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

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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 Kimbra is primed for international success 24 Katy B has brought the underground to the high street in the UK 26 Suicide Silence write the heaviest music they possibly can 28 Precious Jules are all about pop songs 29 Wu-Tang Clan are Syl Johnson’s biggest clients 30 Touché Amoré keep things short and sweet 32 There’s a lyrical obsession with The Singing Skies 32 Tough times in Europe with Russian Circles 32 Make Do And Mend are on the road to punk rock stardom 32 Nick Warren is one lazy bugger 34 Elzhi is taking career cues from Dilla 34 Melodie Nelson has toned down the experimenting 34 Meet Montero, a local indie-pop supergroup 34 Black Devil Yard Boss are no Mammal Mark II 36 On The Record rates new releases from Laura Marling and Iggy Pop 38 Nik Lone thinks people still like slow, sad songs 38 LA Vampires are kinda zeitgeisty BRUNSWICK


Thursday 8 september

andre warhurst

41 This Week In Arts plans your week ahead 41 Ibsen’s The Dollhouse is brought to the stage by Nikki Schiels

Andre Warhurst (from Spoonful, Kram & Silver Night Drive) plays with David “Lordo” Lord. 7.30pm

YANTO SHORTIS & BAND Is it a bass? Or is it a ukulele? Find out when the talented Shortis & band play four ripper sessions of original, sophisticated, folk-tinged country. 5pm

The Large Number 12s Raw, authentic rock – they’re bloody good 9pm

Sun 11 September

Group Managing Editor Andrew Mast Editor Shane O’Donohue Assistant Editor Bryget Chrisfield Editorial Assistant Samson McDougall Front Row Editor Daniel Crichton-Rouse Staff Writer Michael Smith

ADVERTISING National Sales & Marketing Director Leigh Treweek Senior Account Executive Nick Lynagh Account Manager Cat Clarke Account Manager Brad Turner

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

The Cartridge Family

ACCOUNTS & ADMINISTRATION Reception Holly Engelhardt Accounts Receivable Anita D’Angelo Accounts Payable Francessca Martin

They’re an in-bred bunch but geez they play a good tune: Suzannah Espie, Sarah Carroll & Rusty Berther 5pm


Tuesday Trivia 7.30pm



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BACK TO INPRESS 45 Gig Of The Week goes clubbing with Black Cab 45 LIVE:Reviews gets down with The Vines 60 Sarah Petchell will Wake The Dead with her punk and hardcore talk 60 Andrew Haug takes us to the dark side in The Racket 60 Dan Condon blues and roots in Roots Down 60 Kendal Coombs leads the under-18s boardroom in the Department Of Youth 62 Luke McKinnon goes with the flow in The Calling 62 Pop culture happenings with The Breakdown 62 The freshest urban news with OG Flavas 62 Funky shit with The Get Down 64 If you haven’t appeared in Fred Negro’s Pub, your mother probably still speaks to you 64 Jeff Jenkins gets down and local in Howzat! 66 Our Gig Guide fills your diary for the weekend 70 Fill your dance card with our Club Guide 72 Gear and studio reviews in BTL 74 Find your new band and just about anything else in our classy Classifieds


Saturday 10 September

42 Cultural Cringe looks at ACMI’s upcoming space exhibition 42 Gabrielle New and Creature take inspiration from Butoh 42 Kate Denborough talks working with Michael Leunig for Look Right Through Me 43 The Menstruum buys Prime Suspect and finds a new literary journal 43 Director Neal Harvey boasts about the Melbourne Fringe programme

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

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

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

INTERNS Jack Crane, Cassandra Fumi, Stephanie Liew

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

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

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GIVEAWAYS DJ Rob Swift: Live! The Documented Movement celebrates the release of The Architect, Swift’s fourth studio album, in an intimate club in Brooklyn. The film is a tribute to Swift’s past, as a member of the now-legendary X-Men, through to his development as a turntablist/composer at the top of his game. The only Australian screening of The Documented Movement, followed by an exclusive Q&A with Swift, takes place at Cinema Nova on Saturday 17 September from 4pm. Tickets are available now from TZU, but we have two double passes to give away.

The three members of The DC3 got together in the nominally outfit Root! for two albums. That project ended, and now they’re back, just the three of them, sans cowboy hats, pseudonyms or real drummers. Now it’s funky beats, weird sci-fi guitar and a singer who comes on like Nick Cave if he’d stayed in Wangaratta and worked at Blockbuster Video. They launch album The Future Sound Of Nostalgia at the Corner this Saturday with support from Pinky Beecroft’s Circus Of Life. We have three double passes to give away.

Brisbane is about to host Sprung, a huge hip hop festival taking over Riverstage on Saturday 15 October. The event celebrates the cream of Australian hip hop, and ‘cause we’re feeling in a celebratory mood ourselves, we’ve giving you the chance to score a huge pack containing albums from a heap of the acts playing. The prize pack includes a copy of each of the following: The Life Of Riley by Drapht, The Chase by Illy, Power Of The Spoken Word by Mantra, Goodgracious and Phaze One by M-Phazes, Voyager by Joelistics, Round The World by Lowrider, Concrete Jungle by Diafrix and A Mind Of My Own by Pez.

With their fourth studio album Velociraptor! due for release on Friday 16 September, Kasabian have created a monster. In celebration of this long-awaited beast of a record, the band are playing an exclusive show at Shed 14 at Melbourne Docklands, as part of the Debit MasterCard Priceless Music Series. Tickets to the show have now sold out but we have one double VIP pass to give away, which includes access to soundcheck and – wait for it – a meet’n’greet with the band!

To celebrate the launch of their fifth studio album, Ghosts Of The Past, Eskimo Joe are heading out on a national tour. ‘Round our way they play the Forum on Thursday 29 and Pier Live in Frankston on Friday 30 September. We have two packs to give away, each containing a double pass to the Forum show, a signed copy of Ghosts Of The Past and a limited edition vinyl copy of the single When We Were Kids.


FRONTLASH Louis CK: this man may be dead in a month

BACKLASH Darth Vader: whiny bitch

IN THE WARS Legendary Melbourne garage rock bum bandits The Sailors are re-forming for this year’s Faggotf…, er, Maggotfest. Lock up your children.

We loved Star Wars and the original trilogy was formative in Inpress’ childhood. But please, George Lucas, stop tinkering around with the films. You’ve turned Darth Vader from one of the most menacing movie villains ever to a whiny little bitch.



US comic Louis CK loved local comedian Rob Hunter so much that he added him to his own show at the last minute and then flew him to Sydney for his show there too. Mr CK also pointed out that, statistically speaking, at least one in the audience would be dead within a month… it was funny when he said it.

Apparently Eddie Murphy is a favourite to host this year’s Oscars. Did no one else see Pluto Nash (oh, wait…). Are the Academy the only ones still not clued on to the fact Charlie is the funny brother in that family?


In an opinion piece marking the tenth anniversary of 9/11, former PM John Howard writes that “Americans and others have lost their fear of further terrorist attacks”. Yeah, dipshit – ‘cause we voted you and fellow fear-mongering megalomaniac George W Bush out of office.


Grouse have booked bounce star Big Freedia to play their fourth birthday party at Roxanne on Friday 9 December. That gives you at least three months to work on those glutes.







WORLD VISION As if Damon Albarn, the musical genius, doesn’t already have his creative fingers in enough pies, he is also now part of a collective who go by the name of DRC Music. Albarn gathered together ten western producers – TEED (Totally Enormous Extinct Dinosaurs), Dan The Automator, Jneiro Jarel, Richard Russell (XL boss), Actress, Marc Antoine, Alwest, Remi Kabaka, Rodaidh McDonald and Kwes – to work alongside him in creating an album of Congalese music. In July 2011, the DRC Music collective travelled to Kinshasa, the capital of the Democratic Republic Of The Congo to collaborate with the cream of contemporary Congolese musicians and performers. And Kinshasa One Two is the resulting set of 14 tracks, which came together during five days of sessions. If you want a taste of what to expect, head to DRC Music’s Soundcloud page, where three tracks can be streamed: Hallo (which teams Albarn’s vocals up with Tout Puissant Mukalo and Nelly Liyemge), Ah Congo (featuring Jupiter Bokondji and Bokatola System) and Lingala (featuring Bokatola System and Evala Litongo). It’s definitely out there, but brilliantly so and your ears will welcome these sounds when there’s so much out there giving you the déjà vus. There’s a video package documenting the recording experience up on YouTube under “DCR Music: Kinshasa One Two – Trailer”, but also take a look at the DCR Music Tumblr where you can watch a touching video of Albarn working on a song with Bokondji, their only common language being that of song. Albarn’s artistic brain seems to suffer from acute ADD. He recorded an album in Mali in 2002, simply titled Mali Music, which was a collaboration with Malian musicians, and this project has actually been described as his spiritual follow-up to Africa Express. This series of concerts saw Albarn facilitating on-the-fly collaborations between Anglo-American and African artists in venues such as Brixton Academy (2007) and Place de l’Hôtel de Ville, Paris (2009). Previous participants in these Africa Express concerts included Hypnotic Brass Ensemble, Gruff Rhys (Super Furry Animals), Corinne Bailey Rae, Konono No 1 (soon to grace the Forum on 21 October as part of the Melbourne International Festival) and Nigerian drummer Tony Allen. Allen and Albarn previously collaborated on material as one half of side-project The Good, The Bad & The Queen. But now Australian-born bassist Flea (Red Hot Chili Peppers) has been recruited for Albarn’s musical experimentation purposes. It’s said that it was Allen’s Afrobeat connection that attracted Flea to this project, however, since the renowned drummer/songwriter accompanied Fela Kuti for years. (Fun fact: Albarn pointed out to The Guardian that Flea is actually an anagram of Fela.) The as-yetunnamed trio of Albarn, Allen and Flea are set to preview some new material in the UK next month at a couple of events called Honest Jon’s Chop Up! Honest Jon’s is the record label (a subsidiary of Parlophone) that Albarn set up alongside a group of record shop owners and, according to musicradar. com, 28 other performers – including Malian singer Fatoumata Diawara, Hypnotic Brass Ensemble, Theo Parrish and Dan The Automator – will join the three maestros to perform these gigs. Honest Jon’s Chop Up! will open the Cork festival on 28 October before heading to London for an encore event the following night. For now, if you just have to add to your ‘file under Albarn’ record collection, pre-order Kinshasa One Two. It’s scheduled to be released digitally on Warp Records (3 October), with a CD/vinyl release to follow on 7 November. All profits from sales will go to Oxfam (for their work in DRC) and DRC musicians.

UP AN’ ATOM One of Little Red’s alternating vocalists, Thomas Hartney (the one acknowledged for supplying extra “savoir-faire”), is putting a productive period of songwriting to good use by introducing a new project, Major Tom & The Atoms. When Sydney producer Tony Buchen (Tim Finn, Phrase, Andy Bull) heard Hartney’s demos earlier this year, he could not disguise his excitement. Hartney is reportedly expressing the old bluesman within through this side-project and isn’t ruling out a solo album. In the meantime, The Atoms – two members of “hard funk” band The Skylines (Sean Vagg and Shaun Klinger), bassist Simon Lawrie, Dan Webb on keys and drummer Adam Swoboda (from Melbourne alternative metal band Tread) – have been busily rehearsing and Mr Hartney assures In The Studio, “So far the band sounds amazing”. Be one of the first pairs of ears to experience these fresh sounds at the Retreat this Friday. “Expect to hear slightly psychedelic, bluesy numbers in the spirit of The Doors,” Hartney promises.



INDEPENDENT AWARDS GO FOR INTIMACY The Jagermeister Independent Music Awards have announced they’re opting for a more “intimate” feel as they move to a new venue for the 2011 event. Previously held at the Forum, they’ve opted for art space Revolt in Kensington. The new venue holds 500 people and features two rooms, one of which will be the ‘band room’ and the other a ‘gallery’. The awards, which are run by the Australian Independent Record Label Association (AIR), will take place on Wednesday 12 October with performances from Adalita, Seekae, Illy, Emma Louise and Calling All Cars. AIR’s general manager Nick O’Byrne told music newsletter Your Daily SPA, “We were specifically trying to find a new venue that would encourage a more intimate environment, one that encourages attendees to pay more respect and give more kudos to the artists and labels… When the music industry gets together and they haven’t seen each other for a while, they like to drink and talk… The gallery space is intended to be where the party is.” The official event proceedings should run for “a little over” an hour. The Awards have also made a slight change to their voting process to the dance and jazz categories, prompted by last year’s backlash when Yolanda B Cool & D-Cup weren’t nominated in the dance/club category despite charting all over the world. Admitting there were “issues” and that Yolanda B Cool & D-Cup did “deserve” recognition last year, Byrne said that the dance and jazz categories will be decided by a pool of peers separate to the 450 main ones. Elsewhere the peervoted system will remain the same. “This year more than any, the line-up is truly a representation of what has happened in independent music this year,” Byrne said. “We’re pumped to have Seekae play and Adalita, who has been part of the Australian music scene for such a long time.”


ESKIMO JOE TO OPEN FOOTY FINALS With multiple artists confirmed to play live at this year’s AFL finals matches, Eskimo Joe will kick off the live performances in the first week at the MCG. Other artists include Tim Rogers, who will open for Meat Loaf at the Grand Final, Absolutely ‘80s (Brian Mannix, Scott Carne, Sean Kelly and Dale Ryder), Wolfgramm Sisters, Ross Wilson, Dan Sultan and Glenn Shorrock. Vanessa Amorosi has been confirmed to sing the national anthem on Grand Final day. The bands will play before the game in a similar format to the code’s Live At The G series earlier in the year and potentially return at half time for another song. The AFL’s general manager strategy and marketing, Andrew Catterall, told The Front Line, “We’ve tried to get different artists to match different types of games. Eskimo Joe will work really well with the big stage on a Friday night… while someone like Glen Shorrock will work on a Sunday or Saturday afternoon.” The AFL recently teamed up with Tim Rogers for a TV ad which he narrated and curated. They told us then they were trying to encourage the code’s links to local music.

Monster Magnet’s Australian tour was cancelled last week after rumours were confirmed by the promoter. In a statement, promoter Live Nation said, “Due to several unforeseen factors beyond our control, we regret to advise that the Monster Magnet Dopes To Infinity tour has been cancelled. A number of circumstances have conspired to form the perfect storm and we are disappointed that this planned tour has been a casualty. The Monster Magnet Dopes tour will visit Australia at a more appropriate time. We appreciate your continued support.” The band had intended to perform their 1995 album Dopes To Infinity in its entirety.

from Madagascar. America has a law in place that makes the import of wood that is illegal to export under other country’s law an offence and in this case Gibson have stated that they have a different understanding of India’s law. Juszkiewicz said they’ve been importing the fingerboards for more than 17 years without complaint and that, “[Federal agents] are coming in with guns, and they have treated us like drug people. It’s not appropriate. If you want to sue us, or indict us, okay, but to come in with weapons and close the factories… that’s inappropriate.”



The head of Sony Music Australia, Denis Handlin, has added more responsibilities to his portfolio with the news that he’ll be in control of the company’s activities in China, India and the Middle East, with the existing bosses to report to Handlin now. According to Billboard, the Sydney-based Handlin is already responsible for South East Asia and Korea and the Asian Regional Office, responsibilities he picked up in September last year. In an email to staff, global president Edgar Berger said, “We are excited to have Denis serving in this further expanded role. His long record of accomplishments and his extensive experience in Australasia make him the ideal choice to lead the region.” Handlin is the current ARIA chairman; he was re-appointed last year after the departure of Ed St John.

ALBUM CHART: AS YOU WERE… Adele has regained her position at the top of the ARIA album charts, with 21 grabbing the slot back from Gotye’s Making Mirrors, which sits at number three this week. The other titles in the top five are all new, with Red Hot Chili Peppers at two with I’m With You, David Guetta’s Nothing By The Beat (which features expat Sia Furler as a guest vocalist) at four, and Icehouse’s White Heat: 30 Hits at five. Hip hop collective The Herd entered at number 22 with Future Shade – their previous album Summerland got as high as number seven in 2008. On the singles chart, Gotye holds number one this week with Somebody That I Used To Know while Guetta’s track with Sia, Titanium, moves from ten to five. In a rare occurrence this year, an Australian artist is not topping the DVD chart this week. Celtic Thunder have top spot with It’s Entertainment! instead.

COUNTRY MUSIC’S INDIE PRIZE Jetty Road (Ringwood, Vic), Katrina Burgoyne (Copacabana, NSW), Markus Meier (Finch Hatton, Qld), Pete Denahy (Yackandandah, Vic), Rose Carleo (Beenleigh, Qld) and Tori Darke (Mount Annan, NSW) have all been announced as finalists for the 2011 Australian Independent Artists’ Development Awards, the richest awards for Australian country music. Previously known as the Golden Saddles, $35,000 in cash prizes has been donated by Western Sydney’s Rooty Hill RSL across the categories. Other nominees have been named in the Video Of The Year and People’s Choice Award areas, with public voting now open at

GIBSON GUITARS RAIDED, POLICE ACCUSED OF ‘BULLYING’ Gibson Guitars, one of the largest guitar manufacturers in the world, have described the actions of the American Federal Government as ‘bullying’ following raids on 24 August. Two Gibson and Epiphone factories were visited by Federal agents with accusations of the illegal importation of wood for guitar parts from India. The raids dispirited the two plants significantly. Gibson’s chief executive Henry Juszkiewicz told the New York Times, “It’s baloney… It seems to me they are gunning for us. They are just looking for us to make a mistake or do something wrong.” The raids were not the first – in 2009 more than a dozen agents with automatic weapons confiscated pallets of ebony fret boards imported

Foxtel’s new teen drama SLiDE featured Street Press Australia’s (publishers of Inpress) Brisbane paper Time Off in its third episode last week. The episode attracted an initial 177,000 viewers, which includes figures from Fox 8’s two-hour-delayed broadcast, Fox+2, with further time-shift viewing to be added to that figure. It was expected that the episode three viewership would surpass episode two’s 478,000 unique viewers. In the episode, character Tammy applied for an internship at Time Off and was initially rejected, but with perseverance she garners herself a first submission. The show has again had a strong social network response, which has been encouraged by the producers through social media and online exclusives.

EURYTHMICS FOUNDER ENLISTS PANICS Eurythmics founder and solo artist Dave Stewart has asked The Panics to be his backing band for his upcoming Australian tour with Stevie Nicks. In a statement Stewart said, “The Panics are a band that will go the whole distance. Jae [Laffer, frontman]’s songs are thankfully eons away from the generic ‘formula’ songwriting that we are being force-fed to listen to via TV and radio all over the world. The opening of Majesty sounds like an instant classic, drawing you in closer to hear the story from the singer’s lips, this is a band in full control of their destiny.” The tour takes place November/ December.

VIDEO MUSIC AWARDS A HOST-LESS SUCCESS Scoring the highest ratings ever for the network, MTV’s Video Music Awards show did not suffer without a host. Almost 12.5 million people watched the event, a number that included 8.5 million viewers in the target 12-34 year-old demographic. MTV left the host role open for the most part, where previously Russell Brand, Chelsea Handler, Chris Rock, Ben Stiller, Jimmy Fallon, Jack Black, Sean Combs and Eddie Murphy have held the host role, with the position considered a big career-booster. Female artists dominated the awards, with Katy Perry, Adele, Nicki Minaj and Lady Gaga all big winners.

THE CHASER ANNOUNCE NEW SHOW The Chaser will launch new media-commentary show The Hamster Wheel this year. Eight 30-minute episodes will air before the end of the year on ABC1 with a lot of content generated week-to-week to be relevant. According to The Chaser’s Craig Reucassel the new show will be closer to Yes We Can than The War On Everything in terms of political focus. He told The Front Line, “[it’s] a bit more about the media… We’ve been playing ourselves recently [but] we’ll still be making Andrew [Hanson] play 45 different characters.” The whole Chaser crew will be on board for the new show. Commenting on last week’s big media stories he said, “I guess one of the big stories is the High Court decision on Malaysia, the barney between the PM and The Australian and of course we’d be covering Pippa Middleton’s arse. We’d be asking why the PM hasn’t commented on it… We’re particularly enjoying Andrew Bolt, ‘I won’t write! Okay I’ll write’. World’s shortest strike.”

GAMES PROPPING UP MUSIC SALES Games’ sales are helping offset music loses for Universal Music’s parent company Vivendi after Universal suffered slowing music sales – with a reported two percent fall in sales in the six months to June period (according to the Financial Times). Vivendi’s Activision Blizzard video game arm had record sales, with internet-driven games titles such as World Of Warcraft responsible for an increase of 34% in earnings (before the deduction of interest). Activision Blizzard expects more success with a new Call Of Duty game due out before Christmas.

BLUESFEST WINS ANOTHER AWARD Byron Bay’s Bluesfest has won a North Coast Tourism Award in the Major Festival & Events Category, which recognises ‘overall business excellence’. The festival has also been nominated for Best Regional Event and Best Achievement In Sustainability by the Australian Event Awards to be held in Sydney 6 October this year.

FRESHLY INKED Brisbane’s The Medics have signed with local Warner Music imprint Footstomp Records. Perth’s The Novocaines have signed a deal with Seattle-based manager and ex-Sony executive Eric Hoppe. The partnership was presumably struck up after the band’s South By Southwest performance.

FIVE-DAY FILM FEST PLANNED FOR COCKATOO ISLAND The organisers of the Dungog Film Festival are planning to host a five-day film festival at Cockatoo Island – predicted to be the biggest festival for Australian films in the world. The organisers are two filmmakers: Stavros Kazantzidis and Allanah Zitserman. Kazantzidis told Encore: “We’re doing something different to anything seen in Australia. It will be a different format to embrace all the visual arts: TV, feature film, documentaries and digital media. It’s a whole new experience.” Although previous festivals (eg. World’s Funniest Island and All Tomorrow’s Parties) have had limited success on the Sydney island, the Sydney Harbour Federation Trust’s executive director Geoff Bailey told The Sydney Morning Herald, “Thousands of people have been prepared to travel to Dungog so we think that right in the heart of Sydney, people will be very keen to escape the mainland and come and watch film on Cockatoo Island.” It is believed the event is scheduled for late 2012 and expected to screen 200 local and 100 international films, with 15,000 audience members expected in the first year.

APPLICATIONS OPEN FOR ST KILDA FESTIVAL The St Kilda Festival 2012 will be held from Saturday 4 to Sunday 12 February, and applications are now open for musicians, performers, traders and community groups who wish to be involved. The festival began in 1980 and has evolved into a nine-day event across multiple venues and locations in St Kilda. Australia’s leading indigenous artists will perform on the first day of the festival, followed by eight days of live’n’local music (with at least one member from each band required to be a resident of the City Of Port Phillip), visual arts, street performance, film, poetry, comedy and interactive activities. The New Music Stage will showcase emerging talent with ten bands chosen to play on the stage and a winning band taking home $5,000. Applications to entertain, trade and the like at the festival will close on Friday 30 September. Got news? Announcements? Gossip? Unsubstantiated but hilarious rumours? Send them all to




THE JD SET has invited ART VS SCIENCE and friends to perform the music of ICEHOUSE this year and while IVA DAVIES says he’ll be “trying to drink in every detail” on the night, BRYGET CHRISFIELD discovers how DAN WILLIAMS, TIM DERRICOURT, PATIENCE HODGSON and KATE MILLER-HEIDKE made it through the selection process. Jack Daniel’s has been stocking liquor cabinets for 161 years and in 2011 The JD Set celebrates by instigating an inspired collaboration: Icehouse songs as performed by Art Vs Science and friends. Icehouse’s frontman Iva Davies could not be more excited by the prospect of having his songs reinterpreted by these young whippersnappers. “Oh, I can’t wait!” he gushes, adding that he finds the concept “genuinely interesting”. “I just think I’m fascinated to see how they hear things and, you know, [Art Vs Science] being quite a different sort of band too. I mean, I’ve seen Art Vs Science a couple of times and I’m just really fascinated. I’ll be trying to drink in every detail.” What is your favourite Icehouse song and what is it about this song that particularly resonates with you? Dan Williams (Art Vs Science): “Electric Blue. It’s the first Icehouse song I ever heard as a kid. I used to think the song was about a really cool, blue sports car. It’s not.” Tim Derricourt (Dappled Cities): “Hey Little Girl is right up there – I’ve always been into the vocalists that sing with that swaggering kind of baritone thing and this is one of my faves. And it has that uniquely ‘80s thing of sounding mega sleazy but also caring – a cracking combo.” Patience Hodgson (The Grates): “Great Southern Land most definitely – the gentle, slippery melody of the verse, which leads you to an unexpectedly assured, almost-spoken chorus. It’s masculine, though perfectly balanced with high guitar notes that sing like birds. It feels Australian and it fills me with a kind of patriotism I ordinarily don’t feel!” Kate Miller-Heidke: “I have a soft spot for Great Southern Land. It is an incredibly atmospheric song that really evokes the vast open centre of Australia. It reminds me of the long driving holidays my family used to do when I was a kid.” What was happening in your life around the time Icehouse’s music first came to your attention? Where does listening to their music transport you?

inspired you and influenced your output from that point on? If so, please discuss. DW: “Definitely the Ensoniq keyboard we own. It was left to me by my late uncle and was the first keyboard we started writing songs on. We’d select a preset and go ‘whoa!’ and pretty much run with it. It’s a beautiful thing and we still use it today. We’re paranoid protectors of its wellbeing. They don’t make them anymore.” TD: “Yeah, totally – a cheap, cheap analogue delay pedal that has defined my washed-out, atmospheric production ever since. Any producer finds it hard to convince me to play anything, from vocals to keyboards to guitar, without me trying to throw a delay pedal on it somewhere in the chain. But I’m branching out – promise!”

Art Vs Science with guests Kate Miller-Heidke and Tim Derricourt (far right)

DW: “I never really knew much about them until I found out their old bass player is a distant relo of mine. Whoa. For some reason their music reminds me of this ‘80s culture expo that was on at the Powerhouse Museum about a year ago, and that expo reminded me of how I used to think the ‘80s were REALLY weird when I was an adolescent in the ‘90s. Now that I’ve shaken some of that culture cringe, I can see the ‘80s has some cool stuff to offer.” TD: “I actually probably only got into it after leaving high school, working in a shop and learning all about classic ‘80s Australian rock. I’d always snubbed the era because I had the impression in my mind that they were all shitty, pub rock bands. But then you learn that Midnight Oil and Hunters & Collectors and Icehouse were all really radical and experimental and doing stuff that even Aussie bands now don’t have the confidence to do. Listening to them now reminds me that the mainstream of Australian music was once actually really exciting and pushed a lot of boundaries

and it seems a shame that the mainstream of today is too scared to do anything even half as daring as these guys.” PH: “I was a child! I didn’t even know who I was listening to. So, if I am to be honest, I really only became aware that they were the authors of so many classic songs [when] asked to do this. Horrid, I know, please don’t hold it against me! When I listen to Icehouse now, as a new recruit, I am transported back to my parents’ Australia. I go back to a place where things were untouched, a time when you could concentrate without being disturbed by mobile phones – a car trip through sugar cane in a Kingswood.” KM-H: “I remember seeing the video for Hey Little Girl when I was a little girl myself. Icehouse songs were in the periphery of much of my childhood. My mum was a big fan.” Iva Davies believes that owning a Fairlight synthesiser altered the course of his musical exploration. Is there a piece of equipment you’ve purchased that has similarly

PH: “For me I think it was actually the lack of an instrument. I’d spent my whole career writing with loud instruments, singing at the top of my lungs, competing for space in the band room. Then I started writing with just guitar alone, the space, the freedom to sing quietly, there was room for me to fill with breath! I guess I’m a few steps behind Iva, maybe I’ll pick up the Fairlight next and be off on a journey much like his.” KM-H: “This may be a cliché, but I can’t imagine writing a record without Garageband now. Even when I’m not recording anything, I plug the microphone in and I can experiment with different reverbs and delays while I write. It’s a simple thing but I find my voice a lot more interesting when it’s amplified. Maybe it’s just self-indulgence. That’s what I’ve been getting into lately anyway.”

WHAT: The JD Set, Art Vs Science Perform The Music Of Icehouse WHEN & WHERE: Wednesday 14 September, Trak

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LIZARD KING Rainbow Serpent Festival has gained recognition as one of the premier events of its type on the planet. Rainbow Serpent Festival 2012 will run from 27 to 31 January and incorporate some of the biggest names in electronic music. With over 100 artists across five stages, the latest release of names from Rainbow HQ is just a taste of what’s to come. On the bill are: OTT, Loud, Talpa/The Riddler, James Munro, Protonica, Hedflux, Robert Rich, Koze, Peter Horrevorts, Ill Gates, Tipper, Glitch Mob and Dov. More international headliners will be announced in coming weeks. Earlybird tickets for Rainbow Serpent Festival 2012 went on sale early August to subscribers. General public tickets are on sale now.











BUSTIN’ OUT The first two acts to be announced for the inaugural under-18 Breakout Festival at the Sidney Myer Music Bowl on 25 November are LA’s multi-platinum party rocking duo LMFAO and skyrocketing local hip hop star 360. The dance and urban-focused festival will continue to announce headlining acts each day this week at 4pm (AEST) via its website (letmebreakout. com) and social networks. Breakout organisers promise some of the globe’s biggest names and are expecting both events to break records for an under-18s event in Australia. The festival will feature multiple stages and a number of yet-to-be-announced attractions. Very limited early-bird tickets will be available from 9am on Wednesday 14 September and are sure to be snapped up in an instant. Head to the website for more details.
















HONEY JOY In addition to their already-announced performance at Meredith Music Festival, lovers of garage rock will rejoice at the news that Mudhoney will also play a series of sideshows this December. This will be their sixth journey to Australia over their 23-year career. They play Thursday 8 December at the Corner Hotel, and if past performances are any yardstick, you don’t wanna miss ‘em.

BIG BOOTY BITCHES At SXSW this year there was one artist who managed to burn a whole in our retina, Big Freedia. Along with her “big booty bitches” and posse of backup singers and dancers, she managed to command the attention of the whole club with just a few shakes of his arse. And lucky us, she’s coming over to Australia for Meredith’s 21st birthday and now the undisputed queen diva of New Orleans bounce scene has announced a sideshow at Roxanne Parlour on Friday 9 December. This gig will also be a celebration for Grouse Party’s fourth birthday and definitely promises to be more than just your average gig. Having performed alongside acts such as Kid Sister, De La Soul and Major Lazer and at major music festivals in Austin including SXSW, Fun Fun Fun Fest and GayBiGayGay, Big Freedia will no doubt land in Australia with one massive bang.

The Australasian World Music Expo keeps getting bigger and with this third artist announcement it’s definitely not showing signs of slowing down. The line-up is now looking very healthy with acts including Blue King Brown, Public Opinion Afro Orchestra, Skipping Girl Vinegar, Charles Walker, Melbourne Ska Orchestra, Barons Of Tang, Norkiko Tadano, Kylie Auldist and Stone Love. The weekend festival funs from Thursday 17 November to Sunday 20 at the Arts Centre, Melbourne Recital Centre, the Hi-Fi and the Toff in Town. Jordie Lane

GET YOUR GROOVE ON The Pura Vida Latin Music Festival is landing in town this month. A celebration of the unique, upbeat and energetic nature of urban contemporary Latin music, the festival is presenting more than ten bands spanning all across the South American continent. The line-up includes Terraplen (Argentina), Choc Quib Town (Colombia), Martin Buscaglia (Uruguay), Desorden Publico (Venezuela), Renegado (Brazil), Aline Calixto (Brazil). Alda Rezende (Brazil), Victor Valdes & The Marin Brothers (Mexico/Chile/Australia), Chukale with Buena Vista Social Club (Australia/Cuba), Oscar Jimenez (Colombia/Australia) and Los Chavos (ACT). The tour stops at the Recital Hall on Saturday 24 September and the Hi-Fi on Saturday 1 October.





Frank Fairfield is a one-man band who isn’t afraid to draw from his mountainous and religious upbringing to create a modern twist on an old tradition. Fairfield was discovered busking in LA just under three years ago. In ‘09 he released a 7” single and self-titled debut album and now he is making his way to Australia. Fresh off the release of his second LP Out On The Open West, the Californian is gearing up to bring his pop-infused folk tunes to Meredith Music Festival and a few select dates in Melbourne. They include Saturday 10 December at the Old Bar and Saturday 17 at the Gasometer.

MINI FESTIVAL MOVE In a further development, the Melbourne leg of the Counter Revolution Mini Festival has moved from the Sidney Myer Music Bowl to Festival Hall.

BUT AUNTY, I WANTED TO GO The 21st Meredith Music Festival is now sold out. This year saw the highest demand for tickets in it’s 21 years of running. We’re not sure if it’s the line-up, the fact that Aunty Meredith is turning 21, or you just all love a piss up in the bush, but the fact is you lined up overnight for tickets and bought them all. Congrat’s if you managed to score one, and commiserations if you missed out. However, if you are super keen to hang out in the Meredith Supernatural Amphitheatre your next chance is at the sister festival, Golden Plains. The 6th Golden Plains is happening on March 10-12 of 2012.

IT’S HIGH TIME IN NORTHCOTE Northcote: home of coffee lovers, indie students, retireees, homeless people, op-shops and pubs. No doubt these people/inanimate objects will be out in force at the inaugural High Noon festival on Sunday 18 September. This event has been set up to celebrate the very best of Northcote and showcase what it has to offer as a suburb. The event, which runs from 10am to 6pm, will exhibit the Northern Suburbs’ eclectic mix of art, music, fashion and food. The celebrations will be kicked off with a high breakfast (not what you’re thinking), when the local cafes and restaurants start serving up breakfast for the early risers amongst you. However, if you don’t agree with the sun’s rays, live music will drift from three stages programmed by Northcote’s iconic venues Open Studio, the Wesley Anne, The Northcote Social Club and Bar303. Acts playing include Baptism Of Uzi, Fearless Vampire Killers, Jordie Lane, King Gizzard & The Lizard Wizard and Mikelangelo & The Tin Star. Other attractions include a mini-record fair and tap-dance workshops.



































Shannon Noll is set to hit the touring circuit with a full live band after years in hiding. A Million Suns marks the fourth release for the ex-Australian Idol contestant and he’ll be taking it on the road with a few select preview dates through October. Support for the tour has also been announced in the form of Canadian singer Tim Chaisson. You can catch Nollsy at Trak on Friday 28 October and Saturday 29 at York On Lillydale (Mount Evelyn).


YOU GOTTA HAVE FAITH Two of country music’s biggest names Tim McGraw and Faith Hill have banded together to tour down under. Between the two of them the power couple have sold 70 million records, collected eight Grammys and achieved 46 US number-one singles, so you know we’re not bullshiting when we say power couple. This is the fourth tour for the pair who last completed one in ‘06/’07. That tour was the highest-grossing country music tour of all time and the highest grossing for the year, even beating Madonna. The 2012 series of concerts hits Melbourne at the Rod Laver Arena on Tuesday 20 March.

WHAT’S YOUR MANTRA? Aussie hip hop is set for another massive release with the second LP from Mantra being launched up the East Coast in October and November. Speaking Volumes is the MC’s follow up to the wildly successful Power Of The Spoken. The second LP from Mantra features a stellar line-up of contributing international and national artists including Promoe, Drapht, Urthboy and Illy. Speaking Volumes displays the intricate idiosyncrasy behind the rhymes of this Aussie MC. The passionate vocals are supported by the unique subject matter. These lyrics are vividly transported by the musical accompaniment for the whole of the record. You can catch Mantra in Victoria on a number of dates starting at the Karova Lounge on Thursday 20 October, Whalers Hotel (Warrnambool) on Saturday 22 for a free show, Surf Coast Sport Club (Torquay) on Saturday 5 November, Star Bar (Bendigo) on Friday 18 and the East Brunswick Club on Saturday 19.

A NIGHT TO REMEMBER They say music is good for the soul but hopefully with the help of Abbey Dobson on Saturday 24 September it’ll be much more than that. Dobson will perform alongside a bunch of internationally renowned musicians including Bernadette Carroll, Mandy Wragg, Amanda Grafanakis, Ben Jackson and Neva2L8 at the Thornbury Theatre in support of the Australian Cancer Research Foundation. Dobson, who is launching a solo album in the coming months has personal motivation for performing at this gig as one of her closest friends died two years ago from cancer. All proceeds from A Night to Remember will be donated to The Australian Cancer Research Foundation.

this November. The likes of Abbe May, Bertie Blackman, Muscles, Dan Sultan, Adalita, Jake Stone (Bluejuice), Johnny Mackay (Children Collide), Ben Corbett, Kram, Lanie Lane, Lisa Mitchell, Alex Burnett (Sparkadia), Tim Rogers and Urthboy are going national and stopping off in Melbourne twice at the Forum on Friday 11 and Saturday 12 November, as well as hitting up the Performing Arts Centre (Geelong) on Wednesday 9 and Her Majesty’s (Ballarat) on Thursday 10. Along with the musicians, there will be a massive band led by Cameron Bruce, who plays in both Paul Kelly and Washington’s bands.


Redcoats are coming off the back of support spot on the Calling All Cars album launch but they certainly won’t be taking a break. The Melbourne band decided to drop everything in 2010 to work their way through the live scene and managed to slowly gain airplay on Triple J and Rage as well as scoring gigs at Pyramid Rock Festival and with Violent Soho. Since then, they’ve been recording their debut EP, which has already scored them rave reviews for the first single, Dreamshaker. They’ll be launching the EP at the Northcote Social Club on Saturday 5 November.



Think the Japanese are all kawaii Hello Kitty lovers? Think again – some of them make some pretty damn ferocious tunes. Guitar Wolf are a prime example. The Nagasaki garage punk trio have amassed fans including Jon Spencer, J Mascis and Sonic Youth’s Jim O’Rourke, and they also own a guitar signed by Joan Jett herself. Last here in 2007, they’re returning to our shores in December to pick up where they left off, with a new album, Spacebattleshiplove, available in limited numbers at the shows. They’ll be helping to celebrate he Tote’s 30th birthday at shows on Friday 2 and Sunday 4 December with supports TBC.


Screw Santa and his elves, Dougal is packing the sleigh for Julia Zemiro and Brian Nankervis to take RocKwiz on the road this Christmas. As always, audiences can expect an all-star, mystery guest line-up, combined with some brand new theatrical flourishes and, of course, the usual selection of brave audience members sitting behind the buzzers, answering some curly Christmas quiz questions and bringing the house down with ‘Contestant Karaoke’. The previous RocKwiz Christmas shows have all sold out and this year the date to save is Friday 9 December at the Palais.

FROM TRIPLE J STRAIGHT TO YOU We love Nick Cave. Triple J loves Nick Cave. Australia loves Nick Cave. So it makes sense this Ausmusic Month on Triple J the broadcaster has announced a touring concert in tribute to him, right? A bunch of Australian musicians are jumping on the road with the station to tour the country


How long is too long? Well for Sade, 20 years is just enough. She’ll be making the long trek down to Australia for a national tour this December, playing at Rod Laver Friday 2 December. Sade’s classic sound and haunting, unmistakable vocals create an intimate and unforgettable two-hour concert experience, which is set to some stunning visuals adding to the aesthetic of the entire show. The more than two-hour long, spell-binding set list takes fans on a journey through a collection of timeless hits; from the iconic Smooth Operator, The Sweetest Taboo, Your Love Is King and Is It A Crime through to Soldier Of Love. While she’s in Australia, Sade will also be playing A Day On The Green Festival.

We all know everything’s better when you’re young. Everything seems so much sweeter and brighter, then you get old and bitter and decide to hate the world. So with that in mind Simple Plan have decided to celebrate the better things in life with an under-18 gig at the Hi-Fi on Wednesday 5 October. This is the only underage show being added to their East Coast tour so if you’re still in school you might need to take an extra long lunch break to stake out a spot in line.



HEAVY METAL MADNESS Suicide Silence have finally spoken up about the support acts for their upcoming tour. If you’re planning on heading along early to the Melbourne shows at Billboard on Sunday 11 September you’ll catch Feed Her To The Sharks.



HOW DO I PHRASE THIS? Phrase is, as Jacobim Mugatu would say, “so hot right now.” With Aussie hip hop going stronger than ever, it makes sense for the superstar to head out on a tour to launch his latest LP. All through October and November the main man will be heading out to towns and cities to bring his album Babylon to the masses. Now backed by four very talented musicians, Phrase’s sound is bigger than ever. You can catch him in Victoria at the Karova Lounge (Ballarat) on Wednesday 5 October, Kay St (Traralgon) on Thursday 6, and at the Prince on Friday 21. Make sure you don’t miss out on some of the best hip hop to come out of Australia in a long time.


The Jagermeister Independent Music Awards are downsizing from the Forum to Revolt in Kensington. Last year, most of the crowd was unable to appreciate the Australian talent on stage due to the shocking sound production and sheer space of the venue. Onstage, yet another diverse and quality line-up has been organised seeing the likes of Adalita, Seekae, Illy, Emma Louise and Calling All Cars. As well as a night of live music appreciation and celebration of the bands who create it, world renowned music industry photographer Kane Hibberd will be curating an exhibition for punters to enjoy before and after the show. Moving to a smaller venue is definitely a step in the right direction for the AIR awards, however it means tickets will be limited to the 500-person capacity. The AIR awards will be taking place on Wednesday 12 October, hopefully we’ll see you there.





