MICHAEL ROTHER
POND
THE BEARDS
DIRTY THREE
KRS-ONE ST VINCENT BEN SOLLEE JOHNETTE NAPOLITANO
N O W AVA I L A B L E O N I PA D • W E D N E S DAY 14 M A R C H 2 012 ~ I S S U E 1215 ~ F R E E
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INPRESS • 3
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4 • INPRESS
Orbital
Tour May 2012
Fri04
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New album ‘Wonky’ out on 6th April INPRESS • 5
6 • INPRESS
ILLUSIVE AND FRONTIER TOURING BY ARRANGEMENT WITH ARTIST VOICE PRESENT
SPECIAL GUESTS
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Special Guests
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saturday march 24
the palace
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WEDNESDAY 14TH
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PEAR AND THE AWKWARD ORCHESTRA
6pm
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SUNDAY 18TH
Open...MON - THU...from 4pm ‘til late FRI...from 2pm ‘til late SAT - SUN...from 12pm ‘til late
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10 • INPRESS
8pm $10
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ON SALE THIS FRIDAY frontiertouring.com simpleplan.com
THE ALBUM ‘GET YOUR HEART ON!’ OUT NOW INPRESS • 11
ISSUE 1215
W E D N E S D AY 1 4 M A R C H 2 0 1 2
Thu 15. 9pm MOOD DJ's NuBody & guests Fri 16. 10pm Friday Night Crabfight DJ Ego, Mr Nice, Paz & VJ Phaic a mash-up of all things summery, soulful, tropical and feel-good
THE SHINS
Sat 17. 10pm Morebass Ghettofilth, snes mega, cuznmatt, Midget Fidget, Ehsan Gelsi, Mbug, C:1 vs Matt Radovich, Jem The Misfit, VJ Junior Mon 19. 7pm Don't You Have Docs? a selection of 6-8 short docs curated around a different theme each month Tues 20. 7pm Comfortable Shorts monthly short film night, prizes, Q&A w directors & writers - submissions open
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 The shady side of the street with Hilltop Hoods 22 Pond are making waves with Beards Wives Denim 24 Johnette Napolitano talks desert tortoises 26 He’s been instrumental in shaping modern music but Michael Rother wouldn’t know it 27 The Beards wanna put an end to the ‘beardism’ 28 SMRTS on creating “world music dying at the hands of garage rock” 28 Dirty Three and the finer points of balancing life and art 28 Grimes talks branding and marketing and stuff 30 The Wildes’ Lachlan Bryan on going it alone 30 What kind of dog is Ben Sollee? 30 St Vincent and the prospect of working with Slayer 31 How Danger Mouse helped re-light The Shins’ fire 31 KRS-One is finally venturing down under 32 On The Record rates new releases from Hilltop Hoods and Hunx 34 DJ Quik on inventing a genre 34 How a Danish beer saved Aqua 34 Ahab – the country band, not the German metal outfit 34 Ghosts and the Clarkefield Music Festival
FRONT ROW 36 This Week In Arts plans your week ahead 36 We preview the Melbourne Queer Film Festival
Coral Lee & the Silver Scream Rockin’ rockabilly sweetheart and band plays old-time rock ‘n’ roll, R&B and blues. Get dancin’ 9pm
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12 • INPRESS
EDITORIAL
Group Managing Editor Andrew Mast Editor Shane O’Donohue music@inpress.com.au Assistant Editor Bryget Chrisfield Editorial Assistant Samson McDougall Front Row Editor Daniel Crichton-Rouse frontrow@inpress.com.au Staff Writer Michael Smith
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SUNDAY 18 March
BRUNSWICK
BACK TO INPRESS 41 Gig Of The Week has the blues at a Robert Johnson tribute night 41 LIVE:Reviews checks out Die Antwoord 48 Sarah Petchell will Wake The Dead with her punk and hardcore talk 48 Andrew Haug takes us to the dark side in The Racket 48 Dan Condon blues and roots in Roots Down 48 Other music from the other side with Fragmented Frequencies 50 Pop culture therapy with The Breakdown 50 Hip hop news with Intelligible Flow 50 The freshest in urban news with OG Flavas 50 New currents with Dance Moves 51 Fill your dance card with our Club Guide 52 If you haven’t appeared in Fred Negro’s Pub, your mother probably still speaks to you 52 Jeff Jenkins gets down and local in Howzat! 53 Our Gig Guide fills your diary for the weekend 56 Gear and studio reviews in BTL 58 Find your new band and just about everything else in our classy Classifieds
Hit up our Facebook page to score yourself some tix to The Little Stevies’ Brunswick Music Fest show with Immigrant Union, Bruce Springsteen’s new album, Michael Paynter gig tix and passes to see Martin Buttrich and tINI.
SATURDAY 17 March
THE UNION HOTEL
37 Film Carew w checks out The Rum Diaries, The Kid With A Bike and Margin Call 37 The Suitcase Royale discuss their show Zombatland 37 ACMI focusses on experimental artist William Kentridge 38 Actors Jonah Hill and Channing Tatum talk 21 Jump St 38 Game Of Thrones’ Kit Harington discussess life as Jon Snow
GIVEAWAYS GALORE!
BRUNSWICK
Five-piece alt-country band led by Jody Galvin 5pm
31
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INPRESS • 13
THE
FRONT LINE
THE JEZABELS WIN THE AMP AND $30,000
The Jezabels have won this year’s Australian Music Prize (AMP) for their album Prisoner and have been awarded $30,000 – donated by the PPCA – in the process. The AMP aims annually to recognise the best album by an Australian band released before November the previous year. The Sydney act, currently in the UK, accepted the award at the winner’s announcement last Thursday at the Basement Circular Quay, through MGM head Sebastian Chase, who delivered a humble and impassioned speech on their behalf. The band then released the acceptance speech through a media announcement: “To all involved in the process of awarding the Australian Music Prize, The Jezabels would like to recognise the difficulty with which you have come to your decisions this year, both in the nominations and the final judging process. What is clear throughout all the difference of opinion, regarding both the politics of the prize and musical tastes, is that The AMP is made up of people who care a great deal about Australian music and the importance of maintaining the ideals that the prize has THE JEZABELS
CONTROVERSY FOLLOWS AMP TO ANNOUNCEMENT
Following another controversial year for The AMP, which has seen criticism of the judging process and final shortlist of nine records, Hoodoo Gurus’ Dave Faulkner, the judge who announced the eventual winner, told The Front Line, “I think this particular meeting today [the final decision between the judges] went really well, it was probably the best that we’ve ever had. It wasn’t controversial in the sense that everyone thought it was a reasonable way for things to progress and everyone got to have their say and their votes were counted until the very last minute. As you can see, no one really knew what was going to happen. I think there’s a flaw in the early stage of the judging where too many things are getting through. That clouded up the issue for albums that deserve to be more recognised. They’re more superior albums; you don’t want it to be a sample or a random selection of albums, you want it to be the best of the best.” He said the most difficult part was cutting the longlist into a shortlist of nine. “Part of that is having too many albums to judge from. Maybe there are too many judges; I don’t know. It’s a line-ball and every direction you go, you’re going to have to compromise on one side and hopefully gain on the other.” The morning before the announcement, Mess & Noise’s editor Darren Levin, an AMP judge, wrote an opinion piece on the award saying, “Of the AMP’s 40 judges, 13 are so-called critics, six work in radio and nine are retailers. I’d say the vast majority of these judges will listen to 100 new Australian records in an average year. The remaining 12 judges are mostly working musicians, most of whom, I believe, would fall way short of that benchmark. The reason is simple. While I have absolutely no idea what Kram listens to while jogging, or what Cloud Control’s Ulrich Lenffer spins on the road, it’s not their job to listen to music for a living. It’s their job to play it.” He added, “Musicians have a voracious appetite for music, but their listening habits are far less localised and far more haphazard. If they want to spend a month listening to nothing but late-’60s Brazilian psych for ‘inspiration’ they can. If they want to eschew Australian records in favour of music from another time or place, they can. Listening to new Australian records is not a choice for most of the AMP judges; it’s something they (to varying degrees) get paid to do.” Faulkner had only heard about the piece through other
INDUSTRY NEWS WITH SCOTT FITZSIMONS frontline@streetpress.com.au
come to represent, the encouragement of excellence and quality in Australian albums, regardless of their popularity or success, but to also recognise that those things are not mutually exclusive. We are also aware that it was an incredibly strong year for Australian albums and the sound of those albums has resonated beyond this nation’s borders. It is with these things in mind that we realise the full extent of the privilege of being nominated for The AMP, let alone winning. “This band knows as well as anyone the challenge of choosing to make your dream your career and the gambles involved. We have immense respect for any Australian artist who made an album this year, whether they made the shortlist or not. In holding these views we feel we hold the same values as The AMP and we promise to fulfil the AMP’s intentions, to use this internationally-recognised prize to further our music and to be encouraged by your faith in us in our future musical endeavours. So from the bottom of our hearts, we thank the Australian music industry, the Australian public, but of course The Australian Music Prize for this incredible honour.”
convinced that legislation is the answer to this problem and continue to focus on consumer education. Consumers don’t always understand that if they buy a ticket from a scalper they risk the tickets not arriving, having their tickets cancelled at the venue, or not getting the seats they ordered… A consumer’s refund rights when an event is cancelled or re-scheduled are also voided if they purchased tickets from an unauthorised seller.” The education that the LPA believe will combat scalping better that federally enforceable laws has come through, “a media campaign around this issue in October last year [which included a full-page ad in The Australian] and our members continue to raise consumer awareness of the risks of buying from unauthorised sellers via information on their websites… LPA is opposed to ticket scalping and our position is set out in clause ten of the LPA Ticketing Code Of Practice.”
ARIA CHARTS TO GET REDESIGN
Veteran US Rolling Stone journalist David Fricke also spoke at the announcement as part of the Amped Up In Conversation keynote speech. He spoke fondly of Australian music and his experiences of it in a largely historical speech. One of his anecdotes involved Surry Hills’ Strawberry Hills Hotel (in Sydney) where midway through making a phone call, “The two bartenders behind the bar started to brawl and the fight spilled over the bar to where I am and one of the guys throws the other out the door… All the while X are playing their version of John Lennon’s Mother.” To this rock’n’roll incident Fricke responded, “Thank you God, this is awesome. It’s like CBGBs but better.” In the Q&A session he was asked about the technological developments in the music industry and he admitted that he was, “Playing the waiting game… It’s a crazy time out there with the amount of choices people have to make with what to do with their time.” He added, “The internet is like crack; people are addicted to it.”
people, but when The Front Line mentioned the above he said, “I think that’s nonsense. That’s absolute nonsense. The fact is, a good record is a good record and it shouldn’t be only available to an expert who’s heard a thousand bad ones to know he’s heard a good one. I mean, anyone can tell a good record. And it’s not to say it should be down to the lowest common denominator, but of all people that are passionate about music, musicians are number one on my list, rather than on the lower level. The fact that they’re doing other music doesn’t mean they can’t appreciate [alternative] music. Otherwise what would you do? You’d only have music writers writing about it. I mean, it’s not a critic’s award – it’s a different beast entirely. So no, I don’t agree with that. I did hear that he brought up the example of one of the judges in a previous year. One of the judges – a musician, one of the more established musicians who’d had a very long career – didn’t know that Nick Cave was in Grinderman. However, that particular judge was a huge fan of the Grinderman album and in a sense isn’t that a purer reaction? Where she’s actually loving it because it’s a great record rather than because it’s Nick Cave’s latest and she loves Nick Cave, like a lot of critics do? They are affected because they know these people and they know who’s hot and who’s not. “ Levin offered the following statement to Your Daily SPA after we spoke to Faulkner: “I’d say to Dave that a musician is as important to the judging process of the AMP as I am to the next Jezabels record.”
LPA REJECT ANTI-SCALPING LAWS, AGAIN
A new deal between Australian Recording Industry Association (ARIA) and MCM Media will see the digital presence of the ARIA Charts get an overhaul. In the new deal, MCM Media will produce – that is, redesign and relaunch – the ARIA Chart website alongside a new mobile app, a big part of which will be the wealth of music video that MCM Media currently services to its Take 40 community. They have approximately 11,000 music videos available through the Take 40 website and the Take 40 app, available free through an ad-funded format. “We have wonderful partnerships with the four major labels and the independents,” MCM Entertainment Group CEO Simon Joyce told Your Daily SPA. “We’ve invested millions in this over the years.” As part of the deal he added, “We will now implement the ARIA Chart data and information into the Take 40 radio show and website.” The Take 40 show, hosted by Jackie O on the Today Network, will count down the top 40 singles as determined by ARIA. The ARIA launch is set to be part of MCM’s “huge digital development rollout”, which will also see the re-launch of digital platforms for Take 40 and Hot Hits. “The assets that we have – and the assets that [ARIA] have – our partnership makes perfect sense,” said Joyce. ARIA CEO Dan Rosen said that they were “thrilled” about the “series of exciting new radio and digital initiatives focused on the ARIA Charts. We are also extremely excited about the launch of our new charts website and mobile app in coming months.”
FRESHLY INKED
Emerging Brisbane songstress Emma Louise has signed to American indie label Frenchkiss, Your Daily SPA revealed last week. Becoming the label’s first female-fronted artist, her new roster-mates include Passion Pit, The Drums, Local Natives, The Dodos, The Antlers, Les Savy Fav and The Hold Steady. The deal emerged after the label attended Brisbane conference and showcase, BIGSOUND, where Louise performed. UNFD’s relationship with American label Equal Vision continues with the news the Australianbased UNFD will release the latest singles and album from Glass Cloud. Two-piece writing and production duo Bon Chat, Bon Rat have signed to the Niche Productions artist agency. Anti- will release the new solo album from Georgia, USA, native Kelly Hogan, I like To Keep Myself In Pain.
Live entertainment and performing arts industry union, Live Performance Australia (LPA), have again rejected those calls, Suzanne Daley, director, policy and programs, telling Your Daily SPA federal legislation is not viable: “We are not
Spokesperson Michelle Harrington said that musician Bobby Valentine and his daughter – who for the last six years had played acoustic gigs from 3pm to 6pm at a St Kilda foreshore venue – “have been forced to seek their livelihood outside of St Kilda whilst the venue tries to have their fine overturned and their planning permits reviewed.” Harrington said, “A single resident made a complaint and now his regular gig has been put on hold until the venue spends time and money trying to get the gig back. How does this happen in an area that’s supposed to be a cultural hub? Sixty other neighbours in the area signed a petition to support Bobby, but they were ignored.” A business operator – who was not named in the release – said, “[The council] get plenty of mileage out of St Kilda being a vibrant, cultural centre that offers lifestyle but the fun police seem to feel okay about taking the smallest complaint all the way to the top. Surely the council could use its resources and find a way to get more balance into the equation.” Harrington continued, “We are in danger of losing our venues and want to understand how and why this is still occurring in a post-SLAM era, and how to stop the rot. We’d like to see people contact councillors and call for a public meeting on this issue, with all voices recognised.” Port Philip’s Mayor Cr Rachel Powning told Your Daily SPA, “The City Of Port Phillip is committed to supporting live music in our municipality. We value and respect artists and support a diversity of art forms from established to contemporary and cutting edge, which all contribute to our city’s cultural heritage. In a busy suburb like St Kilda, we need to balance the needs of both the residents and live music venues. In order to achieve this balance, Council is required to use the provision of State Environment Protection Policies and we must abide by these. If venues don’t comply with these policies, occasionally enforcement action is undertaken but this is a last resort and we always try to achieve a positive outcome through negotiation in the first instance.”
YOU WORKING?
The Esplanade Hotel currently have two roles available in the venue offices – a part time venue booker and a full time publicist. Experience is necessary for both roles. Detailed job descriptions can be found at espy.com.au. Email your CV along with a covering letter to leanne@espy.com.au.
BACKLASH
After three test pressings, approval has been given for a 26-track, remastered GOD compilation on vinyl. Featuring every original song the band recorded, plus two covers, it’ll be out on Z-Man later this year. Worth buying a turntable for.
While we’re on newspaper paywalls, perhaps it’s time The Age introduced one? If it meant the site actually started delivering hard news instead of constant Twitter-generated ‘stories’ and round-the-clock coverage of Kyle Sandilands’ movements, we’ll write ‘em a blank cheque.
GOOD GOD
We’ve gone a little Hilltop Hoods crazy this issue, but with international deals signed for new album Drinking From The Sun, we reckon it’s only a matter of time ‘til the boys from Radelaide are making inroads on O/S charts.
BOLT FROM THE BLUE
We’re not sure if it’s a sign of the impending apocalypse, but we’ve found ourselves agreeing with Andrew Bolt twice – TWICE! – in the past week (Kony, Bob Katter ad). We’re fairly certain it’s some kind of elaborate ploy to trick us into paying for the new Herald Sun website.
music 14 • INPRESS
Music lobby group The St Kilda Live Music Community have made explosive claims that the music scene is being targeted by the council. In a press release from the group they claimed, “The heart of St Kilda is under attack” as “live music venues in the area are being unfairly targeted by the City Of Port Phillip with huge fines, loss of jobs and serious interruptions to business because of extreme restrictions on noise.” They claim that a number of music-hosting venues have been forced to stop live music or have been issued fines of $1,200 following noise complaints from “lone residents”.
FRONTLASH SKY’S THE LIMIT
The ticket scalping conversation has reignited after tickets for Radiohead and UK boy band One Direction appeared on online auction websites at greatly inflated prices, almost instantly after going on sale. It prompted Michael Chugg – who is promoting Radiohead – to call for federal ticket on-selling legislation through Your Daily SPA last week. He encouraged punters to be vocal, saying that he “implores the forum to continue so that both the federal government and state governments will pay attention and introduce enforceable anti-scalping legislation throughout Australia.”
ST KILDA MUSIC: ‘WE’RE BEING TARGETED AND ATTACKED’
themusic.com.au
COMING OF AGE
VIVID REVIVAL
Sad to see Sydney arts festival Vivid LIVE ditching the ‘guest curator’ concept after one dud choice (Modular boss Stephen Pavlovic in 2011). This year’s line-up is looking predictably bland as a result.
SUR-PRIZE
We’ve got nothing against The Jezabels, and their acceptance speech was most gracious, but by naming their Prisoner album the best local release of last year the Australian Music Prize judges have condemned the award (now in its seventh year) to irrelevancy.
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FOREWORD LINE
NEWS FROM THE FRONT
Portland’s Shelley Short. Thomas launches the album at Moyston Hall on Thursday 29 March, the Theatre Royal in Castlemaine on Friday 27 April, the Westernport Hotel in San Remo on Saturday 28 April and the Regal Ballroom on Friday 11 May. He also plays Bluesfest with the Roving Commission as well as Weddings Parties Anything.
M A R L E Y
KIMBRA
LADY IN RED WEDNESDAY 14 MARCH
RESIDENCY
DAYDREAM ARCADE PRETTY STRANGERS BRIGHTLY
ENTRY $7, 8.30PM
THURSDAY 15 MARCH
CHOP SQUAD ROSENCRANTS (SINGLE LAUNCH) HOMEOWNER BLACK CROW KINGS ENTRY $4, 8.30PM $2.50 POTS, $5 VODKAS!
FRIDAY 16 MARCH
DARK ARTS SPECIAL GUESTS ENTRY $10, 9PM
SATURDAY 17 MARCH
FESTIVAL NEWS themusic.com.au/sfg/ WORLD MUSIC EXPO LOOKING FOR ARTISTS
The Australasian World Music Expo has been announced for 2012 and organisers are encouraging local and international artists to apply to perform. The 2012 event will be held from Thursday 15 to Sunday 18 November in Melbourne and is expected to attract over 500 high profile local and international music representatives. The expo is four days of live music, workshops and seminars, giving artists the chance to showcase their potential on an international stage. This year will mark the fifth anniversary of the event, which is fast becoming one of the most popular world music festivals in the southern hemisphere. Artist showcase applications are available through their website.
ROOFTOP EP LAUNCH
CITIZEN SEX DIAMOND THE PEEP TEMPEL
FESTIVAL OF INK
SUNDAY 18 MARCH
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 at 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. The festival takes place from Friday 27 to Sunday 29 April. Head to ritesofpassagefestival.com for details.
BLAZING ENFIELDS
TURNER ROUND
ENTRY $10, 3PM
SINGLE LAUNCH
ZOOPHYTE MY DYNAMITE TOM TUENA
ENTRY $15 DOOR, $12 PRESALE THRU MOSHTIX, 9PM
PALLET TOWN CHILIAD
SIMON WRIGHT BAND THE HIGH SOCIETY
The charismatic British singer songwriter Frank Turner will be performing here for the first time with full band, The Sleeping Souls, in support of his heralded new album England Keep My Bones. Iowa, USA’s William Elliott Whitmore and Melbourne’s most talked about DIY punk outfit The Smith Street Band are also appearing at all shows. Catch this stellar line-up at the Espy on Thursday 10 May.
FREE ENTRY, 9PM $10 JUGS!
DON’T GET IT TWISTED
ENTRY $8, 8.30PM
MONDAY 19 MARCH
MINI RESIDENCY
MUNRO MELANO TRIO
TUESDAY 20 MARCH
FRINGE FESTIVAL FORUM FREE ENTRY, 5.30PM RESIDENCY
EL MOTH & THE TURBO RADS GHOST ORCHID
Twisted Affection played their first gig in late 2011, released their thrashy debut single That’s What She Said in January and now, with a tidal wave of momentum building behind them, have dropped their self-titled debut album and are about to tour the country in celebration. See them at any of the following shows: the Bendigo Hotel on Thursday 19 April, Royal Melbourne Hotel on Friday 20, John Curtin Hotel on Saturday 21, National Hotel (Geelong) on Sunday 22 and Newmarket Hotel (Bendigo) on Tuesday 24.
The sassy and oh-so-fierce songstress Kimbra, made 2011 her year. With a number of festival appearances, ARIA Awards, national and international performances and a stellar debut, she rocked the nation and became one of Australia/New Zealand’s finest soul/jazz/pop artists. And now, she has announced an Australian tour for May this year running alongside her Groovin’ The Moo apperances, with supports from other fine artists of field including Daniel Merriweather and Sam Lawrence. Kimbra will be performing at the Palais on Wednesday 9 May. Tickets will go on sale for the general public on Monday.
TAKING THE MICK
After recording albums as Mick Thomas & The Sure Thing for the last few years, this time around Thomas decided to focus on what is really his first ever solo studio album. After much thought and deliberation, he decided to head over to the USA to record the album in Portland, Oregon with long-time friend and music associate Darren Hanlon wearing the producer’s hat. Thomas took long time musical compadre, Mark ‘Squeezebox Wally’ Wallace to play on the album with him. The album also features a guest vocal with
ANOTHER CHANCE
Following the release of the title track from his soon to be released sophomore album Infinity, Sydney hip hop artist Chance Waters (formerly Phatchance) is hitting the road for a series of East Coast shows this April and May. With lyrical strength and sonic depth, the single proves that Waters has earned his place in the Aussie hip hop world. He performs at First Floor on Saturday 5 May.
WHAT A LARK
Aya Larkin is set to make a long-awaited comeback to the Australian live music scene, with a tour that will see him perform his debut solo album, Waking Dream. Renowned as the voice of seminal band, Skunkhour, who were legendary for their onstage performances, Aya Larkin will perform an intimate show at the Wesley Anne on Friday 4 May.
WATCH YOUR ‘TUDE
Following on from their self-titled debut release last year, 2012 looks set to be an extremely busy year for young heavy music visionaries Servitude. They’re set to embark on their first national tour, the No Salvation tour, starting this week in Brisbane. See them live at Next on Thursday 22 March, and at all-ages gigs at Spud Fest (Geelong) and the Loft (Warrnambool) on Saturday 24.
THAT’S RICH
One of the world’s most respected producers, Martin Buttrich (Timo Maas, Moloko, Depeche Mode, Placebo), returns to Australia with his Desolat stablemate, tINI, who makes her Australian performance debut. Having
DAWES
AMERICANA TREAT
Dawes will be supporting My Morning Jacket in Melbourne along with their appearance at Boogie festival, and have announced a headline show of their own. They will be touring in support of their brand new album Nothing Is Wrong, to be released on Friday 30 March Australia-wide. You can catch Dawes supporting My Morning Jacket on Wednesday 4 April at the Palace and Thursday 5 at Meeniyan Town Hall. They play their own show at the Toff on Wednesday 11 April.
dropped his debut solo album Crash Test in early 2010, Buttrich is taking his vision to the road, fusing wild imagination with solid musical architecture, cherry-picked inspiration with true perfection of his musical craft. Catch the show at Brown Alley on Sunday 8 April.
DEATH’S SUPPORTERS
The supports have been announced for Murder By Death’s first Australian tour. On Thursday 17 May at the Evelyn, there’ll be Jamie Hay and Irish folkrock band Between The Wars. Then at the National Hotel on Friday 18, The Smith Street Band and Japan For are providing support. Cash Savage & The Last Drinks will be playing at both shows.
FLY BUTTERFLY
Recently single of the week on iTunes Australia, Butterfly Boucher launches her single 5678! with a string of shows scheduled for the East Coast. This single is the first taste of her forthcoming self-titled album set to drop on Friday 13 April, which will also be her first independent release. She’ll be fluttering her way to the Northcote Social Club on Wednesday 21 March.
BEOGA BOOGIE
Beoga’s Thursday night concert has all-but sold out, and the band have announced an extra show has been added. Celebrate the Brunswick Festival opening night with the mighty Beoga tonight (Wednesday). With their signature mix of Irish traditional music with nuances of bluesy riffs, Astor Piazzola-style jazz, and a raunchy New Orleans jamboree vibe, they are a band that like to have fun.
ENTRY BY DONATION, 9PM $10 JUGS!
COMING UP - TIX AVAILABLE THRU MOSHTIX: EL MOTH & THE TURBO RADS (TUES IN MAR) DAYDREAM ARCADE (WED IN MAR) THE CALL UP – ALBUM LAUNCH (22 MAR) SALTAR HYPE PRESENTS: SUB ATARI KNIVES (23 MAR) TWELVE FOOT NINJA/JERRICO (24 MAR) SIGNALS IN SILENCE (29 MAR) VOLTERA (30 MAR) THE CACTUS CHANNEL – 7” LAUNCH (31 MAR) SCOTDRAKULA (MON IN APR) JOHN PATRICK & THE KEEPERS - EP LAUNCH (5 APR) MELBOURNE INTERNATIONAL COMEDY FESTIVAL PRESENTS: ONE POLITICALLY INCORRECT EVENING (29, 30, 31 MAR, 1, 4, 5, 7, 8, 12, 13, 14, 15 APR) MURDER BY DEATH (USA) (17 MAY) SELLING FAST
MONDAY $8 BURGERS TILL 8PM FISH & CHIP SHOP TUESDAY TUE - SUN 4-7PM HAPPY HOUR
Gin Wigmore 5/04 WEDNESDAY 14TH MARCH
WEDNESDAY 28TH MARCH
Joe Mckee
Jow McKee (Snowman)
Laura Jean Front Bar: DJ Billie Justice
Front Bar: DJ Billie Justice
THURSDAY 15TH MARCH
The Neighbourhood Youth Private Life, The Red Lights Front Bar: Adam Christou (SYN)
MONDAY 19TH MARCH
SATURDAY 24TH MARCH
Brothers Hand Mirror The Run Run Wooshie, LA Pocock
WEDNESDAY 4TH APRIL Seventh Gallery present:
Co/respond publication launch
Front Bar: Pete Keen (Sugar Mountain)
Front Bar: Sunni Hart
Front Bar: DJ Billie Justice
FRIDAY 16TH MARCH
WEDNESDAY 21ST MARCH
SUNDAY 25TH MARCH
THURSDAY 5TH APRIL
The Bonniwells Front Bar: Happy Hours 4-7pm
Pikelet Front Bar DJ Billie Justice
Hollow Everdaze, Billionaire Front Bar: Happy Hour 4-7pm
Front Bar: Adam Christou (SYN)
SMRTS
SUNDAY 18TH MARCH SYN Approved presents
ScotDrakula
Front Bar: Happy Hours 4-7pm
16 • INPRESS
SPECIALS:
On Sale At Moshtix:
Joe McKee (Snowman)
Fierse EP Launch
Gin Wigmore
FRIDAY 23TH MARCH
MONDAY 26TH MARCH
FRIDAY 6TH APRIL
Mick Hart, Nice Boy Tom Front Bar: Happy Hour 4-7pm
Front Bar: Pete Keen (Sugar Mountain)
Front Bar: Happy Hour 4-7pm
Seven Hearts CD Launch
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Brothers Hand Mirror Bearhug EP Launch LA Pocock
THURS 15TH
MOSE’
+ THE FMLY W BIG WORDS AND SPEAKEASY FRI 16TH
DROPBUNNY
‘ALBUM LAUNCH’ + DEATH OF ART, HOUSE OF THUMBS AND MOTH SAT 17TH
DEAD ACTORS CLUB
(LAST EVER SHOW)
+ CITY WALLS, AUTUMN FALLS ( SINGLE LAUNCH ) AND MUNRO MELANO THURS 22ND
THE SICK MAN
+ TYSON SLITHERS & THE PHAT CHICKS, METALIC K.O AND THE COME DOWNS FRI 23RD
CREATURES OF KARMA (EP LAUNCH) + NO LOVE FOR LEXI ( SINGLE LAUNCH ) AND YOKEY SAT 24TH
FALLOE & THE DIAMONDS (ALBUM LAUNCH)
W NORIKO TADANO AND THE PROMISES
LATER ON... SATURDAY 17
WEDNESDAY 14
SUNDAY 18
COSMIC PIZZA 9PM
STRYKAD NHJ
(HEARTICAL HIFI) THURSDAY 15
8PM
T’FUNK - LIVE 10.30PM DAVE PHAM
MONDAY 19 TUESDAY 20
8.30PM
ADAM ASKEW 10.30PM HEY SAM 12.30PM CLIPPING 8PM
PHATO AMANO 10.30PM TIGERFUNK AGENT 86
31/3 - THE GIN CLUB AND TEXAS TEA ( DOUBLE LAUNCH ) W THE NIMPHS 7/4 - WHIPPED CREAM CHARGERS ( ALBUM LAUNCH ) W MESA COSA 13/4 - THE STEVENS ( ALBUM LAUNCH ) W HARMONY AND BOOMGATES 14/4 - FRANKIE WANTS OUT ( ALBUM LAUNCH ) ANZAC DAY EVE - SAL KIMBER & THE ROLLIN’ WHEEL W JACK ON FIRE AND THE EASTERN ( NZ ) FOR ALL PRE SALES AND MICF TIX, GO TO WWW.JOHNCURTINHOTEL.COM
IBIMBO 9PM
HENRY WHO 11PM DJ AHAB
MONDAY: PALE ALE FISH AND HAND CUT CHIPS $13 TUESDAY: HOME MADE RICOTTA GNOCCHI $14 WEDNESDAY 280G GRAIN FED ANGUS PORTERHOUSE STEAK $16
WEDNESDAY 14
THURSDAY 15
FRIDAY 16
SATURDAY 17
“COQ ROQ”
SUNDAY 18
MR THOM JOY BOT
MONDAY 19
“PANORMA”
THOM MEAGHER MR GEORGE MATT RAD “TEXTILE” DOWN
GREY SKULL JEAN-PAUL PAK MAN
THURSDAY: CHICKEN SCHNITZEL AND HAND CUT CHIPS $13
“SOUTH SIDE HUSSLE”
FRIDAY: CHICKEN OR EGGPLANT PARMA $14/$13
BAND 4PEACE
“FREE RANGE FUNK”
LEWIS CANCUT DJ WHO AGENT86
“ROOF TOP PARTEY”
TUESDAY 20
MR GEORGE INKSWEL JUNJI&HARRY
SATURDAY: CURTIN BURGER AND HAND CUT CHIPS $14
“STRUGGLE”
TIGER FUNK “COSMIC PIZZAS”
BOOC
”THIS AREN’T REVOLVER SET!”
NHJ
TRADING HOURS MON - THURS: 3PM TILL LATE FRIDAY: 11:30AM - LATE SATURDAY: 4PM - LATE KITCHEN HOURS WEEKDAYS: 5PM - 9:30PM SATURDAY: 6PM-9:30PM
UP
KODIAK KID MR MOONSHINE ASH-LEE INPRESS • 17
FOREWORD LINE
NEWS FROM THE FRONT
INPRESS PRESENTS
IT’S SIMPLE
Pop-punk ensemble Simple Plan are returning to Australia this winter. Their latest offering Get Your Heart On! stormed the ARIA charts upon its release late last year, armed with fan favourite and ARIA top-ten single Jetlag (featuring Natasha Bedingfield). Joining Simple Plan on tour are We The Kings and local power-pop dance quintet The Never Ever. It all happens at Festival Hall on Saturday 2 June, and it’s all-ages.
DINO MIGHT
With Last Dinosaurs’ show at trhe Northcote Social Club on Friday 20 April now sold out, the Brissie band have added another Melbourne show to their upcoming Million Years national tour. They will now play the Phoenix Public House on Tuesday 17 April, and also hit Geelong’s National Hotel on Wednesday 18 April and Ballarat’s Karova Lounge on Thursday 19 April.
MARGINAL SUPPORT
Melbourne instrumental four-piece Margins release their album, Divide this Friday through Casadeldisco Records. Having honed their live performances accompanying an eclectic range of projected films, Margins embrace subtlety and restraint as their modus operandi and continue to enact a spacious and sublime style of instrumentation. They are playing Polyester Records on Friday 30 March and the Old Bar Friday 13 April.
FRANKLY GORGEOUS
Frank Yamma and George Telek will perform two rare gigs together in Melbourne. Both singer/ songwriters have received international acclaim for their music that combines a traditional aesthetic and sense of place with contemporary issues. They play the Caravan Music Club Friday 30 March and Northcote Social Club Saturday 2 April.
B-SIDES & RARITIES
Kylie Minogue brings her Anti Tour to Australia and it will be like no other. Performing B-sides, demos and rarities, this tour is for the ultimate Kylie fan. With only one show originally scheduled for Melbourne, Minogue caved in to fan pressure and has now added an extra date, after her first show sold out super-fast. The new show will take place at the Palace on Sunday 18 March.
ROUGH AND TUMBLE
Tumbleweed return to the studio in Sydney on June 9 with Paul McKercher. After the success of the recent headline reformation shows Tumbleweed have even had the time to come up with 20 original new songs and they are taking some out for road testing. They are playing the Tote on Friday 25 and Saturday 26 May.
DUCTHY AT THE PENNY
Following the release of her debut album Introducing Jess Holland this impressive vocalist is taking to the road, heading off on the M2M Tour to showcase her new material to fans. If the gritty, ballsy country sound of the album is anything to go by, then music fans are in for a real treat when Jess Holland takes to the stage. She is playing the Penny Black on Friday 27 April.
DAVID J FILES
David J, a founding member of Bauhaus and Love & Rockets, appears at Melbourne’s Cabaret Nocturne for an exclusive DJ performance on Friday 16 March. David John Haskins was an original member and bass player for seminal post-punk outfit Bauhaus; he penned the band’s first single and one of their biggest hits, Bela Lugosi’s Dead and performed vocals on several other tracks including Who Killed Mr Moonlight?. David J later went on to form Love & Rockets with Bauhaus guitarist Daniel Ash. David J now resides in LA and has several DJ residencies as well as continuing to perform his solo material and performing and recording with acts such as Amanda Palmer, Voltaire and Jane’s Addiction. David J will appear for an exclusive two-hour DJ set at Melbourne club night Cabaret Nocturne at Platform One, Vaults 7 and 8 Banana Alley. Tickets are $15 at the door; doors open at 10pm.
WHAT A RIPPER!
For his first solo performance in Australia, Tim Ripper Owens will be performing Judas Priest classics along with tracks from Dio, Iced Earth, Yngwie Malmsteen plus his own solo projects. Owens is without a doubt one of the most important metal vocalists of the past 15 years and you can hear him rip it at the Hi-Fi on Thursday 17 May.
A DOUBLE SERVE OF GAS HIRS are a queer/thrash/grind duo from Philadelphia, USA. This Friday at the Gasometer will be the launch of their split tape with Melbourne punks Shit Weather, who will be joining them on the bill. Also appearing are Useless Children, who will be playing songs off their stunning upcoming album as well as Hex On The Beach and Headless Death. Playing upstairs will be The Kremlings, Goonbag Colostomy and Uruk-High, three alien bands from Geelong who are ready to take over.
COUNT ON THEM
The 5.6.7.8’s – Japan’s premier garage-rock group, stars of Quentin Tarantino’s 2004 blockbuster Kill Bill Vol 1, and special guests of the Hoodoo Gurus on their national Dig It Up! tour in April – have announced three select headline shows for Sydney, Melbourne and Hobart. The all-female trio will play the Tote on Tuesday 24 April.
