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Wed 16. 7pm TweetFilm - The Matrix Watch and talk 140 characters at a time Thu 17. 9pm MOOD DJ's NuBody & guests Fri 18. 10pm Friday Night Crabfight VJ sevenmilligram & guest DJs Rintrah, Ms Stylz & Carmi Equatorial Funk & Tropical Party Jams Sat 19. 10pm For The Record III Louay, Matt Collens, Jive, Simon Murphy, Jackmanloop & Muska VJ vdmo Kstati Mon 21. 5:30pm Ensemble Urbane as part of the “Aesthetics of Sound" MMW 7:30pm Don't You Have Docs? present short documentary film 9:30pm Brazilian Film Fest After Party
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40 This Week In Arts plots your week ahead 40 The Human Centipede II’s Laurence R Harvey hates cheese
Thursday 17 November
Leah Flanagan (DAR)
She’s in town! Catch Leah’s ukefused, distinctive take on folk, soul and country for a one hour show with band (following Andre Warhurst). 9.30pm
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Saturday 19 November
The Cartridge Family
More from Suzannah Espie, Sarah Carroll & Rusty Berther. 5pm
John Kennedy’s Comeback Special (SYD) Gospel, blues, country, harmonies, hilarity and more. 9pm
Sunday 20 November
The Rectifiers Returning to their original six-piece line-up, the alt-country Rectifiers play an ultra-rare, don’t-miss show. 5pm
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The week’s best and worst in Backlash/Frontlash The Frontline brings you the hottest industry news Pop culture therapy with The Breakdown Foreword Line brings you all the latest tour announcements The band that gets nude together stays together, say Rat Vs Possum Gyroscope are letting fans choose their setlist Armed with new songs Underground Lovers are back Georgia Fair heart scantily clad carnies Charles Jenkins is thinking big Rappers rate Mantra highly Dick Diver are a self-confessed “vibes band” The Dynamites featuring Charles Walker are the real deal Two members of Jinja Safari may be abalone divers David Saunders is helping Flying Nun celebrate its 30th birthday The Gaslamp Killer thinks Tame Impala are amazing HTRK deliver a really sexy album On The Record rates new releases from Joker and Florence & The Machine Dune Rats’ songs generally clock in around two minutes Autumn Gray have capitalised on a happy accident She ain’t no fashionista but Gossling sees the benefits of looking good Raah Project are happy to let the venue impact their sound
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Senior Contributors Jeff Jenkins Overseas Contributors Tom Hawking (US), James McGalliard (UK), Sasha Perera (UK). Writers Nick Argyriou, The Boomeister, Atticus Bastow, Steve Bell, Alice Body, Luke Carter, Dan Condon, Anthony Carew, Chris Chinchilla, Rebecca Cook, Kendal Coombs, Adam Curley, Cyclone, Guy Davis, Liza Dezfouli, Lizzie Dynon, Guido Farnell, Sam Fell, Bob Baker Fish, Robert Gascoigne, Warwick Goodman, Cameron Grace, Andrew Haug, Andy Hazel, Kate Kingsmill, Michael Magnusson, Baz McAlister, Samson McDougall, Tony McMahon, Count Monbulge, Luke Monks, Fred Negro, Mark Neilsen,
41 Film Carew w weighs in on The Future and Bill Cunningham New York 41 Cultural Cringe looks at a controversial proposal from Melbourne Festival 41 Ryan Hayward talks about Joanna Murray-Smith’s new play 41 Irish comedian Des Bishop shines through the clouds of 2011 42 Emilie Collyer talks about her Big West piece, Maybe We’re Never Together 43 Vincent Vendetta from Midnight Juggernauts geeks out over old horror films
BACK TO INPRESS 45 Gig Of The Week gets twisted at the Tote 45 LIVE:Reviews has its non-gender-specific way 54 Sarah Petchell will Wake The Dead with her punk and hardcore talk 54 Andrew Haug takes us to the dark side in The Racket 54 Dan Condon blues and roots in Roots Down 54 Kendal Coombs leads the under-18s boardroom in the Department Of Youth 56 The view from the E4 in London Fields 56 The Calling goes with the flow 56 The freshest urban news with OG Flavas 56 Bare Bass culture with Richie Meldrum 64 A guide to Melbourne’s best beer gardens 67 If you haven’t appeared in Fred Negro’s Pub, your mother probably still speaks to you 67 Jeff Jenkins gets down and local in Howzat! 68 Our Gig Guide fills your diary for the weekend 72 Gear and studio reviews in BTL 74 Find your new band and just about anything else in our classy Classifieds Roger Nelson, Danielle O’Donohue, Matt O’Neill, James Parker, Adam Psarras, Josh Ramselaar, Paul Ransom, Leonie Richman, Antonios Sarhanis, Ingrid Sjolund, Dylan Stewart, Izzy Tolhurst, Nic Toupee, Rob Townsend, Danielle Trabsky, Dominique Wall, Doug Wallen, Jeremy Williams.
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The Getaway Plan’s long-awaited album, Requiem, is now available digitally and in stores nationally. To celebrate the album release, the band are embarking on a national tour starting this month. Fans in attendance will be the first to hear new songs off Requiem performed live – including their first single The Reckoning. The band will also be doing their second stint at Big Day Out early next year. We have two double passes to their Hi-Fi show on Thursday 1 December to give away.
Midnight Juggernauts are playing a special audiovisual concert at ACMI on Friday 25 November, as they re-score a selection of newsreels from the ‘60s British TV series Look At Life, which highlighted the wonders of its age in science and technology and modern life, and has since become a superb snapshot of life at the time. Thanks to ACMI we’ve two double passes to this unique live event to give away.
Pond members have been scattered across the globe for the best part of a year, but they can be apart no longer. Their cheeky delivery of delicious funk-pop and psychwailings shakes hands with everyone from Todd Rundgren to Prince to Yes, yet maintains a definite Pond flavour. We have two double passes to their Phoenix Public House appearance this Friday to give away.
With its contorting synth lines, hopelessly fun chorus and slamming drums, single Speak Of The Devil perfectly captures the energy and joy of a Hermitude live show. It’s an ode to shaking off selfawareness, being dragged onto the dance floor and finding it’s exactly what you need. Inpress have two double passes to give away for Hermitude’s East Brunswick Club show this Friday Neil Murray was the whitefella in the Warumpi Band, the first Aboriginal group to sing rock’n’roll in an Aboriginal language. His life since that time has not been easy. Pieces have been cut out of him like pieces of bark were cut out of big gums in this country for thousands of years. It’s over 30 years since Murray packed his ute and drove north from Lake Bolac in Western Victoria on his quest to engage more deeply with this ancient land. We have five double passes to see this unique performer at Bella Union (Trades Hall) this Saturday.
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FRONTLASH QUEUE AND AYES
Not quite sure whether Harvest fest is a Frontlash or Backlash… the bands and setting were amazing, but were let down by poor organisation and killer queues. We’ll go with Frontlash, just ‘cause we don’t want to get in a Twitter war with promoter AJ.
SCENE AND HEARD It says something of Melbourne’s thriving live scene that the Twerps and Clairy Browne & The Bangin Rackettes both staged album launches up against Harvest and both managed to pack out their rooms (the Tote and Hi-Fi respectively).
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BACKLASH THE LONELY GUY
Vile Kyle Sandilands told the Herald Sun he’s “having a lot of 20-year-old model sex”, but still feels as lonely as ever. That’s what happens when you shag people who charge by the hour, Kyle.
OUT OF TUNE Just when you thought you couldn’t hate commercial radio any more: stations are lobbying to remove local content quotas because the current model “is unsustainable and inequitable”. If anything, broadcasters should be made to play more music from current local acts.
PM PWNED Not sad to see the back of Silvio Berlusconi… Can Kyle Sandilands speak Italian? The ex-Italian PM would make the perfect wingman for him.
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POP CULTURE THERAPY WITH ADAM CURLEY It was late on Sunday night at a BBQ that my friend once again brought up the topic of the new video from Odd Future spin-off duo The Internet. It was the second time we’d talked about it, but with a group handy to weigh in on the debate we’d been having, it was necessary to rehash the conversation. And so we turned down the music playing through the stereo and someone YouTubed the clip on their iPhone and we all watched. We watched as Syd The Kyd, the lone female in Odd Future, wandered a fairground hand in hand with another woman, as the two did lines of coke, as they kissed, as their visions warped, and then, at the close of the video, as Syd hauled the unconscious woman out of her car and left her by the side of the road. The debate we’d been having was whether or not the clip was “offensive”. My friend said it was. He made the argument that – drug-taking aside – by making the clip a romance narrative between two women in a setting most often used in conservative and heterosexual rom-com scenarios, The Internet were doing something that subverted the normal representation of lesbians. And then they went and cocked it all up by following the lead of so many male rappers and perpetuating the imagery of violence against women. Why, my friend asked, did Syd The Kyd need to ‘do what the boys do’ in order to be seen as ‘tough’, when there was a chance to create something really different? That the violence was enacted by a woman was even more offensive. It was the second debate about a clip I’d had in as many days. The first was about Die Antwoord’s new video for Fok Julle Naaiers, the first single from the South African duo’s upcoming second album. The title translates from Afrikaans to English roughly, as member Ninja explains in a follow-up video, as “fuck all ya’ll”. The video and lyrics stick to that theme without much variation – it’s a fairly straight-up vanity track. At the close of the song, however, Ninja – who’s white – calls out to fellow member DJ Hi-Tek and drops the ‘N word’, followed up with DJ Hi-Tek doing a rap based on Mike Tyson’s famous verbal attack on a spectator at the weigh-in for his 2002 fight with Lennox Lewis. Quoting Tyson verbatim, the rap is essentially a homophobic threat of sexual assault. One friend I talked to about the clip reasoned that even though many people know Die Antwoord to be playing with characters and playing with ideas about poor suburban white people appropriating the language and behaviour of ‘gansta rappers’, the subtlety they do it with is dangerous. She suggested that it didn’t matter what the intention was behind the words; in the end, the message, without a wink to acknowledge their ironic use, was the same. In the follow-up video, Ninja does explain that DJ Hi-Tek is gay and that, to paraphrase, in South Africa both black and white people use the ‘N word’ without causing offense because they aren’t uptight about language. It’s a flawed rationale and, as my friend and I agreed, if you need a disclaimer video for your artwork, you either haven’t been successful in the enactment of your ideas or you’re afraid to stand by your ideas, which shows them to be unstable. The arguments against both videos were hard to refute. Yet I wasn’t offended by either. I couldn’t muster up an inch of disgust or anger. Not even a head shake – and at the BBQ, I wasn’t alone. To justify this, I used an argument I’d used before. In the cases of both these clips, the concern stems from thinking about what other people will make of the language used. Worrying what others will make of it, or do with it, gives the makers of the video all the power and takes power away from the viewer. As someone with the power to make my own decisions, I can see their gimmicks – even appreciate them – and still stand firm in my own beliefs. They can’t offend me. Yet, since the weekend and those debates, I’ve been called a “faggot” twice on the street, once in broad daylight from a moving car and once on a quiet night with the threat of physical violence. And I’m wondering if my argument still holds up.
INDUSTRY NEWS WITH SCOTT FITZSIMONS firstname.lastname@example.org
EMI SPLIT – SOLD TO UNIVERSAL, SONY In what appears to be a consolidation of the existing major music labels, Universal and Sony have each purchased a part of EMI. The recorded division has been snapped up by Universal for $US1.9 billion with Sony grabbing the publishing division for $US2.2 billion. Although the deal has been agreed, the regulatory checks may take up to a year to rubber stamp. After the deal was announced, Universal brought out Mick Jagger, whose band The Rolling Stones moved from EMI to Universal. He said the move was “a very positive development and I particularly welcome the fact that EMI will once again be owned by people who really do have music in their blood”. An email sent to staff of EMI Australia obtained by The Front Line, which was also sent worldwide, from CEO Roger Faxon read, “The two parts of this great business are to move along separate paths. But before ownership is transferred, there will be much work to be done to separate the businesses and to clear any regulatory hurdles. So, it is likely that EMI will remain much as it is today through and perhaps well past the end of our fiscal year.”
FRESHLY INKED Perth’s bright indie-pop hopes San Cisco have signed to Alberts Records on a worldwide deal, Your Daily SPA revealed last week. With frontman Jordi Davieson finishing high school this month, the band will be promoting their recently-recorded second EP throughout summer. Manager Phil Stevens, (John Butler Trio and founder of Jarrah Records) said, “It is an amazing pleasure to have San Cisco partner with Alberts worldwide. Alberts and Philip Mortlock in particular, were the first publishers to say they liked their music and their songs, over two years ago.” San Cisco join the company of Megan Washington, David Guetta, Angus & Malcolm Young, Harry Vanda and more. Brisbane’s Hungry Kids Of Hungary have signed their first international deal, too, with Rough Trade, landing them on a distribution deal for the Benelux region (Belgium, Netherlands, Luxembourg). Their single Scattered Diamonds has been garnering radio play and with second single Let You Down out now, their album Escapades – released earlier this year locally – is due out this week. Manager Ben Preece told Your Daily SPA, “We did get offered a few straight-up label deals, but they weren’t quite right.” The band have 35 demos written for their upcoming album and are currently trialling producers – including Magoo and Wayne Connolly – to record early next year. Meanwhile Cloud Nothings, the project of Cleveland’s Dylan Baldi, have signed to Stop Start. Their second album Attack On Memory – recorded with the lauded Steve Albini – will be released January next year. Major Label have signed Sydney’s The Khanz, with the singles-only General Pants Co-owned label announcing they’ve merged with the retail store’s artist development platform The Bubble. French metal outfit Gojira have signed to Roadrunner Records. The band will be playing next year’s Soundwave.
AUSSIES REPRESENTED AT INDUSTRY AWARDS Australians have been pipped at last week’s Billboard Touring Awards by London peers. Sydney’s Allphones Arena and Melbourne’s Rod Laver Arena were two of the three nominations in the Best Arena category, which was won by London’s 02 Arena, while Michael Coppel Presents was beaten to the Best International Independent Promoter by London’s SJM Concerts. Speaking prior to the announcement, Michael Coppel told Your Daily SPA that he though it “interesting that [Billboard] have gone further afield than the UK to find promoters”.
MTV TO REMAIN ‘PRESENT’ LOCALLY The local branch of MTV have denied that they’re abandoning the Australian and New Zealand market following a company restructure. The pay-TV network recently made 13 people redundant and merged their Australian and New Zealand branches. Senior VP and MD of Viacom International Media
BIG DAY OUT ADAPT TO “COMPETITIVE” MARKET In conjunction with the event’s second announcement, there were a number of changes rung in for next year’s Big Day Out – the festival’s 20-year anniversary. The Perth and Adelaide line-ups were reduced, with Kanye West, Mariachi El Bronx and Hilltop Hoods no longer playing Perth, El Bronx and The Living End not playing Adelaide. Those two non-East Coast events will only be running four stages this year and the Perth event has moved to the smaller venue of Brownes Stadium at Lathlain Park. Speaking to Triple J radio program Hack, the festival’s now-sole promoter Ken West said, “Apart from anything else there was a necessity to change venues in Perth right at the same time we were in a Qantas airline fiasco, right in the middle of a softening of the market and we also needed to make a decision on whether we would send out a third set of stages from England. Then it was decided we wouldn’t be able to fit two stages at the venue we were looking at and once we’d done that we actually committed Adelaide to a similar fate unfortunately.” He added, “It’s a very competitive business and I’ve advised the international agents that the game’s changed and they’ve got to start treating the Australian market like we’re real people. They’ve got to start being realistic about pricing these things and not just putting it out like it’s a bidding war at a fish market.” In other Big Day Out news, the Unearthed winners who will open a stage at each event have been announced. Dune Rats will perform at the Gold Coast, Underlights in Sydney, King Gizzard & The Lizard Wizard in Melbourne, The Growl in Perth and Honey Pies in Adelaide.
Networks, Katrina Southon, who oversaw the restructure, told Mumbrella, “Jersey Shore is a ratings winner for MTV, as is Geordie Shore, 16 & Pregnant, Teen Mom, Awkward and other longform programming. Our audience has a growing appetite for MTV’s global content, and the changes we’ve implemented are putting systems in place that allow us to deliver the global hits in a more strategic and speedy way… We’ll continue to remain very present on a local level and are fully integrating our commercial and creative teams to maximize business opportunities these present.”
SXSW DIRECTOR TALKS AUSSIE BANDS Ahead of his keynote speech at Melbourne’s Face The Music conference and showcase, South By Southwest creative director Brent Grulke told Your Daily SPA that he believes there is a “dogma” for Australian bands in the US. “They’re seen as familiar, but exotic,” he said. “Australian bands (and Australians) are seen as being tough but friendly, independent, hard-working and self-reliant, but generous and willing to lend a hand. These are qualities that Americans respect and like to think of as ones Americans embody.” Of the upcoming conference he said, “I’m not familiar with Face The Music in any real sense; that’s why I’m so excited about attending. As for what I bring as a keynote speaker… well, that’s really not who you should be asking that question to!” The event takes place Friday and Saturday at Melbourne’s Art Centre.
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COMMERCIAL RADIO CALL TO REMOVE LOCAL QUOTAX Commercial Radio Australia have called, once again, for the removal of the local content quota on radio during their submission to the government’s review of converged media. The topic of converged media raises the question that if all media is being delivered on the same platform, should they all be subjected to the same regulations? The CRA are protesting the fact that online radio isn’t subjected to similar quotas but ARIA and APRA believe that the obligation must stay. Commenting to Your Daily SPA, CRA’s CEO Joan Warner said, “The CRA Convergence submission argues that a quota for Australian music can only fully achieve its aim of supporting Australian music and musicians if it were to apply across all music distribution platforms in Australia.” However, ARIA’s CEO Dan Rosen replied to us, saying that ARIA “stands by its view that local content quotas should continue to apply to commercial radio – under the Australian Music Code Of Practice – and be extended to other forms of radio in a converged media environment. In this way, we can best ensure Australians continue to have access to Australian content that reflects and contributes to our national and cultural identity and ensures that Australian voices and stories continue to be heard for generations to come.” Considered an important development tool for young bands, there are concerns that without the quota, stations may skimp on their responsibility to local music. APRA|AMCOS’s head of corporate services, Dean Ormston, told Your Daily SPA, “Emerging and established songwriters rely on radio for the development and sustainment of their musical careers. Radio provides artists with a vehicle to get their music heard, allowing them to maximise their fan base and gain exposure for their music.” Warner agreed to the importance of radio in artist development, but labelled an enforced local quota as “unsustainable and inequitable”. She said, “The more dynamic competitive environment brought about by the emergence of online music services means that placing Australian music quotas exclusively on the ‘easy targets’ of broadcast radio licensees places the sector at a distinctive competitive and economic disadvantage. It is unsustainable and inequitable for free-to-air commercial radio broadcasters to be subject to Australian music quotas when internet-only services and streamed content provided by telecommunications companies and others are not subject to the same degree of intervention. To this end, CRA supports the removal of the Australian music content quota requirement in respect of commercial broadcasters and believes that greater effort needs to be expended at the production level to ensure that a wide range of quality Australian music content continues to remain both available and attractive to music consumers. That said, it is important to note that the commercial radio sector has always supported Australian music and will continue to do so, regardless of whether there is a formal content quota system in place.”
THERE’S A LOT OF LUCK INVOLVED IN MAKING IT IN THE MUSIC INDUSTRY, BUT THE FACE THE MUSIC CONFERENCE AIMS TO ARM PEOPLE WITH SOME INSIDER KNOWLEDGE, WRITES KATE KINGSMILL.
There’s an expression Henry Wagons likes that comes about as close to a formula for making it in the music industry as you’re ever likely to get. “In music you’ve got to stand out in the rain to be hit by lightning. I think there’s something to be said by that,” says Wagons, sagely. Despite, or more likely because of, its cheesefactor, Wagons likes that it refers to the gambling element of a music career. “At any point you could be struck by lightning and your fortunes could change quite dramatically, and that’s the sort of potential outcome of music that’s open to anybody. If you get some sort of hit, you could find yourself living next to Shaquille O’Neal in Los Angeles. “Work, play lots of gigs, put your music out there, and the more you stand out there in the rain, as unlikely as it may be, the better likelihood there is to be hit by that lightning bolt.” Whatever role you have – or hope to have – in the industry, whether you’re an up-and-coming musician, manager, agent, producer or music journalist, the Face The Music conference is an awesome resource. Now in its fourth year, the annual event, held this Friday and Saturday at the Arts Centre, is designed to provide the Victorian music community with a platform for professional and creative career development through presentations, discussions, networking and practical workshops. The conference, which is supported by some of Australia’s key music industry agencies and this year is partnered with Melbourne Music Week, attracts an impressive collection of local, national and international professionals in the industry, and this year includes a keynote interview with Brett Grulke of Austin’s South By Southwest festival.
At $40 for one day ($30 concession) or $60 for a full two-day pass ($50 concession) it’s a totally affordable way to pick the brains of dozens of movers and shakers of the industry, from APRA and Warner to Two Bright Lakes and Billboard. There are discussions about every aspect of the industry, including songwriting, artist development, marketing, law and technical workshops. Henry Wagons is just one of many artists involved this year. His band Wagons have been making inroads in the States recently – he has visited the US four times in just the last year – and he will bring his knowledge and experience to the Away & Abroad session, which covers how to go about taking your music overseas. “We spent a lot of time in Wagons locally playing residencies and we didn’t really have our sights set on playing overseas,” Wagons says. “For some time it seemed a very abstract concept to us, and I know it is to a lot of bands. A lot of it has to do with the expense and the visas and taking time off, and there’s this psychological barrier to changing hemispheres. It is very intimidating and it’s for that reason that we’ve waited almost a decade before we really tried to go overseas because we really wanted to wait for the right chance and the right opportunity. It is very intimidating and in a way that’s kind of good because it filters out those that are serious about it.” There is no surefire way to ‘make it’ says Wagons, he can only bring his own perspective, which in Wagons’ case has involved an emphasis on artist relationships. “The key to opening the door to the States, for us at least, was playing with bands and getting into a position in Australia where international bands want to play with you in Australia, and then cultivating good relationships so that they invite you back to their own country. You get a foot in the door with some kind
HENRY WAGONS of strong artist-to-artist relationship that basically involves having a late night out, sharing d’n’m moments and a few rude jokes and the next thing you know you find yourself racking up frequent flyer points on long haul flights. At least that’s the path we took. “The whole musical career path and the creative career path in general is definitely not as regimented as say becoming a mechanic or an accountant or a lawyer or whatever, where there are very set paths and predictable paths to success. In music, it’s all a bit random and up to the gods. So you’ve just got to roll the dice and hope for the best.” There is definitely a gambling element to a career in music. But for Jess Beston, who comes from an A&R background and now runs her own artist development company, Tiny Monster, it’s important for artists to use as many of the tools they have at their disposal. In the Doing It The Indie Way session, Beston will discuss these tools with fellow A&R manager Vanessa Picken (Run DNA). Whether it’s tweaking the songwriting, choosing a more appropriate producer, getting a better set of photographs taken or choosing different songs for your soundcloud, “It’s always a bit of a lottery, but you can improve your chances,” Beston says. “If you look at the story of The Jezebels, that is absolutely the best possible development story
that you could use as an example in this country right now,” Beston enthuses. “They started in 2007 supporting all sorts of different Sydney bands and touring bands and then gradually they started touring. Their first EP did not get any play on Triple J, they kept going, they kept writing, their second EP had two songs that did really well on Triple J, then by the third EP they were built up to the point where they could sell out two nights at [Sydney venue] Enmore prior to even releasing an album. That is a beautiful development strategy. I think it requires a lot of hard work and commitment, and having a good team around you, that’s really important.” With its emphasis on patience, hard work and paying your dues, the music industry is not the place for anyone lacking passion and gumption. “Working in the music industry can be very tough and sometimes you feel very alone,” says Beston. The great thing about Face The Music is that “it brings people together, it makes you feel like you’re not crazy, and it makes you feel like anything is possible. There are success stories and there are people who make careers out of this industry. And all of us who have been in the industry a long time, we want more young, good people to strengthen the industry.” Face The Music takes place at the Arts Centre this Friday and Saturday.
INPRESS • 21
NEWS FROM THE FRONT
M A R L E Y WEDNESDAY 16 NOVEMBER
THE HARLOTS WOLFY & THE BAT CUBS THE MAGIC BONES DJ HAMMER & TONGS
BIG YAY OUT Big Day Out 2012 is ever evolving, meaning that there are newly added musical and visual additions to the festival. The second round of bands has been announced, and added to the line-up are: Noel Gallagher’s High Flying Birds, Nero, The Vaccines, Bassnectar, The Amity Affliction, Cavalera Conspiracy, Regurgitator, Drapht, Calling All Cars, Art Vs Science, Kitty, Daisy & Lewis, Kimbra, Bluejuice, Abbe May, Papa Vs Pretty, Das Racist, Stonefield, King Cannons, Tonite Only, Miss Kittin, Faker, The T-Rek Band, Shockone and Triple J Unearthed winner King Gizzard & The Lizard Wizard. Phew! So if these acts sweeten the deal for you, there’s still tickets available.
MORE MONKEYS MAGIC Fans who missed out on securing tickets for the Arctic Monkeys’ January 2012 Melbourne show can breathe easy. Due to overwhelming demand the band will perform a second and final show on Monday 2 January at the Palace Theatre. The band will be joined by very special guest Miles Kane. Tickets on sale Monday 21 November.
ENTRY $8, 9PM
THURSDAY 17 NOVEMBER
in the world of electronic music, both in the studio and in the club. The Berlin-based, Manchester-born pioneer is a genuine live act; his genre-busting reputation traces back to his heritage in black dance music, particularly reggae, jazz and electro funk. A Guy Called Gerald performs at the Shine On festival this Sunday.
SAM & F INTERSTICE
ENTRY $10 DOOR & PRESALE THRU MOSHTIX, 9PM
FRIDAY 18 NOVEMBER
THE RYE CATCHERS
THE YARD APES THEM 9’S
ENTRY $10 DOOR & PRESALE THRU MOSHTIX, 8.30PM
SATURDAY 19 NOVEMBER
BUY XMAS PRESENTS, DRINK BEER, ALL THAT JAZZ FREE ENTRY, 12PM
SATURDAY 19 NOVEMBER **SELLING FAST**
ELECTRIC HORSE SIR APPLES GOODBYE ZOE
ENTRY $18 DOOR, $14 PRESALE THRU MOSHTIX, 9PM
SUNDAY 20 NOVEMBER
MUSIC OUTBACK FOUNDATION FUNDRAISER & MJ BATTLE OF THE BANDS
KANE MUIR & THE RAG-TIME KIDS THE SIMON WRIGHT BAND LAMARAMA & MORE!
ENTRY $15 DOOR, $12 PRESALE THRU MOSHTIX, 7PM
MONDAY 21 NOVEMBER
SECONDHAND HEART SANS GRAS EDDIE & THE PROWL LINCOLN MACKINNON FREE ENTRY, 8PM $10 JUGS!
WAY TO GO It’s been a huge week of festival sideshow news, with Laneway dropping some very tasty announcements for the first two weeks of February yesterday (but be warned: they come with some nasty clashes). The Mercury Prize-nominated Anna Calvi plays the Corner Hotel on Friday 3; The Drums and Cults play a co-headliner at the Palace the same night, Friday 3; M83 play the Prince Bandroom Friday 3; Feist performs at the Palais on Wednesday 1; Glasser plays the Toff In Town Wednesday 1; catch Twin Shadow at the Corner Wednesday 1; Wu Lyf at the Prince Bandroom on Thursday 2; Austra play the Northcote Social Club on Thursday 2; Girls hit the Corner Hotel on Wednesday 8; SBTRKT lobs at the Prince Bandroom on Thursday 9; and Givers and Portugal. The Man play the Corner Hotel on Thursday 9.
WELCOME TO THE FUTURE Future Of The Left are back in Australia as part of the Meredith Music Festival in 2011 and will also be playing headline shows around the country. Catch them at the Corner on Friday 16 December with supports The Nation Blue and Brat Farrar.
NOT JUST A GUY A Guy Called Gerald AKA Gerald Simpson (with nine artist albums in a 25-year career) is an international name that has defied genres and continues to push the boundaries of what is possible
Easy Star All-Stars are returning to Australia this summer for their first shows since 2009. To make the trip extra special, the group will be playing their most celebrated work, Dub Side Of The Moon, the reggae re-vision of Pink Floyd’s Dark Side Of The Moon, in full. As well as playing Falls Festival in Lorne and Marion Bay, East Star All-Stars will be playing the Corner on Friday 30 December.
A BIG GROUSE PARTY Big Freedia, the undisputed queen diva of the New Orleans bounce scene, ill be performing a sideshow at Roxanne Parlour on Friday 9 December. Support comes in the form of a long awaited comeback from Australian rapper Macromantics. Having been on hiatus focusing on other endeavours and projects (Romy, Heavy Mental, A Gender), Macromantics returns to the stage at the party she helped create. Rounding out this already unmissable line-up is DJ Amy, and still even more Grouse DJs to be announced.
WHERE’S THE JUSTICE? Witness French electronic duo Justice’s only Melbourne appearance at Festival Hall on Friday 6 January, where they will be performing their epic brand new live show featuring all their hits and their phenomenal new album Audio Video Disco. They will be supported by Canyons and another special guest yet to be announced.
SUMMADAYZE THE SECOND
PUSH ME OVER Victoria’s longest-running all-ages live music festival Push Over returns to Melbourne’s Abbotsford Convent on Monday 12 March with a killer line-up of upcoming Aussie talent. Firing thriller beats across four sound stages will be: Parkway Drive, 360, Tonight Alive, Yacht Club DJs, Alpine, Dangerous!, Snakadaktal, Mantra, Redcoats, Eagle & The Worm, Glass Towers, 8 Bit Love, Northlane, Skyway, Hands Like Houses, Mindset, Hallower, This Town A Forest, Awaken I Am, and Boris The Blade plus more to be announced. On top of this nine young bands will battle it out for the FReeZA Push Start Grand Final and aspiring rap artists can compete in the Push It Hip Hop MC & Breakin’ Battles. Tickets are on sale now $40+BF.
Summer is almost here and things are really heating up with the biggest second announcement of acts Summadayze has ever seen. Acts added to the bill include Nervo, Ruby Rose, Radio Slave, Andy Murphy, Ajax and more. Headlining Summadayze on New Year’s Day at the Sidney Myer Music Bowl are Pendulum, Snoop Dogg, Calvin Harris and The Scissor Sisters.
TUESDAY 15 NOVEMBER
HIATUS KAIYOTE THE UNFAMILIARS DJ CLEVER AUSTIN
ENTRY $10 FULL, $5 CONCESSION, 8PM $10 JUGS!
(TIX AVAILABLE THRU MOSHTIX): SECONDHAND HEART (MON IN NOV) HIATUS KAIYOTE (TUES IN NOV) THE HARLOTS (WED IN NOV) CHICO FLASH + ALITHIA - ALBUM LAUNCH (24 NOV) RAPSKALLION – EP LAUNCH (25 NOV) MISTRESS MONDAYS – SINGLE LAUNCH (26 NOV) JIM BEAM: BANDLANDS – THE SWEETS EP LAUNCH (27 NOV) JAREK (30 NOV) WAITING ROOM FESTIVAL: KEITH! PARTY, WINTERCOATS, YOLKE, ANIMAUX, SLEEP DECADE, SCOTDRAKULA + MORE! (1 DEC) A LONELY CROWD (2 DEC) GREY GHOST – EP LAUNCH (3 DEC)
NOW ON SALE AT MOSHTIX:
Happy Hour: Tue - Sun 4-7pm $4 House wines $6 Coopers Pints $8 Kronenbourg Pints
Flying Nun 30th Birthday Anniversary Party 18th November Saskwatch 7” Launches 24th, 25th November Slow Club [UK] 2nd March
MONDAY 28TH NOVEMBER
WEDNESDAY 16TH NOVEMBER
Whipped Cream Chargers
The Good China + Sleep Decade
Alkan Zaybek & The Lesserman
Because Goodbye (Parking Lot Experiments)
FRIDAY 18TH NOVEMBER
MONDAY 21ST NOVEMBER
FRIDAY 25TH NOVEMBER
The Messengers + DJ Manchild
The Townhouses + Patinka Cha Cha
Woody MacDonald (RRR/Primary Colours) + Two Bright Lakes DJs
Simon Wrinkler & Lauren Taylor (RRR)
Goodbye Because (Parking Lot Experiments)
SATURDAY 19TH NOVEMBER
WEDNESDAY 23RD NOVEMBER SATURDAY 26TH NOVEMBER
FRIDAY 2ND DECEMBER
Lifted Brow Launch
Flying Nun 30th Birthday
Dave Saunders (The 3Ds) + Darren Hanlon Betty Airs + heaps more
Passport EP Launch
Whipped Cream Chargers Saskwatch Album Launch
WEDNESDAY 30TH NOVEMBER
Dancing Heals + Time Shield
Slocombe’s Pussy Play the Tattoos of Tony Cornin + Baptism of Uzi + Yolke + Mile Brown
DJ LA Pocock (RRR)
Because Goodbye (Parking Lot Experiments)
DJ THUQ (Piklete)
Happy Hours 4-7pm
SUNDAY 20TH NOVEMBER
THURSDAY 24TH NOVEMBER
SUNDAY 27TH NOVEMBER
SUNDAY 4TH DECEMBER
She’s The Driver + Jailbird Jokers + The Red Lights
Step Panther Album Launch Dune Rats + Ross De Chene Hurricanes + I Oh You DJ’s
Happy Hours 4-7pm
Saskwatch Album Launch The Cactus Channel + DJ Manchild DJ James Lake
Cat Cat Album Launch
Wizard Oz + The Stevens Happy Hours 4-7pm
Howl at the Moon + Pretty Littles Happy Hours 4-7pm
CORNER BRUNSWICK AND GERTRUDE STREETS FITZROY / THEWORKERSCLUB.COM.AU / BOOKINGS: NICCI@GETNOTORIOUS.COM 22 • INPRESS
WITH UMLAUNT ( EX - MR BUNGLE ) AND EUCALYPTUS
PRIORY DOLLS ‘FAREWELL SHOW’ WITH ON SIERRA, BOARDERS AND JUAN CORTEZ
THE QUIVERS WITH THE OCEAN PARTY AND THE PROCESS
NORTHEAST PARTYANDHOUSE REDBERRY PLUM PLUS THE HARPOONS FRI 25TH
BOOM! BAP! POW! (WA)
WITH KIRA PURU AND THE BRUISE
THE ART (NSW)
WITH DANCING HEALS, ATTACK OF THE MANNEQUINS AND THE MERCY KILLS
STRANGERS FROM NOW ON ‘FAREWELL SHOW‘ RAMSHACKLE ARMY THE GUILD LEAGUE ‘CHRISTMAS SHOW’ BOOMGATES AND BITCH PREFECT
MONDAY CHILLI CON CARNE - $10 TUESDAY BEEF, CHICKEN OR VEG WRAP - $10/$8 WEDNESDAY PORTERHOUS STEAK - $12 THURSDAYS FREE POT WITH ANY MAIN MEAL! FRIDAY CHICKEN SNITZ, CHIPS & GRAVY - $10 SATURDAYS FISH N’ CHIPS - $8
INPRESS • 23
NEWS FROM THE FRONT
COMBE FOR CHRISTMAS Peter Combe has released 15 albums of children’s songs and six DVDs, his most recent being Peter Combe: The Complete DVD Collection. Catch Peter Combe, joined by The Bellyflop In A Pizza Band, in a very special Christmas-themed show Saturday 17 December in the Espy front bar. Free entry.
BOROUGHS AND BRIDGES The 6th Borough Project is Craig Smith and Graeme Clarke. With their roots in jazz, boogie and funk, and their tips in disco, deep house and warm tech, resisting the impulse to dance is impossible. While each of them have their own list of accomplishments, as The 6th Borough Project, the pair have released some stunning records to widespread acclaim. Catch them at Animals Dancing at the Bridge on Sunday 1 January.
DEVIL IN THE DETAIL If Teenwolf and Patience from The Grates had a baby who grew up to be the world’s greatest air-keytarist, the song they’d perform to would be Speak Of The Devil. With its contorting synth lines, hopelessly fun chorus and slamming drums, it perfectly captures the energy and joy of a Hermitude live show. It’s an ode to shaking off self-awareness, being dragged on the dancefloor and finding it’s exactly what you need. Hermitude have developed a dedicated following for their pumping live shows employing synths, decks and samplers and bring their Speak Of The Devil tour to the East Brunswick Club this Friday before playing at the Shine On festival in the Pyrenees Ranges this weekend.
Max Cooper has more than 50 original releases, tracks and remixes under his belt – from glitchy reinterpretations of big bands such as Hot Chip and Au Revoir Simone to straight dancefloor 12” like his breakthrough Serie originals. Next month will see the release of his EP Amalgamations. See Cooper perform at Strawberry Fields Festival on Friday 25 November.
PUTTIN’ ON THE KRAVITZ Rock icon Lenny Kravitz is set to visit in March 2012. Touring Australia for the first time in 18 years, Kravitz will be joined by Irish chart-toppers The Cranberries and Aussie rockers Wolfmother. See Kravitz with The Cranberries and Wolfmother at the F1 Rocks After Race Concert at the Sidney Myer Music Bowl on Saturday 17 and Sunday 18 March. Tickets go on sale this Monday from Ticketmaster and the Arts Centre.