STONEKING PULLS ONE OFF There’s no doubt Homebake has a wicked line-up this year and one of the major players on the bill is C.W. Stoneking. But before he heads up north he’s playing a one-off sideshow in Melbourne for the true fans of blues. Stoneking will be bringing his guitar, banjo and assortment of other instruments along with him to the Corner on Friday 2 December to perform numbers from his ARIA and AIR award winning album Jungle Blues. True blues and roots fans should check out Stoneking and see why the rest of the world reckons he is one of the best roots artists to come out of Australia for a long time.

ERNEST IS KING Having enjoyed great success with last year’s debut album, Hunting, Sydney muso Ernest Ellis – travelling these days a little more collaboratively as Ernest Ellis & The Panamas – is gearing up to unleash the second chapter in the musical story. Kings Canyon is the name of the album and it’s due for release in just a few weeks on 23 September. To celebrate the new record, the band will head out on tour, with Nantes in support, to play the Toff In Town on Saturday 8 October.




The Medics made the move from Cairns to Brissy in the hopes of making it in music. Well, looks like things are starting to pay off. The first single, Beggars, off their debut album due out in 2012, has won them a Queensland Music Award and some serious airplay on Triple J. In the coming month they are performing at Bigsound and have booked a supporting spot on the Birds Of Tokyo tour.

Saturday 29 October will see the second annual Maggot Fest return to the Tote. The major coup this year (outside of the festival spreading to Brisbane and Sydney) is the reformation of The Sailors for the show. And if that’s not enough to get your juices loose, they’ll be joined by Native Cats, Bitch Prefect, Woollen Kits, Terrible Truths, Unity Floors, Chook Race, Tax, Bad Aches, Marf Loth, Per Purpose and Deep Heat. Last year’s event was one of the unsung highlights of the year and this one’s lookin’ ship shape to live up to that reputation.

The cinema just became the new cool place in town with the announcement from CinemaLive that they’ll be screening a never before seen concert from Nirvana. Live At The Paramount is the only known gig from the group that’s ever been recorded on film. Taken in their home town of Seattle, the concert was their first big homecoming show at the height of the hype surrounding the album Nevermind. Tickets are $35 from and they include a copy of the LP in the form of a 20th anniversary deluxe edition. The concert will be broadcast live via satellite to cinemas for one night only on Friday 23 September at 9pm. More details still to come.

MONSTER MAGNET CANCELLED Monster Magnet have cancelled their upcoming Australian tour. The organisers at Live Nation had this to say: “Due to several unforeseen factors beyond our control, Live Nation regrets to advise that the Monster Magnet Dopes To Infinity Tour has been cancelled. A number of circumstances have conspired to form the perfect storm and we are disappointed that this planned tour has been a casualty. The Monster Magnet Dopes Tour will visit Australia at a more appropriate time. We appreciate your continued support.” If you had tickets to any of the shows they can be refunded from the point of purchase.

THE CIRCUS IS IN TOWN If you’ve seen the poster for the Alice Cooper tour you’ll know what we’re talking about when we say he is a crazy guy. But it seems Australia loves the crazies ‘cause the man has just added three new shows to his tour. Due down here in late September he has added a show to Brissy, Perth and a second to Melbourne on Friday 30 September at the Palais Theatre.



Taylor Swift’s Speak Now performance is a two-hour theatrical show featuring elaborate costumes, dancers, aerialists, changing sets, and innovative choreography and instrumentation showcased on a multi-level stage. Due to overwhelming demand, a third and final Melbourne show has been added to the tour. Tickets for Swift’s final Melbourne show, at Rod Laver Arena on Monday 12 March, will go on sale at midday, Monday 12 September through Ticketek.

USE THE FORCE Hip hop nerds, rejoice! Pennsylvania’s finest, Jedi Mind Tricks, are heading down yonder in December for the first time. The group have, for the past decade and a half, become known as one of the most prominent and critically acclaimed hip hop crews, collaborating with everyone from GZA to Immortal Technique and Sean Price. They’ll release their seventh album, Violence Begets Violence, this year, and for the tour will be joined by Outerspace. Catch it all at Billboard on Friday 9 December.

LANE & LANG A string of supporting tour dates are the result of a very successful album-launch tour for Aussie singer/ songwriter Jordie Lane. After releasing Blood Thinner just over a month ago the touring machine has announced a number of gigs in support of Simone Felice and Jeff Lang. Lane is joining Felice for a few dates in Victoria on Thursday 15 September at the Palais in Hepburn Springs and Friday 16 at Meeniyan Hall. After those two rural gigs, Lane is hitting the road with Lang on his national tour, stopping off at Mecca Theatre (Warburton) on Saturday 17 September, the Corner on Saturday 15 October and Way Out West Blues Club (Williamstown) on Sunday 16 October.


PURE GOLD From small-town boys to rising national musical faves, Ballarat’s Gold Fields are enjoying the ascent to the top. The band, who have a self-titled EP ready for release next week, are set to play Parklife next month and follow that with a national tour. Like so many before and after them, the five lads were recognised by TripleJ’s Unearthed program, their track Treehouse receiving some serious on-air love after being discovered. Joining Gold Fields on tour will be Brisbane’s Millions. The bands play the Corner Hotel on Saturday 29 October and the Karova Lounge (Ballarat) on Saturday 26 November.

SHADY STADIUM SHOW Globally, Eminem has sold over 80 million albums. He will perform at Etihad Stadium on 1 December and Sydney Football Stadium the following night, with special guests Li’l Wayne, multi-ARIA Award winning Hilltop Hoods and more acts to be announced soon. Tickets go on sale on Tuesday. In Melbourne tickets go on sale at 9am, in Sydney tickets go on sale at 2pm. Info at Ticketmaster.


INTENTS AND PURPOSES A self-confessed Nina Simone devotee, KIMBRA JOHNSON is “really open” to incorporating happy accidents that occur during the recording process into the final mix. BRYGET CHRISFIELD finds her perfectly poised for international stardom.


imbra’s management team offer chocolate while we wait for the previous interview to wrap up. Our topic of conversation is, of course, today’s interview subject, but all praise for Kimbra Johnson as an artist deserving of international success – given that she “lives and breathes” music – is sincere and would pass any bullshit-detector test with flying colours. When ushered into Warner’s boardroom, one is immediately struck by Johnson’s beauty. She sits demurely on a couch and oozes star quality. Stylishly bobbed, shampoo-commercial shiny brunette locks? Check. Aquablue peepers that would put even Katy Perry’s to shame? Absolutely. If we were casting Snow White, Kimbra would be a shoo-in. Water is her refreshment of choice and there’s a plate of assorted chocolate biscuits, including Tim Tams and Mint Slices, on a table in front of us. Johnson’s perfectly applied red lipstick suggests that she hasn’t indulged. For someone who only recently got the key to the door, she is also remarkably poised. On how she celebrated her 21st birthday earlier this year, Johnson gushes, “It was amazing! I thought I was going to the movies with a friend, she was like, ‘Yeah, it’s gonna be chilled,’ and I roll up and it was all my friends [putting on] a big surprise party! It was really special. It was at the Butterfly Club in Melbourne.” So was she secretly disappointed with her mate’s original suggestion that they catch a movie to mark this hallmark occasion? “Yeah, I was actually,” the chanteuse admits. “I was kinda like – I mean, not that I expected anything. I was like, ‘But really? I mean, can’t we at least do something cool?’” She laughs. When Johnson moved here from her native New Zealand, she was 17 years young. This was also the first time she had moved out of home. “I [had] just finished high school. I guess I sort of had plans to study, but in the back of my mind I really wanted to do music,” she shares. After a tip-off, Mark Richardson (the man who helped break Jamiroquai and Des’ree in his role as head of marketing at Sony subsidiary, S2 Records) flew to New Zealand to



The camera loves her, but KIMBRA JOHNSON also has a distinctive style that you wouldn’t discourage your niece from imitating. BRYGET CHRISFIELD wants some style tips. Anyone who caught Kimbra’s set at Splendour In The Grass this year will remember the singer’s Little Bo Peep-inspired stage attire. “That dress was like $20!” Johnson enthuses, having picked up this vintage find in an op shop in LA. “It went to the floor and, like, if you’d looked at it you would’ve been like, ‘Dude!’ But it had all this incredible frill underneath it, so you could just pick it up, pin it up and get that shape under it – sorted. I think, with vintage, you’ve gotta look beyond the dress… I shop pretty vintage, so last time I was in LA I collected a whole lot of stage dresses pretty cheap. And that’s a really fun aspect of doing this, for me, is being able to have that control over the stage stuff and picking my dresses for each show. For the film clips, I had a stylist who arranged a couple of designers. Mrs Press from Sydney designed the Cameo Lover dress specifically for the clip.” Guy Franklin is the man responsible for directing all three of Kimbra’s music videos to date: Settle Down (which successfully attracted the attention of celebrity blogger Perez Hilton), Cameo Lover and Good Intent. Having just shot her latest video the weekend before our chat, Johnson extols, “It’s pretty special. It’s all set in the ‘30s and very Fred Astaire-influenced.” The singer tackles some old-school couple dancing during the final scenes of the clip that could very well see her picked up as a contestant for the next season of Dancing With The Stars (if there is one). “Being really good friends with the director and the cinematographer, I’ve just learnt so much from them in terms of bringing an idea for a clip to them,” Johnson shares. “And then they are the ones that just take it and put it in that really cinematic setting that makes it look so special. So it’s great when you can get a collaboration like that: when you bring something to the table and they can just heighten that and bring it to life on film. And we shoot on film, you know, which I guess makes it that bit more grainy and hopefully [provides] that extra bit of quality that you can’t always quite get.” Johnson also acknowledges the role her producer, François Tetaz, plays through “creating a sonic landscape that’s very filmic and very visual”. “There’s always a kind of scenery in my mind for the song, so it makes it easier when it comes to shooting a clip.”

watch Kimbra play a show. After stipulating that she must move to Melbourne in order to work with him and pursue her dream, Richardson also relocated from London. Johnson’s Kiwi accent is only detectable very occasionally, but neither does she sound Australian. Rather, she adopts an international accent similar to that of ‘our’ Kylie. “When the opportunity came along, it just kinda seemed like an opportunity too good to miss out on, you know?” the singer reflects on Richardson’s offer. “And because I’d be well supported over here and I was already able to go straight into making an album, it just seemed like it was the right thing to do and, yeah, here I am four years later and I’m just putting it out now!” Johnson makes a sound to emphasise her frustration. Time hasn’t flown for her then? “Nooooooo,” she counters. “But, you know, there’s been some benefits to that.” In hindsight, Johnson considers the lengthy process behind the release of her debut album as having been necessary. “I think if I’d put it out two years ago or something, it could’ve felt quite rushed and unfinished and so I think, you know, waiting this long to give people a real picture of the whole landscape of what I’ve consumed and learnt over the last four years – it’s been imperative to have the time to do that.” The fact that Richardson “was also new to the whole scene” when Johnson moved across the ditch meant that she was encouraged to get out there to try to meet as many people in the industry as possible. “There were a lot of New Zealand musicians here, so I quickly got in with lotsa Kiwis, which helped, and just kinda did my research on who the producers were around town and got in touch,” she explains. “And I think that’s the only way you can really do it. Starting from the ground up, you have to just kinda get amongst it.” Immediately immersing herself in our music scene, Johnson noticed Melbourne has “a really good solid foundation in live music”. “I remember going to see Battles play at Billboard really early on and seeing Björk [from] side of stage at the Big Day Out in Melbourne and being like, ‘Wow, this is really exciting’. So there were some great experiences and it confirmed for me that Melbourne was the place to be at this point in my life.” Although Johnson brought a lot of songs with her from across the Tasman (“I’ve been writing since I was very little”) her producer François Tétaz persuaded her to start afresh. “Frank was kinda, ‘Let’s rewrite stuff, you’re here, you’ve got new experiences, let’s do it.’ So there are a couple of songs that are on there from a while back – Settle Down’s one of them that I wrote when I was 16, all the others are pretty new.” Settle Down utilises a lot of vocal percussion and Johnson believes this is the result of “not [being] hugely confident with other instruments”. “Limitations always make you a little more ambitious I think,” she continues. “And I’m limited in the sense that I don’t have a guitar, so when I hear these elaborate things in my head it’s like, ‘How am I gonna translate this? I guess I’ll just sing it and be percussive with my voice to get across the idea.’ But also once I discovered the album Medúlla by Björk, or Camille – I mean, these are people that have obviously really taken that on as their thing. And it did inspire me that the voice could be more than a voice, [it could] actually be an instrument, you know? But it’s not something that’s awfully conscious, it’s just actually what feels natural, like, that’s what comes out when I wanna express myself, is just to sing in that way and to try and think of the voice – not to be scared of how you sound when you pull a weird face or something, but to actually just do it: treat it like an instrument that can be warped and distorted to create sound.” Tétaz mixed Gotye’s stunning, self-produced Making Mirrors set and Johnson says, “I met Wally [De Backer, AKA Gotye] through Frank, because obviously they’ve worked together on the album, and he introduced me.” On how this guest spot came about, Johnson reveals, “It was only this year that Wally called me up about it and I’m pretty sure he thought that I could maybe get the right performance on it so, yeah! We put down a few takes and it ended up being the one that connected. We had to sort of play around for a while to get

the right take.” The accolades Johnson has received for her performance on Gotye’s number one single, Somebody That I Used To Know, could not have come at a better time, heralding her Vows album with much fanfare. Somebody That I Used To Know came third in this year’s Vanda & Young Songwriting Competition, behind Kimbra’s own Cameo Lover, which was awarded first place. “It’s so cool, ‘cause Cameo Lover was one of the harder songs on the album to get finished,” Johnson discloses. “It was really hard work, you know? So to be acknowledged by Vanda & Young, it’s just really encouraging, it was like, ‘Wow, the hard work has paid off’, for sure. “Cameo Lover had so many incarnations. It started off in one place and then it kinda changed and then when I’d get someone else involved, it changed [again]. It was hard to keep perspective on that one but, yeah! We definitely got there in the end. It was just getting the right people on board and having a bit of time away from it and then coming back to it. But I’m really happy that that song has connected with people, because it took time to get there. So it’s rewarding when you see it reach the light at the end of the tunnel so to speak.” If a song falls together too easily, does Johnson feel as if she should perhaps spend more time on it? “Yeah, it’s interesting,” she muses. “Every song is different, you know? There are some songs that do come about almost instantly and I’d say those are the ones that you probably don’t wanna mess with too much, ‘cause if it does just all come together in that moment, you’ve channelled something and it’s exciting – something’s happened… there’s no point in working on it if you don’t need to, it’s there. But that’s not to diminish Cameo Lover for having [needed] some work, it’s just what that track required – I pushed myself with it and wanted to keep making it better. And there’s a point where you can overwork things, but I think that I stopped at the right point with that song. Everyone is different and if you were to only work and wait for inspiration and never ever force anything, I mean, you’d write one song a month or something, you know? There has to be points where you say, ‘Okay, I’m not really inspired right now, but I’ll just go to work on it,’ because it’s actually quite rare to have those moments where it all just happens. I think most musicians would say that: it’s rare to have a moment where a song just happens in a second. When it does, it’s super special.” Johnson suggests that artists can benefit from being “really open” to embracing random errors that are bound to happen in the recording studio. “Someone will just kind of drop a cymbal by mistake and we’ll be like, ‘That sounds amazing! Keep that!’ I remember the string players on Two Way Street were running around the studio or walking up and down before we were doing a take and they were walking almost in time to the music, and it was like, ‘That sounds awesome,’ like, tuk-tuk-tuk-tuk and we just got them to do it in time. Things like that are just so spontaneous, but they make the mood.” A cover version of Nina Simone’s Plain Gold Ring made its way onto Vows and Johnson confesses, “I didn’t know [the song] when Frank suggested it to me. We were in a session together and he said, ‘Oh, have you heard this song? I think you would really suit singing it.’ I was a big fan of Nina Simone growing up, but that was one I wasn’t very acquainted with – it’s not as well known, but yeah! I did just feel it when I heard it, eh? So much about the lyrical themes really tied in with the ideas on the album already and it felt really natural to put it in with the others. I went home that night and I did a take on the song and it was one of those tracks where we ended up using the first take. I dunno, I captured an energy and it’s paying tribute to an artist I really admired and [it’s] just a really beautiful song.”

WHO: Kimbra WHAT: Vows (Warner) WHEN & WHERE: Friday, Forum; Saturday 24 September, Parklife, Sidney Myer Music Bowl and King’s Domain


BUILDING A BUZZ She’s brought the underground to the high street in her native Britain, and now a slot on the Parklife festival may help the Mercury Prize-nominated KATY B conquer the Australian charts too, writes CYCLONE. off constructively. “I didn’t really want to get a job.” Brien regrets that she didn’t benefit more from uni – her album distracted her. Nevertheless, she graduated. And Brien appreciated Goldsmiths’ focus on the art, not the business, of music. “They don’t really see music as like, ‘How to make a million out of it,’ or anything – even though that is handy stuff to know, obviously…” Brien is still aghast that On A Mission took her more than three years. “It would be nice to do it a bit quicker next time.”


aty B (AKA Kathleen Brien) is now English pop royalty, being proclaimed “the Princess Of Dubstep”. She’s edgier than Adele and more authentically ‘Britishsounding’ than Jessie J. And, while yet to conquer the Australian charts with her future pop anthems, Brien is Parklife’s most buzzworthy act. Earlier this year the South Londoner premiered with On A Mission, the album so far spawning five singles. It entered the UK charts at number two, Adele holding Brien off the top spot. A cheerful Brien is gratified by the response – especially from critics, NME lauding On A Mission as “the British pop debut of the year” over Jessie J’s. “It’s really weird ‘cause, when I was making the album and when it was coming out, people were like, ‘Are you nervous that it’s coming out?’” she recalls. “I’m like, ‘Why would I be nervous?’ ‘Cause people who are gonna like it are gonna buy it and people who don’t like it are not gonna buy it – and that’s always my mentality. Then it dawned on me – ‘Wow, people are gonna be rating it out of five and stuff like that… Oh no!’ And then it was all right. I got some good reviews, so it was a relief.” Brien has covered much ground in her 22 years. She


grew up in rough and tumble Peckham, one of the areas affected by the recent riots. Brien learnt the piano (and French horn) as a kid. She’d flourish at Croydon’s Brit School, with Amy Winehouse among its alumni. The UK media is unreasonably cynical about the supposed ‘pop factory’. “I don’t know why people think it’s a bit weird. If you wanted to become an engineer or a doctor or something, you would go to a school and you would study that and then become it. I knew I wanted to do music, so I wanted to learn more about music – so I went and studied it. I don’t see what’s wrong with that.” Initially Brien gravitated to US R&B – she was a Destiny’s Child fan – but she soon discovered club (and bass) music, faking her ID to party. She became a dance diva-for-hire. Legend is Brien hung out at the then-pirate station Rinse FM, soliciting work. (At 30 quid a track, she’d pen lyrics and sing for aspiring producers.) Her first success story was DJ NG’s UK funky Tell Me, Brien credited as “Baby Katy”, which Ministry Of Sound procured (Vandalism remixed it). In fact, Brien had already started her album with Rinse FM boss Gordon ‘Geeneus’ Warren as she studied the same Popular Music course as James Blake at Goldsmiths College, graduating last year. Because of Warren’s commitments to Rinse, she could only record “part-time” – Brien needed to spend her days

Along the way, Brien sang as part of Matthew Herbert’s Big Band. She gigged with the live hip hop ensemble Illersapiens (hear her on their EP Elevate). She teamed up with Warren for a sublime cover of Inner City’s Good Life. The dubstep supergroup Magnetic Man – comprised of Benga, Skream and Artwork – sought her for the single Perfect Stranger, in addition to Crossover, on 2010’s eponymous blockbuster (they, too, are Parklife-bound). She also popped up on The Count & Sinden’s very Basement Jaxx LP Mega Mega Mega. Yet Brien has remained loyal to Rinse, signing to its fledgling label arm, rather than directly to a major. Originating in the ‘90s jungle era, Rinse was granted a community license mid-last year. Brien’s first solo single would be the Benga-helmed Katy On A Mission, which struck number five in the UK singles charts. Besides Warren, and the Magnetic Man crew, the neo-soulstress recorded with (DJ) Zinc, the dude behind crack house. How did Brien ensure the boys didn’t call all the shots? “I think because I write my own lyrics and my own melodies and things like that, I guess I am in control of what I do. But I don’t really mind that – this whole album was a definite collaborative experience. I’m totally fine with them being in control of the music and hearing their ideas about how to produce my vocal or structure [something] and all of that kind of thing. That’s totally fine with me for them to produce the track, because I’m a bit too lazy to do everything.” Like Lily Allen, Brien’s lyrics are autobiographical, dealing with romance, partying and coming-of-age – her “day-to-day life”. Brien is tagged dubstep, or ‘post-dubstep’, but On A Mission spans drum’n’bass, UK garage, grime, funky, dubstep and deep house. Even as she’s brought the underground to the high street, Lisa Maffia-style, Brien has been praised for her distinctly British steez, Jessie

J emulating US urban types. “When British artists make music and it sounds American, it’s probably because of how much American music we listen to and how much that influences us. I was definitely influenced by a lot of R&B and a lot of pop but, at the same time, I was listening to pirate radio or I was going clubbing or raving. So it’s just a mixture of my influences.” Brien’s music may not be as cerebral as Blake’s, but she flirts with the avant-garde on Witches’ Brew, her latest single. Zinc masterminds a synthy breakbeat rave banger (he also guides the gorgeously slinky MJ Cole-ish Movement). Brien admits to a sly Miles Davis reference. “I wanted to call it Bitches Brew, but they wouldn’t let me. I was like, ‘Oh, damn!’ Never mind.” It’s a playful song. “I remember really liking someone and thinking it would be amazing if they could just like me back and I didn’t have to try to convince them that I’m an amazing person who they [should] just fall in love with. It would be so much less hard work if I could just put something in their drink and they’d fall in love with me. So it’s quite sad, really… It’s quite sinister as well, though, it’s quite evil – don’t let me fool you!” Brien recognises the value of symbolic gestures, too, with Ms Dynamite gracing Lights On, another hit. Dynamite – who did a Lauryn Hill on 2002’s Mercury Prize-winning A Little Deeper, switching from MCing to singing – re-embraces her UK garage roots and raps. (She’s now on the comeback trail with the Labrinthproduced Neva Soft.) “All the producers on the album were male and it was nice to hang out with a female for a bit,” Brien says. She adores Dynamite. “If she ever wanted me on her album, I’ll be there in a shot.” Brien herself has just been nominated for the 2011 Mercury Prize, together with Adele, Blake and Tinie Tempah. In the meantime, she’s wowing European punters with her live show, appearing at Glastonbury over summer. Accompanied by a band, she’s performed a medley of dance classics, such as Soul II Soul’s Back To Life (However Do You Want Me). Brien’s players will join her at Parklife. “I’ve got a horn section that I’m bringing over – quite a big band, actually.”

WHO: Katy B WHAT: On A Mission (Sony) WHEN & WHERE: Saturday 24 September, Parklife, Sidney Myer Music Bowl and Kings Domain


HEAVY SHIT SUICIDE SILENCE exist to write the heaviest music they possibly can, music that “when you hear it makes you go, ‘Holy goddamn shit, am I going to shit myself? Am I going to puke or what the hell’s going to happen right now?’” MARK HEYLMUN tells BRENDAN CRABB.


n a three-album career, California’s Suicide Silence have made a sizeable impression on the extreme metal world. Taking the bludgeoning sounds of death metal and fusing them with mosh-friendly beatdowns and nu-metal overtones, they’re arguably the most successful band in the popular field widely known as deathcore, which has spawned countless soundalikes and legions of new heavy music fans. Not that axeman Mark Heylmun wants to be associated with such things. “Well, it depends how cocky I want to get on it,” he says while relaxing with some beers during the Rockstar Mayhem Festival run. “I could say we started it, but at the same time I don’t really know if we really did start it. But if it wasn’t for us, there wouldn’t be this huge movement or this mediocre movement or whatever the fucking shit it is. We didn’t mean to start something new; we didn’t mean to write music and become a genre that doesn’t really even exist. It’s basically us trying to be a heavy

band, write the best music we possibly can, put it out, go on tour, play music and try and become a piece of what the metal genre is. “Our influences come from Pantera, Sepultura, Machine Head, Suffocation, Cannibal Corpse, Morbid Angel – all the bands that have made an impact. We weren’t trying to start a deathcore genre. I don’t even know what deathcore is – is it death metal and hardcore? Is it death metal and metalcore? What is it? It’s nothing, it’s something the media made, so they can go, ‘Oh well, these bands have breakdowns and blast-beats,’ they just put their finger on what it is and go, ‘This band is a deathcore band.’ No one in the deathcore scene wants to be a deathcore band, I promise you. We just want to be a heavy metal band, a band that plays heavy music and I can guarantee you we will outlast whatever the deathcore genre is. Just like Korn outlived nu-metal, Slipknot was never nu-metal, but they got lumped into it. It happens every so often that there’s something that is created that doesn’t really exist.” Suicide Silence’s latest release, The Black Crown, encapsulates their disparate range of influences, featuring guest appearances from two veteran, albeit almost polar opposite, members of the heavy music fraternity. Korn frontman Jonathan Davis and Suffocation’s Frank Mullen both bring their distinctive flavours to the record. “When [Suffocation’s] Blood Oath was basically being mixed, we had [Suicide Silence’s previous album] No Time To Bleed fully mixed and mastered. We played a show with them in Texas and had like a listening party kind of thing, where we all just got wasted and sat around listening. We just kinda all hung out and ever since it was like, ‘Let’s get fucking Frank on the record.’ [With Davis], we played the Golden Gods Awards I think it was in 2009 and Jonathan walked up to our other guitar player [Chris Garza] and said, ‘Hey man, you guys are pretty brutal.’ It was like, ‘Holy fuck, Jonathan Davis just said we’re brutal.’ We’re big Korn fans; we’re big death metal fans. With our age bracket, where we came from is the most brutal shit and then also what was happening when

We just want everything we’re doing to take you away from your reality.”

we were young, which was pretty much the nu-metal stuff. After we played three shows with Korn we gave him some merch, he ended wearing our shirt on stage and, like, all throughout the tour they were on. If he wasn’t on that song, then it wouldn’t be on the record.” Genres aside and whether you’re attuned to Suicide Silence’s style or not, there’s no denying the relentless brutality of what they do. However, as has been suggested in recent times by various critics, there has to be a limit of heaviness that extreme metal acts are eventually going to reach, even if such a marker remains undefined at this point. “I think the reason why this band is in existence is because we want to play the heaviest shit we can possibly play,” Heylmun ponders. “So no matter what, if you’re a fan of the band expect to hear the heaviest thing that you can possibly hear. We just want to write shit that’s fun and when we play it live, when you hear it, it just makes you want to go nuts, makes you fucking want to have fun. Makes you go, ‘Holy goddamn shit, am I going to shit myself? Am I going to puke or what the hell’s going to happen right now?’ I would hope we can push the envelope on heavy, but who knows, there might be a band that comes out tomorrow that’s fucking ten times heavier than we are.” There’s also a school of thought that while crushing bands that rely strongly on pit-oriented parts are tailor made for the live environment where pit ninjas can wreak havoc, on record the effect can be somewhat nullified. The guitarist says the band write almost all of their material with the “live factor” in mind, but the recorded incarnation isn’t neglected. “You listen to the first record, it’s pretty fucking live, just rugged. Second record we tried to polish the turd that was the first record and tried to make something that was more about what we are. This record is just like, another polishing of the second record. The way that we think about the way we want our songs to turn out, we want the songs to be – when you hear this, whether it’s on CD or if we’re playing it live, we want every thought in your head to go blowing out of your ears. Whether your fucking dog’s dying, your fucking job’s about to fire you, you’re failing school – who gives a shit. What you’re hearing, this is what is overtaking your whole fucking mindset. “We just want everything we’re doing to take you away from your reality – just let you have fun and not worry about what’s going on in your world. I think that’s what music is – the universal language, it speaks to you in another way and doesn’t make you worry about how much fucking money you’re making at the end of the week or if you can pay your rent. I guess we’re always trying to write live music, but at the same time we’re just trying to write music that makes you forget about everything.”

WHO: Suicide Silence WHAT: The Black Crown (Century Media/EMI) WHEN & WHERE Sunday (3pm under-18, 8pm 18+), Billboard



POP GEMS KIM SALMON explains to NIC TOUPEE that his new outfit PRECIOUS JULES is all about pop songs.


'm not all that rock,” confesses Kim Salmon, the man who some charge with being the inventor of grunge. For that reason alone, we could be justifiably sceptical when Salmon denies the weight of his chops. But a man who headed up seminal Australian acts The Scientists and The Surrealists, not to mention his stint as a member of Beasts Of Bourbon – to name only three of his many projects thus far – deserves to be heard, however dubious we may be about his claim.

work and the sound of The Darling Downs, his project with Died Pretty's Ron Peno, Salmon is leaning back towards something more bright, more dynamic and – here's the real attraction – something that Salmon admits is irresistibly enjoyable to play.

Salmon is keen as a hot condiment to talk about his new band Precious Jules (boom tish), which sees him and longtime collaborator Mike Stranges walking a fine line between heavy rock and what he defines as pop music. “We think of ourselves as a pop partnership,” the affable Salmon ventures. “We're pop masquerading as glam punk masquerading as something else again. It references a lot of influences from my past and Mike's past, utilises and reinterprets it.”

Perhaps it's the influence of Stranges, bringing pop sensibilities into Salmon's creative orbit. It's a supposition that Salmon agrees with.

After the cerebral and quiet introspection of his last couple of projects, including acoustic solo

“What we set about doing was trying to write stuff that we both liked. My starting point was punk rock and glam rock – music I was into before I started playing professionally. That was the era where I seriously started to be involved in music, the mid-’70s. I didn't deliberately go back and write songs like that, I just had a lot of rock riffs I wanted to explore.”

“Mike is coming at this band with a more ‘pop’ thing. He's a bit younger than me and grew up on pop and rock – things like melodies and hooks in pop.” Whilst willful pleasure-seeking through vicarious riffs is a significant contributor to Precious Jules’ modus operandi, Salmon comes candid and clean about their more calculated agenda: This band are looking for your attention, and they'll polish their “Jules” until they get it. “We're looking at getting noticed for what we do,” says Salmon, somehow managing to sound ambitious and affable concurrently, which is no mean feat. What's more, it's a statement that leaves one wondering why Salmon would need to try to grab attention. Hasn't he already done more than enough to deserve our time? In the bombardment of 21st century sonic overload, it seems even a Surrealist needs a few tricks up his sleeve. “You have to grab people’s attention. You have to have great hooks and a certain standard of production, otherwise people will lose interest and look for something else,” he says with a certain resignation. As a man who has just invested both time and money in a couple of blatantly uncommercial records, he may well be speaking from the empty pockets of personal experience. ”A lot of music doesn’t get a chance – there’s no deficiency, no lack of ingredients. Sheer luck plays a very big part in it, and the politics and machinations of the industry,” he adds acidly. “You can have a perfect pop song and nobody hears it – like a tree falling in the forest. Even if you write a perfect song it doesn’t mean it will be a hit.” Salmon has written his fair share of hits, but it’s a very different landscape to those days. “I think Frantic Romantic, the first thing The Scientists did, was very melodic – lots of hooks going on and jangly guitars – and it sold a lot of copies. They weren’t massive chart hits, but they affected the ‘indie charts’, the alternative charts. Precious Jules is a bit like that.” But whilst they might be aiming to crash the pop-chart private party, it seems their rock roots keep showing through the rinse. “I can’t believe writers don’t believe the pop angle we’re pushing,” he says indignantly. “We are making no bones about wanting to write hooks and get noticed, so when people latch onto that, no one can say we’ve sold out – we’re being really upfront about it. But in the end, we are just a dirty garage rock duo, and people can see that. We have a punk rock 1977 Clash/CBGBs vibe, but with some glam rock guitars and drums, hand claps, foot stomps, big melodies.” It’s obvious that whilst it would be good to evade poverty through hand claps and ’77-style bombastic riffs, whatever happens Salmon and Stranges won’t lack for good times on stage. “Playing in Precious Jules is enormous fun,” Salmon agrees. “To rock out like that, a lot of synchronised singing and shouting – we find it liberating... and sweaty.” Salmon's recent transient flirtations with playing Scientists reunion shows – at All Tomorrow's Parties and supporting Sonic Youth – have been less about liberation and more about consternation, so the contrast with Precious Jules must be all the more obvious. “We've done it a couple of times over the past few years. And while it is good to revisit it, in a lot of ways you can't go back to that point in time when you originally wrote those songs. Actually, when we were playing these shows it felt closer to end of the line where the band was disintegrating, because you can't undo what's happened. You can't go back to a broken-up band with a clean slate. But rather than say, 'Oh gee, this is band fucked, no wonder we broke up,' you just have to look at it and say there is no future without a lived life. And at least we've managed to try to recreate the sound of that point in our lives. It has been suggested to us to do another Scientists album, but I've thought no, and nobody else has said, ‘Let's get the band back together.’ Reunions are often fraught and ill-fated.” As fraught with subterranean tensions as The Scientists’ reunions were, in the end Salmon had no cause to conclude that, as he jokes, the band were fucked. In fact, like an episode of Glee, in the end they metaphorically, if not actually, had a triumphant group hug denouement. “At the end of it I thought it's been fraught playing together, there were difficulties and bickering, but at the end there were hugs and tears, and a realisation that, ‘Wow, we were a good band,’ and it was great to see that again.” Those momentary flashbacks gave Salmon a taste for the sound, sweat – and tongue in cheek visual cues – of ‘70s stomping glam punk rock. “Mike came up with the name Precious Jules and from there we had to think of a manifesto,” he says gleefully. “We've both got our own t-shirt design: a Ziggy-looking lightning bolt thing for Mike; and skulls, lots of logos. To be honest it’s a bit like Kiss,” he laughs. “We're a t-shirt sort of a band.”

WHO: Precious Jules WHAT: Precious Jules (Independent) WHEN & WHERE: Saturday, Old Bar


SAMPLE PEOPLE The heavily-sampled SYL JOHNSON has great clients – and payers – in Wu-Tang Clan, unlike the thieving “dogs” from Cypress Hill, the soul/R&B legend tells DAN CONDON.


hile he’s constantly referred to as one of the most sampled musicians in hip hop today, fact is Syl Johnson has a massive catalogue of funk, soul and R&B gold. He got his start in the music business as a guitarist in the ‘50s, playing on sessions for Chicago bluesmen such as Junior Wells, Howlin’ Wolf and Magic Sam, and it wasn’t until 1967 that Johnson really made an impact under his own name. His first single, Sock It To Me, was a hit and his second, Different Strokes, also charted well, but took on a life of its own in the 1990s. More on that later. It’s no surprise to hear that Johnson didn’t have any issues cutting records under his own name – he seems the kind of guy who relishes the spotlight. But he says it wasn’t his idea in the first place. “No, it ain’t no problem!” he says of taking centre stage. “It kind of, like, chose me! My saxophone player, he was my teacher too and he was like, ‘Sing!’ and I’m like, ‘Nah man, I don’t wanna sing.’ He said, ‘You need to go out and sing,’ and he told me about Nat King Cole sitting at the piano and people told him, ‘You gotta sing, Nat. Get up! Get away from the piano and go sing.’ He told me that story, he said, ‘When Nat King Cole got up from the piano and stood up and went to sing, he started making a lot of money,’ and so did I!

James Brown and Aretha Franklin or Ray Charles or some of the biggies like that. But other than that, the rest of this shit didn’t make it to the pop stations, but it was good. The ‘60s was the shit.” And Johnson wants people to know this seemingly more than anything else. “I’m not worried about making money – I want to make money, yeah –but I want to enhance my legacy and the black experience and the black culture, the old school R&B culture and soul… I’m excited that I am around to have the opportunity to do it. I’m thankful.”

WHO: Syl Johnson WHEN & WHERE: Thursday 5pm, instore signing, Northside Records; Saturday, Hi-Fi

“I was so influenced by my music teacher and he was the saxophone player in my band. His name was Johnny Cameron. You ever heard of Different Strokes? He was one of the writers of Different Strokes [as was] John Zachary, my bass player. And I’m the writer and publisher. They wrote the music but I set that groove up.” And what a groove! The song, which is still utterly invigorating 44 years after its release, has been a huge part of Johnson’s life in recent years. Different parts of it were snatched by samplehungry hip hop producers in the early 1990s and, as such, you can hear Johnson’s grunts and guitar lines as well as that pumping horn riff all across early-‘90s hits from TLC, Public Enemy, Geto Boys, NWA and, most prominently, Wu-Tang Clan.

It was kind of racist for old school to get played on mainstream radio.”

“You know Shame On A Nigga by Wu-Tang Clan?,” Johnson asks, before launching into a chorus: “Shame on a nigga who tries to run GAME on a nigga!” “Wu-Tang Clan gave me a lot of money because they used a lot of my samples. They’re the biggest client of mine.” But in recent years Johnson has fought for royalties from acts not as willing to give him the credit – and money – he feels he deserves. We speak mere days before the release of Jay-Z and Kanye West’s Watch The Throne, another record that wrongly credits one of Johnson’s samples. He has since said he will be fighting them in court. “I’m having trouble with Cypress Hill. Yeah, they some dogs. The stole it and they admit they stole it,” he says, in reference to a sample of his 1971 hit Is It Because I’m Black that features very prominently on the interlude Lock Down on their smash hit 1993 record Black Sunday. Johnson first filed a suit against them in 2003, seeking $29 million in damages, but he hasn’t been successful thus far. Recently he’s filed a malpractice suit against the lawyers representing him. “Yeah, baby. It’s theft,” he says of the Cypress Hill case. “It’s not only copyright infringement, it’s copyright theft. It’s song theft! If you use it as though it’s your track – you should be ashamed of yourselves. They should have paid me. Do like Wu-Tang, man! Pay me! My wall is loaded with platinum with Wu-Tang Clan around it!” While we’re talking bugbears, one of the most pivotal points of Johnson’s career came in 1971 when legendary producer Willie Mitchell convinced him to finish up with Twinight Records and record for Hi Records. “He had a built-in band there,” he said of his reasons for joining Hi. “It wasn’t my band, but I cut with that band before, on Twinight; I cut some hits with that band before Al Green got there. At least one hit, Dresses Too Short.” But Johnson ended up recording and releasing records in the shadow of the great Al Green, who seemingly had more commercial potential. “I should never have gone there after Al Green went there. I liked the band so much that I signed with the company, you know? And that was a mistake to go there. But I don’t care, it don’t bother me. I did quite well, myself. I’m not gonna complain about how well I did, I’m happy with the way things turned out.” These days Johnson is enjoying a massive career playing with young musicians around the world – his band of choice in Australia is The Bamboos – and spreading his music to young people. “I’m selling out everywhere I go with young white folks. They’re young, man! I’m like, ‘Damn! Y’all really love this shit, don’t you? Shit! Well, like me get funky then!’ So I get back on the mic and I get funky. But I have to step back and look at them and be like, ‘Wow, where did you all come from?’ Man, it’s amazing. I don’t play nowhere unless I sell out. “Even their parents wouldn’t even hardly know about my music. The parents know about old school but not that much. It was kind of racist for old school to get played on mainstream radio, except for


SHORT, FAST, LOUD With their new 13-song album clocking in at just 20 minutes, TOUCHÉ AMORÉ have captured the power and intensity of their live show on disc, frontman JEREMY BOLM tells BRENT BALINSKI.


os Angeles’s Touché Amoré are in Australia for the first time, their seemingly neverending string of tour dates bringing them to Billboard this weekend. “It’s just a matter of we’d rather be on tour than at home, because we don’t have much at home going for us, aside from friends and family,” says Jeremy Bolm, vocalist for the five-piece, who released their second album mid-year. “None of us have jobs – we’re never home long enough to actually get a job – so it sort of feels like we’re tourists more than anything and it’s work that we enjoy. So we’d rather be on tour. We’re not trying to prove what road dogs we are.” But “road dogs” they certainly are. They have spent their days touring with some of the bands that made them want to start playing in the first place – they’re used to being “the young support band” for the likes of Envy, Bane and Converge – in the four years they’ve been together. Bolm says the band clocked up more than 200 performances last year and after

their current run of gigs, they will have played “126 shows in a row”. Touché Amoré’s second album, the 13-track, 20-minute Parting The Sea Between The Brightness And Me, was a change of pace for the quintet. This change was a pronounced increase in tempos, which Bolm believes reflected the band’s increasing cohesion (after a line-up change – a new drummer and a bassist switching to guitar – and a shitload of practice through gigging) and intensity as a live act. Being the seasoned travellers they are, they saw no problem driving for 26 hours straight to record at Black Lodge Sounds in Eudora, Kansas with famed producer Ed Rose (The Get Up Kids, Appleseed Cast). The band particularly admired Rose’s work on Survival Is For Cowards by The Casket Lottery, one of Touché’s biggest influences. “If we were going to work with Ed Rose, we may as well get the full experience of it, where all those records we love got recorded,” explains Bolm. “We’re all about driving all that way, across country, to do it and are happy we did.” The album was recorded live in five frantic days and only one song manages a length of greater than two minutes. “[Rose] pushed us to play songs a little faster than we normally would, which was definitely the right thing to do, because we’ll record a song and play it live and realise we’re all playing it three times faster than we recorded it,” says Bolm. “So he kind of understood that that would be a thing and pushed us to record the songs a lot faster. It captured more of our live sound with the record.” The band didn’t set out to write a collection of sub-two-minute ditties – things just happened to pan out like that. “It’s not something that’s ever intentional,” says Bolm. “It just kind of works out that way. I’ll pretty much blame it on short attention spans. When we’re writing a song we’ll have so much written and then we’ll just kind of look back and say, ‘We don’t really need much more. This

We’d rather be on tour. We’re not trying to prove what road dogs we are.”

is awesome. We’ll just change a part around a little bit.’ But it’s never anything we’re trying to do. It just works out that way.” Parting The Sea… has played well with punk rock enthusiasts, with rave reviews lauding its energy, rawness and heartfelt lyrics, which unsurprisingly touch on being away from home. The band’s second record featured more of a straight-ahead punk rock/melodic hardcore vibe in the vein of Comeback Kid and moved away from the posthardcore/screamo of debut album …To The Beat Of A Dead Horse. “You can’t please everybody, but pretty much there hasn’t been too much negativity,” says Bolm of the fans’ reception of Parting The Sea… “Thankfully kids are accepting to the growth of our band, so we can’t ask for anything more.” Most reviews have summarised that the band’s music has become more direct, intense and urgent. The band are out here with fellow ‘straight-up’ punksters Title Fight, who have been around since 2003, but who, like Touché Amoré, recorded their first full-length in 2009. “We met Title Fight for the first time early last year. We’d played a show in California with them. They’re the nicest kids! “They’re a really youthful, kind of – I don’t want to call them pop punk, because I don’t think they’re a pop punk band. I think they’re more straightforward and melodic,” Bolm describes, “as opposed to we’re more aggressive and melodic. So I think the two of us work really well together. They have such a mature sound for what they’re doing. And both our bands complement each other really well.” Touché Amoré promise concertgoers an earful of the loudest, fastest renditions that can be managed. “We try to put as strong and honest a performance on that as we can muster up. We’re going to be playing as loud as possible, as fast as possible and as energetic as we can,” says Bolm. “I know a lot of the venues are big venues, with barricades and things like that, but we’ll try to give as strong a performance as we possibly can. We’re looking forward to it a lot and since we’re only there a couple of days anyway, we’re going to put a week’s worth of shows into one performance.” And if you’ve downloaded Touché Amoré’s music? They don’t care. Just buy a ticket and get your arse to the show and help the band continue doing what they have to do – gig damn near every day while living on a bus. “We totally embrace the whole idea of downloading, because if you want people to hear your band, being against downloading is kind of silly, because CDs don’t sell these days anyway,” notes Bolm. “So, if you have a fan who wants to buy your album on vinyl he will, he’ll probably come out and see your band perform and buy a t-shirt, which keeps a band like us on the road.”

