MAYER HAWTHORNE GENESIS P-ORRIDGE
I, A MAN SLAM DAY BARO BANDA PUTA MADRE BROTHERS
N O W AVA I L A B L E O N I PA D • W E D N E S DAY 2 2 F E B R U A RY 2 012 ~ I S S U E 1212 ~ F R E E
Strong sexual references, drug use and coarse language
IN CINEMAS MARCH 1
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PRESENTED BY CATTLEYARD PROMOTIONS AND SUPPORTED BY TRIPLE J & CHANNEL [V]
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TICKETS $99.90 + BF
TICKETS HAVE SOLD OUT ONLINE. LIMITED NUMBER AVAILABLE FROM SELECTED LOCAL OUTLETS ONLY INCLUDING BENDIGO ADVERTISER OFFICE: 47-51 QUEEN STREET, BENDIGO VIC 3552
TRIPLE J UNEARTHED & LOCAL ACTS
GATES OPEN AT 10.30AM
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TIM GUY BAND, CHLOE & SILAS, AND FREYA HANLY 8pm $10 THURSDAY 23RD
ELK & WHALE 6pm MARISSA SAROCA + JASON LOWE 8:30pm $5 FRIDAY 24TH
RONIT GRANOT 6pm NICK LOVELL + SAL KIMBER 8pm $10 SATURDAY 25TH
CHORO 5:30pm TANIA DOKO + STEEL BIRDS + JANINE MAUNDER 7:30pm $22
Open...MON - THU...from 4pm ‘til late FRI...from 2pm ‘til late SAT - SUN...from 12pm ‘til late
Live Music Bookings email@example.com www.wesleyanne.com.au
NEW SUMMER MENU
FRUIT JAR BURLESQUE AT THE WESLEY ANNE
Summer Special Open for Lunch from Midday $12 Jugs of Cider till 6pm. bookings: 9482 1333
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W E D N E S D AY 2 2 F E B R U A R Y 2 0 1 2
Wed. 22 & Thu. 23 7:30pm The Electric Theatre Company presents ‘Twins'
I, A MAN
Thu 23. 5:45pm Humanitarian Crisis Hub Web Launch 9pm MOOD DJ's NuBody & guests Sat 25. 10pm Unstable Sounds VORAX [Brazil] ANRI [JAPAN], AZRIN, mBUG, CHRIS PANA, JEWELZ, HENK.D & NINJA. Mon 27. 6pm The Vault a salon for creatively inclined folk Tues 28. 7:30pm Loopdeloop Animation Challenge Wed 29. 7pm a name is a label WHITE: launch DJ's, visuals, installations, styling
INPRESS 14 The Front Line brings you the hottest industry news 14 This week’s best and worst in Backlash/Frontlash 16 Foreword Line brings you all the latest tour announcements 20 Nail down your bathrobes, here come Die Antwoord 23 Get off your couch and get to a venue on SLAM Day 24 Mayer Hawthorne – the only cat in town with heart-shaped vinyl 26 Genesis P-Orridge and the ultimate tribute of love 28 Out of the lo-fi and into the Neon Indian 31 Enter Shikari say what they think 32 Baro Banda have more than just gypsy appeal 32 He hates flying, but ex-Byrds bassist Chris Hillman still loves to play music 32 The Cuban Brothers are bringing cultures together 32 No commitments for a re-formed Custard 34 New methods with I, A Man 34 Puta Madre Brothers have been working on their Spanish 36 On The Record rates new releases from Dirty Three and Napalm Death 38 Just Music celebrates the work of Jesuit Social Services 38 Too many potential singles to choose from for Steve Lane & The Autocrats
FRONT ROW 40 This Week In Arts plans your week ahead 40 Choreographer Tasia prepares for Star Wars Burlesque: The Empire Strips Back 41 Australian Ballet’s Jake Mangakahia discusses their triple-bill, Infinity 41 Director Andrew Prowse talks about the highly fertile man in his new play
Two mighty instalments: first, THE WIDOWBIRDS, acoustic, blues and soul from these talented Sydney lads; then, highly charged rhythm & blues rock from the almighty SPOONFUL. One not to miss. 9pm
The T-Bones Storytellin’ alt-country band with tales of life in the city and bush: cars, guns and broken hearts. 5pm
THE UNION HOTEL
BRUNSWICK 109 UNION ST, BRUNSWICK UHBBOOKINGS@YAHOO.COM.AU
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BACK TO INPRESS 45 Gig Of The Week Owl Eyes & Friends at the Spiegeltent 45 LIVE:Reviews checks Cass McCombs 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 The view from EC4 with London Fields 55 Pop culture therapy with The Breakdown 55 Hip hop news with Intelligible Flow 55 The freshest in urban news with OG Flavas 55 Bass culture with Bare Bass 57 If you haven’t appeared in Fred Negro’s Pub, your mother probably still speaks to you 57 Jeff Jenkins gets down and local in Howzat! 58 Fill your dance card with our Club Guide 60 Our Gig Guide fills your diary for the weekend 65 Find your new band and just about everything else in our classy Classifieds 67 Our Australian Musician special kicks off with a feature on mix-master Craig Abbott 68 Next time you’re out, spare a thought for the sound people 70 Zakk Wilde’s Black Label Society redefine fan allegiance 72 Heaps of sweet new gear reviews 73 Australian Musician takes a look at the NAMM Show 73 More gear and studio news and reviews in BTL
For your chance to score tickets to acclaimed new drama Like Crazy and superb new cookbook Stoked (perfect for those who like cooking over fire), head to the Inpress Facebook page.
Saturday 25 February
Sunday 26 February
41 Cultural Cringe looks at the National Play Festival 41 Film Carew weighs in on Tyrannosaur and other titles 42 MKA artistic director Tobias Manderson-Galvin speaks double 42 Chris Mead gets ready for the National Play Festival
Spoonful & The Widowbirds (SYD)
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INPRESS • 13
Husky have been announced as the first Australian band to be signed directly to Sub Pop. The iconic Seattle label nurtured grunge acts like Soundgarden and Nirvana before finding its niche with indie acts like Fleet Foxes and Beach House in more recent years. Husky’s signing comes off the strength of their debut album Forever So. The news was announced
INDUSTRY NEWS WITH SCOTT FITZSIMONS email@example.com
was mistakenly mispriced on the UK iTunes store on Sunday. When discovered, the mistake was immediately corrected. We apologise for any offense caused.” They stressed that the mistake only affected the UK iTunes store and denied that they review prices upon artist death, but instead periodically depending on supply and demand.
on Sub Pop’s website, with label President Jonathan Poneman saying, “Sub Pop is enamoured with the Melbourne quartet, Husky. The band’s strength rests in its infectious, evocative songs and stirring live performances.” Husky will be touring Germany before visiting SXSW and Canadian Music Week, before returning home in April for a tour. Melbourne’s Damn Terran have recently signed an exclusive deal with booking agency Premier Artists.
NATIONAL SLAM DAY: ‘WE’RE MAKING HISTORY’
LOCHLAN WATT TAKES THE RACKET POST
Brisbane based 24-year-old Lochlan Watt has been named as the new presented for triple j’s metal show The Racket. The Street Press Australia contributor – who writes a weekly column in Brisbane’s Time Off, will take up the role after Andrew Haug departed last year. As well as his journalistic interests in the genre, Watt is/has been a musician with Western Decay, The Surrogate, Ironhide and Nuclear Summer, has promoted shows and started his own label Monolith. His first show will air Tuesday 28 February.
AMP JUDGES PROTEST THE AWARD’S SHORTLIST
Judges of the Australian Music Prize (The Amp) have criticised the make-up of the shortlist – which the eventual winner of PPCA’s $30,000 will come from. Announced earlier this month, Boy & Bear’s Dave Hosking, who are shortlisted, admitted that the list was aimed towards triple-j listeners. Those thoughts have been echoed by the judges themselves. News Limited journalist and AMP judge Mikey Cahill called the shortlist “safe”. In his Rock City column he wrote, “It’s very, um, triple j friendly read: a safe collection of albums. This year’s judging process cast a wider net but ended up with a collection of records that failed to really push the envelope.” He added, “The judging process needs an overhaul and the whole thing needs a shake-up. Evidently, there needs to be more focus on braver, bolder records like the first ever winner of The Amp: The Drones’ Wait Long By The River and The Bodies Of Your Enemies Will Float By.” Fairfax’s Bernard Zuel called the list “geographically and musically diverse” but warned that hip hop acts may boycott the award in the future if they’re are continually overlooked as, he said, they were this year. “We may see some Australian hip hop artists ask publicly and loudly whether they should bother nominating for the AMP. In fact, one Melbourne label refused for several years to submit its artists, possibly suspecting it was a waste of time in a local music industry dominated by pop and rock at executive and media level. This even as the public seem very keen to buy hip hop and fill venues putting on hip hop. In any case, widely praised albums from last year such as Phrase’s Babylon, Drapht’s The Life Of Reilly, Future Shade by The Herd and Falling And Flying by 360 continued a long trend of low or in this case no representation in the short list.” Street Press Australia’s (publishers of this magazine) Group Managing Editor Andrew Mast has removed himself from the final stage of the final judging process. “I have informed AMP that I won’t be participating in the final vote,” he told Your Daily SPA. “Look, I don’t think this year’s shortlist is a true indication of the quality and variety of great Australian music that was released in 2011. I believe the change in the voting system this year meant that some of the smaller releases that fell outside of the mainstream were overlooked. I have championed the AMP since its instigation, and will keep supporting them in the future, but each year it seems to get harder and harder for non-pop and mainstream rock artists to be shortlisted. There are acts like Fred Smith, Melodie Nelson, Joelstics and Oscar + Martin who would have made the shortlist in the past but now seem to slip
between the cracks.” He directly attributed the make-up of this year’s shortlist to the change in judging process. Not all judges are opposing the nine shortlisted artists, with high profile judges recently telling theMusic.com. au why they believe each album to be there. The Preset’s Julian Hamilton said of Gurrumul’s Rrakala album, “Such moving and personal stories, set to achingly beautiful, yet effortless sounding music. As well as being an absolute joy to listen to, Rrakala also provided me a wonderful insight into a rich culture I know not enough about. Easily my Australian album of the year.” Powderfinger’s Ian Haug said Boy & Bear’s Moonfire had, “Damn good songs with damn good production. There is a variety within the songs and feels and sounds within this record that most records lack, yet it remains coherent.”
SHERBET CO-FOUNDER LOSES CANCER BATTLE
RICE IS NICE INK INERTIA DEAL
Sydney based independent label Rice Is Nice have announced a distribution deal with Inertia for 2012. The new deal will see Inertia handle the label’s releases in Australia and New Zealand. In a release the label said, “We are thrilled to announce Rice Is Nice has joined forces with Inertia. Inertia will provide distribution for Rice Is Nice releases in Australia and New Zealand. We are very proud to have the support of the Inertia team for 2012 and beyond.” Rice Is Nice is (or has been) the home to artists like Seekae, Richard In Your Mind, Donny Benét, Seja, Straight Arrows and Talons, amongst others. Rice Is Nice is currently distributed internationally through Red Eye in the USA and State 51 in the UK.
NEW MUSIC BOARD MEMBERS
Clive Shakespeare, co-founder and guitarist with iconic ’70s band Sherbet, has died from cancer aged 62. The news was confirmed last week by friends close to the family, who had been visiting Shakespeare in the hospital. He died Wednesday 15 February night after his long battle with prostate cancer, which he’d been fighting for several years. It had been in remission recently. Shakespeare co-founded Sherbet in the late ’60s and the band enjoyed success in the ’70s, with a string of chart-topping singles including cricket anthem Howzat and Summer Love, which Shakespeare co-wrote. After performing on the band’s first four albums, he left in 1975 and was replaced by Harvey James. James also lost a battle with cancer January last year.
ANNANDALE’S RENOVATIONS TO GO AHEAD
With the Annandale Hotel taking itself off the market, owner Dan Rule has told us renovations will begin within months. The staple Sydney venue had put itself on the market last year and looked certain to sell after funding for planned renovations appeared to not be forthcoming. Despite the likes of Justin Hemmes looking at the venue, it remained unsold. Last week owner Dan Rule told The Music Network that they’d be taking down the ‘for sale’ sign that currently sits on top of the venue. Not only a symbolic action, the venue is now off the market. He also told Your Daily SPA that the planned renovations would be taking place this year. Rule said that a strong response to their Buy A Brick campaign and the sale of their pokie machines are helping to fund the revitalisation, which “will start in six months,” he said, adding that “we hope to be doing the toilets and kitchens in two months”.
SONY APOLOGISE FOR WHITNEY PRICE-HIKE
The inaugural music awareness National SLAM Day has attracted over 100 venues, organisers claimed today. The event was officially launched last December after the success of the initial SLAM Day Rally in Melbourne, prompted after liquor licensing laws threatened the future of live venues. After asking for expressions of interest, today organisers have announced that over 100 venues had signed up for the day – Thursday 23 February. SLAM Day organizer Helen Marcou said, “We are so excited to see over 100 venues already signed up, from Tennant Creek to Hobart, Gosford to Melbourne, Fremantle to Adelaide, artists and venues are coming together to celebrate local live music, with more being registered each day. Giving thousands of music lovers the opportunity to get out and support their local live music scene.”
Deborah Conway and Gabriella Smart have been appointed to the Australia Council’s Music Board by Minister Simon Crean. The Australia Council is the Federal Government’s funding and advisory body for the arts sector.
MC5 BASSIST DIES
Bassist for iconic Detroit proto-punks MC5, Michael Davis has died of liver failure at age 68. After an illustrious career with MC5 and off-shoots, Davis survived an motorcycle accident in 2005 and launched The Music Is Revolution Foundation with his wife. It raises awareness of cultural advantages of music in American schools.
Owen McKern has been appointed program manager at community radio station PBS. He said, “We are truly blessed to have a radio station like PBS. This radio station has long been a champion for music rarely heard elsewhere and I very much look forward to working with PBS’ volunteers and staff to build on the station’s phenomenal connection with our myriad musical communities and sub-cultures.” He starts his role Monday. PBS are calling on musicians to sign up as performer members as part of the Band Drive this month. Those who sign up during the Band Drive go into the draw to with a ‘launch and release’ package.
CAT EMPIRE MEMBER WRITES NEW FOOTY ANTHEM
The Cat Empire’s Harry Angus has composed a polka theme song for the AFL’s newest franchise – GWS Giants, who will enter the national Australian Rules competition this year. It comes after years of publicity for the club as they move into a region which has traditionally been Rugby League territory. Last week the club has announced their theme song The Mighty Giants has been composed by Angus. The song will be played before all games and after games that the team wins. Traditionally, players sing their club’s song after a victory. Angus said, “I started to become interested in this idea that there exists an entirely different genre of music that is the old classic football song. It got me thinking about how easy it could be to make a new song sound old. I began to research where some of these old classic songs had come from, to understand the mindset of the old captains and players who created these pieces of music. It became clear that the beauty of these great songs is their simplicity.” HARRY ANGUS
The Who’s Roger Daltrey has cancelled his upcoming Australian tour, including his headline slot at Bluesfest. Daltrey topped the festival’s first announcement last year and had been slated to perform at the festival Monday
We’re not surprised Rupert Murdoch is launching a new Sunday paper in the UK – with more Sun staffers arrested last week on corruption charges, there’s no shortage of news to fill it.
We thought we’d never hear a bigger cock on radio than Kyle Sandilands, but all that changed when UK station Jazz FM’s programming was interrupted for five minutes on Saturday with either a porno or some live studio sex going to air. Reports the station is changing its name to Jizz FM are unconfirmed.
THE GOOD SUN?
FOR THE WIN
WE LOVE CHARLIE
Can’t believe we missed the announcement that Eddie Murphy’s funnier (or should that be funny) brother, Charlie, is playing the Melbourne Comedy Festival. Here’s hoping for a night of True Hollywood Stories.
music 14 • INPRESS
PBS APPOINTS NEW MANAGER
ROGER DALTREY CANCELS TOUR, BLUESFEST
Check out the Facebook page of our good friends at themusic.com.au – they’re giving away a limited edition Leonard Cohen print and CD box set and DVDs from the great man.
Sony have finally responded to the Whitney Houston price-hike storm, saying that the upped price was a mistake. Sony came under fire after the UK press accused them of increasing the price of her two most popular best of albums in the UK just hours after news of her death broke. It was understood that by upping the wholesale price by 60 percent those costs were automatically passed on to Apple’s iTunes store. Sony have released a statement writing that the, “Whitney Houston product
9 April. In a statement today organisers said that the cancellation was due to “unforeseen scheduling conflicts”. The festival is offering refunds on single day tickets purchased for the Monday, but urge, “Before you pick up the phone, please take into consideration that the Monday artist line up, still features 30+ standout performances with approx 6 new artists yet to be added to the Monday bill.” But, “If you do wish to refund your single day Festival ticket for Monday 9 April, we are happy to arrange this for you and please call the Bluesfest office on 02 6685 8310.” The refunds are available until Friday 24 February.
ALL THAT JIZZ
LABORING THE POINT
We hated the way Labor’s backroom boys overthrew Kevin 07, but we hope K Rudd drops his leadership challenge for all our sakes. The thought of mad monk Tony Abbott as PM is too terrifying to consider.
SHOWING HIS AGE
The Age critic Jim Schembri’s review of new ABC sitcom Outland – “way, way, way too gay” – is this week’s reminder of why the out-of-touch hack should have been put out to pasture years ago.
WEDNESDAY 22 FEBRUARY
DEATH CAB FOR CUTIE ON SALE POLYESTER CITY & FITZROY / GREVILLE /ESPY & NATIONAL GEELONG / OZTIX.COM.AU PH: 1300 762 545
MONDAY 27 FEBRUARY
+ STRUNG OUT + STREET DOGS + THE MENZINGERS
TICKETEK.COM.AU, PH 132849 & OUTLETS. ALSO AT OZTIX OUTLETS POLYESTER CITY & FITZROY, GREVILLE, ESPY, NATIONAL HOTEL, OZTIX.COM.AU, PH 1300 762 545
TUESDAY 28 FEBRUARY
MACHINE HEAD CHIMAIRA + SHADOWS FALL + TIMES OF GRACE
TICKETEK.COM.AU, PH 132849 & OUTLETS. ALSO AT OZTIX OUTLETS POLYESTER CITY & FITZROY, GREVILLE, ESPY, NATIONAL HOTEL, OZTIX.COM.AU, PH 1300 762 545
WEDNESDAY 29 FEBRUARY
ALTER BRIDGE & STEEL PANTHER MONDAY 1 MARCH
STAINED + SHADOWS FALL + TIMES OF GRACE
TICKETEK.COM.AU, PH 132849 & OUTLETS. ALSO AT OZTIX OUTLETS POLYESTER CITY & FITZROY, GREVILLE, ESPY, NATIONAL HOTEL, OZTIX.COM.AU, PH 1300 762 545
TUESDAY 6TH MARCH
TICKETMASTER.COM.AU, PH 136100 & OUTLETS
WEDNESDAY 7TH MARCH
TICKETMASTER.COM.AU, PH 136100 & OUTLETS
TUESDAY 13TH MARCH – 2ND SHOW
WEDNESDAY 14TH MARCH
TICKETEK.COM.AU, PH 132849 & OUTLETS ALSO AT OZTIX OUTLETS POLYESTER CITY & FITZROY, GREVILLE, ESPY, NATIONAL HOTEL, OZTIX.COM.AU, PH 1300 762 545
THURSDAY 15 MARCH
FRIDAY 16 MARCH
TICKETS ON SALE TICKETMASTER.COM.AU, PH 136 100 & ALSO AT OZTIX.COM.AU PH 1300 762 545, OUTLETS POLYESTER CITY & FITZROY, ESPY, NATIONAL GEELONG.
WEDNESDAY 21ST MARCH AQUA – 3RD SHOW TICKETEK .COM .AU , PH 132849 & OUTLETS . ALSO AT OZTIX OUTLETS POLYESTER CITY & FITZROY , GREVILE , ESPY, NATIONAL HOTEL , OZTIX.COM .AU , PH 1300 762 545
FRIDAY 30TH MARCH
TICKETEK.COM.AU, PH 132849 & OUTLETS. OZTIX.COM.AU, PH 1300 762 545 & OUTLETS POLYESTER CITY & FITZROY, GREVILLE, ESPY, NATIONAL GEELONG.
MONDAY 2 APRIL
BRIAN SETZER’S ROCKABILLY RIOT FEAT: SPECIAL SET WITH SLIM JIM PHANTOM ON SALE TICKETEK.COM.AU, PH: 132 849 & OUTLETS
TUESDAY 3RD APRIL
BRIAN SETZER’S ROCKABILLY RIOT FEAT: SEPCIAL SET WITH SLIM JIM PHANTOM TICKETEK.COM.AU, PH: 132849 & OUTLETS
WEDNESDAY 4 APRIL
MY MORNING JACKET ON SALE TICKETEK.COM.AU, PH: 132 849 & OUTLETS
THURSDAY 5 APRIL
ON SALE TICKETEK.COM.AU, PH: 132 849 & OUTLETS
FRIDAY 6 APRIL
ZAPPA PLAYS ZAPPA TICKETMASTER.COM.AU, PH 136100 & OUTLETS.
MONDAY 9 APRIL
SUBLIME WITH ROME
THURSDAY 12 APRIL
CLOSER - A JOY DIVISION CELEBRATION WITH PETER HOOK ON SALE TICKETEK.COM.AU, PH: 132 849 & OUTLETS
WEDNESDAY 25TH APRIL
DIG IT UP! THE HOODOO GURUS – CELEBRATING 30 YEARS OF RECORDED HISTORY
PERFORMING STONEAGE ROMEOS + MORE. ALSO THE SONICS (USA), DIED PRETTY, REDD KROSS (USA), THE 184.108.40.206’S (JAPAN), THE FLESHTONES (USA), HARD-ONS, THE LOVETONES + MORE TO FOLLOW. TICKETEK.COM.AU, PH 132849 & OUTLETS ALSO AT OZTIX OUTLETS POLYESTER CITY & FITZROY, GREVILLE, ESPY, NATIONAL HOTEL, OZTIX.COM.AU, PH 1300 762 545
WEDNESDAY 16TH MAY
TICKETS ON SALE FRI. 24TH FEB FROM TICKETMASTER.COM.AU, PH 136100 & OUTLETS.
20 - 30 BOURKE ST CITY - 9650 0180 WWW.PALACE.COM.AU INPRESS • 15
NEWS FROM THE FRONT
TOO COOL FOR A SCHOOL
The First Annual Clarkefield Music Festival will see some of Australia’s finest musicians join forces for a common cause, as they raise money to help assist children and their families living in poverty in Cambodia. All money raised on the day will go directly to building a new school for over one-thousand children in the Kampong Thom province of Cambodia. The Festival will feature Kim Salmon, Nick Barker, Hope Addicts, Dead River Deeps, James McCann, Brother Johnstone, Saint Jude and Jeb Cardwell, and will be held on Sunday 18 March from noon at the Clarkefield Pub. It’s $20 and under 12s are free.
M A R L E Y FESTIVAL NEWS themusic.com.au/sfg/
Having just been announced for Groovin’ The Moo, The Maccabees will also be performing a headline show at the Hi-Fi on Wednesday 16 May on their first trip to Australia. Their just-released third album, Given To The Wild, is a sprawling masterpiece of distorted pop, psychedelia and soulful guitar wig outs. It is the band’s most adventurous work to date.
WEDNESDAY 22 FEBRUARY
THE BLACK GALAXY EXPERIENCE AYANAMI
EASY SELL FOR THE MOO
ENTRY $5, 8.30PM
THURSDAY 23 FEBRUARY – NATIONAL SLAM DAY
THE BENSON CAMPAIN ROB SAWYER HIDING WITH BEARS EMMA HALES
ENTRY $12 DOOR, $10 PRESALE THRU MOSHTIX, 8.30PM
MAKIN’ WAVVES Making their Australian debut last year with a small club tour and a blistering set at Golden Plains, Wavves left quite a mark on audiences across the country with their signature lo-fi punk rock. Now they’re back for Groovin’ The Moo and will play a few headliners, too. Catch them on Wednesday 9 May at the Corner.
FRIDAY 24 FEBRUARY
FILM CLIP LAUNCH
YOU AND YOUR MUSIC PROJECT PUZZLES SATURDAY 25 FEBRUARY
PRIVATE FUNCTION COME JOIN US IN THE PUBLIC BAR! SUNDAY 26 FEBRUARY
RAW COMEDY ENTRY $10, 1PM EP LAUNCH
A FRENCH BUTLER CALLED SMITH CAPTAIN GROOVE ENTRY $10, 9PM
MONDAY 27 FEBRUARY
ANIMAUX POCO LA PAX DJ THOMA
ONE MAN PARTY BAND Following his national tour in January last year around Big Day Out, Andrew WK returns with his one-manparty band this May. Already announced for Groovin’ The Moo, WK also plays shows at Pier Live on Wednesday 2 May and the Corner on Friday 4 May. Party hard.
It’s a high-energy-future-folk-post-apocalyptic hoedown. Don’t miss The Crooked Fiddle Band’s high octane performance at the Nash in Geelong this Friday (with Ennis Tola and Laura Baxter) and at the Corner this Saturday at Karavan International Gypsy Music Festival 2012.
ENTRY $12 DOOR & PRESALE THRU MOSHTIX, 8.30PM
RAW COMEDY ENTRY $10, 1PM
Groovin’ The Moo Bendigo has officially sold out for the third year in a row. Tickets are still available to the other four events in Townsville, Maitland, Canberra and Bunbury, yet are selling fast. The lineup includes 360, Hilltop Hoods, Matt Corby, Public Enemy, Andrew WK, Kaiser Chiefs and Kimbra.
BANGIN’ FESTIVAL LINE-UP First celebrated in April 1977, Warrandyte Festival was an initiative of the local environment league and historical society, a group of dedicated local volunteers held a street parade. It is now the longest running community festival in Victoria. This year they have a whopping line-up to celebrate the Saturday night chapter of this event on 24 March, including King Gizzard & The Lizard Wizard, Clairy Browne & The Bangin’ Rackettes, The Teskey Brothers, The Thod and Buck Creek. This event is free and is a relaxed all-ages event. Check warrandytefestival.org for details. CITY & COLOUR
FIDDLE DEE DEE
MOSE & THE FMLY GHOST ORCHID
KING GIZZARD & THE LIZARD WIZARD
THE CHIEFS RETURN
TAKE A BREATH The Breath Of Life Festival down in Tassie has announced more acts on its line-up. They include: Fatboy Slim, Icehouse, Eskimo Joe, Jebediah, Grinspoon, Hilltop Hoods, Skrillex, Sneaky Sound System, Children Collide, Gypsy & The Cat, The Aston Shuffle, Parkway Drive, Owl Eyes, 360, The Scientists Of Modern Music and plenty more. The festival is held on Saturday 10 and Sunday 11 March.
ROCKET TO CISCO Fremantle’s indie-popsters San Cisco are jumping aboard their rocket ship this April and May for a string of sideshows to coincide with their Groovin’ The Moo performances. Jumping on the rocket ship around the nation will be Perth band Voltaire Twins. The tour hits town on Wednesday 2 May at the Corner. They also play Groovin’ The Moo in Bendigo on Saturday 5 May.
Australia’s favourite Leeds lads Kaiser Chiefs are returning to rock our shores this May for a string of exclusive shows to coincide with their Groovin’ The Moo headline dates. Joining the band in Australia will be Sydney’s alternative rock sensations Deep Sea Arcade and Melbourne garage rock band Loon Lake. Catch the show at the Palace on Wednesday 16 May. Tickets go on sale Friday.
NO PUSH OVER The FReeZA Push Start Band Competition is to go ahead at this year’s Push Over Festival on Monday 12 March at the Abbotsford Convent. The nine finalists are The Brass Monkeys, Captain Custard, Pete Jones, Altitude, Animaux, Hally, Paper Arcade, Daydream Arcade and Granston Display. Also performing will be Parkway Drive, 360, Tonight Alive, Yacht Club DJs, Dangerous!, Snakadaktal, Mantra, Redcoats, Eagle & The Worm and many more.
CITY GROOVIN’ Following their just-announced appearance at Groovin’ The Moo, City & Colour will appear in an all-ages headline show at the Palais on Wednesday 2 May. Joining them is fellow Canadian, Bahamas.
A DIFFERENT EQUATION New Orleans trio Mutemath are set to visit Australia for the first time this May. Since releasing their first EP in late 2004, Mutemath have challenged limitations and expanded parameters. By the time they released their 2006 self-titled debut, their blending of adverse genres into their own innovative sonically adventurous creation earned them a reputation as one of modern music’s most daring young groups. They play Thursday 17 May at the Corner Hotel.
ENTRY $8, 8PM $10 JUGS!
TUESDAY 28 FEBRUARY
RAW COMEDY ENTRY $10, 6.30PM RESIDENCY
THE BOMBAY ROYALE DJ CALIFORNIA SOULMAN (PBS) FREE ENTRY, 9.30PM $10 JUGS!
COMING UP TIX AVAILABLE THRU MOSHTIX ANIMAUX (MON IN FEB) THE BOMBAY ROYALE (TUES IN FEB) RAW COMEDY (19, 21, 25, 26, 28 FEB) CANOS (1 MAR) BUTTERFLY FOUNDATION FUNDRAISER (2 MAR) LOVE, EVELYN – MARKETS (3 MAR) THE MILLIONAIRES (3 MAR) JOY FM FOR INTERNATIONAL WOMENS DAY – FUNDRAISER (4 MAR)
MONDAY $8 BURGERS TILL 8PM FISH & CHIP SHOP TUESDAY TUE - SUN 4-7PM HAPPY HOUR
JOY Rocks Live 28th February Slow Club [UK] 2nd March WEDNESDAY 22ND FEBRUARY
SUNDAY 4TH MARCH
White Woods, Iowa, Cat Cat
Goodbye Because (Parking Lot Experiments)
MONDAY 27TH FEBRUARY
FRIDAY 2ND MARCH
WEDNESDAY 7TH MARCH
Slow Club [UK]
Adam Christou (SYN)
Two Bright Lakes DJs / Ray Mann (Berlin/Sydney)
Happy Hours 4-7pm
SATURDAY 25TH FEBRUARY
TUESDAY 28TH FEB
THURSDAY 8TH MARCH
Milk Teddy, Pop Singles, Northlands
Damon Smith & The Quality Lightweights, Shadow Queen, Refunds
SATURDAY 3RD MARCH (EVENING)
Fish & Chip Shop Tueday
Adam Christou (SYN)
SUNDAY 26TH FEBRUARY
WEDNESDAY 29TH FEBRUARY
SATURDAY 3RD MARCH (LATER)
FRIDAY 9TH MARCH
Auto da fe, Likedeelers
Happy hour 4-7pm
Goodbye Because (Parking Lot Experiment)
Happy Hours 4-7pm
THURSDAY 23RD FEBRUARY
Anna Smyrk & The Appetites EP Launch, Shelley Segal, Aluka
16 • INPRESS
ON SALE AT MOSHTIX:
JOY Rocks Live
Young Revelry Residency
Ali E Album Launch
Poco La Pax T-Shirt Launch
NATIONAL SLAM SHOW FEAT.. THE WILDES W LYD & SOPHIE AND ALEX LASHLIE
W COINS (LAST EVER SHOW), THE TEALEAVES W INTO THE WOODS AND RUNNING AWAY WITH THE CIRCUS
W LOONEE TUNES, GOGO-A-RAMA (SA) AND HEARTBREAK CLUB (NSW)
‘PAINTER & THE ROCKER’
FEAT. COCO VELU W PASSING JUPITER AND LIGHT SHOW BY 12 SANDWICHES
THE TEALEAVES AND FRIENDS
LATER ON... SATURDAY 25
COSMIC PIZZA 9PM
TOM MOHR 11PM
T’FUNK - LIVE
MONDAY 27 TUESDAY 28
ADAM ASKEW 10:30PM LUKE BOWDITCH 12:30AM SAM MCEWIN 8:00PM
PHATO AMANO 10:30PM TIGERFUNK AGENT 86
24/3 31/3 14/4
DANGEROUS COERCE W HEIRS, GATHERER AND THE BURNING SEA FALLOE - RECORD LAUNCH THE GIN CLUB AND TEXAS TEA - NATIONAL TOUR FRANKIE WANTS OUT - RECORD LAUNCH PLUS MICF SHOWS THROUGHOUT MARCH/FEB
TIX FROM: WWW.JOHNCURTINHOTEL.COM TICKETS FOR MICF AT THE CURTIN THROUGH WWW.JOHNCURTINHOTEL.COM
MATT RADOVICH 11:00PM HENRY WHO
MONDAY: PALE ALE FISH AND HAND CUT CHIPS $13 TUESDAY: HOME MADE RICOTTA GNOCCHI $14 WEDNESDAY 280G GRAIN FED ANGUS PORTERHOUSE STEAK $16
“ROOF TOP PARTEY”
THURSDAY: CHICKEN SCHNITZEL AND HAND CUT CHIPS $13
“SOUTH SIDE HUSSLE”
FRIDAY: CHICKEN OR EGGPLANT PARMA $14/$13
ADAM ASKEW MR GEORGE BOOSHANK
“FREE RANGE FUNK”
DJ WHO LEWIS CANCUT TIGER FUNK
DAMON TIGER FUNK
PHATO A MANO MR GEORGE MATT RAD SATURDAY 25
DOWNSTAIRS - SAM
MCEWIN JEAN-PAUL SAMARI UPSTAIRS - ASH-LEE MR MOONSHINE DJ B-TWO
SATURDAY: CURTIN BURGER AND HAND CUT CHIPS $14
THE ORIGINAL DJ RANSOM INKSWEL
TRADING HOURS MON - THURS: 3PM TILL LATE FRIDAY: 11:30AM - LATE SATURDAY: 4PM - LATE KITCHEN HOURS WEEKDAYS: 5PM - 9:30PM SATURDAY: 6PM-9:30PM
INPRESS • 17
NEWS FROM THE FRONT
LLOYD HITS TOWN
CIRCUS IN TOWN Street Press Australia presents the Dead Letter Circus Sleepwalker Australian Tour with amazing special guests Fair To Midland and Twelve Foot Ninja. The momentum keeps building for DLC in the US with several key rock radio stations adding their single One Step to rotation, and the band hitting number five on the Taking Off radio chart last week. They are playing the Ferntree Gully Hotel on Thursday 17 May and the Hi-Fi on Friday 18 May.
VOTE FOR PEDRO
American R&B legends Bell Biv Devoe and Ginuwine are heading Australia’s way for the very first time. After their days in New Edition came to an end with the departure of Bobby Brown in 1986, Ricky Bell, Michael Bivins, and Ronnie DeVoe carried on to form Bell Biv DeVoe. They’re joined by superstar Ginuwine, best known for his epic smash hit Pony and his cover of When Doves Cry. They play Friday 25 May at Trak Bar.
Efren Ramirez is best known for his role as Pedro Sanchez in the cult 2004 film, Napoleon Dynamite, where he stars as Napoleon Dynamite’s best bro through thick and thin. When he’s not acting, Ramirez is a DJ with a passion for electronic dance music. Having toured across America playing to packed out clubs and festivals, he’ll be hitting the Espy on Friday 6 April.
