music for theatre. “I was an actress and then the music just started to happen – I never really meant to leave acting.” Tilston’s alt.folk is feeding into a nostalgia for ‘slow living’ – and a desire for authenticity in music over irony and pastiche. She’s gratified that folk is back in favour, although her progressive definition of folk as “the people’s music”, extends to hip hop. “It’s really exciting. It’s just lovely to think that people want to hear real instruments and real lyrics and real stories and real tunes.” Tilston admires Marling, whose success as a female artist she finds “empowering”. Early in her career, Tilston’s male manager would pick her up in a gold Rolls Royce to head to a London studio – he meant to mould her into a star. “He used to get me to sing everything in an American accent and it was awful,” she groans. Tilston had to muster up the courage to assert herself and follow her own (steadfastly indie) path, yet Marling appears unusually self-possessed. Returning to Australia this month, Tilston decided against bringing her band The Woods, buoyed by a triumphant solo tour in late 2010. She will play acoustic guitar, with “a bit of unaccompanied folk”, and promises to share those new songs. “There’s something about the power of one person on stage that I just want to explore – and just be able to be totally honest and truthful in my music.”

WHO: Martha Tilston WHAT: Lucy & The Wolves (Other Tongues) WHEN & WHERE: Tonight (Wednesday), Northcote Social Club




WEDNESDAY 13 Beautifully Imperfect – latest National Institute Of Circus Arts performance, featuring final-year Bachelor Of Circus Arts students and guest from th Nanjing Acrobatic Troupe of China. Inspired by our pursuit for perfection against the reality of human flaw. Opening night, 7.30pm. NICA National Circus Centre, Prahan until Wednesday 20. Malmö – home renovation crashes head on with modern life in this new production from Torque Show, a philosophical, humorous, and emotional portrait of a couple trying to reinvent themselves through redecorating their house. Opening night, 8pm. Arts House, North Melbourne Town Hall until Sunday 17.

THURSDAY 14 The Blues Brothers – cult music film starring Dan Aykroyd and James Belushi returns to the big screen. Astor Theatre, 8pm. La Mirada Film Festival – Melbourne-exclusive Spanishlanguage film festival that comes with some big-name guest curators in Guillermo Del Toro, Antonio Banderas, Ang Lee, and Ken Loach. Films from Spain, Mexico, Argentina, and Uruguay. Tonight’s Opening Night film: Medianeras, which began life as a short film, which screened at the inaugural La Mirada in 2007. ACMI Cinemas, 7pm. Festival runs until Tuesday 26.

SATURDAY 16 South Side Show – weekly soirée of vaudeville, circus, and cabaret. Tonight: aerial/hulla/tissue/adagio/ dance artist Kali Retallack and fire performer/acrobat Malia Walsh, with resident DJS Mike Gurrieri and Knave Knixx. Red Bennies, 9pm.

SUNDAY 17 Eraserhead – David Lynch’s emphatic entrance to the world of cinema – well, feature filmmaking – presented on a brand new 35mm THE DINNER GAME

print. Astor Theatre, 7pm and 9pm. Repeated Monday 18. TV Dinner Presents – double bill of gastronomic delights on screen, with French farce The Dinner Game and Peter Greenaway’s masterpiece The Cook, The Thief, His Wife, and Her Lover. Red Bennies, 7pm.

MONDAY 18 Don’t You Have Docs? – monthly night of documentary screenings sourced from MUBI Garage, curated around a central theme – this month’s being ‘Life is a memory’. Presented by Don’t You Have Headphones? and MUBI. LOOP, 7pm.

TUESDAY 19 Brass ’11 – the Australian Brass Quintet performs a repertoire of horn music from composers such as Stanhope, Turner, and Kernis. Australian National Academy of Music, South Melbourne Town Hall, 7pm. Second performance, Sound Of Brass with music by Berber, Terracini, and Ledger, on Wednesday 20.

ONGOING In The Next Room, or the vibrator play – Sarah Ruhl’s Tony Award and Pulitzer Prize nominated play transports its audience to the time of the invention of electricity, where one doctor is using a particular vibrating device to alleviate women of hysteria – for purely medicinal reasons, of course – and his wife’s sudden interest in the method. Sumner Theatre, MTC until 21 May. Melbourne International Comedy Festival – hundreds and hundreds of comedians have taken Melbourne hostage for the month of April, demanding laughter – and we’re fine with that. There’re far too many shows to list here, but we can throw you some highlights: Tig Notaro, Ryan Coffey, Paul Foot, Smart Casual, Claudia O’Doherty, etc. Head to for more information and look out for our guides about the place.


THE MALTHOUSE THEATRE CONTINUES ITS 2011 SEASON OF RAW, UNCOMPROMISING DRAMA WITH BAAL, THE FIRST PLAY BY THE GREAT BERTOLT BRECHT. DIRECTOR SIMON STONE HAS LONG HOPED FOR THE OPPORTUNITY TO HELM THIS CONTROVERSIAL PRODUCTION, AS HE EXPLAINS TO ALEKSIA BARRON. For Simon Stone, directing Bertolt Brecht’s first play Baal is something of a dream come true — not that the effusive director would ever put it in words so twee. “It’s a play that I’ve wanted to do for a long time,” he explains. “I think I read it when I was about 18 and fell in love with it.” The director (and writer, and actor — his credits include Kokoda, Balibo, and the television series MDA) has become something of a rising star of the theatrical world. His work with outfits like Red Stitch and the Hayloft Project has given way to undertakings such as Baal — a co-production between Malthouse Theatre and the Sydney Theatre Company. There’s little doubt that his hard work, particularly his well-received take on Thyestes during Malthouse’s 2010 season, is starting to open real doors for him. In particular, it’s allowed him to exert a level of influence over his career, enabling him to choose Baal precisely because he’s so passionate about the text. “It was an ideal show for me to be doing at the beginning of my career,” he says, his enthusiasm radiating through his voice. “It has to burn with a vitality, a kind of youthful immaturity and exuberance. It wouldn’t work if it felt in any way kind of measured or appropriate or prudish.” He’s grateful to have the chance to direct the play while still young. “If I left it much longer, I probably would have been completely out of touch.” As it happens, there’s a certain fortuitousness to the timing. “Brecht wrote it when he was 18, and I read it when I was 18. It was first put on when he was 26, and I’m 26 now.” So, how exactly did Baal, read by a young Simon Stone on the cusp of adulthood, ignite a fire so bright that


he still carries it with him eight years later? The answer, it seems, lies in the unapologetic brutality of the text. “It’s utterly tasteless as a show. It’s completely offensive,” Stone says bluntly. “It’s about a young, mentally ill – but nobody knows he’s mentally ill – outsider, poet, who basically, because he creates beautiful and stirring work, gets away with doing whatever the hell he wants to whoever he wants, because they’re all so charmed by his questioning of his societal boundaries.” Of course, nothing gold can stay, and Baal’s penchant for hedonism and debauchery doesn’t exactly lend itself to a fairytale ending. It had a profound effect on Stone, who, as a teenager, was compelled to seek out literature that pushed the envelope. “I guess when I read it, I was enamoured of any work that questioned the boundaries of taste. This kind of ruthlessly brutal writing that stirred me to my soul,” he says. “It’s not twee and polite and well-written, it’s a sledgehammer.” Naturally, the unbridled sexuality and uncompromising nature of the text spoke to him. “As an 18-year-old, you’re still going through puberty. You’re completely turned on by the idea that someone’s being that incessantly honest about the world,” says Stone. However, over the years that followed, Stone didn’t dismiss the play, as so many of us do the things we loved when we were young. “Since then, I’ve actually come to discover what an extraordinary opportunity it is, as a play, to present the way that we fall in love with the damaged men of our world,” he says, mentioning a roster of familiar names — Ben Cousins, Shane Warne, Charlie Sheen. While the defence of our celebrities’ antics is unfashionable at the moment, Stone makes some good points. “We

are, as a society, often completely negligent towards these outsider characters. While they’re being brilliant and offensive to a certain level, we applaud them, and we love them, and we love writing gossip columns about them... as long as they’re still remaining brilliant in the work that they’re doing.” Of course, mirroring the experiences of Baal’s titular character, recent times have shown how fickle the adoration of the masses can be. In a few short years, Brendan Fevola has fallen from the status of royalty to the butt of every joke, resorting to disguises in a bid to disguise his gambling addiction. Stone sees the tragedy — and cruelty — in such situations. “When their level of sanity tips over the edge, we kind of wipe our hands of them immediately,” he says, when asked about society’s attitude towards their fallen heroes. “I think that’s an incredibly dangerous way for us to be treating those people, who are walking a very, very thin tightrope. If they fall one way, they fall

towards genius. But if they fall another way, they fall towards schizophrenic self-destruction.” These are powerful ideas, and Brecht’s Baal is a powerful text — Stone describes the events and emotions depicted as “unvarnished”. At the same time, though, he’s acutely aware of the risks inherent in taking on such a volatile play. For that reason, he’s glad to be directing it now, at 26, with a few productions already under his belt. “It feels like the right time to be doing it in the development of my work,” he says, adding, “I would have screwed it up if I’d done it earlier, I reckon. I guess I can create a more sophisticated chaos, whereas I think, originally, I would have been making chaos.” Still, for Stone, there’s genuine reward in taking such a risk — a large part of which is exploring the fact that even the venerable masters of drama were young once. “There’s this raw material that, at times, is completely shocking, that’s wonderful to be able to present with the name Brecht on it,” he says gleefully. “It’s worth reminding ourselves that brilliant masters tap into some very uncomfortable territory.” WHAT: Baal WHERE & WHEN: Merlyn Theatre, Malthouse until Saturday 23 April

FEMME FATALE EXHIBITION LOOKS AT TRUE STORIES OF FEMALE CRIMS The National Wool Museum in Geelong is currently hosting an exhibition titled Femme Fatale: The female criminal, which looks at the lives of some of Australia’s most infamous female criminals, such as Kate Leigh, Iris Webber, and Eugenia Falleni. The exhibition is made up of magazines, audio-visual excerpts, film posters and lobby cards featuring femme fatales, forensic evidence, glass plate negatives of female criminals, criminal record sheets, and more. The exhibition offers a stark contrast to the stylised idea of the femme fatale that Hollywood loves. “Women who commit crimes have always intrigued society,” says curator Nerida Campbell. “The seductress we see in films has luscious red lips, big eyes, revealing clothing, and often holds a smoking gun. She’s attractive, independent and intelligent and uses her sexuality against men who are unable to resist her. The reality for most female criminals turns out to be a hard, dysfunctional and violent life — brutalised and degraded further by stints in prison. Their lives were punctuated by extreme violence and many of them were cold-blooded killers. All of these women have done hard time, reinforcing that true criminals’ lives are far from glamorous.” Femme Fatale is on now until 13 June. More info at





ALEX IN COMEDY WORLD ON GOOD FRIDAY, TRIPLE J BREAKFAST HOSTS TOM AND ALEX WILL ONCE AGAIN BE RECORDING A LIVE LAUGH- AND SING-ALONG AS PART OF THE COMEDY FESTIVAL. HERE ALEX DYSON REVEALS WHAT’S IN STORE. Explain the genesis of Good Az Friday… “How should I put this? Okay, well, when a national youth radio station and an international comedy festival love each other, they will sometimes express that love by putting on a free, live outside broadcast featuring some of the best comedians from Australia and the world, as well as some live music, dancing, and chocolate. And, provided all the cords are plugged in correctly, in three hours you’ll have yourself a healthy baby comedy podcast.” You’ve got a lot of comedians on the bill — naturally — but then also Washington. Will she be performing comedy or music? “We do have Washington locked in to play an original song and a cover for our segment Like A Version, but we have had to ban her from stand-up unfortunately after a recent incident where complaints were lodged from our Alaskan listeners after Megan performed a stand-up bit titled Inuit Gay Clubs. That’s not to say it won’t be funny though, because while Triple J usually gives visiting artists free reign when choosing their cover songs, we have subtly suggested that under the circumstances Chris Franklin’s Bloke would certainly not be an inappropriate choice.” As a way of perhaps providing a hint of what to expect, what were some of the highlights of last year’s show? The Pajama Men and Arj Barker doing



WITH REBECCA COOK With the military currently in control but unrest still simmering in Egypt, there was a certain level of symmetry to the opening of the Tutankhamun exhibition last week at Melbourne Museum. Tutankhamun, or King Tut (on his Facebook page), ruled Egypt through some equally tumultuous times. He was the last king of Egypt’s most powerful family of the 18th Dynasty, and while he only ruled for ten years in that time there was a religious revolution, the relocation of capital cities and drastic stylistic changes in art and architecture. He ruled from the age of eight to 18 so he probably would have been in a better position to understand the impact of social media and the demands of student protesters than the recently removed rulers of the country. @King_Tut: Hear what you say folks, let’s discuss via #revolution and see what we come up with. Or


some stand-up and The Bedroom Philosopher performing Northcote (So Hungover) were all amazing, just to name a few. As was Sam Simmons’ roving reporting, Dave Callan’s MC skills, and a final Good Az Friday dance-off to Daft Punk’s One More Time in which the entire audience got out of their seats and I somehow ended up with a small 11-year-old child on my back. What’s been the highlight of MICF so far for you? Tig Notaro was fantastic. (Not just because she’s also coming to Good Az Friday, I would have liked her anyway, so don’t…) As was Al’s Music Rant featuring Melbourne blogger Al Newstead, in which he performs a song highlighting the abundance of animals in band names these days. I mean, I knew there were lots, but my god he gets lots in there. Finally, isn’t this going to throw your body clock out, a show starting at midday? Don’t you usually get up at, like, five? I do, but I think the fact we’re broadcasting in front of a live audience will force me not to wear my tracksuit pants, which will mean I’m not as comfortable, which will probably keep me awake better. Plus there’s the five-day weekend in which to catch up on sleep. Good Az! WHAT: Good Az Friday: Tom and Alex and their live radio show WHERE & WHEN: Capitol Theatre Friday 22 April, from 12pm

visit the King Tut FB page and ‘like’ me – if I get 1m likes I’ll stay in power. He would likely have been more confused by the liquorice allsorts of ‘local celebrities’ who turned out to check out his burial gear and other familial possessions. Imagine how mortified an 18-yearold boy would be to have all the stuff hidden under his bed not only dragged out for his mother to see but the 150,000 Melburnians who’d already bought tickets before it even opened. Those who never have to buy tickets, such as Premier Ted Baillieu, Lord Mayor Robert Doyle, and former premiers Jeff Kennett and Joan Kirner, turned out to walk the gold carpet and mingle with the longeyelashed camels at the opening gala on Wednesday night. They were kept company by ‘entertainers’ such as Rachel Finch, Catherine McClements, Red Symons, Blair McDonough,

Those who dismay at timid, reverential to-screen adaptations of yellowed-paged, dog-eared classics will get a certain thrill from Brighton Rock, which takes Graham Greene’s depression-era Catholicism parable and turns it into a high-camp ’60sdress-up. No more is this a stark tale of criminal cruelty and religious Dogma: now, it’s a Mod/Rockers rumpus in which the streets are swarming with Vespa-riding gangs, and faceless grease-haired youths rumble in a raunchy, ridiculous ballet that, at best, borders on embarrassingly-over-the-top music video. Rowan Joffé shows the apple hasn’t fallen far from the tree; like his papa, Roland, he’s apparently fond of fruity adaptations, eardrum-searing melodrama, faux-artistic excess, and leaving no one in the audience unannoyed. Oh, and bad casting. That starts at the top, with shades of Gabrielle Carteris as 31-year-old Sam Riley stars as a glowering, charmless, murderous, um, 17-yearold gangster. Brighton Rock kicks off as tired noir homage: all yellow street-lights, angular shadows, dudes in striped suits and fedoras, flick-knives flashing in the dark, and bad things on the horizon. The story starts with a stabbing, and things are only going downhill from there; but, unlike actual noir, there’s no sense of moral quicksand or of the banality of evil deeds; Joffé turning the motif of Greene’s religious critique and turning it into cross-wielding, rosary-fumbling Catholic kitsch. The deaths just pile up, thoughtlessly,


their only competition being the ever-increasing litany of hilariously over-the-top/bad performances: Helen Mirren as low-rent sex-pot; Andrea Riseborough as bellyachin’ bride-as-alibi (future drinking game alert: scull for every time she whines “Pin-KAY!”); Andy Serkis as interiordesign-lovin’ crime-lord; etc. It all amounts to something slightly less than all-out car-crash debacle, more an unfortunate, halfway-hilarious mess. For those strange people who apparently go to cinema for the ‘scenery’: How I Ended This Summer has arrived just for you. Alexei Popogrebski’s picture is set on a remote Russian island inside the Arctic circle, and the cinematography of Pavel Kostomarov is suitably in awe of the surrounds: sitting and watching the light, the wind, the ice, the snow. Its human figures


are oft left as tiny, isolated islands within vast tracts of white; near disappearing into the elements. The drama in Popogrebski’s script hinges on the brutal power of this alien landscape; the film essentially a paranoia thriller in which two men — one grizzled veteran, one reeling newcomer — must fight off going loco in these extreme conditions. Manning a meteorological station, they stare the weather in the face every day; feel its extremity on intellectual, emotional, functional, and personal levels. Invariably, like two astronauts locked in a doomed space craft, they turn on each other. Towards the end, the icy isolationism of its first half swiftly melts into outright melodrama and unrestrained hysteria; the slow build-up suddenly exploding in an over-the-top war-ofwills. It’s clear that the later drama is designed to come across as a product of the early eeriness, but the two halves don’t fit together seamlessly; instead, there’s an incongruousness in how rapidly, if not ridiculously, the psych-thriller elements escalate.

Every year there’s a strange, barelynoticed festival called Windows On Europe that arrives, often with little warning, like an unwanted surprise. I’ve never exactly worked out why it exists, or who or what it’s for, but the fest seems to be some misplaced piece of EU propaganda; each country from the union, give or take, submitting one film. The programme varies wildly, seeks no commonality, never gives rise to a single theme, and often is really terrible. Again, this year, it’s a mess; from the horrendous Belgian teen-revenge melodrama Ben X (previously screened at MIFF, too, PS) to a raft of dire commercial comedies (including the just-released-incinemas Christmas Story) to many ‘meaningful’ melodramas. Only two films in the slate seem to stand out: Three-Way Wedding, which finds Jacques Doillon in self-reflexive form; his latest talk-piece about a theatre-director who wills life and art to intersect in sexually ‘liberated’ ways. And Miguel Gomes’ Our Beloved Month Of August will offer chin-scratchery cinephile types all kinds of intrigue and charm, albeit at an incredibly leisurely pace. Like his Portuguese countryman Pedro Costa, Gomes (a former film critic!) documents real people, in stark vérité, slyly ‘performing’ for the cameras, but his picture pushes things further; an apparent documentary slowly becoming a piece of meta-fiction; the filmmaker imposing his own narrative on reality as the film presence in a rural village changes the village life they’re documenting. It’s a piece of gameplaying on par with Godard, and those with patience and able mental faculties will, eventually, find its 150 minutes rewarding.

NEW ART CLUB’S BIG BAG OF BOOM COMPILES THE BEST AND FUNNIEST MOMENTS OF THE UK ENSEMBLE’S LENGTHY CAREER. MATT O’NEILL SPEAKS TO COMPANY DIRECTORS TOM RODEN AND PETE SHENTON ABOUT THEIR UNIQUE BLEND OF CONTEMPORARY DANCE AND COMEDY. It’s difficult to even conceive of an act like England’s New Art Club. An ensemble equally informed by comedy and contemporary dance, New Art Club have spent the past ten years touring the globe with complex and accomplished dance performances that also happen to be strikingly hilarious. Or, alternatively, hilarious comedy shows that happen to be meticulously choreographed.

The company was formed in 2001 by choreographers and directors Tom Roden and Pete Shenton and debuted with the now-classic work This Is Modern – a sympathetic spoofing of contemporary dance. Since that point, the pair’s work has been showcased throughout the United States, United Kingdom, Europe, and China and events like the Edinburgh Fringe and the Latitude Festival.

Dermott Brereton, Tom Williams, and Kimberly Davies. Adam Zwar, Shaun Micallef, and Angus Sampson also frocked up to view the 130 artefacts that rarely leave Egypt. Ted Baillieu had both his Premier and Arts Minister hats one on top of the other at the event. “With record advance ticket sales and huge interest across the country, Tutankhamun and the Golden Age of the Pharaohs is the most anticipated exhibition ever to be staged in Australia,” he gushed. “The fascinating story of Egypt’s boy king, the extraordinary cultural legacy of Egypt’s ‘Golden Age’, and the remarkable discovery of Tutankhamun’s tomb will captivate and excite Australians. Securing exclusive exhibitions for Melbourne

has been a highly successful strategy for Victoria, and I look forward to Tutankhamun being another memorable success story for this state.” Museum Victoria CEO, Dr Patrick Greene, is even more confident stating: “This is a coup for Australia and poised to become the biggest blockbuster in history.” If you’re thinking of brushing up on your hieroglyphics and heading along, a word of warning: many of the dates are already sold out so book before you get in your chariot or saddle up your ox. The exhibition runs until November but tickets are being sold in lots so visit to secure your golden ticket.

“First and foremost, it’s a comedy show,” co-founder Tom Roden says. “The show is aimed at people that like to see things that are good. The hardcore theatre audiences will appreciate the structure of the show, the dance audiences will find it provocative, and everyone else will laugh their tits off. We recognise we can’t choose who comes to see us but we can make sure they leave satisfied.” It’s the sense of balance that makes the pair’s work so difficult to imagine. New Art Club works are equally as complex as they are comedic. Roden and Shenton are not mere comedians masquerading as contemporary dance professionals or vice versa. Both artists are successful choreographers and directors outside New Art Club and each of their works has been both amusing and insightful. “We are philosophical and like to question our assumptions about stuff in order to come up with funny things about them,” Shenton explains. “We come from a performance art background, which really means we

are playful with ideas. We don’t want to ‘say anything’ but we do talk a lot to each other about the problem of being a human being. We like to provoke a reaction.” Fortunately, Melbourne audiences will be afforded a comprehensive overview of New Art Club’s unique output. The ensemble’s latest work, Big Bag Of Boom, will soon be showcased at the Melbourne International Comedy Festival, and encompasses the entire spectrum of their work – bringing together the best and most memorable moments of New Art Club’s work to date. “We’d like to play it cool but we are quite excited about coming to Melbourne,” Roden enthuses. “It’s always a privilege to be invited to perform anywhere but this is special. A massive festival on the other side of the world – what could be better? Any festival that gets to 25 years must be doing something right. Most of them don’t get out of nappies.” WHAT: New Art Club: Big Bag of Boom WHERE & WHEN: Bosco Theatre until 24 April



BY ROBERT LUKINS Will Sutherland and his painting, Coyote?, appear to have simply risen from the very earth. It’s a very unsexy hour for an exhibition opening, well before midday on a Wednesday and I’m standing on the third level of the Ian Potter Centre: NGV Australia amongst a congregation of journalists and nervously energetic high school students. Top Arts, the annual show of VCE high schoolers’ best, is about to have its ribbon cut and the speeches are rolling on, but I can’t draw my

attention away from the two tables of chocolate brownies and my confusion as to why no one else is eating them. I’m chewing and thinking perhaps it’s like a school dance and once the first couple braves the floor they’ll all be at it. The doors shuzz open and the students are directed in and asked to stand by their works and it’s hard not to feel somewhat emasculated on their behalf. The photographers have found their subject before even setting eyes on the art; a young man is sporting a decent pastel-tipped Mohican and a suit made from his

grandmother’s floral bedspread and the succession of camera flashes render his tanned skin pale. Stepping just inside, the first painting I see is also the one which will leave the heaviest mark on my mind. I am awed, properly awed, and have to force myself to continue. The show is sprawling and varied in focus and quality, as it always is and should be. ‘Issues’ run very close to the surface and there are the reliable and sincere iterations on body image, the environment, and the question of identity, but there are works too of real foresight, by artists reaching well beyond their experience. I do three laps and am convinced something has been in the water this year gone – this is the best Top Arts I’ve seen by a country mile. I think of when I was 17 and my greatest achievement being the ability to watching X-Files and scratch my arse simultaneously. Satisfied I’ve played my part, I return to that first work, the one that’s sunk a skewer into my eye. It is Will Sutherland and Coyote? and I can’t shake the idea that I’m in the presence of something and someone very special. The Satan red figure of this canine hovers in that inspiring space between the instantly recognisable and the untouchable. It is this same territory explored by Sidney Nolan, Albert Tucker, Arthur Boyd, and Patrick White, and in the moment of seeing Coyote? it seems not ridiculous or an exaggeration to imagine that Sutherland has just joined this remarkable lineage. With a calm authority, the master is standing at the side of his unreal dog and the two of them seem a pair. Will appears a part of the painting and together they seem drawn from the dirt and ground stones of this country. Will has created and drawn himself into a glorious myth and this work must be the start of something. It just has to be.



It’s been five years since the first La Mirada Film Festival was held – an experience that festival director Rocío Garcia still remembers fondly. “We didn’t even know if anyone was going to show up,” she says. Her fears proved to be unfounded after 600 people turned up on opening night, leading to a schedule of sold-out screenings. “It was like an instant, extraordinary success.” La Mirada was conceived thanks to Garcia’s desire to offer Australian audiences a chance to connect with Spanish art and culture in a way that she felt wasn’t available at the time. Along with a small group of likeminded people, she started exploring the idea of a Spanish-language film festival. “We found that the image that was presented of Spanish film and culture was a bit of a rancid image, full of stereotypes – the most uninteresting part of the Spanish culture,” says

The Scream film series is one of our fondest memories of 1990s culture, alongside Mazzy Star, Nirvana, Parker Lewis Can’t Lose, and Romeo & Juliet. It rejuvenated a horror genre that had fallen into a boring rut, and now, after the torture porn explosion of the 2000s, the series

relaunches to do exactly the same thing — bring life back to horror in a post-Saw world. SCRE4M returns to Woodsboro with Sidney Prescott (Neve Campbell), now a self-help author, in town for a book tour. Her return is followed by that of a familiar masked killer, and soon

enough the body bags begin to mount, and a new game of whodunnit begins with new rules to follow. We’ve three in-season double passes to giveaway — for your chance to win one email au with ‘SCREAM’ in the subject line.

Mikey Mileos is a Sydney-based comedian in town for the Melbourne International Comedy Festival with his show They’re Just Words. It’s a phrase that a lot of comedians could easily fall back on, but Mileos is interpreting it more literally and discussing context and the like. If you’re a word-freak this is the show for you – for the easily offended, perhaps stay home. (He’s a bit of a charmer, though.) We’ve been given two double passes to see his Monday 18 April show at European Bier Café to giveaway, so hit us up on with ‘MIKEY MILEOS’ in the subject line for your chance to win one.

Garcia. “We just wanted to present a more sophisticated and modern image of Spain.” The festival quickly struck a chord with filmgoers, and Garcia credits the involvement of some of cinema’s most enigmatic figures with the festival’s high profile. “Some of the success of the first year had to do with Pedro Almodóvar being a co-programmer of the festival,” she explains. “He loved it and he wanted to be a part of it, and give the opportunity for the work of filmmakers who are not known here to be seen.” The attention that Almodóvar’s continuing involvement brought to the festival inspired Garcia to

approach other prolific admirers of Spanish-language film to contribute. She decided to approach people to become guest curators, giving them the opportunity to suggest a film about which they were particularly passionate for inclusion in the program. The likes of Woody Allen, Penélope Cruz, and Martin Scorsese jumped at the chance, as have Ang Lee, Ken Loach, Antonio Banderas and Guillermo Del Toro in 2011. “That, without a doubt, endorses the whole programme and takes it to a different level,” says Garcia. There are plenty of intriguing offerings in 2011, ranging from Del Toro’s trio of “Mexico Bizzaro” films to También La Lluvia, Spain’s contender for the 2011 Best Foreign Film Oscar, starring cult heartthrob Gael García Bernal. However, for Garcia, the jewel of the program is the festival’s opening film, Medianeras, which has been a passion project for her since the opening of that first La Mirada festival back in 2007. “At our first festival, we screened a film called Medianeras – a short film,” says Garcia. “It was the best short film I have seen to date – it was amazing. Beautiful, intelligent, visually amazing film.” A couple of years later, she learned that the director of that short film, Gustavo Taretto, was planning to make a feature film of the same name, based on the short film that had so won Garcia’s heart. “As soon as I heard about this, I was in touch with the production companies and the sales agents, looking to bring it to the festival. I knew it was an infallible combination.” However, the muchdelayed film very nearly didn’t make it into the programme. “I only got this film confirmed literally hours before our printing deadline. We had to prepare the whole programme with a different film for opening night, just in case it didn’t come through.” The relief when the confirmation arrived, says Garcia, was absolutely overwhelming. Now, she just hopes that audiences enjoy Medianeras, and indeed the rest of the festival programme, as much as she does. WHAT: La Mirada Film Festival WHERE & WHEN: ACMI Cinemas Thursday 14 April to Tuesday 26

MIRROR IMAGE PLAYS COMES TO MELBOURNE BEFORE FILM ADAPTATION The next play staged at Revolt Productions’ is Mirror Image, the story of two ìsoul matesí eternal search for one another after they were split apart many lifetimes ago. The eternal search for reconnectionÖthe eternal search for one anotherÖthe eternal search for love.î Written and directed by Josie Parrelli (The Weekend, a semi-finalist at Strawberry One-Act Festival in NYC in February), after its run in Melbourne ñ the first time one of her plays has been performed in Australia ñ the play will tour regional Victoria before heading to NYC to be adapted into a film. Mirror Image opens at Revolt Productions, Kensington Thursday 28 April, and runs until Saturday 30. Head to for more info.

DON’T YOU HAVE DOCS? THINKS LIFE IS A MEMORY Run in conjunction with online film community and streaming service MUBI (check it out!), Don’t You Have Docs? is a night held on the third Monday of the month dedicated to bringing Melbourne the best in documentary filmmaking from films shared through MUBI’s Garage. Don’t You Have Docs? brings these films to a wider audience, curated around a central, which in April is ‘Life is a memory’. Held at LOOP Monday 18 April (7pm), titles screening include Felicity Gets Ejected From Egypt, Stories From My Father, and In Case I Disappear. Head to and for more information.



RENOVATION CITY LIZA DEZFOULI GETS INTO HER LEAST FAVOURITE SUBJECT WITH VINCENT CROWLEY OF TORQUE SHOW ABOUT THEIR NEW WORK, MALMÖ. Home renovations. Wake me up when people change the subject. But a dance theatre performance about it? That I’d like to see, even if the subject might suggest more of a danse macabre than anything else. Vincent Crowley is one-third of the dance/ theatre trio The Torque Show whose new show Malmö is about this very thing. “We were working with fairy tales, Rapunzel and so on,” explains Crowley. “Then we got ideas from people’s aspirations, their dreams; anyway we’re much too old to be doing fairy tales!”