WHO: Touché Amoré WHAT Parting The Sea Between The Brightness And Me (Shock) WHEN & WHERE: Saturday, Billboard





Some tough times in Europe have inspired the new album from post-rock/metal three-piece RUSSIAN CIRCLES, bassist BRIAN COOK tells LOCHLAN WATT.

It was after a stint rebelling against the guitar that KELL DERRIG-HALL wrote the songs that make up THE SINGING SKIES debut, writes BOB BAKER FISH.

the maximum amount of work done in the time frame. We’re not around each other all the time, and we get along better than any other band I’ve ever been in.”

a name for it. It’s pretty much where I started to write the music that is on the [Routine And War] album now. “I’ve always really appreciated songs where the song is allowed to speak for itself without too much,“ continues Derrig-Hall. ”I think when I came back to it I wanted to focus on getting the songs to stand up and speak for themselves. It was something that I was doing for myself in a pretty quiet, measured way: figuring out how I could make it work so I didn’t get that gut reaction from myself that I get from a lot of guitar-orientated music, or I was at the time.

The album, recorded at Phantom Manor in Chicago, stands to take the expansive, brooding band’s sound into new realms.


e’re always writing, and even when we were done with the last record, we started working on new material straight after,” says Russian Circles bassist Brian Cook, a former member of Botch and These Arms Are Snakes. “I think for us, we can work on songs and rework them forever, we could go on forever restructuring songs unless we put a deadline on it ourselves. We wanted it out this fall, so we set a deadline on ourselves and just made it happen I guess. We had to make it work.”

However, the writing of the follow-up 2009’s extremely well-received Geneva was not completely typical, with Cook (who joined the band in 2007) being from Washington, and original guitarist Mike Sullivan (who formed the band in 2004) and drummer Dave Turncrantz based out of Chicago. “They’ll send me files of songs they’re working on, and it’s kind of an ongoing thing that we never really stop doing,” Cook says, responding to a question about possible geographical frustration. “I think in a lot of ways that we’ve made it work to our advantage more than anything. I think it’s really detracting when you’re all in the same city – you have to play shows, spend half your time rehearsing to play a show over the weekend. Me being up here, we only really play shows when we’re on tour. So when we have time together we’re able to get a lot more focused and just concentrate on getting

“I think it came out really noisy for some reason,” Cook offers. “When we started making plans for recording, we knew we wanted to have more time and not quite as much pressure in the studio. [Phantom Manor] was really nice, and has amazing gear, and was built from the ground up to be a recording studio. You go in there and set up and hammer things out, and we had a lot of time to feel things out and experiment, and we really wanted that opportunity, so we went with a more professional studio. We ended up with a record with a lot more layers, a lot more noise and a lot more interesting sounds because we had to push the record more in an intentional way. We worked together to get what we wanted out of it, I guess.” The album, due in late October, is named Empros. “It’s Greek for ‘onward’,” Cook explains. “It was sort of symbolic of [how] the last couple years of the life of the band have been. I feel that we’re a pretty fortunate band, we get to tour, people come to see us play, we can make a little bit of money off the band and that’s more than a lot of people playing ever get to do. But we all had a rough year – we were in two automobile accidents, one which was pretty serious, we were rattled twice… we were stuck in Europe last spring because the volcano erupted, so we got stuck in Greece for a week, and it was like every time we went on tour it was like something would happen that would hammer us down a little bit. The drive for this record was just about getting past all that stuff and moving on. So we had the stay in Greece kind of in our head, so we thought let’s have the album title in Greek, in reference to moving on with your life and getting past all the old shit.”


he Singing Skies is the work of one man, Kell DerrigHall. Like his music he is softly spoken; nothing feels unnecessary, and every answer is straight to the point, considered, without any extraneous words.

The music that would eventually become Singing Skies began while Derrig-Hall was engaged in Moonmilk, a project with his partner Lia Tsamoglou (Melodie Nelson). While the music was improvised, there was a large ambient soundscape element utilising synthesiser, loops and whatever else they could get their hands on. “I was sick of guitar and finding it difficult to listen to guitar-orientated singing and song-based stuff,” offers Derrig-Hall in explanation of Moonmilk. “We just wanted to explore sound and create moods.” Yet something peculiar happened in the midst of this act of defiance against his instrument of choice. Before long the absence had him reaching for his guitar and he found his heart drifting down onto his sleeve. “I started getting interested in words and what you could do with song,” Derrig-Hall laughs. “I guess I started listening to these sounds again and I ended up being okay with guitar again.”

WHO: Russian Circles WHEN & WHERE: Tonight (Wednesday), East Brunswick Club; Thursday, Corner Hotel; Friday 16 September, Espy; Monday 19 September, Cherry Bar

“I was finding myself writing lyrics a lot,” he offers, “wanting to explore lyrics and what you can do with lyrics and what you can do with words in a pretty sparse way. I was doing recordings that were pretty bare, loosely structured with guitar and voice, but I didn’t really have

“It is in so many ways a dream come true,” he admits. “Hot Water Music are one of those bands that shaped us in so many ways. From the very beginning we have watched that band as a beacon for how a punk band is supposed to exist and operate. They are the greatest.” It’s lofty praise from a band that are tipped to make a huge impact on that very same punk rock path laid out by their heroes. Unsurprisingly, it also pushes the guys harder to perform each night on stage. “Definitely,” Carroll says. “We need to stand up against one of the tightest punk bands of all time. It’s not an easy task but to be honest, I think we are pulling our weight.” The crowds have also been another treat that comes


Routine And War was recorded with the assistance of Biddy Connor, who contributed her incredible strings in only one day, Laura Jean and producer Simon Grounds. Each worked off, then elaborated upon, skeletal demos supplied by Derrig-Hall. “I was pretty ready for those guys to use their creativity to help me figure out what they could best bring to the song,” he offers. “I was really excited to be working with those people, I was lucky I was able to trust them and go with their instincts. I guess I was really flattered that they thought the songs were good enough to warrant their time and their energy.”

WHO: The Singing Skies WHAT: Routine And War (Preservation) WHEN & WHERE: Saturday, Grace Darling

NICK WARREN assures CYCLONE there will be a fifth Way Out West album, despite the pair being “lazy buggers”. Music Festival. There will be a fifth album, eventually, but the duo have solo projects on the go, with Wisternoff cutting an LP of his own. “We are lazy buggers, to be honest,” Warren laughs. “It takes forever – but that’s a Bristol thing. Massive Attack normally takes four to five years for each album, so it must be in the water here.”

with the territory when you tour with bands of such a calibre. Carroll once again has nothing but cheer about the reception the band have been getting as openers. “The turn-outs have been great,” he says, “and we’re really fortunate people have been really receptive to our stuff. The great thing about Hot Water Music fans is that they are true music fans and that is something very special.”

Looking onwards and upwards after the literal and metaphorical black clouds of Pukkelpop 2011, a festival the band were scheduled to play only days before Inpress’ chat, Make Do And Mend’s James Carroll prefers to stick to the positive. The frontman is vibing on their present touring partners, admitting that it’s still a pinch-worthy moment to be sharing the stage with such folk.

“I think I probably heard Neil Young in the womb to be honest. Both my parents love Neil Young and I love Neil Young. It was around a lot when I was growing up; I get a pretty nostalgic feeling today when I hear him.”


Touring with their heroes Hot Water Music, MAKE DO AND MEND are on the road to punk rock stardom, writes BENNY DOYLE.


There’s a confidence to Derrig-Hall’s music, which draws upon the work of Leonard Cohen, Townes Van Zandt, John Cale and even Neil Young.

Later, when pressed on his return to the world of the tactile, he elaborates.


e are actually in Belgium. We are on a European tour right now with a band from Florida called Hot Water Music. Europe is beautiful, man. We have been pretty fortunate weather-wise, a few rainy days here and there but for the most part it has been pretty good – not too hot, not too cold.”

“I wanted there to be plenty of space,” he continues. “I guess with my personality I was comfortable working at a certain speed. It seems to work better when I find some space and tell a bit of a story. It started off a bit sparse because I was figuring out how I could be comfortable using my voice.”

Out soon as part of Soundwave’s Counter Revolution, the band are also finally getting a release of their debut album, End Measured Mile, through newly formed 3Wise Records, Soundwave’s label offshoot. And it’s a safe bet for the label. Make Do And Mend are part of a solid American North-East scene with inspired tunes that is returning to the essence of good rock music rather than the mascara-clad shit that tainted the tail end of the last decade. It’s called ‘The Wave’, and counts La Dispute, Touché Amoré, Pianos Become The Teeth and Defeater in its realm and even though it started in jest, it could very well be here to stay. “Joke or no joke, The Wave is made up of four of our favourite bands filled with some of my best friends. It’s a pleasure to be associated with such a fine group of young men,” Carroll states affirmatively. So could a tour by The Wave be on the cards? “That would be legitimately the coolest thing ever,” Carroll says, like it was the first time the thought had crossed his mind. “I really hope so.” Dream tours aside, the band and Carroll seem more than content just to be getting their debut album out to eager fans across the globe. “It’s really amazing,” he gushes. “Touring so much is definitely hectic sometimes, but in reality this is what we have always dreamt of doing. We are doing things that we never in a million years thought we would have the opportunity to do. It’s pretty surreal.”

WHO: Make Do And Mend WHAT: End Measured Mile (3Wise/Sony) WHEN & WHERE: Friday 30 September, Counter Revolution, Festival Hall


rit superstar DJ Nick Warren pioneered progressive house alongside Sasha and John Digweed, but his first big break was touring the US with old mates Massive Attack. The “Bristol boy” played Balearic warm-up sets. “It was fantastic times,” Warren reminisces. “It was funny because at the time when I started with them, the scene was at its infancy. There was no one to look up to as far as big name DJs or national, or international, club nights – it was none of that. It was very much a homegrown scene here in Bristol; small clubs. We were a bunch of friends just throwing parties. [We had] no mobile phones, no internet, so it was very much the poster and the flyer – that’s how people got to know the parties were on. Sometimes we’d throw parties at the last minute in a secret venue and just put about 50 posters around Bristol the day before and 1,000 people would turn up – it was very exciting. But [then] sometimes only nine people would turn up! It was nothing to do with a career or making any money, it was very much a love for the music.” Today Warren, based in the country just outside Bristol, is best known as a member of Way Out West with cohort Jody Wisternoff. The pair crossed over in the early ‘90s with The Gift and their eponymous debut surfaced on Deconstruction Records, Kylie Minogue’s mid-‘90s UK home, in 1997. Way Out West then embraced nu-skool breaks during the noughties and they last proffered 2009’s analogue We Love Machine independently, with New York electro-popster Jonathan Mendelsohn laying down vocals. Way Out West even staged a live show at 2010’s Future

Warren is a veteran of the DJ compilation, with eight volumes in the influential Global Underground series. Nevertheless, earlier this year he dropped a set for Global Underground’s Australian rival, Balance, having admired its past mixes from James Holden and Joris Voorn. Balance 018 contains Terry Lee Brown Jr’s remix of Warren’s Buenos Aires, the 100th release on Hope Recordings, the Bristol label he A&Rs. So what of his style in 2011? “It’s constantly evolving. That’s the exciting thing about being a DJ. At the moment, I’m a lot deeper in my personal choice of music… I’ve always loved melody, I’ve always loved deepness, but then with lots of energy… That techy, deep but still powerful dance music is what I’ve always loved.” And, he says, the mix-CD is making a resurgence. “People are starting to want some [physical] product again. I’ve got a 13-year-old daughter and she’s starting to buy CDs and even a little bit of vinyl. Lots of people are realising that having a hard drive or a laptop full of music, there’s actually nothing there. When you look back at your life in 50 years’ time and go, ‘This is what sums up my teenage years’, if you’ve got just a hard drive with some MP3 files on it, it’s not gonna be that exciting, really, is it?” But surely the DJ has educated his daughter? “I leave her alone, actually!” Warren himself keeps abreast of the wider dance – and popular – music culture. “I love lots of the more intelligent dubstep like Scuba.” Warren is returning to Australia, this time hitting the clubs, not dance festivals. “Festivals are all about, ‘Wham bam, thank you ma’am’ – there’s no build up, there’s no long sets or anything. I’m really looking forward to getting into the clubs again, playing long sets and being more diverse in what I’m playing.”

WHO: Nick Warren WHAT: Balance 018: Nick Warren (Balance/EMI) WHEN & WHERE: Friday 9 September, Billboard




Far from bitter about Slum Village’s disintegration, ELZHI is taking career cues from former bandmate Dilla, he tells CYCLONE.

Moonmilk’s LIA TSAMOGLOU has toned down the experimenting in favour of conventional songwriting as MELODIE NELSON, writes CHRIS FAMILTON.

Slum by RJ Rice, who presided over their label Barak Records, because his new manager had questioned their contract with E1 Music. Slum issued a final LP, Villa Manifesto, with posthumous contributions from Dilla and Baatin, but little Elzhi. “It’s a sad occasion – ‘cause I feel like Slum breathed life into the game when they first came out,” Elzhi says without bitterness. “Slum made its mark on the hip hop level where it affected so many people – not just the fans, but [also] the people who actually do music, artists like Common, The Roots, Pharrell Williams, Dr Dre… the list goes on and on… When all that went down, just taking me out of the equation, it was really the end of an era. But things come to an end; you can’t really expect everything to last forever. So it’s a sad occasion but, in the same breath, now it’s my turn to do my thing – walk my path.”


etroit hip hoppers Slum Village survived much drama – bootlegging, an apathetic major label and the loss of founding members J Dilla and Baatin. But now the group is no more, the eternally sanguine Elzhi (AKA Jason Powers) going solo.

Formed by high school pals Dilla, Baatin and T3, Slum Village would be hailed as successors to A Tribe Called Quest with their intricately jazzy and funky beats and conscious raps. Yet Dilla, always more of a producer than an MC, split soon after to focus on his studio work, though he’d still provide Slum Village with the odd beat. With his blessing, Elzhi stepped into the breach ahead of 2002’s Trinity (Past, Present And Future). Later Baatin, suffering from schizophrenia, slipped out of the group (he died in 2009). Slum Village’s high point was 2004 album Detroit Deli (A Taste Of Detroit), with Kanye West helming the hit Selfish, featuring John Legend. Slum Village never did a Black Eyed Peas, adding a female singer and embracing ‘pop’. They chose to stay inherently “underground” and cult. “Capitol wanted us to do commercial records, so we did commercial records in a way that we would do records,” Elzhi says, citing their beguiling R&B tune Tainted with Detroit neo-soulster Dwele. Slum Village’s decline was especially ignominious. Last year Elzhi claimed that he was “phased out” from

Elzhi has resumed his solo career, lately airing the highly conceptual mixtape Elmatic, his tribute to Nas’ landmark Illmatic – he even recorded with a band. He’s yet to receive feedback directly from Nas, but his management loved it. And the MC – who in 2008 unveiled a critically acclaimed album, The Preface, with Black Milk – is making progress on a follow-up. “I just left the studio last night with The Alchemist,” he reveals. He also mentions teaming with Jake One and Flying Lotus. Elzhi hopes that it’ll drop before year’s end. Above all, he’s carrying on Slum Village’s – and, more so, Dilla’s – legacy. “Dilla’s genius was his ear. He could just pick out the best records and find the best samples. What I liked that Dilla did in his career was he did it his way – and that’s the model that I like to follow for myself. You couldn’t really tell Dilla nothin’. Like, if you told Dilla to do it one way, he might purposely do it a whole other way, ‘cause that’s how he was. He wanted to do things his way and he wanted to experiment with sounds and experiment with syllables and patterns. I’m the same way: I don’t like to rap on the same kind of beats and I don’t like to rhyme the same way all the time. So that’s the model that I follow, which is to do it my way, like Dilla.”

“I don’t know, it just seemed to happen that way,” he says. “Maybe I’m interested, confused and disgusted by adult behaviour. I’m so far removed from being an adult in my normal life and for me that’s become reassuring. Maybe that’s why I wanted to start a band and take it in all these ridiculous directions. I’ve just begun having fun while everyone else is settling down.” And while there’s humour here, this is no childish pisstake. There’s a reverence and respect for soft rock in both tracks that suggests Montero is a genuine fan. “Absolutely,” he says. “I really love it. It’s my first love – soft rock, romantic pop. I like to rock softly. I’ve never been much of a punk rocker, I guess.” Having said that, though, early reports of Montero live shows do have the band’s frontman developing something of a typical lead singer’s, err, persona. “I’ve heard that. I don’t know what I’m doing really. I was always a shy bass player: hiding behind the pole onstage. Now I’m the boss, I can muck around and I can drink



elodie Nelson has emerged blinking into the bright lights on her debut album Meditations On The Sun. It is an album that represents her first solo foray into relatively straightforward songs after years spent as one half of the experimental drone duo Moonmilk with partner Kell Derrig-Hall, and as bassist for Rand & Holland. By day Lia Tsamoglou is a producer for radio station 2SER, but musically she has chosen to record and perform under the Nelson moniker – it’s taken from the 1971 Serge Gainsbourg LP Histoire De Melody Nelson. “Well, basically my surname is unpronounceable,” she says. “I’ve always had trouble with it and thought I’d pick something a bit different and cheeky. I don’t know if I’ll stick with this moniker throughout making music, but I thought it’d be good for this sound that I was going for. Plus I love that album.” Moonmilk was much more experimental and freeform, yet Tsamoglou draws some parallels between the two projects and views the new album equally as a reaction to – and an evolution from – her earlier work. One major change was the way she approached her vocals and lyrics.

With the new songs written and recorded, the next step was to recruit a live band who could replicate the warm and spatial sound that producer Tony Dupe (Jack Ladder, Holly Throsby) had captured in an old sandstone Methodist church. Tsamoglou feels that the band are now really beginning to capture the essence of the songs on stage. “I thought it would be hard but I’m so lucky to have such talented people to work with. They learnt the parts and they are quite simple really, so it wasn’t as hard as I thought it would be. The first few practices were just technical things getting it right, as were our first few shows. Now the emotion and mood is being added. Some of the songs only have two chords so Travis [Baird] our guitarist is adding some texture. I didn’t really envisage having a band though, so I’m just taking it step by step.” Tsamoglou isn’t resting on her laurels and on the back of positive reviews for the album she is already planning the follow-up to be recorded by Simon Grounds (Underground Lovers, Rocket Science) in Melbourne at the end of October as well as indulging in a USA holiday and playing in Derrig-Hall’s band The Singing Skies. Busy times.

WHO: Melodie Nelson WHAT: Meditations On The Sun (Other Tongues) WHEN & WHERE: Saturday, Grace Darling


BJENNY MONTERO, frontman of new local supergroup MONTERO, tells TONY MCMAHON he’s always preferred to rock softly.


“Melodie Nelson is music that I was listening to the whole time we were in Moonmilk and I thought maybe I should give this ‘60s sound that I love so much a shot and write some cool harmonies and see what I can do with it. There are elements of Moonmilk in the songs. The first two songs I wrote – Waiting and Meditations On The Sun – they are quite repetitive and loopy, the sort of stuff I made in Moonmilk – building up loops. It was kind of a good transition in that sense. It was difficult to go back and write songs again though; writing lyrics you have to think about that shit again and get emotional with words. In Moonmilk I could just moan and make noises and loop it without really saying anything and just let the music speak.”

“It was a bit of a reaction because I felt like we’d done as much as we could do. We’d put a few releases out on overseas labels and I just thought it was time to put it to bed. When we started doing it, it was a strange thing to do and it was hard to get gigs. At some of our first gigs at [Sydney venue] the Lansdowne we were

WHO: Elzhi WHEN & WHERE: Friday, Soul Food at the Espy


hile most bands are lucky to have invented one new genre, local supergroup Montero can reasonably lay claim to several. On the strength of their terrific new release, a 7” single Mumbai, one could just as easily refer to Montero as pop/schmaltz, divorcecore, post-economic meltdown relaxation pop, self-help rock or custody battle space rock. Categories as stunningly original yet warmly familiar as this don’t come along every day, and, as such, true music lovers would be bonkers not to embrace them. Band frontman Bjenny Montero isn’t sure why his outfit can embrace such varied sounds, but suspects it might be a slightly Freudian thing, somehow connected with never having grown up.

getting coasters thrown at us and now bands that are doing sort of the same thing are popular and so we thought we’ve done that and we should move on.

BLACK DEVIL YARD BOSS are no Mammal Mark II, despite featuring two of that band’s four members, PETE WILLIAMSON tells NIC TOUPEE.

and no one’s going to tell me off. Perhaps it comes off as arrogance? I don’t think it is, though, it’s just that I don’t really go in for that humble strumming songman thing, you know? It doesn’t mean I’m an arsehole. I’m just having fun.”

players – and blend that with grunge influences from when I was a teenager. It changed even from there to something different again, because as soon as you get in a room with guys, and they start jamming, their groove gets put on it.”

As mentioned above, Montero is quite a supergroup, boasting members of Crayon Fields, Ninety Nine, Cuba Is Japan, Baseball , The TM Band and Guy Blackman. Inpress smells a story behind their formation, but Montero says it was slightly more everyday than that, as well as making a truly interesting point about music in this town in general.

Following the massive pop folk explosion which has gripped Australia, there seem to be restless rumblings from bands looking to push a gutsier sound, and the word ‘blues’ is being passed around like a signpost to a possible new Australian rock zeitgeist. And with bands such as Cold Chisel making a comeback, now seems quite an excellent time to venture out onto Melbourne’s stages with a harder sound.

“It’s hard not to have a supergroup in Melbourne because everyone plays in such cool bands. It was just kind of natural how the band turned out: they were people I was recording with, friends, housemates, housemates’ friends. We all just sort of fell in together. Anyway, they owed me!” It’s not often one can go out to an inner-city pub and hear something as laidback as this music, full as our venues are of indie rock. As such, Inpress is interested to hear directly what kind of atmosphere there is at a Montero live show? For some reason, it seems that soft rock is polarising the punters. “People at the shows so far have been either really bemused or really joyous. Some online reviewer said it was the worst thing she’d ever heard and that we should be a comedy band. That’s when I knew I was onto something satisfying. Ultimately though we’re a rock’n’roll band and we smash can it.” Following in one of the great soft rock customs, do punters get their cigarette lighters out and wave them in the air at Montero shows? Is it even legal to use a cigarette lighter indoors anymore? Montero isn’t sure, but he does hit upon a killer marketing ploy. “I don’t smoke cigarettes. I only smoke weed so I don’t know. We’re more of a flamethrower band I think, so maybe we could market Montero flamethrowers. Glittery romantic flame throwers that light up your love life.”

WHO: Montero WHAT: Mumbai 7” (Mistletone) WHEN & WHERE: Friday, Grace Darling


lack Devil Yard Boss may sound like some bad boy from a gangland film but, in fact, they’re a Melbourne band, housing two members of the now-defunct Mammal. Pete Williamson and fellow Mammalian Zane Rosanoski found themselves restless after some post-Mammal downtime and decided something new was in order. “The band got together after Mammal broke up – this is our new little project,” Williamson explains. “It was something to just get us out playing again, something just for us to have fun. I pulled in a bass player I knew from pre-Mammal days, when I played in Pete Murray’s band, to make a three-piece.” Old bands can be like relationships – if you can’t get them back together, you look for something a lot like the old one: the devil you know, et cetera. Williamson, however, definitely was not looking to relive the past. He deliberately steered away from Mammal Mark II with the new line-up. “I wanted to do something stylistically different to my previous bands,” he says emphatically. A change of roles has been as good as a holiday for Williamson – perhaps better. “I wasn’t singing in Mammal, and I do in Black Devil Yard Boss, so it’s a big change of pace for me, to step up and start singing. When we first started, I wanted to lean on influences I grew up with – blues rock players from Hendrix to Buddy Guy, Stevie Ray Vaughan, those kind of

“It’s always going around,” Williamson says, casting his shrewd eye over the cyclic trends that shake up the band scene. He has seen a blues sound bubbling under the surface, perhaps now getting the focus it deserves. “It’s just how much anyone pays attention, who gets played on radio and who gets to be part of the trends,” he observes. “It has been a bit unfortunate for bluesy rock players – not being indie bands, they haven’t had much mainstream play here in Australia recently. One of our biggest exports in blues rock is AC/DC, and they’re one of the biggest rock bands in the world. And bands like us do get interest from stations overseas, because they playlist this style of music.” A name such as Black Devil Yard Boss is just inscrutable enough that it could be an effective weapon in the band’s arsenal to get their blues sound some keen attention. Williamson admits that he has been sitting on the name for years, and also that he stole it from the genius mind of a five-year-old. “A friend of mine had a nephew who at the time was five years old, and he had named his cat Black Devil Yard Boss. I don’t know how he came up with it, but it was such a great name I had to use it. I thought, ‘If I ever do a blues rock project, that’s what I want to call it.’ So I’ve ripped off a five-year-old,” he laughs. “I didn’t actually clear it with him at the time, but he’s 17 now and came to see us play in Byron Bay. So I don’t think he minds.”

WHO: Black Devil Yard Boss WHAT: Black Devil Rising (Independent) WHEN & WHERE: Saturday, Revolver







FAKER BACK WHEN SOLVENTS EMI How are things going for Faker these days? I feel like they lost momentum during that huge gap between singles, and despite having returned with a cracker single (Dangerous), their flame seems to have fizzled in the eyes/ears of the nation’s yoof. Not that it seems to have affected the band’s ability to write some of this country’s finest pop music; Back When Solvents is terrific, seemingly a lost track from the Pretty In Pink soundtrack, the perfect blend of upbeat bittersweetness. Who cares if everyone else is over Faker; leaves all the more for me.

SEAN PAUL FEAT ALEXIS JORDAN GOT 2 LUV YOU Atlantic/Warner AAAAAAHHHHHHHH!!! Now, speaking of artists who spend too long between singles, how about Sean Paul? I’m always struck by how much of a desert the pop landscape is whenever he returns, and Got 2 Luv You – featuring the divine Alexis Jordan, whose Happiness should have been a monster hit – is the downbeat, ‘90s-throwback flipside of his own “feat” spot on Blu Cantrell’s Breathe. Please don’t go away again, SP.

PLASTIC PALACE ALICE HEART WEIGHS A TONNE Independent You’d be surprised how an over-enthusiastic PR machine can prejudice a girl against a band; years ago I remember being hammered with “NEXT BIG THING!!!!” emails about Plastic Palace Alice. Consequently their name induces an unfortunate Pavlovian response in me, which is a shame for them since Heart Weighs A Tonne is actually quite a nifty little power pop gem (nice glockenspiels), but I think I’m developing mid-‘00s hives just reading the name. Nobody mention the war.





It’s taken him three albums, but former Rage Against The Machine and Audioslave guitar maestro Tom Morello has finally incorporated his most revered asset – his formidable, mind-bending electric guitar playing – into his solo project, The Nightwatchman. Rather than the predominantly bare bones acoustic affairs that were The Nightwatchman’s 2007 debut One Man Revolution and 2008 follow-up The Fabled City, this latest effort features Morello (backed by The Freedom Fighter Orchestra: a four-piece, full electric band) getting back in touch with his signature stomping guitar riffs and searing guitar solos.

Moving on from the fuzzed-out slacker haze that permeated their 2009 debut Album, San Franciscan duo Girls this time offer a collection that’s more polished and introspective, slipping often into sadder, more powerful moods. At times the album harks back to the simplistic songs of the ‘60s and ‘70s, like the harmonic-drenched Saying I Love You, where guitar slides mark the end of perfect phrases, and My Ma and Love Like A River, where gospel-like backing vocalists harmonise beautiful “ooohs” amidst meandering guitar lines.

Dream On, Dreamer have been quick to emphasise their determination to offer a point of difference to the music of their peers. Initially, it’s difficult to determine whether the local sextet have been successful. Their debut album swells to life in a storm of familiar post-hardcore elements. When a cleanly sung chorus kicks in, it’s difficult not to feel a little bit cynical.

It Begins Tonight charges along on a riff that could’ve easily been the groundwork of an early Rage Against The Machine track, while Union Town has Morello’s electric guitar blazing hot – heavy and squealing. This isn’t an entire reversion to Morello’s electric past, though – tracks such as The Dogs Of Tijuana and God Help Us All are still stripped-down acoustic affairs – and the overall result is a more diverse, well-rounded set of 13 songs. The superb Speak And Make Lightning and the title track have a down-home gospel feel, with the former rollicking country rock (complete with guitar histrionics aplenty) and the latter a rousing call to arms punctuated with harmonica, an anthemic sing-along chorus and a “Motherfucker, here we come!” refrain. And on lead single Save The Hammer For The Man, Morello and Ben Harper trade both verses and adroit guitar licks.

Christopher Owens’ voice still retains its slack-jawed edge on some songs, such as opener Honey Bunny, but on others, such as the dreamy Alex, it rolls along smoothly, tinny drums providing a contrast to the velvety instrumental blankets. First single Vomit is more of an inward-looking exercise, with tightly controlled vocals and a meticulous rein on tempo, switching between whispered time alone and full-band loudness. The closest the band comes to a Lust For Life-esque sing-along here is the bouncy Magic, but crafting hipster anthems no longer seems to be Girls’ focus. Still, there are plenty of beautifully melodic moments on Father, Son, Holy Ghost as well as a few raucous moments such as Die, which sounds remarkably like a Black Mountain track, where squealing solos and rollicking rhythms get their chance to shine.

World Wide… is a broader, more consistent effort by The Nightwatchman. And the fact that Morello is now incorporating his legendary electric guitar playing into his Nightwatchman persona should draw more fans of his previous outfits.

Allowing more room to experiment by elongating tracks, the band have hit on something special here. The mood is more desperate, the guitars are getting more of a creative workout and the vocals have been polished to match the emotions conveyed. Girls have deepened their emotional craft for this album – this just might be the ticket for them to conquer a wider audience.

Justin Grey

Giselle Nguyen

Still, there’s something strange in the album’s opening moments that inspires perseverance and, as one digs deeper into the record, one finds more idiosyncrasies. Cuts such as A Path On Its Own and For What You Believe In find the band folding layers of leftfield electronica into their sound while the bass-heavy, syncopated riffing that decorates songs such as Downfall and Taking Chances, Breaking Free – whether deliberately or otherwise – suggests the work of Sweden’s Meshuggah. Couple this with the band’s penchant for soaring swathes of melody and surprisingly poppy hooks and you have a sound which, while not without precedent (see: House Vs Hurricane), is nevertheless quite unique. The only issue is whether the band have actually managed to synthesise all of their idiosyncrasies into a functional and captivating record. There are definitely moments that suggest it – songs such as Blinded explode with such examples – but it’s actually difficult to find an example of a concentrated and appropriately developed work on the record. Dream On, Dreamer’s ambitions, ideas and musicianship are all laudable but their songwriting needs refinement. Each song is a composite of ideas. Here’s hoping they pull it all together for their next album. Matt O’Neill

Look, the Australian music industry and its associated critical communities are so far up their own arses sometimes (ie all the time) that artists like Vanessa Amorosi are forever relegated to supposed irrelevance. Well get fucked everybody as she’s got one of our best voices and is a dab hand with an upbeat power ballad, and while nothing will ever top the brilliance of Absolutely Everybody, the Wendy Matthews-esque Amazing is terrific and will no doubt soundtrack plenty of slowmo replays at the end of 2011.

FRENCH HORN REBELLION UP ALL NIGHT StopStart While I must stifle my disappointment at French Horn Rebellion’s not being a group of conservatorium musicians who have “gone bad”, there’s plenty to love about Up All Night, which is the same bleepy/eight-bitty sort of joyfulness that has most recently infected Architecture In Helsinki and Matmos. And, well, anything with this sort of buoyant synth riff is okay in my book, and anyone who doesn’t like it is a bum.

OLLY MURS HEART SKIPS A BEAT Sony Sometimes I feel like the UK charts are in another world; so often their chart-toppers are so at odds with what’s fuelling the rest of the hit parades it’s like they’ve fallen through a rip in the space/time fabric. To wit, Heart Skips A Beat, which I can’t imagine being a number one anywhere else in the world at the moment, with its remnants of garage and odd, ‘90s arrangements.

BIG SCARY GLADIATOR Pieater/Inertia Big Scary have always been one of those bands that have induced paroxysms of excitement in my peers while I’ve just nodded my head blankly. They never “happened” for me (probably because I’m too busy singing Absolutely Everybody, amirite guys??); however, Gladiator is pretty great, particularly if you like still pretending it’s 1997 and the Punters Club never closed.

SEETHER TONIGHT EMI I always get excited when I see the word “Seether” in the pile of singles because of course it makes me think of Veruca Salt. Unfortunately, since we’re not in my iTunes, this one is Seether the commercial rock band, and here they are with the intensely inspirational (though not necessarily Inspirational™) Tonight. I was unaware that songs like this were still being produced, but here we are, and there they go. It’s like it’s 2004 in my stereo and only South Africa is invited!





She’s come a long way from The Hunter’s Ode EP in ‘03 and after listening to her third album it’s pretty clear Laura Jean is stripping down her songwriting to an incredibly raw form. A Fool Who’ll is the latest release from the Aussie and begins with one of the album’s best tracks, Happy. Accompanying Jean’s soft and sometimes wavering voice is a solid set of guitar chords and a fluttering saxophone, which fills the silence. A few minutes into the song, a lack of grunt is finally overcome when Jean raises her vocal an octave or two above the level it begins on. It isn’t until the dying moments of the song when she really lets loose with a cluster of “lah lah lahs” that you feel she is on the edge of something powerful. This moment of teetering on the edge of something great is toyed with throughout the album on a number of otherwise quiet tracks, including Noel and Marry Me. It is not until Australia though that you get a taste of something brilliant. As the song finds a raucous Jean punching out heartfelt lyrics (“We come from people who risked it all/We come from people that broke the law/Now I need a stamped piece of paper to take a piss/Like we’re still a gaol for the English”), exposing a strong being who previously lay dormant underneath a layer of lacklustre songs, you get a few goosebumps. This gem of a track is the best thing about the latest LP for Jean, however it’s a diamond in the rough and that grass might not be worth trudging through to get to the jewel hidden in the middle. Jack Crane

Traditionally, it’s impossible to predict the reaction a record will receive from multiple demographics. Not so with The Adults. The debut album of Shihad frontman Jon Toogood’s all-star collaborative project of the same name, The Adults will provoke a myriad of reactions among its listeners but chief amongst them all will almost certainly be surprise. Whether you’re familiar with Toogood’s work in Shihad, the work of his various collaborators, both or neither, The Adults will surprise you. Not in the least because it’s actually an exceptionally well-made and consistent album. Pasted together from countless collaborations over the course of nearly two years with musician backgrounds ranging from thrash metal (Toogood) through to drum’n’bass (Tiki Taane, ex-Salmonella Dub) and indie-rock (Julia Deans of Fur Patrol), The Adults has had the most fragmented gestation period one could imagine. Yet, it sounds fantastic. Certain songs (Nothing To Lose, A New Beginning) are more developed than others but the songwriting is of consistently high quality throughout and it all hangs together somehow. More surprising, however, are the styles on display. Toogood has always been a subversively eclectic musician (see: his guest appearance with Australian electro pioneers Sonic Animation) but the breadth of eclecticism on display with The Adults is startling. Opener One Million Ways welds a sighing synth line and staccato strings over an almost Zeppelin-esque groove to craft a gently epic introduction; Nothing To Lose is a throbbing, post-punk number; while Most Important has a strangely spooked accessibility that recalls latter-era Beatles – and, again, it all hangs together. Honestly, it’s the best record Toogood’s released since Shihad’s General Electric. Matt O’Neill

When a teenage Laura Marling released her debut record, her depth and maturity was lauded. An even better second album followed and this year the singer/songwriter won Best British Female Solo Artist at the Brit Awards and Best Solo Artist at the NME awards. So it is with high expectations that her third longplayer arrives. Produced by Ethan Johns (Kings Of Leon, Ryan Adams, Ray LaMontagne), the album isn’t quite an unknown creature but, while the overall tone is similar to her stunningly serious and brooding second record, it certainly reaches in more directions and has more levity. For instance, country-rock opener The Muse is as jaunty a musical offering as we have heard from the English songwriter, The Beast builds to an unexpected rock-out and All My Rage is a frantic sea shanty. In keeping with the record’s ambition, Marling’s vocal range continues to grow as well. In the more upbeat moments, she hits some high notes with near gay abandon, while her rich, almost spoken, tones perfectly fit the darker songs. Crucially, her lyrics remain typically stunning. As well as weaving through her music beautifully, her emotive, weighty words read like poetry. “He longs for the woman who will conquer his lust/He screams in the night//I scream in the day/We weep in the evening and lie naked and pray,” she sings forlornly on the desperately beautiful, finger-picked Night After Night. A Creature I Don’t Know manages to be Marling’s most expansive record and also her most accessible, and proves her to be one of the most honest, intelligent and breathtakingly talented artists in music today. Rob Townsend



Beyond the notables there are nestled gems to be discovered and the covers he pulls out across all four discs are glimmering insights into the inspiration of the man. Van Morrison’s Gloria gets a rework (replete with the chorus blasting “I.G.G.Y.P.O.P, Iggy Pop!”). Rock’n’roll (you know, the old-type stuff) classics You Really Got Me (The Kinks), Hang On Sloopy (The McCoys), Real Wild Child (Johnny O’Keefe), and Louie Louie (Richard Berry) all get a run through along with a bunch of curios including Batman Theme. The lack of liner notes and limited selection of photographs detract from the thing, but only in the sense that you wanna know more, immerse yourself in this world, be at these shows.




Portland’s Blitzen Trapper have been walking a tightrope between power pop and cosmic Americana over five albums now and for most of those releases, the band have struggled to produce a consistently mind-blowing record among the many individual highlights. American Goldwing finds them settling into their most natural-sounding set of songs and as a result, it’s their most cohesive release to date.

Over the course of three Gaslight Anthem albums Brian Fallon has carved out a reputation as an honest and poetic songwriter telling working class stories about cars, girls called Maria and his home of New Jersey.

Easily the sickest thing about this collection of bootlegs from 1977 to 2009 is the completeness of the package. The thing comprises four CDs, traverses 64 tracks (mostly live bootlegs) and covers a total of more than four hours of Iggy. So for somebody (myself included) who’s a fan but hasn’t necessarily tracked the career of this punk god blow by blow, this document brings together any and all of the shit that’s cemented Pop at the forefront of rock’n’roll for the last 40-odd years.

