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INPRESS 14 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 Belles Will Ring on keeping onside with the neighbours 24 Heavy rockers Karnivool pushing on 26 Teeth & Tongue’s Jess Cornelius is keeping it in perspective 27 The Middle East: finding order in chaos 28 The Potbelleez just want to make you dance 29 German kosmische exponents Faust talk trash 30 Metronomy come out of the bedroom 32 On The Record rates new releases from My Morning Jacket and Guillemots 34 Onyx don’t do any of that happy shit 34 Keeping safe with Heroes For Hire 34 Jesse Kivel of Kisses talks sonic consistency 34 Biz Markie talks kids shows and collecting vinyl
FRONTROW 36 This Week In Arts plans your week ahead 36 Australian filmmaker Mark Lewis returns to familiar territory with his 3D film, Cane Toads: The Conquest 38 Video artist, photographer, and sculptor Shaun Gladwell talks about his craft 38 Film Carew looks at Cane Toads: The Conquest, Here I Am and Blame 38 We get a behind-the-scenes look at the Australian Youth Orchestra 40 The Menstruum browses the State Library’s gems
Thursdays in June
Tess McKenna Four Thursdays by brilliant songstress Tess McKenna, playing electric folk/rock & blues. Album The New Everything is out now. 7.30pm
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The Blackeyed Susans (Trio) The Susans return for their third
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Songs simply fall out of The Moniters Bass Kleph on the move from rock to electro Surf‘n’country with Mikelangelo The sexy sounds of Sydonia Charlemagne Palestine’s music belies his thinking Tracy McNeil has gotten her rock on Gig Of The Week thinks it’s Tim time LIVE:Reviews farewells Jess McAvoy Sarah Petchell will Wake The Dead with her punk and hardcore talk Andrew Haug takes us to the dark side in The Racket Kendal Coombs leads the under-18s boardroom in the Department Of Youth Dan Condon blues and roots in Roots Down Pop culture happenings in The Breakdown Luke McKinnon goes with the flow in The Calling The freshest urban news with OG Flavas Paz invests in club music in Business Music If you haven’t appeared in Fred Negro’s Pub, your mother probably still speaks to you Jeff Jenkins gets down and local in Howzat! Make a date with Fred’s Calender Our Gig Guide fills your diary for the weekend Fill your dance card with our Club Guide Gear and studio reviews in BTL Find your new band and just about anything else in our classy Classifieds
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GIVEAWAYS Paradise Club Mykonos has unveiled a huge DJ line-up for the summer of 2011, with some stratospheric names locked in for the Greek super club. Acts set to appear include Laidback Luke, 2011 Grammy Award winner Afrojack, Italian DJ Cristian Marchi, Dutch-house purveyor DJ Chuckie and up-and-comer Avicii. These fast-rising stars will play alongside annual visitors to Paradise Club Mykonos such the awesome Fedde Le Grand and Martin Solveig, along with French house legend DJ Gregory. As usual, the ever-popular Australian contingent will be well represented, including festival-headlining dance group Sneaky Sound System, chart-toppers TV Rock and more. If you’re heading over there, we can hook you up – we have three VIP double passes up for grabs!
The Palais in Hepburn Springs is back! The iconic Palais ballroom disco balls have been polished, the venue has been lovingly renovated with its Art Deco ambience retained, and the 1926 wooden sprung dance floor is ready for music lovers’ feet to tread once more when Australian singer/songwriter Tim Rogers (solo) headlines the opening weekend this Saturday. We have two double passes to the show to give away.
Music documentary All Tomorrow’s Parties is a kaleidoscopic journey into the parallel musical universe of the cult music festival of the same name. This post-punk DIY bricolage uses material generated by the fans and musicians themselves on a multitude of formats and, over the history of All Tomorrow’s Parties, has captured the uncompromising spirit of this unique festival. Featuring performances and interviews with Sonic Youth, Belle & Sebastian, Patti Smith, Animal Collective, Grinderman, Iggy & The Stooges, Portishead, Mogwai, Yeah Yeah Yeahs, The Gossip, Daniel Johnston and more, it opens on Thursday 23 June at Cinema Nova, and we’ve got five double passes to give away.
For their farewell show before heading to the UK to perform at Glastonbury, Stonefield will play Ding Dong this Friday. Their Glastonbury invitation comes off the back of festival performances at Apollo Bay, Boogie, Cherry Rock and Adelaide Fringe and will be the group’s international debut performance. While Inpress can’t get you to Glastonbury, we do have three double passes to give away for this Friday’s Ding Dong show.
Ben & Jerry’s is opening a scoop shop at Hoyts Highpoint and is holding a free scoopa-thon this Thursday between 5-10pm to celebrate. Ice-cream fans and movie nuts are invited to experience Ben & Jerry’s as they scoop up free ice-cream for all. With 18 flavours, Ben & Jerry’s reckon they’ve got something for everyone. We have some pint tubs of ice-cream and a double movie pass (redeemable at any Hoyts) to give away. The winner must live within a 50km radius of Melbourne and be able to accept three pint tubs in the one delivery.
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KEEPING MUM We hope local upstarts Teenage Mothers didn’t peak too early at the first of their June Yah Yah’s residencies last week – we heard tales of brawls, free nitrous and prematurely ended sets. Can they top that? Find out this Thursday.
TOP DRAW They say you haven’t made it in the Melbourne music scene until you’ve appeared in Fred Negro’s Pub strip being showered in cum, and the Inpress cartoonist launches The Best Of Pub Vol 1 at Pure Pop on Monday at 5pm. Turn up, and you might even make it into a future Pub strip with your bits out.
DOLLY’S TOURING Breast news ever!
CARBON CHAMELEON Great find by Q&A this week, playing a Tony Abbott interview from ’09 showing the carbon tax-opponent spruiking a – you guessed it – carbon tax. Almost made up for the presence of Austen Tayshus on the panel.
MAN O MAN The Australian Christian Lobby’s attempts to ban a Queensland campaign promoting safe sex would be laughable if it wasn’t so hypocritical/ irresponsible/etc. Apparently explaining two men in love to kids was too difficult. The whole virgin birth thing, on the other hand…
POWDER TO THE PEOPLE So, Powderfinger have teamed up with music scribe Dino Scatena to write an official history of the zzzzzzzz…….
IN THE STUDIO WITH SAMSON MCDOUGALL
News for fans of psychedelic music is that Melbourne quintet Sand Pebbles have just finished recording their latest album at Brooklyn Sound. Famed for being one of the only bands around consisting of members whose birth dates span four decades (also strangely the only band in this part of the world to have featured two members named Tor), Sand Pebbles draw on influences spanning a similar timeframe. The outcome is a sound that conjures elements of ‘60s LSD psych, Eastern guitar trickery, kosmische and ‘80s new wave through extended jams and hallucinogenic soloing. With the new record the first to feature the drum styles of Wes Holland (Sun Blindness), this will be one to keep an eye out for.
If Cuba Is Japan’s forthcoming album Canvas is anything even near as sexy as their recent 7” release (complete with hand-knitted sleeve and hot-as-hell artwork by Dylan Martorell) it’ll be something to get very excited about indeed. Recorded in July 2010 by Neil Thomason at Head Gap studios in Preston, the album is centred around the first circumnavigation of the globe by Portuguese explorer Ferdinand Magellan in 1522. The music is set to go but in keeping with label Alpine Areas’ aesthetic vision of creating special, covetable items, the album will not be released until the production of the artwork can be finalised. The plan is to release the thing on vinyl in September or October of this year in bi-fold packaging made from, or somehow covered in, canvas. Make sense? Of course it does.
Melbourne drone rock experimental electro masters Black Cab are slated to release their follow-up to their much heralded 2009 LP Call Signs later this year through Dot Dash/Remote Control. Heavily influenced by 1970s psychedelic rock coupled with elements of shoegaze, programmed driven beats and electronic soundscapes, Black Cab’s principal songwriters, guitarist James Lee and vocalist Andrew Coates, weave washy beat-laden road tunes that are as much recognisably local as Universal or even other-worldly. Having enlisted the inimitable voice of Died Pretty’s Ron Peno for duties on 2009 single, and much loved community radio darling, Ghost Anthems, and playing such memorable recent psych-fuzzed shows as their last Espy release party and a wild RRR live-to-air, the anticipation for this one will reach fever.
Brooklyn dance punk crew The Rapture have announced on Facebook and Twitter that they will be back on James Murphy’s DFA label for their new album In The Grace Of Your Love. The Rapture and DFA parted company soon after the 2003 release of their critically acclaimed debut album Echoes – Pitchfork’s 2003 Album Of The Year. Relentless touring and support slots for the likes of Funeral For A Friend, Von Bondies and Franz Ferdinand (also notable inclusions on the Curiosa festival bill alongside Mogwai, Interpol and their idols The Cure) and the release of their second album Pieces Of The People We Love punctuated the remainder of the decade for The Rapture. Phoenix producer and Cassius member Philippe Zdar produced the new record, which the Rapture recorded in Brooklyn and Paris (lucky for some). Modular are set to release In The Grace of Your Love in Australia on 2 September.
Anyone who’s caught local outfit Harmony live will agree that they are not like anything you’ll see/hear anywhere ever. Tom Lyngcoln (The Nation Blue, Lee Memorial) joins forces with Jon Chapple (Mclusky, Shooting At Unarmed Men) in full-frontal guitar and screaming duties with Alex Kastaniotis (Remake Remodel) in back on drums and Amanda Roff (Ukeladies), Quinn Veldhuis and Maria Kastaniotis creating three-way vocal harmonies so sweet they make your teeth tingle. The good news is Harmony haven’t wasted any time in getting into the studio with their self-titled debut album slated for release in a couple of weeks, out through Casadeldisco and Other Tongues. Recorded by Lyngcoln at home, mixed by Matt Voigt at Abercorn Studios and Mastered by Joe Carra at Crystal, it features a guest performance by Marc Ribot who has notably recorded with the likes of Tom Waits, Elvis Costello and T-Bone Burnett. In a live setting these six dish out a sound so unique even to surpass the sums of their very distinguished parts. Judging from the recent single release Cacophonous Vibes, the album should have no problems capturing their cutting edge aesthetic.
INDUSTRY NEWS BY SCOTT FITZSIMONS
Sydney singer/songwriter Lanie Lane has signed to Ivy League Records. Negotiations for the deal had started “a few months ago”, Lane told The Front Line, and she joins a roster of artists that includes Cloud Control, Josh Pyke and The Mess Hall. She said her manager Andy Kelly of Winterman & Goldstein, who’s also a director of Ivy League, kept out of the negotiations but allowed the opportunity to happen without his direct involvement. Her old-world sound and pin-up style has seen her travel to the US and UK this year and she’s “pretty much done” an album, recorded at Sydney’s Studio Ripple. “I’ve just got to do a few tracks in the coming weeks… I recorded the vocals separate, but everything else was recorded live.” It will be released before the end of the year. Melbourne “desert rockers” Redcoats have signed a deal with Island Records, Your Daily SPA announced last week with the band’s debut EP due soon. Manager Sophia Liddy said the release was “hot off the press, we’ve just got it back from being mastered in America and we’re just finalising the artwork… We had a champion within Island Records who loved the band… there’s a lot more personnel than myself [working for the band now]. I think we’ve got a great team.” Adding to recent signings Tiki Taane and Jim Ward, Stop Start has penned a deal with Americans French Horn Orchestra. Their debut album The Infinite Music Of French Horn Rebellion will be released 15 July through distributor EMI. The American brothers duo of Jared and Michael Bell, LYMBYC SYSTYM, will be released through Hobbledehoy Records in Australia. The label said their DIY ethics make them a match for their roster.
SHOCK MOVES After a short stint at UNFD, Stu Harvey is returning to Shock Entertainment. Also announced this week, a victim of the company’s restructure, George Hatzigeorgiou, Ragged Company Touring general manager and national publicist, is no longer with the business.
ODD FUTURE ABUSED AT KFC Tyler, the Creator has claimed his hip hop collective OFWGKTA were racially abused at a Brisbane fast food outlet while touring the East Coast last weekend. He first made note of the incident through his widely followed Twitter account posting, “Out Here In Brisbane, Australia. People Out Here Are Racist As Fuck. I’m Uncomfortable And Want To Go Home. I Get THis Weird Vibe.” He followed that with, “I Love Australia Tho Sydney And Melbourne Was Sick, But For Some Reason The Couple People Ive Come In Contact With In Brisbane Are Dicks”. Before going on stage in Brisbane, frontman Tyler came over the PA to clarify that the tweets were caused by an incident at a KFC earlier that day where the band had been abused by someone referencing a stereotype. A spokesperson for Live Nation, promoters of the East Coast leg, told The Front Line that although not aware of the incident specifically, “We unreservedly condemn racial discrimination in all its forms and regret this has tarnished what has been a spectacularly successful tour of Australia for OFWGKTA. I have not heard of any other incidents on the tour and sincerely hope none were made.” Odd Future are no strangers to controversy – Sara Quin of Tegan & Sara famously called their lyrics “misogynistic and homophobic ranting and raving”.
HISTORIC DOLLY TOUR HAS OFFICES DANCING The announcement of Dolly Parton’s first Australian tour in 28 years had Australians “dancing in their offices”, according to tour promoter Michael Chugg. Speaking to The Front Line on the day of announcement last week the veteran promoter said, “Whole floors of offices were dancing with the announcement this morning… Our office has been dancing for weeks.” The much rumoured tour was finally hinted at by the promoters themselves when they posted five clues in the form of pictures posted to their Twitter account, including a roller coaster (Dolly World) and a poker hand (association with Kenny Rogers). “It leaked out a bit but that didn’t bother us because the response has been amazing,” said Chugg. “The biggest three tours recently have been Robbie Williams, AC/DC and Pink and this is right up there with them I think.” As recently as March Parton tweeted, “Yeh I flirt, I’m not blind and I’m not dead!”
KANYE CLOSES GIL SCOTT-HERON’S SERVICE WITH AUTO-TUNE Kanye West closed off the memorial service to legendary poet/soul singer Gil Scott-Heron with an Auto-Tuned version of Lost In The World, according to American sources. Held last week in Harlem, the track samples Scott-Heron’s own Who Will Survive In America (the latest case of West borrowing his material) and Billboard described the performance as an “Auto-Tuned yet emotional rendition”. Other performances at the public service included ScottHeron’s daughter Gia, who performed Bette Midler’s The Rose and read an original poem, and his backing band played Better Days Ahead.
INDIGENOUS AWARDS GO NATIONAL Nominations for the Northern Territory-based National Indigenous Music Awards are now open, with the awards night to be held in Darwin on Friday 19 August. Industry members are encouraged to nominate acts for categories for consideration in the awards. After seven years of having a Northern Territory focus, the awards have broadened their scope this year, with 2011 being the first national awards. Nomination forms are available from nima.musicnt.com.au.
BOWDITCH TAKES TO THEATRE THROUGH EVA
Following last week’s news that Nick Barker will play Bon Scott in an upcoming theatre production, the team behind the show has announced that Clare Bowditch will portray Eva Cassidy in the upcoming Eva – Tales From The Life Of Eva Cassidy. Co-written by Bowditch with Jim McPherson, it will follow the “narrative concert” theme that has been implemented to the Bon Scott and John Denver productions after the success of the Helpmann Awardwinning, Johnny Cash-celebrating The Man In Black show last year. Producer Simon Myers (whose company Bold Jack is behind Eva) said in a statement, “[Eva] lived for the love of song, yet was never alive to experience the high acclaim and international fame that came after her death. Because of this there are so few images of her, and it is the power of her music that makes us remember her most.” The show will take place at the Athenaeum Theatre One; the opening performance is on Thursday 11 August with the season running until Sunday 21 August. Correction: Last week we listed Nick Barber as the musician playing Bon Scott – it is, of course, Nick Barker who’s got the honour.
SHOCK’S MARKETING OUTSOURCED Regency Media – the parent company of Shock Entertainment – has announced the formation of Kimchi Creative, a marketing and publicity agency for the entertainment industry. Set up within the Regency banner the agency will be able to service Shock, its partners and other clients with the aim to provide a holistic service across marketing and publicity. Jason Martin, former Shock marketing manager and now general manager of Kimchi Creative, said that the formation of Kimchi was a direct response to “the demand for publicity and marketing services from both local and international artists”.
THREE LOCALS MAKE TOP 50 There were three local albums to debut in the ARIA albums chart top 50 this week, with club juggernaut The Potbelleez leading the way with Destination Now dropping in at 17. Further down the list You’re A Revhead from country favourite Adam Brand just managed to edge out Sydney youngsters Papa Vs Pretty’s United In Isolation with the two albums coming in at 39 and 40 respectively. Kylie Minogue re-entered the chart in 31 with Aphrodite, a response to her upcoming arena tour – even if there are reports that tickets aren’t selling as well as hoped. The Glee Cast had the highest debut this week with Volume 6 landing third behind Lady Gaga’s chart-topping Born This Way and Adele’s double-platinum 21. Other debuts included Death Cab For Cutie – Codes And Keys (7) and Brad Paisley – This Is Country Music (26). In the singles charts, DJ Havana Brown reached her highest point so far with We Run The Night climbing to fifth.
V FEST COULD BE BACK IN AUSTRALIA V Festival could return to Australian shores if a story in magazine Marketing is to be believed. The festival, which featured The Killers, Snow Patrol, Madness, Elbow, Kaiser Chiefs, The Temper Trap and Duffy in its last year (2009), split with promoter Michael Coppel last year in a move that seemed to signal the end of the festival locally. Virgin has since focused on sponsorship of other events and is involved with Splendour In The Grass and St Jerome’s Laneway Festival, and has the naming rights to Sydney’s Metro Theatre. Virgin Mobile spokesperson Amber Morris told Marketing the festival isn’t off the radar as part of their music-centric approach to marketing. “The focus for us is the live streaming,” she said. “It has been massively successful. Something like 100,000 viewers went back and looked at our footage of the Laneway Festival. It’s something no one else is doing in Australia… Virgin Mobile has been associated with the V Festival in the UK for something like 11 years. In Canada and the United States too, festivals are definitely something that works well. So we’ve got a lot of years of experience doing this.” Of the Australian leg she said, “It’s actually run through Virgin Management, and Virgin Mobile are the sponsor. Virgin Management is the umbrella for all of the Virgin businesses. As far as I know they are still looking in to it, it has just been a hold for a couple of years.”
NEXT INDUSTRY “BIBLE” RELEASED The latest edition of the Australasian Music Industry Directory was released last week. It is the first edition published by Street Press Australia (publishers of Inpress ) since they acquired the mast head from IMMEDIA! last year. The most comprehensive directory of music industry contacts for the region, it covers musicians, management, labels, promoters, photographers, media, legal, merchandising, ticketing, transport, distribution and more. Managing editor Andrew Mast said, “We intend to uphold the standard of quality set by previous publisher Phil Tripp and expand the directory where we can. We hope the directory retains its reputation as the industry bible.” Print editions are available for $55 from streetpress. com.au/store.
VALE GREG CLARKE Much-loved tour manager Greg Clarke died of a suspected heart attack in Sydney last Tuesday at the age of 50. ‘Clarkey’ had been the tour manager for Billy Thorpe from 1995 up until 2007, had worked with Rose Tattoo as a tour manager and engineer since 2006 and also held tour manager and IT manager roles within Chugg Entertainment. As well as those roles he had also worked with acts such as Monster Magnet, Fleet Foxes, The Screaming Jets and The Angels.
AMERICANS CAN’T SUCK IT The Arctic Monkeys have encountered some retail problems with their new album Suck It And See in the United States, with frontman Alex Turner telling London radio station XFM last week that some of the big chain stores have censored the title. “They think it is rude, disrespectful and they’re putting a sticker over it in America in certain stores, big ones,” he said without specifically naming the stores. Supermarket chains such as Target and Walmart make up a large percentage of physical record sales in America. Spinner pointed out that the UK band were the first to get a censorship sticker on their album for a non-curse word, unlike previous censorships for Pixies and Nirvana. Suck It And See was released locally through Domino/EMI last week.
CATHEDRAL BECOMES NEW LIVE VENUE A new venue has opened on Thornbury’s High Street. Tago Mago is situated within a 1940s-style cathedral building with original artwork throughout. The owners aim for the venue to be all-inclusive in terms of their music selections (established and emerging) with burlesque, circus acts and film nights aided by a log fire in winter. Further details are available through the venue’s Facebook page.
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In part two of their European tour diary, local trio PUTA MADRE BROTHERS continue to accumulate junk, inspire homemade merchandise and make men cry and women dance.
breakfast time at 11am. Cold sausages and instant coffee.
As the tour rolls on, the van slowly fills up with all sorts of random foreign-supermarket hangover purchases and hard-rubbish finds… Cheap cologne, chairs, wooden crates, knives, multiple pairs of headphones, a trombone. We make a fridge out of a plastic tub. Biscuit crumbs and tobacco and Coca-Cola merge across every surface.
The tour van is a huge grey elephant. Dad is its trainer. He shouts encouragement. It can do 140km/h. Ulrich the sound engineer plays inappropriate techno all night between the bands. Macaroni has a voice like a transvestite chainsaw and his lung still hurts, and he wonders if maybe it was removed in his sleep.
We play on a barge in Lille where there is so little room on stage Macaroni unintentionally smashes his guitar straight through the ceiling, tempting a brief shower of plaster dust all over him. Within ten minutes of arriving in Paris our van is broken into and we spend most of the day watching policemen and women (one with a tongue-piercing which gave her a funny whistling lisp) talk to us in a foreign language and vice versa. We play the Maroquinerie in Paris to a full house. Girls dance and men cry. The Brothers hit them with a wet stonefish. Una caliente rock en roll set. Made them shit their pants and bop with joy. Hand cramps and snare drum breaks down. After the show we drink vodka, dance and spit on ourselves at a small bar nearby. After 11 shows we have our first half-day (half-day!) off. Washing day. Pikkle’s hair is permanently glued into a ragged Luke Perry style by now. Everything is falling apart and filthy. Two and a half weeks in and after 122 shows the Brothers finally wash not only their costumes but also their daily duds and gruts. Happy with themselves. The show is at Mistral Palace in a town called Valance. What is a Mistral Palace? Well it was previously a porno cinema. Backstage there are 16 men and only one woman. Cowbones is not a museum. Good proper punk band with homemade masks and no more than two riffs – a blistering punk set that heats the room. Next are Surfing Matadors, who aren’t so much a surf band. By this time the room is stinking, the perfect atmosphere for everybody’s favourite fakes, Puta Madre Brothers. Chocolate plays El Toro Bravo lying backwards on his drum. So we come to our final show in France, old lucky number 13. In the white cliffs of the French Alps, a small town named Annecy where the men smell and the women are pretty. Nothing goes wrong. We pour ourselves beer from behind the
bar. Some people seem to understand our poorly-pronounced Spanglish. There is no stage, we play on a tiled floor at the unusual time of 7pm. Load the van routinely, robotically, steal a few beers, head to the hotel and start trying to work out how to say Puta Madre Brothers in German… We cross the border into Switzerland. All snow and chocolate and watches. Our first show here is in a little African restaurant where an enormous snowball fight takes place post-show and Macaroni catches one in his mouth. We find our first Salvation Army store somewhere in this fairytale country and steal some clothes, jewellery, electrical adaptors. Pikkle buys a trombone for $80 and starts practising in the van as soon as we load back in. We buy a bag of 400 firecrackers to use for the show, though warned that they’ll probably blow up PA systems, we set them off at truck stops in the middle of the night instead. Twenty shows into the tour our memories and sense of reality start failing us; some shows happen and disappear into a black void, the freeway turns into a liquorice strap we all want to lick but it’s moving too fast; our new tour manager and opening act for the rest of the tour, The Dad Horse Experience, a one-man-preachingbanjo-playing-48-year-old door-to-door-salesman-looka-like, likes to take his hands off the steering wheel whilst speeding along the autobahn, wave them in the air and holler,
“LORD! Take the wheel!!!!” At this point Macaroni begins failing. His left lung feels bruised and isn’t working so well. Pikkle’s hair has mutated into a permanent Worzel Gummidge/echidna-like creature and Chocolate has started trying to convince anybody and everybody that he is a private investigator for no obvious reason. The hallucinations from exhaustion are hitting – maybe it is a chemical effect from the hair pomade? We are told a German man has spray-painted a stencil of us on his girlfriend’s car, and we are handed a squashed beer can with a crude painting of a donkey and the words ‘puta madre’ on it. We also receive word from Australia that somebody has made a portrait of us on a 1970s teak food platter. Seems people are making their own merchandise of us. We soon hit Munich where Gutfeeling Records has made us a 7” single and discover the centre hole in a lot of them is off-centered, and somehow we are amused, the dada-ist way the records play reflects our disorientated condition. The next show is Stuttgart, where there are too many people dancing and roaring, a town full of wild crazies who don’t stop the party. Smoking inside. Men cry, women dance. The club turns into a high-energy disco after the show. Pikkle gets lost at 4am walking through the city and doesn’t find the hotel until
It’s easy to know when you cross the highway borders into Belgium. The road changes. All of a sudden there are cracks and lumps and potholes the size of small cars, weeds growing on the roads, signs smashed over on the side. No highway maintenance. The other way to know you are driving in a Belgian city is that the roads are all cobbled so it’s impossible to not feel and hear the jack-hammer sensations in the car. The Brothers play songs in a 600-year-old bunker, give each other get crude haircuts, make people dance and fall over, steal packets of cigarettes from the audience and share tequila with the best dancers, eat horse meat pizza in Berlin, and spend an unhealthy amount of time using free wi-fi in McDonald’s. Three things we learn from this tour are 1) everybody in Europe speaks Spanglish; 2) never trust a stoned Swiss man to deliver breakfast on time; 3) you can never have too many socks. Really too many shows to describe, too many wonderful people to give credit to. There was the guy who gave us a vintage snare drum when ours exploded one night, he should get a mention. The Brothers survived. Their outfits ruined. Their hair fallen. Weight loss. Cannibalism. Thirty-six shows in foreign lands. They return to Europe this July to play Nuits Secretes Festival in France and a few (20?) club dates.
WHO: Puta Madre Brothers WHEN & WHERE: Friday, Tote; Friday 17 June, Prince Bandroom
NEWS FROM THE FRONT
The Whole Lotta Love Led Zeppelin Celebration will tour nationally this September to mark the 40th anniversary of Led Zeppelin’s seminal album Led Zeppelin IV. Whole Lotta Love is a passionate evocation of the music of Led Zeppelin, recreating the excitement and energy of one of the most influential bands the world has ever seen. A range of guest vocalists, backed by an eight-piece band will perform all of the classics from Led Zeppelin IV including Stairway To Heaven, Black Dog and Rock and Roll, plus a collection of other hits and rarities. Rock out at the Palais, Saturday 17 September. Tickets on sale this Friday.
The first guests have been announced for Charles Jenkins & The Zhivagos 3rd annual Winter Ball at the Corner Hotel. With all proceeds donated to Foodbank Victoria, it’s a great excuse to frock up and rock up for a great night of music featuring Jeff Lang, Lisa Miller, Shane O’Mara, Ashley Naylor, Kat Spazzy and perennial favourite Ron Peno, with many more to be announced. Catch it all at the Corner Saturday 9 July.
WEDNESDAY 8 JUNE
GROOVE IS IN THE HEART - RESIDENCY
HAILEY CRAMER SIMON PHILLIPS DJ OSCAR
After spending much of the last year baking in the Californian desert, Jordie Lane’s second LP Blood Thinner takes a sharp and unique turn away from his critically acclaimed studio debut. Stripped back to the bare bones of recording, the tracks on Blood Thinner were captured between a remote desert motel room, a basement and a bleeding hot garage. Jordie creates some unique sounds using everything from kitchen utensils, wine glasses, boxes and banjo skins – even a fan-powered harmonium found on the side of the highway. Blood Thinner is out 15 July on Vitamin Records. He plays the Westernport Hotel in San Remo Thursday 11, the Corner Hotel Friday 12, the Old Hepburn Hotel in Daylesford Sunday 14, and the Loft Warrnambool Wednesday 17 of August.
ENTRY $10 FULL, $8 CONCESSION, 8.30PM
THURSDAY 9 JUNE
STRANGERS FROM NOW ON SEA CATS THE MASSIVISTS ATTCK CREEP & HARP ENTRY $10, 8PM
FRIDAY 10 JUNE
THE FINAL CUT BEFORE DAYS END SEPTEMBER FALLS STEEPLE JACK
ENTRY $13 DOOR, $10 PRESALE THRU MOSHTIX, 8.30PM
SATURDAY 11 JUNE
KRAKATOA MANLEY POINTER EUTHYMIA ENTRY $6, 8.30PM
SUNDAY 12 JUNE
UK SEND-OFF SHOW
BUCHANAN HAITUS KAIYOTE
ENTRY $15 DOOR, $10 PRESALE THRU MOSHTIX, 8.30PM
MONDAY 13 JUNE
TULLY & THE THIEF TEHACHAPI NEIGHBOURHOOD YOUTH YOKEY DONATION ENTRY, 8PM $10 JUGS!
TUESDAY 14 JUNE
MELBOURNE FRINGE FORUM #6
GOOD GOLLY! Dolly Parton: singer/songwriter, author, multi-instrumentalist, actress, philanthropist, businesswoman; this mighty talent’s list of credentials is worth every ounce of veneration she receives. Hailed as The Queen Of Country Music, her four-and-a-half-decade career since her national chart debut has seen her become one of the most successful female artists in the history of the country genre, with 25 number one singles, and a record 41 top ten country albums. In addition to her illustrious music career, Parton’s foray into other ventures include a self-titled theme park, television variety shows and several successful films – including an Oscar nomination for her role in 9 To 5 – all of which have cemented her status as an American superstar. Dolly Parton plays Rod Laver Arena Tuesday 22 and Wednesday 23 November. Tickets on sale Monday 20 June.
T EN S E PR
HIP-HIP HI-FI This Friday the Hi-Fi will celebrate its birthday with a one-off special birthday show featuring the distinguished Tim Rogers & The Temperance Union and Henry Wagons with very special guests Even and River Of Snakes. The venue’s only birthday event for the year, it is sure to be an evening of revelry not to be missed. Live it at the Hi-Fi, this Friday 10 June, 8pm.
Yes, it’s that time of year again... Following the recent announcement of the official Parklife National Tour 2011 dates, line-up announcement and on-sale dates have been released. The line-up announcement for Melbourne’s Sidney Myer Music Bowl and King’s Domain event will be made exclusively on Triple J from 6-9am on Thursday 16 June. Tickets on sale at parklife.com.au, midday Thursday 30 June.
To release her debut long-player under the moniker Tiny Ruins, New Zealand solo performer Hollie Fullbrook is embarking on her largest Australian tour to date. Recorded in a diminutive hall, the album Some Were Meant For Sea was captured entirely live to best express the natural timbre of Fullbrook’s vocals and the natural imagery of the thematic material. Tiny Ruins play the Toff, Sunday 24 July.
MY LOVER’S KEEPER Combining the formidable talents of three of Australia’s foremost female songwriters – Sarah Blasko, Holly Throsby and Sally Seltmann – it’s not surprising Seeker Lover Keeper are in demand. Having sold out their Sunday night Thornbury Theatre show, they’ve added a second performance at the same venue on the following Monday 25 July. In addition, the trio will play Thursday 21 July at Stones of the Yarra Valley, Friday 22 at the Theatre Royal in Castlemaine and Saturday 23 at the Meeniyan Town Hall. Seeker Lover Keeper’s self-titled debut album is out now.
POCO LA PAX
NEW CHEF NEW MENU NEW GRUB
GOODIE TWO SHOES FREE ENTRY, 9PM $10 JUGS!
COMING UP: TULLY & THE THIEF (MON IN JUNE), POCO LA PAX (TUES IN JUNE), KKS PROJECT (WED IN JUNE), PIONEERS OF GOOD SCIENCE (16 JUNE), SILENT ROSE EP LAUNCH (17 JUNE), A LONELY CROWD ALBUM LAUNCH (18 JUNE), SUNDAY ARVO FOURPACK: DIVE INTO RUIN (19 JUNE), WHITE SUMMER (19 JUNE)
THURS 23RD JUNE DELTA RIGGS
SATURDAY 2ND JULY BELLES WILL RING
WEDNESDAY 8TH JUNE
THE ELLIOTTS + SPECIAL GUESTS
THURSDAY 9TH JUNE
FRIDAY 10TH JUNE
IN GOOD COMPANY + MATT BLAC
THE LIFTED BROW #10 LAUNCH ELECTRIC SEA
+ VINTAGE SEED + =T-BAR
DJ BECAUSE GOODBYE ( PARKING LOT EXPERIMENTS)
SPIDER + CIRCULAR KEYS + TIME FOR DREAMS
DJ OK (JAMES MCULLOCH) DJ LEIF PODHAJSKY AND JAMES LAKE SATURDAY 11TH JUNE FRIDAY 10TH JUNE
DEAD PARTIES + GRAND ATLANTIC+
KINGSWOOD+ THE OVALS
FRONTBAR DJ: TARQUIN (PIKELET) + ISAAC EMANUEL ( YOUNG MAGIC)
SUNDAY 12TH JUNE LARRY TYLER MANAGEMENT PRESENTS…
THE MOXIE + UNDERCOLOURS + THE RAVENOUS + THE PRETTY LITTLES
NAKED ON THE VAGUE ( ALBUM LAUNCH ) + FABULOUS DIAMONDS + BLANK REALM( QLD)+ MAD NANNA FRONTBAR DJ: RAINBOW DISCONNECTION
MONDAY 13TH JUNE
THURSDAY 16TH JUNE
+ SLEEP DECADE BANDROOM DJ DJ WHITESIDE
RELEASED SERIES PRESENTS: RIP SOCIETY TAX + TOOTHPICK + EASTLINK + WOOLLEN KITS DJS FRONTBAR DJS: LEIF PODHAJSKY AND JAMES LAKE
PLAYWRIGHT MONDAY RESDIENCY NICCI@GETNOTORIOUS.COM
FOREWORD LINE T EN S E PR
NEWS FROM THE FRONT to head out on a tour. They’ll be touring in support of their latest albums, A Prey To Griff and The Silver Ship respectively. Catch them on Sunday 3 July at the Workers Club with support from Seagull.
EAT YOUR GREENS
Brisbane trio Greenthief, described as inhabiting a sound somewhere between Jeff Buckley and Trent Reznor, have been around for only a few years, but have made it a mission to relentlessly push their music to the East Coast with tours and releases alike. They released their first EP Anicca in 2009, and are following it up with Retribution, which was recorded in Rockinghorse Studio with Steve James (Sex Pistols, The Jam). The Retribution Tour takes the band to the Brunswick Hotel 30 June, Pony 1 July and the Saloon (Traralgon) Saturday 2 July.
NEEDLE ME HORSE
Hot from recording their highly anticipated debut album, Thousand Needles In Red will be co-headlining with the critically acclaimed Floating Me (comprising members of Scarymother, Cog & Karnivool) and Electric Horse to perform one big show in Melbourne in July. With extra help from Bellusira & Fading Hour, you can catch it all at the Hi-Fi on Saturday 16 July.
FRIEDMAN/PARKS ANNOUNCE SUPPORTS With the highly anticipated tour of the two songwriting legends, Kinky Friedman and Van Dyke Parks, about to start, support slots have been locked and loaded. Joining the celebrations for the Melbourne shows will be Emily Ulman at the Toff, June 16; Puta Madre Brothers at the Prince, June 17; and The Nymphs at the Toff, June 18. Tickets via Moshtix and venues.
VENTING Following the release of his new album Marked For Death, Vents has announced a fresh tour date for Melbourne. With the four years since his successful debut comprising extensive touring including festival slots at Homebake, Big Day Out and Summerdaze, and national tours with Funkoars and Hilltop Hoods, Vents is set to play the Espy front bar on Friday 17 June. Marked For Death is out now.
ARIA Award winning singer/songwriter Clare Bowditch will star on stage in the new production from the creators of the hit stage show The Man in Black. EVA – Tales from The Life of Eva Cassidy provides an intimate portrayal of Eva ‘The Songbird’ Cassidy’s life and loves, interwoven with her music, which topped the charts on three continents after her tragic death at the age of 33. Tickets are on sale now for a limited two week season, beginning Tuesday 9 August at the Athenaeum Theatre.
The Medics are set to embark on their first headline tour. To celebrate, the first single from their impending album Beggars is now available as a digital download. Re-welcome The Medics to the live arena and be the first to hear their new material at the Northcote Social Club Thursday 16 June. Tickets $10 and available via the venue website or at the door.
Melbourne band The Genie, comprising members Ollie McGill, Ryan Monro and Will Hull-Brown (better known for being one-half of The Cat Empire), are launching their debut album Here Come the Scissors this month. Recording since early 2006, The Genie’s distinctive dub/ fusion/seggae soup (with extra chops) is finally ready for consumption, both to eat in, live on stage, and take away on CD. Catch them Thursday 30 June at the Northcote Social Club. Tickets $15.
Wrapping up touring duties with British India in Perth, Tobias Priddle’s Melbourne-based Boy In A Box won’t be sitting idle for long. Instead they’re saddling up with Californian dance rockers Funeral Party and Australian indie outfit Alpine for their respective national tours in coming months. Catch Boy In A Box with Alpine Thursday 7 and Friday 8 July at Northcote Social Club, and with Funeral Party Saturday 6 August at the Hi-Fi. Their single Glitter, Gold, Ruin is out now through Gigantically Small.
Hailing from Hobart, Damon Bird, who makes “electric folk/ambient country” music under the solo moniker Transcription Of Organ Music, is teaming up for Melbourne-based songstress Saskia Sansom, who has self-recorded and released two albums and been compared to the likes of Mazzy Star and early Cat Power,
The Surecut Kids have a new single, a brand new EP, and are set to embark their first Australian tour of the year. Following appearances at numerous festivals and playing guest spots across the country, the guys are set to lay down their party and bass music at parties and club joints around Australia. With the EPs stroebound, you can catch The Surecut Kids on their Dayum Girl tour at Zoolandtrash on 2 July.
SURVIVAL OF THE FATTEST
By popular demand, Fatman Scoop is coming back to Australia to rev up our Queen’s Birthday long weekend. In a one-night-only event, Fatman Scoop is taking over the dance floor to MC alongside NYC’s DJ Knuckles, pumping out timeless hip hop and R&B party anthems. Fatman’s gruff raps have complemented chart-toppers for Missy Elliot & Ciara (Lose Control), Crooklyn Clan, Timbaland, Mariah Carey and even the Wiggles. Get down to Neverland, 32-48 Johnson St South Melbourne, Sunday 12 June to shake some action.
SPILL THE BLOOD
Devonté Hynes has produced a lot of music – some for himself (Testicicles, Lightspeed Champion) and some for others (Basement Jaxx, Florence & The Machine, Theophilus London). Somewhere in between all of this, Blood Orange was created. Alongside the music he heard playing in after-hours bars, Hynes drew inspiration for his album Coastal Grooves from the identity-blurring work of transgender icons such as Octavia St Laurent and the playful high-gloss nihilsm of Gregg Araki movies. Blood Orange is Hynes’s musical interpretation of the seedy yet inspirational New York night time. Coastal Grooves out 5 August.
STEP UP UK dubstep DJ Emalkay is gearing to put out his debut album and has appeared at festivals all over the world, from Amsterdam to Los Angeles. He’s also remixed for the likes of Pendulum, Miike Snow and Faithless, and has wowed the crowds at Glastonbury too. All pretty impressive, and you can congratulate him for those achievements in person – and get down and dirty – when he comes to lay it down in Melbourne at Roxanne Parlour on 8 July.
BANANA BENDERS Queensland duo Busby Marou are releasing their self-titled debut album on 24 June, with the first single, Biding My Time, out now. Comprising Tom Busby and Jeremy Marou, the band has a distinct Australian flavour to its music and last year won the Indigenous Award at Brisbane’s Q Song Awards for Paint My Cup, as well as winning the 2009 Deadly for Most Promising New Talent in Music. Along with Avalanche City and Jackson Mclaren, Busby Marou play Northcote Social Club on Friday 15 July and the National (Geelong) on Saturday 16 July.
NEWS FROM THE FRONT
THE LIZARD KING
NT SE E PR
This Sunday at Revolver, Chameleon Recordings presents Showcase 002. In celebration of Jamie Stevens’ career to date, Showcase 002 will headline the man at his first ever live set as a solo artist and, as always, feature supporting acts from some homegrown talent. On stage in the front room will be Steve Ward, Thankyou City, Mike Callander and Oblique Industries with the all-day Revolver Sundays back room featuring T-Rek, Radiator, Silversix and Sunshine; with special guests Generik, Nick Coleman, Damon Walsh and of course Boogs vs Spacey Space until midday Monday. Limited presales at $20+bf. More on the door.
SOUTH OF THE BORDER
Australian Latin dance act Tijuana Cartel has announced a run of headline shows to launch new single Letting It Go. The single is taken from the group’s forthcoming, as-yet untitled third album, and mixes electro-pop with fat beats and grooves. The band has travelled around the country and the world, playing headline shows and festivals to sweaty, approving dance floors. They play at East Brunswick Club Friday 15 July.
Overground – a six hour, multi stage festival within the Melbourne International Jazz Festival – returns for another multi-stage concert featuring a line-up of some of the most celebrated creative and improvisational artists around, including many collaborations exclusive to this Festival event. Utilising rare and historical spaces within the Melbourne Town Hall, Overground presents new sounds at the very moment of invention as the massive line-up of collaborating artists each take their own trip to the outer reaches of jazz, improvisation and sonic art. Curated by Program Director Sophia Brous with Joel Stern and Lloyd Honeybrook, the program of distinguished guests includes Tony Conrad (USA), Charlemagne Palestine (USA/Belgium), Faust (GER), Yoshida Tatsuya (JPN), Brian Ritchie (USA/AUS), Chris Abrahams (The Necks), Jim Black (AlasNoAxis, USA), Jean-Herve Person (Faust, GER), Oren Ambarchi, Fabulous Diamonds, Golden Fur and many more. Be a part of history at the Melbourne Town Hall, Sunday 12 June, 3pm to 9pm.
BRING DA RUCKUS
THE ARM BONE’S CONNECTED TO THE...
For the very first time, Australian Wu-Tang fans will get to see the entire clan on stage together, minus Rza who is unavailable to tour. Within the inner sanctum of the Wu dwell the core members of the clan consisting of Method Man, Ghostface Killah, Raekwon, Inspectah Deck, Rza, U-God, Masta Killa and Gza. Plus, standing in for the late Ol’ Dirty Bastard is the rapper’s son Boy Jones, AKA Young Dirty, who has honed his own skills to be stage-ready to perform with the legendary act. This same line-up recently toured the US and saw the Wu perform tracks off their seminal debut Enter The Wu-Tang (36 Chambers), plus tracks off various other solo and collective albums. Catch the ruckus at Festival Hall, Saturday 6 August. Tickets on sale 9 June.