For this theatre maker, engaging with the great middle class cliché is revealing: “It’s a statement about who you are. The notion of ‘lifestyle’, as in the style in which you live your life, that’s not about what you do – it’s about the look of it. That look of the ideal life, it’s about who we think we should be.” Crowley and wife Ingrid Weisfelt team up with director Ross Ganf to explore the whole idea of people reinventing themselves through their home renovations. “We’re not saying it’s wrong but it can be a self-inflicted

bucket of stress,” he says. “Couples in their late 30s or 40s can endure years and years of frustration and compromise, it can make or break a relationship.” It’s hard to imagine a show about renovations that’s not a conventionally comic presentation of middle class angst. “Without giving too much away,” Crowley elaborates, “the show is a bit like Dogville meets The Block. The whole space is the house we’re renovating and the audience are being shown through.” Crowley is struck by the absurdity of people going on what he calls ‘virtual tours’ of homes-to-be. And taking their friends along with them. “You’re walking around this empty block of land. It’s a bombsite. And you’re being ‘shown through the house’; ‘the TV goes here’, ‘the kids playroom is here’. It’s bizarre. Having no idea of whether they’re going to achieve any of it. Is it ever going to be finished? Renovations can go on forever. And as soon as you move in there are all those little bits that are never going to get done. The absurd nature of it all is part of that transaction. “Dance has many forms,” maintains Crowley. “Our intention in dance is to use physicality to make metaphors and images. To take it back into that surreal dream-like place.” This fits with the initial impetus of the work which Crowley reckons didn’t come from the intellect. “It wasn’t us sitting around saying we wanted to do a show about home renovations. We were exploring parallel lives, where dreams intersect with the prosaic. It evolved out of our explorations of dreams. People have these aspirations of beauty. They say ‘we can make this beautiful house, our own little world, configure my space’



WITH BOB BAKER FISH You may know José Mojica Marins better via his signature, a black cape, top hat, excessively long fingernails (which measured three feet at one stage), or perhaps from his moniker Coffin Joe. He’s one of the most unique and provocative filmmakers Brazil has ever produced. In fact he’s responsible for Brazil’s first ever horror film, 1964’s At Midnight I Will Take Your Soul, in which Coffin Joe (Marins himself) searches for a women worthy to bear his child. It’s unbelievably excessive. It actually begins by warning the viewer to go home, then admonishes them for not, and warns them they will now suffer. As an undertaker, Joe openly flouts the religious beliefs of the day, eating meat on Holy Friday, and steals wine from grave sites. He also bullies and but it can become so generic, this expression of individuality. So many people turn to lifestyle magazines. French philosopher Alain de Botton says, ‘Beauty is the promise of happiness.’ We can try to configure our homes, our spaces, with some sense of style which can represent happiness but when aspirations and dreams meet reality, how do you deal with it? The world of aspirational style gurus is ripe for the picking.” I couldn’t agree more. WHAT: Malmö WHERE & WHEN: Arts House, North Melbourne Town Hall until Sunday 17 April

torments townspeople who are all terrified of him. During the making of this film Marins apparently split the crew into two, working in 12-hour shifts, swallowed 20 amphetamine pills he bought over the counterm and worked for 96 hours straight. He eventually had a nervous breakdown, was hospitalised and reports that after this experience, “life became a little strange”. It’s all included in the four-disc Coffin Joe Collection (Umbrella), which also contains 1967’s even more excessive This Night I Will Possess Your Corpse. Again Joe is out to further his bloodline, which he does by kidnapping a bevy of beauties and putting them through sadistic tests to determine who is worthy. Whilst Joe cuts off people’s fingers, pokes them in the eyes, stabs them with Jesus’s crown of thorns and enacts all manner of antisocial behaviour, his treatment of his harem is something special. Waiting ’til they’re sleeping he sends an army of tarantulas and studies their reactions. Apparently the actresses weren’t particularly thrilled with the spiders crawling over their near naked flesh so Marins

got them drunk. It was at this point he began his infamous screen tests which usually involved spiders, snakes, scorpians, or being buried alive. He wanted his women brave, or at the very least not wanting to quit everytime he brought in a box of spiders or waved a gun around. 1969’s Awakening Of The Beast is truly something else, a tome to be whispered about in tones usually reserved for the likes of Arrabel or Jodorowsky. It’s very much a product of the ’60s focussing on the drug problems in Brazil, but it is incredibly surreal and highly sexual. It was banned in Brazil for 20 years. You can see why in the first three minutes. It’s amazing, self-indulgent and demented. Of course the Coffin Joe character would continue to appear in subsequent film and TV projects, as mentioned in the doco The Strange World Of Mojica Marins. Yet Marins never really capitalised on the phenomenon, living a frugal existence in Sao Paulo. In fact during the ’80s he was reduced to making porn, creating a sensation for some coital action with an actress and a German shepherd. Participants, including Marins, seem to view this experience with an almost whimsical nostalgia, but then that’s the world he exists in, defying and challenging social conventions, disturbing and unsettling his audience with gleeful abandon. And though he has something like 14 unfinished projects, in 2008, some 29 years after he had completed a previous film, he made Embodiment Of Evil, the official third part of the Coffin Joe trilogy. It’s not in this collection but the stills look, well, wrong.



just met, the cast of Beautifully Imperfect includes performers from the Nanjing Acrobatic Troupe of China, who arrived a month into the show’s development. “I didn’t want to have something like, ‘Oh, here’s the incredibly technical Chinese part of the show and here’s the quirky NICA part of the show’,” Tannion continues. “The Chinese performers are very integrated in the

show. It’s about working collectively without losing individuality. We’re looking at beauty and ugliness. Perfection and fallibility – very, very broad things – I didn’t want to make a show that was a happy-clappy circus.” Tannion employs his choreographic skills across a variety of genres, from circus, dance/theatre, films and commercials to site-specific shows, outdoor events and large scale musicals. “I’m creating a show across genres,” he says of Beautifully Imperfect. “Some people in NICA weren’t sure what they were going to get!” Timetabling is another thing Tannion’s been confronted by with this project. “I’m accustomed to having a six-day week in Europe and I only have them [the cast] for three hours in the afternoon here. I thought, ‘My God, how am I going to create a show like this? My days are normally really busy.” One nice surprise for the choreographer is how well organised the NICA project is. “In Spain it’s chaotic!” The themes of Beautifully Imperfect were inspired by a video Tannion’s dad showed him. “My dad, who is a marriage celebrant, told me about a YouTube video: an Indian woman is talking to the congregation at her husband’s funeral. She is talking about the farting, groaning noises he used to make when he was around, the little things that let her know he was alive, and she says, “I hope you children find someone as beautifully imperfect as he was.” WHAT: Beautifully Imperfect WHERE & WHEN: NICA National Circus Centre until Wednesday 20 April


puppets arriving. And then they didn’t know who had they had been and had to find out who they were going to be from now on.”


HOW YOU LIKE BRASS? BLOWING HIS OWN TRUMPET! LIZA DEZFOULI TALKS BRASS AND HORNS WITH DAVID ELTON OF THE AUSTRALIAN BRASS QUINTET. “We’re passionate about performing. We’re all teachers but we love to perform.” David Elton (AKA Principal Trumpet, West Australian Symphony Orchestra) is about to share the love with students of brass from around the country. The Australian Brass Quintet are the country’s foremost brass chamber group and they are conducting workshops and intensives whilst in residency this month at the Australian National Academy of Music in Melbourne. “There isn’t a brass course as such,” Elton explains. “The leading institution for music in Australia doesn’t offer a fulltime brass instrument course (you can do French Horn at WA) but this is a great opportunity for the top students of brass. We have a great repertoire.” What was it about the trumpet that attracted him? He answers as a man deeply in love. “It sounds so brilliant! It can be loud or soft; it’s beautiful, strong, and soft. One of the instruments that just has everything. Think of jazz expression...” Brass instrumentalists seem to be mostly men, why is that? “That’s not actually the case,” Elton explains. “With our students coming to the residency, the vast majority are female. In my orchestra in Perth, half the horn section is women. Alison Balsom is one of Australia’s leading trumpeters. There are definitely females throughout the brass world.” That’s one misconception cleared up. How innovative can a brass quintet be? “Innovation is one of the great things about these instruments,” enthuses Elton. “The French Horn, the tuba, the trombone are well known for classics but you think of jazz and all the amazing 20th Century techniques... There is the immediate possibility of all sorts of things. We’re playing a brand new piece by Iain Grandage – an unbelievable piece called Soap Box, with a loop station – a modern day megaphone. Ben [Jacks] plays along

with himself accompanied by other horn sounds, sounds of air and water, blowing through special effects.” The Australian Brass Quintet plays two shows at the South Melbourne Town Hall, to the delight of brass aficionados, and this musician in particular. “The South Melbourne Town Hall is a wonderful place for brass with its beautiful acoustics,” Elton continues. “It has a great intimate sound; I’ve played there a lot. The Tuesday night concert will show some of the more interesting things we do. We use space a lot: the Grandage piece will be performed in the South Melbourne Town hall with antiphonal effects – performing from different places in the hall. Gabrieli premiered this technique in the 1600s; musicians performed from different balconies in San Marco in Venice.” The members of the Australian Brass Quintet are each individually active as teachers and performers but Elton emphasises how well they get along as a group. It’s a good life he’s got. “I’ve played in some interesting places,” he says. “The Fremantle Arts Centre is an outdoor space surrounded by walls with natural acoustics. There’s always a receptive audience and new things go down well. On tour we played in a castle in Dubrovnik [in Croatia], above the city with the sun going down – you just can’t believe you’re playing with a wonderful symphony in a place like that!” A simpler spot can be just as enjoyable. “Whenever we go away for a holiday, like a weekend on the Margaret River, I definitely go and find a nice corner and play. It’s something all musicians do, play outdoors.” WHAT: Australian Brass Quintet: Brass ’11 WHERE & WHEN: Australian National Academy of Music Tuesday 19 April and Wednesday 20

TRIPOD TAKE OVER THE TOFF Geeky musical comedy geniuses Tripod are taking up residency at the Toff In Town in June, performing every Sunday evening. It’ll be a chance to preview new material as well as classics and who knows what else? Tickets through Moshtix, further into at

“What do we think is beautiful?” Rob Tannion – guest choreographer with NICA – is asking some tough questions in NICA’s new show, Beautifully Imperfect. “When we live in a society where everything is commercialized, it’s, ‘You’re beautiful, now let’s change you’ Women are so pressured to look like something else; how do I get these ideas across to students in their 20s in a world where it’s all about the body?” Traditionally, circus doesn’t involve itself with challenging contemporary culture. “I don’t come from a physical background in circus per se,” says Tannion, an Australian based in London who works much of the time with Spain’s leading circus troupe, Carampa. “My work does have a strong social comment and narrative thread,” he says. Tannion was asked to remove a segment from the organisers of his last show in Madrid. “Spain has a big problem with domestic violence. By September last year 50 women had died as a result of domestic violence. I was asked to remove a scene. I offered to soften it but I stood my ground and didn’t take it out.” The freelance choreographer, who is also co-director of the Stan Won’t

Dance company in London, was invited to choreograph NICA’s 10th anniversary project. The biggest challenge, he says, has been working with people he didn’t cast himself. “Usually, when I do a show, when I’m going through and short listing, I’m already building a bit of a show. This is a bit like Russian roulette; it’s unnerving.” In addition to working with NICA graduates who he’s only

FROM HATING PUPPETS TO VISITING THEIR GRAVES, VENTRILOQUIST AND COMEDIAN NINA CONTI TALKS TO DAVE DRAYTON. style is something she credits to esteemed British actor and director Ken Campbell, who bought her a teach-yourself-ventriloquism kit when Conti was a “normal actress” at the Royal Shakespeare Company. “It was a mischievous gift. He was a real maverick and he just thought of spied that I’d be good at that and bought me that, which is so weird because I didn’t even like ventriloquism and didn’t even know what it was really.

When Nina Conti first answers the phone in her Melbourne hotel room she sounds slightly older than one would expect and soft-spoken; perhaps doing the voice of Nana, one of the puppets she takes on stage with her. That is, of course, before I am informed that this is in fact Conti’s mother on the phone, Nana to the six-year-old and new-born son Conti has brought on tour. “I’m frightened on flying on my own now that I have children,” Conti says later,

now awake and assuring me that it was in fact her mum, before outlining her humorously selfish plans for a crash, “I think if we all go down together then that’s okay. It’s just if one of us does – that’s not good.” Along with her kids and mother, Conti has also brought the veritable family of puppets that she brings to life in her show over from her native UK. A few years ago, Conti never would have dreamed of being in this situation, her unique comedy

“So I fooled around with it and filmed myself trying it out and when I watched this little film that I’d made it looked like there were two people in the room. I mean my lips were moving then – I wasn’t adept – but the beginnings were there, it didn’t look like I expected to. It was the way I was talking to this thing – as if it had an intelligence and could reply – that amused me.” Her love of ventriloquism grew from there, nurtured by Campbell, who left much of his collection to Conti when he passed away. “Two of the puppets that are in the show are inherited from my teacher when he died,” she says. “That’s weird, getting bereaved

Despite her early trepidation, Conti is now so committed to her craft that she recently found herself travelling to America with the orphaned puppets left to her in the will. Conti documented the trip, making a film about taking the puppets to a puppet mausoleum in Kentucky, USA, called Vent Haven. “It’s a very surreal and poignant place, slightly frightening. They just sit and looked skyward, silent forever more. They’ve got pictures of their masters on their laps, so you know who they came from. “Some of them survived a shipwreck in the 1700s, because they bobbed to the top, they were more buoyant than the guys,” she adds with a laugh. What to expect then, if the next plane this world-traversing comedic ventriloquist boards goes down as she so morbidly suggested in a jetlagged haze before? There’ll be a “softly-spoken, passive aggressive owl”, a psychic Nanny, and a pottymouthed monkey bobbing on the surface, for once not interrupting Conti. WHAT: Nina Conti: Talk To The Hand WHERE & WHEN: RMIT Capitol Theatre tonight until Saturday 16 April



DELICIOUS MEAT ODDBALL COMIC MAGICIAN CARLEINAR HÄCKNER HAS RETURNED TO THE MELBOURNE COMEDY FESTIVAL WITH HIS NEW SHOW, SWEDISH MEATBALLS. HE CALLS ALEKSIA BARRON TO TALK ABOUT DODGY PUNS AND MAGIC TRICKS. “It’s me, I’m back!” says Carl-Einar Häckner, in charmingly accented English. The Swedish comedian and magician so enjoyed his time at last year’s Comedy Festival that he’s decided to return to Melbourne for the 2011 season. “It’s lovely here. I adore it!” he says happily. After a successful run of his previous show from La Clique, Häckner developed his new show, Swedish Meatballs, for the Comedy Festival. While his past performances have spanned a range of genres and talents, he’s clear that laughs are


the priority when he’s in Melbourne. “What I focus on here, in Melbourne, is the comedy factor,” explains Häckner. His attraction to comedy, he says, stems from the fact that he’d already become an accomplished magician by the time he was an adult. “I started to do magic when I was very young,” he says. “Just because of that, I’d tried out so many things already when I was 17, so I went into doing stand-up comedy clubs.” He’s never looked back. “I turned professional when I was 18 – I’ve

never had a job.” He had his first solo show at the age of 20, which he describes as comedy, “…with some theatrical concepts.” Still, he’s never been able to forget his love of magic, and he now weaves his skill for sleight-of-hand into his comedic performances. “I like magic, but I’m more a comedian first, in this show. I do a lot of different things on the stage,” he says, adding enthusiastically, “I dance!” In particular, he loves the challenge of performing in his second language. “I like to perform in English. I have to travel over the edge to reach out,” he says, happily embracing the kind of grandiose statements that make him such a charming conversationalist. “You want to feel something on stage, and I felt something when I was here last year. Doing comedy in English, being a Swede here, it’s totally hilarious. It’s mad.” So, what of his new show, Swedish Meatballs? Häckner obliges with a description: “It’s like comedy magic, and music, and reflections about love. It’s comedy, with different skills and different things.” One can only imagine how the show itself must play out, given that Häckner explains, “I am making a banana disappear, and then I have a dog that tries to get out of a box, and he don’t come out. His name is Houndini – the escaping dog. And I sing songs!” Perhaps Häckner’s charm lies in the fact that he’s so eager to please his audiences. He waxes lyrical about the thrills of the stage, saying, “There is a feeling, about reaching out to an audience to communicate a happy,

BEHIND THE COMEDY FEST GUEST COLUMN BY THE BAD BOYS OF MUSICAL COMEDY The first consideration when attending an MICF show is travel. Often, you and your bro can find yourselves asking, ‘What’s the best way to go?’ Here are some very Melbourne options. Tram: slightly more reliable than trains, the tram also affords you extra room to “spread out”. Always important when with a bro. Proximity should not be so close as to

hilarious feeling of madness.” He has little time for performers who seek validation from their punters, preferring to focus on the enjoyment of the people who have come to see him. “I’m not interested at all in taking something from the audience. I want to give something.” One thing is certain: Häckner has mastered the art of the double entendre. “I came all the way from Sweden to show you my meatballs,” he says (thank goodness this was a phone interview). He doesn’t shy away from getting a little philosophical, though. “Also, the world is round, like a meatball. And we are all made of meat.” True that. WHAT: Carl-Einar Häckner’s Swedish Meatballs WHERE & WHEN: The Deluxe, Riverside Terrace, Fed Square until 24 April (no show Monday 18)

encourage rumour between you. Of course, as with all public transport, we recommend leaving an extra half-hour travel time. Fill this by discussing manly things like ballet or music theatre with your bro. Bike: if you truly want to fit in with the hip Melbourne vibe, the bike is the only way to go. Note well: the older and less practical the bike, the higher your hipster cred. Basket filled with records and tight jeans optional. “But how do I use my travel time to bond with my bro?” we hear you ask. The answer is simple. Tandem. Half the effort, twice the fun. Arriving at your chosen show is only the first step. You then run the risk of breaching proper foyer etiquette. When greeting a bro, there are several considerations. All hugs must remain above the ribs – this isn’t the football locker room after all! A cheek kiss is acceptable with lady-bros, or even with bro-ropeans, but may cause scandal if exchanged publicly with your bro. We suggest a hug with the two back tap minimum. (If you wish to show more affection, these taps may linger.) This is true too for comedians sharing a venue – though you may find the other comedians pleasant, unnecessary bodily contact is discouraged. John ran into issues with the amazing Ava Vidal (we suggest you look her up – not touch her up), but let us assure you he’s healing very well and his arm will soon be in working order again. Now, it’s time to buy a round!

(It’s now that the benefits of less conventional transport methods become apparent. Driving has its perks, but means at least one bro must stay below point-zero-five. That’s only one Appletini. Sadness!) A true bro will always stand his shout, and this is another proud Melbourne tradition. When buying a drink with less familiar bros, remember: if asked which size of beer, reply with the largest available (a pint here in Melbourne) or risk continued ridicule for the rest of the night. Or, if the taste of beer is not for you, and you’d prefer a sweeter and more feminine treat, why not try cider? It easily masquerades as the manlier beer, but tastes much, much better. We suggest waiting until at least midnight before breaking out our real favourite – the Appletini. Once you have entered the venue of your choice, there are other considerations to take into account: if attending a show alone with a bro, ensure you leave “ball-room”. This can be as simple as your seating consideration being as follows: your seat, an empty “we’re just bros” seat, bros seat. Then, if you like the show, don’t be afraid to promote it – we’ve certainly been hitting the campaigning trail! We opted for the modest life size cut out. (Equal prominence to both of us, though Andrew is taller.) And if you choose to travel by tram, you may even see us singing to each other and flyering like crazy. WHAT: Bad Boys Of Musical Theatre: A Fine Bromance WHERE & WHEN: Chapel Off Chapel until Saturday 23 April




Scott & Charlene’s Wedding


THIS WEEK INTERNATIONAL GOOD CHARLOTTE: 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 ATTILA THE STOCKBROKER: April 16 Northcote Social Club BRUNO MARS: April 16 Festival Hall EAT SKULL: April 16 Workers Club ZZ TOP: April 18 Festival Hall IMOGEN HEAP: April 18 Palais MICHAEL FRANTI & SPEARHEAD: April 19 Palace BOBBY LONG: April 19 Palais RODRIGO Y GABRIELA: April 19 Palais DALE WATSON: April 19 Cherry Bar

NATIONAL THE HOPE ADDICTS: April 14 Old Bar KIMBRA: April 14 Corner DAVID ROSS MACDONALD, HEATH CULLEN: April 14 Northcote Social Club THE LITTLE STEVIES: April 14 Ararat Live; 16 Karova Lounge (Ballarat); 17 The Loft KID MAC: April 15 Espy THE MCCLYMONTS: April 15 Costa Hall (Geelong); 16 Palms at Crown; 17 West Gippsland Arts Centre HALFWAY: April 15 Espy; 16 Yah Yah’s The McClymonts Friday Costa Hall (Geelong); Saturday Palms At Crown; Sunday West Gippsland Arts Centre


While this Saturday’s Record Store Day will see us out celebrating all that is good about independent record stores, tonight we’ll be down at the Workers Club honouring another vital link in the chain. The Released Series is a new weekly initiative that sees independent Australian labels curating nights at the Fitzroy venue, with a mini record store set up in the pub selling the labels’ wares. Kicking off the series are Brisbane-based label Bedroom Suck Records, whose impressive catalogue includes 7”, CD-R and cassette releases from the likes of Axxonn, Oh Ye Denver Birds, Blank Realm and Per Purpose. Headlining are flagship Bedroom Suck trio Kitchen’s Floor (snap up a copy of their killer Loneliness Is A Dirty Mattress LP while you’re there), with support from Adelaide’s Bitch Prefect and our own Scott & Charlene’s Wedding.

City And Colour pic by Heidi Takla

CARUS THOMPSON: April 15 Pelly Bar (Frankston); 16 Corner TIM & JEAN: April 16 Toff In Town ANDREW MORRIS: April 16 Pure Pop Records; 17 Wesley Anne THE ASTON SHUFFLE: April 16 Inferno (Traralgon) CLAIRY BROWNE & THE BANGIN’ RACKETTES: April 18 Melbourne Town Hall


SUPAFEST: April 17 Melbourne Showgrounds





It is rare for bands to start their gigs on time. Usually following a slew of stage set-up faux pas and false-alarm cheers, audiences are forced to wait in not-so-silent frustration until the much-anticipated show fi nally begins. For City And Colour, this is not the case. At 10pm sharp, Dallas Green prances onto the stage, along with fellow band members, much to the delight of the audience who express their gratitude with monumental applause and deafening cheers.

HALFWAY, KNIEVEL: April 15 Espy; 16 Yah Yah’s BEST OF BOTH SIDES: April 19-25 Lucky Coq and Bimbo Deluxe CHILDREN COLLIDE: April 22 Prince Bandroom; 23 Ferntree Gully Hotel THE AGGROLITES: April 23 Corner Hotel DISTURBED, TRIVIUM, AS I LAY DYING: April 24 Rod Laver Arena ELI PAPERBOY REED: April 27 East Brunswick Club OH, SLEEPER, THE CHARIOT: April 27 Bended Nightclub (Bendigo); 28 National Hotel (Geelong); 29 Evelyn HOUSE OF PAIN: April 29 Prince Bandroom UNKLE: April 29 Billboard DARWIN DEEZ: April 29 Hi-Fi Aa: April 29 Workers Club SUGAR MOUNTAIN FESTIVAL: April 30 Forum, No Vacancy Gallery, Atrium PASSENGER: May 5 East Brunswick Club KYUSS LIVES: May 8 Billboard BEN SHERMAN BIG BRITISH SOUND: May 11 Corner GYPSY & THE CAT: May 13 Palace PEGZ: May 13 Westernport Hotel (San Remo); May 14 Karova Lounge (Ballarat); May 19 Kay St (Traralgon); May 20 Hi-Fi TRIAL KENNEDY: May 13 Ding Domg; 14 Pelly Bar (Frankston) BLUE KING BROWN: May 20 Forum MONSTER SESSION: May 21 Espy BOY & BEAR: May 25, 26, 27 Corner Hotel; 28 Bended Elbow (Geelong) THE MIDDLE EAST: June 11 Corner Hotel; 13 Karova Lounge (Ballarat) MIAMI HORROR: June 29 Karova Lounge (Ballarat); July 9 Forum ART VS SCIENCE: July 2 Forum

With his tattoos and plaid shirt, it is hard to believe that Dallas Green is in fact the man behind the City And Colour moniker, known for subtle acoustic melodies and soulful vocals. But as he begins to belt out opener Forgive Me, it is easy to forget that Green is also part of posthardcore rockers Alexisonfi re, where his voice provides the perfect antithesis to George Pettit’s ear-stabbing screams. In fact, City And Colour seems a much more musically appropriate path for Green to have taken. The sing-along moments tonight are welcomed. In various songs, such as Constant Knot, the audience takes over, giving the sombre music a completely new feel. Other songs see complete silence cast over the audience as Green’s voice dips and dives, demanding attention. The latter moments really prove magical and one such instance is Body In A Box, where Green politely solicits the audience to put away their phones, put away their cameras and “just listen”. The result is that rare unity between audience and performer, and Green makes the sell-out crowd disappear into emotional oblivion. As the night continues to unfold, classic hits like Day Old Hate are sprinkled in between song previews from City And Colour’s upcoming release Little Hell, as well as a memorable acoustic take on the Alexisonfi re hit Boiled Frogs. And while the songs on the album are mostly stripped back and organic-sounding, Green’s back-up band doesn’t detract from the raw feeling of the music, instead adding to it where necessary. While his songbook may be fi lled with themes of heartbreak, longing, death and insomnia, Green is a surprisingly witty frontman, fielding incoherent heckling shouts with sarcastic wit, and opening various songs with entertaining anecdotes. And if the show leaves one impression, it is that Dallas Green is just like the rest of us; he’s insecure and unassuming, and it is that sincere connection he shares with his audience that makes tonight a genuinely special experience. Lana Goldstone Swans pic by Jesse Booher 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 LITTLE BUSHMAN: April 22 East Brunswick Club EMERY: April 22 Corner AGGROLITES: April 23 Corner Hotel LOTEK: April 23 Bar Open CHRIS BROWN, JESSICA MAUBOY: April 23 Rod Laver Arena MARK FARINA: April 24 Pretty Please 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 THE DRUMS: April 28, 29 Corner Hotel KATY PERRY: April 28, 29 Road Laver Arena DARWIN DEEZ: April 29 Hi-Fi BOBBY LONG: April 29 Northcote Social Club INDIGO GIRLS: April 29 Palais HOUSE OF PAIN: April 29 Prince Bandroom QUIET RIOT, WARRANT, LA GUNS: April 29 Palace UNKLE: April 29 Billboard Aa: April 29 Workers Club; 30 Forum HERBIE HANCOCK: April 30 Palais MICHELLE SHOCKED: April 30 Substation TRINITYROOTS: April 30 Corner YELLOWFEVER: May 1 Nash (Geelong) DEREK WARFIELD & THE YOUNG WOLFE TONES: May 1 Prince Bandroom JUSTIN BIEBER: May 2 Rod Laver Arena

Michael Franti & Spearhead Tuesday Palace

GRUFF RHYS: May 2 Northcote Social Club 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 AGAINST ME!: May 13 Hi-Fi GARY NUMAN: May 14 Forum MARK OLSON: May 14 Northcote Social Club LULO REINHARDT: May 14 Oakleigh Bowling Club; 15 Substation (Newport); 17, 18 Bennetts Jazz Club; 19 Memo. 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 LISSIE: May 19 Northcote Social Club BEN FOLDS: May 20 Palais OF MICE AND MEN: May 20, 21 Billboard JAMES BLUNT: May 21 Plenary Hall PIGEON JOHN: May 21 East Brunswick Club JOE BONAMASSA: May 26 Palais TIKI TAANE: May 28 Corner AFROJACK: June 4 Prince Bandroom SUNWRAE STRING QUARTET: June 9 ABC Centre NEVERMORE: June 10 Billboard YO GABBA GABBA!: June 11 Palais

KINKY FRIEDMAN, VAN DYKE PARKS: June 16, 18 Toff In Town; 17 Prince Bandroom STEVE IGNORANT: June 17 Toff EMMURE, SHINTO KATANA: June 18 Corner JOSHUA RADIN: June 23 Forum MILEY CYRUS: June 23 Rod Laver Arena KATCHAFIRE: June 23 Pier Live (Frankston); July 1 Prince Bandroom HELMET: June 25 Hi-Fi RISE AGAINST: July 21 Festival Hall THE GET UP KIDS: August 7 Billboard MAD SIN: November 11 Hi-Fi KD LANG: November 12 Sidney Myer Music Bowl KINGS OF LEON: November 13, 14 Rod Laver Arena

NATIONAL IMMIGRANT UNION: April 17, 24 Old Bar DRAPHT: April 22 Bilboard TIN CAN RADIO: April 21 Revolt; 23 Evelyn YACHT CLUB DJS: April 21 Karova Lounge (Ballarat); 22 National Hotel (Geelong) MID YOUTH CRISIS: April 22 Arthouse FRENZAL RHOMB: April 22 Barwon Club (Geelong); 23 Arthouse CHILDREN COLLIDE: April 22 Prince Bandroom; 23 Ferntree Gully Hotel MY DISCO: April 23, 24 Toff In Town CASSIAN: April 23 Super Disco; 24 Carlton Hotel (Geelong) THE CASANOVAS: April 24 Northcote Social Club SEEKAE: April 25 Toff In Town WASHINGTON, LISSIE: April 28 Ormond Hall; 29 Hi-Fi SAMPOLOGY: April 30 East Brunswick Club RENEE GEYER: April 30 Thornbury Theatre H-BLOCK 101: April 30 Arthouse THE CAT EMPIRE: May 4 Bennetts Lane; 5 Night Cat; 6 Palace; 7 Corner; 8 Prince Bandroom FLOATINGME: May 5 Northcote Social Club TASH PARKER, SCOTT SPARK, THE RESCUE SHIPS: May 5 Evelyn Hotel DAVE GRANEY & THE LURID YELLOW MIST: May 5 Bended Elbow (Geelong); 6 Bended Ebow (Ballarat); 7 Northcote Social Club JEBEDIAH: May 5, 6 Corner; 7 Bended Elbow (Geelong) GUINEAFOWL, BALL PARK MUSIC: May 5 Toff In Town; 6 Karova Lounge (Ballarat) THE MISSION IN MOTION: May 6 East Brunswick Club STRANGE TALK: May 6 Northcote Social Club; 7 Karova Lounge (Ballarat) MIKE NOGA: May 7 Toff FRONT END LOADER: May 7 Tote; 8 National (Geelong) TORTOISESHELL: May 11 Palais AMY MEREDITH: May 11, 12 Bended Elbow (Geelong); 14 (18+), 15 (U18) Hi-Fi KATIE NOONAN, KARIN SCHAUPP: May 12-14 Melbourne Recital Centre SEGRESSION: May 13 Espy THE KILLJOYS: May 13 Northcote Social Club GYPSY & THE CAT: May 13 Palace PIKELET: May 13 East Brunswick Club TRIAL KENNEDY:13 May Ding Dong Lounge; 14 Pelly Bar (frankston) SIR: May 14 Toff In Town MOTHER & SON: May 14 Retreat GAY PARIS: May 14 Old Bar; 15 Cherry Bar PEZ, MAYA JUPITER: May 19 Bended Elbow (Geelong); 20 Westernport Hotel (San Remo); 21 Hi-Fi; 26 Karova Lounge (Ballarat); 27 Loft (Warrnambool) AMITY AFFLICTION, I KILLED THE PROM QUEEN, DEEZ NUTS: May 20 (18+), 21 (U18), 22 (18+) Billboard LOWRIDER: May 20 Karova Lounge (Ballarat); 21 Corner BLUE KING BROWN: May 20 Forum HUNGRY KIDS OF HUNGARY: May 21 Metro BOTANICS: May 21 Revolver THE MAD BASTARDS TRIO: May 25 Northcote Social Club ARCHITECTURE IN HELSINKI: May 26 Hi-Fi BOY & BEAR: May 26, 27 Corner; 28 Bended Elbow (Geelong) KASEY CHAMBERS, SHANE NICHOLSON: May 27 York (Lilydale); 28 Palms at Crown; June 1 Regent Theatre (Ballarat); 3 Gateway Hotel (Geelong) BACHELOR GIRL: May 28 Forum AIRBOURNE: June 2 Inferno (Traralgon); 3 Palace

SWANS, THE NECKS FORUM Opinions differ markedly about tonight’s Swans show. Some cite semi-religious experiences at the hands of Gira and his feathered friends, some indifference, and others even find the performance in some way offensive, enraging. Entering during the unexpectedly early one-hour set by The Necks, we find a decent viewing post behind the sound desk relatively easily, and do our damnedest to lock into their continuous performance, which is already well underway. I would personally argue that The Necks are contemporary classical music: intricate arrangements – complex, swell and quiet – in no way bombastic but also not particularly audiencefocused. To appreciate The Necks one needs to accept a more patient and quiet framework. So no thanks to the buzzing of audience conversation around us which is – to put it mildly – hella distracting. Nevertheless, sufficient gentle pleasure is absorbed from the ebb and swell of their performance. After the intermission, having thankfully retained pole position, the low grumble of some kind of sonic activity indicates Swans are taking to the stage. In actual fact, this process takes a good 20 minutes, in which time we are treated to a slowly building wave of percussive, synth, then bass, guitar, and finally drum noise. This is where opinions begin to divide quite markedly. Some call it ‘indulgent wankery wasting good stage time’ and others, myself included, believe it to be an exposition, flagging Gira and co’s current preoccupations – which, according to recent interviews are about noise itself, sound that is physical, tangible, almost animate. The slow, intense build of frequencies begins at its apex to make everything in the room vibrate – chairs, dividers, glasses and obviously every small cell inside each of us. To those expecting something immediate, the concept of a ‘song’ or a ‘show’, it might be a slow start, but anyone who entertains patience listening to The Necks should be able to stomach an unstructured sonic jam. But it seems not. The rest of the two-or-so hours Swans are onstage make for a contemplative, frequency-filled, glorious experience that is by turns intense, ephemeral and elegaic (or simply absurdist). They play a selection weighted almost equally between older tracks – some from their most recent album and new material – but if one is measuring the value of a concert by number of tracks you’d consider Swans a paucity: seven over two-and-a-bit hours, including an encore. But it is also an indication of the way Swans approach their performance tonight – every track elongated, shifted, rephrased, developed. Like The Necks before them, Swans focus on a compositional exploration, with the standard instruments complimented by all manner of percussive and wind instruments courtesy of the aptly named shirtless viking Thor, and abstract synth/ebo . Swans display very little engagement with the audience, and what there is sees Gira carrying on some deranged-John Wayne (Gacy?)-style gestural shtick. This becomes another focus of criticism: some find the performance clinical, distant, without connection. Those expecting Swans to connect, to concentrate their intense internalisations outward, leave disappointed with a sense of the perfunctory. But engaging on the sonic level, just allowing the intensity to wash over and through, without expectation of a particular structure or form – their show is all manner of clichés, which could include: deeply moving, profound, cerebral, transcendental, unnerving, beyond classification. After the encore of Little Mouth finishes, I find myself literally wordless for hours, wondering how on earth this experience can translate onto the page. My profound insight and waves of sonic happiness are another person’s cold indifference. Either way, I’m quite sure Swans wouldn’t take it personally: their mission is quite something else. Nic Toupee

DEREB THE AMBASSADOR NORTHCOTE SOCIAL CLUB Entering the packed room when Dereb The Ambassador’s first set has just begun, a decision is made to penetrate the ‘circle of fear’ directly in front of the stage. The octet is in full swing and many of the band members sport matching blazers with embroidered emblems on the breast pocket. If you haven’t heard Ethiopian soul from the 1960s-‘70s, this live experience is a crash course you need to take. Dereb Desalegn plays masenko, a singlestringed Ethiopian violin, and when he doesn’t, he busts dance moves the punters struggle to imitate. These rhythms are complex and you often need to copy those clapping onstage in order to ascertain a beat (or just jig and hope for the best). “Usually, in Ethiopia, we hold hands and go like this,” Desalegn advises after a slower-paced song, demonstrating a side-to-side swaying motion. “You should have told us that before!” shouts a fangirl. “It’s a trick,” Desalegn replies with a smirk. With Dereb The Ambassador’s music, dancing isn’t a choice it’s a prerequisite. The double saxophone teamed with bongos, as well as drums plus bass and lead guitar, have a Pied Piper effect on our dancing feet when they kick in. Offstage, there’s some impressive, authentic dance-offs going on – incorporating percussive upper body, shoulder and head isolations – and these draw our approving stares. Intermission is welcomed to dry the sweat from our brows, but the music program has been carefully chosen to keep the polyrhythms coming. Those who choose to continue exercising through the break can happily do so. Set number two kicks off with a relentless instrumental that sees a young enthusiast in the front row cutting moves that would be more at home in The Prodigy’s moshpit. Desalegn’s return to the stage is greeted with much enthusiasm and he tells us proudly that he had his first hit in his late teens. The song Desalegn describes as “their second European hit” is a standout and also too much for our raver friend, who disappears from the front section and is never sighted again. The facial expressions of the players onstage say it all and there’s no place for vanity when it comes to coaxing just the right sound from your chosen instrument. The keyboardist’s emphasis is on removing his fingers from the keys as if from a hot plate, which is fascinating to watch. A percussion showdown towards the end of the set sees precision stop-start bongos and drums that could not possibly be spontaneous. Or could it? The unison is impeccable. We’ve danced so much that fainting spells can’t be ruled out, but an encore is still required. After a final fling of limbs, the queue at the bar by the water jugs says it all. Note to self: must attend a course in Ethiopian dance so as not to feel so unco next time around. Bryget Chrisfield