SNAKES ON A PLANE
Sonically-crushing San Francisco sludge metal duo Black Cobra are here in late April playing the Cherry Rock festival and opening for Fu Manchu nationally. The band have just announced they’ll be playing two Victorian headline club shows – see them at the Tote on Monday 30 April and at the National Hotel in Geelong on Tuesday 1 May. For tickets check out heathenskulls.com. 18 • INPRESS
BONZA BONJAH
Bonjah have just announced their Fall Together East Coast single tour, the band’s last Australian headline shows for 2012. The brand new single from the Melbourne-based now-four-piece, encompasses driving rhythms, gorgeous melodies and fantastic production from Steven Schram. They play the Corner Hotel on Friday 8 June.
themusic.com.au
NEWS FROM THE FRONT
FOREWORD LINE
FEEL THE PAIN
SONIC PIONEERS
Garage-rock pioneers The Sonics are to perform a one-off headline show when they appear at Oakleigh’s Caravan Music Club (home of the nowrunning Carnival Of Suburbia) on Friday 27 April. The godfathers of garage-rock, The Sonics laid down the blueprint for the genre back in 1963 with the release of their first single The Witch and with every subsequent release cemented their place in rock history. Tickets for this rare, intimate and exclusive headline show are on-sale today (Wednesday).
Suddenly Painlessly is the first single from Francolin’s debut album, Won’t Let You Down, recorded and produced by Nick Huggins (Oscar & Martin, Kid Sam, The Harpoons). In 2011 Francolin built a reputation for joyous live shows, a disarming dose of charm and quality lyricism. After a sold-out farewell during exam-season and the invigorating reception at their return for the recent St Kilda Festival, Francolin are now ready to bring the manifold magic of their music from Melbourne and out into the world. Born by wide-eyed ‘80s guitar pop, slow motion mardi gras and the M*A*S*H theme, Suddenly Painlessly, tumbles out the gate like a grinning locomotive. They play Phoenix Public House, on Saturday 24 March with Yeo and the always entertaining ScotDrakula.
SHAKIN’ IT
Hailing from Spain, Los Chicos are one of the most important garage and rock’n’roll bands out of Europe. Following their 2010 release 10 Years Of Shakin’ Fat & Launchin’ Shit, they will finally be visiting Australian shores to bring their eclectic mix of rock to all Australian fans. They play the Tote on Wednesday 4 April, Yah Yah’s on Thursday 5 and the Old Bar on Friday 6.
RAIN DANCE
Mention Rainman amongst the initiated and the respect attributed to his name is palpable. Recognised nationally as one of Queensland’s finest, Rainman’s list of collaborations, support slots and guest appearances reads like a who’s who of Oz hip hop. Rainman is poised to drop his second album Bigger Pictures, in stores Friday 4 May through Obese distribution. He will play the Corner Hotel this Sunday.
TAKE HEART
Beats From The heart, a charity fundraiser for Sacred Heart Mission, takes place at Revolver on Thursday 29 March. To support Sacred Heart Mission’s hard work within the community, an experimental night with psychedelic visions from guest VJs, jams from some of Melbourne’s finest explorative bands and funky grooves from DJs come together to raise some fast cash. Yolke headline the night with their bittersweet sonic workouts, preceded by the epic tribalism of These Patterns. the electronic genius of Trjaeu and THNKR’s falsetto indie beats.
WHAT’S THE GOSS?
Gossling’s new EP, Intentional Living, is due for release on 20 April and features irresistible first single Wild Love. It is arguably her most accomplished work to date and looks set to solidify her status as an artist to watch. In addition to Gossling’s own headline tour and special guest performance on 360’s June The Flying tour to sing her part on the double-platinum single Boys Like You, Gossling has been announced as the main support on Josh Pyke’s Love Lies Theatre tour. They play the Forum on Friday 11 May.
Following the success of the single Brother on the Hottest 100, it seems Australian fans can’t get enough of Matt Corby. His national Into The Flame tour saw him play 14 shows in 18 days to 10,000 fans and had completely sold-out a month ahead of the first show. In June, Corby returns with The Winter Tour, joined by Alpine. Check them out at the Forum on Wednesday 6 June.
FIVE TIMES A LADY
With four Melbourne shows now sold out, Lady Gaga has confirmed a fifth Melbourne date at Rod Laver Arena on Tuesday 3 July. Tickets for the fifth show go on sale Thursday 22 March at 9am at livenation.com.au. Advance tickets will be available to Visa Credit, Debit and Prepaid cardholders from 12pm Friday 16 March to 12pm Sunday 18 or until pre-sale tickets sell out at visaentertainment.com.au.
DON’T PANIC
Acoustic singer/songwriter Jon Gomm will soon embark on a national tour. The UK guitar virtuoso’s live show combines deeply personal performances and a natural wit, with a once seen and never forgotten two-handed guitar style. He will be performing songs off his latest album Don’t Panic. You can catch Gomm at the Thornbury Theatre on Saturday 14 April.
MORE CORBY
WONKY ORBIT
Having been making groundbreaking new electronic music since their inception almost 25 years ago, Orbital’s status as one of the most globally influential acts of all time was recognised when they were included in the top ten of a recent poll by Mixmag on the Greatest Dance Acts Of All Time. They will be touring Australia in support of their brand new album Wonky. Orbital will be playing the Palace on Friday 4 May.
GETTING WEENED OFF
Ween’s Chocolate & Cheese LP was originally released in September 1994. So, to honour its apocryphal 16-and-ahalf year anniversary, the Cherry Bar is hosting a one-off celebration of Ween on Saturday 24 March. Incredible Ween tribute act Weened will play two sets; firstly, Chocolate & Cheese track-for-track in its entirety; secondly, all your Ween favourites. Patron Saints will support. Doors open at 8pm, bands start at 9pm and entry’s $13.
GET YOUR MEDICINE
NEARLY HERE
Following the demise of The Jackson Code, Mark Snarski decided to relocate to Madrid and begin work on a new album. This gave rise to The Nearly Brothers’ 2009 debut You Can’t Hide From Your Yesterdays, featuring Martin Casey on bass and Mark Dawson on drums. Fast-forward to April and the first live shows for this unique collaboration have been confirmed. The Nearly Brothers will be playing a stripped back show on Saturday 7 April at Pure Pop in St Kilda and full shows on Sunday 8 at the Northcote Social Club and Friday 13 at the Caravan Music Club in Oakleigh.
Originating from Far North Queensland and now well and truly part of the fabric of the Brisbane music community, The Medics have started 2012 on fire. They were recently annointed as one of Triple J’s next crop artists and the second single from their forthcoming debut album, the brutal, live favourite Joseph, has been on rotation at Triple J. They are playing Friday 13 April at the Northcote Social Club.
MIST IT
Dave Graney & The MistLY are to release a rock’n’roll album in the second half of 2012, “a self-titled 12 track up-vibed, loud and smart masterpiece”. In the meantime, Dave Graney recorded King Of The Dudes and decided to put it out digitally. It’s a one-off kind of a tune, electro boogie in style with all instruments played by Graney. The band play the Famous Spiegeltent on Sunday 25 March.
THE PRICE IS RIGHT
Rick Price shows off new influences and a broader style on his new album, The Water’s Edge. Country and blues meld with folk sounds to create an album that transcends genre. Price, who moved to Nashville in 2009, returns to Australia this month to launch the album. See Price on Wednesday 21 March at Topolino’s, Thursday 22 at Wellers in Kangroo Ground, Saturday 24 at the Somerville Function Centre in Hampton Park and Sunday 25 at the Supreme Bar & Restaurant in Maryborough.
SALTED JOE
Ben Salter (The Gin Club, Giants Of Science) and Joe McKee (Snowman) are embarking on a co-headlining tour of Australia this April. After ten years spent touring around Australia with the aforementioned Gin Club and Giants, Ben Salter released his debut solo album last year. McKee is set to release his debut solo album, Burning Boy through Dot Dash, recorded with long time collaborator, Dave Parkin. They play the Grace Darling on Saturday 28 April.
IN THE (YACHT) CLUB
Twelve months, 600 samples, multiple viewings of ‘50s horror movies, two guys and one cat. When you mash all those elements together you get Yacht Club DJs’ third mix tape, They Mostly Come At Night… Mostly. Catch Yacht Club DJs spinning their new tunes on Thursday 5 April at the Prince, Friday 6 at the Bended Elbow (Geelong) and Saturday 7 and Sunday 8 at Karova Lounge (Ballarat) with special guests Hunting Grounds.
QUIET ARGUMENT
Recently signing to Welkin Booking Agency, Adelaide’s Quiet Child have now announced the dates for their Argument From Design Australian Tour. The four-piece will be hitting the road in March/April to showcase some of their yet-to-be-released tracks from their highly anticipated third album, along with a selection of favourite tunes from their 2011 release Thumper. Fans of both the heavy and softer spectrums of progressive rock, metal and alternative music alike should head to the Central Club on Friday 23 March (with support from Branch Arterial, Alex Anonymous and One) and the Evelyn on Thursday 19 April (with Ennis Tola).
themusic.com.au
INPRESS • 19
SONS OF THE UNDERGROUND ARISE WHAT’S IN A NAME? It’s the most recognised moniker in Australian hip hop, but as it turns out the boys aren’t in love with being ‘Hoods’. “It’s the elephant in the room – and has been for a while,” sighs Suffa, aka Matt Lambert. “We don’t really like the name ‘Hilltop Hoods’ and we do cringe a bit from time to time just thinking about it.” Pressure (Daniel Smith) explains the origins of the much-maligned moniker. “We started the group when we were kids really and we wanted a name. We lived in the Hills of Adelaide, which people referred to as the ‘Hilltop’. Then someone suggested that we add the term ‘Hoods’ and you know, it fitted because it wasn’t like we were at home staying out of trouble. And there you have it – we were the Hilltop Hoods. “But now it doesn’t really fit anymore. Let’s face it; it is a name that kids would come up with.” So is there any chance that the group would consider going through a re-branding exercise? “I think it’s far too late for that to happen,” laughs Lambert. “We’re resigned to the fact that people know us as the Hilltop Hoods. We’ve been the Hilltop Hoods for so long now that it would just cause complete confusion if we changed our name. Besides, I must admit when I hear that chant of ‘Hilltop’ before we come on stage, I am proud of what we’ve achieved as the Hilltop Hoods, so even though it isn’t really the name we’d choose at this stage in our lives, it has served us well until now and I’m sure it will continue to in the future. I mean people know we’re not out there trying to say we’re gangsters or criminals or anything else you associate with the word ‘Hoods’. And if there are people out there that are going to be turned off by a name without listening to us, then it’s not like they were particularly interested in what we do anyway.” are everywhere – even in hip hop culture – and we wanted to speak out against them in a strong way.” “That’s the joy of emceeing,” adds Smith. “You can just play with words and develop complex rhymes for fun, but you can also reach people with your words and make them think about the world we all live in.”
ON THE EVE OF RELEASING THEIR NEW LP, DRINKING FROM THE SUN, HILLTOP HOODS – EMCEES SUFFA AND PRESSURE AND DJ DEBRIS – SAT DOWN WITH MARK HEBBLEWHITE TO GIVE UP THE GOODS ON LIVING IN THE LIGHT BUT STAYING CLOSE TO THE UNDERGROUND. HERE’S WHAT WENT DOWN.
I
f there’s one group that has been responsible for bringing Australian hip hop out of the shadows and into the light it’s Hilltop Hoods. The accepted narrative is a simple one. This trio, Emcee/producer Suffa (Matt Lambert), emcee Pressure (Daniel Smith) and DJ Debris (Barry Francis), seemingly came out of nowhere with the triple j hit, Nosebleed Section, a track driven by native accents and an infectious Melanie Safka sample, and opened the floodgates for a new generation of hip hop artists who were products of this land, not some foreign ghetto. The truth is actually a little more mundane. You see, like any hard-working pub rock band that finds themselves one day conquering the world, Hilltop Hoods earned their success the old-fashioned way. Formed in their native Adelaide way back in 1990s, the ‘Hoods played every damn place that would have them and churned out underground classic albums like A Matter Of Time and Left Foot Right Foot to a small but growing band of fans who realised that the local product could be as good as anything made overseas. But it wasn’t just perseverance that set Hilltop Hoods apart. These guys were good; like, really good. Where a lot of the local product relied heavily on cultural stereotypes, Hilltop Hoods made elegant hip hop that not only boasted intricate rhyme play and boom-bap beats, but also a keen ear for melody and memorable hooks. In retrospect it wasn’t a matter of if they were going to achieve commercial success, it was a matter of when. Fast-forward to 2012 and the ‘Hoods have just dropped their sixth full-length album. Your ten year old cousin knows all the words to The Hard Road and the trio is selling out venues across the nation. But despite all the success, the boys are still proud standard bearers for the culture that nurtured them and inspires them to this day. “Drinking From The Sun is basically a statement about underground hip hop culture coming up into the light,” says Lambert. “It’s a statement about survival and perseverance and making sure that once the culture is there for the mainstream to enjoy that’s it’s protected, fought for and keeps flourishing. The worst thing we can do is try and adapt to what people want us to be. We’ll never forget where we came from and we still consider ourselves ambassadors for the hip hop underground.” 20 • INPRESS
But can Hilltop Hoods really consider themselves part of the hip hop underground when they’re shifting multi-platinum units to a wide cross-section of the community?
that we had to change for the next project. In fact that was the first record we walked away completely satisfied, so there was no real need to do anything radical this time around.”
“Of course, just because there are more people appreciating what we do doesn’t mean that we’ve deliberately left our roots behind or changed what we do to win some kind of commercial appeal,” says Smith. “It’s like when Nosebleed Section really broke for us; you had a small minority of the underground heads – you know the guys who don’t even want any of their neighbours to know the names of any of the music they listen to – who were quick to call
“If you’re really looking for changes it’s the obvious stuff that stands out to me – there’s a wider array of producers and more guest emcees and session musicians,” adds Smith, citing the likes of Black Thought, Charlie 2na and Trials. “There’s actually a lot of continuity, especially in the use of strings, which we’ve always loved because it adds a real drama and melancholy to the sound. You’ve also got to remember that some
“
THERE’S SOME REALLY RAW HIP HOP ON THIS ALBUM THAT UNDERGROUND HEADS WILL LOVE, BUT HOPEFULLY EVERYONE ELSE WILL LOVE AS WELL. AND QUITE FRANKLY, IF THERE’S SOME CHICK DANCING TO THIS RECORD AT HER LOCAL RSL, GOOD – WE’VE DONE OUR JOB PROPERLY.”
us sell-outs. But they came around because they saw that we were sticking to our guns and that other local artists were blowing up as well. But we still consider ourselves to be an underground group despite our success. Australian music is still dominated by rock and hip hop still has to struggle hard to get a seat at the table. But we’re still fighting and there’s some really raw hip hop on this album that underground heads will love, but hopefully everyone else will love as well. And quite frankly, if there’s some chick dancing to this record at her local RSL, good – we’ve done our job properly.” Musically Drinking From The Sun isn’t a radical departure from 2009’s State Of The Art. Instead, it showcases a group refining their songwriting to a razor-sharp point. “We were really happy with the last LP,” says Francis. “There was nothing that we really felt
of the beats here are like three years old, so the record is a natural fit with State Of The Art.” Lyrically, Hilltop Hoods stick to what they know – slick and stylish wordplay and social commentary that’s insightful but never preachy. “As emcees we love dropping clever rhymes and dope verses – just playing with words even if they don’t end up being stunning philosophical statements. It’s what we both live for,” laughs Lambert. “But we also like to talk from the heart about things we know – the struggles we’ve gone through and that many in our communities endure on a daily basis. We took the hard road and we know there are plenty of other people out there struggling right now. One song I’m really proud of on the new record is Speaking In Tongues, which is a statement against bigotry full stop – xenophobia, racism, homophobia and sexism, whatever it may happen to be. Let’s face it, even today these things
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The success enjoyed by Hilltop Hoods is not restricted to our fair shores. The group has travelled across the world and played in front of audiences in North America, Switzerland, South Korea, Germany and the UK among others. If it took so long for Australians to accept Australian hip hop, how has the rest of the world taken to the local vintage? “We’ve been really surprised at how hip hop fans from other countries have supported us,” says Francis. “State Of The Art sold five or six thousand copies in Canada, which in this day and age is an incredible result for a group like ours. But it’s the live shows that have really blown us away. To go to England and have everyone in the place screaming back the verses and nodding their heads is awesome. It just shows that good hip hop is good hip hop; it doesn’t matter where it comes from because the culture is universal. I think this is best illustrated by our shows in the States, the birthplace of hip hop. They appreciate that the culture has spread and love to see a group from Australia out there.” With Drinking From The Sun in the can, the group is now set for a mammoth round of live dates, starting with an upcoming North American tour and then a raft of dates across Australia, including the Groovin The Moo festival. Expect mayhem, expect beats, rhymes and life, expect, um, “monogamy”? “Sorry girls, we’re all in committed relationships,” says a sheepish Lambert on the topic of the ‘fringe benefits and other miscellaniea’ of touring. “But you can come along and sleep with the support acts if you want – they’ll appreciate you.” After the laughter dies down, the boys do promise that this round of touring will have something for everyone. “We’re planning some great things for the tour,” reveals Smith. “I won’t give too much away, but I will say that we’ll be giving you a dose of the Drinking From The Sun, all the stuff people know and some surprises as well. We can’t wait to get back out on the road and bring the Hilltop Hoods to people live. That’s why we started all those years ago and that’s what drives us on. The day we don’t want to get out on stage is the day we’ll all hang it up and quit.” WHO: Hilltop Hoods WHAT: Drinking From The Sun (Golden Era/Universal) WHEN & WHERE: Saturday 5 May, Groovin The Moo, Prince Of Wales Showground Bendigo
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MAKING A SPLASH “WE THOUGHT THAT EVERYONE THOUGHT WE WERE JUST STONER IDIOTS AND SO WE WANTED TO PROVE – TO OURSELVES – THAT WE COULD WRITE POP SONGS, CHORUSES.” DRUMMER/GUITARIST JAY WATSON ALSO INFORMS BRYGET CHRISFIELD THAT POND’S BAND MEMBERS HAVE “GROWN UP A BIT”.
A
fter a couple of false starts when the voice of multi-instrumentalist Jay Watson is replaced by the piercing squeal of a fax machine, Inpress starts to suspect the band of mutating into robots. “Yeah,” Pond’s guitarist chuckles. “Next album. Our Gary Numan album.” All of Pond’s three official band members once cohabited “in a really posh suburb of Perth” in “one of those houses that’s a big house, but it’s separated into three,” Watson reminisces. “Everyone around us was kind of old and posh or had kids or whatever and there was this park out the back of our house that all the houses around there used and they had a massive mulberry tree, but we were the only ones out there all the time because I think everybody else didn’t wanna come out because we were always sitting there playing bad guitar. You know, because we weren’t as good back then we probably played some pretty awful stuff out there and made a lotta noise – beer bottles and whatnot. So it was this idyllic, mulberry paradise. They sold the house, but I think they probably sold it because of us. After that house we learnt to live in dodgier suburbs [laughs]. Not dodgier, just not upper middle class, quiet, residential areas. “I went past the other day to get some mail. We haven’t lived there for a couple of years, but I thought the post office had something there accidentally.” Watson believes their former party pad is now inhabited by “a working couple in their 30s”. “But far more respectable than us,” he adds. “The poor guy next door was really nice and Joe [Ryan, bass] would always climb up and sit on his roof in the middle of the night. So [the guy next door]’d be lying in bed and he’d hear this guy clomping on the tiles. He just had smoke and beer and loud music coming at him, but I think he would’ve had a nice cup of tea the day we left.”
and “Kaykay Sorbet” – which were presumably also invented in “Mulbaria”. “Well see everything we used to come up with sounded really brilliant to us and now it just sounds kind of stupid – ha,” Watson acknowledges. “Joe’s still endlessly coming up with stupid nicknames for himself, but I dunno, I guess we’ve grown up a bit.” Explaining Pond have been busily “practising and trying to get good for all [their] live shows” of late, Watson (who’s also Tame Impala’s drummer) isn’t fishing for compliments. “It’s just because of all the Tame stuff, you know?” he continues. “Pond’s never actually got the chance to get really good at playing live.” In between touring commitments with Tame Impala, Watson says Pond often end up with just “three days to get good and remember all [their] songs”. The band were in fact called upon to support The Flaming Lips at their Harvest sideshows last year and word on the tweet was that Wayne Coyne endorsed Pond’s sweet sounds. “We just got a new drummer, Cam [Avery, also frontman of The Growl and Allbrook’s partner in musical crime for Allbrook/Avery] and, yeah, we hadn’t practised that much, but we did alright. We were quite sloppy, we weren’t that tight and I remember Wayne was like, ‘[puts on his best American accent] Guys, that was brilliant!’ And I was like, ‘Yeah, we were a bit sloppy though, weren’t we?’ And he was like, ‘[returns to Coyne impersonation] Yeah, you guys – I dunno what you guys were thinking. You were all outta whack, but I liked it’.”
On the mulberry tree under which the trio would jam, Watson muses, “I think it liked us. We had a lot of mulberries. I think Nick [Allbrook, Pond frontman/Tame Impala bassist] ate more mulberries than he ate other things back then. And they stain your fingers for, like, a day. I think we made something [out of mulberries] once. Some sort of pie or something.”
Recalling Pond’s first-ever gig, Watson estimates, “It would’ve been a house party in 2007 or ‘08. It was a lot different then. We were just a freeform, acid-rock jam band thing. We didn’t really have songs or anything, you know. We did that for a while, the first two albums [Psychedelic Mango and Corridors Of Blissterday] are kinda like that, and then I think we thought that everyone thought we were just stoner idiots and so we wanted to prove – to ourselves – that we could write pop songs, choruses. I think by the third album [Frond] we were mostly listening to Prince and Fleetwood Mac and stuff instead of all the old acid-rock bands. So we naturally came up with melodies, I guess.”
Initially, Pond’s identities were concealed by psychedelic pseudonyms – such as “Ayayayai”, “Paisley Adams”
Pond played three fundraiser shows in their hometown of Perth in the lead-up to their upcoming South By Southwest
showcases, which will be followed by a tour of the US and Canada. Tame Impala, however, have already toured America “a bunch”. So has Watson noticed the American press getting confused by Pond’s cross-pollinating band members? “They don’t get confused, but the headline’ll say, ‘Tame Impala, something-something-something’,” he laughs. “Which is fine. It’s kind of like, we’re not kidding ourselves, there’s no way we would be – well I don’t know, actually, but – you know, ‘noticed’ as much if it wasn’t for the Tame Impala thing. So it’s cool. I guess The Saboteurs or whatever probably wouldn’t have got as much success if it wasn’t for his [Jack White’s] other little band. I mean they might have, and Pond might have, but it definitely wouldn’t have been as big a deal.” White comes up again later in our conversation and Watson’s admiration of The White Stripes’ live shows is evident. “I’m probably in the minority, but I hate bands when it’s too perfect-sounding. I love it when you see a band and they’ve got really good songs but they’re kinda flying by the seat of their pants, you know? And they’re killing it, but they’re a bit out of tune or stuff up a drum fill. Like, we stuff up all the time. I think The White Stripes were a bit like that. I mean, not that they [stuff up], but they never had setlists and they would go between being insanely tight and being kind of sloppy, so that’s why it had that sound to it. I think that’s what Pond are going for.
“The thing I’ve learnt is that every time any of my bands play a killer show, like, Tame Impala played this show at the Roundhouse in London once and it was the biggest show we’d ever played – three-and-a half-thousand people and we thought we’d KILLED it. We thought it was the best show we’d ever played and all the reviews were really negative. And then whenever we have a bumbling show or we get angry at each other or we have a complete meltdown, everyone finds it more exciting – they go a bit rowdier in the crowd… You can’t really force playing well or badly. You just kind of try and play your best and if you’re overtired or you’re drunk or you’ve had three Red Bulls, I guess they’re the influencing factors.” Wouldn’t overindulging in Red Bulls lead to abridged sets? “Yeah,” he agrees, “it’s all up to the drummer. That’s the thing: in Pond, I like not being the drummer – I play guitar. But rock’n’roll guitar’s kinda built upon noise and sometimes, you know, if I stuff up on guitar I can just turn around and get feedback or play some wild bent note.” WHO: Pond WHAT: Beard, Wives, Denim (Modular) WHEN & WHERE: Sunday 22 April, Northcote Social Club
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TOP SCORES JOHNETTE NAPOLITANO MAY NOT BE QUITE AS INTENSE AS NINE INCH NAILS, BUT SHE’S NOT THE EASIEST PERSON TO WORK WITH. SHE FAST TALKS TO SAMSON MCDOUGALL.
R
emember the scene from Kathryn Bigelow’s 1991 hit film Point Break where Lori Petty’s character Tyler Endicott changes her bikini outside the diner with the sun getting all low on the horizon and shit? You deny it, but really it lives for all of us of a particular vintage, somewhere in the recesses of our subconscious. Given that you remember the scene, you more than likely recall the song that’s playing, Concrete Blonde’s I Want You…Ah, the nostalgia. It was about a year earlier that Concrete Blonde made their first and strongest foray into the mainstream charts with their smash Joey, from the album Bloodletting, for which I Want You was the B-side. While their subsequent four albums met with less commercial success, through break-ups and line-up changes their sound held fast – not succumbing to trend-based deviations or
the allure of the buck, they maintained to their cultish appeal. For singer and bassist Johnette Napolitano, the Point Break musical appearance was by no means the first or last venture into the world of film scores. Aside from Concrete Blonde’s contributions to dozens of TV and film productions as diverse as Beverly Hills 90210, The Sopranos and The Texas Chainsaw Massacre 2, Napolitano’s suitably emotive songwriting abilities have seen her working on the scores for Australian films West and the heartbreaking Wedding Theme from Neil Armfield’s Candy. She’s also collaborated on scores for Underworld, Wicker Park and Dead Silence with Nine Inch Nails’ Danny Lohner, amongst a literal glut of other productions. But it’s working with Lohner, she considers a highlight. “Danny Lohner from Nine Inch Nails, who I love with all my heart and is so amazing, to have someone like that be a fan you’ve just gotta go ‘Wow, this is pretty cool’,” she enthuses down the line from her Joshua Tree desert home. “I’ve done three films with Danny and one of them Charlie Clouser was the music director for, so I’m honoured to be hired by people to do things like that. The first Underworld soundtrack, that was Danny’s words about his father and he trusted me to sing that. It was a high honour for me on a personal level because his dad had passed away and that was a big deal and it was a great track.” Napolitano and Concrete Blonde always had a strong affiliation with Australia. It was here that they were awarded their first gold record and it was the first place they toured outside of the US. The film work she’s undertaken for Australian productions, however, she believes stemmed more from the strength of artistic vision exhibited by the filmmakers than any lingering nostalgia for the band. “I don’t go seeking film stuff really, it’s not like that,” she says. “People think that there’s a formula to the business behind it, but there isn’t. If there’s a director who’s worth his salt as an artist, which I had on both films I worked on [in Australia], Candy and West, they really know what they want and know what they want to hear and why they want to hear it… Any time we’ve ever been in a film wasn’t because we were or I was pitched, it was because a director or writer or some creative person really wanted us or our music to be in it. That’s much better than having somebody’s lawyer get me this gig. “I’m not the easiest person to work with all the time and I do have very firm ideas… I’m a very abrupt person and I get very possessed, ADD-like, super focused on things and you really need somebody to understand that and not take it personally that you’re intense. Luckily Danny’s like this as well – he works with Nine Inch Nails for fuck’s sake. I think if you look up the definition of intense in the dictionary you get a picture of Nine Inch Nails. With good direction and people who know what they want, [scoring films] is a pleasure and a privilege.” Focusing largely on writing for film and her dedicated commitment to volunteering in an animal shelter, Napolitano’s creative drive for Concrete Blonde may not be as all encompassing as it has been. “I wake up in the morning wanting to do other things,” she says. “If I lived in a flat in rainy London I’d be inside writing all day, but when you live in Joshua Tree you can go hang out with horses.” But though the period between creative bursts may be much wider, she reckons the fire burns as intensely as it ever has. The difference is now, she knows when to rein it in. “If I’m really gonna work on something,” she continues, “like the soundtrack for Candy, Jesus Christ, I literally locked all the shutters and locked myself in for three days and did not answer the phone and did not do anything except watch that scene and live it and die behind that thing. I really do put a lot into work, but I schedule it like ‘You’re gonna go stark raving mad between 12-noon Monday and 12-noon Tuesday, you’re going to completely lose your mind and not care about the world except for this’. I can schedule this now, whereas when I was younger I couldn’t, I’d be bouncing around all over the place.” Napolitano’s upcoming Spiegeltent shows will see her reimagining much Concrete Blonde material and she sees the tour as the perfect opportunity to realise some ideas she’s been toying with for a while. “Even though I panicked and thought ‘What the hell am I going to do?’” she says of initially accepting the invitation, “I heard [about] the Spiegeltent [and] it upped the game. I’ve had so many ideas that I haven’t been able to manifest and this is the perfect opportunity for me to do it. 2012 is supposed to be the end of the world – which of course it’s not gonna be – but if you don’t take stock that year… Especially for those of us that’ve had it drummed into us that ‘Oh no, the Mayan calendar’s fuckin’ ending’. I think it’s the perfect time for me to do it, for the perfect people in the perfect place and I think sometimes things just slam into place and I think this is just one of them.” The visit also coincides with Concrete Blonde’s rekindled love of releasing vinyl – their latest 7” Rosalie selling like crazy – and a fresh burst of songwriting for Napolitano and the band. “People love the vinyl and we love making vinyl,” she says. “The downloads are there so screw the CDs. It’s a much nicer package and a nicer thing to have, it’s a piece of art. To make a vinyl record again was joyous… I’m grateful to have made it through everything that I’ve made it through. Things can get so unbelievably dark but trust and faith is just amazing because it just gets better, it sounds corny but it really does. I’m liking it now more than I ever have.” WHO: Johnette Napolitano WHEN & WHERE: Thursday 15 to Saturday 17 March, Famous Spiegeltent
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BASIC TRUTHS MUSICAL DEVELOPMENT HAPPENS IN CIRCLES FOR MICHAEL ROTHER, BUT YOU’D HAVE TO POINT OUT TO HIM THE INFLUENCE HE’S HAD ON MODERN MUSIC, AS DOUG WALLEN DISCOVERS.
W
hether with Krautrock progenitors Neu! or the equally revered Harmonia – or even a prior stint in Kraftwerk – German musician Michael Rother has certainly seen his work go in and out of fashion (and back) over the years. One would hope, though, that today his reputation as an elder statesman is sealed. Having toured Australia once in the ’80s and twice in the ’90s, Rother was last here with Harmonia in 2009, as part of an ATP lineup curated by Nick Cave & The Bad Seeds. Now, accompanied by Dieter Moebius (Harmonia, Cluster) and Hans Lampe (NEU!), he’s coming back to reflect on his whole career, including those two hugely influential bands and his solo albums. In recent years he has played the music of Neu! with Sonic Youth drummer Steve Shelley and bassist Aaron Mullan of Tall Firs as Hallogallo, named after a
classic Neu! song, so the idea of revisiting the band is something he’s accustomed to. He also manages Neu!’s legacy – from reissues to box sets – with Miki Yui, widow of his late bandmate Klaus Dinger. “I think we’re quite a good team,” says Rother via Skype from Hamburg, where he’s enjoying a sunny winter’s morning. “She takes good care of the legacy of Klaus. She’s doing an exhibition of his work in Dusseldorf in March [and] April. Miki is very polite. But of course it’s up to me to do the talking [because] she joined Klaus in his later life and she wasn’t there when we did the recordings.” Those recordings, including three albums in the first half of the ’70s, won over David Bowie and Brian Eno and later everyone from Radiohead to Stereolab. But Rother doesn’t sugarcoat the Neu! days or his personal clashes with Dinger. “You probably know that Klaus and I had a problematic relationship,” he admits. “Not inside the studio, but on a personal level. But [I have] a peaceful way of thinking about Klaus now. I’m really thankful we had the chance to collaborate. Neu! will always be an important part of my personal life, especially since the basic ideas that I started in the ‘70s are, to a large extent, still of value for me these days. It’s not that I don’t want to move on – the development happens in circles, but the basic truths are still in my mind. That’s why I can go on tour.” He goes on, observing with a laugh that the headline of the tour is “Michael Rother Presents Music By Neu!, Harmonia and Selected Solo Works” but that a more accurate headline would take up an entire page. “Because, of course, I would have to add that it’s my take on Neu! music. That’s an important aspect. Klaus would have a different approach. And [we’re] doing a selection of the ideas of Neu! music. It’s quite impossible to present all of the aspects.” That’s because Dinger obviously can’t contribute. Speaking about the band’s third album, Neu! ’75, Rother says tracks like Isi and Seeland were based on his ideas but still featured Dinger playing drums and adding his own ideas. And vice versa with Rother’s eventual input to Dinger-originated tracks like Hero and After Eight. For someone who’s constantly told how influential his music is, Rother doesn’t always seem particularly aware of his impact. He was surprised to hear Noel Gallagher has name-checked Neu! in recent years and before that when Sonic Youth’s Madonnainspired Ciccone Youth guise included the song, Two Cool Rock Chicks Listening to Neu!, on 1988’s The Whitey Album. “I actually need people to tell me about the influences, because I don’t actively go around listening to music all the time.” He recounts a friend taking him to see Stereolab before he was familiar with their work. “I didn’t know what to expect,” he says, “but I had a puzzled expression on my face because I thought I was listening to myself playing.” Laughing, he adds, “It was just a straightforward, Hallogallo sort of groove. But that was a new sensation, because at the time nobody was playing like that.” When Rother’s own influences play out, on the other hand, they’re likely to be less detectable than the above Stereolab example. “For me, if I hear something fascinating, it certainly has an effect on my feelings and thinking about music. But it doesn’t come out as an echo of that piece of art. At least, that’s not my intention. It should be something filtered by my musical language.” Mind you, he’s not dismissing Stereolab as much as musing on the way Neu!’s influence has played out over the years. In 2009, an English tribute compilation, Brand Neu!, paired some of the most unlikely names you could think of – Oasis and LCD Soundsystem, Holy Fuck and Kasabian – alongside Melbourne’s Pets With Pets. So at this point, the whole thing is a bit novel. He adds, “Sometimes you hear about [influencing] musicians and bands where you wouldn’t expect. Of course, if some electronic, experimental, instrumental guy tells me, that could be expected. But sometimes it’s from unexpected areas. “The honest answer is it’s nicer to know that people love your music than what I experienced in the ‘70s. Especially Harmonia, when people rejected our ideas. There was hardly any recognition, if you don’t mention Brian Eno and David Bowie. Those two were the first, actually. Of course, before the internet came around, we didn’t know who was listening to our music.” Things look bright for Neu!’s legacy, as Rother has signed a ten-year contract with Germany’s Grönland Records. But that doesn’t mean Rother has forgotten the days when the bottom fell out from beneath him, in terms of commercial success. “It’s amazing to see the echo the music is getting all over the world. It wasn’t always that way. The ‘80s were quite dark after the initial sales went down. Neu! was a rather nice success in the ‘70s, which enabled me to survive as a musician when Harmonia was a commercial failure. A disaster, actually.” Rother recalls that while his solo albums in the late ’70s “were an amazing success in Germany”, sales for Neu! “gradually vanished” in the ’80s and the band’s original label stopped pressing the records during that decade: “Nobody in Germany cared about us and we didn’t know what was happening outside.” What was happening outside, fortunately, was the gradual building of a legend. A legend that stands so tall today, it’s not likely to fade again anytime soon. WHO: Michael Rother WHEN & WHERE: Monday 19 March, Corner Hotel
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A BEARD A DAY WITH THE BEARDS’ NEW ALBUM FULLY GROWN, THE NOT-SO-HAIRY DANIEL CRIBB FACED OFF WITH NATHANIEL BEARD TO DISCUSS HOW THEY’RE LATEST FACE-PROOF PLAN TO PUT AN END TO BEARDISM ONCE AND FOR ALL. WARNING: BEARD JUICE IS INVOLVED IN THE MAKING OF THIS STORY.
I
f you’re not equipped with a beautiful, flourishing beard then sitting across from a man who lives every moment of his life around what’s growing on his face can be an intimidating experience. “I’m very used to talking to people without beards, and I’m controlling my rage,” The Beards’ bassist/beardist Nathaniel Beard says as our conversation begins. If there’s one thing that Beard knows, it’s the importance of practicing what you preach. “I used to have a different name, but I changed it,” he continues. “I didn’t think that my name was beardy enough. I wanted it to convey how pro-beard I really am.” Coming in “second to last” in triple j’s Hottest 100 with their tune You Should Consider Having Sex With A Bearded Man, Beard describes their victory as a “sign of the times”. “Attitudes towards beards are changing and the beard revolution is well and truly underway,” he says. “The beard revolution is the movement that we started five years ago when we formed. The mission, basically, is to convince every man, woman and child in Australia capable of growing a beard, to do so. I don’t think when we started in 2005 that anyone with a beard could have even gotten into the Hottest 100. Back then, things were different. Now attitudes are changing, and it’s becoming a bit more acceptable to have a beard. What we’d like is that it is expected for everyone to have a beard.”
that we buy and we all live together according to the bearded code and the person with the biggest beard is in charge of the cult and what goes on. There’d be some kind of deduction from people’s income as part of the cult. It’s a cult; it has to work like that. I’d say a cult is the next step, it’s a natural progression.”