Viewed by some as a poor man’s Wilco, Blitzen Trapper have often sounded like they were trying too hard. Here they kick back and concentrate on writing great countryrock songs – still with that power-pop vein running through them. At their most relaxed they can produce a song such as Love The Way You Walk Away with its banjo, harmonica and slide guitar making for a down-home warmth and organic feel. My Home Town and Girl In A Coat use the same tools to similar effect, taking on a Dylanesque shuffle and highlighting that obvious influence across much of American Goldwing. The flipside to the country sound is best found on the tracks Your Crying Eyes and Street Fighting Man, with their overblown guitar riffing and glam pouts. They work in the same way that Urge Overkill made it work in the mid-‘90s – slightly knowing, tongue-in-cheek but with the best intentions. Blitzen Trapper have found their comfort zone and though still showing their indebtedness to Dylan, Lennon, Nilsson and Van Zandt they generally avoid shallow imitation by injecting some genuine storytelling and melodic richness into their work. This is without a doubt the band’s strongest album thus far. Chris Familton

On new project Horrible Crowes, Fallon’s MO hasn’t really changed that much (even if the girls are now called Mary Anne). Rather than a dramatic musical change, Fallon and his Crowes bandmate Ian Perkins have just amped up Fallon’s natural affinity for soul music, slowed things down a little and given these songs a much more intimate feel. Where Gaslight Anthem are shooting for stadiums, Horrible Crowes are more comfortable in smoky, latenight dive bars and this album revels in the dark, brooding quality that change of setting allows it. What is clear though is Fallon’s ever-developing songwriting craft. Cherry Blossoms has a gorgeous brushed drum, Tom Waits tinge to its quiet melancholy, while I Believe Jesus Brought Us Together drifts along on vintage organ chords and whispered backing vocals. It’s a breathtaking way to finish the album and would give live set by The Horrible Crowes a guaranteed could’ve-heard-a-pin-drop moment. But it’s the songs such as Black Betty And The Moon, Behold The Hurricane and I Witnessed A Crime that will get stuck in your head, melodies and phrases that will rattle around until you feel like you’ve been singing them forever. And that’s Fallon’s gift – the music he writes isn’t ground-breaking or cutting-edge. It’s comfortable and it’s familiar and it’s really very, very good. Danielle O’Donohue

The discs outline tracks from each of the four decades during which Pop’s been doin’ his business. From the opening bars of Raw Power, you’re taken there. It’s striking through the first disc (the ‘70s, der) the amount of soul and funk thrown into the mix. I Need Somebody scrapes the gutters of loneliness, while Search & Destroy plays out as vital as it’s ever been, in a recording from a Cleveland club in 1977. For bootlegs, the general sound quality ain’t too bad either. There’s jeering, and moments of crowd violence and abuse, but somehow it all adds to the ‘punk’ of it all.

In experiencing Roadkill Rising in a gluttonous fashion, what is really illuminated is that this one guy (and arguably through his various incarnations and collaborations) has pretty much shaped any punk rock variant you listen to today. Not only was he doin’ it first, but he’s still standing, doin’ it last. And his pop sensibilities and rare songwriting genius have allowed him to transcend genre (incorporating soul, gospel, rock’n’roll, punk, post-punk, new wave, etc), time period, fashion, social strata, gender, age and language barriers to deliver himself to the world, time and again. For this we should all be thankful. If you don’t love Iggy Pop, there is something seriously fuckin’ wrong with you, but if you do, you will love this release. Satisfaction guaranteed. Samson McDougall

Iggy Pop pic by Tony Mott

The subsequent discs offer more than enough variation on thematic and sonic exploration to satiate something in every listener. Whether it’s the Nightclubbing and Shades ‘80s period of Pop/Bowie collaboration (and if you don’t know shit about that, read Paul Trynka’s bio Open Up & Bleed); the raw power of his ‘70s material that rocked the UK years before Sex Pistols arrived on the scene while listeners at home scratched their heads and nodded along to America (the band); the heroin chic of his ‘90s shit, which incorporates the Lust For Life (also a Bowie co-write) and this writer’s all-time favourite, Candy; or whatever he’s been up to in the last decade (not quite so hot, but you can’t deny his live shows); there is some motherfucking thing here for every motherfucker and that’s that.




It’s a shame slow-paced films and music are no longer in fashion, NIK LONE tells ALICE BODY.

LA VAMPIRES’ Amanda Brown has found some middle ground with this project. ANTHONY CAREW asks her how it feels to be ‘zeitgeisty’.

the voice. Maybe that’s what makes it a little unique.”

a little bedroom band,” she recounts. “I never thought of myself as a musician, or thought I was becoming one; I just assumed one day I’d go back to writing.”

Inpress suggests slow music has acquired a novelty quality in the current musical climate. “Yes, and I think something similar is happening in film as well, like if you watch old movies, the speed of shot changes is extremely different to how films are shot nowadays,” Lone ruminates. “Things seem to be a lot more punchier in terms of just editing footage and visuals. Before, there seemed to be a longer editing process, and I guess that’s similar to music, that things have just sped up or it’s different to how things are made now. One thing I was told throughout the recording process was ‘Oh, your writing’s very beautiful, it’s a shame no one’s really into this these days.’ But I don’t believe that.”


ik Lone is in the middle of watching a documentary on opera singer Maria Callas when he picks up the phone. Despite a publicist-supplied bio that professes Lone’s interest in exploring classical elements of music-making for his solo project away from band Goodnight Thomas, the angle for this article flies out the window when he reveals in a velveteen timbre remarkably similar to his singing voice: “I actually don’t like opera that much.” Instead, Lone cites Kate Bush as a major influence on his own work. Right. Lone is something of an anomaly on today’s mainstream music scene. Tracks from his upcoming album These Pictures Won’t Tell You are uncompromisingly slow, sweet and melancholy, with much light shone on his vocal chords and the way they navigate the vocal register. The focus hearkens to his a cappella beginnings (though “that was probably initially more about shyness”) and his love for female singer/songwriters. “Karen Carpenter was a really early influence that got me starting to sing, trying to emulate certain resonances and real bass tones that she had in her voice, which is really rare for a woman, even though I was a man,” Lone says. “Also Cat Power, the way she produced her work was just soaked in reverb and so beautiful and so sparse as well. I guess by listening to artists you can’t really emulate as a man, maybe that influenced the sound of the voice, and the inflections and all sorts of things that I bring out in


One man that shares Lone’s view is producer and engineer Tim Whitten – producer behind ethereal rock outfit Art Of Fighting, among others. “I very much wanted to work with Tim Whitten after listening to a few Art Of Fighting albums, and listening to how he represented the music through the mixes.” Lone asserts. “He really drew out a lot of the beauty in their music. He was the first person I contacted, actually, when I decided to make the album.” Despite peers continuing to attempt to discourage Lone from making his unabashed style of melancholic music for the reason that “people don’t like sad music,” Lone forged ahead with Whitten for These Pictures Won’t Tell You. “I just have to write what I love and write what really affects me emotionally and hope that people might connect with it, though they might not,” he says. “There’s a beauty in melancholy and there is some sense of therapy to that,” he continues. “I felt that that was one of the reasons for this music. Melancholy is in everyone. It has a negative connotation but I think it’s just a natural emotion, a natural human state, so I don’t feel like it’s something that should be shunned or perceived as something that should be inhibited.”

WHO: Nik Lone WHAT: These Pictures Won’t Tell You (Independent) WHEN & WHERE: Sunday 2pm, Northcote Social Club

The Browns began playing together as Topaz Rags, but it was Amanda’s other project, Pocahaunted, that attracted the attention. The experimental duo were founded by her and future Best Coast leader Bethany Cosentino. “We were very happy together,” Brown offers. “When she started wanting to make pop music, I immediately knew: 1) I wouldn’t be able to do that with her; and 2) that she would be phenomenal at it. Of course, I didn’t necessarily see that when I first met her, but over the years I recognised that she was tremendously talented and had a fabulous voice.”


ot Not Fun, the label Amanda Brown runs from her Los Angeles home, has been on fire in 2011: releasing beloved records by Peaking Lights and Psychic Reality, and introducing the world to Estonian synthwave babe Maria Minerva. It’s an output that’s made them a near-constant presence on Pitchfork’s underground-slanted cluster-blog Altered Zones, and receiving piles of interest. “Yes, we have become a bit zeitgeisty in the past year or so,” says Brown. “That obviously only has a fraction to do with us. The bands we work with are so incredible, so talented and vivid and amazing; that we were there to, essentially, pay so that the world could hear their music, that’s just fortuitous.” So how does zeitgeistyness feel? Is there a queasy unease to being so-hot-right-now in the notoriousfickle blogosphere? “It’s a funny thing, y’know,” Brown admits. “It’s quite embarrassing to get attention. We work so hard that, whenever we get any attention, we get immediately nervous that there’s gonna be a ton of backlash. Because you can’t be the record label of 2011 without being the worst record label of 2012. That’s just how the music community works, sometimes. So, we just keep our head down and keep up the hard work.” Brown, 29, is a Los Angeles native who grew up wanting to be a playwright, and studied theatre through university. She ended up falling into music when she met her future-husband, Britt Brown in 2003. “We used to joke around about maybe having

Brown rebuilt Pocahaunted as a six-piece, roping in her husband and a whole scene worth of supporting players. “They were just my friends; some I thought were talented, most I thought were just good people,” Brown offers. “Now it seems like we were some underground supergroup: people say ‘you had Psychic Reality and Sun Araw and Best Coast in your band!’ And I’m like, oh, right, the dorks that I know.” The demise of Pocahaunted led Brown to reinvent herself as LA Vampires. “I was definitely tired of being in a band, but I felt like being a true solo artist was not for me, because I just don’t have the ego to sustain it,” Brown explains. “I thought, if I can’t be in a band and I can’t be in a solo project, where does that leave me?” LA Vampires has, thus far, been a shrine to collaboration: making co-billed records with Zola Jesus, Psychic Reality, Matrix Metals, and Ital. Playing live minus her foils, Brown plays up the conceptual characteristics of her project. “I’m not just getting on stage and saying: ‘hi everybody, I’m Amanda, and these are my songs!’ I’m trying something a bit more kabuki, a bit more theatrical. I felt like doing something more creative, where I could just tap into a different aspect of my personality Thus, the LA Vampire was born.”

WHO: LA Vampires WHEN & WHERE: Friday, Workers Club



THIS WEEK IN WEDNESDAY 7 Film And Fashion – as part of Melbourne Spring Fashion Week, two live fashion parades showcasing the latest Spring/ Summer collections from Australia’s leading designers followed by Bill Cunningham New York (a cinematic profile of the street fashion veteran New York Times’ photographer). Nova Cinema, 6pm. Look Right Through Me – conceived and directed by Kate Denborough in creative collaboration with Michael Leunig (legendary cartoonist). Acclaimed dance-theatre company KAGE (Headlock, 2006), give living expression to his work. A man finds himself alone, broken and lost. Chance meetings give him relief and cast light on the deadly, delirious and wondrous world he has until now been blind to. Opening Night, 7.30pm. Merlyn Theatre, Malthouse until 18 September.

THURSDAY 8 The Aliens – Annie Baker play. Winner of the Best New American play at 2010 Obie Awards, a story of two outsiders and their young protégé, Directed by Nadia Tass. Red Stitch Actors Theatre until 24 September. Castaway with Bob Ellis – a war correspondent, social commentator, theatre owner, and documentary director, join this incomparable thinker and notso-quiet achiever as he discusses his five favorite films. ACMI Studio 1, 7pm. Jackie Brown – Tarantino film about a flight attendant who supplements her income by smuggling cash from Mexico to a gun merchant. Astor Theatre, 7.30pm. West Side Story – directed by Martin Croft, featuring graduating music theatre students in their final major performance, with an orchestra of over 20 musicians and an award winning creative team. VCA Performing Arts Space 28 until 18 September.

FRIDAY 9 A Man’s Story – documentary filmed over 12 years about fashion designer Ozwald Boateng. ACMI Cinemas, 8.30pm. Overload Poetry Festival Opening – tenth anniversary celebration. Curated by the man who started it all, Steve Smart, with special guests from UK, Sydney, and local legends. The Biggest Night of the Year for the Melbourne poetry scene. Fitzroy Town Hall, 6pm. Pains Of Youth – the Artisan Collective presents this emotionally charged play original by Australian writer Ferdinand Bruckner. Set in Vienna, 1923, a discontented, post-war generation diagnose youth to be their sickness and so do their best to destroy it. Bourgeois existence or suicide? There are no other choices. Opening night, 8pm. Tower Theatre, Malthouse until 24 September.

SATURDAY 10 Feet 2 Feet – Amy Nightingale-Olsen and Christopher Zaluski, graduates of The National Institute of Circus Arts, perform the traditional circus art of Icarian Games. Based in Melbourne, Victoria they aspire to create work that amazes, entertains and inspires. Red Bennies, 10pm.

ARTS Medea Of Baghdad – directed by Ali Alizadeh, this one-woman play resurrects Euripides’ infamous tragedy. Disturbing and darkly humorous, this is a tale of a volatile young Australian mother who, betrayed by the father of her children, and feeling alienated in a foreign country, commits a crime of mythic proportions. La Mama Theatre, 8.30pm. Pinocchio: Tragicomic For Noses – two actors, two suitcases, many noses, and a classic of children’s literature. Pinocchio will leave his home and face the world, traveling through Toyland. La Mama Courthouse, 11am and 2pm. Susan Stamp Café Scheherazade – exhibition of Susan Stamp’s observational drawings made in the Café Scheherazade in the ’80s. Final day. Fortyfivedownstairs, 11am. Vidal Sassoon The Movie – documentary of Vidal Sassoon, often referred to as the first celebrity hairdresser, who was renowned for his angular, geometric hairdos – notably Mia Farrows’ signature haircut. ACMI Cinemas, 12.30pm.


SUNDAY 11 Sleeping Beauty – directed by Julia Leigh, a haunting erotic fairytale about Lucy (Emily Browning), a young university student drawn into a mysterious hidden world of beauty and desire (2010). Astor Theatre, 2pm. UK Triple Bill – a serial apologist, a cynical balladeer, and a stand-up poet culminate a one-month residency in Melbourne with a triple bill at the Overload Poetry Festival. Tim Clare, Hannah Jane Walker and Luke Wright perform from their individual shows for the last time. The Wheeler Centre, 5pm. Rita, Sue, & Bob Too – directed by the late Alan Clarke (Elephant, Scum), Rita, Sue, & Bob Too was scripted by Andrea Dunbar (The Arbor) and set on the Bradford estate she called home. It follows the (mis)fortunes of best friends who embark on an impulsive ménage-a-trois with bourgeois real estate agent Bob, in what Clarke described as “a comedy of manners”. ACMI Cinemas, 5.30pm.

MONDAY 12 Badlands – written, produced, and directed by Terrence Malick, inspired by the true story of Charles Starkweather and Caril Ann Fugate who went on a killing spree in 1958 that ended with 11 people shot dead. Starring Sissy Spacek and Martin Sheen. Astor Theatre, 7.30pm.

TUESDAY 13 Chunky Move Funk Class – Michelle Ledwith runs beginners funk classes open to the public. A stylised combination of street funk, hip hop, and pop, similar to the styles seen in music video clips for Beyoncé and Jennifer Lopez. Chunky Move Studios, 6.30pm. Romeo & Juliet – The Australian Ballet’s Graeme Murphy adds another ballet classic to his list of audacious reinventions. Traversing time and place, Murphy’s ballet follows “a feisty girl and a feisty boy who are willing to take a stand for their love.” Romeo & Juliet promises to be a masterpiece from first blush to final devastation. The Arts Centre, State Theatre until 23 September.

LIZA DEZFOULI LEAVES HOME WITH NIKKI SCHIELS, WHO PLAYS NORA IN A NEW VERSION OF IBSEN’S THE DOLLHOUSE. “I’ve never done Ibsen before,” says Nikki Schiels, who is taking the lead role of Nora in Daniel Schlusser’s new production of The Dollhouse. Schlusser is known for his highly innovative approaches to canonical plays. “I very much appreciate his irreverence towards the text,” Shiels says. “As a director he gives you total freedom. You take your own knowledge as a backstory to what you’re creating.” Schiels describes working with Schlusser as “exciting and terrifying”. “It’s a dangerous thrill,” she says. “There is an open-ended nature to Daniel’s way of working, it’s a constant process of not locking things down, and it will be right ’til the end of the season. To not know where you’re going and what you’re doing; you have to trust in yourself and

the other performers, have trust in the ensemble. I love Daniel’s way of working; it’s not mainstream; it’s experimental. He’s questing, wrenching the text, challenging the conventions of realism in the theatre. It’s transformation of the text.” This production of Ibsen’s famed story of a wealthy young woman who walks out of her life, questions and challenges our culture of materialism, making the play as hard hitting now as it was when it was first written, shocking polite society to the core. “It’s something I think a lot of Melburnians will be able to relate to,” continues the actor. “It’s nothing too specific to Melbourne but it says something about the world, about our very consumerist culture.” This commentary on contemporary

society is another thing Schlusser is becoming well-known for. “Dan always finds something very interesting to say in his theatre,” notes Schiel, who was approached by Schlusser for this role after having worked with him on Peer Gynt while she was still a student at the VCA. “In this production he is saying something about the world. And it’s far from safe.” At this stage Schiel can’t pinpoint exactly what she will bring to the character of Nora. “I bring a lot of myself to the role, as any actor does.” It must be daunting for an actor to play such a well-known part, no matter how unconventional the production. “I like to do as much preparation as I can,” she says. “I like to know what I am doing. I love having something quite juicy to solve, sinking my teeth into.” The ensemble element Schlusser uses in developing the work, Shiel says, is creatively fulfilling. “We’re solving the problems on the floor as a group so there is strength in numbers. You’re leaping

out there but you feel safe; you’re staying through the process. I love the problem solving in the play, experimenting with the group, the dynamic of the group and the dynamic of the character. Generally, working like this, the results are a lot stronger. It’s an episodic play,” she adds. “There are a lot of two hander scenes. I get a lot of stage time.” Melbourne last saw Schiel, who was awarded a scholarship in her second year of training, on stage at the Malthouse in Elizabeth: Almost By Chance A Woman. She won a Green Room nomination in 2010 for her work with Jenny Kemp in Madeleine and has a part in the much anticipated Fred Schepsi feature film, The Eye Of The Storm. WHAT: The Dollhouse WHEN & WHERE: tonight to Sunday 25 September, Fortyfivedownstairs



The Documented Movement is a film that celebrates the release of The Architect, DJ Rob Swift’s fourth studio album, in an intimate club in Brooklyn. The film tracks the development of Swift’s beginnings as a member of the X-men through to his development as a turntablist-composer at the top of his game. Swift’s work in the groundbreaking turntablist crew the X-ecutioners lead him to collaborate with artists such as Herbie Hancock, Bob James, Linkin Park, and Cypress Hill. This Australian premiere screening will be followed by an exclusive Q&A with Swift himself, and will be held at Cinema Nova Saturday 17 September, 4pm.

Brunswick Street Gallery presents the Fashion As Art exhibition, blurring the lines between fashion and art. Curated by Jasmin McNeil, this creative Mecca features photographers Jason Lau and Elaine Marshall, jewellery artist Tom Higgins, mix-media clothing designers Joren De Rosso, Deb Cotton, Di Ellis, Siobhan Kavenagh, Lalita Lu (Me & Oli), Annabelle Collett, and Janet Spink, and a live performance installation by Jade Forrester. Fashion As Art runs Friday to 22 September.

DR WATSON’S COMEDY AT JOHN CURTIN On the first Wednesday of every month at the John Curtin Hotel, MC Lucy Watson presents Dr Watson’s Comedy Soul Lounge: a combination of underground Melbourne comedy and sweet soul, funk, and classic rock’n’roll tunes. Expect laughs from comedians such as Beau Stegmann, Beau Fitzpatrick, Jon Bennett, Simon Keck, and Dilruk Jayasinha as well as great tunes, pop culture trivia, and free drinks. Kicks off tonight.

AMELIA LACKMANN FADES TO GREY Amelia Lackmann’s recent paintings investigate abstraction through variances in line, shape, and colour, and through the formation of specific relationships between these components. See the Fine Arts graduate’s second solo exhibition, Fade To Grey, at Red Gallery from tonight to 24 September. For further information and to contact visit

TRI-POWER EXHIBITION AT KUSTOM LANE Three countries, three artists, three styles. Kustom Lane Gallery, Hawthorn is holding the exhibition, Tri-Power. Some extraodinary artwork from Mathew Knight from Ireland, Mark Sander (HIP) from New Zealand, and Jack Carney (Rattus) from QLD. Don’t miss out on this eclectic arrangement of stylistic artwork. Until 25 September.

CAMERAS IN PUBLIC SPACES In camera and in public explores the camera and its relationship to the subject unaware of being photographed. From images taken in public spaces, including a series of striking faces taken on the Paris metro, the exhibition proceeds to the grainy anxiety of de-classified ASIO photos from 1949 to 1980. Centre for Contemporary Photography, Fitzroy. Friday 16 September to Monday 24 October.

MAJOR WORKS OF GERMAN ART AT NGV The mad square: modernity in German art 1910–37 is an exhibition bringing together over 200 diverse works exploring the fascinating and complex ways in which artists sought to portray the modern world. Featuring leading artists such as Max Beckmann, Otto Dix, George Grosz, Hannah Höch and El Lissitzky among others, this major exhibition is drawn from renowned international and Australian collections. Currently on display at the Art Gallery of NSW it will open at NGV 25 November and run until March.

BRINGING MENTAL HEALTH TO THE STAGE VOICES: The Carrical Project is a theatre production, supported by the Jack Brockhoff Foundation and the Helen MacPherson Smith Trust, about men living in a boarding house in Hawthorn dealing with mental illness. Based on true stories it addresses the tragic loss and debilitating stigma of mental illness and the creativity, character, and hope that can spring out of it. Voices is being performed by Candlelight Productions at Open Stage, Melbourne University until 17 September.




WITH REBECCA COOK Who didn’t throw a wistful glance skywards a couple of months ago when NASA announced the end of its Space Shuttle programme? Cringe remembers when space travel was so exciting your whole family got up in the middle of the night to watch the Space Shuttle launch on TV in real time. Despite massive advances in technology in the past few years, it seems citizens of Earth have less and less interest in anything outside of their own orbit. Perhaps a new exhibition at ACMI due to blast off on 22 September will reinvigorate a passion for space travel. Star Voyager: Exploring Space On Screen will celebrate real and imagined images of space travel from Georges Méliès’s A Trip To The Moon (1902), the first footage of a human on the moon in 1969, and films such The Dish (2000) and Moon (2009). In addition to rare films and documentary footage, the exhibition will also contain video artworks and animations, as well as film ephemera such as models, costumes, and production materials from cult sci-fi flicks such as 2001: A Space Odyssey (1968) and Star Trek: The Motion Picture (1979). ACMI director Tony Sweeney says that the human experience and knowledge of space travel has been profoundly affected by the moving image. “From the first images of a human journeying into space in 1961, to the groundbreaking television broadcast of the first steps on the moon by Neil Armstrong on 20 July 1969, recorded footage of human space exploration quickly became as significant as the missions themselves. Images beamed around the world since the 1960s have captured the public imagination and inspired artists, scientists and travellers in unforeseeable ways.” The exhibition will be officially opened by NASA astronaut Rex Walheim, who was on the last Space Shuttle mission in July

this year. While here, Rex will take part in a programme of events including an In Conversation session and an education programme. So if you’re curious about space travel (questions about adult nappies aside) then here’s your opportunity to quiz a real life astronaut. You can also get up close and personal with the red planet via the world premiere of a new 3D short film produced in Melbourne by the Centre for Astrophysics and Supercomputing at Swinburne University of Technology – ah, the name just provokes images of floor to ceiling metal server boxes tended by robots, doesn’t it? On Mars 3D has been created using state of the art CGI technology and topological data gathered by the Mars Global Surveyor and Mars Reconnaissance Orbiter. Local artist Peter Hennessey will also unveil a new space-themed interactive installation to go alongside his actual-size model of the Voyager 2 spacecraft. ACMI’s exhibition has been well timed, not only does it coincide with the end of NASA’s 30-year Space Shuttle programme, but also the 50-year anniversary of the first manned flight into space by Yuri Gagarin and the completion of Australia’s Parkes Radio Telescope (about which The Dish was based) that was used to transmit the television signals that allowed 600 million people to watch the Apollo 11 moon walk live. Find out if it’s true that in space no one can hear you scream – head to for more details.

DANCING IN SPACE SEVEN WOMEN UNDERTAKE AN ELEMENTAL JOURNEY IN GABRIELLE NEW’S BUTOH-INSPIRED DANCE WORK CREATURE. WRIGGLING INTO THE GAPS TO FIND OUT MORE, IS NETHERWORLD REPORTER PAUL RANSOM. It seems there is always a space between. Here, all things are possible. This is the space where art lives. It’s also where Gabrielle New’s Creature lurks. Put more directly, Creature is a contemporary dance work that dares to extend into the often shrouded world of the archetypal unconscious, as seven women retrace the convoluted but inevitable journey from innocence to maturity. Think Alice’s rabbit hole or Dorothy’s tornado and you have something of the surreal, almost dreamlike quality of New’s choreographic vision. However, there is much more to this tale than pop psychology or easy ethereality, for Creature is very much steeped in the tradition of Butoh, a post-war Japanese dance form that emerged against a backdrop of nuclear annihilation and American occupation. “It was trying to find something more true and real to what was Japanese; going right back beyond a lot of the foreign influences,” New explains. Having studied Butoh for 15 years, Gabrielle New was keen to weave it directly into the fabric of Creature. “In

INSPIRED COLLABORATION LIZA DEZFOULI DANCES TO MICHAEL LEUNIG’S IRREPRESSIBLE TUNES WITH KATE DENBOROUGH, CO-CREATOR OF LOOK RIGHT THROUGH ME, A DANCE WORK INSPIRED BY CARTOONS. Nearly every Melbournian has their ‘own’ Michael Leunig they carry around inside – their favourite poem, the gag they remember, and the cartoon on the fridge door. A dance performance inspired by the work of Leunig, in all its darkness, fun, and whimsy, sounds like a nice idea but something that could go quite wrong in the face of a certain audience ‘possessiveness’. “We’re making it clear to Leunig fans to suspend expectations and be open to the unexpected,” says Kate Denborough, co-artistic director of renowned KAGE dance company. KAGE is presenting its ‘Leunig work’, Look Right Through Me, at The Malthouse after two years in development with the cartoonist. Being open to the unexpected is an apt way to think about Leunig’s singular characters and observations. “We didn’t want to do


anything that was literally from page to stage,” explains Denborough. No ducks or teapots, then?

is always this spark of humanism, some redemption or counterpoint to the bleak feeling,” she adds.

“Anyone who knows his work will see his sensibility,” she says. “We had a storyboard of about 30 images. On the set there’s a huge tree, a boat, the moon; things he uses a lot in his drawings, things that connect you with the earth.”

Denborough has assembled an ensemble comprising “possibly the best dancers in Australia”. “It’s an older cast. They have a fantastic performative quality. Each person’s body is so different.”

The story in the dance is of an ‘ordinary, everyday man’ (not Mr Curly) who finds himself broken and disillusioned in a wasteland of lost innocence and about to give up on life. “He experiences a series of encounters,” says Denborough. “Whether they’re hallucinations or meeting a young child or other people, they hold a mirror up to him.” Leunig’s early work, in particular, has informed Look Right Through Me. “It has a dark, cynical humour but there

The music for Look Right Through Me is being composed alongside the choreography by Jethro Woodward. Denborough says the music is very much part of the storytelling of the piece. “There is brutality in the work but a lot of the music is very beautiful, amazingly melodic, and acoustic. We’re trying to strike a chord with the audience, inviting them in, involving them in this sensory experience.” The work has been conceived with the dancers in rehearsal. “The dancers have

Butoh you are using images to create movement,” she says. “You embody images, you take them into your body and you become the other. For example, in Creature we use mist; and so the performers take that into their bodies and then feel all the particles separate like they’re being moved by the wind.” This marriage of form and narrative cuts a little deeper than physical choreography. “Butoh also works in the subconscious realms, with the archetypal and the repressed, and Creature is very much an archetypal journey,” New elaborates. “I think those two things work very well together in that they very much explore that subconscious dream world where everything is a metaphor for something else.” For all that, Creature has an almost classic three-act structure. The first section is what New calls the “fertile void”, the second the “technicolour world of Oz”, and the third is “consolidation”. Throughout all this, however, the dominant theme is transformation. As New duly notes, “It’s a very current theme globally. Y’know, humanity is in a great transformative

a huge sense of ownership of the work,” says Denborough. “Their voices matter. It’s a respectful way to work and you get a lot of variety.” Denborough has long been an admirer of Leunig, owning many of his books, and she waited until she had a clear idea of what approach she would take to developing a performance before she contacted him. She describes working with Leunig as “an easy collaboration”. “Sometimes collaboration can be fraught with complexity,” she admits. “You get the sense that Leunig doesn’t stand for fools; that he’s not interested in highbrow bullshit. But this has been a fantastic evolution. He’s wise and mature and generous and humble. He’s like a perfect parent. You get this genuinely unconditional love an_d support. “Working with Michael has been one of the highlights of my career,” she adds. “If nothing else, it’s been a joy to meet and work with him. He’s so funny and generous and inspiring. It’s added five years to my life!” WHAT: Look Right Through Me WHEN & WHERE: Tonight to 28 September, Merlyn Theatre, Malthouse

process where things can’t stay the same but where we don’t really know where we’re going.”

make-up, it is perhaps no wonder that Gabrielle New has called her company The Space Between Performance Collective.

In tandem with the dance, the choreographer’s partner Rob Spillane will mount a related photo exhibition in the Theatre Works foyer. Shot during development of the work, the exhibition looks to underscore some of Creature’s otherworldly beauty. “One of my aims is really to seduce the audience into the story,” New reveals. “They become the protagonist of this inwards world that I’m creating on stage. Not literally by getting down on stage and becoming a part of it; but drawn in emotionally to this space and really exploring themselves through it.”

“There’s a word in Japanese, ma, which kinda means the space between, and it’s used very much in Butoh,” she explains. “Y’know, it might be the space between your arm and the side of your body but it’s also the spaces between the performer and the audience, between reality and other places, craziness and sanity; all those other spaces.”

With Butoh and a penchant for the deeper wells of psyche as part of her artistic

And these, as we have established, are the spaces where dance and a certain Creature are waiting for you. WHAT: Creature WHEN & WHERE: Wednesday 14 September to Saturday 17, Theatre Works

IAN MCCAUSLAND TRIBUTE EXHIBITION The Dancing Dog, Footscray are currently playing host to a tribute exhibition for graphic artist, illustrator, art director, musician Ian McCausland, who has been a major influence on the design of Australian music posters and cover art over the past four decades. Not only has he created work for top Aussie acts which include The Aztecs, Daddy Cool, Spectrum, Company Cane, Chain, Skyhooks, and Dragon but more famously The Rolling Stones, The Who, Rod Stewart, and the Faces. Exhibition closes Sunday.

BLOOD, GUTS, AND GLITTER Australia’s premier dark variety and horror burlesque show, Gorelesque, is back with a vengeance. Like all good film sequels, you just can’t stop at one... And so, these gore girls are packing up their coffins, electric chairs, and film cameras, and hitting the road baby: slashing and axe wielding through Melbourne, Sydney, and Adelaide. So prepare yourself for all your favourite heroines, fresh victims, and scream-worthy villains that’ll leave you in hysterics. The local leg will be held (and torn off) at Red Bennies on 14 and 15 October.



THE MENSTRUUM 42: “TWO SONS” BY ROBERT LUKINS What are you supposed to do, eh? Faced, as we probably are, with our lives spent in a universe that is ever faster expanding into nothing but a larger, colder version of itself. There will be no ultimate judgement, no moral to the story, so why not carry on as if our choices have no consequence; it doesn’t matter. Righto, but there’s a B-side to that: surrounded by boundless, uninterested space, our blips of 80-odd conscious years (if we’re very lucky) could be just as easily seen as being all that matters. It’s our one stinky little opportunity to see our choices have meaning, even if that meaning is cosmically negligible and will in due course be erased to zilch. I’m thinking this as I ride the escalator up and out of JB Hi-Fi on Bourke Street. It’s just sinking in – and I hope I’m very much mistaken – that I’ve just been slagged off by a grade-A shithead. I’ve just bought Prime Suspect 3 and 4 on DVD for $18.99, and for a little while I was feeling very happy about that. It’s a present for my partner’s mother – she lives in Perth and I was pleased imagining the scene of her opening an unexpected parcel from me and having something good to watch on a weeknight. That’s all. I’d taken the disc to the counter and the portly bloke with the dead eyes had looked at it for a second before announcing, “wow, she’s amazing”,

referring to Helen Mirren on the cover. “Yeah, she is,” I’d agreed. “This is incredible,” Portly Bloke says, “I think I might watch this tonight myself.” I was trying to find my bank card, I laughed a little, thinking it nice to find another Prime Suspect fan under 50, “Yeah, it’s great, isn’t it.” Having finished the transaction, PB hands me the case and receipt, and staring away into the middle distance, he deadpans, “thank you, please, have the most amazing night of your life.” Thirty seconds later I’m computing the exchange and realising that I’d been done, properly roasted. I was annoyed for about three hours and more than once shook a clenched fist while retelling the story, but you know what PB, I’m thankful that my instinct was to

think the best of you, to think that you were being sincere and that you weren’t just another a miserable dweeble. Later, stewing over a beer, I read about a couple of Melbourne people starting a new journal called VIM. It’s taking submissions for its first issue – it will be a platform for good things, “the absurd, the wonderful, the joyous, the strangely beautiful... show us what makes you happy”. I don’t know these people or what VIM is going to do, but I like them. Staring into the abyss, you can spit over the edge or look around for good company. The people of VIM have chosen not to be shitheads, and that shouldn’t be a brave thing, but it really is.

FRINGE BENEFITS BE EXCITED. BE VERY EXCITED. LIZA DEZFOULI ANTICIPATES SOME BIG THINGS ON THE HORIZON IN CONVERSATION WITH MELBOURNE FRINGE FESTIVAL’S CREATIVE PRODUCER, NEAL HARVEY. “In comparison to other audiences, Melbourne audiences have very high standards about what they see and expect, but conversely, they are also more generous.” So says Neal Harvey, creative producer of this year’s Melbourne Fringe Festival. How does he know this; how is it measured? “We get a lot of feedback,” he says. “Audiences tell you what they like and don’t like. Shows sell out. There are a lot of dimensions to audiences now; there’s a lively blogging audience, and they do talk about it.” This year Fringe will host a Sunday afternoon talks programme. This wasn’t something Harvey would have thought to introduce but there is such a demand for it, he says, that there will be panel sessions on the first two Sundays of the festival.

in Fringe this year – the festival is spreading wider with new hubs being established. “Red Bennies has a huge programme this year,” Harvey explains, “and the Dog Theatre in Footscray, although they’ve been kicked out of their old home, are taking over the Footscray Town Hall. There’s a town hall thing happening, with shows at the Footscray Town Hall, the Northcote Town Hall and, of course, the North Melbourne Town Hall is the Fringe Hub.” North Melbourne is turning into Fringe Town with 44 different shows in ten spaces in three venues, including a

new one, a “mysterious, intimate, dark, and quiet late night spot” hosted by Little Creatures brewery. “It’s The Warren,” explains Harvey. “There’s no stage but things happen; there’s a bar and a performative element; it’s a moveable feast. It will have a well-curated sense of occasion.” As well as new venues, like the Abbotsford Convent hosting the Fringe Furniture exhibition, some old friends are rejoining the fray. “We have the return of the Meat Market as a hub – it’s the dedicated home for circus,” adds Harvey. With half a million people buying tickets to a Fringe event, Harvey says he feels a huge sense of responsibility to audiences. This year is his first in his role of Fringe’s creative producer. “Melbourne Fringe has a rich and proud history,” he says. “The challenge for me is in doing it justice, in not letting audiences or artists down.” WHAT: Melbourne Fringe Festival WHERE & WHEN: Various venues Wednesday 21 September to Sunday

Harvey’s been involved in festivals in Brisbane, Adelaide, and Sydney and, yes, he reckons, there is a special something about Melbourne Fringe and its audiences. “There is a powerful sense of ownership with the Fringe Festival here; a real sense of ‘this is my festival’. Award-winning artists and shows return to Fringe. If it wasn’t there, people would be incredibly upset,” he notes. “It’s part of the cultural ecology of Melbourne.” There’s a dimensional element happening






THIS WEEK INTERNATIONAL TEENAGE BOTTLEROCKET: September 7 Loft (Warrnambool) ...AND YOU WILL KNOW US BY THE TRAIL OF DEAD: September 7 Corner RUSSIAN CIRCLES: September 7 East Brunswick Club; 8 Corner JOE: September 8 Neverland FOR THE FALLEN DREAMS: September 8 Next; 9 Castle (Dandenong); 11 National Hotel (Geelong) ELZHI: September 9 Espy LA VAMPIRES: September 9 Workers Club NICK WARREN: September 9 Billboard TITLE FIGHT, TOUCHE AMORE: September 10 Billboard SYL JOHNSON: September 10 Hi-Fi STREET CHANT: September 10 Gasometer SUICIDE SILENCE: September 11 Billboard (U18 afternoon; 18+ evening)

NATIONAL FRENZAL RHOMB: September 7 Loft (Warrnambool) ED KUEPPER & MARK DAWSON: September 9 Northcote Social Club; 10 Caravan Music Club JACKSON JACKSON: September 9 Evelyn THE DC3: September 10 Corner Hotel For The Fallen Dreams Thursday Next; Friday Castle (Dandenong); Sunday National Hotel (Geelong)

GIG OF THE WEEK BLACK CAB, NO ZU BAR OPEN Pretty much the only thing better than Black Cab live, will be Black Cab grinding out a club-style set with support from heaving rhythmicists No Zu. That’s right folks, the Black Cab combo of Andrew Coates and James Lee are shedding the guitars and amplifiers to make space for sequencers, drum machines and synthesisers. If you’ve caught their warped, heartattack psych before, this will all make sense to you. If you haven’t, this is you chance to catch an act not afraid to diversify and demonstrate the cross-platform appeal of their unique creative vision. Prepare for cerebral stimulation of the highest and most energising degree.


THE VINES, PAPA VS PRETTY, BLEEDING KNEES CLUB UPCOMING INTERNATIONAL SIMONE FELICE: September 14 Northcote Social Club; 15 Palais Hepburn Springs; 16 Meeniyan Town Hall BRYAN ADAMS: September 15 Palais AN21: September 16 Roxanne Parlour ABOVE & BEYOND: September 17 Festival Hall SEBADOH: September 19 Corner MYCHILDREN MYBRIDE: September 21 Music Man Megastore (Bendigo, all-ages); 24 East Brunswick Club; 25 Phoenix Youth Centre (all-ages) ICE CUBE: September 22 Espy CONGOROCK: September 24 Prince GOLDIE: September 25 Hi-Fi HOLLYWOOD UNDEAD, SKINDRED: September 27 Espy MOON DUO: September 28 Northcote Social Club ALICE COOPER: September 29 Palais EVERY TIME I DIE: September 29 Espy AKRON/FAMILY: October 2 Corner SUZI QUATRO: October 2 Schweppes Entertainment Centre (Bendigo); October 3 Palais ALLEN TOUSSAINT, THE DIRTY DOZEN BRASS BAND. JON CLEARY & THE


Many apologies to Lee Spencer-Michaelsen who penned the masterful Gomez review that ran last week. Gremlins in the system somehow erroneously accredited it to another writer.