KESHA, BEARDO FESTIVAL HALL As another rainy day closes in on Melbourne, an impressive number of fans appear to have braved the wet to wait for hours outside Festival Hall in anticipation of America’s Britney-meets-Courtney star, Kesha. With the heat of the Hall drying soaked audience members, the somewhat questionable support act, Beardo, bounds on stage. Initially, the singer with the permed mullet grabs the audience’s attention, but loses it just as quickly as the restless audience proceeds to boo and launch various items at the unfortunate, untalented singer. Luckily the anxious audience doesn’t have to wait too long, as the person everyone came to see appears amidst the smoke wearing her illuminated sunnies and with drumsticks in hand. Kesha immediately brings the house down with the tour-title track Get Sleazy. The well-choreographed set eventually sees her emerge from the fog to leave her instruments behind as she asks the audience for a Dirty Picture. Due to technical difficulties, Kesha’s vocal is lost as the track opens, but once the issue is rectified the set picks up momentum with the introduction of impressive lighting, energetic dancers and oversized props. With barely a moment to breathe, the surprising amount of hits keeps coming, with costume changes kept to a minimum to ensure flow. The tempo remains upbeat for the first half and Kesha seems determined to prove critics wrong as she proves her worth with some moving, heartfelt, down-tempo tracks. Animal and in particular The Harold Song highlight the 24-yearold’s vulnerable side. Performing solo, stripped of backing vocals and effects, Kesha shows there is more to her than just glitter and hotpants. Point proven. The pace picks up as Kesha is joined onstage by dinosaurs, a giant pear and a dancing penis. With the party atmosphere building, Kesha unleashes Your Love Is My Drug and Tik Tok to a thrilled house, before the inevitable encore of We R Who We R. But as everyone makes their way out the door, a rapping Santa and dinosaur piñata appear onstage for a riotous rendition of Fight For Your Right (To Party!) Jeremy Williams

49 Mark Ronson pic by Andrew Glover

MARK RONSON & THE BUSINESS INTL PALACE As the stage is set with a red and white gameshow theme for tonight’s debonair headliner, front stalls chatter evaluates setlist wishlists. Given that Somebody To Love Me ranked so highly on Triple J’s recent Hottest 100 (number ten), we also haven’t ruled out Boy George jumping on a plane to express his gratitude via live performance. Kicking off with the Gameboy-kitsch melody of Circuit Breaker, Mark Ronson appears behind his console, upstage centre, in a meticulously ironed navy suit and he owns a coiffed, Nick Rhodesinspired, two-tone ‘do that embodies Cadbury’s top deck range. Attention grabbed. The Business Intl trickle on toward the end of this opening track – all males adhering to the navy ‘Business’ suit uniform, the two girls in customised all-black ensembles and asymmetrical haircuts. Spank Rock springs onstage as if assisted by an obscured trampette and instantly hurtles into The Bike Song. Alex Greenwald proves an able stand-in for Kyle Falconer’s vocal parts. Greenwald blushes as he camps up the song’s ‘female’ speaking part and we’re already knackered by the end of song two. Ooh Wee, one of our aforementioned fantasy set inclusions, causes havoc and bursts with a cheeky energy akin to the best of De La Soul. Ronson allows his carefully chosen cast to do their thang and oversees the spectacle like a proud parent. Obviously a fan of the line-up he’s assembled, Ronson includes Greenwald’s hit California (AKA The OC theme song by his band Phantom Planet) in tonight’s set. Greenwald has the talent to back up his swoonworthy appearance and his name is likely to be ‘most Googled’ tomorrow. Not sure about ex-Pipette Rose Elinor Dougall’s deadpan delivery (especially toward set’s end when she murders a snippet of Stop Me). Where’s ‘our Daniel’ (Merriweather)? A mid-set DJ demonstration from Ronson sees him venturing forward (at last) and he instructs that we should act like we’re on ecstasy, cheekily adding, “If you don’t know what that feels like, ask the person next to you.” Bang Bang Bang becomes Major Lazer’s Pon De Floor turns into Depeche Mode’s I Just Can’t Get Enough, which is an understatement. Spank Rock and MNDR take turns on the mic while Ronson gets swanky with his turntable style and while the former kills it, the latter almost kills the vibe. The atmosphere is immediately propelled skyward once Miike Snow’s Andrew Wyatt graces the stage. Mark Ronson’s, reggae-tinged extended version of Animal, You Gave Me Nothing and ultimately Somebody To Love Me makes us forget we’d wished for Boy George’s pipes – Wyatt’s vocal control is flawless and he tackles O’Dowd’s husky falsetto with aplomb. Ronson graciously introduces all who have shared his stage, including superlative bassist Stuart Zender (formerly of Jamiroquai), and with a Bang Bang Bang we’ve all been blown away. Bryget Chrisfield

EVIL EDDIE, POLO CLUB EAST BRUNSWICK CLUB At 9.30pm, the East Brunswick Club band room is still empty, save the merch girl, with not even a DJ to entice early arrivals to stay in the bar area. As a result, people dissipate into the night before trickling back when Polo Club take to the stage just after 10pm, stuck with the unenviable task of warming a completely cold crowd. The talented local hip hop act perform as a four-piece band, in keeping with the genrecrossing nature of the evening. Still, all of frontman Dyl Thomas’s charm can’t get much of a reaction out of the crowd – even his impassioned pleas for some audience assistance with the Hey Urban chorus get


amusing moment during the encore when he asks the floor to split down the middle. “You’ve heard of the wall of death, right?” he asks. “Well this is the wall of dance!” He then tells everyone to dance in the most ridiculous manner possible. One over-enthusiastic punter attempts a standing somersault on the cleared floor and lands squarely on his face, prompting Taylor to ask if he is alright (which he appears to be, though somewhat dazed). Taylor then gives the word during Hell & Consequences and leads by example, flailing around onstage like a drunken Peter Garrett. It’s this kind of interaction with the crowd that is by far the most entertaining aspect of tonight’s show. Taylor picks up a rather large bra thrown onstage near the end of the set and remarks, “It looks like two helmets sewn together!” He then wears it on his head briefly before returning it to the owner. He even pokes fun at his own haircut, pointing out he’s at the awkward, in-between stage and joking, “I look like a metal Doogie Howser!” Musically 30/30-150, Made Of Scars and Get Inside rock hard and Through Glass provides some welcome contrast. Taylor’s emotional solo performance of Bother is powerful, but there are a few songs that lack the same impact, including some of their new material. In the end this is a good show, though heavily reliant on Taylor’s charisma and larger than life stage presence. only a token effort. It’s a testament to Polo Club’s professionalism that they maintain their enthusiasm in the face of such a tough room, and it does eventually pay off, with later songs Ego (So Drastic) and The View getting a few heads nodding and feet moving. The lack of inter-set entertainment is sorely felt again following Polo Club’s departure from the stage – the folky tunes played over the PA don’t exactly fit with the feel of the evening. Perhaps as a result, Evil Eddie’s arrival onstage isn’t nearly as enthusiastic as it might have been under different circumstances. Still, this is a dedicated (if diverse) crowd, and the Butterfingers frontman wastes no time at all, delving into Somebody Say Evil while his co-MC Toddy Spitfire demands the audience’s adoration. What follows is a helter-skelter set that reflects Eddie Jacobson’s greatest strengths and potential weaknesses. His talent is almost limitless – one minute he’s spitting the lyrics to Ain’t Love Grand, which will surely be a future hip hop hit, and the next he’s toting an electric guitar and singing a pop punk song about castrating one’s ex-lover. The question here is whether he will need to streamline his sound to keep his fanbase, or at least pick a genre. While the crowd contains a smattering of punky post-Soundwave attendees, it’s Evil Eddie’s hip hop fusions that really stand out. The metalinfluenced rap Voices In My Head and Butterfingers throwback Get Up Outta The Dirt are clear highlights. Amidst Toddy Spitfire’s crowd surfing and drinkingcompetition antics, the final songs of the night are played out. Queensland’s Aussie-rock beat sounds brilliant performed live, although the audience never quite reaches the level of euphoria needed to shake their glutei as the song intended. The future single Fuck A War closes out an evening that proves Evil Eddie will surely become a hit as a solo performer, if he can just work out exactly what sort of audience he wants at his shows.

James O’Toole

IMELDA MAY PRINCE BANDROOM She may not be a household name here, but Ireland’s rockabilly darling, Imelda May, has certainly managed to pack ‘em in tonight. The Prince Bandroom is at capacity with a surprisingly mixed crowd out to see her do her thing. Her band take to the stage and it’s not long before she follows, wearing the cutest red-with-black-polka-dots dress and her trademark blonde streak in the roll of her fringe. She hasn’t even sung a note yet, but the crowd have gone wild. You could easily be forgiven for thinking she was a local favourite. When she does start to sing, though, it’s no wonder she’s managed to pull such a large crowd. Despite the fact that she’s a mere slip of a thing, she has a voice that is remarkable, full of soul and strength, like any self-respecting female rockabilly singer should have. It’s a great pity, then, that the sound, not just of May’s voice, but of her band as well, is really sub-par. Whether or not it’s just bad luck due to where we’re standing, who can say, but it really makes it hard to appreciate the show to its fullest. It appears that May has brought half of Ireland (well, Dublin, at least) with her as a mighty roar emanates from part of the crowd when she names a venue she played at when starting out. She seems genuinely Sevendust pic by Heidi Takla

Aleksia Barron

STONE SOUR, SEVENDUST FESTIVAL HALL Opening with Splinter from latest album Cold Day Memory, Atlanta rockers Sevendust immediately make an impression with their enthusiastic stage presence and punishing barrage of riffs. Drummer Morgan Rose is a star behind the kit, aggressively keeping time but also having fun, frequently letting sticks bounce off his snare drum and sail ten feet into the air. Bassist Vince Hornsby and guitarists John Connolly and Clint Lowery often catch the wayward sticks, then throw them out to the eager crowd. Tricks aside, what makes this show a great one is a good selection of strong songs and the live performance chops of the band. As Lajon Witherspoon spits out between songs, “You may love us, you may hate us, but you can’t ignore us!” Denial from stellar album Home is a crowd favourite and after a pummelling rendition of Pieces, a medley of Master Of Puppets and Walk by Pantera worked in between the titanic riffs of Rumble Fish keeps the energy running high. “Can you feel it?” Witherspoon asks, and indeed we can. Hopefully we see Sevendust back in a headlining show soon. There are a handful of people here just to see Sevendust, and they don’t last long as Stone Sour’s first few numbers simply don’t reach the same energy level. Two things are immediately apparent when watching Stone Sour. First, frontman Corey Taylor loves Stone Sour and it’s his band in a way that Slipknot never will be. Second, he is definitely the star of the show and carries the set. Between songs the spotlight is solely on Taylor, while the rest of the band disappears. Taylor soaks up the adulation of the crowd and continually beckons for more, which becomes a bit grating after a few songs, but thankfully things improve as he loosens up and starts joking around. There’s a particularly

touched that so many of her fellow countrymen have come to see her tonight. In fact, she seems touched so many have turned up, full stop. The only letdown is that there’s something missing from this performance. The songs, sadly, seem stale and uninspiring, no matter how fantastic her voice is or how good she is onstage. It’s not helped by the incredibly overdrawn ‘I’ll sing, now you sing’ shtick during Proud And Humble. Over the night, we’re treated to a fairly long setlist, including Inside Out, Sneaky Freak and (yet another cover of) Tainted Love. A charming and instantly likeable performer who clearly enjoys what she does. Dominique Wall

MF DOOM, DEXTER, 1/6 & MZ RIZK ESPY It’s 10.30pm. Daylight Saving ends tonight, and I arrive at the Espy to discover that MF Doom isn’t coming onstage until 1am. There’s a barrage of rock’n’roll emanating from the front bar. Silver-haired rockers are pulling the moves for well-beveraged punters. Out back in the Gershwin Room, there’s a buzz of anticipation, not held back by the $85 ticket price. It saturates the air – hanging smokily in wait for underground legend, Metal Face Doom to hit the stage for the very first time in Melbourne. Mz Rizk is on the decks up front, spinning Tyler The Creator’s Yonkers, and young Melbourne rapper, 1/6, spits voraciously into the mic. He’s been up there for a while and has caught the crowd’s attention. They eagerly follow his cues to chant refrains as he bounces and struts across the stage. He has a confidence on the mic that belies his age – as does Mz Rizk – her beats alternating between traditional hip hop and darker, noisier edges. As Dexter sets up, the crowd begins to swell. People are marking out their positions and a continual stream moves towards the front. Dexter launches into a metal track to begin with but he quickly switches styles, dextrously delivering the sounds of LA, soul, old school and more. At first, it doesn’t feel like it clicks, but he morphs, shifts and shapes his sound and finally hits his stride mid-set. The energy in the crowd is palpable. Heads are nodding and the bass is rumbling through the floorboards. As Dexter closes, the Gershwin is full and lighting the backdrop is the number 57:19. Doom is here. I expect MF Doom to be bigger than he is. His voice on record is at odds with his diminutive stature. Or perhaps the sheer enormousness of his hype man, who must be nearly seven feet tall, creates this perception. But size aside, once the beats drop, there’s no mistaking who owns this stage. I’ve heard a rumour that Doom has a tendency to disappoint live, but this isn’t evident tonight. From the first to the last rhyme, the crowd is held captive by his majesty. He covers a lot of territory, throwing up tracks from almost all of his personas. There’s a sprinkling of Madvillain, Victor Vaughn, King Geedorah and MF Doom tracks. With the scent of green wafting through the Espy he launches into America’s Most Blunted from the album, Madvillainy. Hands hit the roof, heads nod and we eat from the palm of his hand. If there’s anything to criticise, though, it’s the mix. After the booming beats of Dexter, Doom’s beats sound tinny, the treble is way too high, the bass unable to be felt in your chest. With little warning, the trio (DJ, hype man and Doom) disappear from the stage. But there’s no way they won’t return. And when they do, the beats are large once again and MF Doom launches into the culmination of his set. Someone up front calls for a track from Danger Doom and he dutifully delivers. This sets the crowd off one last time. There’s no doubt. MF Doom has lived up to expectations, and with another show scheduled, punters will be scrambling for a repeat visit. Luke Carter

LAST DINOSAURS, PAPA VS PRETTY, LOON LAKE NORTHCOTE SOCIAL CLUB Wow, this is a first. The young patronage of the Northcote tonight apparently didn’t get the memo re: ‘Melbourne snobbery’ because the band room is being filled front to back as opposed to vice versa, as one normally sees in gig attendance. That pitiful ‘D’ shape encircling the stage so omnipresent is now gone, replaced by what one determines to be a breadth of strictly 19-20 year olds. Melbourne rockers Loon Lake, with their cheery Brit Pop-esque stylings, are actually the best band on the line-up tonight. A bold statement, yes, but In The Summer is a hugely catchy, if slightly mild, number that makes the youthful audience bop away like bunnies. Papa Vs Pretty are possibly the same ages as their audience but show far greater skill than their older musical counterparts. Although the music itself is pretty standard indie rock with all the staples – wailing guitar, head-nod bass thudding, swaggering verses leading into big, big choruses – it shows a far better understanding of musicianship than their youth might lead one to believe. Frontman Thomas Rawle has that sort of Muse/Evermore vocal vibe going on (singing well despite his throat infection) but his clunky banter shows his lack of experience in rock’n’roll showmanship: “Has anyone had a beer?” The energy of Last Dinosaurs is fierce and admirable – I appreciate anyone who gives up the ‘too cool for school’ shoegaze BS – but as the chopping indie-pop guitar rings out and frontman Sean Caskey’s sort-of asexual vocals sing lovely words and every cat in the place gets out their iPhone to record cutesy single Honolulu, I just can’t grow to like the Last Dinosaurs sound. There is too much, much too much, of this everywhere. It’s not the band’s fault – they could have been doing this for yonks – but the samey sound, despite being tight and glossy, is too far removed from individuality to fully embrace. There is a market for this, but I’m not shopping there. Lisa Dib

YEO, THE BON SCOTTS, THE TOWNHOUSES TOFF IN TOWN Although it’s a school night, the Toff In Town is buzzing with people tonight. Melbourne-based The Townhouses open the evening with ambient instrumental tracks. Leigh Hannah, the solo genius behind this project, is an interesting performer to watch as he plays his eclectic, nuanced music. Indie-folk septet The Bon Scotts follow on and play tracks from their debut album Oddernity, which was released in August last year. Loud applause is given when the ensemble play We Like War and The Kids Are Coming and it is clear that this outfit hit the spot tonight. But the big applause is reserved for the talented Yeo Choong who is launching his second album Bag-OItems tonight. A catchy, ‘90s-style pop/hip hop album, Bag-O-Items is an entirely solo project where Yeo impressively plays every recorded instrument and sings nearly all harmonies. The album pushes boundaries in terms of genre and style, sounding at times like Phoenix, Jamie Cullum and even The Morning Benders. Joined onstage tonight by friends such as Charlie Lim on synth and Tina Behrsin on backing vocals, Yeo begins his set with the toe-tapping Hey Mr Sound Man, the first track off the new record. The Weight I Pulled and Big Heart follow, and his boyish charm shines throughout Stupid Ideals. The sound is polished and Yeo looks completely relaxed and in his element onstage, bopping to the melody and occasionally playing the keytar. Yeo has a stage presence that is endearing and unpretentious to watch and it is evident that he has a strong fanbase here in Melbourne, one that is sure to grow when Yeo supports Kimbra at the Corner this Thursday. Danielle Trabsky


Amanda Palmer pic by Lou Lou Nutt

CORNER In a good way, Canadian’s Fucked Up have to be the fuckin’ fuckedest fuckin’ fuckers in fuckin’ punk music to-fucking-day. They hit the stage running and don’t relent during an hour of stomping, proper punk music led by the world’s scariest (in a ‘I hope he doesn’t crush me while he’s crowd-surfing’ kind of way) fatman, Damian Abraham. The Corner stage struggles to accommodate the six pieces. It doesn’t help that the room is jammed beyond the gunnels with punters, but actually watching the band proves difficult as diagonal sightlines render the players obscured from view. Luckily Abraham spends a good deal of the show in the audience and sculling beer at the bar. If you haven’t seen LA punk exponents The Bronx, you’re barely alive. In rare fashion they refrain from opening up with what’s become the expected loosener Heart Attack American and opt for the more recent, if ever-so-slightly weaker, Knifeman. There’s a lot of treble in the mix and singer Matt Caughthran’s vocal screeching drowns the guitar dynamic for the majority of the set. The energy of the thing treads a knife-edge between euphoria and outand-out carnage. Circle-pitters grin under the trance of their chief in Caughthran, but you get the impression they’d be tearing each other apart if given the nod to do so. There’s a softer period than seen at past outings through the middle of the set and a couple of the older numbers – notably Strobe Life and They Will Kill Us All (Without Mercy) – lag sufficiently to allow toilet stops and refreshment before the coming onslaught. The inclusion of the, until recently, rarely played White Tar invigorates, but you get the impression The Bronx are well aware it’s an uphill battle. The one-two combo of closers Heart Attack American and the exceptional History’s Stranglers send The Bronx from the room on pretty decent terms, but the awful sound quality coupled with the sheer volume of bodies make for a pretty uncomfortable experience. But then, who said punk rock was ever supposed to be comfortable? Sam McDougall

AMANDA PALMER FORUM From the beginning, there is a palpable energy in the packed Forum. The fans are in a state of almost Messianic devotion and it’s remarkable how electric that expectation is. Kim Boekbinder, looking very Ziggy Stardust, performs a tight set of three songs with backing vocals from a squeeze toy. Melbourne’s own The Jane Austen Argument are also on briefly, but are fucking fabulous. A truly exceptional cabaret act, musically and lyrically. As a surprise, Amanda Palmer and longtime collaborator Jason Webley appear as Evelyn Evelyn, their alter egos as conjoined twins playing excellent ragtime. They play one song but the crowd goes absolutely insane. Mikelangelo & The Tin Star are a very tight band, let down by the thin voice of the singer, who seems more comfortable talking than singing. And he talks and talks – between songs and during songs. He should really just get on with it. The final support is Webley, before a half-naked Amanda Palmer appears high above the stage playing Making Whoopee on ukulele. She vanishes and The Tin Star, now her backing band, plays Miss Me as Palmer dresses chaotically behind a flag. When she has finally succeeded, her show begins. Palmer is a superb performer and her voice is pure and honest. However, the performance is utterly let down by the delayed and disorganised transitions between songs. Most songs require new accompaniment and the accompaniment takes ages to appear. That palpable energy is largely gone. And Mikelangelo continues to talk, most vexingly in the middle of Coin-Operated Boy. But suddenly, it all changes. When Palmer leaps into Runs In The Family, the band is tight and the music is furious and powerful. Seamlessly, they shift to the doo-wop of Oasis and there are go-go dancers, a brief sample of Twist And Shout, and the whole theatre is thumping. Palmer returns for an encore performance of Map Of Tasmania while dancers in koala suits strip down to merkins and remain gyrating onstage for Leeds United. The closer is a drinking song, led by Webley, as the whole crowd sways and sings. If the entire show had been this fluid throughout, it would have been beyond sublime. Instead, the show’s brilliance was perforated with stretches of unnecessary chaos. Rob Gascoigne





There’s no shortage of Melburnians keen to see local boy Illy on the stage. Sadly, the same can’t be said for opening acts BBS and Pagen Elypsis. Both crews have a lot of enthusiasm, but substandard unison rhyming lets them down. BBS’s set is overly referential – the MGMT samples and Eminem references leave little room for originality to shine through. Adelaide’s Pagen Elypsis show promise with their lively stage presence, but fail to capture the attention of the Sunday night crowd. It’s never a good sign when, with the main act due on stage in less than an hour, the back half of the venue is more crowded than the front.

Seeing a legend like this is a strange experience, one almost crushed under safe expectations, stifling any chance to feel the transcendence the band built their legacy on. However, one glance around the arena says it’s unlikely the crowd is looking for anything like that. With Carlos Santana you know exactly what you’re going to get; a dude in a hat playing a lot of guitar, a large backing band of similarly proficient musicians and a piñata full of Latino good times.

It’s a testament to the skills of DJ Flagrant that he’s able to take this stone-cold crowd and whip them into a frenzy. Flagrant takes over the decks, taking control not only of the sounds but also of the visuals projected onto the screens encasing the stage. He artfully mixes and scratches some of hip hop’s greatest classics – mixing House Of Pain’s Jump Around into Drapht’s Jimmy Recard is a particularly inspired move. These songs’ accompanying music videos are intercut with some of cinema’s greatest moments, with Arnie and Don Cheadle making appearances. When he drops that old chestnut, Hoods’ The Nosebleed Section, the room goes apeshit. Finally, the room is primed for Illy to take the stage. He leaps up to deliver the last verse of Go, the opener off his second album The Chase. If he’s nervous, there’s no trace – he confidently delivers new tracks like Diamonds and On The Bus, as well as old favourites My Way and Generation Y. Even the absence of M-Phazes on the decks doesn’t appear to dent his confidence, with Flagrant providing more than ample support while the drummer, Cameron works his magic. Album tours are an excellent way to test out which tracks will work live, and the results are often surprising. Put ‘Em In The Air sounds like a sure-fire live hit, but falls flat on the night thanks to an imperfect mix. The slow burn of Cigarettes, on the other hand, inspires the kind of passionate sing-along normally reserved for hit radio singles. Launching into We Don’t Care, Illy hits back at his detractors, pointing out that few hip hop acts in Australia can command the kinds of crowds that he can. He closes the set with breakthrough hit Pictures and current single The Chase, before returning with Brooke Addamo (AKA Owl Eyes) herself for an encore of It Can Wait. The onstage confidence, adoring fans and market appeal add up to one thing: Illy is, indeed, carrying the torch for Aussie hip hop now.

With well over 100 previous members, the current 11-piece line-up fills the stage with 30odd drums and copious percussion, none of which is wasted. Riding ruggedly over the top of the heavily swung rhythms, pulsing bass and stinging Hammond oozes Santana’s guitar tone, busy as a Spanish flea pulling one song into the next. “I’m very grateful, very blessed at this time, on this planet,” he says after shaking the place to the ground for the umpteenth time. “It’s important for us to stay lightheaded and to live in wonderment, healing and love.” The audience cheers. “I happen to know a lot about love right now,” he smiles. “You see, I got married in December to this lady…” and in walks Cindy Blackman (you know, Lenny Kravitz’s drummer from Are You Gonna Go My Way). Cue a stonkering five-minute drum solo, a sloppy kiss and a blistering intro to Jingo, which has the audience cheering louder than ever. From the crowd, many of who would have helped Abraxas to number one in 1971, there is a palpable excitement and a lot of arrhythmic arm waving when Santana pulls out Oyo Come Va and Evil Ways before segueing into A Love Supreme (there is a lot of segueing tonight). All inspiration for another soliloquy, this time ‘SOCC’ (AKA Sound Of Collective Consciousness) and plenty of ‘bringing the love from Woodstock’ references. “If you remember one thing from tonight, make it this... you are light and love,” Santana solemnly intones before we all, gender by gender, chant it back arms aloft: “I am light and love!” So, it’s a relief for some when the band launch into Sunshine Of Your Love and several of his recent Smooth(er) efforts, taking us back to the safety of the idea of Santana, leaving us free to comfortably nestle in his warm spirit and copious baggage. Andy Hazel

Aleksia Barron


CHRIS ISAAK, THE BLACK SORROWS, MELINDA SCHNEIDER, DANIELLE SPENCER MORNINGTON RACECOURSE The Mornington Racecourse car park is rammed and an endless queue of punters carrying foldout chairs and Eskis snakes up toward the gates. The sun is shining and a there’s a vague waft of horse manure on the breeze. Mum’s baggsed plus one honours and waits patiently to hear the swoonworthy source of ‘tunes to iron by’ live. The small corner of the racecourse that has been cordoned off for today’s gig fills incredibly quickly. In order to face the stage, chairs are placed down an incline, sideways, while Rusty’s missus Danielle Spencer performs. It’s pleasant enough background music, but Spencer certainly doesn’t demand our attention. In vast contrast, multi-Golden Guitar winner Melinda Schneider is worth ceasing your chats for. Having recently performed at a festival in Normandy, Schneider convincingly introduces The Story Of My Life in French before translating the title into what she calls “Orstrayien”, in her best ocker accent. Schneider engages us with her banter and jokes abut having been “on Denton with her yodelling mother”, Mary. Be Yourself seems to work for Schneider. Her voice is gutsy and easily holds our interest. “Well, if you come to a festival, surely this is more what you want to do,” mum shares, favouring Schneider over Spencer. A lady in the toilet queue jiggles impatiently and seems more excited by the prospect of seeing Joe Camilleri than Chris Isaac. Hit & Run sets a cracking pace. The only constant member of The Black Sorrows, frontman Joe Camilleri, nails his unique singing/sax-playing shtick although he grumbles abut the “plumbing around his neck” that seems to get heavier as he gets older. The celebratory sax melody of Shape I’m In is the star of the song and urges bums out of seats, which remain upstanding in appreciation of Chained To The Wheel. Some well-oiled punters struggle to negotiate their leaning chairs and there’s a buzz of activity around the site as all prepare for Chris ‘Mother’s Little Helper’ Isaak. “I listen to him when I’m sewing,” mum confirms. Finally emerging in a vibrant purple, bedazzled rockabilly suit, Chris Isaak has us Dancin’ from the opening strum. Isaak’s vocal control and lung capacity is phenomenal as he holds a note for an impossible length of time. Those who have caught his act before are asked to raise their hands, and many do. “I’ve always admired the Australian people and their spirit of forgiveness,” Isaak jokes, before ripping into Love Me Tender. A few covers from his forthcoming album – Johnny Cash’s Ring Of Fire and Great Balls Of Fire by Jerry Lee Lewis – are included in tonight’s set, which sparks discussion as to whether this will be a pyromaniac concept album. Wicked Game silences the hillside adequately enough for us to admire Isaac’s vocal nuance, which somehow manages to sound spontaneous, tender and better than its recorded counterpart. Could someone please pass the smelling salts to the lady on the right side of the leaning tower of scaffolding? Mum announces, “It wouldn’t have hurt to put up a big screen!” Introducing his outstanding bandmates, Isaak teases, “Sometimes you need to look past the painted bird in the centre – except for tonight, ladies and gentlemen.” The way Scott Plunkett hammers on those keys is unparalleled. Baby Did A Bad Bad Thing has the desired effect and Isaak’s spoken-word confession about not taking grandma to the doctor, instead going to a rock concert and leaving her in the car with the window Jamie Lidell pic by Lou Lou Nutt

open is genius. As a scantily clad lady shimmies past, mum observes, “She must be drunk. They don’t feel anything.” When Isaak returns to the stage post-costume change, it’s time to muscle down the front to inspect the human mirror ball. Isaak removes the jacket to expose a short-sleeved white shirt and red sequinned bowtie, which is an eyesore when combined with the baggy black strides decorated by rectangular shards of mirror. The millisecond we hear the riff caresses of Blue Spanish Sky’s intro, this fashion faux is forgiven. Relocating mum proves difficult, and she’s furious. “I could rugby tackle half the racecourse,” she fumes, referring to all the drunkards who dare speak while Isaak croons. Our biggest moon in 18 years (or “supermoon”) came out to illuminate Isaak. And his sparkling Vegas attire sure catches the light.

Millencolin pic by Heidi Takla

EAST BRUNSWICK CLUB Kristina Miltiadou has been shaking the metaphorical maracas of Fitzroy’s finest since she began her residency at the Workers Club. Tonight she sits alongside King KSSR to support Bleeding Knees Club and Gold Fields on their Hard Knocks tour at the East Brunswick Club. After supporting Marina & The Diamonds, she’s slotted nicely into an uplifting pop niche that has hearts singing across Melbourne. Tonight is no exception. Previously hesitant wallflowers soon penetrate the empty dancefloor during a spirited performance of I. This woman is sunshine wearing a flower wreath, her blinding rays dishing out a feast of toe tapping and smiles even to those most unwilling. Miltiadou’s rendition of Kings Of Leon’s Milk offers a delightful quasiSpanish twist while Carousel has the audience enthralled by an alluring Miltiadou and her charming pixies.