The Palais Hepburn Springs – one of country Victoria’s premier boutique venues for live entertainment, fine dining, weddings and functions – is set to open its doors again under new management this Queen’s Birthday weekend. On Friday the venue will be officially re-opened by local group Checkerboard Lounge’s soul-driven blues’n’breakdown sounds, along with the fabulous Town Bikes, purveyors of slapstick and curious choreography. DJ St. Mel will round out the night behind the decks. Enjoy a complimentary glass of champagne upon arrival and free finger food at the Palais Hepburn Springs this Friday.
INTO THE WILDERNESS
David Neil’s premature death (or triple death, as the coroners put it) saw his music drizzle down a clotted drain hole into a dank sewer. Lying there stagnant, his music could only be heard in ghostly whispers by sewer rats and underground junkies alike for decades, until, legend has it, his touring bassist Steve Kilbey (of The Church) dug it up. In a collaborative effort with The Brian Jonestown Massacre’s guitar maestro Ricky Maymi, Kilbey has brought David Neil’s work out of the ether and into a tangible format; more specifically in the form of a limited edition blood-red vinyl, entitled The Wilderness Years, by David Neil. This LP is set to be released in July, and to celebrate its release, Steve and Ricky (along with Shaun and Adrian Hoffmann) will be touring Australia including a show at Ding Dong on 8 July.
Having sold out their first Melbourne show, Elbow will play a second and final show at the Palace Theatre on Thursday 28 July ahead of their appearance at Splendour In The Grass. Debuting at number 13 in Australia, Build A Rocket Boys! is their fifth studio album in a ten-year-plus career, and follows earlier offerings, the critically acclaimed Asleep In The Back , Cast of Thousands , Leaders of the Free World and The Seldom Seen Kid . Tickets are on sale 9am this Thursday 10 June, with pre-sale tickets available now.
Friday 24 June sees the Espy opening its doors to a whole venue experience, Aussie hip hop style. The inaugural Raise The Roof will showcase 15 artists over three rooms in a line-up of some of the finest in established and emerging Aussie hip hop. Headlining festivities is Melbourne’s own Pez along with 360, Muph & Plutonic, Adelaide’s Delta, M-Phazes, Mantra, Low Budget, Briggs, Fluent Form, One Sixth, Fatty Phew, Mase N Mattic, Eloquor and Slap 168. Raise the Roof will be hosted by Espy regular MC Reason and DJ Flagrant will bringing us The Aussie Hip Hop video show. Raise The Roof, Saturday 24 June at the Espy. Tickets $22 plus booking fee.
THE BIRD IS THE WORD Last week local eight piece collective Eagle & The Worm released their debut album GoodTimes, featuring the single Too Young, through Cotillion. Centred around charismatic singer/songwriter/ multi-instrumentalist Jarrad Brown, the record was cut across four days in one room in North Fitzroy with Steven Schram (Clairy Brown & The Bangin Racketters, Cat Empire, Little Red, Little Birdy) at the helm of the mixing desk and Brown working as the creative director. Catch Eagle & The Worm playing Cherry Bar this Thursday.
HEAR HIM ROAR
Leo Sayer is a stayer, a performer who is still captivating audiences globally after 40 years. He has sold millions of albums around the world, has had 20 worldwide top ten hits during his career and he continues to entertain audiences with an amazing live show featuring his uniquely powerful and recognisable voice. Leo Sayer’s 40th Anniversary Concert tour will feature all his hits including You Make Me Feel Like Dancing, Thunder In My Heart, When I Need You, One Man Band, Long Tall Glasses and many more – songs that captivated a generation around the world and had Australians glued to their sets each week on Countdown. At 62 years of age, and with no signs of slowing down, his voice is as strong as it has ever been. His creativity is fuelled by his boyish enthusiasm, love of music and the art of creating music. Leo Sayer plays the Playhouse Theatre (Geelong) 20 July, the Regent Multiplex (Ballarat) 21 July, the West Gippsland Arts Centre (Warragul) 22 July, the Wellington Entertainment Centre (Sale) 23 July, and the Bairnsdale RSL Club Thursday 1 December.
After a whirlwind tour of Australia in support of their third release Long Time Gone, and a trip to Austin Texas for SXSW, The McMenamins are back on the road again, this time coming to Melbourne for three shows before their next US tour. It has been a busy time for the Queenslandbased brother and sister duo, who released their album through MGM in September last year and kicked off their tour with a performance at Woodford festival. The McMenamins play the Northcote Social Club on Wednesday 29 June, the St Kilda Branch on Friday 1 July and Pure Pop Records on Saturday 2 July.
Recently, The Afrobiotics created a bit of a stir in Melbourne when they collaborated with Reggie Watts at a secret show at Horse Bazaar. Initially created as an exploratory side-project, The Afrobiotics have quickly proved their worth with a solid afro-beat sound. With as few as six members, the group’s interwoven grooves have the power of a much larger group and the songs are punctuated with fiery vocals and the percussion of Senegal’s Lamine Sonko. Their repertoire of over a dozen songs has easily been put together in a matter of months and a recording is to follow, due out later in 2011. The Afrobiotics join Dereb the Ambassador and Mista Savona at the Corner Hotel, Friday 17 June.
BLAZE ONE UP
FOLK FREAK Deemed by Pitchfork as “a major voice in new folk music”, Devendra Banhart’s eccentric mix of lyrical musings, warbling vocals, folk rhythms and vibrant melodies saw him likened to Van Morrison, John Lennon and Jeff Buckley before he was crowned a pre-eminent force within the growing freak-folk genre. The multilingual musician will be accompanied by his band The Grogs for live renditions of his wonderful, stylistically diverse songs such as Lover, Chinese Children and Little Yellow Spider. Devendra Banhart will perform a headline show at the Prince Bandroom on Friday 29 July.
Katchafire are touring to Melbourne in support of their new album On The Road Again, playing at The Prince on 1 July. With the past three Katchafire records predominantly the work of lead singer Logan Bell and keys/sax/vocalist Jamie Ferguson, On The Road Again marks an exciting new time for the band with each member contributing to the writing for the first time. The resulting effort has a rich, soulful flavour that the band will be showcasing in the upcoming tour. Catch them blazing up the Prince on 1 July.
Australian singer/songwriter Natalie Gauci has recently seen success in the US and Germany, peaking at number 29 on the German dance charts, and has hit number1 on masterbeat.com and beatport.com with her first single, Without You. Her second single, C U Later, is about to be released and so the lady herself, mixer of jazz, soul and electronic music, is embarking on a national tour to support it. Natalie will play at Bennett’s Lane on Sunday 3 July.
THRASH TALK Old school Bay Area thrash metallers Forbidden are smashing their way into Australia this July for the very first time. With their own brand of technical thrash metal infusing odd signature timing with melodies, Forbidden became one of the most original metal bands of the late ‘80s and early ‘90s.Set to play six massive shows in support of their latest album Omega Wave, Forbidden finally treat fans that have been waiting over a decade since their last offering, and Australian disciples that have waited over 20 years for them to make their way down under. Join the chaos at the Prague Saturday 30 July, and as part of the High Voltage festival at the Corner Saturday 6 August.
SPACE AND TIME Inspired by a trip down a past-its-prime Route 66, BELLES WILL RING’s expansive second album was recorded in two isolated farm houses, the band avoiding the pissed-off neighbours and noise complaints that dogged their debut. JUSTIN GREY gets the full story from the band’s LIAM JUDSON and AIDAN ROBERTS. Cover and feature pic by ANGELO KEGAGIAS.
s far as roads in pop culture go, you won’t get a more iconic stretch of bitumen than Route 66. Opened in November 1926, Route 66 snakes its way through eight US states and nearly 4,000 kilometres as it stretches from Chicago to Los Angeles. As well as the early 1960s TV drama of the same name, and being referenced heavily in John Steinbeck’s classic novel The Grapes Of Wrath and its subsequent film adaptation, Route 66 gained pop culture resonance mainly due to the hit song of the same name, written by Bobby Troup in 1946. Route 66 the song would become a rock’n’roll staple, largely thanks to the inimitable Chuck Berry, and the tune has since been covered by a long list of artists, from The Rolling Stones and Bing Crosby to The Cramps and Depeche Mode. Route 66 was essential for the many heartbroken, working class US citizens who used it to migrate west during the Dust Bowl era of the 1930s. Businesses along the highway such as gas stations, motels and diners became prosperous due to the growing traffic passing by their front doors. However, the writing was on the wall for the old highway when the first major bypass of Route 66 was established in Oklahoma in 1953, and the death knell for many of those businesses finally sounded when Route 66 was officially removed from the United States Highway System in June 1985. While President Clinton passed the National Route 66 Preservation Bill in 1999, which provided US$10 million for preserving and restoring the historic features along the highway, to this day Route 66 remains littered with abandoned and decaying shopfronts and is mostly travelled by tourists undoubtedly looking to get their “kicks on Route 66”. That very bleak desolation and sense of nostalgia became the inspiration for Crystal Theatre, the self-produced second album from Blue Mountains psychedelic rockers Belles Will Ring. Perched in a pub beer garden, sipping beer and sharing smokes on a quiet Tuesday evening, the band’s core songwriters and guitarists/vocalists Liam Judson and Aidan Roberts explain how the seeds for Crystal Theatre were sown during a trip down Route 66 by Judson and vocalist and multi-instrumentalist Lauren Crew. “For Lauren and I, the very first thoughts of the imagery and feelings for the album came from a trip we were on together in America,” Judson explains. “We did a lot of driving along the old highway Route 66 and we were both really moved by the urban decay and the history and seeing old burned out diners and old motels from the ‘40s and ‘50s that had been boarded up and had the sign smashed on the ground. There were all these echoes of the past and I was really moved by it, and I said to Lauren, ‘The next Belles Will Ring album has to in some way aurally feel like this to represent this kind of feeling.’ Somehow we had to try and achieve that through music, and that was the first little inspiration – to try and sonically somehow get that feeling of this really beautiful past and the decay and how beautiful things just seem to be falling apart all around us.” “There’s something about seeing something that once had a life and a past, like seeing an old shipwreck, and you’re left with basically a physical reminder of decay,” Roberts continues. “It’s a really strong image, so that gives us a lot of material for writing songs. When Liam was travelling he sent me quite a long, emotive email about what they’ve seen and what they’ve been thinking about as they were driving. That was the initial inspiration for me, and I started writing and got a couple of songs out, and by the time Liam got back he had all these song ideas. Pretty soon after, we got together for a few beers on my balcony and nutted out a vague concept for the record and started writing like crazy.” When the band regrouped to record the album upon Judson and Crew’s return, they decided to get away from it all so they could record on their own terms. Previously with 2007 debut album Mood Patterns and its 2008 mini-album follow-up Broader Than Broadway, the band had recorded in Judson’s parents’ house and inevitably incurred the wrath of the neighbours, some of whom registered noise complaints. Seeking isolation this time around, the four-piece decamped to farm houses in Oberon and Portland, two peaceful country villages that sit west of the Blue Mountains and east of Bathurst in country NSW. “With this one we really needed to get away from everybody and everything and we thought, ‘Wouldn’t it be great if there’s a space where nobody is going to bother us and we can really just knuckle down,’” Roberts says. “This lovely farm house in Oberon is on a huge 100-acre property; we
were by ourselves in a beautiful big house with animals around and we could do whatever the hell we wanted ‘til all hours of the night. We bought lots of food and beer so we didn’t have to go anywhere, and it was an atmosphere that was much more conducive for working hard when you’re not looking at the clock hoping that you’re not pissing off the neighbours. It’s insanely quiet out there – there aren’t many people and there are a lot of snakes and a lot of dirt roads and solitude. That got us so excited – we’d drive up to the town to get supplies from the supermarket and we’d have to negotiate kangaroos hopping all over the road. It made us think, ‘We’re really away from home,’ and that was so much fun and made us work better.” Having enjoyed that experience so much, the band then found another country house, this time 40kms up the road in Portland, through a website and once again loaded up on good food and better beer and finished off the album there. With the Portland house being completely wooden and the Oberon house a sandstone structure, Judson says he was initially concerned about how the album would sound overall. “Sandstone is very reflective and very bright and we couldn’t get that out of the recordings, so we just accepted that that was the way it was going to be,” he explains. “There’s this almost bizarre, cathedral sound to some of the songs we did at Oberon; being all wooden, there was a lot warmer sound from the Portland house. At first I was worried that the stuff we’d done in Portland would just be too crazy and too reverberant, but it just worked. The songs which ended up with the warmer, richer sound [The Green, Like A Boxer and The River], and the ones which were echoey and brighter [Trouble In Deep Water, Street Lamp Stomp and Bald Mountain], suit the songs. But we weren’t planning it like that, it’s just how it is and it worked out really well.” What BWR have produced out in these country houses is a dense, atmospheric collection of psychedelic-heavy tunes that lyrically explore the characters and surroundings of small-town life. While retaining the recognisable tone of their previous efforts, Crystal Theatre sees the band getting both playful and inventive. Judson and Roberts, harking back to their formative years when they met as trumpeters in their primary school band, sound like a couple of mariachi brass band members as they fire off horn salvos on Come North With Me Baby, Wow. Crew’s flute and keys broaden the band’s palette, and she features with Roberts on a lovely duet called Redwood Hill. There’s even a great bluesy number in Bald Mountain. And affording Crystal Theatre its cinematic tone, Judson sings in various “character voices” here and there and Roberts sourced radio snippets that are included as underlying whispers throughout the album. “I was fiddling around with a shortwave radio, grabbing little bits of evangelical programs, talk shows, little documentaries and things with this really different, crackly voice,” Roberts says. “We thought we should have these sounds throughout the record that are like little, odd reminders of some other world. We really wanted not just rock song after rock song, then a ballad and then a rock song; we wanted to be a bit subtle with it. So it’s not just drums, guitars and voices; there’s other stuff going on. If you listen carefully you’ll hear all sorts of stuff that you didn’t expect.” And the album’s mysterious title? That’s taken from the art deco town theatre in Portland, which back in the day was the town’s entertainment epicentre and today still shows movies on the first Saturday of every month for around $6 a ticket. “There’s something a bit antiquated about the sound of our songs,” Roberts explains. “This theatre hadn’t quite decayed and been left alone to rot, so there was an element of hope in it. And that, in a way, is also what a lot of the songs are about: enjoying something dissolving into the past. When Liam came up with that suggestion I thought, ‘Yeah, that title really fits.’” “It wasn’t so much the theatre, I think it was the name of it,” Judson adds. “If it was named something fairly bland it probably wouldn’t have ended up being the name of the album. But it was the fact that it was called the Crystal Theatre – it’s a great name and it has imagery unto itself, and weirdly enough I thought that name represented the sound of the record.” WHO: Belles Will Ring WHAT: Crystal Theatre (Dot Dash/Remote Control) WHEN & WHERE: Friday 1 July, Workers Club
Like countless artists who have come before them, Belles Will Ring were inspired by films on Crystal Theatre. And road films in particular. Despite the road film only gaining mainstream prominence as a genre in the ‘60s thanks to the likes of Easy Rider and Bonnie And Clyde, their roots date back to spoken and written tales of epic journeys from centuries long gone, such as Homer’s Odyssey and Virgil’s Aeneid. The structure of a road movie revolves around an episodic journey or quest on the open road in which the protagonist is searching for escape or engaging in a quest towards a goal such as a physical destination or love, freedom, redemption or rediscovery. The road itself functions as a proving ground, and many road films feature the protagonist driving down Route 66. Liam Judson refers to Crystal Theatre as a “dark road movie” and explains that was always the plan with Belles Will Ring’s second album. The opening title track, a beautiful, wordless 54 seconds of chiming guitar that seeps optimism, functions as the opening credits, while album closer Pallisade Alley is another slice of hopefulness that acts as the end credits. “That was another idea from the very start – we wanted to get the feeling of a road movie into the album, and hopefully people will feel that when they listen to it,” Judson elaborates. “There’s a feeling of desperation, emptiness, being lost and spookiness that you get from a good road movie, and we tried to capture that in the music. In my head, that little snippet at the beginning [the title track] is like a beautiful image of the past, and then it very quickly dissolves into that grinding kind of thing and it quickly pulls you down to reality.’”
Highway men: Easy Rider
Road films traditionally end in a number of ways, with popular conclusions including the protagonist returning home triumphant and wiser; the protagonist finding a new home at their destination; the journey continuing endlessly; or the protagonist dying after realising they can never go home. So, which ending did Belles Will Ring write for Crystal Theatre? “We took the basic arc of a three-act film,” Roberts explains. “Come To The Village, which was the first single, was one of the first tracks we’d actually gotten near to completion. And it does in a way sort of get the audience ready for the whole journey and encompasses a lot of what’s on the record. It’s kind of groovy, but there’s an insidiousness to it. “So the album kind of goes up and down on that dark and light throughout, and right in the middle you’ve got The Green, which is really where things start to go weird, and then there’s some resolving. In the end there is some hope in the last track – it’s a bit more upbeat – but it’s still got that ‘driving away from everything’ sound.” Justin Grey
NEED FOR SPEED Deep into the writing of their third album, heavy rockers KARNIVOOL are breaking for a run around the country. KATE KINGSMILL gets the inside word on new tracks from bass player JON STOCKMAN. Pic by KANE HIBBERD.
arnivool have one simple goal for their upcoming album. “Our biggest desire is to write it quicker,” says bass player Jon Stockman. “Hopefully we’ll have something new to play for this tour that we’re doing. That’s the plan.” Karnivool are not known for their prolific writing speed. The band has released just two albums since they formed in 1997, and didn’t release their debut album, Themata, until 2005. “[Writing] Themata was very slow and very tedious so we tried to steer away from that with Sound Awake, and we ended up having a lot more material to work with,” says Stockman. Despite the band’s intentions, Sound Awake was another four years in the making. Clearly, this heavy sonic maelstrom is something that needs time to brew. Even so, the band will be aiming for a more succinct way of writing this time for their own sanity as much as anything else. “With Sound Awake, we spent a bit too much time in the studio and we started to become less productive than if we’d been a band that had normal balanced lives.”
Because of a hectic touring schedule, including a 2010 European tour during that continent’s coldest winter in a decade, the band wasn’t able to focus on writing until the beginning of this year. So far, so much better, say Stockman. “This album hasn’t been as arduous, it’s been more enjoyable.” Lately the band has been getting together on a daily basis for daily writing and jamming sessions in a bid to make a new record happen. “The quicker we write the songs the sooner it will come so we’re trying to get it done as fast as possible. We’ve traditionally been pretty slow writers and we’re making the biggest effort that we can to try and speed that up. I think we all wish we could get it happening sooner than four years. Songwriting for Themata was fairly tightly scripted around lead guitarist Drew Goddard’s compositions. For Sound Awake, the band took on the challenge of a more collaborative approach, a process that turned into a pedantic group dissection of the minutiae of every song, resulting in an album that even the band members say they hear new things in on repeat listen. Stockman has described it as an album of lures while Themata was an album of hooks. “We seemed to have the same hurdles with Themata as we had with Sound Awake. We approached it totally differently and the end results were the same for those obstacles which we crossed, which was time more than anything.” With time being the most important currency for the last two albums, Stockman is perhaps attempting to convince himself more than anyone when he says, “I think that there’s a certain amount of elegance in something that’s simpler, that captures the same thing.” Karnivool songs are often so complex and experimental in their construction, with changing time signatures and odd tunings, it’s incredible they even get written at all. “It starts off usually being simpler to begin with,” Stockman explains. “It grows from repeated involvement and jamming. Little differences here and there become variations that keep the dynamic nature of the music itself to continue to form.” Part of keeping the writing process as enjoyable as possible involves avoiding imposing any expectations on the sound of the new tracks. “As far as the material itself and what it sounds like I don’t think any of us ever try to put
If you go to Finland, there’s no pictures of pop stars, there’s just metal…”
pressure on it otherwise we’d probably not write anything. There’s a lot to be said for pushing yourself and not writing to a code or a format that you know works. Trying to do other things and finding other ways it can work as well.” With the first two albums such different beasts, the upcoming album too is shaping up to have its own distinct identity. “We don’t want to change dramatically so that it’s not us any more. We’re not going to start a barbers shop goth band, but it’s gotta be a bit of a growth each time. We want to still inspire each other enough to push the sound that we’ve worked up over the last 12 years into something that is continually growing and if we have to scare some people in the process, that’s just part of the process.” The genres of heavy rock and metal are fairly maligned by the mainstream media in Australia, but Stockman says he doesn’t begrudge anyone who doesn’t like his band. “It’s not the sort of music that everyone should listen to,” says the bass player whose top three favourite bands are Soundgarden, Radiohead and Sugar. (“I try not to limit myself to one genre” he says, also citing Intronaut, Elbow and The Books as favourites.) “There just isn’t a huge market for heavy music in this country. There’s always been support, it’s just not something you read about. We’ve had a long career, which is only sustained from people wanting to come and see us, so it’s a tribute to them more than us.” Karnivool has built its audience the old fashioned way, by gigging and developing a blow-away live show. “The live reputation has come out of us fighting to push our music as much as possible in the only format that we have control over,” says Stockman. “We never relied heavily on how much we’ve been played on radio or CD sale or any of these aspects apart from the live show. That’s the one place where we can really grab someone’s attention and we’re totally responsible for how well we achieve that. We’ve always wanted to give people a reason to come back and see us again.” After their last Australian tour in July 2010, the band toured Europe, and shared the stage with Slayer, Alice In Chains and Iron Maiden at the Sonisphere Festival in the UK. This year the band will be doing its first summer on the European festival circuit. In Australia, metal is a niche market, but in certain parts of Europe it’s far more mainstream, a much more welcoming prospect for a heavy rock band. “If you go to Finland and some parts of Norway, there’s just no pictures of pop stars and stuff, there’s just metal, that’s it,” Stockman enthuses. “There’s whole countries where the only music that they would listen to is really heavy stuff and spin-offs of that genre.” While Stockman reckons musical genres transcend cultural differences, he has noticed different quirks of audiences around the world. “Australians are really passionate fans of music and Europeans have a lot more of a sombre, reserved and polite way of listening to your music and going to your gigs and talking to you afterwards.” But he laughs off the suggestion that Karnivool could move from their native Perth to the more metal-loving Scandinavia. “It is very bloody cold over there and I don’t speak the language.”
WHO: Karnivool WHEN & WHERE: Thursday and Friday, Corner Hotel
RATTLIN’ CHATTER Her second album has cemented her as a local with unrivalled rock’n’roll prowess, but TEETH & TONGUE’s JESS CORNELIUS doesn’t want to be everyone’s favourite, she tells SAMSON MCDOUGALL.
t could be said that the unearthly airs of Jess Cornelius’s project Teeth & Tongue began seeping into the consciousness of Australians via the airwaves late in 2009 as her single Sad Sun attracted strong rotation on community and commercial stations alike. With the subsequent full-length Monobasic proving the single as no mere fluke, it’s unsurprising that the release of her second album, Tambourine, is drawing massive radio interest (notably RRR’s tick of approval as an album of the week – in fact the new version of said single is playing on the radio as I write this… spooky). The writing on the new record smacks of Cornelius arriving at the distinctive sound she’s been reaching for. More than that, it’s a shining indication of the fruits attainable by a clear talent applying a little ingenuity to some hard work. Teeth & Tongue emerged out of necessity when Cornelius’s last band disintegrated, leaving her with much unfinished musical business.
The project stepped out of the bedroom as a successful grant application allowed the luxury of recording an album before the at-the-time solo undertaking had actually ventured out of the house for a show. In line with a vast array of her singer/ songwriting peers (the likes of local artists Pikelet, Ned Collette and Kes to name a few), Cornelius employed the help of friends and fellow musicians to achieve musically the desired effect in a live setting. What have emerged are songs far removed from their bedroom beginnings. These are accomplished, serious undertakings. Cornelius’s vocals are complex tonally and lyrically. The material traverses bleak and tempered terrain with signature guitar characters to match. Quite simply, Cornelius explains, the complexity of the works on Tambourine grew through imagining the thing to be performed by a band from the very beginning. “I didn’t want to have another band break up,” she says. “It’s traumatic when you put a lot of energy into a band and it doesn’t work. Also I had a lot more of a vision of what I wanted the sound to be like and I was frustrated at having to compromise with what other people wanted and their ideas. It sounds terrible but it’s the truth. “Teeth & Tongue still is a solo project [but] it’s always been the kind of project that was conceived as something I never wanted to perform solo. I’m happy to make records on my own, but there’ve always been parts that I wouldn’t be able to perform live on my own. So in the arrangements and writing, the different parts, has always been part of the sound in my head. It’s never been something that I’ve imagined doing with a guitar and a voice. I’ve always really admired people that can do that and write affective songs because it’s such a difficult thing to do well. I’ve always liked the idea of bringing people in and playing it as if it were a band.” From such a single-minded vision, you’d expect the mother of the songs to be somewhat protective of her offspring. Cornelius maintains that she not only found it easy to let go of control of the thing by enlisting a band, but even found it liberating. “I needed to get it out of my system,” she continues. “For the next album, I’d like to be a lot more collaborative. I think you need just to get your head out of your own arse. It gets stupid, you’re spending a lot of time by yourself and you’re only using your own ideas and you run out. A lot of the last album was built on necessity. I only played the bass on it because there was nobody else to do it. Often I avoid collaborating because I have strong ideas of how I’d like the sound but I’m sick of myself really. I’m sick of my own ideas but I needed to do it and was working out the sound that I wanted. I’ve been working it out for years now and never really had worked out how to do it on record.” Through the success of Sad Sun, Teeth & Tongue grew legs in terms of standing in the local music community and divergence from the popular folk resurgence and the unyielding coolness of garage rock. With comparisons being drawn as far as Adalita (whose recent solo release must have been, at least psychologically, a difficult act to follow) and PJ Harvey (insert same comment here), the pressure grew leading into the release of the notoriously troublesome second album. In differentiating herself from the pack and finally realising the sound she’d been searching for over a long period, Cornelius admits the exposure was a little daunting. “I wrote [Sad Sun] using drum samples years ago. This is what’s happened to a lot of the songs: I’d write them using drum samples and then when I had a band I would take it to them recorded and they’d interpret it in their own way. [Drummer] Steve Masterton added a lot to the ending of the song. The initial rhythmic feel was more drum machine stuff. That was the first release from this album that came out and is closer to what I was trying to achieve and the sound I was trying to get. “You never know what people will think,” she continues. “The first review we got for the new single was really negative. It was a realisation that people will, and probably do, hate it. You can’t put out something that everyone loves, that’s crazy. I went through a real period before the album came out of psyching myself up for bad reviews and criticism. I thought that it could be a real fl op, people could really hate it or, worse, not be interested at all. It’s been a huge relief.” Whether similarities should be drawn between the aforementioned artists (certainly a substance of vocal can be considered indicative of all three), the overwhelming positivity of response to Tambourine can only be taken as a gold star and, also indicative of her contemporaries, another win for strong female role models in music today. As a writer of non-fiction herself, Cornelius explains that whether writing songs or stories, the articulate transfer of ideas is what she’s striving to achieve. “I like writing non-fiction because I like researching other people and I’ll come across ideas that will inspire me. They’re both processes of articulation. You’re always trying to get a message across in some clear and concise way that has a universal relevance or that people can relate to. “Melbourne seems to address gender balance really well. It’s healthy in terms of the live scene. Women aren’t just being the sexy front person but being the rhythm section or the same as any of the other musicians. In mainstream music it’s a bit depressing. It’s a historical thing; there’s been this imbalance for decades. It upsets me that certain radio stations have a quota of female fronted-music; they can’t have X amount of records on rotation because they’ve already got enough. Like they can’t have Laura Jean ‘cause they’ve already got Claire Bowditch or something. Girls shouldn’t be a genre in music… they should be a given.”
WHO: Teeth & Tongue WHAT: Tambourine (Dot Dash) WHEN & WHERE: Saturday, Toff In Town
BRINGERS OF PEACE THE MIDDLE EAST may have chaotic overtones from a geographical perspective, but things couldn’t be going better for the Townsville music collective of the same name. Co-frontman and songwriter ROHIN JONES takes STEVE BELL behind the scenes of their excellent debut long-player I Want That You Are Always Happy.
hat a difference a couple of years can make. Folk rockers The Middle East actually pulled up stumps back in 2008, having existed for a few years solely as a creative outlet for a group of friends from the tropical climes of Townsville in far north Queensland. Yet when a copy of their earliest recordings made its way into the hands of influential Aussie indie label Spunk Records and an abridged version of same was released as The Recordings Of The Middle East EP in 2009, the band reconvened and it wasn’t long before the ensuing momentum surged into a tide of prodigious proportions. The EP’s key tracks, Blood and The Darkest Side, quickly became ubiquitous on decent radio stations everywhere and the band’s profile went through the roof, both in Australia and abroad. Before long the six-piece found themselves veterans of the worldwide touring circuit, not only having experienced the cream of Australian festivals such as Big Day Out, Splendour In The Grass, Falls Festival, Woodford and Homebake, but also the best of the prestigious overseas music gatherings including SXSW, Bonnaroo, Coachella, Glastonbury and Sasquatch. They played with a slew of massive international acts and crisscrossed the States and Europe, accruing solid fanbases everywhere they played if the chatter of the interweb is to be believed.
producing to arranging and that sort of stuff. I think that that’s the main thing that I get into music about. As far as the future goes, we’ve got [this] one tour of Australia planned, and then I think we’re going to take a break and try to recover from a big year. I don’t think we’re going to do all of the countries that we’ve already been to straight away – we’re not pushing to crack the market or anything in a big way, we’re happy to write music and we’re really fortunate that we can release it to the people. That’s kind of enough for the moment.”
WHO: The Middle East WHAT: I Want That You Are Always Happy (Spunk/EMI) WHEN & WHERE: Saturday, Sunday and Tuesday, Corner Hotel; Monday, Karova Lounge (Ballarat)
Somehow during all of this tumult the band managed to write and record their debut album. The genesis of their longplayer I Want That You Are Always Happy may have been lengthy and fraught with uncertainty, but it’s an accomplished collection of sombre, melancholic tunes that belies the band’s relatively young age both as an entity and as individuals. Given how much they’ve already achieved in such a short period of time, they could probably be forgiven for getting ahead of themselves, but – as is the norm in their neck of the woods – they seem to be handling matters with a complete lack of fuss or fanfare. “It’s been a pretty crazy couple of years for sure,” guitarist and vocalist Rohin Jones – who along with bandmate Jordan Ireland writes the bulk of The Middle East’s material – offers laconically from his Townsville abode. “We weren’t expecting any of this to happen, we were just putting out that first release for something to do before we broke up. We didn’t even think it would be heard out of Townsville.” The band’s split didn’t have any sinister overtones, it was just that one of the key members was heading away and at the time the project seemed to have run its course. “Jordan moved overseas to Germany for a while,” Jones continues, “and we weren’t kind of like, ‘Oh, we breaking up!’, because it was basically just a little Townsville band thing that we were doing, so when he left we were like, ‘Oh cool, when you come back we’ll play music again.’” And play music they did – all over the world in fact. So much so that the recording of I Want That You Are Always Happy started in Townsville, continued at Midlake’s studio in Denton, Texas and finally concluded in a makeshift studio in Cairns. Working on the fly in between tours, it took quite a while for them to emerge with a body of work that they were completely satisfied with. “I think because we had a few false starts – we recorded heaps of material and then scrapped heaps of material probably three or four times – I guess it was a little stretched out,” Jones admits. “We were meant to finish it in Townsville but hadn’t finished it, so we spent some time in Texas and we finished it there but we scrapped it, then came back and did some more work in Cairns until we were finally happy with it. “It was different things for different songs. Some songs just weren’t as strong as we were hoping once we’d gone two or three months down the track so they just got the cut, and other songs we just didn’t record them right so we started again – we did that about ten times with some of them. “I think the environment had changed a fair bit; instead of us writing songs for fun and for the hell of it we set some standards that we wanted to keep, and we put a lot of pressure on ourselves to write good music. But we were hardly ever home, we were on tour all the time, so it became difficult at times.” According to Jones the album’s relatively solemn tone wasn’t a conscious goal, just the by-product of the eventual batch of songs that they considered to be the best at their disposal. “I think maybe within each song we knew what we wanted that song to sound like, and we got pretty good at nailing that, but I don’t know if that tracks across the whole album,” he considers. “I’m not sure if we’re at the level yet where we’re able to craft an entire album’s sound. “Because it was such a shambolic process, it was more about getting a collection of songs that we’d written together, and letting the tone sort of evolve by itself. I think we had some more kind of upbeat songs that didn’t make the cut that would have evened the album out in that regard, but I don’t think they were as strong as the ones that actually made it onto the record.” The record is definitely cohesive – no small stretch given its disjointed recording process and the existence of two separate songwriters – but it seems that from a writing perspective there’s actually quite a bit of collaboration which undoubtedly helps tie things together. “We tend to work separately at the start – I’ll write a song and bring it to Jordan and we’ll work on it, and then we’ll do most of the parts up together, and vice versa,” Jones tells. “So mainly the first stages of a song are done separately, and then it’s kind of collaborative after that. The other guys get a fair bit of input into their respective parts – ideally we spend a fair bit of time working on fleshing out the instrumentation and arrangements so that everyone is happy with their part, and also has a part to play in forming it. But it wasn’t often that we got a lot of time with this record to do that. We were on the road a lot, plus we have band members living all over the shop. That changes things too – you can’t just go over to your friend’s house and play music in the morning.” Jones states that he tries to keep the band’s focus on the music rather than the industry, and a cursory listen to their music makes it clear that The Middle East are an ambitious band from an artistic standpoint. “Yeah, very,” Jones agrees. “I think the one thing I am ambitious about is trying to write really good quality music in every aspect – from songwriting to
POTZ AND PANZ THE POTBELLEEZ vocalist ILAN KIDRON doesn’t give a damn what you think of their music, so long as it makes you dance. He boogies with JEREMY WILLIAMS.
e get a lot of business, we get a lot of pleasure.” The Potbelleez vocalist Ilan Kidron is so happy it is almost sickening. While most musicians claim that music is their life, Kidron’s excited presence makes it obvious that he eats, sleeps and breathes to make music, something he confirms as he blurts, “I don’t think we’ve got a choice. Well for me, speaking personally, I don’t have a choice, I have to do music. I am constantly working on different things. It is always about the next song. Once the song gets out there it is like a bird that is trained to go here or there, and then hopefully people like it. But as a writer or producer you are already on to the next thing.” How Kidron even has time to think let alone write any new music is beyond me, given that his life seems to be spent on a constant tour. But when questioned about his hectic presence, the enthusiastic vocalist simply writes off the stresses by stating, “I am into the more compact months we’ve had. We are
a hard working band. We have been going around Australia for the last three and a half years pretty much non-stop.” However, while many others have burnt out before him, Kidron’s frenetic aura is sure to carry him through. The pitch-perfect salesman barely skips a beat as he gets in his first plug of many, with the subtle interjection, “I guess this tour is very different because we are presenting a new album and new music, so that is fantastic for us to get that opportunity. We have a new visual show as well, so it is exciting.” Given that Kidron raised the talk of touring, it seems only fair to fathom how he felt warming up the undoubtedly already drooling audiences awaiting the one and only Mr Raymond. Once again unable to control his delight, he almost screams with glee, “It was fantastic. It was unbelievable to be on the back of the massive fun machine that is Usher and his crew. That was a great learning experience.” Though he clearly relished being allowed access to one of the globe’s biggest stars, his use of the term ‘machine’ is somewhat telling. So, exclamations aside, was the experience really as entertaining as he first suggests? Possibly sensing that a journalist’s instinct for scandal has kicked in, Kidron is diplomatic as he responds, “We all know that machines come in all shapes and sizes.” However, without any further encouragement, he realises his statement doesn’t do full justice to what was clearly a very pleasurable ride of a lifetime, so he adds, “It was a very friendly, back-pat kind of machine. It was awesome. We took our time getting to know them and I think that was the trick of it all. You end up feeling very much part of their band and jamming with them and learning their dance moves just for the fun of it. I am more of a Mick Jagger type of weirdo on stage, rather than they are a very choreographed sort of thing. I just go with the wind when I am dancing, whereas Blu in the band is very together and choreographed. We got so much out of it, it was amazing.”
Some of the songs are deep and philosophical…”
The Usher experience a little too thoroughly explored, the conversation returns to the subject at hand – The Potbelleez and what is meant to be the ever-so-difficult second album. So what can be expected of Destination Now? Clearly and concisely, the salesman in Kidron returns to the fore as he makes his pitch. “They can expect a lot of good times on there. We are a dance band, so we make music that makes people want to dance whether they are in the kitchen cooking a winter dinner, in the bathtub or in a nightclub. It is going to make people want to move.” However, as with any good sales pitch, there is the final twist that will catapult from potential interest to a signed and sealed sale. “When I say move,” he continues, “I don’t mean just their bodies, it will move their minds in ways. Some of the songs are deep and philosophical, whereas some are just have a good time and go with it. It is a reflection of all of our lives. There are the good times and the times of thought and reflection. It is really just a moment for us that stretched over two years of making. Any of those songs could be taken from many of our experiences.” With the sales pitch at a close, we return to my earlier point of the pressures of a second album. With the eponymous debut having proved itself an overriding success, surely even Kidron felt that there was some level of expectancy from their follow-up. Surprisingly, it seems that he is immune to those pressures – well, he is now anyway. “Coming up with our second single after Don’t Hold Back,” he continues, “we did feel that pressure and we took ages to come out with the right song. We just thought, ‘We have just appeared on the scene and we have had this enormous track so let’s take our time and do the right thing.’ We came up with three or four tracks and chose the right one. So we did take a long time choosing Are You With Me. Then it ended up doing well and we showed we weren’t one-hit wonders, but since then, to be honest, it has been nothing other than having a good time writing songs. There has been very little having to write for anything other than ourselves. We really do allow ourselves to write the tracks that come to us. Fortunately they are tracks people like to sing along to.” Given that he is clearly aware of their acclaim, yet is interestingly humble through his honesty, is he able to offer any insight as to why The Potbelleez have had such unprecedented success? While he is not assured in his response, he does offer up what is a sensible and logical answer. “Because we all come from very different places musically. I am classically trained and I’ve got a deep love for Brazilian Bossa and French stuff and music from other cultures, then the guys are deeply embedded in dance music and Blu is a big trip hop fan, so it all just comes together. I guess that is what makes it more accessible, because they hear and go with things that they know. How There are lots of different things about our music. You may say that some of our music sounds like U2 just because the guys come from Ireland and they are into those massive, massive hooks. Then there are some small intricate parts that I might have more things to do with. It just depends.”
WHO: The Potbelleez WHAT: Destination Now (Universal) WHEN & WHERE: Friday 24 June, Chelsea Heights Hotel; Saturday 25, Manhattan Hotel (Ringwood); Saturday 2 July, Fusion Nightclub; and Thursday 7, Eureka Hotel (Geelong)
INSIDE THE DREAM SYNDICATE “I think it has to do with birth, with primal fear, with the end of the world.” And that’s just what FAUST founder JEAN-HERVE FREDERIC PERON thinks about the German icons’ local dump, he tells BOB BAKER FISH.
erman experimental kosmische weirdoes Faust are now in their 40th year. From a commune-like early existence where all the members were holed up together in an old schoolhouse and voted democratically on everything, such as the food they would eat each night, to recent collaborations with US hip hop outfit Dalek and a continuous stream of new members over the years, they’re an outfit who are committed to keeping things new, interesting and, above all, perennially strange. “It’s exhausting to try and reinvent yourself every day,” reveals founding member Jean-Herve Frederic Peron, but far from sounding tired Peron is full of beans, openly excited to the many possibilities of Faust. “ I don’t think I would like to stagnate to stay with my two feet on the same spot for a long time,” he continues. “And this is the reason that Faust has survived all these decades, because we try to be always on the move, always looking for new things, adapting to new situations, to new impulses.” It’s less a commitment than a philosophy, evident in their music/ sound/experiments from the early ‘70s, to Rien, their Jim O’Rourke helmed collage that heralded their return in the early ‘90s, to their Something Dirty album of earlier this year. “We have a mixture of conventional instruments like guitars, acoustic or electric, we have keyboards,” explains Peron. “We don’t use much of the Moog or Korg type of thing, but we have a drum. Then the drum set is a little bizarre; we have metal pieces on it, and we have some percussion instruments like a power drill. We use sound creators like chainsaw, or we use strong symbolic instruments like cements mixers. We paint on stage. We like to do these things. We like to demolish things. Not because of the violence of it, it’s more about transcending some taboos. This is what we’re aiming at – going places where it feels good to do things that society doesn’t really digest.”
and very close. Don’t forget we lived together in seclusion for three or four years in a monastery, like in a studio. Four years in seclusion with the same people is like the equivalent of 20 years. And we are very strong personalities. We are all very sick in the head. So it’s hard to put up with us for a long time. I put up with Zappi [Werner Diermaier] because he is the drummer and I am the bass – we are like the prolongation of each other – so that goes well with the other. With the others, they were the sky and we were the earth. At some point it has to separate.”
WHO: Faust WHEN & WHERE: Friday, Forum; Saturday, Jean-Herve Frederic Peron speaks at the Wheeler Centre (4pm); Sunday, Overground, Melbourne Town Hall (3pm)
For Peron music is everywhere, all you need to do is break with your routine and tune in, at the shops, in the car, or even on a trip to the local dump. “There was this compactor that was making noises which would express, and this relates to the cement mixer, which would express primal feelings,” offers Peron, relating a recent trip to his local dump. “It’s hard to pinpoint, hard to put a name to it, but it touched a string in us, which is primal. I think it has to do with birth, with primal fear, with the end of the world. All these primal things and feelings that you have inside you that you cannot express.
We like to demolish things.”