OH MICKEY, WHAT A PITY
Described once as the Hunter S Thompson of DJs, James Lavelle’s career has spanned the last 18 years. Now he spreads time amongst his internationally-renowned DJ career, his UNKLE act with singer/producer Richard File, and a brand new independent set-up: Surrender-All, which combines music, fashion and art. Lavelle plays a DJ set at the Espy on Monday 12 March. Free entry.
Due to studio commitments and the US launch of his new album Loaded, Hollywood rapper Mickey Avalon has been forced to postpone his previously announced Australian Tour until May. Fans who have already purchased tickets for the now postponed tour can rest assured that all previous tickets will be honoured for these newly announced dates. The new date for Melbourne is Friday 25 May at the Espy. Special guest is Kid Mac.
SAVAGE AT SPIEGELTENT Steam-rolling into 2012 on the back of regional tours, the capital city show-stoppers and the pick of the summer festivals, Cash Savage & The Last Drinks will perform live at the Famous Spiegeltent on Monday 19 March at 7pm. Cash Savage thrives on audience love, affecting crowds with a tonic of honesty, sincerity and raw musical emotion.
DINOSAURS, DRINKS, DJS
GAGA, OOH LA LA Get ready for The Born This Way Ball, starring Lady Gaga. She’s coming back to Australia to tour her latest album, and is sure to play the hits off her previous ones. Due to overwhelming demand, additional shows have been announced at Rod Laver Arena. Catch Lady Gaga’s antics on Wednesday 27, Thursday 28 and Saturday 30 June.
NEMESIS Arch Enemy are embarking on their Australian Khaos Tour. The tour hits Billboard on Tuesday 1 May and tickets are on sale from today via Metropolis Touring.
Ever wanted to witness the dissection of an animal, or sip champagne while getting up close and personal with strange deep sea creatures? On Thursday 1 March, head to SmartBar and experience Melbourne Museum like you never have before. SmartBar is a special after-hours event for adults only featuring dinosaurs, drinks and DJs as well as talks by scientists and hands-on experiences in the awardwinning Melbourne Museum. Tickets are $16/$18 and include a complimentary drink. Edutainment!
SUP, BROZA? It has been five years since Israeli superstar David Broza last toured Australia, delighting audiences and selling out his performances at Sydney Opera House and Hamer Hall. Now audiences have another opportunity to experience Broza as he returns to Sydney and Melbourne in March 2012. See the virtuoso guitarist at the National Theatre on Tuesday 6 March with special guest Old Man River.
THE TIME IS RIPE Jazz trio Elixir – consisting of Katie Noonan, her saxophonist husband Zac Hurren and jazz guitarist Stephen Magnusson – released their acclaimed second album First Seed Ripening late last year. They’re currently on the second national run of the album tour. Their show this Friday at the Famous Spiegeltent has sold out but you can now catch them tomorrow (Thursday) at the Regal Ballroom.
OUT OF THE BALL PARK SECOND COMING After selling out and blasting the roof off the Famous Spiegeltent earlier this month, the notorious rhythm and blues party-starters Clairy Browne & The Bangin’ Rackettes have been invited back by popular demand. So if you missed out last time, no need to despair, they’re playing one more show this Saturday. Photo by Carbie Warbie. 18 • INPRESS
Tickets have only been on sale for just over two weeks, but it seems demand is through the roof to see Ball Park Music shred stages around the country on their upcoming 180º Degree Tour. The Saturday 14 April show at the Corner is already sold out, but a second show for Monday 16 has been added, as well as an under-18 show at the Corner on Sunday 15. There’s also a Karova Lounge show in Ballarat on Friday 13. Hurry up and grab a ticket before all these sell out too.
Screamfeeder bass player Kellie Lloyd is playing shows in Melbourne for SLAM Day and officially releasing her single. Joining her on stage playing drums is Clint Hyndman from Something For Kate. Kellie and Clint will be playing material off Kellie’s soon to be released second solo album. She plays this Thursday (SLAM Day) in the Espy Front Bar with Valentiine and Woolhouse; Friday/ Saturday morning at Pony’s 2am slot; and Saturday at the sold-out Applecore backyard festival.
GLORIOSA TRAICOS Catherine Traicos has been announced as the support for the forthcoming Mountain Goats Australian tour. The Sydney-based singer/songwriter is riding on a bit of a high with her 2011 album Gloriosa receiving widespread airplay in the USA and her latest single from that album, Let You Go, currently gracing Australian airwaves. See Traicos and her band The Starry Night support Mountain Goats at the Corner on Thursday 10 May.
TOTALLY NUTS Australia’s most notorious hardcore band, Deez Nuts, are about to release F#*K The World, a huge DVD/CD package that includes a documentary, a live set, music videos and out-of-print LPs. To celebrate the upcoming release at the end of March, Deez Nuts are going on a national tour with Phantoms and The Bride. They play a couple of all-ages shows at EV’s Youth Centre in Croydon on Thursday 12 April and at the Music Man Megastore in Bendigo on Tuesday 17, as well as over-18 shows at the Espy on Friday 13 and Karova Lounge in Ballarat on Saturday 14.
BEACHES AND BATHS The support acts have been announced for Royal Baths’ first Australian tour this March/April. Opening at the Tote show on Saturday 31 March will be Beaches. After nine months of occasional jams, the band played their first show in October 2007 and have since built an avid following for their trancelike, sonic overdrive live shows. They’ve played numerous festivals and supported the likes of Mogwai, Deerhunter and Ten East.
SEEING THE THERAPIST Cultural saboteur and noted jazz devil Barry Adamson proudly presents the Australian debut screening of his first feature film Therapist, only at Pure Pop Records on Monday 19 (sold out) and on Tuesday 20 March from 7pm. Tickets are $35 and include the film and a moderated Q&A with Dave Graney and Barry, an advance listening party, a glass of champagne and hearty Mexican food from Blue Corn.
A QUICK MENTION MEN are a Brooklyn-based band and art/performance collective led by Le Tigre’s JD Samson, cult icon and leader in the LGBT community. They are currently in the studio recording their second full-length record. They come to the Phoenix Public House on Thursday 1 March. In support is Romy Hoffman’s new project A Gender along with Plast Her Ov Paris – featuring past members of Bracode, Remake Remodel, The Blush Foundation and Origami.
NEWS FROM THE FRONT
CURLY LINES Hailing from Mannheim, Germany, label owner, producer and DJ Nick Curly is responsible for spawning a distinct house sound that has proliferated across the globe. With his new album Between The Lines set to release date internationally in March, Curly is set to play at Revolver on Sunday 25 March.
FOREWORD LINE FLAPPING MAD
Flap! have a huge 2012 planned, including a new album and a three-month European summer tour in June, and Victorian audiences will be treated to two special album pre-release shows. They play Thursday 1 March at Ruby’s Lounge (Belgrave) and Friday 2 at the Regal Ballroom. Support on both occasions will come from Bellyache Ben & The Steamgrass Boys, with The Band Who Knew Too Much helping out at the Belgrave show and The Cactus Channel at the Ballroom.
THE LONG WAY Red Bennies are presenting, for the first time at their venue, Albare with his Travel Diary Band tonight, performing new material from his forthcoming new album, Long Way, which he recently recorded in New York. With a body of work encompassing two decades, Albare draws from his vast catalogue of compositions.
MAMA DONOVAN Casey Donovan and her band bring new life to the legendry music of Mama Cass (Cass Elliott) and her superstar band The Mamas & The Papas. Mama Cass: The Tribute Concert is a fitting tribute and perfect showcase of Casey Donovan’s virtuosity. Sunday 1 April Donovan and band will play two shows at Bennetts Lane (3pm and 7pm). Tickets for both shows are $30+BF pre-sale and $33 on the door.
THE GROUND UP After a massive Australian tour in 2010, California’s renowned roots reggae band Groundation return to celebrate the release of their seventh album Building An Ark. Saying that Groundation is a reggae band is merely scratching the surface, the band’s sound is an organic fusion of classic roots reggae, heavy funk/jazz fusion, and transcendental dub. They play the Hi-Fi Tuesday 13 March with support from King Charlie’s School of Dub, Jessie I and Ras Crucial.
BEEZ KNEEZ Many Australian festival goers will know the Beez for their stripped back, quirky version of The Cure’s Close To Me or their extraordinary cover of Bohemian Rhapsody. Now The Beez are performing their own compositions with the same superb musicianship and eccentric charm. They will play the Thornbury Theatre on Thursday 8 March, the Castlemaine Fringe on Saturday 10 and the Burke & Wills Festival from Friday 9 to Sunday 11.
BROUS’S BROS Brous has announced a line-up of very special guests joining her as she makes her debut at the Famous Spiegeltent in Melbourne this Friday. Mick Harvey (PJ Harvey, Nick Cave & The Bad Seeds) will be appearing with Brous and her band of gifted collaborators, along with guests Evelyn Morris of Pikelet, and Dan Luscombe of The Drones. This is sure to be a stunning evening not to be missed.
NOT TOO COSTLY With a new invigorated approach, Paul Costa will be thrilling audiences with tracks from his back catalogue and also showcasing some material from his highly anticipated fourth album Wheels & Steel due out in the coming weeks. He will be playing the Kangaroo Flats Sports Club on Friday 16, the Horsham Sports & Community Club on Sunday 18 and the Birchip Memorial Town Hall on Saturday 30 March.
LOOSE CHANGE The Ukulele Orchestra Of Great Britain are celebrating “the instrument bought for loose change” with their first trip to Australia. The Orchestra have been performing for the past 25 years, playing songs ranging from favourites such as Teenage Dirtbag and Psycho Killer, to mashes of classics like Flight Of The Valkyries. They play the State Theatre on Thursday 8 March.
GET ON YOUR KNEES Hot on the heels of new single Nothing To Do, Gold Coast garage-pop bombshells Bleeding Knees Club are psyched to announce their Australian album-release tour dates throughout April. Catch the guys with fellow Queensland slackers Dune Rats at the National Hotel (Geelong) on Thursday 19 April, Karova Lounge (Ballarat) on Friday 20 and Northcote Social Club on Saturday 21.
BIBLICAL PROPORTIONS Chart-busting singing sensation, The Hilliard Ensemble, are known for riveting stage performances of vocal music and for selling millions of records world-wide. In a class of their own, they have a flair for putting a fresh spin on sacred music – devotional pieces that appeal across the board. They meld religious narratives with the spiritual impulses of vocal music. You can catch the spectacle on Sunday 18 March (2.30pm) and Monday 19 (8pm) at Melbourne Town Hall.
The Gershwin Room at the Espy was the host of some of King Cannon’s most significant initial gigs in Melbourne. It’s only fitting that it is the venue for their first annual St Kilda Stomp. They will be joined this Friday by the sultry soul grooves of Sydney’s Kira Puru & The Bruise and the new boys on the rock’n’roll block, My Echo. The spaces between the live sets will be filled by much loved PBS DJ, Mohair Slim.
SIMPLY THE BEST Be prepared to stand in your seats as Rebecca O’Connor delivers her flawless rendition of Tina Turner’s greatest hits at the Palms at Crown in March. With such iconic hits as Nutbush City Limits, Proud Mary, River Deep, Private Dancer, When The Heartache Is Over, Better Be Good To Me, and of course her anthem Simply The Best, Tina’s fans will be gobsmacked at just how incredible this show is. She performs on Friday 9 and Saturday 10 March. Tickets on sale now.
DEATHRAYS AND BLOODSTREAMS From playing house parties to supporting bands like Foo Fighters, Fucked Up and Crystal Castles, DZ Deathrays have come a long way. Now they’re ready to present their debut album, Bloodstreams, and are celebrating with a tour. Catch them at Geelong’s National Hotel on Wednesday 25 April, Ballarat’s Karova Lounge on Thursday 26 and at the Toff on Friday 27. Special guests are 12-piece Velociraptor.
FIVE YEARS OF FUNK PBS’s Soul-A-Go-Go is turning five: five years of soul and funk, dished up on the first Saturday of each month, making Soul-A-Go-Go Melbourne’s biggest and most loved soul and funk party. On Saturday 3 March, catch an all studded line-up including Pierre Baroni, Miss Goldie, Vince Peach, Manchild, Karsten John all the way from Germany, Anna’s Go Go Academy, plus many special party poppin’ delights and sweet surprises to keep you overwhelmingly entertained. All at Bella Union Bar, Trades Hall from 9pm.
GOODBYE SUMMER On Sunday 4 March the National Gallery of Victoria says Goodbye Summer at the Gallery’s third annual free celebration of art and music. Held in the picturesque sculpture garden at NGV International on St Kilda Road, Goodbye Summer is the perfect opportunity for visitors to unroll the picnic rug and relax in the dappled shade while enjoying performances from Melbourne musical talents Geoffrey O’Connor, Teeth & Tongue, and The Orbweavers plus sets from RRR DJs. In the event of rain, performances will move into the Great Hall under the spectacular Leonard French stainedglass ceiling. Entry is free and it kicks off at noon.
ADVANTAGE DEUS PURE GUAVA As 2011 closed, Bluejuice dropped their third album Company and it turned out to be one of the best reviewed records of the year. The album is a brilliantly crafted, pop music anthology that stands Bluejuice aside from their peers and current music trends. It left behind the inconsistency and genre hopping that some felt had compromised their earlier records, and it delivered on the long-term live appeal of the band. You can catch them play Thursday 26 April at the Eureka Hotel (Geelong), Friday 27 at Pier Live (Frankston), Saturday 28 at the Hi-Fi (under-18s only, 2pm), and at the same venue from 8pm that night for an 18+ show.
Hailing from Antwerp, Belgium, dEUS are spearheaded by original members Tom Barman on vocals and guitars and Klaas Janzoons on keyboards and violini. The seasoned performers played an astonishing 20 festivals in the summer of 2011, yet have never before graced Australian fans with tour dates – until now. They play Saturday 12 May at the Corner Hotel. Tickets from the venue and Ticketek.
INPRESS • 19
TRIPPING IN NEW YORK, STEALING IN AUSTRALIA
“OUR LABEL BOSS MADE US SIT ON HIS LAP” One of the big talking points prior to Ten$ion’s release was Die Antwoord’s departure from their label following a dispute (which may or may not have been manufactured). They claimed that Interscope were too involved in their new direction. The album was subsequently released on their own Zef Records. Ninja says that the unnerving midalbum satirical skit Uncle Jimmy, where the titular character entices band member Yo-Landi Vi$$er to sit on his lap and stay in his office so he can “keep her as a pet”, is based on a real person – Interscope Records boss Jimmy Iovine.
DIE ANTWOORD’S NINJA HAS FOUND OUT WHAT DUBSTEP IS, HAS IDENTIFIED WHAT SNOW IS AND IS SHOCKED AT THE CONTROVERSY MORMONS CREATE. SCOTT FITZSIMONS BELIEVES IT’S THINGS LIKE THESE THAT MAKE THE “RAP-RAVE” GROUP WORTH THEIR WEIGHT IN STOLEN HOTEL GEAR.
kay, sweet, don’t be a faggot now.”
That’s how Die Antwoord’s Ninja, on the line from New York, signs off on out chat. It’s been a long day of rehearsals and experiencing the big city for the trio – also featuring co-vocalist Yo-Landi Vi$$er and DJ Hi-Tek – and Ninja, aka Watkin Tudor Jones, is in fine form. At the time the “rap-rave” group, as David Letterman put it recently, from South Africa’s Capetown, were about to release their second album Ten$ion, an equally demented and delirious collection of songs as their break-out debut $O$. Jones says it’s snowing. “Just a little, but it definitely is snowing. It’s not rain, because it’s big and white… this is the first time I’ve seen this, it’s tripping me out actually. I put it on my tongue.” The new experience could even inspire a future song, he says, quickly throwing some ideas around. “Yeah, I’m Dreaming Of A White Christmas and Hey Santa Claus You Cunt, Where’s My Fucking Bike? It’s a remix, we’ll bring it back.” Throughout the conversation, Jones is usually rambling on a topic. Extrapolating on small details that often take him off that topic, he knows how to dominate a conversation – not so much intimidating as controlling. “We just went and saw The Book Of Mormon,” he says, deciding that this is what we’ll be talking about next. “It’s a Broadway production; we don’t get Broadway in South Africa. It’s by the guys who made up South Park. Our hotel was actually mystically positioned like four steps away from the Broadway production The Book Of Mormon. That was fate – not any human intervention – and then we kind of freaked out and we tried to get tickets and we found out they were booked ‘til February 14, 2014 and we were, like, severely depressed. “But then we sent an email to my one friend who knows the guys from South Park, they’re presently starting season 16 and they’re pumping our Ten$ion album at the South Park studios and once again destiny intervened and we got four tickets to the show tonight. They had to cancel some poor bastard and his posse’s tickets so that we could watch it. And it was pretty much the most controversial show I’ve ever seen since I was born and I can’t believe they haven’t been assassinated.” Was it any good though? “Yeah, it was above bloody average mate,” Jones says in an over-blown Australian accent. It’s enjoyable to let Jones rant on like this, because
it’s when he’s at his finest. Die Antwoord are, after all, performance art. Jones has played a number of characters notorious in South Africa. He even has a child with co-star Visser named Sixteen. Not everyone’s in on this joke yet – of an overly Zef (South African’s answer to gangsta culture) rap group – and that’s part of what makes Die Antwoord so alluring. Especially when Jones holds his character so well. He’s been known to freeze-up when journalists take the ‘performance art’ angle and, when the story is so entertaining, it’s worth running with him. “We nearly got kicked out basically,” he continues of the Broadway experience. “They were saying we were talking but I didn’t fucking talk once, I was just laughing. Like, fuck, I basically laughed my balls out of my mouth. It was the funniest thing I’ve ever seen since I was born, I couldn’t believe that they were allowed to do that. You would get assassinated for doing that type of production in South Africa, like, easily.” Given the controversy of the use of the word “faggot” in single Fok Julie Naaiers, which came accompanied with an explanatory video, surely Die Antwoord’s penchant for controversy matches that of South Park creators Trey Parker and Matt Stone? “We didn’t know anyone was having a go at us. What did they say the fucking bastards? We made the video before they had a go at us. So they couldn’t say anything, because we were like, ‘What? Check out the Faggot video niggas, then everything will make sense’.” Preparing for tours around the world – Australia’s leg coming courtesy of the Future Music Festival – Jones says that the New York rehearsal rooms are treating them well. “They had mirrors and it was just like the best thing I’ve ever done. We were rehearsing so much, it was the coolest. “Yo-Landi, for this one song Baby’s On Fire, she only got the flow and pitch right, like, today. ‘Cause in the studio she does this very sexy, chilled intimate vibe, but live that sort of shit can die so it was difficult… While I’m doing the chorus to Baby’s On Fire she does this one dance move, she does the more cool, chilled version, I do the more epileptic fit version on the hook. “Have you ever seen, like, Fame or Flashdance? It was like those sort of studios, we’ve never been in such fancy facilities before, to do a rehearsal. And we have a sound engineer, he’s from Colombia. He doesn’t deal cocaine or anything, he’s from Colombia though. He can’t come to Australia, which we were depressed about, because
he’s the ultimate sound engineer/tour manager. “He’s having a baby, it’s a girl, but he won’t tell us the name until it’s born, because it’s bad luck in South America to say the name before the child’s born, but it does have a name apparently, word on the street. His name’s Leo, not the baby, him, the guy, our tour manager. We’re gonna get another tour manager for Australia, which is traumatising. But Australian tours are really fancy upperclass sort of styles, so we’re not that worried. When we played the Big Day Out we stayed in the Versace Hotel [Australia’s first Versace is on the Gold Coast] and they have a fake beach and I stole everything from the hotel. I have a Versace towel, Versace slippers, Versace bed robe, Versace soap, Versace shampoo, Versace everything.” It’s not only the hospitality that gives them fond memories of Australia – like many artists, Jones attests that the band’s support here is amongst the best in the world. “Pretty much everyone’s psychotically into us, rather than anywhere else in the world, Australia went the most fuckin’ berzerk. He describes the crowd in Big Day Out’s “Boiling Room” as “Lord Of The Rings CGI. You don’t see that many people in front of you in real life, ever. It was the most psycho shows we’ve ever had ever… I can’t even understand it myself. I think it’s to do with Rodney Rude and Crocodile Dundee.” Ten$ion has since been released on the band’s own label,and it’s both an improvement on $O$ and Die Antwoord. Given that people know what to expect now they’ve been able to play up on the joke, push it further and even get the kids in with dubstep. “DJ Hi-Tek was fucking with this shit called dubstep. We didn’t really know the words, we thought it was like gangsta rap, like slow gangsta rap. And then he said, ‘No, that’s dubstep.’ We’re like, ‘Okay, whatever, that sounds cool.’ He’s like, ‘All the kids are into it.’ We’re like, ‘Okay, that’s cool.’ Then we were like, ‘Can you do an apocalyptic fuckin’ warzone end-of-the world?’ which is pretty much South African flavoured-dubstep. Otherwise just rap and rave, like gangsta rap styles. Like, hard up-in-the-club shit mixed with hi-energy rave.” WHO: Die Antwoord WHAT: Ten$ion (Zef Records/Co-Operative) WHEN & WHERE: Wednesday 7 March, Prince Bandroom; Sunday 11 March, Future Music Festival, Flemington Racecourse
“Yeah, Jimmy Iovine, from Interscope, the boss of Interscope. I can do Jimmy real good, that was actually me. I know it sounds like Jimmy but it’s actually me. Jimmy always used to like ask us in for herbal tea and stuff and ask Yo-Landi to sit on his knee and stuff and make little cute jokes at us all the time. So we thought it was quite funny to put in a skit.” He continues, “And then he didn’t want to put the skit on the album and that’s why we left Interscope. We were like, ‘That’s lame. We’re leaving your label now. Bye.’ That’s why we left Interscope, because they wouldn’t put Uncle Jimmy on the album.” Ninja said that he doesn’t know what Iovine – one of the biggest industry players in the American and even international music scene – thinks of the track since it made the album, “He doesn’t speak to us anymore, I don’t take his calls.” He adds that the skit “was funky, it was fresh. As I said, for us it was like the greatest skit in the history of hip hop music. When we made it it was like, ‘Fuck, this is funny’ and like cool and shit. Memorable. “People would be talking about it, we knew if we put it on it would be popular with the kids when they were like, ‘Oh, we’re not putting that on’, we were like, ‘Okay, you’re not our label, bye’.”
INPRESS • 21
22 • INPRESS
WHAM BAM, THANK YOU SLAM THIS THURSDAY, SLAM DAY IS AN OPPORTUNITY FOR CELEBRATION IN THE WAKE OF POSITIVE CHANGES FOR OUR LIVE MUSIC COMMUNITY SINCE THE RALLY OF 2010. IT’S ALSO A TIME TO PUSH FOR MORE ACTION. SAMSON MCDOUGALL MEETS SOME FOLK THAT AREN’T SITTING ON THEIR ARSES WHEN IT COMES TO THE CONTINUATION OF OUR LIVE MUSIC COMMUNITY.
n 23 February 2010 the Victorian public marched to the steps of Parliament House in a 20,000-strong show of support for a live music community under threat. Organised by grassroots group SLAM (Save Live Australian Music), it was the largest cultural protest in the nation’s history. The message was clear: we do not accept that live music is in any way associated with violence and we expect live venues to be treated as the cultural hubs that they are, not lumped in with seedy beer halls and gambling dens by association through alcohol alone. And, it seemed, the government listened. The Live Music Accord was drawn up and, accordingly, an exemption process was established whereby venues could apply to have their ‘high risk’ status lifted, thus relieving the financial burdens associated with security and insurance costs. Also, a peak body, Music Victoria, was set up to oversee and facilitate the implementation of change. Things were looking up… But that was an election year. With a change of state government came hope for further progress. In June last year Arts Victoria released a report: The economic, social and cultural contribution of venuebased live music in Victoria. For the first time, this report quantified, in economic terms, what live music is worth to Victoria – the contribution is staggering. Politicians jumped on the numbers; there were cringeworthy photo opportunities at the Tote Hotel and grand statements about the ongoing support of live music. The State Government acted to change the Liquor Control Reforms Act to take into account the needs of live music in liquor licensing decisions. “It was an election promise and they were under a lot of pressure to do it,” says SLAM organiser Helen Marcou. “When Arts Victoria released their report into live music… we found out for the first time ever that it’s worth half a billion dollars to this state, which is substantial. So [the State Government] came out with a big statement that ‘we want to nurture and grow live music’, so they changed the
law, but at the same time they slashed a lot of funding – for example to [rock mentoring program] FreezaCentral [and] they’ll be reducing funding to Music Victoria in the future.” A major concern for SLAM in Victoria is that the regular ‘round table’ meetings outlined in the Accord have not been implemented. There has been much progress at a municipal level and there are concerns that the current Baillieu Liberal Government is stepping away from the then Brumby Government’s promises. “Ted Baillieu’s Government via [Minister For Consumer Affairs] Michael O’Brien have come out and said [the Live Music Accord] is a commitment from the last government, so they’re not going to go out and revisit that,” continues Marcou. “We think that’s contradictory to the statements made at the Tote on the day of the release of the [Arts Victoria] report into the contribution of live music when they stood up and publically stated ‘we support it, we’re gonna nurture it, we’re not gonna let unintended consequences from regulation affect it again’.” In recognition of the significance of the sector, Melbourne City Council has written up a Live Music Strategy that has been worked on with various industry stakeholders. “Once you get the City Of Melbourne involved [it’s a] big statement [that] they support live music,” says Marcou. “They’ve put a motion forward to change zoning to protect live music venues… They’ve also started the Melbourne Music Week.” But these positive steps are in danger of being undermined by a State Government reluctant to talk at all. One key discussion Marcou and her round table delegates are keen to have centres around the increased density of housing in the inner suburbs and how best to protect existing venues from noise complaints from new occupants. “Our major concern is always first amenity: that people can move in next to us, complain and get us shut down,” says musician and owner of Fitzroy’s Old Bar, Joel Morrison. Old Bar plays an integral role in the music community as
SLAM’s Helen Marcou and Quincy McLean. Pic by Carbie Warbie.
The Slam rally. Pic by Carbie Warbie. one of the few venues that shows live music – largely smaller, emergent artists – seven nights a week. “There’s a certain decibel reading that you’re allowed and that’s measured from the closest residence. If somebody moves in right next door, then your closest residence, which may’ve been two bloody blocks away, is right next door.” Marcou believes the implementation of order of occupancy legislation must be clearly defined in statutory law before venues will be protected at all. Without the planned round table discussions, it’s impossible to get the ball rolling on this and other areas of concern, including best practice codes for venues and preventing liquor licensing from impacting negatively on live music in the future. “Planning can be interpreted by different councils,” she says. “High density living is the way of the future but we can’t plan positive culture out of existence.” SLAM are taking these initiatives to every state and territory in the country by way of a national SLAM Day celebration this Thursday. More than 120 venues (including more than 60 venues showing more than 130 acts in Victoria alone) have registered gigs in a show of solidarity for a cause. “Part of the reason we have gone national is that after the SLAM rally we’ve constantly received letters and emails from all around the country and other cities around the world asking for help with their own campaigns,” says Marcou. “There’s similar problems of gentrification, land values rising, artists being forced into the peripheries of society, and the same themes of no protection for these cultural clusters.” As well as entertainment hubs, these cultural clusters form the centre of communities, and provide jobs that are crucial for the development of talent. Local musician Tom Lyngcoln is a figure synonymous with the local band scene. Not only has he played in bands in Melbourne for years, but he’s the guy lending and lugging gear at small gigs, he’s in the shadows at pretty-well every rock gig in town; he met his wife through music, his friends through music, he lives and breathes what it is to be part of the music community. “The most important part of this community is the live performance,” he says. “It’s the ritual: you get together and you meet; you meet new people, you get to see all your old friends. For me that is social interaction, it’s the foundation of my life.”
groups such as FreezaCentral could have dire effects for the local scene. “If they said that you can’t drink any more in venues, I wouldn’t give a shit, I’m there for the music,” he continues. “Growing up, that was the thing that was most frustrating to me, I wanted to be in these rooms and see these bands and hear the music and they’d tell me I can’t because there’s alcohol there… My wife Alex and all her friends met through going to all-ages shows and all those people went on to form bands. It’s a no-brainer, and something that I’ve realised as I’ve grown older is that constantly playing to your peers is nowhere near as beneficial as playing to younger people who may draw a bit of inspiration from it and get involved themselves.” The SLAM rally, for Lyngcoln, will remain synonymous with his discovery of political cause and effect. In celebration, he and his band Harmony have signed on for the SLAM Day event, registering a gig at Smith Street venue Yah Yah’s. “As an adult and a voter I’ve never really had any other impact on a decision. I can’t recall any other time that there’s a direct correlation between an action taken and a result given. It’s an extremely powerful movement and it has to keep going.” This Thursday, whether you make it down your favourite venue, write a letter or call up your local MP, pass some information on to a friend or buy a bit of locally produced music, SLAM Day is about engaging with your surroundings and being part of a community. Even a stroll around your neighbourhood will reinforce what you potentially stand to lose, or perhaps have already lost. “They’re a soft target, live music venues,” concludes Marcou. “It’s much cheaper to just put on a big telly screen or run poker machines or sexually explicit [entertainment] or just straight drinking than to run live music. People tend to drink less in these venues, they have a cultural focus and it’s a little community that teeters on the edge. We can’t see our culture planned out of existence.” Or as Joel Morrison puts it: “What else are ya gonna do? It’s music, it’s fantastic!” WHAT: Slam Day WHEN & WHERE: Thursday 23 February. For a full list of gigs go to slamrally.org
For Lyngcoln, the cutting of funding for youth development
INPRESS • 23
Enrol Draw Animate Experiment Render Direct Bring your characters to life Final call 27 Feb intake
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24 • INPRESS
THIS CHARMING MAN THE LAST ARTIST TO TOUR WITH AMY WINEHOUSE, MAYER HAWTHORNE RELEASED HIS DEBUT SINGLE ON RED, HEART-SHAPED 7” VINYL “’CAUSE IT WAS COOL”. BRYGET CHRISFIELD CHATS TO THE CROONER WHO’S DEVOTED TO KEEPING CHIVALRY ALIVE.
elieve it or not, Mayer Hawthorne actually enquires, “How do you do?” (the title of his latest album) to kick off our chat. He’s currently “chillin’ in Los Angeles” and upon hearing about Mötley Crüe’s upcoming residency at The Hard Rock Hotel and Casino in Las Vegas, admits enthusiastically, “Wooow, that sounds dope! Damn. Are they gonna have the crazy drums?” Yes, the drum coaster has been confirmed. “The drum coaster, yeah,” he laughs. “That’s showmanship right there. That’s a show!” Sounds as if Hawthorne has clocked some footage of Tommy Lee’s drum coaster on YouTube then. “Oh, yeah, I’ve seen plenty of videos. I used to be a big Mötley Crüe fan.” Props to the soul sensation for embracing his love of metal when a lot of people out there would fear being classed… “Oh, fuck that!” he interjects. “I used to be a metalhead. I used to listen to Poison and Megadeth and Iron Maiden and all that stuff.” It’s hard to imagine this cat, who usually sports powder blue three-piece suits, decked out in one of those black heavy metal T-shirts complete with iron-on patch, but au contraire: “Oh, yeah, I had a few of those. I definitely had a few iron-on patches in my day.” But we digress. It’s also surprising to learn that Hawthorne has only been singing for a couple of years. Not sure we buy this theory, as he sings like an angel! So when did Hawthorne first realise that he could sing? “Um, I don’t know whether that’s really even happened yet,” Hawthorne replies modestly. “I’m, um... singing is a very new thing for me and I’m still very much learning every time I get on the stage. I’m always just trying to make sure that every night is a little better than the night before, you know. It’s something I’m working very hard at now, but it’s still very new for me.” Not wanting to blow smoke up his arse or anything, but Hawthorne sure has been blessed with an extraordinary God-given instrument. “Well, yeah, I mean, thank you very much. Hopefully one day I will really learn to use it properly,” he laughs uncomfortably. Hawthorne admits he does vocal warm-up exercises “every day”, adding “you’ve got to. It’s my livelihood now. I do have a vocal coach. I have an amazing vocal coach. His name is Roger Love. He’s the shit: Roger is the greatest. But I also learned a lot just from touring with [and] doing shows with some of my favourite singers in the world, like Erykah Badu and, you know, I toured with Amy Winehouse in Brazil.” Reflecting on Winehouse’s untimely death, Hawthorne pauses and then offers, “That was tough. She was one of the sweetest people I ever met in my whole life. But, you know, I’m really thankful that I was the last artist to get to tour with her. I’m super thankful for the brief time that I had with her.” Not only has Hawthorne toured with some phenomenal artists, he has also featured on some sonic masterpieces. Heard SebastiAn’s track, Love In Motion? If you haven’t, do so sharpish. Hawthorne is chuffed when this track’s singled out. “Ah, man, that’s one of my favourite things that I’ve ever done.” There’s something about his vocal delivery that calls to mind Prince. “Well, it’s just something totally different that nobody’s heard from me before, but Prince is – yeah,
I mean Prince is one of my favourite artists of all time and it was cool to get a chance to do something different like that; something unexpected. I actually met SebastiAn for the very first time in Amsterdam. We both happened to be in Amsterdam at the same time and it was originally a different artist that was supposed to… it was a girl, actually, that was supposed to sing that song. And she got sick or something and couldn’t make the studio session in Amsterdam and I had just met SebastiAn that day and he said, ‘Hey, why don’t you just do it instead?’ And I was like, ‘Wow! Okay, no prob, let’s do it.’ It was definitely meant to be.” Hawthorne’s music explores romantic themes. When asked whether he endeavours to keep chivalry alive in his daily life, the crooner’s response is immediate. “Of course, man, you’ve gotta! Yeah, chivalry is something that… I dunno, that’s just the way that I was raised and I’m really thankful that I had parents that taught me the importance of manners – of good manners – and chivalry. You know, open your door for your lady when you gotta go out.” The man’s clearly got game. So does he walk on the curbside of the street as well? “Of course,” he says emphatically, obviously believing this unwritten rule of etiquette is not open for debate. “Yeah, come on, that’s just the way I was raised, so I try to impart that wisdom on as many people as I can. It’s a better way to live.” Hawthorne’s music also suggests he falls in love easily. “Oh, I’ve always had lots of crushes. You know, I remember in elementary school I wanted to kiss all the girls.” He’s almost certainly prone to giving out valentines, then. “I did back when I was in school. Nowadays, you know, I may give a valentine to my valentine, but it’s not as many as it used to be.” Ever the charmer, Hawthorne released his debut single, Just Ain’t Gonna Work Out, on red, heart-shaped 7” vinyl. The dialogue that led to this creative decision must have been eavesdrop-worthy. “Ah, well, fortunately I was signed to one of the dopest labels of all time, Stones Throw Records. And I was just kinda clowning around. I was like [puts on dopey voice], ‘What if we press my record on a red, heart-shaped record. Wouldn’t that be crazy?’ And [Stones Throw label head] Peanut Butter Wolf is just such a G, he was like, ‘Yeah, that sounds dope so let’s DO that, for real!’ [Laughs]. And I was like, ‘Wow, really? Okay, let’s do it.’ So, shout out to Stones Throw Records for even having the balls to do something like that, ‘cause that’s a really expensive undertaking. The cool thing is that they just did it ‘cause they thought it was cool, you know? And they didn’t care whether they were gonna sell a million copies of it, or whether they were gonna make any money on it, they just wanted to do it ‘cause it was cool and sometimes you’ve gotta just do that.” WHO: Mayer Hawthorne WHAT: How Do You Do (Universal) WHEN & WHERE: Wednesday 29 February, Corner Hotel
“Europe’s answer to Sonic Youth. At times like Queens of the Stone Age chilling with a string section ... then it goes full-on purple-rock raining down from Beck’s mansion.” - Drowned In Sound
SATURDAY 12 MAY CORNER HOTEL TICKETEK.COM.AU CORNERHOTEL.COM
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TWO BECOME ONE THE BALLAD OF GENESIS & LADY JAYE IS A LOVE STORY LIKE NO OTHER. THE DOCUMENTARY CHARTS THE EFFORTS OF FORMER THROBBING GRISTLE MEMBER GENESIS P-ORRIDGE AND HIS PARTNER TO TRANSFORM THEMSELVES INTO A SINGLE PANDROGYNOUS BEING. STORY BY ANTHONY CAREW, STORY PHOTO BY PEROU, COVER INSET PHOTO BY EDLEY O’DOWD.
hen Genesis P-Orridge says ‘we’ – which happens constantly – it’s not exactly the royal we, but it refers to the self. In a sense. The 62-yearold provocateur – best-known as member of seminal industrial music troublemakers Throbbing Gristle – began an art-project, in 2003, with wife Lady Jaye Breyer P-Orridge, in which the two hoped to become a single ‘pandrogyne’; one entity in which the two lovers were equal halves. Meaning: each had extensive plastic surgeries to look like the other. Which, for an Englishman born Neil Megson in Manchester, meant breast implants and the beginnings of gender reassignment. P-Orridge’s other half died from sudden, tragic heart failure – at just 38 – in 2007,
but for Genesis she is still there, still alive in their shared pandrogyny; thus, his ‘we’ speaks on behalf of both of them, even if he/she (and, yes, I’m unsure of how to bill P-Orridge pronoun-wise, which is surely the point) is the only one left here to answer interview questions. “In 2003, on Valentine’s Day, that’s when Lady Jaye and I got matching breast implants,” P-Orridge recounts. “We think of that as the true beginnings of pandrogyny. Because we’d made not an irreversible step, but a very clear, visible commitment to the concept.” The money that kickstarted the project came from a legal settlement, when P-Orridge was awarded $1.5 million in damages after being injured in a 1995 fire in Los Angeles, in which Rick Rubin – owner of the building – was found responsible. Recounting the injuries – which still plague him/ her to this day – P-Orridge flips from the first-person singular to the firstperson plural, with the first-person possessive thrown in. “When we fell out of the burning building and landed on these concrete steps, my left arm was broken at the wrist and the elbow joint on my left arm was shattered into more than 36 pieces, and my left side ribs were broken, and my left thigh was so damaged that it’s still numb from nerve damage,” he/she remembers. “And they didn’t notice that we also burst one of my spinal discs. So, the liquid seeped away and now the disc is just gone, so it’s just bone rubbing on bone. Which explains why we’ve always had a pain in my back. But we still play, we still dance, we still give our all on stage.” P-Orridge is bringing his/her long-running occult-themed outrock outfit Psychic TV to Australia to perform at the Adelaide festival. P-Orridge will be coming to Melbourne not to perform with band, but to introduce and discuss the documentary The Ballad Of Genesis & Lady Jaye. Marie Losier’s 2011 feature is an intimate, romantic, tragic look at its titular husband/wife and the feelings and philosophies behind their pandrogyne project. “Lady Jaye was the one who said, ‘You know, we really need to find someone who will film all of this, this process, and what we’re thinking,’” P-Orridge remembers, of the film’s first flickering moment of genesis. “She thought it was important. And she was 100% involved in the discussions with each other that got us to the conclusions that made us do that. And she said: ‘We need a filmmaker, someone who’s got the time and the energy and the commitment to follow us around all the time’. And, then, two days later, we were at an art gallery opening, and Marie Losier was there, and she actually stood on my foot. She apologised, smiled very sweetly, and we said, ‘Who are you?’ And she said: ‘My name’s Marie Losier, I’m a filmmaker.’”