BEN SALTER: September 15 Karova Lounge (Ballarat); 16 September Northcote Social Club THE HERD: September 16 Prince Bandroom SEBADOH: September 18 Corner Hotel THE OWLS: September 23 Yah Yah’s ESKIMO JOE: September 29 Forum; 30 Pier Live JACK LADDER & THE DREAMLANDERS: September 30 Corner Hotel PHRASE: October 5 Karova Lounge (Ballarat); 6 Kay St (Traralgon); 21 Prince Bandroom MONO: October 7 Forum FUNKOARS: October 7 Billboard; 8 Whalers Inn (Warrnambool); 28 Bended Elbow (Geelong); 29 Karova Lounge (Ballarat) BLACK DICE, LUCKY DRAGONS: October 8 Forum ERNEST ELLIS & THE PANAMAS: October 8 Toff In Town SULUMI: October 9 Toff In Town LUCKY DRAGONS: October 12 Toff In Town OKKERVIL RIVER: October 14 Forum; 15 Meeniyan Town Hall AESOP ROCK & KIMYA DAWSON, THE NARCICYST & OMAR OFFENDUM: October 15 Forum THE WOMBATS: October 15 Festival Hall WILL SHEFF: October 16 Toff In Town BACHELORETTE, RAT VS POSSUM: October 19 Toff In Town 360: October 20 Bended Elbow (Geelong); 21 Kay Street (Traralgon); 22 Corner Hotel (arvo U18; evening 18+); 27 Karova Lounge MANTRA: October 20 Karova Lounge (Ballarat); 22 Whalers Hotel (Warrnambool); November 5 Surf Coast Sport (Torquay); 18 Star Bar (Bendigo); 19 East Brunswick Club KONONO NO 1: October 21 Forum

The Vines pic by Chrissie Francis

HI-FI Bleeding Knees Club have started. We race downstairs since their debut EP Virginity is a corker and it’s pleasing to see they are absolutely owning it. Didn’t realise drummer Alex Wall was the main singer, either – always a winning touch. “We made it through that song without fucking up,” frontman Jordan Malane marvels, raising a fist to the sky by way of celebration. Bad Guys is spectacularly rambunctious and it’s this very rawness that makes Bleeding Knees Club so appealing. The Gold Coast duo sing, “I just wanna have fun,” so matter-of-factly, but it’s their mission statement. This evening’s 7.55pm opening time gets the better of one lass who spews in the dunnies straight after Bleeding Knees Club. Papa Vs Pretty boast great sounds, but lack visual appeal. Heavy Harm is glorious, perfectly showcasing Thomas Rawle’s vocal ability, which sees him leaping multiple octaves in a single bound. Rawle is also an extraordinary guitarist. Far from flashy, his economical playing style awakens sounds that usually come from Eddie Van Halen’s axe. It’s all there with this trio, they just need finessing and Wrecking Ball’s funky swagger inspires much Shazaming. As we sway on our feet to secure maximum visibility in readiness for The Vines, roadies carefully place eight bottles of sky juice in front of the bass drum. The three support bands tonight shared Money For Rope’s drum kit, as advertised by the custom skin, but the headliners bring their own. The foursome explodes onstage, belting out

Future Primitive and we are grateful a few stairs separate us from this venue’s moshpit. Frontman Craig Nicholls introduces “an early B-side” Hot Leather. The face-melting bassline is something else. This band’s short-sharp offerings leave you gasping for more and Outtathaway! could use a couple more exclamation marks to help illustrate its live majesty – the paralysing guitar solo is note perfect and the moshpit’s a war zone, surging and buckling to the beat. Drummer Hamish Rosser’s effortless style on minimal tubs holds it all together and he counts in many songs. His attentiveness to The Vines’ unhinged bandleader permits spontaneity, which makes for an intoxicating live experience. Black Dragon from their most recent longplayer, with its pummelling drum pattern and layered guitars, is a note to self that revisiting this album during the drive home is a must (with one eye on the speedometer). The Vines also nail the few breather tracks they include in their set, such as one of the Autumn Shade versions and Ms Jackson: the OutKast cover during which we all damage our larynxes trying to replicate Nicholls’ distressed wail – “Me and ya DAAAUUGH-DAH!” Nicholls successfully punks us, introducing a new song before Get Free’s distinctive siren riff calls him out. He later says the band will play Get Free (again), a threat that is greeted by cheers, and then we immediately recognise Ride. Security negotiates a crowd surfing swell, and then the band leave the stage with victorious demeanours. The crowd demands more and since no instruments have yet been busted up, we have a hunch we’ll

get it. After a brief respite, Nicholls returns solo. “The other guys are gonna come out in a minute and we’re gonna blow it up,” he announces, fearing his sole presence isn’t enough. Nicholls more than holds his own, but when the rest of the band take the stage it’s added havoc. The frontman careens about as fellow band members duck and his guitar winds up through the bass drum (fortunately not Money For Rope’s). Limping up the stairs with an injured calf muscle (AKA ‘gig medal’) at set’s close, the general consensus is: Fuck The World, The Vines remain as relevant as ever. Bryget Chrisfield


PHILTHY PHEW: October 5 Palace KASABIAN: October 5 Peninsula (Melbourne Docklands) THE SECRET SISTERS: October 6 East Brunswick Club; 8 Palais Hepburn Springs BOOKER T JONES: October 7 Hi-Fi MONO: October 7 Forum MARNIE STERN: October 7 Northcote Social Club TAYLOR DAYNE: October 7 Shoppingtown Hotel (Doncaster); 8 Chelsea Heights Hotel BLACK DICE, LUCKY DRAGONS: October 8 Forum DEAN WAREHAM: October 11 Corner COSMO JARVIS: October 13 Workers Club THE BATS: October 14 East Brunswick Club OKKERVIL RIVER: October 14 Forum; 15 Meeniyan Town Hall FLO RIDA: October 14 Geelong Arena; 17 Bluestone (Ballarat) POUR HABIT, SMOKE OR FIRE: October 15 East Brunswick Club THE WOMBATS: October 15 Festival Hall BACHELORETTE: October 19 Toff In Town CHRIS CORNELL: October 19, 20 Palais JAMES RHODES: October 19, 20 Melbourne Recital Centre GHOSTPOET: October 20 Northcote Social Club KONONO NO. 1: October 21 Forum EMMANUEL JAL: October 21 Corner TIGER & WOODS: October 21 Mercat Basement SBTRKT: October 21 Roxanne Parlour ALCEST: October 22 Toff In Town JELLO BIAFRA: October 22 Forum THE DEVIL WEARS PRADA: October 22 (U18), 23 (18+) Billboard THE TALLEST MAN ON EARTH: October 25, 26 Corner DROPKICK MURPHYS: October 26 Forum JANET JACKSON: October 26, 27 State Theatre STEELY DAN, STEVE WINWOOD: October 27 Rod Laver Arena THE BUSINESS: October 28 Tote CELPH TITLED: October 28 Corner HERNAN CATTANEO: October 28 Billboard LADYSMITH BLACK MAMBAZO: October 28 State Theatre BROKENCYDE: October 29 Royal Melbourne Hotel SHAPESHIFTER: October 29 Forum Theatre LONDON ELEKTRICITY: October 31 Prince Bandroom FLY MY PRETTIES: November 5 Athanaeum Theatre The DC3 Saturday Corner Hotel

THE POINTER SISTERS: November 7 Palais Theatre CHILDREN OF BODOM: November 10 Palace FOLK UKE: November 10 Caravan Music Club; 11 East Brunswick Club MAD SIN: November 11 Hi-Fi EVIL NINE: November 11 Brown Alley KD LANG: November 12 Sidney Myer Music Bowl KINGS OF LEON: November 13, 14 Rod Laver Arena RUSSELL WATSON: November 14 Plenary Hall DOLLY PARTON: November 22, 23 Rod Laver Arena THE MOODY BLUES: November 23 Palais Theatre LEO SAYER: December 1 Bairnsdale RSL Club FOO FIGHTERS, TENACIOUS D: December 2, 3 AAMI Park SALT-N-PEPA: December 3 Palais Theatre KURT VILE & THE VIOLATORS: December 4 Corner ELTON JOHN: December 6 Rod Laver Arena GANG GANG DANCE: December 7 Corner EXPLOSIONS IN THE SKY: December 8 Forum Theatre FUTURE OF THE LEFT: December 16 Corner ARCTIC MONKEYS: January 3 Festival Hall THE VENGABOYS: January 12 Corner HALL & OATES: February 2 Melbourne Convention Centre; 12 Rochford Wines (Yarra Valley); ROGER WATERS: February 7, 8, 10, 11 Rod Laver Arena ROD STEWART: February 17 Rod Laver Arena; 18 Hanging Rock (Macedon)


ROXETTE: February 18 Rod Laver arena. TAYLOR SWIFT: March 13, 14 Rod Laver Arena

NATIONAL JACKSON JACKSON: September 16, 23 Evelyn BLACK CAB: September 10 Bar Open DAMIEN LOVELOCK: September 10 Espy NIK LONE: September 11 Northcote Social Club TEENAGE BOTTLEROCKETS: September 11 East Brunswick Club SPARKADIA: September 14 Bended Elbow (Ballarat); 15 Bended Elbow (Geelong); 16 Forum BEN SALTER: September 15 Karova Lounge (Ballarat); 16 Northcote Social Club VELOCIRAPTOR: September 15 Vineyard; 16 Miss Libertine; 17 Colonial Hotel THE AERIAL MAPS: September 16 Bella Union RAT VS POSSUM: September 16 Buffalo Club BASTARDFEST: September 17 Corner ELIXIR: September 17 Thornbury Theatre NORTHEAST PARTY HOUSE: September 17 Northcote Social Club; 24 Newmarket Hotel (Bendigo) TOMAS FORD: September 17 Yah Yahs LUCIE THORNE: September 18 Caravan Music Club; 29 Bella Union BIRDS OF TOKYO: September 20 the G (Albury); 22 Pier Live (Frankston); 23 Forum; 24 Kay St Entertainment (Traralgon); 25 Eureka Hotel (Geelong) DRAPHT: September 21 Bluestone (Ballarat); 22 Chelsea Heights Hotel; 23 Palace TRIAL KENNEDY: September 22 Saloon Bar (Traralgon); 23 East Brunswick Club BROUS: September 23 Buffalo Club BENI: September 24 Prince NEW WAR: September 24 Phoenix Public House SAND PEBBLES: September 24 Northcote Social Club RICHARD IN YOUR MIND: September 24 RAOBGAB Buffalo Club LEVI MCGRATH: September 29, October 1 Seraphim Upstairs; October 30 Wallan Gateway Church BATRIDER: September 30 Tote DEAD LETTER CHORUS: September 30 Northcote Social Club NAT COLE & THE KINGS: September 23 Hotel Spencer THE SCREAMING TRIBESMEN: September 23 Espy PUBLIC OPINION AFRO ORCHESTRA: September 23 Corner ESKIMO JOE: September 29 Forum; 30 Pier Live (Frankston) GOTYE: September 30, October 1, 2 Forum JACK LADDER & THE DREAMLANDERS: September 30 Corner WEDDINGS, PARTIES, ANYTHING: September 30 Palace ART VS SCIENCE: October 6 Pier Live (Frankston); 7 Bended Elbow (Geelong); 8 Kay St Saloon (Traralgon); 9 Bended Elbow (Ballarat) JUSTINE CLARKE: October 5 Dallas Brooks Centre ART VS SCIENCE: October 6 Pier Live (Frankston); 7 Bended Elbow (Geelong); 8 Kay Street Entertainment (Traralgon); 9 Bended Elbow (Ballarat) FOR THIS CAUSE: October 7 Kate’s Party (Bayswater) HUXTON CREEPERS: October 7 Barwon Club; 8 Corner FUNKOARS: October 7 Billboard; 8 Whalers Inn (Warrnambool); 28 Bended Elbow (Geelong); 29 Karova Lounge (Ballarat) CONFESSION: October 9 Musicman Megastore (Bendigo, AA); 15 (U18), 16 Corner THE PANICS: October 12 Theatre Royal (Castlemaine); 13 Bended Elbow (Geelong); 14 Palace THE AMITY AFFLICTION: October 11-13 Billboard THE DRONES: October 14 Corner JACKSON MCLAREN: October 14 National Hotel (Geelong); 15 Grace Darling JEFF LANG: October 14 Caravan Music Club (Oakleigh); 15 Corner; 16 Way Out West Blues Club (Williamstown) THE RED EYES: October 15 Northcote Social Club TEX PERKINS: October 15 National Theatre DM3: October 15 Caravan Music Club; 16 Northcote Social Club PETE MURRAY: October 16 New Albury Hotel; 19 Inferno (Traralgon); 21 Hi-Fi; 22 Pier (Frankston); 23 Ferntree Gully Hotel 360: October 20 Kay St Saloon (Traralgon); 21 Corner (Under 18 Afternoon); 22 Corner (Over 18 Night); 27 Karova Lounge (Ballarat)


There’s a certain allure in freedom. Endearment immediately follows any person who wanders humbly without compass or direction. When such scope embraces music, the result is kind of beautiful. Cue Devendra Banhart. The room is illuminated from the offset. Support act, Husky, leave the venue with adequate pre-Devendra radiance. Their recent trip to the States to record with Noah Georgeson (also behind production and collaborations with Banhart) is evident in their steady handle on uplifting indie folk. As Devendra Banhart takes the stage the room immediately feels warmer, a combination of his undeniably sexy swagger and a glow that blooms from the mass of coy ladies constituting the crowd. Shabob Shalom is a toast to Banhart’s indiscreet curiosity, a Jewish doo-wop ballad and the first step in a journey that will undoubtedly traverse a gamut of musical terrain. Banhart’s band The Grogs offer evident boost and body. However, their exit to enable solo renditions of A Sight To Behold and The Body Breaks allows us to appreciate Banhart’s hypnotic vibrato, making for a particularly moving performance. At The Hop sows smiles like seedlings among the crowd as Banhart’s eloquence nurses upturned lips to beaming grins. It’s true: the man is a poet. A cover of Sportsmen by Yellow Magic Orchestra in combination with an earlier comical reference to Vybz Cartel’s Ramping Shop quickly confirms Banhart’s hunger for an array of musical delicacies. Seahorse defines epic rock and releases the crowd from any hesitation to groove. And if there was ever any uncertainty concerning which direction to move our feet, Banhart illustrates this when he ditches his guitar in favour of a boogie during Long Haired Child. His footloose and unhinged presence onstage perfectly shadows his music. An encore of I Feel Just Like A Child is perhaps the closest we will get to defining Banhart. He dodges any risk of seeming indulgent – of his genre-hopping feeling tiresome, schizophrenic even – most simply with the abandonment and marvel of a child. It would be near impossible to question Banhart’s skill, to deny he’s inspired. But this isn’t what mesmerises us. Rather it’s his vision, his rambling wanderlust and childlike idiosyncrasies that ornament his presence as a performer best. Devendra Banhart is free, so too is his music. And the result? Well, it’s kind of beautiful. Melody Newell


Local pop group Oh Mercy have always been a snappy bunch, but tonight they look particularly well presented. Singer/guitarist Alex Gow has his shirt tucked in and his sleeves rolled up neatly as he strums and sings and gorgeous bassist Eliza Lam lays on vocal harmonies under a sharp black fringe as she plays her bright red bass, standing straight in a sparkling blue dress. But they’re more than just a pretty band-face – they have a knack for writing good old-fashioned pop songs with a golden lyrical wit. The guitars sometimes get loud tonight, and Gow gives the occasional vocal growl, but it’s in the softer moments of songs such as Keith St that

The Vaccines pic by Kane Hibberd

the honey-crunch husk comes out and the melodies dazzle. The set comprises mostly newer material from their gloriously titled sophomore album Great Barrier Grief, but they give us Lay Everything On Me from their debut Privileged Woes, with a squalling guitar solo. When they really kick it, Oh Mercy sound bigger and wilder than you might expect given their suitably polished pop recordings, and this controlled raucousness works well for them live. Songwriting smarts are shown off in Stay, Please Stay as guitar lines meander, almost imperceptibly, from minor to major as verse turns to chorus. They finish with a cover of Leonard Cohen’s grand waltz, Memories, and Gow evokes something tender in his refrain, “She said, ‘No, you cannot see/No, you cannot see my naked body,” and they pretty much do it justice. The headliners walk out in front of a big, white backdrop that asks us, “What Did You Expect?” in black, sans-serif font and as the off-kilter riff of Blow It Up begins, we think, ‘Well, we expected The Vaccines, of course, and phwoah, they sound massive!’ These lads from London roar through a set made up of songs from their debut album What Did You Expect From The Vaccines? with great energy. They play catchy indie rock made out of bits of Britpop, punk and surfpop and made lush with fuzzy, reverberated sounds lashed out by strutting, head-wagging lead guitarist Freddy Cowan. Wreckin’ Bar, Post Break-Up Sex and Nørgaard all create enthusiastic crowd revelry and the summertime vibe of Wetsuit flows swimmingly. But what hits hardest and stays afterwards is just how great singer Justin Young’s voice is. The leatherjacketed Young is a tall guy, he hunches over his microphone as he lopes about the stage, but has this huge voice that he pushes and bends and holds out effortlessly; he seems to be descended from oak trees and nightingales. And he’s happy to be here: “I can’t tell you how much fun this is, I can show ya. This is called If You Wanna.” The crowd bounces highest for this track, the band’s breakthrough single. It is all over quite quickly, but we’re contented for now and look forward to our next dose of The Vaccines. Warwick Goodman


What is with punters who sit on the floor? Are we at a picnic or a rock show? There’s nothing remotely chilled about Belles Will Ring’s rather fine set of ‘60s-inspired rock that showcases tunes off their albums Mood Patterns and Crystal Theatre. So why sit on the floor and look so insipid? Cheering only when Liam Judson announces that their last song for the night is Come North With Me Baby suggests that the crowd are not digging it. Ironically, it is the song that connects with punters and gets a few of them up and dancing and hopefully wishing that they had paid closer attention earlier. As it turns out, Glasvegas bring a crowd comprised mainly of English and Scottish expats and backpackers out for a good time. The band, dressed in black and bathed in a violet light, deal a fuzzy, distorted wall of sound that’s warming. Lead singer James Allan bounds onto the stage to strike some ludicrous rockstar poses, sporting a sparkling white singlet and jeans. As they lead into the optimistic World Is Yours, Allan’s vocals struggle and it takes him quite a few songs before he sounds as he should. Nonetheless, this is an adoring crowd. The trio behind Allan rather autonomously and effortlessly create those trademark sweeping, chest-beating crescendos constructed of shimmering and hazy shoegaze guitars to brilliant effect. The upwards reach of You is exhilarating, but again the tune is grounded as Allan’s vocals don’t quite hit the mark. The forgiving and enthusiastic crowd engage in a sing along to It’s My Own Cheating Heart That Makes Me Cry and the quartet are genuinely surprised and flattered. In shocked disbelief, Allan swings his microphone at the audience, giving them the opportunity to take over. It’s from here that Glasvegas start to take flight with the majestic Whatever Hurts You Through The Night and Euphoria Take My Hand, both off their under-appreciated second album. Allan seems more relaxed as his distinctive wailing croon settles into the mix. Effortlessly dealing stadium-sized rock anthems, Glasvegas provide the thrills that punters are after. It’s material off their first album that raises the roof and Geraldine sees the band deliver one of the evening’s most impressive performances. Coming down from pretending he’s a rockstar, Allan connects more sincerely with the audience as he talks to the crowd in a thick Scottish accent that some struggle to understand. The band clearly wear their hearts on their sleeves and with their sometimes-heartbreaking, sentimental lyrics they come close to being mawkish but it’s a sense of honesty and sharing of actual experience that saves the day. Glasvegas’ tearful ode to absent fathers Daddy’s Gone, which concludes the night, exemplifies this best and to devastating effect. Guido Farnell


Husky are a Melbourne band with a whole lot of potential. They play folk-pop infused with tribal beats and three-part harmonies (as exemplified in History’s Door) and seem at home on stage. Keyboardist Gideon Preiss plays an impressive extended introduction that is beautifully jarring at times and the crowd – who haven’t been all that attentive before – react appropriately with loud cheers. Noah & The Whale certainly look the part, dressed in matching dapper suits. However, a vocal effect on the microphone, an unbalanced sound mix and distracting lights detract from the music. The band play a mix of songs from all three of their albums, focusing mainly on their latest. They fi nish off opener Give A Little Love with a rock’n’roll jam complete with a guitar solo from Fred Abbott. Bassist Matt Owens wouldn’t look out of place in a hard rock band, with his long hair and tendency to head-bang while playing. Frontman Charlie Fink gazes intently into the audience and points his fi nger purposefully to the beat as he sings, looking like he really means that chorus in Give It All Back.

After a great live version of Love Of An Orchestra, in which they substitute the backing choir with a wonderful four-part harmony, they enter “the romantic part of the set” (according to Fink) by playing the slower Wild Thing, which is too relaxed for the atmosphere they’ve set up. Luckily, they follow that up with “the party part” of the set, providing us with a lively rendition of Rocks & Daggers. The audience sings along with Fink, “There’s no need to play-ay-ay with my heart,” as drummer Michael Petulla and violinist Tom Hobden pick up the pace and lead the way into the ending. Crowd favourite 5 Years Time has everyone clapping along, but when Fink tries to get some air punches happening in Tonight’s The Kind Of Night, only a few scattered fists are raised. One thing that takes Noah & The Whale’s performance from ‘quite good’ to ‘outstanding’ is their ability to really build up their songs, gradually turning a gentle folk melody into an elaborately layered soundscape. They do exactly this in their closer, First Days Of Spring. Of course, Noah & The Whale fi nish their encore with LIFEGOESON, which is made particularly memorable by the a cappella chorus we gleefully shout out, sans Fink’s vocals. Stephanie Liew Noah & The Whale pic by Lou Lou Nutt


Coming out in what can only be described as veiled Chinese straw hats, Electric Smile Band look like cult members but play like seasoned pros. Whether or not prog/psych electronica is up your alley, you can’t help but appreciate that this band puts a genuine effort into giving their audience a ‘show’ rather than simply another ‘gig’. Lampshade and linen hats may not an interesting band make, but the crowd are enraptured by this gothic psychedelia and their frontman’s Andrew Eldritch (Sisters of Mercy)-esque burr. Mark Barrage plays music that one can use several hundred genre and sub-genre explanations to describe, including, but not limited to, ‘glitch’, ‘industrial’, ‘electropunk’ et al, ad nauseum. His bleeps, bloops and beats act more as background fodder than a can’t-stop-won’t-stop dance experience. The hipster penchant for irony comes up aces when Sydney’s Donny Benét steps on stage. Much like TV shows such as Tim & Eric, or films like Mega Shark Versus Giant Octopus, the success comes from diversion of taste: normally, the Workers Club would not be filled to watch a balding man bump and grind, singing banal lyrics over cheesy disco/funk beats. But it is in the extreme that it finds acclaim; Benét dons the white suit and gold jewellery, the Cuban drug dealer shirt, the lascivious rapport and swag of lady-love-centric funk tunes and delivers this character unto a public that would normally, one can safely assume, shy away from disco-pop and its musical friends. The point of difference is that the ‘so bad it’s good’ defence doesn’t entirely work for Benét, because the man does indeed know how to work his tools. He doesn’t treat his laptop, guitar and Moog synthesiser as props on the façade; rather, he plays adroitly and with admirable fervour. Benét opens with single/album title track Don’t Hold Back and swaggers through his sparse, ‘80s pop/funk set (Takin’ The Heat sees a swarm of dancers besiege the stage) and finishes off with a cover of Elvis’ Burning Love. It’s tough to judge what Benét wants from his act; whether he is aiming for the novelty market or genuinely attempting to bring an old fad back in. Either way, the whole project needs more than just bad nightclub singer dancing and cheesy Moog noodling. Lisa Dib


It’s a bit of a mixed crowd at the Corner Hotel tonight. Between the hippies, the drunken louts and the clearly diehard fans, the dancefloor is a flurry of unwashed hair, red-eyed reefer men and conversations along the lines of, “You’ll never guess who I just met,” (unresponsive pause), “Jason! You know, the guy from the RACV ad,” (delayed “orright” in slurred British accent). As you can appreciate, when Ash Grunwald’s set finally starts there is a resounding cheer of eager appreciation among the sober audience who are clearly regretting the decision not to share in post-work-punchbowl festivities. Playing his first ever sold-out Corner gig, the Melbourne-born troubadour is clearly a favourite in his hometown, and while a middle-of-winter gig at this venue may be a far cry from the open stages of Pyramid Rock – or the myriad of other festivals the blues superstar has played – the energy in the room is exactly the same. There’s something

so instantly attractive about music as organic as Grunwald’s. Maybe it’s the way he has seamlessly meshed traditional blues with his modern interpretation of it or maybe it’s his raspy vocals. Whatever it is, it has no doubt been helping people all over the country get laid, since circa 2004. Opening the show with Raw from his recently released album Hot Mama Vibes, it’s evident that the audience is in for a night of earthy, roots-laden blues. Songs such as Rosie Be My Girl, Walking, Break Out and Serious really get the crowd grooving, but, as always, Dolphin Song is the one that gets the loudest cheers. Grunwald, as well as relentless touring, is currently in the throes of making a documentary about the life of a travelling musician. The biographical Road Dog Diaries, Grunwald explains, is going to incorporate guest appearances from artists he has met, played with or been inspired by along the way, as well as giving us a bit of an insight as to what really goes on when you’re on tour. With Spiderbait’s Kram stopping by to help out on guitar for a few tracks, there is certainly no shortage of talent. But, in all his dreadlocked glory, Ash Grunwald really exemplifies blues at its finest. Tianna Nadalin


Getting into the East Brunswick Club shortly before the first support starts, the room is fairly empty. It’s Saturday night, nowhere near as cold as it has been this winter and one of the country’s finest bands will be on stage in a couple of hours’ time. So where is everyone? Surely it’s not going to be criminally empty, like their show at the Corner last year? Unperturbed by this, WA boys The Floors take the stage first. They open with a rocking instrumental piece and fill the room with their bass-heavy sound. Their set consists largely of short, punchy garage blues songs. The Floors put as much effort as possible into every song, each member pounding away at their instrument to get every noise out of it they can. They power through their set, getting people moving as the punters drip-feed slowly into the room. Next up is the local support, Joel Silbersher & The Baggage Handlers. Their set starts very unassumingly, with Silbersher sharing a lame dad joke with the crowd without so much as a sympathetic or sarcastic laugh from the audience. They start to play a slow, downbeat song in the same manner as the night’s headliners, however, the songs come across fairly flat and the crowd can be heard talking over the band for the majority of the set. Unfortunately the crowd seems largely disinterested for the duration of their show. The bandroom quickly fills during the changeover. When The Kill Devil Hills take the stage and begin to play, they immediately get everyone’s attention. With The Kill Devil Hills, if it’s not already pouring, then there are clouds on the horizon; the set is devoted to their more brooding, mid-tempo songs (although Cockfighter is a great exception). They throw in a few songs from their upcoming album, including one that is introduced as being “about Abe Simpson. Or death.” Near the end of the set, singer Brendon Humphries announces that it’s nearly over and they won’t be doing an encore, much to the dismay of the crowd. After the finale of Cool My Desire and I Don’t Believe, they leave the stage with the crowd wanting more. While The Kill Devil Hills definitely deserve more recognition, they’re also one of our best-kept secrets. With intimate shows like this, it’s hard not to want it kept that way. Josh Ramselaar



Melbourne’s mid-week dancehall reggae fi x is back in Fitzroy where it all started. Ring The Alarm Dancehall Reggae Wednesdays happen every week downstairs at Laundry Bar. Resident selectors Jesse I and Armagideon Time will be joined by weekly guest selectors and MCs, and entry is always free. Turn di swag up! Get your party cups ready! Ring The Alarm is back. Cheap jugs of beer and cider to fi ll your party cups with all night.


Call them what you will – Balkan gypsy brass band; roaring 20s swing ensemble; Wild West fiddle contest; or a soundtrack for Looney Tunes – it barely scratches the surface. There are few, if any parallels to the sound of The Woohoo Revue. This fiendishly talented sextet create an adrenalin-fuelled celebration fit for dancing, drinking, and ignoring tomorrow. The Woohoo Revue wil be playing two free sets from 9pm, this Thursday at the Retreat Hotel.





WISH YOUR WAY Nice Bike Records

Oh, Secondhand Heart, what a soothing wash of sounds you supply! Jess Carroll and Lily Parker’s harmonies perfectly complement elongated strings and piano accompaniment. Set Me Free demonstrates these glorious voices best, with gentle strumming and precise beats that never distract. Their press shot shows band members who are all rugged up in woolly hand knits and their music is guaranteed to warm your soul. Guitarist John Waller really lets loose during Sweet Little Nothings, which encourages a more gutsy vocal performance. These five tracks are assured and you’ll wanna check out Secondhand Heart on Friday at Ballarat’s Karova Lounge or Saturday at the National in Geelong.

These guys boast a Gossip Girl sync and they definitely have lofty aspirations. Sole remaining founding members, guitarist Scott Pioro and bassist Tom Marks, have recruited two new members since penning the aforementioned track and new singer/guitarist/ keyboardist Gustaf Enstrom brings a more sustained energy. Remember is particularly memorable, with its arresting bassline and syncopated, verse drum pattern. All members of Goodbyemotel are obviously accomplished players and you can imagine these tracks sitting comfortably on Triple M’s playlist, somewhere between Red Hot Chili Peppers and Death Cab For Cutie. Not sure it’s necessary to mention who’s designed the cover for your yet-to-be-recorded album on this EP’s presser, though. Goodbyemotel strut their stuff on Thursday 15 September at Revolver.



Sounds Of Cleo launches her debut single Believe at Revolver on Wednesday 14 September. HOW LONG HAVE YOU BEEN PLAYING MUSIC? “Since high school I’ve played flute and the piano and have mucked around on my dad’s drums.” HAVE YOU RECORDED ANYTHING OR DO YOU PREFER TO TOOL AROUND IN YOUR BEDROOM? “I’ve recorded my debut single Believe and a couple of other tracks in the studio. Have been tooling around in my bedroom since the age of four singing into a hair brush to Madonna and Abba.” CAN YOU SUM UP YOUR SOUND IN FOUR WORDS? “Soulful pop music.” IF YOU COULD SUPPORT ANY BAND IN THE WORLD, WHO WOULD IT BE AND WHY? “Duran Duran, Cyndi Lauper, U2, INXS and the Eurythmics. Everyone can relate to the messages in their music.” IF A HIGHER POWER SMITES YOUR HOUSE AND YOU CAN ONLY SAVE ONE RECORD FROM THE FIRE, WHAT WOULD IT BE? “Elvis’ 68 Comeback Special.” DO YOU HAVE A LUCKY ITEM OF CLOTHING YOU WEAR FOR GIGS AND WHAT IS IT? “My cross. I have a strong faith in JC.” IF YOU INVITED SOMEONE AWESOME ROUND FOR DINNER WHAT WOULD YOU COOK? “Salmon for sure.” WHAT’S YOUR FAVOURITE PLACE TO DRINK IN MELBOURNE? “The European on Spring Street and the Botanical on Domain Road.”

“Want” rhymes with “nonchalant”. That certainly works. “Since when does a square peg fit in a round hole/You might get it in there, but it would be painful.” Okay, now that’s a bit graphic. The Whats are obviously fans of Mike Skinner, circa Fit But You Know It, as evidenced by the amount of words they try to cram into each phrase. Although ‘MC’ Tim Steward was born in the UK, his habit of dropping ‘t’s, geezer-style, seems superfluous. Vocals also channel Pet Shop Boys (when they get their What Have I Done To Deserve This spoken-word delivery going on) at times. Dean Shwereb’s live drumming masterfully accentuates Steward’s percussive flow, particularly throughout Summer Ends, and The Whats definitely bring something new to the tableau. The Whats are one half of Screamfeeder, who are playing a gig on Saturday 17 September at the East Brunswick Club.


Chinatown Angels return to the stage this Friday, performing live at the Wrestlerock extravaganza at the Corner Hotel. It’s a massive night of Wrestling and rock’n’roll with newcomers Thunderstag also launching their debut album on the night. Chinatown Angels then launch their long awaited debut single Nasty at Cherry Bar on Friday 16 September. It’s a stellar line-up featuring all-girl rockers Bunny Monroe and riff monsters Mammoth Mammoth. There will be prizes and giveaways on the night so get down early for a huge night of rock’n’roll. Doors open at 8pm.


Freakout has relaunched as a weekly night at Laundry Bar with $5 entry. This week Agility, Sid Air, Wandering Spirit and Ricky Maymi from the Brian Jonestown Massacre are playing live as well as Freakout DJs and DJ Manchild playing the best soul, reggae, ska, garage, pop, rock, folk, psych, indie, New Wave, classics, chillwave, chilltronica, Britpop, funk, punk and throwback tracks, with ‘no shit’ guaranteed. With drink specials such as $7 sangria and beer jugs, as well as $4 vodkas and $5 bombs, there’s no reason to stay in on a Thursday night.


Not sure what a miniature tree from another planet would look like exactly, but the chorus harmonies in Jupiters Bonzai’s opening track She Cut Me Like A Samurai call to mind America’s Horse With No Name (a good thing). It’s a dead cert that vocalist Murray Lawson has a soft spot for Anthony Kiedis with the sing-rap style he incorporates in Carousel, which threatens to break into, “Give it away, give it away, give it away now” in a heartbeat. You Know What’s Coming is a funky slice of radiofriendly pie from the Lenny Kravitz school of rock and this outfit boast a crystal understanding of catchy song structures. Hit the Prague on Thursday 15 September to catch this local band in action. SQUEAKER


FLY BABY FLY Independent


This Adelaide quartet throw a bit of everything into the mix. There’s raunchy guitar work, pristine beats and also a bit of electronic experimentation. Georgii Staben (who we suspect is a make-up artist, she’s mastered the perfect sultry eye for evening) has a singing style that is almost virtuous in comparison to these riff-heavy workouts and her diction makes it very easy to connect with the songs. Sometimes lyrical content can be a little obvious, or weird (“I like to goof ‘round the room like an alleycat”), but this band’s material has the potential to rock out live, particularly the carnage-inducing instrumental base of closer You’re A Star. Squeaker are heading our way, so get on down and show your support this Friday at the Barwon Club, Geelong; Saturday at the Blue Tile Lounge; or Sunday in the Espy Gershwin Room.

This is a collection of genuinely honest material from an artist who, according to the presser, struggles to feel worthy in pursuing a solo career. Formerly of The Basics, Kris Schroeder has a timbre not dissimilar to Kelly Jones in some Stereophonics verses (think Dakota). A pleasingly random mix of instrumentation closes out Walk Beside White. Standout track Worried Man is straight from the heart (“I always knew that I was weaker/And our love was like a cancer”), with a string arrangement that perfectly complements the soul-searching tone and Schroeder’s almost-apologetic vocal delivery is endearing in this context. Well-timed key changes also add extra appeal. There’s plenty to like here, so head on down to the Northcote Social Club on Wednesday 21 September and clap loudly.


Weekender is back at Laundry Bar this Saturday with Steve and Gregory playing your favourites including: Phoenix, Kasabian, These New Puritans, Libertines, Smiths, Friendly Fires, TV On The Radio, Ladyhawke, Black Kids, Franz Ferdinand, Klaxon’s, Bloc Party, CSS, Postal Service, Arctic Monkeys, Vampire Weekend, Pulp, MIA, Kinks, The Teenagers, The Strokes, Belle & Sebastian, Stone Roses, The Cure, Glasvegas, La Roux, Kooks, MGMT, Futureheads, Maximo Park, Friendly Fires, Blondie, Ramones, The Knife, Black Rebel, New Order, The Rapture, Hot Chip, LCD Soundsystem, The Clash, Yeah Yeah Yeahs, Presets, Joy Division, The Ting Tings, Interpol and more.


Laura Imbruglia is back home in Melbourne after a whirlwind tour supporting Adalita. Imbruglia will be playing a free headline show with full band at the Retreat Hotel on Sunday, supported by the lovely Ladie Dee (Howl At The Moon). Imbruglia’s newly assembled Melbourne band features members of Youth Group, The Zebras, Joni Lightning and The Jewel & The Falcon, and includes some sweet pedal steel to boot.


PERCHED ON A BAR Preston Perche are an alternative soul funk group who switch between electric and acoustic guitar grooves. They play what they describe as ‘lightheartedly serious’ songs sung with passion and animated expression by Bec Langley. Starting as an acoustic duo in 2009, Bec and Bianca have been joined by their drummer Steph Bramich and bass player Jonathan McCoy. Preston Perche have a double set and are joined by Wet Young Dolphin to present a high energy Darebin Music Feast event. They play Bar 303 this Saturday at 9pm. Free entry.















EP Reviews with Bryget Chrisfield



One-time Adelaide escapee, two-time winner of South Australia’s Most Outstanding Guitarist, and three-time nominee for the Best Supporting Actress Academy Award, (the fi nal claim is unsubstantiated) Jeb Cardwell is a man on a mission. ABC Music describe Cardwell as “a mean guitarist who plays slide like he just walked out of Austin, Texas.” An accomplished songwriter, Cardwell is also a past winner of the American BMI songwriting competition. He will be gracing the stage of the Drunken Poet this Sunday from 4pm, with Sime Nugent to follow, ably closing out the weekend.


Welcome to New York, the only city in the world that complains when it doesn’t get hit by a hurricane.


This Thursday eve the Drunken Poet will welcome Irish troubadour Roesy to its stage for the fi rst time. Having been signed by Warner at the age of 17, Roesy has gone on to enjoy acclaim and tour the world sharing his meticulously constructed brand of singer/songwriter goodness. His most recent record Fable has gained widespread positive reviews and confi rmed Roesy’s status as a songwriter of worth. See him this Thursday at the Drunken Poet from 9pm.


The Bish Bash Bosh are a punk rock trio. They will materialise on the Public Bar stage on Saturday at 10ish in the pm. Captain Morgan may show his Chevy Chase, so bring your rum gulliver. And be sure of The Bish Bash Bosh singing the love of Bristol Cities too. Only $7 will see your fi ne self enter into an evening of diva.


Rocketing out of Little Red’s steady orbit, baritone Tom Hartney has launched Major Tom & The Atoms. MT&TA are an explosive psychedelic blues orchestra featuring ‘Atomic’ Tom Hartney on vocals. The Atoms are hurtling into the Retreat this Friday night to play their debut show. Go Go Sapien will get the crowd going ape from 9.30pm so don’t miss this free gig.


High cholesterock’n’roll? Take one Legends Of Motorsport, stuff with fresh herbs and season well. Deep fry your mind. Prepare a bed of assorted seasonal riffs (Matt Sonic & The High Times, Wicked City and Chigwell Sharp are good at this time of year) and toss gently. Serve with a selection of fine Czech beers at the Prague this Friday night. Enjoy in moderation. Doors are at 8pm and entry’s $12.


Don’t miss Van Walker’s latest project, Livingstone Daisies. Featuring Liz Stringer, Cal Walker and Michael Barclay, Livingstone Daisies are a brand new outfit destined for greatness. The Daisies will be performing two sets in the front bar of the Retreat Hotel, this Sunday from 4pm.


Bass player from The Exotics Timmy Rolfe and his Soy Latte Sound are locking up the latte lounge early to go and play the front bar of the Sporting Club Hotel every Thursday in September from 6pm. With tunes penned on public transport about buying premium stationery on eBay and with a preference for fine suited New Orleans-flavoured R&B, Timmy Rolfe and the boys of soy are sure to deliver an entertaining, smooth set. Entry’s free.

This week’s much-hyped and much-publicised brush with Hurricane Irene has joined the Great Snowpocalypse of December 2010 and the Great Minor Earthquake of, um, last week, in NYC’s biblical triumvirate of recent unexpected natural incidents. And in a city where people will sternly warn you that putting your bag on the floor of a subway train will get you bedbugs, the prospect of a proper disaster predictably leads to a mass collective freak-out. By a sorry quirk of fate, NY Conversation needs to go grocery shopping on Friday anyway, so we spend nearly an hour in line at Bowery Wholefoods watching an extended demonstration of the term “panic buying”. It appears that to survive a hurricane, you need a) cans of beans, b) corn chips and c) beer — all of which, it has to be said, happen to be on our shopping list anyway. We end up in line behind a curmudgeonly old Jersey geezer, who’s the first to raise the inevitable conspiracy theories – Americans love conspiracy theories – about whether this is actually all a way for Mayor Michael Bloomberg to win votes. Our new friend insists that in all his innumerable years, there’s never been a hurricane in New York, and that the whole thing must therefore be a media beat-up. As he expounds on his ideas, a staff member brings around cookies for everyone as a kind of peace gesture (an offer that’s refused by the gentleman with the Bloomberg theory – “She’s not wearing gloves,” he confides to NY Conversation in a comedy stage whisper). Eventually, we manage to slip away from our new friend, get out the door with two bags of non-perishable goods and head back home to batten down the proverbial hatches. Saturday is a strange day – the subway’s closed, the streets are silent and there’s a distinctly weird aspect to the weather. The rain starts early in the morning and doesn’t let up – NY Conversation spends the day watching movies on Netflix and exploring ways to make bad bottles of red wine taste good (the verdict: turning it into sangría). By the time we go to bed at about 2am, the wind’s strong enough to be giving the trees across the road a good old shake. The hurricane tracker on tells us that the storm will hit at about 7am, and it’s at about this our that we wake up anyway – and so, opening the blinds, we prepare to gaze on a post-apocalyptic vista of desolation, and see… Nothing. It’s actually quite a pleasant, sunny day. A post-breakfast walk through Morningside Park reveals a couple of downed trees, including one that appears to have hit a car (whose owner was, happily, not in it at the time) — “God must love him,” nods a passerby sagely, prompting us to wonder just what sort of God demonstrates his love by dropping a tree on your car. There’s also some flooding due to blocked drains, and the wind’s still up, but beyond that, it’s peaceful – it’s almost unheard of to see the city this quiet, even on a Sunday morning. The general lack of people is certainly appreciated by the bedraggled squirrels, who clearly got a dousing last night and are now out in search of their breakfast. Our immediate reaction is one of relief, although we’ll be honest: there’s also an inescapable feeling that the whole affair has been thoroughly anti-climactic. And sure enough, once everyone’s finished emptying their bathtubs and pulling the tape off their windows, the chorus of complaining starts: “Bloomberg defends mandatory evacuations during Irene”, says CNN, while various op-eds start to wonder whether the subway closure and mandatory evacuations were an overreaction. But here’s the thing: the residents of, say, North Carolina (where the storm made landfall) or Vermont (where the power is still off, and where catastrophic floods cut off entire towns) would tell you that it’s definitely better safe than sorry. One of the quirks of NYC is that it feels like its own little country, entirely removed from the rest of the USA. At times, that’s nice – not many people here are excited about a Michele Bachmann presidential campaign – but at others, it’s infuriating. All in all, Hurricane Irene killed 54 people and caused $7bn worth of damage; if the worst it did to you was lead you to over-invest in canned beans, then life ain’t all that bad. More NY Conversation at



With a distinctly mellifluous alto voice, Melbourne vocalist Diana Clark brings her new project Diana May Clark & The Sunny Set to the Melbourne Fringe Festival. Launching beautiful new Brazilian pop-inspired songs at the piano, the shows will feature sophisticated harmonies, bittersweet lyrics and a kick-arse rhythm section. This is her premier appearance in Melbourne Fringe with three shows at the Paris Cat Jazz Club. Diana May Clark & The Sunny Set will delight as Clark traverses through her back catalogue and endears audiences with her new material. Catch her on Thursday 22 September at 8.30pm, Friday 23 and Saturday 24 at 7.30pm. Tickets are $20 from


PASH’N’POT Grouse Party rides into springtime with another monthly offering to the god/esses of party heaven, this Friday at the Cornish Arms. Headline bangers come courtesy of sometime MC, sometime radio and club disc jockey, DJ Katie Pash. Grouse regular Melodee Maker, is the meat in the sandwich, promising a naughty R&B set. And resident DJ, Ann Ominous, takes the early set for a change, where no doubt she’ll rip some killer obscurities while you chow down an early drink special. Free pot for the fi rst 50 payers between 9 and 10pm. Entry is $10 on the door.