LADYHAWKE GETS COSY
THE SPIEGELTENT RETURNS The Arts Centre is bringing back the much-loved Famous Spiegeltent to the forecourt from Tuesday 7 February to Sunday 22 April with a myriad of performances crossing the boundaries of cabaret, music, theatre and circus. Feature acts include Canada’s La Vie by Les 7 doights de la main, Trevor Ashley in Fat Swan (an adults-only panto), Johnette Napolitano, The Table from Poland, Le Gateau Chocolat, Meow Meow, Tex Perkins, Judy Collins, Kate Miller-Heidke and First Aid Kit. Tickets go on sale Monday 21 November.
HOOK CLOSER TO JOY DIVISION After the success of his 2010 Unknown Pleasures 30th anniversary tour, Joy Division bassist Peter Hook, will return to Australia in 2012 with his band The Light, to play the classic album Closer, in full, sequentially and in track order. Hook founded both Joy Division and New Order, and last toured here in 2010 with sell-out shows playing the Unknown Pleasures album in both Sydney and Melbourne. Don’t miss this unique Joy Division experience when Peter Hook and The Light play the Palace Thursday 12 April.
CASUALTIES OF TECHNICALITIES Unfortunately, The Casualties have been forced to postpone their Australian tour dates. This is due to a delay in the processing of a band member’s visa. By postponing, they wanted to ensure there will be no problems with running these new rescheduled dates. The new date for Melbourne is Wednesday 30 November at the Northcote Social Club. All tickets bought for the initial East Brunswick Club show are valid for this re-scheduled show.
Ladyhawke returns to Melbourne with an extremely intimate gig at the Tote on 7 December. It will be the first time locals will be able to soak up Ladyhawke in all her glory since she left the public sphere for the studio a year ago. The New Zealand songsmith will be playing a combination of new material and old classics from her hugely successful debut album. Head to the Ladyhawke website to sign up the mailing list to be first in queue for tickets.
1000 £ FOR MELBOURNE MUSIC WEEK Essentially a reincarnation of St Jerome’s, 1000 £ Bend is one of the city’s newest and most versatile spaces. Utilising its cafe, gallery and attic space, the venue is programming a massive day of unmissable live performances, Q&As, forums, exhibitions, films and DJs as part of Melbourne Music Week on Thursday 24 November from 1pm. Geoffrey O’Connor will begin by playing the late brunch followed by Wally De Backer and Scott Kannberg, better known as Gotye and Spiral Stairs respectively, on a discussion panel about their own experiences in Melbourne music. Guests include Inpress editor Shane O’Donohue, Darren Levin (Mess& Noise), Simon Winkler (RRR) and Marissa Shirbin (Threethousand), to discuss the different avenues of music media. Kane Hibberd will introduce his exhibition of recent live music photography followed by performances from RRR’s DJ LA Pocock, Hammocks & Honey, DJs Spiral Stairs and Disco Balls DJ.
DOWN ON THE CORNER Making their maiden voyage to Australia this coming February is genre-bending UK act Cornershop. Formed in the U.K around 1991, Cornershop are best known for the massive 1998 crossover hit Brimful Of Asha, a fantastic slice of ‘90s alternative pop that garnered huge mainstream attention. Their 1998 album I Was Born For The Seventh Time was named by Rolling Stone as one of the essential albums of the ‘90s. Moving into the present and 2011 saw the band release their latest full-length release, Cornershop And The Double-O Groove Of, a collaboration with Punjabi folk singer Bubbley Kaur. Six years in the making, Double-O Groove was released to strong critical acclaim, it’s striking fusion of Punjabi folk blended with dancecrazed hip-hop grooves gives both a nod to the past and a wink to the future. Cornershop are playing the Prince Bandroom on Thursday 16 February.
A TRIP TO THE GALLERY The Red Paintings return to Australian shores with a headlining national tour over the summer. The Red Paintings are a progressive rock/theatrical performance group who incorporate themed costumed stage shows, live art, visual projections and human canvases. To coincide with the tour, the band are offering the first 25 fans who buy a ticket an invitation to join The Red Paintings for an exclusive listening session of their forthcoming album The Revolution Is Never Coming. Witness the spectacle on Friday 13 January at the Hi-Fi.
RONAN TO THE CORR Ronan Keating will embark on an Australian tour this summer, playing a very special set of concerts in intimate venues around the country. Keating is currently enjoying well-deserved success with his latest album, When Ronan Met Burt which features ten reworked classics. The top-three album, fast approaching platinum status, celebrates Keating’s unique teaming with legendary composer Burt Bacharach. Joining Ronan on tour will be fellow Irish artist Sharon Corr, singer, songwriter and violinist, and a founding member of international superstars The Corrs. Keating’s Melbourne show is Monday 6 Febuary at the Regent Theatre. Tickets on sale Friday 25 November
ELEKTRIK MISFITS Ahead of their upcoming Devil’s Rain Australian tour, The Misfits have announced party metal dudes Electrik Dynamite as main support for their Saturday 3 December show at the Hi-Fi. The competition to win your band the opening support slot for The Misfits’ show in your city has now closed, but voting for the bands that have entered is open to the public via the KillRockStar Entertainment Facebook page.
TRAVELLED FOR MILES Following their ARIA-nominated 2007 release In The Midst Of This in Australia, Expatriate relocated to Germany and embarked on a massive touring campaign. After a short summer European festival run in 2010, the band headed to the UK to record their long awaited second studio album Hyper/Hearts, before returning to Berlin to put the final touches on the album in their home studio. Expatriate now return to Australia with Miracle Mile, the first single from the forthcoming album due out early 2012. Catch them at the East Brunswick Club on Thursday 15 December.
WATCH YOUR MOUTH Since departing Australian shores in late 2009, Guttermouth have been busy. After another round trip on the punk rock circuit the Guttermouth crew thought it was time they got back a place they all hold deeply in their hearts: Australia. Joining them on the entire Victoria leg of the tour will be Australian punk rock heavyweights 28 Days, who are back to the stage with a new record set for release in 2012. See both bands at Geelong’s National Hotel on Wednesday 18 November, San Remo’s Westernport Hotel on Thursday 19 and the Corner on Friday 20 November. 24 • INPRESS
DRESDEN DOLLS REUNITE Followers of theatrical punk cabaret stars The Dresden Dolls can rejoice at news breaks of their upcoming reunion tour. The dynamic duo, comprising Amanda Palmer and Brian Viglione, reached infamy through their brand of art rock, steadily climbing out of the artistic trenches from which they were born. Palmer and Viglione’s live shows have enchanted and enthralled audiences the world over since their formation over a decade ago and their return will no doubt be much celebrated. Be sure to catch them as they play in Australia for the first time in six years. The Dresden Dolls will grace the Forum theatre Sunday 8 January. Tickets on sale Monday 21 November.
NEWS FROM THE FRONT
DEATH CAB FOR AUSTRALIA
BLAZIN’ ENTRAILS THOUGHOUT AUS
After a gruelling touring schedule since the release of their seventh and stunning album Codes And Keys, Death Cab For Cutie finally set their sights on Australia for live shows in February 2012. The band last toured Australia in 2009, selling shows out well in advance, promoting their Grammy Award-nominated sixth album Narrow Stairs and have surpassed all expectations on this new record with its sonic exploration and lyrical ambition. They are playing the Palace Theatre on Tuesday 21 February.
Armed to the teeth with a gunslinging Gretsch, a double bass, drums and a theremin, Blazin’ Entrails are embarking on a tour up and down the East Coast of Australia, bringing their stomping psychobilly sound to the quiffed, switchblade-wielding faithful that turn up wherever they play. To celebrate the release of their latest EP Los Barstos Blazin’ Entrails will play this Thursday at the Vineyard, Friday at the National Hotel in Geelong, Saturday at the Barley Corn Hotel and this Sunday at Blue Tile Lounge.
LIKE A G3 Prepare to witness some of the most electrifyingly brilliant displays of guitar mastery ever seen when the most anticipated international live guitar event arrives in March 2012. G3 bring their combined guitar pyrotechnics to Australia in what will be a dazzling two-and-half-hours of guitar wizardry and music daring. G3 guitar gods Steve Vai and Joe Satriani will be joined on tour by the renowned Steve Lukather. You can see these three guitar gods at the Palais Theatre on Saturday 31 March.
ROCKABILLY SENSATIONS Brian Setzer, rockabilly’s most iconic ambassador, has unleashed a brand new line-up for his upcoming Australian tour. Dubbed Brian Setzer’s Rockabilly Riot! this new look is an all-out assault on the rockabilly norm, an overcharged and thrilling attack of American rock‘n’roll. The Rockabilly Riot! include two standup bassists, two drummers and a classic boogie-woogie piano backing up the riffs of Setzer. The show will include all of Setzer’s hits and originals, favourite covers, and a special set with Slim Jim playing the legendary Stray Cats hits including Rock This Town, Stray Cat Strut, Runaway Boys and many more. Witness the riot next year, Monday 2 April.
BURGERS FOR NOTHING AT A GIG FOR FREE The Tote’s 30th birthday celebrations just keep on a rolling this month and tonight (Wednesday) there is a free show featuring four of Melbourne’s finest and most rocking artists. Check out Dan Brodie & The Grieving Widows, Dave Larkin, Laura Imbruglia and Cherrywood perform and enjoy a free BBQ as a thank you from the Tote to you, the punters. Cherrywood start at 8pm.
MEMBERSHIP OPEN Fresh-faced surf rats Bleeding Knees Club will be returning to Australia for the summer after a triumphant trip to the US which included shows with Gotye, Unknown Mortal Orchestra and Male Bonding. Having hit the scene late last year with the release of their debut EP Virginity, the Queensland friends quickly won the hearts of many with their catchy and distinctly recognisable single Bad Guys. After touring Australia with Dev Hynes (AKA Lightspeed Champion) early on in their career, Bleeding Knees Club roped him in as producer for their upcoming album. Catch them at the Espy for free with The Laurels and Red Berry Plum this Saturday..
NO LOW Due to a previously unconfirmed overseas commitment, Low have unfortunately had to cancel their Australian tour scheduled for March 2012. This means that they will not be performing at Golden Plains Sixxx as originally planned. Golden Plains organisers are looking to finalise the lineup for the festival in the coming weeks which will be announced as soon as practically possible.
SCRAPES THE COAST
GET FUCKED What better way for hardcore punk ensemble Fucked Up than to celebrate their third studio offering David Comes To Life by bringing their mindblowing performances to Australia as special guests of Foo Fighters and throwing in a sideshow at the East Brunswick Club on Wednesday 30 November. As people familiar with their shows can attest, this is not your usual punk gig as Fucked Up are much, much more than that. It may be your last chance to catch them for a while too as frontman Damian Abraham (Pink Eyes) recently announced he was taking a hiatus from touring to focus on family life.
The Scrapes, formed in Brisbane, Australia early in 2009, are an unusual duo of feedback-drenched guitar and scraping, epic violin. It is music that evokes landscapes and acts of nature as well as cerebral landscapes. In April 2010 The Scrapes released their debut album Electric Mourning Blues which has since received critical acclaim both in Australia and abroad. The Scrapes toured the East Coast of Australia extensively over the past two years and will hit the road again in support of their new LP Kali Yuga Sunrise out Friday 25 November. Catch them at the Old Bar Wednesday 7 and Sun 18 December, Saturday 10 December at Northcote Uniting Church and Thursday 15 December at Gasometer.
SUPPORT FROM THE MARLEYS
GROUPLOVE BETWEEN HEAD AND HEART Grouplove have invited The Head & The Heart to join them at their Melbourne show in early 2012! The Seattle-based six-piece are excited to join the Tongue Tied lovers on their Australian tour. Grouplove’s warm reception following Splendour In The Grass and their subsequent sideshows is testament to their folky optimism and on-stage exuberance. Grouplove and The Head & The Heart play at the Corner Wednesday 4 January
The House Of Marley Australia will be supporting Blue King Brown and Katchafire in their involvement at the Australian World Music Expo (AWME) through on-ground bloggers and live-feed communication with the bands. The Congos and The Dynamites are also joining in the AWME line-up. The House Of Marley was set up by Rohan Marley, Bob’s son, and creates eco-friendly headphones with a desire to send Marley’s message ‘one world, one love’. The Australian World Music Expo runs from this Thursday to Sunday.
WEATHER WITH YOU
ONE, TWO, THEE OH SEE
Andrew Weatherall is many things to many people. One of the guys behind the seminal Boys Own record label, the almighty tastemaker that has compiled some of the most iconic releases of the last 15 years (9 O’Clock Drop on Nuphonic), the man that took Primal Scream and changed their sound and the sound of London clubbing and changed it forever. Or the cool remixer of the ‘90s for everyone from My Bloody Valentine to Bjork. He is still one of the most in-demand DJs in the world and set to release his next artist album over the next months. There is no slowing down or changing tact for Weatherall, he will always be the true champion of underground dance music. Weatherall will play an unmissable show at New Guernica on Friday 13 January.
San Francisco’s Thee Oh Sees are heading back down under for Sugar Mountain Festival and a smashing of side shows through Australia, their spiritual home, this January. Since Dwyer launched the band in the late ‘90s as a solo break from such sorelymissed underground bands as Pink and Brown and Coachwhips Thee Oh Sees have now become a five-piece featuring keyboardist/singer Brigid Dawson, guitarist Petey Dammit, drummer Mike Shoun, and multi- instrumentalist/singer Lars Finberg (The Intelligence.) See their show Saturday 14 January at the Forum. Tickets on sale now.
THE RED RAP GAME HITS MELBOURNE
Fresh to the Golden Plains Sixxx line-up, we can happily announce that Endless Boogie will be playing three carefully selected shows along the East Coast in March 2012. They are a four-piece that produce psychedelic rock’n’roll where the last second stretches out forever… and ever. They lock in grooves so tight there’s no escape, then jam, then jam some more. They play Saturday 10 March at the Tote. Tickets $35+BF.
Lace up your Chucks and throw up those dubs. Compton bad boy The Game is making his grand return to Australia and New Zealand in February 2012 for the R.E.D. Tour. The controversial rapper is fresh from dropping his fourth album, the aggressive The R.E.D. Album. This tour is all ages and will hit Festival Hall Thursday 23 Febuary.
AN ENDLESS BOOGIE
NOAH AND THE BOYS Noah Taylor is one of our most famous international exports of stage and screen and has been toiling around the world of film and music since at least 1986. He’s scored incredible success with an array of films including Shine, Vanilla Sky, Almost Famous and most recently Red Dog. An accomplished musician, Taylor and his band The Sloppy Boys launch their Live Free Or Die LP on Wednesday 7 December at Phoenix Public House. The band features Cec Condon (The Mess Hall) and Ed Clayton-Jones (The Wreckery). Tickets through Moshtix.
BACK TO BORIS Most recently seen on our shores in 2010 playing two sold-out shows at Sydney’s Vivid Festival, Japanese quartet Boris will be returning to Australia to visit the entire east coast in March, 2012. Boris have long been celebrated for their ability to reinterpret a multitude of musical genres into a sound of their own, and revered for rattling concert-goers to the core, with their high-volume intensity and colossal crescendos. After nearly 20 studio albums, the tour will be on the back of a further release New Album later this year. Boris will play the Corner Saturday 24 March. Tickets on sale now.
INPRESS • 25
LOCALS RAT VS POSSUM DITCHED THE LOOPS, FLOOR TOMS AND THEIR CLOTHES DURING THE MAKING OF THEIR SECOND ALBUM, LET MUSIC & BODIES UNITE, WRITES WARWICK GOODMAN. COVER AND FEATURE PIC BY KANE HIBBERD.
muffled wash of aural tie-dye wafts across the street upon the humid evening air. It’s pouring out of what might have once been a rinkydink cornershop in Melbourne’s inner-north. The painted brick exterior is scuffed and sleazy, but the caffeinated synths, animal beats and human howls elude to a radiant vibe inside. There’s no answer to a knock, but the door isn’t locked. Loitering in the street feels ungainly, so a crossing of the threshold into Rat Vs Possum’s rehearsal space seems only natural. Inside there is a small room with two brown couches and a table cluttered with tupperware containers, and beyond that another door. Lingering here feels even more absurd than out on the street. Pushing open the second door reveals the band arranged facing inwards around a darkish room, bobbing up and down behind their instruments in a cosmic jam. They catch a glimpse of the newcomer and drop out one by one, the beat the last thing to go. Matt Kulesza, bare-footed in orange shorts and a Aa t-shirt, throws stacks of papers off the couches. This wellmannered host is making room for us to sit, then offers bottles of Pale Ale. The others are still in the rehearsal room. “Hey Adrian!” Kulesza hollers to fellow multiinstrumentalist, Adrian Tregonning, “can Adrian come as well?” Sure he can. “Keiran, you come in, we just won’t talk over each other.” Synth player and British expat Keiran O’Shea shuffles in with drummer Andrew Noble. Rat Vs Possum are a little sweaty after rehearsal, but are altogether cooly cordial, and none more so than Daphne Shum. When asked if doing interviews like this can be intimidating, the cropped-fringed singer proudly announces, “I have no self-consciousness whatsoever. I always have to rein myself in. It’s not that I don’t care about what people think of me, it’s just that – well, I always meet people and want to hug them. I’m like the opposite of Asperger’s.” Her father is a psychologist, so she would probably know. In any case, as the girl who has officially assumed the role of lead singer – a title that has previously been shared with Kulesza – this lack of inhibition surely can’t hurt. As those who’ve seen her sing before would know, Shum can summon a mighty scream that belies her petiteness. So, how is her voice going these days? “Some of the singing I do now in the new songs is a bit more proper, a bit more melodic, but I do still scream a bit. I just enjoy it. I’ve kind of got a mild case of vocal nodules so I have to be careful about it. I’m not like one of those death metal screamers who teach tricks on how to open their throat. For me it’s just pure feeling, I enjoy it so much.” According to her bandmates, Shum is the intellectual of the band. On top of her musical endeavours, she is studying to be a librarian. Go figure. But the creative brain behind the songs belongs to no single member. The songwriting process for the band’s second album, Let Music & Bodies Unite, was as collaborative as building a beehive. “Sometimes it’s just one of us coming up with it, sometimes it’s a bunch of us,” says Shum, “but on the whole, we go to rehearsal and we do [the songwriting] together.” O’Shea explains further, rolling 26 • INPRESS
a cigarette, “Because it’s so collaborative, you can go home, take ideas home, and you come up with all this stuff. But then you take it back to rehearsal and it wouldn’t work. Whatever you’re playing you’ve got to remember that other people might be better at criticising it. The best stuff happens in rehearsals, I find.” This collective music-making works because they are all close, and each member feels comfortable to tell another exactly what they think when they’re in the rehearsal room. “We’re like besties,” says Shum. “I can’t imagine playing in a band with people who aren’t my friends.” Kulesza follows up, “We were friends before we were a band, and friends for quite a while.” He believes they are all quite similarly minded in what they want to do. He explains diplomatically, “There’s never really been a moment in this band where I’ve been like, ‘Oh, I hate what they’re doing, I fucking hate that part’.” Shum contests this stance to an extent, but the sentiment is the same. “We do [disagree at times] – but what I really like about the band is that there’s no ego in it. Everyone is free to do what they want, but everyone is also free to constructively criticise each other.” Noble finishes the thought, “It’s quite a personal thing, making music together.” As personal as making music together may be, Rat Vs Possum took the band intimacy to another level – a much higher level, really – for the Let Music & Bodies Unite album cover photo shoot. The cover features a tangle of naked bodies, and though no naughty parts made it into the final shot, they did let it all hang out on the day. Kulesza begins, setting the scene, “It was Adrian and myself and Daphne, and a bunch of other people. It started off with us all just in our undies.” Tregonning admits, “It was a bit weird.” Not
Of Sunshine, were laid off in order to pay more respect to the songwriting and melodies. The result is still decidedly danceable synth-pop, and it has that psychedelic sensibility that we know and love, but the loops and floor toms are gone. This has really freed up what they can do live, as O’Shea explains: “It gave us a bit of freedom, because with the loop pedal there were a lot of constraints. Getting rid of it, it just let us perform, I think. Now it’s all live.” Noble, who no longer has to lock in with loop machines when he drums, continues, “Yeah, it was nice to break out of that. Because, you know, the more you play to a loop the more you stick to one tempo. It’s a lot less stressful now.” Let Music & Bodies Unite can be bought digitally, but is only physically available on vinyl. Shum illuminates why, reminiscing, “As a kid I would buy CDs and get vinegar and really carefully peel off the JB Hi-fi sticker, making sure there was no sticker residue. But these days if someone steps on one of my CDs and it cracks I kind of just think, ‘whatever’. With vinyl people pay attention to it, they treat it like a collector’s item.” Kulesza adds, “I don’t think I’ve ever thrown out a record.” His band’s new vinyl will always be close to his heart – it features an image of his own nipple at the center of the disc’s label. As for the title, it’s meant to be more of a corny, tonguein-cheek remark than an earnest one. It is from a sample that the band use live in their cover of My Disco’s You – the final track on the album. “We were looking for new sounds,” says O’Shea, “and I sat up at night watching videos on YouTube searching things as simple as ‘disco’. I eventually found this really, really horrible video of this ‘disco tournament’, and that was one of the sounds.” He continues, “This guy [the ‘tournament’ MC]
…ONCE KEITH HAD HIS UNDIES OFF, WE KIND OF FELT LAME IF WE DIDN’T TAKE OUR UNDIES OFF TOO. AND THEN WE ALL HAD OUR UNDIES OFF, AND IT WAS LIKE, ‘OH, THIS IS FINE’…”
for Shum, of course. “I didn’t feel weird,” she says, “there were dips, like hommus, and crackers and cheese laid out. It was like a swingers’ party without the sex.” O’Shea interjects, laughing, “Haha! Like a bowl of keys just sitting there.” Shum continues, “At first we were just pushing the undies into our butt cracks.” But still, this wasn’t enough to get the shot. Kulesza explains, “Our friend Keith was kind of in the main part of it, in the middle, so we asked him to take his undies off. Then once Keith had his undies off, we kind of felt lame if we didn’t take our undies off too. And then we all had our undies off, and it was like, ‘oh, this is fine’, and it looked really great without the undies on.” Their clothes are not the only things Rat Vs Possum opted to abandon for their new album. The cascading loops and percussive repetition that appeared on their debut, Daughter
was just losing his mind introducing the whole thing.” Kulesza impersonates the sample wonderfully, eyes lit and chin jutting out, “Let music and bodies unite!” Rat Vs Possum seem to float on a harmonious current of the oldest ideals of good fun and hard work. This charming young group are bent on a mission for the profound collective joy, yet they’re quite serious enough about it to get there. WHO: Rat Vs Possum WHAT: Let Music & Bodies Unite (Sensory Projects) WHEN & WHERE: Friday 25 November, Corner Hotel
Just a few short years ago, before the jet plane tours and summer festival slots, Rat Vs Possum were the diamonds of the Melbourne experimental-pop scene. Their live shows back then were like a secret garden of good times and shenanigans; a place too good to share for fear it may get trampled. But good things don’t stay hidden for long. Their euphoric songs and sounds made the band a thing to see, and so they shot up and through the underground and onto bigger things. And though their music alone would have been enough to get the kids talking, in those days – when the venues were more intimate and the venue managers less suspecting – the band devised some unusual extracurricular activities that ensured they would appear the next morning in even the haziest memory.
Back when skinny pants and floor tom jams were cutting-edge-cool, these crazy cats hurled glitter around on stage like it weren’t no thing. Not content with simply having it on them at shows, for one of their first photo shoots they filled an entire bathtub with the sparkly sand and then dove in and had a party. The clean-up job would have been tremendous.
FEEDING THE KIDS SALAD
Yes, they did this at a gig once, but why? Matt Kulesza explains this one best: “I thought, ‘What would I be really surprised by? What would I really love to see a band do? If a band just randomly gave out salad and carrots to people while they were playing, I’d just be so confused by that, I’d love it’.”
MUSIC SWAP BIN
For a time there, RVP gigs provided a place where punters could anonymously trade mix CDs with fellow music lovers. Anyone keen for a mystery assortment of someone else’s favourite tunes could pluck out a mix in return for one of their own. Lucky dips and mixtapes: a phenomenal combination. Christmas time at the Awesome Factory. The world needs more of this kind of thing.
THE BUBBLE WRAP GIG
In the winter of 2009, RVP enveloped the whole interior of the Workers Club with 300 metres of bubble wrap. The floor, walls, ceiling, stage, speakers, beer taps, even some people were draped in the stuff. They could have sent the whole gig to the North Pole via airmail without having to worry about postal insurance.
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INPRESS • 27
THE PEOPLE HAVE SPOKEN TO AVOID A DIFFICULT BAND DISCUSSION, GYROSCOPE HAVE ASKED THEIR FANS TO PICK THEIR SETLIST. DRUMMER ROB NASSIF TALKS TO DANIELLE O’DONOHUE.
IT’S NICE TO BE ABLE TO IMPART A BIT OF WISDOM.”
Like a lot of young boys aged between eight and 12, Gyroscope drummer Rob Nassif wasn’t a huge fan of sitting in one place for any length of time and reading a book. There was far more exciting things to be doing, probably involving sunshine and a beach. But give the young Nassif a Choose Your Own Adventure book and you would at least capture his attention for a little while. “I used to read them in primary school,” Nassif says with a chuckle. “They were awesome because you could read a 100 page book in 30 pages if you just choose the right thing.” You can tell a lot about a Choose Your Own Adventure reader from the way they used to approach a book. Did Nassif cheat by reading the back page and deducing the right choices from that? “I used to do a thing where I would start at the front, not the back, but go through the book and see which options got me through the book the quickest.” The reason Nassif is reminiscing about his reading habits as a young whippersnapper back in Perth in the ‘80s isn’t just for a stroll down memory lane. Gyroscope have named their latest road trip the Choose Your Own Adventure Tour because fans have been voting to come up with the band’s setlist. “When we thought of this,” Nassif says, “it reminded us of a great thing from primary school and it’s a great way to play songs, or potentially play songs that we might never have played before, because we’re too lazy or we might not have thought they would work live. “There’s ten obvious songs that have seemed to have gone through, which are like the singles and that and out of the other six that we need to choose – we usually play around 16 songs live – there’s probably another ten to 12 that could’ve made it into the six. And within that there is some interesting ones.” And the best part of getting the fans to decide what you’re going to play means you avoid that conversation with your bandmates. “We get to skip that whole Gyroscope… not argument phase, but that to-ing and fro-ing of what songs we’re going to put in the set and all of that. There won’t be any of that this time. It’ll be great. “Everyone in the band has their songs they prefer to play live. We all agree on a bunch of them, but for instance I want to play Dream Vs Scream, whereas Dan [Sanders, vocalist] doesn’t really like that song. It’ll be nice not to worry about that. The people have spoken. This is what we’re playing. End of story.” Despite the potential difficulties of giving the audience free reign over the setlist, Nassif assures Inpress that there will be no censorship for the band, even if it makes the four Perth boys work a bit harder in the rehearsal room to get ready for the tour. “If a song like Sexxxy off Are You Involved? gets in that’s a full band song with a lot of electronic drums and the rest of it, we’ll have to try and make it adapt to the live setting and it will be a challenge. But I’m excited by that. That’s the beauty of this thing. We should have to work hard at playing songs that we’ve avoided for the simple fact they are hard to play live. It means we’re not just rocking up to rehearsals learning the usual suspects and playing. It could be cool.” In between this tour and their last major run Gyroscope have played a lot of festivals and one-off shows, but mostly they’ve enjoyed a bit of downtime – a rare thing for the hardworking juggernaut. “We wanted to have a break. It’s the first proper break we’ve had off from each other for a long time. It was fun. I went off backpacking for four-and-a-half months. Brad [Campbell, bass] travelled around the world for three-and-a-half months. Everyone just had a break. We just felt we weren’t ready to write another record.” Once this tour is over, the band will wipe the slate clean and get ready to write album number five. And after the break Nassif is feeling refreshed and ready to start again. Not that he didn’t miss his Gyroscope buddies. “You know what, I didn’t for the first couple of months. I was like, ‘Woo hoo, I’m by myself. See you later, suckers.’ But no, I did. I eventually missed this brotherhood of being in a band. I like seeing the other guys. They’re my friends. Playing in Gyroscope and being in a band, in a certain way has defined me. That’s what people know me from. I’ve done half my life now in Gyroscope. I’m 30. I started when I was 15. It’s been a long time.” Fifteen years after the band first formed, Nassif is proud of the fact the band have always been able to call Perth home. Even after recording overseas with hit producers Mark Trombino (Are You Involved?) and Dave Eringa (Breed Obsession) the band are still the personable, all-Aussie lads who head home to WA at the end of every tour. “I’m always amazed at what we’ve managed to achieve,” Nassif says, “And how the trajectory of the band has always gone up. We’re very lucky. You get to a certain number of albums and if you’re still going, you are [a veteran]. I don’t feel like that. I still feel like we’re trying to be a band that’s challenging and writing cool albums, but the reality is we’re four albums in and it’s rare for a band to get to four albums.” Nassif, who now owns a rehearsal studio in Perth, hopes that young local bands can look up to him and his bandmates as an example. “I think a lot of them have seen how Gyroscope toughed it out for a few years and worked really hard and they respect that. I’ve always got these youngsters asking me for advice. It’s nice to be able to impart a bit of wisdom.” WHO: Gyroscope WHEN & WHERE: Friday, Corner Hotel
28 • INPRESS
REWIND REPLAY MELBOURNE ‘90S ART ROCKERS UNDERGROUND LOVERS ARE TAKING TO THE ROAD ONCE MORE WITH A LOVINGLY COLLATED RETROSPECTIVE. VINCE GIARRUSO TALKS TO MICHAEL SMITH. PIC BY SAM WONG.
AUSSIE DUO GEORGIA FAIR HEADED TO A CONVERTED (AND POSSIBLY HAUNTED) CHURCH IN SNOWY NORTH CAROLINA TO RECORD THEIR DEBUT ALBUM WITH BAND OF HORSES’ BILL REYNOLDS AND A BUNCH OF HIS FRIENDS, WRITES STEPHANIE LIEW.
eorgia Fair have come a long way from being recognised mainly for a song that featured on a Big M ad, and have certainly carved out a relaxed, subtly distinct sound of their own on their debut album All Through Winter. Recorded with Bill Reynolds, bassist with Band Of Horses, the album is filled with robust guitar tones, warm harmonies and folk pop gems that encapsulate a youthful earnestness but also a surprising amount of maturity, considering Jordan Wilson and Ben Riley’s young ages (22 and 23 respectively). All Through Winter was recorded over five or six weeks, with the first three of those at Echo Mountain Studios in Asheville, North Carolina, the same place that Band Of Horses recorded their last two albums. “It was just this amazing old church converted thing that was meant to be haunted and everything – we got told all these stories by the sound guys,” says Wilson. “It’s just this amazing hub, and there’s an awesome community of music there too. It rubbed off on the sound I think; when I listen to it, obviously I can hear it.” While they were recording in Asheville, they stayed in a cottage at the foot of a mountain. Apparently what the weather was going to be like didn’t cross Wilson and Riley’s minds. “I’ve been to the snow maybe once before, so leaving Australian heat and going over there… I mean, I didn’t even really think about what the weather was going to be like. So we went over there and it was snowing and I was like, ‘Far out!’” says Wilson, laughing. Not that they really paid much attention to the weather; it seemed like they were too busy making friends with Reynolds and checking out the “hippy town of the south” where Echo Mountain is situated. Being fans of Band Of Horses did, however, make the pair a little nervous about their first time meeting Reynolds. “It was good to be able to talk to him on the phone before going over there – that kind of settled the nerves a little bit,” recalls Riley. “But once we got there, we got into that cottage and were waiting around for like a day for him to get to the cottage and finally meet him face to face. That was a bit nerve-wracking; it was like, ‘Fuck, what do we say?’ But he was cool, it didn’t take long for us to get past that and just be on the same level.” Wilson nods in agreement and adds, “He fits into our little strange world that we’ve developed pretty well.” Georgia Fair expected that Reynolds might play bass on the record and bring in some ideas regarding the production, but were surprised by the number of
musicians that ended up playing on the record. “We’d come in and start working on a song and he’d be like, ‘I need this guy!’ and just call him up and he’d just come in and lay down some stuff. It’s crazy the way it worked out, but we didn’t really get fazed by it,” says Riley.