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“The next day,” P-Orridge continues, “she came to visit us, had a cup of tea, and almost straight away we said, ‘You’re the one that should film us’. So, she filmed us for seven years. Four of them when Jaye was still alive, and then three afterwards, trying to still piece together a story. And then a year editing, because she had so much material. We gave her 100% access: she could call up and say ‘I want to film all your tattoos and piercings, so can you lie naked on a rug?’ And we’d always just say ‘okay’. We never said no to anything she proposed.”
&FRIENDS’ MIDSUMMER M I XTA P E
The death of Lady Jaye is a huge rupture in the narrative of the film, representing, as it was, the huge rupture in P-Orridge’s life. “When Jaye died, she’d gone to the bathroom and we dozed off for a few minutes and woke up, and immediately felt this awful emptiness inside, and thought, ‘Oh god, something awful’s happened’. And we shouted her name and she didn’t reply, and we went to look for her, and found her collapsed in the bathroom. And, so we called 911, and I started doing CPR to her; and it’s pretty definite that while we were doing CPR she breathed her last breath in me.” The horrible situation was made worse by the arriving paramedics and police, who didn’t take kindly to the ‘weird’ pandrogynous husband mourning his just-departed wife. “They were really, really unpleasant; just so nasty and sarcastic and aggressive towards me. And it’s the last thing that you need that the person you adore more than any other has just gone, and you’re in shock,” P-Orridge offers. “We’re saddened by ignorance. Saddened by the ability of so-called human-beings to be so bigoted and hypocritical and violent and cruel, it’s beyond my comprehension why that would satisfy anyone.” P-Orridge effectively lived through that tragedy, time and again, by touring with The Ballad Of Genesis & Lady Jaye at film festivals, each screening opening old wounds. “It made me really sick,” he/ she says. “It was just so brutal to keep watching it, seeing the dog, Big Boy, and seeing Jaye, and how happy we all were, and knowing that they weren’t there anymore; that she had died, and that the dog had died, too. And we lost the house because without Jaye’s income we couldn’t keep it. Watching that was incredibly hard, emotionally. Several times, obviously, we were quietly crying in the dark.”
@ ART CENTRE MELBOURNE
P-Orridge persisted in finishing the film after Lady Jaye’s death as “homage” to her wish for the world to remember their “great love-affair”. So, P-Orridge says, “thank goodness people are seeing this as a love story. We’ve had people, quite often now, come up and say basically the same thing: ‘Watching that film made me realise that it’s stupid to be afraid of total commitment; that to love someone unconditionally may be scary, but it’s also inspiring’. We never thought our little home movie would be inspiring people to change the way they think about love, about relationships, but here we are; and what better memorial for Lady Jaye than that.”
T H E FA M O U S SPEIGLETENT FEB 23 @7PM promoting respectful relationships among young people
WHO: Genesis P-Orridge WHEN & WHERE: Saturday 3 March, Adelaide Festival, Barrio, Hajek Plaza (band performance with Psychic TV); Monday 5 March, ACMI (Q&A and screening of The Ballad Of Genesis & Lady Jaye)
w w w.f a c e b o o k .c o m / T h i s I s O w l Eye s
26 • INPRESS
INPRESS • 27
ABOARD VOYAGER 8 NEON INDIAN’S ALAN PALOMO TALKS TRANSITIONS FROM LO- TO HI(ER)-FI, SYNTHS AND RECORDING WITH THE FLAMING LIPS. BY ANTHONY CAREW.
IT WAS ONE OF THOSE THINGS LIKE: ‘THIS SHOW BETTER GET GOOD, WE HAVE 40 MORE DATES LINED UP!’”
oing into upstate New York’s Tarbox Road Studios to work with the Flaming Lips’ ‘fifth Beatle’, Dave Fridmann, wasn’t a calculated, careerist decision for Neon Indian’s Alan Palomo. He wasn’t, at the behest of some label, going to the place where MGMT made (and then, second time around, lost) their millions. Instead, Palomo sought out Fridmann due to two main reasons: 1) he was having trouble mixing the component parts he’d recorded by himself, in isolation, in Helsinki, for his second record Era Extraña; and 2) he was a huge, dorky fan. “For me, that was definitely a dream come true,” gushes Palomo, a 23-year-old who could easily be described as a ‘nerd’. “I remember the first mix-CD I ever got, from a friend when I used to work in this movie theatre, the first song on it was the opening track from Deserter’s Songs that Mercury Rev record [produced by Fridmann]. So, when I was re-mic-ing things, using room reverb, knowing that these were the same walls that had bounced around a lot of the sound from my favourite records, that was a pretty surreal feeling. It was cool to have someone who could speak my language, and if I needed a specific kind of room or EQ or tiny little thing that would be perceived as minutia by anyone else, they’d know exactly what I was talking about. It was rad. It was a fun time.” From there, Palomo was effectively officially adopted into the greater Fridmann musical family. Meaning: an experimental, fried-out collaboration with the Flaming Lips, which came out as a four-song 12-inch wittily entitled The Flaming Lips With Neon Indian, early in 2011. “It all sort of happened at the same time,” Palomo recounts. “I started talking to Dave independently of the Flaming Lips. I met the Lips when Wayne [Coyne] came up to a show in Portland, and we just sort of hung out a little bit. He was like ‘Hey, man, we should do something!’ We didn’t know exactly what it was going to be; maybe we’d play some shows together, maybe we’d make some music. We just kept in contact, and by the time I was in the studio with Fridmann, the Lips had a couple of extra days lined up to record there that were overlapping, then Wayne said ‘why don’t we show up a couple of days early, we’ll fuck around in the studio and see what happens?’ And, sure enough, the songs we made all came out of that period.” Having made more slick, electro productions as Vega – where people called him ‘blog-house’ – Palomo started making Neon Indian jams as an entirely personal project; lo-fi goof-offs, washedout lovesongs, and tape-damaged tone all in play. Yet, in mid2009, he suddenly found himself at the centre of a blogospheric storm: crowned the king of the summer of chillwave. “It was a total fabrication of the internet,” Palomo eulogises, of the evolution of chillwave. “It’s not like any of us knew each other or hung out. I didn’t know Chaz [Bundick of Toro Y Moi] or Ernest [Greene of Washed Out] or any of those dudes until we were written about in the same sentences. People just lumped us together like a play-date. It felt really weird: ‘hey, you guys should be friends! Collaborate!’ But, it was something; and it did happen because we could have similar interesting musical conversations. What’s interesting to me is that all these new sophomore albums by so-called ‘chillwave’ artists is really only reiterating the notion that everybody come from polarising backgrounds to begin with. Nobody’s second record really sounds like one another, and that’s a really awesome thing.” Palomo’s second Neon Indian record – the follow-up to 2009’s chillwave blueprint Psychic Chasms – effectively sounds like a sad, cold, electro record blasted with waves of shoegaze-level noise. “It was really rad to mess around with chiptunes, but try and write shoegaze music with it; to try and chase these weird mish-mashed aesthetics in my head,” Palomo offers. After the lo-fi fug of his first LP, Era Extraña marked a move towards a more widescreen, hi-fi sound. “I realised that really fine-tuning a more hi-fi-sounding record – even though I know it’s not really a hi-fi record – was something that I could do,” Palomo says. “I look back on [the first record], and I see how easy it was to put this warped tape sheen on everything, then just be content with it. Because there was already a narrative, a story innate in doing that. This time, it felt more like building something from the ground up.” Including, some literal building. Specifically the PAL198X, a custom synthesiser Palomo had built as he was setting out work on Era Extraña. “This record made a gear geek out of me, and I couldn’t be happier about it,” Palomo laughs. “I wanted to use these synths, these instruments and effects that I’d wanted to use since highschool. I wrote the record on a Voyager 8 and an MS-20 and a modified Commodore 64. The Voyager 8 is in the New Order video for Perfect Kiss, and I was always totally blown away by what that thing looks like. It’s this bizarre, kaleidoscope interface with these knobs, and it’s really physical to use – a strange kind of challenge. A lot of the first weeks, when I was in Helsinki working on the record, were spent just learning how to use all this stuff.” Though Palomo made much of the LP in isolation, he knew he’d be playing the songs live. It was a different story back when Psychic Chasms came out. Then, Palomo found himself in a familiar position for someone suddenly thrown into the hype machine: having to assemble a live band, live show, and live reputation. “It was totally carved out on the road, and it took a while,” Palomo recounts. “I remember the first 20 shows were pretty brutal. It was one of those things like: ‘this show better get good, we have 40 more dates lined up!’” This time around, with a tight band already assembled, willing and waiting, Palomo wrote Era Extraña’s songs “motivated by how I would want [them] to be played live.” “That was,” he says, “something that was undeniably in my mind: ‘what would I want to be playing every night for eight months?’ The album really evolved from there.” WHO: Neon Indian WHAT: Era Extraña (Popfrenzy/Inertia) WHEN & WHERE: Friday 24 February, Prince Bandroom
28 • INPRESS
INPRESS • 29
WHAT WOULD YOU HIDE TO PROTECT YOUR FAMILY?
Strong coarse language and violence
IN CINEMAS FEBRUARY 23
STEPPING UP THEY MAY HAVE FACED A BACKLASH AFTER THE RELEASE OF THEIR SECOND ALBUM, BUT ENTER SHIKARI’S OPINIONATED FRONTMAN ROU REYNOLDS TELLS MONIQUE COWPER THEY COULDN’T BE MORE PROUD OF THEIR POLITICAL STANCE ON LATEST RELEASE.
usicians from all walks of life come up against a certain damned if you do and damned if you don’t phenomenon when it comes to the integration of politics and music. Young British rock band Enter Shikari learnt this after the success of their debut album Take To The Skies. It reached number four on the UK charts and had them selling out massive venues. However, it was followed by a much more controversial album, 2009’s Common Dreads, which had developed an electro sound and a more mature lyrical content with commentary on everything from free trade to then British Prime Minister Tony Blair. “We got a lot of flack after the second album because most of the stuff on the first was written when I was seventeen,” Reynolds says. “It was more art for art’s sake and the lyrics were very retrospective and poetic. We stepped up the frankness and directness on the second and we did get a backlash. A lot of people don’t want politics mixed with music.” Reynolds found the criticism frustrating and misdirected in many cases. Certainly on their recently released new album A Flash Flood Of Colour his delivery is that of a mouthpiece for a generation rather than an evangelist. “I find it funny that people complain and say things about my lyrics like they are so offensive,” he says. “What’s so offensive about world peace and equality? You never hear people saying it about music that glamorises weed or violence or is about being the biggest consumer you possibly can. They should find that offensive.”
LYRICS HAVE TO BE SOMETHING I’M PASSIONATE ABOUT IF I’M GOING TO RUN AROUND ON STAGE LIKE A HEADLESS CHICKEN WHILE SINGING THEM.”
Enter Shikari decided to ignore the hype and stick to their guns for A Flash Flood Of Colour and the result is an album that is stronger both musically and lyrically. While it was recorded in Thailand before the London riots, the growing frustration in the air is reflected in the lyrics. Many would argue it is refreshing to hear a young band using their influence over the masses to inspire political discussion. “Last year there was a lot of social unrest around the world and I think that will continue to increase. We’re seeing a trend in that general direction, whether it be frustration with crime or unemployment or the economy or health,” Reynolds says. “And that was very much on our minds. Generally speaking, as a band, we don’t think about what we’re doing consciously and perhaps that will be our downfall. But we are concerned that there is a huge imbalance in mainstream music that can be so mind-numbing and soulless. So we did feel some sense of responsibility.” Reynolds likes to motivate rather than brainwash the masses with lyrics like “So this is an exciting time to be alive/ Our generation’s gotta fight to survive/ It’s in our hands”. His rant on the track Gandhi, Mate Gandhi is certainly persuasive with his assessment that the amount of weapons sold, money printed or hydrocarbons burnt should not be the measure of society’s health. While the pressure was certainly on to follow up Common Dreads’ controversy and to represent what was going on internationally, Reynolds claims it is still all from the heart. “The lyrics I write still have to be something I’m passionate about if I’m going to run around a stage like a headless chicken while I’m singing them,” he states. Of course, the other concern is that the message could be lost on the audience, but apparently this isn’t an issue for Enter Shikari fans. “You just never expect so many people to listen and shout back the lyrics to us,” Reynolds says. It seems there certainly are many voices shouting back these days. Recently released, A Flash Flood Of Colour entered the UK’s midweek charts at number one, which Reynolds admits was a shock (its eventual debut was officially at four). Certainly their blend of electro/metal/hardcore/drum’n’bass is not exactly mainstream. “It’s done amazingly well. We weren’t expecting that at all,” he says. “It’s very strange for a guitar or alternative band, whatever you want to call us – and being independent you don’t even expect to make the charts.” It also came as a nice birthday present for Reynolds, who celebrated while performing their first show for the album in the UK. “It was a busy day and it’s pretty hectic to be performing on your birthday,” Reynolds says. “The show itself was a lot of good fun. The last album was released on our guitarist’s birthday so it seems to have become a re-occurring theme. The only thing is everyone wants to buy you a drink and, believe me, that’s bad when it’s offered to me.” The celebrations will continue when Enter Shikari arrive for the Soundwave tour, where Reynolds is looking forward to hanging out with friends as much as catching some old favourites. “There are some awesome bands playing,” he says. “I’ve never been this excited by a festival line-up before. I’m really looking forward to seeing Dillinger Escape Plan again after we did the Warped tour with them. And I’ve never met the guys from System Of A Down so I’d love to do that. I feel like we have a lot in common with them.” Enter Shikari were welcomed with open arms by Australian audiences very early in their career. They played the Big Day Out in 2008, Soundwave in 2010 as well as their own headlining shows and Reynolds is keen to see what Australian audiences think of the new songs. “From the first time we toured there we’ve had a big following straight away and everyone was really welcoming; we just loved it,” he says. “Of course, it’s also that time of year that every band wants to play in Australia. You get this idea it’s going to be like a holiday, but I think we spend every day off on a plane.” WHO: Enter Shikari WHAT: A Flash Flood Of Colour (Liberator) WHEN & WHERE: Tuesday 28 February, Billboard; Friday 2 March, Soundwave, Melbourne Showgrounds
PROVING THEIR METAL
TRANSNATIONAL GYPSY CREW BARO BANDA HAVE WOWED AUDIENCES THE WORLD OVER, INCLUDING A BUNCH OF BERLIN METALHEADS, WRITES IZZY TOLHURST.
EX-BYRDS BASSIST, FLYING BURRITO BROTHER AND THE DESERT ROSE BAND FOUNDER CHRIS HILLMAN TELLS SAMSON MCDOUGALL THAT AFTER ALL THAT, HE’S HAPPIER NOW THAN EVER.
ou wanna know what I don’t enjoy?” says Chris Hillman of getting older as a musician, “I don’t enjoy travelling – it tears me up, it’s hard. Even getting on an airplane to go across the country for three or four hours is hard; it takes a toll on you. But it’s part of the nature of the beast and I’m not in a position, nor would I want a tour bus – I wouldn’t want to go out that long.”
hen Murat Yucel arrived in Australia 13 years ago, the Turkish-born singer and guitarist, who was raised listening to western music, found himself suddenly longing for the sounds of the homeland. “Being away from home, thousands of kilometres, I think does that to you, and that’s sort of reflected in the music. That’s my role anyway, to bring the two together.” Now Yucel heads culturally diverse (and wildly fascinating) group Baro Banda, meaning “friendship band” in the Romany language. The group are headlining the upcoming Karavan! International International Gypsy Music Festival. Formed in Istanbul in 2006, Baro Banda essentially “started on stage,” and had “actually never rehearsed together,” when they first performed live, Yucel explains. Furthermore, with members living in a variety of countries around the globe (including Australia, Istanbul, Turkey and Mexico), the whole outfit rarely practice together, and record production has previously been a long process given such distance. “We recorded an album in 2009 through to 2010, which took that long because of all the logistical difficulties,” Yucel explains. “Whenever we had to edit something we emailed it to each other, then sent it to the studio where the recording was done. But as you can see that hasn’t stopped us from doing it.” Despite this, and adding to the afore-conveyed enthusiasm, Yucel says that in the past five years the band have refined their sound, and he is convinced they’re more “fiery” than ever. “It’s gathered more of a carnival, festival vibe,” he explains. “We’ve come to understand what each part can do better over the years, and we experimented with that more. At the beginning it was all just a big jam, but later it started to shape a bit more. Originally we played with different instruments and different musicians, and in the end we chose what was best, and finalised our shape and sound,” he continues.
Informing Yucel that Australia’s gypsy music scene is a niche and relatively modest one, he speaks about being well-received by European audiences, and says he’s always thrilled by the challenge of converting those seemingly not so hot on the genre. “In Turkey, the audience response has been great – that’s actually what made us start the band, it just happened from the amazing response. We thought, ‘We should keep doing this!’ We haven’t had any bad experiences, even in a heavy metal club in Berlin, which we were really worried about. We looked out at the audience and they were all in chains. We became convinced that we shouldn’t play; we thought they were going to hate us. Then it became a challenge, and by the end of the show it was amazing to see all those heavy metal dudes dancing to gypsy tunes… it was great!” While such a rich example of diversity could understandably become a forum for discussions of global politics or peaceful interracial existence, Yucel suggests simply that the shared passion for music and fun was satisfying enough for Baro Banda. “The band members are very different socially, ethnically, in the languages we speak, and even the musical backgrounds. We come from almost extreme ends and meet in this musical common ground. We never try to restrain anyone on their performance; all the differences make the colour of music.” WHO: Baro Banda WHEN & WHERE: Saturday 25 February, Karavan! International Gypsy Music Festival, Corner Hotel
“It’s my penis,” he says. “It’s all about my penis. I’ve got a very big one.” There hasn’t been a segue invented to go from talking about penis size to touring Australia, so your hapless correspondent doesn’t even try. But Mantovani is more than capable of changing tack quickly, as his thoughts below on his time here indicate. “I love Australia. I was out there a few years ago now supporting James Brown, and that was a fantastic time. I also made a film out there last year about going from Melbourne to Fremantle to find Bon Scott’s grave. Yeah, we’re really looking forward to getting back to some beautiful tropical weather, man. And the audiences have been really nice. We’ve been received really well. And I’m married to an Aussie now. It seems like the people who are into music out there are really into music. If you happen to have a show that accommodates that, you’re going to have some fun there and you’re going to have some joy.” Comedy, music, dance, theatrics, music, obviously. All these elements go into making up the strange and bewitching alchemy that is a Cuban Brothers performance. Mantovani says he brought them all together for one reason only. “I just thought, ‘Why not bring all these elements that I love so much together in one show?’ I 32 • INPRESS
Part of what Hillman enjoys so much about this musical pairing is the lack of nonsense associated with teaming up with an old buddy. Through their many years playing music together, they’ve learned to let the “war wounds” go. “In all honesty, no,” he says when asked whether there’s much work that goes into their relationship these days. “We’ve already gone through various parts of being friends. We get along really well. We’re also older
The lack of external pressure – labels, radio, album sales, ratings – contributes to this rekindled love of performing, though Hillman’s unsure whether the goodwill will extend to any recording. “I’m not pursuing a career at this point in my life,” he says. “I’m just enjoying playing the music again as I did when I started as a young kid. I really enjoy playing now, so I’m not trying for a hit record – I don’t even know if I’ll make another record. I might, I’m not sure. “I really like getting on stage and singing and playing, isn’t that funny? I really do like it more than I ever did. Even when I had songs on the radio with The Desert Rose Band and all the other things, I really enjoy it now and I don’t have any pressure. If it stopped tomorrow, it really comes down to whether people want to come out and see me play. If they don’t then that’s okay, I’d think, ‘That’s okay I’m done’ – I’d put the instruments away. If you can get up on stage and you can sing, as near as that to when you were younger, why not sing? If you’re unable to play or sing and you’re over it, then don’t do it.” WHO: Chris Hillman & Herb Pedersen WHEN & WHERE: Friday 9 to Monday 12 March, Port Fairy Folk Festival; Saturday 17 March, Caravan Music Club, Oakleigh; Wednesday 21, Corner Hotel
FOOD FOR THOUGHT
DON’T BE FOOLED BY THEIR NAME – THE MULTICULTURAL CUBAN BROTHERS DEFY DESCRIPTION, WRITES TONY MCMAHON.
Hillman and long-time collaborator Herb Pederson are making the long-haul trip to Australia (Hillman’s first to our shores since The Byrds’ tour of 1978) and Hillman reckons making music with an old friend still feels good. “We’ve known each other almost 50 years,” he says of Pederson. “We’re like brothers, we’ve grown up and both shared the same interests. I went off into the rock’n’roll world and he stayed in bluegrass somewhat and country music. “We met in LA, both playing bluegrass, him in one band and me in another, and we both really hit it off, good friends, and we never really worked together until The Desert Rose Band, which was in 1985. I’d see him around and he was extremely busy as a session player in the ’60s, ‘70s and ‘80s and when we started The Desert Rose Band he was a natural to be in the band.”
WHAT IN THE WORLD? he Cuban Brothers are… well, that’s a little tough to say, actually. They make Cuban music, sure enough, but there’s also elements of hip hop in there. Frontman Miguel Mantovani speaks with a Scottish accent, but claims he’s from BrisVegas and then switches to a more than passable Aussie lilt. One member is Japanese. Their biographical material claims they’re from London. It’s all slightly confusing, possibly a bit of a piss-take, but what’s not in question is that The Cuban Bothers’ music is an incredibly seductive combination of sounds, and their live show is right at the top of the not-to-be-missed list. What is it about Latin American music that makes it so damn sexy? Surely Mantovani would be the person to ask?
As former bassist for The Byrds, a Flying Burrito Brother and founding member of The Desert Rose Band, along with a pile of other musical incarnations in his 48-odd years as a professional musician, you’d feel Hillman’s earned this one gripe. What’s phenomenal after all this time is that the man is finding music enjoyable at all.
now, so you don’t have too much time to waste on old, as I call them, war wounds – injuries from knowing each other so long. It’s like the guys in The Byrds – David Crosby, Roger McGuinn – we all get along. What’s the point remembering some grievance that went down 45 years ago? Who cares? We get along great.”
A RE-FORMED CUSTARD ARE ENJOYING PLAYING WITHOUT COMMITMENTS, BUT AREN’T RULING OUT NEW MATERIAL, WRITES DOMINIQUE WALL.
never consciously set out to be that, it’s just that I love all these things so much.” YouTube gives some idea of the madness and sheer entertainment factor, turned up to 11, that is a Cuban Brothers live show, but it’s also strangely disappointing, watching this band online, because being in the room is so much better. Inpress assumes most readers of this article will not have seen the group live, so we ask Mantovani to describe what they’re in for. “You know what? I think describing a Cuban Brothers live show is the hardest thing I could ever do. It sounds retarded. [Here Mantovani returns to his excellent Australian accent, more western suburbs, now that I think about it, than Queensland] ‘Right. So, there’s this Scottish guy. He might be gay. I can’t tell if he’s gay or Mexican. One minute he’s singing a song, the next minute he’s talking about his time in the porn industry. Mate, it’s fuckin’ ill. Then he’s talking about his nephew. It’s supposed to be his fuckin’ brother, but it’s his nephew. Then there’s this Japanese bloke. It’s fuckin’ sick mate’. [Back to Scottish English] It just doesn’t make sense. When you’re there in the room, it makes sense, and you can get on the end of it, but to try and describe it… It just doesn’t work.” Mantovani’s thoughts on the Espy, where his show will be taking place? “Fantastic venue, man. I’ve performed there as Supernatural. I’ve performed there several times, in fact. Great venue. I love Melbourne, but that Espy? That’s got a really special feel. It’s been going how long as a live venue, decades right? That place has got some history, man. I’m just thrilled to be a part of it.” WHO: The Cuban Brothers WHEN & WHERE: Friday 24 February, Espy
etting the band back together” is a phrase that can polarise fans, sending shudders down the spines of those who see it as a shameless money-making venture, but causing great excitement in those longing to see their favourite act again. Brisbane band Custard have always been rather irreverent and, thankfully, the way their reformation has been conducted is no different. Rather than accepting all invitations to play gigs, David McCormack, Paul Medew, Matthew Strong and Glenn Thompson have chosen shows that tickle their fancy, in one way or another. “It’s [also] really about gigs that come up when we’re all available and can do them. If we’re not available, we don’t worry about them,” says Thompson. “The good thing about it now is that we all kind of live independently of the band, whereas back then, it was all that we did. Now it’s fun, we’re enjoying it and it isn’t our central focus, so there’s no commitment.” One thing they have committed to is playing the seventh Between The Bays festival this coming Saturday at Moorooduc on the Mornington Peninsula. “David was the one who wanted to do it, so we all said, ‘Yeah, okay.’ Anyway, I like the smaller country festivals [compared] to the large ones – you can walk around without getting lost… And it’s always nice to check out local bands and things like that.” Of course, with playing gigs again, comes the inevitable question of what songs they’ll play. With four studio albums to delve into, the setlist has been reported as being a “greatest hits” sort of affair. “There is no new material,” says Thompson immediately. Thankfully, he adds, “There is the possibility that we could get together at some stage later this year and write some new songs – we’re all keen. But [greatest hits] is a very accurate description of the setlist – it’s all singles, which is nice. Actually, there are a couple [of songs] on there that weren’t singles, but they should have been!” Given how long the band were apart, one might expect the four Custardians to spend some of their time
together these days reminiscing. “We don’t really. When we get to the practice room, we play. We have one member, Paul, who lives in Melbourne, and David, Matthew and I live in Sydney, so we don’t have much of an opportunity to get together for rehearsals, so when we do, we just rehearse. Actually, it’s all very serious and we’re very serious about it.” Inpress would expect nothing less than that from Custard! “Yes, that’s right,” laughs Thompson. “The one thing about rehearsing now is that we don’t have to worry so much, you know, we just go in and play.” When asked if Thompson wishes things had been as relaxed during Custard’s previous life, he actually says no. “At the time, it was great because we were making records and making new music, but change is good. It’s nice that we’re playing together now. The first time we played together after ten years apart, the first half hour was just a mash of noise, but then it started sounding like it used to, like Custard, and no wonder it’s sounding like us, because it’s the same four guys it was before, but the sum is greater than its four parts.” Aside from his time with Custard, Thompson has been concentrating on his latest project, Adele & Glenn, with The Go-Betweens’ Adele Pickvance. “It’s great fun. We’ve recorded an album which will be released later this year. We’ll be launching it in Melbourne in May. We’re both keen to get it out there as we finished it last year.” WHO: Custard WHEN & WHERE: Saturday 25 February, Between The Bays, Moorooduc, Mornington Peninsula
INPRESS • 33
WHAT’S THAT SOUND?
LANGUAGE BARRIER EUROPEANS ARE MORE WELCOMING OF PUTA MADRE BROTHERS’ MANGLED SPANISH THAN LOCAL AUDIENCES, WRITES STEPHANIE LIEW.
MELBOURNE BAND I, A MAN ARE INTERESTED IN FINDING NEW WAYS OF MAKING NOISE, WRITES NIC TOUPEE.
t takes a bold, mischievous or infinitely confident band to call their EP You’re Boring Us All. Whether it’s us being bored or the band bored by us, neither are particularly desireable outcomes. It’s also a band with infinite prescience or a devil-may-care disregard for future-proofing who would call themselves I, A Man. Luckily, all of this seems to have been water off the feathery back of I, A Man, thus far. Earning themselves an Unearthed place at Falls Festival 2011, their first EP Fifteen Thirty Three (a much less tricky title) earned plaudits from pundits and favour from fans. About to nudge You’re Boring Us All on their waiting public, Daniel Moss aka ‘Mossy’ clears up the mysteries of nomenclature. “The band name was the first name we could collectively come to, really,” he laughs, shrugging off any importance that we could have been reading into it. “It comes from a movie, but really we chose it because we had studio time booked to write an EP a while back and just quickly agreed on it. It’s one of the things we’ve put least thought into of anything we’ve done, really. But it’s done now,” Moss concludes philosophically. It’s fine with the all-male arrangement they’ve currently got going, but it might become a bit weird with a female recruit, we enquire gently. “It’s just a name, not a mission statement or anything,” Moss rebuffs the suggestion dismissively. “To be honest, it’s not something we put thought into at all. It’s actually an impossible name to say on stage or find when you search for it online,” he laments. “When I introduce us on stage, and say ‘I, A Man’ people often think I’ve said ‘ironman’,” he admits. “A lot of bands have their name written on the kick drum. We don’t have that. We’ve used masking tape, but you could barely read that. Maybe we need a big backdrop banner, like Rammstein,” Moss muses, trailing off into visions of pyrotechnics and Germanic accents. While I, A Man seems like the default setting that stuck, from the band’s point of view, the EP name, You’re Boring Us All, is far more deliberate; far more a nod, a wink and a cheeky invitation to their listening public. “It took us a while to make this EP,” Moss recollects. “We’d take a break, do a few shows, come back,
hen Puta Madre Brothers toured around Europe last year, they found that Europeans reacted better to their attempt at singing in Spanish than Australian audiences have. Well, sometimes. “A lot of Europeans can understand Spanish, and a lot of Australians can’t,” explains Anto Macaroni. “The Europeans were helpful, they were happy to correct us on our mispronunciation, whereas I think the Australians who understand Spanish just get offended and leave.”
write another song – so we built up the recordings over a long period of nearly four months. One of the songs on the EP was titled You’re Boring Yourself. The songwriting on the EP was deliberately more repetitive and minimal than it had been in the past, so that title seemed fitting, in a tongue-in-cheek way. We’re basically having a tongue-in-cheek stab at ourselves.” What Moss calls “minimal” or potentially “boring”, others are currently calling “post-rock” and “shoegaze”. I, A Man’s influences are definitely from the school of drones-and-layers. “We’re all into My Bloody Valentine and they’ve inspired us for lots of things,” he admits. “We love to experiment with guitar loops, layer them and record them backwards… we find that process really fascinating. We don’t plan to bankrupt a label or take two years to write a record though,” Moss laughs. Their experimental approach goes beyond just guitar-bending, Moss details. “We like using things that are not necessarily a musical instrument to make sound. We throw things at the wall – sometimes literally – and see what sticks. We love albums where you listen to interesting sounds and ask yourself, ‘How the hell did they do that?’” WHO: I, A Man WHAT: You’re Boring Us All (Shock) WHEN & WHERE: Friday 24 February, Northcote Social Club; Sunday 11 March, Pure Pop Records; Friday 16 March, National Hotel (Geelong); Saturday 24 March, The Hills Are Alive, Gippsland
It was a challenging time for the Brothers, and energy levels were low about four shows in to the 40-date tour. “After the fourth show we kinda felt like our hair was gonna fall out, because we put so much petroleum in it and it’s impossible to get out.” Fortunately, they discovered an effective hair-washing technique that required mixing dishwashing detergent with olive oil to make a lethal shampoo. “It takes all the grease out. It also takes out about 20% of your hair follicles.” You win some, you lose some. As a three-piece one-man band band, Puta Madre Brothers have to lug around about three bands’ worth of gear. That’s bound to have some unexpected results. “Our arm muscles have gone quite weird, and from playing the drums like on that tour which we did in Europe, our leg muscles went quite strange as well, so we’ve got these tiny little bodies with these enormous limbs. If we keep doing it, we’ll probably be like the Incredible Triple Hulk and bust out of our jackets because our muscles just take over our body. People should know about it; be warned.” The band’s debut album Queso Y Cajones was recorded in a kitchen on cassette tape. They’ve also used tape this time around, on their new album It’s A Long Long Way To Meximotown, but ditched the kitchen for a “cave crossed with a studio crossed with a marijuana den”. Macaroni is unsure which was better because they had no cooking facilities this time around and although they could constantly smell the marijuana, they stayed away from it. But why record on tape?