The 2011 Darebin Music Feast will see ninepiece Latin reggae and cumbia collective Madre Monte teaming up with newly formed AfroColombian percussion group La Descarga to present Descarga: Explosion! Traditionally, a ‘descarga’ is an explosion of sounds, rhythms and dance in a highly fuelled Afro-Latino style jam session. At Bar 303 this Friday, Descarga: Explosion will begin with a traditional descarga at 8.30pm, followed by an all inclusive workshop incorporating a myriad of Afro-Colombian instruments and ritualistic dance at 9.30pm. Madre Monte will then take to the stage at 10.30pm for a set sure to get the dancefloor shaking and bodies moving. The night will culminate in an explosive collaborative piece between Madre Monte and Afro Colombian percussionists and dancers. Entry’s just $10.


The Tiger & Me are architects of sing-along good times, dark-edged pop-leaning folk and sideleering swagger. Their feverish live shows wring the full spectrum of emotion from their audiences as frenzy gives way to restraint and menace becomes charm. Following their sell-out show at the Toff in July and tour launching latest release The Howling Fire, The Tiger & Me will be heading back to the Sporting Club for a rollicking Friday night residency in September. It’s something they love: a good and sweaty free front bar residency.


If you love a bit of Louis Armstrong with a dash of Dr John and Tom Waits then catch the unique songman and piano player Pugsley Buzzard on his next visit. You’ll love his huge, mesmerising voice and dazzling piano playing all delivered with a vaudevillian nuance and humour. Pugsley`s playing features barrelhouse, boogie and stride piano stylings dripping with New Orleans funk and oozing with tantalising improvisations that range from delicate and moody to wild and ecstatic. Catch this at the East Brunswick Club on Thursday 15 September, Rasputin’s Bar and Grill (Macedon) on Friday 16, Babushka (North Ballarat) on Saturday 17 and Cloud 9 Bar & Grill (Geelong West) on Sunday 18 September.


Rising indie-folkstress Melody Moon has a homecoming gig at the Wesley Anne this Sunday, as part of the 2011 Darebin Music Feast. Her song Out Of The City hit the top ten on the Amrap AirIt charts and she’s spent much of the year touring the East Coast solo. This show will be unique with friends popping up to play sax, harmonica, vocal bass and glockenspiel, along with gate-crashing songwriters bringing that extra edge to the stage.

country twang and honest storytelling. With influences such as Bob Dylan, Townes Van Zandt, Tom Waits and Gillian Welch, Wearne delivers engaging performances with a unique narrative and distinctive sound. Nigel Wearne performs at the Sporting Club Hotel every Sunday in September, 4-6pm, free entry.


Alternative blues/country man Rory Ellis has been wandering around the country spreading his tunes, and to fi nish off his Victorian shows, he’s performing at the Rainbow Hotel this Sunday. Head down there at 4pm to hear a chilled, laidback set. In Ellis’s words, you can go and enjoy the music with plenty of time to go home for dinner and get to bed at a reasonable hour so you’re fresh for Monday morning. Now you have no excuse not to go.


Join crazy street gypsies Goyim this Saturday from 6pm and see Paul on the double bass and Esther on the fiddle with her jingly gypsy bells strapped to her skirt. Esther’s use of intricate and frantic rhythms on the fiddle creates a sense of urgency while making full use of the catchy melodies and tones. Paul’s percussive attack and gypsy slap technique on the double bass creates a solid back drop. Bringing a fresh new take to gypsy and klezmer tunes from across Europe and New York, and creating an infectious and high energy street sound found among the gypsies, you can catch Goyim playing the Sporting Club Hotel every Saturday in September.


Nigel Wearne hits the Sporting Club Hotel this September with a series of Sunday shows. Equipped with personally handcrafted guitars, his music melds fi nger-style guitar, slide dobro,

Recoil VORT

ARE YA READY FOR ARBIA Progressive metal band Arbia play the Prague this Thursday. Putting emphasis on thick bass lines, lyrical drumming, guitar soloing and fi lthy blues screams, they have forged their own sonic structure that every metal head should witness. A new generation of metal has emerged in Arbia. Lending support on the night are Recoil VOR (Sydney), Freight Train Theory and Moustache Ant.



Back in January 2005, Tracy Harvey sat down at her Casio keyboard and began composing a song about working in a call centre. Little did she know her musical tinkering would grow into a fully-fledged musical and now with her songs being performed at Melbourne’s hottest jazz venue. Harvey will be teaming up with musical guru and extreme trumpeter Jack Howard, musical theatre actress Laura Burzacott and wunderkind director Bryce Ives for two nights of smokin’ hot tunes at the Paris Cat Jazz Club on Friday 14 and Saturday 15 October.


With radio play on Triple J, RRR and 2SER, Melbourne folk/country/psychedelic fivepiece Into The Woods’ new single Where The River Meets The Sea has been dominating the airwaves. After much praise from local

music publications and a rollicking single launch at the Toff, the likeable lads have been invited to play Rock The Show at the Royal Melbourne Show on Thursday 29 September. The Darebin Music Feast organisers have also signed the band up to play at the Wesley Anne on Thursday 15 September and the High Noon (formerly High Vibes) Street Party also at Wesley Anne on Sunday 18 September at 1.30pm.


Since bursting onto the scene with debut EP Throwing Stones back in 2009, Box Rockets have been kept busy playing their lean, melodic brand of pop rock to crowds both locally and interstate, often on the same bill as Boy & Bear, Little Red, The Vasco Era and Big Scary. Now with a brand new EP due for release in October, which was produced by Steven Schram (The Devastations, Little Red, The Vasco Era), Box Rockets are ready

to give Melbourne a taste of what’s to come with single No Control. As part of their single launch on Thursday 15 September at the Grace Darling, Box Rockets have invited anthemic indie rockers Winter Street and haunting balladeers Ghosts along in support.


The energetic and exciting Mercury White return to the Evelyn stage this Saturday to launch their fi rst single of 2011, Zombie. Joining them will be entertaining Melbourne rockers Kingswood and The Blazing Enfields. After the release of their debut EP Gravity Says in 2010, Mercury White have been hard at work on their follow-up. The debut EP generated a lot of media fuss as its fi rst single Sticks & Stones featured on ABC’s Rage and the title track featured on the Melbourne Commonwealth Games coverage. Check them out at the Evelyn; doors are at 9pm and entry’s only $7.

SPINNING As one of the most well known and respected DJs across the globe, DJ Revolution has been holding down the two Technics on the longest running commercial hip hop show in history for eight years now. The Wake Up Show, with hosts Sway (MTV) and King Tech, is an internationally syndicated hip hop mix show that has helped launch the careers of some of the biggest and brightest including Eminem, Xzbit, Common, and countless others. The show even experienced a brief run on MTV, adding visual images and faces to the world famous radio trio. DJ Revolution hits Laundry this Friday. Doors from 9pm, free entry.


In their fi ne tradition of really getting amongst it and after hearing that all roads lead to hell, Frankenbok are heading to the Prague this Saturday. The new album, deftly titled The End Of All You Know, has been tied up in litigation with Reggie Bowman threatening to Alan Smithee the shit out of it if the band don’t stop growing their ridiculous beards. Beard-core? Please. The new single and hairy metal video Dine In Hell made it out of the studio successfully only because the band promised to get a clean shave. Keep your eyes peeled and doors and windows fogged up. They’re coming for your limited attention span and 2011 is gonna get a whole lot more metal this spring. Support for the Prague show comes from Deprivation, Berserkerfox and Decimatus.


The Plague Black returned to the live scene early July 2011 with new addition Luke Walton on guitar. Now, with the pending release of their debut full-length album, they have plenty up their sleeves to keep the masses entertained. With sets from Maniaxe, who have been ripping the state apart; Sordid Sanctity, with their aggressive thrash metal sound; and Severed Oath, who have been working on their debut album, get yourself to the Prague on Friday 16 September to thrash the night away! Doors at 7pm, entry’s $10.


Sine are one of Melbourne’s most exciting dub reggae acts. Sub-bass frequencies, horns to get you skanking, smooth vocals and samples are all dubbed and warped live by their resident sound engineer (The Cat Empire, Shapeshifter, TZU). While paying tribute to the Jamaican innovators, Sine have evolved with a futuristic attitude to roots culture, pushing forward the expression of reggae music. They have supported legendary reggae producer/performer Lee ‘Scratch’ Perry and were selected for Sydney’s Luminous Festival by modern music giant Brian Eno after he discovered them on YouTube. Sine play this Friday at Bar Open from 10pm.

TUNESDAY NIGHT OUT There is now a solution to your mundane Tuesday night. RMIT music students have put together a free showcase gig dubbed Tunesday at Miss Libertine on Tuesday 13 September, featuring some of Melbourne’s emerging local acts for an exciting, punk-inspired night. Callan Taylor will make all your burdens float away by kicking the night off with his mesmerising voice and acoustic tunes. Woolhouse, who are all about the late ’80s and early ’90s grunge and rock scene, will keep the atmosphere pumping before The Quiet Contender fi nish the show by taking us on a journey to the other side. Doors open at 7.30pm with DJ Matt Kennedy setting the mood with some awesome tunes. Bands start at 8pm. The show is free so there really is no reason not to come along to Miss Libertine and be absorbed by the lively music.




Melbourne’s best kept secret, singer/songwriter Tim Reid, is gearing up to launch his long awaited new album Lines – the follow up to the critically acclaimed Any Given Day. The album is preceded by a teaser EP, Only One, which will be launched Sunday 18 September at a special afternoon ‘kidfriendly’ show at the Empress Hotel. Special guests will be The Weekend People. Tim Reid’s limited edition EP will be available for sale on the night and features three exclusive non-album tracks.


Having packed venues with her band in Sydney, singer/songwriter Miriam Lieberman will be visiting Melbourne as part of the Darebin Feast music program. Accompanying her powerful vocals with the kora (21-fishing-line-stringed African harp) as well as guitar, she will be joined by local bass player and singer-songwriter Liz Frencham (Jig Zag) as well as percussionist Simon Lewis. The trio will be performing songs from her latest critically acclaimed album This Is The Story as well as some old favourites from her previous albums. Supporting on piano and vocals will be the soulful singer/songwriter Alexi Kaye, joined by Milica Stefanovic on bass. This Thursday night at the Wesley Anne is set to be a night of warm textures, catchy choruses, African rhythms and soulful grooves. Entry’s only $12.


Twenty years ago, The Killjoys won the Best Independent Release ARIA for their debut album Ruby. This album launched the band on a distinguished career of recording, releasing and touring records around the globe. The band are celebrating the anniversary of Ruby by remastering it and packaging it together with their new studio album Pearl. The Killjoys will launch Pearl at Thornbury Theatre on Friday 21 October with supports from the legendary Ron S Peno & The Superstitions and exciting new band Livingstone Daisies (featuring Van and Cal Walker, Liz Stringer and Michael Barlcay).


DAREBIN DAVE Having just returned from a string of shows up north and on the back of his single release, David Cosma plays an intimate show at Bar Nancy this Thursday at 8pm. This performance is part of the 2011 Darebin Music Feast. Free entry, more details at


You know when you can’t decide what to have for dinner? Chicken or fish? Well sometimes a similar dilemma happens in music: Indian or hip hop? And just as the little girl in the Old El Paso ads tells us ‘Why not have both?’, The Picture Box Orchestra (led by composer, producer and violinist Alies Sluiter) do just that. Combining Indian techniques with jazz, hip hop and classical influences they create a cultural and curious melting pot of musical genres. You can catch this international bonanza at the Evelyn on Wednesday 28 September for just $15 on the door.

FUNK LORD It’s the return of the funky man, Lord Finesse, of legendary New York crew DITC. He’s back in Melbourne for a massive DJ set at Laundry on 23 September. Take it from cats who have seen Fin DJ before: you won’t be disappointed by the time he fi nishes rocking shit. Anybody who remembers his fi rst and most recent shows got a taste of the man’s skills when he put down the mic mid-set to battle Boogie Blind on the Technics. To say Fin can hold his own would be an understatement: that shit got damn heated. Joining him will be DJ Sheep, Manchild, Mu-Gen, DJ Arks, Class A and Lotus. Tickets on sale now.


56 them back. The Living Skies are a three-piece band who formed in Canada, they feature two guitars and a violin. One of the band members is returning to Canada in October, so this will be one of the few opportunities to catch them live. This Thursday at Yah Yah’s, doors 9pm.


SHOW ME THE MONEY(KAT) MonyKat launch their debut self-titled album at the Toff In Town on Thursday 15 September. Since forming last year, the band have put their energies, souls and dollars into creating an album that they believe is incredibly special. It is personal, political, poetic and very, very immediate. Joining them at the showcase are Lotek, Candice Monique and Luka Lesson, with Hau from the almighty Koolism hosting.

Australian National Academy Of Music (ANAM) are proud to host the 2011 Melbourne International Festival Of Brass (MIFB). Workshops, concerts, musical mentoring and free events will provide inspiration for veteran and budding brass musicians. Founded in 2003, the festival is the fi rst of its kind in the Asia-Pacific region and is unique in the world with its range of instruments, styles, educational programs and concerts. Every year, the festival attracts internationally acclaimed artists and this year is no different, featuring the festival’s star attractions from Poland, the Warsaw Brass Trio, some of Scandinavia’s leading brass musicians in the form of the Stockholm Chamber Brass and American trumpeter Adam Rapa. The festival will be held at the South Melbourne Town Hall from Sunday 25 September to Saturday 1 October. For more information, head to


Up-and-coming Melbourne duo Boyplusgirl are on the fast track to success with a bunch of tracks already making waves and a debut album on the horizon. Boyplusgirl will perform at the Melbourne Spring Fashion Week City Square runway between 5.30 and 6.30pm this Friday.

Dean Cherny will entertain crowds at In Season at QV this Wednesday and at the Designer Series Runway Show 3 on Thursday. Cherny has shared the decks with Boy George and Basement Jaxx, performed for Kylie Minogue’s album launch and John Farnham’s 50th birthday. He was also handpicked by George Michael’s management to support him on tour last year. Dean’s band, Dirty Laundry, will release their latest single Love Is Crazy in August.




Spares Without Maire are a spunge-punk band that have been hitting the Melbourne scene with catchy pop songs that make you think ‘why didn’t I write that?’ With members from bands such as Vinal Riot, The Thrusts and the mighty The Standards, this band is a supergroup that will mildly impress you. Yah Yah’ s enjoyed The Living Skies so much last week, they’ve invited

TASTE TEST CLINT BRACKNELL – BOOM! BAP! POW! released an album featuring this gorgeous song which more people need to hear and appreciate. The song that always gets me on the dancefloor at 3am is… Soul Finger by the Bar-Kays. This was actually played by a DJ at 3am in the morning on our last tour and kept me on the dancefloor when I had a 5am flight back to Perth. The Bar-Kays were originally Otis Redding’s backing band. The song I most wish I’d written is… (You Make Me Feel Like A) Natural Woman by Carole King and Gerry Goffin. Even when presented badly by a host of un-soulful singers, this song seems to hold up. I’d love to hear our singer Novac rip into it, if it hadn’t already been done to death. The song I’m really digging at the moment is… Shake Shake Shake by White Denim. Dave our drummer just turned us onto these guys from Texas. There’s something exciting about them that is hard to pin down, but we’re digging it. A song more people should know about is… Nguta Waljilpa by Frank Yamma. Frank Yamma is a Pitjantjatjara man who I first saw singing on ABC’s Recovery when I was a kid. He recently

The song I never want to hear again is… Boom Boom Pow by the Black Eyed Peas. We started gigging as Boom! Bap! Pow! months before this song came out, to our massive disappointment. I actually saw BEP play at the Big Day Out a decade ago and thought they were really good… a decade ago. Boom! Bap! Pow! play Wesley Anne (arvo) and the Espy (evening) this Saturday.


Following an exciting wave of critical acclaim for the new album The Sunset Park, Sydney alt. folk band The Aerial Maps are set to celebrate by launching it with a rare Melbourne show at the Bella Union on Friday 16 September. Supports for the night will be the wonderful Van Walker and the equally enticing Crystal Thomas & The Flowers of Evil.

Dan Hall (Taxiride, Airway Lanes) is playing an acoustic show to promote his latest project, South Side Rebel, at the Railway Hotel in South Melbourne this Thursday from 7pm. Great cosy atmosphere, good food, and an open fi re coupled with an intimate live performance make the Railway a great Thursday night destination, and entry is free.


F’ING HELL This Saturday, Melbourne four-piece Dirty F will be returning to headline the Brunswick Hotel. Over the winter months, these boys have kept up a steady routine of uncompromising live shows and have begun writing and pre-production for their debut full-length album, which will be released early next year. So lap up the sexual scent of the spring breeze and join Dirty F with fellow supports Humans, Gazillion Angry Mexicans and Fare Evader. Bands kick off at 9pm, entry is free.


Long-time friends and musical peers Steve Balbi and Simon Meli join forces under the guise of Falcons for one night only in Melbourne on Sunday 18 September at the Toff In Town, where they will be appearing on stage to share each other’s music. Steve Balbi is known for playing bass in Noiseworks and mid-’90s pop-soul duo Electric Hippies with fellow Noiseworks member Justin Stanley. Simon Meli is inspired to the bone by soul music. The Young Falcon has grown into one of this country’s fondest emerging soul voices and performers, having supported Tony Joe White, Bon Jovi, Paul Weller, Jimmy Barnes and Ash Grunwald. Don’t miss these Maltese blood brothers from the same small city, from the smallest country in the world, opening up their whole world to you through song and conversation.


Skateboarding is a profession for a few, very talented individuals. James Kennedy of Teenage Mothers somehow thought he was one them. Turns out he was alright on the Nike team but got kicked off and became a drug dealer. Thank god he got up on stage in 2011 to sing for the fi rst time because otherwise the band would never have been born. After their homemade video was spotted on YouTube by some bigwigs they toured Australia with The Kills. Now they are headlining their own gig at Cherry on Saturday 17 September. Free nitrous oxide pending.

As the weather gets warmer and the days get longer, Monday mornings get a little easier. This September Jimmy Tait will help you to welcome spring by playing every Sunday at the Old Bar. They will be joined by some of Melbourne’s most entertaining bands, including Howl At The Moon, BJ Morizonkle, A Dead Forest Index, High Tea and more to come. You can catch all of these bands in September for $5 a show.


Melbourne bizarro-pop maestros Aleks & The Ramps are pleased to announce a short residency this September at new venue Phoenix Public House. Over three weeks The Ramps will be joined by a shit-tonne of amazing bands and crunk-inducing DJs. With their recently completed third album due for release in February 2012, the band are psyched to play some songs that are old by Ramps standards (though not by your racist grandma’s) as well as bunch of brand new songs. The res’ kicks off Thursday 15 September with support from Witch Hats, Pascal Barbare and Teeth.

HELLO GOODBYEMOTEL Goodbyemotel have just exited the studio recording their new EP Wish Your Way with producer Julian Mendelsohn (Paul McCartney, Peter Gabriel and Pet Shop Boys). The guys, being big Beatles fans, lapped up the opportunity. The result is a tasty slice of rock for all to devour. Add to this to some recent song syncs on TV shows such as Gossip Girl, Covert Affairs and Suits, a new US management deal, a fresh new EP out (available for free download off their website) and plans to record a new album in October, and you know Goodbyemotel are making waves. They are celebrating all this with a launch for the new EP at Revolver Upstairs on Thursday 15 September with support from Hamish Anderson and Innerspace.



Legendary Bad Seeds founding member Hugo Race is playing his final show in Melbourne at Yah Yah’s on Friday before heading back overseas. Born in Melbourne, Race has spent most of the last 25 years living in Italy, France, Germany, UK and the USA. With his international True Spirit collective he has produced 14 Hugo Race & True Spirit albums. The latest, 53rd State, was released in Australia and Europe in 2008 to rave reviews and was followed in 2009 by the bootleg CD Live In Wolow Jail – recorded in a maximum security penitentiary in Poland. With band The Fatalists, Race will be supported by Mj Halloran & The Sinners this Friday.


At Yah Yah’s this Saturday, opening proceedings are the Hondas, (Taka from Little Red’s new band) on the verge of releasing their debut single. Lunars, off the back of recording

a triple A-side, will be ready to light up the stage with their unique energetic twisted pop tunes, and the Cocoa Jacksons are ready to send you into a spin with their stomping garage rock’n’roll tunes. A recipe for a disturbingly fun night of music. Doors from 9pm.


Wodonga-raised, Northcote-based Jakksen Fish fronts The Unholy Racket with an outrageous energy so unique that it needs to be seen before believed. With an artistically profound range of songs, lyrically you are taken on a emotive storytelling journey involving love, sin and reflection. They’ll be joined at Yah Yah’s this Sunday by local ‘pirate shredder’ Citrus Jam. Doors from 6pm, free.


After a long period of inactivity, Ivy St are out to roadtest a bunch of new songs with a bunch of great bands. Each Wednesday

through September at the Tote, there’s a pretty good excuse for a midweek beer. All shows are from 8.30pm and only $8.


This Saturday, it’s time to dust off the suspenders, checkered belts and pork-pie hats because the Ska Weekender Festival is back in 2011, bigger, better and more badass than anyone thought was possible. This year Adelaide’s skank-inducing Son Of Dad will be packing up the van and joining them will be Melbourne natives The Bennies, who will be causing confined riots with tunes from their brand-spanking new album, Party! Party! Party!. Support will be coming from Australian ska staples The Kujo Kings, Hightime, The Resignators, Loonee Tunes, Irie Knights, Ménage-a-Ska, Finger Cuffs, The Gogo-aRama, The Tabasco Junkies, Ebolagoldfish and The Kamikazi Thundercats. Tickets on sale now from the Tote front bar and website.

THRASH KINGS King Parrot are a five-piece thrash/grind metal outfit, brand new on the scene. They consist of members that have punished the ears and minds of Australian metal heads for many years. The songs are short and hard, delivered with blistering intent. They stop at nothing to deliver a kick in the face every time. Catch King Parrot live at the Tote launching their debut EP The Stench Of Hardcore Pub Trash on Saturday with support from Frankenbok, Subjektive and Maniaxe.


Society Of Beggars will be performing at the Tote on Thursday. They will be playing cuts from their debut release Exit Soul (available for free digital download at and stomping the floorboards with their brand of ethnic-infused dark psychedelic rock’n’roll. They will be joined by the soulful, epic rock’n’roll sounds of Until We Collide, and the psychedelic and beautifully psychotic musings of Semuta. Doors open at 8.30pm, $8 entry.


In Malice’s Wake have built a diehard fanbase through years of unrivalled destructive live shows, absolute conviction, professional musicianship and their internationally acclaimed album Eternal Nightfall. Get down to the Tote this Friday for a trashing of a lifetime. Doors from 8pm, $13.


Mixed Lolly Thursdays takes it up a notch this week with four sick-as-my-nanna-with-the-flu bands all trying to out-do one another. Colour Me Indian are a band hailing from the bayside suburbs of Melbourne. Sam Sara are a mad electrorock band consisting of live drums, guitar, vocals and synths. The Skampz are a five-piece all-girl alt.rock band. Think The Go-Go’s meet The Donnas by a short cut through The Like.

IT’S ELECTRIK-FYING With the music media eye fi rmly fi xed on the Australian scene due to the success of its heavy acts as of late, one band have been honing their craft for the last few years before setting their sights on the world. Electrik Dynamite spent the early months of 2011 recording their debut album Hair.Denim.Sex. Metal, producing an impressive and exciting record that blends the sound of modern metal with classic ’80s rock’n’roll. Catch the band and their blistering live show when they play Geelong West Town Hall this Friday (all-ages) and at Bang on Saturday.





Hardcore and punk with SARAH PETCHELL One of the bands that I was hoping to see at Soundwave Revolution was Every Time I Die, and they won’t be here for Counter Revolution, but will instead be playing a run of shows of their own with The Acacia Strain and The Word Alive. I’ve seen Every Time I Die so many times now, and they never fail to put on one of the best live hardcore shows that I’ve ever seen, and with a new album recently in the can, there is even more to look forward to. This show will be happening on Thursday 29 September to be precise, at the Espy. It is also (unfortunately) an 18+ event. Tickets are on sale now, so make sure you grab them quick because this probably will sell out. While we’re on the topic of Counter Revolution, the Melbourne venue has moved locations to Festival Hall. All tickets to the previously announced venue are still valid, but if you’re not sure you can hit up the Counter Revolution website. This is more of a Sydney thing, but there are enough Melbourne bands playing that I could imagine a lot of us south of the border would want to make the trek up the coast to see this show. I’m talking about the announcement of who is playing Takedown 2011. This annual mini-fest has been a must-see event on every Australian hardcore fan’s calendar for the last three years, and this year the guys at Dogfight have really outdone themselves. Headlined somewhat predictably by Adelaide hardcore veterans Shotpointblank, this is one of the fi nal opportunities we’ll have to see these guys in action. Also on the line-up are Sydney’s Shinto Katana and Relentless, as well as Brisbane’s Deceiver (this will be the launch show for their self-titled debut). But the bands that I am most looking forward to sit more toward the bottom of the bill and are all from Melbourne, strangely enough – Iron Mind, Warbrain and Outright will all be trekking up for the show. Outright especially are worth heading up for, as this female-fronted hardcore band have released a demo that is so full of passion, purpose

DEPARTMENT OF YOUTH All things under 18 with KENDAL COOMBS Now in its fourth year, the NMIT Yarra Edge Music Festival has more to offer than ever. Running from Monday 12 to Friday 16 September at the NMIT Fairfield Campus, it will feature original music from NMIT students in a series of free events for all to enjoy. These students are from the Bachelor Of Music, the Certificate III and Certificate IV in music, and feature NMIT big bands as well as original groups from NMIT performing with NMIT teaching staff. One of the highlights of the yearly event is the Songwriting Competition, which will be held on Thursday 15 September. The six finalists will present a selection of original songs in two events. The event, open to the public, includes an audience award and begins at 1pm. That night the students perform again for industry professionals and a music industry award is given to the student they believe is the best songwriter. The winner will be given a cash prize and access to a recording studio for a day. A list of the times and dates of particular shows can be found at, where you can also make bookings. These events are free but bookings are essential. Make sure you get along to something and check out the future of Australian music. Music industry conference Face The Music returns for its fourth year when it hits the Arts Centre on Friday 18 and Saturday 19 November. This event features everything a person wanting to work in the music industry in some capacity needs to know, straight from the horses’ mouths, so to speak. For a full list of speakers and more info, check out


Electrik Dynamite blend the sounds of modern metal with classic ‘80s rock’n’roll, and are touring their latest album Hair.Denim.Sex. Metal, playing the Geelong West Town Hall with


and message that I can’t wait to check them out live. Anyway, the date for the show is Friday 14 October at the Bald Faced Stag in Leichardt. It’s an all-ages event and tickets go on sale Monday 19 September through Oztix.


There are some really great releases hitting record store shelves this week. The biggest of these (and one of my most anticipated albums of the year) is the Thrice album Major/Minor. All of the preview tracks I have heard point to the fact that this could be Thrice’s best release since The Artist In The Ambulance but we’ll just have to wait for release day to fi nd out. Also released this week is the new one from The Devil Wears Prada, titled Dead Throne, and the debut from The Gaslight Anthem’s Brian Fallon’s new project, The Horrible Crowes. It is called Elsie and I have heard nothing but positive things about it.

Blues ’n’ roots with DAN CONDON

Set Your Goals have just released their third album, Burning At Both Ends, through Epitaph/Warner. The album is great and you can catch them playing songs from it on the Counter Revolution tour that will be sweeping the country this September/October. What is your earliest memory of a music festival? Matt Wilson (singer): “My earliest music festival memory was my local alternative rock radio station Live 105’s BFD 2 in 1995. My friend Brett and I ditched school for the day and my stepfather’s brother drove us. We saw No Doubt, Gravity Kills, Skankin’ Pickle, Better Than Ezra, Bush, and tons of other now-irrelevant bands, and loved every minute of it.” What is something that no one knows about your band? “We’re all secretly members of a religious cult and worship a dark lord known only as ‘Malkavian’.” Do you have any rituals or superstitions that you have to stick to before you go on stage? If so, what? “You mean, apart from the virgin sacrifices in the name of the dark lord? We all sing Disney songs together to warm up our voices.” What is your dream festival line-up? “Rage Against The Machine, At The DriveIn, Slayer, Sabbath, Metallica, Meshuggah, Deftones and At The Gates. I’d play for free!”

Perfect Fit, SummerSet Avenue, The Take-off and Anneliese from 6pm. Tickets are $15 on the door. For The Fallen Dreams bring their Back Burner tour to the Castle in Dandenong from 6pm. They’re supported by Sienna Skies, Hand Of Mercy, Of Whispers, Lovers Grave and The Rose Line. Tickets are $20+BF through Oztix.


Ennui Breathes Malice headline the Pit In Pink all-ages show at the Doveton Neighbourhood Learning Centre with Glorified, Belle Haven, I, Valiance, City Of Sirens, Bury Me In Autumn and Infected from 5pm. Tickets are $12 on the door, $10 if you’re wearing pink. The Wild Wild West dance/cabaret party features Phil Chalker, Wild Divas, Aaron Daniels Band and DJs from 6pm at the North Melbourne Town Hall. Tickets are $15 on the door.


For The Fallen Dreams, Sienna Skies and Hand Of Mercy, Through The Eleventh Hour and Empires Fall head to the National Hotel in Geelong for a special all-ages pit stop on their tour from 1pm. Tickets are $20+BF through Oztix. To The Airship, A Sleepless Winter, Gold and In Elegance play the Flemington and Kensington Bowls Club in Flemington from 1pm. Suicide Silence play a special all-ages show at Billboard from 3pm. Tickets are $56+BF through Ticketek and Moshtix.


The Age Of Uncertainty all-ages gig is a huge show that has been organised by students of Northland Secondary to celebrate the underground scene in their area. Featuring Darren & Ella, These Guys, Ricardo, The Whiteboards, Don’t Blink (who are possibly Doctor Who fans and I shall therefore probably like them), IDreamOfGenre, Tilly, Imperial C, Plastallica, Dont Poke The Bear, The Beetroots and Internal Harvest. The show is on at the Preston City Hall from 6pm. Tickets are $7 on the door.


I’ll start off this week with some very sad news as word came through last week that Delta blues master David ‘Honeyboy’ Edwards had passed away at the age of 96. Edwards started playing blues at the age of 13 and by the time he was 14 he was on the road with fellow bluesman Big Joe Williams. This was a life he would keep up for a couple of decades, rambling around the United States with his compatriots, hitchhiking, stowing away on trains, playing in any town they could set foot in for whatever nickels and dimes the townspeople or bar owners would throw at them, and generally staying there until the police chased them out or things just got too dull. He recorded 15 songs with Alan Lomax in 1942 but didn’t record again until he made Who May Be Your Regular Be under the name of Mr Honey in 1951. There are recordings from the mid-’50s through to the late-’70s, but no one seems to be able to give a definitive answer as to how many he recorded and apart from 1979’s Old Friends and 1988’s White Windows, he didn’t really start releasing material regularly until the 1990s. Now don’t get me wrong, he had a hell of an innings and lived a hell of a life, but this death is particularly sad in that we may well have lost our last real living link to Delta blues and more specifically to the great Robert Johnson. Honeyboy and Johnson were close friends and travelling buddies and he was there on the fateful night that Johnson drank that poisoned whiskey and died in 1938. Ever since, his recollection of the events of that night have become the definitive version; you can see him talk about it in the great 1991 film The Search For Robert Johnson. Honeyboy’s life is covered in more detail in last year’s documentary Honeyboy And The History Of The Blues, which isn’t too difficult to purchase on the internet should you be interested.

possible, he’s managed to throw more of his tasteful guitar histrionics on Carried In Mind (out Friday through ABC Music), so if you’re a fan of his playing then you won’t be disappointed. He’s also put together some great Australian tales that will captivate those who aren’t as interested in his freakish guitar abilities. He’s got Grant Cummorford on bass and Danny McKenna on drums again and has added the talents of Garrett Costiga and Alison Ferrier into the mix this time as well. To celebrate the release, Lang and co are heading out on the road and playing a heap of shows – catch them at the Caravan Music Club on Friday 14, the Corner Hotel on Saturday 15 and the Way Out West Blues Club, Williamstown on Sunday 16 October. One of my favourite records of this year has come from Brisbane singer/songwriter Ben Salter. He’s been kicking around the national scene for years as a member of Giants Of Science and The Gin Club, but The Cat is his first release that showcases the solo singer/ songwriter stuff that he has been doing on the live stage for years now. He has been out on the road in support of Felix Riebl over the past couple of weeks but he now is gearing up for his headline tour in support of the album, which will see him ably abetted by a live band that features some fine Queensland musicians. Catch him playing Ballarat’s Karova Lounge on Thursday 15 and the Northcote Social Club on Friday 16 September. The record is out now through MGM Distribution.

David ‘Honeyboy’ Edwards

Honeyboy Edwards died from congestive heart failure at around 3am on August 29, 2011 – he was scheduled to play a show in Chicago’s Millennium Park later that day. The new record from Jeff Lang, one of Australia’s most prominent blues artists, came across my desk last week and I’m pleased to say that he certainly hasn’t let his form slip. If it’s even


RACKET Metal, heavy rock and dark alternative with ANDREW HAUG Gojira are sadly not coming to Australia, but at least there’s some new music on its way, eh! Frontman Joseph Duplantier spoke to the UK’s Terrorizer magazine about the progress of the songwriting sessions for the band’s next studio album, expected to arrive early 2012. Duplantier revealed that, rather than the heavily researched themes of the last CD, lyrics for the upcoming, yet-to-be-titled effort (which may end up getting produced by Greg Fidelman) are a lot more spontaneous, with “stream of consciousness”style “spiritual” compositions. “I’ve been about spirituality since the first album,” he said. “It’s hard to define what spirituality is, but it’s more like getting closer to [oneself]. It’s where each thing we do is sacred; not like going to a church or when you are with a dying person, but waking up in the morning… I’ve tried to take this dimension when I’ve written the music, like sometimes I don’t even know what I’m going to sing and the words come out fluently. It’s not a concept album like in the past, it’s more about being spontaneous with feeling, and it’s more true and honest.” Killswitch Engage are preparing to enter the studio to begin working on the follow-up to their 2009 self-titled album. Guitarist Adam Dutkiewicz wrote on the band’s Facebook page, “YO! It’s Adam D! We’re about to begin writing our new record. Thanks to all of our fans for waiting so friggin’ patiently… now let’s turn on the ‘riff faucet’ and RAGE.” Still on the subject of KSE, former vocalist and current Times Of Grace frontman Jesse Leach will begin demoing material for his new solo

album this week. He states, “This will be a whole new realm of material and style. No aggressive music, no yelling or screaming, just me being who I am on my own.” Vocalist Andy Biersack of Los Angeles theatrical rockers Black Veil Brides has revealed to Artisan News that the band will release a new EP in early 2012 prior to entering the studio to begin recording a new full-length CD. He said, “We’re gonna be putting out an EP, hopefully around the first of the year – just a couple of songs and some stuff that we’ve been toying around with, some tracks from the last record that didn’t make it to the [last] record, kind of revamping some stuff. We just wanna keep putting out material for all our fans.” Are Sevendust splitting up? According to the Pulse Of Radio, in an interview earlier this week, drummer Morgan Rose and vocalist Lajon Witherspoon hinted that the band’s next album and tour could be their last. Rose tweeted later on, “So guys: The whole farewell thing is bein ‘talked’ about. we love each other, there’s no issue with us. we just miss our families. no decision yet.” He later added, “Try n chill on making it into something it’s not. we love u guys n we are FOR SURE doing another record n touring it.” That was followed up with this tweet: “We’re not goin away. Not for years. Were 4 sure doin another record n 2 years of touring. We knew the rumors would go nuts.” Chicago’s Novembers Doom have parted ways with drummer Sasha Horn. The band stated, “For once this isn’t your typical ‘musical differences’ excuse; this is simply due to distance and Sasha’s pursuit and focus in other directions, it became clear to all of us, he was no longer able to contribute the same dedication to Novembers Doom as the rest of the band. We wish Sasha the best in his future endeavours.” Andrew Haug hosts Triple J’s The Racket every Tuesday from 10pm – au/racket. Email


OG FLAVAS Urban news with CYCLONE This week OG Flavas had intended to preview Daniel Merriweather’s new material, the neosoulster performing an intimate acoustic gig at the Toff In Town – but, alas, he cancelled due to illness. There are frustratingly few reports on his sold-out show at Sydney’s Tone in early August. Apparently, the currently New York-based (and pony-tailed!) Merriweather revealed that his old song Live By Night was written about friend Amy Winehouse. The singer, who issued his outstanding debut Love And War in 2009, is making progress on a sequel – although details of this, too, are scarce even on his social networking sites. Word is that when Adele blew up, Merriweather’s Australian record company Universal opportunistically – and smartly – re-serviced his duet with her, Water And A Flame, to radio types, but they continued to ignore him (as they do the avantpop Paris Wells). With his next project, that had better change. Merriweather cut three numbers with his mentor Mark Ronson for the Arthur soundtrack, the music compensating for an embarrassingly bad Russell Brand vehicle. He also sings on Diafrix’s recent Simple Man. At any rate, it’s that time of year when the local music industry gears up for the ARIA Awards. The spectrum of Australian urban music today is staggering. In the last year we’ve had Jessica Mauboy with her amped-up US-style R&B, Illy’s streetwise epic The Chase (home to the ‘80s electro-licked It Can Wait, featuring Owl Eyes) and Drapht’s crossover surf-hop Rapunzel (and his number one album The Life Of Riley). Darwin’s Sietta premiered on Elefant Traks with The Seventh Passenger, reconfiguring electro, soul and blues – upstaging The Herd’s progressive, if occasionally overly didactic, Future Shade. Merriweather had to leave Australia to succeed, but that’s no longer the case for Gotye. The media classifies Wally De Backer as an ‘indie’ artist, but he’s really a soulster. His latest, Making Mirrors, entailing the mega Kimbra duet Somebody That I Used To Know, is the missing link between Cee-Lo

Green and the Kanye West-endorsed Bon Iver, circa 2011 – if you can ignore those disconcerting inflections of Sting. I Feel Better is Cee Lo in ‘60s mode. De Backer experiments with AutoTune (or similar) on the post-reggae State Of The Art. As it happens, he’ll be appearing at Homebake alongside Merriweather in December. Melbourne’s Ru CL (AKA Rueben Campbell) dropped Straight Down The Line on Katalyst’s Invada Records way back in 2005. He’s finally returned with his sophomore, Brimstone And Fire. This is for fans of Jay-Z’s classic The Blueprint (and Scribe’s Rhyme Book) with its retro funk and soul flavours – horns abound. Indeed, the Jamaican-Australian MC’s dancehall influences are totally sublimated here. 7stu7’s potently soulful title track is slammin’. However, OG’s favourite Australian urban album of late comes from Merriweather’s ol’ homeboy Phrase (Harley Webster). Following the musically adventurous Clockwork, Babylon finds the MC bringing a ‘60s garage rock feel to hip hop, the music, co-produced by Tony Buchen, in the vein of Ronson’s landmark work with Nikka Costa. Apart might be a companion to Andre 3000’s Hey Ya!. OG digs the psyched-out (and future Big Day Out anthem) Dreamers On The Run, guest Guineafowl sounding like a young David Bowie, while on Velvet Glove Jimmy Barnes’ ‘soul revue’ vibe is gritty, not raucous, and so ideal. (Is Webster subverting bogan hip hop?) Webster himself sings on the raw (and late Beatlesy) Never Enough. Universal should be praised for sticking with such a maverick artist. Co-starring on Babylon is one Jane Doe – actually Webster’s missus Jade MacRae, who writes, sings and plays anything (even the mellotron). MacRae cameos, too, on Katalyst’s forthcoming LP Deep Impressions – The Popcorns is deep soul, albeit with crunky synths! (At one stage The Jezabels’ Hayley Mary was considered.) Now that MacRae is free of the commercial pressures evidently placed on her by misguided label peepz in the past, it’ll be interesting to see where she goes next. Let’s hope she becomes Australia’s Queen Of Neo-Soul, as she always promised to be.