Bryget Chrisfield

WATUSSI, JESS HARLEN NORTHCOTE SOCIAL CLUB Jess Harlen introduces Watussi by warning us to hold on to our pants and do up our belts because they’ll come off otherwise. Harlen’s voice is enormous, both strong and delicate. She’s got a charming, easy manner onstage and totally embodies her songs. Patrick Kilby on bass and Plutonic on drums are the perfect rhythm section for this gorgeous set of songs taken mostly from her album Neon Heartache. It’s all top stuff. Pity there are only about 20 people in the room to appreciate her, Harlen deserves a lot more. She tells us a story about how she fell off her bike last night because someone removed the screw from her front wheel (who does that?!) so she’s playing from the heart through a whole lot of pain. Thank you, Jess Harlen. It is much appreciated. Watussi hit the stage and our pants fall off, just like Harlen predicted. They are launching their new EP 1000% Handsome, a fitting title for this passionate eight-man musical powerhouse. They deliver their distinct reggae, funk, rock, Colombian, indie-fusion sound with a contagious high energy that has the half-full Northcote Social Club feeling chockers. Quando Sera is a fat dub reggae track. The next track, Coro Coro, is from their new EP and it’s funky as hell, especially when the brass section and flute kick in. They kick out the jams with old favourite Tequila Sangue Fuego from their first album and even play a Latin-styled Happy Birthday for percussionist Vicente Sebastian. With the encore of Seguimo Paramos, hip-thrusting lead singer Oscar Jimenez has the crowd hyped into an enthusiastic call and response of “Seguimo? SI! Paramos? NO!” We don’t know what it means but it’s a kick-ass finale to a high-energy gig.

looks like he’s been snatched out of the cast of Breakin’ respectively. The trio wow with a smattering of new and old hits which impress, at least the front half of the crowd, greatly. Venturing to the front during an impressive solo rendition of A Little Bit More that rises and falls like a Shubert symphony is a good move. The band return to the stage to a smattering of well deserved applause and treat us to a soulful rendition of What’s The Use. Lidell has a way of making you forget where you are, which is why listening to Multiply while you drive isn’t advisable. We dance and sing along like we’re alone in our bedrooms, but it’s more fun being surrounded by equally happy and danceable people (except for one flaccid blonde leaning on the stage trying to kill the buzz). The only criticism in this position is that the continuous use of red and yellow lights makes the heat almost unbearable, but true fans soldier on and the two handed handshake I’m rewarded with won’t be forgotten in a hurry. If Prince had a child with Bill Murray circa Ghost Busters the result would almost certainly be Jamie Lidell live, and seriously, what more could you ask for? Kendal Coombs


Kate Kingsmill

JAMIE LIDELL EAST BRUNSWICK CLUB We enter the venue for the beginning of Jamie Lidell’s incendiary set, in time to see the heart-stopping opener The Ring. The master of electro/jazz/pop fusion, Mr Lidell exudes a musical sensibility unsurpassed in popular circles these days and a generous amount of soul, which is not possessed by many white folk. My memories of watching Lidell live at Falls festival (2008-’09) are hazy to say the least, because my head intercepted a glass bottle less than an hour before his unusually attired band took to the stage. A 50-yearold man in an Evel Knievel costume, and a lot of gold sequins, was definitely up there. More appropriately attired tonight in a half black/half silver jacket, Lidell is joined onstage by Mr Jimmy and Mr Willie B – a balding, shirtless, mustachioed accompanying keyboardist in tight, white pants and a drummer who

The quality of punk, hardcore and metal gigs sprouting up all over the city circa Soundwave is the stuff of a headbanger’s wet dream. Tonight, some of the finest exponents of punk and ska appear to quench the oh-so-dry thirst that the punters crave. While the Palace fills, Californian ska heavyweights Mad Caddies show off their wares. Although at first the set is very much that of an ‘opening band’, without too much crowd participation, by the end of the band’s allotted 30 minutes, there is no doubt that had the Caddies been the headlining act, this place would still have sold out. Now it’s time to go back in time, to a land of high school acne and limited spending money where the prospect of not purchasing at least one CD per month for the reasonable price of $29.95 seemed like larceny. It’s 2001 and I’m the 16-year old version of myself – the most life-altering record is about to hit my ears. The album is Pennybridge Pioneers, and the band is Millencolin. Celebrating the tenth anniversary of the release of their breakthrough album, Millencolin play the record from start to finish. No Cigar, Fox and Material Boy (the latter performed to the fastest-formed circle pit known to man) break open the album and therefore tonight’s playlist, preceding another 11 tracks culminating in frontman Nikola Sarcevic’ acoustic sing-along The Ballad. A solid encore of songs old and new (think Mr Clean, Black Eye etc) gets the crowd even more excited, and the fact that this is a “double bill” is evidently not lost. Half an hour later, Hermosa Beach (that’s California, punk)’s finest exports, Pennywise take to the stage. Their first tour to Australia with their current line-up – singer Zoli Teglas joined the band in 2009 – sees them in fine form. Tight, driven and a bunch of fun, the four-piece pull out all the stops, playing hits like Society, Fuck Authority, and ending with a rousing rendition of Bro Hymn. A member of the Greenpeace boat Sea Shepherd appears briefly, explaining the win they’ve recently had over Japanese whaling, and there is a definitive anti-government sentiment throughout. If tonight’s been a walk down memory lane then it’s been a damn good one, and one that will not be forgotten quickly. Dylan Stewart



From the word ‘go’ Bleeding Knees Club have us swept up in a supersonic whirlwind, Teenage Girls lingers on the blushing cheeks of lovely ladies and a killer cover of Joan Jett’s Bad Reputation has Melbourne hell raisers swooning. It’s performances like these that leave this crowd feeling a little dizzy. It’s the good kind of dizzy, though – you know the sort you get when you’re a kid because spinning around really, really fast just feels so good? That’s what this set feels like – really, really fun. Intra-band jokes and rapport bounce between Alex Wall and Jordan Malane much like the songs themselves, sincerely and spontaneously. Each track is definitively catchy while maintaining a similar thread: speed without rush, honesty without convolution, and confidence without arrogance. They’re just plain endearing. Tracks like Have Fun and Bad Guys have the audience embracing their inner ratbag and it makes sense that undebased, raw tunes should ensure these boys stumble their way to success. Soon after, a curtain is dranw to unveil indie pop outfit Gold Fields. Ultimately Gold Fields feel worldly and mature, as heavy percussion laces tracks like The Woods and Moves. It’s almost tribal and strangely mythical as an entourage of members let their fists sink into an ambush of bass drums. Frontman Mark Fuller has a certain brooding mystique, maintaining an enigmatic quality that would even do Robert Smith proud. Drummer Ryan D’Sylva carries the band through hard-hitting, percussion-based tracks while Rob Clifton (synthesiser) lifts tracks into something more danceable and accessible. Treehouse is a testament to their reception across radiowaves, leaving an audience submerged in swinging hips and swaying hands. While tonight sees an onslaught of young Australian bands, it also mirrors a progression. It’s as if each band has foreseen the last and anticipates the next. Tonight is an insight into the direction of the music young Australians create – it’s exciting, sincere and fresh. But most of all it’s awakened a thirst and intrigue for what comes next and, by the looks of this sweaty audience, Melbourne can’t wait. Melody Newell

WAGONS, THE TWERPS CORNER Anticipation is high – frontmen like Henry Wagons don’t just come along every day, after all, and we’re all expecting a damn good show. He’s worked hard to build his public persona, and his flagrant yet endearing self-promotion (how he finds time to do anything outside of his hectic Twitter schedule is baffling) has yielded a crowd of adoring, expectant punters (and not a small number of Henry lookalikes). The Twerps take the stage. It’s taking them a few tracks to warm up; nerves might be playing a role in that. And the crowd – amped for a night of country-influenced, good-time rock music – isn’t really warming to their droney guitars and downbeat vibe. They do hit their stride, however, and finish solidly. A mental note is made to check The Twerps out at a gig of their own; supporting Wagons isn’t the best fit, and it’s a little unfair to them. And finally, after a break that involves a well-lubricated audience performing a fairly passionate rendition of I Want To Know What Love Is (Foreigner, Gram Parsons and Randy Travis between sets, Henry Wagons may have had a hand in that) Wagons arrive on stage. Straight away they launch into it, with The Rise And Fall Of Goodtown opener Drive All Night Til Dawn. Indeed, they play through the entirety of side A of ...Goodtown – it is the launch of the vinyl version, after all (together with the first single of the new album). Even as a big fan of the album, it can seem, at times, a touch inauthentic. But Wagons live is the real deal. The energy onstage, the look of pure unadulterated joy on HW’s face – the album’s not inauthentic, it’s an homage to the music he loves so much. Hearts are sent fluttering with the booming Love Me Like I Love You, while it’s possible that every dude in the room wishes they could pull off Henry’s awfulyet-adorable headband. The new single Downlow, pub rock brilliance, is launched to unanimous approval. Moral of this story – Wagons do live music right. See them play whenever, and as often as, you can. Ingrid Sjölund


RECORD STORES, YOU DIG? Founded in America in 2007, the first RECORD STORE DAY was a celebration of the country’s 700+ independent record stores. Since then the event has rapidly grown into a worldwide celebration of independently owned bricks-and-mortar stores, the places that prefer the touch of vinyl to a torrent and would take a compact disc over an iTunes download any day of the week. Ahead of this Saturday’s Record Store Day, ANTHONY CAREW explains why record stores offer an experience no online store or blog could ever match.


ecord Store Day: meaningful cultural event? Attempted underground rebellion quickly co-opted by the powers-that-be? Inescapable exemplar of white middle-class guilt? Grand shrine to lazy nostalgia? Futile attempt to stave off the inevitable? Calculated exploitation of indie elitists and collector scum? Or righteous party at that place where everybody knows your name? The answer is, I suppose, all of the above. Founded in 2007, Record Store Day almost instantly became a magic elixir for an ailing industry; indie record stores being gifted a radically disproportionate one-day sales-spike – a themspecific Black Friday/Boxing Day/etc – as a way of arresting that seemingly-inexorable slide into financial oblivion. Those denizens of the digital age who felt a gnawing, insuppressible guilt at the fact that they’d abandoned the record store for the ease of instantaneous online commerce now had a single, symbolic day to embrace. The idea, of course, is just to get people back in the store, but in some ways it feels too symbolic, too easy, to just show up that one time – like attending the big protest rally as opposed to living in daily political defiance. Uncorking the language of protest is no coincidence, either: at this point in human hyper-capitalist history, attending an independent retailer is a political act, and buying actual physical musical objects is an ideological one. For many, those ideologies aren’t crystal clear; Record Store Day is an event that threatens to be forever clouded with nostalgia. A time in which people return to their roots, and sentimentalise all those hours they spent (past tense) inside these veritable audio institutions; in which the Good Old Days are just a cliché away, and tired record-store-clerk stereotypes are direly rebroadcast.

This year’s Record Store Day is bigger than ever, its official campaign loaded with big names – Gorillaz, Radiohead, The Flaming Lips, token marketing figurehead (“ambassador”) Ozzy Osbourne – and its scores of releases shrouded in exclusivity; limitededition fetish-objects for flippers to re-sell on eBay. But, beneath its tacky celebrity, its desperate gimmickry, and the cold sting of commerce, Record Store Day has one glorious thing on its side: the love of the physical object. The actual thing. The tangible representation of that most glorious, elusive, spiritual, transcendent spell: recorded sound. There has been a huge recent move towards viewing the record – the vinyl object; 45s and 12” LPs – as being its own artwork. Countless gallery shows and art books have assembled album covers as exhibitions, the work of designers like Hipgnosis and Barney Bubbles now spoken of with the kind of reverence once reserved for practitioners of the high arts, and the aesthetic singularity of labels like Factory, 4AD, Ghost Box, etc, is as lionised and loved as the sounds that were pressed on their records. In many ways, the art of such labels elevates such sound; some of Factory’s terrible local rock-bands are made to seem better, more thoughtful, more conceptual due to the smart-ass graphic design pushed upon them. It’s an elementary step to, then, say that albums made tangible are albums more meaningful. It’s not much of a wild statement to posit that listening to Hawkwind’s Space Ritual on an actual stereo whilst unfolding its double-vinyl gatefold – its cosmically cosmic map of the cosmos, no less – is a far different experience than clicking on a Mediafire link and listening through those crappy, crappy iPod earphones. If albums are art objects unto themselves, then that makes

THE VINYL SOLUTION Sales of vinyl records are booming, with major artists such as Radiohead and Arcade Fire championing the once out-of-favour format. TONY MCMAHON hears from shop owner RENAE MAXWELL, who says vinyl sales helped her store through a lean year in 2010, and CHRIS MOSS from vinyl presser ZENITH RECORDS, who claims official sales figures are way off the mark. Pic by Penny Lane

“I think our huge selection and focus on new and recycled vinyl at Record Paradise is what helped us survive a pretty tough year for music retailers,” she says. “A lot of our customers sample music online and buy a copy on vinyl if they like it. New bands are giving music away online and producing limited vinyl records to sell through indie record stores and at gigs. Grinderman, The Drones, Spencer Jones and The Meanies all still press vinyl. International acts like Arcade Fire, Radiohead and The Black Keys embrace and champion the format. Then there are the vinyl re-issues, those rare birds we never thought we’d find, now available on pristine 180 gram black gold. Support from government and industry in promoting and developing new artists so they can make records and play gigs is what is needed for the revolution.” And who better to ask about the importance of the record store in the wider music industry than Maxwell? Significantly, her answer emphasises the nature of nurture.


ith so much talk of the decline of the music industry, it’s interesting to note that 80% of album sales and 65% of all music sales still take place in bricks-and-mortar shops. With this in mind, Record Store Day is set to celebrate the role that these shops play in our larger cultural life. Providing both a physical meeting place for like-minded individuals, as well as experiential and communal elements that cannot be found elsewhere, the record shop nationwide will be feted this coming Saturday with instore


performances, specials, giveaways and promotions. Renae Maxwell, co-owner of the glorious Record Paradise in Chapel Street, St Kilda (Record Store Day is being celebrated at the shop with live music from Vice Grip Pussies, Bitter Sweet Kicks, Burn In Hell, Chaos Kids and Money For Rope, and a talk by graphic artist Max Robinson about record cover art), thinks that the resurgence of vinyl has played a large role in keeping music stores afloat.

“I think that indie record stores have taken on the role of supporting new artists and connecting them with audiences and the music industry. We provide a hub where people meet and talk about music, promote gigs, discuss issues affecting the scene, sell indie releases and tickets to local gigs we promote. Record stores are spaces that respect the music collector, honour the musicians and reflect local trends. These elements all feed into the wider music industry from solid foundations.” For yet another perspective on Record Store Day, we tracked down someone who could be described as being at the coalface of the industry. Chris Moss owns Zenith Records, a vinyl record pressing plant in Melbourne, as well as two plants overseas. Moss digs his vinyl, to put it mildly, and he begins by outlining the Zenith philosophy.

record stores veritable art galleries. That pleasant pastime of flipping through the racks is no rank act of desperate consumerism, but a constant influx of artistic input; a breathtaking array of artistic styles and acts of radical/ terrible graphic design bombarding your eyeballs. Doing so is, in many ways, going against that long-held truism, and judging a book by its cover. In the case of the LP, judging it by its cover can be an act of insight. Not all bands and/or albums function as the entire aesthetic package, and it would be forgiving to say that the music should stand apart from the images it’s cloaked in. But the choice of image is – like the choice of name, title, and lyrics – indicative of the artistic sensibility of its makers. An album cover is a direct insight into the care, devotion and taste of those who made the album. If this sounds too waffling and/or philosophical, try this: I’ve always found TV On The Radio to be a ridiculously overrated rock band. And that sense of suspicion starts before you even press play: thanks to their band-name (fucking embarrassing), their album titles (Desperate Youth, Blood Thirsty Babes = you dickheads) and their cover-art (consistently awful, especially vomitous latest example Nine Types Of Light). As well as being art galleries – housing works of both amazing and atrocious artistry, alongside each other in the alphabetised ranks – record stores have added cultural heft by being genuine community spaces. A place for tacked-up flyers in search of Drummer Wanted, for glorious stacks of Inpress piled high, for hearing new/unexpected sounds broadcast loud over speakers, and for engaging in good old-fashioned conversation about records. I once read some mistaken cultural theorist calling blogcomment-threads the online equivalent of the street corner or barbershop; the place where regular folk can speak their mind. The notion works in theory, but not practice: anonymously ragging on something is an easy, cowardly act; debating it whilst looking someone in the face is a different thing entirely. (As an aside: amazing songstress Sharon Van Etten had a far better metaphor for the comment-thread: an online public toilet door.) Want a hearty discussion on the merits of the new Panda Bear record? Don’t go trawling through Stereogum – get out of the house, walk through those into-another-world doors, and engage in the record store as communal place. Witness music in its glorious physical form. See albums as artefacts, not containers of files. And rebel against Record Store Day itself: make this trip more than one token appearance per year.

“We make records. That is what we do. We manufacture vinyl records on demand for a broad spectrum of music genres. Unlike the general perception out there that vinyl is dead, it’s quite the contrary. It never died. Proof is the popularity of the medium. It persists today with an ever-increasing following. People have been desensitised by the plethora of CDs. They are a throwaway item. Not often you see vinyl records in dustbins.” And Moss has a perceptive angle on part of the reason there’s been so many record shop closures over the years. “It’s my view that record stores did themselves a disservice when they stopped stocking vinyl. The ones that always carried the medium are still there. Sure, the owners may not have retired to the south of France, but they still serve the same customers from many years ago and still pay the rent.” Most interestingly of all perhaps, as far as the future of the music business is concerned, Moss disputes Nielsen sales figures for vinyl, saying they are not just slightly off the mark, but missing the bigger picture by millions of units. “Nielsen data is fine as it’s taken online from chains or retailers who have an online stock control system. These figures are accurate, no doubt about that, but they need qualification. Sales by individual small labels are not gathered at all, neither are sales of records by bands at gigs flogging their merch. We do pressing for bands which never find their way to stores where Nielsen data is gathered. I would have thought that this figure is understated by a factor of at least 20 times. Since we’re in touch with most pressing plants worldwide, we have a fairly good idea of the numbers pressed. Numbers pressed are around 45 million records last year and at an 80% sales ratio it’s over 34 million sales. “The fact is a Czechoslovakian plant pressed 5.5 million records alone last year and ourselves around 1.2 million. That alone blows the Nielsen figures out of the water. What can I say? The numbers indicate a very healthy current state of affairs as well as a very bright future for vinyl records. Record Store Day will be with us for a long time to come.”



How long has your store been in business?


What are the three most interesting things for sale in your shop at the moment?

5. 6.

And your three biggest sellers this year?

What does your store specialise in? How is your store celebrating Record Store Day?

There have been huge changes to the way people consume music – what is your store doing to stay relevant in the digital age?

3. “We are celebrating Record Store Day this year with live bands that we feel have been important to our scene over the past year. Chaos Kids have a great four-track seven-inch EP they will be sampling on the day, Bitter Sweet Kicks have a double A-side seven-inch with local legend Spencer P Jones, and Money For Rope have just released a swinging surf’n’roll single Slow Dance. All releases will be available on the day. We are also looking forward to vinyl releases from Vice Grip Pussies and Burn In Hell later this year.” 4. “The Birthday Party – The Birthday Party 4AD (BAD307). We also have many other original Bad Seeds related gems currently on the shelves; Velvet Underground – Singles 66-69 new limited edition seven-inch box set; Rolling Stones – Beggars Banquet early English pressing (Decca SKL4955).” 5. “Radiohead – King Of Limbs; Gill Scott/Jamie XX – We’re New Here; The National – High Violet.” 6. “We’d like to somehow bring the physical store to life via the internet and social networking rather than use digital media as a substitute for coming to a record store. The amazing cross-section of characters that visit Record Paradise provide interesting content to help promote our shop online. There has been a noticeable drop in the number of CDs and DVDs we have been selling; as a mainly vinyl store catering to the collector, we haven’t felt the impacts of digital downloads and online sales like the majority of music retailers.”

NORTHSIDE RECORDS 236 Gertrude Street, Fitzroy 9417 7557 Mon-Wed and Sat 11am-6pm Thu-Fri 11am-7pm Sun 1-5pm

CHRIS GILL, OWNER 1. “Nine years.” 2. “SOUL! Be that funk, hip hop, dub, reggae, Latin, new electronica or African grooves. LPs, 12”s and 7”s – oh, and new CDs. It’s all got soul!” 3. “The Firemen [members of The Bamboos] are coming down to play a free set at 2pm. Delving into the vaults of Blue Note, Prestige and more, they play some of the coldest funky jazz you could imagine!” 4. “There is an original poster from the movie Coffy (starring Pam Grier) – man, it’s pretty; Bobby Marin You’re Movin’ Much Too Fast/Got A Groovy Thing Going On (Speed) $600 – one of the rarest Latin boogaloo 45s ever, featuring Bernard ‘Pretty’ Purdie on drums; The Bamboos’ live 2006 cassette - that’s right, cassette –$10!” 5. “Little Ann Deep Shadows LP – unreleased Detroit super soul; The Bamboos’ 4 double LP – it never stops selling; The Cactus Channel Pepper Snake/ The Dap 45 – local high school funk. AWESOME!” 6. “Sell ace music. People will realise integrity in their life is better than listening to bad quality…”

RECORD PARADISE !00 Chapel Street, St Kilda 9534 9344 Open seven days 11am-6pm

PAUL ALLEN, CO-OWNER 1. “Warren’s Record Paradise was established in 1956 and had been operating for 20 years before Record Paradise took over in 2008.” 2. “I guess you’d say we specialise in vinyl, original pressings, local and international releases as well record accessories and styli. We also stock CDs, DVDs and music related books but we mainly cater to the record collector.”


THORNBURY RECORDS 591 High Street, Thornbury 9942 0754 Sun, Tue-Thu: 11am-7pm Fri-Sat: 11am-9pm

MEGAN SHEEHY AND CLAYTON PEGUS, STORE OWNERS 1. “Just over two months!” 2. “Our specialty is new vinyl and local Melbourne releases – genres range from rock, grunge, psych, indie and folk to some crazy electro and noise. We are both musicians so feel that it is a really important part of what we do to help promote and sell local artists’ music. We take local releases on consignment in any format, regularly feature local releases in the store and our digital listening stations give punters the opportunity to hear local releases that are for sale.” 3. “While we are still going through permit processes to have live music in the store (and therefore can’t on the day), we have a few alternative treats to make the day special! There will be 10% off all vinyl for the day, giveaways every hour with an experiment we are going to try called TRecs Musical Chairs, exclusive Record Store Day releases, free Galaga all day as well as a number of limited edition rock photographs by Kate Griffin. All photographs are beautifully framed and feature artists such as Jarvis Cocker, Dirty Three, You Am I, Yeah Yeah Yeahs, Flaming Lips, The Dead Weather and Eddy Current Suppression Ring.” 4. “Without mentioning a huge selection of amazing releases, some quirkier things we have for sale at the moment are Numark portable turntables (which include software to digitise your vinyl); the brand new issue of Melbourne zournal (zine/journal) Death Of A Scenester; and hand-made skateboards by Fat Rhino Design.” 5. “Gareth Liddiard – Strange Tourist LP; My Disco – Little Joy LP; Warpaint – The Fool LP.” 6. “As a brand new store we put a lot of thought into making Thornbury Records relevant to current and future music lovers. While we specialise in the sale of new vinyl, we love the idea of all releases coming with digital downloads as well – it’s just convenient unless your car has one of those rare in-built turntables. For those who love to try before they buy (without the guilt of file-sharing and illegal downloading) we have created touch screen Digital Listening Stations (DLS) in the store. The DLS give customers the opportunity to listen to any of the releases we stock and features a brief bio and a photograph of each band. We are currently developing our online store and website, which will enable customers to purchase online and connect with us even better than they do at the moment through our Facebook, Twitter, MySpace, blog and eNewsletter.”

READINGS 112 Acland Street, St Kilda Mon-Sat 10am-10 pm Sun 10am-9pm Check out for full list of Readings locations

DECLAN MURPHY, MUSIC BUYER – READINGS ST KILDA 1. “Almost six years as Readings in St Kilda and for many years previously as Cosmos Books And Music. The flagship Readings Carlton shop was founded in 1969 and has since been joined by shops in Hawthorn, Malvern, Port Melbourne and St Kilda, with the recent addition of a boutique shop in Palmer Hall at the State Library Of Victoria.” 2. “Our vinyl range is increasing all the time but in terms of genre we stock lots of indie and homegrown stuff as well as world, jazz and blues. The great thing about Readings is that each store has its own personality so if we don’t have what you’re after at St Kilda but it’s in stock at our other shops we can generally have it for you the next day. If not we’ll do our best to order it in for ya.” 3. “We have a 10% off vinyl promotion happening throughout April and we will have 20% off vinyl this Saturday to celebrate Record Store Day at Readings Hawthorn, St Kilda and Carlton. Bring your funniest LP cover down to Readings St Kilda between midday and 4pm and let us take a photo for our blog. The best (worst!) cover judged by Readings will win a prize pack of music goodies!” 4. “A collection of Johnny Cash Sun singles on vinyl; a super deluxe Stones – Exile On Main St box set; and a Phillip Glass retrospective box set. Tasty.” 5. “The latest Radiohead and Lucinda Williams albums are going great guns. The So Frency So Chic collection is always a big one for us and the 2011 edition is flying out the door.” 6. “I personally think diversity is the key. It’s become more and more difficult to stock a deep catalogue and with this in mind I’ve tried to focus more on a broad range of interesting stuff. Quality over quantity I guess. It’s really about knowing your customers.”

COLLECTORS CORNER/ MISSING LINK 405 Bourke Street, city 9670 8208 Mon-Thu: 10am-6pm Fri: 10am- 7pm Sat: 10am-5pm Sun: 11-5pm

NICK ANDERSON - MANAGER COLLECTORS CORNER 1. “Collectors Corner 20+ years as a stand alone store, now sharing premises with Missing Link – 30 years+.” 2. “New and used, import and local indie CDs and vinyl, also DVDs, and music merchandise, hard-tofind title location service, mail order service, etc.” 3. “Storewide discount, free CD compilation (mainly Melbourne acts, 100 numbered copies) with each purchase and the release of Lou Barlow Live At Missing Link cassette.” 4. “Cosmic Psychos limited edition hand-crafted box pack; rare and collectible vinyl range, original pressings, Beatles rarities, out of print Australian titles and Japanese pressings, etc; original Man’s Ruin Desert Sessions ten-inches.” 5. “The UV Race – Homo; Queens Of The Stone Age – Queens Of The Stone Age re-issue; Dirtbombs – Party Store.” 6. “You can buy physical product online from Missing Link’s website or the Collectors Corner and Missing Link eBay stores. So far as downloads go, we regard them as the 7-11 microwave hotdog at 4am of music formats – okay when that’s all that’s available but not intended for regular human consumption. Physical product is king.”


WHITE RABBIT RECORD BAR 176 Bellair Street, Kensington 9376 5441 Wed 11am-11pm Thurs-Sat 10am-11pm Sun 10am-9pm

ANNIE MULRONEY, OWNER/PROPRIETOR/LICENSEE 1. “We opened May ‘06 – we are almost five!” 2. “Our speciality is vintage vinyl. All genres are special on wax! We have a strong jazz collection, extensive rock/pop and blues, folk, indie and punk, world and Latin, soundtracks, hip hop, house and new jazz, pre-loved dance 12”s, re-issues of many classics and some obscure comedy/spoken word LPs.” 4. “The Lemonheads – Hate Your Friends LP on yellow vinyl; Jimmy Tait’s new CD – a local artist who played a gorgeous solo semi-acoustic set in our courtyard at White Rabbit about two years ago and now has a five-piece band touring Europe; an extremely obscure, kinda spooky narration LP, Dr Murray Banks Speaks On The Drama of Sex.” 5. “Adalita’s self-titled CD; PJ Harvey – Let England Shake (vinyl sold out, CD still available); Radiohead – King Of Limbs.” 6. “I’m strictly analogue myself, and trust in the value of vinyl. I love the size, the sleeve notes, the dance tips, the side lines, the gate folds, the paper cut outs! I’m a completer sucker for the art form; CDs are still good for the car though.”

400 Brunswick Street, Fitzroy 9077 0563 Wed-Mon from 11am

ANDREW HAYDEN, OWNER 1. “The Poison City record label has been going since 2003 and we’ve had the store open for about four years.” 2. “The concept of the store combines local and overseas punk/indie/hardcore music with skateboarding (and a few other odds and ends in between!) We specialise in vinyl, CDs and music merch from good independent labels like Dischord, No Idea, Bridge 9, Hobbledehoy, Resist, Paper & Plastick, Revelation and SST, plus a more traditional flavour of skateboards, Vans Shoes and ‘80s skate t-shirts.” 3. “With coffee, good people and some extra special goodies on the racks! You’ll have to pop in to find out what we got.” 4. “MYC – Happiness & Authority LP (gold vinyl!); Jen Buxton – Don’t Change Your Plan LP (test press – one only!); Hot Water Music – Live In Chicago seven-inch.” 4. “Off! – First Four EPs box set; Fires Of Waco – Old Ghosts Never Sleep LP; Iron Chic – Not Like This LP.” 5. “As Poison City was a record label before we had the store, we were forced to move with the times a few years back, getting ourselves a digital distributor for the label. If anything, I think it seems to have helped people outside Australia connect with the label – so for us, online outlets like iTunes have generally been a good thing. I feel like the best way for the shop and label to stay relevant and continue to sell physical CD/ vinyl albums is to keep contributing to the local music scene; putting on shows, touring bands, helping artists on our label, etc. In my opinion, shops and labels that aren’t giving something back to their local music community don’t deserve to be selling records.”



How long has your store been in business?


What are the three most interesting things for sale in your shop at the moment?

5. 6.

And your three biggest sellers this year?

What does your store specialise in? How is your store celebrating Record Store Day?

day with friendly service and loud music.” 4. “Fear Factory – Mechanize metal tool box; Slayer – Reign In Blood tour program; Iron Maiden – Seventh Son Of A Seventh Son original picture disc.” 5. “Crashdiet – Generation Wild; Dimmu Borgir – Abrahadabra; Blind Guardian – At The Edge Of Time.” 6. “The best way to stay relevant is to provide great service, keep prices competitive and keep it simple. Did I mention we have Kaos Tuesday – 13% off all items every Tuesday!”

There have been huge changes to the way people consume music – what is your store doing to stay relevant in the digital age?

McMahon’s Western Union, Abbie Cardwell, Chris Wilson, Sarah Carroll, The Spoils, Cash Savage and Little John. We will have Dave Graney, Henry Wagons, Rebecca Barnard and Rusty from the Scared Weird Little Guys MCing and conducting the music trivia quiz in between music and we’ll be giving away heaps of goodie bags filled with CDs, posters and cool stuff! We’ll have a set discount on everything in the store, free light refreshments… something for everybody!” 4. “Miles Davis’ classic Bitches Brew 40th anniversary CD/DVD/LP box set; Gareth Liddiard’s Strange Tourist on vinyl (with a couple of signed copies left); and the mind-blowing Ghana Special – Modern Highlife, AfroSounds & Ghanaian Blues 1968-81 five-LP box set!” 5. “PJ Harvey’s Let England Shake; Charles Jenkins’ Walk This Ocean; Iron & Wine’s Kiss Each Other Clean.” 6. “Continuing to do what we do with total passion and doing our very best to provide a preferred and highly desirable face-to-face alternative to the soulless digital world.”

wide range of categories, and a large selection of releases by local indie musicians.” 3. “With live performances from Sweet Jean at 1pm, Archer at 2pm and Sarah Carroll and Chris Wilson at 3pm. We’re also selling all stock (excepting consignment stuff) at 50% off!” 4. “Old blues posters, Van Walker’s entire recorded output and CW Stoneking on vinyl!” 5. “Van Walker, Liz Stringer, and albums from a huge collection of country LPs which we bought recently.” 6. Stocking and selling stuff outside the digital mainstream. That, and retiring.”


REALM OF KAOS 154 Peel Street, North Melbourne 9329 7447 Mon-Sat: 10.30am-5.30pm Every second Sunday 11am-4pm

SASH, OWNER 1. “The store is one year old. I’m the new kid on the block.” 2. “The store specialises in all things metal (black, death, gothic, power, viking, progressive metal) CDs, vinyl, t-shirts, DVDs and merch.” 3. “I will celebrate Record Store Day as any other


Block Place (off Little Collins Street), city 9654 1110 Mon-Thurs and Sat: 10am-6pm Fri: 10am-7pm Sun: 11am-5pm

249A High St, Prahran 9510 4600 Mon-Fri: 11.30am-5pm Sat 10.30am-5pm

SUZANNE, ROD, PAT AND MIKEY 1. “Seventeen years.” 2. “Specialising in country, folk, blues, jazz, rock, pop and world music. Stocking new vinyl, CDs and DVDs with a strong focus on new releases, alternative, extensive back catalogue and hard-to-find titles, with fresh stock arriving daily. We’re big supporters of independent local music, with regular live instore performances from local and international artists.” 3. “We are presenting live music all day long featuring Jeff Lang, Charles Jenkins, The Wolfgramm Sisters, Sean

THE LAST RECORD STORE 304 Smith Street, Collingwood 9416 2000 Tues-Fri: 10am-6pm Sat: 10am-5pm

ALEX MORTON, OWNER 1. “Eighteen years.” 2. “New and secondhand LPs and CDs in a





1. “Eight and half years.” 2. “Vintage vinyl.” 3. “We have Evelyn Morris (Pikelet) jamming it up with Licorice Pie compadres Matty Vehl (Zhivagos, The Bombay Royale) and Shags Chamberlain (Pikelet, Pets With Pets) in the arvo.” 4. “Zuno Keisatsu (The Brain Police) five-LP box set.” 5. “LPs, 45s, EPs.” 6. “Provide an analogue haven for those that care.”


to find your nearest numark dealer

e: p: 03 9474 1000





How long has your store been in business?


What are the three most interesting things for sale in your shop at the moment?

5. 6.

And your three biggest sellers this year?

What does your store specialise in? How is your store celebrating Record Store Day?

There have been huge changes to the way people consume music – what is your store doing to stay relevant in the digital age?

3. “We’ll be offering customers 10% off all stock, and we’ll be having some of Melbourne’s best local acts in to play at our Fitzroy and Dandenong stores between 11.30am and 4pm. Dandenong will be featuring Kicking Horse, Man Bites God, Wunderlust and Of Changes, whilst Fitzroy will host DJ Maria, Jordan and Christian of JKRuff, The Melbourne Ukulele Kollective and Paul Banks.” 4. “We’ve always got a great range of ‘choice cuts’, and if you check our Dixon’s Facebook page we update it with any special recent purchases.” 5. “Too many to choose only three!” 6. “Like other stores, Dixon’s is really active through eBay, providing access to particularly collectable stock to customers from around the country and the world. Our customers come to us to get first-hand advice from all of our experienced employees. We provide an actual social networking experience rather than the online equivalent! We stock many special or limited edition versions of vinyl, CDs, movies and TV shows as possible, offering our customers the chance to own amazing artwork and special features which they would miss out on with digital downloads.”

CDs. Also music books, magazines, and DVDs.” 4. “Guns N’ Roses Use Your Illusion 2 German LP, autographed by all members; Ann Wilson & The Daybreaks Wonder How I Managed American vinyl single, pre-1967; AC/ DC Back In Black LP – original mint 1980 Japanese pressing.” 6. “Nothing. We are collectors who like to look, feel, read liner notes and possess real physical music formats such as vinyl and CDs. Turntables are available again so whilst there are music lovers with a collector mentality and willing to attend, we will continue. There will never be an mp3 fair.”

5. “Easy CD choice: AfroCubism (think Latin meets African); Seu Jorge & Almaz (City Of God actor fronting the biggest sounding mess around you’ll ever hear) and vinyl, vinyl, vinyl.” 6. “Staying open, talking to people and presenting the most exotic range of sound and image ever seen in one location anywhere on Earth. Does that sound relevant? It sounds bigger than that – sounds biblical!”


DIXONS Open seven days a week Check out for a full list of locations and hours

LUCY SPARTALIS/JEN CROWLEY, FITZROY STORE 1. “Our first store opened way back in ‘76, and we currently have four stores – Fitzroy, Dandenong, Camberwell and Blackburn.” 2. “We buy stock daily from all sorts of people, making sure we cover all music and film tastes from all eras on vinyl, CDs and DVDs (and a few cassettes and VHS). Blues, electronic, metal, classical… we pride ourselves on our broad range of collectable and hard-to-find items.”