MANTRA NICK THAYER FLAGRANT
PSYDE PROJECTS DJ PERPLEX, MAFIA
DJ PREQUEL, CLAYMORE 74, ZACK RAMPAGE 34 • INPRESS
“It’s partially that the sonic reproduction you get from a cassette, we all really like the sound of it,” says Macaroni. “And it’s also that we’re all Luddites so none of us really know how to use a computer, really.” He goes on to say that he also finds the clean, digital sound “boring,” even though they probably would try to edit their recordings too if their hands were steady enough to cut tape and put it back together. The album features songs about the Brothers’ ugly dog (Mi Perro Es Tan Feo), eating ice-cream with their girlfriends (La Mierda) and a “mutilated cover” of The Whole Damn Thing by Those Darlins (Todo El Asunto). Macaroni reassures that their pronunciation on the new album is perfect. When asked about the level of Spanish he can speak, he compares his vocabulary to that of a nativespeaking seven- or eight-year-old’s. “We’re totally capable of conversing in Spanish… with each other.” When they’re on the road, he and his bandmates work on their Spanish skills by playing a music mix that consists of five-minute tracks of a woman teaching Spanish interspersed between some Cypress Hill, Richie Valens and Megadeth songs. Before they head back out to Europe to tour Germany and a few other countries in support of their new album, they’re playing a show at the East Brunswick Club. By the sounds of it, they plan to leave the country on a memorable, slightly dangerous note. “They’ve given us permission to paint the room, so we’re gonna paint the room in some special style. We might even punch some holes in the wall and make it look really spectacular. There will be some pyrotechnics but we can’t tell you any more than that. There probably won’t be any live animals, though, just so the RSPCA don’t get on our backs again. The donkeys will stay at home.” WHO: Puta Madre Brothers WHAT: It’s A Long Long Way To Meximotown (Fuse) WHEN & WHERE: Saturday 25 February, East Brunswick Club
INPRESS • 35
SINGLED OUT WITH BRYGET CHRISFIELD
ON THE RECORD
Hooks For Hands Shock “When you’ve got hooks for hands/The more good fortune that you have.” What an inconvenience at mealtimes, though! That’s gotta be most unfortunate. The vocalist sounds a little like Brian Molko from Placebo at times. Hooks For Hands is melodic, catchy and also more polished than their previous offerings – it’ll definitely be picked up by radio, but this pair of ears prefers a harder-edged/more rough and tumble Sugar Army (as demonstrated in earlier tracks such as Now You’re Old Enough, I Think That You Should Know and Acute). Earlier material sounds truer to this Perth band’s ethos and it somehow feels as if they’re sacrificing their edginess in search of a wider commercial reach.
The Shallow End EMI Bleepy phone call-making noises, cowbell, a few Sympathy For The Devil-inspired “Whoo-hoo”s and quirky lyrics such as, “Please don’t you forget that the crazy people need love too” – Sam Sparro’s our man! According to the music video, regularly exercising a couple of lapdogs makes you look SMOKING hot with amazing arms. Oh, and Sparro and his mates are outrageous. He may have tripped over while performing at the 2008 ARIAs, but Black & Gold definitely deserved a gong and Sparro, much like fellow homebred talent Daniel Merriweather, has the potential to be HUGE! The Shallow End is more partay than soul, but you can’t fault those golden pipes (or that perfect set of pearly white gnashers)!
In Your Head Universal I agree wholeheartedly with “mshahtan”, who commented under this video on YouTube: “Asshole, try and find your own tune.” This “reworking” of The Cranberries’ Zombie is total garbage. The fact that the chorus claims it’s impossible to get Mohombi (this moniker replaces “zombie” in the original’s chorus) out of your head is just plain narcissistic bollox: “Who’s in you he-ead/In your he-e-e-ead/ Mohombi” – you get the picture. This plonker is intent on getting “all up in your bizniz”: “Boomboom-boom from your bedroom/Grab your girl and zoom-zoom-zoom” – Naaaasty! One listen is one too many and I want that 3.17-minutes back!
SNAKADAKTAL Carnival I Oh You Snakadaktal produce music to listen to in an alternate universe and Carnival is no exception. Although all of their members are still in their teens, this band’s understanding of how to compose memorable songs, sometimes with nonsensical lyrics – is that, “Lobster/Monster”? – is impressive. Distorted sounds of mirth-filled kids add texture, but the charming simplicity that seems to be Snakadaktal’s MO is always maintained. If Snakdaktal were an actor, the question would be: Will they be Macaulay Culkin or Leonardo DiCaprio?
In A Streetcar Named Desire, Blanche DuBois is a character haunted by her past yet reluctant to embrace the future. It’s a similar paradox that faces Perth sisters Nadija and Adriana Begovich, also known as Blanche DuBois, on their third full-length outing Young Heart. Unravelling their own past tales of love and loss, the Begovich sisters prove they might be young at heart, but there’s an old school classicism to their whimsical ways.
You get the sense that French composer Patrice Sciortino was a little too close to genius to be successful in the kind of way that Ennio Morricone or Bernard Herrmann were able to generate popular acclaim from their at times quite challenging compositional works. The problem is that Sciortino’s work is just too challenging and restless, refusing to reference the work of others, or at the very least stick to one idea and be repetitive.
Opening with the pensive title track, Blanche DuBois make no secrets about the path this album is leading you down. As the sibling vocalists cry out breathy sighs of silver linings, broke hearts and dreams let go, the song crescendos to a resounding instrumental climax. It almost feels like the album’s end point, but it merely sets the stage for more encounters of mixed emotions and bittersweet melodies. Recent single The War In Me follows this trend, with its stuttered chorus and violin undertones offering a gracious nod to Bat For Lashes, while Run For Miles offers a more optimistic outlook with its soaring refrain of “Two steps forward, ever onward”.
You can hear everything in his music, all kinds of genres and approaches, often playing against each other within the same track, and it’s truly mind-blowing. One composer shouldn’t have this much dexterity.
“I’m not old, but I don’t feel young,” Lachlan Bryan sings, “and I’ve been living in the shadows far too long.” Shadow Of The Gun – the solo debut for The Wildes’ singer – is his shot at stardom. Trying to transition from urban country to Australia’s traditional country scene, he’s hooked up with producer Rod McCormack, who’s best known for his work with Adam Harvey, Beccy Cole and his wife, Gina Jeffreys. The centrepiece of the album is the aptly-titled Going Straight. McCormack has straightened out Bryan’s alt.country edges. He’s learnt to “whistle and waltz to a whole other tune”, declaring, “I’d rather sing in churches, because I’m tired of being in bars.” The result is a little slick at times, but the songwriting shines.
There’s an echoey wistful quality to Jordan Sturdee’s vocals that evokes Ben Bridwell from Band Of Horses. Then Dan McMurray’s changeable drum pattern knocks you for a sixer. The lyrics seem incidental as if sung out of an open car window, which rushes by before you can comprehend their meaning. Soaring harmonies lead into a keys breakdown and then In Retrospect throws everything in to ensure concluding impact. Pleased to have met you Battleships, here’s hoping you navigate your career wisely.
Bolstering Young Heart is a knowing ploy for what works best, and while this makes for some skilled songwriting and strong production, it’s a largely unadventurous listen. Adopting that country-tinged twang perfected by the likes of Jewel and Sarah McLachlan in the ‘90s, Blanche DuBois fail to break new ground here and find themselves frustratingly inhibited. The narratives flowing are retold faithfully, but without the empathy and catharsis you crave from torrid love stories.
Sciortino briefly studied at Pierre Schaeffer’s GRM and has composed for stage, TV, ballet, choirs and of course library music. It’s in this realm that he is best known. Originally released in 1970 on the PSI label, the breadth of the music is spectacular, simultaneously mischievous and avant garde, hardly the sort of music any television producer would be picking up for their show. Omni of course aren’t content to simply re-release the LP, they’ve included three different 10” recordings from the prestigious Musique Pour L’Image library label, bumping it up to 36 tracks. At times it feels like cartoon music, such is the speed, humour and movement in his compositions, yet when combined with the strings and elements of 20th century music it becomes a very strange, quite challenging brew.
Shadow Of The Gun
With tunes of temptation, heartbreak and infidelity, Bryan ticks all the country boxes. There’s even a murder ballad, Lily Of The Fields (“Girls, flowers, bibles, murder – these seem to be recurrent themes in my songs,” Bryan notes). Kasey Chambers adds an exquisite harmony vocal to Whistle & Waltz, and the album also features contributions from Catherine Britt and Kasey’s dad, Bill. But despite the heavy-hitters, the highlight of the album is Bryan’s deep, expressive voice.
You might not have heard of Patrice Sciortino, yet that is clearly not a reflection upon the quality of his music. Music this good deserves to be heard.
Shadow Of A Gun is an ambitious record. “I’d rather be the minister, I’d rather lead the choir,” Bryan sings. “No more waking up in God knows where, or sleeping in my car.” Who knows where he’ll end up? “Destination unknown,” he sings in Going Straight. And whether it’s a sweet or bitter end, only time will tell. But Shadow Of The Gun shows that Lachlan Bryan is a genuine country contender.
Bob Baker Fish
Zef Recordz/Downtown/Cooperative Music
In the months preceding the release of Die Antwoord’s sophomore album Ten$ion, the South African trio parted ways with label partner Interscope, citing disagreement over the creative and commercial direction of the group’s imminent material. To be released through the act’s newly formed Zef Recordz imprint, it was announced that the album would embody a progression of their rap-rave sound, a genre popularised following the circulation of Die Antwoord’s debut $O$ (2009). The resulting output is exactly that.
How far Andrew McMahon has come from his days fronting California emo act Something Corporate, sat at the piano leading the way through the third Jack’s Mannequin album since their 2005 debut. His sights seem set on the songwriters of old, with People & Things unabashedly pop and showing influence from the greats. Past covers of Dylan – Something Corporate recorded Just Like A Woman for the Drive Thru records tribute to Bob and Jack’s Mannequin just released a cover of Mr Tambourine Man on the Amnesty International tribute – and live favourites like Elton John’s Rocket Man and The Boss’ I’m On Fire have revealed how McMahon reveres them, but People & Things seems his most concerted effort to reach that level of songwriting; it’s mature, polished and lyrically perhaps his strongest effort to date. Interesting then that Relient K frontman Matt Thiessen contributed three songs to the album; the ‘80s-channelling People Running and Platform Fire, which sounds like an Americanised Elton John and Robbie Williams collaboration, the standouts.
People & Things
The single decisive issue upon Ten$ion’s critical reception however, is that for the most part we’re unsure of precisely what ‘that’ is. Left in the dark electronic corners of the band’s previous recordings, audiences are still discovering the evolving collective vision of Ninja, Yo-Landi Vi$$er and DJ Hi-Tek. Upon each spiralling twist and turn, the inevitability of this fact is that the Die Antwoord team have total reign over their emergent and iconic sound, and the extent in which it develops, fragments and distends its own form.
The Stars Are Indifferent To Astronomy Stop Start/EMI In the late ‘90s, Nada Surf went from snarky alt. rock to sublime indie pop in just two short albums and, ever since, they’ve been perfecting that sound. The pop that Nada Surf makes is mature and articulate and there’s hardly a misstep on new album The Stars Are Indifferent To Astronomy. That said though, this album doesn’t seem to reach the heights of Nada Surf’s first and so far best effort into this kind of guitar pop – the breathtaking 2002 album Let Go. Instead, The Stars Are Indifferent To Astronomy is consistently good. It may not quite have that dazzling sparkle, but the guitars still buzz and shimmer and Matthew Caws’ vocals still sit lightly over the top of the tightly wound music. Songs like Jules & Jim are vintage Nada Surf. With a chorus that chimes, “I am lost in my mind when you go to sleep”, this is the kind of song that should delight the band’s fans. Though much of the album is populated by carefully constructed swirls of electric guitar, for the early part of When I Was Young, the amplifiers are turned off to gorgeous effect. When the waves of electric guitar start to overwhelm the delicate acoustics, you realise there is still plenty of power in the band’s gently, gently approach.
What we experience throughout Ten$ion is the grandiloquent delivery of the sonic safari initiated whence first we heard the band. While often jolting in arrangement, this time the songs are interwoven with an even deeper multitude of stimulants from the Die Antwoord ideas bank, entrenched in politics and popular culture. We encounter oblique, direct and contradictory references to a range of inspirations, at times planted so obviously within the structure of verse that they govern an entirely new authority over their sources of origin. It’s a gloriously intact product of its own making .
McMahon reaches for observation of a more universal ‘human’ experience – with a keen examination of relationships – and for the most part achieves his goal, with lines like “So I’ll keep her steady now, but steady’s not her strong suit/I was raised going to church, but couldn’t practice what they preached”. The rest of the band, too, have stepped up their game. Restrained where McMahon’s tendency for balladry requires it [as in Hey Hey Hey (We’re All Gonna Die)], timelessly pop rock and, overall, effortlessly classy.
It’s easy to dismiss this band these days as having just one setting, but if you give them your time and patience, these songs unfold to reveal tenderly beating hearts. The big question is whether you’re happy to settle for something less than Let Go.
DIRTY THREE Toward The Low Sun
Anchor & Hope/Remote Control
Napalm Death were never meant to last this long. But here we are, 25 years after Scum shocked a nation and “Napalm” are nearly as big an institution as their Brummie forerunners Black Sabbath. Of course, this is a band incapable of making anything approaching a truly bad record, so it’s no surprise that Utilitarian is an absolute stonker. In fact, as it cuts down on some of the fat that hampered the likes of previous albums Smear Campaign and Time Waits For No Slave (most songs clock in at no more than two-and-a-half minutes), this is arguably the band’s finest since 2000’s vicious comeback platter Enemy Of The Music Business.
Although this is her third release under her Grimes guise, Claire Boucher claims Visions as her “proper” debut. She isn’t far off the mark; Visions is a much more focused listen that shows that Boucher has finally, fully arrived.
Our Version Of Events is a startling showcase of musical talent. Emeli Sandé can lay claim to both an absolutely stunning set of vocal cords and a considerable set of skills as a songwriter and both are displayed to effect throughout her debut album.
Once again there’s a storm brewing on the Dirty Three’s musical horizon. And for this innovative, evocative trio whose music is so intrinsically linked to the earth and the elementals, that means you can hear the thunder and driving rain wreak havoc then give respite as each of these songs plays out its little four- or five-minute drama. Opener Furnace Skies bristles with a frantic percussive chaos – an intensity that catches you off guard the minute you press play. This isn’t the slowly building fire of some of their older tracks like Authentic Celestial Music or Alice Wading. This is fast and brutal and it takes a moment to catch a breath before settling into the more familiar groove of Sometimes I Forget You’ve Gone. Here a melancholy piano is just as much a feature of the song as Jim White’s feathery brush stokes on the snare or Warren Ellis’ arching violin. Then there’s Ashen Snow, the kind of slow building song that this trio do so very well. The piano on this track seems to seep into your soul. The reason Dirty Three have become such a force of nature, even after a seven-year gap between albums while Ellis cemented his place as Nick Cave’s right hand man, isn’t just because of the music the band have made – though their back catalogue is indeed awe-inspiring. It’s because these three musicians share a very rare musical connection that you can hear in every song as melodies wrap around themselves and the percussion swells to aching crescendos. Danielle O’Donohue
But what really gives Utilitarian a special feel is that while the band can still grind it out as ferociously as ever (check Errors In The Signal and Collision Course for proof) they don’t feel the need to do it all the time. Circumspect is doomy and menacing while Protection Racket matches blistering grind with crushing mid-tempo riffs.
Our Version Of Events
Genesis is the most obvious single, and is a terrific track that manages to tap the futurist synth movement that Games, James Ferraro et al are plumbing the depths of. Her voice is strange in its helium lilt, sonorous on Oblivion, cajoling on Circumambient, childlike on Visiting Statue. In some ways she is the parallel universe mirror image of Lykke Li – tipping silicon atmosphere and style into a mortar and pestle with a pinch of ambience and a strong splash of attitude. There are segues into ambient drone amidst the cybernetic mix also, a nuanced addition that helps auger the otherworldly nature of the album’s sonic concepts.
Most interesting, however, are the likes of The Wolf I Feed and Leper Colony, which include clean chanted vocals that wouldn’t sound out of place on a Swans or Killing Joke LP. And just to top it all off, Everyday Pox features saxophone (I kid you not) courtesy of avant-garde musician and all round genius/nutter John Zorn. It’s simple – Napalm Death just keeps getting better. Who said old people can’t grind?
It’s not all plain sailing though – there’s the loud crunch of Circumambient and the grating intro to Vowels = Time & Space that echoes Roxette or Martika, but lesser than either element – seriously. And not every twitchy quirk gels with Boucher’s intentions either, especially on Eight where the vocals take on a chipmunk level that teeters on the brink of insanity. That said, there is a certain cracked genius in this synthetic construction, a fevered sycophantic adventure that nonetheless is also an inviting and immersive listen. Boucher is still searching for her niche in which to rule, yet Visions stands as a prototype of a bold, grimy future.
Heaven kicks off the album in a soaring mix of vintage drum’n’bass and bittersweet vocal exultation, while second track My Kind Of Love is a stirring, affirming emotional testimonial outfitted with a blisteringly powerful chorus. The remainder of the record is not as consistently jaw-dropping but the songwriting and performances remain strong throughout. The problem is Our Version Of Events doesn’t really succeed outside of showcasing Sandé’s gifts. The majority of the album’s songs end up as little more than electronically-enhanced ballads; soaked in schmaltz and string-arrangements. Basically, Our Version Of Events just sounds like another edition from Simon Cowell’s post-Idol hit-factory. It isn’t, of course. There is real artistry buried beneath the plasticine (observe Daddy: an unsettling chronicle of an abusive relationship). Unless you’re paying very close attention, though, it’s unlikely you’ll ever see it. One can only hope that Sandé can take a more idiosyncratic stance on future recordings. It’s clear she’s capable of delivering something truly special. Matt O’Neill
On Arts Centre Melbourne presents
Tripod Men of Substance Photo: Lynton Crabb
23 – 24 February
Arts Centre Melbourne Playhouse
“Sometimes ﬁve stars just aren’t enough” The Scotsman
Book online or call 1300 182 183
INPRESS • 37
BIG NAMES COMBINE WITH LOCAL UP-AND-COMERS ON A NEW ALBUM CELEBRATING 35 YEARS OF THE JESUIT SOCIAL SERVICES, PROGRAM DIRECTOR AND PAINTERS & DOCKERS FRONTMAN PAUL STEWART TELLS TONY MCMAHON.
ust Music is an extraordinary new CD released to celebrate the 35th anniversary of Jesuit Social Services. Artists such as Paul Kelly, Waleed Aly, David Bridie, Yung Warriors and The Paradise Motel have all contributed songs to the record. But Just Music is also a showcase for emerging artists, with contributions from Sudanese hip hop sensation Bangs and angelic Congolese singer Etienne. Obviously, this is an exciting record on so many levels, and offers punters the rare opportunity to listen to established artists as well as music of terrific interest besides. Jesuit Social Services program director, Painter & Docker and general Melbourne music legend Paul Stewart, first became involved with the Jesuits through a family tragedy. “My bother was one of the guys killed up at Balibo [five journalists were killed in East Timor in 1975; an Australian court ruled in 2007 they had been deliberately killed by Indonesian troops]. I was up there doing the soundtrack to the Balibo movie, and that was where I first met the Jesuits. I heard there was a gig going here in Melbourne at the Social Services and I couldn’t wait to be involved because they just do such amazing work. The things they do at the Bronson Centre for young people coming out of custody, just as one example, it’s fantastic. They don’t give up on people. When I first started I thought they might be preachy Catholics, I didn’t know if I’d be able to handle it, but here at the Jesuits, we’ve got Muslims, Russian Orthodox, even Collingwood supporters.” As mentioned above, Just Music is an exciting record on a multitude of different levels, so much so that Inpress is slightly stumped. We ask Stewart to help us out: where does one even begin talking about an album like this? “It’s a good question. When Paul Kelly gives you a brand new song, that’s almost like getting a little hunk of gold. What an honour, but that’s how much he values the work of the Jesuits. I think the whole album’s a testament to the respect that people have for the work Jesuit Social Services do. Every single artist we approached said yes straight away. For me, personally, I suppose I’m most
THERE’S A WEALTH OF POTENTIAL SINGLES ON STEVE LANE & THE AUTOCRATS’ DEBUT ALBUM, WRITES TONY MCMAHON. PAINTERS & DOCKERS WITH THE FLYBZ excited about having Bangs on the record. Bangs is this Sudanese guy who lives in the Housing Commission flats. He’s had two-and-half million hits on YouTube. So, just to include him on there with the likes of Clare Bowditch [doing a Joni Mitchell song, no less] and Xavier Rudd.” Just Music is being launched at the Famous Spiegeltent, a terrific place to see live gigs on any occasion, even more so perhaps given the nature of the music under discussion here. Stewart is obviously rapt to have received their support, but it seems what he’s looking forward to most is a bit of white-suited, flared-trouser action. “Again, it’s just about our work. The Spiegeltent knows our work and just decided to support us. That took it up a whole other notch as well. It’s going to be a great night. Waleed will be there, with his band Robot Child. The Paradise Motel are going to be there. They’re just a terrific Melbourne band, aren’t they? The Yung Warriors, with a hip hop version of a classic Koori rock song. David Bridie and The Sheilas, which is Rebecca Barnard, Monique Brumby and Kerry Simpson, doing their cover of a disco song…” Sorry to interrupt, but which song? “Love Really Hurts Without You. It’s really going to be something, don’t you reckon?” In fairness, enthusiasm levels begin rising all over the place at this announcement. “I can’t wait for the show now,” Stewart says. “Your excitement has made me really excited too now. Thanks for that.” Inpress assures him that it’s our pleasure, and it truly is. WHAT: Just Music (justmusic.org.au) WHEN & WHERE: Sunday 4 March, Famous Spiegeltent
ictorian indie supergroup Steve Lane & The Autocrats feature members of Augie March, Paul Kelly & The Dots and The Stillsons. Their debut album, The Romance Of Communication, presents squarely as both heartfelt and important music, as well as something that could only have been made by seasoned musicians who share a vision and a strong emotional connection. It would be worth listening to for this alone, of course, but it is also a deliciously fun record – the cheeky narrative art of Literary Man being the track that this writer would nominate as a standout. Far, Far Away is the new single from the album, and Lane seems to indicate that he hopes its release will make up for the record having been slightly swamped upon its release late last year. “It came out in October last year, which is not a great time to bring something out. There’s a lot going on. For an album that’s grown out of a bit of a project, I’m really happy with it. I’ve been around long enough to realise you can pretty easily lose the plot with stuff like that, so I’m really happy with where it got to. It helps a lot having such a bunch of amazing musicians helping you out.” And why the choice of this song in particular for a single? Honestly, the album is a genuine all-killer affair, and any one of the tracks could stand more than admirably on its own, but Lane says that the choice of Far, Far Away came down to a belief thing. “It’s an interesting question. As a songwriter, I find it really hard to make those kinds of judgements. It just seemed from talking to people who are involved in the band, and Footstomp who are doing the promo, that everyone around us thought this was the go. I just kind of really trusted that on some level. I think if people around you are pushing for something like this, then you’ve got to sit up and take notice. That’s just my point of view, though. One of the really beautiful things about having had all these people get back to me about the record is that there’s lots of different favourite songs. I was really trying not to have any filler in there, just a different range of songs, I guess. So, yeah, I just went with the trust thing. That’s not to say I don’t think it should be a single. It’s just that I love all the songs. How do you pick one?”
PROUDLY SERVING OTHERS
When it comes to Lane’s philosophy of playing these songs live, he indicates that it’s all a pretty simple matter, really. “The songs have a life of their own. There’s a fine line between guiding the songs through and letting each member play them the way they want to play them. As far as the live thing goes, I guess I just can’t emphasise enough how fortunate I am to have such a great band with me up there on stage.” Having said that Lane’s thoughts on live shows are fairly uncomplicated, he and his band are embarking on a whopper of a tour, hitting major cities and several far-flung locales as well – never as straightforward as it sounds. “We do get along really well, so it’s really enjoyable. The other thing is, when you make a decision to do this, you may as well go the whole hog. The band’s made up of full-time musicians, so it’s not really a holiday. I’ve got to guarantee that the guys are going to get paid. And the out of the way shows are all really great ones. I guess you could say we’ve gone for the musical experience rather that just playing name venues. Bellingen is a good example: it’s full of George Negus types with cash.” WHO: Steve Lane & The Autocrats WHAT: The Romance Of Communication (ABC Music) WHEN & WHERE: Sunday 26 February, Toff In Town; Saturday 3 March, Palais, Hepburn Springs; Saturday 10 and Sunday 11 March, Lake Mountain Music Festival; Friday 30 March, Golden Vine, Bendigo; Saturday 31, Loft, Warrnambool
Being a PSO stands for a lot. It gives you a special standing in your community. As a Protective Services Ofﬁcer, you help keep our train stations safe. And in helping others, you might even discover something more satisfying than a 9 to 5 job for yourself. Apply to become a PSO today. P.S. Your community needs you.
PROTECTIVE SERVICES OFFICERS
Help keep our train stations safe. Become a PSO. Visit policecareer.vic.gov.au or SMS “proud” to 132 001. POL0090
38 • INPRESS
INPRESS • 39
THIS WEEK IN
ARTS THESE ARE
THIS WEEK AT SHADOW ELECTRIC OPEN-AIR CINEMA Films screening this week include Winnebago Man, the story of the hunt for Jack Rebney, otherwise known as the “angriest man in the world” thanks to a YouTube clip, a film that reveals the man behind the fury (Thursday 23); Bad Boy Bubby, a dark Australian comedy, directed by Rolf de Heer (Friday 24); The Big Blue, about Jacques and Enzo, friends who share a passion for the dangerous sport of free diving, directed by Luc Besson (Saturday 25); Hobo With A Shot Gun, a look at an uncompromising hobo, it has delighted festival audiences around the world for its dark, edgy humour (Sunday 26). See them in the glorious open-air environment of Shadow Electric. Abbotsford Convent, 6pm. See shadowelectric.com.au for more info.
WEDNESDAY 22 Apocastrip Wow – you know that nipple tassels are in and there are whispers that according to the Mayan calendar the world will end in 2012, so bunker down with international performers Julie Atlas Muz AKA Miss Exotic World (The Showgirl) and Mat Fraser (The Freak). Get your last year on Earth rollicking with their cataclysmic cabaret sideshow striptease spectacular. This brand new show, with the time limit of our final impending days is an orgy of comedy, magic and burlesque. Opening night, 7.30pm. The Gershwin Room, the Espy. Butterscotch – written and performed by Emma Clair Ford, a dark comical crusade for the plight of innocent ideals, blurs the line between memory and desire. Best Cabaret nominee, Adelaide Fringe 2011. Closing night, 8pm. The Butterfly Club.
THURSDAY 23 Sofia Coppola On Film – over four nights, four films will screen at ACMI from director Sofia Coppola, including The Virgin Suicides (Thursday 23), Marie Antoinette (Friday 24), Lost In Translation (Saturday 25), and Somewhere (Sunday 26). ACMI Cinemas until 27 February. TinkerTown/Hose – MKA’s latest double-bill of two new Australian plays, Nathaniel Moncrieff’s TinkerTown, directed by Tobias Manderson-Galvin is a new gothic black comedy about shooting, kidnapping, running away, more shooting, jukeboxes, dancing, cokedout sex, alcoholism, stabbing, and some more shooting. Running with Hose, written by Bridget Mackey, directed by Alister Smith, telling the story of Isabelle who seeks sanctuary in a beauty salon, deep within the shopping malls of suburbia. Opening night, 8pm. Theatre Works until 3 March.
FRIDAY 24 The Breakfast Club – they were five students with nothing in common, faced with spending a Saturday detention together in their high school library. At 7am, they had nothing to say, but by 4pm, they had bared their souls to each other and become good friends. To the outside world they
40 • INPRESS
were simply the Jock, the Brain, the Criminal, the Princess and the Kook, but to each other, they were a club. Come and check out this cult classic. Astor Theatre, 7.30pm, Therese Raquin – written by Gary Abrahams, newlyweds Therese and Camille have just moved to Paris with Camille’s mother Laurent. Therese and Laurent become lovers and plot Camille’s murder. But once they’ve committed the dastardly act, their dreams of happiness could not be further away as guilt manifests into hate and hate into murder, yet again. Part of the National Play Festival. The Malthouse until 25 February.
SATURDAY 25 What Goes On Tour – written by Klara McMurray with Gumpy Phillips, a one-hour cabaret about being on tour; it’s week 45 on the road and Miss K and her one-night stands are going a tad batty. Think Muppets meets Flight Of The Concords via Fear & Loathing. Based on Miss K’s tour blog What Goes On Tour and the philosophy of Never let the truth get in the way of a good story. Closing night, 7.30pm. Red Bennies.
SUNDAY 26 Alien – directed by Ridley Scott, arguably considered one of the greatest sci-fi movies of all time, this 1979 horror classic introduced HR Giger’s gruesome creature with acidic blood and a double jaw. Unfortunately in space, nobody can hear you scream. Rooftop Cinemas, 8.30pm.
MONDAY 27 La Mama Poetica – a contemporary poetry night in a theatrical setting, curated by Andy Jackson and Anna Fern; the evening features four guest poets with a diverse range of styles and voices. La Mama, 8pm. Puberty Blues – directed by Bruce Beresford, a drama about middleclass Australian teens that served as a stark contrast to the popular American teen films of its day. Friends from the Sydney suburb of Cronulla, Debbie and Sue are a pair of average schoolgirls who smoke, drink, have sex, and cheat on exams. Astor Theatre, 7.30pm.
ONGOING Wall Of Seahorsel – a photographic exhibition by New Zealand-based artist Yvonne Todd featuring the 2009 series The Wall Of Man, which showcases 12 seemingly banal portraits of ‘businessmen’ (who are in fact amateur models that Todd recruited through advertising in local circulars). Gallery 1, Centre for Contemporary Photography until 1 April. The Wild Duck – directed by Simon Stone, written by Simon Stone with Chris Ryan after Henrik Ibsen, a play about truths that sometimes it’s better not to know. Winner of three Helpmann Awards (2011), including Best Play, it transplants Ibsen’s characters into the contemporary world with a cast led by Ewen Leslie. A portrait of family dysfunction, deception and denial, The Wild Duck resounds for a new age. Merlyn Theatre, Malthouse until 17 March.
THE DROIDS YOU’RE LOOKING FOR
COMBINING BURLESQUE WITH SCI-FI SOUNDS LIKE EVERY NERD’S WET DREAM, AND THANKS TO THE JADED VANITIES TROUPE, THAT DREAM IS NOW REAL. ALEKSIA BARRON CATCHES UP WITH DANCER AND CHOREOGRAPHER TASIA TO DISCUSS STAR WARS BURLESQUE: THE EMPIRE STRIPS BACK. Some ideas are so deliciously crazy, you just have to make them work – and according to Tasia, one of the principal dancers of the Jaded Vanities burlesque troupe, Star Wars Burlesque: The Empire Strips Back was one of them. It was Russall Beattie, the creative director of Jaded Vanities, who first suggested the concept, which Tasia initially regarded with scepticism. “Russall came to me with this Star Wars idea after we’d started Jaded Vanities. “I’m a big Star Wars fan, and at first, I was a little bit like, ‘Really?’ “I’ve always loved Star Wars, every school holidays we’d watch the old trilogy,” says Tasia wistfully (clearly recounting the glory days before the endless “remastered” re-releases). However, Beattie soon brought her around to the idea, which was inspired by some attempts at Star Wars-themed burlesque that he saw in the USA, and which he felt really didn’t live up to the potential of the concept. “The more he talked about it, the more passionate he became,” says Tasia, adding, “...he mentioned Darth Vader to me and I think my eyes lit up. Russall’s the kind of person that, once he gets started, you just want to jump on board and made it happen.” And made it happen, they did. The Jaded Vanities troupe had found a home at The Vanguard in Newtown, and the team were looking forward to bringing their fun, sexy style
of burlesque to the population of Sydney on a regular basis. Even their most grandiose hopes, however, didn’t foresee how popular Star Wars Burlesque would become. “We didn’t realise it would be so popular,” admits Tasia. “The first show sold out two months before the night, which is kind of unheard of in the burlesque world. It’s really hard to sell out shows in advance.” Part of their early success, the group soon realised, was that they’d tapped into an entirely new crowd of punters: Star Wars nerds. “The first show was definitely a whole heap of Star Wars fanatics, and not our regular audience at all,” she says. “We were a little bit scared that we were going to get pelted with tomatoes if we got the characters wrong, but they seemed to love it.” The audience – many of whom were burlesque first-timers – thoroughly engaged with the night, answering the trivia questions enthusiastically, and heaping applause and praise on the performers. Suddenly, Jaded Vanities had a hit on their hands. More sold-out shows at The Vanguard followed, and now the production will tour to Melbourne, where larger theatre stages have opened up some new possibilities for the performers. “One of the feature acts of the show is the Stormtroopers,” explains Tasia. “We had three Stormtroopers in the Vanguard shows, but now we’re
playing theatre stages, we’ve added two more. They are very, very sexy girls who are completely covered at the start, and they strip down.” The key to the show’s popularity, in Tasia’s opinion, is the care with which she and Beattie have treated these beloved characters, and the effort they’ve put into transforming them into burlesque icons. “It was quite a challenge, because most of the characters have masks
on, but burlesque relies on facial expressions a lot of the time. So we’ve had to really think about this and make sure we’re telling the story through their bodies, and in that way, it’s a very sexy show. It’s suggestive, without being crass.” WHAT: Star Wars Burlesque: The Empire Strips Back WHEN & WHERE: Saturday and Sunday, Athenaeum Theatre
MARCH AT SHADOW ELECTRIC
SCREEN IT REGISTRATIONS NOW OPEN
The new monthly season for the very successful Shadow Electric has been released. Screenings in March will be Bill Cunningham New York (Thursday 1), Cinema Paradiso (Friday 2), The Shining (Saturday 3), Goodfellas (Sunday 4), Dark Days (Thursday 8), The Conversation (Friday 9), Melancholia (Saturday 10), Weekend (Thursday 15), In The Mood For Love (Friday 16), The Fifth Element (Saturday 17), Caddyshack (Sunday 18), Louder Than A Bomb (Thursday 22), In Bruges (Friday 23), Senna (Saturday 24), and Wake In Fright (Sunday 25). In addition there is also Sunday In The Shadows, which features DJs, food, and table tennis from 3pm. All films start at sundown against the backdrop of the Abbotsford Convent. More info at shadowelectric.com.au.
The national Screen It competition is back, and its theme this year is “belonging”. Registrations have now opened for school-aged film and game makers. ACMI’s Screen Education Manager, Christine Evely, says “ACMI continues to encourage and support a new generation of young game and filmmakers who may choose to explore belonging as it relates to family, cultural groups, community and even personal identity”. The 2011 Screen It competition attracted the highest number of entries in the competition’s history with 499 entries submitted by over 1,456 students nationwide. Entries for the 2012 competition are free online and close on 14 September.