THE CALLING LUKE MCKINNON goes with the flow The Calling is being written from San Francisco this week, so apologies if there is less of an Australian feel than normal. First up, Vents is running a remix competition. The Golden Era artist has put the call out to remix his track Marked for Death. The winner will take home a Golden Era prize pack and be featured on the Golden Era website alongside the likes of Hilltop Hoods, Funkoars and Vents himself. So, if you’re a budding producer, hit up the Golden Era website and download all parts of the original track. Jedi Mind Tricks are set to hit Australian shores for the first time with a full run of dates in December. For the past 15 years, Jedi Mind Tricks have established themselves as one of the most critically acclaimed groups in the underground scene, with their raw and gritty take on hip hop. From their debut album The Psycho-Social to their seminal Violent By Design, JMT have made an indelible impression on the independent music scene while arguably forging their own subgenre of rap. Led by the fiery vocals of controversial frontman Vinnie Paz and his venerable rhyme partner Jus Allah, the group have built one of the most commercially successful careers in independent hip hop music. In what’s been seen as a somewhat controversial statement here in the US, Lupe Fiasco has declared himself “the best rapper” during a freestyle at a recent Chicago performance – he also took aim at a few other MCs who have recently dropped albums.

Or Death for a while now. The Blacksmith rapper recently released her DJ Dram-hosted mixtape Cookies Or Comas in preparation for her oft-delayed LP, but claims that she won’t release the album until it’s absolutely perfect. “I think the idea is when it’s right, when everything sounds like what it’s really supposed to sound like instead of rushing to get everything out, then it’ll come out,” she said. “It’s really heavy on the music side of things, and by that I mean tons of vocal arrangements, string arrangements and horn arrangements. It’s not a very typical rap kind of album. And I think it’s okay to take the time to make it coalesce instead of rushing to put something out. Because there’s gonna be 82 albums that come out that sound exactly like it… no, not really. But you guys can wait.” GOOD Music’s Pusha T has officially signed a solo recording deal with Def Jam. According to the Clipse member, he chose the imprint as his new home because of “the prestige of the label and their willingness to work” with his vision. “Solidifying my first solo venture, GOOD Music/Def Jam is my home,” said Pusha. “That machine with my creativity is gonna make for satisfied hip hop fans.” Finally, it seems that the infamous Raekwon is set to collaborate with Kanye West. In a recent interview, the Chef intimated that a collaboration would drop imminently. “You’re gonna see something soon with me and that guy. That guy’s on fire right now and he respects real hip hop, he respects me,” said Raekwon. “And he’s like, ‘Yo Chef, I wanna be down and I’m like, you down, you down, so let’s just make it happen!’ Vents

“When you’re done Watching The Throne, turn around and watch me, when you’re done with Tha Carter IV come back to me for more, when you’re done with that Drake, no, I ain’t trying to hate but I’m back up on my grind and I’m about to skaaaaate on these niggas,” he rapped. “Put it on your blog and your Tumblrs and your Twitters that Lupe said that he’s the best, nigga!” Australian regular Jean Grae has been set to release her long awaited album, Cake


What’s up, Inpress readers? I hope the warming of the weather is getting you out more to experience all that this fine city of ours has to offer. A particular case in point occurred recently when one of my all-time favourite DJs, Maestro, popped in for an impromptu set with the Back2Black crew for one of their outdoor Sunday sessions. The warm weather and packed venue was the perfect setting for this Holland native. He dropped everything from ol’ skool hip hop to nu jazz – even some dubby ska flavours. He definitely had me truly hyped for his recently released jazz mix on Blue Note Records. Another release that has me hyped is the latest from Paul Harmon. His edits and electrobashed tracks have been making Southside hipsters lose their shit for so long they’ve named a moustache after him, but he’s been a bit quiet lately working away in the studio making what I foresee as being the album

of the summer. He’s teamed up with Hanna Silver to form The Prince Of Seagulls and if ultra-funky, catchy as a mofo, ‘70s porn star, synth-based electronica floats your boat, then this will sink it faster than Carbon Tax legislation. The tune that I guarantee will be all over our airwaves in no time goes by the name of Down To The Sea and it will have you hugging randoms in a Mitsubushi stupour. Also causing mass huggings is the latest edit from Mr Moonshine: Sylvester’s extremely funky Over + Over. It’s some standard disco-shizwiz no fool with a laptop will be without, so beg Mr Shine to increase the free download limit, cuz I slept and forgot to nab it in time. Another bit of quality from this cat is the latest from his DJ Crater moniker, Attack Of The Horns. It’s got that Balearic rave action vibe to it that makes me want to blow a whistle and buy some buggy goggles and sounds like it came straight from a Casio keyboard circa-1982. Love it, I do! Speaking of the Moonshine, his remix was one of the highlights from a Lightspeed Recordings release I forgot to mention last month, Agent 86’s So Hot Remixes. My money is definitely on the Fromage Disco version, ‘cause it tweaks you like a bad haircut before a first date. Get on it if you haven’t yet. With that, I’m out…


THE BREAKDOWN Pop culture therapy with ADAM CURLEY There’s been a lot of local talk about Melbourne band New War during their couple of years of existence, not the least because it contains Chris Pugmire of Shoplifting (the Seattle-based band also featuring Gossip drummer Hannah Blilie) and Jesse Shepherd of Sir, but also because of their live sets. In fact, they could rightly challenge any band claiming wider word-of-mouth promotion of their shows. So it’s good to finally have an official release to put against their live malarkey in the form of a 12” single for their Ghostwalking track. The song itself has been kicking around their set for a long while, but the recorded version is a wrung out, strung out (to five-and-a-half minutes) and damn spooky rendition – flat, punctual drum beats, oscillating, translucent keys, slumped basslines and Pugmire’s half-moan vocal. The 12” also comes with remixes by Gossip and HTRK and gets a release on Gossip guitarist Nathan Howdeshell’s excellent Fast Weapons label on 27 September. There’s really no doubt that these are going to be bought out and claimed instantly as collectors’ items, and even less reason why they shouldn’t be. Not overshadowed is the release of the debut single from Lost Animal, the project of Melbourne’s Jarrod Quarrell, he of the tooshort-lived St Helens and, before that, The New Season. It’s the first recorded work we’ve heard from Quarrell since St Helens’ incredible and incredibly troubled Heavy Profession album of 2009, and Quarrell’s twitchy, gutter-kicking songwriting style stands in Say No To Thugs, this time against metronome-like beats, dour organ and some sax-effect keys. On paper it’s a sign that Quarrell is out the other end of a hard time (hinted at by his escape to Papua New Guinea following St Helens’ break-up) yet he still manages to make lyrics such as, “Don’t sweat the little things, love/Just stand by me,” sound like a threat. That’s some skill, and one that makes the track and Lost Animal


a dark and fascinating listen. The single is from the album Ex Tropical, which is out through Sensory Projects on 30 September. A band with many fans outside their home of Brisbane, downtrodden balladeer collective cum post-rock cacophony Nikko have just released a double A-side 7”, About The Spirit/ Smoke Alarms, which has been limited to 100 copies and which they launched with a brief run of East Coast shows over the weekend. If you missed out, the first track can be streamed on the band’s Facebook and Bandcamp pages and is most certainly worth a listen – what starts out a loose ‘80s Australian troubadour lament slips craftily into a surge of distortion and strings. Really beautiful and powerful stuff. Sydney trio Step-Panther have signed to Speak N Spell Records for an album to be released in November and have just released a single, No Fun, produced by Simon ‘Berkfinger’ Berckelman from Philadelphia Grand Jury. The track is a bit of an anomaly in punk pop, taking the three-chord-jam approach but not opting for an annoying or cheesy hook. Instead, it’s enjoyably slack and bright (yeah, yeah, stuff can be both), most appropriately likened to The Vaccines but with a houseparty rawness and less cloying self-awareness. It can be streamed from their Bandcamp. In Australia, the last couple of weeks have been filled with talk of Lanie Lane’s single Ain’t Hungry, produced by Jack White, but internationally it’s been another big-voiced, backward-gazing singer getting bloggers typing. Lana Del Ray is the music moniker of New York’s Lizzy Grant, a 24-year-old who released an album of Americana last year but has seemingly started over (that album had been deleted) with the single Video Games. The track and its DIY video of cut-up clips of skaters and tragic Hollywood starlets pits Grant as both an alluring talent and a keen zeitgeist observer. Vocally, she’s like the Elvis Presley and Nancy Sinatra duet Aint’ Nothing Like A Song, if Elvis and Nancy were spliced together and the track slowed down to delicate torch-song speed. Indeed, Grant herself calls her style “Hollywood pop/ slowcore”. The single is out officially in the US on small label Stranger Records in October. They’re very cute and lots of fun. The Paints have been playing together since high school days, and after an extended break, they’re back. They’ll have copies of their first album to give out too, but only if you buy them a drink. This Thursday at Pony, 8pm.


Humans, Twin Ages, Coins and A Gazillion Angry Mexicans are putting on a massive show and things are going to get messy this Friday at Pony. Humans will be bringing their dirty yet danceable tunes sure to get you moving one way or another. Also onboard are the chilli loving party band A Gazillion Angry Mexicans, newly formed band Coins, who we can safely assume are going to be insane live with their sweet post-punk funky tunes and ex In Tongues members. Last but not least is the mighty Twin Ages, a band with a unique style of garage/grungeblended rock and a crazy live show. Doors 9pm.


This Saturday Pony hosts an ear-bleeding, bumrupturing barrage of grindcore disgracefulness to rival even the stinkin’est King Street side alley. Die Pigeon Die smash out a churning mess of lowend scunge and high-speed destruction to make some of the filthiest, heaviest and most stomachchurning goregrind heard in recent years. Garbage Guts keep the gore spilling and the vomit spewing with their brand of old-school goregrind. Racing down a more traditional grindcore track, Internal Rot belt out a wild and frantic racket, keeping things super fast while staying focused on being as regressively true to the second-wave grind from California as possible. Opening up the night are the ratbag noise-grind upstarts of Ross. Doors from 9pm. The White Goods play the 2am slot.


In March this year French label Beast Records released Pete Ross’s Midnight Show, on vinyl throughout France. After six months of non-stop touring, including appearances at the Binic Folk Blues Festival, Tarascon Festival des Alpilles and Festi-West, St Privat, Pete Ross is bringing his Midnight Show to Australia for one night only on Sunday at the Tote Hotel. Doors are from 4pm, entry’s $12 and there will be a barbecue.


Fronted by Swedish-born singer/songwriter Staffan Guinane, Francolin are a Melbourne based five-piece guided by their love for dancing and fi nely constructed pop songs. Due to various influences and musical training, Francolin’s songs sound like an amalgamation of twinkling summer guitar riffs, melodious trumpet lines and warm vocal harmonies. Over the past two years, the band have been regularly playing around Melbourne, building up an air of excitement about their energetic live shows and five-track EP. Sharing the spotlight this Wednesday at Bar Open are The Phantom Agents and Jacob Silver. Free entry, 9pm.



We were bored of the speedway. We were bored of school. We stole a bottle of gin off Sarah’s daughter and started playing with matches. Lombard’s went up like a phoenix. When the fuzz blew through we met up at Hungry Spot and mixed in with some toasted sandwiches. That’s the early memories of how we got together. From that night on, we just spent our summer trailing shadows through yards, keeping low to ground so we could sniff out the fresh ghetto pussy. I wore the chains, Al made the phone calls. Easy money when you don’t know how to cry. That’s why they call me the Captain. Lower Plenty, Thursday at Bar Open with Mad Nanna and Jonathon Michell. See them! Doors 9pm, free entry.


The Vietnam War are Auckland’s fi rst real country rebels. Tattooed and soaked in whiskey, The Vietnam War are a rogues’ gallery of sorrow and life-worn tale tellers. This five-piece set up shop in their Aroha Avenue loungeroom to record their debut album. It was before they had a label, so the rich analogue vibe and twisting guitars were perfected with no small amount of self satisfaction. The record will be released through Spunk on 14 October. They’re paired up with The Sinking Tins, who are too dumb to be your lover and feature members of Dick Diver, and Roller One at Bar Open on Sunday, 7.30pm.

What’s the title of your new EP? Steve Staben, drums/programming: “Fly Baby Fly.” How many releases do you have now? “This is our second release, the first was a single in 2007.” How long did it take to write/record? “The songs were written between 2008 and 2009. The recording, mixing and releasing took too long, about two years due to a number of factors – it was a frustrating time and nearly killed me but we got there!” What was inspiring you during the making? “Just the enthusiasm for the music and process in general. Making music is a compulsive thing for me personally, and something the whole band is passionate about. Through the whole time you are just looking forward to hearing the finished product, sharing it and getting started on the next one which we are already.”

What song on it is the best indicator of your sound? “It would have to be Falling For You. I think that it captures the melodic nature of our music, the rock edge we have while giving a hint of the electro element. It’s a hard question though because we have a dance element to what we do as well, but we are a rock band at heart.” We’ll like the EP if we like… “Good times with friends, Coopers Vintage Ale and Thai food. But if you’re speaking of other artists we’d have to say Garbage and The Ting Tings. Research is also indicating Muse and Evanescence… it’s kinda broad.” Will you be launching it? “We launched it in Adelaide in April. This tour is a Vic launch of sorts – Melbourne can see us play this Saturday at the Blue Tile Lounge or on Sunday at the Espy Gershwin Room.” For more info see:


The Aerial Maps

HOWZAT! Local music news by JEFF JENKINS


Does spoken word have a place in the music world? Sydney’s The Aerial Maps have released an acclaimed second album, with “the Bard Of Bondi” Adam Gibson taking us on a trip around the nation in his distinctive Aussie accent, backed by a band featuring Simon Holmes from The Hummingbirds. And now Traralgon’s finest songwriter, Danny McDonald, has gone down the spoken word path with his new single, the gloriously nostalgic In Melbourne Tonight (available as a free download at “In recent years, I’ve become increasingly interested in the lyrical aspect of songwriting,” Danny tells Howzat! “I’ve always tried to capture a strong sense of atmosphere, time and place in my songs, and I felt that the spoken word approach in the verses captured the general


aesthetic that I was trying to convey. It’s something I plan to explore further with my songwriting.” Danny is a big fan of The Aerial Maps. “I’d be fibbing if I said their debut album (In The Blinding Sunlight) hadn’t rubbed off on me. Adam Gibson is a very talented writer, who I really respect.” Danny was also inspired by Aussie artist Howard Arkley, having read a book about his life called Not Just A Suburban Boy. “Arkley’s ability to conjure such an incredibly accurate representation of Melbourne suburban culture – so intriguing, yet ordinarily dull – is something that has long inspired me and I suppose I was looking to capture a similar sort of ambience through a different medium.” Danny writes of “rattling trams and the smell of the laneway jasmine vines… the leafy streets and the dubious weather… exotic plants in a concrete courtyard”. Despite Melbourne being the song’s subject, Danny has spent most of his life about two hours away. “I was born in Gippsland, moved to Melbourne for a couple of years after finishing high school and then returned to Gippsland, settling just east of Traralgon. But my family originally came from Melbourne and we still have strong roots there.” Danny refers to a Benson Street house in In Melbourne Tonight. “Wouldn’t you love to own it now,” he reflects. “It’s in Surrey Hills, a

beautiful old home that my great grandparents, grandparents, uncles, aunts and cousins lived in for many years up until the late ’80s. I have fond memories of family gatherings there. Coincidentally, it’s not that far from the Surrey Hills house where Howard Arkley grew up.”



Inescapable JESSICA MAUBOY (six)

Gotye spends a fourth week at number one. Two homegrown hits are in the top ten, but they’re the only Aussie entries in the Top 40. Somebody That I Used To Know GOTYE (number one)

The Aerial Maps is an apt name for Adam Gibson’s band, because he is looking over the nation, mapping its delights and darkness. As Tony McMahon stated in Inpress, he’s “illuminating a dark and mysterious Australian gothic in song”. The Aerial Maps are heading to Melbourne next Friday to launch their new album, The Sunset Park (at Bella Union, 16 September). “I love playing live, it’s unreal,” Adam says. “My father was a big band leader, so my brother and I grew up watching him perform. It never felt like a big deal to get up on stage and perform but now I realise it is a big deal for a lot of people. Sometimes when it’s just the bar staff and three drunks who are there to watch the footy, it gets a bit testing, but generally it’s fun.”

Gotye enjoys just a one-week reign on top of the Aussie albums chart, with Adele’s 21 returning to number one.


Like Drawing Blood GOTYE (24)

Making Mirrors GOTYE (number three) White Heat: 30 Hits ICEHOUSE (five, debut) Yes I Am JACK VIDGEN (six) Moonfire BOY & BEAR (13) Rrakala GURRUMUL (14) Ghosts Of The Past ESKIMO JOE (16) Only Sparrows JOSH PYKE (18) Future Shade THE HERD (22, debut)

Thunderstruck is the name of an impressive AC/ DC tribute band, who played at Billy Slater’s 20oth game. Thunderstag is the name of the new band for “Big Daddy” Julian James and Ben Meano from The Shine. It’s classic Oz rock, with thundering guitars and a nod and a wink. Song titles include Slut Hungry, Hades Ladies and C’mon And Lick It. Thunderstag launch their self-titled album at the Corner on Friday, as part of Wrestlerock. As they say, go hard or go home.

Get ’Em Girls JESSICA MAUBOY (25)


The Ending Is Just The Beginning Repeating THE LIVING END (39)

After the controversy surrounding Lionel Richie’s appearance at last year’s Grand Final replay, it’s been great to see the AFL embracing local rock this year. Howzat! would still like to see Paul Kelly at this year’s Grand Final, but we’re pleased to report that Aussie acts will be part of the finals series. This Sunday, before the mighty Bombers take on Carlton, the crowd will be entertained by Absolutely 80s, featuring Sean Kelly, Scott Carne, Dale Ryder and Bombers fan Brian Mannix.

Roy DAMIEN LEITH (26) Smoko At The Pet Food Factory FRENZAL RHOMB (31) Seeker Lover Keeper SEEKER LOVER KEEPER (32) Double Platinum THE TEN TENORS (34) Gurrumul GURRUMUL (38)




WED 07 Agent 86, Bladerunner, Mr Thom, Joybot Lucky Coq

And You Will Know Us By The Trail Of Dead, Laura, Sincerely Grizzly The Corner Hotel

Armagidion Time, Jesse I, Ras Crucial, Mat Cant Laundry Bar

Art Noise, Pioneers Of Good Science, Lashes to Lashes, Constant Killer, Indigo Hotel Blue Tile Lounge

Axolotyl, Fierse, Hailey Cramer, Dan West The Toff In Town

Bunny Monroe, The Patron Saints Cherry Bar

Buttered Loaf

The Lounge Pit

DJ Denver Maxx, Spidey, Pestro, Victoria Mehan, Dave Mole Revolver

Dr Watsons Soul and Comedy Lounge

Rob Bennet, The Supervibes Veludo

Russian Circles, Encircling Sea, Agonhymn, Hotel Wrecking City Traders East Brunswick Club

San-Serif, Amoroso Duo Empress Hotel

Simon Hudson Band, Tomas Strode & the Tour Guides Wesley Anne

Soul Army, Vince Peach, Miss Goldie, Prequel, Black Diamond Kicks Bimbo Deluxe

Stand & Deliver Co. Nightclub

The Brunswick Open Mic with host Brodie Brunswick Hotel

The Shivering Timbers The Standard Hotel

The Sinking Tins, Mad Nanna, The In and Dated, DJ Because Goodbye The Workers Club

Tri Duo Loop

Wine, Whiskey, Women, Freya Hanly, Kristen Perry & Sarah The Drunken Poet

John Curtin Hotel

Emmy Bryce, The Cordial Factory, Rosaline Yuen Northcote Social Club

Francolin, The Phantom Agents, Jacob Silver Bar Open

Geoffrey Gurrumul Yunupingu, Dewayne Everettsmith Palais Theatre

Goodbye Motel, Hopwood, Rob Draper & The Details, The Publican Band Esplanade Lounge

Hale, Slater, Tadesco, Moller Quartet Bennetts Lane

Ivy St, Popolice, Brain Cartridge Load Error The Tote

Jack Pantazis

Paris Cat Jazz Club

Jimmy Tait, Sean Simmons Retreat Hotel

Kewti, Joost Buis 303

La Tin Shed Orquestra Open Studio

Matt Radovich, PCP, Adelle Lounge Bar

National Campus Band Comp Esplanade Gershwin Room

Nimbleman Family Band Edinburgh Castle Hotel

Open Mic

Dancing Dog Café

Open Mic Night Elwood Lounge

Peep Tempel, Angry Mules, Ghetto Ghetto The Old Bar

Prahran Mission, Victoria Mehan, Dave Mole, Spidey, Pestro Revolver Upstairs

Red Field, MK Delta, Sleepyhead Evelyn Hotel


Goodtime Medicine Band Lomond Hotel

Harry James Angus Band, Liz Stringer, DJ People, Midnight Express, Prequel, Edd Fisher The Toff In Town

Agility, Sid Air, Wandering Spirit, Ricky Maymi, Manchild, Freakout DJs Laundry Bar

Andre Warhurst, David Lord Union Hotel Brunswick

April Maze, Miriam Leiberman, Liz Frencham, Alexi Kaye Wesley Anne

Arbia, Recoil Vor, Freight Train Theory, Moustache Ant The Prague

Aubrey Maher, Marty Kelly, Rosey The Drunken Poet, JD, Danny Silver Lounge Bar

Colour Me Indian, Sam Sara, The Skampz, The Paints, Love/Hate Pony

Dan Hall

Railway Hotel

Tessa & The Typecast, The Staffords, Krakatoa, DJ James Lake

Brunswick Hotel

The Workers Club

Kids Without Bikes

Paris Cat Jazz Club

Red Bennies

Gertrude’s Brown Couch

Le Disco Tech Pretty Please

Loo$e Change, The White Goods, The Messengers Exchange Hotel

Lower Plenty, Mad Nanna, Jonathan Michell Bar Open

Manny Fox’s Hangman Club Open Studio

Me & Nipples

Elwood Lounge

Mista Savona’s Jackie Mittoo Review 303

Nurnberger, Stephen Ward, Jess Szalek Ruby’s Lounge First Floor

Open Mic

Plough Hotel

Paul Grabowsky Sextet Bennetts Lane

Peter Fiddler Trio Labour In Vain

Plastic Palace Alice, Elephant Eyes, Kikuyu Edinburgh Castle Hotel

Playwrite, Undercolours, Pourparlour

Dubstep Thursdays Eurotrashbar

Emergenza Semi Finals The Hi-Fi

For The Fallen Dreams, Sienna Skies, Hand Of Mercy, Trial By Night Next

Funhouse DJs Co. Nightclub

Funkadelic Side Cherry Bar

The Albare Travel Diary The Bungalows, Rich Davies & The Devils Union, Ferry Tails The Old Bar

The Living End, King Cannons, Hunting Grounds Palace Theatre

The Red Brigade, Papa Chango Northcote Social Club

The Salvadors, The Delta Riggs, The Pretty Littles Grace Darling Hotel

The Woohoo Revue Retreat Hotel

Tiger Funk

Bimbo Deluxe

Timmy Rolfe & his Soy Latte Sound Sporting Club Hotel

Timmy Rolfe & his Soy Latte Sound The Sporting Club FRI 09

Amber Lamps, The Plains, The Laments Empress Hotel

Andrea Keller Quartet Uptown Jazz Café

Angry Mules The Vic

Post Percy, Moopsie, Awesome Whales

Better Than The Wizards, Sunday Chairs, T-Bird & the Lumberjacks, Dj Max Crawdaddy

Racket 14


John Curtin Hotel New Guernica

Miss Libertine

Cherry Bar

Bimbo Deluxe

Readable Graffiti, Friendship, Super Magic Hats

Cal Walker, Fatti Frances, No Zu, Pearls

Readable Graffiti, Friendship, Super Magic Hats

Elwood Lounge

Richie 1250 & The Brides Of Christ, Cash Savage & The Last Drinks, Archer

DJ Nikkos, Joe Sofo, Kitty Kat


Revolver Upstairs

Grace Darling Hotel

Ross Horkings, Matty Grant, Matt Dean, Phil Ross Billboard

Sambrose Automobile


Esco Bar

Jack Rabbit Slims

DJ NuBody

The Vineyard

Empress Hotel

Iaian Archibald Band, Waking Eden, YTBC

Great Britain Hotel

Dirty Deeds

Dizzy’s Jazz Club

Stringfellow Hawke, The Saturday Knights, Ashy Teen Spirit

Russian Circles, Coerce, Scul Hazzards, Bronze Chariot

Daniel Gassin Sextet

Yah Yah’s

Hyfrydol, Priestessa

Obsession DJs

THU 08

Spares Without Maire, William Blaxland, Living Skies

The Corner Hotel

Builders Arms Hotel Scape, The Attention Seekers, Rosencrantz, Smoking Toddlers, Trailer Park DJs, Indian Summer

Builders Arms Hotel

College Fall

Descarga Explosion, Madre Monte 303

Co. Nightclub

Dj Revolution, Flagrant, Syntax, Juddabarz, J-Red, Aoi Laundry Bar

Ed Kuepper, Mark Dawson

Northcote Social Club Electric Empire, Elzhi, The Melodics, Cumbia Cosmonauts, Lance Ferguson, Kylie Auldist,

Saskwatch, The Putbacks, Thief Esplanade Lounge & Gershwin Room

Feed Her To The Sharks, Jack the Giant Killer Inflation For The Fallen Dreams, Sienna Skies, Hand Of Mercy, Of Whispers, The Rose Line, Lover’s Grave The Castle

Goyim, The Winter Migration, Emily Ulman, Broken Flight Wesley Anne Grandpa’s Guitar Sessions, Phillip Hencie, Humans, Twin Ages, Coins, A Gazillion Angry Mexicans,

Mesa Cosa, Throbulator Pony

Grouse Party, Katie Pash, Melodee Maker, Ann Ominous Cornish Arms Hotel

Guvera Launch Pad, Seth Sentry, Dirt River Radio, Del Santo, Pandorum, Wingman

Montero, Time Shield, Super Star, Clem Bastow

Vendetta, Indian Mynah

Grace Darling Hotel

Neo, Nero, MoundShroud, Spooky Shaz, Silhouette d’Amour, Sister Thing

Seven Nightclub John Curtin Hotel

Yvette Johansson, Joe Ruberto Trio Bennetts Lane


Nick Warren, Luke Fair, Sean Quinn, Rollin Connection, Lister Cooray

SAT 10


Paul Van Ross Quartet Paris Cat Jazz Club

Royal Melbourne Hotel

Foxtrot, Saturday Knights, The Quiet Contender

Idgaff Bar and Venue

Frankenbok, Depravation, Berserkerfox, Decimatus The Prague

Fruit Jar, Boom! Bap! Pow! Wesley Anne


Sporting Club Hotel


The Sporting Club


Beaker, Jon Montes

Dizzy’s Jazz Club


Hot Step

In Malice’s Wake, Desecrator, Hazmat, Mason

Rory Clark

Bish Bash Bosh, Angry Mules, Bad Taste

Bimbo Deluxe

House of Rock DJs

Black Cab, No Zu

Jacket Off

In the Mood

Sarah & The King Bees

Bar Open


Bois et Charbon, Judge Pino & the Ruling Motions

James Reyne

Ferntree Gully Hotel

Bones Blackwood, A Gazillion Angry Mexicans, Humans, Fare Evader, Dirty F

Bennetts Lane

Brunswick Hotel

Jeremy Badcock

Boom! Bap! Pow!, The Bon Scotts, Eddie James & The Prowl, Timothy Nelson

Elwood Lounge

Josh Jakq, Charlie Lim, The House deFROST, Andee Frost

Boy Red, BJ Morriszonkle, Eugene Holcombe

Lords of this World, Burn November, Sleeplever

Briana Cowlishaw Quartet

Edinburgh Castle, early show

Yah Yah’s

The Tote

Palais Theatre

Jackson Jackson, Canary, DJ Jumps Evelyn Hotel

Jimmy Stewart, Go Go Sapien, Major Tom & the Atoms, Xander Retreat Hotel

Kim Salmon Tago Mago

Kimbra, Husky, Fire! Santarosa, Fire! Forum Theatre

Kollosoul, Tavares Veludo

Kyle Taylor, Jake Kelly, Davy Simony, Lizzie Sims, Renae Brennen, The Sages Vibe Bar

LA Vampires, Fabulous Diamonds, Forces, Angel Eyes, Simon Winkler The Workers Club

Legends Of Motorsport, Matt Sonic & The High Times, Wicked City, Chigwell Sharp The Prague

Lexi O Leopard, Good Squad, Indian Summer, Booty Quest, Wardy, Backyard DJs Esco Bar

Little Freddie & The Pops Dancing Dog Café

Mae Parker, The King Beats Bar 362

Matic, Brookwise, Daniel Filipovic, Lance Harrison, Mark Baumann Loop

Matthew Kea

Simon Phillips

Eran James, Bridget Pross, Jimi Lundy

Society of Beggars, Until We Collide, Semuta

The Night Cat

Velvet DJs

Electrik Dynamite

Trak Lounge Bar

Hugo Race & the Fatalists, MJ Halloran & The Sinners, Mohair Slim

Emergenza Semi Finals


The Drunken Poet


Anton Delecca Quartet


The Hi-Fi

Mondo Freaks

Traditional Irish Music Session, Dan Bourke & Friends

Poprocks at the Toff, Dr Phil Smith


Electrik Dynamite


Esplanade Basement

The Corner Hotel

Electrik Dynamite, Assemble The Empire, Elm Street, Alei Calusin, Pete Broadway

East Brunswick Club


Geelong West Town Hall

Apart From This, Term Four, Free World

Thunders Tag, Chinatown Angels

Abbie Cardwell, Catherine Deveny, Sal Kimber, Liz Stringer, Jenny O’Keefe

Matt Rad, Mr George, Tom Meagher, Phato A Mano


Mike Buhl, Isaac Fryar, Liam Waller, Matt Kovic, The New Eileens, Hound, Colour Me Indian Mindset,

Lucky Coq

Bluestone Lounge

Edinburgh Castle Hotel

The Tote

Pony Face, The Sun Blindness, Iowa

The Toff In Town Lomond Hotel

Dizzy’s Jazz Club

San Fran Disco Miss Libertines

Edinburgh Castle, early show

Secondhand Heart, Tully & the Thief, Little Niama Karova Lounge

Simon Baker, Dave Pham, Tahl, Fergus, Sammy Sax, Smile On Impact, Lounge Bar


Bar Open

Soul Infusion featuring Carmen Hendricks Rahk Melbourne

Sounds of Sirus, Skylion, Feed Your Munkie, The Glass Empire Ruby’s Lounge

Squeaker, Driveby Epic, Lovers Jump Creek Barwon Club

Tank, Freedumb Nation, Union Pacific, DJ Chowtown

Northcote Social Club Uptown Jazz Café

Public Bar

Open Studio

Esplanade Basement

Empress Hotel

Paris Cat Jazz Club

Brothers Grim, Gay Paris, Howlin’ Steam Train, The Bungalows, Phil Para

Gruntbucket, The Get Go Town Hall Hotel

Havana Brown

Heather Stewart

Palace Theatre

Jamie Oehlers Band, Gian Slater Jaron Natoli, Eran James, Death Valley Mustangs St Andrews Hotel

The Toff In Town

John Curtin Hotel

Matt Glass

Melodie Nelson, The Singing Skies, Hammocks & Honey Grace Darling Hotel

Public Bar

Collard, Greens & Gravy

The Holy Soul, Harry Howard & the NDE, Scale Models, The Vietnam War

Lomond Hotel

Mercury White, Kingswood, The Blazing Endfields

CoMeT, Preston Perche, Wet Young Dolphin



Imperial Hotel

The Living End, Hunting Grounds, King Cannons

Moonee Valley Drifters Mitcham RSL

Palace Theatre

Damo Suzuki, Gareth Liddiard, The Holy Soul, Baptism of Uzi

The Modern Age, The Villains Lair, Sid Air, Carvel

The Workers Club

The Vic

Dan Lethbridge & The Campaigners

Moth, Dropbunny, Drifter

The New Eileens

Revolver Upstairs

Dave Diprose, Hiding with Bears, Jackhammer

The Ska Vendors, Kerri Simpson

Chandelier Room

David Ruiz Trio

The Tearaways, The Jacks, Rise of the Rat, Foxtrot

Die Pidgeon Die, Garbage Guts, Internal Rot, Ross, The White Goods, Mr Sharp

The Old Bar

Brunswick Hotel

Caravan Music Club

Bendigo Hotel

The Tiger & Me

Sporting Club Hotel

The Tiger & Me

The Sporting Club

The Woohoo Revue Open Studio

Esplanade Lounge

Rainbow Hotel

Bebida Bar


Ed Kuepper, Mark Dawson

Caravan Music Club

Evelyn Hotel

Moreland Refugee Benefit Barwon Club

Mustered Courage, Uncle Bill, Fingerbone Bill Thornbury Theatre

My Dynamite, Rock City Riff Raff, Contraband

Cherry Bar New York New York ft Rob Younger, Damien Lovelock, Link, Carrie Phyllis and Shaggin Wagon Esplanade Gershwin Room

Nick Coleman, Darren Coburn, Luke McD, Muska Lounge Bar


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67 Pacman, Jean Paul, Sam McEwin, Samari, Kodiak Kid, Moonshine, Ash-Lee Lucky Coq

Passi Jo & Warako Musica

Northcote Town Hall

Precious Jules, Dead River Deeps, Bittersweet Kicks, DJ Del Amp

The Old Bar Ransom, Nick Thayer, Paz, Mat Cant, Booshank, Mr Moonshine, Black Devil Yard Boss, Jackson

Firebird, The Evening Son Revolver Red Leader, The Disco That Exploded, A Day In The Life, The Baskins, Smoking Toddlers, Carmex Rats

Relax With Max The Night Cat

Rusted, Sweet Felicia

Piping Hot Chicken Shop

Ryan Sterling & The Sister City The Drunken Poet

Scar the Surface, Untruth, Moniker Soul, Deliverance We Prey, Silent Rose Ruby’s Lounge

Secondhand Heart, The Highwater Ballroom Band, Rhys Bongetti Karova Lounge

Sex On Toast

Builders Arms Hotel

Soul Rebels Bar 362

Squeaker, Tom King, Sweet Lincoln, Gretchen Lewis Blue Tile Lounge

Street Chant, The Vietnam War, The School Of Radiant Living, Deep Heat The Gasometer Hotel


Laundry Bar

Yanto Shortis & Band, The Large Number 12s

Union Hotel Brunswick

Syl Johnson, The Bamboos, Cactus Channel, Pierre Baroni, Chris Gill, Mohair Slim

Gunn Music Competition

SUN 11

The Hi-Fi

The Baskins, The Disco That Exploded, A Day In The Life, Red Leader Rats @ Brown Alley

The DC3, Pinky Beecroft, Death Mattel The Corner Hotel

The Jed Rowe Band

Grind ‘n’ Groove Bar

The Nimbleman Family Band, Calamity Jane’s Country Addiction, The Stirling Collective

Empress Hotel, Arvo Show

Allan Browne, Phil Rex, Ian Chaplin Trio

Very Handsome Men, Dogsday, Intoxica, Shaky Memorial Retreat Hotel

Hans, Emelia Rusciano, Andyblack, Haggis

Nigel Wearne

Headspace, Dale Ryder Band, Bad Boys Batucada Esplanade Lounge


The Sporting Club

Nik Lone, Bill Papadinas Northcote Social Club

Pete Ross, Texas Tees, Burn In Hell, Orville Brody

Askew, Booshank, Jumbo, Junji, Miss Butt


Cash Savage & The Last Drinks Caravan Music Club

Collard, Greens & Gravy St Andrews Hotel

DPA! 303

Duck Musique

Edinburgh Castle, early show

Dukesy & The Hazzards Veludo

Emergenza Semi Finals The Hi-Fi

Chandelier Room

The Drunken Poet

Jimmy Tait, A Dead Forest Index, Lakes Of Russia, DJ Fergus The Old Bar

Jude St Jude, Kate Walker, Melody Moon Wesley Anne

Kellie Fernando Bird Elwood Lounge

Kings and Theives Grandview Hotel

Kitty K & the Jager Bombs Cherry Bar

Knitting for Gran

Empress Hotel, Arvo Show

Large No 12’s

Labour In Vain

Livingstone Daisies, Ladie Dee, Laura Imbruglia Retreat Hotel

CP: “Unfortunately I haven’t seen any live acts I’m a fan of actually in NY. But I have enjoyed seeing here the Ramones, Patti Smith and Blondie.” I wanna wake up in the city that never sleeps because… LM: “I’d actually rather wake up in Spain on a banana lounge with a cold sangria and a plate full of boquerones and crusty bread.”

Can you give us any hints about what songs you’ll be tackling at the show? LM: “I’ll be doing songs by the Ramones, Blondie, The Cramps, Velvet Underground. It’s a hoot.”

CP: “You can get the BEST bagels and cream cheese for breakfast!”

DM: “Not English punk, not Britpop, not Euro disco, not Oz rock.” CP: “Picture this… was waitin for the man when I gave him a great big kiss, she called me a rock’n’roll nigger so I ripped her to shreds!”

The Marc Hannaford Trio, James ‘Larry’ Carter Quartet 303

The Rusty Buckets, The Living Skies Empress Hotel

Wolfy and the Batcubs, Dozers The Workers Club

Orulas Crew

TUE 13

The Night Cat Cornish Arms Hotel

The Tote

Phato A Mano, Agent 86, Tiger Funk Bimbo Deluxe

Phil Para

Mentone Hotel

Sheldon King The Vic

String Busters

St Kilda Bowls Club

Stroke Awareness Benefit, Woodward & Rough Lomond Hotel

Teenage Bottlerocket East Brunswick Club

The Cartridge Family

Union Hotel Brunswick

The Dirty Boogie Band Davey’s

The Icypoles, Denim Owl, Far Concern The Little Sisters

Great Britain Hotel

The Merri Creek Pickers, Duck Musique Open Studio

The Vanguards

Young & Jacksons

The Vietnam War, Sinking Tins, Roller One Bar Open

Tracey McNeil, Luke Sinclair The Standard Hotel

MON 12 Brett Franke, Renae Brennen, Steven Reinhart Veludo

Chris Russell’s Chicken Walk, Danny Walsh, DJ Dave Heard, ‘Crotchety Knitwits’ The Old Bar


Bimbo Deluxe

Interzone, Superstar, Night Orchids

Northcote Social Club

Madizms, Armagidion Time, Jesse I, Ras Crucial, Mat Cant, Open Mic Laundry Bar

Mariachi Mondays

New York, New York: A Tribute Show takes place at the Espy this Saturday.

Snowy Belfast

Rose Hotel

Grace Darling Hotel

Fave NY record and why? LM: “See previous answer. I’m just gonna go ahead and say it’s between the Ramones’ debut and The Velvet Underground & Nico.”

What’s the most memorable show you’ve seen/performed at in NY? DL: “The night we recorded the Rifles album Kiss Kiss Bang Bang at CBGB’s – summer of 1986.”

Nigel Wearne

Jeb Cardwell, Sime Nugent

Marquis Of Lorne Hotel

DM: “I left some cloths at my cousin’s house in the village and I still want them back.”

CP: “Blondie, self-titled, 1976. As above.”

Sporting Club Hotel

Passport For Amy, The Battery Kids, Tiny Spiders

Carrie Phillis: “Blondie. I’m a bit of a ‘60s girl group fan, and loved how the sound came through in their earlier recordings. Also wanted Debbie Harry’s wardrobe.”

DL: “The banana album, The Velvet Underground, An unbelievable album, especially for its time.”

Empress Hotel

Jason Lowe, Chanelle Davis, Open Mic

Yah Yah’s

Members of the Meanies, Celibate Rifles, Radio Birdman and Booby Traps will this weekend celebrate musical acts from the Big Apple with the NEW YORK, NEW YORK tribute show.

Damien Lovelock: “It would have to be between The Velvet Underground, Television and Patti Smith. I’ll take Patti Smith, because I met her three times and she really liked The Celibate Rifles.”

Esplanade Lounge

The Gem

Music Trivia

APPLE OF THEIR EYE Fave New York act and why? Link McLennan: “Too hard a question. The Ramones, The Cramps, Blondie, Velvet Underground, et cetera. It’s like asking your Fave beatles track.”