And this happened at the dump, which is like death and birth.” It’s this approach, in which industrial or natural sounds are given equal weight as the more traditionally musical sounds, that is the key to Faust. In fact, Peron sees little distinction. “I am glad that there are some musicians that train every day very efficiently and are able to create some sound out of their instrument,” he continues. “I’m very happy about this. I’m talking about all the classical world and people writing down beautiful symphonies. It’s very good. But it’s also very good to have people listening to what is happening around us. Take time and look and listen and just forget that things have a purpose. If you forget about the purpose of things and just take them as they are you will discover another aspect. Like the dump. When you go out there you forget it’s a dump; you discover other aspects. I worked yesterday in an old part of Hamburg, and there were lots of old fantastic buildings and there were lots of water canals. The combination of the natural echo of those high buildings and the light splashes of water on the walls were creating this sound. I had to stop and close my eyes and that’s it, just record this and bring it to people who didn’t have the chance to be here. You don’t have to make music you just have to find music.” Faust have an amorphous approach to songwriting. You’re not sure what you’re hearing. Are they improvisations? Studio jams? Carefully transcribed compositions of a sick mind? It’s actually really difficult to discern. “When we go into a recording session we always improvise,” Peron offers. “So each one of us comes with whatever ideas we have, whatever impressions, emotions, feelings, stress and all this. Many ideas are thrown in and some of these develop into pieces, into songs. What we do when we go on stage is we try to do a set piece in such a way that we respect the origin, and we play some known tunes of Faust, and we play some tunes we have recently created and we leave a good space in the setlist for absolutely free improvisation, taking the risk that we could be miserable, but also taking the chance of hitting a good, inspired moment and being good.” Then there’s perhaps the most curious aspect of all. There are two Fausts. There’s Peron’s incarnation that’s coming to Melbourne with fellow original member Werner Diermaier, alongside newcomers, painter and filmmaker Geraldine Swain and Gallon Drunk frontman James Johnston. But there’s also another completely different Faust, helmed by another founding member, Hans Joachim Irmler. Both Fausts operate independently of each other. There are no lawyers. There is no animosity. But there’s no communication, either. They’re happy enough to simply ignore each other. “We are like bacteria, it’s hard to get rid of us,” Peron laughs. “Even if we split, as we have done, now you have two very dynamic Fausts instead of just one. Faust is more a spirit. We are not based on a frontman or stars or anything. It’s the spirit of Faust. “When you go into a marriage you take partnership with one person and it lasts a long time and maybe after a decade you’re discovering aspects that don’t fit and then you divorce,” continues Peron when pressed further. “It’s very natural and common in the dynamics of a group, especially when these groups like us have been living intense
MY ISLAND HOME Moving out of his bedroom studio for the first time to record METRONOMY’s latest release The English Riviera, band founder JOSEPH MOUNT informs BRYGET CHRISFIELD he becomes “very afraid that people might start booing or something” when one of his tracks gets a spin in clubland.
f you happened to catch Metronomy last time they toured our shores, specifically their show at the Prince, you’ll know what I mean when I say that band leader Joseph Mount handled technical difficulties with grace. “Jesus, after that show we were all like, ‘Oh my god!’” Mount recalls. “But I think that’s a credit to the, uh – what do you say, the Melburnians? The Melbournites? We’ve never had anything fuck up quite like it did that night, so I think it was very kind that the people stuck with it and had a nice time.” When asked to elaborate on what actually happened, Mount ‘fesses up: “I think I made a massive cock-up. I was trying to clean up my computer and I think I deleted things that Oscar [Cash, sax/keys/BVs and also Mount’s cousin] needed. So I just kind of deleted everything that we ever used, basically. And then I think that what took so long was me having to try and reload it all. But I mean, to be honest, we had a lovely time and we managed
to muddle through. And it’s what everyone loves about live music, you know, that kind of potential for things to go terribly wrong.” Mount has a jovial manner and finds himself in a “weird” place called Kristina in Copenhagen at the time of our chat. “I think it started as a hippie commune and it’s turned into almost like a village that’s got separate laws from the rest of Copenhagen. I think now it’s become a bit of a hotbed for criminals and stuff, because they just obey their own laws and drugs are kind of legal here. It’s bizarre. I feel a bit freaked out being here, to be honest.” This should make for an interesting reception from the local crowd. “Well, yeah! It’s true,” Mount considers. “I’ll find out. I’ll report back.” Reflecting on his childhood in Totnes, Devon – which informed Metronomy’s latest longplayer – Mount observes, “It was like any rural place, really. I s’pose, where I grew up. I was lucky that it’s a bit alternative, so it’s not sort of just farmers and stuff like that. But yeah, you know, it was amazing. I just spent my whole youth hanging out in fields and running around and going to parties on beaches and that kind of stuff. I guess the only bad thing was that there wasn’t really much imagination when it came to music. People were quite happy with drum’n’bass and they didn’t really think to look beyond it. And for someone like me who was really into music, that was maybe the only negative thing, I’d say. Which is what the album’s about in a way.” Does Mount feel that this isolation preserved his innocence somewhat? “Oh, I dunno, or it might have done the opposite! People in the country, they’ve got so much time on their hands – everyone seems to have their first drink when they’re 12 years old or something.” The English Riviera is Metronomy’s latest album and the first to be recorded in a professional studio. “It was different,” Mount acknowledges of taking it out of the bedroom, “but I was prepared for it. I guess a lot of the times I’d been making the other albums imagining what it would be like to use a studio one day. So anything that was difficult was just very enjoyably difficult, you know? At no point was it no fun.” Did the singer/multi-instrumentalist have to change out of his pyjamas for these sessions though? “Um, I did, I’m afraid,” he replies. “I had to do it butt naked.” He laughs. “I mean, to be honest, pyjamas are only something I’ve recently acquired so I would’ve probably just been in like, you know, boxer shorts and t-shirt, I think. That was more my style.” Mount says he received some “very classy”, “quite well tailored” pyjamas for Christmas last year. “I’m not really sure how you’re supposed to wear them… I could probably wear them as a suit. I could probably go to dinner in them. They’re quite sophisticated. The shirt does look a little bit like a proper shirt.” Sounds as if Mount could probably get away with wearing them onstage at his gig in Kristina tonight. “Yeah,” he chuckles. “I haven’t packed them. I should have done. I kind of regret that, but there you go! That’s how out of touch I am with pyjamas.” Some rather interesting instrumentation navigated toward The English Riviera and there’s a sound that calls to mind a washboard throughout effervescent lead single The Look. “Oh, yeah, it’s a güiro. Have you ever heard of a güiro before? I guess it’s the same principle as a washboard, but it’s specifically a percussion instrument and it’s made of wood. I think it’s probably a South American invention… It’s funny, my favourite bits of particular songs are things like that güiro sound.” On whether the güiro would make it through customs if the band chose to pack it for international tours, Mount laughs, “See, I don’t know quite what you’re imagining it to look like, but it’s not a weapon! And it’s not organic – it’s not food, so I think it shouldn’t be quarantined. It should be okay. Well, we’ll see. We can try and bring it and if we have it when we’re there, then you’ll know that it’s safe to take from country to country.” The first time Mount heard his music out in the public domain was in a nightclub. “I was at Trash, Erol Alkan’s old club,” Mount remembers when one of his tracks elevated the mix, “and I wasn’t expecting it. It was quite a bizarre experience. I think, if that happens, I become very afraid that people might start booing or something. And so I was watching people on the dancefloor and people would leave the dancefloor and I felt a bit bad. It’s not the most pleasant experience.” Mount could have conducted quick surveys on why those who fled the dancefloor weren’t feeling the vibe. “Yeah, ‘I’m doing market research,’” he laughs. Also boasting an enviable remix discography under the Metronomy moniker – Roots Manuva, Gorillaz, Joakim, Air and our very own Midnight Juggernauts to name but a few – Mount seems content to concentrate on the band thing at the moment. “It’s funny, this album is definitely getting a lot more attention than anything else has,” he shares. “I dunno, it feels like it’s worth just concentrating on Metronomy stuff for a while. And I guess the remixes – you don’t really have any interaction with the people that made the song, apart from just changing it. I’ve done so many of them before that I’m much more interested in getting into production and working with people, you know?” Metronomy’s music is undeniably feel-good and Mount comes clean about which artists he turns up when he needs cheering up: “The most recent Phoenix record [Wolfgang Amadeus Phoenix] is quite good to give me a bit of a pep-up. I also think anything early Beatles or early Beach Boys as well. All kinds of things, like, Outkast, The Love Below – I’d put that on to get a bit excited.” Did he rate the hip hop duo’s follow-up, Idlewild? “Um, there’s a couple of tracks on there that are really good, but it’s not brilliant.” He singles out Morris Brown. “It’s got Janelle Monáe on it, yeah, that song’s amazing!” Janelle Monáe’s on it!? “It’s a weird thing, right,” Mount continues. “When I first saw Janelle Monáe I was like, ‘Jesus, she looks really familiar. Why is that?’ And this was a year ago, and obviously now she’s everywhere… Anyway, then I was watching the video for Morris Brown, and it’s like ‘Oh, there she is! She’s sat in the back of the Cadillac.’”
WHO: Metronomy WHAT: The English Riviera (Warner)
SINGLED OUT BY CLEM BASTOW
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SPRING SKIER CHELSEA Mucho Bravado At what level does a band become successful/notable enough to warrant its members’ side-projects being announced as such? Whatever the answer is, it appears Hungry Kids Of Hungary have unlocked that achievement – Spring Skier is Kane Mazlin and Remy Boccalatte, and it’s beautiful. With a sound falling somewhere between the folk explosion of the past few years and something more directly ‘60s, Chelsea is a song of delicate melody – and deceptive emotional might. But then did you expect any less from a side project of one of the country’s best bands?
JAMES BLUNT I’LL BE YOUR MAN Warner When did James Blunt get so irritatingly upbeat? His whiny voice made sense when he was only pumping out maudlin power balladry, but when he tries to muscle in on Eric Hutchinson/Jason Mraz’s territory, it’s truly disturbing. And when he sings, “So baby come over from the end of the sofa/I’ll be your man”, I’m struck by the sense that if she won’t even sit next to you on the sofa, James, your chances of being her man are probably slim to nonexistent.
THE LIVING END THE END IS JUST THE BEGINNING REPEATING Dew Process
THE VINES FUTURE PRIMITIVE Sony
MARCUS INTALEX 21 Soul:R
GUILLEMOTS WALK THE RIVER Geffen
Screeching out of the blocks with the frenetic first single Gimme Love, The Vines’ new record appears, in its first two minutes, to have eardrum annihilation on its mind. However, as soon as the second track Leave Me In The Dark kicks in, with singer Craig Nicholls doing his best John Lennon impersonation, there’s a sense that Future Primitive is more than one-dimensional. And as the LSD-soaked Candy Flippin’ Girl drips through the headphones (“She takes her time/Takes all she needs/ Feelin’ alright/Like in a dream” ), it’s hard not to get caught up in the band’s revival.
It says a lot for contemporary music’s ever-widening generation gap that two artists can utilise 21 as an album title in short succession with very different contexts – soulstress Adele to signify her number of years on the planet, drum’n’bass veteran Marcus Intalex in honour of his years of service to the sub-bass cause. Somewhat surprisingly, this is Intalex’s first solo foray into the world of the long-player (he’d previously collaborated with MIST and Calibre as Mist:ical). Unsurprisingly, the wait has been worth it.
The third album from four-piece Guillemots marks the band heading for lush introspection against an epic backdrop of power and experimentation.
Rather than the spontaneous re-birthing of a band that burst onto the scene nearly a decade ago, The Vines have been stoically plugging away, Nicholls honing his songwriting to the impressive two-minute songs that plague Future Primitive. The album is 33 minutes of two-speed tracks designed to make you stop-start all the way to the front of the mosh pit. The Vines channel early Oasis and Blur in songs such as Riverview Avenue and All That You Do, but never dwell on the point too long for it to become complacent; Black Dragon is two minutes of chaotic claustrophobia, until it releases into a soothing, reverbladen bass outro. While they have been going about their business for the last decade producing three albums since their debut Highly Evolved, The Vines have failed to live up to the hype they once produced. With Future Primitive, however, they might be ready to step back up into the big league. Dylan Stewart
Understatement is the keyword in the Intalex studio, with the depth of field of his production having as much impact as the music itself. Opening gambit Make A Raise, with SPY also on the boards and vocalist Ras Tweed drifting in over a massive build-up, shows the d’n’b underground can do tech with emotion, a trend continued by the spacious Zed Bias collab Strangeways with its blippy arpeggios and distorted flourishes. Another famous friend in Calibre stops by to lend a hand on Meltdown, an uptempo number which feels more like the opening credits than what has come before. One of 21’s talking points is the Lynx co-produced Radiohead cover Climbing Up The Walls, which sees fellow bassline pusher Danny Fierce step up to the mic to bring some unexpected soul to Thom Yorke’s mewling – it never quite explodes like it should, but its half-time grooves will stick with you. It’s an early high watermark that 21 never quite reaches again, but as Intalex flexes his chops through atmospheric dubstep (TB Or Not TB?), acid breaks (From The Ashes) and sinewy half-step (Regrets) it becomes clear he’s not about the dramatic flourish. Every scene is as important at the last, and this is one story worth sticking with until the end. Gloria Lewis
There are some bands that I find myself mildly amused to discover are still functioning these days – which was precisely the response I had to this single, which finds Chris Cheney sounding suspiciously AutoTuned over a fairly generic-sounding commercial rock spin on The Clash’s template (and slightly confusing hints of Klezma, though they may be unintentional and more to do with my current mental state). I wonder what those righteous young Prisoner Of Society lads would think of this?
Guillemots have made a name for themselves as eclectic and grand yet somewhat inconsistent, with flashes of brilliance, such as the Mercury Prize-nominated debut Through The Windowpane standing next to average indie (Get Over It), that at its worse veers into misguided Keane-like territory. The new record starts triumphantly with title track Walk The River, the combined effect of soaring harmonies and singer Fyfe Dangerfield’s vulnerable yet fierce vocal achieving remarkable effect. Imagine Fleet Foxes chasing Death Cab For Cutie round a war-scarred forest and you’re in the right musical landscape. Tracks such as I Don’t Feel Amazing Now, however, get lost in their own universe and you don’t feel inclined to follow. Overall, listening to the album is like trying to finish a jigsaw puzzle with a missing piece – you’re so close to seeing the big picture but you can’t quite get there and it’s frustrating. Guillemots have qualities of a band you could fall in love with – they’re epic, they’re peculiar, they have flashes of lovely choruses that lick round your ears like excited puppies. But within their strengths seed their weaknesses – they are experimental, but not enough for them to be groundbreaking. They’re emotional, but to the point of being mopey, and at its worst the music is repetitive, morose and monotone. Walk The River was described by the band as “music to be heard across the night sky” and this provides the perfect visual accompaniment to the concept of the album. The sky can surprise you; it’s vast and dramatic. But sometimes you can’t see anything. Bravery and ambition are evident here, but so are the mundane and overdone. Kat Roberts
COLDPLAY EVERY TEARDROP IS A WATERFALL EMI Tell me, what exactly is happening in the world when even Coldplay’s (actually pretty great/tailor-made for sports broadcasting/wedding episodes of Grey’s Anatomy) latest single sounds like the sort of soaring dance music you’d hear in the Supré change-rooms? Because all that’s missing from Every Teardrop Is A Waterfall is the thundering house beatz. Oh no, wait, there they are. Can’t wait for the David Guetta remix of this! :D
CODY SIMPSON ON MY MIND Warner Uh oh, Cody Simpson’s voice is getting deeper! Is this a foreshadowing of the Re-Biebering that is no doubt due? I say that because the wider press (self included, clearly) doesn’t seem able to mention Cody Simpson without bringing up JB in the same breath – he is, after all, “the Australian Justin Bieber”. Aaaanyway, despite puberty ploughing through the recording studio like a freight train, there’s something winning about On My Mind, with all its ‘90s pianos and silly little synth arpeggios.
THE TRIP ON THE FIRST TIME MGM Oh, “The Trip have finally come of age”, have they? Funny, because On The First Time is the sort of irritating frat boy electro rock that makes me intensely anxious, like I’ve had a house party and now I have to work out how to fit eleventy billion empty bottles into the one recycling bin. Which is, incidentally, where I’d like to jettison this CD, given the chance.
JOHN RICH COUNTRY DONE, COME TO TOWN Warner Yes, that is John Rich of the most hilariously monikered country duo in the history of recorded music, Big & Rich (of Save A Horse, Ride A Cowboy fame, don’t you know). And, it follows, Country Done, Come To Town is as hysterically camp as the rest of his/their catalogue – “I give the girls a wink, I buy the boys a drink” – and as rammed full of earnestly delivered power chords, fiddle and harmonised slide guitar solos.
DADS MAN OF LEISURE Independent Big Scary’s Tom Iansek is no man of leisure. He’s giving Jack White (or even Kanye West) a good run for his money as the most prolific man in music. Big Scary are still to present their debut proper (last year’s ‘compilation’ The Big Scary Four Seasons doesn’t count, apparently), but Iansek – the Melbourne duo’s frontman, guitarist and pianist – already has a sideproject. Big Scary are (wonderfully!) bipolar musically, swinging from grungy garage to sublime piano balladry. Man… is on the same tip as their more intimate, downtempo and folksy material – though nothing here is as manifestly epic as the popular Falling Away. Iansek instead favours guitar over piano but layers his songs with unusual instrumentation, like the mandolin. The breezy Life, Oh Life (listen to the breaking waves at the start) is shoegaze soul – and not at all Des’ree-like. The Ocean has the quietness of Bon Iver, albeit with a lilting rhythm. The delicate White Knight is Jeff Buckleyesque angel music. More dramatic is Sister, which mines a similar ‘80s indie belt to the earlier Hamilton, evoking The Psychedelic Furs (or just about any retro Triple R staple), while the intense and rocky Song For Two (Sung By One) is very Nirvana in its hushed/loud dynamics. So Long may be Iansek’s most potentially mainstream moment yet, but he’s too sophisticated for pub-rock.
WHITE DENIM D Downtown Genre-hopping tends to provoke a whirlwind of issues – more often that not it leaves a band to sound disjointed and their flippancy to feel abrasive and confused. However, every so often these varied sounds reach something greater and the divide between such intermittence being labelled as either pubescent or mature leans dramatically toward the latter. Like a truly great socialite, White Denim’s fourth album D introduces itself to an endless list of sounds and genres – tracks step beyond small talk and reach some kind of deep understanding with every class in which they mingle. River To Consider washes us down the musical equivalent of the Amazon, as jazz flute flows into thick, luscious Latin-American beats. Burnished offers kaleidoscopic psychedelia, Keys is an echo of the band’s southern origins, while Street Joy brings an acoustic interlude. Additionally, Back At The Farm and Anvil Everything show off the new prowess achieved with the introduction of second guitarist Austin Jenkins, while drummer Josh Block simultaneously conducts a series of mind-altering tempo changes. Often it’s James Petralli’s forever-creamy and unrestrained vocals that leave the album to actually feel like an album rather than a chaotic mess.
Conceptually, Man… (and Dads) is as abstruse as it is eccentric, but that matters little when the music is of this quality. Indeed, while Iansek has utilised Big Scary’s leftover “riffs and beats” as the basis for these songs, there’s nothing outtake-y about them. Presumably Man… is a one-off – with no prospect of a solo tour (however, Big Scary will resurface to support The Grates nationally this month). In fact, the greater mystery is how NME, Pitchfork and the world haven’t yet discovered Big Scary – and Iansek.
While it’s easy to argue the album’s recklessness as tracks haphazardly build upon a pastiche of garage, funk, jazz, blues and psychedelic rock, it’s important to understand that White Denim have always been loosely defined by being well… undefinable. D is not inconsistent in the world of White Denim, rather it acts as another marker of the long list of genres with which the band have battled and conquered. In D one can feel White Denim’s genuine hunger for music; their appetite for experimentation and penchant for musical adventure marinates an album that salivates over uncharted musical territory, in the process ensuring every fan’s palate is satisfied.
THE ELECTED BURY ME IN MY RINGS Vagrant Following on from their two previous Sub Pop releases, 2004’s Me First and 2006’s Sun, Sun, Sun, LA indie pop rockers The Elected have changed labels for album number three, Bury Me In My Rings. And if there is a Sub Pop ‘sound’ – as many a critic has suggested there is – and supposing that The Elected conformed to it in the first place, the question then becomes one of whether or not this new album is a ‘departure’ at all. Vocalist, guitarist and keyboard player Blake Sennett plays most of the instruments here himself, as well as helming the production, so the record differs strongly in that sense from The Elected’s first two much vaunted releases. Having said that, though, this is still very much an Elected record. But then there’s the period of time that has elapsed between records two and three, and the not unreasonable question of whether this has translated as what is usually described in the music press as ‘maturity’. Given Sennett’s role in his main band Rilo Kiley of something like a Grant McLennan to Jenny Lewis’s Robert Forster, there is genuine interest in the answer to this question, but this reviewer, for one, is not going to answer it. Why? Simply because listening to this beautiful, almost classically pop record – think Simon & Garfunkel for the new millennium – is both a question and an answer in and of itself. Not just of the enquiries posed above but – like all good music that is both catchy and deep, exploratory and comfortable – of many others as well. “My girl jailbird, tonight she won’t be home/Jailbird jailbird, in her box alone/See through walls and collect calls/No footsteps to fill your halls.” I mean, really, just go out and buy the thing. Tony McMahon
ON THE RECORD
LATEST CD REVIEWS
GUY J 1000 WORDS Bedrock/Balance Music
CITY AND COLOUR LITTLE HELL Dine Alone/Shock
MY MORNING JACKET CIRCUITAL Spunk
HEROES FOR HIRE TAKE ONE FOR THE TEAM Shock
Having the John Digweed seal of approval is all but a golden ticket into the hearts of club fiends everywhere – being one of the flagship acts on his Bedrock label guarantees ears far beyond the dedicated prog scene will prick up at the mention of your name. So Guy J’s second album 1000 Words is expected to deliver quality by association alone, especially given his 2008 debut longplayer Esperenza was such a beautifully constructed down-tempo journey through progressive realms.
And thus begins the graduation of Dallas Green. Under his solo guise of City And Colour, the Canadian has, over the past few years, kindly distributed a few sparse nuggets of aural gold to complement his impressive back catalogue of post-hardcore with his band Alexisonfire. Sometimes (2005) and 2008’s Bring Me Your Love both showed promise, but fell short of leaving a strong lasting impression. Little Hell seems to represent Green’s succession to folk superstar.
The lingering hue of Christianity has always sullied the work of My Morning Jacket in my mind. Never fully revealed, their religiousness has bubbled away somewhere beneath and left me in an ambivalent state as to whether I can let go what I refuse to tolerate in regular daily listening. That’s not to say I’m not a fan of gospel music, which I undoubtedly am, but an acrid taste can linger if in any way music can be labelled as subversive or straight-out Christian trickery. So it’s with much trepidation that I greet MMJ’s latest offering, Circuital, which by nature of a ‘return to roots’ can only mean somehow inherently Christian roots. And given they went so far as to record the thing in a Louisville church I sharpen my pen and prepare for the worst.
Take One For The Team is the second album from Sydney five-piece Heroes For Hire, though you probably wouldn’t pick it. Not that it’s their second album, or that there are five people in the band – the fact that they come from Sydney, Australia.
The Israeli producer has turned up the pressure valve on himself by spreading his talents over two mixed discs this time round (a third presents most of disc two’s more clubfocused numbers in unmixed form), if anything taking a more expressive approach then he did last time. It’s a risky venture, particularly when recognised bombs like Lamur are stripped back to all but their melodic core, but the rewards are there for patient fans willing to take some time exploring both discs. Norwegian chanteuse Miriam Vaga makes an impact on the few occasions she ethereally wafts into view, particularly on You early on disc one, but for the most part this is head music – if the loopy FX madness of The Right Place doesn’t suck you into a K-hole you’re made of sterner stuff than most. Only the big synth progression of Electric Tale really lifts the first disc off the floor, while even disc two takes a while to embark on the anticipated full-scale assault – but once the multilayered melodic techno of Sahara signals a seven-track run home which will have lasers leaping out of your wall by the time Azimuth and I Lost My Head storm the barricades, you’ll be hitting repeat as soon as the warm-down atmospherics of Whirlpool have drifted off into the ether. Gloria Lewis
This album is remarkable. Recorded and mixed in a converted church on tape, all tracks recorded in a large room rather than soundproof booths, the acoustics and natural reverb resonate through the record, and when paired with Green’s lyrics, there is a sense of awakening that resonates throughout the entire album. Love songs – “You’re the northern wind/Sending shivers down my spine/You’re like fallen leaves in an autumn night” (Northern Wind) and personal reflections – “Then there’s my father/He’s always looking on the bright side” (The Grand Optimist) litter the 11 songs, but all the while there are beautiful words that will ensure Green sits alongside John Darnielle and Ben Gibbard in the higher reaches of 21st century North American alternative songwriters. Little Hell deserves the airplay it has already started to receive in Australia, courtesy of first single Fragile Bird. Acoustic ballads such as Northern Wind and Silver And Gold are further gems, truly realised only upon repeat listens. Dallas Green’s voice, combined with his band’s restrained arrangements, makes this a great record. One of the strongest to be released this year, the satisfaction it delivers is only matched by the expectations to now weigh upon the next Alexisonfire album. If it’s half as good as Little Hell, it’s sure to be something.
The opening couplet of Victory Dance and the sensational enormousness of the title track alleviate any preconceptions. I’m reeling. Even meandering through the three/four combo of the not-so-subversive but full-blown praise-the-Lord splendour of The Day Is Coming and Wonderful (The Way I Feel) does naught to dampen enthusiasm as I’m led into the heavily Beach Boys influenced Outta My System. The jazzed-up disco falsetto of Holdin’ On To Black Metal breaks the paradigm once again and partners up beautifully with psych fuzz bass screamer First Light. The two closers round out in refrained style what can only be described as a visit to – bar any extended guitar solo of note – almost every aspect of MMJ’s sound. So if you can let go of that gag reflex at all things earnest, bung it in the car stereo and take a drive to the country on a sunny winter’s day because, as far as MMJ are concerned, life is beautiful. Samson McDougall
Sugar-coated with pop punk clichés enunciated in a near perfect Californian accent, this is an album riddled with concessions. Rather than filling any void, it leans heavily on its influences, namely fellow three-word brethrens All Time Low and New Found Glory, delivering 12 tracks that sound all too familiar. Revealing more than the subtle product placement on the album’s cover, You Only Live Once is a telling insight into the ethos of the band, a simple plan but one that reads awkwardly like a get-rich-quick scheme. “You gotta let it go/just let it take you by surprise/don’t fear the unknown/just take a chance and open your eyes,” sings vocalist Brad Smith on the album’s most digestible track, a song that Triple M will no doubt playlist to appease their local music quota. Doonside High School Football Rules is derivative of The Ataris in more than just name while the remainder of the album struggles to delve past relationship woes, tour stories and fickle positivity. Full of sacrifice but of little benefit, Take One For The Team is a conflicted album. Whether they picked up their accents when recording in Baltimore or sharing the stage with Short Stack, Heroes For Hire are missing more than a cultural identity. If they are to be taken seriously they will need to discover what makes them different from the rest of the pack, not the same. Brendan Hitchens
MADFACE RULES ONYX keep the beats strictly for the streets and don’t do any of that happy shit, FREDRO STARR tells CYCLONE.
From the mean streets of Sydney’s west to the mean streets of Baltimore, DANIELLE O’DONOHUE talks personal safety with HEROES FOR HIRE frontman BRAD SMITH.
Onyx. He worked with them “boot camp” style and they aired a mixtape, but his neophytes ended up in the pen. “I had to keep my shit moving,” Scruggs rues.
the genre that we play. And we’re so stoked on how the album’s turned out and Paul did a great job.
In 2008 Onyx issued a commemorative DVD as well as a best-of. However, Scruggs is wary of the east coast leaders trading on nostalgia and fans can check out new songs like Mad Energy on YouTube. “We’re just staying hip to what’s going on right here, we’re just staying new – it’s old but it’s new,” Scruggs says, using the analogy of a new car model. “So, with this album [Cuzo], we got the same kind of beats that we like – strictly for the streets, kinda like the samples through the basslines. Not any of that happy 808 shit that muthafuckas is doing. We’re sticking to what we’re doing… We’re not with that happy shit. The ‘madface’ rules the world.” ‘Madface’, of course, is Onyx’s logo – the antithesis of acid house’s smiley face.
“The songs were 100 per cent done before we went over and Paul just came in and said like, ‘Maybe you should try this here’, and it was the little parts, he polished them up. It was good to have a second opinion on them. Our whole first album [Life Of The Party] we didn’t have a producer. It was good to have that outside opinion that wasn’t connected to our band.”
he mean streets of Baltimore hardly seems the place where young dreams regularly come true, but for five Western Sydney musicians, Baltimore could just as easily have been the sparkly city of Oz. Heroes For Hire decamped to the city in Maryland, USA for five weeks to record their new album Take One For The Team and it certainly wasn’t the glitz and the glamour that led them there. “Baltimore is… think of the roughest place in Sydney and times it by ten,” frontman Brad Smith says cheerfully. “We didn’t come across any trouble but let’s just say our producer on the first day we got there told us we were in a quiet part but if we walked down the street we were allowed to turn left, that would be fine, but if we turned right we’d probably get mugged and stabbed. So that was a good feeling.” It may not have been the city’s appeal that drew Heroes For Hire to Baltimore, but there was certainly one hell of a good reason to be there. Producer Paul Leavitt has worked on albums by All Time Low, Circa Survive and Senses Fail and there wasn’t anyone else the band wanted helming their second pop/punk album. “It wasn’t about getting someone that was a massive producer that was going to cost us every cent that we’ll ever earn for the next 40 years,” Smith continues. “We were more worried about getting someone that we knew that we could connect with and knew the genre back to front. We knew he had a good grasp of
And with a week in LA and a night in Vegas to get their party on, Heroes For Hire now have their feet firmly planted back on Aussie soil, album in hand and with the hard work about to start. First there’s a couple of intimate album launch shows before the band heads out in July with good mates Short Stack. “Short Stack we’ve known for years so we go to all their shows when they play,” he says. “We did a similar tour with Boys Like Girls when they came out. They have kind of the same crowd as the Short Stack boys so we’re kind of used to that. It’s going to be a really big tour. The crowd gets into it so it makes our show more fun.” Unfortunately for bands, not all support gigs come with quite so welcoming a crowd, but the ever-affable Smith laughs when recounting his band’s most recent support gig: “We did a tour with Unwritten Law and Unwritten Law fans are Unwritten Law fans and that’s it.” But he says his band approached the tour with their typical same good humour and sense of fun. “We knew coming into that tour that it was going to be like that. Our goal was to try and convince as many people as possible that we were a decent band. It was good. We still put on the same show and we did win over a lot of people but there was still a lot of people who were like, ‘Who are these guys? Just put Unwritten Law on.’ If they’d had their way it would’ve just been Unwritten Law play for two and a half hours.”
WHO: Heroes For Hire WHAT: Take One For The Team (Shock) WHEN & WHERE: Friday 2 July, Festival Hall
ew York’s Onyx were the hardcore black version of the Beastie Boys. They signed to Def Jam and, mentored by Jam Master Jay, blew up with 1993’s Bacdafucup, home to the hit Slam. Now, as they prepare for their inaugural Australian tour, Onyx – stripped down to rappers Fredro Starr (AKA Fredro Scruggs) and Sticky Fingaz (Kirk Jones) – are staging an auspicious comeback. “We got new music coming out right now,” Scruggs announces. “We’re just working out the distribution deal right now. We have a few offers where we’re going with the best one. It’s going to be called Cuzo – that’s the first joint we’re dropping for the streets. That’s just for all the real Onyx fans.” Onyx have shed members over time, leaving the two cousins, hence the title. Big DS quit post-Bacdafucup, while, more recently, Sonsee (Tyrone Taylor), always eclipsed by the others, went solo. “It’s always majority rules,” Scruggs says philosophically. Originating in the late ‘80s, Onyx might have long retired. They followed Bacdafucup with All We Got Iz Us, ultracred but not crossover. The trio parted Def Jam after the guest-laden Shut ‘Em Down in 1998, becoming one of the first major rap acts to brave the indie domain. They last unleashed Triggernometry in 2003 and Scruggs and Jones have both pursued solo careers in the past decade. Five years back Scruggs assembled a group called Yung
Kivel’s spent years out front of Princeton, a Los Angeles-born indie pop band he helms with his twin brother, Matt. But last year he unveiled Kisses, a disco pop project steeped in a love of Moroder, Cerrone, Constandinos, etc. The debut Kisses LP The Heart Of The Nightlife was a stirring set of sad pop-songs set to a twee disco beat, and it found the kind of popular cachet and blog buzz that had eluded Princeton with their own debut disc, 2009’s Cocoon Of Love. “I wanted to really focus on making dance-music,” says Kivel. “I was interested in sentimentality and sincerity; toeing that line, making something that you hope can sincerely affect people, without it getting too cheesy. And I wanted to try to do that by making music inspired by long-playing disco records.” Thematically, the record “definitely deals with the concept of travel, the idea of leisure, that romantic state of being on vacation,” Kivel explains. “But it’s not a literal journey, a tour of locations. It’s more about being stuck somewhere, and using your imagination.” Kivel wrote and recorded the Kisses songs over a period
WHO: Onyx WHEN & WHERE: Thursday, Espy
About to embark on his first Australian tour, BIZ MARKIE talks Yo Gabba Gabba!, collecting vinyl and ‘that’ single with DOUG WALLEN.
of three months, in exploration of a solitary idea. “The goal was to see an aesthetic through, to produce it all in one way,” Kivel says. “It felt like such a nice break after the first Princeton record, which felt like a collection of our favourite singles, not one album that we’d made. So, to try and make a really intensely one-dimensional record – something that was just one sound for nine or ten tracks – that was the challenge. I really fell in love with that idea.”
The ultimate proof of relevance for the hip hopper is to be embroiled in a feud and Onyx have sparred with 50 Cent. Ironically, they gave Fiddy a break – on their joint React – but, alas, he’s an ingrate. Scruggs sighs. “It’s like this – things happen. We’re all from Southside, Jamaica, Queens… Things happen… There’s really nothing to discuss. Nothing is resolved but, at the same time, there’s no problems. So I was gonna leave it at that. At one point we had respect for each other – musically and personally – and that’s just not the case any more. But that’s what it was. For the love of Jam Master Jay, we came together and made great music. That’s all I got to say.”
LA romantic JESSE KIVEL tells ANTHONY CAREW that his latest project KISSES is all about consistency.
ith his suave croon, pop-song sentimentalism and love of Arthur Russell, Jesse Kivel gets compared to Melbourne’s favourite Swedish émigré, Jens Lekman, a bunch. “I’m always compared to Jens Lekman,” Kivel chuckles. “It’s better than being compared to some chillwave producer like Neon Indian or some lo-fi band like Vivian Girls; those are scenes that’re already played out. I’d rather be compared to one other person in the world than to a whole scene of people who sound the same.”
The Onyx MCs have found a successful sideline as actors, often – and smartly – contributing to any soundtracks going. “We were like, yo, this is another opportunity for some kids from the ghetto who never had anything to make some money and to do somethin’ that they like to do.” Scruggs made an impressive debut in HBO’s urban drama Strapped, which now Oscar winner Forest Whitaker directed. “Forest always told me be passionate about your work – if you’re not passionate about it, then don’t do it.” Scruggs has since appeared in Spike Lee’s Clockers, Save The Last Dance and TV shows like CSI. But, for the present, music is his focus.
The Kivel brothers grew up playing music together, sharing a love of Britpop and “really awful commercial British rock” as teenagers. They founded Princeton as a recording project when college kids, in 2004, but it only really became a band when they graduated, in 2007. By the time they rolled tape on their debut record, they’d spent five years gathering songs. “Some of those songs I wrote when I was 20,” Kivel says. “They were songs from across the years, and it made for a pretty eclectic record. I liked some of it, but it was not a consistent record.” His experiences on making a singular-sounding record with Kisses swung back to Princeton, and their as-yet-untitled second LP – likely to be released early in 2012 – was recorded with more of a sense of sonic consistency. Where Cocoon Of Love’s twee-pop and African-sounding guitar licks earned them unending Vampire Weekend comparisons, their next set – as heard on the recent single To The Alps – takes back electronic, disco, and soul influence from Kisses. On a recent tour supporting CSS and Sleigh Bells, they had longtime Russell collaborator Peter Zummo (all of 63 years young) playing trombone and euphonium on stage. “Arthur Russell was a big influence on the Kisses record, and now that’s bleeding into Princeton,” Kivel says. With Princeton’s LP banked, Kivel is now working on the second Kisses record, which, he says, veers towards “almost mainstream pop; like, pop.” But don’t expect to hear any new jams performed on his project’s debut Australian tour. “Definitely not,” he says. “The whole point of it is that it’s a recording project. We’re never going to be a live band first, so we’re not going to play any of them live until they’re all done.”
WHO: Kisses WHEN & WHERE: Thursday, Shake Some Action at 161
toured with Chris Rock, competed on the reality show Celebrity Fit Club, guested on a Will Smith album, and been sampled by The Rolling Stones. He’s also an in-demand DJ, hired to spin at parties for celebrities like Diana Ross. “Yes, I have an incredible vinyl collection,” he brags. He owns more than 30,000 singles and 50,000 LPs, keeping track of them all with “two black books.” Though he often spins with digital music these days, Markie still goes hunting for records on tour. “I got so many records,” he offers, “but usually when I go out of the country I look and see what I don’t have that I might need to pick up.”
or years Biz Markie was best known for his fluke 1989 hit Just a Friend, an off-key sing along piggybacking on Freddie Scott’s lost soul gem (You) Got What I Need. Not even his weird cameos in Men in Black II and on several Beastie Boys albums could compare. But then along came the children’s TV sensation Yo Gabba Gabba! in 2007, and with it Markie’s regular beatbox segment Biz’s Beat of the Day. And so hip hop’s multi-talented oddball found himself a second lasting claim to cult fame. “I was supposed to come on to do a Dancey Dance,” says Markie of the show’s signature guest-star dance bit. “My back was hurtin’, so I invented Biz’s Beat instead. It got an overwhelming response.” It wasn’t the first time he’d done something for a younger audience: Markie reworked a song from the classic kids show Schoolhouse Rock! for a 1996 compilation alongside the likes of Pavement and Moby. It’s not so strange, then, that his segment took hold. “It ain’t no shock,” he reckons. “I always been doing things for little kids. It’s just interesting that the show was a success.” Such a success, in fact, that it’s bringing Biz Markie to Australia for the first time. He’ll perform as part of the show’s touring act – including slots on this year’s Stephen Pavlovic-curated Vivid Live Festival – as well as two solo sideshows. Hailing from Baltimore, the man born Marcel Theo Hall is now in his mid-40s. The unlikely pop crossover of Just a Friend is decades behind him, and since then his recorded output has been incidental to his other antics. He has
He won’t reveal exactly all of what he’s doing on this tour with the brightly coloured Yo Gabba Gabba! crew – besides beatboxing, that is – but for his sideshows Markie will be backed by his cousin, DJ Cutmaster Cool V. He’ll do songs from three decades of albums, including Just a Friend, which he gamely performed with actor Jeff Goldblum on piano for Jimmy Fallon’s US talk show last spring. Is it tiresome having to play the same song at every single gig? “Nah, nah,” he says. “It’s still a big sing along. Every time I do it, it’s just like I did it for the first time.” As for the differences between rapping, acting, and being an all-around TV personality, he simply offers, “you just have a lot of fun. It don’t matter what you do. As long as I have fun, all of it is all good. On the hip-hop side you gotta be more creative, and on the acting side you’re being a character. I’m already a born character.” Biz Markie hasn’t released an album of new material since 2003’s Weekend Warrior, but he’s working on one now – in his own way. “I’m being really slow and particular with it,” he admits. “I’m not really in a rush. I’ll get a couple of producers [in], but I’m doing it myself. I just do whatever I feel like doing. It ain’t like I’m on a schedule.” Finally, the most vital question: will he ever run out of beats to do for Yo Gabba Gabba!? “Not really,” he decides. “There’s a million beats you could do.”
WHO: Biz Markie WHEN & WHERE: Friday, Espy; Saturday, Palais with Yo Gabba Gabba! (10.30am, 1.30pm and 4.30pm)
THIS WEEK IN
FRIDAY 10 Battle Of The Buskers — dazzling performances with breathtaking stunts normally only seen on the streets are being brought to the stage at Red Bennies to showcase and show off. Swinburne Event Management Students are aiming to fight for the right of performance artists throughout Melbourne. Armed with clipboards and pens, signatures are being sought to open new busking pitches throughout Melbourne. Performers tonight include The OMGs, Aerial Manx, Cal Harris, Lily Lucent, Pete & The Circus Dogs, Slim Pickings, Mike Gurrieri, and DJ Prequel. Red Bennies, 8pm.
SATURDAY 11 Australian Burlesque Festival: The Big Tease — A night of glamorous, classic tease to dazzle and delight burlesque aficionados. The Big Tease showcases the crème de la crème of local and international burlesque artists in an evening of glamour and old world charm. Artists performing include Khandie Khisses (UK), Dolores Daiquiri, Tasia (NSW), Boylesque Boywonder (QLD), Sarina Del Fuego (NSW), Becky Lou, Gypsy Wood, Missy (NSW), Kelly Ann Doll, Cecile Mimieux (WA), Belle De Jac (QLD), L’il Thelma Thunderbird, Ginge La Minge (WA). Red Bennies, 9pm. Between The Lines: Contemporary Chinese Paper Art — created using scissors or knives, paper art can be done using any sheet material such as paper, gold and silver leaf, tree leaves, fabric and leather. Artists featuring in this exhibition include Chen Yao, Cheng Jian Li, Cheng Xing Hong, Cheng Juan Juan, Gao Dian Liang, Huang Ying, Li Ai Rong, and Wan Hong Cheng. Closing night. Fortyfivedownstairs.
SUNDAY 12 The Haunting Of Daniel Gartrell — under an ochre sky something happened at Mt Ragged. The incident inspired celebrated bush poet Daniel Gartrell’s (John Wood) most analysed piece of verse… a poem that’s final verse has never been published. Now an enigma, Gartrell lives as a recluse in the suburbs, his only contact is with his daughter, Sarah (Marcella Russo). THE HOLY MOUNTAN
Gartrell is at home, thinking very oblique thoughts when an emerging actor from Bondi, Craig Catevich (Samuel Johnson), knocks on his door. The ambitious and optimistic Castervich has been cast to play Gartrell in a biographical movie, and in his research for the role, is ready for anything… or so he thinks. Closing night. Fortyfivedownstairs. Australian Burlesque Festival: Cabaret Carnivale — the closing night of the 2011 Australian Burlesque Festival… Cabaret Carnivale promises to go out with a bang. Comedic burlesque, carnival sideshow, and death defying feats will thrill and amaze the audience. Starring Khandie Kisses (UK), Miss Glory Pearl (UK), The Astonishing Johnny Domino, Foxy La Femme, Mr Gorski, The Strawberry Siren, Smokin’ McQueen, Skopalova, Taylor Grace, Betty Blood, Luna Eclipse and more. Red Bennies, 9pm.
MONDAY 13 Jazz On Film — programme of films depicting jazz music on screen, featuring titles such as Chico And Rita, The Holy Mountain, and Dave Brubeck: In His Own Sweet Way. Final night. ACMI Cinemas.