“We don’t really think we’re an acoustic band, we always wanted to play with players and make it sound bigger or more developed so we were going in there expecting it. I guess it is strange inviting randoms into your world but they were all Bill’s friends. He was like, ‘This is my buddy,’ you know, and then we’d have a beer with him,” shrugs Wilson. Although they started out as an acoustic duo, they’ve always been working towards getting a full band together. They began playing gigs as a two-piece mostly because it was convenient – they could fit everything in one car, it was cheap and they did the acoustic duo thing quite well. But now they have a bass and keys player and a drummer, who is actually Riley’s brother. Georgia Fair will play with this full band at their album launch at the Toff In Town. Seeing them play live, what stands out the most is their seemingly effortless, organic harmonies. Both boys have strong vocal abilities and timbres that blend smoothly together. The reason it looks like they’re hardly trying is perhaps because they really aren’t: “We don’t practise, nah,” admits Riley. “We’ve always enjoyed harmonies.” “That’s the constant,” Wilson cuts in, “probably the only constant we’ve had forever. We used to love rock music, you know, really hard rock music, but only if it had awesome harmonies! It’s funny though, it wasn’t like a conscious thing for me, it just kind of happened, hey? We never write harmonies.” The two recently relocated from Newport to Brunswick West, and they like it here in Melbourne – maybe because it’s not Sydney. “I think it was just nice to have a change of scenery,” Riley confesses. Wilson adds, “It’s pretty ‘us,’ this scene. I mean right now, in this dayto-day life, pub culture and a lot of music and friends are down here and stuff. Get away from the bubble a little bit, for a little while, until we get too scared.” WHO: Georgia Fair WHAT: All Through Winter (Sony) WHEN & WHERE: Tonight (Wednesday), Toff In Town
elbourne band Undergound Lovers initially reformed in their “classic” early-‘90s line-up in July 2009, seven years after their last official album Cold Feeling. That same year they were invited to play Sydney’s Homebake festival to reissue their back catalogue, much of it out of print for some years, on iTunes. As it happens, they’d also managed to compile a career-spanning double-CD retrospective titled Wonderful Things: Retrospective. Once again joining guitarists Vince Giarruso and Glenn Bennie, the band’s core members/ songwriters, are keyboard player Philippa Nihill, bass player Maurice Argiro and drummer Richard Andrew. Giarruso explains the genesis of the retrospective, taking Inpress’s call on a rather noisy bus somewhere in darkest Melbourne. “We’d sort of been working on it for a while, but it’s taken another two years to put it out because of a few legal issues – contract stuff, but it’s all resolved and it’s all good.” As is the way with these things, the first disc includes the best-known singles – including Promenade, Holiday, Your Eyes and Losing It, from their Dream It Down album, which managed to come in at number 19 in the 1994 Triple J Hottest 100. The second disc is all the special bits in between including remixes, B-sides and so on. “We sort of put all the songs in a hat, our favourite ones, and then out of that Glenn and I just got to work on them and tried to structure them into a complete album and tried to get a consistent sound across all the tracks, ‘cause all the albums were recorded at different times with different kind of aesthetic approaches with the different producers that worked on them. So we tried to strip them back in a way, in the mastering process, and make them consistent sound-wise.” A quick recap for those of you coming into the story for the first time: Giarruso and Bennie met in high school in the late-‘80s in suburban Melbourne, discovered a shared passion for the music coming out of the UK at the time (from Joy Division, Orchestral Manoeuvres In The Dark, Gang Of Four and The Cure among others), bought a drum machine and invited Nihill to add her vocal and keyboards skills. Within two years of playing their first gig they’d won the Best New Artist gong at the 1992 ARIA Awards for their self-titled debut album. Their second, Leaves Me
Blind, was picked up by UK indie label 4AD and they toured the UK through 1993. Over the next five years there were four more albums, but by 1998 various members had moved on. The band’s last album, 1998’s Cold Feeling, was essentially the work of Giarruso and Bennie once more. After its release, they too went their separate ways. Giarruso became more involved in his feature film work, although the pair composed the score for his film debut, Mallboy, releasing the soundtrack as the unofficial seventh and final Underground Lovers album in 2001. In 1996, Giarrusso also published his first novel, Rushall Station, based on the stories first explored in the album of that name released earlier that year. Meanwhile, Bennie put together GB3. While there were singles, and obviously a couple popular enough to chart pretty well, Underground Lovers were always a band very much about producing cohesive albums – sonic experiences designed to be heard as a whole, not concept albums as such but not sound bites either. So the idea of pulling songs out of their original context for the retrospective added another dimension to its compilation. “We’re pretty good at that sort of stuff,” Giarruso suggests, “and it did take a bit of work to structure it in that way. We’ve got a good drama background [the pair studied drama at uni], so we could use that sort of nous to structure something that ebbs and flows and stuff like that.” Giarruso says of the second disc: “some of the EPs that we put out in the ‘90s – we liked those tracks and they could have been on the albums, they just sort of missed out, so it was good to be able to put them in the context of a bigger piece. “We’re not virtuoso musicians – we sort of do what we do – but having said that, what we do is something that’s hard to do, like doing simple things. Keeping on something and just using that repetition to build tension, momentum, is something that’s actually quite hard to do.” WHO: Underground Lovers WHAT: Wonderful Things: Retrospective (Rubber) WHEN & WHERE: Thursday, Corner Hotel
INPRESS • 29
STRINGS SOUND DEVELOPMENT ALONG CHARLES JENKINS WAS CONVINCED TO PERFORM WITH A 40-PIECE ORCHESTRA BY THE BEST-SMELLING MAN IN MELBOURNE, THE SONGWRITER TELLS JOSHUA KLOKE.
uck presents itself differently every day. Charles Jenkins knows this. With just days to go before his once-in-a-lifetime gig with the 40-piece Orchestre Nouveau, Jenkins is considering every aspect of the evening with a meticulous eye and ear. Yet he admits that, although it will indeed be a dream performance, he essentially got rather lucky. “It’s the kind of thing you always dream of staging,” says Jenkins, reached by phone from his Melbourne home. “When we did the Blue Atlas album it had a 16-piece string section, but this one kind of fell in our laps, really. I suppose that’s the expression. The fellow that mixed Blue Atlas, Jimmy Marudas, producer/ sound engineer and easily the best-smelling man in town, gave me a call. He knew of an orchestra he’d done work with, Orchestre Nouveau, and the band Autumn Gray. And they were looking for an act to headline the night. And Jimmy suggested us, and off we went. So the idea was not mine. I’d be happy to take full credit for it, but really, it just fell in our laps.” Jenkins may have been given a great pass of the ball, but he’s more than ready to run with it. He’s looking forward to seeing how his otherwise classic, acoustically-driven songs will evolve with a full orchestra behind him. “I’m really curious to how it’s going to sound. We had one rehearsal the other night, and it was beautiful. It was very interesting to hear what had been added to the string songs on Blue Atlas, with trombones, saxophones, French horns, double bass, all of it. And it was thrilling to hear the arrangements on songs that had never had an orchestra behind them. That was spine-tingling stuff, really.” Still, an event like the one Jenkins and his band are undertaking (with Mark Lang of Skipping Girl Vinegar offering support) presents challenges. “It’s a little bit daunting at the moment, but I’m sure it’ll be even more daunting on the night of. The thing that is good about it, is that we have to play the songs exactly as they’ve been recorded, because the arrangements have been written now, and the orchestra needed to know when to come in, at bar 32 or whatever. That’s where we’re at. That kind of discipline will hopefully keep us grounded. And hopefully it won’t make me worry too much about my hair or anything like that,” he jokes, with his consistently biting wit. “So it’s a little bit daunting at the moment. But the more daunting thing right now is coming to terms with it, because as a band, we rarely play the songs as they’ve been recorded. We keep very loosely to them. We try to remember the chord changes and the lyrics, and occasionally the melody. I’ve definitely got to try to get all the lyrics right this time around.” While Jenkins’s older material may present a challenge, the songs from all four of his full-length releases are what will be the main event of the evening. Jenkins is a classic songwriter; his dedication to his craft speaks volumes, even if he bends the truth from time to time. “I work at (songwriting) a lot. It’s constantly on my mind. I tend to find ideas everywhere. Things that happen to me, to people I know, things I read in the newspaper, they all find their way into the songs. The personalised nature of the songs comes from me singing in the first person. It just makes sense for me. It’s easier for me to write if I imagine myself in someone else’s shoes. Then I can just put in anything I want. Sometimes I put in stuff about me, but often I don’t. They say the first right and responsibility of the artist is to lie. And I enjoy that option.” WHO: Charles Jenkins & The Zhivagos WHEN & WHERE: Friday, Thornbury Theatre 30 • INPRESS
DICK DIVER POSSESS A VERITABLE SONGWRITING EMBARRASSMENT OF RICHES. THE BAND’S RUPERT EDWARDS AND ALISTER MCKAY TELL SAMSON MCDOUGALL THAT DRAWING INPUT FROM ALL FOUR PARTS HAS ALLOWED THEM TO DEVELOP THEIR GROOVE.
ick Diver didn’t so much burst onto the scene as sneakily weasel their way under the music radar. They’re the kind of band that you hear once and they’re recognisable. The only way to describe their sound is that it leans in obscure angles. There’s a familiarity in their poppy rock tunes, but their guitar tones feel like they’re sloping off to the bar and their vocal harmonies feel like happy accidents. They are a four-piece band made up of tonally identifiable individuals – they mix and match these unique voices in playful and interesting ways. They arrived a couple of years back and have played a few shows. They managed to get an EP, Arks Up, out at some stage and it was a cracker. Then we waited and we waited and they seemed like they’d all but disappeared. In fact, if it weren’t for the odd live performance and the fact that a couple of them play in other bands around the traps, you could’ve sworn they’d dropped off the planet all together. Then, as if from nowhere, they finally drop an album. The thing is better than good. It captures all of their tonal slackness and packs a real sense of humour outside of the, often narratively straight-up, Australian stories it tells. Founding member Alistair McKay explains it was the writing of these songs that caused the hold up. “Both Rupe [Edwards] and I write pretty slowly,” he says. “We write a lot of songs but we’re not happy with most of them. This is the first record that we’ve done with Steph [Hughes] and Al [Montfort] doing stuff as well. “I reckon Rupe probably throws out about 90% of the stuff that he writes, I write fewer songs. Al writes heaps of songs but he’s in six bands; Steph’s in three at the moment and it was just a matter of going up, recording a bunch of things and having the time to sit back and think relatively critically about it and pick out which songs we thought fit together.”
Of the large amount of material that Edwards discards, he puts much of it down to his own belief in the songs rather than the stock of audience or those around him. “I don’t really worry about or care about whether people can relate to it or not – if that happens, that’s great,” he says. “I’ve gotta be happy with being able to sing something. I’ve gotta be happy and feel good about singing it. Not because it’s all autobiographical, it’s all pretty made up, but some stuff just feels okay to sing and other stuff just doesn’t.”
The songs paint a picture of inner-suburban life. Numbers like New Start Again paint a pretty grim portrait, whereas Flying Teatowel Blues or Seagulls offer snippets of daily life and Head Back slaps a cheeky grin across the arse end of the record. It’s accomplished, without being self-conscious or arrogant. The songs string together like a wee narrative all of their own – albeit a brief one. When questioned about how he feels about the record now that it’s finally on the shelves, Edwards answers, “Pretty good. I guess it’s been so long in the making and it feels like it’s been so long since we recorded it to now. This is a pretty common thing with bands I guess, but I feel pretty over it in terms of waiting to have it out. I’ve listened to everything so much now that it’s just weird that everybody’s just hearing it for the first time. So I’m feeling good about it but it’s just a weird thing that there’s been such a delay I guess.” New Start Again marks the group’s first attempt at shared writing duties and the rewards are plain. The calibre of songwriting is bolstered by the use of vocal pairings that alternate through the listen – it’s never a bombardment or four-way vocal harmony, but the changing selections of vocals to songs right through lends the thing freshness and light. “Maybe the way the band formed, Rupert and I had played together for a long time with just us two,” continues McKay. “So when we formed for the first bunch of shows that we did, and for the EP, we had a bunch of songs that we’d written and so naturally it sort of came as a ‘top down’ kind of thing. But now that we’ve played together more and spent more time together as a band, it’s just developed organically into a more collaborative thing, which is great. It’s much more enjoyable for everyone; I think you get the four different voices a lot more, I enjoy it a lot more personally. “It’s never been a very laboured process. Put it this way: I don’t think many of the song pairings that we’ve done on the record have been done other ways. They either started with someone singing and then someone joining in at practice and the rest saying, ‘Yeah, that sounds cool’. Or when we’ve recorded, someone will jump in
at the last minute and try things. Actually we tried a couple of extra overdubs and that kind of stuff in terms of vocals. Generally we tried to sort of cut back. We didn’t want to end up sounding like The Beach Boys or something. Even though we all like The Beach Boys.” The recording took place in the outer suburbs of Melbourne and the thing was captured by producer/ musician about town Mikey Young. There is warmth to the album that smacks of a bunch of people having fun and not taking the process too seriously. They recorded the album in a couple of days, largely live in the living room of a house in The Dandenongs. Sound kind of intense? Not at all says McKay. “I wouldn’t use intensive,” he laughs. “It was really great. It was really relaxed and just a lot of fun.” The set-up was pretty simple: their gear, Young’s “very impressive preamps”, some mics and a laptop. McKay agrees the vibes achieved are a lot about the chemistry of all recording in the same room. “We’ve never tried it that way with Dick Diver,” he says of attempting to capture their sound in separate booths. “Rupe and I have done recording in a studio separate, and it was just awful, I didn’t enjoy it at all. Especially with Dick Diver being a vibes band, for want of a better word, we just kind of, y’know, feed off each other and I guess we’re a bit loose and sloppy as well and you lose that if you’re playing by yourself or playing to a click track or if you’re even in different rooms.” WHO: Dick Diver WHAT: New Start Again (Chapter Music) WHEN & WHERE: Saturday, Phoenix Public House
ALMOST FAMOUS MELBOURNE MC MANTRA MAY BE “YOUR FAVOURITE RAPPER’S FAVOURITE RAPPER”, BUT WITH THE RELEASE OF HIS SECOND SOLO ALBUM SPEAKING VOLUMES, HE’S HOPING TO BECOME YOURS AS WELL. ALEKSIA BARRON’S ALREADY SOLD.
s far as the Australian hip hop scene is concerned, Mantra is the zenith of rhyming skill. The man known to his bank as Rob Tremlett gained notoriety with earlier projects Equills and the particularly revered Illzilla, before releasing his debut solo album Power Of The Spoken in 2010. He’s been invited on national tours as the support for the likes of Drapht and Urthboy; his 2011 guest verse appearances have included spots on Drapht’s The Life Of Riley and Pegz’s Drama, while scene stalwart Bias B has said that watching him perform represented the best of the new generation of hip hop artists. And yet, Tremlett has flown under the radar, with nary a high-rotation single or a Hottest 100 entry to his name. What gives? He laughs over a beer in a Melbourne pub. “I guess I play up to the angle a bit,” he admits. “I mean, I put it on my Twitter account – ‘your favourite rapper’s favourite rapper’. And I’m happy to be getting recognition from these people – they’re all people I admire and they’re very talented. But it’d be nice to, you know, get recognised on my own merits as well.” Tremlett’s latest bid for the big time has come in the form of Speaking Volumes, his second solo album – which, in his opinion, is a considerable improvement on Power Of The Spoken. “I personally think it’s a much better album,” he says earnestly. “Whether or not people agree with me is another thing, but I definitely feel like this is a much better album. I feel like my musical choices were a lot more confident this time around and I think my songwriting had gotten a lot stronger.” When writing Power Of The Spoken, Tremlett was still juggling his commitments to Illzilla and struggled to reconcile the solo songwriting process with working within a group. “On the last album, I was still getting used to writing songs on my own,” he explains. “This time around, because I’d already done that, I’d seen what works in the context of my style and what doesn’t.” He’s
very happy with the result: “I think that kind of shows in the songs – I think the songs are a lot more, I don’t know, deliberate. They sound a lot more sure of themselves.” It seems as if ears around Australia are pricking up and taking notice – the lead single off the new record, Got Me Wrong, was the most requested song on Triple J in the week it first hit the airwaves. Featuring the vocal stylings of Indian singer Parvyn Kaur Singh, it reflects an honesty and worldview that’s very refreshing. “I realised that I don’t know enough about the world outside Australia,” says Tremlett. “I wanted to expand my knowledge, broaden myself, use it in the music.” Tremlett certainly doesn’t hold back when choosing his subject matter – the lyrics on Speaking Volumes range from the intensely personal to the charmingly tongue-incheek. He even lampoons his own underground reputation on Nobody Knows I’m Famous, in which he casts a critical (if nonchalant) eye over the discrepancies between the hype and reality of life as a working musician. On the other hand, he’s not afraid to channel a softer side, either. The ballad-esque Perfect Thing is one of those rarities – a hip hop love song. Despite its intricate lyrics about finding the ideal woman, Tremlett insists that the song is based more on a feeling than on any actual person he knows. “I wrote that song when I was single – happily single,” he explains. “It’s not about any woman in particular, but it’s the concept and the emotions that came to mind when I was listening to the track.” Despite straddling so many different emotions, themes and even production styles, Speaking Volumes feels like a complete album, which is a source of considerable pride for Tremlett. “One thing I achieved on this album that I’m really proud of is the consistency between all the different songs,” he says. “There’s an aesthetic, I think, that goes through the whole album.” It’s something he doesn’t feel he quite nailed when recording Power Of The Spoken, partly because trying to turn songs written over several years into a cohesive album is always a tough ask. “This time, I wouldn’t start work on a song unless I knew it was something that would sit with the rest,” he says. “I was a lot more conscious of that from the outset.” A big part of crafting that cohesiveness was Tremlett’s determination to take a firmer hand with steering the album’s production. He enlisted the talents of some of the business’s best, including M-Phazes and Mista Savona, but had to learn not to be afraid of laying down the law, so to speak. “I was a lot more hands-on with
the production this time around and a lot more in the producer’s ear when I was working with them,” explains Tremlett. Certainly, making music with so many different producers had its advantages. “It’s a good thing – I’m working with producers who are respected as artists, so their sound is something that I definitely want to have on the album,” he insists, adding, “but I was definitely kind of picking beats, or working with them to make beats that were in line with all the other stuff.” Working with excellent beats is particularly important for Tremlett, who tends to write his lyrics to the music he’s chosen. “I very rarely write a song starting with the lyrics – I’ve always got the beat in mind, kind of writing the lyrics to the music,” he says. As a result of working so closely with his producers, Tremlett gained confidence in the beats he was writing with – and the resulting album is one of which he is rightfully proud. Regardless of whether he hits “the big time”, though, Tremlett is simply grateful to be consistently making music and performing. “I take my music very, very seriously; it’s one of the few things I take very seriously in my life. That’s how I like to be – I like to take my music seriously, but I don’t like to take myself too seriously. Even when I’m pouring my heart and soul into a song, that doesn’t mean I’m not just willing to have a laugh about something – even about myself.”
WHO: Mantra WHAT: Speaking Volumes (Obese) WHEN & WHERE: Friday, Star Bar (Bendigo); Saturday, East Brunswick Club; Saturday 10 December, Jump Off Festival, Birrarung Marr
INPRESS • 31
GOTTA HAVE SOUL SERIOUSLY OLD-SCHOOL SOUL FUNK AND PROUD OF IT, THE DYNAMITES FEATURING CHARLES WALKER ARE EXACTLY WHERE THE BAND’S FOUNDER WANT THEM TO BE, MICHAEL SMITH DISCOVERS.
“A I’M AN ABSOLUTE SOUL MUSIC JUNKIE…”
t the very beginning of it,” explains The Dynamites’ principal songwriter and guitarist Leo Black (he also produces their records as Bill Elder, his real name) on the phone from Nashville, Tennessee, “I just had this concept of putting together this soul revue to kind of pay tribute to the music that I was going towards and spoke to me the most. I was working as an in-house producer in a Nashville recording studio at the time, and I kinda just got some friends together that were like-minded on the same kinda trip and put this soul revue thing together and as it was, it was really only kinda just for fun and no real big hurry. “You know, people who are into soul and jazz and R&B, they tend to find each other,” Elder laughs,“especially in a music city known for, you know, horrible music – that being modern country. So many of the musicians are just looking for an outlet to not have to be constantly doing all the ultra-commercial stuff the city is known for and cranks out on an hourly basis. “Then Charles came to our attention through an exhibition at the Country Music Hall Of Fame – they were doing a whole series of shows called Night Train To Nashville, which highlighted all the classic R&B era in Nashville in the ‘60s – and a guy who’s now a partner in my record label and good friend called out Charles, we went out and had a beer and here we are.” The Charles of the piece is singer Charles Walker, a veteran of that late-‘60s/early-‘70s scene who has recorded for everyone from Chess to Decca Records and toured with many of the originators of that R&B/soul sound, James Brown and Wilson Pickett among them. Where the seven-piece soul revue that tours as The Dynamites featuring Charles Walker is at right now is two albums – 2007’s Kaboom! and 2009’s Burn It Down – strong and an international presence that sees them return to Australia for a second time this year. Walker is the real deal. “Oh yeah, absolutely the real deal,” Elder agrees. “There were so many record labels he had been on. Really the greatest thing about the golden era of soul was it was popular music at that time and so there were just tons and tons of labels all over the place, so good artists really had a lot of options open to them, and Charles had a lot of really beneficial things happen to him early on in his career, which brought him up to New York and he ended up opening for James Brown and Etta James and Wilson Pickett and Jackie Wilson… just some amazing, amazing acts. “After he got up to New York at the behest of Jason Davis, who was James Brown’s bandleader for a while, Charles had put his own group together called Little Charles & The Sidewinders, which he formed in Columbus, Ohio, and just started boppin’ around openin’ for these giant mega-soul artists. Nashville was where he was born and raised, but then when he started to gravitate towards being a performer, as I said, he ended up in Columbus, Ohio for a while and started recording and doing sides for various record labels. “Then, and I love the way he tells the story, when he went to New York, he says that Jason Davis has said, ‘Come find me when you get here’, and he had a relative that lived in Harlem that he was staying with that was just a few doors down from the Apollo and Charles just tried to get his bearings for a few days and then he knocked on the back door of the Apollo and Jason Davis opens the door for him and says, ‘Hey, come on in’. So he meets James [Brown] and all those guys and two weeks later he was on the road opening for him.” The other “secret” weapon The Dynamites have is a crack songwriter in Elder/Black, who has managed to really capture the essence of that classic ‘60s soul style with a real authenticity and integrity. “It’s the kind of music that moves me and [laughs] it’s the only kind of music I listen to – I’m an absolute soul music junkie – and when I talk about that it’s mostly early ‘60s through… I guess the whole ‘60s era that I’m just constantly listening to and mainlinin’ so, if you do that, if that’s what you put in, that’s what’s gonna come out. I absolutely concentrate heavily on, you know, all of the things that made those sounds feel the way they felt, as far as instrumentation and arrangements and recording techniques and subject matter – just all that. So yeah, it’s all there. Not so much trying to go back and relive yesteryear as much as it is that I just love the way that kind of music sounds and don’t really feel like it’s been improved on enough to do anything different.” In a very real sense then, what Elder, Walker and The Dynamites are doing is reminding us that, like the blues from which it was spawned, soul has the capacity to be as much a living tradition as it does a treasure trove of back catalogue; it’s still capable of being a vibrant expression of the way you feel. “That’s why it’s called soul,” Elder agrees. Once this Australian tour is done and dusted The Dynamites go back into the studio to finish off the sessions they’ve begun on the third album. “We’re gonna start releasing singles from it, and we actually just finished a duet with [another soul veteran] Bettye LaVette, which is really cool and it’s just something that I wrote actually about them [Walker and LaVette] because they were [laughs again] partners in crime I guess you’d call them up in Harlem as kind of rotating front people for Small’s Paradise, which is a legendary soul/jazz/R&B club in Harlem. And we’re bringin’, I don’t know, probably six or seven brand new songs to Australia to try ‘em out on audiences.” WHO: The Dynamites featuring Charles Walker WHEN & WHERE: Friday, Australian World Music Expo, Hi-Fi; Saturday 26 and Sunday 27 November, Queenscliff Music Festival
32 • INPRESS
INTO THE WILD FROM DIVING FOR ABALONE TO MEETING A LONG LOST-GRANDPARENT IN UGANDA, THE JINJA SAFARI JOURNEY HAS BEEN A STRANGE ONE FOR MARCUS AZON. HE AND LIZ GALINOVIC EXPLORE THE MUSICAL FUTURE.
fter so much talk of Africa, of being influenced by the sounds and stories of a Ugandan city named Jinja and an unknown grandmother serving as a missionary, Marcus Azon decided it was time to see the place – and the grandmother – for himself. One of the vocalists and guitarists in five-piece indie/folk/Afro-pop band Jinja Safari, he wasn’t the only band member to recently take a break from touring, recording and writing music in order to search for more inspiration. “There’s a lot of inspiration here in Australia, but we kind of want to mix world music in with what we’re doing,” Azon explains. “And I guess we kind of have to go and explore a bit of the world in order to do that, not just talk about it from an idealistic, safe, comfortable position in a very successful and comfortable nation like Australia.” Cameron ‘Pepa’ Knight (vocals/keys) went to India, Jacob Borg (drums) went to the former Yugoslavia, while Joe ‘Citizen’ Engstrom (bass/vocals) and Alister Roach (percussion/vocals) have explored the East Coast of Australia. “Before we went, we each got a sound recorder and our aim was to record as many sounds and then bring them back and somehow use them in recording our albums. I’m not sure how that’s going to go, but if nothing else I’ve got all these fantastic memories.” Jinja Safari have been steadily infiltrating ears and hearts over the past 18 months. It started (contrary to what has been widely published) when two abalone divers bonded over their love for music. Azon and Knight were not childhood friends and they were not romantically reunited over a campfire at a beachside party, they were “just a couple of abalone divers with big dreams”. “We were just kind of making this music and we knew some of the other boys and we just got them involved,” Azon says. After a couple of months making tracks they were very soon in need of a live band to take up the opportunities that were coming their way and, as most people do in this situation, they asked their friends to join them. Two EPs and a slew of singles – radio favourites Peter Pan, Hiccups and Mermaids are just a few examples – led to sold-out shows on their own tours and the band were quickly
added to festival bills the likes of Big Day Out, Falls and Splendour In The Grass. They have just released Locked By Land, a compilation of already-released tracks, brand new ones and a couple of remixes, before they set off on a celebratory tour of the East Coast. While sticking to the established “Afro-folk” nature of their sound, Azon detects a change in the mood of the songs. “I don’t know if there’s a clear difference, but I mean we’re kind of exploring different colours. There was definitely an angle when we first started, like, ‘Life’s not as bad as we make it out to be and the world’s not as lost and we’re not in the doldrums as much as everybody says we are’. That was sort of our angle when we first started out, trying to do something a little positive. But now maybe it’s kind of looking at some other stories: some darker stories, some tales of lost loves, etcetera.” The African influence in Jinja Safari’s music is what’s most talked about – an influence commonly attributed to Azon and his distant Ugandan connection. “So much of our music is ripping off Ugandan rhythms and melodies and a lot of the stories were about my grandma and my family; my grandma who I don’t know and still don’t really know after spending three weeks with her.” But this is not the only influence, nor should it be completely attributed to Azon, who points out that while those few months of Jinja Safari as a duo embraced the African polyrhythms, the incorporation of Roach and Borg took this to another level. “We definitely wanted to have an African kind of Afro-beat inflection with the rhythms, but it was also gonna be a little bit softer folk music, a little bit more sort of introspective or something. But then once we got the two drummers involved it just became mayhem in the rehearsal studio... it became so much fun we kind of thought, ‘We’ve got to let them go free, we’ve got to let those drummers fly free and explore the polyrhythms’.” But it’s the marriage of Jinja Safari’s many, constantly growing influences that make the band’s music so enjoyable. “We’re certainly not married to any particular genre or style at all and we all love so many different types of music and so many bands and artists I think it’s
probably always going to be some sort of a reflection of the artists that you’re listening to at the time. “Alister and I, when we were 13, 14 and playing music, the only music that we listened to was Tool, Deftones, A Perfect Circle – melodic metal, I guess you could say, was a big part of what we love. So, it was absolutely surreal to play at Big Day Out, which is something we always wanted to go to [but] we grew up in Christian houses so we were never allowed to go. Then we played Big Day Out this year and it was our first time going and we got to see Tool and Deftones playing and we were just like, ‘Man I sure as heck hope that Maynard [James Keenan, Tool vocalist] doesn’t make it down to our stage to watch us play, because I just don’t think he’d like our sort of music.’
“That’s where we came from and it’s hard to let it go, as much as you want to forget about the melodic metal, it’s always going to be there. It certainly comes out in how ferocious the drummers [in Jinja Safari] play sometimes. Sometimes I watch Nugget [Roach] and we’re playing pretty upbeat, happy Afro vibes, but then you look at these boys smashing the kit and you think, ‘Oh man, there’s some unresolved issues there... like every young metal fan has’.” WHO: Jinja Safari WHAT: Locked By Land (Cooperative Music) WHEN & WHERE: Friday, Prince Bandroom
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INPRESS • 33
ANOTHER MURDER ON THE DANCEFLOOR DIMENSION The 3Ds’ DAVID SAUNDERS is in town to help pay tribute to Kiwi label Flying Nun, just as his own band are getting the re-release treatment, writes DOUG WALLEN.
uch is the influence of Flying Nun that the beloved Kiwi label is marking its 30th anniversary not just with a month of gigs across New Zealand but also some very special celebrations in Australia. For Melbourne, that means the likes of Darren Hanlon, Love Of Diagrams, Teeth & Tongue and more performing some of their favourite songs from the back catalogue: think The Chills, The Bats, The Clean, The Verlaines, etc. That’s a sweet enough deal, but there’s also a ringer involved: singer/guitarist David Saunders of The 3Ds, a defining act in the so-called “third wave” of Flying Nun. Coming fresh off the early 3Ds collection We Bury The Living, Saunders’ appearance is also well timed with upcoming vinyl reissues of the first two 3Ds albums, 1992’s Hellzapoppin’ and 1993’s The Venus Trail. Since the band’s reunion tour didn’t make it to Australia last year, this is the next best thing. “I thought especially if The 3Ds aren’t going to do anything in the near future, I should do it,” says Saunders of the gig. In Melbourne, Saunders plans to play not just The 3Ds and solo songs but – like everyone else – will single out some old Flying Nun favourites of his own. “It’s going to be a mix of everything, really,” he notes. Based in Auckland these days, Saunders has been working on a solo album “out in the bush” with collaborator Matthew Heine, formerly of the cult Kiwi bands SPUD and Solid Gold Hotel. While usually a guitarist, Heine is playing drums on the album, which should come out next year. Saunders is also hoping to recruit “a few bits and pieces” from fellow 3Ds guitarist David Mitchell when he’s in Auckland this month – he’s there to play with Ghost Club for the FN anniversary. Usually, though, Mitchell spends his days in his adopted city of London, which makes any future activity from The 3Ds difficult. To boot, bassist/singer Denise Roughan lives in Wellington. “We really didn’t have enough time to even think about it,” reflects Saunders. “For us to get together [at all] would actually be quite a big deal. But with the internet now, we could approach it a bit differently maybe.” In the meantime, The 3Ds legend has steadily grown online, right alongside other Flying Nun bands such as Tall Dwarfs and The Gordons. The fact that Merge Records (who released The Venus Trail in the US) coaxed the band into an appearance at their 20th anniversary celebration didn’t hurt, nor did the fact that Pavement got them to appear at the All Tomorrow’s Parties festival they curated in London. Still, it’s all a bit of a surprise to Saunders. “Five years ago,” he muses, “I would never have thought we would be playing again, let alone [be] asked to play around the world. It was quite shocking, really, when we did a tour of New Zealand. Some of the people coming to the shows were like 15 and knew everything about the band. That people still find it exciting and relevant now blows me away.” Saunders still tries to get out and see as many current bands as he can, citing New Zealand’s Street Chant – who toured with The 3Ds last year – as a particular highlight. He also points out that Flying Nun, which has proven resurgent under the watch of founder Roger Shepherd after years of mishandling by sometime owners Warner, isn’t just a reissue label these days but a fully functioning imprint again. That means new bands are being signed to carry on the legacy. Sharing the stage with folks such as Absolute Boys, The Parking Lot Experiments, The Sand Pebbles and Batrider’s Sarah Chadwick, Saunders’ appearance will be the first time a 3D has played in Australia since 1996. He won’t be solo, either: he’ll be backed by a bassist and drummer from Melbourne and graced with several surprise-guest guitarists. “It should be really great,” he marvels. WHO: David Saunders WHAT: Flying Nun 30th anniversary WHEN & WHERE: Friday, Workers Club 34 • inpress
A LONGTIME CHAMPION OF DUBSTEP, THE GASLAMP KILLER TELLS CYCLONE THE MUSIC’S APPEAL LIES IN ITS ENERGY, AND FANS’ SHORT ATTENTION SPANS.
os Angeles’ music culture is usually associated with washed-up rockers, gangsta rappers and celebrity DJs. But in later years the city has spawned an influential beats scene centred around Flying Lotus (AKA Steven Ellison) and the weekly Low End Theory night. So amorphous is this underground movement that it has no name – a rarity in the blog era. FlyLo’s homie The Gaslamp Killer (William Bensussen) is a regular visitor to these shores, last year’s appearance at Golden Plains the stuff of legend. Yet, despite his cult global following, the DJ/producer also retains an air of mystery about him. Bensussen couldn’t be less Hollywood. Nevertheless, the Low End Theory resident apparently hasn’t cultivated his own mythology. “It’s definitely not me,” Bensussen laughs. “It just is what it is. I don’t know where it comes from. I’ve no idea. I think some people might disagree with the way I’m open with my fans online. I kind of give people a play-by-play of everything that’s going on with me. So I don’t think I’m shrouded in too much mystery personally but, if I am, it was not my intention.” Indeed, Bensussen doesn’t have the typical flossy DJ bio, preferring to trade off “word-of-mouth”. “That’s how I got in this game in the first place,” he says. “I’ve always been the kind of person to just try to do the best shows I can and leave people thinking about it afterwards – that’s the goal.” In fact, Bensussen hails from San Diego, where he discovered turntablism by way of DJ Shadow. He first played venues in the city’s swanky gaslamp precinct. Wilfully eclectic, Bensussen’s eccentric, even iconoclastic, DJ handle The Mother Fucking Gaslamp Killer is an old reference to his tendency to confound – and occasionally piss-off – musically illiterate patrons. On moving to LA, he accepted a residency at the now feted Low End Theory. Founder Daddy Kev (Kevin Marques Moo) wanted to fill “a void” in the city with a new 18-and-up weekly. “The kids were all being left high and dry.” What began as “an experiment” is today “a community centre” for progressive young
DJs and producers. Low End Theory, still held every Wednesday at the Airliner, just celebrated its fifth birthday. These days Bensussen tours solidly, but he’s loath to miss Low End Theory more than necessary. “I’ve been home for eight weeks, so I’ve been playing Low End a lot,” he reveals. “I make it a big point to try to be at Low End as much as I can. I’ve changed my schedules around many times to get back to LA for Low End Theory – so I make it happen, I make it work.” While the LA beats scene is generally summarised as ‘avant-garde instrumental hip hop’, Bensussen’s tripped-out yet feverish DJ sets span every genre. Technology has allowed him to become ever more expansive. “There’s so much music out there and, with Serato, it’s so much easier with the digital software to access massive amounts of music. It’s just changed. It’s limitless what you can play – how much different stuff you can play. I just feel like the way I can re-edit music and resample and have sound effects going at all times – and all the kinds of extra things I can do as a DJ while I’m performing – it’s made it more fun for the audience and for me to get up there and play this music for people. It’s really exciting. I’m just happy that technology has given us this freedom. It’s really awesome.”
Ironically, the abstract electronic hip hop Bensussen favours is the very antithesis of the hyper dance-fuelled urban currently dominating commercial radiowaves and the charts. Bensussen feels that hip hop’s merging with electronica was inevitable, considering that the producers use the same drum machines and synths. “I think it’s a long time coming – it’s actually been late!” The DJ is also a longtime champion of dubstep, which has exploded in the past year. Again, he’s not surprised. “I feel like it makes sense for young people, everybody – including myself. We’re all really ADD and we’re ready for a lot more music, a lot faster, a lot more concentrated – not faster in tempo, but I think everybody who I know, all the young people, they go through music, like, [it’s] crazy how fast! Dubstep reminds me of that overwhelming energy that’s going on. It kinda captures the energy of the young people right now. I’m not mad at it. I use it in my sets sometimes – not as much as I was last year, but sometimes. I know that I can always go to it to get the energy going, it’s a real firestarter – and I think that every DJ wants more energy in the audience. We wanna be able to have stuff
that gets us going, too. I like dubstep, not all of it, but I think a lot of it is really good… I’m glad that it’s around because it’s definitely diversified things a little bit.” In addition to his mixtapes, the West Coaster has issued a series of EPs since 2008. Bensussen has been working on an album that is “almost there”, but he’s not set a deadline for its release. “I’m gonna take as much time as I need.” And Ellision’s experimentation motivates him, Bensussen a fan of projects such as 2010’s acclaimed Cosmogramma. “For me, his music is forever changing, forever evolving, and there’s just nothing like it. It’s so original and it has such a great vibe and it’s coming from such an honest place in him. You can hear him in the music – and the progression.” Bensussen is embarking on his fifth Australian trek – and he values the receptiveness of our audiences. “It’s great, beautiful – people are so appreciative and awesome and really excited about the music and going out.” This month Bensussen will headline Kubik – an open-air live music installation in Birrarung Marr – and promises to air fresh and cutting-edge music. WHO: The Gaslamp Killer WHEN & WHERE: Saturday 26 November, Kubik, Birrarung Marr; Saturday 3 December, Stereosonic, Melbourne Showgrounds
LIFE’S WORK Following the tragic death of bass player Sean Stewart last year, HTRK’s remaining members JONNINE STANDISH and NIGEL YANG have found new reasons to move forward. They speak to ADAM CURLEY about dealing with grief and living.
onnine Standish is in London. Nigel Yang is in Sydney. The two members of HTRK are speaking to Inpress via a Skype hook-up that is grainy and causing echoes and pops on every end. The connection also keeps dropping out, and at one point Standish’s voice becomes a Transformer-like signal that slows to a series of elongated beeps before finally cutting her out of the conference call for good. Discussing the band’s second album, Work (work, work), the communication troubles are both apt and unhelpful. With the record’s sound and songwriting lingering somewhere over HTRK’s former homes of Melbourne and Berlin and their present base, London, it seems appropriate that we’re each sitting somewhere different, struggling with a temperamental connection to the others. Moreover, the suicide of former bass player Sean Stewart in March 2010, at the age of 29, was always going to be a difficult topic to broach. Why not add some “sorry, what was that”s just to highlight the unease. Not that we begin there, of course. In fact, the best place to start to understand HTRK’s current situation is the problem-riddled release of their debut record, Marry Me Tonight, which was recorded at Melbourne’s Birdland Studios in 2006 with Lindsay Gravina and the late Rowland S Howard on production duties. The album took three years to get a release through the long-running UK indie label Blast First Petite. “It was held up in a sort of rights dispute and it was really frustrating, actually,” Standish says of the delayed release. Yang adds: “Just boring music industry fighting over who could release it, pretty much.” “Whether it was going to be an Australian release or whether it was going to be released by an English label,” Standish continues. “I guess I have to say that we were managed by Paul Smith [the founder of Blast
First Petite], who is a bit of an old-school industry legend, and he really wanted to do the right thing by the record. He thought it could have been held up another three years. He was totally comfortable in waiting even maybe ten years for Marry Me Tonight to be released because he believed in the album so much. It was only myself, Sean and Nigel who were going crazy.” Standish tells that Smith now acts as the band’s “consultant”, suggesting that he’d still be their manager if they’d done what he’d said and held off from releasing their debut until a time he thought appropriate. Marry Me Tonight did find an audience and some media exposure, but on an ‘industry’ level it has essentially acted as promotion for Work (work, work), which was released in September through Mistletone in Australia and also found an American release through Ghostly International, home of School Of Seven Bells and Gold Panda. Recorded and produced by Yang and Standish in London following Stewart’s death, Work (work, work) is a dense-yet-fragile album. It continues Marry Me Tonight’s stalker pace, but in place of Stewart’s bending funk-bass notes, its beats are twitchy and at times shuddering, and Standish’s voice sits always behind foggy synths. Amidst talk of pinpointing emotional themes on the album, Standish states, “The main thing is that I think it’s a really sexy album,” before pausing and considering the external response it’s had so far. Many reviews, it’s noted, have used Stewart’s death as the basis for discussing the record’s mood, yet writing for the album began just after Marry Me Tonight was in the bag. “I think the album would be taken very differently if Sean was here,” Standish says. “This is really the album we hope that Sean wanted to make as well, as all these ideas we’ve all had over the last four years. And I think that people are reading into ‘death’, whereas it’s not an album about death at all, it’s an album about life.” To the question of why continuing with the record was important, Standish offers: “More as something to hold onto. I’ve said before that, personally, I threw myself into the production with Nigel to keep closer to Sean because the three of us still existed in a psychological way in the studio. We were talking about Sean daily, about his interests and what he would want from the album and what we had discussed, and it was really a coping mechanism to get through something that
was so shocking.” Now that the album is finished and released, do Standish and Yang have new explanations for why continuing HTRK is necessary or desirable? Standish starts: “I think it’s made us more – and Nigel may disagree – but I feel stronger and more confident about why we exist... I think it’s interesting as you get older and you see almost like an aerial view of your own history. I think the next chapter will be really interesting on a human level.” Yang, who has so far been silent on the topic of making and promoting the album without Stewart, suddenly opens up. “I’m still having difficulty dealing with the coverage of this album and the accolades and whatever that’s happening in Australia,” he says, finding his words carefully. “Every compliment is bittersweet because we never got such widespread coverage for Marry Me Tonight, so Sean missed out and he would have loved all this. It’s really difficult. And even playing live, applause or positive responses are still really, really hard to compute in a way. I just don’t know how to feel. Which is fine, but you know, I’m still kind of confused.” Not long after, Standish drops out and Yang, following a brief discussion of their impending Australian tour, says goodbye. The technological connections have been severed; the blips and half words have stopped. But something stays on from our conversation and it’s honest and decidedly human. WHO: HTRK WHAT: Work (work, work) (Mistletone) WHEN & WHERE: Saturday, Buffalo Club; Friday 25 November, St Michael’s Church
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The RRP is the recommended retail price set by the Australian distributor of the product and may not have necessarily been sold at this price point in the past or sold in the future. All prices were current at the time of printing November 2011. We cannot be held responsible for price rises or reductions after this date. We reserve the right to correct any misprints. Stock subject to availability. Some stocks are limited. INPRESS • 35
SINGLED OUT WITH BRYGET CHRISFIELD
ON THE RECORD
THE VASCO ERA
Rock And Roll Is The Only Thing That Makes Me Feel Good
Independent The Vasco Era are at their raw, aggressive, unhinged and unleashed best on frontman Sid O’Neil’s self-confessed confessional single, Rock And Roll Is The Only Thing That Makes Me Feel Good (thankfully pronounced “rock’n’roll” throughout the choruses, rather than the articulation suggested by the pompous spelling of the track’s title). The riffs, which are perfectly accentuated by some demented organ action, will get lodged in your brain for days. O’Neil’s lyrics are equal parts witty and significant – “I tried dancing through old age and on into death with a tattoo of Marlon Brando across my chest.” This band’s potential for greatness should never be underestimated.