188 Plenty Road, Preston 9474 1000 Mon-Fri: 9am-5.30pm.

183 Gertrude Street, Fitzroy 9417 4477 384 High Street, Northcote 9481 1315 341 Sydney Road, Brunswick 9380 4488 All Mon-Fri: 10am-6pm

TOWNHOUSE RECORD FAIR Ukrainian House, 3 Russell St, Essendon This Sunday: 9.30am-5pm

MICK MALONEY, FAIR ORGANISER 1. “Twelve years” 2. “A huge variety of all types of music and memorabilia from all eras, from the 1950s to present. There’s an emphasis on vinyl LPs and singles, but also 1,000s of


STEVE KULAK, TITLE GROUP CEO 1. “Surry Hills is the first store in the Title scheme of things: it’s been open for four years. We now have seven and counting.” 2. “Music, films and books. But not the ones you might think… as well as those you are thinking.” 3. “By offering a 20% discount across everything in the store.” 4. “The new Bobby Long CD; Cactus, a book on the most exotic location ever surfed and inhabited by inspired nutters; and every Criterion film on the shelf – there’s too many to mention.”

1. “Since the ‘70s. It’s pretty safe to say we’re officially ‘old school’.” 2. “We’re distributors for around 27 brands [of musical instruments and products] nationally.” 3. “I’m going to dust off some of my favourite records, load up the decks and reminisce about a misspent youth.” 4. “We recently took on the Audio Innovate range of Innofader cross-faders, the BEST faders that money can buy! All of our endorsees swear by them and they can be fitted to virtually any mixer.”


Record Store Day was founded in 2007 as a celebration of the unique culture surrounding hundreds of independently owned record stores around the world, and we’ve been taking part ever since.

Jeff Lange

sean macmahon

charles jenkins

little john

Basement Discs willl be pr presenting live performance performances all day long from m some of Melbourne’s finest artists, including JEFF LANG, CHARLES JENKINS, THE WOLFGRAMM SISTERS, SEAN McMAHON’S WESTERN UNION, ABBIE CARDWELL, CHRIS WILSON, SARAH CARROLL, THE SPOILS, CASH SAVAGE and LITTLE JOHN. There will be a Music Quiz and MC duties being handled by DAVE GRANEY, HENRY WAGONS, REBECCA BARNARD & RUSTY (Scared Weird Little Guys). There’ll also be a set discount on everything in the store. 24 Block Place Melbourne 3000 ~ Phone: 03 9654 1110 Fax: 03 9654 1734 ~


RECORD & CD FAIR Sunday 17th APRIL 9.30am-5pm Ukrainian House 3 Russell St, Essendon (Opposite Opposite Essendon Station)



WWW.DMCRECORDS.COM.AU Rarities, hits and bargains at Melbourne’s leading music related fair

70,000 Records, 10,000 CDs. All styles and all eras. Music books. Magazines. Videos. Memorabilia.1000s of cheapies. DVDs. Sheet music. Interstate stallholders attending. A collectors paradise and music comfort zone. Don’t miss it! First fair for 2011! Record sleeves and turntable products. German Electronica. Manfred Mann’s Earth Band DVD with1972 Oz Show. New “Vanda and Young” book for $30. Author present. Rare rock & jazz 78 rpms. Plenty of newer and obscure items. Air conditioned, free parking, canteen facilities available

ENTRY $3 ENQUIRIES PH: 9308 1729



How long has your store been in business?


What are the three most interesting things for sale in your shop at the moment?

5. 6.

And your three biggest sellers this year?

What does your store specialise in? How is your store celebrating Record Store Day?

There have been huge changes to the way people consume music – what is your store doing to stay relevant in the digital age?

5. “Numark Mixtrack; Akai Pro LPK25 USB/MIDI controller; and Alesis PhonoLink (turntable to USB adapter).” 6. “Whilst we still love vinyl, we also love digital! Numark’s NS6 controller is going to build on the legacy of NS7 and V7 and once again cement Numark as the leader in digital DJing.”

1. “Wax Museum Records opened its doors in 2006, and we just celebrated our fifth birthday.” 2. “New and used hip hop, funk, soul, jazz, beats, reggae and dancehall.” 3. “We have a great day of live music and specials at Wax Museum this Saturday. We’ve got live acts Polo Club, Mata & Must, Low Budget and Aoi, plus DJs David L, Benny Badge, Mixa, Inkswel, Saacarach and Geezey spinning before and in between from 11am until 5pm.” 4. “Mayer Hawthorne bobblehead; MF Doom – Special Herbs ten-LP box set; Aiaiai TMA-1 headphones.” 5. “So far it would have to be Roc Marciano – Marcberg LP and the consistently well-selling classic Madvillain – Madvillainy LP.” 6. “We have an online store where people can purchase all brand new and recent stock, locally and abroad. We have also embraced social media such as Facebook, where we have a page followed by almost 1,500 people, a Twitter account, blog and email newsletter so we are able to connect with our customers and keep them up to date about what we have arriving in the shop and things we think they need to know about.”

1. “Approaching six illustrious months now.” 2. “We specialise in what is commonly (and often derisively) referred to as ‘alternative culture’. New and secondhand punk, metal, noise, indie, drone, emo, doom and more on a variety of formats, interspersed with graphic novels, music books, activist literature and zines.” 3. “Ten percent off everything in store, 20% off vinyl box sets and 50% off selected secondhand LPs. A slew of exclusive Record Store Day releases, many of which you will only find at Ritual. We’re also tying the day in with other local businesses, so if you buy up here you get can get access to cheap vegan food, music accessories, coffee, band photography and other good stuff.” 4. “Charles Manson – Air LP/CD; a copy of the long out of print Funeral Diner - The Underdark LP in great condition; first edition copy of Jack Kerouac’s Lonesome Traveller.” 5. “Earth – A Bureaucratic Desire For Extra Capsular Extraction; Cap’n Jazz – Analphabetapolothology; Refused – The Shape Of Punk To Come.” 6. “As unpalatable as it is, placing a greater emphasis on utilising social media effectively, establishing a strong online presence to cater to the computer-shackled, point-and-click method of music consumption favoured by the masses currently, all whilst holding our collective breaths for the resurgence of the physical format and associated credible, knowledgeable vendors.”

RITUAL MUSIC WAX MUSEUM RECORDS Shop 2, Campbell Arcade, Degraves Street, city 9663 6310 Mon-Fri: 11am-6.30pm Sat: 11am-5pm


189 St Georges Road, Fitzroy North 9482 6986 Mon-Thu: 11am-7pm Fri: 11am-9pm Sat: 10am-7pm Sun: 11am-5pm.


NATE NOTT – CO-MANAGER 1. “No one has exact dates. It was Dizzy Spinners originally then changed to Polyester Records some time about 20 years ago.” 2. “We stock the latest international and local releases, have a huge range of new vinyl and try to get our hands on anything that’s worth hearing.” 3. “There’s a lot planned. We have a 15% off sale on all CDs, vinyl and DVDs. We have Oscar + Martin, Mick Turner and Eat Skull playing live in the city store and ‘work experience’ helpers in Fitzroy (Alan Brough, RRR Breakfasters, Daniel Kitson, Andrew McClelland, Josh Earl and Lawrence Leung) as well as a whole heap of very limited record store day releases!” 4. “The Fall – This Nation’s Saving Grace (box set); Bill Orcutt – A New Way To Pay Old Debts (nine CDs); How To Wreck A Nice Beach – The Vocoder From World War II To Hip Hop (book).” 5. “PJ Harvey – Let England Shake ; James Blake – James Blake ; The Decemberists – The King Is Dead.” 6. “We feel like Polyester Records is staying on message. We’re still stocking quality new releases on CD and vinyl for people who have always enjoyed the experience of purchasing the physical product, going home and listening to it on a hi-fi system – the way we always have.”

POLYESTER RECORDS 387 Brunswick Street, Fitzroy 9419 5137 Mon-Wed: 10am-9pm Thu-Sat: 10am-10pm



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INCLUDES: 12” Album 33 or 45 Record Deals, Vinyl Record Deal Includes inner bag, plastic outer bag,colour labels. For all 12” cover prices please let us know what you are after and we will supply you with a quote.

INCLUDES: 7” Single 45 or 33 Record Deals, Vinyl Record Deal Includes inner bag, plastic outer bag, colour labels and black and white fold over covers on 200gsm board.

We only charge what we get charged by our printers.

RECORD DEAL 1 - 150 X 7” $899.00

RECORD DEAL 1 - 150 X 12” $1799.00 RECORD DEAL 2 - 200 X 12” $2245.00 RECORD DEAL 3 - 300 X 12” $2695.00 RECORD DEAL 4 - 500 X 12” $3375.00 RECORD DEAL 5 - 1000 X 12” $4495.00

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ADDRESS: 74 Sydney street, Albion, Victoria, Australia, 3020 Ph: +613- 9311 0075 Fax: +613 9311 0022

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Sun: 10am-8pm 288 Flinders Lane, city 9663 8696 Mon-Thu and Sat: 10am-6pm Fri: 10am-8pm Sun: 11am-5pm



R E N R O C S R O T C E COLL RECORD STORE DAY 2011, SATURDAY, APRIL 16TH • 10% off store wide, excludes tickets, vouchers • Limited edition (100 only) numbered CD compilation featuring a great range of tracks from some of Melbourne's best acts/labels, free with purchases until gone • Exclusive Lou Barlow 'Live @ Missing Link' cassette release As well as the usual assortment of new and used, import and local, major and indie releases on LP's, CD's, DVD's and tons more... OPENING HOURS APRIL 16TH, 10AM - 6PM BASEMENT, 405 BOURKE ST, MELBOURNE PH. 03-9670-8208


BOWERS TO ROCK’N’ROLL Tonight (Wednesday) in the Retreat Hotel front bar, catch The Timbers, a four-piece raucouse alt.folk band from Adelaide. This Thursday at the Retreat, the rock onslaught continues with Spencer P Jones & The Escape Committee. You can catch Jones and co every Thursday in April – this week his mates Jo Mears & The Honey Riders are along for the ride. Make sure you get down to check them out from 9pm. On Friday night The Bowers take their poptastic fun-time rock’n’roll to the Retreat stage. Support comes from The Bluejays, purveyors of ‘60s-style garage soul. The night gets underway in the front bar with Mandy Wragg performing a solo acoustic set from 7pm. Its always free at the Retreat!

HOPELESSLY ADDICTED Hope Addicts set sail on their fourth European tour this May, showcasing their new album. The tour will take in The Czech Republic, Germany, Italy and France. This album presents an exciting new sound for Hope Addicts, a marked development from the signature breathtaking intimacy of Andrew McCubbin’s songs. The new album presents a harder-edged sound inspired by the endless space of their homeland. They play their last show before they head off at Old Bar this Thursday with three other incredible Melbourne acts: Lindsay Phillips, Tom Woodward (The Orphanage) and The Holy Sea. Doors open at 7.30pm and it’s $8 entry. Hope Addicts new album will available in Australia later in the year.



Love Music/Hate Racism is a live music event that brings together some of Melbourne’s best Indigenous and anti-racist musicians and spoken word poets for a night of culturally diverse, good sounds. Featured performers include: Melbourne Indigenous hip hop outfit Tjimba & The Yung Warriors; the queen of Payback Records Meriki Hood; poet, MC and activist Lesson MC; charismatic frontman of Ezekial Ox & The Fury and political activist Ezekial Ox, and spoken word artist Alia. Love Music/Hate Racism is a not-forprofit event that aims to raise the profile of anti-racist performers, and provides a space for those opposed to racism to come together for an evening of diversity and music. This great event will be happening from 8pm on Friday 22 April at the INU Bar, Union House, University of Melbourne. Tickets are available from or by phoning 0410 861 093.

The Thin Green Line Foundation and Prince Bandroom proudly present a conservation fundraiser: Funk It For The Frontline & Reggae For The Rangers. All profits will go to supporting park rangers and the families of rangers killed on the frontline of conservation and proactive community conservation projects in Africa, Latin America and South East Asia. The line-up includes Bomba, Angel Voice, Mako and many more special guests. Tickets are only $12 so show your support and be entertained at the Prince Bandroom this Thursday.

AN EAR FULL OF CLINKERS Clinkerfield return to their favourite little haunt, the Old Bar, for their first Melbourne show since their annual January residency there, keeping it simple on a Saturday night with support from ex-WA band Jack On Fire and Sydney band Small Town Incident. These drunken pirate convict rock’n’rollers will smash out hits and memories from their 2008 album A Head Full Of Rain & A Heart Full Of Puddles and new operettas from their forthcoming album A Heart Full Of Ice & A Gut Full Of Rubble. Expect some sort of apocalypso version of Springsteen’s Born To Run. $10 entry.


SOULIN’ AND HARLEN Three soulful ladies hit the stage on the north side of town for an unforgettable night of beauty and music. Conscious roots act Saritah, fresh from performing at the Bali Spirit Festival, will be performing her only band show in Oz before taking off once more to perform at festivals in California. Winner of The Age’s Best Female Artist award, the electrifying Jess Harlen, will blow your mind with tracks from her acclaimed album, Neon Heartache. And Candice Monique & The Optics will knock your socks off, showcasing songs from their upcoming album. They take over the Evelyn Hotel this Thursday.

After a three-week whirlwind tour of the US and a mini teaser tour in NSW straight after that, Melbourne’s Aural Window are back to set their hometown on fire playing support to Jericco at the Evelyn Hotel this Saturday. With their music video Ghost Of Light making waves on Rage, the melodic post-hardcore outfit are gearing up for a national tour in June before they jet off to the USA for a full tour during their summer. Also on the bill at the Evelyn are Black & White (featuring Russ from 12 Foot Ninja) and The Eternal. Tickets are available from the band – email

ON THE MOVE DEAD STAR RENEGADE aren’t making music to be famous, they just wanna see you move, they tell JEREMY WILLIAMS.

FREE CRACK At 5pm this Saturday at the Victoria Hotel in Brunswick, The Crackwhores will play a free double set of arvo drinkin’ tunes. They are stoked. So is the Vic’s publican and his staff. Dance like fools. Later that night Brunswick veterans King Leghorn team up with The Hybernators for a punk rock, bullwhippin’ party that’s sure to get everyone up and about again. It’s also free from 9pm.

As avid fans of the ‘80s metal scene, Matt ‘Jimmy VanZeno’ Rees (vocals), Tim Dobie (bass) and Jay ‘Bam Thwop’ Pizzey (drums) set up their first band straight out of high school, some 15 years ago. With the band they played numerous gigs and survived everything from substance abuse and mental breakdowns before calling it a day. As Rees explains, it didn’t take long for the central three to realise “that we are the only three that want to play with each other”.

KATE’S A GODDESS Dust off those frocks and suits and get ready for Goddess #2. The women who performed at Goddess #1 in February this year put on such an impressive showcase, punters were asking about the details of Goddess #2 before the first event had even finished. The Goddess series of events are showcasing some of Melbourne’s finest female singer/songwriters (with their male band mates) in a dazzling expo of live performances and video. The series will also showcase some of Melbourne’s great venues. Goddess #2 will take place at rock centre Revolver Upstairs on Good Friday (22 April). Catch The Mercy Kills, Suzie Stapleton, Fiona Lee Maynard, The Fascinators, Kate Buck, Sideshow Brides, Lisa Wood, Vix and Carbie Warbie’s photo exhibition from Goddess #1. Doors at 7pm.


Before long they had recruited two more Matts (Matt ‘Shorty’ Owens and Matt ‘Guns’ Rowe) into the fold to take on guitar duties and Dead Star Renegade had been born. With the past couple years having been spent writing and performing, Dobie notes that they are “definitely a live band. We do the best we can with our shows. We want to put something on that is entertaining. We’ve got those hard rock ‘80s influences, which is all about entertainment, so when we do a show we want to make sure people remember it.” Drawing inspiration from their shared musical icons Black Sabbath and Alice In Chains, Dead Star Renegade make music that grabs you from the get-go. Rees, though open to all sorts of genres, believes that, for him at least, there is one defining feature of music that is essential to get him interested. “We want to get ourselves moving and we want people to get moving when they hear us. That is something that motivates us. We are not just a background music. When I listen to music it won’t be background music. Even when I listen to the radio I will flick around ‘til I find something I like, something that turns me on. I want to take notice of it.”

Rees admits that writing music “is a bit of a cathartic experience, almost an exorcism sometimes of the frustrations going on in life. Just the things you can’t really act on in life, you can express in music.” With both Rees and Dobie admitting that they have no dreams of superstardom, their debut album Blackwing is nothing more than essential self-expression. Rees ponders, “I don’t know if the album is inspired by anything specific,” before revealing, “the song Blackwing, I suppose it is open to interpretation, but for me it is about obsession. One of my obsessions is obviously music. Blackwing is about the feeling you get when you have something that you just can’t stop yourself from doing, even though you know haven’t got time or energy, you just keep pushing yourself to do it anyway.” Dobie agrees that, in essence, Black Star Renegade have been born out of the need for the three good friends to channel their compulsion to create. “That whole idea of obsession is exactly what [Rees] said. You just can’t let it go. Life is happening around you and you know you have other responsibilities and stuff to attend to. It is king of like, for me anyway, if I don’t keep playing, I go a bit nutty.”

WHO: Dead Star Renegade WHAT: Blackwing (Independent) WHEN & WHERE: Saturday, Revolver

Rick Chesshire launches his new Friedcat comic with 14 bands, including MOTO, Bits Of Shit, River Of Snakes, and eight artists at the Barwon Club this Saturday. HOW DID YOU GET STARTED? “By picking up a pencil and doodlin’ for bands.” CAN YOU SUM UP YOUR BAND’S SOUND IN FOUR WORDS? “My friend Lola wants to start an all-female Buck Dharma tribute band called the Blue Oyster Clits.” IF YOU COULD SUPPORT ANY BAND IN THE WORLD, WHO WOULD IT BE AND WHY? “Hits! I want be the Jim Fitzpatrick to their Thin Lizzy. I want to draw them making a jailbreak from futuristic prisons and draw Evil Dick as an ol’ sly fox called Johnny.” IF A HIGHER POWER SMITES YOUR HOUSE AND YOU CAN ONLY SAVE ONE RECORD FROM THE FIRE, WHAT WOULD IT BE? “The mint Stooges and Cramps collection I borrowed from a total tool and never returned.” DO YOU HAVE A LUCKY ITEM OF CLOTHING YOU WEAR FOR GIGS AND WHAT IS IT? “There’s no point talking about clothes and fashion to an ex-Tasmanian who now lives in Geelong. Obviously I’m cutting edge; I wear my Mustang t-shirt.” IF YOU INVITED SOMEONE AWESOME ROUND FOR DINNER WHAT WOULD YOU COOK? “Potato cakes.” WHAT’S YOUR FAVOURITE PLACE TO DRINK IN MELBOURNE? “Lola’s place… and do Chuck Berrys in her mums’ garden.”


STATE I’M IN MUSIC VICTORIA UPDATES WITH PATRICK DONOVAN Imagine a city that funds the production and distribution of a CD of local artists and a free booklet to help visitors navigate their way around its labyrinth of music venues and record stores. Imagine if it also set up its own television station to promote just local music. And has a scheme to encourage banks to offer loans to musicians. A city which reveres its musicians so much that it holds gigs on the Town Hall balcony after council meetings, in the main street on Fridays and twice a week at the airport. A city which embraces live music to such an extent during its music conference that even a dentist suite doubled as a venue dubbed Mouth By Mouthwest. Yes, we’re talking about Austin – the Texan city that just doesn’t know how to do things on a small scale. It had the balls to make its official slogan ’Live Music Capital Of The World’, only after backing down from the claim it was the live music capital of the universe (we know from the bar scene in Star Wars that aliens love their acid jazz). And then it dutifully went about fulfilling its lofty aims. On my recent visit to Austin, I met with dozens of councillors, musicians and policy makers to find out what makes Austin tick, and will be presenting my report and recommendations to the Melbourne City Council and Tourism Victoria in the next fortnight. Let’s hope they take some of it onboard. Initial responses have been heartening. My visit was timed around Austin’s 25th South By Southwest music conference, where a record 500 Australians – including 60 bands – attended to try and further their careers in overseas markets. After rocking successful Aussie BBQ showcases at Canadian Music Week in Toronto and the Bowery Ballroom in New York, 30 Australian acts, including 12 Victorian groups such as Wagons, Washington, Blue King Brown and Dan Brodie, tore up three stages at a packed Maggie Mae’s on Sixth Street. There was a huge vibe on Australian music – locals told us that their mission for this SXSW was to see as many Australian bands as possible. So while the Aussies were spread more thinly this year, there were more industry peeps than ever searching for our best talent. As for what the Victorian bands got out of the experience, it is very hard to attach specific results to attendances and pinpoint what led to deals and opportunities. In all likelihood, it is repeated visits to territories that bring about results. Speaking of attendances, some of Victoria’s best emerging acts are playing to the biggest crowds of their careers in Music Victoria’s latest initiative, Live At The ‘G. Thanks to our AMIN partner MusicNSW, which has put together a legal pack to help artists navigate the legal complexities of the music industry via a free resource available on our website (musicvictoria. It includes a detailed tax checklist for musicians, covering everything from advice on how to set up a business, to GST and what artists can claim when preparing their tax returns.


More people than ever are listening to music and many brands are trying to tap into the lucrative youth market, so keep your eye out for new opportunities. There are thousands of students studying music who need a thriving music industry to provide employment opportunities. We will continue to advocate on behalf of the industry for increased media opportunities and the kind of tax breaks that are offered to the local film industry. The Austin model is certainly something to aspire to. Patrick Donovan, Music Victoria CEO



After more than three years, Jimmy Stewart ended his long-standing Tuesday night residency at Collingwood’s Gem Bar after almost 150 shows. Previously he’d held a year solid at Fitzroy’s Rainbow Hotel, and apart from annual trips to the USA where he has a summer residency at NYC’s Anyway Cafe, Jimmy has performed every Tuesday night that he’s been in Melbourne since 2006. To continue this tradition, he now convenes at the Town Hall Hotel for a new Tuesday night residency, bringing his muddled bag of melodies and a “Good Evening Tuesday!” to a new neighbourhood. This riotous ringleader of Clinkerfield and The Miserable Little Bastards plays two sets from 9pm, leading us not into temptation, and delivering us from the lamentable procession from autumn into winter, before he boots off again to the USA summer in June.

Since forming in 2003, The Go Set have gained a reputation for unique musical experiences. The group have four albums to their name, combining traditional folk instruments with punk guitars and timeless rock’n’roll energy. They’ve shared stages with The White Stripes and Wolfmother and are playing their own headline gig this Saturday at the Northcote Social Club. Punk poet and songwriter Attila The Stockbroker, who also features in this doubleheadliner, is on his 30th anniversary world tour, having played around 2,700 gigs! Watch the music video for The Go Set’s opening track off their Fallen Fortunes EP, The New Age, online and grab tickets from the venue – $15+BF or $18 on the door from 8pm.

INTO THE MORNING Local acoustic pop singer/songwriter Cilla Jane is thrilled to announce the release of her sophomore record Until Morning Comes in mid-May, along with a series of intimate shows that will coincide with the release. The first single to come from Jane’s captivating eclectic pop album, titled Into The Woods, is a combination of haunting strings, piano and vocals that rise and fall, taking listeners on a journey through an incredible soundscape. Cilla Jane has steadily built her profile on home shores over the past years, receiving the coveted John Butler Seed Fund grant in 2006 and sharing the stage with the likes of The Audreys, Kate Miller-Heidke, Tim Freedman, Brian Kennedy and Luka Bloom to name a few. Check her out at the Northcote Social Club on Saturday 1 May.

A VOYAGE ON VENDETTA Arrr! Those piratical badasses Alestorm are sailing their way through the seas of time to once again plunder our shores on an ale- and wench-raiding mission. Joining the adventure nationally will be WA melodic maestros Voyager. They play at the Corner on Saturday 14 May with HMAS Vendetta.

PLAY LIKE A SIMPSON Kerri Simpson is one of Australia’s great songwriter/ performers, always initiating, never imitating, and always singing straight from her soul. Few singers have so successfully traversed musical genres as Simpson. From pop, dance and rock to jazz, world music, roots, alt-country, blues and African-American gospel, she imbues her music with a compelling and uniquely intense style. Simpson will perform at the Cornish Arms this Tuesday as a special guest for Play Like A Girl.

Apollo Pathway launch their new single at the East Brunswick Club this Friday. HOW DID YOU GET TOGETHER? Pat Carrick, drums: “We all answered an ad in the newspaper put out by Simon Cowell. It didn’t take long for the band to gel because we have all been mates since high school anyway. See what I did there…” HAVE YOU RECORDED ANYTHING OR DO YOU PREFER TO TOOL AROUND IN YOUR BEDROOM? “Over the summer we were in the studio with Shihad’s Tom Larkin. He has taught us a lot and really brought out our sound. The first instalment from that is a new single, Never Ending Story.” CAN YOU SUM UP YOUR BAND’S SOUND IN FOUR WORDS? “Electric, meaningful, fun, rocksteady…” IF YOU COULD SUPPORT ANY BAND IN THE WORLD, WHO WOULD IT BE AND WHY? “Foo Fighters. We have a lot of different influences, but the Fooeys are a benchmark for us. Not because of stadium concerts and millions of albumss sold but their knack for writing explosive rock/pop tunes that make you nod your head. Playing a stadium would be nice though, no doubt. Wait – is rocksteady two words?” IF A HIGHER POWER SMITES YOUR HOUSE AND YOU CAN ONLY SAVE ONE RECORD FROM THE FIRE, WHAT WOULD IT BE? “Weird Al Yankovic’s Running With Scissors. I guess after I lose all my other records I would need something to laugh about.”

THE END OF SIN? It’s been nine and a half years since Sin City exploded on to the Australian music scene. Armed with nothing more than three chords and a maniacal stage presence, the band went on to become one of Australia’s premier independent rock acts clocking up over 900 shows, releasing eight CDs, touring Australia countless times, moving from Perth to Melbourne, playing everything from the Big Day Out to Sounds Loud and with everyone from The Misfits to Metallica. Not bad for a pack of punks. But now they’ve decided it’s time for a hiatus while members travel and catch up on some sleep. They’re throwing a massive part this Saturday at Pony with their mates Stranglehold, Bombing Angels, The Mercy Kills, Ramshackle Army and Australian Kingswood Factory. Then from 2am Sin City play their favourite time slot in their favourite venue for the last time in who knows how long.

ENNIS GOT BACKBONE Ennis Tola launch the first single, Backbone, from their forthcoming second album this Saturday at the East Brunswick Club with support from Xenograft, Rainbird and The Design. Sending shockwaves throughout the progressive rock community with their first album, Seed, Ennis Tola’s brazen rock attitude earned them rave reviews in the US and Australia. Their distinctive progressive rock-meets-world music flavour scored them a spot on the coveted Prognosis CD sampler in the March issue of Classic Rock Presents Prog (UK), as well as a nomination for Best Debut Foreign Record in Italy. With UK-based Daniel Rejmer at the helm for coproduction (Björk, The Kills, Foals), this next release will be something out of the ordinary. Tickets are $13+BF (with copy of single) or $10+BF (ticket only); or $16 (with single) and $12 (without) at the door from 8.30pm.

After a long labour, Wollongong’s longest running all female band Babymachine launch their second album, Appetite For Reproduction, at the Old Bar on Friday 29 April. Recorded at Birdland Studios, this is 12 songs of big, loud, dirty rock guaranteed to please. With supports Plast Her Ov Paris (featuring members of Bracode and Remake Remodel), Ana Nicole (AKA Fluorescent, Teen Wolf) and Bonnie Mercer (Grey Daturas) you don’t wanna miss this night! Entry is $10 from 8pm.

Music Victoria is also developing business workshops with Small Business Victoria to help artists develop practical skills to run their music careers as successful and sustainable small businesses. And regional subscribers, please contact us if you want us to pay you a visit on our On The Road With Music Victoria regional music workshops around the state in late May/June. With commercial radio and major retailers seemingly showing less and less interest in supporting Australian music, it’s more important than ever to run your business wisely and look to new ways to earn a buck and get vital exposure. It’s even more reason to support our wonderful community radio and independent record stores. This Thursday, nine Melbourne community music stations will broadcast side-byside live from Federation Square to commemorate the first community radio stations in Australia to make the leap to digital. And this Saturday, make sure you pop into your favourite independent record store for the annual Record Store Day.


DO YOU HAVE A LUCKY ITEM OF CLOTHING YOU WEAR FOR GIGS AND WHAT IS IT? “I’ve grown to like my black headband. Not because it’s lucky but when on stage and I’m sweating up a storm my hair turns into an Irishman’s afro and the headband keeps it in check. I tried hats for a bit but they always come off when I’m swinging my head around like a fool.” IF YOU INVITED SOMEONE AWESOME ROUND FOR DINNER WHAT WOULD YOU COOK? “I am probably the worst cook this side of the Yarra so I guess I would get Gordon Ramsay over to tear me a new one. I’m always up for some self improvement and a competition to see who could put the most fucks in a sentence.” WHAT’S YOUR FAVOURITE PLACE TO DRINK IN MELBOURNE? “My place! Get the crew around, no cab fare, no door charge, no fighting for a seat, listen to the music you want, pour a drink when you please, be sick wherever, bedroom jam sessions, bring in passersby, kiss girls in corridors, be sick again, sweet talk police, living room dancefloor, shots in the kitchen, kiss passersby in corridors, bathroom D&M, backyard nudie runs, stumble to a bedroom, pass out next to three others and sleep through the clean up the next day…”

BAR-BARBARBARION At the beginning of 2011, while the peasants rested and took time to worship their gods, the mighty warriors of Barbarion were engaged in the creation of a video tribute to themselves and all they stand for. Now it is time for the worthy to view the finished product. The Tote will come alive to the thunderous sound of Barbarion this Saturday as they premier their film clip before charging into battle. They will have new songs, new stage effects and an all new level of crowd participation. You certainly don’t want to miss this one!

ADORE THEM DARLING You know how sometimes you have those Thursday nights where you find a musical time that makes you feel so buzzed and so alive that you forget all about the fact that it’s a school night? Then the next day your still high vibin’ off all the sweet tunes you’d seen the night before while the hangover pumps a fuzzy love haze through your veins? Well two of those nights are happening at the Grace Darling over the next two weeks. Isle Adore, now a full band, is in residency and they’ve got all their favourite bands playing alongside them. The four-banda-night, super line-ups include The Ancients, Montero, Milk Teddy and Scott & Charlene’s Wedding. It’s going to be a total pop-cocktail. Be there this Thursday from 8pm.

DUST ON HER GUITAR As part of the Drunken Poet’s weekly Wine, Whisky, Women sessions, Jane Dust will be doing a special solo show with Suzie Stapleton tonight (Wednesday) from 7.30pm. Dust has been working on her new album, which will see her switch from acoustic guitar to her new Telecaster. The new sound will be unleashed in August when her band, The Giant Hoopoes, re-hatch from their eggs to play new symphonic groove anthems. Tonight will be one of the last times to catch her playing her mighty Maton that has served her well for so long. Her 2010 self-titled album will be available on the night.

GRUNTLED BRUNNERS Australia’s premier avant-medieval improvised drone combo The Gruntled play a very rare show this Friday at the Victoria Hotel in Brunswick, teaming up with Dead Ants Rainbow, who also have come out of the woodwork for a rare appearance. Invoking improvised and experimental noise from somewhere way beyond the imagination and capabilities of most, this double bill will baffle those surrounding the noise. It’s free from 9pm.



Since the release their Our Pleasure record in October last year, Victoriana Gaye have received a great deal of interest and airplay for their eclectic mix. So much so that their record label, Vitamin Records, have decided to repackage and release their original 2009 EP, Five Songs. To celebrate, the band are coming to Melbourne to play one show at the Retreat Hotel this Sunday afternoon, where fans can hear a set of songs from both their marvellous albums. It’s free from 4.30pm.

Melbourne’s newest rockin’ night The Filth returns to Revolver tonight (Wednesday) with Melbourne garage rockers The Premodernists, who pack one savage ball of noise into every track, with hot, mangy guitars and yelping, petulant vocals. With hints of proto-garage Nirvana and a late-‘70s agitprop art school post-punk sensibility, the band’s furious, feverish sound touches on their various musical and ideological influences. Hitting the stage before them will be Bushido Fields with their jangly indie rock and out or towners Chris Hay & The Painters (from Torquay). In the back room, you can hear the most rockin’ tunes in town with DJs Spidey, Gupstar and Shaky Memorial. Entry is free from 8pm.


RESIGNATORS ROLLIN’ The Resignators are about to tour the hell out of Canada, but before they do, the Melbourne ska outfit will hit the road in Australia to cause a ruckus, raise some funds, and share some dirty, old-fashioned good times with their audiences. Playing over 450 shows both nationally and internationally, including extensive tours of the USA and Canada and a showcase performance at SXSW in 2009, this road-hardened mob know how to get any room of people on their feet, skanking to their ska-infused beats. Catch them first up this Sunday at the Black Market in Northcote (all ages), then on Saturday 23 at the Corner Hotel and Sunday 24 April at the Barwon Heads Hotel supporting The Aggrolites.

Legends of Eltham College folklore, Alastair Matcott and Andre Fazio have teamed up as the thunderous bee-sting rock collective Two Watts. Two of the creative forces that brought you Sleepy Bear Parade are back to rock you again with some new tunes and some old ones if you ask nicely. Don’t miss their debut performance at the Great Britain this Saturday in support of Chigwell Sharp, whose own garage punk-inspired anthems are led by the unstoppable force of Sally Bailey. It’s free from 9pm.