Andrew McCubbin & The Hope Addicts, Lindsay Philips

Boogs, Spacey Space, T-Rek, Radiator, Silversix

Yah Yah’s Title Fight, Touche Amore, Midnite Sleaze, Jamie Vlahos, Frazer Adnam, Scott McMahon, Mr Magoo,Ziggy, Wes B Billboard

Brunswick Hotel

The Bay Mordialloc

Esplanade Gershwin Room The Toff In Town

Passionate Tongues Poetry

Mike Rudd & Bill Putt

Bennetts Lane

The Run Run, Royston Vasie Thee Wylde Oscars, The Lunars, The Hondas, Fanta Pants

Carringbush Hotel

Open Mic

Andrew Dickeson Quintet

The Resignators, The Kujo Kings, The Bennies, Son of Dad, Loonee Tunes, High Time

Great Britain Hotel

Luke Sinclair

Jakksen Fish & The Unholy Racket, Citrus Jam

Uptown Jazz Café

Lucky Coq Bad at Knitting, The Ruby Shoes, City Walls Autumn Falls, Tom Cat, Rick Da Scale, Jackie T Brunswick Hotel

The Tote

For The Fallen Dreams, Sienna Skies, Hand Of Mercy, Through The Eleventh Hour, Empires Fall National Hotel

Retreat Hotel

Open Mic Night Bertha Brown

Betty’s Driving Force 303

Cosmic Pizza Lucky Coq

Howlin’ Steam Train, Apes, Joel Dalton, Dom Cooley & the Children out of Wedlock Esplanade Lounge

Irish Session

Lomond Hotel

Jess Ribeiro & The Bone Collective, Forever Son The Toff In Town

Matt Radovich, Andras Fox, Henry Who

Bimbo Deluxe Melbourne Fresh Industry Showcase, Stilldream, Mani & the Rissoles, With Lions, Juniper Spective, Bad

Repeat, False Prophet, Never Cheer Before You Know Whos Winning


Mick Ahearne, Rex Watts Retreat Hotel

Nathan Bird

The Sporting Club

Open Mic

Wesley Anne

Open Mic Night Empress Hotel

Open Mic Night Ruby’s Lounge

Saving Cleopatra, Language of the Birds, One of the Boys, Spooky Fish Esplanade Basement

Skinny Leather Ties

Veludo Stilldream, Mani & the Rissoles, With Lions, Juniper Spective, Bad Repeat, False Profit, Radical Sludge Revolver Upstairs

Tenielle McKenzie, Jack The Lad, Braden Pullen The Old Bar

The Beards

Melbourne University

The Brunswick Discovery, Cataract George, Empire Brunswick Hotel


Union Hotel Brunswick

Wednesday the Rat, KnightSansArmour, Indian Summer DJs, Smoking Toddlers Dumplings Bitch!@ Eurotrash

Weekly Trivia

The Drunken Poet

Thunderstag launch their new CD at Wrestlerock at the Corner Hotel this Friday. HOW DID YOU GET TOGETHER? Julian James, vocals: “Ben [Meano] and I have known each other since we where babies. We played in a band together for almost 15 years. Over the years we met the other guys. When it came time to put this together I really wanted it to be the guys I always wanted to play with. We got Dizzy [Dean] on board with his big-arse double bass, Rick [Ruin] was in and when we needed that heavier edge we called in Riley Strong].” HAVE YOU RECORDED ANYTHING OR DO YOU PREFER TO TOOL AROUND IN YOUR BEDROOM? “We have recorded a CD with Ren Parisi at Melbourne Records which is availalable now from Missing Link and Blasphemy in the city. It’ll also be available at the Corner Hotel this Friday night, so get in early as stocks are limited on the night! It is out now through the Wrestlerock label.” CAN YOU SUM UP YOUR BAND’S SOUND IN FOUR WORDS? “Heavy metal glamabilly! Yeah!” IF YOU COULD SUPPORT ANY BAND IN THE WORLD, WHO WOULD IT BE AND WHY? “Hmm… I gues the Stones because you’d be doing massive stadiums and I hear Mick lets you use some of their lights. Or maybe 50 Cents… is that his name? Only because the crowd would be full of ghetto booty! Not sure our honky asses would make it out alive but it would be a great story!” IF A HIGHER POWER SMITES YOUR HOUSE AND YOU CAN ONLY SAVE ONE RECORD FROM THE FIRE, WHAT WOULD IT BE? “That is a ridiculous question, but I am going to give you a serious answer… Van Halen, the fi rst album, ‘cause chances are that would be what started the fi re. David Lee Roth is obviously the higher power so with that he would then order the flames to retreat. Mercy is shown where mercy is given.” DO YOU HAVE A LUCKY ITEM OF CLOTHING YOU WEAR FOR GIGS AND WHAT IS IT? “Oh yeah… it’s my official Stag jumpsuit which will be debuting this Friday night. It’s a cross between an Elvis jumpsuit and a Kiss outfit. I figure if you are gonna rip someone off you may as well rip off the two best! In the words of Paul Stanley, ‘if you’re gonna steal, make sure it’s a diamond and not a piece of glass’.” IF YOU INVITED SOMEONE AWESOME ROUND FOR DINNER WHAT WOULD YOU COOK? “Well, I only know how to make a cheese toastie. But Dizzy got a most excellent BBQ rocking for our fi rst ever jam so I’d invite him over, then I’d have to invite the other guys in the band too, so it would be another day at the office really.” WHAT’S YOUR FAVOURITE PLACE TO DRINK IN MELBOURNE? “You can’t go past the Corner Hotel, right? Something about that famous Corner Hotel beer always ensures a wild night!”

140 Sydney Rd


9387 6637


















163A Sydney Road, Brunswick 3058 Bookings/Enquiries

sep 9

the bungalows Sept 10

Kitchen Specials

marty williams band

Mon - $12 Burger & Pot, $14 Porterhouse Tues - $6 Pizza Wed - $14 Porterhouse Fri - $6 Pizza Thu - Great Pub Quiz Challenge

cash savage and little john


Sept 16 Sept 17


piece pai

grouse party

Jarrah thompson band

$10 entry

oct 1


passport for amy

the battery kids tiny spiders Monday nights Open Mic Function Room Available Kitchen Open Every Evening



Axolotl, Fierse, Hailey Cramer, Dan West: The Toff

Lost & Found: Denver Maxx, Spidey, Pestro: Revolver Upstairs

Lounge Wednesdays: Matty Raovich, PCP, Adelle: Lounge

No Era: No Name Nath, DJ Sizzle, Lady Banton: Miss Libertine

Prahran Mission, Victoria Mehan, Dave Mole: Revolver Upstairs

Ring The Alarm: Ring The Alarm DJs: Laundry Bar

Stand & Deliver: Co. Nightclub

Hammond Sessions: Mista Savona’s Jackie Mittoo Revue: 303

Love Story: Tranter, Sleeves, Megawuoti, Supremes, TDAH:

The Toff Stage Room

Midnight Express: Prequel, Edd Fisher:

The Toff Carriage Room

Mood: DJ NuBody: Loop

Obsession Thursdays: First Floor

Readable Graffiti, Friendships, Super Magic Hats: Revolver Upstairs

Red Brigades, Papa Chango:

Northcote Social Club

Shake Some Action: Scape, Attention Seekers, Rosencrantz: Laundry Bar

Unlucky Club: Unlucky DJs: Seven Nightclub


Andee Frost, Jad and the Lady Boy, Youth, Private Velodrome: Sky Bar

Freak Out: Agility, Sid Air, Wandering Spirit, Ricky Maymi: Laundry Bar

Funhouse: Funhouse DJs: Co. Nightclub

Good Evening DJ People: The Toff Carriage Room


Watch The Throne Album Dedication Night: Fusion


3D: DJ sNuff, Jaffa, Pgram, Chris X: CBD Club

All City Bass: Mark Instinct, Heist: Brown Alley

Can’t Say: SanFran Disco: Miss Libertine

DJ Revolution:

Uptown Groove: Order Of Melbourne

Echoes: Matic, Brookwise, Daniel Filipovic, Lance Harrison:

Velvet: Velvet DJs:

Laundry Bar

Seven Nightclub

SAT 10

Electric Owl: Funk D’Void, Francois Dubois, Boris Brejcha, Anna: Brown Alley

Prince Of Wales Bandroom

Kimbra, Fire! Santa Rosa Fire!: Forum Theatre

Neo: Nero, Cosplay, Spooky Shaz, Silhouette d’Amour, Sister Thing: Abode

Paparazzi: DJ Nikkos, Joe Sofo, Kitty Kat: Co. Nightclub

PopRocks: Dr Phil Smith: The Toff

Revolver Fridays, Mama Said: Revolver Upstairs

Simon Baker, Dave Pham, Tahl, Fergus, Sammy Sax: Lounge

Soul Food: Electric Empire, Elzhi, The Melodics, Cumbia Cosmonauts, Lance Ferguson & Kylie Audist, Saskwatch, The Putbacks, Thief, DJ Manchild, Chris Gill: The Espy

The Toff

The Late Show:

Revolver Upstairs


Guvera Showcase: Seth Sentry, Dirt River Radio, Pata Physics, delSanto, Pandorum, Wing Man:

The House deFrost: Andee Frost:

After Dark Social Club: After Dark DJs: Roxanne Parlour

Uncomfortable Beats: 10/8, Affiks, Slackjaw, Abie Allganiks, Gingus Kahn: Usher Dedication Night: Fusion


Laundry Bar

SUN 11

The Tote

Envy: Finlo White, Joe Sofo: Co. Nightclub The Toff

Mo Ichi, Miyagi: Loop

Nick Coleman, Darren Coburn, Luke McD, DJ Muska: Lounge

Playground Saturdays: Seven Nightclub Preston Perche, Wet Young Dolphins: 303

Secret Room: Beaker, Jon Montes: Abode

Strut: DJ Havana Brown: Trak Lounge Bar Sweat Saturdays: The George

Syl Johnson, The Bamboos, The Cactus Channel:


Bar Open

Chaos Kids, The Operators:

Josh Jakq, Charlie Lim:


OPA: 303

Revolver Sundays: Revolver

The Sunday Set: Andyblack, Haggis:

The Toff Carriage Room

Tight Knit Sundays: Eames: Sky Bar

MON 12

Snowy Belfast, Playwrite:

The Espy Lounge Bar Lyricist Lounge: Laundry Bar

The Hi-Fi

The New Eileens:

Revolver Upstairs

The song I’m really digging at the moment is… I Thought I Told You To Wait In The Car by Sparks. This song just makes me wanna shake my groove thang booty and I just feel the star shine over my ripcurl groovy body while I get freaky on the dancefloor to this lovely hit. A song more people should know about is… Das World Ist Flat. On our last stay in Melbourne, Harriet Stewart (from School Of Radiant Living) and I formed a conceptual anti-band inspired by German music and disproved philosophy. We recorded a brief seven-minute song to four-track ad our plan is never to release it in order to maintain maximum hip obscurity status. The song that always gets me on the dancefloor at 3am is… Blue

Stars by Wilberforces. This song is like eating the most sneakiest chocolate treat, just letting it dribble down my slippery chin while I mosh to this phat song. The song I most wish I’d written is… Ripper by Jeff The Brotherhood. I squirm at the colossal intellect of this song. The song I never want to hear again is… anything from the album Means by Street Chant. We are midway through recording our next album and we will be playing a few new songs during our sets on tour and it’s gonna be siccck. If you don’t already own a copy of Means LP/CD come to our shows and get a good deal (while stocks last!). Street Chant play the Gasometer this Saturday.

BANG Saturday

Electrik Dynamite, Assemble The Empire, Elm Street, Alei Calusin, Pete Broadway

BAR OPEN Wednesday

Francolin, The Phantom Agents, Jacob Silver


Lower Plenty, Mad Nanna, Jonathan Michell

Friday Sine


Black Cab, No Zu


The Vietnam War, Sinking Tins, Roller One


The Tearaways, The Jacks, Rise of the Rat, Foxtrot


Ross Horkings, Matty Grant, Matt Dean, Phil Ross


Nick Warren, Luke Fair, Sean Quinn, Rollin Connection, Lister Cooray


Title Fight, Touche Amore, Midnite Sleaze, Jamie Vlahos, Frazer Adnam, Scott McMahon, Mr Magoo, Ziggy, Wes B








Sambrose Automobile


Cal Walker, Fatti Frances, No Zu, Pearls


Sex On Toast


The Ska Vendors, Kerri Simpson


Ed Kuepper, Mark Dawson


Cash Savage & The Last Drinks


Mindset, Apart From This, Term Four, Free World


Boom! Bap! Pow!, The Bon Scotts, Eddie James & The Prowl, Timothy Nelson


Saving Cleopatra, Language of the Birds, One of the Boys, Spooky Fish


National Campus Band Comp



Russian Circles, Encircling Sea, Agonhymn, Hotel Wrecking City Traders


Goodbye Motel, Hopwood, Rob Draper & The Details, The Publican Band



Brothers Grim, Gay Paris, Howlin’ Steam Train, The Bungalows, Phil Para


Headspace, Dale Ryder Band, Bad Boys Batucada

Pony Face, The Sun Blindness, Iowa







Hot Step


Phato A Mano, Agent 86, Tiger Funk

Nimbleman Family Band Plastic Palace Alice, Elephant Eyes, Kikuyu


Eran James, Bridget Pross, Jimi Lundy






Matt Radovich, Andras Fox, Henry Who


The Brunswick Open Mic with host Brodie

San-Serif, Amoroso Duo


Stringfellow Hawke, The Saturday Knights, Ashy


Amber Lamps, The Plains, The Laments


Snowy Belfast Howlin’ Steam Train, Apes, Joel Dalton, Dom Cooley & the Children out of Wedlock


Red Field, MK Delta, Sleepyhead


Jackson Jackson, Canary, DJ Jumps


Mercury White, Kingswood, The Blazing Endfields


Richie 1250 & The Brides Of Christ, Cash Savage & The Last Drinks, Archer

Iaian Archibald Band, Waking Eden, YTBC

Boy Red, BJ Morriszonkle, Eugene Holcombe


Music Trivia

The Salvadors, The Delta Riggs, The Pretty Littles




The Modern Age, The Villains Lair, Sid Air, Carvel


Bones Blackwood, A Gazillion Angry Mexicans, Humans, Fare Evader, Dirty F


Bad at Knitting, The Ruby Shoes, City Walls Autumn Falls, Tom Cat, Rick Da Scale, Jackie T


Passionate Tongues Poetry


The Brunswick Discovery, Cataract George, Empire

Tracey McNeil, Luke Sinclair

Playwrite, Undercolours, Pourparlour


Vendetta, Indian Mynah



The Rusty Buckets, The Living Skies


Open Mic Night


The Nimbleman Family Band, Calamity Jane’s Country Addiction, The Stirling Collective


Knitting for Gran


Montero, Time Shield, Super Star, Clem Bastow


Melodie Nelson, The Singing Skies, Hammocks & Honey


The Icypoles, Denim Owl, Far Concern

Bish Bash Bosh, Angry Mules, Bad Taste


Lords of this World, Burn November, Sleeplever




Timmy Rolfe & his Soy Latte Sound


The Tiger & Me




Nigel Wearne


Tri Duo


Axolotyl, Fierse, Hailey Cramer, Dan West


Harry James Angus Band, Liz Stringer, DJ People, Midnight Express, Prequel, Edd Fisher

Matic, Brookwise, Daniel Filipovic, Lance Harrison, Mark Baumann





Agent 86, Bladerunner, Mr Thom, Joybot Matt Rad, Mr George, Tom Meagher, Phato A Mano


Pacman, Jean Paul, Sam McEwin, Samari, Kodiak Kid, Moonshine, Ash-Lee


Aubrey Maher, Marty Kelly, Rosey


Traditional Irish Music Session, Dan Bourke & Friends



Ryan Sterling & The Sister City


Jeb Cardwell, Sime Nugent

Askew, Booshank, Jumbo, Junji, Miss Butt Cosmic Pizza

NEXT Thursday

For The Fallen Dreams, Sienna Skies, Hand Of Mercy, Trial By Night


Ed Kuepper, Mark Dawson


Abbie Cardwell, Catherine Deveny, Sal Kimber, Liz Stringer, Jenny O’Keefe


Nik Lone, Bill Papadinas



THE HI-FI Emergenza Semi Finals Emergenza Semi Finals



Die Pidgeon Die, Garbage Guts, Internal Rot, Ross, The White Goods, Mr Sharp



Society of Beggars, Until We Collide, Semuta


The Resignators, The Kujo Kings, The Bennies, Son of Dad, Loonee Tunes, High Time


Pete Ross, Texas Tees, Burn In Hell, Orville Brody

THE OLD BAR Wednesday

Peep Tempel, Angry Mules, Ghetto Ghetto


The Holy Soul, Harry Howard & the NDE, Scale Models, The Vietnam War


Precious Jules, Dead River Deeps, Bittersweet Kicks, DJ Del Amp


Jimmy Tait, A Dead Forest Index, Lakes Of Russia, DJ Fergus


Chris Russell’s Chicken Walk, Danny Walsh, DJ Dave Heard, ‘Crotchety Knitwits’


Tenielle McKenzie, Jack The Lad, Braden Pullen


Guvera Launch Pad, Seth Sentry, Dirt River Radio, Del Santo, Pandorum, Wingman



TRIPLE J HIT LIST Never Trust A Happy Song GROUPLOVE Killer 360 You Need Me, I Don’t Need You ED SHEERAN Stay Awake EXAMPLE The World Is A Picture JOSH PYKE Fat Monk RAT VS POSSUM It’s Real REAL ESTATE Air SNAKADAKTAL Cruel ST VINCENT I Wanna Meet Dave Grohl WAVVES



Emergenza Semi Finals


Grandpa’s Guitar Sessions, Phillip Hencie, Humans, Twin Ages, Coins, A Gazillion Angry Mexicans, Mesa Cosa, Throbulator

Ivy St, Popolice, Brain Cartridge Load Error




THE TOTE Wednesday


The Bungalows, Rich Davies & The Devils Union, Ferry Tails

Colour Me Indian, Sam Sara, The Skampz, The Paints, Love/Hate

Jess Ribeiro & The Bone Collective, Forever Son

Syl Johnson, The Bamboos, Cactus Channel, Pierre Baroni, Chris Gill, Mohair Slim

Interzone, Superstar, Night Orchids






Hans, Emelia Rusciano, Andyblack, Haggis



The Red Brigade, Papa Chango


In Malice’s Wake, Desecrator, Hazmat, Mason



Josh Jakq, Charlie Lim, The House deFROST, Andee Frost

Weekly Trivia

NORTHCOTE SOCIAL CLUB Emmy Bryce, The Cordial Factory, Rosaline Yuen

Poprocks at the Toff, Dr Phil Smith






Wine, Whiskey, Women, Freya Hanly, Kristen Perry & Sarah


The Shivering Timbers


DJ NuBody


Gunn Music Competition





Soul Army, Vince Peach, Miss Goldie, Prequel, Black Diamond Kicks





Tiger Funk



Teenage Bottlerocket


Dr Watsons Soul and Comedy Lounge

Grouse Party, Katie Pash, Melodee Maker, Ann Ominous Passport For Amy, The Battery Kids, Tiny Spiders


Tank, Freedumb Nation, Union Pacific, DJ Chowtown

New York New York ft Rob Younger, Damien Lovelock, Link, Carrie Phyllis and Shaggin Wagon




Angry Mules


Moreland Refugee Benefit Sheldon King


Andre Warhurst, David Lord


Yanto Shortis & Band, The Large Number 12s


The Cartridge Family


Tuesday Trivia


Simon Hudson Band, Tomas Strode & the Tour Guides


April Maze, Miriam Leiberman, Liz Frencham, Alexi Kaye


Goyim, The Winter Migration, Emily Ulman, Broken Flight


Fruit Jar, Boom! Bap! Pow!


Jude St Jude, Kate Walker, Melody Moon



Jakksen Fish & The Unholy Racket, Citrus Jam

Open Mic

YAH YAH’S Thursday

Spares Without Maire, William Blaxland, Living Skies


Hugo Race & the Fatalists, MJ Halloran & The Sinners, Mohair Slim


Thee Wylde Oscars, The Lunars, The Hondas, Fanta Pants



JOHNNY RABB, ALLANS AND V-DRUMS Johnny Rabb, the world’s fastest drummer, and his duo alter ego, BioDiesel, host an instore at Allans Music + Billy Hyde, Whitehorse Rd, Blackburn, at 7pm on Monday 19 September. They’ll be taking you through a range of the latest Roland gear, performing and explaining how they use Roland V-Drums, electronic percussion, the V-Bass and GAIA. Rabb has also launched his own range of drumsticks, of which he is bound to talk. Inevitably there are space considerations so best you call the store on 9894 2910 or log onto the website to ensure a place.

SOUND ADVICE GEAR REVIEWS WITH JIM POWER EGNATER REBEL 30 In the seemingly never-ending search for the perfect live guitar amp, I accidentally stumbled upon the Egnater Rebel 30. Similar to most guitarists with a penchant for vintage tones and modern reliability, I was after an affordable amp with a unique, versatile and warm tone. Little did I know I’d just found the perfect answer to stage and studio tone.


The Egnater Rebel 30, despite only being a 30-watt head, provides more than enough punch than will ever be required on stage or in the studio. The tubes are a pair of 6v6s and a pair of EL84s, with the very cool feature of a tube mix knob, allowing you to lean more heavily to one tone or the other or perfectly blend the American and British tones that are so highly sought after these days. The front panel of the head is again a perfect blend of old school simplicity and modern possibility. The clean channel has a three-band EQ along with the signature Egnater ‘tight’ and ‘bright’

Ormond Hall on St Kilda Road hosts The APRA Roadshow on Monday 26 September. It’s a chance to chat to the experts, develop your songwriting skills and connect with others in the wider music community. Running over five hours from 3.30pm and free to APRA members, the main topics to be covered are the art of co-writing and the relevance of contemporary radio. Speakers on the day are yet to be announced but if you’re interested, APRA member or not, get in touch with the guys at the APRA office in Richmond on 9426 5200, and get the details.

WHY DO THEY ‘BAKE’ OLD TAPES? Much of Don Bartley’s remastering work of late at his Benchmark Mastering facility in Sydney has been from quarter-inch tape, and as he explained to me recently, “they do require a lot of TLC to get them to work. Some need to baked because they absorb a lot of water, which makes them sticky, so we put them in a dehydrator and pull water out of them before we can play them properly. That’s common, unless it’s a really old tape, because the older tapes, made before 1972, they actually used whale oil as a lubricant for the tape, and it’s a perfect lubricant, but of course there was an international agreement in the early ‘70s to stop using whale products. So they then started producing synthetic lubricants, which evaporate, and when they evaporate out of the tape, water replaces it in the oxides and it goes gluey. So you just need to dry them out before you can play them.”

SOUND BYTES The as-yet-untitled second album from Florence & The Machine was recorded over five weeks in Studio 3 of Abbey Road Studios in London, after which Florence and producer Paul Epworth decamped to his own London studio to add the finishing touches. Ashes & Fire, the new album from Ryan Adams, was recorded at Sunset Sound in Hollywood with producer Glyn Johns (The Who, The Rolling Stones, The Clash), whose son Ethan Johns produced previous Adams albums Heartbreaker, Gold and 29. Sal Kimber & The Rollin’ Wheel called on fellow Melburnian Shane O’Mara to record and produce their new album at his Yikesville Studios. It’s due out in October. Little Scout recorded their debut album, Take Your Light, in Jonathan Boulet’s Sydney garage with producer Scott Bromiley. The album was then mastered by Adam Dempsey. Sydney trio Step-Panther called in Simon Berkfinger of Philadelphia Grand Jury to produce their self-titled debut album, recording in Lonely Mountain Studios and mixing it at Berkfinger’s personal studio in Berlin, Spree Sound. Sydney melodic metal four-piece Darker Half recorded their second album, Desensitized, at Def Wolf Studios in inner Sydney suburb Redfern, with their long-time live sound engineer Tom Marks co-producing as well as mixing. The album was then mastered at Q Studios by Beau Sherard. Brisbane four-piece Black Mustang recorded their second album, Loaded Gun, with fellow Brisbanite and regular engineer/coproducer Jeff Lovejoy (Powderfinger, Tex Perkins, 6ftHick, Resin Dogs) at hometown facilities Black Box Studios, Wavelength Studios and Applewood Studios, Lovejoy mixing the album before sending it down to Don Bartley in Sydney to master it at Benchmark. Currently in the studio recording their second album, Melbourne five-piece Deserters have released a first single, Stars Burn, which they sent New York-based expat Australian Victor Van Vugt (Nick Cave, PJ Harvey, The Panics) to mix. Ballarat five-piece Gold Fields hauled themselves up the Hume to Surry Hills in order to record their eponymous self-produced debut EP, mixed by Scott Horscroft, at Big Jesus Burger Studios in Surry Hills, but for their debut album, they undertook an even longer journey – to Los Angeles to record with producer Mickey Petralia (Beck, Ladytron, Peaches).



switches. The distortion channel also offers these switches along with a three-band EQ, but with the addition of a drive pot. The back panel has just as many cool features, with an easy access design tailored to the live player. On the back there are two pots controlling the reverb for each channel, which is a truly outstanding tube reverb, a perfect blend of warmth and clarity. There is also an option for you to control how much wattage comes through, with two attenuators ranging from one to 30 allowing even more tone control, which seems to be the main idea behind this amp. The Egnater Rebel 30 is the best amplifier I have ever played out of; it sounds great on the clean tones, devastating, aggressive and vintage on the distortion channel and provides a huge choice of tone control features. This is the perfectly sized, perfectly priced X factor you’re missing. For a list of Egnater stockists, see cmcmusic.

DAVE’S HUES Recording his first album in 13 years at Blackbird Studios in Nashville was a very different process to producing Stevie Nicks’ latest in her LA mansion, former Eurythmic DAVE STEWART tells MICHAEL SMITH. Conduct a Google search for Blackbird Studios, the Nashville recording facility owned and operated by John McBride, in which Australian artists as diverse as Boy & Bear, Catherine Britt and Nicole Kidman have recorded, click on the section for Studio C and you’ll see the most extraordinary sight – a console room with an SSL 908XL K desk and all the analogue outboard gear you could want, and walls made out of 2500 pieces of wood of varying length, all sticking out into the room like some giant collection of porcupine rugs. “It was the most mind-blowing thing I’ve ever seen,” says Dave Stewart, on the line from his Los Angeles office, his Northern England accent still strong. “That room was designed by the same chap who designed the graphic equaliser and John, he did this sort of design on the computer of how he thought the room should be and built it out of wood, thousands of sticks all cut to specific lengths so that if you were to look at a 3D computer version of the room, you’d take that and make it out of wood. I mean, when you shut the doors of that room, it’s as if somebody’s shut a door inside your head and when the music comes on it’s just so crystal clear.” Setting up in the adjacent Grand Room, the spacious Studio D, Stewart, his co-producer Mike Bradford and McBride – who recorded and mixed the album Stewart recorded there, The Blackbird Sessions, over five days – “frontloaded the recording” as analogue as possible, ensuring the sounds were tube valve and transformer-heavy. Recording was done at the highest digital resolution, 96K, to Pro Tools through the SSL. “A lot of it’s due to the fact that we’re all playing through vintage amps, so it’s been down to the equipment. Even the microphones were from the ‘40s, going through valve amps and limiters. Then putting it back to tape and just every possible thing that you could do to make you not have to EQ anything… so getting the sounds right by the right microphones, moving them in the right position, going for the nice warm valve amps and things and then going through the board with the EQs all set to zero. Because I didn’t want to do this thing of, like, you record stuff, do as many tracks as you want and then we can sort it out with the EQ, and you’re kind of taking huge chunks out of the waveforms and fucking up the sound and then making it fit together in a kind of mix that isn’t dynamic, it’s more like a parallel music coming at you in long line. “What happens when you’re using all this gear is the natural dynamic of the band comes out and the natural positioning of the microphones allows some kind of air loss in it, and so everybody can hear that when we’re playing and know what they’re playing is actually getting put down onto the tape the way it sounds. You know that awful thing when you used to go and play in a room and when you came back in it didn’t sound anything like what you heard? Well every time we went back in to hear what we did, it sounded exactly like what we were playing, which was a great relief.” Stewart was joined in the studio by Nashville session players – guitarist Tom Bukovac, steel guitarist Dan Dugmore, bass player Michael Rhodes and drummer Chad Cromwell – McBride setting up just one RCA BK5B ribbon mic running through an RCA BA11A mic preamp to pick up all three guitars, again the aim being to capture the interaction in performance. Stewart played a ’56 Strat, a ’55 Telecaster, a 1949 Gibson SJ200 acoustic and a 1937 Martin D28 acoustic guitar. The result is

an album with just two or three instrument overdubs. McBride’s country artist wife Martina was a natural choice as guest vocalist and features on the track All Messed Up, while two young sisters, Laura and Lydia Rogers, AKA The Secret Sisters, were recording their eponymous debut album in Blackbird so were invited in to add their voices to two tracks. Then there’s the song Cheaper Than Free, co-written with and featuring Stevie Nicks, whose latest album, In Your Dreams, Stewart produced. The recording of that album was a very different affair to the usual studio experience. “I set up a studio in her house [in LA], in the hallway where the spiral staircase was. We had, like, a vocal mic stood there and some baffles around, but they [mics] were up above her head too, if you wanted to and you could move them up or down, and we had guitar amps in the dining room – the house was all wired up – and we were in the living room where the fire was with a little mixing desk. We did some stuff in the studio but most of it was done in the house over a period of about a year. She’s an amazing artist actually to work with, how focused and intense she is about what she’s doing and wanting to get it exactly right.” Of course, if there’s one thing Dave Stewart knows, it’s recording the female voice, having worked for years with Annie Lennox in Eurythmics, as well as his former wife Siobhan Fahey. He also produced and co-wrote the latest album from Joss Stone, LP1, recorded, as it happens, in Blackbird Studios. “Joss Stone is a completely different approach,” Stewart explains, in comparison to Stevie Nicks. “She’s all raw nerve endings and ‘let me at it’! She’s 24 and raring to go and will sing ‘til she’s got no voice left, firing on

all cylinders all of the time and very acutely aware of the musicians, what they’re playing, and as intense as Stevie on getting it right but in different ways.” The Blackbird Sessions is out now through Roadshow Music.


EMPLOYMENT ADMINISTRATION DJ AVAILABLE- ANYTIME -0416306340 for any dj service club or home or birthday call anytime-GET A REAL DJ NOT MP3 PLAYER OR CRAPPY DOWNLOAD.......VINYL DJ ROCKS iFlogID: 14930

Drummer wanted for Sydney Grunge Band. In Carlingford/Paramatta area 24 years and under. Influences: Silverchair, Nirvana, AIC, Sabbath etc Contact Daniel on 0403 885 433 for more info and demos. iFlogID: 13938

Les Paul Custom Epiphone White, goldtop hardware. plays beautiful and gives a great full sound. comes with gator hardcase and fender straps-Wstraplocks.retail $1800 selling $950!!! call Nathan on 0423197252 iFlogID: 14232

Line 6 Flextone (Multi Effects) 75Watt Bought for $1450, selling $850. looks brand new, great clean to heavy buy or test Call Nathan on 0423-197-252 iFlogID: 14230


SALES & MARKETING Looking for fun, ethical, paid work? Love meeting great people? Looking for a little more out of your career? Check out iFlogID: 13785

People needed to send eMails offering a new music Book for sale. Must have own computer payment by commission via Paypal. Contact Bill on (02) 9807-3137 or eMail: nadipa1@yahoo. iFlogID: 13289


120 watt.2 channel.f/ out.very punchy.great tone.UK made.VGC.$350. Ph.0428744963.Cooroy iFlogID: 13021


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CD / DVD Attention Musicians, Record Collectors, Universities, Libraries - new Book (print/cdROM/ direct download) compiling 100 years of popular music. GO TO web-site on how to buy. Enquiries: (02) 9807-3137 eMail: iFlogID: 13287

DRUMS WANTED VINTAGE DRUM KIT, old Ludwig, Gretsch etc. Also want vintage snare drums etc. Sydney based but will pay top $ and arrange courier. Ph 0419760940 iFlogID: 13234


genuine 1980’s.all case.great tone/action/condition.very rare.$2000 ono. Ph.0428744963.Cooroy iFlogID: 13027

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KEYBOARDS KORG TRITON Extreme88 synthesizer in new condition with keyboard stand and damper pedal. Worth over $7,000 sell for $4,295 including delivery. Currently in Perth. Phone 0439301165 Email: iFlogID: 13084

MUSIC SERVICES BAND MERCHANDISE Cardboard Box Studios, Contributor to Rolling Stone Magazine, Dane specialises in providing high quality creative images to a diverse range of clients iFlogID: 15218

DUPLICATION/ MASTERING CD MANUFACTURING:Acme is Australias best price CD manufacturer. 500 CD package = $765.05: 1000 CD package = $1320.00 Short run also available.

Audio Mastering, mixing, recording. CD-R music & data duplication, cover artwork, colour disc printing, online global distribution. Full studio package deal for EP or full album projects. Enquiries ph: 02 98905578 iFlogID: 15162

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Aria Nominated Producer/Audio Engineer/Mixer/ Remixer + Online Vocal editing - all enquiries welcome. Ph0419355060 iFlogID: 15021

Pa hire,set up and pack down,great for bands and functions,We also have lights and sound man. We have over 20 years exp.Email me at nsound@ with ur event

Do you want to hear your song fully produced before you hit the recording studio? Any Instrument. Any Genre! First song is free!! For more information: 0437693454 llewellynstudios@live. iFlogID: 13120

Incubator Recording and Mastering. “Where the grooves are hatched”. Record your next demo or release in a relaxed creative enviroment with experienced engineer. Affordable check it out online at iFlogID: 13892

Recording Studio, Parramatta, $30hr casual rate. No kits! Singers, songwriters, instrumentalists for acoustic, world, classical genres specialist. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days. iFlogID: 15152

Recording Studio, Parramatta, $30hr casual rate. No kits! Singers, songwriters, instrumentalists for acoustic, world, classical genres specialist. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days. iFlogID: 15160


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Sydney PA Hire: Best quality equipment, small to large 2, 3 and 4 way systems, packages for all occasions, competitive prices servicing Sydney and environs. Details;, Chris 0432 513 479

Drum-In-Tensions - your local mobile Drum and Percussion service and repairs for Brisbane, Gold Coast and Northern NSW. Free quotes available. Call Timo now on 0402 980 602. iFlogID: 14888

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POSTERS Poster distribution for Music & Arts on the Gold Coast & Northern NSW. Fast, efficient and reliable service at a competitive price www.thatposterguy. iFlogID: 14678



Too embarrassed to play your latest recordings to your friends? Had your demos rejected? Want the Record you are proud of? Don’t waste money on Demos. Bradshaw Music Productions. We can make the Record that could help you open doors. Contact kate 0426972300


Contact me for your free chapter of my book “ Chord Voicing for Composers, Arrangers, Songwriters and Pianists”. The complete guide to advance harmony.

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Drummer and Drum Lessons Drum Lessons avaliable in Gladesville Teach all Levels, ages and experience. Played for 16 years. I studied at Billy Hydes Drumcraft, Obtained Dipolma in Drummming Mob: 0402 663 469 Michael iFlogID: 13703

GUITAR LESSONS BEGINNERS-$25HR 1xFREELESSON guarantied guitar playing in days not years taking the frustration out of learning. Music CD’s teaching tools supplied. Teaching guitar 10years + SMS 0405 044 513 iFlogID: 13973

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VIDEO / PRODUCTION D7 STUDIO MUSIC VID FROM $250 music vid $250. Live gig edits, multiple angles, from $150 or 1 live track from $80. All shot in full HD. d7studio@ ph:0404716770 iFlogID: 13368

Kontrol Productions is a highly professional production company that specializes in the production of music video’s. We ensure that our products are of the highest industry standards. For enquiries iFlogID: 13827

MUSIC VIDEOS offer a great way to gain exposure. Immersion Imagery has worked with a variety or artists and strives to offer quality & creative Music Videos. Visit email iFlogID: 13825

MUSICIANS AVAILABLE DRUMMER A1 PRO DRUMMER AVAILABLE for freelance gigs, tours etc. Extensive touring experience, gret time/tempo/groove, great drum gear and pro attitude. Sydney based but will travel. More info, ph 0419760940. iFlogID: 13230

TOP INTERNATIONAL DRUMMER available, great backing vocals, harmonica player and percussionist. Gigs, tours and recording always desired. iFlogID: 14261

GUITARIST 18 year old guitar player looking to form Rock N’ Roll band. Influences: Guns N’ Roses, Aerosmith, Led Zeppelin, New York Dolls. Preferably in South. Call Tom on 0401722767.

Sydney SoundClouders Meetup featuring live bands and solo performances @ The Valve Bar & Venue, 900 Princes Hwy, Tempe on Thursday, September 1, 2011. Free event - all welcome. iFlogID: 14843

Up & coming bands wanted for gigs-get yourself some exposure in front of small/med size crowdsend band details & contacts to soundbar@ iFlogID: 15385

BASS PLAYER Bass Player wanted - Must have good gear, transport and be a solid player. Gigs waiting. Infl: Paramore, All time low etc thestellaraffect Ph: 04326321495 for an audition.

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DRUMMER Can you groove? Guitarist and bassist looking for determined drummer to form a heavy rock, funk blues driven jam band in the Bondi area. Preferred age: 16-24. Call Andrew: 0414399413.

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TUITION GUITAR LESSONS BEGINNERS-$25HR 1xFREELESSON guarantied guitar playing in days not years taking the frustration out of learning. Music CD’s teaching tools supplied. teaching guitar 10years + SMS 0405 044 513 iFlogID: 13975

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SINGER GOSPEL SINGERS WANTED for non-denominational music ministry to record triple-CD in Perth. World-class, passionate and devotional vocalists sought. View for details. Jesus is KIng! Reverend Eslam. God Bless You! iFlogID: 13088

Very strong Professional female singer (18-30) with cover band experience - for Corporate Party Covers Band based in Sydney, agency backed and plenty of work! Send Bio to info@

MUSIC TUITION- Guitar, Bass, Drums, 5 String Banjo. Catering for all ages, private one on one lessons. Rock, Blues, Country, Jazz, Slide, Finger Picking.Sutherland Shire.Contact Terry- 0402 993 268 iFlogID: 15166


Have fun learning invaluable comedy, presentation & life skills from ARIA nominated Robert Grayson w JJJ Raw Comedy finalists in 3 states in 2011 Ring 0401 834 361 iFlogID: 15113

SERVICES GRAPHIC DESIGN Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $399 including UNLIMITED pages, Logos, Hosting and 5xemail addresses and much more! Contact info@ or see www.bizwebsites. iFlogID: 13864

Energetic drummer needed to form a progressive heavy rock band in Bondi area. Are you serious, determined and able to drive the rhythm section whilst still keeping a groove? Call:0414399413.


Have fun learning invaluable comedy, presentation & life skills from ARIA nominated Robert Grayson w JJJ Raw Comedy finalists in 3 states in 2011 Ring 0401 834 361 iFlogID: 15113

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WHO ARE YOU? Are you a reliable Metal Head into Conspiracies who plays Drums or Guitar? CONTROL NEEDS YOU... Contact: 0423 350 259

Guitarist wanted for new band, album already recorded, band ready to gig. Been compared to No Doubt, Lily Allen. We have charts for all songs. Call Francesca 0431907626

TATTOO Monstrosity Dreadlocks, Sydney. Dreads and maintenance special: All service $30 per hour. Professional, guaranteed service. Kings Cross. Call 0421356410

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Percussionist - Professional Freelance Percussionist with 20 years professional experience playing both nationally & internationally. Looking to perform with professional musicians on a freelance basis. Very reliable. Call Timo on 0402980602.


OTHER is free to join, and with over 5000 members its fast becoming the largest online music community in Australia! If your looking to join or form a band, find a band member or get exposure check Ozjam out today!

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Looking for a cool DJ to work with in forming a killer club act with live drums/percussion. Call Al on 0400 909 633

Experienced drummer with a commitment to regular rehearsals and professional performances required for alternative rock band. Influences QOTSA, Foo Fighters, Nirvana etc.www.myspace. com/mollydredd 0411 372 469


Audio Mastering, mixing, recording. CD-R music & data duplication, cover artwork, colour disc printing, online global distribution. Full studio package deal for EP or full album projects. Enquiries ph: 02 98905578

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Open Mic Every Thursday At The Plough Hotel,greatvenue,Bandswelcome,amps,drums,pa provided.333 Barkly Street Footscray, email me with any questions


We are a friendly jazz band playing music to any style for romantic situations, weddings, anniversaries, small cozy clubs - very affordable. contact Chris 0419 272 196

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

Looking to start a band in the vain of The Coral and The La’s but also with Motowny beats underneath. Looking for a drummer, a bassist and a lead guitarist.

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Music tuition, classical / flamenco guitar, celtic harp, theory & harmony, arranging. 9am - 9pm, 7 days. Parramatta area. $40 hr, $30 half hr. Mature & patient. Harps for hire. Ph: 02 98905578

iFlogID: 15346

iFlogID: 15071

GUITARIST 18 year old guitar player looking for another guitar player. Influences: GN’R, Aerosmith, Zeppelin, New York Dolls. Preferrably someone in the south (Shire). Call Tom on 0401722767 iFlogID: 13407

Guitarist wanted - Must have good gear, transport and be a solid player. Gigs waiting. Infl: Paramore, All time low etc Ph: 04326321495 for an audition. iFlogID: 15280

NOEL GALLAGHER required for SYDNEY based OASIS cover band. Must have good gear, transport and band experience. Lead ability not essential. Good vocals. Call karl 0415 877 918 iFlogID: 13432

Graphic Design for the music industry. Work to your budget and needs for your next logo, flyer, album art or merch design.Contact or head to iFlogID: 15088

Limited Edition mens tees and hoodies with a sense of humour. All hand-screened and numbered.

iFlogID: 13611

OTHER Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $399 including UNLIMITED pages, Hosting and 5xemail addresses and much more! Contact au or see

iFlogID: 13862

Need to promote your restaurant, club and make it the place to go? Contact us now, because providing good entertainment is a personal skill. Chris 0419 272 196 iFlogID: 15175

NEED A MONTH OF WORK WITH GREAT PAY? The Established Bottled Water Company is looking for a bakers’ dozen of good workers to help out with our current project. $30 $55 $50 $50

$20-36 per hour

$40 $65 $60 $60 $15 $20



Great working hours: 10am-4pm, Monday-Friday Located in a bright Victorian mansion just off Lygon street, Carlton. We are seeking friendly people with a laid-back and confident phone manner to call businesses. The idea is simple, for every bottle of water a company buys, a bottle with their name on it gets sent out to the SES volunteers. Continued work will be created for the right people. If you have good command of the English language and basic computer skills call us today on:

9946-6868 or 1800-908-034 and ask for Dan or Amy 74

Inpress Issue #1190  

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...