FLORENCE & THE MACHINE VD
Getting instrumental on this album’s ass, a tribal drum runs all the way through. Appearing on the first track Only If For A Night, the pounding beat throws itself into your body. During Shake It Out the choral vocals from Welch spread themselves over the beat creating an honest and heartfelt track.
Craig Morrison’s song about hanging in there and overcoming obstacles would be the perfect accompaniment for a scene where the tearful runner-up of The Farmer Wants A Wife struggles with her luggage up a dirt track toward the waiting ‘designated loser’ vehicle. The Hammond, guitar with twang and Morrison’s accessible lyrics (“I lost a few years hammered on gin”) are slick and country fans will lap this shit up. Is that a photo of Morrison having a pensive moment while backing out a number perched on an outdoor dunny on the slick, BTW?
Chase The Tear XL Recordings/Remote Control Please be good, because I hate it when acts that are dear to my heart release something after an absence and they’ve turned to shit. Phew, this is inspired stuff. Portishead continually move their sound forward, which suggests they digest segments from edgy musical outfits in their spare time. An almost hard to hear sound mimics an aeroplane taking off. Then a pace akin to a train racing on rusty tracks driven by a wonky sample drives Beth Gibbons’ fragmented lyrics, caught intermittently like phrases called from a passing car. Her voice sounds like an angel being strangled. Electronic interference becomes abrupt silence. Perfect song title as well.
Before the release of the second album from Florence & The Machine, headwoman Florence Welch pushed that Ceremonials would be based around science and atoms. Ceremonials is injected with what I fondly refer to as tattooable lyrics, the ones indie kids get to express their emotions. “I am done with my graceless heart/so tonight I’m gonna cut it out and then restart” is easily my favourite taken from Shake It Out.
It’s not until No Light No Light that the band tear it to shreds and really show the raw power that first got them noticed. A pounding drum, fluttering harp, ethereal keys and a voice that’ll punch you in the throat and make even your pubic hair stand on end makes this a godly track. Welch sings, “You want a revelation”, and she bloody gives it to you. Next track Seven Devils thrusts your newly shocked body into a frozen ocean, revealing a much darker and emotive sound to the band. However, you are quickly pulled out and thrown onto the dancefloor with perhaps the catchiest track on the album, Heartlines. Florence & The Machine have created a much bigger production with the release of their second album, the addition of back-up vocalists and a few more on-stage members. It’s only on the second half of the album that the songs morph into what Florence & The Machine have now become, which is one fucking amazing piece of a tribal musical orgasm.
NOEL GALLAGHER’S HIGH FLYING BIRDS
Noel Gallagher’s High Flying Birds
For what is unarguably one of the most anticipated dubstep full-lengths of the year, The Vision boasts surprisingly little in the way of dubstep. There are definite hints of Joker’s heritage – stripped-down halfstep rhythms, punishing sub-bass – but, for all of the genres showcased on the Bristol producer’s debut album (and there are more than a few on display), dubstep is actually one of the less obvious touchstones.
Cinematic opener Intro is an obvious tribute to the iconic work of synth pioneers Vangelis and Jean Michel Jarre, vocal cuts such as Slaughter House and Lost bleed R&B through their stabbing basslines while even more obviously dubstep-affiliated workouts such as My Trance Girl and Tron owe as much to neon ‘80s electro as they do to dance music’s current genre du jour. It’s a bold showing from a producer whose early success was directly linked to dubstep’s increased popularity. Still, Joker has always maintained he’s more than a dubstep producer and The Vision proves it. Melodically, the album is easily one of the most sophisticated records to emerge from the dubstep sound (or any of its various affiliates). The songwriting and arrangement of early album highlight Milky Way alone is simply breathtaking. More impressive, however, is the producer’s ambition. With The Vision, Joker has fashioned a remarkably idiosyncratic sound. While it isn’t difficult to highlight forebears (the aforementioned Vangelis) and contemporaries (Rustie’s influence is obvious), The Vision’s blend of dubstep groove, electro texture and R&B melody never fully resembles anything other than a more sophisticated version of Joker’s own earlier releases. An absolutely masterful debut, by anyone’s estimation.
There’s a fine line between arrogance and self-assuredness. It’s a line that Noel Gallagher stomped all over time and time again during his time in Oasis, a band who, at times, were more notable for the fights between Gallagher and his younger brother and Oasis frontman Liam, than for their music. From the album artwork here that boldly states “stunned that something so simple can be so good,” it appears that Gallagher has not lost any faith in himself since parting ways with his previous band in 2009. The problem with arrogance is that you need to have the talent to back it up. From the opening track, Everybody’s On The Run, it’s clear that Gallagher has the goods to back up his attitude. It’s a solid start to an equally solid album and sets Gallagher in a new light – it seems as though he has been set free and soared, making the album title, which is also the band name, highly appropriate. It may have taken him two years to release his first solo album, but it has been well worth the wait. Even during the more tender moments, such as If I Had A Gun, Gallagher does not falter. While Gallagher took a back seat to his brother in Oasis in terms of singing, this record actually shows his voice to be of better quality. While Liam’s voice could be quite grating, Noel’s is smooth and calming and it fits these well-crafted songs to a tee. In fact, there’s a certain surprising calmness to the whole album. Critics will be very hard-pressed to find anything to complain about with High Flying Birds. Gallagher has put together an interesting and entertaining collection of songs that surpasses all expectations with flying colours.
THE GETAWAY PLAN
FOUNTAINS OF WAYNE
Nearly four years on from Other Voices, Other Rooms, the album that brought the band to a significantly wider audience, and post-reformation, The Getaway Plan deliver Requiem, following months preparing and recording the album in Toronto, Canada.
Releasing his debut solo effort The Transplant Tapes in 2006, Queensland musician Danny Widdicombe is no stranger to making music with ill health at the fore of his mind. Beginning the writing process for third album Find Someone prior to and in the midst of European adventures with his 2010 GW McLennan scholarship songwriting buddy Andrew Morris, Widdicombe’s leukemia returned, though his will remained strong.
Since 1996, New York’s Fountains Of Wayne have been well-known for catchy power-pop songs with left-of-centre lyrics. Their single Radiation Vibe, from their self-titled debut, was a Triple J favourite. Then there was their biggest hit: the infamous MILF anthem Stacy’s Mom. But while that song was a big, goofy pop track that didn’t demand too much in-depth analysis, FOW seem determined not to repeat the formula. Sky Full Of Holes, the band’s fifth record, is a much more subdued effort that ditches electric guitars and big pop hooks in favour of acoustics and less dynamic melodies.
Ivy League Some tracks come along at just the right time for a change in seasons and such is the case with this perfect accompaniment for your next spring picnic in the park that is bound to get our of hand as the sun sets. Alpine frontwomen Phoebe Baker and Lou James achieve the kind of harmonies that sound like the same voice overdubbed, their twin timbres eerily similar. Instruments never crowd their voices, which you could imagine of a sextet, and Hands sounds a little bit Little Dragon (the “mmm-mmm”s similar to Yukimi Nagano’s in My Step). It’s over in a flash and captivating for the entire duration, closing out with basic beats.
JOSH JAKQ FEAT CYHI THE PRINCE Freak Some More Independent Hell YES you can hear the JT influences on this cut and Josh Jakq obviously worships at the altar of the Dick In A Box singer. Literally calling in the beat (“BEAT!”) also calls to mind both Jacksons – Michael and Janet. If these references excite you, you’ll salivate over this track. There’s some fun ‘everything but the kitchen sink’ percussion, pretty chorus harmonies and the obligatory rap inclusion ably supplied by Cyhi The Prince. You’ll require ‘80s inspiration for your dance moves in order to Freak Some More and something tells me ol’ mate owns Michael Jackson: The Experience on Wii. Jakq also recommends that you “d-d-d-dim the lights”.
Before heading into the studio with producer David Bottrill (Muse, Placebo, Tool), frontman and songwriter Matthew Wright was talking of Diorama, the Bottrill-produced Silverchair album that marked their shift from grunge to orchestral art-pop. For Silverchair it was a drastic change; they seemed a different band with an entirely new – and freshly kaleidoscopic – vision. Requiem has similar scope; a majority of the album is drenched in strings (most effective on STARS with their emotive pizzicato, swelling in title track Requiem and piercing in The Reckoning’s climax) and further orchestration on the foursome’s new songs comes from instruments as varied as French horn, flute, oboe and enough hand percussion for a full orchestra. There’s also a boys’ choir lending an impressive swell to the emotion inherent in Heartstone. Wright wields his piano skills to the most effect to date: subdued on Oceans Between Us, robust and central on Coming Home and spritely and melodic in at-times cringeworthy Child Of Light. But, unlike Silverchair’s Diorama, Requiem sounds like the same The Getaway Plan – more a progression (and an impressive one at that) than a close-to-complete reimagining. The album is steeped in a macabre melodrama and delivered with earnestness, but whether it will be received as such by an audience wider (and less niche) than the diehards amassed with their heavier, earlier releases remains uncertain. A brave move by a band recently reunited. DAVE DRAYTON
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The resulting album, with some overdubs even recorded from his hospital bed, shows Widdicombe as a musician skilled at weaving many styles into the fabric of one release without forcing a fit or compromising the flow. This isn’t necessarily a new discovery, though a heightened level of experimentation is, particularly as Widdicombe’s gentle vocal bends through a dousing of reverb to make bedfellows of an unlikely mix of acoustic guitar and otherworldly synth on beautifully sombre opener We All Do Better. Rolling into lead single No One Else, he sounds like a youthful Neil Young in both timbre and composition. Nodding to his bluegrass background with The Wilson Pickers on the album’s banjo and fiddled-happy title track, there’s also some jazzy numbers to be found, alongside harmonica, folk, cello, thick Gomez-like harmonies and a lot of swing in both percussion and lead guitar breakouts. The slight-fuzz of rock gem highlight All Your Secrets is catchy as hell, and there’s even room for the delay-rich, spaced-out guitar instrumental Futurotica. Find Someone is an interesting study in musical diversity, and in human spirit too. The woe-is-me element that you could easily forgive is nowhere to be heard amongst this accomplished and largely uplifting release, making Find Someone a tribute to the strength of a songwriter, and a person. TYLER MCLOUGHLAN
Sky Full Of Holes
It’s a pleasant enough listen, but feels like it’s missing something. Songwriters Chris Collingwood and Adam Schlesinger still have a knack for ingeniously clever lyrics, but most of the tunes don’t do the lyrics justice. This is one of those rare records where the words are more compelling than the music. This is particularly evident on lead single Richie & Ruben. The tale of two incompetent business entrepreneurs is certainly entertaining, but the wryly humorous lyrics are let down by a lacklustre and forgettable tune. Meanwhile, The Summer Place and A Dip In The Ocean have the potential to be soaring pop classics but don’t quite make it off the ground. Which isn’t to say there aren’t some great moments: Action Hero, with its sparse guitar chords and melancholy fingerpicking, manages to be both amusing and tender, while Cold Comfort Flowers is a standout track with a quirky, delightful keyboard riff. Sky Full Of Holes is for Fountains Of Wayne fans, but it’s far from the band’s best, and probably won’t make much of an impression on newcomers. DANIEL WYNNE
LOU REED & METALLICA
Free All The Monsters is The Bats’ eighth release in a career spanning three decades, and it rivals everything that they have done previously – a hefty statement, but one that is easy to back up. Robert Scott is a pop rock evergreen, and shows that he is losing none of the songwriting nous and maturity that has threaded through his entire back catalogue.
New Jersey band Real Estate have earned a fervent fanbase with their languid, jangly rock tunes seemingly tailor-made for lazy summer afternoons. Latest album Days does not veer away from this tried and true formula. And while individual tracks stand out as quality songs, as a whole Real Estate do little more than create indie musak.
One can only wonder what goes on inside Damon Albarn’s head. That creatively fertile brain has produced a cartoon band, one of the biggest acts of the Britpop era and operas, for a start. Harking back to his Mali Music project, Albarn has gathered some producers, named them DRC Music, and teamed them up with more than 50 contemporary Congolese performers to create an Oxfam record to help the charity’s work in the conflict-wracked Congo.
A concept album written around two plays from a 19th century German playwright that chronicle a dancer’s demise into a life of prostitution… which musicians other than Lou Reed and Metallica would be arrogant enough to consider this a good idea? Lulu is the sound of two artists actively committed to completely alienating their respective fanbases once and for all.
Free All The Monsters
Opening with Long Halls, the album marks its intent early, offering a track that is fall of shimmering tenderness and Scott’s iconic, relaxed vocals. The connection of their almost lackadaisical pop with psychedelic edges rears its head on the warbling guitars on Space Junk, the beautifully eloquent On The Bank and It’s Not The Same. The difference is that when The Bats venture into darker territory, such as the urgent In The Subway or the poetic When The Day Comes, everything – from Scott’s vocals to the instrumentation and lyrics – are unrushed, harbouring a fully-formed maturity that has cleverly brushed up the rawness of their past oeuvre to create a streamlined beast. In fact the name of the album bodes well – by letting go of the frivolousness and infusing their sound with a more romantic, woozy temperament yet with a crisp production, the songs resonate. Even when they make slight detours, such as on the instrumental Canopy, such experimentations feel inherent rather than extraneous. Rather than a possible rehash or cash-in, Free All The Monsters confirms that The Bats have a lot of fuel left in the tank. BRENDAN TELFORD
Kinshasa One Two
Things kick off with Days, a track that could be patented as “the Real Estate sound”™ – Martin Courtney’s echoed, soothing vocals, Matt Mondaline’s sonorous guitar lines, Alex Bleeker and Jackson Pollis providing the understated yet driving rhythms. It’s a good song. Even better is It’s Real, a somewhat beautiful, up-tempo number that you could see any number of current indie bands aspiring to sculpt in order to attack the airwaves over the summer. Note the word “summer” – Courtney and co seem interested in this season only, which in many ways is a fair enough ideal, but provides problematic issues. That is, repetition. Kinder Blumen, Green Aisles, Out Of Tune – they become interchangeable, so close are their structures and intent, almost like listening to the soundtrack to Garden State. Municipality benefits from an interesting intro that surprisingly evokes Dire Straits, and closing duo Younger Than Yesterday and All The Same are imbued with darker hues, before entering familiar terrain once more. Maybe it’s Courtney’s vocals that are the issue – while certainly competent, there is little deviation of tone and pitch from one song to the next. It could be that Mondaline’s solo output, Ducktails, is superseding the band in its insistence of infusing this sound with more colourful peripheries. Whatever the reason, Days does little more than provide (albeit good) background music.
Avoiding the clichés of charity album songs that boom with falsely anthemic aspirations, Kinshasa One Two is a spirited, diverse dip into an incredibly unique amalgamation of traditional and modern music; K-Town has a tribal percussive beat but is dusted with hip hop inflection, and Lingala combines a ritualistic voice with beats that are fantastically unbound to genre, yet reminiscent of folktronic dubstep. The list of producers involved in this project is some indication as to why the record flits between so many genres with such cohesive energy. Besides Albarn, Totally Enormous Extinct Dinosaurs, Dan The Automator, Richard Russell, Marc Antoine and many more have contributed. The driving force, though, is the shivering depth and passion with which the Congolese musicians perform on every song.
Lulu is such an uncomfortable listen that it makes you feel depraved, nauseous and looking towards that bottle of prescription meds like it’s the only logical option. As Reed rambles on like a senile war veteran recalling the brutal horrors of past bloodshed, Metallica sloppily riff in the background. Reed isn’t a man noted for his electrifying vocal tone. By combining his dull nature with the monotone chugging of Metallica in middle-road autopilot, the pairing have created a musical coma, a record breathing, but so devoid of personality or life. If this was a mere curiosity only to be found on some obscure bootleg, perhaps this abomination could be looked over. But when you take into account the massive marketing push, the audacious statements by both camps, and the sheer hype that has been blowing smoke up Lulu’s arse since last year, it makes this 90-minute journey into aural hell all the more offensive.
Kinshaha One Two is an inimitable example of how genres, cultures and styles need not exist separately, but when done right, can broaden the scope of sound infinitely.
To say that Lulu is complete shit would be doing faeces everywhere a great disservice. Without any redeeming musical quality, creative sense or foreseeable logic, this isn’t just the year’s worst record, this could very well be one of the worst albums of all-time.
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RATS IN THE RANKS
SHE’S IN FASHION
DUNE RATS’ songs started as short, uncomplicated numbers because the band could “barely master” what they were doing, writes DOUG WALLEN.
Being dressed by a local stylist is just one of the perks of playing a show for the Northcote Independent Fashion Festival, HELEN CROOME AKA GOSSLING tells JOSHUA KLOKE.
unky, beach-damaged garage-pop with a slacker drawl is everywhere, but it’s all too welcome if it keeps producing bands like Dune Rats. The Brisbane duo of Danny Beus and BC Michaels haven’t been around long, but they’ve already put out two EPs this year: February’s Sexy Beach and September’s Social Atoms. Both pack insanely catchy tunes, like the fizzy anthem Pogo that Triple J has started circling. Like so many Dune Rats tunes, it clocks in at around two minutes. “It’s just how we write songs,” reckons singer/guitarist Beus. “A lot of it was writing songs we thought were fucking awesome and held our attention. We didn’t want to complicate them because we could barely master what we were doing. And we like The Ramones: they can get their point across pretty quickly.” Besides Dune Rats, Beus used to be in a band called Villains Of Wilhelm, while drummer Michaels also plays in The Cairos, a hotly tipped Brisbane act signed to Universal. Dune Rats came together a year-and-a-half ago, and they’ve been gigging for merely a year. A duo on record, they become a trio live with help from guests such as Sean Caskey from Last Dinosaurs and Declan Melia from British India. “We usually try to rope in some fun people to fill it out,” says Beus. As for the band’s name? There’s a story behind it: “When I was younger,” he recounts, “all the older dudes surfing would see us fucking around in the dunes, getting up to shit. They’d always call us ‘little dune rats’. When we were naming the band, I wanted something people didn’t really understand. The more people I told what I wanted to name it, the more said it was a bad idea. That just stuck.” So far Dune Rats haven’t exactly travelled far and wide, but they’ve often been in good company. They’ve toured with the likeminded DZ Deathrays and done the rounds across their native Queensland supporting The Vines. (Both good fits, considering the way Dune Rats flirt with ’90s indie rock and even grunge.) Most recently they supported The Grates at Brisbane’s Tivoli, a much bigger venue than their usual stomping grounds. Asked about a few kindred Brisbane bands, they cite fellow
youngsters Gung Ho, Millions and Last Dinosaurs. Recorded partly by The John Steel Singers’ Tim Morrissey and then mixed and mastered in Berlin by Philadelphia Grand Jury’s Simon Berkfinger, Social Atoms is a brief blast of noisy, jangly, sun-crusted garagepop. Rivalling Pogo for brain-tattooing potential are the similarly brash yet sweet On Our Own and F(r)iends. It’s the sound of a young band in the best possible way: fresh, punchy and happy just to be playing. Running nine minutes total, the four-song EP is the length of a CD single. It’s available as a $6 download from Bandcamp, as is the five-song Sexy Beach, which includes the comparatively longwinded three-minute gem Wooo!. Some of those dandy EP tracks may end up on a debut album next year, but right now Dune Rats are just focusing on writing new tunes. “We’re starting to write,” confirms Beus, “literally in the last couple days. We manage ourselves, so an album [means] thinking about a lot of other things besides just writing songs.” For now, the Polaroid nature of the EPs suits the band fine. The format captured songs as they sprang into existence, and non-album releases remind Beus of bands he loves such as San Francisco’s The Fresh & Onlys and Thee Oh Sees. “They seem to have a hard work ethic,” he notes. “They can really just churn out songs…. When you keep releasing [songs] it makes it a lot easier to keep writing, because you’ve always got something to write for.” WHO: Dune Rats WHEN & WHERE: Sunday, Workers Club
“I’d like to think that the space you’re in affects the kind of music you play. Tight spaces don’t have the same resonances as when you’re in some beautiful, evocative room and there’s lots of reverb coming back and you kind of rise to the occasion. During this concert we were surrounded by such amazing architecture, of course, the atmosphere was incredible, and I think it definitely contributes to the sound.” Autumn Gray are launching Live At Fed Square in the gorgeous surrounds of Thornbury Theatre with support from Charles Jenkins & The Zhivagos 38 • inpress
“The clothes are a big thing to get in the right headspace for a gig. I feel like if I haven’t put effort into my outfit or if I haven’t been well-groomed, then I’m not ready to get up and perform. I kind of feel like it’s part of my job as a performer to look good on stage. I guess when I’m picking out outfits, I think about whether or not it’s going to be comfortable, if I can move around a bit and still look attractive.”
“I guess you’re looking for the whole package when you watch someone on stage. What they’re wearing often very much reflects their personality. You can understand their art a bit more by what they’re wearing.” Perhaps Croome should treat NIFFTY as an opportunity to stock up on clothing; this would, after all, allow her to focus on her music. Now with two EP’s under her belt, (Until Then and If You Can’t Whistle) Croome is eager to move forward. With an opening slot for Tim Freedman also to her credit, the future looks bright for Helen Croome. With the right clothes on her back, she’s discovering her voice and her craft, once again. “I’m demoing at the moment, and still writing some new material. The plan is to get a new release out early next year. Whether that’s an EP or an album, I’m still not sure. It depends on what kind of material I write and also how it gets funded. You know how it is with independent artists. But I’m having fun, writing songs. I haven’t been able to write for six or nine months, but it’s all slowly coming back to me.” WHO: Gossling WHEN & WHERE: Friday, Northcote Social Club
Unique local outfit THE RAAH PROJECT embrace the impacts different venues have on their live sound, TAMIL ROGEON tells TONY MCMAHON.
One notes with interest the stunning Federation Square architecture in the background of the band shot on the cover of the album, which leads us to ask whether Foletta feels his surrounds contributed to the sound of the music.
Croome won’t have to worry about shopping for an outfit when she headlines NIFFTY, the premier event of the Northcote Independent Fashion Festival, but she will be dressed to impress. As a performer at NIFFTY, Croome will be outfitted by a plethora of local designers from High Street. Each performer will be styled by NIFFTY coordinator and fashion stylist Solange Mardones. It will be an opportunity for Croome to focus solely on her tunes, as usually she’s forced to consider her outfit and how it might augment her performance.
they exposed in New York City, just as much as music journalists were writing about the quality of their songwriting. It’s an unavoidable marriage, but one that Croome acknowledges. She’s quick to give insight when asked about how the world of music and fashion interconnect.
“We shook the tree, and Mark [Lang] and Charles [Jenkins] fell out,” AUTUMN GRAY’s GREG FOLETTA tells TONY MCMAHON.
“The whole thing got turned around in about four weeks. It wasn’t a planned recording project, of course, it was a live concert, but as soon as we got off stage we realised the performance had been a bit of a dream, really. We recorded it for posterity and had it played back to us a couple of weeks later. It sounded a bit rough, but we thought there might be an album in it. So we handed it across to Jimi Maroudas, who mixed our album and EP. He ran his beautiful ears across it and ended up turning it into something really special.”
“It’s quite particular, isn’t it?” she says, reached by phone from a Brisbane café. “I didn’t actually grow up in Melbourne but when I did move to Melbourne, I began to dress like a Melbournite. Lots of black; you’ve got to wear lots of dark colours in Melbourne I think, compared to Sydney or Brisbane. Myself, I’m not much of a fashionista. I’m not very good at shopping; I’m usually in and out in about 20 minutes when shopping. Then I’m over it.”
It would be foolish not to admit that fashion has indeed become an inseparable part of a night of live music. When The Strokes broke early in the ‘00s, the fashion world took note of what they were wearing and the fashion scene
WHAT: Social Atoms EP (Independent)
FADE TO GRAY ive At Fed Square, the new album from up-andcoming local indie outfit Autumn Gray, in collaboration with the 40-piece Orchestre Nouveau, is an extraordinary record on many levels. This is an interesting and evocative listening experience, with clever songwriting and heart-warming melodies. More than this, though, the record also represents a unique coming together of the DIY ethic of the indie music scene with the affecting power and control of classically trained musicians, something one decidedly doesn’t hear every day. Autumn Gray trumpeter and vocalist Greg Foletta tells Inpress a little about how the album came about and mentions that he still can’t quite believe it’s actually real.
elen Croome isn’t crazy about fashion. She understands it, yet in fashion-conscious Melbourne, she’s more of an outsider looking in. Playing under the moniker Gossling, her teder and soulful approach inspires a sense of class. It would be easy to imagine her as the soundtrack to the kind of event that requires black ties and evening gowns. And while Croome can think of other things to do with her time instead of shopping, her take on Melbourne’s fashion scene is quite bang-on.
T and Mark Lang, from Skipping Girl Vinegar. “We just went out looking for some people who we thought might be interested in playing with an orchestra. We shook the tree, and Mark and Charles fell out,” he says. “Charles Jenkins is headlining, but we’re launching the album as well. It’s a bit confusing, I know. The title of the whole night is Kinfolk – Indie Symphony. We’re bringing us and Charles Jenkins and Mark Lang all together. We’re all playing our respective sets with the backing of Orchestre Nouveau. It’s kind of a big collaboration between us, these other great Melbourne artists and Orchestre Nouveau.” This writer was fortunate enough to see pop/rock stalwarts The Killjoys at Thornbury Theatre very recently and was struck very nearly dumb by the sheer quality of the sound. It almost beggars belief to imagine what a record as layered and intricate as this one might be like to hear at the very same venue. Going back to what we discussed at the start of the interview, about the places where music is played contributing to the quality of that music, Foletta seems to think that the Thornbury was an ideal choice for the show. “We just looked around Melbourne for a stage that would accommodate a 40-piece orchestra. You can’t really put something like that on at the Empress. We looked at Thornbury Theatre and just thought it was such a beautiful space that it would be perfect. It’s just got so much character. It’s going to be beautiful.” WHO: Autumn Gray WHAT: Live At Fed Square (Independent) WHEN & WHERE: Friday, Thornbury Theatre
he Raah Project are two guys – Tamil Rogeon and Ryan Ritchie – who obviously love jazz and soul, probably have a bit of a fondness for hip hop and a huge appetite for doing things differently. They also happen to have at their disposal a 17-piece orchestra that, apparently, they bring with them to most of their shows. The result is one of the more interesting and consistently exciting outfits out there, as evidenced by their debut album Score and the upcoming Take Me Elsewhere. During Melbourne Music Week, The Raah Project will be performing a very special one-off concert at Birrarung Marr as part of the Kubik Melbourne open-air live music installation, and, yes, we’re talking the whole kit and kaboodle. On listening to this band’s extraordinary work, Inpress becomes fascinated with the question of how the idea for such a layered sound occurred to them. Rogeon says that it was more about influences and pushing the boundaries of a particular opportunity than trying to conform. “I guess that the record was a summary of all the things that we liked. We didn’t really think to ourselves that we wanted to make a record that sounded a certain way or fitted into a certain kind of market or appealed to certain kinds of music fans. We got some money from Arts Victoria and just thought we wanted to take this as far as we were able to do, just, as I said, using all the things that we really liked. We hope that it comes across as honest music. We certainly started out with that intention. It’s been a great journey. It seems to have opened up a lot of opportunities for us.” A lovely segue into the upcoming show at Birrarung Marr… This park, on the banks of the Yarra, is a significant Melbourne site for any number of reasons. How does Rogeon feel about playing a show in this location specifically? Does he think the surrounds will play a part in the results? He definitely does, though he’s not exactly sure how. “It’s a really great space and we’re looking forward to doing something special within it. I’m very sure that the location will have an influence. We were lucky enough to play at the Forum during the Jazz Festival and we’ve played at the Melbourne Recital Centre as well. They’re very different spaces and with that comes a very different feel. It’s kind of hard to predict what kind
of effect a space is going to have until you get there and start playing. It’s kind of hard to put your finger on, but it is true that the space will affect the music.” Rogeon obviously has quite an appreciation of musical history, something a listener can somehow feel in the music his band make. Continuing on with the theme of sounds and place, he fills us in on a couple of really interesting examples. “Bach would write music specifically for masses, composed with the idea of being played in a church. That music definitely took into consideration the surroundings. Even techno and dubstep often take into consideration the fact that they’re going to be played really loud in a club while they’re being written and produced.” Another feature of The Raah Project’s upcoming show is being billed as ‘experimental lighting design’. Given the performance’s location at Birrarung Marr, this leads one to imagine all kinds of spectacular results. Rogeon tells us that Kubik’s emphasis on installation is not the only reason the visuals are going to be spectacular. “There’s always been a really strong visual element to our shows. Our first couple of shows we had projections of films by Andrew Turland. For the show at the Jazz Festival, we had lighting design by [renowned theatrical lighting and set designers] Bluebottle. For this show, the lighting design will feature… the space itself.” WHO: The Raah Project WHEN & WHERE: Saturday, Kubik, Birrarung Marr
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THIS WEEK IN WEDNESDAY 16 Grindhouse – now infamous double bill of Quentin Tarantino’s Death Proof and Robert Rodriguez’s Planet Terror, sandwiching a slew of fake-trailers (two now not-so fake). Astor Theatre, 7.30pm. Day One. A Hotel, Evening – directed by Gary Abrahams, written by Joanna Murray-Smith; a smart, incisive comedy-of-manners about a group of well established couples and friends who, through a series of La Ronde-style affairs, have spun an intricate web of feeling and indifference within their social circle. Opening night, 8pm. Red Stitch Actors Theatre until 17 December.
THURSDAY 17 Boxman – directed by Matt Scholten, written by Daniel Keene. A new play with Terry Yeboah performing, about Ringo, a homeowner and survivor, displaced from his African homeland and disconnected from this new one. Part of the Big West Festival, Opening night, 8.15pm. Bruce Gallery until 26 November. She’s A Little Finch – directed by Jacquelin Low, written by Elise Hearst; Josie has found a bird and she wants to keep it. Its twelve years since her mother, Nina, went away, and Josie is not letting go of this little finch. A story about loss, and the way its impact reverberates through lives, towns, generations. Following a hugely successful season of Dirtyland, in Sydney, Melburnian Elise Heart brings her play home. Opening night, MKA Pop-Theatre Abbotsford, 8pm until 26 November. Taxi – directed by Susie Dee and 2011 Victorian Premier’s Literary Award-winning playwright Patricia Cornelius. A truly intimate theatre experience, an audience of three will sit in the back of a moving taxi and experience life in short grabs. They reflect the experiences of taxi drivers and passengers alike, with different narratives playing out depending on which taxi you get in. Part of the Big West Festival. Bluestone Performance Hub taxi rank every half an hour (from 6.30pm) until 26 November.
FRIDAY 18 The Blues Brothers – directed by John Landis, starring John Belushi, Dan Aykroyd, Cab Calloway, and John Candy, who are on ‘a mission from god’. This classic cult hit is a musical action farce about a blues band trying to raise money for an orphanage and nearly destroying Chicago in the process. Astor Theatre, 8pm. Fintan Magee: Paper Plains – an exhibition of bold guerrilla mural works, which often combine stilllife painting of found objects with installation elements. Magee’s
40 • INPRESS
ARTS works explore themes of waste, consumption, loss and transition. The Paper Plains exhibition is a collection of paintings, drawings and installation works which add an unexpected magic to the mundane and forgotten objects of everyday life. The world may be round, but a box can still provide hours of entertainment to those with a little imagination. Opening night, 6pm. RTIST Gallery until 4 December.
ASS ACTION HERO
Halls Gap Film Festival – the Halls Gap Film Festival showcases films straight from the major film festivals and classics set against some of Victoria’s most stunning scenery. Opening night: The Kid With A Bike, the latest film by the acclaimed Dardenne brothers (The Child and Lorna’s Silence); an uncompromising socially aware drama. Eleven-year-old Cyril is determined to re-establish contact with his absent father and recover his missing bicycle. Winner of Grand Prix at Cannes this year. Classic Cinema, 8pm. HGFF runs to 20 November.
SATURDAY 19 Buck – directed by Cindy Meehl, winner of the Audience Award Sundance 2011, the story of Buck Brannaman, the acclaimed ‘horse whisper’. In this engaging documentary, Meehl follows Brannaman over a nine-month period as he travels across America teaching riders how to become one with their horses. Part of Halls Gap Film Festival. Classic Cinema, 10.45am. Maybe We’re Never Together – directed by Glynis Angell, written and performed by Kate Hunter and Emilie Collyer. We’re born, we live, and we die. In between there’s a lot of talk about love and other similarly awkward things. Part of the Big West Festival. Closing night, 9pm. Bluestone Performance Hub.
SUNDAY 20 Le Havre – directed by Aki Kaurismaki, who is known for films that tackle difficult subjects, this film was a MIFF hit and winner of the International Federation of Film Critics Prize at Cannes 2011. When an African boy arrives by cargo ship in the port city of Le Havre, an aging shoe shiner takes pity on the child and welcomes him into his home. Part of Halls Gap Film Festival. Classic Cinema, 11.35am.
MONDAY 21 String Thing – directed by Anni Davey, performed by Christy Flaws. Spinning wheels hooks and needles, spider webs, and old ladies. Ropes for skipping, climbing, tying, knotting wrapping, roped that have been at sea, knots and tangles, a physical exploration of string by a circus artist. Part of La Mama’s 2011 Explorations season. Closing night, 7.30pm. La Mama Theatre.
GUY DAVIS TALKS TO THE MAN AT THE CENTRE OF THE HUMAN CENTIPEDE II, LAURENCE R. HARVEY, THE CONTROVERSIAL FILM’S MAIN PROTAGONIST. Laurence R. Harvey, the distinctive and, dare we say, unforgettable star of The Human Centipede II (Full Sequence) knew he’d met a kindred spirit in Dutch filmmaker Tom Six when the two men bonded over their disdain of cheese. “I haven’t met many people who hate cheese to the degree that I hate cheese,” says the British actor. “We both hate it with equal venom!” That’s cheesy culture you’re referring to, Laurence? Formulaic, pedestrian, manipulative storytelling, right? As opposed to the dairy product? “No, the dairy product!” he says, laughing. “We had this connection that went beyond our shared interest in film.” Just as Six and Harvey won’t be sharing a nice, runny brie any time in the near future, it’s also unlikely that they’ll collaborate on a runof-the-mill Hollywood horror movie any time soon. Based on the grimy,
disturbing Human Centipede II, a bold stylistic departure from the 2010 cult-hit original, they’re happy to make their way into some dark, graphic, and unsettling territory. Unlike the elegantly deranged Dr Heiter of the first film (played by Dieter Laser), who abducted and stitched together a trio of people, Harvey’s character Martin Lomax is a twisted individual inspired by The Human Centipede’s mouth-to-anus adventures in surgery to create his own human centipede, albeit with a lot more people (a dozen rather than three) and a lot less finesse (Martin’s surgical instruments are better suited to woodwork). Yeah, it’s not for everyone. “If you like safe Hollywood threeact structures where all the characters, male and female, are identikit bimbos or if you like giant CG robots smashing each other up, yes, you should be worried about Tom Six,” agrees Harvey. “But if
THE MAD SQUARE TAKES OVER NGV The Mad Square brings together an experimental, provocative and compelling collection of over 200 paintings, photographs, prints, films, sculptures, and decorative arts pieces with loans from museums and private collections around the world. Works from leading artists of the time, including Max Beckmann, Otto Dix, George Grosz, John Heartfield, Hannah Höch, Karl Hubbuch, Ernst Ludwig Kirchner, Käthe Kollwitz, László Moholy-Nagy, August Sander, Christian Schad, Rudolf Schlichter, and Kurt Schwitters, emphasise the great diversity and innovation of these key avant garde movements that emerged in a number of cities across Germany, and Berlin in particular. The Mad Square: modernity in German art 1910–37 opens at the National Gallery of Victoria Friday 25 November and runs to 4 March, 2012.
you’re into interesting, idiosyncratic films that go against the grain, then you’ll say, ‘Hallelujah!’.” According to Harvey, Six decided to explore some different notions with The Human Centipede II rather than simply rehash the original’s ideas and themes. “So many people were expected the sequel to be a carbon copy of the first film, but Tom was just so against that,” he says. “He was more interested in this film being the flip side of the coin. The first film was about the tropes of the horror film, this one is more about the reception horror films receive and the way certain things latch onto the imagination.” The first film definitely latched onto the imagination of cult-movie devotees. It also became a bit of a lightning rod for controversy due to its graphic content. Response to this from the media and the film’s fans inspired Six even further. “The kinds of questions he was being asked in interviews... he was actually asked what he thought about someone copying Dr Heiter’s idea,” says Harvey.