SMART BAR OPENS AT MELBOURNE MUSEUM An after-hours event for adults begins at the Melbourne Museum Thursday 1 March. Think Night At The Museum, except everything doesn’t come to life and it’s kid-free. There will be science demonstrations, a bar, and DJs. Open for viewing will be the fossils, live spiders, dynamic earth 3D volcano experience, and the wild gallery featuring more than 700 birds and animals from around the world. SmartBar is a new addition to Melbourne nightlife and forms part of a growing range of adult programs presented at Melbourne Museum. For more info visit museumvictoria.com.au/melbournemuseum.
HEIDE NEW EXHIBITIONS Heide Museum of Contemporary Art has launched its 2012 season, highlights include Louis Bourgeois: Late Works, which will open 3 November and feature her famous gargantuan spiders; a retrospective of painter Ken Whisson, As If, running 17 March to 15 July; and Albert Tucker Photographs: Artists & their Milieu, an exhibition of photographs taken by Tucker of artists in Melbourne in the 1930s and ’40s, running 24 March to 9 September. Currently, the Forever Young exhibition, which celebrates thirty years of Heidi, is in its final week and closes 29 February. Head to heide. com.au for more information.
THIS IS WHAT THEY MEAN BY INTIMATE THEATRE
RAJIV JOSEPH’S ALL THIS INTIMACY IS A RATHER FECUND AFFAIR, AS DIRECTOR ANDREW PROWSE READILY ATTESTS. OUR MAN PAUL RANSOM RISKS AN UNPLANNED PREGNANCY TO FIND OUT MORE.
A NEW ECLIPSE
THE AUSTRALIAN BALLET’S JAKE MANGAKAHIA TALKS TO LIZA DEZFOULI ABOUT THEIR TRIPLE BILL, INFINITY. Australian Ballet dancer and proud Maori Jake Mangakahia is aiming high. “I’d love to be a principal dancer for the Australian Ballet,” he says. In the meantime, the chance to work with choreographer Stephen Page of Bangarra Dance Theatre in the triple bill Infinity is a dream come true. “When I was younger I looked at films and videos of his work and I always thought it would be so cool to work with him,” he says. “It’s such an honour. It’s a step up as a professional dancer; I am so grateful for the opportunity.” Infinity celebrates 50 years of the Australian Ballet. Three of Australia’s leading choreographers (Page, Graeme Murphy, and Gideon Obarzanek), have each created a separate work for the show. Both Obarzanek and Page trained with Murphy as young dancers, so this triple bill, amongst other things, speaks to the ongoing legacy the Australian Ballet offers the world of contemporary Australian dance. Dancers from the Australian Ballet like Mangakahia share the stage with dancers from Chunky Move and Bangarra Dance Theatre. Mangakahia is about to dance in Page’s Warumuk – In The Dark Night. He will perform with Bangarra dancer Ella Havelka in the duet, Eclipse, about the moon and the sun, a piece, he says, he absolutely loves. “I can’t wait for it to evolve.” Mangakahia is intrigued by the differences in Page’s approach compared to his own experiences with ballet. “Page uses very traditional movement,” he notes. “It’s very centred, from the core, from in the gut; a lot of movement comes from the inside, even if you’re moving an arm or a leg, it comes from the core where you’re picking up the
earthiness, the groundedness.” Does Mangakahia feel he has been allowed to contribute his own creativity in developing the work? “Stephen has that two-way process as a choreographer. He will ask you where you feel the energy, where do you feel it should go? It is very much about making it organic, relevant to your body. It’s a great learning curve in this part of my career.” Warumuk is a dance about the night sky, the journey through the night from evening to morning. It features music by his brother David who composes regularly for Bangarra, most recently in the work Belong that Melbourne audiences witnessed last year. How do such different works sit together in one show? “We all sat down and had a big meeting to talk about it, about where we see the company going,” he answers. “We’ve all put our ideas in to make something that is unique.” The dancer says the diversity of Infinity will have “a real impact on audiences in a very positive way. There’s a new generation of people with a real interest in the triple bill. They can grab things from such diverse sections, with different works with such different flavours.” What about the pressure on dancers to stay thin and so super fit? Does Mangakahia feel it? “I don’t feel it’s an issue,” he says. “In the art industry the only thing people want is for you to be yourself. It’s about creating the work, the pieces, trying to make them the best and most interesting and unexpected they can be.” WHAT: Infinity WHEN & WHERE: Friday, to Tuesday 6 March, State Theatre, Arts Centre
GIVEAWAYS When a British college student (Felicity Jones) falls for her American classmate (Anton Yelchin) they embark on a passionate and life-changing journey only to be separated when she violates the terms of her visa. Like Crazy explores how a couple faces the real challenges of being together and of being apart. Winner of the Grand Jury Prize for Best Picture at the 2011 Sundance Film Festival and of the Special Jury Prize for Best Actress for Felicity Jones, Like Crazy depicts both the hopefulness and the heartbreak of love. Opening in cinemas 1 March, thanks to Paramount we’ve five in-season double passes to give away. For your chance to win one, head to facebook.com/inpressmag. Two of our favourite things in the world are BBQs and New Zealand. Thanks to Random House, we can now have both of these in convenient book form. In Stoked, highly regarded NZ chef Al Brown (owner, Depot, Auckland; host, Hunger For The Wild) shares his experiences of traditional outdoor cooking methods from New Zealand’s diverse cultures – a hangi at Matahiwi Marae on the Wanganui River, cooking tandoor with his Wellington grocer,
and putting a pig in a pipe with a third generation Chinese New Zealander. Al is a keen hunter and gatherer and forages in Canterbury for porcini mushrooms, collects seaweed on the Wairarapa coast, and goes hunting for deer as well as trout fishing. The book is brimming with great recipes and stunning photography, and celebrates the rewards of eating outdoors. Thanks to Random House we’ve a copy of the book to give away. For your chance to win it, head to facebook.com/ inpressmag.
Sleeping with three women in a week would make most men feel pretty good about themselves; unless of course they got all three pregnant. For 30-year-old Ty, the ‘hero’ of Rajiv Joseph’s avowedly fertile comic play All This Intimacy, impending triple fatherhood is only the beginning of the story. For director Andrew Prowse the world of Joseph’s play is clearly contemporary. “It’s a modern world in which sex is kinda casual,” he observes. “It’s the end result of the ’60s and the pill; but if we treat sex recreationally, occasionally it’s going to come back and bite us.” According to Prowse, All This Intimacy takes place in a selfish universe. “It’s also a modern world in that our hero is part of an extended ‘me’ generation. The writer, Rajiv Joseph certainly uses the pronouns. It’s all I, me, what I want.” Starring Scott Major (Neighbours) as the philandering Ty, the play sinks its teeth into ideas about intimacy and commitment and, without trying to be a moral drama, examines what it is to love and be responsible in an era of disposable everything. As Prowse duly notes, “I’d hesitate to say it was a moral satire but what it does is raise a whole load of questions and very cleverly doesn’t answer them. It’s not didactic, it’s entertaining.” With its cast of young characters it is perhaps tempting to think of All This Intimacy as being a generational drama. Here again though, Andrew Prowse interjects. “In spite of the superficial stuff I don’t think relationships between men and women have changed much over time. The language is absolutely
specific to this generation but this stuff has been happening for thousands of years, despite all the social engineering that goes on.” Having said that the play’s leading man is your classic contemporary commitment-phobe. “I don’t think he cares about the kids at all,” Prowse says. “He’s basically self-indulgent and what he does is to turn the whole experience into a new and very successful book. But somehow that doesn’t satisfy him.” Of course all this is part of the play’s comic charm. From its unlikely premise it moves through a series of quick paced scenes to its non-judgmental conclusion. For director Prowse and his cast, (which includes Underbelly’s Georgia Bolton and RACV’s ‘Jason’), one of the creative challenges was not to impose their own moral schema on the text. Indeed, with his background in Meisner and admiration for David Mamet, Prowse is definitely a ‘minimal’ director. “The play takes care of itself,” he states. “If you mess too much with the play then it becomes about you. It’s the play that does it; all you need to do is say it out loud. My schema is to just to create an environment for the actors to make it as truthful as possible.” To say that All This Intimacy is pregnant with sharp dialogue and shrewd observational comedy would certainly be lazy journalism but… well, the condom broke. WHAT: All This Intimacy WHEN & WHERE: Friday, to Sunday 11 March, Loft Theatre, Chapel Off Chapel
WITH ANTHONY CAREW Tyrannosaur plays like a lurid stereotype of the kitchen-sink British drama, in which a bunch of boorish blokes – in rundown council estates and grimy pubs – stagger drunkenly and yell “whaddaya lookin’ at yer foohkin coont!” at any passersby. It’s theoretically an authentic vision of the forgotten and downtrodden of English society, but every grim note feels forced, fake, awful; every scene
a collision of comic caricatures in a calamity of convenient writing. One early moment finds Peter Mullan – who is to grim socio-realism as The Rock is to explosion movies – actually saying something like: “God? Foohk thaat foohkin coont!” This after kicking his dog to death. He’s, of course, surly and violent and drunken and grief-riddled, a hard man haunted by the past who just needs a second-chance... at love! Which leads him to Olivia Colman, the kind of simple, good, tool-of-martyred-
C U LT U R A L
WITH REBECCA COOK If you’re sitting in a café in Southbank this week and notice a bloke listening in to your conversation and taking notes, don’t be alarmed. Ask him an open question. If he has a Braveheart accent then you can relax, it’s just Scottish playwright David Greig, who’s in town for the National Play Festival running until Saturday at the Malthouse. If he doesn’t have a Scottish accent, then don’t condemn him to the nuthouse just yet, he could be one of the many playwrights and theatremakers here for a showcase of the best new Australian and international plays plus a curated program of public talks and industry discussions. And in some cases, he could be a she. The sure way to tell is to politely catch their eye and shout: “Is this enough conflict for you? Want me to come over and break down that fourth wall for ya?” If they look confused, run, but if they attempt to scribble down something further, then you know you’ve got one. Playwrights are famously nosey, and according to Chris Mead, artistic director of the festival, Greig is loving being in a new town with so much fodder everywhere he turns. “Every play is a betrayal,” Greig said at a recent panel discussion referring to the way friends and relatives often find themselves as characters in plays. Mead has the job of wrangling many international guests such as Sebastian Born (National Theatre, London); Jason Loewith (National New Play Network, USA); Colin McColl (Auckland Theatre Company); and Alison Hindell (Head of Audio Drama, BBC) as well as Joanna Murray-Smith, Daniel Keene, Raimondo Cortese, Jane Bodie, Görkem Acaroğlu, and Van Badham. Despite identifying that it is “part of their job to be angry, to look for injustice and ethical dilemmas,” Mead is invigorated by meeting so many suffering that should be at the centre of a Lars von Trier picture. And, from there, to Eddie Marsan, who turns in a turdly performance in possibly the worst-written characterisation of the lot: as the sneering, darkly-lit, villainous tool-of-clichéd-masculine violence, the wifebeater who harangues Colman with pearlers like “you don’t foohkin foohk me anymore!” before pounding her with unrighteous fists. It all heads towards a big, stupid conclusion whose “uncompromising” take on hard-earned redemption feels like yet another piece of pat, pathetic writing. Extremely Loud & Incredibly Close comes from a different land of cinema cliché: All-American Oscar Bait. Eric Roth – who’s previously penned the screenplays for Forrest Gump, Munich, The Curious Case Of Benjamin Button, etc – takes Jonathan Safran Foer’s alternately intellectual and cornball novel and turns it into the awardsshow-friendly tale of post-9/11 America finding forgiveness; a closure for their national nightmare. The film’s trailer makes it look almost impossibly crap – Tom Hanks, Sandra Bullock, and a miming Max von Sydow set to dramatically over-the-top music – and, at times, it’s every bit that noxious: mostly in scenes in which precocious ten-year-old Thomas Horn runs around screaming, or Alexandre Desplat’s score summons shortcuts to easy grandeur. But there’s a sly artfulness to the narrative, Foer’s gifts as writer and Roth’s timeframe-scattering screenplay making the film work – as intellectual puzzle, as thematically-driven text, as catalogue of loss, portrait of a societal grief transcending (carefully penned) barriers of race/class/etc – even when it’s so blatantly pushing your emotional buttons. “Your horse is a mirror to your soul,” intones Buck Brannaman, “and sometimes you may not like what you see.” It’s one of the pieces of timeless
talented playwrights. “It’s fantastic to deal with people who see the world in a different way. They’re separate from the world but also in it.” The festival features four showcases: Australia, Broome, Scotland, and Melbourne. In the ‘Australia’ showcase five new plays selected from 160 submissions will get a rehearsed reading. The lucky five are: Therese Raquin by Green Room Award winner Gary Abrahams ; Every Second by AWGIE Award winner Vanessa Bates (Porn.Cake, Oscar Darling); The Sun & The Other Stars by Nicki Bloom; One Scientific Mystery, Or, Why Did The Aborigines Eat Captain Cook? by firsttime playwright Victoria Haralabidou (Blessed); and Faces Look Ugly by multi award-winning Tom Holloway (Red Sky Morning, & No More Shall We Part). Over the past couple of weeks there’s been a great deal of chatter about theatre bloggers and in particular one overtly negative blog, Shit On Your Play; what does Mead think about negative criticism. “Making art is always hard. It’s why you do it. You need to stick to your guns and believe in your vision. You need to ask: What is the place in the world for this piece?” He doesn’t seem overly concerned by negative criticism maybe because he’s so enthusiastic about the work he’s seeing right now. “I think capacity is building – there’s a new generation of playwrights now and it’s creating a virtuous circle; they’re responding to work and creating something else.” And Mead is keen to share these new works with everyone. “The last thing we need is more people saying ‘the dramaturgy in act two is no good’. We want input from real people.” Check out the full program at nationalplayfestival.org.au and get thee to the Malthouse – you might even see your life up on stage in the ‘Melbourne’ sessions. wisdom dispensed by the real life ‘horse whisperer’ in Cindy Meehl’s Buck, and effectively serve’s as the documentary portrait’s theme. As Brannaman – a gentleman cowboy in hat and chaps – rides through the ranches of Montana and Wyoming, he teaches ‘natural horsemanship’, which involves treating horses with dignity, calmness, and respect. Brannaman contends that ‘problem’ beasts are the work of men And, in an artful and sentimental two-step back into backstory, we learn that Brannaman suffered abuse as a child. The horse whisperer’s unflappable, benevolent demeanour is, he considers, a choice; a decision to halt the downward passage of violence from one generation to the next. He’s a pure source of such homespun nobility, and possesses a quiet dignity and easy charm that Meehl takes as tenor for her picture. Paradise Lost 3: Purgatory has a title that sounds drawn from a tentpole trilogy, but it’s the culmination of two decades of journalistic advocacy from metalhead documentarians Joe Berlinger and Bruce Sinofsky, who kickstarted the cause célèbre of the West Memphis 3 with 1996’s Paradise Lost: The Child Murders At Robin Hood Hills. Though their first film was a work of investigation and observation – its makers students of the Maysles whose debut, Brother’s Keeper, was a stark portrait of media hysteria invading a murder case – their trilogy gradually grew into a crusade, and the final instalment marks its culmination. As in the prior pictures, the worth of the third Paradise Lost comes from the candour of so many who cross its camera, the genuine eloquence of its chief subjects, and the eternally-baffling facts of the case; the incompetence of the backwoods police-force who pursued ‘satanic ritual’ as an investigative thread. INPRESS •41
GOTHIC THEATRE TOBIAS MANDERSON-GALVIN SPEAKS TO ALICE BODY ABOUT MKA THEATRE’S FIRST PRODUCTION FOR 2012, A DOUBLE BILL OF TINKERTOWN AND HOSE. “There’s a cat outside!” Despite the interview having just ended, MKA’s artistic director Tobias MandersonGalvin has declined to immediately plunge back into rehearsals (he is directing half of the theatre company’s upcoming double-bill, Nathaniel Moncrieff’s Tinkertown) in order to call back with this announcement. “A cat just jumped down here and is watching us.” The information is relevant (more or less) because, two minutes prior, Manderson-Galvin was closing the interview with the promise that MKA would offer discounted tickets to those audience members who brought a cat along to the shows. “Well, MKA puts on the sort of plays you can bring your cat to,” he explains. “If it’s a black cat, just don’t tell us, as theatre people are notoriously superstitious. But I’m happy to offer discounted tickets for
people with cats. I wouldn’t say free...” Manderson-Galvin is bone dry here. “By discount I mean, about twice the cost of a normal ticket.” Tinkertown (the other play making up MKA’s double bill is Bridget Mackey’s Hose) certainly seems set to tick those boxes Manderson-Galvin thinks will satisfy cats, including “a bit of action” and “people suffering”. The play follows Chester as he visits his teenage daughter on his first day out of prison, accidentally shoots his ex-wife’s sister and finds himself back on the run from the police, this time in the stark expanse of the Australian outback with his daughter in tow. Tinkertown’s playwright, Moncrieff, wrote another MKA production: 2011’s successful Sleepyhead. MandersonGalvin recounts: “After Sleepyhead, [Moncrieff] said to me, ‘Look, I’ve written this other play, and it’s got all
of the most fucked up stuff I’ve ever written in it. The last time I sent it off, I had been talking to a director in Sydney, and they were really excited about it until I sent them the script. They haven’t spoken to me since then.’” Although that particular play has yet to see the light of day (“You don’t want to know about that play,” Manderson-Galvin is adamant), he asked Moncrieff if he had anything else, and received Tinkertown, which he describes as being part Australian Gothic and part Cohen brothers-style black comedy. Tinkertown fortunately “ticked all the boxes,” MandersonGalvin asserts. “It’s a stunning play.” MKA has done a commendable job of putting out quality productions over the year and a bit that the company has been operating, especially with the closure of their original base. “We have one place on the horizon which we could move into in about three years,” Manderson-Galvin says, “After these two plays [Tinkertown and Hose] we’re tentatively locked into somewhere for a season of four shows, but no, nothing permanent.” Despite MKA’s current nomadic existence, Manderson-Galvin has ambitious plans for the company in 2012: “I said when we first officially launched at the end of 2010 that I wanted to connect with South East Asian companies in places like Singapore, Kuala Lumpur, Hong Kong, and Bangkok,” he says. “One of the shows that we’ll have later on this year will be from a Singaporean playwright. So I’m excited that that’s happening.” Sounds like MKA is in for another year of intense – if rewarding – hard work. Manderson-Galvin acquiesces. “I hope so.” WHAT: Tinkertown/Hose WHEN & WHERE: Thursday, to Saturday 3 March, Theatre Works
LET’S PLAY! NATIONAL PLAY FESTIVAL ARTISTIC DIRECTOR CHRIS MEAD EXPLAINS TO ALICE BODY THE FESTIVAL’S ROLE IN THE AUSTRALIAN THEATRE COMMUNITY. adds thoughtfully, “I think also the attitude’s changing and more and more companies are wanting to take responsibility to grow artists and get their work on.”
It is blisteringly humid outside the Malthouse Theatre café when Playwriting Australia’s artistic director Chris Mead starts talking, and absolutely pouring down when he finishes. The sudden swing in the weather serves as circumstantial rhetoric for the potential Mead sees in the Australian playwriting community to both develop domestically and stand out in the international arena, potential he believes may be unleashed with the right encouragement.
Playwriting Australia is still a relatively young organisation, formed in 2006 and based in Sydney’s vibrant inner west. Mead explains the strategy the company has been employing to support Australian playwrights get their work out there: “When we started we had to take on the Playwrights’ Conference which has existed since 1973. Sadly many of the same problems that were faced in the early-’70s – that were the reasons for creating the Playwrights’ Conference – are still in existence now. How do you get your play into a company?” Mead says, spreading his hands out to emphasise.
“New Australian plays represent 15-20 percent of [average theatre company] repertoire, so it’s scandalously small,” Mead reveals. “What we’re trying to do is push that number up. Of the plays that we support, somewhere between one in three and one in two actually get produced. So we are making a difference, although,” he
“The Conference was broken-backed
by trying to develop the plays, but also trying to showcase the plays. So what we did was to try to separate those two things out, so we have a number of programs that work on the development of plays, but there’s no outcome,” Mead says. “We only try to put in front of an audience the plays that are ready for it. Which is not to say that we think of new plays as essentially a problem to be solved. It’s rather: let’s make sure the writer gets what they need at the right time.” In terms of what this means for Playwriting Australia’s National Play Festival beginning this week: “All of the plays for the Play Festival are good to go,” Mead says. “In terms of the 200 or so that got submitted to us, these are the five that we think could be programmed tomorrow and make a great adornment to any season.” This year’s National Play Festival has a particular focus on Australian plays reaching international audiences, hence its ‘departures’ theme. It is a goal Mead sets for Playwriting Australia in general. “We worked with the Australia Council to figure out how to get more Australian plays produced overseas,” he explains. “And the simplest way of doing that, really, was to bring producers to Australia.” Such a strategy helps explain the presence of some intriguing international participants in the National Play Festival program, including playwrights from Scotland and England. “Most of the people overseas don’t think of Australia as a cultural producer of new plays and I’d love to think that we’re leading the pack rather than just responding to that,” Mead says. “It’s just a matter of getting them up to speed with what we’re doing, really.” WHAT: National Play Festival WHEN & WHERE: Today to Saturday, Malthouse Theatre
BIG, BOLD GLOSSY & ON IPAD
MELBOURNE INTERNATIONAL COMEDY FESTIVAL GUIDE 2012
We’re gearing up again for that special time of year when it’s ok to wet yourself in public... with laughter! That’s right folks, the 26th annual Melbourne International Comedy Festival kicks off on March 28 running through to April 22 and Inpress will once again, for the 12th year in a row, be publishing the largest, most comprehensive free guide to what’s on, what’s hot and what deserves rotten tomatoes. With over 600,000 festival goers checking out over 300 shows, this is your chance to ride the MICF wave and let festival attendees know about your show. Full colour ads at mono rates and those unable to submit ﬁnished art, we can design your ad free of charge. The 2012 Inpress MICF guide hits the streets of Melbourne on March 28.
FIRST TIME ON OFFER! IPAD ENHANCE YOUR AD
EDITORIAL Each advertiser will also receive editorial to support your show.
V IC T ORI A’S
• The 2012 Inpress MICF guide is a GLOSSY free lift out that appears within Inpress Magazine. • CAB circulation 31, 330 • All advertising is full colour • Artwork assistance is available free of charge
UL AT ING HIGHE S T CIRC
S T REE T PRE
SDAY S S • W EDNE
16 NOV EMBER
2011 ~ IS
In addition to being printed weekly, Inpress is now available in iPad format for free from the App Store. What this means to you is that not only will your ad be included in the print AND iPad edition, but you have the option to iPad enhance your ad with a video clip of your performance, and a web link direct to your box ofﬁce.
DEADLINES DEADL LI
Artwork Deadline Dead March 21
CONTACTS CONTAC CONTA
Pl Please contact : firstname.lastname@example.org or on 03 9421 4499 to book your space
42 • INPRESS
INPRESS • 43
With support from CASH SAVAGE & THE LAST DRINKS
The Prince Bandroom 29 Fitzroy St, St Kilda Sunday 8th April 2012 (03) 9536 1168 Tickets available from www.princebandroom.com.au
GIG OF THE WEEK
TOUR GUIDE THIS WEEK INTERNATIONAL ROXETTE: February 22 Rod Laver Arena DAN MANGAN: February 22 Northcote Social Club DEATH CAB FOR CUTIE: February 22 Palace ERYKAH BADU: February 22 Palais Theatre JASON LYTLE: February 22 Toff SOUL II SOUL: February 24 Trak Lounge NEON INDIAN: February 24 Prince Bandroom CUT CHEMIST: February 24 Corner THE CUBAN BROTHERS: February 24 Espy BOMB THE BASS, THE ORB: February 24 Hi-Fi BELINDA CARLISLE: February 24 Shoppingtown Hotel (Doncaster); 25 Chelsea Heights Hotel ATTACK! ATTACK!: February 27 Espy COBRA STARSHIP: February 27 Forum UNDEROATH: February 27 Hi-Fi ZAKK WYLDE’S BLACK LABEL SOCIETY, HELLYEAH, BLACK TIDE, HOLY GRAIL: February 28 Forum ENTER SHIKARI: February 28 Billboard THE SISTERS OF MERCY: February 28 Corner FOUR YEAR STRONG: February 28 Hi-Fi LETLIVE: February 28 Billboard
NATIONAL ELIXIR: February 23 Regal Ballroom; 24 Famous Spiegeltent OWL EYES: February 23 Famous Spiegeltent MOJO JUJU: February 23 Famous Spiegeltent DICK DIVER, GEOFRREY O’CONNOR: February 24 East Brunswick Club I, A MAN: February 24 Northcote Social Club COLIN HAY: February 24 Geelong Performing Arts Centre, 25 Playhouse Vic Arts Centre THE CROOKED FIDDLE BAND: February 24 Nash; 25 Corner BROUS: February 24 Famous Spielgeltent KING CANNONS: February 24 Espy PUTA MADRE BROTHERS: February 25 East Brunswick Club ROCK’N’ROLLA: February 25 Palace ZOOPHYTE: February 25 Zoo Twilight CLAIRY BROWNE & THE BANGIN’ RACKETTES: February 25 Famous Spieltelgent STEVE LANE & THE AUTOCRATS: February 26 Toff
OWL EYES & FRIENDS THURSDAY, SPIEGELTENT
Owl Eyes (aka Brooke Addamo) is the latest ambassador to join The Line Campaign, an Australian Government initiative promoting respectful relationships throughout society. Owl Eyes’ one-off Spiegeltent performance this Thursday will mark her first official role on behalf of the campaign. The show, dubbed Midsummer Mixtape: Songs To Steal Your Heart, will see Addamo joined by a bunch of musical friends, headed up by epic Melbourne tunesmith Geoffrey O’Connor, to pull out a bag full of summer love songs. Owl Eyes will put her spin on a collection of covers and smatter it with a few originals.
BROUS: Friday 24 February, Famous Spiegeltent
His band, too, is made up of not-particularly-smooth movers, and their positioning is awkward. The second guitarist is seated. Next to him is the towering bass player, who watches McCombs intently and occasionally smiles shyly. Then the drummer, then McCombs with his eyes closed, and, set off to the side, a keys player. When they begin, it’s difficult to marry the grace of McCombs’ pop folk songs, which have their heart in late-‘70s British new wave (money would happily be laid on the bet that McCombs owns more than a handful of Elvis Costello records), with the ragtag crew. It certainly jars with the natural onstage ease of Melbourne’s The Orbweavers, who’ve led McCombs in with a beautifully constructed set following on from the release of their second album, Loom. Theirs is a patchwork of sounds – glistening country guitar lines stitched to cantering rhythms and Marita Dyson’s at turns harrowing and mischievous voice – that instantly envelopes.
FESTIVALS KARAVAN INTERNATIONAL GYPSY MUSIC FESTIVAL: February 25 Corner
UPCOMING MAYER HAWTHORNE: February 29 Corner SYSTEM OF A DOWN: February 29 Rod Laver DEVIN TOWNSHEND PROJECT: February 29 Forum DASHBOARD CONFESSIONAL: February 29 Prince Bandroom UNWRITTEN LAW, ZEBRAHEAD, ROYAL REPUBLIC: February 29 Espy THE PRETTY RECKLESS: February 29 Thornbury Theatre THURSDAY: February 29 Billboard BLACK VEIL BRIDES: March 1 Thornbury Theatre SWITCHFOOT: March 1 Prince Bandroom NEW ORDER: March 1 Festival Hall SLIPKNOT: March 1 Rod Laver Arena MEN: March 1 Phoenix Public house LOSTPROPHETS: March 1 Billboard ANGELS & AIRWAVES: March 1 Forum A ROCKET TO THE MOON: March 1 Hi-Hi REBEL SOULJAHZ: March 2 HiFi STEVE BUG: March 2 Brown Alley RYAN ADAMS: March 3 Regent Theatre EDDIE PALMIERI: March 3 Hi-Fi
OWL EYES: February 23 Famous Spiegeltent THE ORB, BOMB THE BASS: February 24 Hi-Fi I, A MAN: February 24 Northcote Social Club; March 11 Pure Pop Records; 16 National, Geelong; 24, 25 The Hills Are Alive, Gippsland KARAVAN! INTERNATIONAL GYPSY MUSIC FESTIVAL: February 25 Corner Hotel NEW ORDER: March 1 Festival Hall BOATS, RHYMES AND LIFE: March 3 Victoria Star PLUTO JONZE: March 3 Revolver BEN KWELLER: March 5 Hi-Fi THE RAPTURE, AZARI & III: March 6 Forum JESSIE J, PROFESSOR GREEEN: March 7 Festival Hall MANCHESTER ORCHESTRA: March 7 Hi-Fi FATBOY SLIM: March 7 Palace TINIE TEMPAH, CHASE & STATUS: March 8 Festival Hall WILD FLAG: March 9 Corner Hotel JOHNNY CLEGG: March 10 Palais FUTURE MUSIC FESTIVAL: March 11 Flemington Racecourse THE BEARDS: March 16 Corner Hotel DIRTY THREE: March 16 Palace; 18 Theatre Royal (Castlemaine) MICHAEL ROTHER: March 19 Corner Hotel JAMES WALSH: March 23 Espy DEAD TO ME, COBRA SKULLS: March 29 Northcote Social Club STEVE EARLE: March 29, 30 Corner Hotel BUDDY GUY, JONNY LANG: April 3 Palais GREAT BIG SEA: April 3 Corner Hotel KENNY WAYNE SHEPHERD, JOANNE SHAW TAYLOR: April 4 Corner Hotel KEB MO: April 5 Corner Hotel CANDI STATON: April 6 Corner Hotel TROMBONE SHORTY & ORLEANS AVENUE: April 7 Corner Hotel
sdfsdfsdfdsf CASS MCCOMBS PIC BY LOU LOU NUTT
CASS MCCOMBS, THE ORBWEAVERS CORNER HOTEL
“Can we get the lights down? Like way down? I could still read. I don’t wanna be able to read anything.” Cass McCombs is telling the Corner Hotel techie for the third time to cut most of the lights to the stage. The Californian songwriter has already managed successfully to rid the stage of all red lights, leaving McCombs and his four-piece backing band in a cool but still apparently offensive swathe of blue. Up until this point, too, McCombs has kept his eyes closed for the duration of almost every song, swaying with a composed expression on his man-next-door mug as he’s strummed his guitar and sang. But it isn’t enough. The lights have to go. The obvious metaphor to draw is that McCombs, whose six studio album releases precede his debut Australian tour, isn’t comfortable in the spotlight. On record, he’s been sometimes introverted to the point of making you wonder how his meek and fragile voice was picked up by a mic. He’s previously conducted interviews by post, though allowed a couple of phone conversations ahead of his visit here. However, in person, McCombs doesn’t appear the shrinking troubadour one might imagine him to be. He’s an average-looking guy with a mop of curly brown hair; the kind of guy you might see wandering around a shopping centre guitar shop, or perhaps in hibiscus-print board shorts on a Californian beach.