ONGOING Focus On Kelly Reichardt — in celebration of her new film Meek’s Cutoff, ACMI highlights filmmaker Kelly Reichardt by screening Meek’s Cutoff, Old Joy, Wendy & Lucy, River Of Grass, and Ode. ACMI Cinemas until 19 June. The Gift — a witty examination of our modern moral confusions. Sadie and Ed meet Martin and Chloë at a holiday resort and instantly hit it off, despite coming from completely different worlds. When Martin saves Ed’s life, everyone knows the debt can never be properly repaid. But Ed is rich and Chloë and Martin have a need so great it seems divine providence when Ed, wanting to show his gratitude, gives the young couple a year to decide on an appropriate gift. Yet when the year is up, surely Chloë and Martin’s wish is something no-one could possibly grant? Sumner Theatre, MTC until 9 July.
MR TOAD DISCOVERS A NEW CRAZE THE TWO-TIME EMMY AWARD WINNING DOCUMENTARIAN MARK LEWIS FINDS HIMSELF AGAIN BACK ON THE TOPIC OF CANE TOADS. TALKING WITH SAM HOBSON, HE DECONSTRUCTS THE NATURE OF THE MOCKUMENTARY, TALKS HERZOG AND TATI, AND WAXES AT LENGTH ABOUT HIS EXPERIENCES WITH FILMING IN 3D. Director Mark Lewis gives a truly great interview. He’s erudite, well-spoken, and takes great pleasure in explaining his key motivations. He’s won an Emmy for two of his previous films, been nominated for a BAFTA, and now returns to our shores with the sequel to his much lauded 1988 hit, Cane Toads: An Unnatural History. Deeply in touch with the landscape, its people, and that tragicomic vermin that seems hell-bent on colonising it, Cane Toads: The Conquest mixes comedy, with real insight, and is a film that teems with a stunning cinematic presence. Perfectly edited, and beautifully shot, it’s the work of an artist well-seasoned. “If anything, I think I’ve got a very distinctive, idiosyncratic style,” he begins, at first wary of being asked of his influences. “If anything, I find people have imitated me. I think my style’s come basically as an aversion to a lot of the traditional documentaries out there. And you talk about natural history and what have you, and traditionally that’s glorious pictures with classical music and a voice-over of a scientist waxing lyrical. If anything, my style has evolved in direct contrast to that because I just find that’s quite a boring way of doing things. “Certainly within that, and within the stories I present, I quite often create a story structure that’s reminiscent of something [else]. So, within [Cane Toads: The Conquest], there’s elements
of a road movie, there’s elements of a dramatic comedy. You know, you could say that the toad was an alien, you could say that the toad was Terminator — there’s even an acid trip sequence in there which reminds me of Easy Rider,” he says, laughing, trailing.
idiotic blunder of its introduction, and the many disperate, funny stories [surrounding it], allows me to have a slightly irreverent, or counterpoint point of view. It allows me to do that because it’s just not such a ‘worthy’ subject [like other] non-fiction people make.”
“But I can’t think of any one documentarian or non-fiction filmmaker that has influenced me,” he continues. “Obviously, we can see by example, whether it’s John Grierson [whose films so predated documentaries, that they were instead called ‘actualities’], or Peter Brook,” he rushes, “some of these people, the way they’ve used their craft is exciting, but, I think, of all of the filmmakers out there the one that I just cherish, and the one that I just love, is Jacques Tati.” And now it all begins to make sense. Comedy is an essential ingredient in Lewis’s work. “Films like Jour de fête, Playtime — I love all of them. I’m a huge fan of [his because] his comedy comes from portraying the idiotic observations of daily life.”
But Mark sells himself short. Cane Toads: The Conquest was a painstaking love-affair of a project, one that, from early on, he knew he wanted to shoot in 3D.
It’s put to him that his love for Tati, then, could be cited as something of an ‘influence’. “Not so much,” he teases. “I try and rationalise it and I think what it is, is that I’m allowed to be comedic, or I’m allowed to be irreverent by my choice of subject. I’m not making a film about Mother Theresa. A cane toad, in the
“I wish I could go back to that point in time,” he muses, mysteriously. “We decided to go 3D at a time when there was no such thing as a 3D documentary, and certainly it was one of the world’s first digital, 3D non-fiction features. At that stage even Avatar hadn’t come out. It was just an instinct. One of the buzz words they use for 3D is this word ‘immersion’. It’s no longer about things jumping out at you from the screen — though we do have fun with that — it’s about immersing the audience in a different world, or a different point of view. So I really thought that the 3D or the stereo tool would make a vastly more entertaining visual experience for the audience. But the stories have to be good to start with; the 3D does not make an ordinary film good, but it does certainly give a value-add to a good film.” Talk turns inevitably to another man
strutting the festival circuit with his 3D documentary feature. Has Mark seen the new Herzog? “I’m actually quite friendly with Herzog, and his producers. In fact, one of them, we’re working on a 3D film at the moment! Werner made that film [Cave Of Forgotten Dreams] I think about a year after I finished mine. He came to see my film! Not only that but he called me up the next day and it was a delightful experience because he said such wonderful things about it.” Lewis pauses to try to recall the man’s exact comments; his recollection sounds fittingly Herzogian. It’s no surprise that the director loved Toads, what with its fetishist amphibian fixation, and many leering animal close-ups… “But he’s had his 3D experience,” he laughs. “I think he’s still, like a lot of us, not quite sure which direction 3D is headed. I think the other thing with 3D that people don’t think about is that only certain content suits [the medium]. We’re still all discovering that. I think it worked with Werner’s film, I think it worked with Wim Wenders’ dance film, and concert films, music films, horror, science fiction… but there’s a lot of stuff I’m a little bit suspicious about.” That was a nod to Baz Luhrman’s latest. WHAT: Cane Toads: An Unnatural History WHERE & WHEN: Screening in selected cinemas now
WITH ANTHONY CAREW
FIRST SEQUENCE SHAUN GLADWELL IS THE SUBJECT OF ACMI’S FIRST-EVER SPECIALLY COMMISSIONED ARTIST SOLO SHOW. KATE KINGSMILL TALKS TO THE VIDEO ARTIST, PHOTOGRAPHER AND SCULPTOR. Shaun Gladwell’s interest in the way people creatively respond to environment is the core idea of ACMI’s new show, Shaun Gladwell: Stereo Sequences. It is the first time the gallery has commissioned an Australian artist for a solo show, and Gladwell’s creative concerns found a harmony with the underground space of ACMI’s screen gallery. “I was thinking about what is it like to be thinking about what it is to be looking at this strange video art underground,” he says. “And then I thought, ‘Hang on, I’ve been interested in these underground spaces before.’ I was always interested in tunnels and those secret spaces in cities, the spaces that aren’t really publicly used or accessed. ACMI’s screen gallery is a disused train station and there’s a few works in the show that directly deal with subways and trains and it’s kind of nice to have that parity or that stronger relationship.” Stereo Sequences explores conceptual and aesthetic concerns Gladwell has been preoccupied with since his 2000 breakout video work, Storm Sequence, in which a lone skateboarder, slowed down to 40% speed, skates through a Bondi storm. “Talking about performance in relation to landscape is not a new idea, I’ve been working on it with my work in different ways,” he says, “but this was an opportunity to do quite a lot of work, and get it all in conversation with each other in the same gallery space, which was great.” Gladwell’s use of devices like long pans and slow motion are central to how he explores these concerns. “I love that idea that in slow motion you can really analyse stuff and I just like that idea of expanding time, stretching out and really maybe even forensically looking at everything.” If you’ve ever had the disorienting sensation of moving backwards on a train, only to realise it is the train next to you that is sliding forward,
you know the notion of parallel forces that Gladwell explores. Parallel Forces consists of four pairs of opposing screens set into the walls of the gallery, conveying ozploitationinfluenced imagery of cars, motorbikes and helicopters with bodies performing physical feats moving amongst them. The work was created with two viewpoints, says Gladwell, “two cameras that are moving through space but they have this fixed zero relative speed. They appear like they’re really quite stationary but they’re not really moving in relation to each other, they’re actually just moving parallel through space.” Many of the works in Stereo Sequences are set in distinct Australian locations such as Broken Hill, Wollemi National Park, and Sydney’s M5 underpass. Each landscape is a central character to the work, but it’s the relationship between the landscape and the body navigating that landscape that Gladwell is most interested in. “A storm looks beautiful at a distance but if you’re in the middle of it it’s actually terrifying. It’s the same thing, it’s just our relationship to it. And you can think that way in relation to urban space as well. “Sometimes my interest is in bodies relating to urban space and sometimes they’re overwhelmed by the space and perhaps the performances are a response to that sort of feeling or that kind of space. They’re dealing with those issues of how immense it is or how impersonal it is or how vast it is, and negotiating it on a personal level. It’s like the city is the hardware and these activities are the software running through it, trying to reprogram the space, trying to look at the space in a different way.” WHAT: Shaun Gladwell: Stereo Sequences WHERE & WHEN: ACMI until 14 August
Once upon a time, Ye Olde Homie Film Carew was invited by the otherwise-upstanding peeps at ACMI to programme and introduce an Australian film of my choosing. After much brain-wracking (what a cinematic wasteland we dwell in!), I managed to find something amidst the cultural nothingness, and chose the perfect choice: Mark Lewis’s Cane Toads: An Unnatural History; a work of subversive glee and cultural ridiculousness that no one has (had?) ever feted for greatness even as it said more about this hijacked country in 50 kooky minutes than a million ‘message movies’ strung end on end. Made, with much irony, in Australia’s bicentennial year, Lewis’s tragicomic take on the interloping toad mounted a poignant parallel: as invading species propagating wildly, poisoning the local environment, and perverting the landscape, the cane toad is mirror image of the white man. Lewis retells the same story, 20-odd years on, in 3D!, at full feature length, with Cane Toads: The Conquest. And the same story is still loaded with profundity: the 21st Century setting allowing Lewis to make the connections between cane toad hatred and immigrant hysteria; these ‘foreign invaders’ out to sully ‘everything Australian’. It’s billed as a ‘documentary horror-movie’, and the subject goes from deathly villain to anti-hero survivor: persisting no matter how much they’re hunted down; their supposed ‘evil’ merely a reflection on the evils of society itself. Shot routinely at ‘toad’s eye’ level via tiny 3D technology crouched as low to the
There’s plenty of running mascara in Blame, though it’s no mark of neo-realist fallen-femmes nor, indeed, marker of actual intent. Instead, it comes — with some kind of irony — when men are at their most manly, and when the story’s mythical struggle is bringing out base virility: Mark Leonard Winter’s hyper-masculine bogan getting clumpy lashes when he’s handling a shotgun; Damian ‘from Secret Life Of Us to Home And
Away’ de Montemas’ crying black tears when he’s reduced to an animal state of survival. The symbolism may not be intentional, but the persistent presence of such mascara makes manifest the theatricality in writer/ director Michael Henry’s debut. Blame is essentially stageplay on screen: a one-house thriller where six characters are engaged in existential arm-wrestle, en masse. It’s the home-invasionwhere-secrets-come-out powerplay (think Death And The Maiden, the comically crappy Hard Candy, etc), but rather than head-to-head, it’s an ensemble work. Where a single vigilante on a monomaniacal quest is usually a tool of righteous vengeance, by making his avenging agents a gang Henry is authoring a study in group dynamics, whilst happily exposing the moral fraud of revenge. Scene: five masked intruders burst into the remote retreat of one man; he’s quickly bound and gagged, drugged, left to die. The heist goes “like fahkin’ clockwork” (people with an aversion to Australian accents in dramatic extremis: be verily warned), but, of course, it doesn’t: with a film poster boasting noir homage, you know no one’s getting away with nothing. As the posse peels away their balaclavas, one by one, they transform from figures of anonymous retribution to human beings, in all their flawed traits and moral conflicts. The set-up is strong, the tension taught, and there are actual still moments where the plot pauses and gathers, what’s happening next not already painfully sign-posted. And, sure, there’s a cheeseball twist and a sadly-hysterical ending, but those are trappings of the genre; and, given we’re talking an Australian genre movie here, they’re minor quibbles for a production already fighting uphill to achieve any kind of artistry.
so nearly 14 years,” he says, juggling the math as he speaks. What led to him committing his career to the instrument? As it happens, the answer lies in a failed test. “I knew it was for me when I was doing my Licenciate on Violin, and I didn’t pass that,” he explains, referring to a major exam for musicians. But I passed it on oboe, and I sort of knew that was a sign.” Like Cornish before him, Cassimatis has enjoyed the benefits of AYO’s summer camps and tours, but it’s the friendships that bind him to the organisation. “It’s really good, the interstate relations that you get, even though we only meet for about a maximum of ten weeks a year.” Despite their relatively short amount
of time in each other’s immediate company, Casismatis spends much of his free time throughout the year keeping in touch with his fellow musicians, and finds inspiration in his network of like-minded musos. Naturally, though, the organisation is ever-changing. “We’re always looking to the future,” says Cornish, adding that even with the 2011 program still in play, it’s already time to start auditioning students for 2012. After all, there will always be more musicians to train, pieces to play and planes to catch. WHAT: Australian Youth Orchestra 2012 applications WHERE & WHEN: ayo.com.au
CANE TOADS: THE CONQUEST
Earth as possible, Lewis’s film stares into the cane toad’s ugly, ugly visage, and humanises the monster; all the hatred piled upon this biological blight really a reflection of human — and Australian — self-loathing. Here I Am — which resoundingly sounds the ‘message movie’ alarm — exposes not just the strengths/ weaknesses of working with nonprofessionals, but, in some ways, exactly how not to employ them. Beck Cole’s debut feature is a familiarfeeling tale of post-prison rehabilitation set in a Port Adelaide Aboriginal women’s shelter, and takes place entirely within that community; its down-and-out characters, rough-hewn milieu, and realist aspirations all cues for using non-actors over methoding thesps. And, true to such, the film’s best bits come when Cole sits back, as observer, and allows her players to,
THE CHILDREN ARE THE FUTURE
essentially, be themselves; moments where glints of actual personality can shine through the (mediocre, admittedly) writing. But instead of allowing for a whole movie of intuitive moments, interpretive reads, and improvised performance, the director force-feeds lines of dialogue down her cast’s throat, and seeing non-professionals clunkily deliver memorised script can be excruciating and cringe-worthy, slackening the suspension of disbelief as the mechanisms of ‘acting’ are made embarrassingly manifest.
THE AUSTRALIAN YOUTH ORCHESTRA NURTURES THE COUNTRY’S FINEST MUSICIANS, PREPARING THEM FOR CAREERS IN PROFESSIONAL ORCHESTRAS. ALEKSIA BARRON SPOKE TO CEO COLIN CORNISH AND MEMBER EMMANUEL CASSIMATIS ABOUT THEIR EXPERIENCES WITH AYO. Colin Cornish is at the airport — again. It’s a place that the professional violinist and CEO of the Australian Youth Orchestra (AYO) often finds himself. Having joined AYO as a student musician, before embarking on a successful career with the Australian Chamber Orchestra, he’s now come back to his old stomping ground in a pivotal role. “Some of my friends had said, ‘You should come along to one of these summer music camps’,” Cornish says, recalling his first AYO experience. “I decided to go along and audition.” Having been accepted, he went and participated in one of the organisation’s well-regarded summer programs, and, in his own words, “I basically was hooked after one visit.” What is it about AYO that proves so crucial for young orchestral musicians? The answer, it seems, lies in the opportunities — both personal and professional — that it provides. Travel, particularly, is essential, says Cornish. “Certainly, experiencing different audiences is crucial,” he explains. “To get to play in different locations and get used to the different sounds of the different venues, that’s very important.
And at these ages, 19 to 25, to have the opportunity to play in places like China and the UK and Germany can be really important milestones for a career.” In fact, touring often cements a young musician’s career decision. “To suddenly play at Royal Albert Hall or Carnegie Hall can really help them decide that they’re going to commit their lives to being a musician at the highest level.” Even locally, the experience of playing in a quality ensemble at the Sydney Opera House can ignite passion in a young instrumentalist. Then, of course, there are the connections and friendships that AYO has forged. Cornish speaks fondly when remembering how many of his best professional friendships began at his first summer camp. “Pretty much all of my friends that I met in the AYO ended up being my professional colleagues,” he explains. “The AYO’s been with me since I was a student.” It’s a tradition that’s continuing on nicely, according to young oboist Emmanuel Cassimatis. Cassimatis has been playing the oboe for quite some time: “I started on my eighth birthday, and now I’ll be 22 in August,
31: MIDGET LIBRARY BY ROBERT LUKINS There’s an episode of The Greatest American Hero, ‘Divorce Venusian Style’, that I can’t shake. Bill Katt and the gorgeous Robert Culp are battling SS-suited neo-Nazis, are taken to a dead alien planet, returned in time to punch up the boxheads — thus foiling their plans to destroy a weapons shipment destined for Israel — then dropped in the desert with the alien’s instruction book — finally! — that will reveal all of the secrets to Bill’s superpowers, only to have the book shrink to the size of a grain of sand. The episode ends with our heroes on their hands and knees, bickering, the camera slowly pulling back and
away as we watch them hopelessly searching through the desert for the lost instructions. The scene always struck me as being so true and desperate and despairing. The camera keeps pulling back, the credits are rolling, and it’s all of us on our knees in the desert trying to find the lost rulebook to living. That dastardly theme tune buzzing, it’s a Friday morning and I’m wafting within the State Library, a place made of its own special kind of infinity. If I lived to be 110, how many of these volumes could I read — maybe one short aisle’s worth? Maybe. Up on level four is Mirror Of The World, a good-as-permanent exhibition of the sacred space books occupy in us; it maps a timeline of the world’s stories and loves, showing history being assembled.
C U LT U R A L A time before useful paper — 4,000 years old and now lodged behind glass is a cuneiform tablet plucked from Southern Mesopotamia. It is a stunning thing, so perfect in size and shape for human fingers. I want to grab it and send it a hurling arc across the high domed space of the La Trobe reading room. Snap — it’s the late 15th Century and laid out before me is a vanished family’s Book Of Hours, a private anthology of prayers to be recited at the eight canonical hours of the day. As I skulk through the rest of the exhibition I will think again and again of this Book Of Hours. The Library’s collection: such rare and godly documents: 1529’s The Divine Comedy, A Hamburg original Das Kapital, that woman-skin suit hanging on a rail on the paperback The Female Eunuch. Comics taken from under schoolkid beds: Silver Starr, Dark Nebula. World’s first atlas, Theatrum Orbis Terrarum, stacked aside Renard’s great fish. A Midget Library: all we know shrunken to fit in your palm. These are all righteous treasures we want to arrange in an order that makes sense, and so, have them make sense of us. If we had a map, a set of instructions, we could all relax and be happy, surely. If we could construct a definite list, a Book Of Hours from all the knowledge of the world, we could finally rest easy. The camera’s still pulling back, the theme tune’s rolling; the feel of hot desert sand on our hands.
Still on the dog theme, but to a time when things were less complicated, it has just been announced that Red Dog, the legendary story of a charismatic kelpie who united a mining community in the 1970s and ’80s, will close this year’s Melbourne International Film Festival. Directed by Kriv Stenders, Red Dog stars Josh Lucas (Sweet Home Alabama, A Beautiful Mind), Rachael Taylor (Transformers), Noah Taylor (Shine, Almost Famous), Keisha Castle-Hughes (Whale Rider), Luke Ford (Animal Kingdom), and canine co-star Koko.
WITH REBECCA COOK Thursday night saw the opening of MTC’s latest theatrical offering, the Joanna Murray-Smith play The Gift. Cringe went along because there was a puppy on the poster. Melbourne stalwarts of arts, culture, and opening nights such as Geoffrey Rush, John Safran, Rhonda Burchmore, and Marieke Hardy were out in force to view Murray-Smith’s modern morality tale. Directed by Maria Aitken, the story centres on well-off middle-aged couple Sadie (Heather Bolton) and Ed (Richard Piper) who meet and instantly hit it off with younger couple Martin (Matt Dyktynski) and Chloe (Elizabeth Debicki) at an upmarket tropical resort. When conceptual artist Martin saves Ed’s life (yes, irony at its best), the wealthier couple seek to repay the debt. With the offer of a race horse rebuked,
STANDING UP AND STANDING OUT
FILM ACTRESS JENNIFER COOLIDGE HAS KICK-STARTED HER STAND-UP COMEDY CAREER, AND IS BRINGING HER SHOW YOURS FOR THE NIGHT TO AUSTRALIA. SHE TELLS ALEKSIA BARRON HOW IT ALL GOT STARTED IN A CAPE COD NIGHTCLUB. Don’t feel bad if you didn’t know that American actress Jennifer Coolidge also performs stand-up. Unlike many comic actors who cut their teeth on a stage, armed only with a microphone, Coolidge is relatively new to the art. How long has she been doing stand-up? “A couple of weeks,” she says blithely. Uh, really? She giggles. “No.” Although it’s not quite as far from the truth as one might think: “I’ve been
doing it about a year and a half.” Now 47, it seems strange that Coolidge — an established film actress with a string of hits to her name and a tendency to steal scenes — would delve into the no-secondchanges world of stand-up comedy. However, it seems that she is never one to turn down an opportunity. “What happened was, this guy in Cape Cod, Massachusetts… who owned a club
there had all these famous stand-up comedians do his show; he asked me if I would come in.” Coolidge wasn’t exactly averse to the idea, but she remembers being frank about her lack of experience — not to mention material. “I said to him, ‘I don’t really have anything.’ I had a few thoughts written down in a notebook, but nothing like a show.” The club owner didn’t care. “He said, ‘Just come
Richard Piper captured the audience’s heart, he was playing it too hard for laughs on opening night. The Gift is certainly good fodder for debate and Murray-Smith has tapped a rich vein of modern life.
and read out of the notebook.’ That started the whole thing.” It’s a strange combination — a club in the heart of New England’s summer homes district seems a long way from New York’s Gotham or LA’s The Laugh Factory. Still, this leftfield starting point drew Coolidge, best known for being Stifler’s “mom” in American Pie and the best thing about Legally Blonde, and recently seen in the short-lived
Ed and Sadie give the younger couple a year to think of an appropriate gift they can give them. Meeting a year later, Chloe and Martin have come up with a wish, but it’s something so inconceivable it seems unlikely anyone could grant it. The Gift is difficult to discuss as the really meaty conversation revolves around the couple’s request. And the request is the most interesting piece of this otherwise pedestrian production. Murray-Smith has got the dialogue of a long marriage down to a tee and she can expertly express those thoughts that we have difficulty acknowledging even to ourselves, but it seemed that this play should have perhaps started at interval and taken the harder road of trying to show the aftermath of the request. Heather Bolton’s performance was spot on as one of the High St Armadale ladies-who-lunch, and while TV series Party Down, into the world of stand-up, and gave her the confidence to say yes when asked to take on a couple of rather challenging gigs. “I had two big nights in Los Angeles — two big award shows,” explains Coolidge. The first was particularly tricky, as the MC for the night had fallen through. “Shirley MacLaine dropped out at the last minute — she was the host of the evening, and so they asked me last-minute to come on and replace her.” Coolidge was nervous — not just for herself, but for the ramifications it could have on her career. “I had to stand up there and host an evening in front of all these incredibly intimidating people — people who could hire me or fire me on a job.” Coolidge’s style lent itself well to the occasion, however, and she was a hit. When another host of another award ceremony fell through, she got the call and accepted the challenge. “I think those two nights gave me the confidence,” she explains. “It was like, ‘If I can do this in front of all these scary people, then I can do it in front of a regular audience.’” She certainly hasn’t struggled to find people keen to see her perform — Coolidge’s stand-up has taken her not only across the USA, but to the comedic mecca Edinburgh. Now she’s heading to Australia with her show Yours For The Night, armed with the kind of confidence that comes with getting a few gigs under the belt. She thanks her improvisational abilities for being able to play her varied audiences. It’s not the first time her ability to think on her feet has been on show — she’s frequently collaborated with Christopher Guest on improv mockumentary projects, including the very clever Best In Show. However, she’s acutely aware that the stage offers no second takes, or even someone else’s character to wear as a shield. “It’s very different to doing a movie, because you do a movie and if people don’t like what you do in a movie, you don’t have to take it personally,” she says, adding, “Sometimes it’s
“We are thrilled to be able to present this charming and funny film on our Closing Night. Kriv Stenders has crafted a magnificent ode to love, life, and friendship in ’70s Australia, with a pumping pub-rock soundtrack and sumptuous visual style. And with one of the most acute performances by a canine you’ll see — and it’s been a big year for dogs on screen!” says MIFF artistic director Michelle Carey. Another film Cringe can’t wait to lay her peepers on in this year’s MIFF is Triangle Wars; a documentary about the fight over the infamous St Kilda triangle development on the foreshore. The doco captures the battle between the local community, the Port Phillip council and the powerful developers. More details including the opening night film will undoubtedly be drip-fed over the coming weeks. For more details head to miff.com.au. even like, ‘Well, I didn’t even like that movie myself, and I didn’t create that character, it was written by somebody else.’” On stage, however, she’s responsible, totally, for her performance. “Doing stand-up, you are much more vulnerable. In a way, certain ways, it’s actually more satisfying as well.” Coolidge learned quickly to tailor the show to the audience and think on her feet. “The show is sort of changing all the time. The material that I do in Boston doesn’t work when I’m doing it in Missouri, or stuff that I was doing in the United States didn’t work at all in Edinburgh.” Fortunately, her style is less reliant on a set series of jokes, and more adaptable. “Sometimes the stuff that I talk about in the show will have happened to me that day. I’ll just want to talk about it.” The stuff that makes a great night for Coolidge isn’t found in the size of the audience or the volume of the applause, it’s in winning an audience over, having them on her side. “The nights I’ve had that are really great are the ones where I’ve realised the audience feels the same way about what I’m saying as I do,” she says. “There’s something very fun about that — that communal feeling about someone’s full-of-shit speech or full-of-shit interview on Oprah.” One of her favourite aspects of stand-up, she adds, is the knowledge that other people can see through the same bullshit she can see through. “These people, who say this crap, they don’t think that we can see through it. It’s just so great when you’re talking to the audience, and they weren’t fooled either.” Coolidge has a quickness, a sharpness about her that’s both endearing and intriguing. Her stand-up comedy, she explains, has given her an outlet for her intellect that her characters often can’t provide. “Stand-up is sort of another form of self-expression. I have to say, it’s cool. Cooler than I can explain.” WHAT: Jennifer Coolidge: Yours For The Night WHERE & WHEN: Athenaeum Theatre Friday 10 June
LIFE’S A PITCH
STORM IN A TEACUP DANA ROSKVIST of metal outfit SYDONIA explains to TONY MCMAHON how seeing them live is like sex in a park.
His move into electronic from rock was organic, but BASS KLEPH – or STUART TYSON to his folks – is now well and truly here to stay. He talks evolution and his quest for global domination with CYCLONE.
the drums – we have two percussion setups that Sam [Haycroft] and Adz [Murray] play live – sound big live, it’s quite primal. Kinda like random sex in a misty park.”
of his DJ fan club include house purist Mark Knight, techno lover Fergie, and electro rebels Crookers. And he’s actually remixed sometime rock chick Sarah McLeod’s White Horse.
Roskvist is looking forward to gigging with support act Contrive, but doesn’t anticipate too much in the way of textbook rock‘n’roll antics. “Fantastic, lovely guys, crankin’ tunes!” she continues. “We played with them once years ago at the Melbourne show of the Stone Sour tour and have spoken plenty of times since about doing shows together. So, now it’s finally happening. I don’t see teles flying out of windows. Maybe some pineapple juice cartons or ginger tea bags?”
As a teen, Tyson was himself in a modestly successful rock band, Loki. However, by time they dropped their debut album, 1999’s Chyme, the drummer had discovered electronica and so his metamorphosis into a DJ began. Tyson, who presides over the Vacation imprint, is showcasing his recent work on a new mix CD – his first since The Underground 2010 (with Afrojack). Bass Kleph: Presents entails a techno update of $pend… Tyson’s poptastic mix of Danny T and Oh Snap!!’s Whine Ya Waistline, and an earlier collaboration with D Ramirez, Pulse. Tyson does intend to cut an ‘artist’ album – at some stage.
he DJ has to constantly evolve musically as well as technologically, as Sydney’s Bass Kleph (AKA Stuart Tyson) knows. Tyson started championing breakbeat circa 2000, but in today’s ever-hybridised dance scene, he’s now playing postelectro, tech house and the again-hip straight house. “It would be difficult to pinpoint [my style] because I’ve changed maybe too many times,” the DJ confesses. “But where I’m at now I feel like is where I’m staying. I’ve felt the most comfortable with my music now. I did start out in breaks – I then went on to move through to fidgety, jackin’ stuff and then into electro-house and these days into tech-house and just even traditional house. [House] was something I always loved. When you’re into a genre like breaks, and you’re known for it, it feels a little hard to move away from it and completely change up all your music from what people expect of you, so I was probably a little bit slow in making the jump. But I’m very happy to be here now. It just feels right and the music is flowing – and that’s been showing itself in the results it’s been getting, too… It definitely reconfirms that I’m on the right path.” Indeed, the festival favourite is on a roll. Tyson is hot property on Beatport, with a remix of Joan Reyes’ Shakedown becoming his first number one on the digital site last year, while he’s enjoyed hits in his own right with Keyboard Cat and I’ll Be OK. Another tune, 2009’s $pend My Money (featuring Stellar MC), crossed over into ARIA’s Dance Chart. Members
“I really wanna do a complete traditional ‘artist’ album where you take a month or two off and go and hide somewhere in a random cottage and write a whole new album, but it’s just been a time constraint thing with the touring and all the tracks. It’s something I’m planning to do at the moment.” He hopes that Bass Kleph: Presents will “tide over” fans as “realistically” an album won’t materialise for at least a year. Currently sitting at number 13 in the inthemix50 DJ poll, Tyson has, like Dirty South, emerged as an Australian superstar DJ abroad, touring Europe, the US, Asia and, lately, South Africa. “I was blown away,” he says of the latter. “The country is beautiful, the people are amazing and so psyched about dance music – the clubbing scene is great, too! I’ll definitely go back again.” Many DJs with a rock heritage grow nostalgic down the line. As it happens, Tyson, who chills out to reggae (he loves Fat Freddys Drop), has reconnected with his Loki cohort Chris Arnott. They’ve launched the BKCA project, with a single, We Feel Love, on Bass Kleph: Presents. Tyson laughs, “We’ve both kinda come full circle.”
WHO: Bass Kleph WHAT: Bass Kleph: Presents (OneLove Australia) WHEN & WHERE: Saturday 18 June, Superdisco at Prince Bandroom
rutal yet accessible local alt.metal outfit Sydonia are gearing up for a national tour on the back of the release of their new single, Ocean Of Storms. Veterans of hard touring, the band have gigged with a who’s who of the heavy music world in recent years, including bands such as Mammal, Lamb Of God, Slipknot and Machine Head, just to name a few. So, when Inpress catches up with vocalist, guitarist and programmer Dana Roskvist, naturally the first thing we want to know about is how the band goes about keeping it fresh on the road. Apparently, it’s all down to new songs and a bit of beefcake. “Usually we start with the bedding in the van,” she says. “We have a great pillow that has bare-chested firemen on it, very sexy, and a blow up mattress that tends to get deep sleep drool on it. Maybe we’ll go via a new town we haven’t seen on the way – have an argument about the people who settled it 150 years ago, get stung by bees [and] eat a bad pie, chicken strip, piece of tofu. Most importantly, we try and have a new song ready each time we tour for people to check out, this time we have two.” And given that there’s probably lots of punters out there who’ve heard Sydonia but never seen them live, we ask Roskvist to describe the difference in the sound. Anyone who’s ever done the bad thing in a park in winter will know where she’s coming from. “It’s bigger, more vibrant ya know?” she says. “Louder obviously, and there’s people singing along, which makes us happy no end. And
“It is a tricky balancing act and I think you just have to be comfortable about drawing influences from different areas,” he says. “I think a lot of guys who are into surf just love it and study it and replicate it. Ultimately, though, I think if you’re going to have instrumentals, there has to be songs that work melodically. Look at Apache: you can whistle it, you can hum it. It gets in your head.” Tellingly, it seems that this ability of the music to endure was very much at the forefront of the thinking behind the record. “I think I want that with all my stuff,” he says. “Any album you release, you’ve kind of got to plan for that album to outlive you. There’s so many records being released, what’s the point in just putting out an okay album? That’s why there’s only nine tracks on this album. The record company wanted us to put some more on and it could easily have been 12, but for me it was more about each song being strong.” Although Mikelangelo is a forceful presence – to put it mildly as mauve – on this record, it’s in many ways
WHO: Sydonia WHEN & WHERE: Friday 17 June, East Brunswick Club
With their debut EP Sex City Lovers on the shelves, MONITERS’ frontman JIMI LUCAS tells JEREMY WILLIAMS how songs simply “fall out of” the band.
a true band album, with notable contributions from guitarist/vocalist Fiete Geronimo Geier and songstress Saint Clare. And the band frontman himself is obviously big on the benefits of collaboration. “It just adds something,” he continues. “And it gives people more of a stake in the album. I could foolishly go, ‘Well, I’m the main songwriter and it’s got to be all my tunes,’ but for me Midnight Rip [Geier’s composition] gives the album a really nice lilt at the end and it heads into slightly different terrain, even though it’s related.”
Is Ocean Of Storms representative of what we might hear from a new album sometime soon? Roskvist hedges her bets a little, but either way, the coming album sounds like it will be well worth waiting for. “It is and it isn’t,” she says. “Our song writing is more streamlined these days but I think that’s just because we’re better at sensing what the important parts of a song are, and focusing on those. That said, there’s some very progressive tracks lining up. I guess you could say it will be bountiful in catchy-ness, heaviness, ambience and imagination. Don’t wanna talk it up or anything but… yeah. That said, we have no idea when album will be recorded, we could go into pre-production tomorrow, but something crazy like money raining from the sky would have to happen. We may be doing an EP before the album happens, not sure.”
TONY MCMAHON brushes aside his man-crush to talk surf tunes with the very dapper MIKELANGELO.
he Surf‘n’Western Sounds Of Mikelangelo & The Tin Star is the incomparable and impossibly cool debut album from the local eponymous outfit and (kind of) Black Sea Gentlemen side project. Boasting nine tracks – about half instrumental – that would have even the octogenarian Ennio Morricone up and dancing, this is one of the releases of the year so far, and opener Danger (Is My Middle Name) simply must be heard to be believed. When Inpress catches up with the man-crushingly deepvoiced and dapper Mikelangelo, we begin by asking how he managed to tread the fine line between obvious influences and the dazzling freshness of his music.
What was it about Ocean Of Storms that made the band pick it as a single? It seems it involved strong opinions on the part of some very respected members of the music biz and the size of the music itself. “The song was one of the first live demos we sent to Real Productions and they really fell in love with it,” she says. “Hence Colin Richardson [Slipknot, Bullet For My Valentine] mixed the song as a love job after we recorded it in Sing Sing. Also, the song is exactly what we wanted it to become: big and sparkling, hooky vocals, large chorus, interesting bridge, a progressive and quite heavy outro… don’t wanna talk it up or anything but yeah…”
On the almost standard question of how this record will translate to a live setting, Mikelangelo turns the tables on your hapless correspondent. (It may be a boring question, but the answers are always interesting.) “We’ve been playing live since late 2009,” he says, “so for us it was more about how we translate our live sound to record. Some things took a while to unfold. Live, I can’t help myself being a bit of a showman. Then Clare brings her go-go troupe along as well. At times there’s four women all wearing these spangly, kind of mini dresses doing all these brilliantly choreographed dance moves to these instrumental tunes. It brings the live show to a whole other level. So, for us it was about how would we make the record dynamic to listen to.” And Mikelangelo’s description of the upcoming launch makes it sound very much as if this will be a not to be missed show. “We took it as an occasion to invite a bunch of friends down to guest with us,” he says. “So The ReChords are opening the night. They’re beautiful, but instead of having a heap of bands we’ll actually do two sets because we’re greedy. The first set we’ll go a bit more into our western leanings and the next we’ll go more into the surf leanings. Rob Snarski from The Blackeyed Susans is going to sing a couple of songs; Dan Hawkins from The Toot Toot Toots; the go-go dancers will be there. Hopefully, it’ll be full of surprises and make for a really good night out.”
WHO: Mikelangelo & The Tin Star WHAT: The Surf‘n’Western Sounds Of Mikelangelo & The Tin Star (Laughing Outlaw) WHEN & WHERE: Friday, Northcote Social Club
becomes apparent that when Lucas implies that Moniters was little more than a happy accident, their lackadaisical approach to composition has helped them create an EP of honest, raw and real material. “We just went with the flow,” he says. “The bass player and I ended up moving in together, so we would just muck around and jam at night, while having a few cigarettes and drinks or whatever. We just wrote a few riffs, then we didn’t really save anything. We just muck around with riffs then later come back to them and eventually have songs written. It has all been a pretty simple basis, the songs just wrote themselves really. It is all pretty instinctive.”
ands often have interesting stories to tell about how they first got together to embark on a journey of musical discovery. However, Moniters frontman Jimi Lucas is clearly bored of having to churn out the same tale time and again as he speaks to journalists galore about the band’s debut EP Sex City Lovers and its accompanying tour. While not wishing to dwell on the story, he informs succinctly that, in accordance with their press release, “The drummer (Matt Schrader) and bass player (Barney Gickel), they knew each other and had done some session stuff together. We just all bumped into each other at The Killers concert and went from there.” While it may be a tale he has told time and again, the fact the trio, all who have had history in bands previously, united over their love of a band whose music could not be more different to their own rock-edged output is intriguing. While The Killers provide electro pop rock light, Moniters, who equally have an electronic edge, have a heavier rock sound. So, did the fact the trio first discussed musical collaboration at The Killers’ gig have any impact upon their songwriting process? It appears not. With the music their primary focus, it wasn’t until later in the game that they realised they may need to focus on one musical direction. “We had a bunch of songs which we had been slating for a while,” Lucas reveals. “We sort of started of with that, then reached a point where we talked about our direction and where we wanted to go with this music. We wrote a bunch of new songs, then when we went to record it all it all really panned out soundwise.” Content to converse about their approach to songwriting, it
Rather than bigging himself up for having created what could easily be described as one of the most excitingly raw EPs of 2011, Lucas proves a modest man. While many-a musician will talk of the toil and time involved in penning a public domain-worthy track, Lucas is insistent that like the band, their music is born out happy accidents. “Lyrically I don’t spend a lot of time trying to write really obscure lyrics, or trying to write a theme to a song. The songs just fall out of us. We get the music down then we just start singing over the top of it. I don’t really feel too much with the lyrics, I may alter a few things just to make it fit, but most of it is just straight off. We don’t fiddle with songs too much. It keeps them as real as possible.” While the music has always come first, it is clear that Lucas is aware that he and his bandmates have more than a little potential. Having written a stonking set of songs, they finally decided to talk career and get serious. However, unable to fully define what they wished to achieve sonically, their lack of ego allowed them to leave their musical direction in someone else’s capable hands. “We actually left that up to the producer, Forrester Savell, because he is a great guy, the best guy in the country. We just said ‘here are all the songs we have got, we are looking at recording an EP, just pick your favourite ones.’ He pretty much picked the ones which we thought were strongest anyway, then we just went down and recorded them.”
WHO: Moniters WHAT: Sex City Lovers (Independent) WHEN & WHERE: Wednesday 15 June, Empress Hotel
TAKE IT ALL IN
FUELLING THE FIRE For her latest album, Canadian transplant TRACY MCNEIL tells SAMUEL J FELL she simply wanted to rock out.
Minimalism might be celebrated composer CHARLEMAGNE PALESTINE’s game, but it certainly isn’t his way of thinking, as BOB BAKER FISH discovers before his Jazz Festival appearance.
to what McNeil has produced in the past, it’s different, it’s bigger, it’s an artist moving on and striving to hit the next level. work is that I present music like it’s a total ceremony. The Fluxus people, for example, try to make a ceremony by doing something very artificial. They dress up in a tuxedo or they bring a little siren or the bounce up and down on a stage in a concert hall it looks kind of stupid. I understand their reason because they want it to be more than an operating room, doing surgery in an operating room in a hospital.”
he only way to describe Brooklyn-born, now Brusselsbased, ritualistic minimalist composer Charlemagne Palestine is eccentric. Speaking with him is a series of tangential monologues, each thought pushing him further from his point of origin, his comments laced with an abundance of humour, sly wit and self-reflection, and just when you find yourself drowning in a myriad of avantgarde references and curious tales, he somehow ties it all back to your original question. He’s a true original. “Well, I’ve seen in the history, when I look back, there were these natural crazies in each generation,” he offers. “There weren’t many of them. Some of them died early, which is sad, people who had this sense of spontaneous or rebellion or another way of seeing the world or wanting to do everything. I’m certainly not unique in that way.” Yet even early on he was attracted to a world outside of his culture. National Geographic magazines and folkways recordings of Pygmies fired up his imagination and encouraged him to pursue the exotic. That’s despite an impressive working knowledge of 20th century classical musics, like Xenakis, Cage and Stockhausen. “That [music] interested me more than some of the… how can I put it? Musical work with a good haircut already,” he laughs. “My choice was authentic music made by peoples who were thousands of years old than by new mathematically post-Schoenberg kind of serialists and all that kind thing.” Palestine is renowned for his trance-like performances, losing his sense of self in the ritualistic nature of his music. “One of the conflicts in the last 45 years of presenting my
He’s also very conscious of breaking down some of the unspoken tenants of contemporary experimental music, not in a provocative manner, but rather because it doesn’t fit with his sense of self. “I don’t enjoy music being presented in one point where what you are doing there is just listening,” he explains. “That’s totally against what I’ve ever done ever. That’s why most of my work has been in conflict with traditional work. Because each time it doesn’t want to present just music as a sound experience. It’s a total experience. In the east you go to Bali, you go to Java, you go to India, you go to Japan – no problem, they’ve been doing it like that for thousands of years. But in our western intellectual traditions, which comes out of universities and laboratories and people who read books, you can’t do much dancing and singing while you’re holding your book. It will get dirty. It will fall on the floor. You’ll tear a page. “ At the Melbourne International Jazz Festival, Palestine is performing with Tony Conrad, a man he has recently recommenced contact with after losing touch for 35 years. Six years ago, when the two finally reunited, they gelled together better than ever from the outset. And that’s despite having no communication whatsoever. “It’s interesting,” laughs Palestine. “In every other part of our lives we’re totally different. I mean, he’s a professor, he’s around his students… I mean I’m a big drinking and bistro kind of guy. Well, I was.… He’s very American and he does a lot of discussions and explanations and he does them very well, but I’m the total opposite, I hate all of that. But when we start to play there’s no barriers between us and no need to explain anything, it just all comes out the way it should.”