WHO: The Beards WHAT: Having A Beard Is The New Not Having A Beard (MGM) out March 9 WHERE & WHEN: Friday 16 March, The Corner; Saturday 17, The Bended Elbow, Geelong
The song is one small step for beard-kind, and one strong step that selflessly encourages the consideration of having sex with the bearded. “It’s about being open minded, and we’re very openminded, unless you don’t have a beard. In which case we are extremely closed-minded,” Beard says with a hint of disappointment in his voice, as he continues to fight his growing rage. “None of us have managed to have sex since the song was released, but we did hear that one of our fans was able to convince a woman to have sex with him based on the fact that he had a beard.” Beard’s wife takes on the role of an audience member in the film clip for the single. One might become slightly concerned when a member of their band lays naked on top of their wife, dripping beard sweat all over her, but not Nathaniel Beard. He was more than happy to take one for the team and let The Beards’ vocalist Johann Beardraven do that very such thing. “It was alright. I trust a man with a beard. He wouldn’t cross me, he’s got a beard. We bearded people like to look out for each other,” he assures himself. “I have told my wife that it would please me more if she would have a beard and she said that she is trying as hard as she can, but I can tell she is lying.” After being crowned number 99 on the list, The Beards posted a photograph on their Facebook page that featured them celebrating in a blow up pool drinking wine from victory goblets that complimented a face down and naked Nathaniel Beard. Not surprisingly, the photo was removed due to ‘inappropriate content’ but for all those wanting to see the uncensored photograph in all its glory or re-live the breathtaking moment, a copy has surfaced on thebeardsblog.wordpress.com. I’m In The Mood... for Beards, the second single off Having A Beard Is The New Not Having A Beard, is another ballad focused on putting an end to beardism as we know it. “Both singles touch on similar subjects in some ways – beards for example. They are both quite beard-related songs. We have found that to be a winning formula for us,” Beard explains. “It’s all about changing people’s attitudes. Some people go through life thinking ‘I’m never going to grow a beard. Fuck beards, I’m never growing one.’ We like to challenge those people and we like to think anyone with a negative attitude about beards will leave our show with a new found positive attitude about beards. They’ll maybe even leave the show having made the decision to never shave again,” he says. If you’re luckily enough to be in the front few rows whilst The Beards rock out, you may leave their show with a little bit more than a new appreciation for facial hair. “Our shows are 10% music, 90% beard. The beard is involved in our shows in many ways. I like to rub my beard against the beard of audience members, and our beards meld as one. That really helps. We also like to spray our sweaty beards around the room, so that everyone gets a little bit of beard juice,” he says. “I think that if you’re in the audience and you get sprayed by my beard juice that you are more likely to grow a beard. It’s like fertilizer.” Once you hear the word beard a hundred or so times in ten minutes it starts to take control of your mind subconsciously and that’s when The Beards really try get a beard on you. “There are no cons of having a beard. There are only pros. The best way I can describe it is that most people have a void in their life, but not people with beards. The beard fills the void and that is what the void is for,” Beard explains, a theme that has continued through every song they have ever written. “This third album picks up where our second album left off. I’d say it’s even more about beards than our last album, which was called Beards, Beards, Beards. It’s a bit more lavish than the last one. This one we recorded in the Gold Coast. The Gold Coast is quite a beardless place we’ve found, but that only amplified our rage and our passion because Australia is still by and large a beardless country, and that’s not the way it used to be,” Beard says before unleashing a brief Perth beard health examination. “I can’t say that I think of Perth as a particularly beardy place unfortunately,” he continues. ”Once people realise that all they need to do to be happy is grow a beard and once Australia is restored to the great bearded nation it once was, then we won’t have to do this anymore and we can retire. But we will not rest until Australia is almost 100% bearded. Will there ever be an end to this beardness? Apparently, yes. “After the music side of it has been explored to its full extent, we’d like to start some kind of cult where you come and move to a property
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INPRESS • 27
GET SMRTS PERTH INSTRUMENTAL BAND SMRTS DESCRIBE THEIR SOUND AS “WORLD MUSIC DYING AT THE HANDS OF GARAGE ROCK”, WRITES STEPHANIE LIEW.
HOOKED ON STRINGS WHEN WARREN ELLIS OF DIRTY THREE WENT TO DAVID LYNCH’S SILENCIO NIGHTCLUB IN PARIS, WITH ITS NO CAMERA POLICY, HE TELLS BRYGET CHRISFIELD, “FOR THE FIRST TIME IN MY LIFE I FELT LIKE FILMING. AND DAVID LYNCH WAS STANDING NEXT TO ME.”
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s this the correct address? A recognisable figure sporting a long-sleeved purple paisley shirt opens a nearby door and leaps out onto the pavement. He wanders towards a metallic purple Ford Falcon, makes a victorious hand gesture (probably celebrating the fact that the windscreen remains parking fine free). Yep, this is definitely the right place.
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erth band SMRTS (it rhymes with hurts) began as a lone man. Predrag Delibasic made a solo EP, which he then passed on to his local radio station “just for the sake of it”. When they began playing his songs every day, he figured that he should get a band together and start playing gigs. So, he asked a few friends to join him and they decided to stick with playing instrumental music (“Probably because no one can sing in the band”). As Delibasic keeps repeating, almost as a mantra or motto, “It just happened that way.” The first year that they started playing together, SMRTS’ line-up went through several changes. One of these led to the band having two drummers. “We were not thinking, ‘We should have two drummers.’ Originally, we had one drummer and a percussionist, then the original drummer quit after the first gig because he was busy with his other band. We had to get another drummer, but then the original drummer changed his mind so I couldn’t say no to him, so we’re like, ‘We’ll just continue with two drummers and a percussionist!’” laughs Delibasic. At one stage, they even had four guitarists because nobody would play bass guitar. SMRTS’ positive make-do-with-what-we’ve-got attitude might be thanks in part to the fact that they’re all good friends and find it easy to make music together. Delibasic comes up with a riff or melody, brings it to rehearsal and then it goes from there, with each member adding their own part. “Pretty much 99.9% of the time it sounds totally different from what I imagined originally,” he explains. “I’m more happy with the final result.” Because their music is instrumental, it relies heavily on mood and feeling. When writing, Delibasic says SMRTS only have a vague idea of what the song should sound like. “We are thinking, ‘This is gonna be a kind of rocky number’ or ‘This is going to be a little bit more dancey’, but we don’t have anything in particular in mind. Sometimes we might think, ‘This is a bit gloomy, or melancholic, but still kind of uplifting at the same time’… but it’s not like, ‘We’re gonna make a song that’s gonna be like waking up on a Saturday!’” he teases. Commenting on the stigma associated with instrumental music, Delibasic says, “People think, you know, it’s instrumental, it can’t be popular, which I don’t think is true. I mean, just look at bands like Dirty Three, Mogwai, Tortoise: they’re all instrumental bands and did pretty well.” SMRTS’ sound stands out among other instrumental bands because it incorporates Delibasic’s Serbian background, with melodies reminiscent of Eastern European music. One of the drummers once described it as “world music dying at the hands of garage rock”, which Delibasic thinks pretty much hits the nail on the head. “There is a kind of garage or rock or punk energy, but there’s also unusual scales or melodies in there as well, and I think those scales come from Eastern European or I guess Oriental music. SMRTS’ music is very rhythmic and melodic, and it is melancholic, but not in a kind of ‘I’m going to kill myself’ way. It’s more upbeat and, you know, there is a light at the end of the tunnel.” He goes on to explain that that was the feeling he also wanted to capture in the title of SMRTS’ latest album, Have Friends & Visit Them At Night. “Like, when you feel lonely at 10pm, you just go and see your friend and have a chat and you feel better, but also because, maybe people who listen to our album late at night, they’re our friend and we will visit them through the turntable.” WHO: SMRTS WHAT: Have Friends & Visit Them At Night (Heartless Robot) WHEN & WHERE: Wednesday 14 March, Bar Open; Friday 16 March, Workers Club; Saturday 17 March, Noise Bar 28 • INPRESS
Grinderman have called it a day. “Dirty Three is, you know, it’s not like it takes a back seat, but it’s like everything,” Ellis shares. “Everything has its moment and I’ve being doing soundtracks and Bad Seeds and Grinderman and just odd things here and there and [Dirty Three have] been out playing. And it doesn’t feel like we’d gone away, but the older you get too it’s – when you’re young, that’s all you do. It’s, like, you’re out, you tour and that’s it and you’re in this group and everyone’s there. I mean, I’ve got kids, I’ve got family and I’m blessed with a very rich musical life and do lots of different things... I’m really happy that we’ve managed to finally finish a [Dirty Three] record. It’s been a while [between records]. If I wasn’t working then Jim was out working and, you know, Jim’s really busy or Mick [Turner, guitar] would be busy. Mick had a load of kids in the last few years and life just sort of takes over.” One would imagine Ellis often gets asked by bands to compose orchestral/string arrangements, “Well I don’t feel like I can walk in very well to projects that are established. And I don’t feel what I do is particularly, um, malleable? I think quite often people might like the idea of me going in to work on their [songs], but in reality it sorta doesn’t really work,” Ellis muses.
Warren Ellis is particular about his coffee: “Small cup, long black, room at the top with a splash of cold milk. Like a macchiato but not with hot milk.” Only a few of his shirt buttons serve their function and many chains, including a chunky crucifix, compete for attention on his chest. Ellis also wears a killer pair of black cowboy boots and fondles his longer-than-Catweazle grey beard quite regularly throughout this interview. Dirty Three’s violinist first moved to Melbourne from Ballarat “in ’83” and recalls, “I do remember hearing People With Chairs Up Their Noses on a cassette that a guy, he’d been down to Melbourne and recorded it and he was playing that and, you know, cleared the common room at school with it. [That occasion] ended up being the first time I ever heard Jim White [Dirty Three drummer] play – ‘cause he was in that band – and then ten years later, yeah, I end up playing in a band with him.” One of the first bands Ellis remembers going to see regularly upon moving to Melbourne is The Birthday Party and he also wound up playing in the bands some of those band members went on to form [Nick Cave & The Bad Seeds, Grinderman]. When it’s suggested such circular occurrences are perhaps characteristic of his musical career, Ellis ponders, “I guess so, yeah. I haven’t thought about it, but I guess if you work in any field, like, imagine if you were an actor, you know, you bump into similar people along the way and there’s points drawn up and if that happens with music – it just happens with life.” The ink hasn’t long set on the announcement that
“I mean, I do play on other people’s things – occasionally I do stuff – because I know it’s really good to kinda branch out and do that. Jim does that a lot; Jim plays the drums for lots of different people and all that. I think I always got a bit superstitious and I felt like I only had a small amount to give and I wanted that to be to a few things as opposed to just throwing it all away.” The toughest of souls are often reduced to tears at Dirty Three’s live shows. Ellis admits “the odd sniffle here and there” is not uncommon to hear. “I think the great thing about playing music is that you get to experience and feel the people’s responses to what you’re doing,” he continues. “It’s one of the few creative mediums, I can’t think of another one that has... you do a painting, you go to the opening, but you don’t really see how it affects people beyond that. Or you do a film, you go to the screening and you see the people [who are] into it and then that’s it! You’re not sitting at every screening. But a live show: everyone is different and there’s a thing with the audience there and you get that interaction that’s very particular to the performing arena and it’s really wonderful.” Nowadays these memories live on and can be shared with others, as can be witnessed by the amount of iPhones held skyward to record the action at any given
gig. “A concert can take you to a place that you just never thought you’d go and it’s usually something that happens in the moment, when you’re there. And you can’t be in the moment when you’re trying to film it with a bloody iPhone,” Ellis offers. “I don’t even know why people bother doing it, to be honest. It’s terrible and it all sounds the same; it’s all just distorted and stuff. It’s just this age we live in when everybody has access to information and everybody wants more information than they need. “It’s a different thing now but, I mean, I used to like going to concerts so that I could kind of just be immersed in it and I didn’t wanna be reminded of where I was. And I think once you pull out a camera, then you’re reminded of where you are. And, for me, going to concerts and films was always about escaping reality, not about reminding you of reality. “I actually went to Silencio, David Lynch’s club, recently in Paris – he’s done a club there and they have a no camera policy. It is fantastic, but there’s something kind of annoying about it too. It’s like that no smoking rule. Like, I don’t smoke but I feel like smoking now that everybody’s forced out to the streets to smoke and there’s this kind of, you know, this taking away of people’s rights, I guess. It was interesting when there’s bouncers walking around and telling everybody to stop filming and stuff like that. And for the first time in my life I felt like filming. And David Lynch was standing next to me.” WHO: Dirty Three WHAT: Toward The Low Sun (Anchor & Hope/Remote Control) WHEN & WHERE: Friday 16 March, Palace; Saturday 17 March, One Perfect Day Festival, Mossvale Park, Gippsland; Sunday 18 March, Castlemaine, Theatre Royal
BRAND AWARENESS SHE MAY SHUN HER OWN PRESS, FEARFUL OF PEOPLE SAYING MEAN THINGS ABOUT HER, BUT CLAIRE BOUCHER PUTS A LOT OF THOUGHT INTO BRAND GRIMES, THE INDIE ‘IT’ GIRL TELLS ANTHONY CAREW.
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rimes – 24-year-old Canadian oddball Claire Boucher – has officially arrived as this year’s indie ‘it’ girl, an artist erupting from the safety of the underground in a blaze of hype, best-new-music gongs, and, seemingly, photo-shoots. There’s been an undeniable rise in the mysterious indie entity of recent – from the elaborate marketing ruse of Iamamiwhoami to the unending ranks of masked dubstep producers and unpronounceable, unGoogleable, untraceable witch-house outfits – but Boucher seems like she’s on a personal crusade to obliterate that. She feels, as of early-2012, like far-and-away the most-photographed girl in indie rock. “It’s definitely really weird, and the last thing that I ever thought about when I started doing this,” Boucher says, of being the central focus of elaborate art-shoots, bizarre tableaux, and enough glossy pics to keep Tumblrs ticking over. “I don’t actually like getting my picture taken very much, I’m sort of uncomfortable about it. But all my favourite artists have a really strong identity and idea of themselves. As much as it bothers me, it’s also part of what I’m trying to do. Which is sell a brand. A really strong, cohesive thing that is Grimes.” Wait, wait, wait, sell a brand? Boucher is sounding a lot like someone born in 1988. Whereas ’90s alt acts had to act uppity and feign credibility even while cashing sixfigure Geffen cheques, the obliteration of the old music industry model has meant that a self-driven bedroomproducer – which was how Boucher cut her teeth – is the one wholly responsible for creating their image, their identity, and, indeed, for having a sense of marketing. “When I first started making music, I didn’t care, or think about things that much,” explains Boucher. “As Grimes became more of a thing, I realised that I did have the power to create this musical identity like that. Then I started hanging out, in Montréal, with people like Doldrums, and they think about and talk about that stuff so much; about music-asbranding, about indie-pop stardom, about creating this supermaximalist over-exposed idea of what art is, and what their
art is. That was a dialogue they were really into having: the future as indie-branding; taking this concept of celebrity and doing it from the bottom up… It’s this incredibly postmodern way of approaching the idea of being a musician.” Boucher was born and raised in Vancouver, where she was a dedicated ballerina in her youth, but started developing a musical obsession as a teenager. “I definitely wanted to make music when I was a kid; everyone has a bit of that fantasy,” Boucher recalls, “but it’s certainly not what I thought I’d be doing.” She moved to Montréal to attend McGill University, where she initially began studying neuroscience. “I don’t know if I thought it was going to be my career path, but it was definitely this field-of-study I was interested in, and if I wasn’t making music it’s possible I would still be pursuing it,” offers Boucher. “It’s just something that I’m also very passionate about, and that I feel like I could really throw myself into. The thing that really interested me at McGill – where they have an amazing neuroscience program – is studying music and neuroscience; basically trying to discern how waves of air can create an electrical impulse that can turn into an emotional response. That doesn’t, in some ways, make any sense. “Like, music is such an anomalous artform,” Boucher continues, “there [is] no obvious sensory thing to respond to. Painting, there’s something physically, literally there for you to see; cinema or literature is always appealing to this very direct emotion. But music feels super-abstract in comparison; it’s actually just in the air. Yet, somehow, it’s the most directly responsive of all the artforms.” Boucher came to start dabbling in this most anomalousyet-responsive artform only in 2009, after a cross-country adventure that found her undertaking a failed houseboating trip down the Mississippi, and ended with her living in a squat in New Orleans. She returned to Montréal determined to make music, and took inspiration from the local scene. Chief amongst those was Doldrums, her then-lover and future touring partner and collaborateur. But Boucher was inspired by a whole completely-amazing scene of bands based around the Arbutus Records co-op: Majical Cloudz, Pop Winds, Sean Nicholas Savage, Mozart’s Sister, Blue Hawaii, Braids, Tops, Phèdre, etc. “There is definitely something happening in Montreal,” Boucher says, of what was clearly 2011’s most deliriously productive and astonishing micro-scene. “Most of the best music I know is coming from this same group of
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people. I feel like it’s a really unique scene. Because all these people from Edmonton and Calgary and Vancouver, who all grew up on punk music and noise music, have migrated to Montréal and created this scene of their own. They’ve come from these places that’re totally desolate and freezing, where there’s nothing else to do. So everyone is just totally dedicated to working on their music, because they have nothing else to do, and they have these really individual identities and personal influences.” For all the praising press that has come along with the unending photo-shoots, Boucher has tried to avoid what’s being written about her, even as an individual tending to the increasingly-global Grimes brand. “I don’t read any of my press, because I’m totally terrified of people saying mean things about me,” Boucher admits. “So I don’t really know how exactly [Visions] has been received, but I know it’s been received well. I only really talk with my mom and my friends about it. In a weird way, I care about the branding a lot. But I don’t want to care about the press; I don’t want to be a part of that, because I don’t want to be too aware of myself. I want to be able to change and evolve and grow the project, and not feel confined about the public idea of who I am. Even though I really care about building that concept.” WHO: Grimes WHAT: Visions (4AD/Remote Control)
69 Yarra Street, Geelong Phone: (03) 5229 4477 www.bendedelbow.com.au THURSDAY 15 MARCH
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INPRESS • 29
OUT OF THE WILDES WITH THE WILDES ON HIATUS, LACHLAN BRYAN IS EMERGING AS ONE OF THIS COUNTRY’S BRIGHTEST COUNTRY HOPES, WRITES DOUG WALLEN.
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or his first solo album, The Wildes frontman Lachlan Bryan didn’t do anything by half measures. He teamed with mainstream producer Rod McCormack (Paul Kelly, Adam Harvey), signed to McCormack’s label Core and enlisted such guests as Catherine Britt and Kasey Chambers. But what makes Shadow Of The Gun such a success is its directness and clarity. The Wildes may have flirted with alt.country, but the Melbourne songwriter is going for something more universal. Bryan downplays his talents, explaining that McCormack got him to sing while playing guitar rather than doing purely vocal takes. Coupled with the fact that most of the album was recorded live with a crack backing line-up, that kept Bryan from overthinking his vocals. “I was just singing it with the band,” he says, adding that instrumentally, “I was definitely the weakest player in the room.” Bryan met McCormack after several mutual friends had said they’d get along. McCormack introduced him to the music of Mickey Newbury and Darrell Scott and found that they shared a deep love of songwriters like Townes Van Zandt, Gram Parsons, Steve Earle and John Prine. The partnership also made sense because Bryan wanted an album with the songs dominant but also nicely recorded rather than lo-fi. His latest experience before that was trying to record a second Wildes album in back sheds, and “it just wasn’t really sounding right.” So what is the status of that band, whose first album Ballad Of A Young Married Man showed so much promise in 2009? “People have different things they want to do with their lives,” begins Bryan, “and being in the band was a pretty timeconsuming experience without being in any way financially rewarding.” Laughing, he notes, “I was the one guy in the band who didn’t have any kind of career going on. Or even prospects of one.” Other members of the band either had full-time jobs or were pursuing degrees or looking at buying a house. Still, that didn’t keep The Wildes from testing the waters for a follow-up record. “I was trying to keep us together to record an album,” admits Bryan. “Because I was doing some solo gigs, I was writing songs a bit differently. We were just all going in separate directions, but we’re [still] not prepared to say that we’re no longer a band.” He adds: “We’re friends first and a band second, in a way.” Meanwhile, Shadow Of The Gun is a calling card Bryan can be proud of. It’s more like polished singer/ songwriter country (minus the cheese) than alt.country or folk rock, but it’s exceptionally well done. There’s a bona fide crowd-quieting ballad in Secret I’ll Take To My Grave, and Home Of The Blues is rightly compared to Hank Williams in the press sheet. The album title comes from a line in Going Straight, while Bryan defies expectations by making a song called Things You Left Behind all too warm and uplifting and I’d Rather Sing In Churches (“Cause I’m tired of being in bars”) more upbeat and bluesy than you’d ever predict. On the topic of churches, though, there’s talk of “my saviour” in Going Straight. While Bryan says he hates Christian rock, especially the self-righteousness of it, “I’m drawn to the God bits of country music. Religion was introduced to me via the church of Johnny Cash.” He continues: “I have a loose form of Christianity I believe in, but I don’t attend church. And when it comes to writing songs, growing up with feelings of guilt and wanting to be redeemed comes up a lot.” Touring solo, Bryan is soon supporting his hero Steve Earle and England’s Ahab, as well as touring New South Wales and Queensland and hitting BluesFest. That’s a career high for Bryan, who before The Wildes toiled in his share of short-lived acts. “In Melbourne bands form and un-form every week,” he muses. “I was in a few of those.” WHO: Lachlan Bryan WHAT: Shadow Of The Gun (Core/Sony) WHEN & WHERE: Thursday 15 March, Toff In Town 30 • INPRESS
CELLO AND SOUL LIZ GALINOVIC DISCOVERS THAT SINGING, SONGWRITING, BIKE RIDING, ACOUSTIC CELLIST BEN SOLLEE WOULDN’T BE A VERY OBEDIENT DOG.
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usicians just don’t travel like they used to. Not now that they can ride across countries in their own state of the art bus with all the comforts of home, or pile into the back of a car, or fly from city to city skipping over all the towns in between. That is unless you’re Kentucky native Ben Sollee, who does at least a third of his touring on a bicycle with his cello strapped to the back. “We haul all of our gear on bicycles without a support vehicle and we travel from community to community,” Sollee explains, as lungs are sucked dry just thinking about it. “The purpose of these tours is not to be green – whatever that means these days – or sustainable, it’s really to slow down, use the limitations of the bicycles and be more communityorientated. In the places where we’re playing, the people are more involved in the shows. It’s really a lovely thing.” This is one of several standout elements to Sollee, who is a formidable cellist with a soulful voice and an interest in social issues, which are things that over the years he has combined as a solo artist as well as in collaborative projects. He is often hailed as an activist and charged with being a classically-trained musician who instead of sticking to Bach and Mozart, chose to mix genres such as soul, r’n’b, blues, bluegrass, jazz, folk – perhaps a few more – and defy the traditional borders of genres. In 2008 he released two EPs before his first full-length, Learning To Bend, caught the attention of the industry and generated well-deserved praise. 2011’s Inclusions is the follow-up and the album that sees him coming to do his first tour of Australia, where he will travel in petrol-dependent vehicles and not on a bike. There are two styles of activism Sollee is often described as having a hand in – the social kind and the more musical fact that he has come to use his cello to imitate other instruments rather than keep things classic. However, it’s a label that he tends to shy away from. “I’m not that trained classically. If people compared me to their pet dog or something I would not be a very obedient dog, I would go off the rails,” he chuckles. “The inspiration to go play other styles just came from my social life. I would go study privately with all my teachers and then I
would go home and want to jam with my dad, who was a guitar player, or my grandad who was a fiddler and all my friends who played other instruments. Your classical music wasn’t the music that they jammed on – they didn’t know how to do that – so I would learn what they played, which was old r’n’b tunes and fiddle tunes and, you know, pop music. So I had this cello and that was how it happened. There was no conscious decision to be like, ‘I’m going to make this instrument change or be innovative with it’. It was just sitting down and trying to play with folks.” In terms of his social activism, Sollee states that he has never “physically chained” himself to anything. “I often shy away from being referred to as an activist, because I feel like an activist is a very special person who spends a lot of time really honing their skills of how to spread a message and how to create change and make people aware of problems. I know activists and I’m not as skilled as they are, however I do share a lot of their sentiments and do put a lot of effort into raising awareness about things that I care about.” Much of Sollee’s work has addressed socio-political issues, things like liveability infrastructure (hence bike touring) and mountain strip-mining – a form of mining that blows the tops off mountains in order to get at the coal supplies within. A collaborative effort with singer/songwriter Daniel Martin Moore and Jim James (My Morning Jacket) called Dear Companion was created to raise awareness of this particular kind of mining taking place in Appalachia. But as he points out, Inclusions is more of a “humanistic” record. “It flies on a person-to-person level. As I do more and more records, I find myself relating to more and more people with my own personal story. I don’t feel like I’m the only person going through this stuff and in that way I feel as though the more personal I get, the more universal my stuff gets. It’s a really interesting dichotomy.” On Inclusions, Sollee continues to traverse a vast landscape of genres. Classic blues-style guitar (it’s actually the cello) permeates The Globe, Close To You harks back to the days of the big band, while Electrified sounds exactly that – electrified (again, sounds made by Sollee’s cello could be easily confused as an electric guitar). However, between these more upbeat tracks are slow jazz and soul numbers such as Bible Belt. “Bible Belt is an obvious standout for me because it’s so close to the heart and, oh gosh, it’s a story that so many people my age have gone through. Young love, coming together really quickly and all the stuff that
goes together with that. There are other songs that are more universal as well. I think Hurting is the song that overall on the record stands out to me, because I feel like we all go through that and just understanding that each of us struggles – and I’m not going to compare that or say that one person struggles more than the other – is a very important thing to understand, to be able to move past the struggles in this world.” For all his talent as a lyricist and composer, a compassionate individual dedicated to speaking (or singing) out against environmental and social injustice on our planet, take these things away and you would still have a musician worth seeing if only for the way he plays that cello. “I’ve been calling it the Swiss army knife of the orchestra; it can really do so many things and composers use it to do so many things. It can support, it can do rhythm, it can do melodies, textures – it’s an amazing instrument in that way. And as I’ve played in different bands with different musicians I have taken on styles. I can play things that are very much electric sounding – electric guitar sounds – I’ve done a lot imitating drums; as I toured through China I picked up a lot of ornamentations and vocalising like Chinese opera instruments. The cello can really embody so many things and that’s a really great tool for a songwriter, because you often find yourself writing about a huge variation of topics and the cello seems to help along the narrative in almost every case.” WHO: Ben Sollee WHEN & WHERE: Saturday 10 – Monday 12 March, Port Fairy Folk Festival, Port Fairy; Wednesday 14, Toff In Town; Friday 16, Brunswick Music Festival, Mechanics Institute Performing Arts Centre; Saturday 17, Mossvale Music Festival, Mossvale Park
STRANGE DAYS ANNIE CLARK WILL DO ALMOST ANYTHING TO BE INVOLVED IN THE NEW ARRESTED DEVELOPMENT MOVIE, PROMISES TO ONE DAY RECORD A “MADONNA-SOUNDING SLUDGECORE RECORD” AND WOULDN’T BE OPPOSED TO RELEASING A SPLIT 7” WITH SLAYER. SCOTT MCLENNAN DELVES INTO THE STRANGE WORLD OF ST VINCENT.
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hen geeky actor Michael Cera confirmed last month the cast of Arrested Development would reconvene in 2012 to film a new series of the cult program, the announcement left one fan gasping with joy. Annie Clark, the 29-year-old guitarist behind the St Vincent moniker, was such a fan of the cancelled Fox show she named her 2007 debut album Marry Me after one of its catchphrases.
“Oh my god, I’m so glad it’s coming back,” Clark admits. “They’ve been teasing us with that for five years, so that’s going to be great. My favourite character is the mother Lucille, since she’s got that dismissive WASPiness.” Clark has a message for Arrested Development’s creator Mitch Hurwitz: this gal wants in on the soundtrack. “I will do my damnedest to be involved in any way I can, short of turning up to the set and waving a placard or something. It will be like that scene in Say Anything – I’ll be courting Mitch Hurwitz, just sitting outside his office with a boombox.” After growing up in Dallas, Clark dropped out of her course at Boston’s Berklee College Of Music and briefly worked as a touring guitarist with Oklahoma’s joyful hippie choir The Polyphonic Spree. Marry Me’s release in 2007 was followed by 2009’s rapturously received Actor, leading to Clark’s collaborations with respected US artists including Bon Iver, David Byrne and The National. Rumour has it that Clark’s latest collaborator is none other than Madonna, who reportedly eyed off a St Vincent partnership for her new album MDNA. “William Orbit, who Madonna works with, is a fan of mine and basically there was talk of her recording
a song I had worked on. I actually don’t know what’s up with it now, but it might not have happened. At least I can die happy knowing that Madonna at one point tried to record a song I wrote.” Have you met her? “No! If you’re born in the ‘80s Madonna is epic, so the thought of meeting her actually terrifies me. What could you say? My golden memories of Madonna are making up dances to Lucky Star – that was the soundtrack to my life for a long time. “Her first album is actually a great record and was produced by Nile Rodgers of Chic, who is a great guitarist and producer. That record is really syncopated and really cool, so recently as an exercise I wanted to learn how – like a meth addict who takes apart the toaster and thinks he can make it better – I could take apart a Madonna song and figure out the mechanics of it so I could use the ideas in my own material. What I ended up doing actually was just transposing all the parts and putting everything in a minor key. So at some stage I’ll end up with a really messed up Madonna-sounding sludgecore record.” Packing an impressive artillery of guitar pedals along with a vocal love of metal acts such as Slayer, Clark isn’t ruling out freaking out fans with a metal venture. “If Slayer wanted to do a split 7” I wouldn’t be opposed. I have some of that metal geek in me to the point where I will probably make a heavy EP, but I’d still release it under the St Vincent name. I feel that the metal communities and the indie communities are disparate enough that I could just introduce myself as St Vincent to the metal scene. I’m just going to meld it to the point there’ll be people saying, ‘Oh! I thought St Vincent was a metal band?’” Although her impressive guitar skills are often suppressed on record by layers of effects, Clark warns that the live performance is a rousing experience. “St Vincent shows are pretty dynamic and they’re definitely more of a rock show than you’d necessarily expect.” A mix of lethargic beauty and woozy space rock, Strange Mercy was initially borne of grief. “I lost a few people in 2010 and it was a very sad year. It’s nice to be away from it now and have some distance from it, plus also have a record that’s
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resonating with people. Although nothing can rectify what’s absent or gone, it’s nice to have some tangible, positive by-products. It’s good to be out of there.” Strange Mercy’s Cheerleader features one of the most intriguing lyrics on the album, detailing the tale of a former party girl who now feels drained by the hedonism, decadence and debauchery of her past. It’s a beautifully poignant exposé, but is it autobiographical? “If you think the original sounds drained then wait until you hear the acoustic version we recorded recently!” Clark giggles. “I have certainly felt all those feelings expressed in the song, but the cheerleader role was more of a character. I’m probably more hedonistic now than ever. I’m not really a drug person, but I’m probably more social and fun now than I’ve ever been. Which is to say, I have a great time.” Set to celebrate her 30th birthday this September, Clark is proud of what she’s achieved so far in her career. “I feel there’s always more to do, but I think that mostly I am grateful to have a career and be in a place where I get to make music for a living. I get to make music with people I admire and sometimes I just pause and go, ‘Whoah! Look what music has given me!’ Being a suburban kid who loved to play the guitar has given me my whole life, so I can’t help but be really grateful for everything.” WHO: St Vincent WHAT: Strange Mercy (Remote Control/4AD) WHEN & WHERE: Tonight (Wednesday 14 March), Hi-Fi
JUDGEMENT DAY THE TEACHA KRS-ONE INTRODUCES RIP NICHOLSON TO HIS SCHOOL OF HIP HOP.
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prah Winfrey visited down under, even Queen Elizabeth and her grandson Princes William walked our red carpets last year. Now we wait, firmly held in 2012, for the inaugural visit of hip hop’s leading protagonist, acting strictly for the cause and survival of a culture. KRS-One (born Lawrence Parker) is poised in San Francisco to board a boat and head for our golden shores. Afraid of flying, Parker has taken the month-long trip down under with an agenda to inject knowledge into our our hip hop culture with a “booster shot”. Following some stringent protocol to get him in session, Parker lets loose over 50 minutes with a booming authority over his words. Holding a genuine concern for the upkeep of his culture, Parker lays out an economic model for the survival of Australia’s hip hop scene in today’s new world, which he believes finds the balance of power shifted in favour of its forebearers and creative souls who maintain the culture’s equilibrium behind its commerce. Charting a takeover, Knowledge Reigns Supreme Over Nearly Everyone (KRS-One, yo) sets sail to arm us in readiness for the new world. “I’ve waited a long time for this. There is a couple of places I’m trying to go to over the next three years. And Australia is just one of them that I’ve been trying to get to for a many years,” admits Parker, who explains the trouble he had with promoters not understanding the goals of his touring plans and treating hip hop’s most active ambassador as an artist only. “There has always been challenges, so when I come to a place I don’t just want to come to the place, perform and leave. I don’t like flying into a country, flying over a country. Beyond that, go straight to the hotel from the airport and to the venue and to the hotel and to the airport and then say ‘Okay, I’ve been to Australia.’ That’s not my style at all, so I waited it out.” Since its inception over 30 years back, real hip hop has been held in the hands of a certain few originators, from Kool Herc to Afrika Bambaataa’s Zulu Nation and into the hands of the philosophical practitioner KRS-One, who has embodied the true elements of hip hop his whole career. Starting as a graf artist and homeless, in and out of shelters in The Bronx during hip hop’s burgeoning years, KRS-One and his Boogie Down Productions outfit
invited sharp, young and militant-minded souls to develop new ways of thinking, empowering them with the strength of knowledge. From their seminal 1987 debut Criminal Minded to 1989’s Stop The Violence Movement campaign following the murder of his DJ, Scott La Rock, to his staunch Malcolm X window pose on the cover of their follow-up, KRSOne has always taken the lead on strong-arming hip hop into a set of principles and way of life. Never shying from setting suckers straight, Parker has earned his highly-influential position as hip hop’s chief spokesman and as such has made it his endeavour to widen the acceptance of hip hop and all its encompassing elements and educate the next generation. “I’m coming to teach hip hop, straight up and down. When I mean hip hop, I mean the culture of hip hop – the breaking, MCing, the graffiti, beat-boxing, street fashion, language, knowledge and trade skills. Not just rap music, we’re bringing a full curriculum to Australia. There is knowledge in hip hop that Australia needs to know going into these next few years and I find it very important to get this survival knowledge out there; knowledge on how to take hip hop beyond the commercial level that’s coming out now. “So if we consider that hip hop is not a physical thing – and more a meta-physical principle – then we can learn to adapt to our environment and factually we can derive our philosophy from our surroundings. That’s what I plan to teach Australia too, the tool of mastering the magical uses of hip hop around you; how to really alter your reality with this technique in that sense. This takes the art beyond the entertainment value,” hints Parker. He is keen to address Australian universities for hip hop lectures and “offer them the official curriculum”. “That is our mission professionally – to organise hip hop for real for real in Australia while I’m there. And, hopefully stay there,” Parker states. “Teach hip hop to any nation, any country or any group of people like Australia, like China, or Japan and it’s going to take like three to five years to actually teach the course. And you can see results within the first year to two years. I won’t get into specifics, but you see real progress building in the first year or so and Australia deserves it.