For McCombs, there’s a concern that the wrong venue has been chosen: his group’s sound isn’t ‘big’ enough and they feel separate from the audience, despite the small crowd that has been drawn together by curtains halving the venue. Early songs Love Thine Enemy and Equinox are well played but feel lost in the room. And then it turns around. Robin Egg Blue, from 2011’s Humor Risk, sees the band syncing in blue lights, McCombs relaxing and his voice broadening. As if silver balls that have rolled into the same groove, the band follows with the disco slow-dance soundtracker Dreams Come True Girl, featuring a saucy keys solo that elicits applause. Then McCombs calls for fewer lights again, putting his face in darkness, and we should have trusted him all along: the band’s lack of physical presence intensifies everything, brings brilliant, expertly conceived subtleties to the fore. Each instrument ripples, merges with and rebounds off the others at will. Harmonia is spine-tingling; That’s That is every bit as biting and beautiful as it is on record; County Line – oh yeah uh huh. For half an hour, we hear – not watch – a master popsmith at work. We’ll know to turn the lights off earlier next time. Adam Curley INPRESS • 45
MY CHEMICAL ROMANCE PIC BY RICKY DOWLAN
TOUR GUIDE BOMB THE BASS: Friday 24 February, Hi-Fi
LADI6: March 3 Prince Bandroom BEN KWELLER: March 5 Hi-Fi BONOBO: March 5, 8 Corner APHEX TWIN: March 6 Palace DAVID BROZA: March 6 National Theatre JESSIE J, PROFESSOR GREEN: March 7 Festival Hall BLACK LIPS: March 7 Corner CHIC: March 7 Billboard MANCHESTER ORCHESTRA: March 7 Hi-Fi DIE ANTWOORD: March 7 Prince Bandroom BONNIE ‘PRINCE’ BILLY: March 8 Regal Ballroom; 9 National Theatre, 10 Theatre Royal (Castlemaine) URGE OVERKILL: March 8 Espy TINIE TEMPAH: March 8 Festival Hall RUPTURE: March 8 Mercat Basement THE BEEZ: March 8 Thornbury Theatre WILD FLAG: March 9 Corner THE CHECKS: March 9 Cherry Bar MAD PROFESSOR: March 9 Espy ADAM COHEN: March 9 Regal Ballroom BONNIE PRINCE TYLER: ROOTS MANUVA: March 10 Prince Of Wales JOHNNY CLEGG: March 10 Palais TRAPPED UNDER ICE: March 11 Corner THE WOMBATS (DJ Set): March 11 Espy JAMES LAVELLE (DJ SET): March 12 Espy GROUNDATION: March 13 Hi-Fi ROKY ERICKSON: March 13 Corner TAYLOR SWIFT: March 13, 14 Rod Laver Arena JUDY COLLINS: March 13, 14 Famous Spiegeltent; 15 Oakleigh Caravan Music Club AQUA: March 13, 15, 21 Palace ST VINCENT: March 14 Hifi 10CC: March 14 Trak; 15 Regent Theatre (Ballarat); 16 Hotel Shoppingtown (Doncaster); 17 Chelsea Heights Hotel FIRST AID KIT: March 14 Northcote Social Club DJ QUIK: March 16 Prince LENNY KRAVITZ, THE CRANBERRIES, WOLFMOTHER: March 17, 18 Sidney Myer Music Bowl JANE BIRKIN: March 18 Melbourne Recital Centre DURAN DURAN: March 19 Rod Laver Arena MICHAEL ROTHER, DIETER MOEBIUS, HANS LAMPE: March 19 Corner TIM MCGRAW, FAITH HILL: March 20 Rod Laver Arena BOMBAY BICYCLE CLUB: March 20 Corner NICK LOWE: March 22 Forum EILEN JEWELL: March 22 Corner; 24 Meeniyan Hall; 25 Caravan Music Club TINY RUINS, THE VIETNAM WAR: March 22 Northcote Social Club JAMES WALSH: March 23 Espy BOBBY RYDELL: March 23 Playhouse Theatre (Geelong); 24 Palms At Crown; 25 Frankston Arts Centre; 28 Wendouree Centre For The Performing Arts (Ballarat); 29 Capital Theatre (Bendigo) BORIS: March 24 Corner CHE-FU: March 24 Hi-Fi NICK CURLY: March 25 Revolver WOODEN SHIPS: March 28 Corner DEAD TO ME, COBRA SKULLS: March 29 Northcote Social Club CROSBY, STILLS & NASH: March 30 Palais STEVE EARLE: March 28 Meeniyan Town Hall; 29, 30 Corner EDDI READER: March 30 Melbourne Recital Centre ADAM ANT & THE GOOD, THE MAD & THE LOVELY POSSE: March 30 Palace THE ROYAL BATHS: March 31 Tote G3: March 31, April 1 Palais DEAD MEADOW: April 1 Corner Hotel BRIAN SETZER: April 2, 3 Palace GREAT BIG SEA: April 3 Corner BLITZEN TRAPPER: April 3 Prince Bandroom MY MORNING JACKET: April 4 Palace THE POGUES: April 4 Festival Hall YANN TIERSEN: April 4 Melbourne Recital Centre KENNY WAYNE SHEPHERD: April 4 Corner VUSI MAHLASELA: April 5 Melbourne Recital Centre COSMIC GATE: April 5 Festival Hall ZAPPA PLAYS ZAPPA: April 6 Palace Theatre EFREN RAMIREZ: April 6 Espy CANDI STATON: April 6 Corner TROMBONE SHORTY & ORLEANS AVENUE: April 46 • INPRESS
7 Corner NEW FOUND GLORY, TAKING BACK SUNDAY: April 8 Festival Hall ALABAMA 3: April 8 Prince THE FABULOUS THUNDERBIRDS, CANNED HEAT: April 8 Corner GEORGE MICHAEL: April 9 Rod Laver Arena SUBLIME: April 9 Palace ZIGGY MARLEY: April 9 Corner DAVID BROMBERG: April 10 Toff SEAL: April 10 and 12 Palais MACEO PARKER: April 11, 12 Corner JAMES VINCENT MCMORROW: April 12 Toff THE WEDDING PRESENT: April 14 Northcote Social Club AMON AMARTH: April 16 Billboard LOU BARLOW: April 17, 18 Northcote Social Club HENRY ROLLINS: April 18-20 National Theatre JIM BRUER: April 20, 22 Capitol theatre AUGUST BURNS RED: April 21 Billboard MARK LANEGAN BAND: April 23 Forum THE EXPLOITED: April 28 Corner ANDREW W.K.: May 2 Pier Live; 4 Corner Hotel WAVVES: May 9 Corner THE MOUNTAIN GOATS: May 10 Corner KAISER CHIEFS: May 16 Palace THE MACCABEES: May 16 Hi-Fi MURDER BY DEATH: May 17 Evelyn MUTEMATH: May 17 Corner BELL BIV DEVOE, GINUWINE: May 25 Trak Live Lounge MICKEY AVALON: May 25 Espy LADY GAGA: June 27, 28, 30 Rod Laver MELISSA ETHERIDGE: July 15 Plenary
NATIONAL RAY MANN: March 1 Toff MY FRIEND THE CHOCOLATE CAKE: March 2, 3 Famous Spiegeltent STEVE LANE & THE AUTOCRATS: March 3 Palais Hepburn Springs WILL & THE PEOPLE: March 3 Toff ADAM EATON: March 4 Toff CANYONS: March 8 Central Pier DEBORAH CONWAY & WILLY ZYGIER: Thursday 8 March Forum GOSSLING: March 9 Regal Bandroom, May 5 Thornbury Theatre DALLAS FRASCA: March 9 Northcote Social Club COERCE: March 10 John Curtin HOLLY THROSBY: March 11 Famous Spiegeltent I, A MAN: March 11 Pure Pop Records; 16 National Hotel (Geelong); 24, 25 The Hills Are Alive THE GETAWAY PLAN: March 15 Village Green Hotel (Mulgrave(; 16 Ferntree Gully Hotel; 17 Pier Live (Frankston) THE BEARDS: March 16 Corner DIRTY THREE: March 16 Palace; 17 Mossvale Park; 18 Theatre Royal (Castlemaine) DIAFRIX, JOELISTICS: March 17 Corner THE FEARLESS VAMPIRE KILLERS: March 17 Toff ZOOPHYTE: March 17 Evelyn; April 13 Prince Bandroom TROY CASSAR-DALEY: March 18 Warrnambool Greyhound Racing Club CASH SAVAGE & THE LAST DRINKS: March 19 Famous Spiegeltent XAVIER RUDD: March 21 Forum DANIEL CHAMPAGNE: March 21 Famous Spiegeltent GARETH LIDDIARD: March 23 Regal Ballroom SLEEPMAKESWAVES: March 24 Corner TWELVE FOOT NINJA: March 24 Evelyn Hotel; 29 Mac’s Hotel (Melton); 30 Ferntree Gully Hotel; 31 Pelly Bar (Frankston) JEN CLOHER: March 25 Northcote Social Club DAVE GRANEY & THE LURID YELLOW MIST: March 25 Famous Spiegeltent BODYJAR: March 31 Corner EMMA RUSSACK: March 31 Grace Darling THE GO SET: April 4 Espy YACHT CLUB DJs: April 5 Prince Bandroom DEEZ NUTS: April 12 EV’s Youth Centre (Croydon) (AA); 13 Espy; 14 Karova Lounge; 15 Musicman Megastore (Bendigo) (AA) CHILDREN COLLIDE: April 13 Corner VEIL OF MAYA: April 13 Phoenix Youth Centre BALL PARK MUSIC: April 13 Karova Lounge; 14, 15 (U18), 16 Corner BLEEDING KNEES CLUB: April 19 National Hotel; 20 Karova Lounge; 21 Northcote Social Club THE HERD, THUNDAMENTALS: April 21 Corner THE FUNKOARS: April 24 the Espy HOODOO GURUS: April 25 Palace DZ DEATHRAYS: April 25 National Hotel; 26 Karova Lounge; 27 Toff AN HORSE: April 27 Corner LANIE LANE: 4 May Karova Lounge,25 May Meeniyan Town Hall, 26 May Corner Hotel DEAD LETTER CIRCUS: May 17 Ferntree Gully Hotel; 18 Hi-Fi BOY AND BEAR: 18 May the Forum; 19 May Deakin’s Costa Hall, Geelong DEF FX, INSURGE: June 2 Corner TINA ARENA: July 28 Hamer Hall
raw, brutally honest and extremely perceptive, Anderson demonstrates that there’s nothing more refreshing than an idiosyncratic artist intent on doing their own thing. With a minimum of fuss Yuck take to the stage and launch into a driving version of The Base Of A Dream Is Empty, which instantly produces a dreamy, feel-good shoegaze vibe. As they showcase songs off their self-titled debut album, an instant and obvious comparison to acts such as Dinosaur Jr and Sonic Youth comes to mind. Surprisingly, Georgia sounds heavily influenced by the back-in-the day sounds of Alan McGee’s Creation, and Suicide Policeman has a distinctly ‘80s pop twang about it. Yuck deliver moments in their set that bring to mind a multitude of bands from The Jesus & Mary Chain to Pixies, yet amazingly they seem to tie it all up into what has become their signature sound. Rubber delivers a magnificently fuzzy squall of noise that ends with a few minutes of effects and feedback, which is exactly what My Bloody Valentine did when they visited Melbourne all those years ago. Guido Farnell
MY CHEMICAL ROMANCE
THE PEEP TEMPEL, DAMN TERRAN
NORTHCOTE SOCIAL CLUB
Gazing down upon the crazily compact assembly of punters in GA just before My Chemical Romance take the stage calls to mind some of the band’s lyrics: “Teenagers scare the living shit out of me.” Bodies sway like seaweed in the surf and pity the poor luv with the funky purple hair who is lifted from the mosh before hearing a single note. Cue tears.
Without a word, support act Damn Terran step onstage and thrash headlong into their set. Frontman Lachlan Ewbank looks about 18, but throws himself into the songs like a seasoned professional. His guitar is a tad lost amidst the bass and drums, instilling a wish to see them onstage in a venue these guys could really get the sound they deserve. The songs lift with bass player Ali Edmunds’ vocals and it’s awesome to hear a distinguished female punk vocal.
A random emo tween wanders up to the mic, and reads from notes: “And this band coming up has changed my life…” My Chems are off to a brilliant start before they’ve even appeared. Na Na Na follows and is the perfect launching pad as the band hurtles out in front of their simple “MCR” identification backdrop. Coloured beach balls are released for the surging masses to volley circa song three and this show is already right up there as the ultimate ‘my first concert’ experience. (My Chemical Romance also offer plenty for repeat concertgoers, mind.) Ridiculously telegenic frontman Gerard Way works a mic stand that doubles as a lightshow – lights change colour inside tubing, appropriately fluoro red for The Black Parade-era, demented polka Mama (“we all go to hell”). Way is in absolute command of the stage and crowd, signalling our arm-sway direction by vigorously pointing from side to side – rockstar traffic controller. Their bass drum skin reads, “Ex. Term. Inate” (in three separate lines) and Way drops a few f-bombs – “come fuck me Destroya!” he yells – but you could do far worse than encouraging your niece/nephew’s My Chemical Romance obsession. Random circle pits form during S/C/A/R/E/C/R/O/W and My Chems don’t neglect their early material: “This one’s off our first record,” Way identifies when introducing Vampires Will Never Hurt You, which predates all things Twihard. It has to be said that pumping a fist skyward to Welcome To The Black Parade’s beat feels awesome. Some My Chems members leave the stage to Way plus keyboardist and all phones/lighters come out for Cancer. Way’s sustained note that concludes their main set is superb. Crowd chants of “MCR” accompany stamping feet to lure the band back onstage. The Kids From Yesterday closes proceedings and as the doors to the auditorium open, some genuine kids of yesterday peer inside, searching for their kids of the present. The kid who delivered tonight’s intro is seen punching the air sidestage during the final song and then My Chemical Romance hurl a couple of water bottles and a pair of jeans into the crowd as souvenirs (or for eBay). It sure as hell Smells Like Teen Spirit on our way out. Bryget Chrisfield
YUCK, EMA, STEP-PANTHER EAST BRUNSWICK CLUB
A rather down-in-the-mouth Step-Panther play to a largely empty East Brunswick Club. The trio from Sydney are dishing out an amusing song about a Rock And Roll Alien. Accompanied by grinding guitars it sounds like something Iggy Pop might have once sung about David Bowie. A handful of people clap lamely as their next song manoeuvres across ‘90s grunge and after three minutes it quickly concludes their set. EMA’s debut album Past Life Martyred Saints was one of last year’s more fascinating releases and this evening’s short set showcases tunes from it. The wistful Marked opens the show and this leads into the deathly Grey Ship. EMA is in fact a three-piece with Erika M Anderson’s guitar accompanied by one very nonplussed bass player and a keyboard player, who also plucks and bows an electric violin on a number of tracks. On record there seems to be a greater emphasis on drone and psychedelic textures, but live EMA kind of punks up the arrangements. A broken guitar string sees the setlist changed around a little with Anderson introducing the dreamy Breakfast as a lullaby. At the end of it, Anderson is ready to rock and with her guitar returned she assaults with the almighty thump of Milkman, which more than justifies all those comparisons to Patti Smith. A blistering cover of Danzig’s apocalyptic Soul On Fire quickly follows. Fiercely strong,
The Peep Tempel would be heard over an atom bomb if they so desired. Wildly excited, they slam into song, looking crazy enough to try and eat the faces off the crowd. Midway into track If The People Don’t Get You, you can quickly see that frontman Blake Scott is a man possessed by his craft. After screaming for us to show them some love, he informs us all that they are feeling quite nervous tonight, before proceeding to fly into his songs like a wildcat on speed. This Melbourne three-piece can sure make noise – they are a giant, frantic, well-oiled machine, demanding every bit of the packed room’s attention. People are pushing and cheering and you can’t help but shake the feeling that The Peep Tempel are an undiscovered festival band. It feels like they should be playing to a crowd of 20,000 people, the crisp punch of Scott’s vocals reaching out to hit every one of us right where it hurts. Fast and frenetic, the songs are filled with biting riffs and hard hitting lyrics. With sweat flying from Scott’s face and splashing down into the crowd, the eclectic mix of punters scream along to Howlin’ Belle, wide-eyed and loving the show. The guys crash offstage and are cheered back for a double-song encore, including a track Scott titles Dead Beach. Ever felt the Northcote Social Club floor move? Well, it’s trembling beneath our feet, right before Scott steps up and smashes a symbol with his guitar, thanks his mum and walks off stage. Hard, fast, inventive and unpredictable, The Peep Tempel will change the way you walk. Get involved. Esther Rivers
YOUTH LAGOON, OLIVER TANK TOFF IN TOWN
The handsomely charming Angus Stone doppelganger, Oliver Tank, assumes a seat in the middle of the Toff stage, guitar in hand. The room is full and noisy and it is clear that the sold-out crowd has arrived early tonight to catch a glimpse of this talented creature. Tank is perched placidly on a stool, seemingly in a world of his own while singing tunes from his Dreams EP, his unruly curls flattened by over-ear headphones. This 22-year old from Sydney boasts a sound that resembles James Blake’s self-titled gem as well as Patrick Watson’s Wooden Arms and Just Another Ordinary Day. While playing tunes from his EP such as Last Night I Heard Everything In Slow Motion and Embrace, it is hard not to be charmed by his ambient melodies and mysterious aura. Towards the end of his set, Tank breaks into a cover of Snoop Dogg’s Beautiful, much to the delight of the crowd. While Tank’s music is rather melancholic and atmospheric, people in the band room seem somewhat disengaged, a shame because this artist, who has also supported Active Child on their recent Laneway sideshow slots, is one to keep an eye on. Youth Lagoon take the stage shortly after. We quickly learn through lead vocalist Trevor Powers that this Melbourne show is their first set overseas. After the release of their debut album late last year, The Year Of Hibernation, the kids of Youth Lagoon have been attracting much attention internationally, manifested by the enthusiasm here right now. There are some loyal fans who know the words and sing along to Afternoon and 17. Cheers are loud in the room when Montana and Cannons are played. The songs are executed well, and Powers has an endearing personality. While it may be Youth Lagoon’s first tour to Melbourne, it certainly will not be the last from these promising lads. Danielle Trabsky
SOUNDGARDEN, THE BRONX
As soon as The Bronx take the stage, their frontman Matt Caughthran gains early brownie points by sharing his distaste for the band’s upcoming itinerary. “It’s all downhill from here!” he observes on the prospect of travelling across for the Adelaide Big Day Out the following day. A punter calls out for trumpets. “That’s the wrong band! You’ve got the wrong gig,” Caughthran laughs, since obviously Mariachi El Bronx is the band incarnation that’s been touring with BDO. There’s a small gathering of enthusiasts clustered in front of the stage for Caughthran to bounce off and he labels Heart Attack American “the cruise ship of Bronx songs” before jumping down and getting amongst it.
The melancholic garage pop of Twerps is the ideal prelude to the sunny tunes and gloomy lyricism of San Francisco’s premier miserablist hippies, Girls. Twerps have been finding fans in the most surprising places of late, with very-famous-person Jessica Alba tweeting a shout-out to their song Dreamin last month. They are in great form tonight, seamlessly weaving together their jangly, shag-haired songs. Who Are You showcases their full charm, as frontman Marty Frawley sings of escapism in music and booze while a softy-does-it mix of riffs falls about him.
SIDNEY MYER MUSIC BOWL
There’s a massive rush to the front section, which is something unseen since Soundwave’s heyday. Most punters respectfully stick to their allocated seats these days. The opening visuals seem indicative of the band’s formative years, one such scene resembling a sketch of a shattered mirror with bark castle on top and goo flowing through. The graphics get more advanced as the show goes on, as if reflecting improvements in technology. A realistic human eye ogles the Bowl (Searching With My Good Eye Shut) and is enough to send trippers to St John’s Ambulance for a check-up. The all-seeing eye motif does wear a little thin, making us feel bad while the music makes us feel oh-so good. You can never hear the individual notes of riffs being played, just the overall sound and Jesus Christ Pose is as epic as we expect. Pretty Noose is simply devastating, but then again there was never gonna be any stinkers in this setlist. The years have been kind to Chris Cornell and he teases us with a sing-and-response, continually raising the bar with higher octaves. Alright, alright! We accept defeat and cheer. Cornell’s vocal control is in impossibly good nick for a heritage-listed frontman. Also, from memory, it’s only Cornell and young Miles Kane who can successfully pull off white pants. The pupil of the projected eye becomes the Black Hole Sun eclipse and we collectively drift off to nirvana. Some weirdo stands on his mate’s hands or something and does the Macarena in time with the music. What’s that about? A band like this makes you realise just how many shit bands there are out there that you used to think were good. Bryget Chrisfield
INCUBUS PIC BY KANE HIBBERD
The stage is draped in an array of flowers as Girls take to their instruments – fitting décor for their psych pop and a nice foil to main-man Chris Owen’s skewed romanticism. From profile view, with his mop of blond hair and stripy tee, he’s a dead-ringer for Kurt in the Smells Like Teen Spirit film clip. An early highlight is Honey Bunny, a short, sweet, skittling surfer song that the band executes with carefree ease. Similarly, Lust For Life (not the Iggy composition), from their self-titled debut album of 2009, rings with an upbeat catchiness that contrasts the words of Owens, who pines for a beach house, some pizza and somebody to love with all the yearning of Janis Joplin on Mercedes Benz. By turns, the band delve into far more washed-out, stoner territory with extended jams such as Vomit, an early single off their most recent LP, Father, Son, Holy Ghost. It’s all guitar-runs and feedback and allows for a small phalanx of young, doe-eyed female fans in the front row to stare at Owens without distraction. The set’s typified by Girls switching between moments like this and throwbacks to taught guitar pop of decades gone. The bluesy, doo wop of Love Is Like A River is a fine example of the latter. Owens barely cracks a smile or utters a word during song breaks, which lends a sense of distance between the group and audience. It’s a bit off-putting at times, but the music of Girls – despite the band’s hipster visage and flower-power sheen – never claims to channel ‘60s, Haight-Ashbury optimism. It’s pop music for the bummed-out and worldweary; and tonight, the band serve precisely that. Adrian Potts
FESTIVAL HALL Festival Hall erupts, with everyone chanting “In-cubus, In-cu-bus”. The lights go out and the venue is filled with roars from the crowd. Incubus open up with Megalomaniac, which sets the night up. When they play Wish You Were Here and Drive back to back, the fans are in awe. Frontman Brandon Boyd is a strong singer and talks to the crowd throughout the night. Boyd enjoys himself, dancing around and showing off his other talents – playing guitar for a couple of songs, and the bongo during Are You In?, alongside drummer Jose Pasillas. Bassist Ben Kenney is the most entertaining member to watch. When he plays his funk beats he jumps about the stage, and when a song kicks into its mellow state, he calms down, keeping the grooves. Mike Einziger, the lead guitarist, is another multi-talented member. He brings more sounds to the band when he plays piano and, like the rest of the group, interacts with the crowd. DJ Chris Kilmore brings a nice twist to the band. During breaks between songs he plays solos and revs up the crowd. During Sick THE HORRORS PIC BY KANE HIBBERD
SOUNDGARDEN PIC BY KANE HIBBERD
Sad Little World, Incubus launch into The Doors classic Riders On The Storm. After an amazing set that lasts an hour-and-a-half, Incubus leave the stage. Their fans are having none of it though, and after a rumble and chant, Incubus return and play Certain Shades Of Green, which leaves punters on a high. A great night’s entertainment. Nick Kennedy
THE HORRORS FORUM THEATRE
Taking to the stage looking as dapper as we’ve come to expect from Southend-On-Sea’s finest group, singer Faris Badwan and NME’s seventh coolest person in the world, bassist Rhys Webb, are front and centre. Their opening tune Endless Blue’s extended, swaying intro eases the crowd into the sonic assault that follows with two more cuts from their latest record Skying: I Can See Through You and Changing The Rain. Despite the My Bloody Valentine-esque ‘wall of sound’ that The Horrors now practise at their live shows, there’s still something very minimalist about the way they present at gigs. Solos are non-existent, lighting is stripped back to a single shade of colour for each song. It’s toned down, but it’s effective. Mirror’s Image (2009) is beautifully placed midway through the show, building to a deafeningly psychedelic climax that’d make Stacy Sutherland proud. The instantly recognisable bass and drum intro of Sea Within A Sea follows, kickstarting eight minutes of repetitive bliss, before Skying’s lead single, Still Life, closes out the main part of the set. It’s refreshing to see a rock’n’roll band leave the stage for their encore after playing just eights songs over 45 minutes. Why don’t more bands do that nowadays?! (I’m looking at you Robert Smith.) The band return for cracking versions of songs from their Primary Colours record, Who Can Say? and Three Decades, but it’s set closer Moving Further Away that is truly the highlight of this show. The ten-minute long kosmische-inspired jam, driven by a maraca loop and Moe Tucker drum beat, is hypnotic. Guitarist Josh Hayward laces the song in glorious feedback while Badwan taps into his inner Roger Daltrey by crashing his mic stand into the amplifiers. The Horrors have come a long way from the first time they toured Australia… the goth-looking, garage-inspired rock kids have grown to incredible psychedelic musicians. Bring on the next tour. Wes Holland
INPRESS • 47
HAVE YOU HEARD
LIGHT THE FUSE
AUSTRALIA’S LONGEST-RUNNING MUSIC CONFERENCE, ADELAIDE’S FUSE FESTIVAL, IS BACK WITH A MASSIVE LINE-UP. THE FESTIVAL AIMS TO ALLOW BANDS ACROSS ALL GENRES THE CHANCE TO PERFORM IN FRONT OF SOME OF AUSTRALIA’S MOST HIGHLY REGARDED MUSIC INDUSTRY FOLK AND INTERNATIONAL DELEGATES. WE’VE HAD A GANDER AT THE BILL AND CHOSEN A SHORT-LIST OF FOUR ‘MUST SEES’. HERE THEY ARE, IN NO PARTICULAR ORDER…
SCOTDRAKULA’S LUNAR BLOOD
Come along to watch Lunars light up the Gasometer this Friday, in support of Sydney band Bloods who are in town to launch their single All The Things You Say Are Wrong. Melbourne crazies Scotdrakula are also on board to make sweet party times.
THE PERCH CREEK FAMILY JUGBAND ARE PLAYING OPEN STUDIO IN NORTHCOTE EVERY WEDNESDAY IN FEBRUARY. How did you get together? Lear Hodgkins, washboard and jug: Our old man put together the band when we were too young to know any better (and when Christi was too young to tie his own shoelaces)… Now the bad old days are over, we’ve given the old fellow the boot and are making it on our own. Have you recorded anything or do you prefer to tool around in your bedroom? We’ve recorded two albums with the current line-up, one was a live album recorded at the Star Court Theatre in Lismore and our latest album Tall Tales was recorded in a mouldy old shack in the hills behind Mt Warning in northern NSW. Can you sum up your band’s sound in four words? The Perch Creek Family… hmmm. Let me try again. Siblings, harmonies, jugs, nonsense… If you could support any band in the world, who would it be and why? Justin Townes Earle – because Eileen has a major crush on him! If a higher power smites your house and you can only save one record from the fire, what would it be? Blood Thinner by Jordie Lane. We are getting ready to go to his show as I write this… Do you have a lucky item of clothing you wear for gigs and what is it? Christi never gets on stage without his red Power Rangers undies. If you invited someone awesome ‘round for dinner what would you cook? If they weren’t gonna stay ‘til the morning it’d be dal and rice – it’s vego, it’s cheap and it’s easy – there are side-effects, though. What’s your favourite place to drink in Melbourne? We’ve only all been in Melbourne for about 16 days all up (not counting the two months we’ve been paying rent while on tour) and we don’t drink much so, not really sure…
The Original Snakeskins combine fine musicianship and soaring three-part harmonies to present a unique style that sits somewhere between country, folk and bluegrass. Aided by a soulful blend of traditional instrumentation – guitar, mandolin, dobro, banjo, harmonica, double bass – the band deliver toe-tapping tunes with good humour. They’re performing two sets from 7.30pm this Saturday at the Retreat Hotel.
In recent years, The Davidson Brothers have toured extensively throughout Australia and America. In June of last year, the brothers completed their first European tour and performed at the 2011 European World of Bluegrass in the Netherlands. The Retreat Hotel is stoked to bring you The Davidson Brothers, performing two sets on the brand new beer garden stage from 4pm every Sunday in February.
It’s that time of year again: Sydney Rd Street Party is just around the corner and this year the Retreat Hotel has pulled all the stops. It’s the day when we celebrate all things Brunswick and revel in how awesome the main drag is. It’s happening Sunday 4 March, with free entry and music in the beer garden from 1pm. Helping celebrate this year are Coral Lee & The Silver Scream, Ben Salter, The Toot Toot Toots, Dan Brodie & The Grieving Widows, Pony Face, Son God Replica and DJ Phil Gionfriddo (The Bowers).
GET INTO THE MOOD
This Thursday at Mood, Loop is all about getting you in the right mood with groovy deep house, disco and techno tunes. Resident DJ NuBody brings his unique sound to Thursday nights and is always accompanied by a special guest. Watch them spin from 9pm until late. No cover!
48 • INPRESS
Unstable Sounds is back at Loop this Saturday, bringing you the deepest, dirtiest and most lush techno, moist progressive and sexy psy-trance. This month features Vorax (Brazil) and Anri (Japan) who is freshly back from playing Rainbow Serpent festival. Azrin, Loki’s dark alter ego, will also play his album The Awakening, which has been heard in over 35 countries world-wide. They all share the stage with: Mbug, Chris Pana, Jewelz, Henk D and Ninja. As always, it’s free entry from 10pm until late.
JAMS BY THE RIVER
WHAT THE DICKINS
Having finished a national tour supporting The Dresden Dolls with his band, The Jane Austen Argument, Tom Dickins continues his unconventional approach to life as an independent musician with a Thursday night residency at the Sporting Club Hotel. For this Thursday’s show, he has also asked the audience to bring along ukuleles, to learn a song in the break to perform en masse. Plus, it’s totally free.
Since The River debut their live act at Revolver tonight. The male-female duo create haunting ambient beats, grizzling guitars and bleak romantic pop lyrics. The band’s show also features live visuals from Projector Obscura, creating a feast of sounds, shapes and colours. Special guests are Mountain Static and Miles Brown (theremin, The Night Terrors). Other visuals by DEADV and These Patterns DJs pump up the jams for the night. Doors are at 8pm and entry’s $8.
MISTRESS AND SHERIFF
Mistress Mondays and Sheriff team up this Thursday for the first of their four-week co-headline residency at Revolver Upstairs throughout February. Support for this show is Bonjah’s Glenn Mossop. Tickets $10 and doors open at 8.30pm.
Adam Eaton has been living in Norway, but comes from Melbourne. He is a maker of atmospheres and forges country and folk influences in beautiful arrangements that he delivers with vocal tenderness. He’s got an EP out next month, so this will be the perfect opportunity to catch the new songs live before he buggers off again. Them Swoops describe their sound as “sharp fuzz garage pop from the future of your past”. That sort of works. The word they left out, though, is “catchy”. This is the stuff that will lodge itself in you brain for days – your incessant whistling will enter the irritation zones of those around you. This is an absolute no-brainer: Catherine Traicos live is an event. Her three albums have cemented her as one of the most impressive country talents in Australia and her voice is one of the more stunning around. She’s appeared on stage with M Ward, toured with pretty much everybody and should not be missed. For a bit of hip hop laced with soul, crossTasman outfit Direct Influence are the ticket. A double-fronted five-piece, they’ve been touring frantically and playing festivals from Woodford to Ho Chi Minh. They bring heavy beats, smooth rhymes and catchy hooks and deliver it all via and electric live show.
JOIN THE BANNED
Ben David has been building a name for himself as Adelaide’s folk/punk love child for the last five years. Now he’s finally put a full band together featuring life long friends Sam DeBruin, Dan Raw and Alex Upton. Ben David & The Banned play their own unconventional blend of country and punk rock upstairs at the Gasometer. Joining them on the night will be Kill The Matador and Strathmore.
THE CARNIVAL IS OPEN
This Friday night at Bar Open, the carnival of global rhythms has come to town. 8 Foot Felix headline the night with their blues-inspired sea shanties, gypsy polka and pirate funk. They’re joined by boogaloo band Djumba, electro swing king Mortisville and afrobeat dub man Papa Stylee. It’s all free, too. Doors open at 10pm.
Reggae/dancehall crowd pleasers Raz Bin Sam & The Lion I Band return to Bar Open to play two shows in a row: one this Saturday from 10pm and another on Sunday from 9pm. Joining them will be Mista Savona Soundsystem, Sista Itations and Jesse I (Chantdown). By the way, the shows are free. Reggae fans, be there.
FISHING FOR COMPLIMENTS
Hard-working Bayside lads The Complimentary Headsets have released their second EP in under a year, which includes their delicious summer single Now We Are Young. To celebrate, The Complimentary Headsets are throwing a party at Revolver Upstairs this Friday with good friends The Kalaharis and The Inbetweeners. Doors are at 8.30pm and entry’s $12.
A SLAMMIN’ SHOW
Following the release of her debut EP Mean Old Clock and some highly sought after tour supports in 2011 (Tim Rogers and Custom Kings), Melbourne singer-songwriter Leena will be showcasing her talent at the Retreat Hotel this Friday. She will be joined by her new band The Bones and supported by Minibikes. The show starts at 9.30pm and it’s free.
SOUNDS OF SYDNEY RD
Moondog Gypsy Blues Band develop their sound from the masters of old and new. Frontman Moondog uses a variety of guitars including slide and resonators, along with harp to complement his growling vocal. The rhythm is provided by Kate La Jam playing stand-up drum kit, cajone and percussion. They’re performing two sets at the Retreat tonight from 8.30pm.
To celebrate Australia’s very new national independent music day, Slam Rally Day, the Retreat Hotel is putting on a hell of a free show this Thursday. The line-up includes Spencer P Jones & The Escape Committee, MJ Halloran & The Sinners and Waco Social Club. The music starts at 7pm.
MILLIONS ADAM EATON
The Barebones are celebrating the launch of their long-awaited self-titled EP on Saturday 3 March at Phoenix Public House. Showcasing the band’s stylistic diversity, the EP is a seamless blend of country, ‘60s pop and driving rock. The Barebones have been delighting audiences with their live shows throughout 2011, shifting from pared-back acoustic to stomping rock’n’roll, these lads will make you want to shout, dance and cry. Joining them for the launch are Leena & The Bones, Wilding, Fraser A Gorman and DJ Sean M Whelan. Doors from 9pm.
PHANTOM AT THE BAR
Phantom Agents have just released their eponymous EP, which highlights both modern and retro influences ranging from 13th Floor Elevators through to Black Rebel Motorcycle Club. Phantom Agents take over Thursdays at Bar Open in February. Supports for their residency include Jackals, Galaxy Folk, The Philistines, The Call Up, Cam Lopez, Alexander Francis and more. Doors at 9pm and entry’s free.
ROSIE SETS SAIL
Traversing their way around the world with an original blend of gypsy-folk-roots, The Rosie Burgess Trio are back on home soil to announce their brand new album release, Before I Set Sail. They’re launching it at the Northcote Social Club on Thursday 1 March and will be joined by three piece roots-rock wild cats Jungal. Tickets are $10, doors are at 8pm.
INPRESS • 49
Do The Robot’s intimate live shows gently coax the audience towards the rocks with their haunting charms before smashing you asunder with some deftly timed walls of noise. Joining them upstairs at the Gasometer this Sunday night are psychedelic four-track masters Wizard Oz and Big Tobacco who combine Byrds like melodies with the spirit of early Flying Nun bands.
HAVE YOU HEARD
GREAT EXPECTATIONS WATER SERPENT
River Of Snakes have been smashing out some formidable sets at their Wednesday night Cherry Bar residency this February. Tonight they will be supported by UK garage/ blues rockers the Graveltones who are touring Australia this month. Then Wednesday 29 February is a special three-band bill finale with doom-stoner-sludge masters Motherslug and the swamp/blues sonics of Mass Cult.
SMITH ST ON SMITH ST
Those crazy Tasmanian punks, Luca Brasi come to the Gasometer stage this Saturday to launch their debut album. The night will be headlined by the ever-awesome Smith St Band with support from Palisades and Bat Yoghurt.
Mark McGuire is one of the central figures emerging from the American underground music scene. An incredibly talented player and songwriter, his work both in a solo capacity and with his lauded band Emeralds places him smack bang in the heartland of a great American sonic uprising. He’s a master of his craft and comes to Melbourne for the very first time at the Gasometer this Sunday. Joining him will be Rites Wild fresh from a national Sun Araw tour and Not Not Fun recording artist Angel Eyes.
Tomorrow (Thursday) marks the launch of We’ve Been Expecting You, an avenue for up-and-coming artists Australia-wide to get into the Melbourne music scene. The grand opening will showcase Zuzu Angel, who are a rock’n’roll movement built on flirtatious guitar driven riffs and hip-shaking rhythmic grooves. Supporting are The 80 Aces, who will kick off their Australian tour next month and White Summer, plus Terrorbyte Stripes playing late.
SUNDAY ON A FRIDAY
Following the success of their last EP Dark Rainbows and a tour of the UK, The Sunday Reeds launch their highly anticipated new single Kill this Party/ Fall from Grace at Pony this Friday. They are joined by the always sublime Grand Prismatic, Sydney garage-punk band Bunt, the experimental noise of Maya and the performance art of Dane Certificate and Coral Jade who will entertain and thrill with their magic and hula-hoop skills.
SPARROWS TO LAUNCH
Tin Sparrow fans are in for a treat this April, they will be playing the Grace Darling Saturday 21 April in support of the release of their highly anticipated second EP. 2011 saw the Sydney group off to a blistering start. From a sold-out single launch and national airplay for track Hector Myola, to landing the main support on Husky’s national tour but 2012 looks set to be even brighter.
Old Growth Cola are a Brisbane based psych-pop band who in February are touring parts of New Zealand and Australia. Accompanying this tour is the release of their live cassette and an untitled 7”, limited to a pressing of 60 copies. This Saturday upstairs at the Gasometer they will be playing alongside Mad Nanna who will be launching their I Hit A Wall 7”, Yuko Kono from My Pal Foot Foot and Heart Flew.
WHAT A MESA
Friday Night at the Tote there’ll be a combined EP launch for explosive Mexi-party-noisemakers Mesa Cosa (10” launch) and garage blues crew The Murlocs (debut EP). Along for the fiesta are the always excellent Chook Race and punk graduates The Morrisons. It’s $10 on the door for a seedy raucous party of huge proportions. You can’t go wrong, it’s gonna get loco, cabrones.
Yet another fabulous Australian act The Backsliders roll in to the Caravan on this Saturday and test out the axles. The band are supporting their album, Starvation Box which was released last August. The night will also feature special guest Suzannah Espie.
A NEW SYMPHONY
The Bitter Sweethearts are a band of five gents who knock out carefully crafted pop country songs as if they’d been at it for years. Featuring members of many Melbourne bands you probably haven’t heard of, they are officially launching themselves and their debut EP with a Wednesday residency at the Old Bar in February. In support tonight are Matt Green Band and The Woolworths Blues Singers. TEHACHAPI
BLACK AND BRUISED PEAR & THE AWKWARD ORCHESTRA – CASTLE What’s the song about? Pear (Steph Barros Lees), vocals/ guitar: It’s about a dream that I had. It was quite a surreal trip really. Is this track from a forthcoming/existing release? Existing. It’s off my debut album Smocks!, which we released in July last year.