WHO: Charlemagne Palestine & Tony Conrad WHEN & WHERE: Saturday, Melbourne Town Hall
“Yeah, when I made [debut solo record, ‘07] Room Where She Lives, I wanted to make a real country album,” McNeil explains of this musical evolution. “So, this time, I think I just wanted to move away from that. I just felt really confined and there were other things I wanted to explore and express… and Matty Green [guitarist], he comes to rehearsal with three guitars, so there are so many options as to where we can take these songs… I just wanted to rock out.” Rock out is the operative phrase here, and is perhaps where the biggest change in McNeil’s music has occurred. Fire From Burning is indeed still a country record, or perhaps alt-country, there are still those heart-rending, lilting turns of phrase; those melancholy guitars, but then there’s some power and some subtle aggression. It’s almost like the music is being pushed, the musicians in question trying to find the line where the music itself starts pushing back.
ince moving to Melbourne in 2007, Canadian songstress Tracy McNeil has made a mark. It’s not been an instantaneous impression she’s left, but one wrought from perseverance and hard work, culminating in her recently released second solo record, Fire From Burning. By day, McNeil is a teacher, but by night and any other time she has a moment, she’s the purveyor of some of the finest alt.country/folk on our scene today. Canada has lost a fine upcoming talent, whilst we here in Australia, have gained one. “Well, I came into this so late, I mean I’d only been performing and gigging for about nine months before I moved to Australia,” McNeil offers when I venture that this new release sees her as a much more confident musician than she’s shown to be in the past. “So this has all been a huge learning curve for me and now to have a band around me of this calibre of players, it’s just stepped it up a notch… so I feel like I’m constantly growing, every day.” The proof is in the pudding – Fire From Burning is a record you’d think would have come from an artist with many, many years experience, both in music (the country-tinged moods of the record) and in life (the songwriting being of a much deeper quality than you’d expect from someone who’s been at this for only about five years). It’s a record that bares the mark of a true talent, and as well, as befits a true talent, it’s an evolution
For those who came in late, when McNeil arrived in Australia, she released Room Where She Lives, and then the following year hooked up with troubadour Jordie Lane to form Fireside Bellows, releasing the sublime No Time To Die in 2008. Both those records were heavily country influenced and despite their success (particularly No Time To Die), McNeil has still harboured this urge to move on and the results are fantastic – Fire From Burning is more muscular, more robust, it’s bigger, it’s Tracy McNeil rocking out. “As much as I wanted to do something different, I had no idea of exactly how I wanted this record to sound,” she then says of what she wanted of this record, what her MO was. “There are things I did know, I know what guitar I want Matty to play, I know what feel I want in this song, but for the most part, I was really surprised. We just went in and I thought, ‘let’s just get the songs down’, and then there’d be a vague direction, and we’d just see what happens… but we got stronger and tighter and I was quite surprised [when we heard some of the songs back], so it’s like, ‘Where can we push it?’”
WHO: Tracy McNeil WHAT: Fire From Burning (Vitamin) WHEN & WHERE: Saturday, Bella Union at Trades Hall
ISSUE 1077 - WEDNESDAY 8 JUNE, 2011
THIS WEEK INTERNATIONAL JOAN AS POLICE WOMAN: June 8 Athenaeum Theatre ONYX: June 9 Espy BIZ MARKIE: June 10 Espy RON CARTER TRIO: June 10 Melbourne Recital Centre YO GABBA GABBA!: June 11 Palais CLASSIXX: June 11 Roxanne Parlour FATMAN SCOOP: June 12 Neverland
BOBBY FLYNN: June 9 Empress; 13 Espy; KARNIVOOL: June 8 The Pier (Frankston); June 9, 10 Corner EAGLE & THE WORM: June 9 Cherry Bar SONS OF RICO: June 9 Corner SUNWRAE STRING QUARTET: June 9 ABC Centre PUTA MADRE BROTHERS: June 10 Tote GB3: June 10 East Brunswick Club JIMMY HAWK & THE ENDLESS PARTY: June 10 Cherry Bar STONEFIELD: June 10 Ding Dong Lounge THE NATION BLUE: June 10 National Hotel (Geelong); 11 Tote TEETH & TONGUE: June 11 Toff in Town THE MIDDLE EAST: June 11, 12, 14 Corner; 13 Karova Lounge (Ballarat) THE GIN CLUB: June 12 Northcote Social Club KYLIE MINOGUE: June 14 Rod Laver Arena The Nation Blue Friday National Hotel (Geelong); Saturday Tote
GIG OF THE WEEK
FRIDAY, HI-FI BIRTHDAY BASH; SATURDAY, PALAIS RE-OPENING Tim Rogers helps two venues celebrate significant milestones this weekend. On Friday with (killer) band The Temperance Union he leads a bumper bill partying it up for the Hi-Fi’s 14th birthday. Joining the festivities are Henry Wagons, who’s bound to be showcasing material from Wagons’ recently released fi fth (and ace) album, Rumble, Shake And Tumble; rock’n’roll classicists Even, and River Of Snakes, a no-nonsense rock outfit featuring Magic Dirt’s Raul Sanchez. The following night Rogers (sans band) heads up the Western Freeway to relaunch the Palais in Hepburn Springs as a live venue. The Palais closed suddenly last December, but under new management (and with former booker Emma Ireland back on board), the venue has had a makeover and is a welcome (re)addition to the regional circuit. Upcoming bookings include Wagons, Lior, Ron Peno and Jimmy Webb.
OWL EYES: June 10 Espy THE MIDDLE EAST: June 11, 12, 14 Corner Hotel; 13 Karova Lounge (Ballarat) TRIAL KENNEDY: June 12 Ferntree Gully Hotel STORM IN A TEACUP: June 16 Corner Hotel BAD MANNERS: June 16 East Brunswick Club VENTS: June 17 Espy THE GRATES: June 25 Corner Hotel MIAMI HORROR: June 29 Karova Lounge (Ballarat); July 9 Forum BELLES WILL RING: July 1 Workers Club ART VS SCIENCE: July 2 Forum THE BLACK ANGELS: July 2 Hi-Fi HIP HOP APPROACH: July 7 Prince Bandroom SEEKER LOVER KEEPER: July 21 Stones Of The Yarra Valley; 22 Theatre Royal (Castlemaine); 23 Meeniyan Town Hall; 24, 25 Thornbury Theatre MONA: July 26 East Brunswick Club FOSTER THE PEOPLE: July 27 Hi-Fi THE HIVES: July 27 Festival Hall KELE: August 2 Billboard THE VACCINES: August 3 Hi-Fi WU-TANG CLAN: August 6 Festival Hall SEBADOH: September 18 Corner Hotel
Jess McAvoy pic by Honeyrock Photography The Corner is buzzing for local legend Jess McAvoy’s last (ever?) Melbourne gig. She’s got a bit of a show lined up: Wally de Backer (Gotye), Liz Stringer and Dallas Frasca are among the big names set to appear alongside McAvoy over the course of the night.
Leena positively lights up the stage as soon as she starts playing her country-inspired, folky-ish set. I confess I hadn’t heard of her before, but her set really makes me feel like I should have. Her voice is that of a true troubadour – strong and clear. The rest of her band deliver a strong-sounding set – hell, they just put on a good show. (And the fact that she covered Kelis’s Trick Me earns her extra-big, extra-dense brownie points in my book.)
INTERNATIONAL THE PAJAMA CLUB: June 15 Corner BAD MANNERS: June 16 East Brunswick Club KINKY FRIEDMAN, VAN DYKE PARKS: June 16, 18 Toff In Town; 17 Prince Bandroom STEVE IGNORANT: June 17 Tote LYRICS BORN: June 17 Billboard CUT OFF YOUR HANDS: June 18 Northcote Social Club EMMURE, SHINTO KATANA: June 18 Corner FINBAR FUREY, BRENDAN GRACE: June 21 Capital (Bendigo); 22 Melbourne Recital Centre; 24 Geelong Costa Hall; 25 Frankston Arts Centre; 26 Ballarat Regent Multiplex. JOSHUA RADIN: June 23 Forum MILEY CYRUS: June 23, 24 Rod Laver Arena KATCHAFIRE: June 23 Pier Live (Frankston); July 1 Prince Bandroom BRIAN MCKNIGHT, DWELE: June 24, 28 Track Lounge Bar HELMET: June 25 Hi-Fi MICAH P HINSON: June 30 Toff In Town SNEAKY SOUND SYSTEM: July 1 Corner THE BLACK ANGELS: July 2 Hi-Fi DJ EMALKAY: July 8 Roxanne Parlour TY SEGALL: July 9 Tote DON RIMINI: July 9 Roxanne Parlour ROGER SHAH: July 16 Amber Lounge LEO SAYER: July 20 Playhouse Theatre
Jess McAvoy struts on stage looking just like a rock goddess strapped to an acoustic guitar – which is a good analogy for her gig. She’s a ballsy frontwoman, not so much strumming the thing as dropping to her knees and wielding it as one would a chainsaw – if faux-fur-wearing, glam-hairsporting, singer/songwriting powerhouses wielded chainsaws in such a fashion. The show squashes (read: barely restrains) a rockin’ attitude inside the circumference of its bluesy/rootsy/folksy genre.
JESS MCAVOY, LEENA CORNER HOTEL twitter.com/inpressmag
McAvoy chooses the perfect song for each of her guests – The Sailor sounds like it’s just been itching to meld in with de Backer’s gorgeous vocal harmonies. Likewise, How The Hell blooms like some species of carnivorous flower with the aid of Dallas Frasca’s unstoppable freight train of a voice. Not to say that those songs McAvoy plays solo are wanting – on the contrary: heart and soul are plainly lit up in her stage presence. All in all it’s been a fitting send-off for one of Melbourne’s most beloved and consistent performers. Alice Body
(Geelong); 21 Regent Multiplex (Ballarat); 22 West Gippsland Arts Centre (Warragul); 23 Wellington Entertainment Centre (Sale); December 1 the Bairnsdale RSL Club RISE AGAINST: July 21 Festival Hall MODEST MOUSE: July 21, 27 Prince Bandroom DEL THE FUNKY HOMOSAPIEN: July 21 Espy GLASVEGAS: July 25 Hi-Fi JAMES BLAKE: July 25, 26 Prince Bandroom MONA: July 26 East Brunswick Club WARPAINT: July 26 Corner ENRIQUE IGLESIAS, PITBULL: July 27 Rod Laver Arena FOSTER THE PEOPLE: July 27 Hi-Fi ELBOW: July 27, 28 Palace Theatre THE HIVES: July 27 Festival Hall THE KILLS: July 28 Prince Bandroom REVEREND BEAT MAN, DELANEY DAVIDSON: July 28 Northcote Social Club FRIENDLY FIRES: July 29 Billboard PULP: July 29 Festival Hall FITZ & THE TANTRUMS: July 29 Red Bennies DOOMRIDERS: July 29 East Brunswick Club JOHN 00 FLEMING: July 29 Roxanne Parlour DEVENDRA BANHART: July 29 Prince DJ SHADOW: July 31 Palace Theatre NO USE FOR A NAME: July 31 Corner; August 2 National Hotel ISOBEL CAMPBELL & MARK LANEGAN: August 1 National Theatre DANANANANAYKROYD: August 1 East Brunswick Club AVENGED SEVENFOLD, SEVENDUST: August0 2 Festival Hall THIEVERY CORPORATION: August 2 Palace Theatre GROUPLOVE, YOUNG THE GIANT: August 2 Corner KELE: August 2 Billboard NOAH & THE WHALE: August 3 Corner THE VACCINES: August 3 Hi-Fi GOMEZ: August 4 Palace Theatre DOES IT OFFEND YOU, YEAH? August 5 Prince Bandroom WU_TANG CLAN: August 6 Festival Hall THE GET UP KIDS: August 7 Billboard OWL CITY: August 17 (18+), 18 (U18) Billboard BIG BOI: September 2 Palace NICK WARREN: September 2 Billboard Joan As Police Woman Tonight (Wednesday) Athenaeum Theatre
TITLE FIGHT, TOUCHE AMORE: September 10 Billboard SUZI QUATRO: October 2 Schweppes Entertainment Centre (Bendigo); October 3 Palais STEELY DAN, STEVE WINWOOD: October 27 Rod Laver Arena LONDON ELEKTRICITY: October 31 Prince MAD SIN: November 11 Hi-Fi KD LANG: November 12 Sidney Myer Music Bowl KINGS OF LEON: November 13, 14 Rod Laver Arena DOLLY PARTON: November 22, 23 Rod Laver Arena ELTON JOHN: December 6 Rod Laver Arena
NATIONAL THE MONITERS: June 15 Empress KYLIE MINOGUE: June 15, 16 Rod Laver Arena BOBBY FLYNN: June 16, 23, 30 Empress; 20, 27 Espy THE DELTA RIGGS: June 16 Karova Lounge (Ballarat); June 23 Workers Club; June 24 Yahoo Bar (Shepparton); June 25 Sandbar (Mildura) THE MEDICS: June 16 Northcote Social Club DEREB THE AMBASSADOR: June 17 Corner VENTS: June 17 Espy TEX PERKINS & THE DARK HORSES: June 17 Thornbury Theatre
BASS KLEPH: June 18 Superdisco JACK LADDER: June 19 East Brunswick Club MOUNTAIN STATIC: June 23 Community Church of St Mark (Clifton Hill) GOSSLING, RYAN MEEKING: June 23 Karova Lounge; 24 Northcote Social Club ITCHE-E & SCRATCH-E: June 24 New Guernica TUMBLEWEED: June 24 Corner; 25 Barwon Club Hotel; 26 Elsternwick Park LITTLE RED, WORLD’S END PRESS: June 24 Palace(18+); June 26 Hi-Fi (U18), PAPA VS PRETTY: June 25 Northcote Social Club THE GRATES: June 25 Corner MIAMI HORROR: June 29 Karova Lounge (Ballarat); July 9 Forum THE GENIE: June 30 Northcote Social Club
GREENTHEIF June 30 Brunswick Hotel; July 1 Pony; July 2 the Saloon (Traralgon) BELLES WILL RING: July 1 Workers Club KATCHAFIRE: July 1 Prince SNEAKY SOUND SYSTEM: July 1 Corner ART VS SCIENCE, STRANGE TALK: July 2 Forum SHORT STACK: July 2 Festival Hall SURECUT KIDS: July 2 Zoolandtrash NATALIE GAUCI: July 3 Bennett’s Lane SASKIA SANSOM & DAMON BIRD: July 3 Workers Club KARNIVOOL: July 6 Corner ALPINE: July 7, 8 Northcote Social Club DAN SULTAN, ALEXANDER GOW: July 7 Performing Arts Centre (Geelong); July 8 National Theatre; July 9 Theatre Royal (Castlemaine) WAGONS: July 8 Karova Lounge (Ballarat); 9 National Hotel (Geelong); July 16 Forum Theatre DAMIEN LEITH: July 8 Palms At Crown BOOM CRASH OPERA, SEAN KELLY: July 9 Crown Casino CHARLES JENKINS & THE ZHIVAGOS WINTER BALL: July 9 Corner THE SMITH STREET BAND, FORMER CELL MATE: July 9 East Brunswick Club; 10 Catfood Press (all ages) CLARE BOWDITCH, LANIE LANE: July 13 Karova Lounge (Ballarat); 14 Wellers Restaurant (Kangaroo Ground); 15 Theatre Royal (Castlemaine); 16 Thornbury Theatre TIJUANA CARTEL: 15 July East Brunswick Club BUSBY MAROU: July 15 Northcote Social Club; 16 the National (Geelong) CHOCOLATE STARFISH: July 16 Corner THOUSAND NEEDLES IN RED, FLOATING ME: July 16 Hi-Fi SEEKER, LOVER, KEEPER: July 21 Stones of the Yarra Valley; 22 Theatre Royal (Castlemaine); 23 Meeniyan Town Hall; 24, 25 Thornbury Theatre DIESEL: July 22 Regent Theatre (Ballarat); 23 Palms At Crown; 24 Gateway Hotel (Geelong) JINJA SAFARI: July 23 Corner TINY RUINS: July 24 Toff PNAU: July 26 Billboard MOVING PICTURES: July 29 Palais FORBIDDEN: July 30 Prague JAMES BLUNDELL, CATHERINE BRITT: August 3 Hallam Hotel; 4 Gateway Hotel (Corio); 5 Moe RSL club CHILDREN COLLIDE: August 3 Pelly Bar (Frankston); 4 Karova Lounge (Ballarat); 5 Bended Elbow (Geelong); 13 Corner JORDIE LANE: August 12 Corner REGURGITATOR: August 25 Bended Elbow (Ballarat); 26 Hi-Fi; 27 Bended Elbow (Geelong) SKIPPING GIRL VINEGAR: August 26 West Gippsland Arts Centre JOHN WATERS: October 27 Playhouse (Geelong); 28, 29 Palms At Crown; 30 Frankston Performing Arts Centre; November 12 Wangaratta Performing Arts Centre
FESTIVALS MELBOURNE JAZZ FESTIVAL: until June 13 EMERGE FESTIVAL: June 15-July 30 PARKLIFE: September 24
THE BLIND BOYS OF ALABAMA FEAT AARON NEVILLE, MAVIS STAPLES PALAIS There is a feeling of quiet anticipation filtering throughout the slowly moving queue and the majesty and splendour of the Palais never fails to impress. Just before 8pm, half a dozen darkly clad figures drift out onto the stage to quiet applause. It’s not until the pocket rocket, grandma of soul and absolute hero of the night, Mavis Staples, makes an appearance that the audience really start to express some hearty appreciation. What Staples lacks in stature she more than makes up for in presence. In between songs, Staples is somewhat showing her age with classic, grandma-style idiosyncrasies such as accidental word substitution; Adelaide, you will be happy to know your town has now been renamed “Lemonade” because Staples can’t remember the word. Yet as soon as the music starts up again, all is quickly forgotten and Staples is truly in her element. As she weaves her textured tones over a six-piece band, including sister Yvonne on backing vocals, Staples powers through a varied selection of traditional gospel, classic soul and blues, as well as material from the Jeff Tweedy-produced new album, You Are Not Alone. Tweedy’s stamp is clear on the few tracks performed from the album and songs such as Wrote A Song For Everyone could easily be transplanted directly into a Wilco set. There really is something for everyone in Staples’ show and even those unfamiliar with her work have no trouble finding a couple of familiar songs in the set, including the absolute classic, The Weight by The Band. After a brief intermission, everyone is ready for the next hour-and-a half instalment of uplifting, joy-filled music from more gospel legends: The Blind Boys Of Alabama plus Aaron Neville. An assistant guides The Blind Boys out to their positions on the stage and, just as the applause begins to wane, their traditional and trademark gospel harmonies instantly fill the enormous theatre. Even those among us who are not religiously inclined can’t help but be swept up in the sheer elation conveyed through this kind of music. It’s not until the fifth song that Neville joins them onstage and his hulking presence could be intimidating if it weren’t for his voice. As soon as he opens his mouth and that delicious falsetto drips out, it can your breath away. It’s a beautiful contrast to the bold and rolling deep harmonies of The Blind Boys and they take a backseat for their enigmatic guest. Fans of The Wire are happy to hear the TV show’s theme song Way Down In The Hole sitting comfortably alongside Sam Cooke’s A Change Is Gonna Come and gospel stalwarts like Amazing Grace within the set. As The Blind Boys shuffle and shimmy on the spot, they close the set with Precious Lord, leaving the audience on their feet and clapping in fast syncopation. While there may not have been any religious conversion here, the spirit-lifting music on offer from all of the spectacular talent onstage tonight far outshone this glorious venue. Lou Lou Nutt
GEORGE CLINTON & PARLIAMENT/ FUNKADELIC, DIAFRIX PALACE Perhaps we were all hungover from Easter, but Diafrix certainly had a hard time warming up the crowd tonight for the Parliament/Funkadelic extravaganza we were expecting. Not quite cutting the rug, their two microphones and a sampler approach did not exactly see the Aussie three-piece outfit pushing out party starters to get the crowd jumping. After making us wait, the P-Funk gang eventually take George Clinton pic by Chrissie Francis
to the stage. It seems that much of Clinton’s band has missed the space shuttle from the Mothership and the 26-piece band that was promised turns out to be a hard-rocking, six-piece band plus four or five vocalists that work together to deliver the tunes. Clinton’s grandson Ric Smoov gets the action happening and is quickly joined by Kendra Foster, who regales us with some distinctly unfunky R&B tunes. It leaves us wondering just how many R&B skeletons Clinton has in his closet. Funky Gene ‘Poo Poo Man’ Anderson whose vocals have graced quite a few Parliament/ Funkadelic albums cuts quite a distinctive figure resplendent in gold plaited dreads topped off with a gold crown. He pulls some crazy dance moves and sings his heart out. After a 20-minute warm-up they eventually shoot the Bop Gun and Dr Funkenstein finally makes his way onto the stage. George Clinton, almost a septuagenarian, looks like has partied a little too hard at the Blues Fest in Byron Bay. Unlike previous tours in recent years, he does very little except lead the band and, in a croaky voice, lets the audience know that they need to clap their hands or scream a little louder. Nevertheless, the crowd is quite happy to free their minds and give the granddaddy of funk all the love and appreciation their hearts could offer. Aqua Boogie and Flashlight unleash complete pandemonium as we have a close encounter with some ghetto-fabulous vintage funk. It’s not long before Clinton introduces us to his granddaughter Sativa Diva whose cute raps and rhymes on Something Stank and I Want Some showcase an obsession for herbal cigarettes. The band gets busy with Tear The Roof Off The Sucker and Cosmic Slop generating a hysterical euphoria from the crowd who were clearly up for a good time and ready to Give Up The Funk. Sir Nose prances and gyrates about the stage while suggestively stroking his nose and leading foxy young ladies onto the stage to dance. Despite some pretty accomplished players making some pretty fine but freaked-out noises, it does feel like a facsimile of the madness that might have transpired onstage some 40 years ago. The funk tonight sounds less improvised, heavier and more metallic, rougher and louder than the more purely party sounds showcased on previous tours. The grinding Swing Down Sweet Chariot almost leaves the funk behind for some pretty weird and epic heavy rock operatics. Atomic Dog provides some comic relief ahead of Me And My Folks. In the absence of Gary Shider, who passed away last year, Michael Hampton looks like the hardest-working musician in the entire band, sweating over some seriously wild guitar licks. None wilder than the intergalactic psychedelic excesses of Maggot Brain that put the spotlight on the guitar genius who brings down the show with a dramatic climax. Guido Farnell
FRANKIE WANTS OUT, ADAM COUSENS, SOUL SAFARI NORTHCOTE SOCIAL CLUB Headbanging isn’t what you expect from a band with a name like Soul Safari, but then they aren’t your average soul band; they know how to rock out. The inimitable lead singer, Lisa Faithfull, is effortlessly chic and clearly at home on the stage. Playing a longish set, Soul Safari’s blend of old school and neo-soul with a hint of grunge leaves you torn between wanting to mosh and bust out some serious jive moves. Next up is Adam Cousens and his rootsy blend of folk rock. If there’s one way to get the audience’s attention it’s to dress up in top hats, long jackets and fake beards, à la (albeit a little more hobo) Abraham Lincoln and have a costume change after the first song. Cousens’s laid-back Ben Harper-meets-Frank Turnerstyle tunes are thoroughly enjoyable and he is a huge hit with the crowd. There is one thing you can never be at a Frankie Wants Out gig and that is overdressed. Especially
firstname.lastname@example.org when the band are hanging out in the audience looking incredibly schmick in their black suits, white shirts and dress shoes. Going to a FWO gig feels like being in a time warp – girls are wearing 1920s- and ‘30s-style dresses complete with hairstyles to match and doing the Lindy Hop with their equally well-dressed partners. It doesn’t get much more intimate than the Northcote Social Club, so it’s lucky that lead singer Andy Coates knows how to work the mic and butter up the audience. No matter what kind of day you’ve had, when the curtains open and you hear that snare drumbeat signalling that it’s time for the band to start everything else just melts away and it’s all about the music. The best thing about this nine-piece gangster swing band is that they make sure everybody gets a turn to showcase their talent. With Ainsley ‘Captain Keytar’ Finn on keys, Joel ‘Silver Surfer’ Youdell on alto sax, Sam Parry on trumpet, Cameron Stark on trombone, Joel Plymin (Joel Plymin & Them Blues Cats) on tenor sax, Dom Bello on guitar, Carlo Parisi on drums and Ben ‘Brooklyn’ Christensen on double bass, there is certainly no shortage of it. The songs are beautifully arranged, the performance is impeccably tight and if you want to see some out-of-this-world improv, then this is the troupe for you. Frankie Wants Out don’t just play music – they put on a show. Tianna Nadalin xx
including Girl In A Cage, MissFit and It’s Been So Long. They finish off their main set with Ghouls. The band is quickly back for the encore, starting with Walk Like A Zombie. Midway through, Day hand picks girls to come up on stage, but before long, the stage is full, the song finishes and she kicks them all off (some more reluctant to leave than others). The gig finishes with Miss Take and Where They Wander. Sadly, it’s not the most enthralling gig. Here’s hoping they reinstate the go-go dancers for their next visit. Dominique Wall
TOOTS & THE MAYTALS PALACE It must be a political statement against nepotism: the show begins with Toots’ daughter singing an execrable reggae-muzak version of John Waite’s middle-of-the-road Missing You. After the song is done, she quietly takes up her spot behind a
backing singer’s mic – a spot that should really be for a Maytal – and Toots, her legendary father, enters stage right. Toots is looking ridiculously fi ne. His bright red outfit, reminiscent of Eddie Murphy’s fi ner days, sits snugly over his bulbous, middle-aged paunch while his swagger and black-as-night sunglasses make for a kitschy-cool combination perhaps no other 65 year old could pull off. From the outset, it’s clear that Toots’ voice and its soulful, gospel inflections have only improved with age and his very own funky dance steps remain timeless. But right from the outset, it’s also clear that even though tonight has been billed as Toots & The Maytals, it’s not The Maytals that the world has grown up with on stage and the backing band is not a patch on The Skatalites. The backing band is practically invisible. They’re hardly better than a cover band and there is little cohesion or energy Toots can work with. Although the classic Pressure Drop is the fi rst song Toots sings, the rendition and the band’s inability to nail the rhythm has
the audience raising its collective eyebrow. No member of the band is introduced to the audience and the show might have been better off if they weren’t there at all. A night of Toots singing Funky Kingston, Sweet And Dandy, Louie Louie and Monkey Man should be special, but everything meanders. The only saving grace is Toots’ rambunctious stage presence and booming voice, especially on the songs whose gospel influences are more apparent. But even those vocal moments of joy are hamstrung by microphones dropping in and out, all of which leaves Toots bemoaning at one stage to his sound crew, “I have a big voice — why you try and make it small?” The punchy 54-46 Was My Number is the last song – an absolute belter that is capable of turning the memory of an ordinary night of barely middling rocksteady and reggae into a happy one. Midway through a bizarre four-on-the-floor disco interlude, no one can say for sure whether the fi rst or last song of the night is the most bemusing. Antonios Sarhanis
Horrorpops pic by Heidi Takla
HORRORPOPS CORNER HOTEL It’s been years since US-based Danes HorrorPops were last here, so it is no surprise that the Corner is practically at capacity with punks and skins and rastas, not to mention rockabillies and psychobillies. HorrorPops made a name for themselves with their live shows, which used to include go-go dancers. Even though I know they’re no longer part of the show, it’s still disappointing to only see Patricia Day, Kim Nekroman and Niedermeier take to the stage. However there’s some consolation in that Day looks very fine in her black garrison cap. With no introduction, they break into Julia, the opening track to Hell Yeah. It’s followed by Thelma And Louise, taken from the album they are actually touring, Kiss, Kiss, Kill, Kill. It’s only at the end of this that Day greets the crowd and we’re told that the only response she wants to hear from the crowd to any of her questions is, “Hell yeah!” It’s the theme for the night, it seems, together with her demands for shots of Jägermeister. In fact, she carries on about it to such an extent that it actually becomes annoying. The surprisingly fi rst-album-heavy setlist includes Kool Flattop, Highway 55, Hit ‘N’ Run, Drama Queen, Dotted With Hearts, Baby Lou Tattoo, Everything’s Everything (which, we are told, they do not play live all that often), SOB and Undefeated. It’s at this point Pete Belair, singer/guitarist of support band Firebird and one-time Nekromantix guitarist, is invited back on stage. Day disappears from the stage without warning as we’re treated to Nekromantix’s Gargoyles Over Copenhagen. It’s a nice surprise that’s over too quickly. We say goodbye to Belair (again) as Day returns and the band break into Freaks In Uniform; unfortunately, though, she doesn’t bother singing the fi rst verse. Next is a medley
GREATEST HIT Desert island songs with CLEM BASTOW
ALCALA THE ROOM (CHEEP CHEEP REMIX)
UZI SHOOTS ESPY After a sold out EP launch at the Tote, sold out party in Ballarat with the Yacht Club freaks, and an epic first journey to Sydney to headline the Oxford Art Factory, June sees Baptism Of Uzi embark on a string of shows in Melbourne to reconnect with their inner universe. What better way to start than to drop some psyched guitar harmonies with Gareth Liddiard (The Drones) and The Demon Parade at the Espy this Saturday. Sounds like an electrical storm is about to hit St Kilda. Hell yes.
DEFILED BY METAL After months of dominating the live music scene in the Mornington Peninsula, Krematorium Defi led, Seppuku, Bad Omen and Wychbury Hill are ready to take over Melbourne! Headlining is established metal band Severed Oath, who have won a series of battle of the bands and play many a rollicking show in Melbourne. It will be a night of metal madness, with DJ Sinister playing tunes before, between and after bands. So head to the Prague on Friday 17 June to catch all the action. Entry is $15.
KILLER RADIO STAR Get ready to brace yourself for a hectic live show that may very well end in a mess of band members and instruments on the floor. Melbourne trash-pop outfit Radio Star head out on the road in support of their self-titled EP due out on Friday 17 June. Their latest single I Got You (You Got Me) is now playing on radio. It’s the follow-up to A Common Tale and All The Things We Did, which was featured on Rage as Indie Clip Of The Week and also played on Video Hits, Channel [V] and MTV. Go to triplejunearthed/ radiostar1 for a free download of their new single, and to the East Brunswick Club this Thursday to hear them play live! Sons Of Rico provide support.
SIRUSLY, GET ON IT Drawing on their time in previous outfits (Revolucion Street, The Grand Arcanum, Girl Pilot and Omniana), Sounds Of Sirus have developed a kicking live set with mesmerising vocal presence from lead singer Josh Day. Comparable to a mixture of Circa Survive and Dead Letter Circus due to their hard-hitting rhythm section, massive delay-soaked guitars and unforgettable vocals, their melodies tend to get stuck in your head for days. They’ve built a solid reputation through touring Melbourne’s venues over the past two years, performing alongside The Getaway Plan, House Vs Hurricane, Cog, Behind Crimson Eyes and Twelve Foot Ninja, just to name a few. Their new minialbum Singularity is out now and they play Ruby’s Lounge in Belgrave this Saturday. Tickets are $10.
SUN, SURF AND CILIA Martin Cilia, Australia’s premier surf rock guitarist and also member of legendary Australian surf band The Atlantics is making the trip down from Sydney to Melbourne to play some surf guitar to warm up the traditional Melbourne winter. He has taken a step into the solo spotlight with the release of two solo albums and third album Surfersaurus to be released this month. Martin and his band will draw songs from The Atlantics’ repertoire, including the classic Bombora, as well as tunes from his solo albums. Grab your Hawaiian shirts and sunnies and head on down to Spensers Live this Saturday. Doors open at 7.30 and the band starts at 8.30pm.
BLOOMSDAY FOR DRUNKEN WRITERS Thursday 16 June is Bloomsday. Each year Dubliners commemorate the life of Irish writer James Joyce – one of the most influential writers of the 20th century and famed as the author or Ulysees. Dressed in Edwardian costumes, locals celebrate with pub crawls, readings, writers’ festivals and general merriment. It is a festive time in Dublin and the Drunken Poet intends to create the same festive spirit in Peel Street, West Melbourne. From 6pm, the Drunken Poet is presenting an evening in celebration of the art of storytelling. This fine, friendly drinking establishment, well known for championing Melbourne’s live acoustic scene will host an event that’s not to be missed. Hosted by RRR’s Ben Birchall, on the bill are esteemed writers Benjamin Law, Shane Maloney, Van Walker and Mick Thomas.
One of the great tragedies of living in the internet age is trying to translate internet humour – or even just the internet – to people who don’t spend most of their waking hours online. I learned this the hard way when some years back I attempted – on my then-weekly tech segment on Breakfasters – to describe how amazing LOLcats were. Scratch that, just what they were. We received a number of calls (and forum posts) about how it was the worst radio people had ever heard, what the hell, this is bullshit, and so on. (Though I did also receive an email from a couple whose relationship had been saved by the discovery of LOLcats, so that was nice.) The thing is, the internet (yes, technically the world wide web, but who can be arsed saying that?) has always been about two things for me: friendship and comedy. I’d been online for about an hour in 1995 before I realised that the internet was a great place for lulz. A friend and I had emailed F1 driver Jacques Villeneuve via his official site (plenty of blue links on a white background and chunky GIFs), and were dismayed to then receive, some five minutes later, what was clearly an automated response. We banged out a swear-filled screed – “Sandrine [his girlfriend at the time] is a hopeless loser and she’s still too bloody good for you” was one of the more printable excerpts – and then fell about laughing when we received the same chatty auto-response despite our bloodcurdlingly insulting missive. I never looked back (ie. please put “She did it for the lulz” on my headstone). In a similar vein, it’s hard to get people to “get” the countless joke songs and comedy remixes that have sprung up via YouTube – but if you think that’s bad, I frequently have even more trouble explaining to people that I consider them to be among the best pop music of the past five years. There are two that are at the zenith of internet humour and the horizon point between memes and true pop brilliance: AutoTune The News/ The Gregory Brothers’ Bed Intruder Song and Alcala’s The Room (Cheep Cheep Remix). The moment in the former, at about the 0.55-minute mark, when the handclaps come in still ranks – in my books – as a moment of handclap brilliance on par with The Beach Boys’ I Get Around and 50 Cent’s In Da Club. Bed Intruder Song – since it’s a pastiche of AutoTuned chart R&B – tends to be the less problematic of the two, though. There’s simply nothing about The Room (Cheep Cheep Remix) that is explainable to your average pleb: it’s from a cult film that, for most, is just too bad to even think about, and not only that, it’s a dubstep remix. And yet every time I listen to it (and I listen to it with alarming frequency), those churning Moroder-esque synths fire up and start thundering towards oblivion, it’s like I’m hearing The Beatles for the first time. It helps that the beats reference Donna Summer’s I Feel Love, which is on record as being one of the most thrilling songs ever recorded, but there’s another dimension to the song. I’ve tried to work out what it is about these songs that I find so eternally exciting, and I think it’s that having spent the majority of my life living online, songs like these speak directly to my own experience. Perhaps it’s what it was like to be a teenager around the birth of rock’n’roll? That may sound hyperbolic (because it is), but I have no doubt that classics of the internet genre will one day be elevated to enjoy the sort of wider artistic/anthropological importance I give them already. And one day in the future, when people are strolling through the Smithsonian (etc) looking at looped video displays of Funny Cats and Wolf Dog Sings To A Baby To Stop It Cry and holograms of notable animated GIFs, I’ll sit in my rocking chair and think about how a lifetime of joy started with one offensive email to a Formula 1 driver.
BOOGALOO ALL NIGHT The Karate Boogaloo is a dance that previously only the wisest and most disciplined of Sensei masters could undertake successfully. But now, thanks to the four-piece teenage funk sensation that have named themselves after the much-coveted oriental boogaloo craze, anyone can try! With wailing organ, clanking guitar, bubbling bass and ghetto thumpin’ drums, Karate Boogaloo are tearing up dancefloors in a fashion not dissimilar to that of Bruce Lee or The Meters. They play as part of their June residency at the Builders Arms this Friday from 4pm-6pm in the front bar. Free entry.
STRIKE A MAJOR CHORD Major Chord will launch their first single Tomorrow Night from his much anticipated third album Psychic Civil War at the Builders Arms this Friday. Tomorrow Night is a pre-apocalyptic dreamscape of an under-equipped, over-indulged society. Fortunately, songwriter Dan Flynn offers redemption via glorious melodies, three-part harmonies and a cathartic waltz around the proverbial campfire. After a year of recording, mixing and intermittent shows with his folk/noise side project Children Of The Wave, Major Chord has emerged with a pop-infused, folk-related, long-debated work of art. Support on the night from sassy trio The Nymphs and Brisbane’s Burl Ivers. Doors open at 8.30pm and tickets are $10.
D. Rogers follows up the release of the critically aclaimed Natural Disasters with a residency at the Builder’s Arms. Rogers and band, The Blackline Masters, will delve into their fouralbum back catalogue over four Thursdays in June. Also appearing will be some of Melbourne’s finest songwriters including Andrew Keese, Scott Edgar, Kate Duncan & Friends and Duke Batavia. The residency begins this Thursday in the band room with Andrew Keese providing support. Doors are at 8pm and tickets are just $10.
Playwrite take their wild and haunting wall of sound and a brand new EP to the Workers Club on Monday nights in June. This seven-piece band out of Melbourne throw an amazing live show with pounding drums, swirling guitars and samples topped off with soaring lyrics and chants reminiscent of TV On The Radio, Why? and Maps & Atlases. This Monday 13 June they will be supported by Sleep Decade and have some exciting visual surprises for those who attend! Doors open at 8.30pm, entry is just $2, and beers are an astonishing $2 too!
IT’S A MIRIKAL In a sea of one-hit wonders and transparent fashion trends, singer, songwriter and touring performer Mirika is strikingly unique. Blending blues, hip hop, cabaret and country with lyrically complex yet endearingly heartfelt personal poetry, this international star’s mix of indie style and pop savvy demands attention. The self-confessed ‘gypsy’ has garnered critical acclaim from her home-land of Canada and was even awarded a medal from the New Zealand Government for her work in developing music programs for youth outside Auckland. Recently described as a mix between Cat Power and Peaches, Mirika bridges the gap between accessible vulnerability and the downright sassy. Wordy, rhythmic, emotional and a little bit kitsch, this is an artist not to be missed. Get down to the Builders Arms this Saturday from 4pm-6pm, where she plays at the front bar as part of her June residency.
BENI CAN’T SAY This Friday at awesome new night Can’t Say at Miss Libertine, Modular Records newest signing Beni is going to be whipping the in-the-knows into a frenzy. Having travelled the world far and wide with his own flavour of dance music that has incited storms in clubs far and wide, Beni now has his sights set on Melbourne and will be letting loose. Can’t Say also has the pleasure of introducing another fine young talent to you all in the form of Brisbane boys Millions, whose Triple J Unearthed page has been causing a real stir of late. The tracks uploaded are proper mint and you should get well psyched to party – check that shit out. Entry is $10 with a password, $15 without!
TOBIAS OR NOT TOBIAS Tobias Hengeveld will play the front bar of the Builders Arms every Sunday in June from 4pm. He’ll be bringing you tunes from his acclaimed 2009 release All The Lines Are Down and also a bunch of new songs to boot. Hengeveld’s folk narratives tread the worn lines of isolation, drunken delusion, yearning and ill-intent. His songs unravel perfect vignettes of other lives lived, calling through time and place, carried on a bold and beguiling voice. Join him for a wintery ale and melodic yarn or ten this Sunday.
CHA CHA WITH SEAGULL Melbourne-based explorative indie pop groups Seagull and Patinka Cha Cha take their new sounds to the Grace Darling for a split residency every Sunday night in June. Prepare to be charmed by the humble yet exciting sounds of both bands as they preview songs from their upcoming albums. While Seagull woo with their minimalist and meditative indie folk, moulding heavy-pulsed rhythms with beautiful classical-influenced melodies, Patinka Cha Cha bring an array of electronic and traditional instruments to the stage and create a sound that is like no other band currently performing in Melbourne. This Sunday’s support acts are Where Were You At Lunch and Full Ugly. Doors open at 7pm and entry is $8.
THE LIVELY DEATHRAYS It’s fair to say that this year has been DZ Deathrays’ biggest to date. With only half the year down, the Brisbane thrash/punk duo have released their second EP Brutal Tapes, which was met with a fury of acclaim from both fans and critics around the world, played shows in three continents and enjoyed the kind of buzz most up-and-coming acts dream of! They also played The Great Escape Festival in the UK and were featured in NME and Q Magazine as one of the top ten bands to come out of the festival. Now they’re coming back to Australia but they’re not stopping; they’re touring as supports in August, as well as playing headline shows such as Tonedeaf at Ding Dong Lounge on Saturday 18 June. Catch them with Dananananaykroyd at the East Brunswick Club on Monday 1 August and with Children Collide at the Pelly Bar on Wednesday 3, Karova Lounge Thursday 4, Geelong’s Bended Elbow Friday 5 and the Corner Saturday 13 August.
TULLY’S STEALING MONDAY Tully & The Thief’s piano-driven pop ballads come from a place of poetry, storytelling and selfreflection. Their songs are peppered with thoughtful imagery and delicate descriptions, and their angular drumming, quirky melodies, rhythmic focus and dark, moody undertones draw you in. Tully & The Thief are now ready to show you their magic during their very first headline shows during a Monday night residency at the Evelyn. To make it easy for you, it’s entry by donation and the beverages will run freely at $10 a jug. This Monday they’ll be supported by psychedelic pop group Tehachapi, indie popsters The Neighbourhood Youth and blues folk act Yokey.
FRANKIE COMES OUT ROGER THAT
PLAYWRITE PLAY RIGHT
Frankie Wants Out are proud to announce their upcoming Don’t Tell The Missus mini-tour during this month. It’s been a while since Frankie has been able to get back to Sydney and Canberra due to a busy last few years writing new material, completing other mini-tours, supporting US swing legends Big Bad Voodoo Daddy and Cherry Poppin’ Daddies, and of course releasing their latest single Cigarette Case. As well as visiting Sydney and Canberra, Frankie Wants Out perform at Red Bennies on Saturday 18 June, playing two sets from 10.30pm. Tickets are $15 pre-sale and $20 at the door.
PARTY LIKE A HAWK Jimmy Hawk is one of Melbourne’s most loved folk-pop troubadours. Always shifting and exploratory as a songwriter, his music aims for romantic transcendence using melody, hazy-eyed choruses, dream filled lyrics and warm production values. Not surprisingly, these heartfelt tunes have garnered him an enthusiastic following and have seen him perform alongside artists such as Cold War Kids, The Temper Trap and Silver Sun Pickups. He released his debut album Echo Park last year, to much critical acclaim. Now backed by a full time band and having spent the latter part of last year focused on new material, Jimmy Hawk & The Endless Party are launching their new single, Meet Me At The Party, at Cherry Bar this Friday with special guests Nick Murphy Band and Dancing Heal.