“That definitely inspired this film. And part of Tom’s message as far as the excess is concerned is ‘Be careful what you wish for’. A lot of horror film fans can bring that kind of macho posturing – ‘Show me the gore, show me the gore!’ – to their viewing of a film, and with this they’re rather shocked by what they see.” And Six isn’t finished, with a third Human Centipede film in the pipeline. “Like this film is very much a left turn from the first one, the third is going to be a left turn again,” claims Harvey. “Tom has talked a little bit about it, and Martin will make a reappearance because the third film will begin with the end of the second film. So you’ll be able to run all three films together...the idea is that you’ll be able to edit them together as one long cinematic centipede.” WHAT: The Human Centipede II (Full Sequence) with Laurence R. Harvey in attendance WHEN & WHERE: Thursday, Cinema Nova
MAMBA – A LOST FILM RE-DISCOVERED, AND SCREENING An astonishing cinema archive revelation, unseen on the big screen for 80 years. The Astor presents a special night of Hollywood history and a fabled lost film now discovered intact and presented as lost Hollywood heritage. In 1929, at the dawn of sound, ten years before Gone With The Wind, one ambitious Hollywood studio produced the industry’s very first all-sound, allcolour, all-epic drama in Technicolor and the film is called Mamba. For 80 years thought lost, the sole surviving 35mm print has been found in Australia, and film historian Paul Brennan will host an evening of discovery, and fascinating insight into the plight of this lost treasure, now destined for full restoration status. Mamba screens at the Astor Theatre Monday 21 November, 8pm.
C U LT U R A L
CRINGE A SUITE FOR CHEATING
WITH REBECCA COOK
WITH ANTHONY CAREW The career path for hyped American indie filmmakers is usually sad slide south: early promise traded in for Hollywood paydays, early auteurism abandoned for readymade commercial projects. Look at, say, David Gordon Green, who across six films in 11 years went from the amazing George Washington to the depressing Your Highness. So, then, let us rejoice that Miranda July’s six-years-on follow-up to her beloved Me And You And Everyone We Know is far darker, stranger, and more compelling than its predecessor. The Future is a film alive to concepts of temporality without being some dystopian sci-fi screed; a narrative in how time is perceived by those trapped within it, and those who attempt to transcend it. As with all of July’s work, it’s rooted in performanceart practice; born from its auteur talking in a silly voice. Here, she narrates the film as the spectral spirit of a swooning cat talking from beyond the grave – clearly the best animal narrator since the ready-to-be-gutted fish in Denis Villeneuve’s Maelström – and stars as one of two 30-something drifters attempting to shake off the ease of routine. In a sitcom-ish set-up, they decide to unplug the internet – thereby symbolising life off-the-grid – but fail to rouse themselves from their spiritual slumber. In one of The Future’s most incisive, indicting instances, July’s character pledges to a personal project of creating one dance video today, yet never bothers to do so; the depiction of this paralysis-of-lethargy skewering one of the more reassuring platitudes of the aging hipster – if
only I didn’t have to work, I’d have the time to make that killer album/novel/artwork/etc. – with blithe comedy and near-cruelty. The storyline will sit uneasily with viewers, but so will everything else here: there’s no familiar narratives, no reassuring three-act structure, no comforting clichés or phony emotional platitudes. The Future is a daring, provocative work in which devices of seeming cutesiness are taken to conceptual and psychological extremes; all of July’s talking cats, sentient T-shirts, anthropomorphised planets, and sketch-comic vignettes not zany, but threatening. Here, quirkiness stares deep into the existential void, and sees a future of aching, shadowy emptiness. Bill Cunningham New York is billed as a documentary about Bill Cunningham, his bicycle, and his camera, and it truly never goes beyond that. Richard Press’s portrait of the New York Times’ street-fashion photographer keeps an observationist distance from a subject not big on personal disclosure; the effect – if not the text itself – suggesting Cunningham’s work has wholly consumed his life; his 24/7 toil a devotion both loving and monomanical. In a ‘personal’ glimpse, we see inside his crazyold-man apartment: there’s no toilet, bathroom, nor kitchen, just boxes upon boxes of photos. There’s a kind of chummy selfidentification in this portrait; Press simply chronicling the man who simply chronicles; quietly watching the quiet watcher. I kept wondering what Errol Morris or Werner Herzog would ask this strange, strange man.
BEER AND SYMPATHY IRISH-AMERICAN COMEDIAN DES BISHOP IS DECOMPRESSING FROM HIS RECENT, EMOTIONALLY FRAUGHT RUN OF SHOWS BY PLAYING SOME RAUCOUS GIGS IN AUSTRALIA. BAZ MCALISTER BELLIES UP FOR A PINT. Des Bishop’s last show was one of the hardest he’s ever had to put together – it was called My Dad Was Nearly James Bond, and he was. Bishop’s father, an actor, had bit-parts in Zulu and Day Of The Triffids and when his big break came – auditioning for the part of suave superspy 007 – he was beaten to the punch by George Lazenby. When Bishop was putting the show together his father was gravely ill, and he died in February this year, as Bishop was touring the show. He postponed some shows for a few weeks, but soldiered on and finished the run. “The show became a lot more
emotional – but it was good,” Bishop says. “It was kind of an intense comedy show. It was just kind of fun – it was making the best of a bad situation.” The show took something of a toll, and Bishop says he’s getting back to his irreverent roots and embracing the sheer joy of playing with a crowd without making a poignant emotional point. “One of the reasons I’m here right now,” says the Bishop from Sydney, “is to try to move away from that. I’m finding it really hard just doing normal stand-up, you know? I did a show last night in Sydney at the Comedy Store where I was just
A furore erupted last week around a proposal to shift the Melbourne Festival to earlier in the year (from October to mid-February) from 2014. Comedy heavyweights such as Wil Anderson, Dave Hughes, and Charlie Pickering immediately stepped into the ring to stop the festival moving in on their turf – the Melbourne International Comedy Festival. While MICF doesn’t usually start until April, tickets go on sale in late February and Comedy Festival management and comedians alike are concerned that Melburnians’ pockets are not deep enough to support two major festivals so close together. Plus there are already two other festivals in March – the Food and Wine Festival and Fashion Festival. Melbourne Festival management says the move will enable it to take advantage of the warmer weather to host larger outdoor events as well as coordinate better with interstate arts festivals. Despite forecasts of rain and wild weather, Melbourne Festival’s closing night concert Notes From The Hard Road And Beyond attracted over 7,000 punters at outdoor venue the Sidney Myer Music Bowl this year. While the rain held off, Cringe can only imagine that the event might have been even bigger if the weather hadn’t been so morbid. In years gone by the festival certainly used to produce more outdoor events. When Robyn Archer was artistic director she bravely programmed a large number of mass outdoor events – however from memory the first was a public dance piece to Singin’ In The Rain! Before everyone starts peeing on their calendars to mark their territory Cringe
has a solution: December. Hey, it’s already called ‘the festive season’, the weather is generally a bit more predictable, and other than perhaps the Short+Sweet 10-minute play competition, there are no other major arts events to clash with. “Perhaps there’s a good reason for this,” I hear you say incredulously, “because you’ve forgotten one minor detail, that small religious and commercial event – Christmas.” Melbourne Festival vs Santa Claus. Aha! But imagine this: the Christmas story interpreted by Spencer Tunick as the Myer Christmas windows; Carols By Candelight featuring duets by Humphrey B Bear and Jello Biafra; the entertainment at your work Christmas party is a butoh performance by a Belgian dance company highlighting the legacies of apartheid; or if you don’t want to go to your partner’s family dinner – a very convenient excuse – “I got these tickets to a Melbourne Festival show that’s on the same night”. Of course, ticketing would need to get underway before people blow all their dough on candy canes and ‘beers of the world’ sixpacks, but savour the possibilities of special cut-price Boxing Day performances with door busters such as discount installation art and free multimedia performances. When you think about it the opportunities are endless – let’s hope December was on the table at the meeting called by Arts Victoria last week to discuss the date change with representatives of major Victorian events and venues. No decision has been announced as yet, but it’s likely to remain a hot issue as more and more events fight for space and wallets in an already jam-packed Melbourne calendar.
IN A FAITHLESS WORLD, THREE COUPLES COLLIDE (LITERALLY) AND THE RESULT IS AVOWEDLY BOURGEOIS. ACTOR RYAN HAYWARD EXPLAINS TO PAUL RANSOM THAT JOANNA MURRAYSMITH’S LATEST PLAY IS A PERFECTLY ZEITGEIST.
Firsts and lasts. Day One. A Hotel, Evening. Joanna Murray-Smith. Red Stitch. Thus the scene is set for the world premiere season of the new work from one of Australia’s pre-eminent playwrights; and also for Melbourne’s critically revered Red Stitch Actors Theatre to draw the curtain on their 2011 schedule. Beyond mere facts, however, lurks a simmering world of middle class frustration and ennui as three couples gather for an evening of infidelity. Amongst all the sexual shenanigans, actor Ryan Hayward’s character Ray, a man described as dangerous, sits outside the game. “He’s the only one remaining faithful; and getting screwed in the process,” Hayward says. Far from being a simple ménage à cinq, Joanna Murray-Smith has constructed a scenario that scratches at the layers of what philosophers like Žižek like to call the global liberal consensus; that brightly lit world of individualism and consumer fetish that most of ‘us’ live in. More specifically, Day One. A Hotel, Evening looks at relationships within the broader economic and cultural context. “In this particular piece she’s really exploring what we sacrifice for love, or not, as the case maybe; and what we’re willing to give up to buy into this construct of monogamy,” Hayward observes. “She’s really looking at modern day relationships and the punishment we inflict on one another within those relationships.”
messing around with the crowd and I was just thinking ‘This is rubbish, this is me just dicking around’. I felt uncomfortable with the silliness of it.” He’s gone the diametric opposite from the Bond show with the new one he’s developing, and he will be working out the kinks in some of his fresh material at Irish pubs up and down the country (but stepping it up a notch in Melbourne with a gig at Red Bennies) in the coming days on his ‘Pub Tour’ of Australia. “The new show will be called Des Bishop Likes To Bang – it’s about learning to play the drums, actually. But there’s a lot of audience participation and rapping and silliness. At these shows, I’ll be literally just working out new stuff. It’s a rawer state than the last show. There’s no serious running theme. It’ll be probably quite sloppy –not ground-breaking comedy – but it’ll be lots of fun.” As part of the process of moving on from his last show, Bishop set down his father’s life in print this year in a
As has oft been observed, we reserve our worst behaviour for the ones we love the most. Yet whilst Murray-Smith is not backwards in coming forward about this, the play avoids being a slab of unrelenting bleakness. As Hayward notes, “Hopefully there can be some hope in there as well because otherwise it would be terrible to do a play for two hours where all you were saying was, ‘aren’t we all screwed?’.” For all that, the serial infidelities at the heart of the play are what the whole thing hinges around. “It’s probably part of the zeitgeist at the moment because everyone worldwide is trying to define what marriage is and whether that should strictly be defined as something between a man and a woman,” Hayward explains. “Y’know, and then people start throwing around this word ‘sanctity’ as though a man marrying a man is going to defile the sanctity of what marriage is, when we’re all screwing around anyway.” The relevance of a show like Day One is, in some way at least, perversely underlined by the inexplicable Kardashian phenomenon and our voyeuristic interest in their marital affairs. “I mean look at Australia’s fascination recently for someone that’s famous for nothing and her getting divorced after 72 days,” Hayward sparks. “A hundred years ago we would have had no idea who this person was.” WHAT: Day One. A Hotel, Evening WHEN & WHERE: Friday to Saturday 17 December, Red Stitch Actors Theatre
book that shares the title of the show. “The book is more serious than a stand-up show,” he says. “It’s a memoir of my dad’s life and our life together. It’s not really that funny, it’s quite emotional. I initially sat down to tell this story that had been in my head for ages – it’s not that it was more difficult, it was broader. Writing’s not stand-up, you don’t have to be constantly funny and you can write about whatever you want. It’s nice in the sense that you can just keep writing and revising before you put it out to an audience – but on the flip side there’s not that feedback until people start reading the whole thing. There’s no back-and-forth development like in stand-up. It’s hard to let go. ” Emotional accounts of Irish lives always bring to mind Angela’s Ashes by Frank McCourt –and Bishop mischievously says there is a reference to that book in his memoir. “My dad had a jealousy of Angela’s Ashes, and it all makes sense when you read the book,” Bishop says.
“His childhood was probably worse than Frank McCourt’s, in a different kind of way. I think my dad was like ‘How can this motherfucker make all this money, he didn’t go through
half the bad shit I went through!’.” WHAT: Des Bishop WHEN & WHERE: Tonight, Red Bennies INPRESS • 41
TOGETHER, ALONE? CASSANDRA FUMI SPEAKS WITH EMILIE COLLYER
WOMEN’S SALON OPENS THIS WEEK The Women’s Salon is an annual exhibition of new work by female artists who live in Moreland. This year’s exhibition marks the centenary of women gaining the vote in the Victorian Legislative Assembly elections, and the exhibition considers the experience and achievements of women over the past 100 years. The Salon opens at Counihan Gallery, Brunswick Thursday and runs to 17 December.
ABOUT HER BIG WEST FESTIVAL PERFORMANCE PIECE WITH KATE HUNTER, MAYBE WE’RE NEVER TOGETHER. Two things are certainties in our lives: we are born, and we die – both of which are occur alone, right? Or wrong? These questions and trains of existential thought are what Emilie Collyer and Kate Hunter have been grappling with in their performance piece Maybe We’re Never Together, which premieres at Big West Festival. “Existentially, all human beings are alone, but along the way what makes life worthwhile are the points of connection, the moments you share, and they give you the courage and the resources to be okay in those moments when you’re alone,” says Collyer, whose Dinner In A Dry Dam featured at Big West in 2009. The theme of this year’s Big West is “Uncontained”, which perfectly suits this “part physical performance, part poem, part audio collage and part two people on stage having a lot of fun”. Collyer and Hunter went to drama school together many years ago and have been friends ever since; this piece was a chance, to “experiment with each other and the different ways we make work [as artists],” says Collyer. “I have gone more down the path of writing.” Whilst Collyer has been expressing herself via language, Hunter has
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been using her body. “She has gone more down the path of physical theatre and devised performance work,” offers Collyer. “We thought it would be fun to make a show where we used our own processes and found a way to combine these different methods of making work.”
TONIGHT’S TWEETFILM: THE MATRIX TweetFilm is a Twitter-based movie watching experience where every participant watches the same film at the same time and live-tweets it – it’s like talking through a movie, 140 characters at a time. (And quieter.) In association with Loop, TweetFilm will present a free screening of The Matrix with the Twitter feed projected alongside, so everyone present can take part in the conversation. Join in at LOOP tonight, 7pm – and follow @tweet_film.
Even though Maybe We’re Never Together asks heavy questions, audiences can be assured it will still be entertaining.
HUMAN SACRIFICE TAKE ON THE CUCKOO’S NEST
“[Our] very close relationship is largely based on humour,” says Collyer. “I like to look at things in a deep way and then subvert back to something funny or unexpected, as I think that it’s important to stay interested as an artist and also for audiences to be constantly engaged in a piece of work.” Directed by Glynis Angell, who has a wealth of experience in physical theatre and clowning, as Collyer shares, the performers “are playing heighten version of ourselves; it’s us but its drawing out the extremes of us. “We’ve had a few people come in and say, ‘I have never seen anything like this before’,” she continues. “It’s not a traditional play, but it’s not just physical theatre either – there is a lot of dialogue, we have recorded conversations for about a year and half, and these are
Human Sacrifice Theatre presents One Flew Over The Cuckoo’s Nest, their biggest production to date, staged in the Chapel Theatre at Chapel Off Chapel. This multicultural, all-star cast (including Mark Diaco, Stan Yarramunua, and Natalia Novikova) will be led by director David Myles. Proceeds of ticket sales will be donated to Mental Health Foundation Australia (Victoria). Opens 24 November.
ATTACK THE BLOCK ADVANCED SCREENING also incorporated in the piece.” Theatre is changing, audiences no longer seem to crave logical narratives, audiences seem to want to be challenged and surprised by the possibilities of this pulsating art form, which is where a production such as Maybe We’re Never Together sits. “I like the idea of connecting with an audience by being really truthful
about who we are as performers,” says Collyer. “A lot of the stories are about memoires, our childhoods, and things we have all shared.” WHAT: Maybe We’re Never Together WHEN & WHERE: Tonight to Saturday, Bluestone Performance Hub, Footscray as part of Big West
Space just messed with the wrong place – see Attack The Block, the film that critics are raving about, from the creators of Shaun Of The Dead – before it opens nationally. The film will screen at Palace Westgarth Cinemas, Northcote Monday 21 November, 7pm with a Q&A with writer/director Joe Cornish live from London. Head to cinemanova.com.au for more details.
ANAM DOES BACH SUITES Australian National Academy of Music presents Bach Suites. A designer, a dancer, and a choreographer, together with ANAM’s cellists, explore the movement and light that are evoked by selected movements from the wonderful Bach Suites for Solo Cello 1-6. Performing at fortyfivedownstairs tonight to Saturday. Head to anam.com.au for more details.
TO DIE FOR YOUR SYNTHS
ACMI HAVE INVITED AN ECLECTIC MIX OF MUSICIANS TO CURATE A VERY SPECIAL FILM PROGRAMME. BOB BAKER FISH SPEAKS WITH MIDNIGHT JUGGERNAUTS’ VINCENT VENDETTA ABOUT HIS INVOLVEMENT. In ACMI’s programme Playing Under The Influence, four musicians select and discuss the film that’s had the greatest impact on their sound, demonstrating that music’s intersection with the moving image goes well beyond video clips and soundtracks. Each of the musicians will take the audience on a personal journey through their relationship to film, then follow up with a Q&A. Sounds quite civilised, right? So they’ve got Mick Harvey screening the London jazz film All Night Long, Tim Rogers screening Billy Liar, Henry Wagons offering Dead Man, and Vincent Vendetta from the Midnight Juggernauts serving up Dawn Of The Dead – the hyper hysterical Dario Argento version, no less. Suppose someone had to lower the tone. “I guess growing up I’ve always loved the horror genre and zombie movies in particular,” offers Vendetta. “I think I’ve always enjoyed the blood and gore from a young age. I think Dawn Of The Dead is one that is in another league than most horror films. Obviously it has that satirical jab at modern consumerist society,
but it’s just an entertaining film.” Released in 1978, it’s the second film in American filmmaker George A Romero’s Living Dead series in which a plague of zombies have infested the world. Fleeing the city, a group of survivors find themselves in a shopping mall where they battle zombies and each other just to survive. The version that Vendetta is screening is the international version, edited by legendary Italian horror director Dario Argento, a man responsible for classics in the genre including Suspiria. He brings to Dawn Of The Dead his customary hysterical style, big bombastic pieces with a booming electronic score courtesy of Italian prog rockers Goblin, a band who scored many of Argento’s own films. In fact it’s their presence that really drew Vendetta to the film. “For me that film really stands up because of the soundtrack,” he reflects. “I think too it’s the involvement of Dario Argento. His cut has more of the Goblin soundtrack included.” “There was so much footage shot in production that there are so many
different versions sitting around that it really could seem like a totally different film,” he continues. “It’s interesting how different filmmakers will interpret that footage, of course you should probably hold true to the director’s version, but to me the soundtrack and the Goblin involvement were definitely something which appealed to me.” “I’m interested in a lot of the Italian films from the late ’70s and early ’80s,” he continues, “and definitely the films with Goblin soundtracks like Suspiria and other Argento releases. They’re classics today because of the atmosphere they were able to create.” So it may come as no surprise that a few other gory and transgressive films were also under consideration. “I was also thinking of some from the cannibal field like Cannibal Hololocaust, which inspired a lot of movies and soundtracks but is so gross and disgusting that we thought maybe it’s too much to be screening this at ACMI, it might be a little too much for people to take. Some of it a is a little too base, but looking at it 30 years later you can appreciate the atmosphere that the movies came out of as well, like the behind the scenes turmoil on set, which is probably interesting enough to be a film unto itself.”
was devastated and part of this is also related to that event.” The film is populated with amazing moments of synthetic score, simple yet unexpected flourishes like the bare bottom end oscillations as one of the characters is creeping down a hallway, creating one of the most ominous and stressful moments in cinema, but you barely know why. “Once people start playing with synthesisers and finding forms and toys to work with it’s interesting to hear the ways that people were able to manipulate sound in new ways. Bass drones can really add so much to a film, I remember watching Irréversible in the cinema and I was thinking, ‘Why am I feeling so sick and queasy?’ in the film; aside from the obvious disgusting scenes right throughout the film, there’s this continuous oscillating bass drone that you end up feeling viscerally.”
Whilst the band have scored shorts and little projects here and there, ACMI also offered up an opportunity to re-score a feature film as part of their Cinemix Series. However, Vendetta was keen to score a number of short films to create a series of suites. He ended up deciding on Look At Life, a British newsreel series from between 1959 and 1969. “The majority that I saw were actually quite naff and ridiculous but I could see a lot of potential to turn it into something else and subvert the image.” Using their trademark keys and guitars, but also samples, old speeches, religious sermons, even rewriting voice-overs, the band are keen to really alter the tone of the original. “We were watching some footage of the series about advancements in technology over the last few years
and there was lots of footage of pills being produced and there’d be strange amazing footages which they’d throw in like monkeys taking pills and elephants taking pills. So we’re thinking that maybe it’s amusing on one level but it’s also ripe to show something underlying these scenes that are a lot darker. It’s really inspiring watching these films and seeing all the possibilities to turn them inside out and make them quite dark and melancholy when they’re originally intended to be light entertainment.” WHAT: Playing Under The Influence programme/ Cinemix: Midnight Juggernauts play Look At Life WHEN & WHERE: Saturday to Saturday 26 November, ACMI Cinemas/Friday 25 November, ACMI Cinemas
Ultimately though, Dawn Of The Dead won out due to Vendetta’s personal connection to the film. “I remember it was one of the first rated-R films I tried to hire as a kid and we were all excited about watching this movie and we went back to my friend’s house and his mum didn’t let us watch it. So I
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INPRESS • 43
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GIG OF THE WEEK
TOUR GUIDE INTERNATIONAL:
TOUR GUIDE CLAP YOUR HANDS SAY YEAH: November 16 East Brunswick Club
CLAP YOUR HANDS SAY YEAH: November 16 East Brunswick Club TV ON THE RADIO: November 16 Palace THE DYNAMITES: November 18 Hi-Fi SEBASTIEN LEGER: November 18 Billboard BLIND IMAGE: November 19 Shepparton Hall MOGU: November 20 Toff In Town BECKY LEE: November 21 Espy DOLLY PARTON: November 22, 23 Rod Laver Arena
GYROSCOPE: November 18 Corner Hotel JINJA SAFARI: November 18 Prince Bandroom MANTRA: November 18 Star Bar (Bendigo); 19 East Brunswick Club GUINEAFOWL: December 3 East Brunswick Club KURT VILE: December 4 Corner Hotel EXPLOSIONS IN THE SKY: December 8 Forum
MUDHONEY: December 8 Corner Hotel
GEORGIA FAIR: November 16 Toff In Town JOHN FARNHAM: November 16, 18 Palais DAPPLED CITIES: November 17 Phoenix Public House GYROSCOPE: November 18 Corner HERMITUDE: November 18 East Brunswick Club POND: November 18 Phoenix Public House JINJA SAFARI: November 18 Prince Bandroom GOSSLING: November 18 Northcote Social Club TATU REI: November 18 Revolt CHARLES JENKINS & THE ZHIVAGOS, ORCHESTRE NOUVEAU: November 18 Thornbury Theatre MANTRA: November 18 Star Bar (Bendigo); 19 East Brunswick Club COLD CHISEL: November 18 Gateway Lakes (Wodonga); 19 A Day On The Green BJORN AGAIN: November 18, 19 Palms at Crown DICK DIVER: November 19 Phoenix Public House DEEP SEA ARCADE: November 19 Northcote Social Club THE SWAMP DANDIES: November 19 Arts Centre
Clap Your Hands Say Yeah Tonight (Wednesday) East Brunswick Club
THOUSAND NEEDLES IN RED: December 8 Espy, 9 Ferntree Gully Hotel ARCTIC MONKEYS: January 2 Palace; 3 Festival Hall THE KOOKS: January 4 Palace GROUPLOVE: January 4 Corner Hotel THE DAMNED: January 20 Billboard WILD FLAG: March 9 Corner Hotel MUDHONEY: December 8 Corner Hotel
THE LAURELS, KING GIZZARD & THE LIZARD WIZARD AND IOWA FRIDAY, TOTE
For this Friday’s instalment of the Tote’s month-long 30th birthday celebrations, Mess & Noise have programmed the shit out of the venue. Black Cab are dusting off their regular gear after a couple of pared back shows. For those who came in late, Black Cab take pulsing psychedelic grooves and smother them in absinthe before squirting them in your earholes. Joining them will be the equally inebriating jams of Sydney’s Laurels, the throbbing cosmic chaos of King Gizzard & The Lizard Wizard, and the ‘90s-inspired garage rock of Iowa. Bring a towel.
BJÖRN AGAIN PIC BY KANE HIBBERD
Ex-Ripe frontman Mark Murphy opens proceedings at the Inpress-curated 30th birthday celebration gig at the Tote, and what an inspired choice he is. Accompanied only by another guitarist, Murphy fills the tragically half-full (at the time) room with his unique brand of shimmering and bright sounds, not dissimilar to the sort of music David Kilgour from The Clean makes, though with a distinctly more bottomy kind of uplifting screech. These are long, dreamy pop songs, very ‘90s but resulting in something closer to genuine fondness than schmaltzy nostalgia. And despite his, er, vintage, Murphy looks and sings more like a wonderfully enthusiastic teenager. A pitch-perfect start to what will prove to be a truly awesome night.
UPCOMING INTERNATIONAL DOLLY PARTON: November 22, 23 Rod Laver Arena THE MOODY BLUES: November 23 Palais Theatre AFTER THE FALL: November 24 Nash (Geelong); 26 Gasometer Hotel XZIBIT: November 25 Trak Lounge Bar; December 3 Pier Live (Frankston); 4 Geelong Arena (AA); 8 Kay Street Entertainment Centre DAEDELUS: November 26 ArtPlay THE MAGICIAN: November 26 Roxanne Parlour BECKY LEE: November 28 Espy; December 3 Tote THE CASUALTIES: November 30 Northcote Social Club ALL SHALL PERISH: November 30 National Hotel (Geelong); December 1 Corner LEO SAYER: December 1 Bairnsdale RSL Club EMINEM: December 1 Etihad Stadium SADE: December 2 Rod Laver Arena FOO FIGHTERS, TENACIOUS D: December 2, 3 AAMI Park GUITAR WOLF: December 2, 4 Tote SALT-N-PEPA: December 3 Palais Theatre MISFITS: December 3 Hi-Fi THE INTERNATIONAL SWINGERS: December 3 Corner HOW TO DRESS WELL: December 3 Phoenix Public House KURT VILE & THE VIOLATORS: December 4 Corner ELTON JOHN: December 6 Rod Laver Arena
Fred Negro’s specially re-formed Brady Bunch Lawnmower Massacre are up next. Arguably more St Kilda than Fitzroy, and often best enjoyed later in the evening when much more beer has been consumed, this is nonetheless one spectacular set. Everyone knows Negro is a true rock‘n’roll treasure and – no contest – Australia’s wildest frontman. There is no way he or the rest of the band is going to disappoint on this night, and they don’t at all. Their closing number is more story than song: a tale of too much booze and general shenanigans, a giraffe-suited Negro wandering around the dancefloor, god love him. If you could clone just one Melbourne rockstar for future posterity, it would have to be Negro.
THE EARS, BRADY BUNCH LAWNMOWER MASSACRE, MARK MURPHY TOTE
The Ears, though, are the highlight of the bill. Everyone knows Richard Lowenstein based the Michael Hutchence-led band in Dogs In Space on them, but very few people have witnessed, first hand, exactly what a quality act they are. Quintessentially ‘80s synth sounds blend with the world’s sexiest 40ish frontman – Sam Sejavka – and a general musical tightness that can only come from a band that have known each other for ages. The songwriting here is simply superb, probably something to do with Sejavka’s status as a renowned playwright. When this is combined with the abovementioned
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TOUR GUIDE GANG GANG DANCE: December 7 Corner EXPLOSIONS IN THE SKY: December 8 Forum Theatre MUDHONEY: December 8 Corner K-CI & JOJO: December 8 Chasers Club UNKNOWN MORTAL ORCHESTRA: December 8 Toff In Town; 10 Northcote Social Club JEDI MIND TRICKS: December 9 Billboard BIG FREEDIA: December 9 Roxanne Parlour OFF!: December 9 Corner; 11 Fitzroy Bowls Club DIG: December 10 Corner BLACK JOE LEWIS & THE HONEYBEARS: December 11 Caravan Music Club (Oakleigh); 13 Prince OMAR RODRIGUEZ LOPEZ GROUP: December 13 AEROPLANE: December 16 Roxanne Parlour CARL CRAIG: December 16 Roxanne Parlour FUTURE OF THE LEFT: December 16 Corner TIM SWEENEY: December 17 Toff In Town OPETH: December 18 Palace Theatre ROUND TABLE KNIGHTS: December 24 Prince EASY STAR ALL-STARS: December 30 Corner ALOE BLACC: January 1 Palace Theatre HANNI EL KHATIB: January 1 Tote JOHN DAHLBACK: January 1 Alumbra THE 6TH BOROUGH PROJECT: January 1 Bridge THE JIM JONES REVUE: January 2 East Brunswick Club ELEANOR FRIEDBERGER: January 2 Northcote Social Club ARCTIC MONKEYS: January 3 Festival Hall DUM DUM GIRLS: January 3 Corner J MASCIS: January 3, 4 Toff In Town; 6 Caravan Music Club (Oakleigh) GZA: January 5 Espy METRONOMY: January 6 Hi-Fi BEIRUT: January 9 Hi-Fi; 10 Forum THE VENGABOYS: January 12, 18, 19 Corner HAWKSLEY WORKMAN: January 12 Caravan Music Club; 13 Nothcote Social Club SONS & DAUGHTERS: January 13 East Brunswick Club ABSU: January 14 East Brunswick Club PJ HARVEY: January 15 Regent Theatre THE DAMNED: January 20 Billboard BETH ORTON: January 20 Athenaeum Theatre LYDIA: January 21 Evelyn Hotel; 22 National Hotel (Geelong) AA BONDY: January 21, 22 Toff In Town DEATH GRIPS: January 22 East Brunswick Club MATTHEW DEAR: January 25 Prince Bandroom VINTAGE TROUBLE: January 31 East Brunswick Club HALL & OATES: February 2 Melbourne Convention Centre; 12 Rochford Wines (Yarra Valley); ROGER WATERS: February 7, 8, 10, 11 Rod Laver Arena INCUBUS: February 8 Festival Hall POND: November 18 Phoenix Public House
ARIEL PINK’S HAUNTED GRAFFITI: February 10 Hi-Fi SEAL: February 15 Rod Laver Arena IL DIVO: February 17 Sidney Myer Music Bowl ROD STEWART: February 17 Rod Laver Arena; 18 Hanging Rock (Macedon) ROXETTE: February 18, 22 Rod Laver Arena ERYKAH BADU: February 22 Palais Theatre SOUL II SOUL: February 24 Trak Lounge NEON INDIAN: February 24 Prince Bandroom RYAN ADAMS: March 3 Regent Theatre EDDIE PALMIERI: March 3 Hi-Fi JESSIE J: March 7 Festival Hall BLACK LIPS: March 7 Corner URGE OVERKILL: March 8 Espy WILD FLAG: March 9 Corner ROKY ERICKSON: March 13 Corner TAYLOR SWIFT: March 13, 14 Rod Laver Arena MADELEINE PEYROUX: March 14 Palais FIRST AID KIT: March 14 Northcote Social Club LENNY KRAVITZ, THE CRANBERRIES, WOLFMOTHER: M arch 17, 18 Sidney Myer Music Bowl
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Corner Hotel Tijuana Cartel have certainly covered some kilometres over the last 12 months, the five-piece having spent a considerable amount of 2011 playing a mix of festivals and headline gigs all over the country. The band worked with Chris Moore on M1, the new album they are launching, and this collaboration has brought a more electronic feel to their sound. However, a huge range of influences are evident in their music, the band taking on flamenco, Afro-Cuban, mariachi, Britpop and hip hop. Tijuana Cartel have the astounding ability of rolling all these influences, mixed with some wicked electro beats, into one track achieving amazing results.
TIM MCGRAW, FAITH HILL: March 20 Rod Laver Arena NICK LOWE: March 22 Forum THE POGUES: April 4 Festival Hall MELISSA ETHERIDGE: July 15 Plenary
NATIONAL COLD CHISEL: November 24 Rod Laver Arena BOY & BEAR: November 23 Bended Elbow (Geelong); 25 Palace PUTA MADRE BROTHERS: November 24 Cherry Bar THREE CONVICTS: November 24 Tote THE CRUEL SEA: November 24 Prince Bandroom PARIS WELLS: November 24 Loft (Warrnambool); 26 Palais Hepburn Springs HUSKY: November 24 Corner; 25 Karova Lounge (Ballarat) BUSBY MAROU: November 24 Karova Lounge (Ballarat), 25 East Brunswick Club OH MERCY: November 25 Hi-Fi HTRK: November 25 St Michael’s Uniting Church THUNDAMENTALS: November 25 Northcote Social Club RAT VS POSSUM: November 25 Corner TIM FREEDMAN: November 25 Theatre Royal (Castlemaine); 26 Corner GOLD FIELDS: November 26 Karova Lounge (Ballarat) CHET FAKER: November 26 Toff LANEOUS & THE FAMILY YAH: November 26 Northcote Social Club OSCAR +MARTIN: November 26 MelbourneCentral Rooftop; December 3 Phoenix Public House CHRISTINE ANU: November 27 Bennetts Lane SEEKER LOVER KEEPER: November 28, 29 St Michael’s Church HOWLING BELLS: November 30 Corner; December 1 Bended Elbow (Geelong); 2 Karova Lounge (Ballarat) THE GETAWAY PLAN: December 1 Hi-Fi BEN WELLS & THE MIDDLE NAMES: December 1 Grace Darling; 3 Pure Pop Records CW STONEKING: December 2 Corner THE GOOD SHIP: December 2 Cornish Arms BONJAH: December 2 Prince Bandroom LOON LAKE: December 2 Northcote Social Club ROSE TATTOO: December 2 East Brunswick Club GUINEAFOWL: December 3 East Brunswick Club SIXFTHICK, GENTLE BEN & HIS SENSITIVE SIDE: December 3 Tote GUITAR WOLF, MACH PELICAN, SPAZZYS: December 4 Tote THE SWAMP DANDIES: December 8 Northcote Social Club THOUSAND NEEDLES IN RED: December 8 Espy; 9 Ferntree Gully Hotel FELICITY GROOM: December 9 Northcote Social Club COERCE: December 9 East Brunswick Club HOUSE VS HURRICANE: December 9 EV’s Youth Centre (all ages) BLUEJUICE: December 9 Prince Bandroom THE SIREN TOWER: December 9 Espy NUMBERS RADIO: December 9 Retreat; 10 Palace HUGO RACE: December 10 Toff In Town; 11 Post Office Hotel (Coburg) THY ART IS MURDER: December 10(U18), 11 Corner MUSTERED COURAGE & DAVIDSON BROTHERS: December 14 Northcote Social Club EXPATRIATE: December 15 East Brunswick Club THE PARADISE MOTEL: December 16 East Brunswick Club A DEATH IN THE FAMILY, THE SMITH STREET BAND: December 16 Tote SHANE HOWARD: December 17 Thornbury Theatre PETER COMBE: December 17 Espy THE GIN CLUB: Decmber 22 Northcote Social Club SAN CISCO: December 29 Toff In Town THE CHURCH: December 30 Forum REGURGITATOR: December 31 Corner GRINSPOON: January 3 Chelsea Heights Hotel; 4 Commercial Hotel (South Mornag); 5 Pier (Geelong); 6 Whalers Inn (Warrnambool); 7 Ferntree Gully Hotel; 8 Espy THE CLOUDS: February 11 Corner
THE EARS pic by Kane Hibberd attributes and that certain something that one can’t quite put one’s finger on that all truly special bands have, the results are nothing short of spectacular. What can one say that hasn’t already been said a million times about the phenomenon that is Björn Again? It’s probably worth pointing out that, much more than an ABBA cover band; this is an actual ABBA experience. Seeing them at the Tote is strange, to be sure, seeing them after a band like The Ears, stranger still. Kitsch is the word that comes most readily to mind here, but that’s doing them a disservice. They’re daggy, sure, only a fool would argue otherwise, but there’s a hipness and a coolness to their daggyness – as contradictory as that sounds – that this writer cannot recall associating quite so deeply with any other act. They’re also extraordinarily good at what they do. Opener Waterloo transports us instantly to a kind of quality pop nirvana, and the rest of the set is something of a blur. The second song is possibly Gimme! Gimme! Gimme! (A Man After Midnight), but this scribe wouldn’t swear to it in a court of law. I once took an intellectually disabled mate to see Björn Again in the ‘90s. Due to his infirmary, he wasn’t quite able to grasp the concept of a cover band and thought he was actually seeing ABBA at the Royal Derby. He, quite literally, wet his pants in excitement. Pleased to report that your correspondent’s daks stay dry this night at the Tote, but only just. TONY MCMAHON
Tijuana Cartel are certainly a band to keep your eye on. With their range of influences and amazing abilities, they offer up something for everyone. The next big thing to come out of the Gold Coast. BELINDA ROCHE
ALEKS & THE RAMPS, NEAR MYTH Buffalo Club Were it not for Google maps and the assistance of a very friendly doorman, we may have been roaming dark alleyways all night in search of the Buffalo Club. After climbing the stairs to the bandroom, we discover it’s muggy, dense and surprisingly empty. Near Myth, formerly called Deloris, are on stage and there are only a smattering of people watching, clustered in groups around the walls. Lead singer Marcus Teague’s emotive vocals have an introspective effect and the crowd is in a content-yet-subdued state as the dim red house lights of the Buffalo Club switch back on, signalling the end of Near Myth’s set. A few late stragglers hobble up into the sports clubroom-themed bar as Aleks & The Ramps set up. Suddenly the room erupts in a haze of flashing neon lights and a robotic voice screams, “Ramps assemble” over the loudspeaker. As commanded, The Ramps assemble and launch straight into their gig with the quirkily named, Destroy The Universe With Jazz Hands. It is an eccentric, entertaining and lively set. Bassist, Joe Foley, wearing exceptionally tight red shorts, a singlet and headband is a livewire on stage, jumping and writhing as though possessed. Meanwhile, the stunning Sez Wilks on keyboard duties dances wildly beside the band’s more composed frontman, Alex Bryant.