“There are some creative and brilliant minds coming up on the perimeter of Australia’s hip hop right now, but might become side-tracked by the commercial presentation of hip hop. And if it takes one of us to come forward, then I’m always down,” Parker states as he counts in the importance of hip hop’s forefathers. “When I say one of us, I mean Kool Herc, Afrika Bambaataa, Grandmaster Flash, Crazy Legs, Taki 183, Grandmaster Caz, Busy Bee and The Cold Crush [Brothers]. These are scholars on hip hop straight up and down. These are the people that created the actual culture and these are the ingredients, the secret knowledge to how hip hop was created and this is what Australia needs to know before I leave there.” But alas, it won’t be all war talk, the extra curriculum on the itinerary will find KRS-One practising what he is best known for. As his twentieth LP, 2012’s Just Like That, is ready to be added to the text book catalogue spanning over his 26-year career, his shows promise to incorporate the new work, the classics and some
old fashioned throw downs with some of Australia’s premier MCs. “I’m looking for MCs. I’m the best in the world,” Parker calls out, who has indeed long been heralded as the best freestyle MC in the world. “So when I land, you better be on your A game Australia; I’m not playing. I’m not here to rap for half an hour and record a little video. You’re gonna get two two-hour sets, no doubt. Freestyles all day. I’m there to show Australia what hip hop is. This is judgement day right here. All them DJs that play wack, rap music that you’ callin’ hip hop – I’m callin’ them out! They better not show me their playlist or ask me to be on their radio show. If they keep playing that nonsense that we are so sick of hearing, you’re not gonna get much from KRSOne. You are gonna get a reprimanding, yes you are.” WHO: KRS-One WHEN & WHERE: Wednesday 14 March, The Palace
SHINS OF MORROW THE SHINS’ JAMES MERCER TELLS NICK ARGYRIOU HOW HE LOST INTEREST IN THE BAND UNTIL HIS COLLABORATION WITH DANGER MOUSE IN BROKEN BELLS PAVED THE WAY FOR AN INSPIRED R&B AND NEO-SOUL RETURN.
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ine-up changes over a band’s career need not necessarily mean that there is instability within the ranks. While it’s a fact that The Shins’ James Mercer remains the only original member from the Albuquerque, New Mexico-born, now Portland, Oregonbased ensemble after a 15-year run that has spanned four records, he believes modification helps to keep the musical nous circumnavigating at a rate of sonic knots. “The thing I enjoy about it is that you just have these new elements added to your songs and it gives me this new perspective on stuff I’ve worked so hard to put together,” he says of the lifecycle of The Shins.
From the congenial pop of their self-produced 2001 debut Oh, Inverted World through to the Phil Ek engineered 2003 cut, Chutes Too Narrow, the group were major players alongside the likes of Built To Spill and Washington outfits Modest Mouse and Death Cab For Cutie during this time. But since 2003, only two new records have appeared: 2007’s Wincing The Night Away and now, 2012’s Port Of Morrow. While Mercer has been kept busy collaborating with Danger Mouse (AKA Brian Burton) in Broken Bells, has flown past the 40-years-of-age mark and fathered two children, The Shins are still very much on the man’s creative radar, but it was touch-and-go there for a while as to whether Mercer had the drive to continue. Once touring rounds for Wincing The Night Away had ended in mid-2008, and after The Shins’ threerecord contract had expired with Seattle’s Sub Pop, Mercer admits that he had grave doubts. “I just wasn’t that excited to go back into the studio for The Shins after the Wincing The Night Away tour,” he says. “I did have the feeling that I wanted to do something different but I really didn’t know what until Brian brought up the idea of doing the band with him, but it certainly was a possibility in my mind that I wouldn’t do The Shins again.” Port Of Morrow is The Shins’ first non-Sub Pop record and is released on Mercer’s own Aural Apothecary label through Columbia Records/Sony. Recorded throughout 2011 in Los Angeles, California and the
band’s hometown of Portland, Oregon, this is an album that traverses electronica textures, big guitars, slowburn harmony-based reverb and falsetto plus industrial musical kinks that have been shaved in during the final mix. It’s a welcome return and quite a left-field approach that’s driven by Mercer’s desire to continue surrounding himself with creative virtuosos. “I come up with the big ideas of the songs and the lyrical structures but it’s really the people around me like Greg [Kurstin, the record’s producer] and the influence I gained from Brian that help to flesh it out and make it cool,” says Mercer. After the difficulties Mercer experienced when selfproducing Wincing The Night Away, external producers have since been the norm in a more concrete, official capacity. From Joe Chiccarelli, Ek, Burton and now Kurstin, Mercer is more than willing to hand over production pedals for the greater good. “One of the great things about Greg is that he is such a terrific player and pulls out a lot of cool stuff on Port Of Morrow; he’s a big part of the record,” explains Mercer of the esteemed US songwriter/musician/producer who aside from being one half of The Bird & The Bee, has played live with Beck, Yusuf Islam and Flaming Lips as a pianist and multi-instrumentalist while producing/ songwriting with mostly female artists ranging from Peaches to Lily Allen, Kylie Minogue and Sia. That distinctive Mercer propensity for fashioning catchy pop narratives remains with much of Port Of Morrow delivering introspective, windswept porch songs with a twist. Lyrically, Mercer admits that there are a “number of love songs for my wife” found throughout his latest record, including the customary relationship stream of consciousness and also one about Mercer dealing with moving to the US from Germany as a sixth-grader. And that’s Mercer – always evolving – yet when he entered the studio last January he had no inkling in which direction to take the album. “When I started to write I really didn’t know what I was going to do,” he admits. “I was wondering and debating and knew I had certain songs I wanted to complete and other ones I wasn’t sure on and that debate was going on until I met up with Greg in California for the first time.”
In preparation for that initial Kurstin meeting, Mercer took with him an idea for a surprising R&B number that would later become the penultimate track on the album. In keeping with this high-register croon, the title track of Port Of Morrow is one of many another songs that catch Mercer hitting the soulful notes a la Curtis Mayfield. “I played him the barebones of that early R&B number that would become 40 Mark Strasse; it had bass guitar, acoustic guitar and a scratch vocal track so he took it and went over to an old vintage analogue synthesiser and string emulator and began laying down some paths with it,” says Mercer. Those paths evolved into what Mercer can only describe as “this weird Bowie from the ’70s or Gary Numantype feel” before confessing that this was the stage where his thrill for The Shins came flooding back.
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Appropriating sounds from mid-to-late ’70s German outfits and the high-tech instrumentation that was used at the time to craft their kosmische resonances, the pair set about pulling influence from Mercer’s alliance with Danger Mouse in Broken Bells and capitalising on Kurstin’s wall-to-wall workshop equipment plus the man’s own studio intellect. “Oh yeah, Greg owns a lot of this gear, like music sequencers and synths and luckily he knows how to play them; it all started coming out great,” he beams. WHO: The Shins WHAT: Port Of Morrow (Aural Apothecary/Sony) INPRESS • 31
SINGLED OUT WITH BRYGET CHRISFIELD
ON THE RECORD
THE CACTUS CHANNEL
Emmanuel Ciccolini/Budokan HopeStreet Recordings
Summer Gigpiglet Recordings/Inertia Crashing waves launch us into this latest single by Rüfüs. And what a glorious vocal – “We all make plans to go out this summer.” Weird release date given we’re in the season of falling leaves, though. Are this outfit from the northern hemisphere? No, the trio hail from Sydney. Perhaps Rüfüs released Summer simultaneously worldwide to court European summer airplay. Any way you slice it, this is dreamy, nostalgic stuff that is easy on the ears with a gently chugging backbeat.
THE BABYSITTERS CIRCUS
Everything’s Gonna Be Alright Independent This Kiwi ‘supergroup’ of sorts (one part Maitreya, two parts Opshop plus one newcomer) have attracted a lot of attention with the flash mob-style film clip that accompanies Everything’s Gonna Be Alright, which was filmed in Auckland. Not really sure why some of the chicks are wearing mini shorts and bras when the weather doesn’t seem to demand it, but this is a catchy little ditty with an uplifting message about paying attention to what the universe tells you: “I’ve got nothing but hugs for the herbs and trees.” It’s majorly accessible and there’s also a Coldplay-esque “Wahah-oh!” (à la Vida La Viva) reprise.
THE PROCESS I Burn/Religion Independent There’s no question that The Process frontman August Skipper is a poet and he obviously fancies himself as a bit of a Jim Morrison character. This sort of material probably fares better in the live arena when lips can be read and words/atmosphere imparted visually. I Burn is cinematic and the instrumentation is hypnotic and calls to mind Depeche Mode’s industrial side, but I dunno: something about The Process just tries too hard and it’s all so polished. Religion features a sung vocal, imperative riffs and a New Order-ish drum beat. It’s authentic, early-‘80s proto-goth that would sound at home within such a compilation from back in the day.
PAULINI Fireman
Alberts Music Girlfriend sure can sing and she’s shed loadsa kegs in recent times. “I need a fi-ire, fi-ire, fi-ire/Man” – the “man” is almost an afterthought. This single has been described as Rihanna-esque and she certainly looks the part and can dance/strut with equal adequacy to her Barbadian competitor. The song itself would make good aerobics/ zumba accompaniment. So Paulini has been signed up as an ambassador for the World Firefighters Games in Sydney this October, huh? Well why didn’t this single come with a 2012 firey’s calendar then? 32 •INPRESS
LIVE
HILLTOP HOODS
MATT PRYOR
MGM
Golden Era Records
Longtime Listener/MGM
Hellhounds make no apologies about their love for the blues. However, it can be dangerous for any band to take inspiration so directly from the past. Often the music can sound like a pastiche of former legends, lacking creativity and originality. Hellhounds have managed to steer clear of this dilemma. Their debut, while grounded in the solid foundations of electric blues and ‘60s psychedelia, brings a fresh sound.
Adelaide’s Hilltop Hoods have produced another surefire hit: Drinking From The Sun is a banger, in every possible sense of the word. Even the interludes are artful, with the three-part The Thirst cutaways linking together a record that traverses considerable territory.
As songwriting lynchpin for Kansas City emo quintet The Get Up Kids, Matt Pryor is no stranger to pouring out his confessionals while strumming a six-string. However, removed from solid riffs and a consistent drum beat, his stripped-back odes take on a new emotive core.
The production is incredibly lush, encompassing an array of musical influences while maintaining consistency across the various tracks and producers. There are the moments that feel like trademark Hoods – particularly the Trials-produced Now You’re Gone, with its vintage-feel sample (taken from 1971 garage jam Can’t You See by Fifth Flight). Then there are moments that feel less expected, like the helterskelter world music feel to Living In Bunkers, featuring Lotek and Black Thought, or the gloriously fractured rhythms of Rattling The Keys To The Kingdom.
Recorded during the month of May in 2011, there are some gorgeous gems laid bare within the fleeting 30 minutes of May Day. Following hushed opener Don’t Let The Bastards Get You Down, Pryor shows pop music’s ironic ability to hide despair in a bright light with the beautifully shimmering The Lies Are Keeping Me Here. Your New Favourite, with its John Lennon Imagine-esque piano line and sporadic harmonica, marries cohesively and true, while the spartan plucking of tail-end find I Was A Witness combines with pragmatic string progressions and a dripping electric guitar line to offer the dark highlight of the record.
Drinking From The Sun
Hellhounds
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VD
VD
RÜFÜS
HELLHOUNDS
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This ten-piece are dangerously funky. Apparently all members are “finally legal” but the music they play suggests multiple past lives as in-demand musicians for hire. Emmanuel Ciccolini is so named after guitarist Lewis Coleman’s Italian grandfather and is all shades of gangsta/prohibition goodness – it harks back to a time when violin cases concealed Tommy guns. There’s a lot of sunny, danceable funk out there, but this darker offering is criminally memorable. These youngsters have already found their sound, which is astonishing. Add b-side Budokan to your makeout playlist alongside Barry White and watch that object of lust quickly become a sure thing.
Hellhounds have found an excellent dynamic in their set-up. The rhythm section support singer/ guitarist Patch Brown ably. Together they fill out the bottom of Hellhounds’ sound, adding weight without losing the crispness of the songs. Patch Brown is a quintessential blues frontman. His voice is surprisingly versatile but is most effective when he is able to explore its full power. The contributions of Michelangelo Russo on harmonica and producer Hugo Race on keyboard add colour to some of the straighter tunes. Race’s production is also notable.
Lyrically, there’s a welcome maturity in the wordplay traded between MCs Suffa and Pressure. The album’s first single I Love It (featuring Sia) runs a little bland compared to the other articulate offerings on the record – its anthemic celebration of hip hop success feels thin compared to the political pleading of Speaking In Tongues, a track assisted by the great Chali 2na. The Hoods plumb new territory when looking back to their origins in The Underground thanks to the inclusions of Canada’s Classified and Horrorshow MC Solo, whose verses bring fresh perspective to the subject matter.
May Day
Hellhounds show that retro doesn’t have to be a dirty word.
Suffa, Pressure and DJ Debris remain on top of the pack because they’re damn good at creating great product, every time. Drinking From The Sun is another home run from the undisputed masters of Australian hip hop.
Unfortunately, most of the tracks on May Day seem to bleed into each other, the album doing a far too convincing job of settling in as background music. As much as Pryor’s vocal rhythm shines, his enunciation allowing you to really attach yourself to his storytelling, his vocal tone and cadence rarely differs, and his predominantly linear song structures, especially early in the album (Where Do We Go From Here, Like A Professional), makes it hard for May Day to really jump out, grab your attention and hold it there for the duration. This release will no doubt appease the ever-faithful Get Up Kids devoted, but as good in parts as it is, May Day never threatens to climb towards greatness for the rest of us.
Jan Wisniewski
Aleksia Barron
Benny Doyle
JOHN K SAMSON
ANDREW BIRD
DR DOG
Anti-/Epitaph
Spunk/Co-Op
Anti-/Epitaph/Warner
Having started out as bassist for punk agitators Propagandhi in the early-‘90s, for the last 15 years Canadian singer-songwriter John K Samson has made his name as frontman of indie-folkers The Weakerthans, and his first full-length solo foray, Provincials, sits far more comfortably alongside this more recent fare than his earlier work.
Andrew Bird may be a compositional virtuoso, yet such intricacy has never gotten in the way of his fervent creativity. Break It Yourself is Bird’s eighth album in just over a decade, something that only garage aficionados and underground noisemongers seem to do these days. Break It Yourself is in many ways a continuation of the sonorous mores that Bird has produced in the past, but as an album benefits from a greater degree of consistency.
It’s a beautiful thing watching Philly’s finest Dr Dog get better with age. Be The Void is their seventh record which is baffling to contemplate, considering the band really ought to be a lot more than the metaphorical blip they seem to be on the musical radar. Regardless, the quintet have opted to abandon the Rob Schnapf-sized production of their previous Shame Shame for their old ways of going it alone.
The songs stand up to scrutiny, with only a couple falling into homage territory. There is diversity across the 12 tracks with the band adept at switching between slower tracks and the livelier efforts. The subtle psychedelia which creeps into the solos and instrumental endings help to lift the songs above standard blues fair. The album’s covers are surprisingly fresh, with the updated version of John Mayall’s Witchdoctor joining Lose My Mind as the strongest tracks on the album.
Provincial
Break It Yourself
A talented group of musicians add disparate instrumentation throughout Provincials – strings, brass and piano abetting the guitars and drums – but the true strength of Samson’s songwriting, while tuneful and at times even hook-laden, lies primarily in his lyrics. Here he delivers what is in theory a concept album – a collection of songs exploring four different roads in Manitoba, where he lives – although if this conceit wasn’t spelled out so clearly the connections between the dozen songs would seem tenuous at best. They are, however, tied together by his adroit wordplay and the dry humour which has long underpinned his best material. The up-tempo When I Write My Master’s Thesis captures this the best with its universal themes, which hints at one of the reasons why this album won’t fully connect with overseas listeners such as ourselves – much of the material requires local knowledge to make full impact. For instance, the track www.ipetitions. com/petition/rivertonrifle/ is literally a petition to induct hockey player Reggie Leach into the Hall Of Fame.
Opening with creeper Desperation Breeds…, Bird flits between styles and musical mores whilst retaining his sonic adventurousness. Danse Caribe jigs along to a robust beat, albeit with an almost Caribbean sense of percussive drive, Give It Away evokes Wilco at their most country (including the skewed instrumental interludes), whilst the beautiful slow-burner Lazy Projector haunts well beyond its five-minute running time. Hole In The Ocean Floor has the soaring dexterity and resonance that might come from an imaginary collaboration between elegiac troubadours Van Morrison and Nick Drake.
But for the most part this matters little – if you’re already a fan of Samson, or a lover of literate indie folk, then you’ll find plenty to like here. Some of us, however, will be dusting off our Weakerthans albums.
Of course Bird is his own man, and his playful turns of phrase (such as the killer “we’ll dance like cancer survivors” line from the warmly eccentric Near Death Experience Experience) and breathtaking and dextrous musical tangents and follow-throughs remain intact. Break It Yourself stands as both a testament of Bird’s career to date, and a display of how perfect his balance of pop sensibility and musical elegance is. It’s complicated, eloquent pop offered with unaffected perfection – a career-defining feat.
Steve Bell
Brendan Telford
themusic.com.au
Be The Void
Not much has changed – their bright, bouncy retro-throwback is as ever-present as the two-man McCartney-esque harmony assault of vocalists Scott McMicken and Toby Leaman. Their bright, bouncy demeanour coupled with an encyclopedia of American rock music from the late-‘60s/early-‘70s has ensured another solid effort. The opening pairing of the infectious Lonesome and That Old Black Hole sum up the band almost too perfectly, even a line on the latter – “I don’t rock the boat, but it’s always unsteady” – ringing a little louder than most. But while their songwriting remains consistently top shelf throughout, it’s their adoration of yesteryear that comes across strongest. Warrior Man throbs like it was plucked right out of the glam-saturated ‘70s while Big Girl swaggers like Dylan. Similarly, These Days is And Your Bird Can Sing-meets‘70s guitar-rock and Do The Trick is classic Dr Dog. The problem with Dr Dog is that, while they make infectiously solid music, you can’t quite get your head passed their influences, but at least they possess an uncanny knack of penning brilliant pop gems and delivering them in a manner of their own. Ben Preece
MICHAEL KIWANUKA
NEW BUILD
CANNIBAL CORPSE
HUNX
Torture
Hairdresser Blues
Polydor/Universal
Pod/Inertia
Metal Blade/Riot!
Hardly Art/Inertia
Michael Kiwanuka is a British singer/songwriter of Ugandan descent, whose ability to fuse folk and soul music recently led to the 24-year-old musician taking out the BBC Sound of 2012 poll. Home Again is Kiwanuka’s debut record, an album that in many ways is reminiscent of vintage Motown. Deep bass lines, drum brushes, rhythmic guitars, strings and gentle piano are combined with rich harmonies and gospel sensibilities to recreate a rich ‘70s R&B sound. I’ll Get Along and Bones are both throwbacks as is opening track Tell Me A Tale. Behind jazz flutes, swallow drums and horns the verses of Tell Me A Tale invoke visions of dimly lit bars where the band are barely visible through air laden thick with smoke. Then tones change and the very same instruments create a joyous chorus that opens up with spiritual fulfilment.
New Build is what happens when you take a tab of Hot Chip and a hit of LCD Soundsystem at the same time. Felix Martin (Hot Chip) and Al Doyle (Hot Chip/ LCD) have teamed up with Tom Hopkins to record New Build’s debut record Yesterday Was Lived & Lost.
Forget about a career second wind – Cannibal Corpse have unleashed a proverbial hurricane since 2006’s career-defining Kill. The US death metal institution are in ferocious form again and although Torture isn’t a classic, there’s no shortage of aggression or intent, even after two decades-plus.
His subversion of the girl-group with Hunx and His Punx has made Hunx (Seth Bogart) one of the most intriguing and exciting bandleaders to come out of the recent wave of excellent American garage rock groups. On Hairdresser Blues he’s taken control, playing everything but drums, though the languid but heartfelt opener Your Love Is Here To Stay shows that not much has changed. Hunx is still on his classic ‘60s pop train. Simple ditties like Always Forever make you feel he was born to do this. This record was written when Hunx (who really is a hairdresser) fell on some rough times yet the music is so jaunty it’s a little hard to believe.
Home Again
Yet it’s Kiwanuka’s voice that impacts most on Home Again. There’s sincerity in his soulful delivery, which despite his age, aches with experience. The title track stands out as a simple tune powered by the yearning of Kinwanuka’s vocals. More folk than soul, this acoustic song is full of heart.
Yesterday Was Lived & Lost
A tranquil lift of keys and chimes, the intro softly elevates the listener into serene sonic surroundings before startling them with the punchy lyrical burst of “When you’re all alone and you’re feeling terrified, try some medication”. Delivered over a funky bass line, the seemingly pro-drug content may actually be an allegory for alternative conscious shifting entities; perhaps even music itself. Whatever the case, the addictive hook of Medication will have listeners twitching for another fix. Yesterday Was Lived & Lost is more of an introspective comedown electro record than a blurred, doublevision jaw-grinder. Stand out tracks Behind The Shutter and Do You Not Feel Loved? are both midtempo floorfillers that you can either nod your head or pump your fist to. But the lyrics are often reflective, giving the whole album a grounded appeal.
On the whole his debut is a testament to will, love and optimism; free of irony and cynicism, yet never manufactured or nauseating. It’s the kind of record that if allowed, will envelop you and warm your soul. With a nostalgic sound and a familiar feeling, Home Again is calming, humble and honest.
The effort to blend wondrous tones with ponderous thoughts helps New Build express that intangible positive feeling that is unique to electronic music. Yesterday Was Lived & Lost is best enjoyed via headphones whilst walking through your favourite city refuge or in the company of scattered friends strewn across a living room floor as dawn breaks.
Marc Zanotti
Marc Zanotti
Torture fuses their early work’s feral intensity with the more accomplished musicianship of recent releases. There aren’t significant formula tweaks and, while long tagged as the AC/DC of death metal, they do get a little nastier with each album. The band have established a (pardon the pun) killer relationship with extreme metal uber producer Erik Rutan, who knows exactly what they want and affords them a mix as snappy as a crocodile farm. Cracking song titles such as The Strangulation Chair, Followed Home Then Killed and Encased In Concrete aside, Sarcophagic Frenzy contains that trademark Cannibal Corpse groove and man-mountain George “Corpsegrinder” Fisher’s throatlacerating roar. Intestinal Crank’s initial measured pace is ripped apart by a familiar, stop-on-a-dime tempo change. Scourge Of Iron also follows the slow-burning route, presenting riffs so monstrous they conjure images of zombies so vividly depicted in their songs. Cannibal Corpse blazed their trail long ago, so expecting them to continue doing so would be churlish. Death metal fanatics should enjoy Torture as another vital, urgent slab of brutality and cartoonish violence. Brendan Crabb
The clap happy Let Me In is an appeal to a prospective partner and, while it’s probably due to its unfamiliar subject matter, it’s hard to consider a song referencing putting a dryer between your thighs (Hairdresser Blues) all that dour. Set Them Free is the purest representation of the record’s theme; often Hunx relies on cliché to get his point across but it feels as if it goes with the musical territory. We’ve all been the narrator of I’m Not The One You Were Looking For and we’ve all felt the pain that When You’re Gone outlines so bleakly. If you can look past (or enjoy!) tuneless singing, sloppy guitar lines and a bucketload of clichés, you might just find Hairdresser Blues to be one of the more charming releases of the year thus far. Dan Condon
ON TOUR IN MARCH
THE MARS VOLTA RETURN WITH THEIR 6TH STUDIO ALBUM
Thursday 15 Village Green Hotel, Mulgrave (18+) VIC Friday 16 Ferntree Gully Hotel, Ferntree Gully (18+) VIC Saturday 17 Pier Live, Frankston (18+) VIC Tickets from the venue www.facebook.com/thegetawayplan
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PLAYING THE BACKFIELD
GUYS AND DOLL
DJ QUIK EXPLAINS TO CYCLONE HOW HE’S A BEHIND THE SCENES GUY AND HOPES TO INVENT HIS OWN GENRE.
BEFORE THEIR EAGERLY AWAITED COMEBACK TOUR HITS OUR SUNNY SHORES, AQUA’S RENE DIF AND CLAUS NORREEN CATCH UP WITH SAM HOBSON TO CHAT ABOUT THEIR NEW ALBUM, AND THE LYNCHPIN FOR THEIR RETURN.
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alifornia’s DJ Quik, aka David Blake, was active in the early West Coast gangsta rap scene – and survived. The DJ/producer/muso/ MC, finally hitting Australia, hopes that playing his music will tell at least some of the story. Blake has wanted to tour for a decade but, alas, visa issues intervened. “I got into a little trouble out here,” he says, regretting a 2006 assault charge. He’d love to visit the Great Barrier Reef – and indulge in extreme sports in the outback. “I’m a dirt bike kinda guy.” The Compton native is a ‘Godfather of G-funk’ together with Dr Dre. Blake debuted with 1991’s cred album, Quik Is The Name, “a New Jack Swing gangsta record”. But, even more than Dre, Blake has always been versatile, producing everything from hardcore hip hop (he has a joint on Jay-Z’s East Coast Black Album) to R&B (Adina Howard) to neo-soul (Tony! Toni! Toné!). Many hold that he’s underrated compared to Dre; Blake is however unperturbed, his influence apparent for anyone to discern. “I’ve always been a producer and a DJ first, so naturally my position is to play the backfield. I’m the behind-the-scenes guy.”
The modest Blake worked in this capacity for Marion “Suge” Knight’s controversial Death Row Records, even after Dre’s departure. He notably produced Tupac Shakur’s Heartz Of Men, off All Eyez On Me. Yet somehow Blake was never embroiled in the bi-coastal beef between Death Row and Puff Daddy’s Bad Boy. “Me and Suge were friends years before he got famous as ‘the mogul’,” Blake recalls. Knight aspired to establish a label to give West Coast acts a platform at a time when the urban industry was based in New York. “His intentions were good,” Blake affirms. Death Row would be “a West Coast powerhouse – like a Def Jam or whatever”. Blake might have signed but he was on Profile Records – ultimately a good thing. “I’d probably be already dead with Tupac...” Things at Death Row did get out of hand. “Sometimes it was really fun and then sometimes it got a little scary.” Blake remembers “unsavoury-type of people” at the label who’d “bring the streets into the industry... It
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just became generally a little bit un-fun. But I don’t regret any of it – it was all a learning experience.” Blake subsequently liaised with Dre’s rival Aftermath Entertainment, notably producing Truth Hurts’ R&B hit, Addictive, featuring Rakim. He still ‘hangs out’ with Dre, but laughs off reports that he’s involved in the latter’s mythic upcoming Detox opus. “He doesn’t need that!” He’ll only tell the über-producer if a track would work on the dancefloor or not – and offer “support”. “Dre invented this hip hop economy that we have on the West Coast; he’s the forefather of it. So, in my opinion, I kind of owe it to him because he’s a part of my success.” Today Blake is on a roll. He contributed to Snoop Dogg’s 2008 album, Ego Trippin’, as a member of the QDT studio triumvirate alongside the doggfather and Teddy Riley, plus he lately released The Book Of David on his own label Mad Science. Blake is now returning to his roots, making mixtapes, with “ghetto music” from the West, East and South. And he plans a concept album, Born & Raised In Compton (so named for an early hit), with the likes of The Game rapping over his “seriously funky club music”. Indeed, Blake, who, disillusioned with the business, once contemplated retirement, is feeling sanguine, maybe for the first time. “Hopefully, I can invent my own music genre now.” WHO: DJ Quik WHEN & WHERE: Friday 16 March, Prince Bandroom
RIGHT PLACE RIGHT TIME WHAT BEGAN AS A LOVE AFFAIR WITH THE SONG HAS THRUST FOUR YOUNG SONGWRITERS WHO PLAY BY THE NAME OF AHAB INTO THE ‘NEXT BIG THING’ CATEGORY BEFORE THEY’VE EVEN CUT AN ALBUM. CALLUM ADAMSON TELLS MICHAEL SMITH HIS LIFE STORY SO FAR.
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ow before we get started, it’s important to mention that the following tale of the unexpectedly speedy rise and rise of four young songwriters based in east London who go by the name of ahab are not to be confused with the German metal band of the same name, which is why they insist on the lower case version of their name. Sorted? Then let’s begin. Currently being touted as “the alt.country Mumford & Sons”, the ahab story begins a little over two years ago when an 18-year-old singer/songwriter named Callum Adamson turned up to a gig he was playing in central London with his blues band. “Dave [Burn, guitar, vocals] was supporting my band,” an excited Adamson explains, “and I was the only person the crowd watching him and he was phenomenal, so straight after the show I was, ‘You know what? I’m gonna leave my band – d’ya want to write songs together?’ And he said, ‘Yeah’.” The first important point to make about ahab is that it’s actually more of a collective, four individual songwriters who by divine providence almost seem to completely naturally subsume their individual voices into something that is recognisably a natural, organic sum of the parts. As Adamson admits, “even when me and Dave were hangin’ out with our mates, everybody else, you know, when you’re twenty, twenty-one, everyone’s sayin’ ‘I wanna be a rock star,’ all I ever thought was I want to be a songwriter. And it’s the same with the other three members of the band. “So [Dave and I] did a record together, just, like, at home and then the guy from Tootsies – I’ve no idea how he got a copy, nobody does – he dropped us an email saying, ‘Look, Tootsies is one of the biggest venues for country music in Nashville. 34 • INPRESS
t was actually a Greatest Hits tour that brought Aqua back to life. And it was a Danish beer company that brought them to the Greatest Hits tour.
In 2008, Aqua’s singer Lene Nystrøm sat watching TV, when an advertisement for a popular Danish Beer company’s annual music tour came on. The ad was for a landmark celebration for the festival, and in the highlight reel, Lene caught a glimpse of the Aqua of old; a video of them playing the festival from some years ago. Them, younger, full of colour, and at the height of their success, beaming out from her TV screen. “I think she got chills,” guitarist Claus Norreen recounts. It’d been a growing sentiment over the years prior that the band should reunite. They had all felt it, but being separate, and separating as they had, there had been no ideal climate in which their reuniting could be brought up. “Lene called Rene up straight away,” Norreen continues, “and she just said, ‘Shouldn’t we go do that?’” And so, with very little convincing, and a little more calling-around, it was. Aqua had split unexpectedly, back in 2001, after singer Lene, who formerly dated co-singer Rene Dif, began to court bassist Søren Rasted. There had been backlash over some overt sexual inferences they’d made during their Eurovision performance of Barbie Girl that year, and Rene later suffered a bout of exhaustion on that same tour. Like the climax of a great episode of Behind The Music, all that ground against itself, pressure and politics, and, feeling it a turmoil they couldn’t quell, the band split. Flash forward to 2009, and the band release their second Greatest Hits album on the back of some 25-stop tour with the Danish Beer company’s festival. Their first new song in eight years – Back To The 80s – which was released with the album, shot feverishly to the top of the charts. The success of that brought them to the recording of an entirely new album, Megalomania.
“We’ve always had our own sound, I think,” Dif notes when asked if the band feared that the landscape of pop had changed too much in their absence. “We have our own way of creating a pop song, and our own process. It’s always going to sound like an Aqua song, no matter what.” “I think we at least updated the keyboard patches!” Noreen laughs. “Of course, everybody gets inspired by what they’re listening to, and [from that they] pick up ways to make sounds that are [naturally] contemporary. Personally, I’m quite inspired by the whole electrohouse scene, which is quite analogue, and there’s not that many strings or pianos, [and from that] I think the only conscious thing in the whole process [of making Megalomania] was to give it some more attitude.” “I think music in general is always evolving, and I think the sound is more aggressive and hard these days, and distorted,” Dif adds. “Music has, through the years, and since we did our first album – dance music and pop music in particular – has got a lot more ‘in your face’. You can do a lot more tricks and bits and pieces in the music now than you would have dared to do in the old days. Pop music has a lot more ‘club’ sound, these days, and I think our new album does too. You don’t even need to remix music these days, because the songs already have that attitude!” Hurdles and differences behind them, the Danish dancepop supergroup are back, and, if anything can be told from their current demeanour, it’s that they’re excited as hell. WHO: Aqua WHAT: Megalomania (Universal) WHEN & WHERE: Thursday 15 and Wednesday 21 March, Palace Theatre
THAT’S THE SPIRIT AUSTRALIA’S MOST HAUNTED PUB IS THE SETTING FOR A BENEFIT SHOW RAISING FUNDS FOR THE CAMBODIAN KIDS FOUNDATION, WRITES WARWICK GOODMAN.
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I want you to come over and play in Country Music Awards week,’ which was amazing…
f you’re not familiar with the town of Clarkefield, you would probably also be unacquainted with Australia’s most haunted pub, The Clarkefield Hotel, the serene and spirited venue of choice for the inaugural Clarkefield Music Festival. The hotel, also known as the Coach & Horses Inn, is more than 150 years old and is said to be inhabited by a plethora of restless spirits. Ghosts love festivals, you know, and fundraising ones especially. The Clarkefield Music Festival is being put on by The Cambodian Kids Foundation and will be raising money (and spirits) for children and families living in poverty in Cambodia. There will be a bar selling cold beer, some green grass to sit on, a jumping castle to bounce on (stilettos are a no-no), and some beautiful Clydesdale horses will be dropping by the stables to say hello early in the afternoon. And on top of all this, there is a cracking line-up of country, blues and rock music to ease your soul as you mingle with the ghosts. Acts playing include Kim Salmon, Nick Barker, Hope Addicts, Dead River Deeps, James McCann and more.
“We came back to London and decided to continue collaborating as a four-piece, started busking one night when we were drunk and so many people stopped to watch, we did it during the day and filmed it and then the guy that manages Cropredy, the Fairport Convention festival, saw it and put us on and we’ve been on tour solidly for the past two years. That’s virtually my whole life story!” At that Cropredy festival, in 2010, one ‘Whispering’ Bob Harris, who has a regular Saturday night program on BBC Radio 2, was watching from the side of the stage. Meanwhile… “In the crowd was John Leckie,” Adamson continues. “Now John did [Radiohead’s] The Bends, he did Bellowhead’s Hedonism, he did a whole bunch of fucking amazing albums and he came back stage and we’d been doing a couple of radio pieces and were walking off when John stopped us and said, ‘I’m John Leckie – can I give you a business card?’ And we’re, like, who? Got back and Googled him and went, ‘Shit, that John Leckie!’ “At the same time John got interested, Navigator Records got interested so we were able to say this guy John Leckie wants to do a record with us so can we do it now and they said, ‘Yeah, go ahead’. So went and did the kmvt EP in Real World in Bath, Peter Gabriel’s studio and just played live for three days… it and the ahab EP one that we did on our own are just basically what we’ve played live for the past year.” WHO: ahab WHEN & WHERE: Thursday 15 March, Toff In Town; Friday 16, Old Hepburn Hotel, Hepburn Springs; Saturday 17, Mossvale Music Festival, Mossvale Park
It all sounds idyllic, but how on earth did the good people from the Cambodian Kids Foundation come up with such an idea? Lincoln MacKinnon – Foundation board member, festival co-organiser and frontman of alt.country band Dead River Deeps – tells Inpress, “The foundation has a bike ride each year in the Macedon Ranges area, Hanging Rock and all that, and Paul and Michelle, the owners of the Clarkefield Pub, they were actually in the bike ride. They really enjoyed it and they got talking to the owner of our foundation and wanted to do something more. So at the pub, for every garlic bread they sold they would donate a dollar and for every dessert they sold they would donate a dollar. They had the staff wearing Cambodian Kids T-shirts. Donna from our foundation went there and told me, ‘Lincoln, you’ve got to check out this pub, they’ve got this great stage, I think you should put on an event there.’ And it’s just unreal. They’ve got this awesome outdoor stage, with a paddock in front of it, a beautiful old tree overhanging it, and an old car and an old wagon on either side of the stage. The building was built in 1857, it’s an old bluestone building and it’s meant
themusic.com.au
DEAD RIVER DEEPS
to be one of the most haunted buildings in Australia!” MacKinnon lets out a chuckle, perhaps not taking this distressing statistic as seriously as he should. Anyone who has read Harry Potter would know just how much of a menace Moaning Myrtle could be if you got on her bad side. MacKinnon tells the story of the pub with the air of a good history teacher: “There’s been a few murders in there. Because it was on the way to Bendigo, where the gold rush was happening, and you know, when you mix alcohol with racism and gold… there’s gonna be a murder!” He says the last words with a classic Australian inflection and a tongue slightly in cheek, and continues, “Yeah, it’s a really cool pub, and it’s only about a hundred metres from the Clarkefield train station, so it’s easy to get to.” The money raised on the day will be used to build a free school for children in a village in the Kampong Thom province of Cambodia. “We had built one there for 150 students, but on the first day 700 students rocked up. The classes were just packed. We wanted a decent learning environment, so we are building another school across the road, in the village. The students don’t have to cross the busy road to get there, so it’s less dangerous, and there will be capacity for 1200 students.” It will be a great festival for a great cause, and there will be plenty of ways to donate by keeping everyone fed and happy on the day, grown-ups and kids alike. “There’ll be a barbecue, and we’ve got snow cones and an ice-cream van, but that’s not to say that the adults can’t eat that stuff too. And we’ve got the Clydesdale horses coming along – they’re pretty amazing. It might not sound like a huge deal to you and me, but they’re pretty spectacular these giant horses, the kids will love them.” But can the grown-ups go on the jumping castle? “Yeah, of course they can, it’s encouraged!” WHAT: Clarkefield Music Festival WHEN & WHERE: Sunday 18 March, Clarkefield Pub
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frontrow@inpress.com.au
THIS WEEK IN THIS WEEK AT SHADOW ELECTRIC OPEN-AIR CINEMA Films screening this week include Weekend, a love story that begins as a casual Friday night tryst at a nightclub and unexpectedly becomes something more as the two young men spend the next 48 hours together (Thursday 15); In The Mood For Love, the much loved highly stylised romance drama from Wong Kar-wai (Friday 16); The Fifth Element, Luc Besson’s futuristic tale set 250 years in the future, where life as we know it is threatened by the arrival of Evil, and only the Fifth Element can stop the Evil from extinguishing life (Saturday 17); Caddyshack, the immortal comedy from Harold Ramis featuring the Slobs vs the Snobs, a comic treat that brings together some of the most relevant comic voices of the era, including Chevy Chase, Bill Murray, and Rodney Dangerfield (Sunday 18). See all of these in the glorious open-air environment of Shadow Electric at the Abbotsford Convent. Films starting at sundown. For more info see shadowelectric. com.au.