THE FAMILY WAY They ain’t related and they don’t wear hats, but they are called The Stetson Family. This Sunday the five-piece band of knock-abouts are heading to the Great Britain Hotel in Richmond to dig deep into the high-lonesome roots of folk, and bluegrass and unearthing a unique brand of Australian music. Their original songs are honest and tell a good story – songs of snake handlin’ preachers, shallow bush graves, love gone wrong and wanderin’ down life’s crooked highways. It’s free from 7pm.


Spacey Space

HARBOUR TOWN Cold Harbour return to the Vineyard in St Kilda this Thursday playing with the mighty Late Arvo Sons for the very first time. Both bands will be hitting the Vineyard with high octane rock’n’roll and it’s all free! So here’s a chance to see two of Melbourne’s top bands on the same bill and it won’t cost you a cent. Cold Harbour will be hitting the stage around 11pm with Late Arvo Sons coming on around midnight. Come on down, enjoy a few drinks and take in two of Melbourne’s most exciting bands playing on the same bill for the very first, but certainly not the last, time.

HOT DEAD STAR Melbourne rockers Dead Star Renegade have spent the past eight months putting together their debut album, Blackwing. Now that the album is finally out, Dead Star Renegade are throwing a massive album launch party at Revolver Upstairs this Saturday. With supports from Attack Of The Mannequins, Empra and an acoustic set from Electric Mary’s own Rusty Brown, and the show is being recorded live for release later in 2011 along with a mind-blowing light show. This is Dead Star Renegade’s biggest gig yet! Entry is $12 at the door from 8.30pm.

STATIC FOR JESUS Mountain Static is the new project of Simon Gibbs, former singer in Melbourne band TTT (Tic Toc Tokyo). Good Friday (22 April) sees the first live performance of the project to launch the single Warning Song and will be the first opportunity to hear tracks from the forthcoming album, Research. Based around voice and drums with minimal other instruments, the record was recorded between September and December 2010 in various venues including two churches. Gibbs will be performing with various friends on the night to create a live version of the album due for release later in the year. Support on the night comes from 0+0 (previously known as Owl + Moth) and Haydrian Valentine, the solo incarnation of Rat Vs Possum’s Daphne Shum. Doors at 7pm and entry is $10 – it’s an early gig so be on time!

BUNNY STROKES Kicking off next Tuesday, the epic BEST OF BOTH SIDES festival sees two venues separated by the Yarra, Lucky Coq and Bimbo Deluxe, bridging the north-south divide with 50 artists playing across four stages over seven days. We love a good stoush here at Inpress though, so we grilled two of the festival’s acts, SPACEY SPACE and ADAM ASKEW, to see on which side of the river they prefer to work, rest and play.

East Brunswick Club.”

Fave music store?

SS: “Prahran Market meat aisle.” AA: “Backyard, on my banana lounge, watching my next door neighbour exercising his pigeons.”

SS: “Beatport.” AA: “Licorice Pie on High Street, [Prahran]. I haven’t been there in a minute, but they always get in new stock and it’s not too expensive. Fave place to eat? SS: “Yu-u, [Flinders Lane, city].” AA: “Lazzat Kaddah on Sydney Road, [Coburg]. Great combination of Indian and Pakistani dishes. Fave place to drink? SS: “Fawkner Park, [South Yarra].” AA: “Anywhere I have a free bar tab.” Best coffee? SS: “Brother Bubba Budan, [Little Bourke Street, city].” AA: “Birdie Num Nums on Nicholson Street, [Carlton North]. They have a fantastic sandpit out the back.”

Fave cinema? SS: “The Astor.” AA: “Coburg Drive-In keeps my Dead End Drive-In (1986 Ozploitation movie) fantasies alive.” Fave place to chill?

Fave place to party? SS: “On the floor at my house.” AA: “At the moment, Shock Of The New at the Gasometer.”

SS: “Mexico.” AA: “Settled in the north, but it’s roughly equal at the moment. I’m all city!” Are you playing at Bimbo or Lucky Coq at Best Of Both Sides?

Fave clothes store? SS: “Safeway.” AA: “The merch table at the


SS: “The Bimbo!” AA: “Lucky Coq on Sunday 24 April. South Side Hustle versus Congo Tardis #1.”

Best Of Both Sides takes over Bimbo Deluxe and Lucky Coq from Tuesday 19 until Monday 25 April. Check out bimbodeluxe. and au for full line-ups.

HOW DID YOU GET TOGETHER? Brent McCormick, vocals: “The internet, that’s how everyone does it these days.” HAVE YOU RECORDED ANYTHING OR DO YOU PREFER TO TOOL AROUND IN YOUR BEDROOM? “Two EPs out now in JB Hi-Fi, iTunes, and at our shows. Roy [Amar, bass] plays with his Pro Tool in his bedroom.” CAN YOU SUM UP YOUR BAND’S SOUND IN FOUR WORDS? “Only in five, sorry…” IF YOU COULD SUPPORT ANY BAND IN THE WORLD, WHO WOULD IT BE AND WHY? “Hmm, that’s a tough one… re-formed Superheist.” IF A HIGHER POWER SMITES YOUR HOUSE AND YOU CAN ONLY SAVE ONE RECORD FROM THE FIRE, WHAT WOULD IT BE? “Joe’s Garage, Frank Zappa.” DO YOU HAVE A LUCKY ITEM OF CLOTHING YOU WEAR FOR GIGS AND WHAT IS IT? “I don’t but I think you could put [guitarist] Jordan [Nagle]’s socks in the lucky item of clothing basket.” IF YOU INVITED SOMEONE AWESOME ROUND FOR DINNER WHAT WOULD YOU COOK? “Pumpkin soup for entree, rack of lamb for main and cheesecake for dessert.” WHAT’S YOUR FAVOURITE PLACE TO DRINK IN MELBOURNE? “The Espy.” in the Gershwin Room and doors open at 8pm.

LOTEK GETS RUDE The globe-trotting Lotek is stepping out of his studio, shutting down his computer and returning to the Bar Open stage for a special Easter Saturday show on 23 April! His widely acclaimed album, International Rudeboy, was album of the week on RRR and more recently he recorded a version of Little Red’s Rock It for Triple Js Like A Version. Lotek’s signature is bass-heavy beats, added to infectiously catchy horn stabs and melodies are gonna make you bounce. Be prepared to lose yourself dancing to this Jamaican and English sound system cultural fusion with Lotek and his eight-piece band, The Rebel Hifi , playing two sets from 10pm. Best of all, entry is free.


Have you spent more of your time living north or south of the Yarra?

Fave place to DJ? SS: “Biiiiiiiiiiiiiiiiiiiimbos!” AA: “I love all my children of the evening/night/morning!”

It’s going to be a massive Easter long weekend at the Espy. Different Strokes is a new no-BS night of good rock, indie/dance choons and good times happening on Sunday 24 April. Tired of the hoops other nights make you jump through to get in? Well, this is free – all night! Just take some ID, don’t get too loose at pre-drinks and you’re sweet. Some familiar faces and some new faces will be on the decks spinning aural delights. DJs include The Ferg, Naysayer & Gilsun, Indian Summer, Freshly Squeezed, Acolyte, Medicine, Ho N Tell and Mary Tyler Moore. It’s happening

Jericco play the Evelyn this Saturday.

Melbourne bad boy’s The Blow Waves are storming in and taking over the Order Of Melbourne for another massive Good Friday eve bash on Thursday 21 April! After spending months locked away in the studio, The Blow Waves are putting the finishing touches on the first single off their debut album, and have planned this special free party for family, friends and fans. Joining them on the stage is sexy Sydney b-boy Melodiqa who certainly got people talking after his appearance at the Tote in February. DJ Butch Le Butch spins tunes. Be there from 7pm.

This Thursday at the Prague, four awesome metal bands from Melbourne and Ballarat are getting together for a night of hard-hitting, relentless and punishing metal. Standby Soldier, CreeH8, Legion IX and Avirus provide the soundtrack to this metal massacre. The eruption is destined to make your Thursday a highlight of an otherwise pretty un-metal working week. Entry is $10 from 7pm.

EVIL PSYCH OUT The smouldering and experimental psych folk duo Evil J & Saint Cecilia have just released their luminous Strange Beasts album. Recorded by the girls themselves, straight to tape in their home studio, this analogue beast is brave. Surprisingly refreshing, it sounds like nothing else out there. The legendary Rick Will (Grinspoon, Boy & Bear) loaned them his ears for the mixing. Off the back of a sold-out national tour in support of Eddie Vedder, Evil J & St Cecilia hold their Melbourne album launch tonight (Wednesday) at the Toff In Town with support from Davey Lane. Entry is $12 from 8pm.




All things under 18 with KENDAL COOMBS

Hardcore and punk with SARAH PETCHELL


The FReeZA Push Start Battle Of The Bands competition has already kicked off, with two heats taking place last weekend. If you’re not confident performing live then perhaps that competition isn’t for you. Kool Skools, on the other hand, might be. It has been happening at schools around Australia for years – ten to be precise – and the beginning of the program’s second decade is starting with a bang. Kool Skools is a recording and multimedia project for high school-aged kids at a secondary school, council youth agency, youth association or club. The project is for young people with a range of skills and talents and open to all genres of music writing and performing. The basic premise is that each school or group is invited into a professional studio to record an album of original music from a range of artists within your group. For those of the group who are more inclined to video art, photography and all things multimedia, there’s plenty for them to do too. You will then receive 500 CDs with the album, videos, graphics and a photo album all included. The other aspect of the project is an awards night held in November where the best work from the project will be showcased and the best songs and performances will be celebrated in one huge show featuring more than 40 live acts at Etihad Stadium. Modelled on the ARIA Awards, the night will feature a range of music industry personalities and famous bands reading out the nominations. The best songs will be collated onto a compilation CD and available to be bought from JB Hi-Fi. This program is an incredible opportunity to get a foot in the music industry door so do yourself a favour and get your teachers and community group leaders to check out koolskools. and get your organisation involved. And start writing – this competition is about great songs, so get a jump on the competition.


Zoo Underage is the first new underage night to hit Melbourne nightclubs in almost five years. Twenty DJs over three rooms will rock Chasers Nightclub in South Yarra from 5pm. Tickets start at $20. Good Charlotte and special guests Short Stack and New Empire play Rod Laver Arena from 6.30pm. Tickets are available through Ticketek.


Nine Melbourne community radio stations are going digital and to celebrate they will all be broadcasting live, side by side, from Federation Square. The stations are 3CR, 3KND, 3MBS, PBS, RRR, 3ZZZ, 89.9 LightFm, SYN and Vision Australia Radio, and the line-up includes RocKwiz judge Brian Nankervis and Melbourne mayor Robert Doyle. The broadcast begins in the Atrium from 11am.


Totally Unicorn, Let Me Down Jungleman, Gatherer and On Sierra are playing Irene’s Warehouse from 8pm. Tickets on the door. Skate, Ride, Mosh featuring Delinquance, Glorified, Moustache Ant, The Miracle Is Now and Summerset Avenue takes place at the Yarra Glen Skate Park from midday. The Push Start Battle Of The Bands heats continue this week at Nowingi Place in Mildura from 3pm. Tickets are $5. The Hoist By The Tracks comedy program continues with Harley Breen, Anyone For Tennis?, Kate McLennan and Karl Chandler. It’s on at Signal, Flinders Walk from 6pm. Base Drop featuring DJ Russell B, DJ Meltek, Bobi V and more is on at Menzies Hall, Dandenong North. Tickets are $20 on the door.


Melbourne hardcore outfit Declaration with special guests Distant Wreck, Wolfpack, Crowned Kings and Warbrain launch their EP from 2pm at Phoenix Youth Centre. Tickets are $10 on the door. The Hip Hop International Melbourne qualifiers take place at the Essendon Ukrainian Hall from 6.30pm. Tickets are $30 on the door.


Supafest urban festival, featuring Snoop Dog, Bow Wow and many more, is on at the Melbourne Showgrounds from 11am. Tickets are available through Ticketek. Mirrors and Ocean Grove play Pheonix Youth Centre from 12.30pm. Tickets are $10 on door.




So another big week this week. A couple of announcements, a few tour reminders and just some cool general news. There is only one word for The Get Up Kids and that is AMAZING! So the announcement last week that they’re touring in August is one that had me really, really excited! They really are one of punk’s most loved bands, with their endearing hooks and feverish intensity. Tickets go on sale on Friday 15 April for the 18+ show that will be happening at Billboard on Sunday 7 August. Get in quick, because I’m not sure how long these tickets will be around. Having postponed their highly anticipated January tour, Emmure, one of New York’s most notorious bands, have fi nally announced their return to the land down under this June for their fi rst headline tour. The shows are in support of the band’s fourth studio album, Speaker Of The Dead, which was released back in February. Emmure will be joined by Sydney’s Shinto Katana for the duration of the tour. Stay tuned for more information regarding local supports and the like, but for now here are the dates. The two bands will hit the Corner Hotel for an 18+ show and an all-ages show. Both shows are on Saturday 18 June, with the under-18 show in the afternoon and the 18+ show in the evening. Tickets are available from Monday 18 April through Moshtix. As for shows that are happening this week, there are a few taking place around town, with a good mix of shows for everyone so there’s no excuse for not supporting your scene. This Thursday Star Fucking Hipsters and AC4 show hits town. From all reports AC4 are an incredible live act and their album is exactly what old-school hardcore sounded like, so head on down to the Arthouse to catch these guys with Madonna and Viking Frontier. Sydney’s Totally Unicorn and Let Me Down Jungleman, Gently will be playing an all-ages show at Irene’s Warehouse this Friday as well. If you are a fan of frenetic, metallic hardcore, I strongly recommend heading on down to check Totally Unicorn out because they are a violent and entertaining band, with shows frequently seeing their singer strip down to his smalls and his fedora. It really is an amazing sight! While we’re on the frenetic metallic hardcore front, 4Dead and Robotosaurus also hit


RACKET Metal, heavy rock and dark alternative with ANDREW HAUG Ex-Manowar drummer Scott Columbus passed away last week. Current Manowar members released the following statement regarding the passing: “With great sorrow we announce the passing of our brother Scott. A rare talent, equally a rare individual, a father, friend and a brother of metal. All the great moments we spent together are burnished in our hearts and memories forever. We know he is in a good place and at peace. He will never be forgotten.” Seattle progressive rockers Queensryche will release their 12th studio album, Dedicated To Chaos, at the end of June. “Modern life moves fast,” singer Geoff Tate recently stated about the album. “Plug into the rhythm of the now with our 12th studio album, Dedicated To Chaos. The clash and slash of musical experimentation anchored by the pulse of digital code.” He did issue one suggestion to listeners as well, saying, “Enjoy – headphones are a must.” Keyboardist Per Wiberg has been relieved of his duties as a member of Swedish progressive metallers Opeth as part of a mutual decision with the band. Keyboards on upcoming tours will be handled by a musician who is already rehearsing with the band. Said musician’s identity will be released at a later date. Opeth vocalist/guitarist Mikael Åkerfeldt released the following statement on the matter: “Well, it’s been somewhat of a revolving door of members during the last couple of years, and now Per is no longer a member. [Martin] Mendez [bass], Axe [Martin Axenrot, drums] and Fredrik [Åkesson, guitar] and I came to the decision that we should

town this weekend to tear Melbourne apart! The bands are playing an 18+ show at the Gasometer with Agonhymn and In Trenches this Friday. Both of these supports are amazing, and this show is seriously going to blow minds. So toss a coin if you have to decide between this and the Totally Unicorn show, but head out to one. If you decide to go to TU you can still catch 4Dead and Robotosaurus this Saturday at Catfood Press for an all-ages show with Encircling Sea and Useless Children. Onto the weekly Soundwave Revolution line-up update. It just keeps getting bigger and better, and with anticipation at an all-time high it’s leaving everyone wondering when the official announcement is going to take place so we can all fi nd out exactly what it is! You can now add to the list of bands on the bill The Word Alive, We Are The In Crowd, The Dangerous Summer, Hellogoodbye, Set Your Goals and Sum 41. Also, if you were listening to Short.Fast.Loud last week, you would have heard the singer of a certain band drop a hint saying that they would be out here in September. You can draw whatever conclusion from that that you want, but head over to the Triple J website and check out the playlist from last week’s show to fi nd out who I’m talking about.

find a replacement for Per right after the recordings of the new album, and this came as no surprise to Per. He had, in turn, been thinking about leaving, so you could say it was a mutual decision. There’s no bad blood, just a relationship that came to an end, and that’s that. We wish Per the best, and he did a splendid job recording keyboards for the last record, which stands as his final recording with Opeth.” Keyboardist/programmer Chris Spicuzza has left Cleveland, Ohio metallers Chimaira. “The choice was extremely tough and stewed around in my mind for quite awhile,” he told “Many things led to this decision. The situation in Chimaira had ultimately become a negative environment that I had to get out of. Secondly, the music industry is completely fucked and honestly, I became concerned for my future. The amount of work and stress I took on got the best of me. I guess if you’re not happy or having fun, what’s the point?” He added, “As far as the new Chimaira album, I have not contributed to it. There is no doubt in my mind that Chimaira’s sound will not suffer minus my presence. The demos I heard showed great potential and I’m sure the album will melt faces. I’m proud to say I was on five Chimaira albums and wish those guys the best.” California deathcore masters Suicide Silence have set The Black Crown as the title of their new album, tentatively due in July via Century Media Records. The CD was recorded with heavyweight producer Steve Evetts (The Dillinger Escape Plan). Being in trouble seems to be the norm for Mötley Crüe frontman Vince Neil. According to Neil has been charged with domestic violence and disorderly conduct for allegedly pushing his ex-girlfriend with his finger and leaving a bruise on her shoulder. The alleged confrontation between Neil and Alicia Jacobs took place last month at the Las Vegas Hilton. According to the Las Vegas Sun, Neil shouted obscenities at Jacobs, a Vegas TV reporter, as well as a publicist and a writer for the Las Vegas Sun, who were sitting at a table together. The incident took place at a show by comedian Hal Sparks. Neil denied jabbing Jacobs, telling Las Vegas Weekly,

A few cool videos dropped this week, including a new one for Parkway Drive’s track Karma from their recent effort Deep Blue. I’m a big fan of this video as it’s basically the band performing on a Byron Bay beach before stripping off to their wetsuits and hitting the waves. It’s cool to see the band stripped back, showing exactly who they are. Also, Social Distortion released the trailer for the short fi lm that will be the video for their track Machine Gun Blues, taken from last year’s Hard Times & Nursery Rhymes. From the look of the trailer, I cannot wait to see the whole thing! Both of these videos should be available via the bands’ official websites. Last thing for this week, the new issue of No Heroes is FINALLY online! It has been a REALLY long time coming, but I’m really happy with the way it has come out. On the cover is those zany Canadians in Cancer Bats, with Baroness, The Ghost Inside, The Gaslight Anthem, Trash Talk, Your Demise, Terror, H2O, The Bouncing Souls, Polar Bear Club, Antagonist AD and Phantoms all inside. There’s so much content in there it’s ridiculous! You can check it out at

“I never touched her! She’s the one who followed me out into the casino afterwards. I was with four hotel executives. They know it didn’t happen.” Neil later claimed that he was considering filing charges himself, alleging that Jacobs had left bloody marks on his arm. Neil’s lawyer, David Chesnoff, tells the Associated Press that the singer will plead not guilty to the battery and disorderly conduct charges. He’s due 2 May in Las Vegas Justice Court.


Jericco, The Eternal, Black & White, Aural Window – Saturday, Evelyn Psycroptic, A Million Dead Birds Laughing, The Schoenberg Automation, Cradle In The Crater – Saturday, Arthouse Hotel Fuck I’m Dead, Captain Cleanoff, The Kill, The Day Everything Became Nothing, Superfun Happyslide, Roadside Burial, Garbage Guts, Internal Rot – Sunday 24 April, Arthouse Hotel

TOURS, TOURS, TOURS 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 Emmure – Saturday 18 June (U18 arvo, 18+ evening), Corner Hotel Andrew Haug hosts Triple J’s The Racket every Tuesday from 10pm – racket. Email


BREAKDOWN Pop culture therapy with ADAM CURLEY This coming Saturday is international Record Store Day. Or is it Record Store Day Australia? If you pay any attention to the annual scrappy hair-pulling that occurs between independent music shop and retail chain operators over who has the right to be involved in the event, you’d likely have an opinion on that question. And it’s hard not to pay attention – as they’ve shown, Charlie Sheen ain’t got nothin’ on the bitching abilities of our retail operators. Of course, the closure or severe diminishment of some of the larger retail chains selling music, as well as the fact that music departments barely exist in the remaining chains, has almost ended the debate, which has largely been divided into two camps: those who believe Record Store Day should celebrate independent music retailers, and those who believe that the state of music sales is so poor that the physical music market should be banding together and working for the ‘greater good’. However, regardless of whether the independents (or what’s left of them) are winning by default (or by virtue of getting by on the smell of record cleaning solution, as they certainly aren’t ‘winning’ in an economic sense), the debate here misses a significant point: Record Store Day isn’t about records at all. Record Store Day began in the United States in 2007, founded, according to the copy featured on the official website, “as a celebration of the unique culture” of independently owned music stores around the country. In the US model, record stores that are permitted to be involved in the event are strictly defined as retailers “whose main primary business focuses on a physical store location, whose product line consists of at least 50% music retail, whose company is not publicly traded and whose ownership is at least 70% located in the state of operation,” meaning JB Hi-Fi wouldn’t have a hope of sweettalking its way into the conversation over there. That definition – the exclusion of those stores that do not fall into the category of, essentially, ‘physical independent music stores’ – is important


in establishing that, in the US, Record Store Day centres on a certain real-life ‘community’ of businesses that may be different in many ways but all have the unique quality of being owned locally and started because (and it’s an assumption that doesn’t seem unreasonable) their owners are passionate about music. As naff as it is to spell it out without the convincing aid of Tyra Banks’s giant expressive forehead, passion is key. But so is the physicality of the aforementioned “unique culture”. Those who founded Record Store Day had an intention of celebrating the act of going down to your local music shop, browsing through the racks of releases, chatting to the person behind the counter, picking up a zine or some flyers, maybe even brushing the hand of someone also reaching for some rare Huggy Bear 7” and starting a conversation. A real-life one. (As an aside, in my relatively short time as a street press editor, more than a few writers were talked into contributing their words following conversations in record stores. And yes, I’ll admit it, I have been on dates instigated over the New Release section, though none were as good as the albums I bought.) Record Store Day should not be a celebration of or a boost to commerce, regardless of its form. Record Store Day is about community. It’s about taking an active part in the culture happening around us, be it through hanging out in record stores, through going to gigs, meeting and making friends there, organising gigs, starting a band, having an argument, writing something down and showing it to people, starting a film night in a lounge room, requesting a song from a DJ. Hell, it’s about saying something in solidarity to the woman buying the bulk pack of nappies down the shops. It’s about taking some part in and responsibility for the way our towns and cities are run, the way our culture moves forward and the way we interact as human beings. Because online communities aren’t enough and they never will be. So go to your local record store this Saturday. You can decide whether it’s a chain or an independent. You can decide if you buy anything. You can decide if you speak to anyone and what you speak about. Just remember: every decision counts.

Joe Louis Walker


Blues ‘n’ roots with DAN CONDON Joe Louis Walker returns to Australia for this year’s Bluesfest as well as some dates in support of Gov’t Mule guitarist Warren Haynes very soon. Roots Down caught up with Walker to talk about the influence his home city of San Francisco and the blues of yesteryear has had on his own style of playing. “I grew up in a different place and a different time, my formative years was had in San Francisco in the mid-’60s so I was affected more by that than by a lot of other stuff,” Walker says when asked about the inspiration behind his approach to playing blues. “I played with a lot of blues guys before hippies came to where I lived in San Francisco. I was into blues, but I grew up on more of a variety [of music] than I think I would had if I were born in Chicago or Mississippi. “You can see, me being 61 years young, guys 61 years old in Chicago or Mississippi right now are more connected to that area, music wise, whereas I grew up a little bit differently – I got to see all the psychedelic stuff along with the real blues stuff and the real jazz stuff all in the same show. A lot is said these days about the San Franciscan music scene of the 1960s and Walker attests to it being an amazing place to be. “It was definitely cross-pollinated with all kinds of stuff,” he says. “Even Ali Akbar Khan, the great Khan, had a school there in Berklee teaching sarod. There were a whole bunch of different things like that. I can’t think of any place I’ve been, and I’ve been to a lot of places, that are remotely like it.” Mick Jagger, BB King, The Edge and Herbie Hancock are just a few big names who consider themselves to be fans of Walker’s playing. When it comes to his own influence, Walker says that his influences are similar to so many others, and that’s what makes them so special. “I was fortunate, I got to play with a lot of guys that were my heroes,” he begins. “People like Lightnin’ Hopkins, Magic Sam, Howlin’ Wolf… to be on stage opening up for

them when I was 18 years old was cool. “A lot of people went to the same fountain for the knowledge and the inspiration for the music. I went to the same fountain as Keith Richards and Jimmy Page and Buddy Guy and Taj Mahal, we all went to the same fountain which was, like, Muddy Waters, BB King, Howlin’ Wolf, John Lee Hooker – if you got to know them guys who inspire you, if you stay true to it, you will grow into it and you’ll become that. I think it’s a testament to those guys, all of them, that the guys who were inspired by them, a lot of them went on to make something of themselves and that’s testament to the power of what they did.” When he’s in Australia, Walker will once again be proving the diversity of his sound. “I have a friend of mine that I’ve known for 25 years, he’s African, named Amar Sundy; I met him when he was playing with Albert King in France,” Walker tells. “I have another friend of mine playing with me, Murali Coryell – his father is one of the greatest jazz players, his name is Larry Coryell – but Murali is a great singer as well as a great guitar player. We have this sort of mixture Amar has been doing with the blues that we call safari blues and it’s got more of an African groove to it like Ali Farka Touré and stuff like that. Murali brings more of a soul thing and a rockin’ thing to it. So we sort of mix it up. Joe Louis Walker plays the Corner on Sunday 24 April and Bluesfest on Monday 25 and Tuesday 26 April.




DESERT ISLAND SONGS WITH CLEM BASTOW THE FLAMINGOS I ONLY HAVE EYES FOR YOU Sometimes I wonder which thread of the spacetime fabric I pulled, which mysterious 40-year-old ant I squashed as a child, in order to spend my life haunted by spooky 1950s love ballads.

A note from the organisers. With the announcement of the finalists for the 2010 International Songwriting Competition, entries are now open for the 2011 competition, and with a swag of Australian artists as last year’s finalists, competition organisers are encouraging Aussie songwriters, both independent and established, to enter their songs. International Songwriting Competition (ISC) founder and director Candace Avery says the number of entrants from Australian artists has grown over recent years, surpassing Canada and England, second only to entries received from the US. “As a result, ISC has had a lot of Australian finalists and winners, from well-known signed artists to completely unknown artists,” she says.

Johnny Mathis’ Chances Are and The Flamingos’ I Only Have Eyes For You: they weave in and out of my life in an unnerving manner, turning up where I least expect them – blaring out of passing cars’ windows, in the background of movies, on mixtapes, in shops – and disturb my dreams. Chances Are was the first. When I was much younger, I would raid the paranormal section at the library, inevitably without actually borrowing any of them, as though bringing home books on poltergeist or UFOs would somehow deliver those weird energies – or worse – into my house. Instead, I’d sit next to the shelf and read rabidly, poring over tales of alien abduction and ball lightning and all those sorts of shit-scary sleepover conversation topics. It followed that when I became obsessed with the work of Steven Spielberg, I would ask – no, insist – that I be allowed to watch Close Encounters Of The Third Kind. The film had a profound effect on me, but none more so than the hideous incongruousness of Johnny Mathis’s Chances Are playing as the aliens come to take little Barry away. “The moment yooouuu cooome into viiieew…” he croons, as these unseen creeps bang about the ceiling and cat-flap. “For Christ’s sake,” I used to think, crying with terror as those aliens turned screws loose from the heating ducts (to this day I find it hard to sleep near ducted heating), “please don’t come into view.” I was plagued by alien-paranoia-induced insomnia for the next five or so years, and my late-night salve was to listen to Magic 693; I’d put it on quietly and read Little House On The Prairie, that combination the sole thing that stopped my restless mind from wandering to the aliens that were certainly about to come down the chimney. For the most part that method worked, except for the fact that Magic 693 were particularly fond of Johnny Mathis’ greatest hits. If Chances Are piped up, I would plunge into a fit of terror. So, I was struck by how I slipped back into that terrified 13-year-old mindset when, watching I Love You Phillip Morris, that song played as Jim Carrey and Ewan McGregor slow-danced during a prison riot. Fortunately, such was the beauty of the scene that my brain seems to have switched the Chances Are mnemonic to that delicate scene of romance instead of alien abduction. More recently, it’s been all about The Flamingos’ I Only Have Eyes For You. For years I had no idea what this dreamlike cover of the great standard was; in fact, I didn’t even realise it was I Only Have Eyes For You – most of the time I’d just hear those ghostly, echoing backing vocals (“D’bop sh’bop…”). This was the song I heard coming from a passing car, in a moment so unsettling I wonder even now if I daydreamed it. I went to see the Astor’s new 35mm print of the sublime American Graffiti, and there it was again, echoing around those emptying 1962 streets; weaving its spooky soundscape around the deuce coupes and pedal-pushers. The hairs on the back of my neck stood up. Then, this past weekend, I bought a compilation of 1950s rock’n’roll songs to help me sew faster; what looked like 14 songs – I forgot to scroll down, <3 u forevs iTunes – turned out to be 40 songs, and hidden in the middle of them all was, you guessed it, I Only Have Eyes For You. There’s something about ‘50s love ballads that is in stark contrast to how sexless they became in the ‘60s. They have a mysterious eroticism about them (it’s not surprising that they’ve laced the films of directors like David Lynch). So it is with I Only Have Eyes For You, which is as ephemeral as a perfume trace on last night’s jacket; a song tailor-made for slow-dancing and “slow-dancing”. I like the contrast, too, between the two songs – Mathis’s waiting for someone to “come into view”, The Flamingos’ millions of people who’ll “all disappear from view”. I guess we spend our lives waiting for the former so we can experience the latter. And I’m glad that for whatever reason these two songs have decided to follow me through life. D’bop sh’bop.


Ezekiel Ox plays Love Music/Hate Racism at Inu Bar, University Of Melbourne on Friday 22 April. HOW DID YOU GET STARTED? “Well, I always liked to sing, so I just kept doing it. Then the guitar seemed like a good instrument, because you can pick it up easily and hit the streets, which is handy if you’re going to a protest or meeting.” HAVE YOU RECORDED ANYTHING OR DO YOU PREFER TO TOOL AROUND IN YOUR BEDROOM? “I’ve recorded 15 releases in the last 13 years with four different projects, including two live albums. I use my bedroom for snoozing, etc.” CAN YOU SUM UP YOUR SOUND IN FOUR WORDS? “Busker punk justice folk.” IF YOU COULD SUPPORT ANYONE IN THE WORLD, WHO WOULD IT BE AND WHY? “All I want to do is support MC Lesson, an amazing Melbourne spoken word artist and ‘edu-tainer’. I get to do that at Love Music/Hate Racism. Living the dream!” IF A HIGHER POWER SMITES YOUR HOUSE AND YOU CAN ONLY SAVE ONE RECORD FROM THE FIRE, WHAT WOULD IT BE? “Rage Against The Machine – Evil Empire.” DO YOU HAVE A LUCKY ITEM YOU WEAR FOR GIGS AND WHAT IS IT? “My guitar strap. It was my Dad’s.” IF YOU INVITED SOMEONE AWESOME ROUND FOR DINNER WHAT WOULD YOU COOK? “A massive pot of bean surprise, enough to feed ten. Then I’d call them and say, ‘If you’re so awesome, bring eight of your awesome mates’.” WHAT’S YOUR FAVOURITE PLACE TO DRINK IN MELBOURNE? “My mum’s courtyard in Richmond, with a few stuffed mushrooms on the barbie and Roy Orbison on the stereo.”

Last year’s finalists included Aussie artists such as Megan Washington, Kasey Chambers, Paul Dempsey and Glenn Richards, to name a few. Avery says the competition is always excited to receive entries from Australian artists, as the quality is always “a step above”. “There’s a certain quality to them – a slight left-of-centre but still in the pocket sensibility that is creative, cutting edge and inspired,” she says. “Maybe this is in part due to Triple J and their fostering of new, interesting talent. We don’t have a radio station in the US that covers the whole country and plays up-and-coming music in rotation, Australian artists are very fortunate to have this outlet for their music.” With a wealth of discovered and undiscovered talent all around Australia, the ISC is not only a chance for all artists to make the local scene sit up and take notice of their talent, but also to make their mark internationally. Previous winners have gone on to do great things in the music industry, and the competition not only gives entrants the chance to win a coup of ultimate live music act to get crazy with. It’s what they do. Along with their friends Animaux and The Inbetweeners, they play the Evelyn Hotel this Sunday. The $5 entry guarantees you the best Sunday night you’ve ever had. Doors open at 9pm.

THE REAL ALEXIS Alexis Nicole is the real deal. Composing pieces since she was big enough to play guitar at the age of six, Nicole has been wowing audiences with her prodigious talent and plays at the Builders Arms this Saturday with special guests Sarah Eida and the Tim Cannon Band. Nicole presents courage and vulnerability to her fusion of folk, alternative and gyspy genres. Now with her band The Missing Pieces – including double bass, saw, banjo, drums and percussion – she and this talented group of gents create fresh sounds for music lovers who crave raw and relatable music. Doors open at 8.30pm.

TEMPT TESS Melbourne songwriter and charismatic singer Tess McKenna returns to the Union Hotel in Brunswick this Saturday from 5-7pm with her band The Shapiros to play three-piece garage, bare-faced folk rock and dirty bang-bang blues. The group will be playing songs from McKenna’s latest album, The New Everything, and old faves in between. The New Everything is out now on Head/MGM.