FESTIVALS SHINE ON FESTIVAL: November 18-20 Pyreness Ranges QUEENSCLIFF MUSIC FESTIVAL: November 25-27 MEREDITH MUSIC FESTIVAL: December 9-11 Meredith Supernatural Amphitheatre FALLS FESTIVAL: December 28-31 Lorne PYRAMID ROCK: December 29-January 1 Phillip Island SUMMADAYZE: January 1 Sidney Myer Music Bowl SUGAR MOUNTAIN FESTIVAL: January 14 Forum ST JEROME’S LANEWAY FESTIVAL: February 4 Footscray Community Arts Centre
A flamenco instrumental piece opens the set and gets the crowd up and dancing. The Corner isn’t at full capacity, but those in attendance put the space to good use. Rise Up, a song about “rising up when you have to” according to frontman Paul George, follows. Regan Hoskins joins the band on stage for MC duties. It’s not often you hear wailing horns mixed with hip hop, but this is one band who can pull it off and they do it well. Joshua Sinclair’s trumpet fits in perfectly; it’s exactly where it should be. George plays the guitar with amazing skill. The speed with which he moves his fingers up and down the fretboard and across the strings is astonishing. He can move seamlessly from Middle Eastern influences to flamenco style in one song, singing all the while. Letting It Go is another highlight. The stage lights shine over the crowd and a sea of bobbing heads and twitching shoulders come into sight. This is a band that knows how to get the crowd moving. Verbal Masturbation and Lazy Lady follow. Triple J favourite and single White Dove seems out of place, its electro beats don’t mix with the vibe of the night. The crowd love it, though.
Brady Bunch Lawnmower Massacre pic by Kane Hibberd
During song intervals Bryant is scintillating. His deadpan, self-deprecating wit endears him to the small group of punters assembled before him. Older track Walking In The Garden proves to be a crowd favourite, eliciting the best response yet. One dedicated fan stumbles out just in front of the stage and almost collapses at Bryant’s feet before staggering back into the milling crowd. Their surreal, psychedelic and cute indie pop deserves a better reaction than this subdued Thursday night crowd are giving them. Undeterred, the five-piece power on through Boy Meets Ghost beneath the flashing neon lights. It is their single launch and the bitterly nostalgic Middle Aged Unicorn On Beach With Sunset caps a brilliant performance by the entertaining Melburnian quintet. The lights come on and people retreat to the couches along the walls of the bandroom. Wandering back into the warm Melbourne evening, we manage, this time, to navigate the warren of dark alleyways back to Elizabeth Street. CAMBELL KLOSE
HARVEST FESTIVAL Werribee Park
As the festival express bus, direct from Fed Square to Werribee Park, rolls in, we’re greeted by an LED dot matrix sign announcing that an unfortunate couple are getting married at the zoo today. Some of their guests may get ‘lost’ on the way to the reception in favour of catching Harvest’s stellar line-up. The rare spring sunshine makes for ideal festival conditions and ducks happily preen themselves by a lake as we wander around exploring this glorious site. Circa 1pm, police standing on motorbikes drive through the crowd to check for illicit activity, or maybe they’re just on babe watch. Arriving early proves a boon as the tail end of Kormac’s Big Band’s set blasts forth from The Great Lawn stage. There’s a barbershop-style trio demonstrating gorgeously intertwined harmonies, banjo, Dublin’s DJ Kormac behind his laptop plus many more conventional instruments all combining with spectacular results. Hip hop/swing/house/turnablism may sound like a sonic spewfest, but we willingly digest these sounds and earmark their later set in Le Boudoir for encore perusal. A passing dude describes the way people are
Music. The early inclusion of Everyday People brings with it a chorus of, “Huh? Are they covering Arrested Development?” No, siree. The Family Stone are the OG and we are informed there are several Rock’n’Roll Hall Of Fame inductees on stage today. Saxophonist Jerry Martini is “the original founding member of Sly & The Family Stone” and trumpeter Cynthia Robinson blows the house down. New vocalist Alex Davis, resplendent in two-tone fur fabric pimp hat, hits all requisite low notes and vocalist Trina Johnson brings the sass in her figure-hugging white micro-mini dress. Our dancing feet are treated to hits such as Hot Fun In The Summertime (which we’re clearly all having) and Family Affair. The Harvest massive stretch their movement vocabularies as The Family Stone crank out Thank You (Falettinme Be Mice Elf Agin). You can’t stop tha funk. Despite the clear, blue sky above them, New Yorkers The Walkmen stride onto the stage in heavy, black blazers not really suited to the Australian heat. But the band, fronted by Hamilton Leithauser, with his matinee idol good looks and show-stopping voice, craft weighty tunes concerned with very adult emotions. Above a maelstrom of guitar sounds, the keyboard is the main driver of the music. For all their early-2000 New York cool, you can hear the
PORTISHEAD PIC BY CHRISSIE FRANCIS
dressed at this festival, in particular a brown-suited gent, as “real alternative”. As soon as Hypnotic Brass Ensemble assemble on stage, our temperatures rise. One unrelated drummer lays the foundation for eight hot brothers on brass, pelvic thrusting in unison while blowing at various levels of intensity – what more could you want, right? Tycho ‘LT’ Cohran has a mic taped inside the horn of his ginormous sousaphone, cheeks puffing out like a caricature of the wind. We’re encouraged to bounce in unison, hip hop-style, becoming “one unit” as this ensemble display their wicked rapping chops. Kryptonite has the opposite impact of how the substance affects Superman and Hypnotic Brass Ensemble nail call-and-response involvement: On stage: “We get the party started”; off stage: “We keep the party jumping”. Sexy as all hell. Oxford math rockers This Town Needs Guns were last in Australia to play at the loud and heavy Soundwave Festival. One of those bands that exists between genres, they’re a bit too Harvest for Soundwave and a bit too Soundwave for Harvest, but a decent number of early arrivals gather to watch them nerd out on intricate guitar rock. One of the politest bands on the bill, TTNG certainly deserve their growing reputation in Australia. Time for another family band: The Family Stone (sans Sly). Clad in varying outfits that explore a red-and-white colour scheme, the band inspire furious rump shaking and we need little encouragement to Dance To The
THE FLAMING LIPS PIC BY CHRISSIE FRANCIS
Love and Road To Joy, Oberst throws himself into the performance, but when the band leaves the stage and just the trumpet backs Oberst on the beautifully restrained Lua, his voice sounds exactly as it should. Hightailing it across to The Windmill Stage for Clap Your Hands Say Yeah, it’s surprising to hear the band open with the infectious-yet-eerie Satan Said Dance. Whoever says it, our feet obey and Alec Ounsworth’s insouciant – almost sulky, but ultimately sexy – timbre hypnotises. Although the majority of this Brooklyn five-piece’s set is spent queuing for a pizza slice, one could ask for no better soundtrack and they sure sound amazing. But geez, they couldn’t care any less about their get-ups and resemble nerd stereotypes from Glee. Ohio’s The National were here less than 12 months ago but that doesn’t stop a huge crowd from building for their set. Taking nearly all the material from their most recent two albums, Boxer and High Violet, The National’s frontman Matt Berninger is more subdued than at previous performances but still takes off into the crowd and runs halfway down to the mixing desk in set closer Terrible Love. Before that, the Dessner twins at the front, Bryce and Aaron, build epic, cinematic sounds with their twin-guitar assault, often unconsciously mirroring each other’s moves. Though their songs are often morose and filled with a tense atmosphere, the cathartic nature of this version of The National makes them a perfect festival choice.
hint of contemporaries such as Interpol in their set, The Walkmen also share a very similar sensibility to The National, with their elegant gravitas. TV On The Radio have a hard act to follow on The Great Lawn stage, where we’re now used to being verbally revved up by the band. Surrounding stoners blissfully nod their heads and the soaring melodies of Will Do ably demonstrate what they can do, but we’re drawn toward Bootleg Alley where five-minute peep shows are on offer. A number scrawled on masking tape is slapped on the back of each punter so that timekeepers can ensure no one cops an extra eyeful. Inside Le Boudoir, New York burlesque stars The Wau Wau Sisters are killing it! Performing their syncronised swinging double trapeze act accompanied by Welcome To The Jungle by Guns N’ Roses, the duo’s mid-trick breast grabs are greeted with hysteria. The grand finale trick, which sees a rotating “Fuck”/”Yeah” configuration (each sister has one of these words emblazoned across her boyleg undie-clad derrière) is pure genius.
A decision is made to prioritise Portishead viewing pleasure and we score some prime real estate. The moment Beth Orton’s haunting voice penetrates Silence, a nearby guy reads our minds: “These guys are tight, man. So tight!” We’re transfixed. Portishead’s music speaks for them, there’s no need for banter. Mysterons follows (during which the drumming almost manages to pull focus from Orton’s exquisite timbre) and this perfectly constructed, one-and-a-quarter-hour set is appreciated in reverent silence except for the wild applause that marks each song’s conclusion. Visuals on the giant screens swap between official video clips (The Rip’s is particularly arresting) and manipulated live footage utilising treatments that heighten each track. Just when you think things can’t get any better,
in comes the next soul injection: Sour Times (gulping down grief bubbles), Glory Box (fighting back tears) and the penultimate song of the band’s unexpected encore, Roads (teary, both out of unadulterated emotion and because the show’s nearly over!). The electronic drumming during Machine Gun apes the precision of a backing track. After the main set, some fools – one who says in passing, “That was astounding!” (correct) – leave to head over for The Flaming Lips. Portishead return, closing with We Carry On, and truer words were never sung if galloping new track Chase The Tear (a set highlight) is anything to go by. Orton jumps down to shake hands with and hug front-row fans, her beaming smile a vast contrast from the melancholic beauty of her band’s music. It’s been 14 years since Portishead last graced our shores and this ‘I was there when’ experience, courtesy of Harvest, is equivalent to when Daft Punk transported their LED pyramid Down Under in 2007 (condolences if you failed to attend either). Over in The Big Red Tractor Stage, a small crowd is steadily growing for Phosphorescent. In Australia for the first time, Phosphorescent is essentially one man, Matthew Houck from Athens, Georgia. But to play live Houck enlists the help of a very capable four-man band. Houck’s beautifully sun-drenched, ’60s alt.country sound is the perfect way to welcome in the evening and prepare yourself for the headliners and hopefully it won’t be long before we see him in Australia again. It’s a massive leap to the celebratory sounds of The Flaming Lips over at The Windmill Stage. The Triple J-discovered ‘dancers’, dressed as characters from The Wizard Of Oz, are confined in an enclosure stage left. Wayne Coyne models a fur stole (The Cowardly Lion?) and insists we keep the vibe alive during breaks between songs where silence prevails. She Don’t Use Jelly is a silly slice of pop wonderment and who doesn’t love a “Yah-yah-yah-yah-yah-yah-yah-yah” sing-along thanks to The Yeah Yeah Yeah Song (With All Your Power). There could be no better festival closer than Realise, punctuated by endless explosions from multi-coloured confetti cannons. An announcement to be patient when leaving this area through its narrow exit caps off a stunning start to festival season. BRYGET CHRISFIELD and DANIELLE O’DONOHUE
BRIGHT EYES PIC BY CHRISSIE FRANCIS
Still looking younger than most of the crowd he was performing in front of, despite turning 30 last year, Bright Eyes lead singer Conor Oberst is a whirling dervish whether he has a guitar strapped on or is belting out tunes on the keyboard at the front of the stage. Though his voice sounds exactly as it does on record, all wavering fragility, it makes the right impact live. On songs such as Lover I Don’t Have To
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Segall. They launch their EP at the Gasometer this Saturday. Also playing on the night is Brat Farrar, who comes rumbling out of a Melbourne bedroom with tunes that sound more like they were recorded in 1979 over a cassette version of the first Wipers record. Leaving behind his previous life as frontman of Digger & The Pussycats, Brat Farrar has been reborn a one-man all singing all dancing, new wave machine. Supports include Ross De Chene Hurricanes and Living Eyes.
MIDNIGHT ALL DAY Looks like those fuzz-reverb drenched maniacs of rock’n’roll Midnight Woolf are going to have yet another busy day this Saturday. First they play at the Off The Hip all-day shindig and BBQ at the Tote, with bands such as Johnny Casino, Digger & The Pussycats, The Painkillers, Little Murders and many more. Entry is $20 and bands start at 2pm. Then to cap the night off they will headline a Spanish Fiesta extravaganza at the Old Bar with Beware Black Holes and Eyeball Kicks. Entry is free. The Johnston Street Spanish Festival is on so grab yourself a plate of paella, a jug of sangria and party on down with the Woolf!
YOU MARK MY WORDS After months of writing and recording, NSW hardcore band Mark My Words are releasing their debut album Indicators at the Gasometer this Friday night. Joining them on this East Coast tour from the other side of the world are good mates Strength Approach. Both bands recently toured together in Europe and are ready to hit the East Coast of Australia. Also playing this show of burly hardcore punk is Melbourne’s Crowned Kings and Bear Witness.
TINY BRATS Ever-evolving Brisbane-based five-piece Tiny Migrants formed during a cold winter mid-2010. Since then they’ve developed a distinctive reverb-soaked fuzzedout pop sound that they’ve lovingly christened ‘space garage’. Since their inception, Tiny Migrants have been cutting their teeth with the likes of gospel legend Mark Sultan and modern garage rock god Ty
Sorted for E&P s WINTERCOATS SKETCHES Mistletone
Brisbane-based quintet Charlie Mayfair make twee folk pop with a focus on sweet harmonies. Watch My Hands interweaves complementary boy/girl vocals over robust acoustic guitar. The flamenco-style rhythm and feel of Sing Me To Sleep doesn’t mesh well with its melody, and ultimately its tricky 5/4 time signature adds little (fantastic vocal-based outro excepted). Charlie Mayfair’s vocal abilities and flair for interesting arrangements are their strongest asset, which can be heard in standout If I Fell Down.
Wintercoats (AKA James Wallace) is a one-man band live, looping sounds made from a keyboard and a violin. On record, his songs are mesmerising, ambient affairs that manage to retain a hint of that live layering. Keyboard tones and violin doused in reverb fade in and out in Blood Prints, while Wallace sings in his soft lullaby voice. In instrumental Working On A Dream, violin strings are plucked, piano chords are sustained and the echoing hum of the electric violin cuts through the composition.
Tom Milek writes songs that epitomise the coming of age period and those familiar feelings of being young and in love/lust and living in the moment. No, the themes are not new, but Milek’s vivid lyrics and slighty rough vocal delivery exude an honesty and vulnerability that makes his songs relatable. Fingerpicked acoustic guitar lies under violin in Time Machine, and the harmonised backing vocals add to the catchiness of single Vicious Curves. In Another Life, mournful guitar is accentuated by strings and horns dancing slowly and sadly together.
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Chook Race encapsulate all that is good and fun about poppy, punky garage rock. The three-piece have been playing their fuzzed out surfy jams for a short time but already it’s landed them some sweet supports for the likes of Kurt Vile, Sonny & The Sunsets and Ty Segall. Combining an ear for scrappy melody, dual harmonies, instrument switcheroo and most importantly, ‘party jams’, their fun take on rock and pop is what going to a gig and listening to music is all about; wild abandon and just cutting loose! This Sunday, for the third week of their November residency at the Gasometer, they are joined by Melbourne bands Deep Heat and Pop Singles. Entry is $5 and it’s an early start from 6pm.
EP Reviews with Stephanie Liew
CHARLIE MAYFAIR WATCH MY HANDS Independent
TOM MILEK LOVE & AMBITION Independent
THE TELEVISION SKY
BROUS BROUS Independent Influenced by ‘50s noir soundtracks, Sophia Brous’ songs stand out because of their uniqueness. First single Streamers is a perfect example; it’s showtunesmeets-children’s-choir, but somehow it works. The exotic and dramatic Little Ticket shows off Brous’ velvety deeper register, and backing vocals provided by a choir of Italian grandmothers known as La Voce Della Luna (or The Voice Of The Moon) are stunning. Although it’s not immediately catchy, the songwriting on Brous is solid and inventive, drawing from classic influences, and Brous’ bold, cinematic vocals demand attention.
WE TRUST THAT THE MOON SHALL GUIDE US Independent Instrumental post-rock trio The Television Sky’s EP is long (like its title), but worth the listen. Their instrumentals build and evolve, often featuring many cohesive parts. In Rosehip Stains, duelling piano and guitar lines both take on a character of their own to express emotions in lieu of vocals and lyrics, while the drum beat constantly shifts to set the pace. The first main riff is revisited at the end. Greener Pastures is more upbeat and optimistic, but becomes a little repetitive; the stronger tracks show diversity in their arrangements. FAKER HOW DID WE NOT GET LOVED? EMI How Did We Not Get Loved is a prequel EP to the album Get Loved. Reflecting on lost love and displaying electro influences, the songs here have their moments, but the EP as a whole is ultimately a mediocre offering. The drum beats are energetic and drive the songs, but bland vocal melodies hold them back. However, synths are used creatively on the dynamic Black Dogs, the spacey tones contrasting effectively with the deep, rolling bassline. The CSS dance remix of Dangerous also works surprisingly well.
NICOLAAS OOGJES – NO ZU The song I’m really digging at the moment is… Lose The Baby – Lost Animal. Kinda reminds me of Tupac’s Changes. Kinda beautiful, kinda sad. Kinda soulful and a different lyric line jumps out like a pocket-knife greaser at me everytime. Our first ever show was with Lost Animal and I distinctly remember the song from then and it quietly moving me. A song more people should know about is… Endless Race – Wally Badarou. Funky analogue synth jam. Nothing can go wrong while this uplifting instrumental is shifting your shoulders and melting your dance pants like butter. Blissful happy montage music for the soul. What?? The song that always gets me on the dancefloor at 3am is… Pull Up To The Bumper – Grace Jones. Now I like innuendo and euphemism as much as the next guy, but it’s all in the swagger, the liver quiver and the bladder splatter elastic funk that kills me with this – any other proposition at 3am is a bonus. The song I most wish I’d written is… Go Bang – Dinosaur L (Arthur Russell). Life is absurd. This is life. Life be in it. If I’m gonna be in it, “I just wanna see my friends at once”, you know? “I wanna go bang!” Isn’t that all any of us wants? Oh, and congas, lots of congas! The song I never want to hear again is… Big Coast – Beautiful Swimmers… but I DO, I DO want to hear it again, always in fact. Who wants to dwell on the down? Drags. Sexy movement, heartbeat-tranquility of a deep dub foreign land. No Zu play the Grace Darling every Thursday in November.
TEN BANDS FOR TEN BUCKS Ten X 10 is a special one-day all ages event scheduled for Saturday 26 November at 1330 Conference Centre in Scoresby, running from 10am to 10pm. Ten bands will be featured in the main auditorium while acoustic acts will perform in the venue’s café throughout the day. Buskers will entertain in the foyer and most artists will have merchandise on display. All music styles will be catered for with a variety of young and mature artists among the performers. Bands playing at this special showcase include Meet Me In Cognito, Steeplejack, Wonrowe Vision, Eddie Cole & Band, Adrian Austin & Band, Katie Harder & The Gentle Folk, Rivertribe and Surfers Paradise-based rock singer Rosanna Palmer and her band. The café will feature acoustic artists such as Simeon, Richelle Boer and Sarah-Rose McIvor. Entry’s $10.
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Melbourne. They tip their hats to acts such as Death Cab For Cutie, Jimmy Eat World, Guided By Voices, Paul Kelly and The Hold Steady; bands who, like them, are steadfast in their commitment to telling beautifully crafted tales within a delectable sonic framework. They play every Saturday in November at the Sporting Club Hotel from 7pm to 9pm in the front bar. Entry’s free.
BETTY AND THE BOYS Betty’s Driving Force are coming back to Brunswick – Melbourne’s ukulele capital. After their cosy winter gigs by the fire at the Sporting Club, Betty and the boys are settling in for a month of groovy Sunday arvos. This trio of drums, bass and uke features Betty’s heartfelt vocals singing the songs of Nina Simone, Tom Waits, Etta James and Portishead. Head to the Sporting Club front bar for a beer or three between 4pm and 6pm and enjoy the rockin’ blues, jazz and soul that is Betty’s Driving Force.
KEEPING UP WITH THE… Jonesez front man Mark Stewart announced he would donate his body to science to fund the second Jonesez album. Medical trials out of the way, the new album, titled Gruffalo, is out now and Jonesez will celebrate its release and Mark’s health with a show at the Bendigo Hotel on Friday. Supports include Cola Wars (ex-Bodyjar), Hawks Of Alba (SA) and Strathmore. Ticket specials including ticket to the show and download of the album for $15 can be found at jonesez.com.au.
COLOUR ME BLACK Melbourne’s Blackchords have been pretty busy this year, locked away writing and recording their second album. To showcase the band’s brand spanking new material and play some old favourites, the guys step out for their last show of the year at Revolver this Friday, with support from Zeal and Empire. They’ll be releasing the first track from the new album Dance Dance Dance early in the new year. Doors open at 9pm and entry’s $10 at the door.
DARREN CROSS – BETTY AIRS What I’m listening to right now is… The sound of my landlord increasing my rent. Utterly depressing.
BOURNE OUT OF THE BLUES
What I’m watching right now is… Living In The Material World – Scorsese’s film about George Harrison.
Fresh from launching a new live album at the Wangaratta Jazz & Blues Festival, this Sunday afternoon Shannon Bourne brings his brand of blues to the boards of the Drunken Poet. A virtuoso guitarist, singer songwriter, producer and sideman to Tex Perkins in his Band Of Gold, Bourne’s work has taken him from dark corner to bars to the stages of the infamous SXSW. Joining Bourne for a Sunday of spring frivolity will be Nigel Wearne. The music starts at 4pm.
What I’m reading right now is… Ham On Rye by Bukowski, again. “I just wanted to get away from them. But there was no place to go.” The best film of all-time is clearly… Back To The Future. Johnny B Goode by Michael J Fox at his peak is very moving. The one song I wish I’d written is… Either Dancing Queen by ABBA, Eleanor Rigby by The Beatles, I Put A Spell On You by Screamin’ Jay Hawkins or Lola by The Kinks, or Something For Joey by Mercury Rev… or Baptist Blacktick by Pavement or Jack The Ripper by Nick Cave & The Bad Seeds, or or or times infinity… Ghostbusters Theme for the Commodore 64. How long you got?
Stepping out from the Idle Hoes guise, Luke Sinclair brings his new band of merry men to the Drunken Poet this Saturday for an evening of soulful alt.country. Backed-up by gents of a fine pedigree (Nick O’Mara of Fingerbone Bill, Luke Richardson of The Stetsons and Johnny Gibson of the Van Walker Band) and operating under the name Raised By Eagles, this is a project certain to please the inner ear of all fans of song. The merriment starts at 9pm.
HYDE AND SEEK
PEACHY KEEN FOR SILVER SCREAM RETURN OF THE WEARNE Nigel Wearne returns to the Drunken Poet this Sunday after a month long stint playing along the East Coast. With performances in Canberra, Sydney, Brisbane and the Blue Mountains, Wearne is capturing audiences across the country. Wearne delivers dynamic and inspired performances melding finger-style guitar, honky tonk, country twang and honest storytelling. Catch him playing from 6.30pm, with free entry! Wearne also performs at the Piping Hot Chicken Shop in Ocean Grove with Sal Kimber & The Rollin’ Wheel this Friday.
Coral Lee & The Silver Scream are an up-tempo jump blues outfit that continue the swing tradition of the late ‘30s and ‘40s. Get down to the Sporting Club and refresh yourselves every Friday in November from 7pm with some swinging, jiving shenanigans, or simply dine and kick back to the sounds of the Silver Scream.
COLLEGE FALL FREE FOR ALL Dual songwriters Glenn Musto and Jodie Lee Bartlett make up College Fall. Their albums alternate between acoustic folk, indie pop and rollicking alternative rock. Theirs is a sound that emanates from their roots – from the western wastelands of outback Australia, developing through deep analysis of the American indie-rock movement and the human machinations of Australia’s cultural heartland,
For more than 30 years, Melton’s community radio station 979FM has been integral in the development of Victoria’s rich musical and cultural heritage and is one of Australia’s oldest community radio stations. The 979FM Fundraising Concert has been set up to raise much-needed funds for 979FM’s upcoming relocation. The line-up features comedian Al Newstead (Al’s Music Rant), up-and-coming pop chanteuse Georgia Fields, former King Of Pop Dave Graney (solo), Angie Hart backed by bouzouki-driven instrumental band Blood Red Bird, and will be headlined by two-time ARIA Hall Of Fame member Ross Wilson with The Peaceniks. Plus there’ll be heaps of CDs being given away. Come along and help support 979FM at the Corner Hotel on Wednesday 23 November. All proceeds go towards 979FM’s upcoming relocation.
LUKE AND LISTEN
Betty Airs play the Flying Nun 30th anniversary show at the Workers Club this Friday, Yah Yah’s this Saturday, Pony this Saturday 2am, the Tote on Thursday 15 December and Miss Libertine on Saturday 17 December.
It’s sad sack country folk down at the Sporting Club Hotel every Thursday in November. George Hyde (Jack On Fire) along with fellow country cohort Joshua Seymour will be performing from 6.30pm every Thursday this month from 6.30 to 8pm for free in the front bar. There might even be some special guests.
UKE CAN COME TOO A storyteller at heart, Leah Flanagan can also wield a mean ukelele. Since the release of her 2010 acclaimed album Nirvana Nights, Flanagan has been going from strength to strength. In fact it was her versatile musicality which led to her being invited to be involved with the show deemed as 2010’s “collaboration of the year”, Seven Songs To Leave Behind for the Melbourne International Arts Festival. This production saw her work with internationally famed and acclaimed heavyweights such as Sinead O’Connor, Meshell Ndegeocello, Ricki Lee Jones and John Cale. Most recently, her uke-fused tropical stylings caught the attention of Jimmy Buffett, who invited Flanagan to support him on his Australian tour in January this year. Leah Flanagan plays a special one-off city show at the Union Hotel this Thursday from 9.30pm.
Brothers Matt and Mike Simmons of The Barebones parade High Street, Northcote’s finest wares this Friday 18 November as part of the NIFFTY Festival. Appearing alongside artists Gossling, Andrew Cox, The Wolfgramm Sisters, Angie Hart, Jen Cloher and more, The Barebones lads will sing two songs accompanied by The Allstar NIFFTY Houseband featuring Pete & Dan Luscombe, Ash Naylor and Bill McDonald. It’s at the Northcote Social Club, Clem Bastow is MC and it’s only $18+BF to attend.
GREAT LINE-UP AT GREAT BRITAIN Thursday 1 December sees the Great Britain Hotel play host to a distinctly leftfield live line-up with Muckle Pup, Heidi Elva and The Borte. Muckle Pup build cavernous waves of sparse, cinematic folktronica from analogue soundscapes and layers of melodic vocals, all accompanied by playful abstract imagery from VJ Sepp. Fresh back from her recent European tour, Heidi Elva’s ambient and trip hop sound combines her elegant voice with dreamy, effects-laden loops and dark minimal beats. Like the shamanic offspring of Faust and Patti Smith, The Borte makes beautiful and austere outsider music, performed with mesmerising emotional intensity. Music starts 8pm and entry is free.
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His Merry Men are a nine-piece band hailing from Brisbane. This fine troupe will be playing in Melbourne as part of an East Coast tour in celebration of the release of their second single entitled Super Secret Spies. They will be playing in Melbourne on the following nights, Saturday 3 December, at 303 in Northcote and Sunday 4 December at the Lounge Pit.
Sydney-based duo The Blues Preachers return to play Victoria this November following their recent award-winning album release, Dead Catz Can Bounce, an honest and confronting look at the big issues of today. Divine Justice Coming Down was chosen by Yoko Ono this year as runner-up in the John Lennon 70th Birthday Song Contest, and received a nominated top five position in the Independent Music Awards. They are playing the Hickinbotham Winery, Dromana this Friday, the Piping Hot Chicken Shop, Ocean Grove on Saturday and Wesley Anne on Sunday.
‘TIS THE SEASONS
SHOWING OFF Things are changing up a bit at Pony on Thursday nights. Now that they have their new downstairs stage they’re gonna bloody well use it. So they’re kicking off a summer series of free unplugged gigs. First cab off the rank are local duo The Showponys, with a couple of sets to really break the new stage in. It should be the first of many great Thursday night performances. Doors from 8pm, free entry.
VERY BRYCE This Sunday Emmy Bryce returns to Melbourne, playing at Elwood Park. Bryce is supporting her new single Every Star Is A Setting Sun To Someone which features her trademark stunning vocals, and a breezy pop melody, it’s a song for a lazy summer’s day. Catch her in anticipation of her debut album.
OLD BAR LOGGING
EUROPE VIA AVALON
Tonight A Dead Forest Index continue their Wednesday residency at the Old Bar. New Zealand-born, Melbournebased brothers Adam and Sam Sherry create a sound that ascends their two-piece set-up. Their minimalist live performances fill any room with a wash of layered voices, creaking percussion and delayed guitar. This week they are joined by Great Earthquake, Angel Eyes and Worng. Doors 8pm, free entry.
JAMIE HUTCHINGS’ latest effort, Avalon Cassettes, has seen him pack the bags and once again take his music to the people, wherever they may be. In some cases, it’s Europe, as his tour diary below will reveal. In others it’s a little closer, such as this Sunday, where he plays the Grace Darling with Single Twin and Sui Zhen. JAMIE HUTCHINGS AND BAND AT L’angora, PARIS
The most dangerous thing I ate in France was in Biarritz at the beach. It was really hot and I bought some kind of roll that had ‘America’ in the title. I guess I should have known. It was like a whole fast food meal between two slabs of bread. It even had hot chips stuck in there. I didn’t move for a while after but other than that it was hard to go wrong. Some of the worst shows we played over there had the best food so it was never a total loss. On the road in Australia you often hit vast expanses known as culinary wastelands. Lots of interesting stuff happened to Reuben, Jared and I in France and Italy. Jared and I were pursued quite urgently by a woman with a leg brace. She thought we were both a bit of alright. A drunken gypsy free-singer contributed to the instrumentation
In the short time they’ve been together Sydney’s Sound Of Seasons have already shared the stage with a virtual who’s who of young talent including scene favourites Closure In Moscow and were hand-picked to open for international breakthrough band Tonight Alive. Joining one of Melbourne’s proudest exports Built On Secrets as well as local post-hardcore heroes Sienna Skies, Sound Of Seasons head along the East Coast through November and December in support of their new single Sweet Decline, inflicting their unique brand of youthful alternative pop-punkish mayhem on many a punter along the way. Catch them on Thursday 24 at Next (Colonial Hotel), Saturday 26 at Fist2Face in Ringwood (acoustic afternoon show) and the Pelly Bar (Frankston) and Sunday 27 November at the Courthouse (Geelong).
RIOTS PLAY WITH FIRE
one night in a tiny bar up in the north of France. We also played on a stationary boat in an abandoned industrial port. The sound echoed over the water and nobody complained because nobody was there except the crowd and a bunch of empty factories. Another show was in the stifling heat in an ancient square beneath an equally ancient castle in Italy. I often wonder when people chance across a phenomenal band playing in inauspicious circumstances in Australia whether there’s some kind of filter that kicks in and zones them out. It’s kind of like people won’t let it in because they haven’t seen this particular act emblazoned across the sky or on TV. In Oz we don’t seem to have the confidence to rate anything unless it’s been pre-rated for us by whatever channels we accept as all-knowing. It’s kind of nice that that doesn’t seem to exist over there. Or at least not in my humble experience. People get pretty effusive and give you second helpings if they like you and if they don’t well… they just ignore you. Playing in everything from makeshift environments to big outdoor production extravaganzas is a way of keeping awake as well. Sometimes you’ve got nothing but the air to bounce off and you have to live with the space whilst smaller shows you’ve got tiny walls smashing all the sounds back at you creating a bit of a musical sauna. You can come off the stage with a totally exaggerated opinion of your own talents or feel like taking an eternal dip in the nearby river. I wish I could get it right every night but then I sometimes feel sorry for those who do.
City Riots play the Corner Hotel this Friday as part of Gyroscope’s Choose Your Own Adventure tour. City Riots’ current single, Matchsticks, with its breezy, reverb-laden hooks and jangly guitar line, prepares us for a summer of fun. The single is also accompanied by a nostalgic video filmed completely on Super-8 film.
IN THE MEAN TIME Just what is the meaning of time? And why is time so mean? Are The Mean Times, times that are mean, or just an average of time itself? And are they from Greenwich? Find out all this and more when The Mean Times once again take their sweaty rock’n’roll trousers to the stage on Thursday at Yah Yah’s. Along for the ride are The Mean Times’ meanest (and extremely talented) friends, Hayley Couper, The Hum Of Industry and Once Upon A Time In The West (solo) in a four-band extravagant extravaganza. Indie poprock lovers, this gig is for you. Doors from 8.30pm.
SHIP SONGS The Good Ship, Brisbane’s favourite (and only) folk rock sea shanty porno country masters, arrive in town this week on their Nautical But Nice tour. As an early Christmas present they’re giving away their chaotic, carousing cover of the classic tune What Shall We Do With The Drunken Sailor? The track is available from the band’s Facebook page. The band play the Cornish Arms this Saturday with support from Tim Woods and Jules Sheldon.
HANDSOME BRUTES Handsome, hurtful and hard rocking Perth based threepiece Brutus return to Melbourne for the second time this year to play two specially selected shows. They’ll play this Friday at Pony with I Am Duckeye, The Balls and Arcane Saints; and Saturday at Revolver with Sydonia, Ennis Tola and Suzie Stapleton.
SHOW US YOUR SEX FACE Sex Face were formed in late-2006 by drummer Corey Keem when he was asked to put on a night at a local pub. Corey enlisted the help of past bandmate Andy Fry (ex-John Butler Trio) and close friend Josh Murphy (Epicure), for the soon-to-be band’s first show. The electricity between the three was immediate and since then they’ve played countless shows to audiences across the state. Whether it be funk, psychedelic, rock, hip hop, Latin, gypsy or experimental, the band maintain 100% artistic control and freedom within their sound. They’ll play Karova Lounge (Ballarat) this Saturday. Tickets are $8.
FIXED HULL Eliza Hull just recently launched her first single Five at the Northcote Social Club to a packed audience. Five signals the emergence of Hull’s solo career and her debut album Hourglass, which includes collaborations with producers Jono Steer and Leigh Fisher along with performers Ollie McGill, Cayn Borthwick and Ainslie Wills. Through years of involvement in the Melbourne music scene with the band Describe Eliza, national touring, radio support and a strong live following, Hull is now a valued and respected performer. Join her for her November residency on Wednesdays at the Evelyn.
60+ Acts 15 Venues
NOVEMBER 25, 26 & 27 2011.
3 DAY FESTIVAL WEEKEND
ALL DAY CONCERT IN ROSALIND PARK SATURDAY 26TH NOVEMBER
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NIGHTS ON THE TOWN
have you heard
LUGER BOA’s latest album is inspired by a twisted night out, frontman and former D4 dude JIMMY CHRISTMAS tells NIC TOUPEE. played with, and things he had done in his career, especially in the early days, like operating lighting with his foot and mixing his own shows from the stage: good old tour tales, nothing outrageous.” When not spending time kicking it with ‘Meat’, Christmas and co have been hard at work concocting New Hot Nights, the suitably Neil Diamond-esque titled follow-up to Mutate Or Die.