WEDNESDAY 14 Zombatland – the rag’n’bone trio Suitcase Royale’s latest theatrical offering is a wild ride set at the Blue Lagoon Caravan Park, an idyllic paradise somewhere in the dead heart of Australia, where wombats are the main attraction, loved by all until a mysterious disease turns them into bloodthirsty demons. With live music, junkyard sets and the trio’s infamously twisted humour. Opening night, 7.30pm. Arts House, North Melbourne Town Hall until 18 March.
THURSDAY 15 Melbourne Queer Film Festival – Opening Night film: Cloudburst, directed by Canadian filmmaker Thom Fitzgerald, a romantic road movie about two women who decide to high-tail it to Canada, where same-sex marriage is legal. After the screening will be a gala. ACMI Cinemas, 7.30pm. MQFF runs to 25 March.
FRIDAY 16 Beyond The Neck – directed by Suzanne Chaundy, written by Tom Holloway, set in the aftermath of the 1996 Port Arthur massacre, a play that weaves real life accounts about coming to terms with the horrors of that day. Opening night, 8pm. Red Stitch Actors Studio until 14 April. The Table – a piece of furniture is transformed into a potent musical instrument capable of playing everything from ethereal percussion and jazz to heavy metal. From Polish performance group Karbido comes
36 • INPRESS
ARTS this innovative performance that incorporates, strings, bows, coins, and wine glasses; a sell-out season at the Edinburgh Fringe Festival was followed by the Perth Festival Award 2012. The Famous Spiegeltent, 9pm.
SATURDAY 17 The Couple – solo sculpture series by Pimpisa Tinpalit was developed from sculpture and created to represent the idea of personal space between the couple. Closing today. Trocadero Art Space. 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, Stone’s Wild Duck 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. Closing night, 7.30pm. Merlyn Theatre, Malthouse.
SUNDAY 18 And The Birds Fell From The Sky – a work about three Faruk clowns. An immersive performance combining ‘autoteatro’-style instructions with film, by artist/devisor Silvia Mercuriali and filmmaker Simon Wilkinson, a play that casts the audiences as the central character. Closing night, 8.30pm. Arts House, North Melbourne Town Hall. Three JJJacks – a cabaret/ burlesque show where convention flies out the window and morals are shredded to confetti, as three insane lads, each called Jack – Reverend Jack, Doctor Jack, and Springheel Jack – are accompanied by a seductive lady; this is a cabaret with a clear narrative: one Jack will be saved, one healed and one murdered. Bohemia Cabaret Club, 8pm.
MONDAY 19 Jane Eyre – Cary Fukunaga’s faithful adaptation of the literary classic by Charlotte Brontë, after a loveless childhood of deprivation, Jane Eyre (played by Mia Wasikowska) leaves the Dickensian atmosphere of Lowood Hall to be engaged as a governess at Thornfield Hall. ACMI, 1.30pm.
TUESDAY 20 Real Hot Dance Bitches – an ’80s dance troupe who have performed at Rainbow Serpent and Melbourne Fringe run a class, led by head bitch (bitcheroo?) Molly Moonshine, who has decided to climb Mt Kilimanjaro to raise money for Amnesty International. The bitches will be teaching a routine to Toto’s Africa, venue advised on booking, 8pm. Further info at realhotbitchesmelbourne.com.
MASTERPIECES AMONGST THE MAUDLIN
ANTHONY CAREW PREVIEWS THE 22ND MELBOURNE QUEER FILM FESTIVAL. The Melbourne Queer Film Festival often seems to lack for good oldfashioned queer cinema; its program sadly loaded with middlebrow romcoms and earnest, maudlin, injusticechronicling documentaries. Thus, this year’s inclusion of Christophe Honoré’s Man At Bath is cause for rejoicing; the 22nd MQFF boasting a bona fide work of transgression and provocation from one of French cinema’s most interesting new-millennial auteurs. The film begins with an act of ferocious male desire, with a slab of hyper-masculinity – chiselled French porn-star François Sagat – lovingly raping his effeminate other half – weedy, moustachioed hipster Omar Ben Sellem – as he’s attempting to walk out the door. From there, the narrative is split: Sagat blowing from blow-job to blow-job in suburban apartment towers (including a conversation with the blithely manipulative, meta-conceptual Dennis Cooper); Sellem scrapbooking a video
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journal in New York on a promo tour with Chiara Mastroianni. The film’s but 72 minutes, and its narratives are haphazard and, in some ways, slight; this clearly a minor, queerer work lodged in between Honoré’s big-ticket pictures (Making Plans For Lena, seen at MIFF in 2010, and the musical Beloved, showing concurrently at this year’s French FF). But the film functions both as fascinating formalist exercise – a study of the supposed veracity of digital video’s vérité and the theatricality of the modern, selfconscious existence – and unabashed chronicle of male desire, in shades ranging from tender to traumatic. Longtime Honoré collaborateur Gaël Morel has, as filmmaker, long studied brutish masculinity, homoeroticism, and the intersection therein. Our Paradise features piles of taut male bodies fucking madly and a suitably brutal tone, but it’s really rather silly;
CRINGE
WITH REBECCA COOK
Having just moved to hardcore suburbia, Cringe decided that it was time to go to Moomba. Cringe’s memory of Moomba is of a daggy festival where a Maori display of the haka scared her little brother so much her whole family had to decamp to the Chrysler Sigma tout suite. It was a festival for fat families from the outer suburbs making their annual pilgrimage to the city. So has anything changed? The Moomba Festival has had more makeovers in the past 20 years than Madonna. Many moons ago the City of Melbourne, obviously conscious of its reputation for being the tracksuit pants of Melbourne’s festivals, tried to jazz it up as WaterFest (or some such aqua-based name) complete with giant projections on the Yarra. But now we’re back to plain old Moomba replete with the old school water activities (water skiing and the Birdman Rally) and a reinstated King and Queen of Moomba – but they’ve tried to make it cooler to attract the hip kids by bringing in some big name bands, expanding the sporting program to BMX and skateboards, and reprising hits such as the Silent Disco with dance offs programmed by local DJs such as RRR’s Steve Wide. They’ve also created opening night and closing night free concerts. There weren’t too many inner-city types weaving in
a pic in which an aging rentboy rescues an urchin, they cater as pair to all kinds of creepy fetishists, and, then, get down to some... murder! Insects In The Backyard backed into cultural currency when it was banned twice-over in its Thai homeland for its provocative shot of the flaccid cock of its transgendered lead. Yet, Tanwarin Sukkhapisit’s film is hardly worthy of cause célèbre status. A minor melodrama dotted by horrendous – if perhaps self-reflexively stilted – acting, the film explores the fluidity of gender/orientation. There’s a dry, dull morality to its parade of sexual transgressions and social ‘issues’, as if the filmmaker is wagging her finger at uptight Thai society. Circumstance, too, is out to provoke a patriarchal, conservative society with a loving look at those who’ve fallen through its cracks; in this case, teenagers out to taste their
sexual/cultural freedom in Tehran’s covert nightlife. Reducing it to such denies the elegance of Maryam Keshavarz’s familial drama, which creates a claustrophobic air in which tiny incidences carry immense weight. It’s undoubtedly a study of (sexually-tense) life under the yoke of conservative Islam – “one day we’ll all be able to go in together,” says a father, wistfully, sadly, as he heads into the ocean whilst wife and daughter remain bound to the beach; later, daughter and ‘best friend’ strip to their underwear and take a covert, rebellious plunge – but, save for the ‘erotically-charged’ soundtrack to first teen explorations, it rarely feels like cheesy taboo-breaker. It’s more caustic stew festering in the heat of daily oppression, where closed-circuit camera footage rolls as potent symbol of God, God-as-moral-tool, and morality policing as social blackmail.
amongst the prams and big blokes in singlets with T-shirt tans when Cringe took a stroll through Alexandra Gardens but it was 3.30pm afterall and The Bamboos and The Panics weren’t due on stage for some time – although Henry Wagons had just finished and Combo La Revelacion sounded like they were getting the party started. Other than the bands, Moomba did look almost exactly as I remembered it; loads of rowdy rides with loud disco soundtracks; rows of arcade games with large stuffed lions (likely filled with iron filings) as prizes; and the biggest queues out the front of the food vans. It is fair to say the takeaway has improved immeasurably. We had Nepalese. I doubt there was much beyond burgers, fries, souvas, and those irrepressible tiny pancakes last time I was there. Some things, however, don’t change: the Birdman Rally this year was won by Michael Paul who has taken out the top prize at least six times in nearly as many years. This year soccer star Harry Kewell and popster Natalie Bassingthwaighte were crowned King and Queen of the Festival, taking over the reins from a kingdom revitalised by Mick Malthouse and Ruby Rose. And by the time you read this they will have headlined a food themed parade ‘Melbourne is Delicious’ on Labour Day. So while Moomba wasn’t too different on the surface – still a little daggy, still the largest purveyor of gigantic stuffed toys – to be honest everyone seemed to be having a really good time. Maybe there’s something to be said for a festival where you can turn up in your gym outfit and eat a sausage embedded on a stick. Just maybe there needs to be more of it.
frontrow@inpress.com.au
FILM
CAREW
WITH ANTHONY CAREW Jean-Pierre and Luc Dardenne have long made films about desperate characters, battling to get by in a society cold and unforgiving; doing things often unconscionable – often criminal – in an attempt to survive another day. But none have seemed quite so desperate – been so imprisoned in survival mode – as the titular tyke in The Kid With A Bike. If the title seems to carry almost carefree connotations – visions of a lovable scamp pedalling sunkissed suburban streets – then know that its ‘kid’ less resembles a child, more a cornered animal: a mixture of fear, terror, aggression, and the fight-or-flight instinct alive in Thomas Doret’s 12-year-old foster-kid. His bike is a powerful symbol – of his lost childhood – that has, all too tellingly, been obviously fenced by his absent, disinterested, disappeared father. The kid is convinced his dad would never do so, but there’s a sense of sad denial in his unwavering belief; like he’s feeding himself a lie, making himself believe it, as an extension of his constant survival-mode life. Eventually, randomly, the unloveable scamp’s taken under the wing of Cécile de France, a smalltown hairdresser who serves the narrative purpose of a kind of kindly fairy-godmother, ready to rescue the orphan from his waking nightmare. The Dardennes conceived this film as a ‘fairytale’, and much has been made of how it’s “lighter” fare for the brothers: with colour in its celluloid, hope in its story, optimism in its ending, the fact that there’s music in it, and a genuine starlet in its lead role. But the same sociorealist, intensely-political spirit is at play here, as always, and there are moments of profound tension and loaded moral complicity that live up to the filmmakers’ rep. If it’s slightly more accessible, than, say, the unflinchingly brutal L’Enfant, that doesn’t mean that the sense of utter desperation is any less. Margin Call is effectively a corridors-of-power thriller, but it’s not a political film. Power, these days, isn’t the province of government, but corporate interests; and JC Chandor’s smart screenplay is loaded with the weight of that power. It’s a story in 36 hours, an overnighter in which an investment bank, overleveraged to the hilt, stares the full ramifications of global financial collapse in the face. At first, THE RUM DIARY
Chandor treats the incriminating data as a kind of MacGuffin: fasttalking men of high-finance peering into a screen at sight unseen, faces lit up blue, barely believing what’s in the spreadsheet’s tea-leaves. But eventually, we’re talked through the numbers by a large ensemble of Hollywood semi-heavies revelling in the wordy material; with Paul Bettany and Zachary Quinto, in particular, making their rat-a-tat dialogue ring with characterised truth. There’s a refreshing lack of sentimentality in the way Chandor looks at the victimisation of humanbeings – from the laid-off to the mom-and-pop shareholder – by the machinery of high-capitalism; a sense of calm comprehension that such tumult and flux – and, perhaps, eventual complete collapse – is a by-product of a broken system. Jeremy Irons swans in, late, and gets to spout such in grand philosophical terms; effectively saying that money is not the root of all evil, but merely man’s greed, as currency. Wall Street films have been, previously, obsessed with the hot-shot, hyper-masculine culture of trading, but here there’s barely a scene devoted to the buy/ sell; this about the politicking, philosophising, and interpretive voodoo that lies in the shadows, away from the furore of the kill floor. The Rum Diary finds Johnny Depp in homage mode, playing the stand-in for Hunter S Thompson in another colourful calamity of gonzo-journalism-gone-comicallyawry; this time set in Puerto Rico at the turn of the ’50s into the ’60s. Coaxing long-lost Withnail & I boozehound Bruce Robinson out of a two-decade-long cinematic retirement, Depp is making a vanity film filled with drunken excesses and vintage cars, but it’s an admirably dirty one, with a dark political heart beating slyly beneath its tales of excess – in both down-and-out drunkenness and All-American empirical plunder – writ comically-ridiculous. Depp feels like he’s coasting, mostly, but there’s a wonderfully out-there turn from Giovanni Ribisi that counter-balances his leading-man blandeur. And Robinson, in fleeting moments, shows a sense of genuine cinematic command that’s surprising; a scene heaving with violence at a brutally-loud rock’n’roll nightclub feeling suffocatingly tense, an incongruous instant in a film of back-patting masculine smirks and liver-pickled flaccidity.
THEATRE IS JUNK
SINCE 2004 THE SUITCASE ROYALE HAVE BEEN RESHAPING AUSTRALIANA WITH BITS OF DISCARDED CORRUGATED IRON. HOWEVER, AS JOSEPH O’FARRELL TELLS PAUL RANSOM, THE TIME HAS COME FOR THE TRIO TO TACKLE THE KING OF THE WOMBATS. Question: What do you get if cross a wombat with a zombie? Answer: Junkyard theatre. Returning to Australia after blitzing the Edinburgh Fringe and touring the UK and US, comic theatre trio The Suitcase Royale have lobbed into Melbourne with a collection of junk and a crazy idea about zombie wombats in the red centre. This week, their international hit Zombatland makes its Oz premiere and, as Suitcase Royale spokesman Joseph Neil O’Farrell points out, the idea didn’t spring from the zombie craze but from Wilson’s Prom campsites, where hungry wombats were conducting nocturnal raids on campers and making off with their dinner. “We thought, ‘how cool is that?’” O’Farrell explains. “Also, we were kinda obsessed with films like The Cars That Ate Paris and Wake In Fright and that whole idea of the town hall meeting. I mean, what if that meeting was called because in the middle of night these dark demonic creatures, which were basically just fat wombats, were attacking the townsfolk?” With its somewhat schlock aesthetic, Zombatland fits perfectly into the Suitcase Royale oeuvre. “Our worlds are very fantastical,”
O’Farrell reveals. “We usually start with the idea of the town in the middle of nowhere, or in this case, the caravan park, and we kinda just use that as a jumping off point. Our aesthetic is quite colonial; but this one in particular was really inspired by the Ozploitation movies of the ’60s and ’70s.” However, crazed desert wombats aren’t all you get because O’Farrell and his cohorts (Glen Lawrence Walton and Miles Henry O’Neil) specialise in what they call junkyard theatre, in which the sets are constructed with found objects and bits of junk scavenged from various roadsides and building sites. Indeed The Suitcase Royale have become as well known for their staging style as for their songladened comic theatre creations. Recalling their early days, O’Farrell jokes that “being poor means you find your best props on the side of the road.” Necessity soon turned to invention, though. “It quickly became our own style,” O’Farrell adds. “You can find things on the side of road and then turn them into inventions that look good under dim lighting… Our work is a nod to the Australian backyard tinkerer; y’know, the guy in the garage with his weird inventions.”
Naturally, building sets out of junk has its issues. “It makes things interesting because if half the set is junk it’s pretty prone to falling apart during shows, so we definitely have to incorporate that into our work.” Indeed at a recent UK gig a set collapse resulted in a member of the audience clambering on stage with a drill and re-building it whilst the show continued. It’s exactly the kind of organic, semi-chaotic style of theatre that The Suitcase Royale embrace. “We’re a theatre company but we’re also a band and a comedy trio. So I guess it’s just a
whole junk yard of stuff. It’s a real smash-together of genres,” O’Farrell declares proudly. “We’re interested in making shows that, well, they’re more like a party really.” With Zombatland that junkyard party moves into the mythical Aussie caravan park with a shedload of bits and pieces, a willingness to break into song and a plan, at last, to combat the wombat. WHAT: Zombatland WHEN & WHERE: Tonight to Sunday, Arts House, North Melbourne Town Hall
DRAWING ON EXPERIMENTATION
KATE KINGSMILL PREVIEWS THE WILLIAM KENTRIDGE: FIVE THEMES EXHIBITION CURRENTLY EXHIBITING AT ACMI. With a career that spans more than 30 years, William Kentridge, one of the world’s most significant artists, has explored almost every creative avenue from charcoal drawing to print, sculpture, books, animation, and theatre models. William Kentridge: Five Themes is an extensive retrospective of his work, elegantly curated by American curator Mark Rosenthal. The Five Themes shape beautifully Kentridge’s expansive body of work, which is so often linked to the social and political environment of South Africa, but also explores notions of transient memory, absurdity and the creative process itself. Kentridge was born, and still lives, in Johannesburg, and he has a way of tackling issues of colonial oppression and reconciliation with expressive work that is highly engaging, expressing reflection and optimism in the wake of a brutalised society. When it comes down to it, says Rosenthal, “His work is very emotional.” The first theme of the exhibition, Occasional & Residual Hope, focuses on a series of works reflecting on the public hearings held by the Truth & Reconciliation
Commission in the mid-1990s to investigate human rights abuses under Apartheid. A series of etchings flanking one wall of the first room of the exhibition, and an animated film are both titled Ubu Tells The Truth, a reference to a 1975 satirical play, Ubu Rex, about a corrupt and cowardly despot. Shadow Procession (1999) too evokes the era’s atmosphere of volatility with a simple animation of silhouettes. Much has been said about Kentridge’s rough-hewn animation style, which Rosenthal describes as ‘stoneage’ and which is in fact a refreshing antidote to the super-slick styles that we are so used to seeing in a post-Pixar world. One of Kentridge’s favoured techniques is that of drawing, erasing, and re-drawing on the same page, a beautiful, effective technique which leaves traces of previous drawings, and can have a surprisingly fragile effect. Drawing, or as Rosenthal puts it, “playing with the way we see,” is always at the heart of Kentridge’s work. One of the most surprising works in the exhibition is the anamorphosis installation What will come has already come
(2007), said to be the first of its kind in the history of seeing, testament to Kentridge’s spirit of experimentation. Deliberately warped drawings are projected onto a surface and reconstituted into a cylindrical mirror: a fascinating technique which can be read either as a consideration of the Italian Fascist invasion of Abyssinia by Mussolini in 1935 or as a blowfly crawling across a page. Rosenthal becomes tangibly excited when speaking about Kentridge’s work. His thrill in seeing it changing inspired him to capture it, and he visited South Africa to meet Kentridge and embark on putting the restrospective together. At the time, Kentridge was working on 7 Fragments For Georges Méliès (2003), an homage to the early French film director and magician who had a penchant
for cinematic tricks. It appears in the exhibition as a series of projections that encompass an entire room and is perhaps the most whimsical of Kentridge’s works. William Kentridge: Five Themes has travelled through some of the world’s best galleries. It was one of Time 100’s top events in the world for 2009 and won first place in International Association of Art Critics the same year. Now in Australia, accompanied by William Kentridge himself, it’s a wonderful opportunity to explore Kentridge’s exciting work and distinguished career. Says Rosenthal, “Everyone remembers their first Kentridge.” WHAT: William Kentridge: Five Themes WHEN & WHERE: Until 27 May, ACMI INPRESS • 37
frontrow@inpress.com.au
JUMP AROUND
JONAH HILL AND CHANNING TATUM TALK TO ANITA CONNORS ABOUT THEIR NEW FILM 21 JUMP STREET, AND STICKING FINGERS IN EACH OTHERâ&#x20AC;&#x2122;S MOUTHS. â&#x20AC;&#x153;It was the most brilliantly written script ever written,â&#x20AC;? says Jonah Hill about what attracted him to 21 Jump Street. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s like Shakespeare,â&#x20AC;? offers co-star Channing Tatum. â&#x20AC;&#x153;Thatâ&#x20AC;&#x2122;s the good part, when youâ&#x20AC;&#x2122;re working with writers who really know what theyâ&#x20AC;&#x2122;re doing,â&#x20AC;? Hill continues. He pauses before bursting into laughter. â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;m joking, because obviously Iâ&#x20AC;&#x2122;m one of the writers on the movie.â&#x20AC;? The film is a remake of the 1980s TV show of the same name, and like its predecessor, the film focuses on baby faced cops returning to high school to fight crime. â&#x20AC;&#x153;They asked me to adapt it,â&#x20AC;? Hill says. â&#x20AC;&#x153;I said no because I always roll my eyes when someone says theyâ&#x20AC;&#x2122;re remaking a television show into a film. It just seems like an easy cash-grab done by a giant corporation, as opposed to a film.â&#x20AC;? Influenced by his experiences during the shooting of Superbad when he was a 21-year-old playing a 17-year-old in high school, Hill thought, while writing his character Schmidt and Tatumâ&#x20AC;&#x2122;s Jenko, it interesting that â&#x20AC;&#x153;over ten years, how you can completely lose touch with everythingâ&#x20AC;?. â&#x20AC;&#x153;We wanted us to be completely out of touch and we also thought it would be funny, that the guy who got the bad end of
the stick first time becomes popular and loses his head and gets a big head in his moment in the sun.â&#x20AC;? In contrast, Tatumâ&#x20AC;&#x2122;s character â&#x20AC;&#x153;had everything kind of easy for him, but really had this, like, sadness about being thought of as dumbâ&#x20AC;?. The pair didnâ&#x20AC;&#x2122;t know each other before filming, but their time on set saw bonds made that will never be broken. â&#x20AC;&#x153;I can honestly say that no one elseâ&#x20AC;&#x2122;s fingers on the planet have been inside my mouth,â&#x20AC;? Tatum says. â&#x20AC;&#x153;No, not even my wifeâ&#x20AC;&#x2122;s. She doesnâ&#x20AC;&#x2122;t jam her fingers in my mouth very often.â&#x20AC;? Hill laughs: â&#x20AC;&#x153;That gets you close real quick,â&#x20AC;? he says. â&#x20AC;&#x153;Thatâ&#x20AC;&#x2122;s a crash course in friendship and trust right there.â&#x20AC;? And it is this friendship and
chemistry that makes the film, particularly as this is Tatumâ&#x20AC;&#x2122;s first time playing a leading role in a comedy. â&#x20AC;&#x153;I think Iâ&#x20AC;&#x2122;ve always not wanted to do it because I think it is terrifying and, you know, I think there are certain people who just are funny in life. I was never that person, but I was a fun personâ&#x20AC;Ś From Eddie Murphy to Richard Pryor Iâ&#x20AC;&#x2122;ve watched them all but I never could understand how they could do it. And itâ&#x20AC;&#x2122;s one of the first times Iâ&#x20AC;&#x2122;ve put my toe into the pool and Jonah gave me permission to do a cannonball. And it was fun. I donâ&#x20AC;&#x2122;t know if I would say that Iâ&#x20AC;&#x2122;m going to jump into another one immediatelyâ&#x20AC;Śâ&#x20AC;? â&#x20AC;&#x153;Unless we do a sequel to this,â&#x20AC;? Hill interjects. â&#x20AC;&#x153;Yep,â&#x20AC;? agrees Tatum. â&#x20AC;&#x153;Then I would be doing a back-flip cannonball into the pool.â&#x20AC;? WHAT: 21 Jump Street WHERE & WHEN: Screening in cinemas from 15 March
audition process. And the more he read about the character he was up for â&#x20AC;&#x201C; Jon Snow, the illegitimate son of Ned Stark â&#x20AC;&#x201C; the more he wanted to be involved.
WAR GAMES
games played by the various clans.
When the HBO logo appears, viewers know theyâ&#x20AC;&#x2122;re in for something that epitomises or revolutionises a genre. Deadwood gave the western a new lease on life; The Wire became the benchmark by which other urban crime dramas were judged; The Sopranos turned the underworld saga upside down. With Game Of Thrones, the epic fantasy is reborn.
Ever since King Robert (Mark Addy) led a revolt against a mad monarch and claimed the Iron Throne of the Seven Kingdoms, there have been machinations by various families to usurp the new ruler by means fair or foul. This plotting extends to King Robertâ&#x20AC;&#x2122;s own wife, Cersei Lannister (Lena Headey), who wishes to see her teenage son take the throne. The only man King Robert can trust is his former comrade-in-arms Ned Stark (Sean Bean), the honourable lord of the land of Winterfell. Summoned to the capital city of Kingâ&#x20AC;&#x2122;s Landing, Stark and his family find themselves embroiled in an ongoing, intricate conspiracy, a game where, as Cersei points out to Stark, â&#x20AC;&#x153;you win or you dieâ&#x20AC;?.
Based on author George RR Martinâ&#x20AC;&#x2122;s seven-volume series of novels A Song Of Ice & Fire, Game Of Thrones is a sprawling saga set across the Seven Kingdoms of Westeros. While elements of the supernatural and fantastic come into play much of the intrigue stems from the power
As tightly plotted, handsomely produced and dramatically compelling as any series HBO has produced, Game Of Thrones is must-see viewing. For young UK actor Kit Harington, the showâ&#x20AC;&#x2122;s HBO pedigree was enough to get him interested during the initial
GUY DAVIS TALKS TO KIT HARINGTON (AKA JON SNOW) ABOUT GAME OF THRONES.
â&#x20AC;&#x153;I felt that this brooding young man was someone who was in my range,â&#x20AC;? he says. â&#x20AC;&#x153;And the further I went along in the process, the more nervous I got because the more I wanted it. It was a year and a half ago that we started shooting so itâ&#x20AC;&#x2122;s been a long haul getting here, with a lot of people showing a great deal of love and attention making it, so Iâ&#x20AC;&#x2122;m glad the feedback weâ&#x20AC;&#x2122;re getting is that itâ&#x20AC;&#x2122;s being enjoyed.â&#x20AC;? Indeed, Game Of Thrones has been acclaimed by critics and embraced by audiences the world over, with a second season given the green light as soon as the first episode went to air. And while one of the showâ&#x20AC;&#x2122;s distinguishing features is that no character â&#x20AC;&#x201C; seriously, no character â&#x20AC;&#x201C; is safe from harm or even death, Harington is happy to report that Jon Snow will be back for further adventures. â&#x20AC;&#x153;He gets a rough ride in the first season, though,â&#x20AC;? he says, laughing. â&#x20AC;&#x153;But then a lot of people do! George RR Martin is very brutal in his writing. He doesnâ&#x20AC;&#x2122;t pull any punches, and I think thatâ&#x20AC;&#x2122;s what HBO liked about his books. Itâ&#x20AC;&#x2122;s exciting to me that no one is safe.â&#x20AC;? WHAT: Game Of Thrones WHEN & WHERE: Season 1 on DVD/Blu-ray (Warner Home Video)/ Season 2 premieres Tuesday 10 April, 8.30pm, on Showcase
BIG, BOLD GLOSSY & ON IPAD
MELBOURNE INTERNATIONAL COMEDY FESTIVAL GUIDE 2012
Weâ&#x20AC;&#x2122;re gearing up again for that special time of year when itâ&#x20AC;&#x2122;s ok to wet yourself in public... with laughter! Thatâ&#x20AC;&#x2122;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 whatâ&#x20AC;&#x2122;s on, whatâ&#x20AC;&#x2122;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 ďŹ nished 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.
THE FACTS
s 4HE Inpress MICF guide is a GLOSSY free lift out that appears within Inpress Magazine. s #!" CIRCULATION s !LL ADVERTISING IS FULL COLOUR s !RTWORK ASSISTANCE IS AVAILABLE free of charge
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 ofďŹ ce.
DEADLINES DEAD DL
Artwork Dea Deadline March 21
CONTACTS CONTA
Please contact : sales@inpress.com.au or on 03 9421 4499 to book your space
38 â&#x20AC;˘ INPRESS
BLOGGING FROM SXSW PLUS ALL THE NEWS & GOSSIP COMING OUT OF AUSTIN THIS WEEK
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THEMUSIC SESSION PRESENTS
BLEEDING KNEES CLUB
STREAMING THIS WEEK
DR DOG’S BE THE VOID
THE BON SCOTTS’ HERE COMES THE SUMMER/LET’S DO WHAT THE CATHOLICS DO
PHILLY ROCK’N’ROLLERS DR DOG RETURN WITH A RAUCOUS FOLLOW-UP TO THEIR CRITICALLYLAUDED SHAME, SHAME SET.
A DOUBLE A-SIDE THAT SWINGS FROM NEW ORLEANS PARTY GROOVES TO ANTHEMIC SMUT – HOW ALL GOOD FOLK SWING, REALLY.
OUT MARCH 16 ON ANTITHROUGH EPITAPH
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GUIDE
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LAST WEEK YOUR DAIL LY SPA WAS FIRST WITH: • HOW KYLE SANDILANDS WAS READ THE RIOT ACT BY BOSSES • ALL THE NEWS BEHIND-THE-SCENES FROM THE AMP WINNERS EVENT • THE HOODOO GURU V MESS+NOISE WAR OF WORDS BETWEEN AMP JUDGES
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THEMUSIC.COM.AU INPRESS • 39
40 • INPRESS
GIG OF THE WEEK
TOUR GUIDE THIS WEEK
ROBERT JOHNSON
INTERNATIONAL ST VINCENT: March 14 Hi-Fi KRS-ONE: March 14 Palace FIRST AID KIT: March 14 Corner Hotel TAYLOR SWIFT: March 14 Rod Laver Arena CHAPELIER FOU: March 14 Revolver JUDY COLLINS: March 14 Famous Spiegeltent; 15 Oakleigh Caravan Music Club 10CC: March 14 Trak; 15 Regent Theatre (Ballarat); 16 Hotel Shoppingtown (Doncaster); 17 Chelsea Heights Hotel AQUA: March 15 Palace AHAB: March 15 Toff DJ QUIK: March 16 Prince LENNY KRAVITZ, THE CRANBERRIES: 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 Forum
NATIONAL
DANGEROUS!: March 15 Next OCEANICS: March 15 Laundry LOVE CONNECTION: March 15, 16 Bar Open THE GETAWAY PLAN: March 15 Village Green Hotel (Mulgrave); 16 Ferntree Gully Hotel; 17 Pier Live (Frankston) THE BEARDS: March 16 Corner I, A MAN: March 16 National Hotel (Geelong) 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 TROY CASSAR-DALEY: March 18 Warrnambool Greyhound Racing Club CASH SAVAGE & THE LAST DRINKS: March 19 Famous Spiegeltent
FESTIVALS CARNIVAL OF SUBURBIA: March 8-18 Caravan Music Club (Oakleigh) BRUNSWICK MUSIC FESTIVAL: March 14-25 AIREYS INLET OPEN MIC MUSIC FESTIVAL: March 16-18
A NIGHT AT THE CROSSROADS – ROBERT JOHNSON TRIBUTE FRIDAY, CARAVAN MUSIC CLUB
As the legend goes, Robert Johnson sold his soul at the crossroads one evening in return for a lifetime of infinite blues wisdom, easy living and fame. And given that the blues are the undisputed gateway to modern rock’n’roll, we have a lot to thank him for. As part of the Carnival Of Suburbia events this week, Caravan Music Club have brought together a special line-up to pay tribute to Johnson – the king of the Delta blues. Included on the bill are Jeff Lang, Dom Turner, Suzannah Espie, Ian Collard, Johnny Cass and a whole bunch more. This is just one of many superb shows presented as part of the Carnival this week, and it’s guaranteed to be a corker.
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 ADAM ANT: March 30 Palace BEST OF BOTH SIDES: April 2-8, Bimbo Deluxe and Lucky Coq 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 FABULOUS THUNDERBIRDS, CANNED HEAT: April 8 Corner Hotel SNEAKY SOUND SYSTEM, THE ASTON SHUFFLE: April 8 Palace ALABAMA 3: April 8 Prince Bandroom ZIGGY MARLEY: April 9 Corner Hotel DAVID BROMBERG: April 10 Toff In Town MACEO PARKER: April 11, 12 Corner Hotel LAST DINOSAURS: April 17 Phoenix Public House; 18 National Hotel (Geelong); 19 Karova Lounge (Ballarat); 20 Northcote Social Club BLEEDING KNEES CLUB: April 19 National Hotel (Geelong); 20 Karova Lounge (Ballarat); 21 Northcote Social Club PASSENGER: April 20 Corner Hotel BIG SCARY: April 24 Corner Hotel DIG IT UP! FEAT HOODOO GURUS, THE SONICS, THE FLESHTONES: April 25 Palace JAY & SILENT BOB: Thursday 26 April Palais sdfsdfsdfdsf
DIE ANTWOORD PIC BY JAY HYNES
The sweaty, undulating mass of a crowd is evidently that of pure die-hards, if not for the massmemorisation of all the Afrikaans lyrics, purely for the scattered and seemingly insane screams of “ZEF!” Save for the South African accent being a recognisably distant relative to that of Australia, Ninja works the ocker gland for all it’s worth; countless “Aussie, Aussie, Aussie” chants, and a slam-poetry rendition of Kevin Bloody Wilson’s Christmas Song. Needless to say, Die Antwoord have the crowd at their beck and call. Afrikaans, but particularly Ninja and Yo Landi Vi$$er’s collective, voices are perfectly dialled for swearing, spitting profanities with such serpentine bite. It is simply electric.
BOMBAY BICYCLE CLUB: Tuesday 20 March, Forum
Musically, Die Antwoord’s uncomplicated, unrelenting approach serves an equally uncomplicated purpose. But really, the music is only a small part of a greater artistic spectacle. Everything about them reeks of a fantastic and overt weirdness. It’s like if the opening credits to Gaspar Noé’s Enter The Void decided to become a band. Ninja and Yo Landi Vi$$er explode onto and all around the stage, adorned in enormous fluoro orange rave hazmat suits, the suits themselves branded with a familiarly angular logo/typefacing akin to that of Blomkamp’s 2009’s Alien/Prawn classic District 9, also of South African celebrity. One level of outrageousness clearly not enough, there are multiple costume changes (though sadly no enormous, elephantine cock-mics as were modelled at BDO 2011).