CREPES ON A SAUCER There will be much more on the menu than crepes at Open Studio this Thursday evening as Emma Wall Band, Richard Jeffrey’s trio Flying Saucer Terror, Kizzy and The Micha Trio present you with an eclectic mix of urban folk, rock, roots and blues. Doors open at 7pm and entry is just $5.

FOLK A PHOENIX Paint Me A Phoenix create an acoustic fusion of instrumental, folk and lo-fi music that is destined to rattle your bones. Songs of significance, beauty, colour, hate, ignorance and comfort; songs of memory, songs in the fast lane. Catch them at the Prague this Friday with support from Lo-Fi Operatics, Prah Narusil and Hoffbro. Doors open at 7pm and entry is $8.

DAYDREAM NATION Daydream Arcade are five of Melbourne’s freshest indie rock musicians who’ve come together to create super-catchy riffs, lyrics and beats. Boasting an infectious energy, Daydream Arcade are the

fantastic prizes, but also to be heard by record giants in the US. The judging committee alone is the alumni of the international music scene and the 2010 competition panel featured names such as Peter Gabriel, Tom Waits, Ben Harper, Kings Of Leon, Wynonna and Rihanna. The chance to get their music heard by such legends of music is a rare and exciting opportunity for artists everywhere and the basis of what the ISC is all about. As the industry celebrates the 66 finalists for the 2010 competition, the ISC encourages entrants to consider entering the newest category – an ‘unsigned only’ section which gives up-andcoming musicians even more of a chance to snag themselves one of these coveted awards. “ISC accepts entries from professionals to amateur songwriters, so this includes signed and unsigned artists,” Avery explains. “The vast majority, however, are unsigned artists, so most of the ISC finalists and winners are unsigned. To further level the playing field, ISC launched a new category this past year, Unsigned Only, specifically for artists who are unsigned to a major label or publishing company.”

Entries for the 2011 competition are open now. For more information or to enter the International Songwriting Competition, please visit

LLOYD’S SHARPE SHINS The Lloyd Bosch solo acoustic show enchants with superb songwriting and poetry, evoking the raw honesty of early Dylan tempered with the sonorous lyricism of Paul Simon. Younger audiences will recognise strains of Joanna Newsom, Edward Sharpe & The Magnetic Zeros and The Shins coming through. Get to the Edinburgh Castle this Thursday and immerse yourself in rustic strumming and forget about the shopping centres, then do it all again next week because Bosch plays the EC every Thursday in April. It’s free in the front bar from 8pm.

NO GRACE, PERIOD Iconic Melbourne hardcore band No Grace are getting back together for the final time ever to farewell an old friend, the Arthouse Hotel. As part of the huge month of ‘Last Drinks’ celebrations, No Grace will return to the same stage where they played their last show in March 2006. One of the biggest Australian hardcore bands of the ‘90s, No Grace were spoken of in the same breath as Australian hardcore royalty Mindsnare and Toe To Toe. They have been a part of the Trial & Error and Resist Records stables, and toured all over Australia and Europe in the pre-internet days. They play Monday 18 April with Mindset and Step X Down.


EASY TIGER Architects of sing-along good times, dark-edged pop-leaning folk and side-leering swagger, The Tiger And Me have made their mark on the city’s music scene by doing things differently. From the menace and charm of their feverish live shows, their cross-genre creations and their adept understanding of wringing the full gamut of emotion from their audiences, The Tiger And Me have become a must-see experience. Their debut album, From A Liar To A Thief, released in 2010, was critically acclaimed and led to festival performances at Port Fairy, Apollo Bay and The Falls. April sees The Tiger And Me return to the Builders Arms for a Friday early-evening, free, front bar residency as they present new material currently being recorded for an EP release in July 2011. They play this Friday from 6-8pm.

Richie 1250 & The Brides Of Christ are back in action with boss new dance number, The Whippet Walk. Catch the fever this Friday night at the Bendigo Hotel with support from Archer doing his 1920s mumbling blues thing, then a couple of the Little Red guys doing their great ‘70s AM radio detective songs as The Cuckoos. They reach almost Spinal Tap levels of ridiculousness/ catchiness at times. Also on the bill are Geelong dudes Sambrose Automobile, who play Yardbirds and Kinks-style R&B. Entry is $10 from 8pm.

BRIGHTER WHITES Melbourne duo White Minus Red blend analogue and digital sounds to create a unique flavour of liquid dream-pop and folktronica. Having played at a multitude of festivals and venues around Melbourne, they have refined their approach, have an arsenal of fresh material and are set to stun. The band have a residency at the Builders Arms on Sunday evenings throughout April and each week will be joined by an interesting array of local talent. Catch them this Sunday with Winternationale – entry is $7 from 8.30pm.

JERICCO SPRINGER The mighty Jericco return to the Evelyn Hotel this Saturday, taking with them their powerhouse Middle Eastern-influenced alternative progressive rock. Joining Jericco on the night – and fresh off the plane from a tour of Japan supporting their impressive, Jeff Martin (The Tea Party)-produced new album Under A New Sun – is Melbourne’s masters of dark rock, The Eternal. Adding yet further fuel to the fi re is the brand new and yet extremely accomplished high energy electro alternative rock act Black And White, featuring Twelve Foot Ninja’s Shane Russ Russell and former members of legendary prog act The Format. With more acts to be confi rmed, tickets are $12+BF from Moshtix or on the door from 9pm.

TASTE TEST CHRIS EVANS – BARBARION The song that always gets me on the dancefloor at 3am is… If I’m not already on the dancefloor at 3am then the DJ is seriously flawed. In which case I’ll be at his booth paying him out (like the bludger who DJed the Melbourne BDO afterparty). But yeah, I find it basically impossible to listen to Aces High (Iron Maiden) without doing some seriously damaging power moves.

MIKELANGELO’S SHADOW Electric Shadow will transform the Espy Gershwin Room into a cinematic, multi-sensory experience on Saturday 30 April. Bringing together big screen projections from Red Card Film Productions with performances by internationally acclaimed crooner Mikelangelo & The Tin Star plus Saint Clare and Go Girl Gadget Go Go, underground legend JP Shilo and the anticipated debut of new Melbourne group Mr Hyde. Mikelangelo and his band kicked off 2011 with the release of their limited edition Floodhouse EP, playing the St Kilda Festival and touring nationally with US punk cabaret diva Amanda Palmer (check out a live review of the Melbourne gig in this very issue). Don’t miss this! Tickets $20+BF from Oztix and or $25 at the door.

HARDCORE OILY Look out, kids! Hardcore band Oil Barrons are going to crush you at Pony this Friday! No ifs or buts – prepare for the wave of brutality coming your way. The band features seasoned veterans from the cream of NZ hardcore bands Evil Priest, Wrongmen, Strangers and Wasteland. Also on board are the mighty thugcore sounds of Rort, Kromosom, Leprosy and Counter Attack (DRI fans take note, this is a new band featuring ex members of Mass Appeal). This will be chaotic hardcore at its best. Doors at 9pm.

A SOCIAL UNION Immigrant Union are headlining a gig at the Northcote Social Club on Thursday 21 April with The Hello Morning and Blue As The Day. The core of Immigrant Union is Brent DeBoer of the The Dandy Warhols, Bob Harrow of The Lazy Sons and Peter Lubulwa of The Galvatrons. In their television debut last week, the band performed a stunning bluegrass version of Rose Tattoo’s Bad Boy For Love on ABC TV’s Adam Hills In Gordon Street Tonight. However it’s Oregon that is the fi rst single from an upcoming Immigrant Union album; a fast, toe-tapping and catchy tune that was a crowd favourite throughout a four-week residency at the Tote in February. Tickets are $10+BF from the venue or $12 at the door from 8.30pm.

HALFWAY TO COUNTRY Acclaimed Brisbane-based band Halfway team up with Australia’s purveyors of fi ne indie rock Knievel as well as Potential Falcon for a night of heady indie rock at Yah Yah’s this Saturday. Knievel have been around since before the turn of the century. The band formed in 1994, when Wayne Connolly (formerly of The Welcome Mat) teamed up with Tracy Ellis (ex-Oliver) and Nick Kennedy (playing at the time with Big Heavy Stuff). Fourth member Tim Kevin (Hoolahan, La Huva) joined in 2000. The band released their fi rst album, We Fear Change, on the Murmur label and have since become one of the best proponents of indie pop in Australia. Doors open at 9pm.

SOULFUL AT BENNIES Teaming up for one special night of soul, funk and R&B this Friday are three of Australia’s fi nest soul vocalists: Candice Monique, Randa Khamis and Chelsea Wilson. Featuring musicians Jake Mason on organ (Cookin On 3 Burners), Ivan ‘Choi’ Khatchoyan on drums (True Live), guitarist Mikey Chan (M-Phazes) and bassist Lucas Taranto (Gotye) this exclusive show delivers three pumping sets not to be missed. And it’s taking place at Red Bennies, the south side’s premier cabaret venue with its moody atmosphere and welcoming vibe. Entry is $15 from 8pm.

STONEKING’S GUM BALL Picture it: CW Stoneking onstage, under the stars, amongst the gum trees. You with your swag, your Esky full of your favourite beverages (in cans, of course) and a few tasty treats, warming your toes around an open (but safe) fire, kicking back with your friends, and the kids over in the hula hoop pitch discombobulating happily while you sup down a few golden tunes brewed by Stoneking and his Primitive Horns. Later you can get down to Kora, Bonjah, Resin Dogs, The Vasco Era, The Bamboos, Space Invadas, Lanie Lane and a more, all before releasing your wild thing on the Silent Disco to tunes by DJ Soup and friends. Yep, this is the Gum Ball Festival, a boutique event that sells only 1,500 tickets and costs just $130+BF for two days of bliss on Friday 29 and Saturday 30 April. It’s all ages and takes place in Belford in the Hunter Valley NSW. Head to for all the details.

SMOKING RULES This month, Smoking Gun take glamour to the Edinburgh Castle. Every Saturday afternoon from 4-6pm, they will create a noir soundscape that will have you pining for a lost love you can’t recall – or changing your drink order to a dry martini. Dandelion Jackson and Sally Slipknife (alto and tenor saxophone) croon and wail to the melodic scenery created by Adam Spiegl (double bass) and Frank Lees (drums), combining original creations with re-imaginations of works by Bernard Hermann, Vangelis and Angelo Badalamenti to set the scene for the movie you’re watching in your head. It’s free in the front bar.

LOON EASE Loon Lake headline the Grace Darling this Friday night, joining forces with Perth indie rock quartet Emperors, who are on a national tour in support of their debut EP, Sam. Emperors won a WAMi award back home last year for Most Promising Act and were tipped by Rolling Stone as one of the ‘13 Aussie Acts To Watch In 2010’, before going on to grab support slots for the likes of Manic Street Preachers, Silversun Pickups, Philadelphia Grand Jury, The Big Pink and their fellow Perthians Jebediah, to name a few. Young Maverick will be opening the show, making for a corker of a triple bill at the Grace. Entry is $10 from 9pm.

BLUES STAMPEDE Did someone say blues rock with political undertones and guitar solos aplenty? Well, coincidentally The Ivory Elephant fit that particular neglected mould. Joining the modern-day blues renaissance of bands such as The Black Keys and The White Stripes, The Ivory Elephant put their own branding on the style with soaring guitar riffs, bluesy lows, thumping delta and the occasional psychedelic freak out. Catch them free this Friday night at the Brunswick Hotel with Silo, Arcane Saints and Last Chance Tuesday.

KODO MOMENT Combining energetic, upbeat tracks with melodic and emotive songwriting, Kodo Motif perform a unique brand of acoustic rock that has impressed

The song I most wish I’d written is… Matilda, My Favourite Wife. No, hang on, I did write that one. I think writing the music for The Rime Of The Ancient Mariner would have been a blast. The song I’m really digging at the moment is… Bach Prelude No 12 In F Minor BWV 857. Heavy as fuck. It is the wheel of fortune. It is the lost man and the fortunate son. Relentless, inevitable and comforting. A song more people should know about is… Gonna get all Sharia law on some birds that have committed adultery here and say My Rock by us. If more people know about this song they’re more likely to see the superb video directed by Dave Budge and his crack team of A1 total fucking legends!

audiences at every turn since their formation in 2008. With a mix of acoustic and electric guitars, powerful vocals and organic percussion, the young duo create a live sound that includes elements of folk, blues and roots. Performing over the last two years both at home on the Mornington Peninsula and beyond, Kodo Motif trek to the Edinburgh Castle this Friday night with special guests. Entry is $5 from 8.30pm.


The song I never want to hear again is… Gee, the thing is even the shittest songs can teach you something – typically what not to do. If I had to choose one I’d exterminate Kumbaya. I know it’s an easy target but I’ve never heard a good version. It’s got all the hallmarks of a total fucking disaster – repetitive, religious, easily parodied. But even the parodies are shit. It’s just rubbish. Bin it. Throw the bin into the sun. Barbarion launch their new video at the Tote this Saturday and play the Boogie festival, held in Tallarook from Friday 22 to Sunday 24 April.

Why wait for the weekend? Thursday nights are for champions! Especially when crew like this are providing the entertainment. Ryan Meeking is a gifted singer/ songwriter/joke teller and he’s stepping up to the Empress Hotel stage this Thursday for the first time in 671 days. Joining him in this folkster pop extravanganza is the gorgeous Kate Lucas and, hopping over form South Australia, Tom West. Should be a beautiful night of story and song. Entry is $10 from 8pm.

Here’s one to get the weekend off to a flyer: the return of Ollie MC to the Empress Hotel. This Friday is going to be a great night of slamming conscious hip hop featuring live drums, turntablism, beatboxing, rhyming, freestyling and some of the dopest beats you’re ever going to hear. They’ll be free CDs of beats and pieces for the first 50 or so people through the door so get down nice and early. Support on the night will be Lesson, fresh from the World SLAM poetry finals in the US. Syllables for days, weeks and months. Also lending a hand is Lotek (who is enjoying massive airplay on Triple J) and Kojo from Culture Connect. Yep, dripping with special sauce. Doors at 8.30pm and entry is $5.

PUNK SINGLES UNITE Pop Singles are Tam, Ash, Pete and a large dollop of awesome. Playing the kind of indie rock that makes rad nights out with friends all that much radder, their 7” was one of the best local releases of last year and they’re again taking the stage at Yah Yah’s this Friday. Joining them are Sydney’s Unity Floors, a lo-fi duo who need to be seen live (so it’s lucky they’re getting off their arses and coming south for the very first time, huh?). Infinite Void bring a bit more melodic punk to the proceedings. Doors open at 9pm.

THE FULL MONTE Straight out of the success of their Port Fairy Folk Festival and St Kilda Festival, Madre Monte will be taking their infusion of Colombian cumbia rhythms with distinctive reggae grooves to the shaky floors of Bar Open this Friday night. Madre Monte represent the stories, myths and legends of the most colourful and wild country on earth, Colombia! Oil your hips, lick some frogs and sweat it out with Madre Monte’s fi rst ever show at Bar Open. Entry is free from 10pm.

SLUG GUTS GALORE Brisbane swamp-metallers Slug Guts record about as regularly as they practise. In 2009 the band released their debut album, Down On The Meat, and three months later went back to the studio to record Howlin Gang, which was released in February in the US-by-Brooklyn label Sacred Bones. During that recording session, they also put down a cover of Primitive Calculators’ Ugly Pumping Muscle, which is now being released on a split 7” with the Melbourne post-punk legends and launched at the Tote this Thursday night with Primitive Calculators, Lost Animal and Repairs. Slug Guts are also out launching Howlin Gang in Australia with Portland’s Eat Skull and their third LP is currently being mixed. Where do they get the energy? Entry to the Tote is $12 from 8pm.





Thu 14th & 21st April

Jimmy Stewart 7.30pm

Sat 16 April

Tess Mckenna & The Shapiros 5pm

The Prayerbabies 9pm Sun 17 April

Jo Meares & The Honeyriders (syd) 5pm



9388 2235


HOWZAT! Local music news by JEFF JENKINS

DAN HALL RETURNS WITH A PARTING SHOT South Side Rebel. The name suggests a raucous rock record. Dan Hall’s new solo album is anything but. Dan sings, “I know I can’t share this darkness with you,” but listening to A Parting Shot is in intimate experience, giving an insight into Dan’s demons. “It’s just the sound of my voice on a recording,” he sings. And it’s a powerful experience. “I wanted this record to sound like I was sitting right next to the listener, playing and singing to them, half a foot away,” Dan says. “I’d been listening to Whitley, Holly Throsby, Bon Iver… and Bruce Springsteen’s Nebraska was a big one, too.” “I think this is the most honest and brutal record I’ve made so far,” Dan adds. So why isn’t his name on the cover? “I decided to use a different name because I felt it was a very different sound to anything I’d done before,” Dan explains, “and I wanted to have a name I could go anywhere and do anything with. Also, I wanted people to listen to it on its own terms, rather than associate it with other projects I’ve done before.” So what inspired South Side Rebel? “It stems from when I used to live south of the Yarra, but was constantly on the north side of town, whether it was doing gigs or just hanging out in bars in Richmond and Fitzroy. I felt like an invader. Funny, I live in Carlton now.”

ANDREW’S NEW HORIZONS Dave Graney has a shot at critics in his brilliant new book. “I’ve always seen their role as redundant,” Dave writes. “Those pencil-pushing, arse-shining sons of bitches should just clear out.” Brisbane’s Andrew Morris hits town this week to launch his great new single, Horizon (Pure Pop on Saturday and Wesley Anne on Sunday). Does Andrew read reviews? “Yeah, it’s hard not to read them,” he smiles. “If I had the willpower, I wouldn’t, nor would I smoke! If a reviewer doesn’t like my music and says so from a knowledgeable and objective position then that’s fine. Not everyone can like and respect your music, unfortunately. What shits me is if it’s obvious that someone doesn’t know what they’re talking about or if it becomes personal. One review of my last album, Needs And Wants, said it could do without the studio trickery – even though the record was recorded all live in one room with no overdubs

and on to tape! And one for my most recent album basically said I was ‘using’ my well-known friends by inviting them to appear on my record. Now, that would get anyone’s goat, wouldn’t it?”


Bliss N Eso’s Running On Air in August 2010. The Life Of Riley DRAPHT (number one, debut) Like What TIM & JEAN (12, debut) The Great Impression SPARKADIA (21)

Not one Aussie single in the top 30.

Down The Way ANGUS & JULIA STONE (25)

What Happened To Us JESSICA MAUBOY (number 36)

Birds Of Tokyo BIRDS OF TOKYO (29)

Rapunzel DRAPHT (38)

Temptation THE WAIFS (34)

Drapht makes chart history, becoming the first Aussie solo hip hop act to top the album charts. Drapht (real name Paul Ridge) KO’s kd lang, selling 9,300 copies of his fourth album, The Life Of Riley. The Perth star was about to go on stage in Traralgon when he found out he had the first Aussie album to go to number one this year. In fact, it’s the first local chart-topper since


The Experiment ART VS SCIENCE (33)

This Darkness DAN HALL Horizon ANDREW MORRIS Glitter, Gold, Ruin BOY IN A BOX Accidentally THE LITTLE STEVIES Sing It (The Life Of Riley) DRAPHT

Dan Hall

Dan often repeats a line, to give it emphasis, or maybe to convince himself. “I could have done anything,” he declares, “I could have been anyone.” A Parting Shot is released on Dan’s own label, Missing Presumed Dead. “That refers to people in the music industry who burn brightly for a short time before vanishing altogether. There’s a lot of it around. I’ve felt like that a lot over the years.” “There’s nothing worse than the sound of a woman leaving…” There’s no doubt that A Parting Shot is a break-up record. “The title has two meanings,” Dan explains. “One is a final word before walking away, and, on a lighter note, I like drinking shots. Not as many as I used to though, they get me into lots of trouble! I used to say, ‘I’ll have a parting shot’ to the bartender before staggering home.” Dan was living above Richmond’s Nash Hotel when he wrote the record. “It was a cold, rather lonely few months after my marriage broke down. It was painful to write, but an absolute breeze to record.” Dan did most of it one afternoon at the studio belonging to his old Taxiride buddy Tim Wild. He gave the results to David Carr, “a sonic genius”, to mix and master. “I’m very happy with the results, for once.” “You should be proud of things you achieve,” Dan sings, “know when it’s time to leave.” Will there be more Taxiride gigs? “Taxiride is definitely on the backburner at the moment. Jason is doing a solo project and just had his second child, Tim is busy working with other artists, and I’ve got this album plus a new Airway Lanes EP due later in the year. But as Justin Beiber says, never say never!” Dan is launching A Parting Shot with a free gig this Friday at Grumpy’s Green, 125 Smith Street, Fitzroy. The album will also be available at Pure Pop, Greville, Missing Link and Polyester. Check out for more info.


WED 13

Aoi, Yes/No/Maybe, Able, Pauly Fatlace, Kieran Ruffles, N’fa, Ella Thompson, Syreneiscreamy, Manix Bar Open Bedroom Suck, Kitchen Floor, Scott & Charlene’s Wedding, Bitch Prefect, DJ Because Goodbye Workers Club Belinda Allchin Beetet, Dan Sheehan, Louise Rankin Trio 303 Bill Coupland, Desmond Garcia, Levi McGrath Ruby’s Lounge Dizzy’s Big Band Dizzy’s Jazz Club Evil J & Saint Cecilia, Davey Lane The Toff In Town Frank Turner, Isaac Graham The Arthouse Fromage Disco New Guernica Frowning Clouds, The Bonniwells Cherry Bar Genevieve & Jezabel Edinburgh Castle Hotel Gold Chisel Metro & Puggs Irish Bar Good Charlotte, Short Stack, New Empire Rod Laver Arena Harmony w/Hayley & Emily Builders Arms Hotel Jack Pantazis Paris Cat Jazz Club Jane Dust, Suzie Stapleton The Drunken Poet Justin Walshe, Jo Meares The Standard Hotel Kisstroyer York on Lilydale Lee Memorial, Matt Bailey, Frances Plagne The Old Bar Leon Thomas, Clairy Browne, Kisshead Wesley Anne Little Pictures, Peny Bohan Blue Tile Lounge Martha Tilston, Chris Pickering Northcote Social Club Matty Raovich, PCP Lounge Bar Mikelangelo & the Tin Star, Saint Clare, Go Girl Gadget Go Go, JP Shilo, Mr. Hyde Esplanade Gershwin Room Noriko Tadano, Adam Simmons Art Gallery of Ballarat Open Mic Bender Bar Open Mic Elwood Lounge Open Mic The Brunswick Hotel Pioneers Of Good Science, MAYA, Infi nite Decimals, The Lonely Drone The Tote Rebecca Barnard Caravan Music Club


Rick Moranis Overdrive, Dark Arts Karova Lounge Rob Burke Quartet Bennetts Lane Stand & Deliver, Peter Tollich Co., Crown Symbol, Akhnaut, Lunaire, Back Galaxy Experience Esplanade Lounge The Impossible Girl, The General Assembly Empress Hotel The Minpins Thornbury Theatre The Moon Project, Rob Draper Veludo The Premodernists, Bushido Fields, Chris Hay, Gupstar, Shaky Memorial Revolver The Timbers Retreat Hotel Wayward Breed, Monty Sparrow Marquis Of Lorne Hotel

THU 14

Adam Rudegeair Paris Cat Jazz Club Almaria, The Classic Crime Ding Dong Lounge BABBA Gateway Hotel Black Devil Yard Boss, The Delta Riggs Kay Street Saloon Bar Bomba, Angel Voice Mako Prince Bandroom Carus Thompson, Yanto Shortis Drouin Bowling Club Chris Ostrom, TMC, Aniket Empire Nightclub, Silversix, Code Luke Lounge Bar Crying Sirens, Strathmore, None the Wiser Esplanade Basement David Ross MacDonald, Heath Cullen Northcote Social Club DJ Mac G The Sporting Club Funhouse DJs Co., Crown Gilly Darbey East Brunswick Club Goodtime Medicine Band Lomond Hotel Great Pub Quiz Challenge Cornish Arms Hotel Isle Adore, Angel Eyes, Scott & Charlenes Wedding, The Ancients Grace Darling Hotel Jimmy Stewart Union Hotel Brunswick Jubal, Blac Mail DJs Revolver Kimberley Aviso, Josh Romig, Asami Builders Arms Hotel Kimbra Corner Hotel Kisstroyer Mac’s Hotel, Melton

Late Arvo Sons, Cold Harbour The Vineyard Leo Sayer Frankston Arts Centre Lloyd Bosch Edinburgh Castle Hotel Love Story with 1928 The Toff In Town Matt Dean, Matty Grant, Phil Ross Billboard Matt Katsis Veludo Matthew Wright (The Getaway Plan), Kevin Orr, Strickland, Ikarii Next Micha Trio, Kizzy, The Emma Wall Band, Flying Saucer Terror Open Studio Negative Magick New Guernica New York Jazz Sextet Dizzy’s Jazz Club Open Mic Plough Hotel Parades, Little Scout Karova Lounge Peter Rowan Thornbury Theatre Primitive Calculators, Slug Guts, Lost Animal, Repairs The Tote Rasta Unity The Brunswick Hotel Revolver Designer Market at 3181, Andee Frost Revolver Rosie Flores, Chris Wilson, Sarah Carroll Caravan Music Club Ryan Meeking, Kate Lucas & The Lux, Tom West Empress Hotel Scott Edgar & The Universe 303 Seedy Jeezus, Cave Fire Cinema, Superfl uid, Scaramouche, Love/ Hate Pony Shadow Queen, Minime Ex, The Big Left, Attack of the Mannequins Esplanade Lounge Shaun Kirk Wild Thyme Son Tres Mi Corazon Spencer Jones & The Escape Committee, Jo Meares & The Honeyriders Retreat Hotel Standby Soldier, CreeH8, Legion Ix, Avirus The Prague Star Fucking Hipsters, AC-4, Viking Frontier, Madonna The Arthouse The Beggars, Trev Warner, Jetty Road Ruby’s Lounge The Boys, Alford Band of Bullwinkles, Guests Wesley Anne The Gruntled, Mystic Eyes, Poison Sockets, Dj Dan Block Workers Club

The Hope Addicts, The Holy Sea, The Orphanage, Lindsay Phillips The Old Bar The Little Stevies, Georgia Fields Ararat Performing Arts Centre The Motifs, Wizard Oz, Totally Mild Bar Open The Olivettes, The Merri Creek Pickers, The Saturday Knights Yah Yah’s The Stirling Collective Elwood Lounge The Timbers, Alias Great Britain Hotel The Wolfgramm Sisters Cherry Bar Tinker & The Poles, The Mercurials The Drunken Poet Tom Binns, Greg Fleet Blue Diamond

FRI 15

4 Dead, Robotosaurus, Agonhymn, In Trenches The Gasometer Hotel Alex MORPH, Menno De Jong, Shogun Brown Alley Andrew Reid, Gil Askey, Roger Clark Quartet Dizzy’s Jazz Club Apollo Pathway, July Days, Holland East Brunswick Club Berserkerfox, Elysian, Infektion Ruby’s Lounge Black Devil Yard Boss, The Delta Riggs National Hotel Carlin Grant Steampacket Inn Hotel Carus Thompson, Yanto Shortis, Kieran Christopherson, The Pierce Brothers Pier Hotel Cave Fire Cinema, High Side Driver, Seedy Jeezus, Bad at Knitting Barwon Club Cold Heart The Gem Curds n Grain Elwood Lounge D. Cup, In Tongues, Airwolf, Tranter, Indian Summer DJs Can’t Say David Ross MacDonald, Heath Cullen Martians Café Dead Actors Club, Snakadaktal, The Buegs, Winton Hill Central Club Hotel DJ Nikkos, Joe Sofo, Kitty Kat Co., Crown Elly Hoyt Quintet Paris Cat Jazz Club Elodie Adams Thornbury Theatre Five Venoms, Bombastic Plastic Cherry Bar

FLAP! Bennetts Lane Flying Engine The Sporting Club Ian Collard Churchill’s Restaurant James Moore, Heather Stewart, Scott Langham Bender Bar Junk & Jill, Assemble The Empire, Death Valley Band, A Day In The Life Ding Dong Lounge Kate Alexa, Freak Technique Veludo Kid Mac, Psyde Projects, Colour Me In Blue Esplanade Basement Knievel, Halfway, Bombazine Black, Tim Kevin, Rusty (Electric Mary) Esplanade Lounge Kodo Motif, Guests Edinburgh Castle Hotel Kotet, Aluka Northcote Uniting Church LABJACD Night Cat Ladi 6, Electric Wire Hustle Corner Hotel Leo Sayer York on Lilydale Live @ Subs, Feed Your Munkie, Mercury White Esplanade Gershwin Room Loon Lake, Emperors, Young Mavericks Grace Darling Hotel Lowriders Lomond Hotel Madre Monte Bar Open Mandy Wragg, The Bowers, The Bluejays, DJ Mantooth Retreat Hotel Melissa Main 303 Mu-Gen, NXR Eurotrashbar NQR Revolver NTI, Syme Tollens Abode Oil Barrons, Rort, Kromosom, Leprosy, Counter Attack, The Council, Grunge Betty Pony Ollie Mc, Lesson, Lotek, Kojo Empress Hotel Oscar & Martin Workers Club Paint Me A Pheonix, Lo Fi Operatics, Hoffbro, Prah Narusil The Prague Parades, Little Scout, Kins Northcote Social Club Peter Rowan, Gerry Hale’s Uncle Bill Caravan Music Club Pop Singles, Unity Floors, Infi nite Void Yah Yah’s Poprocks at the Toff The Toff In Town Post Percy, Thomas Pollard, Pingu, Simon TK New Guernica Rafael Jerson Quartet The Jazz Basement

Red Eagle, The Eastern Front, SS Radio The Loft Richie 1250 & The Brides Of Christ, Sambrose Automobile, The Cuckoos, Archer Bendigo Hotel Shannon Noll Albury SS&A Club Snow Droppers, The Toot Toot Toots, La Mancha Negra The Tote Souls On Board, Ross Harvey, Kiri O’Connor Public Bar Sturgeon, Harmony, Cherrywood The Arthouse The Doors Tribute Night Shoppingtown Hotel the F100’s, Retro Honky Tonk Double Deuce The Gruntled, Dead Ants Rainbow The Vic (Brunswick) The Ivory Elephant, Silo, Arcane Saints, Last Chance Tuesday The Brunswick Hotel The Knockouts, Undecided By Defaulkt, The Time Bombs Cornish Arms Hotel The Renderers, Panel Of Judges, Inevitable Orbit, Black Mox The Old Bar The Tiger & Me Builders Arms Hotel Traditional Irish Music Session, Dan Bourke & Friends The Drunken Poet Velvet Cake Gypsies, The Dark Ale, Danny Walsh, Zinnia Blue Wesley Anne X’s & O’s, Colour Age Karova Lounge Young Mavericks, Fever Artiste, The Complimentary Headsets Evelyn Hotel

SAT 16

4 Dead, Robotosaurus, Encircling Sea, Useless Children Catfood Press Alexis Nicole, Sarah Eida, Tim Cannon Builders Arms Hotel B.B King Hisense Arena Beaker, Jon Montes Abode Big Folk Lomond Hotel Black Devil Yard Boss, The Delta Riggs Ferntree Gully Hotel Black Jack Oz Rock St Andrews Hotel Blame Lily, Fly South, Kizzy, Jantina Gardner 303 Bruno Mars, Diafrix Festival Hall Carus Thompson, Yanto Shortis Corner Hotel

Chaos Kids, Foxtrot Lyrebird Lounge Chigwell Sharp, Two Watts Great Britain Hotel Chris Wilson The Drunken Poet Clinkerfi eld, Jack On Fire, Small Town Incident Old Bar Clinkerfi eld, Jack On Fire, Small Town Incident The Old Bar Cognito, The Pass Outs, Shadow Thief, Fall Of Dawn, McAlpine Fusiliers The Brunswick Hotel Dave Gray The Gem Dead City Ruins, The Deep End, Eletrik Dynamite Cherry Bar Dead Star Renegade, Attack of the Mannequins, Empra, Rusty Brown Revolver Eat Skull, Slug Guts, The Renderers, Woollen Kits Workers Club Ennis Tola, Xenograft, Rainbird, The Design East Brunswick Club First Base, Party Vibez, We Rob banks Bang Gianni Marinucci Paris Cat Jazz Club Halfway, Knievel, Potential Falcon Yah Yah’s Hired Guns, Junior Massive Giant, Royston Vasie Retreat Hotel Holland, Tobias Cummings, The Bell Parade Empress Hotel Husk, Paint Me A Pheonix, Banjo & The Horizon, Unholy Robot Ruby’s Lounge Jacket Off Veludo Jacky Winter, Caravan Marquis Of Lorne Hotel Jamie Vlahos, Mr Magoo, Frazer Adnam, Nick Missa, Marki Mark, Untitled, Ziggy Billboard Jericco, The Eternal, Black & White, Aural Window Evelyn Hotel Kam Denny, Tate Strauss, Marcus Knight, Nova, Johnny M Co., Crown Louise Rankin Trio, Roger Clark Quartet Dizzy’s Jazz Club M.O.T.O, Bits of Shit, Bittersweet Kicks, Beard of Bees, Poppin Mommas, River of Snakes, Town Hall Steps, Burn In Hell, Vice Grip Pussies Barwon Club Melbourne Rock School Performance The Chandelier Room Michael Charles & Band Central Club Hotel Milk, Looking For Scarlett, We The People, Tomaki Jets Esplanade Basement