The Blackwater Fever are set to play the Tote on Friday 30 March, along with the equally dark and moody Kira Puru & The Bruise. They’ll be performing some tracks off their new album The Depths, which they’ve just finished recording. After the Tote show, The Blackwater Fever will play a 2am late slot at Pony.
Shane Howard returns to the Caravan tomorrow (Thursday) for the first time since his two sellout shows when he launched Goanna Dreaming eighteen months ago. This time he will be celebrating the 30th anniversary of the classic Goanna album Spirit Of Place.
How long did it take to write/record? The pre-production for the album was about a year. The film clip for Castle took about two months all up, with one day of actual filming. What was inspiring you during the song’s writing and recording? Being around amazing people and delicious food and living life the best way I can, having lots of adventures along the way. We’ll like this song if we like… Hmm, that’s a hard one. I’m going to say Sia, Pixies, Regina Spector, Bon Iver and really, it’s not at all like any of them. Do you play it differently live? We do, its a bit folkier live which is lovely, it has a gentle bounce. Will you be launching it? Yes, we are playing at the Grace Darling on Saturday supported by The Tiger & Me, Nai Palm and Ainslie Wills. It’s going to be all kinds of fun!
50 • INPRESS
FOR A BETTER WORLD
To help to raise awareness and money for Afghan refugees living in Pakistan, the Utopia Laneway Festival will run from midday to 9pm this Sunday on the corner of Gold and Johnston Streets in Collingwood. Fourteen local and interstate DJs and sound artists will be playing throughout the day including Tehachapi, High Tea, OneTalk, 2Fuddha, Deaf Cat, JPS & Nam, Affiks & A13, Treats, Chestwig, Able 8, Wooshie, Rashid BB, Dysphemic & Miss Eliza and DJ Wasabi. There will also be market stalls, visual art, DJs and more. For details and donations head to the festival Facebook page.
Freddy Fudd Pucker began, circa 2006, as a solo project out of Dunedin, New Zealand. After two, selfproduced and -funded albums, a solo tour was planned for the USA in 2009. Not three shows in, the tour was hijacked by a small Texan woman (The whippy-Dip) and her accordion. They make a lot of sound for two people. Freddy plays guitar, banjo, ankle-bells, harmonica and a relentless kick-drum accompanied by Whippy on accordion. Catch them this Monday at the Old Bar.
VULTURES ARE FROM VENUS
Vultures Of Venus play a free show at Bar Open tonight with Lords Of Northcote, whose unique style of dance music hits you like an electro glitter bomb, and psychedelic funk blues maestros Delusions Of Grandeur. Then this Saturday, the Vultures are performing at House of Rock at the Palace for the Rock’n’Rolla Festival, alongside many other killer bands. Doors open at 5.30pm.
How did you get together? Max Koenig, tenor sax: Myself and our guitarist Henry met in Year 8, and began jamming together to Blues Brothers and other ska/funk tracks. Soon after, we added more people to our troupe, and started gigging in September 2008. Have you recorded anything or do you prefer to tool around in your bedroom? Tool around? Well, I don’t know about your definition, but I’d say that information is fortunately classified… But yeah, we’ve recorded a couple of demo tracks back in 2010, and will have a few more out some time very soon, which we recorded in December last year. Can you sum up your band’s sound in four words? Nonsensical, belligerent, phat‘n’funky. If you could support any band in the world, who would it be and why? The Cat Empire would be pretty sweet; Harry Angus went to our high school and was taught by our big-band director, so it would be pretty inspiring following in his footsteps. If a higher power smites your house and you can only save one record from the fire, what would it be? Ooh, that’s too hard. I’m really not sure… Maybe a compilation CD of Cat Empire, Maceo Parker, Melbourne Ska Orchestra, Herbie Hancock, Flap! and others – although my mates have all my music on their computers anyway.
THE CARAVAN BECKONS
The very prolific Stephen Cummings will launch his fantastic new album Reverse Psychology this Friday at the Caravan Music Club. Cummings is a is Caravan favourite and tickets are selling at a furious pace so don’t delay, particularly if you want to reserve a seat as they are now in short supply.
THE BRASS MONKEYS PLAY THE PUSH START BATTLE OF THE BANDS STATE FINAL AT PUSH OVER AT ABBOTSFORD CONVENT ON MONDAY 12 MARCH.
Unique pop/rock trio, The Collectables debut their longawaited return to the stage at Noise Bar this Friday. The new year sees the band undergo a significant line-up change with both brand new and reworked material. It’s an addictive mix of infectious, simple pop-rock tunes, layered with clever, tongue-in-cheek lyrics and a purely original sound. Supporting their return are Memoire and The Divine Fluxus. Doors open at 8pm with $5 entry.
Traditional jazz has found a new lease on life with the release of Melbourne band Shirazz’s new album, Enjoy Responsibly. Packed with hot New Orleansstyle traditional jazz tunes, Enjoy Responsibly will be launched by Shirazz on Saturday at Red Bennies.
Do you have a lucky item of clothing you wear for gigs and what is it? Henry’s consistent flamboyant dress (including bow ties, shiny suit jackets and frivolous waistcoats) to our gigs would probably be some sort of lucky something or other. Our supporters like it anyway. He’s a sharp frontman. If you invited someone awesome ‘round for dinner what would you cook? Nachos. Copious amounts of nachos. We as a band have lots of nacho nights, where we completely veg out and play Xbox, with rounds of nachos consumed in between. For dessert, we also have cookie pizza, which is a layer of choc-chip cookies, with a layer of melted marshmallow, a layer of melted chocolate and toppings (in order). It’s diabetes delight. What’s your favourite place to drink in Melbourne? We’ve had splendid gigs at the Great Britain in Richmond. We’ve never reached the end of our tab there, and when they’re serving Little Creatures on tap, you can’t go wrong.
Many thought it wouldn’t happen, Kim Salmon and Spencer P Jones playing together. Every Sunday in February you’ll be able to witness two of the best get up on stage at the Old Bar and show you why they’re the best. This is going to be something else. Solo sets, guests and who knows, they might even play some songs together. Every Sunday in February at the Old Bar from 8pm for only $8.
After seven consecutive years at The Tamworth Country Music Festival, the popularity of The Pigs’ bluegrassfuelled pop covers and foot-stomping originals only seems to be on the rise. On Thursday 8 March en route to the Port Fairy Folk Festival, The Pigs play Melbourne’s Thornbury Theatre, headlining a mouth-watering triple bill with The Beez and Mustered Courage.
MIC IT UP YO
Iowa’s latest single Panic Attack is available now as a free download through iowa.bandcamp. com and iTunes in all its lo-fi, ‘90s guitar fuzzinfused glory. To celebrate the release, Iowa will be launching Panic Attack at the Tote tonight. Damn Terran and DJ Luke D (PBS) will be in support. Doors from 8pm, $6 on the door.
Registrations for the 2012 Aireys Inlet Open Mic Music Festival close at the end of February so time is running out for performers wanting to take part. The annual festival celebrates music, the people who make it and the people who love to experience it live. With a month to go they’ve hit 100 registrations but there is still room for a few more if you’re quick. This year’s Festival runs from Friday 16 to Sunday 18 March and will once again take over the town. Organisers are expecting over 150 acts from all walks of musical life to hit the nine stages at venues throughout Aireys. For more information log onto aireysinlet.com.au, and get rehearsing.
Just on three years ago Blue Swimmers drummer and local legend Juddy Roller tragically passed away. Now every year his life is celebrated with the Annual Juddy Roller Memorial gig with all proceeds added to a trust fund for his son. This year’s show is this Saturday at Pony. There’s a whole night of ripping bands starting with Riot City Knockouts, Inedia, The Tearaways and The Blue Swimmers who will be launching their new album.
THE LAST BREW
This Saturday will be the final night of Funky Brews two month summer residency at Noise Bar. The Brews vow to go into band-hibernation after Saturday so make sure to catch the show. Joined by party-starters The Keiths, with their hard hitting hip-hop funk fusion and special guests Bill & The Jerks, bringing their unique mix of blues guitar, jazz keys and funky bass lines to the mix. Doors open at 8pm with $5 entry.
DJ PREQUEL PLAYS THE BOATS, RHYMES & LIFE BOAT PARTY ON THE VICTORIA STAR ON SATURDAY 3 MARCH; THE TOFF IN TOWN THURSDAYS; 161 FRIDAYS; AND SEVEN NIGHTCLUB SATURDAYS.
GOING TO THE ZOOPHYTE
Zoophyte return to the stage with a blistering new sound and killer new songs. The band won rave reviews for their 2007 release, Another Point Of View, and solid radio support with lead single Better Days receiving spins nationally on Triple J, key community stations and commercial radio. With continued touring through 2008, Zoophyte rapidly built a dedicated live fanbase on a reputation for delivering a great live set. Following a hiatus in 2009, the band re-emerged with a new line-up in 2010 and began the process of writing and recording their follow-up album. Zoophyte are due to release a brand new single this March.
What inspired your DJ name? Having a shit DJ name before this one.
where DJing was a part of our daily routine, like bathing or growing a beard.
In a nutshell, describe what you play? Hip hop, soul, funk, Afrobeat, dubstep, disco, UK funky/garage, bit of house, glitch, boogie, anything I like.
What’s the weirdest thing you’ve seen in a nightclub? DJs getting paid on time.
What track turns you on right now? M-Phazes just sampled/remixed this James Blake track that’s super hot. Also the whole Run For Your Life Vol 1 album and Remi’s album Regular People Shit and Soliloquy’s new EP, 7.
What’s the worst bootleg you’ve ever heard? Seeing the soundcheck of a very well known DJ and hearing Don’t Worry, Be Happy by Bobby McFerrin mashed up with Niggas In Paris by Kanye and Jay-Z. It was vom.
What made you start DJing? I was raised in a strict Mormon family
The most idiotic request you’ve had as a DJ? Can I have a go DJing?
INPRESS • 51
PHOENIX’S SYDNEY ROAD FESTIVAL ACTS
MEN TO PLAY PHOENIX
TWERPS AND THEIR ANIMAL FRIENDS
MEN are a Brooklyn-based band and art/performance collective led by Le Tigre’s JD Samson, cult icon and leader in the LGBT community, and are currently in the studio recording their second fulllength record. They’ll play the Phoenix Public House on Friday 1 March with guests A Gender and Plast Her Ov Paris. Presales from Moshtix and phoenixpublichouse.com for $20, or $25 on the door.
Phoenix Public House have made their first announcements for the Sydney Road Street Party on Sunday 4 March. The line-up is already awesome and will feature Butcher Blades, Love Connection and Lowtide. Plus there are more coming so stay tuned. Tickets are on sale for the Brunswick Music Festival Dates from phoenixpublichouse.com.
CIRCUS IN THE CASTLE
Ross McLennan has been very busy. As well as recently reforming Snout, who have performed some rockin’ shows at the Tote as of late, all the while Ross has been putting the final spitand-polish on a new, yet-to-titled album of solo material. Fans can get a preview at the Edinburgh Castle this Friday, where he’ll be supported by the luminous Emma Heeney and Running Away With The Circus. Entry’s $10.
HOUSE SOLD Homeowner with their lush, full sound, rounded out with some Warren Ellis inspired fiddle play Yah Yah’s this Sunday with support by the ever delightful Amanita and the ever faithful Hollow Everdaze.
Instrumental heavyweights Night Terrors have been petrifying punters since the early 2000s. Featuring vintage horror synth, breakneck rhythms and the haunting theremin melodies of Miles Brown (student of Russian theremin queen Lydia Kavina), Night Terrors offer a mind-melting mix of dark synth magic, thunderous dreamscapes and other-worldly electronica. The last 18 months have been huge for the band, with three European sojourns, and supports for such names as Goblin, Hawkwind, Lou Reed & Laurie Anderson, Black Mountain, Boris, Serena Maneesh, Bardo Pond, and Melt-Banana. With a brand new album about to burst from the gates, don’t miss this rare chance to see the Terrors on home soil before they head off into the cosmos once again. They play the Phoenix Public House Saturday. Doors are at 9pm and it’s only $10 on the Door.
METAL IN YOUR EARS Melodic thrashers Anarion hit the stage again this Friday at the Prague. They’ll be joined by Pretty Suicide, a young band ready to tear your head off live. Brutal death metallers Ordnance will be out in force to rupture something. Young up and comers Defined By Honour will be opening up the night. Get down early and show some heavy metal solidarity.
Rites of Passage Tattoo Convention & Arts Festival is a three day arts, tattoo and music festival with a focus on tattoo history and culture held at the Royal Exhibition Building in Carlton Gardens. The festival will provide an opportunity to see or be tattooed by some of the world’s most respected, renowned and up-and-coming tattooists, showcasing their artwork on living canvas. All profits made from the festival will go towards buying old growth forest and/or agricultural land, which will be replanted with native rainforest and various Indigenous Australian charities. The festival runs from Friday 27 to Sunday 29 April. For more information go to ritesofpassagefestival.com.
52 • INPRESS
Playing sharp, fuzz guitar-psych wig-out chaos-pop from the future of your past are Them Swoops. They’ll be joining Dancing Heals for their double A-side launch at the Toff In Town this Saturday. Also on the bill will be Hayden Calnin and RRR’s Simon Winkler will DJ between sets. Doors open at 8pm and tickets are a measley $10+BF or $15 on the door. Them Swoops play the Toff again on Tuesday at the Last Dinosaurs sold-out album launch.
LISTEN IN HARMONY
Like two ideologies in decline caterwauling towards fundamentally opposed extremes, Spod and Harmony will engineer mass bi-polarity in captive heads at Yah Yah’s tomorrow (Thursday). Bridging the divide will be the ragged glory of Deep Heat (featuring members of Boomgates and Diamond Sea) who will open the night. This gig is part of the National SLAM Day shows happening on the same night in small venues around the country. Bands begin at 9pm.
Melbourne’s favourite lo-fi pop dweebs, Twerps are heading to the US in March for SXSW, and then a five week US tour. To say goodbye, and to raise a few much-needed funds for their trip, Twerps are playing an awesome show with besties Lost Animal and Super Wild Horses. The band will have their muchloved debut album available on the night on CD and vinyl. Tickets available on the door only, so get there early. Doors from 9pm, $15 tickets on the door.
The first Friday of the month is just around the corner, which can only mean it’s time for another multi-coloured trip down your electronic memory lane at My Aeon. For this Precursor Session, they’re pulling out the big guns, with Australia’s two-timing best DJ Ajax giving it a red-hot go, supported by Precursor residents JaseFOS and Jayd. Doors are open from 10pm to 5am. Entry $15 or $10 if you RSVP on Facebook.
HOUND ME DOWN
Seri Vida is ready to do it all again to release their seductive mind-stalker of a single The Hound to a live audience near you. VIDA performed at the 2010 Fringe Festival and Emerging Writer’s Festival, and has since teamed up with the likes of drummer Alan Murphy, guitarist Andrew Watson, and bassist Chris Mildren, by means of mutual musical relations and serendipity. The result is an aural force to be reckoned with. Catch her at Yah Yah’s this Friday with Ferry Tails and Constant Killer.
WITH EXTRA CHEESE
SWOOPING THE TOFF
Sundaes just got creamier with your newest daytime session jamboree featuring only the finest in East Coast/West Coast rap, old-school R&B partyjams and much more. Mexican food for your belly and grilled cheese beats for your ears. Every Sunday 4-7pm at the George Basement Bar. Featuring hip hop party jam legends MAFIA, Hans DC and Boogie with special guests each week. Free entry with Mexican food and drink specials.
Melbourne indie-rock trio Sketch Club spent much of 2011 burrowed away in various rehearsal caverns crafting the follow up to their 2010 debut EP Burn This House. After some tinkering, tailoring and circuit breaking, they have resurfaced with a new record all shiny and new and ready to unleash, Break Rewind. Expect some old-fashioned feeling amongst the melodies and fresh grooves. They will be supported by Let Them Eat Cake, Dead Pilot and The Sundanze Kid at Yah Yah’s this Saturday.
EASY AS PIE
The Conch, short for consciousness, are a progressive eleven-piece band playing a dynamic mix of ska, reggae, Latin, funk, hip hop, swing and more. They play music for change, in the same spirit as artists such as Spearhead, Asian Dub Foundation, Manu Chao, Ozomatli and Rage Against The Machine. The Conch are not a band, they are a social change project. Come down and celebrate their live DVD launch at Noise Bar this Sunday afternoon from 2pm with $5 entry.
The House of Mince presents Mince Pie: A Queer Hip Hop Dance & Performance Party for its second installment Friday at the Phoenix Public House. The House of Mince resident DJs mix a unique collection of international hip hop with new guest DJs every month. The night is interspersed with epic alternative performances, DJs, and fierce go-go dancers for five hours of the hottest and sweatiest dancing y’all will do this week. There will also be a fabulous photobooth capturing all of the evening’s epic looks.
Maniacal. Brilliant. Belligerent. Legendary. Comprehensively in your face. Like a Muppet with a real bad attitude. These are just some of the words used to describe the utterly intoxicating Juke Baritone as he’s been travelling the world with his rascally troupe of manic noise-makers, assaulting audiences with his tall tales of bad love, good times and the evils of the world. Accordions wail. Horns scream. Guitars screech. And the room goes wild as they dance and chant along to this uniquely Australian sounding psycholonial stomp. It’s certifiably, incurably insane and it’s barging into the Empress Hotel this Saturday 25 February for a one-night-only headline performance. Support comes from the drama-filled Jane Austen Argument and cabaret punk duo White Knuckle Fever (ex-Machine Gun Fellatio). Doors 8.30pm/$8.
SORTED FOR E&P S
EP REVIEWS WITH STEPHANIE LIEW
THE COMPLIMENTARY HEADSETS NOW WE ARE YOUNG (Independent) This Melbourne fourpiece play riff-heavy rock with pop sensibilities. While this second EP has some creative moments and pleasing, sunny guitar lines, the vocals disappoint. They sound unsure enough to be the noticeable weak point in the strong, anthemic songs. However, the vocals do have enough personality in them to make some songs, such as the upbeat Drip, work. Overall, it’s a catchy EP that, although unpolished, shows promise. The Complimentary Headsets play at Revolver on Friday.
THE GRACEMAKERS THE GRACEMAKERS (Independent) Tiffany Kommedal’s sweet, smooth vocals combined with Kent Morris’s guitars make for some well-crafted country-folk-pop love songs. Simple on the surface with subtle elements to add variation to the songs, The Gracemakers’ adult contemporary tracks seem to come from the heart and aim at the heart. No sadness here, only positivity throughout. Opener Blanket is a standout, with its slightly jazzy melody. The Gracemakers played at the St Kilda Festival last week.
MAGNETIC HEADS WILD EYES (Broken Stone Records) The Sydney six-piece’s second EP sparkles with playful bass, jangly guitar, dreamy vocals and a smattering of nostalgia. Opener Wild Eyes somehow makes you think of go-go dancers on the beach (even though it’s about a woman standing at the edge of a building), while Flowers, aptly, draws a picture of running through orchards. The Wild Eyes EP is a chilled, quietly-confident offering of psychedelic Australian rock, influenced by the classics. Magnetic Heads play at Horse Bazaar this Sunday.
THE MAPLE TRAIL HIGHWIRE (Broken Stone Records) Highwire opens with the title track, filled with melotronic strings, horns, smoky vocals that seem like they’re floating above the other sounds and a walking guitar riff. Love Death Greed is a gentle Western-sounding tune, abundant with harmonies and the sweeping of brushes on drum skins. Intricate finger-picking is layered and vocals overlapped on House Of The Healers. Shiny xylophone tones, falling guitar and bobbing bass highlight Rabbit (Cloak & Dagger). Highwire is easygoing and easy to like. The Maple Trail play at Horse Bazaar this Sunday.
GASOLINE INC THE WANTED ONE (Independent) Gasoline Inc are a fine example of excellent Australian hard rock. Opener The Wanted One even mentions the Southern Cross and (in an admittedly corny manner) features the lyric “such is life”. Many of Gasoline Inc’s songs (bar piano ballad Blessed) sound like they belong on a footy TV promo (and, in fact, previous single Superstar was): soaring rock’n’roll vocals, a wave of guitars rammed down your throat, pulsating bass and clean, propelling drums. They launch their solid EP at the Palace on Saturday 3 March. SISTER JANE BE KIND (Broken Stone Records) Roadhouse blues, travelling country and reflective rock is what this EP is all about. Be Kind, with its tambourine beat and bended-string solo, takes care of the token ‘sad’ song on the EP before the sassy standout Feel A Change takes us into toe-tapping territory. Then comes Comin Down Off Love, which balances crooned vocals with defiant shrieks. Hey Sista concludes the EP, with its wild vocals, frenzied drum beat, staccato organ and a skittering guitar riff. Sister Jane play at Horse Bazaar this Sunday.
MIKELANGELO & THE TIN STAR
CAN YOU DIG IT?
This Sunday, the Luscombe St Community Garden in Brunswick is hosting a heck of a party and calling it Hot Diggity. Showing up on the garden stage will be Mikelangelo & The Tin Star, Abbie Cardwell and her ten-piece Mexican fiesta The Chicano Rockers, Juke Baritone & The Swamp Dogs (Syd), Coral Lee & The Silver Scream, Merri Creek Pickers and more. There will be a big red food truck, beer and cider on tap, plus pedalpowered smoothies to sustain your grassy dance moves all afternoon. Everything kicks off at midday and will be done by 8pm. Free entry – dig it!
A STATE OF LUX
Lux will be series of nights showcasing some of Melbourne’s finest underground DJs and producers. The first night will be held at Alia in Fitzroy this Friday. Blending sounds of deep house to tech house, electrofunk to breaks, they will also feature live electronic acts. The first party will feature DJ sets from Andre Le Vogue, Silverfox and Jani Ho (Finn Audio).
Founded in St Kilda from a chance encounter in the Esplanade hotel, Hellhounds have built a strong and loyal fan base through their much-lauded live performances. They’ll produce one of these performances this Thursday when they launch their new self-titled album at the Espy. Support comes from Hugo Race and Michelangelo Russo. It’s free in the front bar.
MADE USING DRAIN CLEANER, BATTERY ACID OR EVEN HAIR BLEACH. THEN POPPED IN YOUR MOUTH.
ECSTASY. FACE FACTS. For more information call 1800 250 015 or visit australia.gov.au/drugs
Authorised by the Australian Government, Capital Hill, Canberra.
INPRESS • 53
WAKE THE DEAD
BLUES ‘N’ ROOTS WITH DAN CONDON ROOTSDOWN@INPRESS.COM.AU
METAL, HEAVY ROCK AND DARK ALTERNATIVE WITH ANDREW HAUG
HARDCORE AND PUNK WITH SARAH PETCHELL
Suecof (Devildriver) stepping in during the vocaltracking stage. The effort was mixed by acclaimed Swedish producer Jens Bogren (Opeth). “With the new album, we focused on writing tight, hooky metal songs,” commented guitarist/vocalist Doc Coyle on the creative process for Equilibrium. “There are some really fast, super heavy, groovy songs – some of the catchiest, most melodic songs we’ve ever written. We wanted a modern, but organic-sounding album that was tight but still captured the intensity of the band. The album sounds huge!” BULLET FOR MY VALENTINE
THE CIVIL WARS You’ve probably heard the news by now that Roger Daltrey has cancelled his Australian tour, including his Monday night headline slot at Bluesfest. If you had a one day ticket for Monday and the lack of Daltrey has you glum, you can grab a refund by calling the Bluesfest office. There are quite a few more acts (six, I believe) to be added to Monday’s line-up so let’s just wait and see what’s pulled out of the bag. I bitched about the Grammys a little bit last week but it still remains an award that artists truly want to get. I interviewed Steve Earle, dual Grammy winner, a couple of weeks ago and he said “anyone who pretends they don’t care about winning a Grammy is pretentious”. He was up for Best Folk Album for his excellent I’ll Never Get Out Of This World Alive album, but lost out to another really good record in The Civil Wars’ Barton Hollow. If you haven’t heard The Civil Wars then I can guarantee you that won’t be the case for long, Australia will pick up on this Nashville duo very soon and they’ll be massive. They also won the Country Duo/Group Performance Grammy, which is a pretty big deal. Speaking of country, Paper Airplane by Alison Krauss & Union Station won Best Engineered Album (Non-Classical) and Best Bluegrass Album and George Jones and Glen Campbell were both among the recipients of the Lifetime Achievement Award, alongside the Allman Brothers Band, The Memphis Horns, Diana Ross and the much-missed Gil ScottHeron. The Tedeschi Trucks Band picked up Best Blues album for Revelator, the awesome Tinariwen won Best World Music Album for Tassili, Booker T Jones’ The Road From Memphis won Best Pop Instrumental Album (which is funny because there’s a lot of singing on there), Levon Helm’s Ramble At The Ryman was awarded Best Americana Album and Rebirth Of New Orleans by the Rebirth Brass Band picked up the award for Best Regional Roots Album. Well done all concerned. If you like piedmont guitar – and God knows I love piedmont guitar – then Stefan Grossman is a true modern day master worth bowing down to. He watched and learnt from the true greats of the style – Mississippi John Hurt, Skip James, Son House, Bukka White, and studied most intensely with the amazing Reverend Gary Davis. This guy is one hell of a fingerstyle guitar player and he makes it look so damn easy – I strongly recommend a visit to YouTube to check out some of his freakish playing. While he’s best known for his teaching these days he’s still performing and touring Australia for the first time since 1978 next month, playing the Corner Hotel on Tuesday 6 March, the Burrinja Café (Upwey) on Thursday 8, and the Albert Park Yacht Club on Friday 30. Tickets are $45+BF and available through arelmedia.com. au now. Finally, this column is being written to the soundtrack of Neil Young & Crazy Horse’s new 37 minute song that is currently streaming on neilyoung.com. It is called Horse Back, it is awesome and jammy and loud and unhinged and really everything that is great about Neil Young when he is in the full Crazy Horse mode. It comes with a pretty cool little video, presumably of Audio Casa Blanca, the vintage studio where the song was recorded. Go and listen to it now and be transported into another dimension. SPOILER ALERT: It has hints of Young tunes like Fuckin’ Up in there and launches into Cortez The Killer at around the 23-minute mark, but don’t skip to there, that’s cheating. Hopefully this reunion will birth a wonderful new record and a big old Australian tour! We’ll see. 54 • INPRESS
Sadly another gone to the reaper’s blade! Acclaimed Finnish heavy metal drummer Tonmi Lillman, known under the stage moniker as Otus in Finnish Metal act Lordi, has died at the age of 38. A cause of death has not yet been revealed. Lillman was also part of the parody punk band Kyalhullut (featuring Children Of Bodom frontman Alexi Laiho). Slayer drummer Dave Lombardo has revealed via his Facebook page that he and the band’s guitarist, Kerry King, “have seven kick-ass songs” written for the group’s next studio album. He adds, “You’re going to soil your pants!!” Welsh metallers Bullet For My Valentine will enter a Thailand studio next week to begin work on their fourth album. More details will be made available soon. Vocalist Mat Maurer has quit Australian thrash metal veterans Mortal Sin. He says in a statement, “I have decided to leave the band for personal reasons and irreconcilable differences.” He adds, “Last year was an incredibly difficult year for me personally and I have decided to put my family first. Thank you to everyone who has supported me over the years.” God Forbid will release their new album Equilibrium on 27 March via Victory Records. The bulk of the CD was recorded by Mark Lewis (Trivium), with Jason
Flying Colors – a new virtuoso prog/pop/metal rock band formed by drummer Mike Portnoy (ex-Dream Theater) and guitarist Steve Morse (Deep Purple) – will release their self-titled debut album via Music Theories Recordings in the UK on Monday 26 March, followed by a US release on Tuesday 27 March. “I think if most people looked at this band on piece of paper, they would think that it would be very progressive and instrumentally-based music, but I think once we started playing together, we got taken into all new directions,” Portnoy told Audio Ink Radio. “I think a lot of that had to do with Casey [McPherson], because Casey comes from a more modern rock and alternative rock background, so I think that really helped take the entire band in new directions.” He added, “The diversity element is pretty crazy. It ranges from poppy classic rock sounds like The Beatles and Queen all the way to modern rock and alternative bands like Radiohead, Muse and Coldplay and everything in between. There’s some prog stuff like Yes thrown in, as well, and then there are moments that are like the Red Hot Chili Peppers or Foo Fighters. So, it really runs the gamut from track to track.” North Carolina’s Daylight Dies have issued the following update: “We’re proud to announce that the fourth full-length Daylight Dies album will be mixed by Jens Bogren. Progress continues to be brisk on the recording front, as clean guitars and keys have been completed. Vocal recording is now underway.”
LONDON FIELDS THE VIEW FROM EC4 WITH JAMES MCGALLIARD London obscene amounts for very short term lets. It feels as if we’re having the relatives over but instead of cleaning the place properly, we’re stuffing everything into carrier bags and hiding them in the spare room while tossing throws over the furniture to try and hide how shabby it all is; as though it’s all about keeping up appearances. The infrastructure of London is already struggling to cope, and I wonder if these games won’t be a breaking point of some kind.
Keep Calm & Carry On. Around three years ago the media was saturated with stories of how staff at Barter Books in Alnwick discovered a copy of this forgotten poster from an abandoned 1939 wartime propaganda campaign in a box of donated books. Recently as Great Britain (like most of Europe) hits a wall of austerity, there’s further incentive to stoically Carry On Regardless. We’re less than half way through the first of these new five year parliamentary terms and England (and especially London) today is a different place to live than when this campaign was first revived. July sees London as the host of “the greatest show on earth”; that’s the Olympics to normal people. Living in London during them will be fine as long as you don’t want to leave your home and travel anywhere; that is if your greedy landlord hasn’t already evicted you so as to charge visitors to
The Luftwaffe bombing campaign may have taken place over 70 years ago, but you still hear the expression Blitz Spirit – the idea that this nation clubs together in time of adversity. But that was against an external danger and the reason that the Keep Calm & Carry On posters never went into wider circulation was that the message was one for a country that had been invaded. My street was in total darkness as I came home from work the other night, a result of yet another power blackout, and then I did think of the Blitz, thinking of how tarrying it must have been to live in these streets back then. Today’s demons must be more subtle. The papers say we’re losing the battle of the bulge – with an obesity “epidemic”; there’s also a growing field of causalities in the battle of the bottle. The dismantling and backdoor privatisation if the NHS (National Heath Service) may only be months away, and a great good that came in a country rebuilding after the war will be lost forever. And arguments over the ownership of the Falkland islands (and their oil reserves) again hit the headlines just as they attempt to finally sweep away the longstanding protest camps outside parliament. To me there’s a sense these days of a depressed nation just about holding on, living in fear, feeling unsatisfied with their lot and feeling that they’ve had a much worse deal than their neighbours. A country where thieves steal cables and bring rail networks to a halt, or jemmy plaques from war memorials to sell for pennies as scrap metal. One where gangs will wage wars over a post code, and where Scotland wants a vote in 2014 to get out altogether. You have to wonder how United this Kingdom is anyway.
DEEZ NUTS Murder By Death have had their very first Australian tour (which was supposed to commence this week) postponed at the very last minute, with the new shows set to take place in May. Scheduling and venue difficulties had been cited as the official reason for the postponement, and the new dates mean that unfortunately Perth’s Eleventh He Reaches London will be unable to continue as support. You can obtain a refund for the original dates at point of purchase. The new dates will see the band playing at the Evelyn on Thursday 17 May and then at the National Hotel in Geelong on Friday 18 May. After a completely sold out tour mid last year and an incredibly successful third album in Little Hell, City & Colour will be heading back to Australia this May as a part of the line-up for the Groovin’ The Moo festival. This week it has also been announced that the festival appearances will not be the only opportunity to see Mr Green and his guitar, as a whole round of sideshows have been confirmed. As such, you can catch City & Colour at the Palais Theatre on Wednesday 2 May. Tickets go on sale this Thursday, so make sure you snap them up ASAP because they won’t last long. The always controversial Deez Nuts are heading back to work in Australia with the launch of their new DVD FTW (which actually stands for ‘fuck the world’ not ‘for the win’) and a subsequent tour. The DVD and tour will be a stepping stone to fill the gap while the band head to the US to record their new album. Released through UNFD on 30 March, you can head over to the UNFD website to find out everything about the DVD. The April dates will see Deez Nuts joined by Phantoms and UNFD alumni The Bride around the country. Tickets are on sale now for the following dates: Thursday 12 April, Ev’s Youth Centre in Croydon (all-ages); Friday 13 April, Gershwin Room at the Espy (18+). I know I seem to have a lot of them, but one of my favourite bands is definitely The Weakerthans and a pretty large reason for that is the pure poetry of John K Samson’s lyrics. Already available overseas, Samson’s debut solo record Provincial will now be getting a local release thanks to the guys over at Epitaph Records on 16 March. The album contains newly recorded versions of some of Samson’s songs from his previous two EPs as well as a whole bunch of new tracks. As per usual, the lyrical content is all about Samson’s home province of Manitoba (in Canada), a common theme in all his music. This is truly a beautiful record, so if you’re a fan of The Weakerthans or folky punk music then make sure you grab a copy either through pre-order or when it is released. A massive congratulations has to go out to New Zealander’s (though frequent Australian visitors) Antagonist AD, who have signed a deal with premiere US metalcore label Mediaskare. The label will be releasing the band’s new and very highly anticipated album Nothing From No One in the American summer, and will see the Auckland group join the likes of The Ghost Inside on the label’s roster. Said vocalist, Sam Crocker, of the move, “Mediaskare is a great label with a great reputation. We know their bands are hard working ‘real’ bands that actually tour and make music. Less gimmicks and more heart – which is what we are all about. The music is paramount – first and foremost before any hype/spin/fashion/faux industry bullshit.”
POP CULTURE THERAPY WITH ADAM CURLEY
URBAN AND R&B NEWS BY CYCLONE
HIP HOP NEWS AND COMMENTARY WITH ALEKSIA BARRON
The Bodyguard, a box office hit. Houston contributed several songs to the soundtrack, most famously I Will Always Love You, a Dolly Parton cover. Houston continued to juggle singing and acting with Waiting To Exhale – she appeared on Babyface’s OST together with the likes of Mary J Blige – and The Preacher’s Wife.