SISTERS OF BRUNSWICK Fresh from the summer festival circuit with performances at Folk Rhythm & Life and Cool Summer, followed up with their May residency at The Builder’s Arms as well as the long-awaited recording of their debut EP, Melbourne’s own folkabilly outfit The Little Sisters are set to wow the Sporting Club Hotel in Brunswick every Friday in June with yet another series of country-inspired splendour! The Little Sisters are the frank, endearingly bratty siblings you never had. Featuring three savvy singer/ songwriters from various musical backgrounds, the trio incorporate close harmony, traditional sounds, comical lyrics and contemporary twists into their trademark theatrical performances. It’s free from 4pm-6pm in the front bar.
A STICKY SITUATION Introducing Love Don’t Pay The Rent: The Sticky Institute Benefit. Sticky Institute are ardent defenders of zine culture, and distribute over three thousand zine titles a year with thanks to a team of hard working volunteers. The institute largely depends on government funding, but in an increasingly competitive environment they missed out on two grants this year (travesty!) and Love Don’t Pay The Rent. So they’re putting on a fundraiser featuring the musical talents of Oscar & Martin, Parking Lot Experiments and Brothers Hand Mirror, with more to be announced. So from 7pm at the Toff In Town on Sunday 21 August, dance, scream, cry, shake it, mix it up and pay at the door. You’re keeping a Melbourne institution kicking! Tickets are arund $15 from the venue or from Sticky Institute.
LETTING THE CARTEL GO
EASY THERE, TIGER
With what seems like only minutes remaining before they lock themselves into a secluded Nimbin homestead to record their new album, Tijuana Cartel have announced a string of headline shows to launch their new single Letting It Go. Taken from their forthcoming, as yet untitled third album, Letting It Go delivers an addictive and hypnotic blend of electronic pop mixed with Tijuana Cartel’s trademark fat beats and rocky grooves. The band’s raw and electric energy has blazed a path through venues and festivals throughout Australia and the world, with their live shows bristling with energy and positivity. Catch them at the East Brunswick Club on Friday 15 July.
This Thursday at the Toff In Town, The Tiger & Me launch The Howling Fire, the first of a series of three EPs. The separate releases explore a descent into madness, the ensuing struggle, and ultimate embrace of insanity. Produced by Myles Mumford, the new recordings represent an organic evolution for the band, infusing more indie and classic pop influences into their signature sound. Tickets are $18 through Moshtix.
WHO’S HOUSE? For fans new to the reggae scene, New Zealand’s House Of Shem are an eight-member conscious reggae band whose unique sound blends Jamaican, Hawaiian and Polynesian musical influences. The harmonies and melodies produced by the Perkins family, led by Te Omeka Perkins and spearheaded by father and former Herbs member Carl Perkins, stir every listener’s soul and create a positive, feel-good warmth. Fresh from touring internationally, performing sellout shows and festivals, House Of Shem fi nally hit our shores this month, playing the Palace this Sunday. Tickets are $45+BF – visit houseofshem.com for details.
THE DEVIL RETURNS It’s been eight years since The Devilrock Four played their first show, and to celebrate this fact they are going back to play a show at the venue where it all started: the Town Hall Hotel in North Melbourne. Good friends The Quietly Spoken Sons Of Lee Marvin will be opening up the proceedings. It all happens this Fridayand entry is free, so get on it!
AURAL DELIGHTS Post-hardcore act Aural Window returns to Melbourne stage to promote their music video for Amber’s First Kiss, consisting of footage filmed on their USA tour earlier this year. The band’s latest offering received much acclaim for their patented blend of melodic rock within a post-hardcore dynamic. Once again headlined by Jericco, this show is likely to sell out again so get on it quick! It’s on Saturday 25 June at the Curtin Bandroom from 7.30pm. Get $12 presales through auralwindow.bigcartel.com.
RAISE YER PEZ Friday 24 June sees the Espy opening its doors to a whole venue experience, Aussie hip hop style. The inaugural Raise The Roof will showcase a colossal line-up of the finest in established and emerging Aussie hip hop. Fifteen artists over three rooms – headlining festivities is Melbourne’s own Pez along with 360, Muph & Plutonic, Adelaide’s Delta, M-Phazes, Mantra, Low Budget, Briggs, Fluent Form, One Sixth, Fatty Phew, Mase N Mattic, Eloquor and Slap 168. Raise The Roof will be hosted by Espy regular MC Reason and DJ Flagrant will bringing the Aussie Hip Hop video show. Tickets are $22+BF from espy.com.au and all Oztix outlets.
This week, Melbourne’s relentless corrosive rock outfit Dirty F will be delivering two winter destroying shows, firstly at the Prague this Thursday in supporting of Kashmere Club, showcasing the release of their debut EP, Roundabout Girl. Then the line to overstep has been drawn once again as they take on the beloved 2am slot at Pony this Saturday (or Sunday morning, really)– entry is free. The band admit as they click their boots together, there’s no place like home. So shake your bones with the boys until the earth takes them back!
THEY’RE THE VOICE THE MAGNETS have been blowing minds in the UK with their a cappella takes on famous tracks – like Livin’ On A Prayer. “You won’t believe it’s just voices,” STEPHEN TROWELL tells SAMSON MCDOUGALL.
Tracy McNeil is launching her new album, Fire From Burning, this Saturday with a show at Bella Union, Trades Hall. McNeil’s third release, behind her 2007 debut Room Where She Lives and 2008’s No Time To Die (released under Fireside Bellows with Jordie Lane), has been a long time coming, but McNeil’s many fans will be delighted with the result. Fire From Burning is a beauty; chock-full of gorgeous, smartly written country roots tunes. With McNeil’s stellar band plus very special guests Van Walker, Sweet Jean and Luke Sinclair, the album launch is a must, and one of your only opportunities to hear McNeil’s new songs live until later this year. McNeil and her band also make an in-store appearance at Basement Discs in the city this Friday from 12.30pm.
RAP BATTLES REVOLVER Grind Time Now Australia brings you our first instalment of Rap Battles in Melbourne at Revolver Upstairs this Saturday! Grind Time Now is the world’s premier hip hop battle league and recently began their new Australian division this year, kicking it off with the first event in Brisbane. This edition will have the second round of the GTN AUS Tournament where the victor will go on to battle a respected veteran from USA. This includes Mandle vs Planz, a long awaited match-up between two long-term friends and artists. Other match-ups include Greeley vs Willis, Kase Won vs Manaz. Entry is $15 from 8.30pm.
DYNAMITE GOES BANG Get ready to shred. Metal legends Electrik Dynamite take the main stage at Bang at Royal Melbourne Hotel this Saturday and they mean business! With support from local bros Oh Pacific! and SA pop punk heroes Amber Calling, this is looking like it’s shaping up to be a rad night. Don’t forget, they also have cheap drinks until 11pm. Doors open at 9pm and entry is $15.
DIRTY F, WORD
he Magnets, a six-man a cappella and beatbox band, are pretty much unlike anything else around. Like stolen cars, they strip known songs back to their skinnys and refit them for interpretation by voice alone. If it sounds kind of strange, that’s because it is. Guitars and keys become vocal melodies and bass lines are thumped out of cheeks while a one-man drum kit puffs out the beats. “It’s a unique way of making music,” says band member Stephen Trowell. “It’s very powerful when you see it live on stage ‘cause you’ve got six guys standing up there with nothing to hide behind and this big wall of sound just hits you. You won’t believe it’s just voices.” The idea spawned while founding member Nick Doodson was introduced to a cappella while studying in New Jersey. “It’s all been very organic, really. None of us were huge a cappella fans,” Trowell says. “The guy who actually formed the band, Nick, grew up spending a lot of time in the States and the college a cappella scene was quite big there; everyone in school would have a little band. Then he came to university in London and formed a little group for a laugh. They had a guy there who said he could do a little beatboxing and that just gave the music a different edge. He left after about a year and that’s when I joined and Andy [Frost] our beatboxer came along – he kind of blew us away, he’s a bit of a phenomenon. That was about 15 years ago.” Having performed five of the last eight Edinburgh Festivals, The Magnets are hitting Australian shores for the Adelaide Cabaret Festival and a national tour this month. With cabaret arts having made resurgence here in recent times, their joyous vibes will ensure the group finds no difficulty in winning over local audiences. “We attract a wide demographic,” continues Trowell, “five-year-olds to 80-year-olds and everyone always seems to be blown away. We put a lot of charm into it and try musically to have something for everybody. In 15 years we’ve only really ever had two people that didn’t really get it. That’s not a bad average.”
The selection of material, Trowell says, is no simple thing. Though they share an appreciation of the a cappella approach, each of the band members come from different musical backgrounds making agreeing on tunes an ordeal. “You’ll get somebody saying, ‘Let’s do Billy Joel,’ or something and everybody will say, ‘Oh, God no,’” he continues. “It gets a bit frustrating sometimes to not have the versatility of a normal band but the fun comes in rearranging the music and the challenges that a cappella provides. You’re limited to the amount of tricks you can use because the voice is limited in terms of range, but also you can only really sing one note at a time, so we have drums and sort of five voices. You find yourselves using similar sorts of ideas but the differences come from the song choices so we choose our songs quite carefully. Whether it’s a modern song or something older we try and focus on the reinterpretation of the songs. If an audience is hearing a song they can relate to, it doesn’t matter that it’s still a cappella.” To further complicate the process, even after 15 years of doing it, Trowell admits finding the right song to adapt is still hit and miss. “The worst songs are normally the ones you feel will be great,” he says. “Often it’s the ones with a strong vocal already and once you take away that vocal there’s not so much to work with. If you take a big, heavy guitar song like, say, Bat Out Of Hell, for instance, you can do a nice arrangement with that song because you have the ability to change it completely.” WHO: The Magnets
WHEN & WHERE: Wednesday 15 June, Red Bennies
PETER’S TOFFEE APPLES Once upon a time, when some of you were little kids, triple ARIA winner Peter Combe pioneered the ABC For Kids label and sold over a million CDs – and this was pre-Wiggles era! Sometime in 2008, Combe had an idea. He thought maybe it would be a good idea to get a full band together and sing his songs to the now grown-up kids who had loved them so well all those years ago. And so he toured Australia singing those songs at venues to sold out crowds, critical acclaim and rapturous applause! Now he’s coming back to Melbourne to play at the Thornbury Theatre on Saturday 23 July for both a matinee and an evening show. The matinee show starts at 11.30am, with the second show from 8pm. Tickets from thethornburytheatre.com.
THE NOTABLE CRUICKSHANK James Cruickshank, acclaimed guitarist and keyboardist for the Cruel Sea, launches his third solo album, Note To Self, at the East Brunswick Club on Thursday 7 July. Flashes of Sam Cooke, David Bowie, Tom Waits and Beefheart reveal in the swinging gait and crooked instrumental passages of a moody serenade through Cruickshank’s yellowed back pages. Tinkering with strings and keys, swamp jazz and electronic propulsion, these meditations on maturing in a Peter Pan era could have been recorded in a time capsule, but the production, resolutely 21st century, lands it safely in a contemporary quarter. Matt Walker and Liz Stringer support and tickets are on sale from the venue.
HIP HOP MONDAYS E55 is proud to announce that Funky Fresh Mondays are back! Hosted by the Master, veteran of hip hop, you are sure to get some funky fresh flavour in your ears. With his patented Text-ARequest, it’s your night – oh yes, the playlist is in your hands! Hip hop and funk are the order of the day, with some tricks in the mix from DMC champ and a mic for those that pay dues. Entry is free entry, with drink specials and special drinks from 7pm.
SHOTS OF LODKA Enigmatic indie popsters Oblako Lodka have just released their debut LP! To celebrate they are playing a super-awesome launch show at the Grace Darling in Collingwood this Friday. Equally super-awesome is the news that they’ll be supported by pals Geoffrey O’Connor (Crayon Fields), Pascal Babare & Teeth plus the debut for Jared Davis’s (Far Concern) new band Sunkissed. Spectacular! Entry is $10 from 8pm.
TEENAGE HOODRATS We’ve heard a few different stories about last week’s Teenage Mothers gig at Yah Yah’s as part of their month-long residency. One involved a brawl breaking out between punters and DJs. Another involved the cops and divvy van, and a threat by the bar’s management that if the band start shit up again they’ll be banned for life. Yet another involved nitrous oxide. Whether any of this is true, we don’t know, but some shit went down and we can’t believe we weren’t there. We won’t be making the same mistake when the skate-rat punks play again this Thursday with new band The Rock Bottoms, featuring members of Hot Little Hands and some dudes from Vice, as well as Lewis Carrots and Poon DJs. Teenage Mothers’ debut single Orlando And Miranda is up on their Bandcamp now.
Indigenous community members living in ‘Prescribed Areas’ under the Intervention are set to head to Darwin to participate in the ‘Stop the Intervention – Four Years Too Long’ meeting and rally to launch their 11-point plan, which demands the restoration
of human rights that will restore community control, rebuild Aboriginal initiative and capacity, and improve living conditions. To help get people from remote communities to Darwin, a fundraiser is being held with a line-up comprising Bart Willoughby, Clint Dimer, Fear of a Brown Planet, Ezekiel Ox, Squid Squad and more. To support those living under the Intervention come along to Bar 303 this Friday 8pm. Tickets on the door.
MYNTA Werribee club Mynt Lounge’s The Bake Sale will feature Ruby Rose this Queen’s Birthday eve, Sunday 12 June. Along with the usual drink specials, there will be music from Rob Pix, Mickey Nox, James Fava, Yasumo, Casey Manaya, Wtrs and more. Presale tickets available now at myntspace.com.au, $20.
SPRINGS REAWAKENING Ahead of Hepburn Springs’ PALAIS re-opening this weekend, we get the lowdown from venue booker EMMA IRELAND.
YOU’RE MY HIEROPHANT The Hierophants are playing what is apparently nly their second gig ever at Burn That Cat at Ding Dong this Thursday. Supporting will be Bits Of Shit, with their take on garage/post-punk, as well as up-and-coming Geelong Stones/13th Floor/Ty Segall-inspired band The Living Eyes. Oh yeah, and there’ll also be UV Race DJs, $3 pots and $6 shots (and $10 jugs for Community Radio subscribers).
DREAM OF GENIE Melbourne band The Genie, comprised of members Ollie McGill, Ryan Monro and Will Hull-Brown (better known for being one-half of The Cat Empire) are launching their debut album, Here Come The Scissors, with a massive show at the Northcote Social Club on Thursday 30 June. The Genie’s creation of the album has been a lot like a good bowl of laksa: satisfying, full of good stuff, but very hard to finish. They have been recording with producer Josh Abrahams since early 2006, whenever they could find spare time outside The Cat Empire. The Genie’s distinctive dub/fusion/ seggae soup (with extra chops) will get you moving. They’re joined by guest DJ Jumps (also from The Cat Empire) and tickets are $15+BF from the venue.
COUNTRY BASTARD New reverb-lovin’ surf/country rockers La Bastard play Yah Yah’s next Friday 17 June as part of a massive line-up featuring Midnight Woolf, the Painkillers (from Perth, featuring James Baker of Beasts Of Bourbon/ Scientists/Hoodoo Gurus fame) and Poison Oak (featuring members of The Jacknives and Jack On Fire). Their highly energetic live shows, crammed with sexual tension, smokin’ guitar riffs and swingin’ tunes reminiscent of the best moments of the Gun Club, The Cramps, The Jesus Lizard and Nancy Sinatra, are not to be missed. Entry is $10 from 9pm.
The Hepburn Springs Palais is back! The iconic Palais ballroom disco balls have been polished, the venue has been lovingly renovated with it’s art deco ambience retained, and the 1926 wooden sprung dancefloor is ready for music lovers’ feet to tread the boards once more when the legendary Australian singer/ songwriter Tim Rogers (solo) headlines the opening weekend (Queen’s Birthday Weekend) this Saturday. Dinner and show or show only tickets are on sale now from Moshtix.
REBELLES WARM UP
RIFF ON CHERRY Described by Triple J Unearthed as “the new rock’n’roll tour de force that Melbourne’s been waiting for,” Rock City Riff Raff are taking over the stage at Cherry Bar this Saturday night. Hot on the heels of supporting Airbourne, this is the band’s long-awaited debut EP launch. They’ll be supported by Bugdust and Death Valley Mustangs and entry is $13 from 8pm.
ROGERS FOR DINNER
Give us a quick history of the Palais. “Hmm, it’s hard to be ‘quick’ with such a rich history – it was built in the 1920s and served as an old-time dancing venue (it had Victoria’s first sprung dancefloor back in 1926), was a movie theatre, held ballroom dances/balls, was a former ice-cream parlour… but today it is a much loved community hub of Daylesford and Hepburn Springs. We believe it’s one of country Victoria’s premier boutique venues for live entertainment, fine dining, weddings and functions and we are so excited to be opening up the doors again. Due to the venue being so old we actually hired a ghostbuster to rid any ghosts lurking about the place a few weeks back! It’s true – a local Daylesford woman did it!”
a ‘from paddock to plate’ theme, with some of the food grown organically from Matthew and Korrina’s own farm, which will be a standout feature from other restaurants. The real secret to running a financially viable music venue these days, be it in the city or the country, is to offer real diversity. We will have fine dining, plus affordable meal nights for those who are on a tighter budget; we are also available for function hire so if you’re planning a special occasion, we can accommodate it; we’ll run local nights such as film nights, half-priced kids’ meals nights, curry nights, and other themed dinners. But the main attraction will be the top quality acts we have performing on our stage.”
Have you made many changes to the building? “Heaps! Facelift, pedicure, manicure, new staff, new look, new (and improved) food, new love… she is still the same delicious ancient lady on the inside… and with a new baby grand piano! There’s other changes too, but I don’t want to ruin all the surprises, you’ll have to come and take a peak yourself.”
What type of acts can we expect to see appearing at the Palais? “A very diverse range to cater to all tastes: anyone from Ross Wilson to Ron Peno. The Palais is a great place for solo touring acts and one-offs! Expect to see Wagons, CW Stoneking and beyond, and now with our new grand piano, we hope to woo Nick Cave and Cat Power and other great acts to follow in Jimmy Webb’s footprints when he tinkles the ivories for us on Sunday 3 July. We will be hosting regular Q&A (queer and alternative) nights with bi-monthly events planned (kicking off on Friday 5 August); rockabilly hot rod events; and flamenco classes. There will always be something fun happening in the ballroom.”
Have you worked with live music venues before? “I have. Over many years. I’ve worked at Revolver Upstairs, the Empress Hotel, Bar Open, Pony… but I made the tree-change like so many others and moved up to Daylesford four years ago and was the former booker of the Palais Hepburn Springs for some time, but left a year before they closed the doors last December. And I’m thrilled that new owners Matt Goodison and Korrina Glen hired me again to complete an all-round success story ahead of us for my fave regional venue! Matt and Korrina have an extensive background in food and wine, so their expertise in the restaurant as well as all things pertaining to hospitality will be invaluable.” The Palais closed suddenly in December – how tough is it for a regional live music venue to remain financially viable these days? “It needs the right team of people behind it, which it does have now! So no surprises, just onwards and upwards for all! Alongside me booking the venue, we have hired Lou Ridsdale as publicist and the restaurant will be run by chef Billy McIldowney (ex-Cosmopolitan Hotel, Trentham and pubs in Melbourne). Billy is awesome and he’ll be operating the kitchen six nights a week with special dinner nights planned as well. Much of the menu will have
What special events have you got coming up over the next few months? “Well, after we all catch our breath after the opening weekend of Checkerboard Lounge and The Town Bikes [this Friday] and Tim Rogers [Saturday], coming up over the next few months we have Lior, The Black Sorrows, Ross Wilson, Jimmy Webb, Wagons, Renee Geyer, Sarah McLeod (ex-Superjesus), Owl Eyes, Mat McHugh (ex-The Beautiful Girls), Ron Peno & The Superstitions, and that’s just getting started! Keep an eye on our website at thepalais.com.au for upcoming gigs. We can’t wait to see you at the bar!”
The Palais relaunches with Checkerboard Lounge and The Town Bikes this Friday and Tim Rogers this Saturday.
The one and only 15-woman girl group The Rebelles warm up for their appearance at this year’s Reclink Community Cup show with a free gig at Richmond’s Great Britain Hotel this Saturday night. This’ll be the last chance to experience Melbourne’s uniquely amazing, record-breaking Rebelles at close range for a while, so don’t miss out! Opening the show will be surf nasties The Beach Chromers, presenting their own twisted brand of surf-inspired pop and rock. Primal drums, scintillating guitar and swirling organ combine to produce a unique deep and bubbly sound inspired by the darkness and fury of the sea. A bad trip to the beach for all concerned! Entry is free and it all kicks off at 9pm.
DJ OWNS TEXTBOOK Textbook Music’s Thursday night resident DJs are back at Miss Libertine to keep you in check – this Thursday get down for Darius Bassiray, Paul Beynon, Jon Beta and Lister Cooray, keepin’ it fresh with different shades of dynamic electronic music that represents what Textbook Music is about. While the music won’t be in your face, the $5 pizzas surely will with Miss Libertine’s gourmet selection on hand until 11pm. The aim is to keep that comfortable environment on a Thursday whilst keeping a solid groove to warm you up for the weekend. Hell yes.
PONY HARLOTT What better way to kick off the Queen’s Birthday long weekend than with a night of brutality at Pony this Friday. Kicking things off are Diprosus, a hard-hitting band whose guitars ring out like gunshots that keep you begging for more. They’re joined by Naberus, one of the freshest melodic death metal bands around. Their songs are a mix aggressive groove metal chorus and melodic verses that move easily from riff to riff. Rounding out the night are headliners Harlott, the next big thing in the thrash scene. Andy Hudson is a charismatic frontman that takes the stage in full force while the rest of the team blow the crowd away with their tight riff’s and fast solos. Doors at 10pm.
REVOLVE TO TECHNO To present what could be one of the best live techno sets for 2011, and off the back of one of the best parties of 2010, Chameleon Recordings presents Showcase 002 at Revolver Upstairs this weekend. In celebration of a great career to date and the debut EP release of their friend and colleague, Showcase 002 will not only headline Jamie Stevens and his first ever live set as a solo artist but, as always, feature supporting acts from some of Australia’s most exciting homegrown talent – in the front room Saturday night will be Steve Ward, Thankyou City, Mike Callander and Oblique Industries, plus an all-day Revolver Sundays backroom featuring T-Rek, Radiator, Silversix, Sunshine, special guests Generik, Nick Coleman and Damon Walsh and of course Boogs vs Spacey Space until midday Monday. Limited presales at $20+BF. More on the door.
Hardcore and punk with SARAH PETCHELL Not many tour announcements this week, but there is a load of new material heading your way, heaps of gigs and some tour follow-ups. Revered psychobilly trio Nekromantix have emerged from the depths of isolation to unleash their latest sonic creation, What Happens In Hell, Stays In Hell. This album careens into stores on 5 August via Hellcat Records and will include 13 songs of blistering and death-defying rock. Led by the charismatic rock’n’roll rebel Kim Nekroman and his legendary coffin bass, the Nekromantix have emerged as preeminent purveyors of the modern psychobilly sound, an intoxicating mix of surging punk and reverbsoaked rockabilly. The new record offers up frantic, energetic romps like lead-off track Bats In My Pants, the ominous anthem Sleepwalker With A Gun and a tribute to the immortal Hollywood horror legend with Bela Lugosi’s Star. Last week Poison City Records commenced streaming the first new track from The Smith Street Band’s forthcoming album, No One Gets Lost Anymore. Recorded at the Arthouse Studio, this is fittingly the last studio album to emerge from the recently closed punk-rock institution that was the Arthouse Hotel. You can check out the track, I Ain’t Safe by heading to the Poison City website (poisoncityrecords.com) now, and while you’re at it head to the e-store and pre-order the album, so you’re all ready when it officially gets released via CD, LP and iTunes on 4 July. Don’t forget that The Smith Street Band will also hit the road this June and July as a part of the Poison City Winter Tour 2011 to launch the new album. You can catch them with A Death In The Family and Former Cell Mates at the East Brunswick Club on Saturday 9 July, and then with Former Cell Mates and more TBA at Catfood Press for an all-ages show on Sunday 10 July. One of Australia’s most promising up-and-
coming hardcore bands, Dream On Dreamer, will be releasing their debut album this winter. To be released on 22 July, Heartbound is the culmination of the positive attention the band have had since the release of their Hope EP through Boomtown Records, which was followed by an invitation to take part on the Australian leg of the Take Action Tour 2010 alongside Attack Attack and Pierce The Veil, as well as playing and touring relentlessly around the country. Dream On Dreamer have also been announced as one of the main supports on the Emmure and Shinto Katana tour that commences in Brisbane this weekend. Tickets for the Melbourne shows at the Corner Hotel are still available from the Corner box office for both the all-ages afternoon show and the 18+ night show that will be happening on Saturday 18 June. To top it off, the local supports for these shows have been announced. For the afternoon show, Brooklyn will be opening, while the evening show will see Trainwreck and Hallower starting off the night. One thing that came out of the Destroy Music shows (and recent social media stalking) is the news that I Killed The Prom Queen are back and will most definitely be writing, recording and releasing a new album in 2012. On his Twitter page, Jona Weinhofen made a short announcement that said, “Everyone follow my other band @iktpqofficial. We’re writing a new album for 2012 and will be doing some more touring then.” Obviously, there is no specific information as to the album beyond the fact that this will be the first release with new singer Jamie Hope (formerly of The Red Shore). A few awesome albums were released last week, including new ones from Fucked Up, Flogging Molly and Face To Face. Now this week, sees three of the most hyped releases for this year. First up is the new one from City & Colour, titled Little Hell. This comes fresh off the back of Dallas Green’s completely sold-out Australian tour back in April. As well, Frank Turner’s England Keep My Bones will also be available in stores, and having heard this album from doing promo with him when Turner was here earlier this year, I can say that this is his best album yet. Finally, All Time Low will release Dirty Work. Make sure that you check these guys on Soundwave Revolution this September.
Blues ‘n’ roots with DAN CONDON email@example.com This week we take a look at a few albums on high rotation on the Roots Down stereo. BOMBINO – ADADEZ (FUSE) Omara Moctar, better known as Bombino, is one of the most exciting Tuareg musical talents kicking around West Africa these days. He was forced to flee his native Agadez – a small city in Niger – for Algeria in the heat of the early-’90s Tuareg rebellion (look it up) but returned to the city in 1997 to pursue a career in music. This was all well and good until 2007, when another Tuareg rebellion was sparked, and this time shit got extra serious. Guitars – often seen as an instrument of rebellion by the Niger government – were banned and a couple of Moctar’s musician friends were executed. Understandably Bombino went into exile again, this time one country west to Burkina Faso, where filmmaker Ron Wyman tracked him down after hearing some cassette recordings of his music. After some convincing, Wyman got Bombino to agree to record his music “properly”. What has resulted is Agadez, Bombino’s first solo record and a release that really shows the sheer proficiency of this incredible guitarist. There’s so much to enjoy about this record – his blazing playing being the most obvious, but the deep drone that underpins each song is just utterly entrancing. This is matched with the sparse percussion of handclaps and traditional hand percussion, and the almost-chanting vocals come together to make a record that you can absolutely lose yourself in. Turn off the lights, throw on Adadez and you can feel the Saharan sand between your toes and see the flames of the campfire dance around in your mind. The only way you can enjoy this record is by surrendering yourself to it, so don’t bother if you’re just going to throw it on in the background. A truly engaging release and, if nothing else, essential listening for all guitarists.
can be discouraging to head to a show and end up disliking what’s on display. This is where a release like the ValleyArm Absolute Blues And Folk compilation is so useful – it puts bands in touch with new audiences and vice versa. Here you’ve got old favourites like Lloyd Spiegel and Pete Cornelius, internationals like Canada’s Ross Neilsen & The Sufferin’ Bastards and a diverse bunch of acts who you may not have heard, from the trashy garage blues of South Australia’s The Amcats, to the super smooth Keri McInerney to haunting Celtic act Wheelers And Dealers. You probably won’t like everything here, but that’s what makes the release important – it acts as something of a sampling platter. You can get it now through iTunes, BigPond Music and Guvera. Hit valleyarm.com for more info. JIMI BEAVIS – NO NEED TO DENY IT (INDEPENDENT) You can’t get away from Jimi Beavis on the Brisbane scene – he’s everywhere! A couple of years of hard gigging has done wonders for this young talent and now he has finally released his first EP, with the help of a hotshot band behind him. The thing that I like about this release is that he is channelling some really cool Chicago blues quite authentically and with proficiency, but vocally he is not trying to pretend to be anyone but himself. He sounds like a dude from Brisbane, talking about seeing his missus down the shops with another guy, drinking away his woman problems and lamenting the fact that not having a ute may have been the root of his relationship woes. It’s a sad and sorry affair lyrically – but this is the blues, so everything is pretty much in order. The recording kinda sounds like you’re listening to him at the pub (well, a pub with a great sound system), there’s a fantastic energy that pumps through the EP that sets it apart from a lot of Australian blues releases that try and take the grit out of the performances. Bombino
VARIOUS –ABSOLUTE BLUES AND FOLK COMPILATION (VALLEYARM)
RACKET Metal, heavy rock and dark alternative with ANDREW HAUG firstname.lastname@example.org Finally, an official release date has been made: Worship Music, the long-awaited new album from Anthrax, is due for release on 13 September through Nuclear Blast Records. It will mark the first new Anthrax recording to feature vocalist Joey Belladonna in 20 years. “Some of the songs we tweaked, some of the songs we did more than tweak,” Anthrax drummer Charlie Benante told Revolver magazine. “Some we started from scratch and some were written just for this album.” “With Joey singing them, they sound like classic Anthrax. The hair on my arms stood up when he started singing them. It was Anthrax once again,” guitarist Scott Ian agreed. “The songs like sound like metal. They sound like Anthrax circa 1987 through a 2011 filter.” “I think this record is more of a celebration for us,” Benante added. “We haven’t had a new record since 2003. The ups and downs in between really reflect the mood of this record. There is a lot of aggression, emotion and power. I feel like this is once again back to our New York style and attitude.” German melodic metallers Edguy will release their new album, Age Of The Joker, on 29 August via Nuclear Blast Records. The CD was recorded at Peppermint Park studio in Hannover, which was previously described by the group as “a recording temple with a tremendously great-sounding room”. One band to watch at Soundwave Revolution are French metallers Gojira. Guitarist/vocalist Joe Duplantier recently spoke to UK’s Metal Hammer magazine about the band’s forthcoming four-song EP, the proceeds from which will benefit Sea Shepherd, an anti-whaling organisation. According to Duplantier, the new Gojira EP will feature guest appearances by the following musicians: Devin Townsend, Fredrik Thordendal (Meshuggah), Randy Blythe (Lamb Of God), Anders Fridén (In Flames) and Max Cavalera (Soulfly). “I decided to ask a few singers from other metal bands if they would help us,” Duplantier explained. “They all said yes! So Randy Blythe from Lamb Of God is involved. He sings on one song. Max Cavalera is involved, too, and Anders from In Flames. Devin Townsend is also singing on the EP. It’s
taking a long time to organise but it’s gonna be worth it.” The EP is tentatively scheduled for release in September, with a new full new album to follow later. Regarding what the new Gojira material sounds like, Duplantier said, “It’s Gojira but wiser and heavier”. He added, “Our music is always evolving. I hope there is more to come from us! I believe we can get heavier and deeper and more magical than before. I respect everything that’s been done before, but I hope we’re digging in another direction. It’s not a technical direction. It’s a more spiritual direction. I think we’re getting closer to the core of why we’re doing this music. It’s hard to describe it. Until I hear the new album it’s hard to have a clear vision of it. Fuck it, it’s just better!” Former Skid Row singer Sebastian Bach recently entered a Los Angeles studio with his new, young, virtuosic guitarist Nick Sterling, drummer Bobby Jarzombek and producer Bob Marlette (Black Sabbath) to record Bach’s next CD, tentatively due this fall via Frontiers Records. “We are done mixing the new CD,” Bach writes on his Facebook page. “After much attention to detail from producer Bob Marlette, Nick, and myself, we now have the ‘magic mix’ of these tracks that literally makes me want to rip the skin off my chest it sounds so good. Next up we master the CD and vinyl versions of the record at Precision Sound in LA. Get ready to rock, mothertruckers! In stores this September!” Here’s one for the drumming freaks! Having wowed audiences worldwide through his work with metal titans Nile, blast beat metal extremist George Kollias is touring down under exclusively for Allans Music + Billy Hyde, with support from Australian metal drumming king Dave Haley (Psycroptic). See, hear and experience the blistering speed and pinpoint accuracy of Kollias’ hands and feet as his quick fills and frenetic footwork will astound and inspire. This will undoubtedly be the drumming event of the year! An engaging clinician, Kollias demonstrates to the aspiring metal drummer all the tricks and tips to help push forth the brutality that is modern metal music. Witness it on Sunday 26 June at 7pm at Kaleide Theatre at RMIT, 360 Swanston Street. Andrew Haug hosts Triple J’s The Racket every Tuesday from 10pm – triplej.abc.net.au/ racket. Email email@example.com
The best way to find fresh blues and roots music is by getting off the couch and into the many bars around the city that foster local blues and roots talent. But there are a lot of acts out there and it
OF YOUTH All things under 18 with KENDAL COOMBS firstname.lastname@example.org
Are you sick of young people popping up as statistics in road deaths on the news? It’s a staggering statistic that while only 13% of all Victoria licence holders are aged between 18 and 25, 23% of Victoria deaths due to road accidents are drivers aged 18-25. One of the greatest problems is these deaths occur because of what the TAC are calling a “party in the car”, where young drivers are distracted by the passengers, particularly when alcohol is involved. It is true that while having a licence is a privilege and not a right, some young drivers forget this. The TAC feel that while the road toll as relating to young drivers has dropped significantly since the 1980s and ‘90s, the message just isn’t getting across, so they’ve decided that in order to reach the younger drivers on our roads they must consult the younger drivers on our roads with their Make A Film, Make A Difference short fi lm competition. MAFMAD is seeking ideas for two short fi lms relating to the issue “party in the car”, which will be shown in cinemas prior to fi lm screenings to encourage young people to be cautious, courteous and mindful on our roads. To enter all you need to do is write down your idea for a two-minute fi lm on the topic and submit it. To find out more about the competition, including the terms and conditions and how to enter, visit mafmad. com.au. Two winners will be given $20,000 each to produce their fi lms and a $5,000 cash prize. So get planning and you could have your fi lm played in cinemas around the country.
TONIGHT (WEDNESDAY) Joan As Police Woman, after releasing her fourth solo album, is heading to the Athenaeum Theatre with her band from 8pm. Tickets are on sale through Ticketmaster.
FRIDAY The fi rst FReeZA Push Start Battle Of The Bands western metropolitan heat is on at the Wyndham Youth Centre in Hoppers Crossing from 6pm. Headlined by I Know A Ghost, competing bands include Noir, It’s A Trap, Shotgun Funk, Your Local Hero, Rise From Ruins and Prince Lionheart. Tickets cost $8.
SATURDAY Pure Pop Records presents a free Conway Savage instore at 6pm, supported by I, A Man, The Perfect Revolution and The Sideshow Brides from 3pm. Apparently Hardcore featuring Thieves, Event Horizon, The Lesson, Delinquance plus DJ workshops and heaps more hardcore acts, is on at the Kinglake West Mechanics Hall from 4pm. Tickets are $10. The northern metropolitan FReeZA Push Start Battle Of The Bands heats take place at the Reservoir Civic Centre from 6.30pm. Headlined by The Scarecrows, the competing artists include The Darjeelings, Goodbye Susan, The Wanderer, Daydream Arcade, Whitehall and Let’s Not Pretend. Tickets are $7.
SUNDAY The Winter Sessions is a documentary movie session presented by the Maribyrnong City Council and FReeZA Committee at the Phoenix Youth Centre in Footscray from 1pm. Entry is simply a gold coin donation. The Glorified! album launch featuring Brooklyn, Green Scooter Moose, I Know A Ghost and more takes place at the Heathmont Scout Hall from 2pm. Tickets are $10. Easy Like Sunday Arvo takes place at Bendigo’s Music Megastore featuring some of Victoria and South Australia’s best pop punk and rock bands. Artists include Amber Calling, We Rob Banks, Oh Pacific, Keen Must Die, Wonderland, That’s What She Said, Glass Empire and Sandpit Heroes. Bands start at 2.30pm, tickets are $20 on the door.
BREAKDOWN Pop culture therapy with ADAM CURLEY It probably wasn’t sheer enlightening coincidence that a failed trek around both independent and chain bookshops in search of a book I’d read an excerpt of online came directly after a boom in talk of the future of the book in Australia. First, in mid-May, came science writer James Gleik’s closing address at the Sydney Writers’ Festival, then talk of changing technologies and reading patterns was all over Melbourne’s Emerging Writers’ Festival, and a special on the uncertain future of physical books on the ABC’s First Tuesday Book Club made sure discussion of the seemingly impending revolution was televised. No doubt subconsciously spurred on by all this (often worried) chatter about change, I chose not to head straight for the Book Depository and instead go and spend some money in an actual shop owned by an actual Australian. A novel idea, and not a bad pun. Three bookshops later (including a sad but comedic incident involving a crashing Borders search station and a smiling staff member who informed me that the inventory had stopped being updated when “the news” had broken), I was eventually told that the book I was after was a month off an Australian release and that it could be ordered in from overseas for me or I could place a copy on hold. Either way, I was going to have to wait, go back to the store and end up paying about $15 more than I would if I ordered it online myself. It all sounded very familiar. Throughout the ongoing conversation about technological changes in the publishing industry, leading to changes in the way people get, interact with and think about written words, not once has anyone equated these developments to those the music industry has been experiencing for 15 or so years. So much of the debate over where the publishing industry should go and what it means for both readers and writers mirrors debate that has occurred (over and over and over) in the music world and, already, is being settled by levelling trends in artist, consumer and corporate behaviour. The publishing industry could particularly learn
THE CALLING LUKE MCKINNON goes with the flow Okay, so it’s official. Wu-Tang Clan are coming to Australia. After months of speculation Method Man recorded a video message on the now infamous Facebook page, Wu-Tang Clan Tour Australia, announcing three dates in Melbourne, Sydney and Perth. And it’s going to be a fairly substantial WuTang line-up gracing our shores, the group including Method Man, Raekwon, Inspectah Deck, GZA, U-God, Masta Killa, Ghostface Killah DJ Allah Mathematics, DJ Street Life and the son of the late Ol’ Dirty Bastard, Young Dirty. That’s right, RZA isn’t in the line-up, which to me kind of defeats the purpose. Having a Wu-Tang Clan reunion without RZA is like The Beatles playing without Ringo – he’s pivotal and it just won’t be the same without him. This past week Australia has been swept up in Odd Future pandemonium and while the reviews have been mixed (tending towards the negative) the hype and hysteria around the group continued to rise with hordes of young males swarming the group’s sold-out shows in each state. The best part about the tour, however, has been frontman, Tyler, The Creator’s running commentary on Australia via his Twitter account, @fucktyler, with the highlight being this insight into our northern neighbours, Brisbane: “Out Here In Brisbane, Australia. People Out Here Are Racist As Fuck. I’m Uncomfortable And Want To Go Home. I Get THis Weird Vibe. I Love Australia Tho Sydney And Melbourne Was Sick, But For Some Reason The Couple People Ive Come In Contact With In Brisbane Are Dicks [sic].” Cutting edge and insightful. Thanks, Tyler. Speaking of Odd Future, many commentators continue to make comparisons between the unorthodox group and Eminem, due to the original tact with which they approached the mainstream media, and last week Eminem finally had his say on the precocious collective. Sitting down with MTV, the prominent Detroit rapper apprised that he “hadn’t heard a lot from them, I still have to go check out everything that they’re doing — but I’ve heard enough to know that it feels like they’re
a thing or two about the potential for independent labels to find wider audiences (significantly, this year has seen independent UK label XL Records have massive worldwide success in both digital and physical sales with Adele), the rewarding of innovation in publicity, which has been largely placed back into the hands of artists, and the ways in which ‘consumer behaviour’ has changed drastically from being largely passive to being hugely and beneficially active and interactive. There still isn’t much stable behaviour in the music industry and though some people would have everyone think there never will be again, history suggests otherwise. However, taking stock of the changes that have occurred raises a few areas that are currently particularly sloppy. Entrepreneurs and suits, please feel free to correct the following: Though most music listeners now have information coming from every direction, there is nowhere for individuals to collate that information for personal reference. I’ve just listened to a track I liked on an artist’s Bandcamp and want to keep an eye on them; there’s an album I read about being released in a week; there’s a gig on this weekend that I’m considering going to; someone told me about this band but I don’t have time to look them up right now; I like this label but I always forget to check if they have anything new out. All this information is currently floating around in our heads, left to be overtaken in a split second by the next piece of information, and the next. A sleekly designed personal space in which to collect increasingly disparate information sources would be extremely helpful. Facebook and music doesn’t go together. Artist pages are annoying to use and the constant influx of event and page invitations is an intrusion on the way most people view the use of the network. Email is increasingly viewed as less of a private function but, again, there’s nowhere for that information to be stored. Currently many artist pages are spread across Facebook, Bandcamp and MySpace, and none are comprehensive or clean enough (though Bandcamp wins hands down). There’s still no one-stop online store for Australian releases. There isn’t even an Australian music section of iTunes. There is also no one-stop online destination or store for music videos, Australian or otherwise. There might be licensing hassles, but that is just ridiculous.
pushing boundaries and buttons, and that’s definitely one of the things that I’m familiar with, especially when I first came out. I love it. I love the fact that they’re doing that. And the dudes can rhyme.” Aspiring MCs and producers, listen up. Jay-Z has penned what he believes makes a “classic track” and it’s simple… Having recently had four songs added to Rolling Stone magazine’s 500 Greatest Songs of All Time list, the New York billionaire wrote an introduction to the prestigious list outlining exactly what he thinks contributes the success of a classic record: “A great song doesn’t attempt to be anything – it just is. When you hear a great song, you can think of where you were when you first heard it, the sounds, the smells. It takes the emotions of a moment and holds it for years to come. It transcends time. A great song has all the key elements – melody; emotion; a strong statement that becomes part of the lexicon; and great production.” I told you it was simple. Brisbane MC Tommy Illfigga has a new album, Walk A Mile, dropping on 15 August and in anticipation of the album has begun releasing a series of “mixtape joints over jacked beats”. The first track is entitled Bigger Fish To Fry and can be found on the MC’s YouTube page. Hot on the heels of the release of his debut solo record, Voyager, Joelistics has discharged another instalment of his bizarre, sometimes hilarious web series Voyager Records. For those who haven’t caught episode one, Voyager Records follows the trials of Joelistics as he opens a record store in a post-apocalyptic world. If you’re bored, it’s definitely worth some of your time. Hell, even if you’re not, go and check it out.