Before we begin this piece about Luger Boa, let me state that during this interview the name of lead vocalist Jimmy Christmas will not be used to make convenient festive puns, jokes or metaphors. Often, there’s no amount of being the ex-lead singer of New Zealand nigh-on-legendary outfit The D4 that can save him from a cheap Santa joke. But not here, Let’s instead recall that when The D4 broke up after highly successful tours of the USA and Europe. Christmas has injected Luger Boa with an energy and rock-devivre similar to that of his former band, but this time with a twist of glam to spice their stadium-ready rock. Their theatrical edge attracted the attention of veteran bombastic rocker Meat Loaf, who picked Luger Boa up for his 2011 tour of New Zealand. “We got the opportunity to support Meat Loaf on his stadium tour. Mea Loaf is clearly a rock’n’roll legend,” Christmas states reverently. “Bat Out Of Hell is an amazing record, and there’s amazing songwriting on that album. I never thought I’d play with the guy who made that.” The backstage Meat Loaf experience was refreshingly laidback, and apparently it’s ‘Meat’ to his friends. “Everyone calls him Meat,” Christmas explains. “‘Hey Meat’. ‘Thanks for the show, Meat’. We hung out with him backstage drinking tequila and he regaled us with stories of the ‘70s. He talked about bands he
SPRING LOVIN’ Money For Rope love November. It really is when everything good in the world starts to kick in. Summer’s just around the corner, holiday season is approaching, less clothes need to be worn… The lads are gonna celebrate. Fresh from the studio where they’ve commenced work on their debut album, Money For Rope are playing this Friday at happy hunting ground Yah Yah’s with special guests from Adelaide Tea, from Arizona Becky-Lee & Drunkfoot and from just down the road, Drunk Mums. Doors from 9pm.
GH GODDESS Goddess #4 will be a black tie event bursting with original female singer/songwriters and the guys who back them up. Due to space limitations at their previous home and by popular demand the Goddess gig has relocated
“This is our second album, and is really different from the first album. Mutate Or Die was initally a solo project I made in Melbourne, with the help of good friends over there. But when I put a live band around it to tour the album, I then realised what I like is a tight rock’n’roll gang. That’s where I come from and what I missed. The power of a group of minds is greater than the sum of [the] whole. So for the second album we recorded it live as a band, living together for ten days, tracked it all together and then I went back to Melbourne to write the lyrics and do the vocals.” The album is almost a film made into song, a series of vignettes woven into Christmas’s homage to those legendary and often forgotten great nights out, he reveals. “It’s about a twisted night out, interwoven stories of people colliding into each other in a red light district from dusk ‘til dawn. It’s just slightly depraved and glamorous,” he laughs. “A lot of the lyrical content was inspired by my favourite bar on K’ Road in Auckland. I spent a lot of time smoking cigarettes and watching people come and go: transvestites and bums, glamour types. In the album I tried to inhabit all the people crashing through that period. For the artwork we created a fictional night-time scene and got all our friends to dress up and be characters from that place and time.”
Rich Davies & The Devil’s Union launch their album at the retreat this friday.
VIVA LA YOUTH Hip hop, street culture, food, fun and pool partying will bring Princes Gardens to life on Saturday 26 November at the City of Stonnington’s annual VIVA Youth Festival. City of Stonnington Mayor Melina Sehr reckons more than 2,000 young people are expected to celebrate youth culture at the free festival, in a family-friendly environment. The acclaimed VIVA Prahran Skateboard Competition will once again attract big names from around the country, with some great prizes up for grabs. One of Australia’s finest underground battle MCs 360 will headline the Soundslike Productions live music stage, along with The Kuan Yin Society, DJ MZ Risk, Admit One and the FreeZa Battle of the Bands 2011 winner, Animaux. Other activities include a free pool party at the nearby Prahran Aquatic Centre, a visual art installation, the Prahran Summer Jam street basketball competition, interactive hip hop workshops, fun activities and market stalls.
DIAMONDS AND HEARTS
WHO: Luger Boa WHAT: Friday, Espy; Saturday, Cherry Bar
to GH. It will feature a fashion parade by Mary Renshaw and Carlisle St Bazaar. There will also be MC Slash Darling, footage on the big screen by Carbie Warbie and bar priced beer and bubbly. Get your tickets early. This Sunday at the GH, doors open 3pm, tickets $12+BF.
RE ANIMATORS The Animators are proudly returning to the stage to launch the brand new mini-EP Dualis out now on iTunes. With a new band line-up, special guest vocalists, live visuals and a stack of new tunes this will be a highlight. Supported by the amazing Eliza Hull Band, with opening support from local up-comers The Neighbourhood Youth, The Animators will play Thursday 24 November at the East Brunswick Club. Doors open at 7.30pm and tickets are $10+BF pre-sale or $15 on the door if available.
The Red Aces and you want good times. And the brothers from the Burg (Coburg) are going to give them to you. Is it garage? Or barrage? Is it power pop? Or power tool? It’s alive like a snake in your pocket. Shiny like a pretty boy’s smile. And these boys are so nice they’ll change your tyre. And so fresh they’ll change the world. Because it doesn’t have to be like this. And they smell like bed hair and taste like morning breath. And they sound like good times. On Saturday The Red Aces will be supported by the wonderful ‘50s garage rock-inspired Betty Airs from Sydney, as well as the fabulous band Apes. This is going to be a very good night, this Saturday at Yah Yah’s.
GREENSTOCK Melbourne’s inner-city Greens are partying and they want you to come along. Firing up their grassroots support base, the Melbourne and Yarra branches of the Greens are putting on a benefit gig called Greenstock to support local music, highlight the great work being done by elected Greens and raise funds for the future. On the bill are The Skylines, The Prayer Babies and Shambles. Throughout the night, elected Greens will share stories and anecdotes, and the Melbourne Tram Conductors will be there to check everyone’s tickets and highlight the statewide campaign to bring back tram conductors. It’s all at Yah Yah’s this Sunday. Doors from 6.30pm, tickets $15 or $10 concession.
How did you get together? Rich Davies: “I formed the Devil’s Union over the course of recording the album. It started off as what I thought would be a solo folk record but as the recording progressed it became clear that this was a band record and although the sound was rooted in folk it definitely had a rock element that needed a full-time line-up.” Have you recorded anything or do you prefer to tool around in your bedroom? “We are about to release our debut album through Gretson Records this Friday.” If you could support any band in the world, who would it be and why? “I’d have to say Bruce Springsteen. If not for any other reason, just to have a chat with him. I’ve been so inspired by the musicianship of The E Street Band whilst forming The Devil’s Union. The Boss and co are such a great creative unit and powerful live band with shitloads of charisma and very little pretension. Bruce Springsteen is such an amazing band leader and he brought together a great team of people to share in his vision. I dream that I can do something similar with my music and band.” If a higher power smites your house and you can only save one record from the fire, what would it be? “It would probably be a Dylan record. I think I’d need his music as I worked out what the fuck to do whilst cursing the fact that I never seem to get around to getting insurance for my musical equipment.” Do you have a lucky item of clothing you wear for gigs and what is it? “I have this gold ring with a red stone in it. I don’t play gigs without it. I’m not sure it has brought me good luck as such but I haven’t played a gig whilst wearing it that I would have considered under par.” If you invited someone awesome ‘round for dinner what would you cook? “I’d probably just go with what I am most confident with: Thai green curry, some kind of stir fry, risotto or paella. I find cooking those kinds of dishes to be almost like writing a song or painting. It is a satisfying creative outlet. I never follow recipes. I like taking risks.”
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WAKE THE DEAD
Blues’n’roots with DAN CONDON email@example.com
Metal, heavy rock and dark alternative with ANDREW HAUG
Hardcore and punk with SARAH PETCHELL
utilitarianism here because it’s an ethical theory, and as ethical theories go, the depth and debate around it is quite heavy at times. It has a certain ‘morality’ aspect to it and that isn’t something that drives me, so I also certainly have issues with it.”
NAPALM DEATH CHARLES BRADLEY They probably didn’t get the memo sent by Bluesfest telling them to not announce that they are on the bill quite yet, but I don’t think the Fabulous Thunderbirds are harming anyone by letting the cat out of the bag. The band may only feature one original member nowadays – vocalist and harmonica gun Kim Wilson – but they’re still one of those great American bands that prove that some white guys can really play the blues. Their return to Australia is an exciting one, no doubt, and as well as Bluesfest they will be playing a show at the Prince Bandroom on Sunday 8 April. The Daptone Records stable are as good a guarantee of high quality soul and funk music as you can get in the modern day; the output from that label is consistently of an incredible standard and the work of the great Charles Bradley is testament to that. The 63-year-old soul singer was a relative unknown ten years ago, but Daptone picked him up and he began to record singles for the label before his debut record, No Time For Dreaming, came out early this year. It’s a fantastic record that shows off Bradley’s well-worn voice, a voice so soulful that it could only come from a rich life lived. Bradley and a hot-shot band made up of members of the Menahan Street Band and Budos Band will be in Victoria for the Golden Plains festival and a sideshow at the Corner Hotel on Sunday 18 March. Tickets are available through the venue right now for $49+BF. The masterful – if at times a little crazy – Ryan Adams released a new record not very long ago; this might not seem like much, but the fact is we weren’t really sure whether he’d ever release another album after he supposedly quit the music business a few years back. It’s called Ashes & Fire and, frankly, it’s really very, very good. Adams has a pretty good strike rate when it comes to quality of official records (the fun side-project things he does are very hit and miss) but this one is above par by his standards. It’s very much a solo album – in fact it’s his first record without The Cardinals backing him up since 2005’s 29 – so it’s fitting that Adams is returning to Australia early next year as a solo artist. He will no doubt be performing plenty from this record as well as assorted gems from throughout his massive 13-record-deep back catalogue. He performs all by himself – for the first time in Australia – at the Regent Theatre Saturday 3 March. Tickets are available from the venue and Ticketek. One of the greatest rock bands coming out of Memphis these days, Reigning Sound, have a brand new mini-album out now by the name of Abdication... For Your Love and there are a couple of very cool things to be said about it. Firstly, most of it was produced and record by The Black Keys’ Dan Auerbach, which I’m sure is of interest to quite a few people! Secondly, it’s free. Yep, you can download the full eight-track record for nothing from scionav.com with absolutely no strings attached! Lastly, most simply and most importantly, it’s really good. If you’re after the revved up rock’n’roll of the classic Time Bomb High School or Too Much Guitar then you may be disappointed – these are far quieter, but gorgeous and considered songs that are more suited to lazy Sunday mornings in the sun than bourbon-fuelled dive bars. There’s still plenty of grit, of course, and most fans should be fairly excited by it. If you’re not then just get over it, it cost you nothing. Texan bluesman and guitar maestro Ray Bonneville is heading to Australia next week to show off his unique guitar style and that mighty firm grasp he has on the great tradition of Texan blues. With Sal Kimber & The Rollin’ Wheel in support he will stop by the Northcote Social Club on Tuesday 22 November; tickets are available through the venue now for just $16+BF. 54 • INPRESS
The metal juggernaut known as Hellyeah featuring Vinnie Paul (Pantera) are continuing work on their third album at Abbott’s home in Arlington, Texas, where he has a studio set up. Gray states via Twitter, “So fucking close to being done!! On the homestretch and then mix. Can’t wait for ya to hear it!!!” Corey Taylor recently spoke with Billboard.com and said that Stone Sour’s follow-up to 2010’s Audio Secrecy will be “probably the biggest thing we’ve done in our career”. “Right now we’re just working on demos... and a pretty grandiose idea that I’ve been kind of chewing on for a long time,” Taylor says. “On a musical scale, artistically, visually, we’re going to swing for the fences with this one. If we can pull it off, it would be really cool and... put a lot of people in their place. I’m really excited to get working on it.” British/American grindcore pioneers Napalm Death are putting the finishing touches on their 14th studio album entitled Utilitarian out in February. Singer Mark ‘Barney’ Greenway, never shy on a rant, explains the album title and concept: “After some deliberation, we have decided on Utilitarian as the album title. We generally try to avoid generic titles, and this seemed to have a lot of scope to it. I won’t explain the full meaning of
GWAR frontman Oderus Urungus has released the following statement regarding the recent passing of the band’s guitarist Cory Smoot (AKA Flattus Maximus): “After a restless night spent hurtling through the desolate Canadian wilderness, I crawled from my bunk on the tour bus to face reality, grudgingly aware that the dark dream that gripped us would not fade with the day. We have lost a brother, a husband, a son and one of the most talented musicians that ever slung an ax. Cory Smoot, longtime lead guitar player for the band GWAR, has passed at the age of 34.” Another supergroup? Mastodon’s Brent Hinds, The Dillinger Escape Plan guitarist Ben Weinman, former Mars Volta drummer Thomas Pridgen and ex-Jane’s Addiction bassist Eric Avery have joined forces in a new project called GTO (Giraffe Tongue Orchestra). Weinman states, “Brent and I have already got new material. The guy just spits out riffs like a riff machine”. Walking With Kings is another group featuring Rich Ward and Frank Fontsere of Fozzy and Stuck Mojo fame. The band will release their full-length debut in December. The CD, which is said to be “a collective songwriting effort between Ward and Chism”, consists of 11 tracks that deliver a positive message in our troubled world. German power metallers Primal Fear have completed mixing and mastering their new album, Unbreakable, which is scheduled for a January 20, 2012 release via Frontiers Records. Andrew Haug hosts Triple J’s The Racket every Tuesday from 10pm – abc.net.au/racket. Email firstname.lastname@example.org
DEPARTMENT OF YOUTH All things under 18 with KENDAL COOMBS TONIGHT (WEDNESDAY)
The Contortionist, The Storm Picturesque, Ennui Breathes Malice and The Automata play Karova Lounge in Ballarat from 7pm. Tickets are $15+BF available through Oztix or on the door. Kings Of Leon play their final Melbourne show at Rod Laver Arena from 7.30pm. Tickets available through Ticketek.
FRIDAY FELICITY GROOM Starter for ten, hands on buzzers. Oops, got distracted there for a second, thought I was in a movie with Mark Gatiss. If you would like to see ten bands, and have a tenner and are available from 10am to 10pm on Saturday 26 November then I have the show for you. Rock bands After The Curfew, Meet Me In Cognito, Steeplejack and Wonrowe Vision, as well as pop and blues outfits including Eddie Cole & Band, Adrian Austin & Band plus Katie Harder and The Gentle Folk, world music outfit Rivertribe and surf rocker Rosanna Palmer, will play at the 1330 Conference Centre on Ferntree Gully Road in Scoresby; all these bands for just ten bucks on the door. The first half of the program of the Fed Square Live summer series has been announced and there will be some fantastic performances of the best emerging local talent in indie, blues, dance and rock music. Artists include Felicity Groom, New Navy, Sampology, Millions, Big Scary and Richard In Your Mind who’ll all be appearing in December; acts playing in January will be announced shortly. The first of the shows will be on Thursday 8 December and run on selected Thursdays throughout summer. These events are free to enjoy for everyone.
The 2011 Face The Music Conference begins at the Arts Centre, teaching you all you need to know to get the edge in your music career. Tickets and details of lecture topics, workshop themes and conference speakers are available through facethemusic.org.au. Live‘n‘Loud, with performances from Lovers Grave, No Way Out, Vultures, Who Invited The Wolf?, Glass Empire and Divisions, takes place at the Narre Community Learning Centre from 6pm. Tickets are $12 in the door. Night Of The Living Talent youth talent night takes place at the Mount Waverley Youth Centre from 6.15pm. The Underage Dance Party with DJ Brad E is on for ages 14–17 years only at the Wyndham Youth Resource Centre Hoppers Crossing from 7pm. Tickets are $8 on the door.
The Contortionist and The Storm Picturesque play the Phoenix Youth Centre in Footscray from 2pm.
The Contortionist and The Storm Picturesque play the National Hotel in Geelong from 2pm. Tickets on the door. A charity show featuring Empires Fall, Cardinals, Judge Our Hearts, In Elegance, Check Your Smile and This Fiasco takes place at the Gap Youth Centre in Melton from 4pm. Tickets are $5 on the door.
THE POGUES The 23 year wait is over! Legendary punk act The Pogues are heading to Australia for the first time since 1989. Formed in 1982, instead of tackling the kicking and screaming aspect of punk, the band did away with all of that and mustered their power through the use of traditional Irish instrumentation and folk storytelling. The results were seminal albums Red Roses For Me and Rum, Sodomy & The Lash, as well as a stint by the equally legendary Joe Strummer on vocals. But for now, Shane MacGowan and his merry men will be returning to Australia in April 2012 for a run of shows. Tickets are on sale now for the band’s Melbourne show at Festival Hall on Wednesday 4 April. The second announcement for the 2012 Big Day Out has been made, and joining the likes of Mariachi El Bronx, Parkway Drive and The Getaway Plan will be Brisbane’s The Amity Affliction. Since the release of their second album Youngbloods back in 2010, the band have been riding an epic wave of success that has seen them tour extensively overseas, sell out numerous shows at home and gain a coveted (and rare for an Australian artist) place on the 2011 Soundwave Festival. You can catch the Big Day Out in Melbourne on Sunday 29 January at Flemington Racecourse. Tickets are still available. As I mentioned a couple of weeks ago, The Casualties had their tour postponed due to some issues regarding a member’s visa. New Noise, the touring agency, stated: “The Casualties’ vocalist is from Ecuador which has made the visa process for Australia and some South East Asian countries drag out for longer than expected. To minimise all risk, the band and New Noise Agency have decided to postpone the tour to ensure all shows in Asia and Australia can go ahead.” The tour dates have now been adjusted, with the tour now set to commence in a fortnight. As such, the Melbourne show will now be on Wednesday 30 November, and is still an 18+ show at the Northcote Social Club. Supporting will be The Worst and No Idea. Tickets are still available. Melbourne-based label Poison City Records have announced that they will be releasing the debut, self-titled album from Philadelphia-based outfit Restorations. The music is often described as “punk for grown-ups”, but the appeal of this band is much broader as it speaks loudly to fans of everything from shoegaze to folk punk to beardcore. The album has already been released in the US and has received glowing reviews across US music press, with Alternative Press naming them Best Debut Band for their recent performance at the Fest 10 in Gainsville, Florida. The album will be released in December, with preorders available through the Poison City website now. If you caught Jim Ward earlier this year, then you know what an amazing and special thing it is to see him perform live. Now, as he promised at those shows, he will be returning for a run of shows and this time he is bringing his whole band with him. Ward said of the tour, “I am over the moon to bring Gabe Gonzalez and Gregg Sosa with me so we can have the full band on stage this time – the last few times I have been over it was just me and a guitar and I can’t wait to play these songs in a little different light. I am excited to bring in a new year with my friends in one of my favourite places on earth“. Here for the Peats Ridge and Pyramid Rock festivals, you can catch Jim Ward and his band at the East Brunswick Club on Tuesday 3 January. Tickets are on sale now.
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LONDON FIELDS The view from the EC4 with JAMES MCGALLIARD
Urban news with CYCLONE
LUKE MCKINNON goes with the flow
resembling a rural town hall with its treated pine ceiling. The rain on the rooftop added to the ambience as the onetime Nizlopi guitar tech told his “stories” – that’s how Sheeran refers to his songs. This austerity-era star proved, too, that he has a social conscience, punters asked to donate gold coins to The Big Issue.
V FOR VENDETTA
Recent events made the scheduling of the film adaptation of V For Vendetta on the evening of 5 November feel like a quiet political statement by state broadcaster BBC Two. The film was originally due to have its UK release on the eve of the 400th anniversary of the foiling of the Gunpowder Plot, yet in the period since 2005 the stylised Guy Fawkes mask worn by the central character of V has become a common sight at protests, from student marches to the current Occupy London camp in the grounds of St Paul’s Cathedral. While the film may differ from Alan Moore’s original vision, the picture of an isolated nation in crisis, presided over by an authoritarian government, with the people as that 99%, rang some bells. There was another protest by students against fees and cuts in central London last Wednesday, but this passed without serious incident. The numbers of marchers were much reduced, perhaps dissuaded by the advance police warning that baton rounds (rubber bullets) could be employed if any trouble erupted; those that went were met by 4,000 police officers. This week has also seen a furore over the reported relaxation of the border controls over the summer months – sackings and resignations are sure to follow. Behind the wheels of government, following changes to the Act Of Settlement 1701 at the recent CHOGM in Perth, royal heirs will soon have equal rights to the throne regardless of gender, and be able to marry a Roman Catholic. Meanwhile the Fixed-term Parliaments Act 2011 (which received the Royal Assent on 15 September) removed the Royal Prerogative which allowed the monarch to dissolve parliament, so there won’t be any Remembrance Day 1975s here. Guy Fawkes Night traditionally means bonfires and fireworks but it’s been a few years now since I’ve heard anyone asking for “a penny for the Guy”. These days it’s more commonly referred to as Bonfire Night and cross-pollinated with Halloween, but Southwark Council got into all kinds of hoohah when they attempted to re-brand their event as The Colour Thief: A Winter Extravaganza Celebrating The Change Of The Seasons. One place where the old traditions hold true is in Lewes in East Sussex where for 200 years they have marked the prevention of the Gunpowder Plot and remembered the Marian Martyrs burned in the town in the mid-16th century. Last year they blew up an effigy of the Pope as part of the celebrations, but this year there were bigger villains to pillory. The Waterloo parade featured an effigy of Rupert Murdoch as a dragon being ridden by Rebekah Brooks which was later sacrificed to the flames. The clocks may have gone back at the end of October, but temperatures are still in double figures and the leaves only just falling from trees en masse, meaning autumn’s arrived very late this year. The mild days have made the return to Greenwich Mean Time (GMT) harsher than ever; suddenly it’s dark before 4.30pm and by the solstice it will be pitch black before 4pm. For years there have discussions about changing the UK time zone, but a Private Members Bill tabled by MP Rebecca Harris may actually make this possible. This Thursday the money resolution of her Daylight Saving Bill 2010-11 will be debated in the House Of Commons. If agreed, it will lead to a three-year trial, yet it hinges on getting agreement from Scottish Parliament, Welsh Assembly and Northern Ireland Assembly. The change would mean England was on GMT+1 (AKA CET) in winter and Central European Summer Time (GMT+2) in summer. It would result in the carbon savings on lighting, a reduction in the road toll (as drivers are more tired in the evenings), and a boost for tourism. 56 • INPRESS
Forget any social unrest. It’s been an exceptional year for British urban music with auspicious debuts from post-dubsteppers Jamie Woon, James Blake and Katy B. Now even Joker (AKA Liam McLean) has issued an assured album, The Vision, which joins the dots between dubstep, grime, R&B, electro rave, and Detroit techno classicism (those synths!). Ironically, the producer, who just toured with Parklife, is reluctant to describe himself as ‘dubstep’. The tuneful Slaughter House, reminiscent of New Zealand’s Shapeshifter, features Turboweekend’s Silas Bjerregaard – and is much stronger than The Vision (Let Me Breathe) with Jessie Ware. The ace Back In The Days picks up where Timbaland left off on Ginuwine’s ‘90s The Bachelor, but with a posse of underground Bristol MCs. Totally unexpected is the tranquil The Magic Causeway which, while evoking Celtic mythology with its title, dallies with lounge music. It’s a million miles from McLean’s sinister instrumental anthem Tron. McLean really loves his melody. But 2011’s biggest UK commercial success may yet be that of Edward ‘Ed’ Sheeran. The sofa-surfing acoustic soulman was in Australia last week, playing secret industry gigs in Sydney and Melbourne. In M-town, the gig was held at the Bakehouse Studios with around 50 people. The setting couldn’t have been more perfect, the upper rehearsal space (the ‘Scrap Museum’)
Live Sheeran sounds even better than on record, accompanied only by guitar and his loop station – indeed, he’s using similar effects to the avant Blake. Sheeran’s gift lies in his familiarity with so many different idioms. The guy is a nu-folkie who might be billed alongside Laura Marling – but, like Adele, he also delivers authentic soul (some of the songs on his UK number one album, +, were inspired by a break-up). Then again, Sheeran can MC and beatbox. If Sheeran streamlined his talents on +, focussing on the songs, then that wasn’t the case at Bakehouse. He did it all. Sheeran opened with Grade 8, following with +’s best number, The City. On record The City broaches nightbus but, live, Sheeran stripped it down into a busker song, raw like Adele’s Hometown Glory. He extended his cheeky hip hop missive You Need Me, I Don’t Need You. Sheeran also performed UNI, Lego House and Give Me Love, the latter really coming to life. Another highlight? Sheeran’s rendition of the American traditional Wayfaring Stranger, previously revived by Woon (and Jack White). Towards the end, he ventured into the crowd to sing the Irish farewell The Parting Glass a capella (and un-miced) on a table top. Sheeran finished with the soup kitchen soul of The A Team. Sheeran has great stage banter. The Prince Harry lookalike, a teen idol at home, mentioned that he prefers the Australian term ‘ranga’ to the British ‘ginger’. There is yet more UK urban this season. Hackney MC Professor Green (Stephen Manderson) is back with his sophomore, At Your Inconvenience. He only dropped Alive Till I’m Dead mid-2010! Manderson is supposedly returning to straight-up hip hop, eschewing the currently omnipresent electro-hop – as he announces on the titletrack – but elsewhere he does dip into bass music.
BARE BASS Bass culture with RICHIE MELDRUM Clicky and scattered yet heavily sedated, this is certainly not the kind of music you’d play in a mental hospital, but it’s truly brilliant in all other places.
SPACE DIMENSION CONTROLLER When we talk of being ‘taken’ by the music, we normally know what the destination sounds like. However, on occasion we are led to uncharted lands, beyond the frontier and into a different realm. Aquatic house, ether electronics, deep, deep bass and fantastical composition – yet another splinter faction from the crowded playing field of bass music has broken away and is drifting through our eardrums with scant regard for foundation or description. One of the stargazing trailblazers pushing this unearthly form of bass music is Space Dimension Controller, a young Northern Irish producer by the name of Jack Hamill who grabbed our attention last year with the dreamy synth funk and druggedup, sleazy melodics of his debut Temporary Thrillz EP. Back with his new longplayer The Pathway To Tiraquon 6, released on renowned Belgium label R&S Records, Hamill doesn’t seem to have come any closer to landing back on planet Earth and, if anything, …Tiraquon 6 is his most ‘out there’ offering to date. With the field recordings of tweeting birds, luscious meadows and other weird and wonderful sounds framing the more structured areas of the album, Hamill lifts your consciousness into a temporary suspension, slowly bringing you back as the grey noise falls away and is replaced by boogie-driven drums, acid basslines and synth claps delivered straight to the face, direct from Detroit.
Future garage gets a rough deal a lot of the time with the sound seemingly unable to truly grasp a stronghold amongst the plethora of other names fighting for recognition. However, if you want to hear just how good it can be then head for the work of Austin-based producer VVV (AKA Shawhin Izaddoost). The Tehran-born Izaddoost serves up his debut album Across The Sea, as the first release on what looks set to be yet another quality-driven label coming out of Glasgow, Scotland: Fortified Audio. Across The Sea has all of that old skool 2-step appeal with tight vocal samples and familiar drum stabs but with a scorched, shimmering looseness – like a postapocalyptic Burial slow-motion drag racing around the deserted streets of London. Cam McLaren, otherwise known as New Zealand’s Consequence is back with more of the deep, dark, genre-defying compositions that he does so well. Having last hit out ears with the excellent Cancel Standard under the They Live moniker he forms with production partner Joe Seven. McLaren’s latest offering is Test Dream, released on D-Bridge’s Exit imprint. Test Dream hangs around the outer edges of the anything, an electronic milieu of atmospheric signals, decayed wiring and Frankensteinian computer programming. Stick this in your headphones, press play, sit back and wait to see what state you come out the other end. Finally, Australia’s own Dro Carey is back with a new EP on Ramp Recordings. Standing with more structure and direction than his previous offerings, Journey To The Heavy combines the concrete streets of London and Detroit, arriving at that unmapped location that only Carey knows how to find. For those who get off on entering the unknown, there are bass artists out there just waiting to draw you in with their music – just don’t expect to be able to retrace your steps.
IMPOSSIBLE ODDS Sydney label Elefant Traks have announced an exclusive new way to access their music that combines the charm of receiving a physical product, with the satisfaction and immediacy of digital delivery. Available exclusively via the Elefant Traks online store is CD Plus MP-Free. Downloads and cloud-based consumption is undoubtedly the future, but labels still sell more CDs than digital albums. CD Plus MP-Free is about rewarding those who feel the liner note love and value lyric booklets or signed copies, or the joy of a parcel in the mail. It’s two for the price of one, without devaluing either. And, not only are they free, but the MP3s are high quality (320kbps). The Elefant Traks catalogue, including vinyl-only releases and hard to get exclusives, are now available in digital format. Based around the core of frontman Rival MC (AKA Fred Leone) and DJ Returnagain (AKA James Vincent), Impossible Odds are an indigenous hip hop/soul group from Brisbane and last month saw the release of their long-awaited debut album, Against All Odds. With an EP and three singles released over the past five years, Impossible Odds have garnered a solid following nationwide. Still fundamentally grounded in the indigenous community, through strong national radio play, heavy media coverage, killer live shows, big support slots and national touring, the band have also earned themselves a large mainstream audience. This is a tribute to their tenacity, longevity and the quality of their music. It is also due to the fact that Rival MC is nationally respected and a born community leader – intelligent, steadfast, passionate, balanced and able to clearly vocalise his opinions without pointing fingers or denigrating others. With strong Australian Aboriginal, Tongan and South Sea Island family roots, Rival MC’s lyrics are a journey through the mind of contemporary Aboriginal Australia, addressing not only issues facing his people, but more importantly, Australian society and the wider global community. With a socially conscious attitude that speaks volumes, Rival MC and Impossible Odds are some of this country’s finest exponents of hip hop and should be checked out if you’re yet to bare witness to their music. Wu-Tang swordsman RZA is set to expand his acting resume and will appear in Quentin Tarantino’s western, Django Unchained. The spaghetti Western stars Jamie Foxx as a freed slave who joins forces with a German bounty hunter to liberate his wife. According to Variety, RZA will play Thaddeus, “a violent slave working on a Mississippi plantation”. RZA, who scored Tarantino’s Kill Bill films, makes his directorial debut, The Man With The Iron Fists, next year. The flick, co-written with Eli Roth, stars RZA, Russell Crowe, Pam Grier and Lucy Liu. RZA will next be seen in GI Joe 2, A Very Harold And Kumar 3D Christmas and the next season of Californication. Odd Future duo Syd Tha Kyd and Matt Martian, who together call themselves The Internet, will release their full-length debut LP, Purple Naked Ladies, digitally in December and physically in January through Odd Future Records. The three previously released tracks, They Say, Love Song -1 and Cocaine, will be featured on the album, and have also been gathered to create their latest EP, Cocaine, which is available now on iTunes. The album will include 14 songs with features from Odd Future members Left Brain and Mike G.
you on your way. There’s $5 basic spirits and Carlton pints between 9 and 11pm, helping you to swig, stagger and strut your way as you join 600 of your new best friends.
FReeZA committee Popcorn Productions are holding a night of great bands to celebrate Brighter At Night’s EP launch. The event takes place at Brighton Town Hall on Friday 25 November from 6.30 to 10.30pm. Popcorn Productions, a committee of young people who meet weekly throughout the year to organise these and other events, were approached by Brighter At Night to run their EP launch. This was a huge pat on the back, and they are using it as a great way to celebrate the end of the school year and showcase the great music talent of young Bayside people. It also gives young people a safe and fun environment to socialise in. All events are fully supervised all-ages events that are strictly without drugs, smoking and alcohol.
PIcture this: after years fighting liquor licensing laws, pokies and inner-city neighbour noise complaints, Melbourne’s live scene is forced to shut down forever and there’ll be just one more gig – the last gig in Melbourne – before it’s lights out and the final song of the night is the last song in the city. Instead of drowning her sorrows, local rock comedy superstar Geraldine Quinn will be downing last drinks and rocking out live on stage in The Last Gig In Melbourne. Fronting a band of local musos, Quinn presents a unique night of original songs inspired by the local live scene, every Friday in November at The Bella Union Bar, Trades Hall. Shows kick off around 8pm and tickets are available at bellaunion.com.au.
With its laneway in full swing, Buffalo Club will be a living, breathing Release HQ from Monday 21 to Friday 25 November. Each night at the outdoor venue, their guest band’s recordings will be given away as free, limited-edition CDs (with
special guest artwork) just hours after their recording in Racing Club Lane’s pop-up studio the previous night. They’ll also be serving cut price beer, sets from Vice and Triple R DJs, and appearances by the recording bands behind the decks. Monday won’t see a CD release, being the launch night, but the first band to be recording (Parking Lot Experiments) will be in action at the nearby Racing Club Lane Record site – so be sure to check that out. They’ll also be announcing a special guest lined up for the Friday – a supergroup made up of Melbourne rock royalty.
The Tote’s 30th Birthday celebrations keep on going. This time the Tote will be giving back the love to its punters with a free show featuring four of Melbourne’s finest and most rocking acts. Dan Brodie & the Grieving Widows, Dave Larkin Band, Laura Imbruglia and Cherrywood will all play tonight for free. What a line up! Doors from 7.30pm.
Hailing from Perth, local-cum-international superstar DJ Kate Chip will grace the Order Of Melbourne this Saturday night for the famous-in-Melbourne event The Dojo, presented by The Foot Clan, Wax Museum Records and Inpress. It’s ladies’ night so expect nothing but the finest jams to get jiggy with it, Big Willy-style. Kuya & Lucy are also on the bill.
Held at the boozy party-time capital of the universe, the Rochester Castle, DJ’s Clefb and Knackered Converse ignite dance-floor mayhem by cranking out all of your favourite past, present and future indie-rock anthems for Black Night Crash on Saturday night. Not only is it free entry every week, but because they like you and want to assist in your quest for total self obliteration and facilitate a passionate dance-floor romance with your future ex-boyfriend/ girlfriend, they’ve always got some cracking drink specials to get
MESSRS – EVERYONE KNOWS What’s the song about? Craig Lock, bass: “We try and make the lyrics fairly open to interpretation. Generally it’s about wanting to get out of a something – whether that’s a relationship, job, town, etcetera – but continually getting pulled back into it. I think our singer is actually referring to a specific ‘profession’ but unless people listen to it really closely I doubt anyone could guess it.” Is this track from a forthcoming/existing release? “Currently it’s released as a single on iTunes with a couple of remixes included.” How long did it take to write/record? “Writing and recording a song are two very separate things for us! Writing-wise this one fell out really quickly at a band practice one day in about 30 minutes. Recording was a completely different story; I would say we worked on recording and production for three months just for this one song.” What was inspiring you during the song’s writing and recording? “We wrote it a fair while ago so it’s hard to say; I think at the time we were just looking to try something different. We used to be called The Touch and were much more punkysounding – this song was a real turning point where we just did something completely different and I think that set us down a new path and led to us scrapping everything we had before.” We’ll like this song if we like… “It’s always the hardest question comparing our own music to other bands but people will probably dig it if they like indie/dance stuff like Foals, Cut Copy or Friendly Fires.” Will you be launching it? “This Thursday at Shake Some Action.” For more info see: facebook.com/messrsband
INPRESS • 57
Thomas & The Flowers Of Evil, Molten Universe, Sole Stickers, Mass Cult, Midnight Woolf, Thee Mighty Childish, The No Real Need, Russian Roulettes, Digger & The Pussycats, Wrong Turn, Lord Street Sound and The Cheats. It all happens this Saturday and is only $20. Doors are from 2pm.
Melbourne’s Alithia is about to embark on their first national tour to celebrate the release of their second EP A Realm O’Null. Alithia are a band at the forefront of a new movement in music known as ‘astral space core’. The result is an authentically unique sound that combines ambient, melodic, psychedelic, electronic and punk rock music. Formed in 2004, Alithia have since experimented across a wide range of Melbourne’s stages over the years. The tour will commence with their official EP launch at the Evelyn Hotel on Thursday 24 November.
Do you miss the ‘90s? Brashes is a record store from the ‘90s. Motifs were popular on car doors in the ‘90s. Some members of Milk Teddy were born in the ‘90s! Fresh from not touring or making any new records, these three bands perform at Bar Open on Wednesday from 8.30pm. Doors 8pm, free entry.
58 • INPRESS
HUGE TOTE SATURDAY
Off The Hip Records’ program for the Tote’s 30th celebrations is a monster. The bill entails: Johnny Casino & The Secrets, Little Murders, The Painkillers, The Alohas, The Dunhill Blues, Crystal
Madre Monte are excited about a change in weather and to celebrate the fact they will be spending their Friday nights in November at their favourite hang out, Bar Open. The ninepiece Latin reggae outfit blend Afro-Colombian rhythms, cumbia and grooves with mythology, dance and visuals, providing a colourful journey into Colombian culture. Madre Monte also love to cook and to spice up the party, have invited some friends along that will see each Friday night taking on a particular style and sound from traditional Afro-Colombia, to nueva cumbia and Afrobeat. Eat an arepa, drink a coffee and come upstairs for some jungle juice. Doors from 10pm, free.