WHITNEY HOUSTON ETTA JAMES There’s a passage in a 1966 essay written by American journalist Gay Talese about The New York Times’ then obituary writer Alden Whitman in which Talese described the somewhat morbid side effects of such work. In the essay – titled Mr Bad News and reprinted in a Penguin Classics compendium of Talese’s articles in 2011 titled Frank Sinatra Has A Cold & Other Essays – Whitman was depicted as being frequently surprised to learn that a sick celebrity for whom he had written an advance obit was still, in fact, alive. Furthermore, Talese wrote, Whitman admitted that after writing an advance obit he was proud of, he could “barely wait for that person to drop dead so that he may see his masterpiece in print”. It might seem a gruesome scenario – and Talese’s concession to his readers who thought so was to assure them that Whitman was “rather special” – but it’s also understandable. A newspaper writer whose sole job was to write obituaries for celebrities would understandably have tinges of excitement when a piece he wrote well was published. It was at that moment, after all, that he was able to share not just his way with prose but his nuanced perspective on a person many had an interest in, delicately crafted (journalism was different back then) from the knowledge he’d gained about them. He was able to say, ‘Hey, did you know this?’ and look on as others appreciated his enlightenment. Whitman often enters my mind when a celebrity dies. Not while reading the obits and imagining a journalist hunched over a stack of papers, expertly piecing a life together – that’s now done, I imagine, by an overworked news-agency intern and a Wiki page. It happens while reading the feed of facts and links and succinct emotional spillings on Facebook and Twitter. Between the neverending posts, it’s possible to glimpse the thrill of putting on display knowledge and memories. Etta James is dead: this is the song that helped me through a hard time. Rowland S Howard is dead: have you heard the original recording of this track? Whitney Houston is dead: I’ve loved her since I was four. Four! The sharing of memories and stories after a death is hardly a new idea. Nor is the mass outpouring of information and emotion in the event of a celebrity’s passing particular to the age of ‘social networking’. But while psychologists are often called upon to espouse the benefits of public displays of emotion to the process of grieving a widely admired person, we all know that, really, it isn’t all about grief. There’s a certain, slightly shameful, thrill like that which Whitman admitted. And when it comes to pop stars, particularly those from the ‘MTV era’ like Houston and Michael Jackson, we are all Whitman. It’s surprising, however, how quickly we are to trade those memories in; to swap our personal experiences for a quick public nod of acknowledgment that we know something. While the cynical can accuse those who become emotional over the deaths of people they never knew of gross superficiality, there is a grief that goes with the death of a celebrity. Grief for our own childhoods, when relating personally to a singer was an act of innocence and searching, and grief for the moments and lost people in our lives soundtracked by or somehow connected to their songs. In their own way, our memories of celebrities are important. And they are unique, personal, part of us, and perhaps should be protected as our sense of self should be protected. I’m sure there were stories even Whitman didn’t write down.
The late Whitney Houston was no mere ‘celebrity’. She had cultural capital as the first modern pop ‘diva’, breaking records and amassing awards. Mariah Carey, Beyoncé Knowles and Jessie J are all indebted to her, as is virtually every (female) Idol contestant – most obviously Jennifer Hudson. Houston pioneered a new melismatic vocal style, which some (like Renée Geyer) consider oversinging. More significantly, she smashed through racial barriers. A product of the civil rights era, she realised Martin Luther King’s American Dream. Houston’s eponymous debut surfaced in 1985, taking in Greatest Love Of All. Urban journalist Sasha Perera points out that Whitney Houston’s lead single, You Give Good Love, “a classic ballad”, betrayed an “early vulnerability” with its then charming vocal crack. “Her stunning African-American ‘natural look’ on the front cover of the album was also a breakthrough – and [the album] was the first step in bringing the urban community into the pop mainstream, Whitney being one of the first, and most notable, black women to break through onto segregated playlists on MTV.” Houston followed with Whitney, home to I Wanna Dance With Somebody (Who Loves Me). She held her own into the ‘90s amid the New Jack Swing surge, presenting the R&B-oriented I’m Your Baby Tonight. Next, she’d try acting, cast opposite Kevin Costner in
She created a stir when in 1992 she wed ‘bad boy’ Bobby Brown, who’d be blamed for Houston’s descent into drug addiction. (Brown was subsequently diagnosed with bipolar order.) Houston pursued an urban sound on 1998’s My Love Is Your Love. Especially memorable was Rodney “Darkchild” Jerkins’ sassy It’s Not Right But It’s Okay. Houston divorced Brown in 2007, after ill-advisedly participating in his reality TV show Being Bobby Brown. The superstar made a decent comeback with 2009’s US number one I Look To You. Houston’s voice was damaged by substance abuse yet, courageously, she left I Didn’t Know My Own Strength unpolished. Houston was primarily a song stylist – she rarely penned material, instead relying on production crews. As such, her albums often felt impersonal, even disjointed. Houston’s drug battle, and ‘partying’, has been avidly chronicled and occasionally mocked (remember her Keith Haring quote ‘crack is wack’?). Now the media – and ‘celebrity’ psychologists – are turning her life into a trite morality tale. Ironically, the passing of other black icons (Gil Scott-Heron!) frequently doesn’t make the news in Australia. Still, everyone has a favourite Whitney song: OG can’t go past All The Man That I Need or When You Believe, a symbolic duet with her rival Carey. For Melbourne neo-soulstress Paris Wells, it’s Queen Of The Night. “Whitney had all the notes, but she never over-sang her card – her phrasing was great,” she tells OG. “Her voice was a true gift from gospel royalty.” We’ll see Houston again on screen in this year’s remake of Sparkle: she plays Mom to Jordin Sparks’ aspiring starlet.
BARE BASS BASS CULTURE WITH RICHIE MELDRUM Academy Sessions. Having been one of the alumni from the highly regarded international music event in Barcelona back in 2008, Dizz1 will be returning the favour in a hands-on manner down at the Prince Bandroom on Friday 2 March, revealing all the kicks and tricks to be had from this most potent piece of software. The free session kicks off at 5pm, after which Dizz1 will moving from teacher to performer as he plays at the night’s gig at the same venue with New Zealander and Rome 2004 Academy participant Julien Dyne and fellow Kiwi rapper/singer/songwriter Ladi6.
TOMMY FORREST As summer slowly comes to an end, the temperature may be slipping south but the amount of smoking hot music being released shows no sign of following suit. Bursting into earshot a few years ago with the menacing, glitchy, electro epic Pinball, which was smashed by everyone from Flying Lotus to MaryAnne Hobbs, Scottish producer Akira Kiteshi, or Tommy Forrest to friends and family, is back with his debut artist album, Industrial Avenue, set for release at the start of March through Afterglo. Pushing a range of sounds in order to demonstrate the breadth of his skills as a producer, Forrest covers off broken beat, dubstep and the trademark heavy electronic hip hop he’s known and loved for. An Australian/NZ tour is apparently in the pipeline for the middle of the year so that should give you ample time to get on the download (paid of course) and familiarise yourself with the beats before hearing them done justice on the dancefloor. Back home and Sydney beat bulwark Dizz1 has got his hands full again. He’s currently touring the country sharing his knows with the next wave of budding producers as the host of a number of Ableton Live workshops as part of the Red Bull Music
The wait is nearly over. UK bass master Scuba’s new album Personality is about to drop and, yet again, the head of the consistently excellent Hotflush Recordings has delivered a product of premium quality. The dreamy chords and atmospherics of 2010’s Triangulation have been replaced, in part, by a more driving, club-orientated focus. While still thick with a general tenor of other-worldliness, Personality has a tougher, sharper outline. Introducing his latest work with a sample bemoaning the current state of modern music, opening track Ignition Key evokes the retro style of Miami in the ‘80s – all glitzy disco and sultry vocals yet delivered with that fresh coat of modern originality that Scuba aka Paul Rose does so well. Elsewhere, Gekko is a boss of a tune. Heavy, pulsating basslines laced with rough scratchy starter motors, shimmering symbols and cavernous echoes and reverberations. He had a lot to live up to with this album but Scuba has managed to strike one back for the purists. Finally, the online grapevine is shaking with whispers that the person behind the Sisi Bakbak remix of Hold On by SBTRKT is none other that wispy bearded Radiohead frontman Thom Yorke. At the time of going to press Bare Bass can neither confirm nor deny these claims but having previously enlisted the services of Pearson Sound (aka Ramadanman) and New Yorker Falty DL as support acts for his band, it wouldn’t be the first time Yorke has revealed his penchant for all things bass.
DIALECTRIX There’s no business like show business, and there’s nobody who knows this as well as Dialectrix. The Sydney-based rapper is the proud new owner of a big shiny milestone: his track Pieces Of A Puzzle is featured in the upcoming Hollywood film Chronicle (the found-footage movie with the kids who turn psychic and lift cars). This marks the first time an Australian hip hop track will appear in a major American film (although anyone with a passion for WA hip hop, bad television, or both, will remember that Downsyde’s Some How appeared in an episode of Gossip Girl). If we needed proof that the last few years have drastically changed how we find and consume music, well, here it is. Music used to operate as a complete hierarchy, where the only way an artist’s sound could be heard by anyone outside their immediate circle was by signing with a major label. I’m not saying this hierarchy is completely demolished, or that signing with a major label is a bad thing. I’m simply pointing out how awesome it is that a production team in the USA could notice a single put out by an Aussie guy on an indie label and use it in a major motion picture. D-Trix’s timing couldn’t be better. The news comes hot on the heels of his excellent new single, My Generation, which dropped on Friday (available on iTunes). Plutonic Lab is on the production, so the beat is brilliant, all percussive accents and hot jazz samples, with DJ 2Buck handling the cuts and scratches. It’s always a pleasure to listen to Dialectrix work his way around an intriguing beat. Few MCs have as fantastic a sense for lyrical placement as he does – he seems to work with and against the beat all at once. It’s an exciting glimpse of his upcoming LP, The Cold Light Of Day. Producer extraordinaire M-Phazes has dropped a new remix album, Phazed Out (find it on iTunes), featuring the talents of infamous US turntablist DJ Rhettmatic. The first single is a remix of Coalmine Records’ track The Raw, featuring Saigon, Inspectah Deck and Bekay, and raw is a good word for it (in a good way). It’s a real banger of a track – heavy production and a brilliant scratch chorus courtesy of DJ Boogie Blind. Remix albums are a bit odd – we don’t see them a lot, and our national passion for “original” music means that some shy away from them. However, M-Phazes is the real deal when it comes finding freshness in music and making tracks his own, and he’s got a great sense for album craft. MoneyKat will release their self-titled debut in March. Having caught a sneak peek, I’m excited about this one. Poetry-slam champ Omar Musa’s verbose style is well known, but it’s how well he balances against the more laconic MC Mighty Joe that makes this album so magnetic. It’s intricate, persuasive and lyrically superior, so make sure you’re paying attention when it drops. Perth’s Bitter Belief has a mixtape (The Tour Guide) coming in March as well. If you think the name sounds a little familiar, you’re right: he’s Drapht’s hype man, the newest inductee into the infamous Syllabolix crew, and he dropped his debut album Isolation last year. After such a big 2011, it’s exciting that he’s got something new for us, so watch out for this one. Finally, if you’re more the visual type, there are two clips you must see. The first is DJ Flagrant’s Pool Cleaner Video Mix (youtube.com/djflagrant) – a tasty slice of the marvellously deft VJ-ing that Flago is so known and loved for. The second is Tornts’ clip for Traumatic Cinema (find it at youtube.com/BigHeata1), which weds the difficult, haunting track with amazingly accomplished imagery. With all of this happening, nobody can accuse this scene of lacking diversity. INPRESS • 55
LET THERE BE ROCK THE HOUSE OF ROCK TAKE THEIR LOVE OF LIVE MUSIC TO THE NEXT LEVEL THIS SATURDAY AS THEY HOST ROCKNROLLA. FOURTEEN BANDS WILL PERFORM ACROSS THREE STAGES FOR A SIX-HOUR SLAB OF SERIOUS RIFFING. WE CHECK IN WITH A BUNCH OF THE ACTS PERFORMING. How did you get together? Jimmy, Dead Star Renegade: DSR was born out of ‘90s hard rock band Kwijibo, with myself, Tim our bass player and Jay our drummer coming from that band. We decided a few years ago after being apart for a while in different projects that we were the only bunch of guys we wanted to be in a band with, so we got back together and built Dead Star Renegade from there!
and would be strange/awesome for a band like us to be supporting a band like them. Robbie: I’d have to say opening up for Asking Alexandria would be a dream come true. We definitely aren’t hardcore enough, but I guess we could just get Tanga to scream a lot more. I’d love to see if we could drink them under… the fucking table. Any Asking Alexandria fans will know what I mean. If a higher power smites your house and you can only
THE COMPLIMENTARY HEADSETS – NOW WE ARE YOUNG
Nick, The Scarlets: Nelli and I both knew each other through mutual friends for a few years, and when my band Tough Luck broke up, I was hell-bent on starting things over on my own. I had jammed with some great musicians, however, none seemed to share the same ideas as I did, so I knew Nelli was keen on starting a band. We soon recruited Lizzie on drums, and trust me, she isn’t just a pretty face… We were blown away by how hard she hits and the speed she plays. We had a few guitarists come through, but we now have Alex in the band after wowing us by blowing his guitar up at the Espy while playing with his band at the time. Ace Frehley eat your heart out!
How many releases do you have now? Tom, guitar: Now We Are Young is our second official release – in early 2011 we released our debut EP, Up In Smoke. It’s only been a relatively short time in between the two releases – we definitely still have a soft spot for the songs off Up In Smoke, which continue to get a good run at our live shows. How long did it take to write/record? Now We Are Young took us a deceptively long time to record! We began by recording three songs in April, I think, of 2011 with Tim Johnston (Nick Cave, Stereophonics, Dandy Warhols) who did the duties for us on our first EP. The four of us took a trip over to Europe and the UK in June/ July, and when we got back, we were raring to get back into the studio, where we recorded If You Run, Paperglove and Start A War over two long, long days. Once the mastering and manufacturing was underway, it had become a seven or eight month process – but the time absolutely flew! Writing wise, it’s a bit hard to say – certain songs took months before we were comfortable with them, and others seemed to write themselves…
Mango, Kingswood: We are all slashies – musicians/ actors/models. We all worked together as actors, in the hospitality industry. At first we started out just acting as a band, then we realised we could play a bit so decided to pursue the musician part of our slashie lifestyles for a while. Ben, The Charge: After years of searching and looking and long jams we all fell into each others’ arms. Josh, Divisions: We were all pretty close friends before the band started (Mason, Josh and myself) and had been jamming pretty often and wanting to start something a bit more serious. Conveniently around this time, Stevie shot me a message asking if I’d like to start a band. I told him we already had something coming along so he came to practice and it shot off since then. Robbie, Atlantis Awaits: Tommy, Tanga and I grew up together and have always been best friends. We played in a shitty pop punk band in high school. After we’d gone our seperate ways for a few years, we made our way back to my basement in mid 2009. We started jamming again and everything snowballed from there. We actually found our new singer Tegan on YouTube in winter last year, She’s got a background in singing and has definitely made us lift our game when it comes to performance and songwriting. Then Joshie joined the band late last year, a few weeks later were in LA recording our debut album.
DEAD STAR RENEGADE
Mango: Dennis Walter – Collections Of Dennis Walter. Ben: Sabbath Bloody Sabbath or Master Of Puppets. Josh: Teenage Snuff Film – Rowland S Howard. I’d be also trying to save the ashes of my 7”s but I’d be content with this.
Nick: Blood, glitter, punk and rock.
Robbie: A demo CD I have of Tommy, our guitarist, singing. It’s the funniest shit in the world, I want to play it at his 50th.
Mango: Fergus, Alex, Mango, Justin. Ben: Raucous, big, loud, hard rock.
Do you have a lucky item of clothing you wear for gigs and what is it? Jimmy: Lately it’s been a black and white cotton scarf. I really don’t know why I wear it, I just like it I guess and it gives me the ‘pretend rock star’ look.
Josh: Haha, this will be difficult. Fast, melodic, pedals, heavy. Robbie: Imagine Paramore with screaming. If you could support any band in the world, who would it be and why? Jimmy: From a personal viewpoint it would have to be Kiss, because it’s the greatest show on Earth. I grew up with the band so it would be fantastic to share a stage with your idols. The new Van Halen tour would be equal to that, for exactly the same reasons.
Nick: It used to be my lucky red and black wristbands, but some over-eager girls in Germany literally ripped them, and other bits of clothing, right off me! Not that it’s a bad thing! THE SCARLETS
Josh: Probably Swans. Swans are incredible 56 • INPRESS
Mango: No, clothes aren’t lucky. People who win Australian Idol are lucky! Ben: There isn’t really a lucky piece of clothing. I do wear the same jeans every time I play and The Charge singlet. Only because it gets soaked with sweat and it’s easy to wash… and ever since I wore it we always have a great show.
Mango: Probably The Wiggles. It would be quite funny to see a thousand kids absolutely freaking out (not in a rocking sense) to some good, hard, blues rock. They say first impressions last and I don’t think those kids would forget us in a hurry. Ben: This is tricky because there are so many… We would like to open for Mastodon or Black Sabbath because they are big influences, Mastodon being a band that has come out in the last couple of years that has excited and inspired us. Black Sabbath, because of Ozzy and how they have influenced every band we are in to, including us.
save one record from the fire, what would it be? Jimmy: Queensryche – Operation: Mindcrime. Favourite album of all time. Could listen to it everyday and never get sick of it. Nick: I’d leave my Motörhead records to burn in the house if Lemmy ever decides to set it on fire.
Can you sum up your band’s sound in four words? Jimmy: Sweaty, beer-soaked rock!
Nick: Well, we’ve already supported our number one influence, Stephan Weidner, in Germany. I’d say either a show with Lady Gaga or Kiss would be a no-brainer for different reasons.
Josh: Haha, I don’t think any of us have a lucky clothing item. I always wear shoes so that could be working some magic for me. Robbie: I’m superstitious about wearing any clothing at all on stage. I stick with black skinnies and nothing else. No shoes or socks, no shirt. Is it weird? Probably. WHAT: RocknRolla KINGSWOOD
WHEN & WHERE: Saturday 25 February, House Of Rock, Palace
What was inspiring you during the making of the EP? The four of us have all grown up together over years and years in the Bayside area of Melbourne, and perhaps that brighter, sunnier theme tended to seep through our playing on this one to some degree. Maybe there’s still the obligatory nod to night life and what might happen after dark, but I’ve got the feeling the sun seems to shine a bit more on this one than our debut! What’s your favourite song on it? Paperglove has definitely become my favourite to play live over the last few months, and it was perhaps the last one Lachy (our singer) wrote for Now We Are Young – I admit that initially I was unsure we would have it ‘matchfit’ by the time we had to record but I couldn’t be happier with the way it’s come out. I don’t mind …It’s Back Again either. I was really pleased with the end product there as well – sometimes it feels a bit like the black sheep of the family, but it seems to do the job! We’ll like the EP if we like… The Killers, Bloc Party and New Order are the first bands that come to mind… but if you like BBQs at the beach, back-flips off the pier and walking home in bare feet on the warm asphalt, you just might find something you like here. Will you be launching it? Now We Are Young has been available on iTunes since Australia Day, but we officially launch the EP this Friday 24 February at Revolver in Prahran. It’s a great venue and one we’ve always enjoyed playing. Joining us on the night are our friends The Kalaharis and the Inbetweeners, two local bands who never cease to impress. It’s been a long time in the making, the four of us are really excited – and we can’t wait to share that excitement on Friday night.
The Baroness are the combined forces of L-Burn Illuminati affiliates Class A and Aoi. After supporting international hip hop royalty Lord Finesse and Rakaa (Dilated Peoples) last year, The Baroness released their self titled debut album at the start of 2012 to glowing reviews, and instant national airplay. The Baroness will be performing their new offering in its entirety this Thursday at Section 8 from 9pm. The launch is free plus guests Dyl Thomas, Tigermoth and Rintrah.
HOWZAT! LOCAL MUSIC NEWS BY JEFF JENKINS claiming they had “got off” on Brian’s rubbish. “This sort of stuff used to happen all the time,” Brian says. “It used to freak me out.” He also had to avoid public transport, high schools and shopping centres. “And I used to love shopping,” Brian adds, noting that you couldn’t shop online in the ’80s. To go out, Brian ended up buying glasses, a fake moustache and a beret. “I had a baby face, so imagine what the glued-on moustache looked like,” he says, laughing. “It worked pretty well, except people would know I had a fake moustache. They’d be thinking, ‘Who is this crazy kid?’ It was a fine line, which was the most humiliating. But at least they didn’t recognise or hassle me.”
LOVE AN ADVENTURE FOR 30 YEARS During the glory days of Pseudo Echo, when Brian Canham beat Michael Hutchence to take the trophy for Most Popular Male at the Countdown Awards, the singer walked outside his South Yarra house to collect his rubbish bins. They were gone. He later received a letter from two women who’d been stalking him. They admitted they’d stolen the bins,
It’s been a long, strange adventure. After becoming the first unrecorded band to appear on Countdown, Pseudo Echo had seven Top 40 hits in Australia, a top ten smash in the US and UK, an album that spent more than six months in the Billboard Top 200, an appearance on The Joan Rivers Show, a meeting with Bob Hawke, and victory in the World Popular Song Festival. They also knocked back an international tour with Madonna. “After our Funky Town success, there was a resurgence of ’70s rock, with Van Halen kicking goals, and we were getting on that trip, too,” Brian explains. “With the Madonna offer, we thought it’d mean going back to a sound we’d just got out of. Bad move, in hindsight! But it’s cool to say we knocked back a Madonna tour.” Brian formed Pseudo Echo with his old school friend Pierre Gigliotti, who became known as Pierre Pierre, which ranks alongside Garry Gary Beers as the greatest name in Australian music. Brian will never
forget spotting Pierre at Greenwood High (now Bundoora Secondary College), carrying a Fender bass case. Brian thought, “Wow, who has a Fender?” He stopped Pierre and asked if he’d like to join his band. “He got the gig on the basis of the Fender logo,” Brian laughs. Brian and Pierre went through several line-ups and names, including The Lites and Secret Agents, before settling on Pseudo Echo, which came from a keyboard manual. “We didn’t even know what it meant, but we thought, ‘Woo, that sounds fancy.’” Brian made flyers that stated: “Pseudo Echo, Modern Electronic Music”. They are now celebrating their 30th anniversary with a gig at the Palms at Crown on Friday 2 March, with Wa Wa Nee.
is Brooke Addamo. And one YouTube commenter reckons she looks a little like Lindsay Lohan. “Lindsay Lohan?” Brooke shrieks when Howzat! mentions it to her. “I have not heard that one before. When I was in school and The OC was the big thing, I used to get called Mischa Barton. I never really saw that either.” Owl Eyes is doing a special show at the Spiegeltent this Thursday.
Pseudo Echo never officially split. They simply “limped away” after their rock album, 1989’s Race, sank without a trace (though one website has since hailed it as an “AOR classic”). “We’d lost a lot of confidence,” Brian recalls. “There were no farewell shows because we thought people would say, ‘So what?’” Brian had also lost interest in performing. “I was sick of being hassled and being famous, I just wanted to spend time with my family.” Brian became a producer, helming two hit albums for Chocolate Starfish. Pseudo Echo reunited in 1997, and Brian – who’s 50 in July – doesn’t rule out more recordings. Success, second time ’round, has been sweet. And much more manageable. So far, no one has stolen Brian’s rubbish bins.
Set It Off TIMOMATIC (14)
BRINGING IT ALL BACK HOME
Will Melbourne ever become home to an ARIA Hall Of Fame, an actual venue that music fans can visit? A report commissioned by the Melbourne City Council has urged the state government to turn unused land behind the Arts Centre into a music hub. By the way, Happy SLAM Day (Thursday 23 February).
OWL BE THERE
She records under the name Owl Eyes. Her real name
As it takes off around the world, Gotye’s smash has spent eight months in the Australian Top 40. Boys Like You 360 & GOSSLING (number three) I Love It HILLTOP HOODS & SIA (nine) Into The Flame EP MATT CORBY (16) Somebody That I Used To Know GOTYE (26) Don’t Worry Be Happy GUY SEBASTIAN (32) Triple J’s Nick Cave tribute lands at 32. Falling & Flying 360 (number eight) Making Mirrors GOTYE (19) Moonfire BOY & BEAR (23) Vows KIMBRA (24) The Big Red JOHN WILLIAMSON (31) Straight To You VARIOUS (32, debut) Reece Mastin REECE MASTIN (40)
HOWZAT! PLAYLIST 125 JIM KEAYS
Going Straight LACHLAN BRYAN All Day STEPHEN CUMMINGS You’re Boring Us All I, A MAN Listening PSEUDO ECHO
INPRESS • 57
WED 22 Coq Roq: Lucky Coq Halfways: The Workshop Inner City Trash: Lounge Loaded Wednesdays: Revolver Lo Down Loretta Brown: Seven Lounge Wednesdays: Matty Raovich, PCP, Adelle: Lounge NHJ: Bimbo Deluxe The Wednesday Special: Post Percy: New Guernica Whisky Wednesday: Strange Wolf
THU 23 3181 Thursdays: Hans DC, Nikki Sarafian. Jake Judd, Sam Gudge, John Doe, Sean Rault: Revolver Bimbo Thursdays: Bimbo Deluxe Bottom End Thursday Night: Andras Fox, Jules Inkswel, Deejays of Reknown: Bottom End Do Drop In: Kiti, Lady Noir: Carlton Club Dubstep: Eurotrash First Stop Thursdays: Urban Bar
58 • INPRESS
CLUB GUIDE Freakout: Laundry Free Range Funk: Lucky Coq Free Trash: Eurotrash Funhouse: Finlo White, Kitty Kat: Co. Nightclub Loose Joints: Manchild: Workshop Lounge Thursdays: Citizen.com, JD, Danny Silver: Lounge Love Story: 1928: The Toff Midnight Express: The Toff Carriage Room Mix Architekt: Kindred Warehouse Mood: DJ NuBody: Loop New Guernica Thursdays: Post Percy, Awesome Wales: New Guernica Night Skool: Eurotrash Safari Thursdays: Pretty Please Shake Some Action: Street Party, Samaritan, Polyavalanche: OneSixOne Switch: Andy Murphy: EVE The Factory: G-Money & Sammy Prosser: Trak Tight: The Workshop Trinity Thursdays: La Di Da
Unlucky: Seven Nightclub
FRI 24 393 Fridays: First Floor 393 50/50: Rude Kid: Laundry Upstairs Any Time: The Workshop Bottom End Friday: Prequel, Andee Frost, Marco Polo: Bottom End Breakfast Club: Danny Daze: New Guernica Crabfight: DJ Ego, Mr Nice: Loop Espionage: Hudson Mohawke: Roxanne Parlour Fake Tits: Tramp Fridays at Eurotrash: Eurotrash Funkin’ The Bay 2: Chris Gill, Vince Peach, Blair Stafford, Dappa Jam DJs, Soul City Soundsystem: Victoria Star Gappy Ranks: Laundry Greg Wilson, Kirk Degiorgio: Buffalo Club Hot Dog Disco: Bottom End Indecent Fridays: Syn Bar Infected Mushroom: Palace Theatre Juicy: Bimbo Deluxe
La Musica: La Di Da Like Fridays: La Di Da Lounge Friday: Smile On Impact, Citizen.com, Tahl, Snowie: Lounge Midnight Midnight: New Guernica Mu-Gen, Token: Eurotrash Noisia: Brown Alley OneSixOne Fridays: OneSixOne Outrageous Fridays: Wah Wah Panorama: Lucky Coq Paparazzi Fridays: Didier Cohen Co. Nightclub PopRocks: Dr Phil Smith: Toff Retro Fridays: Club Retro Revolver Fridays: Revolver Upstairs Roxy Fridays: The Roxy Sounds of Fusion: Phil Ross, Dean T, Chris Mac, DJ Jay-J, Johnny M: Fusion Transition: Royal Melbourne Hotel WOW Fridays: Neverland
SAT 25 All City Bass: Brown Alley
Alumbra Saturdays: Alumbra Audioporn: Dr. Zok, James Ware, China Hoops, Rowie: OneSixOne Barefoot: St Kilda Lawn Bowls Billboard Saturdays: Billboard Bottom End Saturday Night: Jake Judd, Nikki Sarafian, Otologic, Spacey Space: Bottom End Colour of Sound 3: Aztec Tribal Explosion: Secret Activation Space Dis You!: Workshop Easy Word Bar Envy Saturdays: Brooke Evers Co. Nightclub Forbidden Saturdays: Amber Lounge Freakzone: The Workshop Houseparty: Eurotrash House De Frost: The Toff Hot Step: Bimbo Deluxe Lounge Saturdays: Nick Coleman, Darren Coburn, Luke McD, Jason DíCosta, Muska & Volta: Lounge
Majik Saturdays: Papa Smurf, DJ Kat, Trent McDermott, Steve Strangis, Charlie Z, Jewelz, Heath Renata, Van G, Nick Mascara: Room680 Mashouse Saturdays: 577 Lt Collins New Guernia Saturdays: Weekend Express, Cheapdate, Chestwig Mu-gen, Lopan, Thomas Touche: New Guernica Pash: The Roxy Playground: Seven Nightclub Poison Apple: La Di Da Prognosis: Loop Re.Play Saturdays: Helena: Fusion Saturdays at First Floor: First Floor 393 Strut Saturdays: Trak Survivor!: The Bottom End TFU Saturdays: Two Floors Up Transition: Open Blue Truncate, Advanced Human: My Aeon Under Suspicion: Brown Alley Wah Wah Saturdays: Wah Wah Lounge Why Not? Pretty Please
SUN 26 4AM Sunday Mornings: Wah Wah Lounge Be.: Co. Nightclub Get Wet: Word Bar Guilty Pleasure Sundays: Pretty Please La Fiesta: Manchild, Ennio Styles, Chris Gill, Jumps: The Workshop Off Beat: Workshop Phetsa: Geddes Lane Revolver Sundays: Boogs, Spacey Space, T-Rek, Radiator, Silversix,: Revolver Upstairs South Side Hustle: Askew, Booshank, Paz, Miss Butt, Junji, Disco Harry: Lucky Coq Spit Roast Sundays: Cushion Star Bar Sundays: Star Bar The Sunday Set: AndyBlack, Haggis: The Toff The Sundae Shake: Tigerfunk, Agent 86, Phato-a-Mano: Bimbo Deluxe Tribe: Brown Alley
MON 27 Hair Of The Dog: Revolver Upstairs IBimbo: Bimbo Deluxe Kool Aid Mondays: Laundry Monday Struggle: Lucky Coq
TUE 28 All That Tuesday: Berlin Bar Bimbo Tuesday: Bimbo Deluxe Cosmic Pizza: Lucky Coq Choose Tuesdays: Post Percy: New Guernica Dumplings: Eurotrash Fourplay Tuesdays: Cushion MSG Tuesdays: Laundry Oasis: Tramp Space Hopper: Match
POWERED BY STREET TREET PRES PRESS SS AU AUSTRALIA STRALIA TRALIA STREAMING THIS WEEK
STREAMING THIS WEEK
HIT THE LIGHTS’ INVICTA THE POP PUNK OUTFIT FROM OHIO, KICK IT UP A NOTCH, WORKING ON THEIR THIRD ALBUM WITH PRODUCERS MACHINE (FOUR YEAR STRONG, COBRA STARSHIP) AND MIKE SAPONE (TAKING BACK SUNDAY).
OUT 24 FEBRUARY ON 3WISE
PASSENGER’S ALL THE LITTLE LIGHTS UK SINGER/SONGWRITER MIKE ROSENBERG ADOPTED THE NAME PASSENGER AND MADE A NEW HOME IN AUSTRALIA. SINCE THEN HE’S RECORDED WITH BOY & BEAR AND LIOR AND TOURED WITH JOHN BUTLER AND JOSH PYKE. ALBUM NUMBER THREE HAS DRAWN COMPARISONS TO CAT STEVENS.
OUT 24 FEBRUARY ON IE THROUGH INERTIA
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THEMUSIC.COM.AU INPRESS • 59
WED 22 Agents Of Abhorrence, Aeroflot, Extortion, Internal Rot Bendigo Hotel Albare Red Bennies Apocostrip Wow! Esplanade Gershwin Room Beatrice, Stamped Sounds, Booli DJ Empress Hotel Ben Salter Willow Bar Bittersweet Hearts, Matt Green, Woolworths, Blues Singers The Old Bar Blabe Runner, Agent 86 Lucky Coq Bopstretch Uptown Jazz Café Compression Session E55 Cosmic Pizza, Tom Mohr, NHJ Bimbo Deluxe Dan Mangan, Leader Cheetah Northcote Social Club Death Cab For Cutie, Dappled Cities Palace Theatre DJ Lo Down Loretta Brown Seven Nightclub Erykah Badu, Fat Freddys Drop The Palais Iowa, Damn Terran The Tote Ivy St, Slight Of Build, East Brunswick All Girls Choir, Radiant City, Littlestar East Brunswick Club Jason Lytle, Ben Mason The Toff In Town Kid Garret, Gav Murry Kent St Latin Aotearoa Sound System Cruzao Arepa Bar Marissa Saroca Veludo Matt Corby, Tin Sparrow, Hayden Calnin Corner Hotel Moondogs Gypsy Blues Band Retreat Hotel Open Mic Brunswick Hotel Open Mic Dancing Dog Café Open Mic, Jam Night Grind ‘n’ Groove Bar Open Mic The Thornbury Local Perch Creek Family Jugband Open Studio Petar Tolich, Scotty E Co., Crown Private Function Karova Lounge, Ballarat River of Snakes, Mass Cult, DJ Jack Davies Cherry Bar Saskwatch The Famous Spiegeltent Since the River, Mountain Static, Miles Brown, These Patterns, Spidey, Heels on Deck, Shaky Memorial Revolver Upstairs Tania Doko, Janine Maunder, The SteelBirds, Josh Kyle Band Bennetts Lane Tash Sultana, Davy Simony, Jack G Horse Bazaar The Albare Band, Dizzy’s Big Band Dizzy’s Jazz Club
60 • INPRESS
The Gianni Maranucci Nonet Paris Cat Jazz Club The Pope’s Assassin, Matt Gleeson, Eddy Burger Edinburgh Castle Hotel Tim Guy Band, Chloe & Silas, Freya Hanly Wesley Anne Vultures Of Venus, Lords of Northcote, Delusions of Granduer Bar Open Water Music, Adrian Stoyles The Standard Hotel Wine, Whiskey, Women, Hetty Kate, Sarah Carroll The Drunken Poet Young Revelry, Udays Tiger, Goodbye Because Workers Club
THU 23 Adam Rudegeair Trio Paris Cat Jazz Club Allan Browne Sextet Uptown Jazz Café Anna Smyrk & The Appetites, Shelley Seagal, Aluka, Adam Christou Workers Club ArmourUs, Sam Sara, Heartless Vendetta, Glass Empire Noise Bar Asami, Ollie Brown, Firetree Empress Hotel Bearded Gypsie Band Jive Bar Ben Salter Bar Nancy Bridie O’Brien, Alex Aronsten & the Southern Lights, Wilks & Heath The Prague Chelsea Wilson, Deep St Soul, Karen Morales, Milan Ring, Candice Monique, Vince Peach, Pierre Baroni Cherry Bar Citizen Sex, Scotdrakula Grace Darling Hotel Cotton Keays & Morris Wellers of Kangaroo Ground Dave Hellions Birthday, BGB, Hellion Music Land Dib & Eddie James Labour In Vain DJ AdieuX, Corner Shop Kids, Alana Wilkinson, Abbey Leigh B’Artiste Lounge DJ Who, Lewis Can Cut, Tiger Funk Lucky Coq Elixir, Ollie Browne, Sam Bates Regal Ballroom Elk & Whale, Marissa Saroca, Jason Lowe Wesley Anne Fat Freddys Drop, The Nudge Prince Bandroom Fem Belling Quartet Dizzy’s Jazz Club Finlo White, Kitty Kat Co., Crown Geoff Achison, Jimi Hocking, Shaun Kirk, Lloyd Spiegel, Shannon Bourne East Brunswick Club Hellhounds Esplanade Lounge Icypoles, Evelyn Ida Morris, Moon Dice, Yuko Kuno The Gasometer Hotel Ikarii, Acrasia, Like Royalty Next
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