BUSINESS MUSIC Investing in club music with PAZ
PRESERVE Musicians from Gen Y, do you want us to preserve your lack of eligibility? Gen Yeezy’s of Latin nations, we barely understand the upside down “?”, please don’t confuse my playlists any more with informal capital letters. We only just learnt 3Ball is your Latin Yeezy talk for Tribal, but what is Exclusiva Gales? Google translate has it as Exclusive Wales. They are trying to outlaw that here. Should we preserve this style of tagging, or do we redo it so safely rock my club on a Saturday? A bit of both.
CARNIVALEOZ Australia’s true Caribbean Vibes DJ Fasmwa has successfully untrenched Carnivale at Port Douglas. Check out the whining at road-vibes.blogspot.com. Looks like a true Trini party vibe. The site wants you to vote on a state to hold the next event. I know Sydney will hold this down, because everyone down south supports roots over rave. “Crop Over” season is happening throughout the West Indies. It is the end of harvest for the sugar cane season, which is comparable to the Queensland tradition. Fasmwa, how about keeping Carnival going for Aussie Crop over?
DANNYBOY Daniel Haaksman has Zoomba’d up an album titled Rambazamba. A few things you have already heard with a scratch and tickle of new vibes. Danny boy is loved worldwide, and as CEO of Funk Mundial/ MAN Recordings he initiated the great variations on world club. For that we salute you, Beyonce – Run The World (Girls) video clip style. There is also a great article on the Rambazamba bootlegs that are surfacing in Munich on the Man Recordings web.
SLUTWALK Amazing!!! I have been mixing with my crew Congo Tardis #1, and SlutWalk has certainly provided us with commentary during the week. Ms Butt is one of our founding members, and at one stage non-vetoed a female orgasm in the mix. “Haven’t you learnt anything from SlutWalk?” Part LOL, part “we don’t need you making it harder”. Can SlutWalk target lazy flyer designs that use women touching themselves as the leading image? Still unsure if I can condone film clips by Maluca or the recent promo material for Dave Nada’s Blow Your Head release.
COOLPANDEMIC Detroit hip hop is owned by the Dilla beat and the club life is still deep techno and 150bpm Jit. Big Shan is finding the middle ground, half time grinding the Jit beat and making a club sport of the 1900s pandemic polio. However Polio’s topic is more owned by the red light district’s pole-dancing champions than bed ridden coughing fits and cast iron callipers.
CHUTNEYSHAKE Errrgghh… Indian Dance music is not a term Business Music is familiar with. Somehow the highly Indian-influenced Chutney Soca is making its way into many of my dance sets. Look out Diwali festival 2011. Chutney Soca is a large part of the West Indies with its many Indian emigrants. Chutney Shake is the mixtape blowing up my HTC Desire HD at the moment. It’s so 2011 gay and 1950s gay. It’s like enduring your first chickpea curry, then realising you need it twice a week, but only from the good places and not your average food court bain-marie.
LOLQUIK Compton’s red’d up #1 son DJ Quik has dropped album number eight. Vaguely remember a video clip by NWA where they smash up a dummy dubbed “DJ Quik” when they had beef. Then they all made money. Quik is dope, he cameo’d on Entourage DJing a bar mitzvah for Ari Gold. Word that’s street. Quik’s album Book Of David straps you into a Westside lowrider. Fave tracks are with Bizzy Bone (of Bone Thugs-NHarmony) and Suga Free (his prodigy pimp act). Still unsure how serious Quik is? He’s about ten steps away from having his own Discovery Kids show. Watch anything about Suga Free – his perm is amazing.
OG FLAVAS Urban news with CYCLONE Hip hop has many ‘godfathers’, but none loom as large as Gil Scott-Heron, who died in New York the other week at 62. The spoken word poet (and musician) is credited as a ‘proto-rapper’. He presaged conscious hip hop – acts such as Melle Mel (with The Message), KRS-One, Public Enemy, the Native Tongues collective and Nas. Indirectly, he also foreshadowed those gangsta rappers like Tupac Shakur instilling their work with a critique. Even Eminem has paid tribute to Scott-Heron. The Chicago-born Scott-Heron spent his formative years in Tennessee with a maternal grandmother, his parents having split. She encouraged his pianoplaying. On her death, Scott-Heron rejoined his mother in New York. He barely knew his Jamaican father, Gil Heron – Glasgow Celtic’s first black footballer, nicknamed ‘The Black Arrow’. ScottHeron attended Pennsylvania’s Lincoln University, but didn’t complete his studies, instead focusing on writing. Before his first album, 1970’s live Small Talk At 125th And Lenox, he published a novel, The Vulture, an urban murder mystery. Scott-Heron’s transition into cult recording artist was influenced heavily by The Last Poets, who performed at Lincoln. Yet this ghetto griot was inherently more musical. He carried on the tradition of the Harlem Renaissance jazz poet Langston Hughes, a Lincoln alumnus. Scott-Heron bonded with instrumentalist Brian Jackson at college. Jackson was involved in his seminal albums Pieces Of A Man and Winter In America which, with their fusion of jazz, blues, R&B and soul, pre-empted acid jazz, neo-soul and trip-hop. (Alas, the pair fell out.) Clive Davis signed Scott-Heron to Arista in the mid-’70s. Scott-Heron articulated a post-Civil Rights disillusionment, albeit with ironic incisiveness. He’s most famed for The Revolution Will Not Be Televised, the original on Small Talk… It’d become the B-side for Home Is Where The Hatred Is, a
song alluding to the addictions that were to be Scott-Heron’s undoing. Michael Franti referenced The Revolution… for The Disposable Heroes Of Hiphoprisy’s Television, The Drug Of The Nation. Scott-Heron’s biggest ‘hit’? The Bottle. Scott-Heron’s output slowed in the ‘80s. He consistently expressed confusion and ambivalence about any association with hip hop – as apparent on Message To The Messengers from 1994’s Spirits. Nevertheless, his work has been widely sampled. “I don’t want to tell you how embarrassing that can be,” he admitted to The New Yorker last year. “[But as] long as it don’t talk about ‘yo mama’ and stuff, I usually let it go. It’s not all bad when you get sampled – hell, you make money. They give you some money to shut you up. I guess to shut you up they should have left you alone.” In later years Scott-Heron struggled with cocaine dependency and his health. He wound up in jail in the early 2000s for possession. In 2010 Scott-Heron presented I’m New Here, his first album in 16 years, on the British label XL Recordings, with owner Richard Russell, a fan, producing. Russell had visited him at Rikers Island. “This is Richard’s CD,” Scott-Heron again told The New Yorker. I’m New Here, the title track a Smog cover, was praised for its avant-garde (and dubsteppy!) leanings. Lyrically, it’s fragmentary, reflective and confessional. The XX’s Jamie Smith oversaw this year’s very postmodern remix album, We’re New Here. “I was writing letters to him because he doesn’t do email,” Smith told NME of their exchanges. They’d also hang out. Scott-Heron was “an intense guy”, Smith noted. Kanye West has consecutively sampled Scott-Heron. Who Will Survive In America, the powerful finale on My Beautiful Dark Twisted Fantasy, (indulgently) samples him. In turn, Scott-Heron’s On Coming From A Broken Home borrows from West’s Flashing Lights. In a blog Russell remembered: “He had a fierce intelligence, and a way with words which was untouchable, an incredible sense of humour and a gentleness and humanity that was unique to him.” Above all, Scott-Heron was uninterested in “the trappings of fame and success”. Bling-free.
JET FROM JAPAN After selling out their show in Adelaide and mesmerising fans in Melbourne, Japanese punks The Jet Boys have decided to throw one final farewell bash for all those in Melbourne who missed out at Punk-A-Billy Fest, or those who just want to see it all one last time before they head back to Japan. Catch The Jet Boys’ encore performance at the Blue Tile Lounge this Monday 13 June (Queen’s Birthday holiday) with supports from Strawberry Fist Cake, Common Thread and Dixon Cider. Bands kick off at 5pm and entry is just $12.
BURN THAT SHIT UP Holy shit! Have you seen The Hierophants? Killer band! These guys really are sick! Check out one of their fi rst gigs on Vimeo if you wanna see for yourself. They’ll be playing their second gig at Burn That Cat at Ding Dong Lounge this Thursday. Supporting will be Bits Of Shit, with their take on garage/post-punk, as well as up-and-coming Geelong Stones/13th Floor/Ty Segall inspired band The Living Eyes. With UV Race DJs and really (truly) awesome drink specials, Burn That Cat has got us at Inpress getting our Friday hangover on. Worth it though.
NO SLEEP FOR ZOMBIES This Friday, No Sleep Till Bedtime presents Rave Of The Dead at 3D – 12 McKillop St, CDB – with a monster line-up including DJ Hellraiser vs Satyriasis, The Engineer, Dep Affect, 6head_slug vs Remane, DeX vs BCD and Chris Dynasty. The 3D Zombie makeup artist team has returned and there will be zombie visuals, zombie gore and zombie dress-ups! Dress up like a zombie for guestlist entry! Plus on level 1, DJs Soul-T, St Luke, M-Experience, X-Statik, Kid Dyl and Raving Alco vs Gazmatron will be playing twisted trance and hard trance. and on level 2 its ‘Open Decks’ with a mash-up of all styles! Entry is $18/$14 guestlist.
GOSSLING STARTS WAR The stunning Gossling – AKA songwriter Helen Croome – will take to stages across Victoria and New South Wales in her first headlining tour of 2011 to support the release of her new single, War, following stellar reviews during her recent national with Oh Mercy. Gossling has been gaining notoriety for her distinctive voice since the late 2009 release of her ‘If You Can’t Whistle’ EP. Her current sophomore EP, Until Then, has continued to delight existing fans, as well as win her many new ones along the way. Gossling plays the Karova Lounge on Thursday 23 June with Ryan Meeking and James Sidebottom (tix $8+BF from Oztix), and the Northcote Social Club on Friday 24 June with Meeking and The Dead Leaves (tix $12+BF from the venue).
BURLESQUE LOVES YOU This winter, the global smash hit, legendary burlesqueeats-its young salon that has set critics raving and 60,000 audience members around the world in raptures, the salon Melbourne ‘can’t get enough of’ comes home at last, with a nine-week love letter to its home town called The Burlesque Hour LOVES Melbourne. This is Melbourne icons unzipped, unveiled and unleashed! Moira Finucane – the woman who the French call ‘exquisitely sumptuously demented’ and who has redefined cabaret internationally – heads the bill, which runs from Friday 17 June to Sunday 14 August at fortyfivedownstairs. Also performing will be Ethiopian circus queen Sosina Wogayehu, elegant iconoclast Maude Davey, whose outrageous turns won her the Best Actress Berlin Film Festival, and backroom Parisian dance stars Holly Durant and Harriet Ritchie. Tickets are $45/$55 from fortyfivedownstairs.com.au.
Alysia Manceau plays the Sporting Club every Thursday in June.
HOW LONG HAVE YOU BEEN PLAYING MUSIC? “Four years.” HAVE YOU RECORDED ANYTHING OR DO YOU PREFER TO TOOL AROUND IN YOUR BEDROOM? “Last year I recorded my debut album The Longest Winter at Sing Sing South Studio with engineer Anna Webster, producer Kramer and a backing band featuring a bunch of my mates. Although we recorded most of the album in the studio there were some late night bedroom overdubs involving lots of whiskey.” CAN YOU SUM UP YOUR SOUND IN FOUR WORDS? “Folk, rock, psychedelic, indie.” IF YOU COULD SUPPORT ANY BAND IN THE WORLD, WHO WOULD IT BE AND WHY? “The Velvet Underground because all of their live shows would have been amazing.” IF A HIGHER POWER SMITES YOUR HOUSE AND YOU CAN ONLY SAVE ONE RECORD FROM THE FIRE, WHAT WOULD IT BE? “Bonnie ‘Prince’ Billy – The Letting Go. Then I would go and buy myself a copy of Low – Things We Lost In The Fire.”
Grouse Party throws its second Annual Family Edition on this Fridat at the Cornish Arms. Once again, all of the DJs are related, but this time it’s strictly sisters, unleashing sibling rivalry in a musical fashion. Rock’n’roll family the Spazzys open proceedings, followed by The Ghaie Sisters and The Vomkins (The Dodkins Sisters). There’s a free pot in it for the first 50 payers between 9 and 10pm. It’s $10 on the door from 9pm.
Wanna get free and ride into the sun? She always love you and she’ll love you even more if you take her Black Night Crash at the Rochester Castle in Fitzroy this Saturday night for an pants-downmassive giveaway party for The Vines’ new album, Future Primitive! DJs Cleb B and Knackered Converse will be spinning stacks of hits from Australia’s favourite rockers, as well as the best in indie rock, Britpop and shoegaze. Entry is free from 9pm and you’ll be dancing until they kick you out at 3am. Wear a Vines t-shirt and score a free beer! Head to blacknightcrash.com for all the info.
PUGS LOTTO This month sees Brisbane sleazebag-musical provocateurs The Pugs bring their new EP, Loathsome Logan And Other Merry Tales, to Melbourne audiences. They will be playing Thursday 16 June at the Vineyard with local rockers Dog’s Day and Lips & The LBs from Sydney. On Sunday 19 June they’re off to the Brunswick Hotel to take part in the latest instalment of the Kopy Kat Tribute Show. For those not yet clued in about the Kopy Kat show, each band will be paying tribute to two of their favourite artists. The Pugs will be playing tunes from The Real McKenzies and The Raconteurs. Also on the line-up are Strawberry Fist Cake, The Tearaways and more.
DO YOU HAVE A LUCKY ITEM OF CLOTHING YOU WEAR FOR GIGS AND WHAT IS IT? “Not clothing per se, however I usually wear old black cowboy boots.” IF YOU INVITED SOMEONE AWESOME ROUND FOR DINNER WHAT WOULD YOU COOK? “I love cooking… so standard fare at band rehearsals (just ask the boys) is red lentil dahl on basmati rice, served with Indian flat bread and a green salad, later followed by dessert which is usually my famous carrot cake or a passion fruit tofu cheesecake.” WHAT’S YOUR FAVOURITE PLACE TO DRINK IN MELBOURNE? “Probably the Old Bar… They like noise.”
THE VINES CRASH IN
JUMP UP AND GET DOWN The act of jumping is associated with feelings of excitement, energy and enthusiasm. A positive experience involving the action of getting up off the ground for continuous moments of mid-air bliss. Songs, games and even movies have been dedicated to this fine art. Let’s add another to the list… Get your ooomppphhh down to the Sporting Globe in Geelong on Saturday 18 June for the launch of Jump! Join the likes of Kalus and Stevie Mink with fellow jumpers Circus Circus, 1 Fish Two Fish, Joe Joe, Play, Yuen, Schmikey, Kids Table, Tricky Dick, Josh Symons, TVB and DJ Example as they take jumping to a whole new level. Literally. Head to jumphere.tv for all the details.
YOUR NEXT CONFESSION Confession play like at Next at Brown Alley this Thursday with support from Trainwreck and In Motions! Members of Confession will stick around and play a party room DJ set upstairs. Chilladelphia is still serving up $5 pizzas and hot chips until midnight. Plus, they have the cheapest drinks anywhere on a Thursday night! There will also be the resident DJs playing the best punk, hardcore, emo, metal, alternative, rock, indie, electro, dubstep, retro and party tracks across multiple rooms all night. Doors are at 9pm and entry is $15.
INDUSTRIAL LOOP The crew behind Z-1, Melbourne’s longest running industrial nightclub, present Shock Front at Loop this Sunday (Queen’s Birthday eve) – a night dedicated to industrial, electro, ebm and related genres. Fearsome DJs Sirus, Dave Foreman, SpYke! and Hypollute will be joined by international superstar J-Rod, who’s just wrapped up a DJ tour of New York City and the Kinetik festival in Montreal, Canada. As well as the audio on offer, Shock Front will present a brain-breaking VJ performance throughout the night. Doors at 10pm and entry is free!
SIETTA MAKE TRAKS Announced via an online scavenger hunt, new Elefant Traks act Sietta is Caiti Baker (vocals) and James Mangohig (producer/instrumentalist). Their electronic soul sound is deep with dubstep and hip hop, complementing and enriching Elefant Traks’ diversity. Their debut album, The Seventh Passenger, is set for release on 22 July. The first single What Am I Supposed To Do? is available for free download from their Soundcloud. Check them out at Red Bennies this Thursday.
LINE UP FOR CHARLES This Sunday sees one of Australia’s finest guitarists take to the boards of the Drunken Poet. Nick Charles has spent years honing his craft the world over, from Edinburgh to Kansas, supporting such luminaries as BB King, Guy Clark and Taj Mahal. Charles is a guitarist best viewed from a few feet away, the deft touch of the virtuoso a true privilege to watch. This is music with soul. Joining Charles will be blues legend Chris Wilson from 4pm.
ALYSIA SUBSTANCE If a cigarette dipped in honey sounds alluring to you (and let’s be honest, it probably does), then Alysia Manceau may the answer sans the litany of potential health issues. Folk noir, alt.country, whatever your preferred pigeonhole, go with the image of a relaxing nicotine product coated in a sugary supersaturated liquid produced by a pollinating member of the Apis genus. Like Neko Case and Neil Young drinking flavoured milk behind the bike sheds. Manceau plays the Drunken Poet tonight (Wednesday) from 8pm as part of Wine, Whiskey, Women.
FUNNY IN FAIRFIELD
AIR VENTS The wait is finally over with the arrival of Vents’ new album, Marked For Death, and fresh tour dates announced this week for Melbourne, including the Espy front bar on Friday June 17. An imposing live performer, Vents has toured nationally with Funkoars and most recently Hilltop Hoods. Since releasing his debut album, Hard To Kill, in 2007, a loyal following has eagerly anticipated his next release. An extended hiatus hasn’t tarnished Vents’ standing with hip hop fans; in fact it’s fed the anticipation. Four years on, Marked For Death serves at the big brother to his debut release, with a more mature, introspective, sometimes cynical but always honest view of the world. Get into it!
Comedian Dave O’Neil launches a new night of comedy at the Grandview Hotel in Fairfield tonight (Wednesday)! Dave O’Neil’s Comedy Funhouse promises to be a bit different from your average comedy night. “I’m going to host every night and we’ll have stand-up comedy but we’ll also be doing sketches, games, anything unusual to get a laugh,” he says. On the first night he’s got 7pm Project star Dave Thornton and RRR darling Josh Earl, with Dave Hughes, Tom Gleeson, Rod Quantock, Lehmo, Cal Wilson, Bob Franklin, Sammy J and Adam Rozenbachs all linees up for future Funhouse fun. The Grandview Hotel is on the corner of Station and Heidelberg Rds, Fairfield. Be there!
SHOEGAZE AT PARTIES Following on from their sold out single launch last month, Melbourne psych/shoegaze band Dead Parties (featuring Etienne Mamo, singer and songwriter for The New Black) are set to do it again, headlining this Friday at the Workers Club. Joining them on the night will be psych exponents The Ovals and Brisbane indie faves Grand Atlantic. Get down early for a night of fuzzed guitar follies.
NATION BLUE GOT OLD In an era where reunion tours are about as surprising as finding another grey hair in your already receding hairline, few bands play so rarely that certain milestones creep up on you, like realising you have been a band for 15 years! It was 1996 when little Thomas Lyngcoln and Dancin‚ Dan Mckay started jamming in old Hobart town as The Nation Blue. Yes, it was. A lot happens in 15 years. Four albums, a million tours, litres of blood loss, dislocated kneecaps, running from favela drug raids with machine guns, Dave Grohl, tinnitus. To celebrate, they’ve hit the road and will be playing the Tote this Saturday with help from noise terrorists Lo! and Firearms. Entry is $12/$15 from 8.30pm.
FRESH BREAK After the success of both Spring and Summer Break, featuring the Bingo Players [NED] and TV Rock, Winter Break is taking place on Queen’s Birthday eve, this Sunday at Billboard. Winter Break will exhibit an impressive stage display
of décor to match the talent on show, ensuring to serve up some serious entertainment value with an intimate festival experience. Electro house DJ/producer duo The Stafford Brothers will headline, with DJ sets from Tom Piper, Andy Murphy, Chardy, Adam Bartas, Ross Horkings, Stevie Mink, Bianca White, Mike Metro and Nick Kennedy. Tickets $30, on sale now through Moshtix.
HEEBIE JEEBIES GB3 – the collaborative musical project of Underground Lovers’ Glenn Bennie – announce a new single How Do You Glow? from the acclaimed album Damaged/Controlled, and will launch the single at an exclusive live show at The East Brunswick Club this Friday. This will be the second-ever Melbourne performance by the current line-up, which features The Church’s Steve Kilbey and Philippa Nihill (Underground Lovers) as the vocalists fronting a full live band. Catch GB3 with support from Teak and Verdaine at the East Brunswick Club this Friday. Tickets $16 + bf.
FINGER LICKIN’ Whilst on the road since August last year to support the release of his second album Deep Fried Satisfied, Claude Hay has been making a point of testing every local pizza joint in each town in honour of his single Get Me Some – a bluesy funk tune praising the joys of New York pizza. He will get to sample true New York pizza later this year during a tour to the USA. But for now, Hay will play the Royal Standard Hotel, Tuesday 14 June; Baha Tacos [Rye], Friday 17 June; and the Rainbow Hotel, Saturday 18 June.
BOOGIE WOOGIE Since forming a year ago Melbourne blues outfit Dreamboogie have toured NSW twice, performed on the Blues Train and at the Australian Blues Music Festival in Goulburn. Their debut album, recorded entirely live, is slated for release later this month. Dreamboogie will play the Westernport Hotel (San Remo) on Sunday 19 June.
Matte Blac plays the Can You Dig It? hip hop showcase at the Workers Club this Thursday. HOW DID YOU GET INTO MUSIC? “I’ve always been a massive fan of hip hop and once I was exposed to Aussie hip hop I thought one day of giving it a go and haven’t looked back since.” HAVE YOU RECORDED ANYTHING OR DO YOU PREFER TO TOOL AROUND IN YOUR BEDROOM? “Yeah, I’ve recorded a mixtape with my crew Mixed Alliance called Mixed Business, and am in the final stages of my solo mixtape, The Color Of Sound.” CAN YOU SUM UP YOUR SOUND IN FOUR WORDS? “Funky, smooth, ambitious, expressive.” IF YOU COULD SUPPORT ANY ACT IN THE WORLD, WHO WOULD IT BE AND WHY? “Hmm, that’s a tough one. I’m gonna keep it on my home turf and say Urthboy. That dude has the greatest energy on stage when he performs and always brings a dope show. Would be ace to support an artist like him.” IF A HIGHER POWER SMITES YOUR HOUSE AND YOU CAN ONLY SAVE ONE RECORD FROM THE FIRE, WHAT WOULD IT BE? “Damn, only one! Well I suppose it would have to be E. 1999 Eternal by Bone Thugs. That shit helped me learn to rap fast and that’s definitely a classic.” DO YOU HAVE A LUCKY ITEM OF CLOTHING YOU WEAR FOR GIGS AND WHAT IS IT? “I always wear my silver record neck chain to every show I play. Makes me bring the energy.”
IF YOU INVITED SOMEONE AWESOME ROUND FOR DINNER WHAT WOULD YOU COOK? “Well, I would definitely go with what I’m good at so that would be satay chicken with stir fried vegetables. Good shit, and my famous Napoleon Gateau for dessert!” WHAT’S YOUR FAVOURITE PLACE TO DRINK IN MELBOURNE? “Any bar along Brunswick Street. There’s always some cool things going on.”
SENYAWA WITH GAS Senyawa comprises Indonesian musicians Wukir Suryadi and Rully Shabara. They were invited to tour Australia not only for their contemporary approach to traditional music styles but also for their unique ‘voice’ in the world of contemporary music today. A ‘voice’ that perfectly incorporates traditional Indonesian music styles and traditional instruments within a new and innovative framework. Senyawa play Stutter at the Gasometer in Collingwood this Friday night along with Sydney’s Justice Yeldham, SenseData, Blarghstrad Noisesmith and Baaaddddddd DJs.
WAKE ‘N’ THRASH Melbourne thrash outfit In Malice’s Wake have been pumping out sets all around the country as part of their Thrashening Tour, and have kindly asked Frankenbok to share the stage for their final tour party at the Tote this Sunday – the night before a public holiday! Also on board and joining in the thrash madness are Desecrator, Dead Letter Opener, Elm Street, Bane Of Bedlam and Dark Order. There’s a free BBQ and entry is $15 from 3pm.
HOSS IS BOSS Friday night is right for rocking at Yah Yah’s as the one and only Hoss lead a charge of straight-up dirty, dirty rock’n’roll. Joining them from Perth is the Chainsaw Hookers and their ‘blood rock’, Brisbane’s riff happy threesome BMX-Ray down for their first Melbourne show and all the way from Geelong, masters of sex rock Dukes Of Deliciousness. But it’s Hoss who are sure to inflict the most torment/damage. For two decades the brilliant and ghastly music machine have been expertly arousing lover of classic rock worldwide. Smith St is about to get Hosser! Doors at 9pm.
SONS&DAUGHTERS NEW ALBUM MIRROR MIRROR Glaswegian band Sons & Daughters are set to drop album number three. Mirror Mirror moves away from the dense guitar-rock of their Bernard Butler-produced The Gift and ﬁnds them delving into darker, post-club territories. With Optimo’s JD Switch at the helm, Sons & Daughters unleash their inner beats (hey, they had previously covered Adamski’s Killer). Album teaser Silver Spell recalls the eerie percussive minimalism of Shriekback and sets the tone for their new life through the looking glass. Band members admit they’ve been inﬂuenced by both Argento’s Italo horror classic Suspiria and an unhealthy interest in gory murders. Death becomes them…
MIRROR MIRROR BY SONS&DAUGHTERS OUT JUNE 10 POWERED BY STREET PRESS AUSTRALIA
His character, schoolboy Taj, even had a fling with Libby Kennedy. Jaime hopes to do more acting, but right now, he’s focused on music. “It’s a cliché, but you’re always learning,” he says. “Honestly, the more I learn from doing this, the more I realise how little I really know.” Jaime Robbie Reyne’s “power trio” (bass player Mike O’Dowd and drummer Leigh Baines) plays the Thornbury Theatre this Thursday, and Revolver on Saturday 18 June.
Local music news by JEFF JENKINS
JAIME ROBBIE REYNE’S AUSTRALIAN LIFE After stints with Jaime Robbie Reyne & The Paradise Three and Rushcutter, was it time for Jaime Robbie Reyne to have just his name on the cover? “I don’t know,” Jaime laughs. “After Rushcutter ended, I felt rather emancipated and just wanted to be out there on my own for a bit; maybe forever, who knows. I just didn’t want to be tied down to a project name; that or I’m just really boring and unimaginative!” There’s nothing boring or unimaginative about Jaime’s debut solo single, Remember To Breathe. It’s a fine slice of rollicking pop. You get the feeling that after a few years of struggling for direction, Jaime is back on track. He took the title from a “cheesy movie”. “It just stuck for some reason,” he explains. “I very rarely have specific subject matter when I sit down to write a song – I usually just go with what feels right at the time. Got to let it come naturally.” Remember To Breathe was inspired by everyday life. “Pretty much every vignette in the song is from me looking out the tour van window,” Jaime says, “trucks, massive shopping complexes, families coming home from work, cities on the horizon… and compiling it into my own little version of Australian life.” Jaime loves touring – “It always feels good to keep moving along”. He even spent his recent 26th birthday on the road, having a few quiet XXXXs before his Gold Coast show. After the 25-date Remember To Breathe tour, Jaime plans to base himself in the US, where he’ll finish his debut album with Niko Bolas. Jaime calls Niko “an absolute dude of the highest-order”. He’s produced a stack of classic albums, including Neil Young’s Freedom and
A GLOWING REVIEW
Warren Zevon’s Sentimental Hygiene, and he mixed Don Henley’s The Boys Of Summer. Jaime reveals that Niko also has a signature move. “He’ll do this kind of sway-dance when he’s into a tune or an idea. If you see him doing that, you know it ain’t half bad.” Niko produced the Rushcutter EP, Call High Water, which was the band’s only release for Mercury/ Universal. “Rushcutter had just run its course,” Jaime says. “We all ended up wanting different things about a year or so before we broke up. The end of the band allowed us to go out and try other things; spread our wings, so to speak.” Jaime was in Neighbours when we got to know him.
EVERYTHING’S ON FIRE Canada has given us some great things – Ron Sexsmith, ice hockey and Tracy McNeil. Coming from a cold climate, Tracy, who now calls Melbourne home, obviously has a thing for fire. Her duo with Jordie Lane was called Fireside Bellows and her new solo album is Fire From Burning. Tracy launches the album on Saturday at Bella Union, before returning to Canada to get married.
Steve Kilbey has a great voice, managing to sound both reassuring and menacing. His GB3 collaboration with the Underground Lovers’ Glenn Bennie, Damaged/Controlled, has pulsating energy. It threatens to explode into big choruses, but never quite does, which gives the album genuine tension. Steve and Glenn launch the new single, How Do You Glow?, at the East Brunswick Club on Friday.
The Potbelleez album has a top 20 debut.
Sony boss Denis Handlin believes in it so much, he even had personalised numberplates made – ATD. No Australian band has greater “attention to detail” than Skipping Girl Vinegar. “Who would have thought we’d see so much hard rubbish at the Arts Centre,” singer Mark Lang said at the band’s album launch. The set was adorned with recycled goods, including an old phone, a wooden tennis racquet and a drum case with the scrawled message, “Has anyone seen my keys?” The first 50 online buyers of Keep Calm, Carry The Monkey got a special op-shop gift from the band, and one lucky punter at Saturday’s show got a Flashdance cassette. “The hipsters are into vinyl,” Mark remarked, “we’re trying to bring back the cassette.” Another highlight was keyboard player Amanthi’s baked treats. She delivered not one but four slices – Raspberry Blondie, Mars Bar, Pistachio and Lemon. Beautiful.
Roy DAMIEN LEITH (number eight)
Chase The Sun SKIPPING GIRL VINEGAR
Howzat! loves a good residency. D. Rogers – who’s released one of 2011’s great albums, Natural Disasters – is doing the next four Thursdays at the Builders Arms. And Bobby Flynn, who’s getting set to release his second album, is doing Espy Mondays and Empress Thursdays.
Havana Brown hits the top five. We Run The Night HAVANA BROWN (number five) From The Music THE POTBELLEEZ (18) Loud STAN WALKER (20)
Destination Now THE POTBELLEEZ (17, debut) Rrakala GURRUMUL (19) Icehouse FLOWERS (21) The Life Of Riley DRAPHT (28) Aphrodite KYLIE MINOGUE (31) You’re A Revhead ADAM BRAND (39, debut) United In Isolation PAPA VS PRETTY (40, debut)
HOWZAT! PLAYLIST Remember To Breathe JAIME ROBBIE REYNE
High Horse TRACY McNEIL Buyer’s Remorse D. ROGERS How Do You Glow? GB3
Adam Rozenbach Comic’s Lounge Affi ks, A13, Wooshie, Aoi Bar Open Alysia Manceau, Kate Lucas The Drunken Poet Bohjass 303 Chasing Lindsay, Friendly Nightmares, Breaking Tradition Empress Hotel Dave Thornton, Josh Earl Grandview Hotel Dizzy’s Big Band Dizzy’s Jazz Club Eagle and the Worm! RRR Performance Space Fromage Disco New Guernica Hit the Turf Turf Bar Huf, Extreme Wheeze Edinburgh Castle Hotel Jack Gramski, Simon Evans, Djana Raykovic Clifton Hill Hotel Jackals, Uday Tigers, Where Were You At Lunch The Old Bar Jacky Winter The Retreat Hotel James Osbourne Collective Paris Cat Jazz Club Joan As Policewoman Athenaeum Theatre Jubal, Officer Parrot, Serendipity Wesley Anne King Cannons, Fearless Vampire Killers The Loft KKS Project, Hailey Cramer, Simon Phillips, Oscar Evelyn Hotel Lincoln Mckinnon The Standard Hotel Maddy Hay, David Cosma The Toff In Town Matt Radovich, PCP Lounge Bar Open Mic Bendigo Hotel Open Mic Brunswick Hotel Open Mic Grind ‘n’ Groove Bar Open Mic The Bender Bar Peter Knights 5 & 2 Brass Band, 2 Brass Ensemble, Forward Motion Bennetts Lane Sherrif, Johari Window, Hidden Venture, Friendly Yen Esplanade Lounge Soul Army, Vince Peach, Miss Goldie, Prequel, Black Diamond Kicks Bimbo Deluxe Stand & Deliver, Petar Tolich Co., Crown Streamer Bendy, Tourism, The Party Shark The Hi-Fi The Butterfly Glee Club The Butterfly Club
The Fire Alive, Luke Legs & the Midnight Specials, The Laughing Leaves, DJ Leighboy, Bongas Revolver Vice Grip Pussies, Dukes Of Deliciousness Cherry Bar Wasabi, Sizzle, Rintrah, Men Imitating Machines, Dysphemic, Miss Eliza Miss Libertine Yolke, Baptism of Uzi, Red Hymns The Tote
Alysia Manceau The Sporting Club Barbra & Frank Frankston Arts Centre Barry Charles, Haggis MaGuiness, Dan Dinnen The Drunken Poet Blackchords Vineyard Bobby Flynn, Snowy Belfast Empress Hotel Burn That Cat DJs Ding Dong Lounge Clayton Doleys Organ Donors 303 Clowns, Ratking, Chaos Kids, Musquito Esplanade Basement Cold Harbour Pure Pop Records Confession, Trainwreck, In Motion Next D Rogers, Andrew Keese Builders Arms Hotel Darius Bassiray, Paul Beynon, Jon Beta, Lister Cooray Miss Libertine Dave O’Neil, Adam Rozenbach Comic’s Lounge Eagle and the Worm! Cherry Bar Elk & Whale, Al Parkinson, Alexander Hamilton Grumpy’s Green Engineered Sound Dizzy’s Jazz Club ESC, Kokatsuna Onani & the Shrieking Eels, The Blushing Pilgrims Brunswick Hotel Finlo White, Kitty Kat Co., Crown Freddy Fuddpucker, Light Lion, The Modern Trash Quartet The Old Bar Goodtime Medicine Band Lomond Hotel In Good Company, Matte Blac, Vintage Seed, T-Bar Workers Club J Boogs The Hi-Fi Jackson McLaren & the Triple Threat Grace Darling Hotel Karnivool, Shockone, Over Reactor Corner Hotel
Kashmere Club, The Dirty F, Drifter The Prague King Cannons, Fearless Vampire Killers Karova Lounge Kristin Berardi, James Sherlock Bennetts Lane Matty Grant, Matt Dean, Phil Ross Billboard Midlife, Absolute Boys, Cocks Arquette, 1928, Tranter, Sleeves, Megawuoti, Supremes, TDAH The Toff In Town Mood, DJ NuBody, Photography Night Walks Loop Mr DNA, Palisades, Foxtrot, Namine The Highlander Negative Magick New Guernica New Estate, Lunars, Brain Drain Bar Open Night Skool DJs Eurotrashbar Onyx Esplanade Gershwin Room Open Mic Grandview Hotel Open Mic Plough Hotel Project Puzzle The Night Cat Rebecca Kmit The Butterfly Club Samantha Lombardi, Blac Mail DJs Revolver Seedy Jeezus, Scaramouche, Friendly Yen, 4tress, Love/Hate Pony Sietta, Audego Red Bennies Silversix, Citizen. com, Code Luke Lounge Bar Son Tres Mi Corazon Sons of Rico, Boys Boys Boys, Radio Star East Brunswick Club Spencer P Jones Tago Mago Strangers From Now On, Sea Cats, The Massivists, Attack, Creep & Harp Evelyn Hotel Susy Blue, Rose Turtle Ertler, Victoriana Gaye Wesley Anne Teenage Mothers, White Walls, The Rock Bottoms, Lewis/Carrot, Poon Dj’s Yah Yah’s Tess McKenna Union Hotel Brunswick The Earlybirds, No Love for Lexi Edinburgh Castle Hotel The Furniture Incident, Rainbird, Uncle Chunk, Crying Sirens Esplanade Lounge The Furrow, Harmony Byrne, Francis Jerome Rubys Lounge The Jane Austin Argument, Adam Rudegeair Paris Cat Jazz Club
The Rhetorics, The Loop Great Britain Hotel Tiger Funk Bimbo Deluxe Underhanded, Jackson Firebird The Retreat Hotel Unlucky DJs Seven Nightclub
Andre Mols, Blues Corp, Blind Lemon The Hi-Fi Andrew Reid, Gill Askey, Roger Clark Quartet Dizzy’s Jazz Club Barbra & Frank The Palms Belfast 16, Rich:)e Rich, Simon Coyle, Jeff Tyler Prince Bandroom Beni, Millions Miss Libertine Biz Markie, Cutmaster Cool V, DJ Peril, Low Budget, Mu-Gen Esplanade Gershwin Room Blackout Bimbo Deluxe Checkerboard Lounge, The Town Bikes The Palais, Hepburn Springs Checkerboard Lounge, The Town Bikes The Palais, Hepburn Springs Chris G Village Green Dave O’Neil, Adam Rozenbach Comic’s Lounge Dice, Skyland, The Iain Archibald Band, Kelly Bruce Brunswick Hotel Dojo, Delirium, Audemia, Dirt Magnet Esplanade Basement Earl Grey Policy Lomond Hotel Elly Hoyt Quintet Paris Cat Jazz Club Faust Forum Theatre Fear of a Brown Planet, Bart Willoughby, Squid Squad, Symbols, Ezekiel Ox, Brouhaha Strings, Warpaint, Griff 303 Friday Night Live Hallam Hotel GB3, Teak, Verdaine East Brunswick Club Grand Atlantic, The Lifted Brow, Electric Sea Spider, Circular Keys, Time For Dreams, DJ OK Workers Club Grouse Party Cornish Arms Hotel Harlott, Naberus, Diprosus, See Hear Say, Charlie Cooper Pony House Of Thumbs, Inside the Exterior, Nobody Knew They Were Robots, Jigsaw Torture The Inner City Groove, Tabu, Mr Lob, Obliveus Loop
Jimmy Hawk & The Endless Party, Nick Murphy Band, Dancing Heals, DJ Bianca Curry, DJ Lucy Cherry Bar Karate Boogooloo Builders Arms, early show Kim Salmon Tago Mago King Cannons, Fearless Vampire Killers Newmarket Hotel, Bendigo Lanie Lane The Gem Like Fridays DJs Ladida Love2B, Andrew De Silva, Funky Col, Jase Catherine (Nubreed), Nick Taplin Tryst Bar Major Chord, The Nymphs, Burl Ivers Builders Arms Hotel Mandy Wragg, Moreland City Soul Revue, DJ Dave The Scot The Retreat Hotel Mary Halvorson Trio Bennetts Lane Matt Rad, Mr George, Tom Meagher, Phato A Mano Lucky Coq Mikelangelo & the Tin Star, The ReChords Northcote Social Club Neo, Nero, MoundShroud Abode Next DJs The Loft Nigel Wearne, Sarah Carroll, Luke Watt Edinburgh Castle Hotel Nikkos, Joe Sofo, Kitty Kat Co., Crown O.M.G.’s, Aerial Manx, Cal Harris, Hemlock Mejarne, Lily Lucent, Pete & the Circus Dogs Red Oblako Lodka, Geoffrey O’Connor, Pascal Babare & Teeth, Sunkissed Grace Darling Hotel Ollie Mc, Julez, Moneykat Empress Hotel Owl Eyes, San Fran Disco, Tessa & The Typecast, The Colour Age, Rusty Esplanade Lounge Poprocks at the Toff, Dr Phil Smith The Toff In Town Post Percy, Thomas Pollard, Pingu, Simon TK New Guernica Powerfuck Bar Open Puta Madre Bros, The Level Spirits, Chook Race The Tote Rachel Andrews, Phil Ross, Dean T, DJ Atomik, Johnny M Fusion Nighclub Rattlehand, The Orphanage, Merri Creek Pickers, The Quarry Mountain Dead Rats, DJ Eljay, Lindsay Phillips, Mikelangelo & St Claire The Old Bar
Rebecca Kmit The Butterfly Club Senyawa, Rod Cooper, Justice Yeldham, Sense Data, Tim O’Dwyer, Robbie Avenaim, Blarghstrad Noisesmith Stutter Shockone, Over Reactor Corner Hotel Shoeshine Grind ‘n’ Groove Bar Snowy Belfast, Katie Drover, Matt Radovich, Mike Callander, Oliver James, Nick Jones, Virginia Le, Matt Kovic Revolver Solid Waste, Look Who’s Toxic, Cheese & Water Crackers Public Bar Stomp Dog The Vic Stonefield, The Hello Morning Ding Dong Lounge Tash Parker, Malia Sloman Duo, Jessica Moussi & the Songbird Orchestra Wesley Anne The Final Cut, Before Days End, September Falls, Steeple Jack Evelyn Hotel The Greeting Method, Man from the Meteor Barwon Club The Light Rail, Richard Jeffrey The Bender Bar The Little Sisters The Sporting Club The Perfections, Sol Haus and the Spokesmen, Sambrose Automobile, Dave Boots Bendigo Hotel The Spazzys, The Vomkins, The Ghaie Sisters Cornish Arms Hotel Thirsty Merc Ferntree Gully Hotel Tracy McNeil & Band Basement Discs Traditional Irish Music Session, Dan Bourke & Friends The Drunken Poet Velvet DJs Seven Nightclub WHO, Mr Moonshine, Snowie, Tahl, Muska Lounge Bar Winter Art Show, Hoss, Chainsaw Hookers, BMX Rays, Dukes Of Deliciousness, Fanta Pants Yah Yah’s
23 Angles of Attack, Low Speed Bus Chase, Teak, Vincent, Lights On at Heathrow Esplanade Gershwin Room 2GreenDollars, Matty G, Dean T, Chris Berry Co., Crown Andrew Reid, Daina Jowsey Combo Dizzy’s Jazz Club
Ape Is Ape, Rayon Moon, The Fuckups Public Bar Bag Raiders, Generik, Sunshine Prince Bandroom Beat Disease, DW, The Nation Blue, Lo, Firearms, Bodies The Tote Black Jack Oz Rock St Andrews Hotel Burlesque, Dolores Daiquiri, Becky Lou, Kelly Ann Doll, Khandie Kisses, Tasia Red Bennies Continental DJs Continental Hotel Dave O’Neil, Adam Rozenbach Comic’s Lounge Death Valley Band, Spinning Room, Clavians, On Sierra Grace Darling Hotel Dream On Dreamer, I Explode Like, Hybrid Nightmares, Acrasia, Closure in Moscow, Secrets in Scale, Perfect Fit, The Aura Cura, Karl Christoph Plastic Ebb & Flo, Phil K, The Associates, Nikkos, Jon Beta, Lister Cooray Loop Electrik Dynamite, Oh Pacific, Amber Calling Bang Gareth Liddiard, Baptism of Uzi, Demon Parade, Phil Para Esplanade Lounge Hoss, The Dukes of Deliciousness, BMX Rays, Rocket Queen, Poppin Mommas Barwon Club Hot Step Bimbo Deluxe House Party Eurotrashbar James Muller Quartet, Paul Williamson Bennetts Lane Jamie Vlahos, Frazer Adnam, Scott McMahon, Mr Magoo, Ziggy Billboard JJ Symon & The Monochromes The Sporting Club Judge Pino & the Ruling Motions Bar Open Kak and the Kicks, Not Dead Yet, Pull My Finger Chandelier Room Kim Churchill, The Hello Morning, Rick Steward Northcote Social Club King Cannons, Fearless Vampire Killers Torquay Hotel Loft DJs The Loft Los Neutrinos, The Blue Jays, The Subsequents The Vic Luke McD, Nick Coleman, Darren Coburn Lounge Bar Marin Cilia, Nick Larkins & The Bones Spenserlive
Matt Sonic & The High Times, River of Snakes, Howl At The Moon, Rich Davies & The Devils Union The Prague Michael Waugh, Paper Jane, Winterlights Wesley Anne Mirika Builders Arms, early show Moonee Valley Drifters Lomond Hotel Mount Omega Hustle, Elephant Eyes, Band Band, Hissy Loco Edinburgh Castle Hotel My Friend The Chocolate Cake Geelong Performing Arts Centre Naked On The Vague, Fabulous Diamonds, Blank Realm Workers Club Paddy McHugh & the Goldminers, Sly Grog, Cherrywood Gun, Wil Wagner, Tasty Cakes Yah Yah’s Peep Tempel, The Yard Apes, Fuckface, Highwater Ballroom Band, DJ Serious Joe Kokomo The Old Bar Pez, Maya Jupiter, 360 The Hi-Fi Psimocybin, Linken, Vertigo, Pheen, Rubix, Monkee Miss Libertine Rebecca Kmit The Butterfly Club Rick Moranis Overdrive, Fierce Karova Lounge Rock City Riff Raff, Bugdust, Death Valley Mustangs Cherry Bar Ruby Rose, Tate Strauss, Marcus Knight, Nova, Johnny M Fusion Nighclub Sabo The Gem Shameless Cover Band Bar 362 Silo, Sexy/Heavy, Spermaids, Dirty F, White Rabbit Pony Spectrum trio Wild Thyme Spencer P Jones & The Escape Committee Tago Mago Spidergoat Canyon, Red Rockets Of Borneo, Corpse, Chico Flash, Carly Fern, The Kilniks, Jules Sheldon Brunswick Hotel Strine Singers Edinburgh Castle, early show Syme Tollens Abode Tavares The Night Cat Teeth & Tongue, New War, The House deFROST, Andee Frost The Toff In Town That Velvet Echo, Freya Hanly Empress Hotel, Arvo Show
74 JOHNSTON ST FITZROY 9417 4155 WWW.THEOLDBAR.COM.AU OPEN EVERY NIGHT
WEDNESDAY 8TH JUNE
Wed 8th June 8pm: Alysia Manceau 9pm: Kate Lucas Thurs 9th June 8pm: Barry Charles and Haggis MaGuinness 8pm: Dan Dinnen Fri 10th June 6pm: Traditional Irish Music Session with Dan Bourke & Friends Sat 11th June 9pm: The Goodtime Medicine Band Sun 12th June 4pm: Chris Wilson 6.30pm: Nick Charles and Pete Fidler Tues 14th June 8pm: Weekly Trivia
12PM - 3AM
UDAY TIGER WHERE WERE YOU AT LUNCH
THURSDAY 9TH JUNE
FREDDY FUDDPUCKER - LAST SHOW
12PM - 3AM
LIGHT LIONS THE MODERN TRASH QUARTET
FRIDAY 10TH JUNE
3CR-BURNING VINYL LIVE BROADCAST
12PM - 3AM
LINDSAY PHILLIPS MIKELANGELO & SAINT CLAIRE
RATTLE HAND (QLD)
THE ORPHANAGE MERRI CREEK PICKERS THE QUARRY MOUNTAIN DEAD RATS DJ ELJAY
SATURDAY 11TH JUNE
8:30PM $10 1AM FREE
12PM - 3AM
THE YARD APES FUCKFACE THE HIGHWATER BALLROOM BAND DJ SERIOUS JOE KOKOMO
SUNDAY 12TH JUNE
THE TOOT TOOT TOOTS
8:30PM $10 1AM FREE
12PM - 3AM
THE DEATH RATTLES THE VELOCETTES THE STIFFYS DJ MARK BURIED HORSES
MONDAY 13TH JUNE
7PM $5 12AM FREE
12PM - 3AM
ALEX HAMILTON (MERRI CREEK PICKERS) NIGEL WEARNE'S CHICKENWALK CROTCHETY KNITWITS KNITTING, SEWING, BOOZING. DJ LIVING THE DREAM DICKHEADS
All Shows Always Free!