UPCOMING INTERNATIONAL AQUA: March 21 Palace 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; 25 Northcote Social Club CHE-FU: March 24 Hi-Fi NICK CURLY: March 25 Revolver TRUCKSHOP HONEYMOON: March 25 Phoenix Public House WOODEN SHJIPS: March 28 Corner DEAD TO ME, COBRA SKULLS: March 29 Northcote Social Club CROSBY, STILLS & NASH: March 30 Palais KINA GRANNIS: March 29, 30 Ormond Hall STEVE EARLE: March 28 Meeniyan Town Hall; 29, 30 Corner
PRESENTS
DIE ANTWOORD PRINCE BANDROOM
Die Antwoord operate on a strange, but very charismatic, level. On one hand, they bring a small club, hip hop sensibility with a level of interaction that is totally and utterly engaging. Yet on the other hand, they present themselves musically in a field of high-arousal, bludgeoning rave-like styles, all at a level of confidence one would expect of a stadium production; the stage managing is certainly evident of such a level. But throughout, the fallback is consistently one of a curiously addictive weirdness.
themusic.com.au
All the while, if not for the trigger-happy approach to strobe lights, the visualisations behind DJ HiTek are a mix of, well, too much to take note of grace a few Evil Boys (Die Antwoord’s mammoth-phallus mascot), AK47s and weed leaves; everything at a thousand miles a second, in too many bright colours. It’s total over-stimulation, and it’s what makes Die Antwoord so – Zef! Above all, there’s a clear dedication to the craft. Even if it is all simply an extrapolation of Watkin Tudor Jones’ (the true identity of Ninja) alter-egos, it’s expressed with just about the most conviction of any that have come before. God knows Beyonce’s Sasha Fierce would get cut clean in half by Ninja’s flat-top alone. Atticus Bastow INPRESS • 41
NEW ORDER PIC BY JAY HYNES
TOUR GUIDE
NATIONAL XAVIER RUDD: March 21 Forum DANIEL CHAMPAGNE: March 21 Famous Spiegeltent CANYONS: March 22 Toff 42 • INPRESS
GARETH LIDDIARD: March 23 Regal Ballroom SLEEPMAKESWAVES: March 24 Corner WEENED: March 24 Cherry Bar I, A MAN: March 24, 25 The Hills Are Alive 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 JACK LADDER: March 29 Grace Darling STU LARSEN: March 30 303 BODYJAR: March 31 Corner TIMOTHY NELSON & THE INFIDELS: March 31 Pure Pop Records, Wesley Anne; April 1 Tote EMMA RUSSACK: March 31 Grace Darling THE GO SET: April 4 Espy YACHT CLUB DJs: April 5 Prince Bandroom; 6 Bended Elbow; 7, 8 Karova Lounge EMMY BRYCE, KATE VIGO: April 7 Palais Hepburn Springs; 26 Thornbury Theatre SNEAKY SOUND SYSTEM: April 8 Palace BOY 8-BIT: April 8 Revolver 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 ZOOPHYTE: April 13 Prince Bandroom RÜFÜS: April 13 Phoenix Public House BALL PARK MUSIC: April 13 Karova Lounge; 14, 15 (U18), 16 Corner SUPER BEST FRIENDS: April 13 Brunswick Hotel; 14 Pony BAG RAIDERS: April 14, Bottom End HOODLUM SHOUTS: April 18 Old Bar; May 5 Gasometer TWISTED AFFECTION: April 19 Bendigo Hotel; 20 Royal Melbourne Hotel; 21 John Curtin Hotel; 22 National Hotel (Geelong); 24 Newmarket Hotel (Bendigo) BLEEDING KNEES CLUB: April 19 National Hotel; 20 Karova Lounge; 21 Northcote Social Club THE SIDETRACKED FIASCO: April 20 Brunswick Hotel THE HERD, THUNDAMENTALS: April 21 Corner THE FUNKOARS: April 24 Espy; May 10 Wheelers Hill Hotel; 11 Pier Live STONEFIELD: April 24, 25 Northcote Social Club HOODOO GURUS: April 25 Palace DZ DEATHRAYS: April 25 National Hotel; 26 Karova Lounge; 27 Toff AN HORSE: April 27 Corner AYA LARKIN: May 4 Wesley Anne LANIE LANE: May 4 Karova Lounge; 25 May Meeniyan Town Hall; 26 May Corner Hotel CHANCE WATERS: May 5 First Floor WE ALL WANT TO: May 5 Empress; 6 Pure Pop Records, Kew RSL CALLING ALL CARS: May 10 Kay Street (Traralgon); 11 Hi-Fi JOSH PYKE: May 11 Forum CATCALL: May 12 Toff BOY AND BEAR: May 16 Forum DEAD LETTER CIRCUS: May 17 Ferntree Gully Hotel; 18 Hi-Fi TIM FREEDMAN: May 17 Beav’s Bar (Geelong); 19 Spirit Bar & Lounge (Traralgon); August 10, 11 Bennetts Lane THE BUTTERFLY EFFECT: May 18 Bended Elbow (Geelong); 19 Inferno (Traralgon); 20 Pier Live (Frankston); 25 Palace Theatre BOY AND BEAR: May 18 Forum; 19 Deakin’s Costa Hall (Geelong) THE BRIAN JONESTOWN MASSACRE: May 19 Forum DEF FX, INSURGE: June 2 Corner MATT BORBY: June 6 Forum TINA ARENA: July 28 Hamer Hall
FESTIVALS YACKANDANDAH FOLK FESTIVAL: March 23-25 BLUESFEST: April 5-9 Tyagarah Tea Tree farm BOOGIE: April 6-8 Tallarook CHERRYROCK012: April 29 Cherry Bar GROOVIN’ THE MOO: May 5 Prince Of Wales Showground (Bendigo)
ESPY
For Melbourne bands, playing the Espy seems to be a ‘rite of passage’ into the urban music scene. Over the past few months, Playwrite have made venues such as the Toff and the Workers Club their own. Having only been in existence for nine months, the dynamic six-piece are becoming one of the most interesting bands on the local circuit, offering a wonderful array of sounds and visuals. Often compared to Sufjan Stevens, Arcade Fire and TV On The Radio, the band have carved their own unique space within that broad sonic scope. They work with a multi-instrumental palette: a percussive soundscape encased in synths, thick bass, nimble guitar work, acoustic rhythms and intermittent saxophone. Touches of folk, rock, electro and hip hop come to a beautiful confluence to create accessible, albeit thought-provoking, pop.
CASH SAVAGE & THE LAST DRINKS: Monday 19 March, Famous Spiegeltent
EDDI READER: March 30 Melbourne Recital Centre ADAM ANT & THE GOOD, THE MAD & THE LOVELY POSSE: March 30 Palace ROYAL BATHS: March 31 Tote MANIK: 31 March Brown Alley THE WELLINGTON INTERNATIONAL UKULELE ORCHESTRA: March 30 Melbourne International Comedy Festival Club; 31 Fed Square, Northcote Social Club; April 1 Northcote Social Club 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 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 MARTIN BUTTRICH: April 8 Brown Alley BOY 8-BIT: April 8 Revolver GEORGE MICHAEL: April 9 Rod Laver Arena SUBLIME WITH ROME: 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 THE RUBENS: April 11, 12 Northcote Social Club JAMES VINCENT MCMORROW: April 12 Toff THE WEDDING PRESENT: April 14 Northcote Social Club AMON AMARTH: April 16 Billboard ONE DIRECTION: April 16 Hisense ZULU WINTER: April 16 Northcote Social Club LOU BARLOW: April 17, 18 Northcote Social Club HENRY ROLLINS: April 18-20 National Theatre THE FEELERS: April 19 Northcote Social Club JIM BRUER: April 20, 22 Capitol Theatre AUGUST BURNS RED: April 21 Billboard MARK LANEGAN BAND: April 23 Forum DMX: April 27 Trak THE EXPLOITED: April 28 Corner ANDREW WK: May 2 Pier Live; 4 Corner Hotel CITY & COLOUR: May 2, 3 Palais Theatre DIGITALISM: May 4 Forum DEVILDRIVER: May 6 Billboard FRANK TURNER: May 6 Espy WAVVES: May 9 Corner THE MOUNTAIN GOATS: May 10 Corner MORGAN PAGE: May 10 Alumbra PUBLIC ENEMY: May 15 Palace KAISER CHIEFS: May 16 Palace THE MACCABEES: May 16 Hi-Fi MURDER BY DEATH: May 17 Evelyn; 18 National Hotel MUTEMATH: May 17 Corner S CLUB 7, BIG BROVAS: May 23 Palace Theatre BELL BIV DEVOE, GINUWINE: May 25 Trak Live Lounge MICKEY AVALON: May 25 Espy NATURALLY 7: May 26 Palais Theatre ANTI-FLAG: May 27 Hi-Fi YOUNG GUNS: May 30 Hi-Fi SIMPLE PLAN: June 2 Festival Hall LADY GAGA: June 27, 28, 30, July 1 Rod Laver MELISSA ETHERIDGE: July 15 Plenary RADIOHEAD: November 16,17 Rod Laver Arena
PLAYWRITE
NEW ORDER FESTIVAL HALL
Due to the many boxing bouts hosted within these walls back in the day, this venue was once labelled ‘The House Of Stoush’. We enter Festival Hall after the support act and, amazingly, manage to secure a place in the front row, albeit a side view. Seems like a result until the tallest man on earth straightens up his skeleton. Oh well, at this heritagelisted gig it’s more important to hear than see anyway and the visuals are bound to be rocking. Starting with Elegia, New Order set the scene perfectly as our ears acclimatise to the instrumentation sans vocal. Then it’s straight into Crystal and collective breath is held. “We’re like crystal…” Frontman Bernard Sumner (aka Barney)’s vocal sounds rusty. His singing distant in the mix, Sumner seems to rely on audience sing along to mask out-of-tune patches these days. When all else fails, he employs an enthusiastic/piercingly loud and misplaced, “HEY!” However, those soaring, exultant guitar lines are as captivating as ever and quickly pull focus. Ah, Regret – how we’ve missed thee! Those plaintive lyrics and wistful melodies are extra poignant with former bassist Peter Hook’s absence on stage. As adept as Bad Lieutenant’s Tom Chapman is on his chosen instrument, “have a conversation on the telephone” one day to sort out their differences and tour New Order as a complete unit down the track. An Oktoberfest reveller sporting lederhosen suddenly spins across the giant screen and we rub our eyes to check it isn’t a hallucination. Drummer Stephen Morris hits with much ferocity throughout Age Of Consent during which my plus one has a teary moment. Different instruments are permitted time to shine within New Order’s arrangements, which carries the listener away. Those synths! 1963 is played with its accompanying Gina Birch-directed video clip, which stars Jane Horrocks (aka Bubbles from Ab Fab). We are so captivated by the visuals that our eyes drift away from the players on stage for the song’s duration. Enter Bizarre Love Triangle. Our ears become the dominant sense once more for this bouncy, nostalgic indulgence. Sumner’s pipes warm up a bit, but it’s definitely the compositions that are the stars tonight. The frontman also announces and requires many tuning breaks this evening, which will eat into precious time if repeated during the band’s scheduled festival sets. Sumner screeches out the ends of lyrical phrases during True Faith – “…replaced by FEAR!” But we’re here to dance and that we do. Our muscle memories force limbs into moves from last century. Applause explodes following The Perfect Kiss and Sumner marvels, “Thats no’ even i’!” He’s dead right since Temptation follows and we are lost in a sea of “green eyes”, “blue eyes” and “grey eyes”. Sublime. As soon as the opening programmed drums and sequencer melody fades in to announce first encore track Blue Monday, the venue detonates. The song is delivered with authentic vitriol and the impact of hearing this coveted track live cannot be downplayed. Sumner jumps behind Gillian Gilbert‘s keys stand for some tandem playing as the song plays out. Closer Love Will Tear Us Apart is New Order’s sole Joy Division inclusion.
However, the front bar at the Espy poses many difficulties for the Northside band, despite their having played here three times in 2011. Inadequate soundcheck time leads to various feedback and mixing problems, but the group persevere and ultimately entice the crowd into paying attention. They are becoming a ‘seasoned’ band, confident and refined in their performance, led by flawless lead singer, Jordan White, and song craftsman and guitarist, Patrick Holcombe. Members of the audience, some donning homemade Playwrite dresses, enthusiastically sing along to all four songs from their stunning EP: Little Ark, Multiple Universe, Black Cloud and Animals Housed. As the sound is remedied, and the mischievous microphone of unwanted feedback isolated, the show really starts to pick up. The upbeat Canada and epic Coming Back To You are notable moments in a series of many. Brightest Kid aptly precedes Bad Times, displaying the polarity with which this predominantly joyous band operates, balancing both light and dark tones. Beneath the exuberant exterior, which is reinforced by the uniform rainbow necklaces and high energy levels, are difficult undercurrents. Themes of disaster and grief often surface, which is of little surprise considering Holcombe, who writes most of the lyrics, hails from Kinglake. Playwrite exhibit a sensitivity and sophistication, both on a lyrical and musical level, rarely found in young bands. It is refreshing to see such a talented band thrive at what might be called an ‘away ground’. Playwrite are best suited to the milieu of the Toff, the Evelyn or the Workers Club, but they will flourish anywhere. James Burgmann
DEVIN TOWNSEND PROJECT, MESHUGGAH FORUM
It is a testament to both an inherent wisdom and true Zen mastery of their craft that, amongst a culture of busyness and cluttered virtuosity, Meshuggah dare to play slow and spacious music. With their Bay-Areathrash origins, Meshuggah definitely come from a place of equal busyness, but just as one freeze-distils alcohol over time for the purpose of greater and greater alcoholic benefit, so too are the fruits of Meshuggah’s distillery growing ever more viscous and wonderfully assaulting. The rests and gaps between the notes are played as intently, and with as much glorious headbanging. Everything they do is a fine craft, clearly with hours if not years behind them – given the greying of a few members of the band, it wouldn’t be far off to propose Meshuggah’s true identity as a group of 4,000-year-old Norse gods. They certainly play like it. Each song is just that bit slower; enormous undulating grooves fully supported by a pristine mix, loud enough that it is wholly impacting, without fatigue, and with a masterful clarity. The setlist is mostly of Nothing and Obzen origin, though the showstopper is an even slower version of Lethargica, with yet an even slower breakdown. In the sly words of vocalist Jens Kidman, “This is a heavy metal song.” Devin Townsend Project treats the changeover time much more like a football half-time show than a simple null period: a large screen above the stage plays select YouTube memes and other irritating favourites, with the occasional puppetry overlay of Townsend’s alter ego Ziltoid, all under the branding of “ZTV”. Townsend presents an interesting show at best; his certain type of overt sex-joke/ fart-joke, base humour combined with visuals that are straight out of the ‘Windows 95 Plus Cool Themes pack’: albeit horrendously tacky, one has a hard time working out whether or not it’s intentionally and satirically so.
Peter Hook & The Light hit our shores to perform Closer in full at the Palace next month. They played the aforementioned Joy Division track as part of a ‘greatest hits’ encore during their Unknown Pleasures tour in 2010 and this scribe felt shivers upon hearing Hooky & co’s version. Hooky wins the Love Will Tear Us Apart bout.
Townsend is first and foremost a performer and has been so since his days on tour with Steve Vai. His honest and earnest interjections of “life is fucking beautiful” and so forth are well met, especially when the culture of metal is so vapidly thick with this faux attitude of “everything is terrible/I’m so troubled”; Townsend’s positivity is courageously so. But Devin Townsend Project’s sound is muddy and overcomplicated, certainly not helped by a fairly insubstantial mix and a drummer evident of such rigidity. But really, anyone who decides to play after Meshuggah is just asking for it.
Bryget Chrisfield
Atticus Bastow
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SUNDAY
KISSTROYER PIC BY JESSE BOOHER
Day two and the sun washes the remnants of the previous evening shenanigans away to the schizophrenic soul of Harmony, who own the stage. Lost Animal have a few wobbles with sound mix early but Jarrod Quarrell and band (he’s got three up there) find their groove, as do the thousand-odd bodies soaking up the rays. Live guitar adds real depth to the performance and a venomous rendition of single Lose The Baby closes it out in style.
BLACK LIPS PIC BY JESSE BOOHER
First Aid Kit’s timeslot is ideal on this hill-lazing Sunday morning. The Swedish sisters who made it big with their cover of Fleet Foxes’ Tiger Mountain Peasant Song on YouTube have incredible harmonies. The natural amphitheatre enhances the acoustics; particularly during their new song, and set highlight, Emmylou. Glancing up the hill, it’s clear the sound has carried to the top where a group of festivalgoers take it upon themselves to begin a late morning Salute To The Sun.
GOLDEN PLAINS
SUPERNATURAL AMPHITHEATRE, MEREDITH SATURDAY It’s only been a few months since the Supernatural Amphitheatre was last visited, but the place looks amazing. Fields of adolescent sunflowers appear as if waving to the 9,000-ish, dickhead-free punters along the drive from Meredith town, and in the ‘Sup’ things are looking glorious. Spacious campsites make for easy navigation into a chosen location and some recent rain makes putting the tent pegs in an absolute dream. We’re ready for Golden Plains Sixxx. After the traditional opening ceremony, Ballarat lads Hunting Grounds are first to grace the stage. The Supernatural Amphitheatre has proven a favoured stomping ground for local bands, and Hunting Grounds (formerly Howl) start the weekend off with a bang with their pure-breed rock’n’roll stylings. Despite some technical glitches and sound issues, everyone in attendance is most certainly feeling good. And when the six-piece finish with their radio-friendly single In Colour, it becomes apparent Hunting Grounds have certainly recruited a few more fans today. Total Control huddle on the stage drinking red wine from the bottle. The mix isn’t right and as they punch through the front half of the set guitar sounds are muffled and any match play between Mikey Young and Al Montford (who is underused through the whole performance) is lost in the breeze. There’s no doubt they have the songs – One More Tonight, Carpet Rash and Retiree from album Henge Beat shine – but their energy lacks and they fail to meet some pretty huge expectations.
than it is live. After a quick trip up to the Pink Flamingo Bar for the first bevvy of the day, it is back to the stage for Wild Flag. Carrie Browstein’s performance immediately stands out from those of her three female bandmates, her vocals appear effortless and this is refreshing. Wild Flag get a deserved early Boot and even the two year old in front of us is loving it – mini headphones on and all. Ariel Pink’s Haunted Graffiti are the first act to lead the charge into the depths of Saturday night. The first time they played Melbourne they assaulted our eardrums with a noisy blend of lo-fi pop experimentation. Since then Ariel Pink has recorded a studio album and this evening the latest incarnation of his band Haunted Graffiti operate with the tight precision of a well-oiled machine to produce an altogether slicker and more lustrous sound that blends pop and psychedelia from the ‘60s, ‘70s and ‘80s. The flamboyant Ariel Pink, looking as though he has joined Genesis P Orrdige’s Lady Jaye Project, sounds removed from what we know of him on record as he caterwauls and shrieks (in a feminine falsetto) his way through the set in a way that sets him apart from the rest of the band. Amusingly, their tambourine player seems to revive Happy Mondays’ tradition of having a dancer in the band. The groovy, surf vibes of Bright Lit Blue Skies and synth pop of Round & Round provide the obvious feelgood moments.
The jangly pop tunes of Real Estate make for a lush accompaniment to the atmosphere on the hill as the sun begins to lower. The New Jersey quintet were a relatively late addition to the Golden Plains Sixxx bill, but such is their rising star that it is somewhat peculiar to see them play an early-ish set. That being said, their songs go down a treat with the burgeoning throng of punters eager to catch it, as evidenced by a great sing along during their lead single It’s Real.
There’s no doubt that tonight’s headline act is Bon Iver. The expectations are lofty, but the band pull off an amazing set that cements the organisers’ ability to pick a winner. It’s an epic, one-and-a-half hour festival set; frontman Justin Vernon overflowing in his praise, and his ten-piece band providing a beautiful backdrop to his music. Calgary, Holoscene and The Boot-winning Skinny Love are glorious highlights. Standing atop an esky on the hill at Golden Plains with mates this is a truly blissful moment. From here, it’s a dangerous descent to the front of the stage for Kisstroyer, the Kiss tribute act. More than just a covers band, the group look the part with each costume absolutely nailed. The audience struggle to fully commit though, and there’s a sense that the enthusiasm and hedonism up the front doesn’t stretch all the way to the back of the crowd. Still, hits such as Detroit Rock City and I Was Made For Loving You receive some big cheers.
Lanie Lane steps on stage in short shorts and signature red lipstick. “The Plains that are Golden,” a newly coined phrase, is being thrown around already and expectations are high for Lane, perhaps too high as she seems to be disappointing punters due to a weak sense of presence and commitment. A wave of excitement is injected into the sun-doused crowd when Lane’s cover of The Black Keys number Gold On The Ceiling begins, but it was better on Triple J’s Like A Version
The man that many have come here to see, Dexter, does not disappoint. A favourite here in the ‘Sup’, the man formerly of The Avalanches drops a bitching set that takes his audience on a ride from Cyndi Lauper to Snoop Dogg. Plenty of hip hop interspersed with some big beats ensures that there are booties shaking all over the shop and the friendly, loving vibe that carries Golden Plains is on show for all to see.
BONNIE PRINCE BILLY PIC BY JESSE BOOHER
A 20-something-minute opening number is what Endless Boogie serve up and at three-ish on a sunny arvo in Supernatural land it’s just the fix. Wildman guitar god frontman Paul Major demands we, “Light them up,” as these New York City psych lords lay down the deepest groove of the day in Empty Eye and catch Golden Plains on fire. Following up the gravity of what Endless Boogie had just laid on us, The Celibate Rifles don’t miss a beat in pulling out the most solid punk performance witnessed at this location in recent years. The guitar interplay is flawless and Kev The Head proves as vital today as when it was penned in the early-‘90s. To close, Damian Lovelock declares: “In case we never see you again, which is incredibly fuckin’ likely, enjoy the rest of your lives and remember... we’re The Celibate Rifles and you’re not.” Melbourne band Saskwatch are a visual spectacle, the nine members grace the stage with an electric energy. Lead
CHARLES BRADLEY PIC BY JESSE BOOHER singer Nkechi Anele, in her eye-catching gold mini dress, certainly makes the crowd dance along with her raspy voice. She is charismatic and really just ”sexy as fuck” as a punter screeches across the throng. By the end of the set, a crutch is in the air as well as Boots. Saskwatch are a perfect late addition to the festival line-up. More please, Aunty Meredith. Most of the talk surrounding this Golden Plains instalment centred on Roky Erickson and whether or not he could live up to his own legend. It’s moving to see him on stage and despite his fairly-well-documented distaste for performing live these days, he smiles continuously as the crowd goes bananas. Erickson and seven-piece band exceed any reasonable expectations and his crystal voice cuts into the surrounds. After the heavy psychedelics of Roky Erikson, Brit hop icon Roots Manuva fronts with a full band to deal a set of uplifting grooves that gets the crowd seriously putting their backs into pulling some fly moves. Rodney Smith spits the flow fast and furious but, unlike many others, his lyrics are suffused with a certain consciousness that ensures he is relevant and eloquent. Although Roots Manuva is easily filed under ‘hip hop’, his band skillfully manoeuvre their way through dub, reggae, dancehall and to a lesser extent soul and even metal. Witness (1 Hope) rocks the crowd and a few even raise a Boot, but most are too busy dancing. To break up one of the heavier rock-based Golden Plains afternoons in memory, Bonnie Prince Billy arrives on stage with three-piece outfit The Cairo Gang. This man is a heavy hitter in the folk world but the shift to his moody ballads jars a bit and takes a fair amount of getting used to. There are some beautiful shots of audience reflected on the big screen in his sunglasses and The Southside Of The World and One With The Birds are nothing short of stirring. The highly anticipated Charles Bradley is being introduced as punters flock to the stage, many with mouths open in amazement at the sheer power of Bradley’s voice. He sings
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with his whole body, from the gut, with so much passion and pain. When Heart Of Gold begins, we wait on Bradley’s every lyric. It seems that everyone is dancing now and each song receives thunderous applause. To think that Bradley was only discovered in his 50s is staggering. He is owning the stage and we feel lucky to have the opportunity to witness this man live. A definite festival highlight. Black Lips unleash absolute pandemonium with their thrilling take on psychedelic ‘60s surf, garage and early punk. Watching these remarkably clean-cut lads pump out some good old-fashioned, filthy rock’n’roll from as close to the stage as possible is perhaps the most foolish or fun thing you could do at Golden Plains. The music is secondary as the crowd turn into a wild tangle of failing arms and legs as bodies crowdsurf overhead. It’s harmless until some chick goes off her nut and starts violently pushing everyone in sight. Bad Kids never felt so good. Although Black Lips are more focused on their music than riot and scandal these days, they will always be plenty bad. Stepping out of their limos and onto the stage with as much style as you could imagine, ‘70s disco sensation Chic, led by band leader and legendary producer Nile Rodgers, pull up to the bumper to pump out almost two hours of disco classics that helped to define an era. Everybody Dance and Dance, Dance, Dance (Yowsah Yowsah Yowsah) quite spectacularly kick off the show with arrangements that are as smooth as silk. Effortlessly funky, Rodgers’ band are masters at the art of groove. Even the most hardened rockers at the festival cannot resist a bit of bump and grind by the time they get to I Want Your Love. Despite having released eight albums, Chic, under the tutelage of Rodgers, don’t explore obscure back catalogue but focus on chart-topping hits that Rodgers has written and produced. Celebrating his career as a producer, the band treat us to versions of Diana Ross’ I’m Coming Out, Sister Sledge’s He’s The Greatest Dancer and We Are Family, Bowie’s Lets Dance and even Madonna’s Like A Virgin. Of course we would only be listening to instrumentals if it were not for the simply amazing vocals of Sylver Sharp and Jessica Wagner, who prove to be remarkably versatile as the show progresses. Timeless classics Le Freak and Good Times end the show on a blissed-out high with ‘gnomes’ plucked from the audience dancing on stage. Although everyone is smiling, it is just heartbreaking to know that Rodgers has been dealing with cancer for the past 12 months. After the razzle dazzle of Chic, this festival has no option but to turn into a massive dance party. Despite the cold night air, most just want to dance the night away and many others are equally happy to pass out on the ground beside their trusted esky. At 3am, Canyons crawl out of the night and tempt us with the warmth of a deep, throbbing bass and the constant chug of beats. We are enticed to board their UFO and let them take us on a trip through the cosmos. Canyons have DJed across almost every venue and festival in the country so it’s great to see the duo expand into a five-piece band to play tunes off their debut album Keep Your Dreams. Although they play extended versions of When I See You Again, Blue Snakes and And We Dance, their set is way too short and feels like it is over before it begins. It’s a tantalising taster of live shows to come. The night begins to get fuzzy as the DJ, for some reason, starts to play camp house classics. Daylight slowly starts to swallow night, revealing the damage. An army of orange-vested cleaners are sweeping the grounds for rubbish. Everything that goes up must come down and many tired, grey, sleep-deprived faces look as though they are on that roller coaster ride down. By 8am the more sensible punters who went to bed early are already washed, dressed and munching on breakfast. A few have even started packing up. An enormous temporary tent city is about to be dismantled, but for now most are just sleeping. The wide open road and a cassette of Chic’s greatest hits awaits. Guido Farnell, Cassandra Fumi, Samson McDougall and Dylan Stewart INPRESS • 43
STATE I’M IN MUSIC VICTORIA UPDATES WITH PATRICK DONOVAN
Music fans from all over the country celebrated our vibrant live music scene at about 150 small venues for inaugural National Slam Day on 23 February in the biggest national celebration of music since the Sound Relief concerts in 2009.
SALT OF THE EARTH GUITAR HERO NANO STERN IS A LEGEND IN HIS NATIVE CHILE, HIS SONGS SOUNTRACKING A LARGE PROTEST AGAINST THE GOVERNMENT, WRITES SAMUEL J FELL.
Visiting a number of venues on the night was a chance to fully appreciate how lucky music fans are, particularly in Victoria, and to appreciate the intimacy and sense of community in our small venues. Federation Square promoted the event on its big screen, and the day received mass media coverage around the country. And it seems the growth of Melbourne’s live scene holds no bounds. North Melbourne Institute Of Technology’s recently released annual State Of Play report found that the scene grew 3.2% in volume in 2011, and more than $210 million was spent in advertising and promoting these shows. Yet problems continue to threaten our venues, and this was highlighted with news that electronic music venue Miss Libertine was sadly closing its doors to live performances. But it seems that councils are listening. The City Of Yarra Live Music Working Group, which includes Music Victoria board member Jon Perring, has recommended that it review existing regulatory practices to ensure that pressures on live music operators and residents are reflected in policy, procedures and practices, including the application of the Agent Of Change principal, which puts the onus of responsibility on the agent of change, be it residents or venues. Over in Port Phillip, councillor Serge Thomann is making the review of the existing live music and entertainment precincts a priority in the upcoming elections. And in the City Of Melbourne, Councillor Cathy Oke is investigating initiatives that encourage and protecte cultural spaces in the city, including looking at how the Agent Of Change principle can be incorporated into the Melbourne planning scheme. Last month Melbourne City Council approved two structure plans for the inner north that backed creating a cultural infrastructure plan to support spaces including art studios, theatres and live music venues. Music Victoria is working with the council exploring parking passes which would allow bands to park closer to venues. On a state level, the Minister For Consumer Affairs, Michael O’Brien, confirmed to Music Victoria that the Premier’s Live Music Roundtable, which will include members of peak bodies such as Music Victoria, the Australian Hotels Association and Victoria Police to investigate issues such as the Agent Of Change and underage gigs, will be set up in the near future. With the help of our student committee, Music Victoria is currently investigating impediments to the underage scene. Unlike NSW, where the scene continues to thrive, over-18s are not allowed to attend underage gigs here, and Victorian promoters have to pay a $178 de-licensing fee, which is not refunded if the tour is postponed or cancelled. Promoters have told Music Victoria that the fee and red tape is discouraging many venues and promoters from putting on underage gigs, which are a vital catalyst in attracting lifetime fans and workers in the music industry. Music Victorian members will also be able to save more in excess baggage after Qantas announced a new arrangement to support touring musicians. Musicians flying Qantas will be able to pre-book an additional baggage allowance of one piece weighing up to 23 kilograms free of charge, meaning they can double their baggage allowance to 46 kilograms. Music Victoria members can already benefit from Virgin Australia’s offer to check in up to three bags weighing up to 32 kilograms, and pool their bags between band members. In a good sign for recorded music, it appears that the recorded music industry slide may have bottomed out. ARIA’s latest wholesale figures for recorded music declined just 0.34% in 2011, and it seems the rise in digital sales is starting to offset the decline in physical sales. Mark down the last two weeks of April in your diaries for Music Victoria’s first membership campaign. We will be sending out a survey to subscribers in the next few weeks asking what would entice non-members to join up. As our state government funding is not guaranteed after 1 July 2013, is it essential we sign up as many members as possible. Patrick Donovan CEO Music Victoria 44 • INPRESS
scream for reason to come to people. And I’m glad that it’s used, I’m always authorising people to use my songs in documentary films or whatever, and of course I say yes [here], it’s an honour, a privilege to be able to help through your means of expression.”
Chilean sensation Nano Stern has been called “one of the most in-demand international artists on the domestic festival scene”, a statement which is verified beyond a doubt by the fact Stern will, this month, embark upon his seventh Australian tour in a little over three years. “Yeah, well, I think even maybe more, I’ve been there under different things, so maybe like ten times or something, actually I’ve lost count,” he laughs. It’s the fiery talent he displays on guitar, the poignant turn to his deeply meaningful lyrics, his passion for not only music, but what is right and just in this turbulent world of ours that has seen him embraced by Australian audiences – Inpress remembers seeing him at the Mullum Music Festival a couple of years ago and being mesmerised by the intricate way he’d build a song, beginning with subtle melodies, before bringing it all home amidst a cavalcade of power and the aforementioned passion. It’s all of the above which has seen Stern embraced within the boundaries of his own country especially, a place where the 26-yearold can barely walk the streets without being recognised and stopped, a place where he recently played to 180,000 people as part of a protest, and a place where his song La Puta Esperanza has been adopted as the anthem of the ongoing protest against the Chilean government’s damming of two rivers in Patagonia – Nano Stern is the voice of a generation, much loved in his home country. “[La Puta Esperanza is] a protest, it’s a
MILFORD SOUNDS Make sure you get along to Yah Yah’s on Friday for the launch of Milford Academy’s new EP, A Letter From Me To You & I. Joining in support will be the wonderful sounds of Stockades, The Sweets and Super Magic Hats. It’s only $8, doors from 9pm.
BRINGS A TEAR TO ME EYE Weekender goes green with Kiss My Blarney Stones, a Saint Patrick’s Day mini-special featuring songs from Ash, Two Door Cinema Club, The Thrills, My Bloody Valentine, Undertones, Pogues, Cranberries, U2 and more. Playing live will be The Coincidents and Running Range (featuring members of The Kits). DJs Steve (not Irish but close enough) Wide and Kieran (is actually Irish) O’Sullivan playing new and vintage indie over two floors. Yah Yah’s this Saturday from 9pm.
La Puta Esperanza is the first single from Stern’s latest recording, his fifth studio album, Las Torres De Sal (which translates to The Towers Of Salt) which has already been tagged by fans and critics alike as “his strongest work yet”, something with which Stern agrees. “For many reasons,” he says. “I think I’ve matured a lot since the last time, things have happened in my life that gave more depth, starting with the writing, the lyrics, which unfortunately people in Australia cannot really relate to [the entire record is sung in Stern’s native tongue]. “I’ve also taken the freedom to explore different things in between the last album and this one,” he adds, “but also something which makes a huge difference is the way that we produced it. It’s like a process – the first album I recorded everything myself, the second was pretty much the same but with some guests, on the third one it was the band playing but it was click tracked, but with this one we went hardcore and recorded old school, completely live in the studio, there is no dubbing at all.” Inpress is interested to know how he found this recording process then, given it’s not something he’d done before, either by himself, or when collaborating with other artists. “Well, it’s an actual recording, it’s not a studio magic thing,” Stern reasons. “You can hear the music breathe a lot more, it feels more organic somehow.” WHO: Nano Stern WHAT: Las Torres De Sal (Vitamin) WHEN & WHERE: Thursday 15 March, Brunswick Music Festival, Brunswick Town Hall
PROCESS THIS Darkly hypnotic trio The Process play songs of faith and failure, creating sounds of both postapocalyptic noir and deep, blissful sadness. Their double A-side single from their forthcoming debut LP will be launched this Sunday at the Montsalvat Great Hall in Eltham with guests Kirin J Callinan, Young Romantix and Machine.
After some quick bonding through musical discussion, Peter Cullen and the RocKwiz band decided to get together to help create Cullen’s new album Tom Whisky Blues. Composed and selfproduced by Cullen the album was to be recorded old school; no clicks, no edits but rather soul, swagger and sweat. Drawing from the sounds of the 1950s Cullen is able to create cinematic storylines through his songs. The album will be launched at the Retreat on Saturday 12 May followed by a solo acoustic show the next night.
TOWERING CASTLE
Tall Buildings return to the Edinburgh Castle with a swag of new tunes, some great sets from very talented friends and the easiest access to the parma-producing kitchen you could ask for. On Saturday, the four-piece will be joined by Ben Mellonie (Ten Gallon Head) and Mark Woodward (The Weekend People) for a classy evening in the dining room. Tunes from 9pm, $8 on the door.
PHILISTINES UNITE
Get involved in some mid-week debauchery with The Philistines every Wednesday in March at the Tote! With supports from the every partying Pom Fritz, swamp lads Jackals, the drunk country of The Bonnie Doons, experimental glam-drag band Pink Health, gamblin’ men Tyson Slithers & The Phat Chicks and much more! Doors from 7pm, entry’s $4 and there’s a BBQ in the beer garden for gold coin donation.
STAND UP FOR CAMBODIA
Fitzroy’s Disability Sport & Recreation have partnered with not for profit group Stand Up Cambodia to bring sport and recreation opportunities to women with a disability in Cambodia. The benefit gig at the Tote this Thursday is proudly supported by The Cambodian Space Project, a band who plays a mix of ‘60s Cambodian rock with Khmer Surin dance grooves, hints of the blues, French gypsy accordion music, and acid rock with reggae. Entry’s $15 and doors are at 7.30pm.
DELTA SPIRIT
ARTISTS INCLUDING IAN COLLARD, DOM TURNER AND JEFF LANG WILL PAY TRIBUTE TO THE MUSIC OF ROBERT JOHNSON AT A NIGHT AT THE CROSSROADS. PERFORMER JOHNNY CASS EXPLAINS THE ENDURING LEGACY OF THE INFLUENTIAL BLUESMAN. must be somewhere in between the notes. What’s your fave Robert Johnson song? Preaching Blues (Up Jumped The Devil. What’s the best cover of a Robert Johnson song you’ve heard? Rory Block doing Crossroads.
NOISE WORKS Not many things in life are free these days but you know what is? This gig, that’s what. It’s a bunching together of some of the noisiest bands in Melbourne. Lunaire are an amazing three-piece shoegaze outfit, BAADDD are a funky female noisepop duo, Lousy With Mines is a crazy heavy solo drum artist, White Veins are a thrashed-out punk metal band and Drongo are a psychopathic grindcore group. If you want to see a show and you don’t have any money, it’s all free, this Sunday 18 March from 7pm.
NO MEAN PETE
Do you remember the first time you heard a Robert Johnson song? My brother gave me the complete recordings when I was 18. looked at the song list and played Hellhound On My Trail because I liked the title. I knew right then I was listening to the most pure and concentrated form of the blues. When Mr Johnson sings the opening line of that song I was spellbound. For the rest of my life I will try and sing that line with those chords. The notes may be the same as Mr Johnson’s but it’s just not the same feeling. The mojo
themusic.com.au
Why do you think Robert Johnson’s music is still so popular today? Some blues scholars say that Robert Johnson learnt most of his tricks from Son House and Charley Patton. This may be true but Mr Johnson took Delta blues to a new level. I don’t know the real reason why he is so popular but maybe it’s because he was so young. He mastered the blues at 25, then recorded 29 songs at the age of 26. Those songs are the highest-selling blues songs in history. Maybe that’s why. Or there is that mythical deal with the devil. Paganini reportedly made that same deal. I guess the devil sure likes his guitar players. Can you give us a clue as to what you’ll be playing on the night? Songs I will be playing include Milkcow Calf Blues, Possession Over Judgement, Stop Breakin’ Down. A Night At The Crossroads takes place at the Caravan Music Club this Friday 16 March.