STATE I’M IN MUSIC VICTORIA UPDATES WITH PATRICK DONOVAN
The Face The Music conference takes place this Friday and Saturday. Music Victoria plays an active role in the conference, which has broadened out from its focus on young people entering the industry. Tickets are great value at only $60 full/$50 concession for a two-day pass or $40 full/$30 concession for a one-day pass. Don’t forget that Music Victoria members get a 10% discount. Personally, I am looking forward to South By Southwest’s Brent Grulke’s keynote speech and my interview with legendary tour manager Ted Gardner. For those of you interested in what makes Melbourne tick, check out the Great Music Cities session, which will feature representatives from Melbourne, Berlin, Austin, Liverpool and Christchurch; and the Sounds Of The City session, which will look at what needs to be done to ensure Melbourne remains a live music hub. We hope to see you all there – it’s very affordable and valuable for information, advice and networking. November is going to be a huge month for music fans. Music Victoria is also co-presenting the Live Music Safari event on Thursday 24 November as part of Melbourne Music Week. We’re also proud to support the excellent Australasian World Music Expo from Thursday to Sunday. On Wednesday 23 November, we will be presenting two awards at The Age EG Awards, which will be headlined by Hoodoo Gurus plus Stonefield, the EG Allstars and special guests including Chris Cheney (The Living End), Ron S Peno, Kim Salmon, Jane Badler and DJ Woody McDonald and new Music Victoria board member Sophia Brous. Make sure you get online and vote for your favourite Australian music of the year at surveys.fairfax.com.au. Music Victoria members will very soon be eligible for special excess baggage conditions on Virgin airlines, including a baggage allowance of 32kg (across three pieces of checked baggage) for individual artists and the option to be able to ‘pool’ their baggage allowance across their travelling group. We will announce the details on how to access this shortly. We look forward to working with Virgin Australia on other initiatives, such as Victorian music featuring on its inflight entertainment service and in its inflight magazine, Voyeur. More than 2,000 people experienced one-off performances of “lost Australian classics” by artists including Paul Stewart, Steve Lucas, Quincy McLean, Owl Eyes, Jimmy Clinkerfield, Molly Morrison and Emily Ulman at the Jewels And Bullets shows which we co-presented with the Fringe Festival and RRR. I thoroughly enjoyed watching Victoria’s best blues bands in my role as a judge at the PBS 106.7FM Blues Performer Of The Year last week. Congratulations to Dream Boogie, who took out the first prize, which includes a trip to Memphis to represent the state and country in the International Blues Challenge in February, and well done to the Melbourne Blues Appreciation Society for organising the great event. Music Victoria has been bolstered by the formation of the Education Advisory Committee, comprised of leading music lecturers and co-ordinators from universities, TAFEs and private educators such as SAE and JMC. And through Music Victoria’s Student Committee, the top young music students will be generating fresh ideas and ensuring Music Victoria is relevant to students wanting to work in the music industry. It’s essential that the thousands of students studying music have jobs to go into when they complete their studies. Finally, anyone interested in receiving some industry mentoring, or signing up as a mentor with the Small Business Mentoring Service (SBMS), can do so at sbms.org.au/OurPrograms/SpecialistVouchers. aspx. A one-hour mentoring session costs $100 or you can receive four sessions for $320. Simply enter the following voucher codes: MUSO – one mentoring session; MUSF – four mentoring sessions. We also will be running our next Small Business Victoria workshops for musicians and music businesses in the new year. Thanks to everyone who has attended one of our workshops this year. Congratulations to Victorian Music Councillor Larry Ponting for organising – and all of those organisations and individuals for supporting – the sensational Gotta Have Heart fundraiser last Friday for new entertainment charity Entertainment Assist, which was established to provide preventative assistance, crisis support and education to all individuals who earn their primary income from the Australian entertainment industry. That’s all for now, see you at a live gig soon.
MAKE SOME NOISE…
FOR THE TOTE AS IT CONTINUES TO CELEBRATE ITS 30TH ANNIVERSARY. WE CHECK IN WITH TWO OF THIS WEEK’S GUEST GIG CURATORS.
Timothy Nelson has announced his final shows for 2011, and what a year it’s been for the man. It saw him release his debut long-player I Know This Now and take out the WAM Song of the Year Grand Prize for his song Speak the Truth in Love. A real emerging talent on the national scene, Nelson has completed three East Coast tours in as many months, one recent trip of which, at her invitation, included a co-writing session with Clare Bowditch. You can see Nelson play at Pure Pop Records on Saturday 26 November.
Big West Festival breaks loose. Only a few nights left to join the groove!
Starting out as a couple of mates banging out some tunes together for the sake of good times, Tall Buildings soon realised they liked the songs too much to keep them confined to the belly of a rehearsal room. Tall Buildings’ debut album Light The Shallows was played out live over a single day with Idge at Soundpark Studios, and mixed by Sloth at Headgap. Over ten songs, Tall Buildings showcase their addictive indie stylings echoing the era of Buffalo Tom and the Go-Betweens. Catch them at the Edinburgh Castle tonight as part of their November residency.
NO PASSPORT REQUIRED As special guests at People’s Day, No Passport Required is a world premiere featuring high calibre musicians of Sth and SE Asia, Africa, Sth America and Western Europe. Plus Latin beats of Inka Marka and pop from Reece Dillon and the Jelly Babies. Yarraville Gardens, Hyde St, Yarraville. This Sunday 27 November, 2pm – 9pm
SKAMPZ LATE SHOW
Pony’s new Thursday night late show swings back into action with a post-uni exam celebration. That’s right, no more uni until March. Party it up in the wee hours this Thursday – no excuses since you don’t have to go back to school for more than three months. This week they have The Skampz, a five-piece allgirl alt.rock band who’ve been creating a buzz with recent shows about town. Think The Go-Go’s meet The Donnas by a short cut through The Like. They’re very cute and lots of fun, so come down and party with The Skampz this Thursday night form 1am.
PONY METAL MADNESS
FRIDAY – Curated by Mess & Noise BLACK CAB, THE LAURELS, KING GIZZARD & THE LIZARD WIZARD, IOWA A rival publication stole our idea of booking an ABBA tribute band (*ahem*) so we decided to take the logical next option: a psychedelic-themed night headlined by the elusive-but-always-amazing Black Cab, and featuring some of the finest purveyors of Converse-gazing rock’n’roll this country has to offer. There’s The Laurels from Sydney, King Gizzard & The Lizard Wizard from Anglesea and Iowa from Melbourne. Rest assured, Melbourne: there will be no glittery costumes or covers of Waterloo at our gig. Just mess, and a hell of a lot of noise. [The most memorable show I’ve seen at the Tote would] be The Drones at Last Drinks in January 2010. Don’t tell anyone, but we may’ve had a cheeky ciggie during their rendition of God’s My Pal with Joel Silbersher on vocals. It’s quite possibly the greatest thing we’ve ever witnessed on that – or any other – stage. No Tote, no Melbourne rock’n’roll. Pure and simple. Darren Levin SUNDAY – Curated by Dancehall Racketeers DANCEHALL RACKETEERS, CORAL LEE & THE SILVER SCREAM, JESSE & THE HUCKLEBUCKERS, WARREN EARL & THE ATOMIC ROCKERS The Dancehall Racketeers held sway on Friday nights at the Tote back in the early days. We were pioneers of what is now called ‘roots’ music… a term which, I believe, refers to pre-Beatles styles of music – the ‘roots’ of rock. We played western swing, which can be loosely described as a blend of swing and country. We also played blues, Hawaiian, fiddle hoedowns and boogie woogie. This was a
time when ‘pub rock’ ruled and the music scene was dominated by touring rock bands, many who have become household names: Midnight Oil, The Angels, Cold Chisel and many others, so we were really presenting a very different alternative to mainstream, commercial rock music.
Melbourne’s metal scene has a lot to offer and this year Melbourne Music Week bring you a line-up of some of Melbourne’s most brutal bands as a part of Melbourne Music Week event Brutal Melbourne. Featuring The Mung, Malignus, The Ophidian Ascension and The Seaford Monster, it’s gonna be the most brutal event on this year’s Melbourne Music Week calendar, so don’t miss it. Doors from 9pm.
The Dancehall Racketeers came out of an innerurban art/music scene that had its roots in the cultural revolutions of the ‘60s. Our precursors were bands such as Captain Matchbox Whoopee Band, The Pelaco Brothers, The Autodrifters… bands that combined an obsession with ‘old’ American music with a distinctive Melbourne aesthetic. These bands flourished briefly in the vibrant ‘70s Melbourne inner-urban music scene. The Dancehall Racketeers carried this style into the 1980s with a degree of professionalism. The residency at the Tote was pivotal in establishing the band’s musical style and reputation. We used to pack out the Friday nights with a devoted following, many of whom were aspiring younger musicians. We used to bring in our own small PA and put on our own shows with guests. One of the most succesful was jazz-meets-country, which featured the famous Roger Janes band from Sydney. It was a milestone in the sense that the jazz fraternities never mixed with country, definitely something that would never happen these days. In retrospect The Racketeers were ahead of their time and paved the way for roots music styles and an ‘old-world’ aesthetic, including country, blues, rockabilly and swingin’ R&B. The Tote, in those days, was a regular gig for the inner-urban Melbourne alternative music scene. Andrew Baylor
FUNK FOOD FOR THE SOUL: R.E.S.P.E.C.T A tribute to Aretha Franklin and James Brown with the West’s Florelie Escano and The Backlash Brew, Michael GT Blair and The Funkadelic Side. Revolt Melbourne, 12 Elizabeth St, Kensington. Tomorrow Thursday 24 November 7pm–1am. Tickets $20 plus BF/$15 conc plus BF or $22.50/$17.50 on the door www.revoltproductions
ALI MCGREGOR IN JAZZ CIGARETTE Be transported to a smoky 1940’s jazz club with the unique and versatile voice of Ali McGregor backed by three of Australia’s finest jazz musicians. Hear Gershwin, Carmichael, Eurythmics, even Britney Spears! The Substation, 1 Market St, Newport. This Friday 25 November 7.30 pm Tickets $25/$22 www.thesubstation.org.au
The music continues with:
INTO THE RED Kooky evening boasting 3 stages, 14 galleries and a lotta madness with music, digital, visual and theatrical genres. Kindred Studios, 212a Whitehall St Yarraville. This Saturday 26 November 7pm–1am. Tickets $17/$10 pre sale or $25/$17 at the door. www.moshtix.com.au AND
LATE NIGHT GROOVES
Nuclear Summer is the first ten songs written by a band of the same name. With their slightly tongue-in-cheek appropriation of the term ‘sunshine metal’ in hand, Nuclear Summer will launch the album online this November before following it up around the country in December. Catch them at the East Brunswick Club with Coerce, Black Level Embassy and Palisades on Friday 9 December.
Different artists every night at 9.30pm until Sat 26 November. Sip a glass in the funky atmosphere of the Big West Festival Club, at the Dancing Dog Café, 42 Albert St, Footscray. $5 at the door. Go to www.bigwest.com.au for all your Big West Festival gig guide info.
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Taking place this Friday, Mess & Noise’s psychedelic Tote birthday gig will feature Black Cab, who’ve only played a handful of shows this year; Sydney’s The Laurels, whose debut EP Mesozoic is like imbibing a dose of a favourite drug; surfy sevenpiece King Gizzard & The Lizard Wizard, who are making their Meredith bow in December; and Melbourne trio Iowa, whose new single Complete Control is the most ’90s-sounding thing you’ll hear all year. All for only $15, doors from 8pm.
Australian hip hop has come a long way since its early incarnations and YAYM is a prime example of where Australian hip hop is heading. Live bands now underpin the rhythm component of the genre, replacing more traditional devices such as the 808 and MPCs. The band’s sound is fundamental to hip hop: rap vocals and soul choruses with a hip hop rhythm engine. However unique to Australian urban music, they maintain a reminiscent R&B and soul sound, which has labeled them soul-hop by their hip hop peers. Catch them at Bar Open this Saturday from 10pm.
FIELDS OF POP Anna Paddick is an exciting indie-pop artist. Her uplifting choruses and insightful lyrics create music that offers a unique perspective – energising and captivating audiences. You can catch her play as part of a November residency on Saturdays at the Edinburgh Castle from 4pm. It’s free in the front bar.
SONIC TRIPLICATE The Naxalites feature ex-members of Pitching Woo and Guernica. They came together in 2009, playing through South America and India with cheap Uruguayan guitars, writing songs influenced by love, death, crime, corruption and revolution. Gravel Sandwich were picked up by Triple J and
had some label releases on the back of that. Then a shift to Brisbane coincided with a regrouping. Now they’re back with a new album being mixed. Experimental, sonic-sorcerers Wunderlust indulge your mind, bending senses on a trip through semi-conscious stories of seamless sensations. Catch them all at Bar Open this Thursday. Doors 9pm, free entry.
CLOTHES CALL Local designer SOLANGE MARDONES has kitted out a bunch of local musos for this week’s Northcote Independent Fashion Festival, writes NIC TOUPEE.
The Woohoo Revue are a fiendishly talented sextet who create an adrenalin-fuelled celebration fit for dancing, drinking and ignoring tomorrow! They have been described as Balkan gypsy brass band, roaring ‘20s swing ensemble, Wild West fiddle contest or a soundtrack for a Looney Tunes cartoon. There are few, if any parallels to the sound of The Woohoo Revue. The band play the Substation as part of the Big West Festival this Saturday. Tickets from thesubstation.org.au.
In the history of pop music, there have been certain artists who have made an impact on the world of fashion in a way that is part of popular consciousness: artists whose personal aesthetic has filtered from the stage to the catwalk and into the visual expression of their fans. Artists such as The Beatles, David Bowie, Grace Jones and even Lady Gaga exist not only as musicians but as visual icons, and aspects of their style are as memorable – sometimes moreso – than even the best of their songs. Melbourne stylist Solange Mardones has been taking on the challenge of reverse engineering the stage to catwalk process for the last three years, marrying musicians – even already stylish ones – with fashion designers to create a very musical fashion parade which also happens to be a very fashionable music gig. For this year’s NIFFTY event (as part of the Northcote Independent Fashion Festival) she has worked with 11 Melbourne artists, including Gossling, Jen Cloher, Angie Hart and Andrew Cox of long-standing indie band The Fauves – and the bespoke fashion houses of Northcote to create visual matches made in heaven’s own catwalk. Mardones believes it’s a harmonious match born of rock’s rich fashion heritage. However, her nods don’t go to Gaga or Grace Jones, nor Beyoncé or Madonna, but straight back to the ‘60s. “I think music and fashion really feed out of each other more than other arts: fashion has been really heavily influenced by music and there are definitely musicians who have influenced the way we dress. The most obvious examples, to me, are The Beatles, Bob Dylan and The Rolling Stones. They were iconic musicians who used fashion to let fans know when they did something different, when their sound changed. If they were releasing something really different, they used fashion to tell their audience that story.” While her day job is the difficult task of flying around the world, marvelling at stunning people modelling haute couture, her aims for the catwalk of the Northcote Independent Fashion Festival are rather different: no meat dresses or rare-bird headdresses here. Mardones is instead focusing on showcasing great music and street style – something she thinks Melbourne does very well indeed. “I think one of the main drawcards of this parade is its accessibility: people can participate at this show, move around and also see people wearing clothes as they themselves could wear them. I work in high fashion, and go to a lot of high-fashion events, and a lot of the time, when you go to these things you don’t come away elated. I’ve seen a lot of beautiful clothes on beautiful people, but they are very serious events and you often come away feeling fat and depressed, not energised and excited,” she says dolefully. “I try to create a show which is fun and puts fashion back in hands of the individual.” Although she spends her life thinking about styling others, Mardones has nothing but praise for Melbourne’s fashionable set, and believes the difference between a great look and a tragic one is all about restraint and confidence. “Melbourne’s street fashion is amazing, and more and more designers are taking cues from what we see every day. Don’t get me wrong, I love designer labels but I do think along the way different ways of wearing clothes can get lost. The focus on street fashion is putting a spotlight on the fact that what is important is how you want to dress and what you feel great in. If someone feels confident in clothing they will wear it well, because of the attitude that goes with it.” WHAT: NIFFTY WHEN & WHERE: Friday, Northcote Social Club
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THEMUSIC.COM.AU INPRESS • 61
TRAVELLIN’ MAN FRENCH CANADIAN-BORN AMERICANA SINGER/SONGWRITER RAY BONNEVILLE LIVED A WHOLE LOT OF LIFE BEFORE HE GOT AROUND TO BECOMING SONGWRITER, HE TELLS MICHAEL SMITH.
of the American heartland, particularly the parts adjacent to the Mississippi. In fact, he won Song Of The Year at the 2009 International Folk Alliance for his song I Am The Big Easy, Written, of course, about that very Mississippian city, New Orleans, the song pays tribute to the resilience of the city, having overcome the ravages of Hurricane Katrina. “I love down there in the Delta. I lived in New Orleans for about six and a half years and I travelled extensively throughout Mississippi and Alabama, Florida and all those neighbouring states – so Indiana, Louisiana and Texas – and really immersed myself in that stuff. I just got off the road – I’ve just been up and down for two months, like, I got back last week. I think the road is my life because I’m always out there, you know.” Along the way he’s picked up some pretty impressive fans, among them singer/songwriters Mary Gauthier and Eliza Gilkyson: He’s played session man for both aforementioned artists as well as Chris Smither.
“You know, it’s funny,” singer/songwriter Ray Bonneville explains. He’s on the line from his home in Austin, Texas and is about to head to Australia for the first visit to showcase, among other things, his latest album Bad Man’s Blood. “I had been playing for over 20 years before I started writing. I started playing actually in high school – I had a band in high school. And then I went off in the military [he’s a Vietnam vet] and came back and began playing professionally after havin’ a few day jobs, and I started movin’ around and choosing different cities [in which] to live and work in the area and then I’d move on to the next one. “Then when I was in my late 20s, I guess, I fell in love with flying aeroplanes and I got a bunch of different
62 • INPRESS
licences to fly and I was a bush pilot in Quebec, went up to Quebec in 1989, and I had a couple of very close calls. So I came back to Montreal, got an apartment and started writing. I knew I loved it and I knew I was gonna be doin’ that, but I wouldn’t say it came quickly. I worked pretty hard at it and pretty much all I did was write and go out and play the songs and when I had enough I’d make a record.”
“Those are favourite people you’ve just mentioned there,” Bonneville admits, very much an Americana storyteller himself. “You know, I like playing kind of a raw, bluesy guitar and putting Americana licks and Americana songwriting words on those kind of grooves – I like the combination of the two there. “[With Bad Man’s Blood] these stories are about people that I’ve pooled in the shadows for many years, sort of outcasts really. A lot of the characters in my songs are outcasts; they’re shifty, shady kinda people. Bad Man’s Blood, when I started writing that story I didn’t really know what I was gonna write about, I just started working with the song and those characters kinda filled out. I never know what an album is gonna sound like. Actually when I make a record I have a lot of self-doubt, but I do the best I can and hope that it works out [laughs].”
Moving to the States with his parents when he was 12, Bonneville has essentially been travelling ever since. Though he might stay put in a place for a few years – he spent 12 years back in Canada when he went up there to fly. All that travelling has given him a truly authentic feel for and understanding
WHO: Ray Bonneville WHAT: Bad Man’s Blood (Red House) WHEN & WHERE: Tuesday 22 November, Northcote Social Club
Star Assassin are heading out on the road with a run of five reduced-capacity acoustic shows this November. This is a first for Star Assassin taking to the road with just acoustic guitars in tow. Joining the guys on the Melbourne bills are Middleton Road who are no stranger to the band’s fans, almost becoming a staple on the guys tour schedule. Check out Star Assassin when they play at Spensers Live this Friday and Saturday.
When the Latinos can’t stop dancing, the hot mamasitas can’t stop shaking their hips, the cumbia roars and Bar Open doesn’t want to let anybody down – the result is an awesome Fiesta. The line-up this Sunday features: DJ Ms Butt, Nahuatl Sound System (12-piece cumbia dub band) and Sonidero Esperanza (those crazy moustached Mexicans). Expect a steamy dancefloor. Doors 8.30pm, free.
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PuBLic houSe Live Music = LM DJ = DJ Cocktails = C EFTPOS = E Food = F
433 church Street, richmonD 9421 0187 PuBLichouSe.com.au faceBook: PuBLic houSe f, c, e, r Describe your venue in 15 words or less… nathan peck, venue manager: “Casual, corporate, cocktail or seated… Public House will serve up.”
Why is your beer garden the best spot for summer socialising? “Away from the hustle and bustle of Church street, nestled on the rooftop with its own outdoor bar, it provides the perfect setting to share some tapas with friends or have a beer in the sun.”
Your beer garden is the setting for music video – who’s the band and what’s the vibe? “The vibe is relaxed with turntables on the terrace, creating atmosphere for the best DJs to mix the beats – Ministry Of sound’s Chill Out sessions!”
What are some upcoming highlights at your venue? “new Year’s eve is fast approaching – La revolucion Cubana is the theme. Mojitos, Cuba Libres, Cuban food and beats will launch 2012! Next year will bring an Australia Day BBQ so keep an eye out for upcoming info.”
What’s your favourite summer drink? “i’m not afraid to admit that i drink cider – can’t go past a Monteith’s when the sun’s out.”
Do you serve food? If so, what’s your signature dish? “A variety of food is on offer: share plates, tapas, flatbreads and mains for something more substantial. Tuesday night steaks are not to be missed…”
Dress code? “it’s summer so shorts and thongs are okay but if you want to keep up with the Public House crowd stay sharp.”
What kinda music will we hear at your venue? “Chilled out background beats during the week with Friday and Saturdays picking up the pace to get your weekend on!”
Nearest public transport stop? “east richmond station is within 50 metres with tram stops 56/57 on either side.”
Hours of operation: Mon–Thu and Sun 12pm–11pm Fri–Sat 12pm–2am
Beer Garden = BG Rooftop = R
129 Lygon Street, eaSt BrunSwick 9387 0188 atticuSfinch.com.au faceBook: atticuS finch-Bar twitter.com/ atticuSfinchBar f, DJ, c, e, Bg
250 high Street, northcote 9482 1333 weSLeyanne.com.au faceBook: the weSLey anne f, Lm, c, e, Bg Describe your venue in 15 words or less… emma Collingwood, manager: “Wesley Anne has made its home in a 150-year-old church and boasts live original music, delicious food and drinks.” Why is your beer garden the best spot for summer socialising? “it is very pretty and large and leafy with plenty of shade for the really hot days. it has lots of nooks and crannies for privacy, and undercover areas for those crazy wet Melbourne summer days. it has large tables for big groups, small tables for small groups couches. There’s a bar in the beer garden which we fire up for busy nights too. What’s your favourite summer drink? “A perfectly chilled glass of Mahi sauvignon blanc.” What kinda music will we hear at your venue? “The live music tends to be more angled towards indie kinda folk, gypsy, jazz. Pretty mellow stuff. The house music ranges anywhere between Grizzly Bear, Portishead, Talking Heads, Fela Kuti, Stevie Wonder… Basically anything that is amazing.” Your beer garden is the setting for a music video
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– who’s the band and what’s the vibe? “it is very had to choose as we have an eclectic mix of bands that come through here but for summer it would have to be Los impenetrables as the band and the vibe is a Mexican Calypso country festival.” Do you serve food? If so, what’s your signature dish? “We sure do serve food. The head chef Joe is committed to keeping our menu fresh so we don’t really have a signature dish but the most popular are probably the pork belly, the mini ‘roo burgers, calamari salad and our pies.”
Describe your venue in 15 words or less… Marty McQuilten, owner/manager: “For lovers and devourers of only the finest cocktails, craft beer, boutique wine and music.” Why is your beer garden the best spot for summer socialising? “The most delicious drinks imaginable.” What’s your favourite summer drink? “Rose Sangria is an absolute delight, with rose, cranberry, elderflower liqueur, strawberries, lime and mint. Nine dollars a glass, $30 a jug.” What kinda music will we hear at your venue? “As broad as our drinks, from jump blues, soul, Afrobeat and global rrooves to hip hop, breakbeat, UK garage and rock.”
Nearest public transport stop? “Stop 31 (outside the Northcote Town Hall) on the 86 tram. And we are also a short walk from Northcote Station.” What are some upcoming highlights at your venue? “Burlesque on Sunday 27 November. Open mic night every Tuesday night – we encourage any kind of performance. We have music every night except for Monday. We also have two-for-one meals every Monday, and we have them Tuesday to Friday before 6pm. We have $12 jugs of Gypsy pear Cider and Boag’s Draught before 6pm every day!” Dress code? “Clothes is a good choice. Other than that, everyone’s own personal style is respected.” Hours of operation: Mon–Thu 4pm–late Fri 2pm–late Sat 12pm–late Sun 12pm–11pm
Your beer garden is the setting for a music video – who’s the band and what’s the vibe? “NZ’s Ladi6: smooth and chilled out with a little glam.” Do you serve food? If so, what’s your signature dish? “The sizzling meat plate of sopressa, chorizo and csabai for a tenner.” Nearest public transport stop? “The number 1 or 8 trams, first stop after Brunswick Road.” What are some upcoming highlights at your venue? “Beer Vs Pig, craft beer and charcuterie tasting on Thursday 8 December; DJ mash-up extravaganza – all our monthly resident DJs and a few friends playing over the weekend Friday16 to Sunday 18 December.” Dress code? “None.” Hours of operation: Mon: closed Tue–Thu 5pm–11pm Fri 5pm–1am Sat 3pm–1am Sun 3pm–10pm
57 swan street, richMond 9427 7300 cornerhoteL.coM Facebook: the corner hoteL twitter.coM/ thecornerhoteL F, LM, dJ, e, r Describe your venue in 15 words or less… Jack Martin, venue manager: “A Melbourne music icon, with a beer garden for all.” Why is your beer garden the best spot for
THE ORDER OF MELBOURNE
LeveLs 2 and 3, 401 swanston street, MeLbourne 9663 6707 theorder.coM.au Facebook: order.rooFtop F, dJ, LM, c, e Describe your venue in 15 words or less… Greg Dickinson, co-owner: “Two separate bars in one venue with a sophisticated retro vibe.” Why is your rooftop the best spot for summer socialising? “It has plenty of greenery, is well secluded and yet has great city views down Swanston Street.” What’s your favourite summer drink? “You can’t go past the summer classics: a Mai Tai, Gin Sling or Long Island Ice Tea. Jugs of sangria are hugely popular.” What kinda music will we hear at your venue? “There’s a definite slant towards indie rock and dance, retro soul and funk and beats and breaks. We have a great stage for live bands.”
summer socialising? “It’s at the Corner – come down before you see a band, or just hang out on an afternoon or evening, eat, drink and watch the trains go by.”
tram down Swan Street.”
What’s your favourite summer drink? “Tequila and lemon squash with fresh lime, or a cold Coopers pale…”
What are some upcoming highlights at your venue? “The ‘Gurge on NYE, Dan & Al reunion show, Best Coast, Future Of The Left, Dum Dum Girls… hell, just check out the website, why don’t you? They’re all good.”
What kinda music will we hear at your venue? “You name it, we will probably have it.”
Dress code? “Casual, with shoes.”
Do you serve food? If so, what’s your signature dish? “Yes, we do: the new summer menu has just started. Either the parma or the steak sandwich.”
Hours of operation: Rooftop: Tue–Wed 4pm–late Thu–Sun 12pm–late
Nearest public transport stop? “Richmond Staion, or the No 70
Front bar: Tue–Thu 5pm–late Fri–Sat 5pm–3am Sun 5pm–1am
“Wishful thinking, but did James Brown ever do a cover of The Stranglers’ Golden Brown?” Do you serve food? If so, what’s your signature dish? “We have a tapas-style menu – our specialities include toasted chicken sandwiches with Tabasco, pizza squares, dips and cheese platters.” Nearest public transport stop? “There’s a tram stop right out the front on the corner of Swanston and LaTrobe streets; Melbourne Central train station is just around the corner and there are plenty of cabs on the street.” What are some upcoming highlights at your venue? “Saturdays: The Dojo, 100% party rockin’ beats and breaks from the Foot Clan and Wax Museum; Fridays: Uptown Groove, with resident DJs Agent 86, Ms Butt, Eddie Mac, Kano, J’Nett and more; Tuesday 22 November: Funk Buddies – eightpiece funked-up jazz with a New Orleans attitude; Thursday 24 November – Dyan Tai, Xanthopan, Brecik, The Greenmatics and Disco Computer.” Dress code? “Casual on the rooftop in the afternoon and a bit dressier at night – some like to really frock-up.” Hours of operation: Tue–Fri 4pm–1am Saturday 4pm–3am Sun/Mon depending on events
Your beer garden is the setting for a music video – who’s the band and what’s the vibe?
inpress • 65
THE PENNY BLACK
420 Sydney Road, Brunswick 9380 8667 thepennyblack.com.au Facebook: The Penny Black twitter.com/thepennyblack F, LM, DJ, C, E, BG
27 St David Street, Fitzroy 9419 4193 therainbow.com.au Facebook: Rainbow Fitzroy F, L, E, BG Describe your venue in 15 words or less… Adam King, owner: “A backstreet gem with rocking music, delicious food, massive beer garden, awesome staff and unique function room.”
Backwood Creatures dropping a smooth beat. The vibe is one of total pleasure.” Do you serve food? If so, what’s your signature dish? We have an ever-changing tasty menu. The eye fillet steak for $26 is hard to beat and finished with Chef Dan’s desserts is the way to go.” Nearest public transport stop? “Take the 112 tram from St Kilda or Preston and get off at stop 15 Brunswick Street, or take the 86 tram from the city or Bundoora and get off at stop 18 on Smith Street.”
Why is your beer garden the best spot for summer socialising? “Come check it out, we have it all! Our new sunny deck, our comfy shady booths, pool table, tunes, atmosphere, people, food… and… world peace. Do it with mates or alone. It’ll still be great.”
What are some upcoming highlights at your venue? “So many to mention… The OMG’s are playing their last show ever this Friday; on Saturday 26 November it’s Spoonful and Publican Band; Sunday 27 November Rory Ellis; and Saturday17 December Geoff Achison & The Soul Diggers. Check out the website for loads more.”
What’s your favourite summer drink? “Hargreaves Hill ESB or the sweet Gypsy Cider with heaps of ice.”
Dress code? “Orange jumpsuits tend to be frowned upon. Keep it neat is all we ask.”
What kinda music will we hear at your venue? “It ranges from blues, rock, country, roots, soul, etcetera.”
Hours of operation: Mon–Thu 3pm–late Fri–Sat 12pm–1am Sun 12pm –11pm Kitchen open 7 days
Your beer garden is the setting for a music video – who’s the band and what’s the vibe? “Chris Wilson and Ian Collard in the ultimate harp-off would be awesome, with
66 • inpress
“Inside: country, blues, folk, rock’n’roll, alternative. Outside: reggae, soul, funk, weekend cheese. Anything except commercial and dance music.” Your beer garden is the setting for music video – who’s the band and what’s the vibe? “Bob Marley & The Wailers – chilled.” Do you serve food? If so, what’s your signature dish? “Great specials five nights a week. Our burgers have a great reputation.”
Describe your venue in 15 words or less…
Nearest public transport stop? “Tram 19 from Elizabeth Street, city (stop 22); Brunswick train station (five minutess walk) – Upfield line.”
Scott Assender, venue manager and owner: “Live music, great food and probably the best beer garden in Melbourne.”
What are some upcoming highlights at your venue? “Live music every weekend. Donavon Frankenreiter in February.”
Why is your beer garden the best spot for summer socialising? “Heaps of seating, plenty of cover when it rains, licensed for over 500!”
Dress code? “Relaxed.”
What’s your favourite summer drink? “Sydney Rd cosmo.” What kinda music will we hear at your venue?
Hours of operation: Summer: Mon–Thur 3pm– about 12pm-ish Fri–Sat 12pm–1am Sun 12pm–11pm
HOWZAT Local music news by JEFF JENKINS
BLACK SMITH HOPKINS
It’s not easy being a blues artist in Australia. “This business is bullshit, we all know that,” Black Smith Hopkins sings on his new album, The Vagabond, “I don’t know where I’m headed or where I’m gonna finish up.” Later, he sings about “living hand-tomouth”. Nicholas Hopkins-Smith might not be prosperous but he is prolific – The Vagabond is his 12th album in 14 years. “I enjoy creating music,” Nick tells Howzat! “It’s an artistic outlet for me, even if it’s not financially rewarding.” Unfortunately, you can’t eat good reviews. US magazine Blues Revue described Nick as “the love child Iggy Pop and James Brown never had”. Another critic hailed him as “the AC/DC of the blues”, while The Encyclopedia Of Australian Rock & Pop called his self-titled debut “one of the most exciting and dynamic blues albums ever issued in Australia”. The Vagabond was inspired by a comic created
by two of Nick’s brothers and their buddy. “It’s a story about a down-and-outer who is a vigilante,” Nick explains. “He’s a bit like the Marvel character The Punisher.” The album is snarling, vibrant and authentic. Many people are surprised that Nick is not black. “I take that as a big compliment,” he smiles, even though he grew up on AC/DC, Billy Thorpe and Chain, and splits his time between Melbourne and country NSW. Nick launches The Vagabond at Cherry Blues on Sunday afternoon. He’s also appearing live on Max Crawdaddy’s Son Of Crawdaddy show on RRR on Thursday at 10pm, doing a couple of songs with guitarist Paulie Bignell. Then Saturday at 7pm, he and guitarist Les Stacpool will perform live on Werner Martin’s Hot Damn Tamale show on 3CR.
THE WIZARD OF OZ
Commercial radio doesn’t play much Australian music, so thank god for community stations. “It’s so difficult for musicians to compete with the international scene,” rock legend Ross Wilson told the Melton Weekly last week. “If it weren’t for community radio, so many great acts would never be discovered.” Ross is a regular on one of Howzat!’s favourite shows, Lee-Roy Stancliffe’s Living In The Land Of Oz on Melton’s 979FM, and he’s agreed to do a benefit gig to raise money for the station’s forced relocation. Ross calls Lee-Roy “one of the best rock journalists I’ve met”, so, in the spirit of High Fidelity, Howzat! called on Lee-Roy to contribute to this week’s column. Lee-Roy’s top five 2011 albums: Abbe May’s Design Desire, Fatty Gets A Stylist’s self-titled set, Go-Go Sapien’s This Body Is Wrong For Us, The Grates’ Secret Rituals and Ron S Peno & The
Superstitions’ Future Universe. Top five 2011 gigs: Blue King Brown and Ash Grunwald featuring Vika & Linda at the Forum, The Brown Hornet and Manchoir at the Evelyn, Clare Bowditch and Lanie Lane at Karova Lounge, Skipping Girl Vinegar at Fairfax Studio, and They Will Have Their Way: The Songs Of Neil & Tim Finn at the Palais. And Lee-Roy’s top five 2011 band and album names: Dancing With A Dead Man (Calling All Cars), The Fearless Vampire Killers, Keep Calm Carry The Monkey (Skipping Girl Vinegar), King Gizzard & The Lizard Wizard, and Rumble, Shake & Tumble (Wagons). The 979FM gig is happening at the Corner next Wednesday 23 November, with Ross Wilson & The Peaceniks, Dave Graney, Angie Hart and Georgia Fields.
BEHIND THE CELADORE
Howzat! was a big fan of Motor Ace. Celadore also loved ’em. When we asked which three Aussie bands they’d love to play with, they replied: “Crowded House, a re-formed Motor Ace and Something For Kate.” What’s their favourite Motor Ace album? “Can’t go past Five Star Laundry,” says drummer Dave Noordhoff. “It’s the complete ‘no frills’ pop/ rock album. Such an honest portrayal of a great band – every song is filled with melody and the hooks are undeniable.” Motor Ace took their name from a Soundgarden song; Celadore comes from a classic movie. “It was suggested by a teacher at Coops’ and Tom’s high school,” Dave explains, “and it stuck. We later realised it was a reference to the movie Donnie Darko, which none of us had seen at the time.” The title of Celadore’s second EP, The Bright & Blue (out now on Popboomerang Records), comes from the disc’s opening track, Bakery. “It seemed most fitting as Bakery is partly about our lives as musicians, wondering if this is how it will be, the best days we’ll know, and knowing that if it is, then that’s all right.” Celadore launch the EP at Revolver on Saturday 26 November.
Jessica Mauboy & Stan Walker leap from 28 to 13. Somebody That I Used To Know GOTYE (number 11) Galaxy JESSICA MAUBOY & STAN WALKER (13) Raining Diamonds RICKI-LEE (23) Get It HAVANA BROWN (38) The Getaway Plan bounce back, with their second album landing at 17. All For You COLD CHISEL (number seven) Making Mirrors GOTYE (13) Fingerprints & Footprints POWDERFINGER (15, debut) Requiem THE GETAWAY PLAN (17, debut) Footprints – The Best Of POWDERFINGER (23, debut) Rewiggled VARIOUS (25, debut) They Will Have Their Way VARIOUS (26) Vows KIMBRA (28) The Very Best Of CROWDED HOUSE (32) Falling & Flying 360 (33) The Acoustic Chapel Sessions JOHN FARNHAM (34) Ultimate Hits LEE KERNAGHAN (36)
Drugs & Booze BLACK SMITH HOPKINS Bakery CELADORE A Death In The Family JUAN ALBAN Don’t Say When THE FAUVES Lo-Fi SOPHIE KOH
INPRESS • 67
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