TUESDAY 14TH JUNE
8PM FREE 6PM FREE 10PM FREE
12PM - 3AM
ROSANNA PIMMS & GRADY DANIEL-SMITH HICKFORD ROAD BOYRED EUGENE HOLCOMBE
The Drunken Poet, 65 Peel Street (Directly opposite Queen Vic Market). Phone: 03 9348 9797 www.myspace.com/drunkenpoets
email@example.com The Blackeyed Susans Trio, The Prayerbabies Union Hotel Brunswick The Dennis Boys Band, Terry McCarthy Special, Jules Sheldon Bendigo Hotel the F100’s, Chainsaw Hookers, Bakelite Age, Adalita The Retreat Hotel The Goodtime Medicine Band The Drunken Poet The Hemmingway Collective, Tim Clare (Into the Woods) Empress Hotel The Lonely Smokers, Long Yard, System of Venus, Sabba Esplanade Basement The Master E55 The Middle East, Leader Cheetah, Grand Salvo Corner Hotel The Pang, Garden of Eida 303 The Rhetorics, The Beach Chromers Great Britain Hotel The Sideshow Brides Pure Pop Records Thirsty Merc Pier Hotel Three Time Thrill, Sounds of Sirus, Goodbye Zoe, Midnight Ablaze Rubys Lounge Tim Rogers The Palais, Hepburn Springs Tim Rogers The Palais, Hepburn Springs Tracy Mcneil, Van Walker, Sweet Jean, Luke Sinclair Trades Hall
Vic Farrel, Michelle Hosking The Bender Bar
Alex Watts & the Foreign Tongue, Kinch Kinski, Chainsaw Hookers, Harvest Smoke, Rob Wass The Vic Baptism of Uzi, The Ovals, Mushroom Horse, Shimmernet, Dapplegrim, Domini Foster Brunswick Hotel Battlesnake, I Dream In Transit, Brain Drain Edinburgh Castle Hotel Bunny Monroe, Chaos Kids Yah Yah’s Burlesque, Khandie Kisses, Foxy La Femme, the strawberry siren, Smokin’ McQueen, Betty Blood Red Bennies Chris Wilson, Nick Charles, Pete Fidler The Drunken Poet Different Strokes, Snakadaktal, Indian Summer, Skeleton Jamboree, Mary Tyler Moore, Acolyte Esplanade Gershwin Room DJ Jazzy 24 Moons Fee Brown The Standard Hotel Fingerbone Bill Union Hotel Brunswick Foxs Wedding Great Britain Hotel
Heidi Elva Edinburgh Castle, early show Hobsons Choice The Sporting Club House of Shem The Nu Hotel House of Shem, T-Rhythm Band, Jo Alley The Palace Theatre Internal Harvest, Myridian, Echo’s Witness, Dot the Eyes, The Bonniwells, Slugger Fontaine Pony Jayce Davies, Bush Monkeys, The Feel Goods, Rainbow Massacre Rubys Lounge Jimmy Tait The Post Office Hotel Jody McLeod, Chardy, Bright White, Tate Strauss, Dean T, Nova, Johnny M Fusion Nighclub King Cannons, Fearless Vampire Killers The National Hotel, Geelong Kings and Theives, Snakehipps Grandview Hotel Kurtis Gentle, Brooke Taylor Chandelier Room Madle, Planz, Manaz, Nick Thayer, Mat Cant, Booshank, Boogs Revolver Me, Buchanan, Haitus Kaiyote Evelyn Hotel Melody Moon, Rachel By The Stream, Frankie Andrew, Manu Da Banda, Birds of Running Duo Wesley Anne
Mojo Filter, Red Leader, Underwater Jesus, Sock East Brunswick Club Monique Di Mattina, Woodward & Rough Lomond Hotel Music Trivia Empress Hotel Open Decks The Bender Bar Open Mic Rose Hotel Paul Pomphrey Empress Hotel Phato A Mano Bimbo Deluxe Rattlehand, Mustered Courage Labour In Vain Red Sky Burial, Highside, Electric in Vein, White Veins The Prague Renee Geyer, Headspace, Dale Ryder Band, Bad Boys Batucada Esplanade Lounge Rosie Burgess Trio, Kerryn Fields, Seagull, Patinka Cha Cha, Francis Plagne, Where Were You At Lunch Grace Darling Hotel Rumberos The Night Cat Sirus, Dave Foreman, spYke, Hypollute, J-Rod Loop Skippy’s Brain Bendigo Hotel Spectrum St Andrews Hotel Speed Demons, Speed the Clowns, The Jacks Cherry Bar
Stafford Brothers, Tom Piper, Andy Murphy, Chardy, Adam Bartas, Ross Horkings, Stevie Mink, Bianca White, Mike Metro Billboard Streams of Whiskey Bar Open Sunset Blush, Peter Grantham, Timothy Train, James Stack & Carolyn, Baz Daly, Joel Stibbard, Barry Jones, Opa 303 Superdisco Fun House Prince Bandroom The Gin Club, Laura Imbruglia, Howl At The Moon, Chimneys Northcote Social Club The Idle Hoes Carringbush Hotel The Middle East, Leader Cheetah, Grand Salvo Corner Hotel The Prayer Babies Tago Mago The ReChords The Gem The Thrashening, In Malices Wake, Frankenbok, Dark Order, Desecrator, Dead Letter Opener, Elm Street The Tote The Toot Toot Toots, The Death Rattles, The Velocettes, The Stiffys, DJ Mark Buried Horses The Old Bar Thirsty Merc Village Green Tobias Hengeveld Builders Arms Hotel Trial Kennedy Ferntree Gully Hotel Tripod, Andyblack, Haggis The Toff In Town
Very Handsome Men, The Killjoys The Retreat Hotel
Alex Hamilton (Merri Creek Pickers), Nigel Wearne, DJ Living the Dream Dickheads, ‘Crotchety Knitwits’ The Old Bar Allan Browne, Marc Hannaford, Sam Anning Bennetts Lane Bobby Flynn Esplanade Lounge Gareth Thomson Quartet, Logic 303 Gyptian The Hi-Fi iBimbo, Open Decks Bimbo Deluxe James Kane & Friends New Guernica Mexican Mondays, Chris Wilson The Retreat Hotel Mr Speaker Great Britain Hotel Open Mic Bertha Brown Playwrite, Sleep Decade, Marcus Whale, Jack R Rielly Workers Club Screen Sect, The Dead Zone Bar Open Storytellers Night Brunswick Hotel Swing Patrol The Toff In Town The Ribbon Device, Oak & Willow Empress Hotel
Tully & the Thief, Tehachapi, Neighbourhood Youth, Yokey Evelyn Hotel
Al Parkinson, Graham Rix, Rosey, Simon Astley, Jenny Biddle Esplanade Lounge Cine Cult 303 Claude Hay Royal Standard Hotel Irish Session Lomond Hotel Jimi Hocking Grandview Hotel Kylie Minogue, Gypsy & the Cat Rod Laver Arena Make it Up Club Bar Open Matt Radovich, Andras Fox, Henry Who Bimbo Deluxe Melbourne Fresh Industry Showcase, Leez Lido, Etnik Electrik, I Dream of Genre, Arbia, Captain Groove, The Black Galaxy Experience Revolver Open Mic Rubys Lounge Open Mic Wesley Anne Pinto, Lindsay Phillips The Retreat Hotel Preshil, Tim Dargaville Dizzy’s Jazz Club
Rosanna Pimm, Grady Daniel-Smith, Hickford Road, Boyred, Eugene Holcombe The Old Bar The Brunswick Discovery, Spares Without Maire, William Blaxland Brunswick Hotel The Butterfly Glee Club The Butterfly Club The Middle East, Leader Cheetah, Grand Salvo Corner Hotel Weekly Trivia The Drunken Poet Women of Soul, Michelle Martinez, Karen Morales The Toff In Town
140 Sydney Rd
NO COVER CHARGE
WEDNESDAY JUNE 8TH - 8PM
THE BRUNSWICK HOTEL OPEN MIC $10 JUGS
THURSDAY JUNE 9TH - 8PM ESC, SHUTTERSTOP AND THE SHRIEKING EELS AND THE BLUSHING PILGRIMS FROM 8PM TILL MIDNIGHT $2 POTS AND $5 BASICS FRIDAY JUNE 10TH - 9PM DICE, SKYLAND, THE IAIN ARCHIBALD BAND AND KELLY BRUCE SATURDAY JUNE 11TH -4PM
WITH JULES SHELDON AND LOSHKI
8PM OFF THE RICTER - FUNDRAISER FOR NZ EARTHQUAKE VICTIMS FEATURING:
RED ROCKETS OF BORNEO, CORPSE, CHICO FLASH AND CARLY FERN
SUNDAY JUNE 12TH - 5PM
DAPPLEGRIM, DOMINI FORSTER
8PM QUEENS BIRTHDAY BASH WITH BAPTISM OF UZI, THE OVALS, MUSHROOM HORSE AND SHIMMERNET MONDAY JUNE 13TH - 8PM
ROUND AND ROUND STORYTELLERS NIGHT! TUESDAY JUNE 14TH - 9PM
TUESDAY NIGHT BRUNSWICK DISCOVERY
THIS WEEK: THE MANHOLES AND PUERTO RICO
163A Sydney Road, Brunswick 3058 Bookings/Enquiries firstname.lastname@example.org www.cornisharms.com.au
Kitchen Specials Mon - $12 burger & pot Tues - $6 pizza Wed - $14 porterhouse Fri - $6 pizza Thu - Great Pub Quiz Challenge
SAT 11TH LIVE MUSIC & EVENTS
Tunes by Sabo
FRIDAY JUNE 10
Grouse Party "Family Edition" $10 entry
QUEENS BIRTHDAY WEEKEND
open every night!! FRIDAY JUNE 17
Death Valley Band Once Upon A Time In The West Brendan West & Jono Reisacher Free
289 WELLINGTON ST COLLINGWOOD 94195170
SATURDAY JUNE 18
Blackchords I, A Man Free
Function Room Available Kitchen Open Every Evening
KITCHEN OPEN 6 NIGHTS twitter.com/inpressmag
WED 8 Coq Roq with DJ Lady Noir, Agent 86, Kiti, Mr Thom, Joybot: Lucky Coq Sheriff, Johari Window, Hidden Venture, Friendly Yen: Esplanade Hotel No Era with DJs Sizzle, Heavy Innit, Glitch This, Operatives, Top Billin, Wax Museum: Miss Libertine Stand and Deliver, DJ Petar Tolich: Co.
THU 9 Bronson, Solid Light, Jun-Wan, Loca Motic, J-Slyde, Sox: Match Bar Clowns, Ratking, Chaos Kids, Musquitos: Esplanade Basement
DJs NuBody, Mitch & Simon: Loop DJs Chris Ostrom, Aniket: Empire DJ Who, Agent 86: Lucky Coq Miss Gabrielle, Melbourne Latin Dance Live: Sneak Bar Onyx + guests: Esplanade Gershwin Room The Furniture Incident, Rainbird, Uncle Chunk, Crying Sirens: Esplanade Lounge Bar Funhouse DJs, Finlo White, MC Kitty Kat: Co. Sietta: Red Bennies Sirgio, DJs O.F.S.M., Stuart Storch: Hush Bar Strangers From Now On, Sea Cats, The Massivists, Attck, Creep, Hard: Evelyn Hotel
Biz Markie, Cutmaster Cool V, DJ Peril, Low Budget, Mu-Gen: Esplanade Gershwin Room DJs Rachel Andrews, Phil Ross, Dean T, Atomic, Johnny M: Fusion DJs Matt Rad, Mr George, Tom Meagher, Phato A Mano: Lucky Coq Dojo, Delirium, Audemia, Dirt Magnet: Esplanade Basement Gavin Keitel, Oliver James, Nick Jones, Liam Waller, Virginia Le, Jacob Malmo, Daniel Tardrew: Revolver Upstairs Grouse Party with DJs The Spazzys, The Vomkins, The Ghaie Sisters: The Cornish Arms Guy J, Rollin Connection, Lister Cooray, Jon Beta, Nikko, Alam: Roxanne Parlour Jasper Dahlback, Mike Callander, Mollusk, Dysphemic and Miss Eliza, Matt Radovich, Sam McEwin + More: Brown Alley
Luke Jacobz, DJs Nikkos, Joe Sofo, Kitty Kat: Co. Marcellus Pittman: Mercat Cross Basement Mr Nice & Ego: Loop Rich:)e Rich, Simon Coyle, Jeff Tyler + guests: Prince Bandroom Royal Doof with John Phantasm, Deviant Species, Scorb, Squid INC., The Prism Concept: Outdoor Venue TBA Tom Lally, Virginia Le, Hoops, Silversix, John Doe, Jacob Nolan, Clipping: Bimbo Deluxe TABU, Mr Lob, Obliveus, VJ Ladylux: Loop Sam La More, John Course, Silversix vs Edly Jones, Bags: Sorry Grandma
SAT 11 2GreenDollars, DJs Matty G, Dean T: Co.
23 Angels of Attack, Low Speed Bus Chase, Teak, Vincent, Lights On At Heathrow: Esplanade Gershwin Room Bag Raiders: Prince Bandroom Chant Down Sound, Bonnita, Al Good, Ali MC, Apprentice: Mercat Cross Hotel Dstract, JMC, Baron Von Rotton vs Ouch, Diistortiion, Shifty Sly: Brown Alley DJ Ruby Rose: Fusion The Lonely Smokers, Long Yard, System Of Venus, Sabba: Esplanade Basement Classixx: Roxanne Parlour Phil K, Nikko, Jon Beta, Lister Cooray, VJ Netzair: Loop Ron Carroll, Steve Bleas, James Belias, Simon Digby, Apap, Baz Emera: Alumbra Teeth & Tongue: The Toff in Town The Proxy: Hi-Fi Bar
Tim Aerobiotic Ward, Benny Amis, Ward-iz, Eezal, Eric Lee, Kultrun, Elton Smith: MyAeon TV Rock and Rudy, Bang Gang, Ajax, Loot & Plunder, Kid Kenobi, MC Shureshock, Nick Thayer: Queens
SUN 12 Danger, Light Year, Nina Las Vegas, Deacon Rose, Airwolf, Kris Baha: Hi-Fi Bar DJs Sirus, Dave Foreman, SpYke, J Rod, Hypollute, War(k): Loop Fatman Scoop, DJ Knuckles, The Stafford Brothers, Timmy Trumpet: Shed 4
House Boat with Mark Doyle, Jesus, Baz Emira, Matt Campbell, Mark John + More: Boarding behind #3 Station Pier, Port Melbourne Jamie Stevens, Steve Ward, Thankyou City, Mike Callander, Oblique Industries: Revolver Upstairs Jody McLeod, Chardy, Bright White, DJs Tate Strauss, Dean T, Johnny M: Fusion Spectrasoul, Patch, Finna, Safire, Tobias J, Beatski, Dabeata: Roxanne Parlour Stafford Brothers, Tom Piper, Andy Murphy, Chardy, Ross Horkings, Stevie Mink, Adam Bartas + More: Billboard The Venue Sied Van Riel: Chasers Sub-Zero Frequencies: Riverview Boat Club Timmy Trumpet: Sorry Grandma T-Rek Live Band Show, Orkestrated feat. Beleef, Stevie Mink, Butterbox, Heath Renata, Mike Metro + More: Royal Melbourne Hotel
Viper Room Reunion: Martini Lounge Zoophyte: Esplanade Basement
MON 13 Carl Cox & Eric Powellâ€™s Mobile Disco: Alumbra
TUES 14 Hip Hop Sistas Female MC Workshop: North Melbourne Community Centre
BANG Saturday Electrik Dynamite, Oh Pacific, Amber Calling
BAR OPEN Wednesday Affiks, A13, Wooshie, Aoi Thursday New Estate, Lunars, Brain Drain Friday Powerfuck Saturday Judge Pino & the Ruling Motions Sunday Streams of Whiskey Monday Screen Sect, The Dead Zone Tuesday Make it Up Club
BILLBOARD Thursday Matty Grant, Matt Dean, Phil Ross Saturday Jamie Vlahos, Frazer Adnam, Scott McMahon, Mr Magoo, Ziggy Sunday Stafford Brothers, Tom Piper, Andy Murphy, Chardy, Adam Bartas, Ross Horkings, Stevie Mink, Bianca White, Mike Metro
BIMBO DELUXE Wednesday Soul Army, Vince Peach, Miss Goldie, Prequel, Black Diamond Kicks Thursday Tiger Funk Friday Blackout Saturday Hot Step Sunday Phato A Mano Monday iBimbo, Open Decks Tuesday Matt Radovich, Andras Fox, Henry Who
BUILDERS ARMS, EARLY SHOW
Saturday The Lonely Smokers, Long Yard, System of Venus, Sabba
Friday Karate Boogooloo Saturday Mirika
ESPLANADE GERSHWIN ROOM
CORNER HOTEL Thursday Karnivool, Shockone, Over Reactor Friday Shockone, Over Reactor Saturday The Middle East, Leader Cheetah, Grand Salvo Sunday The Middle East, Leader Cheetah, Grand Salvo Tuesday The Middle East, Leader Cheetah, Grand Salvo
CORNISH ARMS HOTEL Friday The Spazzys, The Vomkins, The Ghaie Sisters Friday Grouse Party
EAST BRUNSWICK CLUB Thursday Sons of Rico, Boys Boys Boys, Radio Star Friday GB3, Teak, Verdaine Sunday Mojo Filter, Red Leader, Underwater Jesus, Sock
EDINBURGH CASTLE HOTEL Wednesday Huf, Extreme Wheeze Thursday The Earlybirds, No Love for Lexi Friday Nigel Wearne, Sarah Carroll, Luke Watt Saturday Mount Omega Hustle, Elephant Eyes, Band Band, Hissy Loco Sunday Battlesnake, I Dream In Transit, Brain Drain
Wednesday Open Mic Thursday ESC, Kokatsuna Onani & the Shrieking Eels, The Blushing Pilgrims Friday Dice, Skyland, The Iain Archibald Band, Kelly Bruce Saturday Spidergoat Canyon, Red Rockets Of Borneo, Corpse, Chico Flash, Carly Fern, The Kilniks, Jules Sheldon Sunday Baptism of Uzi, The Ovals, Mushroom Horse, Shimmernet, Dapplegrim, Domini Foster Monday Storytellers Night Tuesday The Brunswick Discovery, Spares Without Maire, William Blaxland
Wednesday Chasing Lindsay, Friendly Nightmares, Breaking Tradition Thursday Bobby Flynn, Snowy Belfast Friday Ollie Mc, Julez, Moneykat Saturday The Hemmingway Collective, Tim Clare (Into the Woods) Sunday Music Trivia Sunday Paul Pomphrey Monday The Ribbon Device, Oak & Willow
BUILDERS ARMS HOTEL
Saturday That Velvet Echo, Freya Hanly
Thursday D Rogers, Andrew Keese Friday Major Chord, The Nymphs, Burl Ivers Sunday Tobias Hengeveld
EMPRESS HOTEL, ARVO SHOW
ESPLANADE BASEMENT Thursday Clowns, Ratking, Chaos Kids, Musquito Friday Dojo, Delirium, Audemia, Dirt Magnet
Thursday Onyx Friday Biz Markie, Cutmaster Cool V, DJ Peril, Low Budget, Mu-Gen Saturday 23 Angles of Attack, Low Speed Bus Chase, Teak, Vincent, Lights On at Heathrow Sunday Different Strokes, Snakadaktal, Indian Summer, Skeleton Jamboree, Mary Tyler Moore, Acolyte
ESPLANADE LOUNGE Wednesday Sherrif, Johari Window, Hidden Venture, Friendly Yen Thursday The Furniture Incident, Rainbird, Uncle Chunk, Crying Sirens Friday Owl Eyes, San Fran Disco, Tessa & The Typecast, The Colour Age, Rusty Saturday Gareth Liddiard, Baptism of Uzi, Demon Parade, Phil Para Sunday Renee Geyer, Headspace, Dale Ryder Band, Bad Boys Batucada Monday Bobby Flynn Tuesday Al Parkinson, Graham Rix, Rosey, Simon Astley, Jenny Biddle
EVELYN HOTEL Wednesday KKS Project, Hailey Cramer, Simon Phillips, Oscar Thursday Strangers From Now On, Sea Cats, The Massivists, Attack, Creep & Harp Friday The Final Cut, Before Days End, September Falls, Steeple Jack Sunday Me, Buchanan, Haitus Kaiyote Monday Tully & the Thief, Tehachapi, Neighbourhood Youth, Yokey
GRACE DARLING HOTEL Thursday Jackson McLaren & the Triple Threat Friday Oblako Lodka, Geoffrey O’Connor, Pascal Babare & Teeth, Sunkissed Saturday Death Valley Band, Spinning Room, Clavians, On Sierra Sunday Rosie Burgess Trio, Kerryn Fields, Seagull, Patinka Cha Cha, Francis Plagne, Where Were You At Lunch
LOOP Thursday Mood, DJ NuBody, Photography Night Walks
Friday Inner City Groove, Tabu, Mr Lob, Obliveus Saturday Ebb & Flo, Phil K, The Associates, Nikkos, Jon Beta, Lister Cooray Sunday Sirus, Dave Foreman, spYke, Hypollute, J-Rod
LUCKY COQ Friday Matt Rad, Mr George, Tom Meagher, Phato A Mano
NEXT Thursday Confession, Trainwreck, In Motion
NORTHCOTE SOCIAL CLUB Friday Mikelangelo & the Tin Star, The ReChords Saturday Kim Churchill, The Hello Morning, Rick Steward Sunday The Gin Club, Laura Imbruglia, Howl At The Moon, Chimneys
PONY Thursday Seedy Jeezus, Scaramouche, Friendly Yen, 4tress, Love/Hate Friday Harlott, Naberus, Diprosus, See Hear Say, Charlie Cooper Saturday Silo, Sexy/Heavy, Spermaids, Dirty F, White Rabbit Sunday Internal Harvest, Myridian, Echo’s Witness, Dot the Eyes, The Bonniwells, Slugger Fontaine
PRINCE BANDROOM Friday Belfast 16, Rich:)e Rich, Simon Coyle, Jeff Tyler Saturday Bag Raiders, Generik, Sunshine Sunday Superdisco Fun House
THE GRANDVIEW HOTEL Wednesday Dave Thornton, Josh Earl Sunday Kings and Theives, Snakehipps Tuesday Jimi Hocking
THE HI-FI Wednesday Streamer Bendy, Tourism, The Party Shark Thursday J Boogs Friday Andre Mols, Blues Corp, Blind Lemon Saturday Pez, Maya Jupiter, 360 Monday Gyptian
THE OLD BAR Wednesday Jackals, Uday Tigers, Where Were You At Lunch Thursday Freddy Fuddpucker, Light Lion, The Modern Trash Quartet Friday Rattlehand, The Orphanage, Merri Creek Pickers, The Quarry Mountain Dead Rats, DJ Eljay, Lindsay Phillips, Mikelangelo & St Claire Saturday Peep Tempel, The Yard Apes, Fuckface, Highwater Ballroom Band, DJ Serious Joe Kokomo Sunday The Toot Toot Toots, The Death Rattles, The Velocettes, The Stiffys, DJ Mark Buried Horses Monday Alex Hamilton (Merri Creek Pickers), Nigel Wearne, DJ Living the Dream Dickheads, ‘Crotchety Knitwits’ Tuesday Rosanna Pimm, Grady Daniel-Smith, Hickford Road, Boyred, Eugene Holcombe
THE STANDARD HOTEL
Friday Solid Waste, Look Who’s Toxic, Cheese & Water Crackers Saturday Ape Is Ape, Rayon Moon, The Fuckups
Wednesday Lincoln Mckinnon Sunday Fee Brown
THE DRUNKEN POET
THE TOFF IN TOWN
Wednesday Alysia Manceau, Kate Lucas Thursday Barry Charles, Haggis MaGuiness, Dan Dinnen Friday Traditional Irish Music Session, Dan Bourke & Friends Saturday The Goodtime Medicine Band Sunday Chris Wilson, Nick Charles, Pete Fidler Tuesday Weekly Trivia
Wednesday Maddy Hay, David Cosma Thursday Midlife, Absolute Boys, Cocks Arquette, 1928, Tranter, Sleeves, Megawuoti, Supremes, TDAH Friday Poprocks at the Toff, Dr Phil Smith Saturday Teeth & Tongue, New War, The House deFROST, Andee Frost Sunday Tripod, Andyblack, Haggis Monday Swing Patrol Tuesday Women of Soul, Michelle Martinez, Karen Morales
THE GEM Friday Lanie Lane Saturday Sabo Sunday The ReChords
THE TOTE Wednesday Yolke, Baptism of Uzi, Red Hymns
Friday Puta Madre Bros, The Level Spirits, Chook Race Saturday Beat Disease, DW, The Nation Blue, Lo, Firearms, Bodies Sunday The Thrashening, In Malices Wake, Frankenbok, Dark Order, Desecrator, Dead Letter Opener, Elm Street
THE VIC Friday Stomp Dog Saturday Los Neutrinos, The Blue Jays, The Subsequents Sunday Alex Watts & the Foreign Tongue, Kinch Kinski, Chainsaw Hookers, Harvest Smoke, Rob Wass
UNION HOTEL BRUNSWICK Thursday Tess McKenna Saturday The Blackeyed Susans Trio, The Prayerbabies Sunday Fingerbone Bill
WESLEY ANNE Wednesday Jubal, Officer Parrot, Serendipity Thursday Susy Blue, Rose Turtle Ertler, Victoriana Gaye Friday Tash Parker, Malia Sloman Duo, Jessica Moussi & the Songbird Orchestra Saturday Michael Waugh, Paper Jane, Winterlights Sunday Melody Moon, Rachel By The Stream, Frankie Andrew, Manu Da Banda, Birds of Running Duo Tuesday Open Mic
WORKERS CLUB Thursday In Good Company, Matte Blac, Vintage Seed, T-Bar Friday Grand Atlantic, The Lifted Brow, Electric Sea Spider, Circular Keys, Time For Dreams, DJ OK Saturday Naked On The Vague, Fabulous Diamonds, Blank Realm Monday Playwrite, Sleep Decade, Marcus Whale, Jack R Rielly
YAH YAH’S Thursday Teenage Mothers, White Walls, The Rock Bottoms, Lewis/Carrot, Poon Dj’s Friday Winter Art Show, Hoss, Chainsaw Hookers, BMX Rays, Dukes Of Deliciousness, Fanta Pants Saturday Paddy McHugh & the Goldminers, Sly Grog, Cherrywood Gun, Wil Wagner, Tasty Cakes Sunday Bunny Monroe, Chaos Kids
ON THE STEREO Suck It And See ARCTIC MONKEYS Furnace Creek JACKAL Big Hair Rox VARIOUS ARTISTS Smoking In Heaven KITTY, DAISY & LEWIS Some Were Meant For Sea TINY RUINS Honey I Ate The Kids RICK MORANIS OVERDRIVE England Keep My Bones FRANK TURNER Rock & Roll Submarine URGE OVERKILL Sin Sin Sin LE BUTCHERETTES Arabia Mountain THE BLACK LIPS
3RRR SOUNDSCAPE Smoking In Heaven KITTY, DAISY & LEWIS Demolished Thoughts THURSTON MOORE Total SEBASTIAN The Errant Charm VETIVER Meditations On The Sun MELODIE NELSON Routine And War THE SINGING SKIES Clutching Stems THE LADYBUG TRANSISTOR Hurtsville JACK LADDER & THE DREAMLANDERS Seeker Lover Keeper SEEKER LOVER KEEPER Highlife Time Vol.2 VARIOUS ARTISTS
TRIPLE J HIT LIST Little Hell CITY & COLOUR Majesty THE PANICS Crucify Me SHOCKONE FEAT PHETSTA Crime Pays BEAR HANDS Forever Young JOAKIM Little Shocks KAISER CHIEFS The Suburbs MR LITTLE JEANS Black Water Rising STONEFIELD Letting It Go TIJUANA CARTEL Still Life THE HORRORS
SYN TOP 10 Not Mine AN HORSE So Pretend BUCKLEY WARD Johnny Marble DIRT FARMER Cigarettes ILLY FEAT HUE BLANES Beautiful Sound JACK LADDER & THE DREAMLANDERS Out Of My Way TA-KU You Haunt Me TEX PERKINS & THE DARK HORSE See You Hurry WIM The Best Person I Know CAT’S EYES Milkman EMA
PBS TIPSHEET Stone Rollin’ RAPHAEL SADDIQ Crystal Theatre BELLES WILL RING Press-Tone Rockabilly 4 PAT CAPOCCI/RUSTY PINTO Revelator TEDESCHI TRUCKS BAND The Surf ‘n’Western Sounds Of MIKELANGELO & THE TIN STAR Come Together Black America Sings Lennon/McCartney VARIOUS ARTISTS Una Y Otra Vez SERGENT GARCIA Seeker Lover Keeper SEEKER LOVER KEEPER Agadez BOMBINO Before The Fall 24 PRELAPSARIAN CUTS
BEHIND THE LINES GEORGE KOLLIAS DRUM CLINIC
US titans Nile’s blast beat metal extremist drummer George Kollias is coming to town exclusively for Allans Music & Billy Hyde, to present a blistering drum clinic from 7pm Sunday 26 June down in the Kaleide Theatre at RMIT on Swanston Street. A Pearl endorsee, the double-kick maestro will be providing insights into the way he’s developed his blistering speed and pinpoint accuracy across his 11-drum, 18-cymbal kit, showcasing his mastery with his Vic Firth sticks and more. Joining Kollias as his special guest is Tasmanian Dave Haley, from four-piece death/grind giants Psycroptic and Ruins. Tickets are a mere $20 and you can book at any Allans Music & Billy Hyde store.
SHURE SE215 SOUND ISOLATING EARPHONES
Now available locally through Australian distributor Jands, the Shure SE215 Sound Isolating Earphones feature a Dynamic MicroDriver for a warm, detailed sound with enhanced bass; a detachable, Kevlar-reinforced cable with formable wire which allows for easy replacement and secure, comfortable fit onstage or wherever; and soundisolating sleeves in multiple sizes that provide up to 37 dB of isolation as well as a customised fit.
CREATING THAT DAPTONE SOUND Listen to any of the records that come out of Daptone Studios in New York City, whether they be from Daptone Records artists such as Sharon Jones & The Dap-Kings and The Budos Band or Amy Winehouse and Norah Jones, and you know they’ve been cut in the same space with the same audio aesthetic. It’s nothing to do with the latest in ProTools technology, but then it’s also not about having the latest or best in vintage valve or analogue gear, as house engineer and producer Gabriel Roth made clear to me recently in a long distance conversation about just what makes the Daptone sound what it is.
“The key to the approach, as simple as it sounds,” Roth explained, a musician himself though he did study a little audio engineering in college, alongside some music theory and history, “is mostly just to try to find really musicians that sound good. Doing something on an eighttrack tape machine as opposed to a computer for example, the important difference is not really in the technology itself, it’s not that, ‘Oh, but the tape sounds so much warmer and the digital thing doesn’t have these frequencies’. “I understand those arguments and stuff but I’m not really that dogmatic as far as the whole analogue/digital thing. I’m a lot more comfortable with tape, I don’t use any computers, but the more fundamental difference in the approach is when you’re recording to an eight-track tape machine, it obliges you to be more competent in your craft. It means the musicians have to play better, the arranger has to make the arrangements work, because you can’t go back at the mix and say, ‘Let’s leave the strings in and take the vibraphone out,’ if they’re on the same track. So the producer has to know, before the record’s made, what they’re trying to do, really have that idea of what everything should sound like and how things should be mixed together and who should lay out of the bridge, that the tempo’s right and the tuning’s right. The engineer has to get the sounds right because what’s going on tape is what’s going on the record.”
Craig Street, who has worked with Norah Jones, KD Lang, Chris Whitley and Cassandra Wilson, and whose 1993 Blue Light ‘Til Dawn album was his production debut, has produced Madeleine Peyroux’s new album, Standin’ On The Rooftop. The Harrow & The Harvest, the new album by Gillian Welch, was recorded at her own Woodland Sound Studios in Nashville, Tennessee and produced by David Rawlings. Luke Escombe and his band The Corporation recorded the bulk of their new, as-yetuntitled album in a studio called Panoramix just out of Byron Bay, owned and operated by, according to Escombe, “an eccentric Frenchman named Bertrand Lalanne,” who has spent the past couple of years building it.
BROUGHT TO YOU BY
SOUND ADVICE GEAR REVIEWS WITH RYAN MORTIMER stomp-box. If all of this isn’t enough ffor your resistance worries you will be satisfied to know that there is a limited five-year factory warranty.
BOSS SD1 – MODDED BY TOYROOM The Boss SD-1 is known as the compact pedal that annihilates all of its rivals in terms of build quality and tone. While it is not the most commonly modified pedal, Toyroom has decided to show us what this pedal can really do with a bit of TLC, mad scientist antics and some solder.
While the modifications aren’t overly obvious, when making eyes with the pedal you will start to become very familiar with its workings. You will firstly notice that the original footswitch has been replaced with a much more durable, button-push styled switch similar to that of an amp channel selector or a big muff.
Straight out of the factory you can be sure that this pedal will offer you a virtually bulletproof casing (as you receive with all Boss pedals). Okay, maybe that’s a little bit of an overstatement, but the all-metal construction will make sure it’s durable enough to last the distance if you happen to drop or trample the tough little
Once you plug Toyroom’s version of the SD-1 into your chain the modifications are ever so obvious before you even get a chance to stomp on the switch. The added true-bypass works well by showing no signs of extra noise messing around with your sound. Once
Cosmetically there aren’t a whole lot of differences to the original, besides the footswitch hanging out of the top, that is. The model reviewed had a larger and different coloured LED to that of the original. The best part about the cosmetics of this pedal is that they sport a big Toyroom logo to let your friends and bandmates know that you don’t mess around with your tone! If you take your overdrive seriously, the Toyroom modded SD-1 is definitely the way to go. Supplied by Toyroom Music; available from toyroomguitareffects.com and Allans Music.
THE SKY’S THE LIMIT Despite speculation around claims of a less guitar-centric record, DEATH CAB FOR CUTIE are still essentially the same band, bassist NICK HARMER tells DAVE DRAYTON.
“This record was recorded into a computer with the Logic program and there was an infinity of possibilities when you’re using that medium. To record into that allowed us to chase down any sort of crazy idea that any number of us would have. It was basically the sky was the limit; I think because the songs were coming together so layered and textured and there were so many different sounds and found sounds, some of the instrumentation was not very standard for even our band. Chris thought it might be good to have someone who wasn’t involved in all of this to come in and help sort it out – almost like an editor would work in a novel situation – just to say, ‘This is really at the core of what you guys wanted to do; these sounds, this collection, this is it, you don’t need this stuff over here,’ or whatever.
hen Death Cab For Cutie stated in December 2010 that the then upcoming album Codes And Keys would be “a much less guitar-centric album than we’ve ever made before”, the chiming rock band’s perpetually growing fanbase were whipped into a frenzy. Like Chinese whispers, assumptions gained their own momentum – the album would have no guitars, Death Cab would sound like a new band, they had reinvented themselves to eschew the mainstream success that followed 2008’s Narrow Stairs. “It’s so hard to talk about music; it’s so hard. People are like, ‘So how is this record different to the other one?’ And it’s really not a guitar-based record. So that gets translated into the press as like, ‘Death Cab For Cutie makes a record with no guitars!’ And that’s not what we meant; it’s not that there are no guitars, it’s just that they’re not the only focus. It’s hard to explain that subtly. It’s not that this is a radically different record – it’s still a Death Cab For Cutie record, it’s just more nuanced,” explains Harmer, somewhat resigned to the misinterpretation of the masses. It rapidly becomes clear when listening to Codes And Keys – opening track Home Is A Fire laying the foundations of warm, well-rounded bass over crisp and occasionally electronic percussion, the guitars more often than not highly effected with reverb, creating swirling, atmospheric beds of sound for vocalist Ben Gibbard’s melodies. “I knew that we were making a pretty layered and textured album and that we were kind of playing around with a lot of different sounds and presentations of those sounds. I mean certainly, I think every album that we record is a reaction to how we made the one previous to it and Narrow Stairs was a very classic album-making experience, you know? We recorded to 24-track with analogue tape. The four of us, we forced each other to sit in a room and try and capture each song as a performance with very minimal overdubs and studio trickery involved and kind of have it be
an expression of a very formal, classic style of recording. “For us it was a challenge and it was very satisfying to play a song – like I Will Possess Your Heart is a great example – and know that the song that is on the album, I think it’s the fourth or fifth take that we did. That was one single performance on bass, drums, pianos and guitars. There was some overdub with organ and Ben’s vocal were overdubbed of course, but that was it. That was the expression of the song and I’m very satisfied by that. I think there’s a challenge there that gets lost sometimes when you’re recording to a computer where any mistake is fixable and you’re recording it that way,” says Harmer. Though, as Codes And Keys bears testament, a completely digital recording process opens up opportunities for a band willing to experiment and challenge themselves. They expanded their sonic palate so greatly that for the first time guitarist/producer Chris Walla stepped aside from the mixing role, with the band enlisting Alan Moulder of The Jesus & Mary Chain and The Cure fame.
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“Chris made that call. I think he understood early on as a producer what kind of album we were making and what would really benefit the album in the final stages. I think he knew that giving the album over to Alan Moulder, he could take this very eclectic collection of sounds and had the expertise and the history and talent to sort it out – so to speak – and make the songs come into focus. And he did, working with him and being on the other side of watching him work, I should say, was just fascinating. He would send us mixes and we would listen to them and it was really fun to finally hear what kind of album in some ways we’d just made.” Among the collection of sounds – somewhat surprisingly considering Death Cab For Cutie’s cinematic pop – for the first time, were strings, courtesy of the Magik*Magik Orchestra. “The songs really just asked for them as textures in this. We always wanted to use strings but just never really found a place for them in other songs and this just seemed like the perfect time to do it,” admits Harmer.
Codes And Keys is out now through Atlantic/Warner.
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Published on Jun 6, 2011
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...