SORTED FOR E&P S HOWDY, SHERIFF
From a steady kick drum, a muffled bass line and a guitar riff that just would not quit, Sheriff emerged. Last year saw Sheriff record and produce their debut EP, and after a huge reception for lead single What You Want, their EP launch on Saturday 7 April at Cherry Bar will be the public birthing of this southern-psychedelic-horror-blues-rock trio’s first major release. Support comes from Jackals and Sun God Replica and entry’s $13.
Lakes aka Sean Bailey unleashes his 12th release, the Crossed With Leaves 7”, at the Tote this Friday. The new release takes yet another turn into an already diverse discography of bleak punk and industrial-tinged dark folk. Lakes will be in full band mode, with support from Dead Boomers, Forces and Nun. Entry’s $10 and doors are at 8.30pm.
CHICKEN DANCE For two-and-a-half years, Chicken Walk was just Chris Russell, playing solo and electric. In December last year, Russell was joined by Dean Muller on drums to create a duo that sound like a full band. Now, the Chicken Walk sound fills the room with hypnotic boogie and endless, droning, head-nodding blues. Check ‘em out Saturdays in March at the Tote, 5-7pm for free in the front bar.
STEP INTO THE LIGHT Canadian singer/songwriter Chris Assaad will step into the Australian spotlight with the release of his new EP Into The Light and a tour throughout March. This will be Assaad’s second release and his fourth visit to Australia, where over time, he has generated an expanding fan base with sincere, thought-provoking songs combined with his eclectic blend of folk, rock, roots and reggae. Catch him this Thursday at the Wesley Anne.
SEVEN HEARTS CLUB Seven Hearts are a female-fronted soaring eclectic acoustic folk roots act who are launching their debut EP The Story Of Three at the Workers Club on Friday 23 March. Their music is undeniably natural, honest and loving and reflects an emotionally celebratory diary of verses and guitar strokes. The Melbourne CD launch features the special guests Mick Hart, Nice Boy Tom and Qlayeface.
METAL FRIDAY It’s heavy metal night this Friday at the Prague, with progressive dark metal band Blackwater, self-proclaimed “sick metal” players Bullnecked, alt.metal and funk fusion blenders The Fak, Bendigo genre-evaders Overthröne and infectious hard-hitters Armoured Earth. Doors open at 8pm and entry’s only $12.
ADAM EATON
NICK THAYER
STICKY FINGERS
You And I And Us
Like Boom
Happy Endings
Independent
OWSLA
Independent
If you’re going to sing with a pronounced accent, just choose one – Adam Eaton distractingly switches between Australian and American. Eaton’s songs feature female harmonies that complement his high, country-twanged vocals (with female lead vocals in Chosen Window – a highlight), violins, and fingerpicked acoustic guitar. I’ve Already Gone is the odd one out, an upbeat hoedown with a mad banjo riff and frenzied drumming using brushes. Despite its fast tempo and ‘jolly’ vibe, it lacks liveliness. The EP ends on a good note with the title track, a folk pop song in which sincerity can be heard.
Dropbunny are leaders in Australia’s progressive rock scene. Their brutal-yet-pop-tinged sound and impressive touring list sees them destined for success. They will take another step in that direction with the release of their new record, the 18-track epic IO. Supporting this landmark occasion will be the conceptually confronting live show of Death of Art and the brutal animosity of House of Thumbs and Moth. Catch them at the John Curtin this Friday.
PACKWOOD
Independent The Tiger & Me play dark pop with lashings of cabaret and gypsysounding influences. Highlight The Smoke incorporates woodwind, string and brass into its acoustic guitar and piano backbone. A marching drum beat emerges in the last quarter while several voices sing, “One by one to the beating of this drum/Out they come”. A three-four piano tune plays underneath slow female vocals in sensual cabaret-jazz track Red Road. It ends spectacularly with a show of cymbals and xylophone tones. The band’s layering of instruments and propensity for contrasting dynamics would be magnificent live.
BE QUIET, CHILD
Adelaide based four-piece Quiet Child are hitting the road soon for their Argument From Design tour, showcasing yet to be released songs from their much anticipated third album along with a selection of tunes from their 2011 release, Thumper. This tour continues Quiet Child’s ascending presence in the Australian prog scene. Fans of both the heavy and softer spectrums of progressive rock, metal and alternative music alike can catch Quiet Child at the Evelyn on Thursday 19 April.
RAPTORS ON THE LOOSE
Velociraptor like to make party, so much so that they formed a band/gang so large, so loose, and so fun that instant party making was guaranteed wherever they showed up. The 12-member band is once again bringing their hectic and infectious party/ live show around the country after six weeks in the studio laying down the foundation for their new EP, due out later this year. See them this Saturday at the Tote with support from Harmony and Drunk Mums.
CRABFIGHT FRIDAY
Friday Night Crabfight at Loop is a night of rocksteady entertainment fresh from the holiday isles; a mashup of all things summery, soulful, tropical and feel-good. This month, resident selectas DJ Ego and Mr Nice welcome the exotic addition of Paz to join them and visual don Phaic VJ in a night of equatorial beats and eyeball warming visuals to bring you a party from some place you’d rather be. Rum drink specials and free entry all night from 10pm.
Blatnyak is the early 20th century music of the Russian underclass, a musical spectrum that spans emotion charged brass explosions through to vodka sodden melancholia. This Friday at the Horse Bazaar is the Blatnyak Russki Criminal Disko. The night will feature Vulgar Boatman, DJ Russian Disko and 555 of Uber Lingua. It’s fancy dress, so come Slavic, criminal or Slavic criminal. Entry price is $10 with doors opening at 9pm.
HORSE PLAY
A warped, psychedelic rock sound was captured on location at a farm in NSW last year and released as a debut album. This year, The Horse are focusing on distilling the essence of a dark country organic trip. Capture the vibe tomorrow night at the Retreat with fellow equine rockers, Pony Face. Free entry and bands from 9pm.
Looking at the four rock’n’roll-looking boys on the cover of Sticky Fingers’ EP, you wouldn’t expect that their sound is acoustic easy-listening pop. Vocalist Dylan Frost croons a la John Mayer, Jason Mraz and Ed Sheeran, and the music’s not far off that either. The title track is the stand-out, with an easygoing hip hop drum beat alongside acoustic guitar and some subtle wah effect (which works, surprisingly). The entire EP just feels a little safe, however; the music is pleasant, catchy, yet ultimately forgettable. JESSICA-JADE
Packwood
The Steps We Took
Independent
The Silent City
BLATNYAK BOP
HEADS UP
Melbourne producer and DJ Nick Thayer’s EP boasts top-notch production, a confident but not self-indulgent songwriting style, and electronic dance music that has structure, variation and character. Opening title track is the most commercial, featuring N’fa and Wizard Sleeve on rap duties, an energetic ‘houseparty’ vibe and bass that can only be described as ‘phat’. Facepalm is like a pop song minus the lyrics, and its opening synth riff was made to strut to.
THE TIGER & ME
LAKES AND LEAVES
EP REVIEWS WITH STEPHANIE LIEW
This debut EP from orchestral-folk musician Packwood is ambitious… in fact, it’s got a 50-piece orchestra on it. However, there’s no question that it hits the mark. Opener Tinder begins with stirring little waves of piano, leading to a swell of strings. Woodwind peeks through, transforming the song into what sounds like a forest hymn. The strings throughout the EP often sound oriental; this is especially apparent on Charlotte, which verges on sounding like Asian drama music (in the best way!). Packwood’s vocals are clear, folksy and sincere. He has certainly set the mark high for his next release.
BOUCH FOR ME
With 5678! as Single Of The Week on iTunes in Australia last week, Butterfly Boucher has announced a small East Coast tour to launch the single. Hailing from Adelaide (via Nashville) the singer/songwriter/multi-instrumentalist/producer began her solo career in 2004 with many of her songs since appearing on US television. She spent much of 2011 producing Missy Higgins’ new album but now returns to the stage, playing the Northcote Social Club on Wednesday 21 March.
GENRE BENDER
Ben Sollee is a genre-bending cellist and vocalist known for his percussive playing style, genrehopping songwriting, wide appeal, and political activism. His music incorporates banjo, guitar, percussion and unusual cello techniques to create a unique mix of folk, bluegrass, jazz and R&B. Ben Sollee seeks to intertwine his music with art and life. Sollee will be playing the Toff tonight (Wednesday) with special guest Piers Twomey.
Independent Let’s start with the good points: Jessica-Jade is a talented singer. Country pop track Next Time in particular shows off her voice’s nuances, and funk soul pop song Someone Else’s Dream demonstrates her songwriting ability and potential for versatility. However, Jade makes little effort to differentiate herself from any other typical pop singer. With lyrics such as “You might just be the one/I want to be with you in the sun” and a chorus taken almost word-for-word from Colbie Caillat’s Bubbly in Where Ever You Go, not to mention music that almost feels half-hearted in composition, this EP makes doesn’t make much of an impression, negative or positive.
KITE SLEUTH
A mixture of rock, indie and electro will awaken the senses at the Prague on Thursday 22 March. SpyKite are headlining with support from Guests Of Ghosts, Citizen and The Fog. Doors open at 8pm with an $8 entry charge on the door.
TWICE THE CONNECTION
Love Connection re-emerge from the record-making wilderness to play two special album preview shows with some excellent supports. Following a run of shows in New York City in October 2011, Love Connection returned to Australia to put the finishing touches to their second album Euphoria. They play tomorrow (Thursday) at Bar Open with Pageants and Angel Eyes, before playing again on Friday with Bum Creek and Crumbs. Both shows start at 9pm with free entry.
AHABIT
Alt.country upstarts Ahab, coming off a busy 2011, play the Toff tomorrow night (Thursday) with special guest Lachlan Bryan. Last April Ahab recorded a five track EP, Kmvt at Peter Gabriel’s Real World Studios, with John Leckie at the helm. BBC Radio 2 enthusiastically supported the key single Wish You with regular prime time plays. Ahab wrapped up 2011 with an 18-show sell-out UK tour with label-mates, Bellowhead.
MONSTER BRAVERY
I Won’t Stay Too Long is the next single from The Fearless Vampire Killer’s debut LP, Batmania. This barefaced song encompasses the vibe of the ‘70s as much as it does the sound. Staying true to the sound that we have come to know and love, I Won’t Stay Too Long is layered with musical texture that barrels through to a powerful finish. Catch the single and other tracks from Batmania this Saturday at the Toff.
WASTING AWAY
Atrophy is the first single from Melbourne band DEJA’s anticipated debut album. Created in the band’s home studio and mixed by renowned producer Scott Horscroft, the song takes its cues from the forefront of electronic/pop music from around the globe. DEJA will be celebrating the release of the single and Josh Harris’ film clip with the help of good friends Smoking Toddlers and Yuko Nishiyama at the Toff this Sunday.
themusic.com.au
PITTER PATTER
Littlefoot send out a howling wave of destruction with their unique blend of garage/punk. After releasing their first single Stiltskin last year Littlefoot are back and set to release their debut EP titled Kill Yr Face at Pony for the late show on Saturday (2am, technically Sunday). Littlefoot will straight up fuck your face with screeching guitars, powerful drums, face-melting solos all fronted by howling vocals.
INPRESS • 45
HAVE YOU HEARD
METAL SUNDAY
This Sunday will see Melbourne stoner/death heavyweights Trophyknife and fast rising slammers Whoretopsy take on Collingwood alongside Event Horizon (launching their new demo), Odiusembowel, Blood Union and The Seaford Monster at Collingwood Masonic Hall.
DANCING AT THE DISCO
Krackle Kweer Dirty Discotheque is a new seasonal party for party people at Noise Bar. The debut event will get you down and dirty on the dance floor with disco deviants Celebrities Anonymous, =Dj*My-T-Jaxx* and So 1963. Doors will open at 9pm this Friday and won’t close until the party stops. If you’re dancing, DJs will be spinning hip hop, mash-ups, retro, dirty electro and house until your dancing shoes wear out.
FIRST ARRIVES
Last Leaves are a new band consisting of three Lucksmiths members Marty Donald, Mark Monnone and Louis Richter, plus Noah Symons of Great Earthquake fame. The group have found their sound coming together effortlessly and unhurriedly. Come celebrate the debut performances of Last Leaves next Thursday 22 March at the Workers Club with Laura Imbruglia, and Saturday 24 March at the Empress with The Zebras.
DEBUT SPATS
This Saturday at the Gasometer is Ghastly Spats’ first Melbourne show but they are going to use the opportunity to launch their debut 7”. Laura, Heather, Lincoln and Colin play a hypnotic, droney type of music. Also on Saturday are punk band The Zingers, ASPS and Oranj Punjabi.
WHAT TO THNK
Exploding their lush blend of jangly indie rock and dark, tribal synth based energies into Melbourne’s live scene, THNKR have started to expand their sounds across Melbourne’s night sky. Born and raised at different ends of the country, the fivepeice tightened their expansive tastes into a unique sound in Melbourne last year. They continue their residency at the Toff next Monday with support from Midsummer Tribe and Neighbourhood Youth.
BETTER OUT THAN IN
The In The Out take to Brunswick for one night only this Saturday, St Patrick’s Day. The main support will be local garage band The Murlocs (featuring Ambrose from King Gizzard & The Lizard Wizard). Also appearing on the night will be George Hyde and Joshua Seymour in the beer garden and DJ Phil Gionfriddo spinning tracks after the live music has finished.
SALT OF THE EARTH
It has been a big 12 months for Ben Salter. After releasing his debut album; the singer-songwriter from The Gin Club, Giants of Science and The Wilson Pickers (as well as numerous other acts), toured the country with Paul Dempsey and Busby Marou, appeared on RocKwiz filming a stunning duet with girl of the moment, Kimbra and won Most Popular Male in the Queensland Music Awards. Salter will be playing every Sunday in March on the Retreat Hotel’s brand new beer garden stage. Two sets from 4pm for free.
POP COP
Headlining the Gasometer on Sunday will be Popolice, with his brand of noisy indie, all-‘90s, layered rock. Accompanying him will be Cool Drinks, hailing from Melbourne, who have been described as ‘delicious and dark pop’. Also on the bill are Turvey Park and Mr Speaker, who will be opening up the night.
INTELLIGENCE
Much loved Perth instrumental band SMRTS are bringing their acclaimed live show to Melbourne to promote their new LP Have Friends & Visit Them at Night. The SMRTS live performance is an immersive experience. Joining them at Noise Bar this Saturday are locals Vodnik, Semuta and Pioneers of Good Science. The night is set to go off. Doors will open at 8pm with $10 entry fee.
EPIDEMIC… OVER PLAY THE ESPY THIS FRIDAY AND PONY THIS SATURDAY. How did you get together? Nathan Bedford, vocals: We are childhood friends from Central Queensland with a mutual enjoyment of annoying the neighbours.
TEETOTALLERS
Have you recorded anything or do you prefer to tool around in your bedroom? Our latest EP, Long Way Home, is our third recording – we did it in someone’s bedroom – but it was a house we and Clint Vincent from Melodyssey converted into a studio in a goldrush-era mining town called Mount Morgan. Can you sum up your band’s sound in four words? Passionate, powerful, loud and visceral. If you could support any band in the world, who would it be and why? Incubus – I don’t think there’s another band that has influenced us all more growing up. Between them and Dredg, I don’t think there are any other bands the four of us could unanimously agree on. If a higher power smites your house and you can only save one record from the fire, what would it be? Dredg – The Pariah, The Parrot, The Delusion. Do you have a lucky item of clothing you wear for gigs and what is it? Trusty old black jeans – the four of us swear by them. If you invited someone awesome round for dinner what would you cook? Steak with seafood sauce, stuffed mushrooms, and my salad. You’re welcome anytime, Ian Kenny.
Tonight (Wednesday) at Bar Open, three great bands provide the spectacle. Kicking off the night will be local noisy art duo Duck Duck Chop who will be followed by the ever explosive High Tea. Arriving late are special guests to this city, Perth’s SMRTS. They are here to promote their new LP Have Friends And Visit Them At Night. Doors open at 8pm with free entry in the venue.
ST PATSKALLION
Electric troubadours, Rapskallion, shall be swashbuckling to the stage at Bar Open this St Patrick’s Day (Saturday), with their heady concoction of rabble-rousing revelry, reckless riffing, and rhapsodic romanticism. Returning from their recent East Coast tour, the Skallions are raring to deliver their rollicking, Dantesque collection of vaudevillian rock’n’roll sonnets. It starts at 10pm with free entry to the venue.
London-based Dummy have premiered the brand new video for Chet Faker’s track Terms & Conditions, the first single from his upcoming debut EP, Thinking In Textures. Hailing from the tight-knit disco and house music scene in Melbourne and taking elements from an acoustic past, Chet Faker has carved out a unique style. Don’t miss him launch his EP at the Toff In Town on Saturday 21 April.
46 • INPRESS
ABOVE THE LINE If the opening riff of track one on Waterline’s debut CD evokes something of the ‘80s Melbourne music scene it’s not surprising as key members of the band cut their musical teeth supporting acts like Do Re Mi, The Runners and Paul Kelly. The boys are a little older and wiser, but the their music still retains some of the restless energy and idealism of that era. The album launch is this Friday at the Bella Union Bar.
FULL NELSON
Perth based five-piece Timothy Nelson & The Infidels have officially announced their first ever national tour. May 2011 saw the release of their debut long-player I Know This Now which received rave reviews nationally. Their song Speak The Truth In Love took out the 2011 WAMI Song of the Year Grand Prize. Nelson and his band will play two acoustic shows on Saturday 31 March at Pure Pop Records and the Wesley Anne, Northcote. They will also play the Tote on Sunday 1 April.
How have you seen the industry change since you’ve been tattooing? Well, since I’ve started, tattooing has become more mainstream and accepted. There are plenty of shops and plenty of amazing artists popping up. I think we owe a lot of this to TV shows about tattooing and a lot to do with the internet showing people what’s out there. There has also been the introduction of being able to buy tattoo equipment over the internet which makes things easier for the untrained to obtain equipment.
GET WHAT YOU WANT
A FAKER’S DOZEN
Dark Globes are a psychedelic band based in Melbourne whose music is laced with the groove of the late ‘60s and early ‘70s. They have been kicking for almost a year now and have created a bit of attention playing wild reverb-drenched freakout gigs regularly around Melbourne. Having already self recorded a seven track EP, they are in the midst of finishing off a new release. Catch them and guests this Sunday at Bar Open for free.
What’s the worst tattoo you’ve seen? I’ve seen plenty of bad tattoos, more bad than good. Usually they are from people who think buying a tattoo kit from eBay is a great way to started with tattooing. They couldn’t be more wrong. I dont think they understand there are health risks involved as well as being able to handle a tattoo machine.
Drunken country blues for your Friday night shenanigans this week at the Victoria Hotel with The Bonnie Doons headlining. If you have ever had a beer in bed you’ll understand what this music is all about. Doors open at 10pm with free entry.
Rockabilly is on its way to the Victoria Hotel, and this Sunday the onslaught begins with the Hawaiian inspired Luau Cowboys. Tom Forsell will front his experienced band for an afternoon of swingin’, groovin’ tunes.
LIGHT BULBS
INPRESS IS A PROUD PRESENTING PARTNER OF THIS YEAR’S RITES OF PASSAGE TATTOO CONVENTION AND ARTS FESTIVAL. WE CHECK IN WITH ARTIST MICK SQUIRES, WHO’LL BE APPEARING AT THE FESTIVAL.
WE’RE GOING
ROCKABILLY RODEO
Following the success of his acoustic album Money On Your Tongue, Michael Paynter returns to Revolver for a March residency. He will get up close and personal with his fans as he performs some of his most loved songs, both self-penned and covers. Joining him on stage will be a string of special guests each week. Catch him this Thursday and on Wednesday 21 March.
TATTS ENTERTAINMENT
What’s your favourite place to drink in Melbourne? Haven’t been everywhere yet, but we definitely enjoyed a few pints at the Transit bar during the day last time we were there.
Chelsea Drugstore will bring their special brand of rock with a blues edge to the Victoria Hotel this Saturday night. A few covers from some of their main influences (Neil Young, The Stones and The Band) will also be thrown into the mix. Two sets from 10pm.
PAYNT ME A PICTURE
How long have you been tatttooing? I started tattooing in Geelong in 2006. How did you get started? I actually never planned on a career in tattooing. I went to get one small tattoo with a friend who wanted one and thought, ‘This is me’. How would you describe your style? It’s a little hard to describe because I do two main styles of work. The main one I’m known for is ‘realism’ with the second being ‘neotraditional’, which is a combination of old traditional tattooing imagery with a more modern twist. Sometimes I combine the two together. Who and what have been some of the biggest influences on your work? The guy who helped me get a start is Chris Reid from Geelong. He gave me a job and taught me the basic things I needed to know with old tattooing morals to go with it.
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Any artists you’re hanging out to be tattooed by? There are so many but I’m running out of room on my body. Internationally I’d love to be tattooed by Shige from Japan and Victor Portugal from Poland, both of whom will be tattooing at the Rites Of Passage convention here in Melbourne. Where can we check out your work? The easiest way would be through my website, micksquires.com, also the books that are currently out, The Mammoth Book Of Tattoos Vol 2, Cranial Visions, Animal Style and Electric Tattoo. There are also a number of magazines out on the shelves right now which I’m featured in. I’ll also be appearing at this year’s Rites Of Passage Tattoo Convention And Arts Festival. The Rites Of Passage Tattoo Convention And Arts Festival takes place at the Royal Exhibition Building from Friday 27 to Sunday 29 April.
DREAM MUSIC
EP FOCUS
PIETA BROWN HAD A DREAM THAT REVEALED THE PLACE SHE’D RECORD HER MOST RECENT ALBUM, MERCURY. AS MICHAEL SMITH LEARNS, HOWEVER, THE ALBUM WAS ALREADY THERE. quiet enough that you could hear people’s feet kickin’ in the sawdust on the floor. “And I was so taken by that idea, especially in this day and age, of things being quiet and playing quietly. I mean I’ve always been drawn to that, but I got really stuck on that idea of recording that way. So I had this sound in my mind where if I could get my voice to be kind of like the people’s feet. That was sorta what I was chasin’ and I’d reached out to Mark Knopfler about just running some songs by him and he suggested I reach out to [his bass player] Glenn Worf. I had actually had some other ideas about some players and what I might actually do when recording and meanwhile somewhere in there the dream had occurred.”
SEE SHAUN
Shaun Kirk has been captivating audiences across the country with his charming style of boogie, blues and soul. With a bevy of new material, Kirk’s first full-length album, Thank You For Giving Me The Blues sees the 23 year old troubadour take a leap in musical maturity. Kirk is bringing his oneman show to Ruby’s in Belgrave this Friday.
FACE THE MESSENGER
It’s rock’n’roll party time at the Toff on Saturday 24 March from 8pm with a dual single launch party to be thrown by The Messengers and Brave Face. Adding their support to the mix are Private Life and Pierre Baroni (PBS’s Soulgroove 66). The last launch these guys threw was a sell out. Don’t kick yourself for missing out this time. Limited $10 pre-sale tickets available through moshtix. $12 on the door.
HOWZAT
The unfit, beer-loving denizens of a dozen local pubs are back on the field for the annual Big Day Not Out at Edinburgh Gardens, Brunswick Street to be held on Sunday 25 March. Twelve pubs (who form part of the Yarra Pub Cricket Association) from around the innernorthern suburbs battle it out in a day-long battle royale in one of Fitzroy’s most celebrated annual community days. All proceeds go to local charities and there will be live music, DJs and loads of fun for everyone.
THE WORDS OF MOSES
Much like the bible figure, Moses the band was born from a shared love of kosmische and pedals. The five members brought life to Moses as a joke, a side project to their more serious band. However, as time progressed and bands came and went, Moses remained. Their stoner rock, peppered with a smack of shoegaze will be paired with the acoustic guitar-driven, MC-led lyricisms and good-vibes rock of Big Words. They play the John Curtin tomorrow night (Thursday).
OCEANS UNEARTHED
In the six months since their inception, Oceans have written and recorded a swag of tracks, reached number one on the Triple J Unearthed dance charts, and now comes their live debut this Saturday at the Curtin. Joining in the celebration will be folky alt. country six-piece City Walls, Autumn Falls, who will be releasing their debut EP, as well as Munro.
HELLOMOTEL
Goodbyemotel return from living in New York for the past six months, writing and recording their new album with producer Kevin Killen. They played a residency at the amazing Rockwood Music Hall and
THE FAK - DOOM How many releases do you have now? Todd James, drummer: We have released a total of three EPs. We have been finding our sound throughout all of them and feel we have finally reached our unique and energetic sound. We have found a sound that feels right and gets the crowds jumping. How long did it take to write/record? We have found in the past that recording over a long period of time can kill the energy. We recorded this brand new EP in three days with Owen Gillet. We told him that we wanted nothing but raw energy from this recording so he made us slam each song out as a band as hard as we could. He made us really remember why we wrote the songs and deliver it as true and passionate as we could in each four to five minute song. What was inspiring you during the making of the EP? We were inspired by what we disliked. We were sick of hearing Auto-Tuned bands and bullshit editing to cover up for bad musicians. We believe that you create a certain energy from pure passion – we told this to Owen Gillet and he told us the best ways to go about it. What’s your favourite song on it? My favourite song on the album to listen to and play is the title track, Doom. It pulls you in and rips you in half. It’s like Lamb Of God meets Faith No More. It’s a very intense song. We’ll like the EP if we like… You will like the EP if you like Karnivool, Pantera, Dead Letter Circus, Faith No More, Rage Against The Machine or Smashing Pumpkins. Will you be launching it? We are launching it this Friday 16 March at the Prague.
toured their EP Wish Your Way around the US, picking up college radio play and showcasing at US industry events such as CMJ and MMC. They’re throwing a home coming show on Friday 23 March at Yah Yah’s. Joining the line up with be rockers Innerspace, plus other special guests including Ash Naylor.
OLD CALADONIA
Experience the brand new breed of grunge bands at Pony tomorrow (Thursday). Each have their own twist. First up are Red Rhino combining all elements from the ‘90s that made them great. Home Made will bring some ethereal guitar rock. Headlining the night is Caladonia, a band who’ve introduced flavours to their music previously ignored by many other bands. Doors are opening at 8.30pm. The grunge will run late with Vinal Riot hitting the stage 1am.
PARTY ‘N’ SHIT
FROZEN DOCK
Cold Harbour are pleased to be returning to the Lyrebird Lounge, Ripponlea on Friday 16 March. They’ll be playing selections from their back catalogue and showcasing some new numbers destined for the studio later in the year. Also appearing on the night is the wonderful Crystal Thomas whose debut album will be released shortly.
The only real mid-week stomping ground, Party’n’Bullshit at Lounge delivers those pre-weekend vibes to those who just can’t wait until Friday or Saturday to party, or to those whose weekend starts on a Wednesday. Either way, residents Adelle, Danny Silver, Sassou, Callum and guests hold the fort down to your midweek stomp! Free entry at Lounge tonight.
ALL NIGHT
Pre-midnight vibes this Saturday at Lounge will be taken care of by the dutiful Darren Coburn before young bloods Chief and Hey Sam take over to build the room for Boogs who undoubtedly will bring the ruckus. To finish it off, recovery resident Who will smash the dancefloor until late in the morning. House music all night long for $10 from 11pm.
P
ieta Brown had this dream where she saw herself surrounded by images of her Alabama childhood looking for a place to record. And then, there it was – an old barn. “I got word from [drummer] Chad Cromwell that he had a space and [he] sent me a picture,” Brown explains, on the line from her Iowa City home. “The picture was so like the dream that I got real excited and then everybody was into it and [they] all had the time, so it really happened very seamlessly and very organically.” First of course came the songs and then, fortuitously, the players that would end up translating those songs for the recording of Mercury.
“They came in bits and pieces for sure. Some of them I wrote when I was out on a tour opening for Mark Knopfler and his band, plus there were a few that came right before going and recording. I was kind of mesmerised by this story [her partner and guitarist] Bo [Ramsey] had told me about going to see Howlin’ Wolf in Chicago before I was even born. He said that Howlin’ Wolf was singing with his mic through an amplifier – there was no PA – and the band was playin’ and they were really cooking, like really smokin’ you know; everybody was dancin’, but it was still
FANTANSTIC CARACTACUS
Caractacus emerged from their Y2K bunker clutching a CD case full of Alice In Chains, Primus, and Soundgarden and looking around for the nearest Sizzler. To celebrate the launch of their debut EP Secret Spices they’re getting together with Meet Me In Cognito, Sentia and Easy Please for a big night of shenanigans at Pony on Friday. The Scholars will play the late slot at 2am to finish off the night.
FUN... STARTED
Epidemic… Over are a passionate, alternative rock band from Queensland with soaring vocals to sing along with, a rhythm section to die for and delay-drenched, distorted guitar riffs to lose yourself in, making them an unquestionably formidable sonic force to be reckoned with. Come see Epidemic… Over when they stop in at Pony on Saturday for a night of pounding rock’n’roll with Over-Reactor, The Fak and Apache Medicine Man.
BEEN REPLACED
Tim Rogers, Nick Barker, Davey Lane, Chuck Jenkins and Dave Larkin will appear on Thursday 29 March as Gary & The Boners for a A Night Out with The Replacements at the Phoenix Public House. This killer line-up will also include Van Walker, Suzannah Espie and Kat Spazzy. The night will also be the Australian premiere of Color Me Obsessed the brand new yetto-be-released documentary on The Replacements, directed by American filmmaker Gorman Bechard.
BE FRANC
Suddenly Painlessly is the first single from Francolin’s debut album Won’t Let You Down recorded and produced by Nick Huggins. In 2011 Francolin built a reputation
themusic.com.au
So along with Ramsey, Worf and Cromwell – who, as it happens, is also in Knopfler’s US touring band – guitarist Richard Bennett, another Knopfler band member, plus multiinstrumentalist David Mansfield (Bob Dylan, Emmylou Harris, Johnny Cash) came on board and Mercury was recorded “live in the barn” – Lamplight Studio in Primm Springs, Tennessee – over three days. Knopfler flew in some guitar for the closing cut, No Words Now. While Brown has been writing since she was a kid, she came to guitar quite late. “Right on time for me I think, but yeah, definitely, it wasn’t my first instrument. I always had a kind of a special reverence for guitars – they seemed kind of like these mystical, magical beings really to me a lot of the time so I was a little wary of getting too close [laughs]. Once I got a hold of the right one, I was addicted. “Because I’m a generally quiet speaker and quieter singer most of the time, I think singing with the piano was something that didn’t always make sense with me, while singing with a guitar is a whole different deal, so it made singing the words feel natural.” WHO: Pieta Brown & The Sawdust Boys WHAT: Mercury (Red House/Vitamin) WHEN & WHERE: Wednesday 14 March, Carnival Of Suburbia, Oakleigh
for joyous live shows, a disarming dose of charm and quality lyricism. Suddenly Painlessly tumbles out the gate like a grinning locomotive. The words are an ode to the myriad ills of self-doubt but also a rallying cry to the escape trick which cures them all. Joined on stage at Phoenix Public House, Saturday 24 March, by the ultratalented Yeo, and the always entertaining ScotDrakula.
BRUISING ENCOUNTER
Having spent 2011 touring solidly, Newcastle/Sydney outfit Kira Puru & The Bruise are hitting the road once more for their When All Your Love Is Not Enough 7” single tour, performing in various venues along the eastern seaboard this Autumn. They unfurl their ode to modern sadness in Melbourne on Friday 30 March at the Tote Hotel with supports from Black Water Fever. Doors open 8.30pm with entry at $10.
NEVER WAVER
Melbourne four-piece band Waverley are getting ready to strap in for a night of explosive rock at the launch for their debut album Challenger at the Empress Hotel on Friday 30 March with supports from G-Pop and Green Green Green. Fusing the immediacy of Australian punk-rock with the ferocity of grunge, Waverley deliver tight, energetic music that positively buzzes.
LOUNGE HOUSE
This Friday Lounge present a handful of Melbourne’s DJs who have over the years, each respectively built a solid reputation of pushing real house music for real people despite many clubs and promoters tending to cater for the commercial market. Join Mike Steva (Deeper Roots), Chris NG (Release) and AnYo (Sonrisa Recordings) as they deliver on point at Lounge this Friday for $10 from 11pm. INPRESS • 47
ROOTS DOWN
THE RACKET
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
up the band and moving to a remote location to record. No distractions, just music.” Los Angeles-based progressive death metal titans The Faceless have parted ways with guitarist Steve Jones and replaced him with Wes Hauch. Guitarist Michael Keene broke the news via Twitter, stating, “Farewell Steve Jones. We had a long ride, my brother. Welcome the amazing Wes Hauch to The Faceless. He is a shredder.”
ROB ZOMBIE TROMBONE SHORTY Great records have started pumping out thick and fast over the past couple of weeks, which is incredibly exciting news for those of us with insatiable musical appetites. So, as is my wont every couple of weeks, here are some of the best things that have come across my desk in recent weeks. It’s hard to believe it has been over two years since Texan singer/songwriter Lyle Lovett released his wonderful Natural Forces album and, frankly, it’s quite surprising that he has hit back so quickly with a new record in Release Me, which is out now through Sony Music. The record is a collection of both covers and originals featuring Lovett, a ridiculously proficient band (as per usual) and a whole swag of amazing guest artists. Given Lovett is such an incredible songwriter, it is at first a little disappointing to see he only has two originals on here, but you can’t by any means say that this is a disappointing record. The territory covered is great: Chuck Berry’s Brown Eyed Handsome Man, Townes Van Zandt’s White Freightliner Blues and the title track an old gem from the catalogue of Ray Price and Engelbert Humperdinck. The ever astute Lovett is cheeky as hell here; this record is a contractual obligation to his Curb Records contract – thus the title and the cover image of him wrapped in barbed wire – but he still treats it seriously, the songs all performed with great respect and precision. Out here for Bluesfest once again this year is the hotter than hot New Orleans young gun Trombone Shorty, with his band Orleans Avenue, and Shorty (real name Troy Andrews) has finally secured an Australian release for album number three with this group For True, out through Verve/ Universal now. I don’t think you can ever really capture the energy of a Trombone Shorty show on record, but that doesn’t stop this being a seriously good record. The blend of funk, rock, jazz, blues and downright New Orleans party fare is powerful and will have you dancing no matter where you’re listening to it. I won’t lie, it has its moments where it seems a little too slick and it’s very modern, which is refreshing in some ways, just not very appealing. Particularly when Kid Rock raps on Mrs Orleans… If you haven’t heard the Dr John song Revolution from his much-anticipated new record Locked Down then you really need to get to it. Anyone who has read this column over the years will know that I’m a huge fan of Dr John’s work and I truly believe this song is the best thing he has released in years. You can stream it at soundcloud.com/ drjohn right now. The final announcement of acts for the Bluesfest bill this year has come through and it’s pretty damn exciting. To make up for the cancellation of Roger Daltrey, the festival have announced that the awesome John Fogerty will play a second show on the final night of the festival – this time around he will be performing the amazing 1969 record Green River in its entirety in a very special sunset show; just the thought of it is sending chills down my spine. Joining him in the final announcement is the reggae/blues/folk/punk/fusion of California’s Slightly Stoopid, Aussie legends Weddings, Parties, Anything in a Bluesfest exclusive show, The Hands, Claude Hay, Mick Thomas’ Roving Commission, Mason Rack Band, Daniel Champagne, Bobby Alu, Dan Hannaford, Round Mountain Girls, Mojo Bluesmen, Harry Healy, Blackbirds, Mick McHugh, Minnie Marks and The Young Sounds Of Byron. The playing times have been announced now and while there are a cavalcade of clashes, most of the acts on the bill are playing more than one set so you should be able to see pretty much everyone. 48 • INPRESS
Guitarist Christopher Amott has released the following statement regarding his departure from Swedish/German extreme metallers Arch Enemy: “I have left Arch Enemy to pursue my solo career. I’m gonna continue to be very active in music, working with all kinds of styles, this does not rule out metal. I have just recorded a new solo album, set to be released in April.” Arch Enemy, set to tour Australia next month, have recruited 26-year-old American guitarist Nick Cordle (Arsis) to replace Arnott. The band said in a statement, “There is no drama behind the scenes here. This is the best way forward for all involved. Christopher simply isn’t into playing extreme metal anymore. We have already chosen and rehearsed with a new guitar player and we will complete the Khaos Legions 2012 touring cycle as planned.” Added Arnott’s brother, Michael: “Nick was my first choice as he ticks all the right boxes for Arch Enemy with his musicality and technicality as well as his personality and dedication. [We are] looking forward to having him join us.” Rob Zombie will enter the studio in June to begin work on an as-yet-untitled new album for a late2012 release. Commented Zombie: “As production on Zombie’s upcoming film The Lords Of Salem ends, it is time for music. We will be packing
According to Robin Leach of the Las Vegas Sun, Motley Crue singer Vince Neil will open a topless nightclub, Vince Neil’s Girls, Girls, Girls, later this month in Las Vegas. The club will be located a mile from the Las Vegas Strip. “It’s something I always wanted to do,” Neil said. “So it’s like a dream come true. But this will be different and unique. It will be the first rock’n’roll strip joint. It was a business opportunity to become a partner that was too good to pass up.” Regarding the kind of entertainment that will be available at Vince Neil’s Girls, Girls, Girls, Neil told the Las Vegas Sun, “First, the girls will be edgier. Tattoos won’t be banned. They will look like they stepped out of a music video. Hot, provocative and edgy. I know it all comes down to G-strings in the end, but they’ll start out with much sexier outfits than you find elsewhere. Second, the music isn’t going to be boring. None of that house, generic strip club music. This will be full-on rock’n’roll.” Extreme technical death metallers Nile have set At The Gate Of Sethu as the title of their new album. Nile’s guitarist/vocalist Karl Sanders previously stated about the band’s new material, “Some of the drumming on this record will be boggling people’s minds for years to come.” Death Division are the new heavy, technically aggressive and melodic band founded by bassist Jerry Montano (Hellyeah), drummer Tim Yeung (Morbid Angel), vocalist/guitarist Sean de La Tour and lead guitarist Rick Di Marco. The group are currently rehearsing and writing material.