Moroccan Kings, A Lonely Crowd, Two Quirks Public Bar New Birds, River of Snakes, Undercolours, Phil Para Esplanade Lounge Oliver Mann, Sophie Hutchings Richmond Uniting Church Phil Ross, Layton McCann, Nick James, Scotty Erdos The Loft Pony Face, The Death Rattles Bendigo Hotel Psycroptic, A Million Dead Birds Laughing, The Schoenberg Automation, Cradle in the Crater The Arthouse Quarry Mountain Dead Rats, Andrew Nolte & His Orchestra Wesley Anne Rio De Melodie, Guests Bender Bar Shaman Son Ding Dong Lounge Shannon Noll Mulwala Waters Ski Club Shaun Kirk The Blues Train, Queenscliff Sin City, Australian Kingswood Factory, Ramshackle Army, Mercy Kills, Bombing Angels, Stranglehold, Charlie Cooper Pony Sine Bar Open Smoking Gun, Gravity Gun, Cave Fire Cinema, Ashen Tide, Atlantic Fall Edinburgh Castle Hotel Stonefield, Kids Without Bikes, Laughing Waters, Smoking Toddlers, Indian Summer DJs Rats @ Brown Alley Sugar Beat Blue Diamond Sugar Doll, A Long Sigh, A.A.D.D., Simon Gardner The Prague Tavares The Night Cat Teskey Brothers St Andrew’s Hotel, Arvo Show Tess McKenna & the Shapiros, The Prayerbabies Union Hotel Brunswick The Aston Shuffle, Kato Inferno Nightclub, Traralgon The Crackwhores The Vic (Brunswick) The Go Set, Attila the Stockbroker Northcote Social Club The Late Show, Ransom, Nick Thayer, Paz, Matt Cant, Peter Baker, NHJ, Julien Love, Boogs The Little Stevies, Georgia Fields Karova Lounge The McClymonts The Palms The Naxalites, The New Black, Telecom Cornish Arms Hotel The Snowdroppers, The Toot Toot Toots National Hotel

Wed. 13th Apr (Wine, Whiskey, Women) 8pm: Jane Dust 9pm: Suzie Stapleton Thurs. 14th Apr 8pm: Tinker & The Poles 9pm: The Mercurials Fri. 15th Apr 6pm: Traditional Irish Music Session with Dan Bourke & Friends Sat. 16th Apr 9pm: Chris Wilson Sun. 17th Apr 4pm: The Miserable Little Bastards 6.30pm: Attila The Stockbroker Tues. 19th Apr 8pm: Weekly Trivia

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

75 Thee Mighty Childish, Suitcase Royale, Barbarion, Matt Sonic & The High Times, Mammoth Mammoth The Tote Tim and Jean, Buchanan, Voltaire Twins The Toff In Town Tim Wilson’s Cannonball, Chantal Mitvalsky Quartet Bennetts Lane Warbrain, Declaration, Crowned King, Wolfpack, Distant Wreck Phoenix Youth Centre Willowan Lights, Mojo Filter, The Pretty Littles, Audemia, Elemental Burn Esplanade Gershwin Room Wunderlust, New War, Kicking Horses, Susie’s Lite Grace Darling Hotel

SUN 17

Afrodescia Alumbra Andrew Morris, Chimneys, Callum G’Froerer, Brett Thompson, Andrew Brooks Trio Wesley Anne

Andyblack, Haggis The Toff In Town Bastard Squad, No Idea, Leprosy, Cabin Fever, Glen & The Peanut Buttermen, The Worst, Last Call The Arthouse Bohjass, FLAP!, Manny Fox Hangman’s Club Northcote Social Club Boogs, Spacey Space, Radiator, T-Rek Revolver Cave Fire Cinema, Atomic Bliss, Indigo League Blue Tile Lounge Craig Fraser, Curly Joe The Chandelier Room Daydream Arcade, Animaux, The Inbetweeners Evelyn Hotel Dead Cats Bounce The Famous Spiegeltent Departing the Moon Builders Arms, early show Dominique Fillon Trio Bennetts Lane Duck Musique Edinburgh Castle Hotel Fats Wah Wah St Andrews Hotel Gunn Music Competition Esplanade Gershwin Room Headspace, Dale Ryder Band, Bad Boys Batucada Esplanade Lounge

Heidi Elva, Mitoken, Kidney 3 Bar Open Immigrant Union, Highwater Ballroom Band, Courtney Barnett The Old Bar Jo Meares & The Honeyriders Union Hotel Brunswick Kelly Aunty Band, Woodward & Rough Lomond Hotel Kitty K & the Jager Bombs Cherry Bar Lake Palmer The Vic (Brunswick) Lindsay Field, Brett Garsed, Angus Burchall Carringbush Hotel M.O.T.O, Reigning Men, The Bulls The Tote Madre Monte Veludo Matt Kelly Cornish Arms Hotel Motion, Zok, Air & Space, Jules Jay Pretty Please Music Trivia Empress Hotel Open Decks Bender Bar Open Mic Rose Hotel Red Ribbon Band Elwood Lounge Rumberos The Night Cat

Rusted, Space Aged The Brunswick Hotel Sunset Blush, Tash Parker, Sophie Rose, Richard Jeffrey The Prague The Choir of Hope and Inspiration Thornbury Theatre The Feel Goods, My Left Boot, Merri Creek Pickers Yah Yah’s The Funky Meters Corner Hotel The Little Stevies, Georgia Fields The Loft The Miserable Little Bastards, Attila the Stockbroker The Drunken Poet The Rebelles, Little Freddie & The Pops, Beach Chromers Workers Club The ReChords The Gem The Reigate Squire, Cameron & Co., Rare Child, Tash Rose Grace Darling Hotel The Resignators The Black Market The Stetson Family Great Britain Hotel Tim Woods, Giles Field, Vic Farrel, Kate Walker, Richard Jeffrey, Jakksen Fish, Opa! 303 Tom Binns Blue Diamond

Tracy Mcneil Band The Standard Hotel Victoriana Gaye, Davey Lane, Alex Aronsten & the Southern Lights Retreat Hotel White Minus Red, Hello Satelites, Winternationale Builders Arms Hotel

MON 18

Austin Brady, Lizzie Sims Veludo Cherrywood Great Britain Hotel Dan Kelly, Greg Fleet, Anyone For Tennis The Hi-Fi Dead Cats Bounce The Famous Spiegeltent Eric Bibb, Staffan Aster, Ruthie Foster Melbourne Recital Centre Francolin, Tessa & The Typecast, Sleep Decade Evelyn Hotel Freddy Fuddpucker, Dot Matrix, ‘Crotchety Knitwits’, DJ Street The Old Bar Gaga Magic York on Lilydale

fri 15TH

cold heart sat 16TH

tunes by dave gray sun 17TH

the rechords



Imogen Heap Palais Theatre James Kane & Friends New Guernica King Gizzard & the Lizard Wizard, The Bonniwells, Street Chant, DJ Whiteside Workers Club Kisstroyer Village Green Mindset, No Grace, Declaration, Step Down The Arthouse Monday Night Madness! The Brunswick Hotel Pinto Rides Again Marquis Of Lorne Hotel Plunder 303 Swing Patrol The Toff In Town Tom Binns, Greg Fleet Blue Diamond Zoophyte, My Dynamite Esplanade Lounge ZZ Top, Rose Tattoo, The Poor Festival Hall

TUE 19

4stress, Yoshitoro, The Quadbox Evelyn Hotel

Alex Hamilton (Merri Creek Pickers), Thomas Henry Walker, Jason Lowe The Old Bar Anna’s Go Go Academy Bendigo Hotel Annie Smith and the Jazz Drive Dizzy’s Jazz Club Buchanan, Undercolours Northcote Social Club Chris Altmann & The Legends of Steel Band Labour In Vain Cine Cult 303 Dale Watson & His Lone Stars Cherry Bar DJ Shaky Memorial Retreat Hotel Irish Session Lomond Hotel Jimmy Stewart Town Hall Hotel Kerri Simpson Cornish Arms Hotel Kisstroyer Chelsea Heights Hotel Michael Franti, Kim Churchill, Rav Thomas Palace Theatre (Formerly Metro) Nic Forte, Jason Seeman, Ali Barter, The Beautiful Change, Matt Glass Esplanade Lounge

Open Mic Ruby’s Lounge Open Mic Night Wesley Anne Pete Martin’s Freight Jumpers, The ReChords The Gem Rodrigo Y Gabriela, Bobby Long Palais Theatre The Brunswick Discovery, Levi McGrath The Brunswick Hotel VCA Jazz Band Paris Cat Jazz Club Weekly Trivia The Drunken Poet Wolfpack, Kill Whitey, Tom Fanbanjo, Following Sea, Look Who’s Toxic The Arthouse

THIS WEEK: Wednesday 13.4 FREE Trivia 7:30PM

Thursday 14.4 Anna’s Go Go Academy 6.30pm $12 Parma or Burger and pot

Friday 15.4 The Gruntled & Dead Ants Rainbow, 9pm free

Saturday 16.4 THE CRACKWHORES 5pm free

King Leghorn & The Hybernators 9pm free

Sunday 17.4 LAKE PALMER 5pm free

Monday 18.4 free pool & CHEAP JUGS Tuesday 19.4 CHEAP JUGS

Kitchen open everyday Lunch 12-2.30, Dinner 5.30-9.30 all day Sunday Function room available ACCOMMODATION AVAILABLE


380 Victoria Street Brunswick Ph: 9388 0830 bands:

140 Sydney Rd


9387 6637


163A Sydney Road, Brunswick 3058 Bookings/Enquiries



Kitchen Specials Mon - $12 burger & pot Tues - $6 pizza Wed - $14 porterhouse Fri - $6 pizza







The Great Pub Quiz Challenge SATURDAY APRIL 16TH - 9PM


















The Killoutines, Little Murders Jordan & the Original Six Sheriff, I Am Duckeye, The Level Spirits and more



Function Room Available Kitchen Open Every Evening



BANG Saturday First Base, Party Vibez, We Rob banks

BAR OPEN Wednesday Aoi, Yes/No/Maybe, Able, Pauly Fatlace, Kieran Ruffles, N’fa, Ella Thompson, Syreneiscreamy, Manix Thursday The Motifs, Wizard Oz, Totally Mild Friday Madre Monte Saturday Sine Sunday Heidi Elva, Mitoken, Kidney 3

BENDER BAR Wednesday Open Mic Friday James Moore, Heather Stewart, Scott Langham Saturday Rio De Melodie, Guests Sunday Open Decks

BENDIGO HOTEL Friday Richie 1250 & The Brides Of Christ, Sambrose Automobile, The Cuckoos, Archer Saturday Pony Face, The Death Rattles Tuesday Anna’s Go Go Academy

BUILDERS ARMS HOTEL Wednesday Harmony w/Hayley & Emily Thursday Kimberley Aviso, Josh Romig, Asami Friday The Tiger & Me Saturday Alexis Nicole, Sarah Eida, Tim Cannon Sunday White Minus Red, Hello Satelites, Winternationale

BUILDERS ARMS, EARLY SHOW Sunday Departing the Moon

CARAVAN MUSIC CLUB Wednesday Rebecca Barnard Thursday Rosie Flores, Chris Wilson, Sarah Carroll Friday Peter Rowan, Gerry Hale’s Uncle Bill

CHERRY BAR Wednesday Frowning Clouds, The Bonniwells


Thursday The Wolfgramm Sisters Friday Five Venoms, Bombastic Plastic Saturday Dead City Ruins, The Deep End, Eletrik Dynamite Sunday Kitty K & the Jager Bombs Tuesday Dale Watson & His Lone Stars

CORNER HOTEL Thursday Kimbra Friday Ladi 6, Electric Wire Hustle Saturday Carus Thompson, Yanto Shortis Sunday The Funky Meters

CORNISH ARMS HOTEL Thursday Great Pub Quiz Challenge Friday The Knockouts, Undecided By Defaulkt, The Time Bombs Saturday The Naxalites, The New Black, Telecom Sunday Matt Kelly Tuesday Kerri Simpson

EAST BRUNSWICK CLUB Thursday Gilly Darbey Friday Apollo Pathway, July Days, Holland Saturday Ennis Tola, Xenograft, Rainbird, The Design

EDINBURGH CASTLE HOTEL Wednesday Genevieve & Jezabel Thursday Lloyd Bosch Friday Kodo Motif, Guests Saturday Smoking Gun, Gravity Gun, Cave Fire Cinema, Ashen Tide, Atlantic Fall Sunday Duck Musique

EMPRESS HOTEL Wednesday The Impossible Girl, The General Assembly Thursday Ryan Meeking, Kate Lucas & The Lux, Tom West Friday Ollie Mc, Lesson, Lotek, Kojo

Saturday Holland, Tobias Cummings, The Bell Parade Sunday Music Trivia

ESPLANADE BASEMENT Thursday Crying Sirens, Strathmore, None the Wiser Friday Kid Mac, Psyde Projects, Colour Me In Blue Saturday Milk, Looking For Scarlett, We The People, Tomaki Jets

ESPLANADE GERSHWIN ROOM Wednesday Mikelangelo & the Tin Star, Saint Clare, Go Girl Gadget Go Go, JP Shilo, Mr. Hyde Friday Live @ Subs, Feed Your Munkie, Mercury White Saturday Willowan Lights, Mojo Filter, The Pretty Littles, Audemia, Elemental Burn Sunday Gunn Music Competition

ESPLANADE LOUNGE Wednesday Symbol, Akhnaut, Lunaire, Back Galaxy Experience Thursday Shadow Queen, Minime Ex, The Big Left, Attack of the Mannequins Friday Knievel, Halfway, Bombazine Black, Tim Kevin, Rusty (Electric Mary) Saturday New Birds, River of Snakes, Undercolours, Phil Para Sunday Headspace, Dale Ryder Band, Bad Boys Batucada Monday Zoophyte, My Dynamite Tuesday Nic Forte, Jason Seeman, Ali Barter, The Beautiful Change, Matt Glass

EVELYN HOTEL Friday Young Mavericks, Fever Artiste, The Complimentary Headsets Saturday Jericco, The Eternal, Black & White, Aural Window Sunday Daydream Arcade, Animaux, The Inbetweeners

Monday Francolin, Tessa & The Typecast, Sleep Decade Tuesday 4stress, Yoshitoro, The Quadbox

Saturday Sin City, Australian Kingswood Factory, Ramshackle Army, Mercy Kills, Bombing Angels, Stranglehold, Charlie Cooper



Thursday Isle Adore, Angel Eyes, Scott & Charlenes Wedding, The Ancients Friday Loon Lake, Emperors, Young Mavericks Saturday Wunderlust, New War, Kicking Horses, Susie’s Lite Sunday The Reigate Squire, Cameron & Co., Rare Child, Tash Rose

LABOUR IN VAIN Tuesday Chris Altmann & The Legends of Steel Band

MARQUIS OF LORNE HOTEL Wednesday Wayward Breed, Monty Sparrow Saturday Jacky Winter, Caravan Monday Pinto Rides Again

NEXT Thursday Matthew Wright (The Getaway Plan), Kevin Orr, Strickland, Ikarii

NORTHCOTE SOCIAL CLUB Wednesday Martha Tilston, Chris Pickering Thursday David Ross MacDonald, Heath Cullen Friday Parades, Little Scout, Kins Saturday The Go Set, Attila the Stockbroker Sunday Bohjass, FLAP!, Manny Fox Hangman’s Club Tuesday Buchanan, Undercolours

PONY Thursday Seedy Jeezus, Cave Fire Cinema, Superfluid, Scaramouche, Love/ Hate Friday Oil Barrons, Rort, Kromosom, Leprosy, Counter Attack, The Council, Grunge Betty

Thursday Bomba, Angel Voice Mako

PUBLIC BAR Friday Souls On Board, Ross Harvey, Kiri O’Connor Saturday Moroccan Kings, A Lonely Crowd, Two Quirks

RETREAT HOTEL Wednesday The Timbers Thursday Spencer Jones & The Escape Committee, Jo Meares & The Honeyriders Friday Mandy Wragg, The Bowers, The Bluejays, DJ Mantooth Saturday Hired Guns, Junior Massive Giant, Royston Vasie Sunday Victoriana Gaye, Davey Lane, Alex Aronsten & the Southern Lights Tuesday DJ Shaky Memorial

REVOLVER Wednesday The Premodernists, Bushido Fields, Chris Hay, Gupstar, Shaky Memorial Thursday Revolver Designer Market at 3181, Andee Frost Thursday Jubal, Blac Mail DJs Friday NQR Saturday Dead Star Renegade, Attack of the Mannequins, Empra, Rusty Brown Saturday The Late Show, Ransom, Nick Thayer, Paz, Matt Cant, Peter Baker, NHJ, Julien Love, Boogs Sunday Boogs, Spacey Space, Radiator, T-Rek

THE ARTHOUSE Wednesday Frank Turner, Isaac Graham Thursday Star Fucking Hipsters, AC-4, Viking Frontier, Madonna Friday Sturgeon, Harmony, Cherrywood

Saturday Psycroptic, A Million Dead Birds Laughing, The Schoenberg Automation, Cradle in the Crater Sunday Bastard Squad, No Idea, Leprosy, Cabin Fever, Glen & The Peanut Buttermen, The Worst, Last Call Monday Mindset, No Grace, Declaration, Step Down Tuesday Wolfpack, Kill Whitey, Tom Fanbanjo, Following Sea, Look Who’s Toxic

THE CHANDELIER ROOM Saturday Melbourne Rock School Performance Sunday Craig Fraser, Curly Joe

THE DRUNKEN POET Wednesday Jane Dust, Suzie Stapleton Thursday Tinker & The Poles, The Mercurials Friday Traditional Irish Music Session, Dan Bourke & Friends Saturday Chris Wilson Sunday The Miserable Little Bastards, Attila the Stockbroker Tuesday Weekly Trivia

THE GEM Friday Cold Heart Saturday Dave Gray Sunday The ReChords Tuesday Pete Martin’s Freight Jumpers, The ReChords

THE HI-FI Monday Dan Kelly, Greg Fleet, Anyone For Tennis

THE OLD BAR Wednesday Lee Memorial, Matt Bailey, Frances Plagne Thursday The Hope Addicts, The Holy Sea, The Orphanage, Lindsay Phillips Friday The Renderers, Panel Of Judges, Inevitable Orbit, Black Mox Saturday Clinkerfield, Jack On Fire, Small Town Incident

Sunday Immigrant Union, Highwater Ballroom Band, Courtney Barnett Monday Freddy Fuddpucker, Dot Matrix, ‘Crotchety Knitwits’, DJ Street Tuesday Alex Hamilton (Merri Creek Pickers), Thomas Henry Walker, Jason Lowe

THE STANDARD HOTEL Wednesday Justin Walshe, Jo Meares Sunday Tracy Mcneil Band

THE TOFF IN TOWN Wednesday Evil J & Saint Cecilia, Davey Lane Thursday Love Story with 1928 Friday Poprocks at the Toff Saturday Tim and Jean, Buchanan, Voltaire Twins Sunday Andyblack, Haggis Monday Swing Patrol

THE TOTE Wednesday Pioneers Of Good Science, MAYA, Infi nite Decimals, The Lonely Drone Thursday Primitive Calculators, Slug Guts, Lost Animal, Repairs Friday Snow Droppers, The Toot Toot Toots, La Mancha Negra Saturday Thee Mighty Childish, Suitcase Royale, Barbarion, Matt Sonic & The High Times, Mammoth Mammoth Sunday M.O.T.O, Reigning Men, The Bulls

THE VIC (BRUNSWICK) Friday The Gruntled, Dead Ants Rainbow Saturday The Crackwhores Sunday Lake Palmer

THORNBURY THEATRE Wednesday The Minpins Thursday Peter Rowan Friday Elodie Adams Sunday The Choir of Hope and Inspiration


Thursday Jimmy Stewart Saturday Tess McKenna & the Shapiros, The Prayerbabies Sunday Jo Meares & The Honeyriders

WESLEY ANNE Wednesday Leon Thomas, Clairy Browne, Kisshead Thursday The Boys, Alford Band of Bullwinkles, Guests Friday Velvet Cake Gypsies, The Dark Ale, Danny Walsh, Zinnia Blue Saturday Quarry Mountain Dead Rats, Andrew Nolte & His Orchestra Sunday Andrew Morris, Chimneys, Callum G’Froerer, Brett Thompson, Andrew Brooks Trio Tuesday Open Mic Night

WORKERS CLUB Wednesday Bedroom Suck, Kitchen Floor, Scott & Charlene’s Wedding, Bitch Prefect, DJ Because Goodbye Thursday The Gruntled, Mystic Eyes, Poison Sockets, Dj Dan Block Friday Oscar & Martin Saturday Eat Skull, Slug Guts, The Renderers, Woollen Kits Sunday The Rebelles, Little Freddie & The Pops, Beach Chromers Monday King Gizzard & the Lizard Wizard, The Bonniwells, Street Chant, DJ Whiteside

YAH YAH’S Thursday The Olivettes, The Merri Creek Pickers, The Saturday Knights Friday Pop Singles, Unity Floors, Infi nite Void Saturday Halfway, Knievel, Potential Falcon Sunday*The Feel Goods, My Left Boot, Merri Creek Pickers


You know the drill – the minute you make it big, the guys that make the guitar you play contact you about maybe doing a signature model. Well, maybe you need to be American, but that’s certainly the way it was for the aspiring young guitarist Jeffrey Phillip Wielandt, from Bayonne, New Jersey, who became better known to the wider world as Zakk Wylde, tapped by the selfstyled Prince Of Darkness, AKA Ozzy Osbourne, to replace the late Randy Rhoads, sending his career into the stratosphere. These days of course he’s running his own band, Black Label Society, as well as playing on records by artists as diverse as Dweezil Zappa, Sabbath drummer Bill Ward and US glam metal band Britny Fox. Anyway, he’s got three signature guitars out, among them the Zakk Wylde Gibson USA BFG Bullseye, essentially a modified Les Paul. Wylde’s love affair with the Les Paul Custom guitar began early and his own infamous Bullseye model was dubbed the Grail. “I always wanted a Les Paul because Jimmy Page played one and Randy Rhoads played one, so I had to get a Les Paul Custom,” he explains. “A friend of mine came over to the house one day and I had my Les Paul and he had this little Fender Jaguar and his guitar was like ten times louder than mine and just sounded tighter and brighter, more fidelity. I was like, ‘What kind of pickups are those?’ He goes ‘These are EMG pickups, you’ve got to stick a battery in, they’re active pickups or whatever’ and I’m sayin’, ‘You’ve gotta stick a battery in?’ So I ended up puttin’ EMGs in my fuckin’ Les Paul and it was like, holy shit! Just the difference in sound, especially when you distort a guitar.”


ENTECH, Australia’s leading biennial trade show for the entertainment, live events and corporate installation sectors, will once again take over the Sydney Convention & Exhibition Centre in Darling Harbour from Tuesday 19 to Thursday 21 July, packed with the latest pro audio, lighting and audio visual equipment. It will also host the Society Of Motion Picture & Television Engineers (SMPTE) conference and exhibition. The first international speaker to join ENTECH’s educational program will be Rob Halliday, who actually started out working as a lighting designer with Daddy Cool and has gone on to work on theatre productions as diverse as My Fair Lady and Equus. Halliday is now based in London. For details and booking, check into ENTECH’s website.


For the third consecutive year, music-product retailers have voted the Peavey Vypyr Series modelling guitar amplifiers the Amplifier Line Of The Year in Musical Merchandise Review (MMR ) magazine’s annual Dealers’ Choice Awards. In a statement, Hartley Peavey, founder and CEO of Peavey Electronics Corporation, said, “The Vypyr has become one of the best-selling guitar amplifier lines in the history of Peavey Electronics. The unique combination of patented analogue and digital technologies in the Vypyr Series gives guitar players an amazing range of tones and versatility, with highly accurate models of classic amps and effects. We’re honored to once again earn our dealers’ resounding approval for our Vypyr Series.” Peavey also won the Dealers’ Choice Award for Sound Reinforcement Line Of The Year, an honour the company has received from retailers in four of the past six years for advancements in technology such as the Versarray line array loudspeaker system and more.


Seems engineer/producer Scott Litt, whose credits include Nirvana, REM and The Replacements, finally took himself out of a seven-year hiatus after hearing demos by Portland, Oregon-based singer/songwriter Alela Diane and invited her and her guitarist husband down to Venice, California to record her latest album, Alela Diane & Wild Divine, in his home studio. Philadelphia experimental multi-instrumentalist five-piece Man Man called in Mike Mogis, the Bright Eyes member responsible for the widescreen backdrops of nearly every major Saddle Creek release, to produce their fourth album, Life Fantastic, recording in Mogis’ Presto! Recording Studio in Lincoln, Nebraska. Glasgow’s Sons & Daughters enlisted Keith McIvor, AKA JD Twitch of Optimo Music, to produce their new album, Mirror Mirror, his first album production job. It was mixed by Gareth Jones (Depeche Mode, These New Puritans). Brisbane band Sleepwalks recorded their debut album, The Milk Has Gone Sour, out this week, with Steve Albini (Nirvana, PJ Harvey, Pixies, Jimmy Page & Robert Plant) at his Electrical Audio studios in Chicago. Albini’s former Shellac bandmate Bob Weston then mastered the album.


THE PROFILER MARTIN KIRBY – PRODUCER, ENGINEER and replacement tools) for a final product and obviously the medium on which the final product is delivered to fans…” Are you currently working for a studio or are you freelancing? “I am working in my own studio and am also keen to work in other studios with bands and am open to travelling!” Do you have your own studio? If so what kind of setup are you using? “I have a two-room purpose-built studio in my warehouse in North Melbourne. The studio consists of a live tracking room and a control room. I am using Cubase 6 and Pro Tools 9 with RME hardware on both my studio PC and Macbook Pro. Other gear includes Shadow Hills Preamps, Adam monitors, Empirical Labs Distressor, JDK EQs and a bunch of modern and vintage guitar amps.”

What areas of engineering do you specialise in? “As I have fronted hardcore punk band Carpathian for the last decade I am definitely most experienced in the hardcore/punk scene. There is a definite void in hardcore/punk production in Australia and that’s something I really want to fill. I guess I specialise in not just engineering but also in playing a producer role; suggesting ideas or a direction the band or record could take is for me as important as just pushing the buttons.”

typical of recording punk and hardcore bands.” What song/album can we listen to to get the best idea of your work? “The track Monochrome from my band’s most recent release Wanderlust really showcases my ideas on both songwriting and production and through a combined effort with other engineers sounds pretty rad!”

What is your favourite kind of project to work on? “So far I have mainly worked with younger bands working on demos and EPs but I am looking forward to spending more time with bands in the studio and focusing on production for bigger releases.”

What do you like to see from an artist or band in the studio? “I like to see artists who are really passionate about what they are doing. If you are passionate about your music and your ideas then it will translate to record and eventually to listeners.”

Are there any pieces of gear that you couldn’t get by without? “My main signal path of a Royer R-101 mic through a Shadow Hills Mono Gama Preamp and Empirical Labs Distressor is basically my go-to for everything. The SHs sound wild on heavy guitars which is

How much has the recording industry changed in the time you’ve been an engineer? “Realistically I’ve only been an engineer for the last 12 months but have been a recording musician for the last ten years. The industry has changed dramatically from the studio gear to performance required (because of sampling

Do you have any advice for young or inexperienced artists who are heading into a recording studio? “Definitely preparation. It’s so important for everyone in the band to be completely aware of what their role in the recording process is and how they will achieve their goals. Practice everything 1,000 times and then do it again.” What notable acts/projects have you worked with/on? “Carpathian, Have Heart, Rise And Fall, Defeater, The Hollow, Hopeless.” Do you have any words of wisdom for those wanting to become an audio engineer? “Learn real instruments and production techniques and appreciate raw analogue music before you get neck deep in digital hell.” Where are you based? “North Melbourne.” Contact details: 0450 900 435

MOVIE WITHOUT PICTURES Building a long-term relationship with a producer means that if you want a song to sound like you’re on top of a mountain screaming at the top of your lungs over a vast wasteland, they can make it happen, OH, SLEEPER frontman MICAH KINARD tells MICHAEL SMITH from the studio. Singer Micah Kinard from Fort Worth, Texas metalcore five-piece Oh, Sleeper is calling from Planet Red Studios in Richmond, Virginia, where the band have been recording their as-yet-unnamed third album with producer Andreas Magnusson (Black Dahlia Murder, The Faithless, Slow Motion Apocalypse), who has produced all the band’s albums to date. “Andreas is one of our best friends and really is like the sixth member of the band I’d have to say,” Kinard explains. “A lot of the final ideas that you hear on the album came through him or he had a big say in. We just really love goin’ to him. “Now we’ve been working with him for about five years, and any time you create with somebody for that long, you really kind of understand each other’s language. You’re already on the same page; you don’t have to spend a lot of time trying to convey the idea. He’s really responsible for a lot of the atmosphere of our albums and he’s really good at knowing what we’re going for and tossing in with fresh ears a new idea that really kind of tones a part or listening to it all and gelling it all together. “We have a constant reference,” Kinard continues, with a short laugh. “We always explain things in totally different realms. For example, we’ll be talking about reverb and stuff and it’ll be like, ‘It’s more like you’re on top of a mountain screaming at the top of your lungs over this vast wasteland…’ – ‘Okay, cool,’ and he’ll make a reverb that in your mind matches that. Or, ‘No, this one’s more like you’re standing on your back porch talking to people…’ And so it’s all about trying to create this picture in your head, kind of like writing a movie without the pictures. We definitely see things more cinematically with our albums.” When Inpress speaks to Kinard, the band had just finished the first of a projected five weeks in the studio, had tracked all the rhythm guitars and were about halfway through recording the drums. Tracking instruments separately of course means that it’s a little harder to create that energy that comes naturally from ensemble playing in a room together. “That’s true but we unfortunately don’t have the luxury of having a practice space where we can jam out these songs and really work out kinks with the feeling and the vibe and everything this time around because our drummer [Zac Mayfield, a former ‘street’ drummer who joined the band a little over a year ago] actually

lives in Delaware where the rest of us live in Texas, and we also just went through another member change – our bassist [Lucas Starr] stepped down and we’ve got a new bassist, Nathan Grady, who’s actually an extremely proficient guitarist and a really good friend – so we haven’t had much time to work these songs out in a room, all with our instruments. “Instead, we use different programs to kind of get our ideas on paper and share with each other to add to and take away from, so when we get together we see it all come together on the screen in front of the producer’s chair and kind of do our tweaks at this stage instead of at the pre-production stage. The tracking itself is analogue but the ideas and the structuring of the songs has been done digitally, and we don’t want to put anything on our albums that’s not able to be duplicated live.” Considering how piecemeal the evolution of the songs for the album is, it seems a little contradictory to discover that, as a lyricist, Kinard is also someone who needs to see the whole picture before he can fully commit to his part of the process. “I’m more of a conceptual writer so I like all the songs to be elements of a bigger picture, so that if somebody wants to take it for face value they can, but then again if they want to dive in further they can really wrap themselves in a story. When we sit down to write an album the first thing I want to dissect is what the concept’s gonna be; I wanna know what the story is. If I know what the story is I wanna know how it ends and I wanna know what it’s like in the middle. Once I know that, it’s easier to get to those points. “I like to wait for the music. I do 90% of my writing for the album in the two weeks that I have during recording before I track the vocals because I feel like guitar tones and notes and parts and beats and everything, they all paint a picture and they all bring a tone, and that tone in itself tells a story, like the rise and fall of a song. If it starts out crazy hectic and, you know, like super spastic, then drops out to just a dry four-on-the-floor beat with a thinned-out guitar, then it builds back up and gets really crazy again and goes straight into a breakdown, that in itself kind of tells a story. So I would rather write lyrics that accompany that story instead of everyone battling for a different view, so I can really pinpoint an emotion at the right time, and

then with that there’s going to be a sound to your voice that accentuates that better rather than just some sort of bold statement, so it sounds truly organic and cinematic.” Kinard used a Shure SM7 for his vocal parts, while, as he says, “On stage the 58 is my go-to for sure.” Conceptually, the new album picks up the story from where the last, 2009’s Son Of The Morning, which chronicled the last battle between God and Satan, left off. “I think as a whole the record is sounding a lot darker, a lot more technical and a little heavier than the last one, which we’re really excited about. The last record held more of a balance of melody and heavy parts where this new one is leaning a little further to the heavy I’d say.” Oh, Sleeper play the Bended Nightclub (Bendigo) on Wednesday 27 April, the National Hotel (Geelong) on Thursday 28 April and the Evelyn on Friday 29 April.





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KEYBOARD Keyboard player, mature age. Currently rehearsing 1 night a week, Blacktown area for planned live gigs. Mix of original and covers. See Call Peter 0408240899 iFlogID: 12532

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 brotherbooth@ iFlogID: 12251

OTHER A new get-together social group for 30-50 year olds who love 60/70s music. iFlogID: 12182

NEED A LAWYER? Entertainment industry lawyers - band agreeements, contracts, copyright and more! DOWNEYS 02 8999 1011 iFlogID: 12582

Singing lessons, singer/keyboard player available and arse-kicking artworks for sale or I can illustrate/ create a one-off piece for you. Objects of desire are mostly made from recycled materials. Go to www. for details iFlogID: 12565

OTHER Gig Launch, Australia’s first online music booking agency, needs a radio ad! Applications now being taken. Prizes awarded to winning advertisement. Head over to Gig Launch - - to find out more. iFlogID: 12351

Register Today its FREE be part of something bigger iFlogID: 12328

SHARE ACCOMMODATION AVAILABLE Small furnished room above Bridge Road, Richmond shop available. Share flat with 1 male muso. Female preferred. $120 per week + bond + share bills. 0434 300 959 or email iFlogID: 12512

Up & coming bands wanted for gigsget yourself some exposure in front of small/med size crowd-send band details & contacts to iFlogID: 12365 is free to join, and with over 5000 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: 12584

WANTED BUSINESSES SPONSORS and/or financiers sought for great new Baby Boomer ventures iFlogID: 12184

OTHER If you are 30+ join “Grow Old Disgracefully”

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

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Inpress Issue #1169  

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...

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