FRAGMENTED FREQUENCIES OTHER MUSIC FROM THE OTHER SIDE WITH BOB BAKER FISH by, thanks to a high Australian dollar. These days it’s cheaper to order online than wander in a store. Then of course there’s the illegal downloads. These two factors have gutted your local corner record store.
LEWIS CANCUT It’s the old person’s lament. The one that starts with the nauseatingly hackneyed “back in my day…” and grumbles that once upon a time music used to be music, and now it’s just unintelligible noise. But Fragmented Frequencies doesn’t see it like that. If anything the lament goes the other way. Back in my day music used to be unintelligible noise, now it’s only music. From the ten or so email press releases Fragmented Frequencies receives every day, trumpeting hot young cats from Minnesota and their tribal synth party jams; or Brooklyn experimental art noisenicks; or even local folk with super-cool band names, who’ve supported every hot act that’s toured in the last few months; it’s all the same. A link to a soundcloud and you can trainspot the influences. The message of the music is that everything has been done before; all we can do is bite off a chunk, accept defeat and subtly vary the genre to put our stamp on it. It’s defeatist. Fragmented Frequencies blames the global financial crisis, the evil of the interwebs and Ben Lee. In that order. There’s no doubt that labels are dying out. No one without a purple rinse is buying CDs anymore, and as a result, most of the weirder, wronger or more original music simply doesn’t get distribution here. Yet that means much less than it did in years gone
Running a record label these days too is a risky proposition. You’d have to be very concerned in this climate about remaining financially viable. So the choice between a weirdo noisy art ensemble that is highly unlikely to make its money back or catchy, hook-laden revisionist pop with easily identifiable reference points so formula-driven radio stations such as Triple J will play it, becomes increasingly more difficult if you don’t have a rich uncle backing you. Sure, you’ve got labels such as Chapter who’ll put out Bum Creek or re-release the Primitive Calculators, but some labels simply can’t afford to make these kinds of decisions anymore if they want to remain solvent. People seem to want the ‘edgy cool’ of an indie label without the edge or cool of the music that goes with it. The best you can hope for in this world of immediacy, of pre-packaged disposable sounds designed to entrance immediately before our short attention span sends us off looking somewhere else, is confusion. Where the reference points aren’t so immediately obvious. It’s such a rare commodity these days that the intrigue alone will pull you in. Fragmented Frequencies doesn’t understand the music of Melbourne DJ and producer Lewis CanCut. A member of topical electronic outfit Congo Tardis, he’s on an exotic electronic trip, with sharp artificial beats and a Caribbean island feel. He’s just released a three-track EP, Social Mixer, on the Coco Bass label and it’s just so hard to place. It’s a peculiar kind of clipped carnival music, clean and precise, club music, but only if it’s really hot and the dancefloor is outside. I don’t know the reference points, there are elements of everything from Baile funk to dancehall, but to be fair they’re vague, blurry and will take some time to unpack. If you’re curious you can grab a free download at cocobass.tumblr.com/ post/18365650593/social-mixer.
themusic.com.au
FRANK TURNER & THE SLEEPING SOULS My favourite news item this week is the announcement of the Frank Turner & The Sleeping Souls tour for May that hit the punk world last week. When Turner was last out here, he promised that the next time he came back he would be touring with his whole band and that is most definitely the case with this tour, amping up excitement levels to about 12 for his fans. What also makes this tour excellent is the support who will be accompanying Frank and co as they gallivant around the country – joining him will be William Elliott Whitmore (complete with guitar, banjo and bass drum, as well as his soulful combination of blues and folk music) and The Smith Street Band. Melbourne is in for an extra treat with Jen Buxton kicking things off at the show at the Espy on Thursday 10 May. Tickets are on sale now. In some bizarre news, apparently smoking causes a shattered leg. Okay, so that’s a loose correlation there but in the world of Taking Back Sunday’s Adam Lazzara taking a cigarette break did in fact lead to a shattered leg. Lazzara was in the studio with his band in Michigan, when he stepped out on a smoko and a tree fell on him! After immediate reports of the incident were made, the first question asked was how this would impact the band’s Australian tour with New Found Glory, The Maine and This Time Next Year, next month. The answer is apparently not at all, with all shows scheduled to go ahead. Worst case scenario is that you will see Adam Lazzara rocking the robot boot! Tickets are still on sale for the tour which will hit Melbourne on Sunday 8 April at Festival Hall. Stu Harvey announced on Short.Fast.Loud that he would be taking a short break from his Wednesday night, Triple J radio program, returning in two weeks’ time. So what has Mr Harvey got lined up for us in the meantime? A few guest hosts is what! This week, the show will be guest programmed by Geoff Rickly, vocalist of prolific and recently departed post-hardcore act Thursday, who will be playing a few of his favourite tracks. And then next week, the lads from A Day To Remember will be taking over the mic’s in much the same way. Harvey has warned that the show with Geoff Rickly will definitely be something special, so tune into Triple J from 10pm on Wednesday night to check out what his picks are. If we all throw our memories back a few years to the pain and anguish many a hardcore kid felt when their favourite band Verse broke up it all seems a bit stupid now, especially with the news that the band have hit the studio to start recording a new album due out through Bridge 9 some time this winter. The album is to be called Bitter Clarity, Uncommon Grace and is said to follow along the same musical and lyrical lines that the band’s past material has. However, one of the most interesting statements made in the album announcement press release is that Verse have plans to ensure that they will hit Australia before the end of the year. Also in the good news basket is the announcement that Canberra’s 4 Dead have FINALLY seen their second album, Anchors, get a release and it is now up for pre-sale (with immediate download after purchase) through Trial & Error Records. The album follows on from their debut album Blood & Piss, and will be released on 12” vinyl. The record is limited to 300, and is set to ship on Monday 16 April.
HAVE FRIENDS AND VISIT THEM AT NIGHT AUSTRALIAN TOUR 2012
“SMRTS IS THE SOUND OF WORLD MUSIC DYING AT THE HANDS OF GARAGE ROCK”
WED 14 MARCH // BAR OPEN FRI 16 MARCH // WORKER’S CLUB SUN 17 MARCH // NOISE BAR HAVE FRIENDS AND VISIT THEM AT NIGHT OUT NOW ON VINYL LP AND DIGITAL DOWNLOAD THROUGH HEARTLESS ROBOT PRODUCTIONS INPRESS • 49
THE BREAKDOWN
OG FLAVAS
INTELLIGIBLE FLOW
POP CULTURE THERAPY WITH ADAM CURLEY
URBAN AND R&B NEWS BY CYCLONE
HIP HOP NEWS AND COMMENTARY WITH ALEKSIA BARRON
Goodie Mob’s fortunes faded, their earlier attempt at accessibility, World Party, not convincing fans – despite a Kanye West beat.
AMERICAN PIE CAST At a clothing store on the second floor of an innercity shopping complex, a teenage girl is hanging cargo shorts on a rack. She’s also nodding to the album playing through the shop’s speakers, The Offspring’s Conspiracy Of One from 2000. The girl smiles kindly (like a nurse in an aged care facility) when I mention I haven’t heard the songs in years. “They’ve been playing ‘90s stuff in here all week,” she says, then waves at me if she’s correcting herself: “It’s just for fun though.” I’m not sure what she means by the last part exactly. Perhaps that The Offspring have rolled over the cultural hump from cringingly uncool to ironically pleasurable, or that the store has no official alliance with the red-carpet premiere of American Pie: Reunion that is about to happen in the centre court of the complex. The soundtrack to the second film in the American Pie franchise featured The Offspring’s Want You Bad, after all. Yes, I know this information. I was there. And now I’m here, 11 years later, about to watch the ‘stars’ of the films on their worldwide publicity trail – though I haven’t been able to figure out why I’ve come. Half the centre has been cordoned off to make space for a stage and a trail of carpet that isn’t only red but red, white and blue. A few radio presenters are standing on the inside of the barrier, intermittently whooping up the small crowd on the other side of the fence. There’s a single line of people on the railing of the complex’s second storey, which looks down on the action; I’m at the end of it now, pretending to have stopped to see what all the fuss is about. The crowd isn’t audibly excited about the forthcoming ‘celebrity appearances’. When the radio presenters coax them to scream, they do so, briefly. But this isn’t a One Direction flash meet. Most of the people here appear to be well past their teen years, which is surely in line with the reasons Universal Studios has revived the once money-spinning American Pie franchise: like Toy Story 3, they’re going for a 20-something audience that still spends at the cinema. People like me, who spent teen holidays at the beach listening to atrociously bland pop-punk that fuelled tragic inner lives in which things happened with girls (and not boys, yet) and friends and, well, anyone and anything. People who probably don’t need to be reminded of the names of American Pie’s characters, who are plastered on posters through the shopping complex: Jim and Stifler and Oz and Nadia, the sex-crazed ‘European’ girl. A host takes the stage and welcomes a young squad of cheerleaders who do flips in short skirts as photographers snap pictures. The first of the red-carpet arrivals is welcomed. Bizarrely (or perhaps not, considering what just took place) it’s Warwick Capper, who tells the host his favourite character from the films is “Stigler” and gives a plug for Nando’s. The host tells us – the ‘crowd’ – that we’ll all be able to get photos with the actors from the films as they walk past, and I realise I’m right in line with where they’ll have to stop before they enter the cinema. But I don’t want photos. And, I realise, I don’t want to meet them. What would I say beyond, “I forgive you for contributing to the pressure to be a white, middle-class male stereotype, for adding to my anxiety as a kid, for telling me to think of women as bit parts in a mission to get laid”? Is that why I’m here? If it is, then I don’t need to be. I don’t need a reunion to make sense of my past or move on. And so I leave the rail and take the escalators past the carpet and the barricades. As I do, though, I glimpse a man through a gap in the fence who looks just like Eugene Levy, who played the character of Jim’s Dad, grinning for a camera. And I can’t help but grin to myself. It’s just for fun though. 50 • INPRESS
CEE LO GREEN Atlanta, or ‘Hotlanta’, was the epicentre of black urban music in the ‘90s. Several iconic labels flourished in the Georgian city that also gave us Dr Martin Luther King, Jr. There was LaFace Records, started in the late ‘80s by producers LA Reid and Babyface and which launched TLC. Jermaine “JD” Dupri built So So Def Recordings with another girl group, Xscape – and ventured into bass music. And Dallas Austin founded the less viable Rowdy Records with Monica. OutKast and Goodie Mob, both signed to LaFace, put Southern hip hop on the map, combining socially-conscious rap with street themes and much funky eccentricity – all pre-crunk. In fact, the term ‘Dirty South’ was introduced on Goodie Mob’s seminal mid-’90s debut, Soul Food. OutKast’s Big Boi guested on the track Dirty South alongside Cool Breeze, who apparently coined it. Far from being rivals, OutKast and Goodie Mob were in the Dungeon Family, an alt.hip hop collective named for Organized Noize producer Rico Wade’s basement studio. What’s more, Goodie Mob were first widely heard on OutKast’s Southernplayalisticadillacmuzik. Organized Noize (Wade, Ray Murray and Sleepy Brown) themselves produced such ‘Hotlanta’ classics as TLC’s Waterfalls. OutKast eventually transformed into a pop phenomenon with 2003’s Speakerboxxx/The Love Below – and André 3000, who decided to sing on his half, would be the break-out star. Meanwhile,
André withdrew from music after OutKast’s idiosyncratic Idlewild film endeavour to focus on acting (he voiced the crow in Charlotte’s Web!). In later times Big Boi has received greater (and overdue) recognition with his Sir Lucious Leftfoot: The Son Of Chico Dusty. The Purple Ribbon don discovered Janelle Monáe. Today there’s still no sign of André’s solo rap comeback LP – and he’s recently cast doubts on an OutKast reunion. However, the Atlantan enigma has eased himself back into music with various cameos (the least cred Ke$ha’s The Sleazy Remix). You can hear him on the new DoYaThing (or DoYaThang), a posse-cut with Gorillaz and James Murphy. Ironically, it’s Goodie Mob’s Cee-Lo Green (AKA Thomas Callaway) who’s become the new André 3000 – a ‘rappa ternt sanga’, to quote T-Pain. The gospel-bred Callaway self-produced 2002’s Cee-Lo Green & His Perfect Imperfections, yet Arista dropped him following an equally lowkey sequel. The Closet Freak singer next formed Gnarls Barkley with Danger Mouse, airing the majorly Hey Ya!-eclipsing Crazy. With Danger Mouse pursuing production work, and cool shit like the Morriconeinspired Rome, Callaway has re-established himself as a solo entity. He last unleashed The Lady Killer, among OG’s albums of 2010. Now Warner has repackaged that very album, retagged The Platinum Edition – and it’s just out locally. Indeed, Callaway has enjoyed enduring success particularly in the UK where TLK is actually double-platinum. Plus he’s consolidated his profile Stateside as a coach on The Voice – and by sharing the stage with Madonna at the Super Bowl. Still, it’s amazing that the oddball Callaway should be Atlanta’s prevailing pop soul superstar over either André 3000 or Sleepy Brown, Organized Noize’s resident neo-soulster, whose Mr Brown was afforded a decent push here.
DANCE MOVES NEW CURRENTS WITH TIM FINNEY European house so inviting to the relatively novice listener, but beyond this patina of accessibility is an insistence on house-as-structure, the slow and methodical build of each arrangement, layer by layer, into grooves of near unbearable intensity and scope.
JOHN TALABOT Tech-house is going through a post-Berlin phase: having been dominated by artists from Germany for the entirety of the last decade (albeit under a variety of shifting sub-genre names), that most spangly of middlebrow dance genres now has to contend with a reshaped dance geography in which it’s no longer the unofficial centre of the world. Ironically then, already this year there have been two tech-house albums that are as good as any of the sound’s heyday. John Talabot and Blondes’ back stories are telling: Talabot hails from Spain, is connected to the Balearicminded Permanent Vacation stable, remixes bands like The xx and employs vocalists such as Glasser; meanwhile Blondes (a duo of Sam Haar and Zach Steinman) are based in Brooklyn and are rooted in America’s emergent avant-house scene as typified by the 100% Silk label – their early singles under the Blondes moniker occupied a stoner kosmische house furrow exemplified by Invisible Conga People. In both cases, there is a sense of the artist standing half within dance music “proper” and half outside of it, a sense of looking askew that (depending on who you ask) might be the artist’s selling point or their downfall. So it’s surprising that both Talabot’s debut album fin and Blondes’ self-titled debut derive their power from a mastery of the science of house music. To be sure, both revel in the kind of widescreen melodic emotionalism that made the past decade of
Not that “build” always means the same thing. The tracks on fin, deeper and moodier than Talabot’s past work, sound consciously constructed, with each new sound or motif seeming to announce its arrival, as if lit up by a small spotlight. The phrase “sonic cathedral” is of course hackneyed and overused, but Talabot’s arrangements really do sound like grand buildings emerging before your ears, all elaborate curlicues and flying buttresses. On a track like Destiny each flickering kick and synth squiggle seems simultaneously to exist in its own world but also to loop around every other sound, in a tapestry that grows larger and more engrossing with each bar. Haar and Steinman’s use of build is more naturalistic, a gradually rising tide that seems to weave all of life into its surround-sound splendour. On Blondes the listener is less enraptured by the interplay of sounds than the way the sounds merge to form a concrete whole, the album’s long-form instrumental house grooves resembling layered, intricate edifices as old as the earth. And yet, it shares Talabot’s trick of investing slight shifts in emphasis with enormous significance, like on Pleasure where a dreamy climax recedes in order to give prominence to a delightfully delicate house piano vamp. Neither Talabot nor Blondes are afraid of indulging in gestures that other producers might reject as obvious or clichéd: fin’s opener Depak Ine is littered with chirping jungle noises, and Blondes’ opener Lover loops crowd chants into a wordless expression of portentousness. But in this pursuit of the widescreen, neither Talabot nor Blondes lose sight of what’s important: with their bittersweet melodies and soft ripples of ever-transforming sounds, both albums also share a sense of melancholy wonder, celebrating the panorama of life but also giving voice to its fragility and transience.
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MONEYKAT And the hits just keep on coming. Hilltop Hoods have dropped their new album Drinking From The Sun, and it was certified gold – meaning it had sold 35,000 units – in the space of less than one day. That’s basically the equivalent of the entire population of Shepparton buying a copy. Heck, maybe they did. (If you haven’t bought it yet, and want to, you probably don’t need this column to tell you where to get it. It is available everywhere.) At any rate, another milestone for Australian hip hop in the ARIA charts seems all but inevitable, although the truly groundbreaking news could be that release dates for Canada, Germany, Austria and Switzerland have already been announced. With a US distribution deal in their back pockets to boot, could the Hoods genuinely crack an overseas market this year? You can read ym review of the album on page 32, but in summary, Drinking From The Sun is a powerful example of the Hoods’ ability to deliver interesting, engaging albums that appeal to broad audiences. Whether you want hip-swinging beats, clever wordplay or thought-provoking lyricism, the new Hoods record delivers strongly. The Hoods consistently deliver a great product of incredible appeal; they are to Australian hip hop what Walter White is to crystal meth. (That’s a Breaking Bad reference, folks – don’t go stalking people named Walter White looking for drugs, now.) I particularly loved the grand symphonic feel to much of the album. To my mind, production is one of the most intricate and creative methods of music creation, and I like to think that producers will be remembered amongst the great composers of our era. The ability to build a spectacular beat, formed from a range of aural elements and crafted into one cogent piece of music, seems infinitely more complex and creative than the standardised chord progressions at the backbone of most modern songwriting. Friday saw the release of another exciting hip hop record – the self-titled debut from Melbourne-dwellers MoneyKat. It’s soulful and skilful hip hop from Omar Musa and Mighty Joe, two of the most intelligent and articulate MCs around, and they’ve achieved the rare feat in teaming up by highlighting the strengths in each other’s performances without falling out of balance. If you’re looking to try before you buy, check their new video clip for the track Nothing Is Safe, featuring the impossibly fabulous Candice Monique (available atyoutube.com/ moneykatmusic). And as if those two albums weren’t enough to keep you entertained this week, Sietta have released their Dark Passenger EP, featuring gentler, more acoustic renditions of select tracks from their acclaimed 2011 debut album The Seventh Passenger. Get it from elefanttraks.com. If you’re too impoverished to buy music, it’d be a smart move to get your hands on a killer track for free. That would be The Frighteners (Stacks Of Time) off the upcoming free EP 2012: A Face Odyssey by Theory Of Face (comprised of Funkoars’ Trials on vocals and Golden Era’s go-to guy DJ Adfu scratching up a storm). Their 2011 EP Dem Squidz was one of the year’s most celebrated short releases, and the fact that they’re following it up with a freebie is some of the best news so far this year. There’s no doubt in my mind that folks would pay money for another Theory Of Face EP, so the fact that it’s going to be available for free download shows the generosity than even seasoned players have when it comes to offering up their work. The Frighteners (Stacks Of Time) is available for free download at theoryofface.bandcamp.com.
CLUB GUIDE WED 14 Coq Roq: Lucky Coq Halfways: Workshop Inner City Trash: Lounge Loaded Wednesdays: Revolver Upstairs Lost and Found: Spidey, Gupstar & Dan, Shaky Memorial: Revolver Upstairs Lounge Wednesdays: Matty Raovich, PCP, Adelle: Lounge NHJ: Bimbo Deluxe Wednesday Night Special: Post Percy: New Guernica Wednesdays @ Co: Petar Tolich, Scotty E: Co. Nightclub Whisky Wednesday: Strange Wolf
THU 15 3181 Thursdays: Hans DC, Nikki Sarafian. Jake Judd, Sam Gudge, John Doe, Sean Rault: Revolver Upstairs Billboard Thursdays: Billboard 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 Freakout: Laundry Free Range Funk: Lucky Coq Free Trash: Eurotrash Funhouse: Finlo White, Kitty Kat: Co. Nightclub Hangtime: Ding Dong Lounge Inner City Sounds: Workshop Lounge Thursdays: Citizen.com, JD, Danny Silver: Lounge Love Story: 1928: The Toff Midnight Express: The Toff Carriage Room Mood: DJ NuBody: Loop New Guernica Thursdays: Post Percy, Awesome Wales: New Guernica Night Skool: Eurotrash Noizy Neighbours: Room 680
Prognosis: Loop Rhythm-al-ism: Fusion Safari Thursdays: Pretty Please Shake Some Action: Street Party, Samaritan, Polyavalanche: OneSixOne Soul in the Basement: Cherry Bar Switch: Andy Murphy: EVE The Factory: G-Money & Sammy Prosser: Trak Trinity Thursdays: La Di Da Unlucky: Seven Nightclub Wah Wah Thursdays: Wah Wah Lounge
FRI 16 393 Fridays: First Floor 393 Amber Fridays: Amber Lounge Aphrodite: Brown Alley Bass Cartel: Workshop Block Party Fridays: Marrakech Bottom End Friday: Prequel, Andee Frost, Marco Polo: Bottom End Breakfast Club: Danny Daze: New Guernica
Crabfight: DJ Ego, Mr Nice: Loop Fake Tits: Tramp Freedom Pass Fridays: Brian McFadden: Co. Nightclub Fridays at Eurotrash: Eurotrash Hot Dog Disco: Bottom End Indecent Fridays: Syn Bar 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 OneSixOne Fridays: OneSixOne Outrageous Fridays: Wah Wah Panorama: Lucky Coq 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 WOW Fridays: Neverland
SAT 17 All City Bass: Brown Alley Alumbra Saturdays: Alumbra Audioporn: Dr. Zok, James Ware, China Hoops, Rowie: OneSixOne Billboard Saturdays: Billboard Bottom End Saturday Night: Jake Judd, Nikki Sarafian, Otologic, Spacey Space: Bottom End Eat Static, ESP, Laughing Buddha: Hi-Fi Envy Saturdays: Co. Nightclub Equalise: Word Bar Forbidden Saturdays: Amber Lounge Freakzone: The Workshop Houseparty: Eurotrash House De Frost: The Toff Hot Step: Bimbo Deluxe Laundry Saturdays: Laundry
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Lounge Saturdays: Nick Coleman, Darren Coburn, Luke McD, Jason DíCosta, Muska & Volta: Lounge Love 12 Grand Prix: Crown 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 Morebass!: Loop New Guernia Saturdays: Weekend Express, Cheapdate, Chestwig Mu-gen, Lopan, Thomas Touche: New Guernica Pash: The Roxy Planet Jumper: Revolver Upstairs Playground: Seven Nightclub Poison Apple: La Di Da Prognosis: Loop Re.Play Saturdays: Fusion Saturdays at First Floor: First Floor 393 Strut Saturdays: Trak TFU Saturdays: Two Floors Up Under Suspicion: Brown Alley
Wah Wah Saturdays: Wah Wah Lounge Why Not? Pretty Please
SUN 18 4AM Sunday Mornings: Wah Wah Lounge Be.: Co. Nightclub Get Wet: Word Bar Grand Master Flash: Trak Guilty Pleasure Sundays: Pretty Please Revolver Sundays: Boogs, Spacey Space, T-Rek, Radiator, Silversix,: Revolver Upstairs Soul Be In It: Workshop 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 19 Gear Shift: Horse Bazaar Hair Of The Dog: Revolver Upstairs IBimbo: Bimbo Deluxe Kool Aid: Laundry Monday Struggle: Lucky Coq
TUE 20 Almost Famous: Co. Nightclub All That Tuesday: Berlin Bar Bimbo Tuesday: Bimbo Deluxe Cosmic Pizza: Lucky Coq Choose Tuesdays: Post Percy: New Guernica Dumplings: Eurotrash Finn Audio: Loop Fourplay Tuesdays: Cushion MSG Tuesdays: Laundry Oasis: Tramp Space Hopper: Match
INPRESS • 51
HOWZAT! LOCAL MUSIC NEWS BY JEFF JENKINS “the shadowland is upon us.” Later, he sings of “cruelty and kindness behind every door”. Jack grew up in Oak Park, an experience he documents in City Lights, “the song that got the ball rolling”. He also sings about working in a supermarket: “See the world go by in aisle number two, take home a slab of Coke and pack of Winfield Blue.” Has Jack ever worked in a supermarket? “I worked in the old hardware store McEwan’s, and my son now works at Woolies. I pick him up late on a Sunday night and like to contemplate the tide of people coming and going.” Jack smiles when Howzat! says that In The Supermarket is like an Aussie version of Springsteen’s Queen Of The Supermarket. “Yay, I’ve been mentioned alongside Bruce, my musical life is complete!” JACK HOWARD
LOOKING FOR JACK IN THE SHADOWLANDS
Jack Howard was the trumpet player in Hunters & Collectors. He’s now made as many solo albums as singer Mark Seymour, and his new album, Shadowlands (available at bandcamp and iTunes), features a song called Just Let Me Sing. “If I can sing then I’ll find a way out,” Jack declares, explaining, “My dad was also a singer. In his last years, he told me that the only time the pain went away was when he was on stage.” Shadowlands is a trip to the dark side of suburbia. With Jack’s jazz-pop styling, you’re tempted to call it adult contemporary, but there’s a dark undercurrent. “Gather here, all you voices in the dark,” Jack sings, 52 • INPRESS
Shadowlands starts, “A simple plan is always best…” Is that how Jack approached the record? “Well, it was almost a one-man operation, from recording and performing through to mastering and video editing, so I guess you could say that.” He’s surprised when Howzat! suggests he has a similar vocal tone to Ross Wilson, one of our favourite singers. “Ross Wilson? I never would have picked that,” Jack replies, listing his favourite singers, “Tom Waits, Don McGlashan, Ron Peno, Richard Hawley and Neil Finn.” He’s also pleased when a radio listener reckons one of his new songs, Behind Every Door, sounds like Procol Harum. “I’ll take that.” Jack has been doing Friday nights at Pure Pop in St Kilda. “I love the beer, The Large Number 12s, the beautiful vibe of the place,” he says. He’s recording the next two Fridays for a live CD and DVD, with guitarist John Berto.
Will there be more Hunnas shows? “Hmmm,” Jack pauses, “we’re just taking it one gig at a time.” Last December, the band went to Sydney to play at the V8 Supercars, their first full gig since 1998 (they also re-formed briefly when they were inducted into the ARIA Hall Of Fame in 2005, and for 2009’s Sound Relief). How was the V8s gig? “A hoot. I think rehearsals were as much fun as the gig – the old jokes, the company, that enormously powerful sound when the whole machine gets cranking.”
instead of Albert Park, The Fauves are launching it on Friday at the Westernport Hotel in San Remo, near Phillip Island. “This is currently the only show we have booked to promote this enigmatic release,” the band says. “Who knows if we will play another?”
Music is Jack’s life. As well as the Hunnas and his solo work, he’s a music teacher at Wesley College. Despite having written a song about Kevin Sheedy (Kevin Sheedy, He’s Our Man), Jack is a passionate Carlton supporter, who’s “very positive” about their chances this season. “Kreuzer for the Brownlow,” he declares. Away from music and footy, Jack “throws the shot put in the summertime”, with a best distance of 13.82 metres. “I haven’t written a shot put song just yet, but I’m sure there’s a heavy metal concept album in it.”
I Love It HILLTOP HOODS & SIA (17)
DUDE LOOKS LIKE A HIT
In A Million Years LAST DINOSAURS (eight, debut)
Fresh from a triumphant book and album, Dave Graney is back with a new single, King Of The Dudes (available at bandcamp and iTunes). It’s a hypnotic 2.45-minute escapade; a new spin on his soft ‘n’ sexy sound. It appears that Dave’s Lurid Yellow Mist has morphed into Dave Graney & the mistLY. They promise to unleash a self-titled album in the second half of 2012, an “upvibed, loud and smart masterpiece”. Meanwhile, Dave Graney & the mistLY are playing at the Spiegeltent on Sunday 25 March. “Cool as spreading fern, king of the dudes.”
GENTLEMEN, START YOUR ENGINES
The Fauves’ 24-year career has been all about timing. Usually, it’s been bad. But in a rare piece of synchronicity, the release of the band’s new album, German Engines, coincides with the Grand Prix. But
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CHART WATCH
Knife Party return to the Top 40. Boys Like You 360 & GOSSLING (number five) Into The Flame EP MATT CORBY (13) Set It Off TIMOMATIC (24) 100% No Modern Talking EP KNIFE PARTY (32) Somebody That I Used To Know GOTYE (33) Don’t Worry Be Happy GUY SEBASTIAN (34) Last Dinosaurs and Troy Cassar-Daley both have top ten debuts. Falling & Flying 360 (number six) Home TROY CASSAR-DALEY (nine, debut) Vows KIMBRA (23) Making Mirrors GOTYE (25) Moonfire BOY & BEAR (26) Toward The Low Sun DIRTY THREE (39) The Best Of COLD CHISEL (40)
HOWZAT! PLAYLIST
Behind Every Door JACK HOWARD King Of The Dudes DAVE GRANEY Mountain Song PIERS TWOMEY 5678! BUTTERFLY BOUCHER Nothing On The Go THE FAUVES
WED 14 10CC, Stone Trak Showroom Abigail Williams, Kai Welch, Clint Dylan O’Grady, Cat Moser Phoenix Public House Able, MZ Rizk, Raceless, Sizzle Miss Libertine Adam After Work, Catch Release Horse Bazaar Adelle, Danny Silver, Sassou, Callum Lounge Bar Agent 86, Lady Noir, Joybot, Kiti, Mr Thom Lucky Coq Akmal Comic’s Lounge Baro Banda, Underbelly Northcote Social Club Ben Sollee, Piers Twomey The Toff In Town Bopstretch Uptown Jazz Cafe Bopstretch Uptown Jazz Café Brecker Mecca Paris Cat Jazz Club Bunny Monroe, Dirty York, Uptown Ace, DJ Jack Davies Cherry Bar Cella Church Bebida Bar Chapelier Fou, Saskwatch, Qua Revolver Daydream Arcade, Pretty Strangers, Brightly Evelyn Hotel Dizzy’s Big Band Dizzy’s Jazz Club First Aid Kit, The Harpoons Corner Hotel Frigg, Oh Pep!, The Twoks Thornbury Theatre Harry Hookey Veludo Helen Cat Open Studio High Tea, SMRTS, Duck Duck Chop Bar Open Holliava, Jailbird Jokers, Damn The Maps, Kalacoma Esplanade Lounge Is That A Cover?, Bad Shaft Work, Josh Haire Karova Lounge Isaac de Heer Retreat Hotel John Cleese The Comedy Theatre Jow McKee, DJ Billie Justice Workers Club Judy Collins, Daniel Champagne The Famous Spiegeltent Jules Sheldon, W.H.R Ewing Kent St Julien Wilson Quartet, Ben Carr Trio 303 Kid Garret Willow Bar KRS-ONE Palace Theatre Krystle Warren Basement Discs Marc Hannaford Trio Bennetts Lane Nigel B Swifte Edinburgh Castle Hotel Once Twice Away, Adam Eaton Empress Hotel Open Mic Dancing Dog Café
Open Mic Elwood Lounge Open Mic Grind ‘n’ Groove Bar Open Mic The Thornbury Local Petar Tolich, Scotty E Co., Crown Pieta Brown & the Sawdust Boys, Lucie Thorne Caravan Music Club Pugsley Buzzard Grumpys Green Sean Kershaw, WHR Ewing Labour In Vain St Vincent The Hi-Fi Taylor Swift, Hot Chelle Rae Rod Laver Arena The Blue Bottles, The Murlocs, Frowning Clouds, Bad Vision The Old Bar The Brunswick Open Mic with host Brodie Brunswick Hotel The Philistines, Home Owner, Bonnie Doons The Tote Troy Casser-Daley, Harmony James Wellers of Kangaroo Ground Two Jacks & a Jill, Ben & Ash Blakeney The Standard Hotel Various DJs Bimbo Deluxe Various DJs New Guernica Weathermen, Siren Wesley Anne Wine, Whiskey, Women, Ruth Lindsey, Alysia Manceau The Drunken Poet
THU 15 Ahab, Lachlan Bryan The Toff In Town Akmal Comic’s Lounge Animaux, The Good China, Young Mavericks, Hot English Northcote Social Club Aqua Palace Theatre Arachnids with Marek Postawek Dizzy’s Jazz Club Bearded Gypsie Band, Eaten By Dogs Esplanade Lounge Ben Salter Labour In Vain Ben Sollee Basement Discs Brutus Cornish Arms Hotel Built On Secrets, Celadore, A Sleepless Winter Next Burl Ivers, Cambodian Space Project, Ruth Lindsey, Sean Whelan & the Interim Lovers The Tote Caladonia, Homemade, Red Rhino, Vinal Riot, Geek Pie Pony Chris Assaad (Canada), Sarah Jean, Big Seal and the Slipper Few, Citrus Jam Wesley Anne Claudia Osegueda & Oscar Poncell Cruzao Arepa Bar Crooked Saint Baha Tacos Dukesy & The Hazzards Veludo
Finlo White, Kitty Kat Co., Crown Funkadelic Side, Yuka & the Rev Gerry-Os, Vince Peach, Pierre Baroni Cherry Bar Howard, Champagne Reggae, Secretive George Gertrude’s Brown Couch Joe Chindamo Trio Bennetts Lane John Cleese The Comedy Theatre Johnette Napolitano The Famous Spiegeltent Judge Our Hearts, Destined, A Call to Anguish Karova Lounge Judy Collins, Daniel Champagne Caravan Music Club Love Connection, Pageants, Angel Eyes Bar Open Major Tom & the Atoms Rainbow Hotel Matt Dwyer Trio Laika Bar Michael Paynter, Bonnie Anderson, Hans DC, Nikki Sarafian, Jake Judd Revolver Michelle Hines, Jessica Isgro Trio Willow Bar Mon Kerr, Blake Scott The Drunken Poet Money For Rope, The Harlots, The Pierce Brothers, Van Myer Red Bennies Munro Melano, The Skies The Thornbury Local Mustered Courage Bertha Brown Nice Boy Tom Edinburgh Castle Hotel NuBody, Mood Loop Open Mic Rubys Lounge Our Best Laid Plans, Mystic Flare, Mama’s Rejects, In Your Hands Brunswick Hotel Outerwaves, Dot. Ay, Botsky, Last Call, Degenerate, Bombs Are Falling The Gasometer Hotel Pony Face, Mushroom Horse Retreat Hotel Robert Keyes Elwood Lounge Rohypnotise, Electric Smile Band, Wall of Mirrors The Grace Bandroom Rosaline Yuen, Emmy Bryce, Michael Meeking Empress Hotel Rosencrantz, Chop Squad, Home Owner, Black Crow Kings Evelyn Hotel Salt Lake City, Capcha Horse Bazaar Sam Cope & The Trained Professionals 303 Scott Tinkler Quartet Uptown Jazz Café Sean Kershaw & the New Jack Ramblers Lomond Hotel SHaBooM Paris Cat Jazz Club Skippy’s Brain, Grief Parade, The Spaces The Old Bar Snakadaktal, Elizabeth Rose Bended Elbow, Geelong
‘Street Launch’, The Bombardiers, Abomb Whores Idgaff Bar and Venue The Beards Corner Hotel The Getaway Plan, Gatherer Village Green The Neighbourhood Youth, Private Life, The Red Lights, Adam Christou Workers Club The Weekend People, Tim Reid Great Britain Hotel Tinpan Orange, The Stillsons Phoenix Public House Troy Casser-Daley, Harmony James The Commercial Hotel Wolf vs Fire, Cooper Street, Waverley, We Disappear The Prague
FRI 16 3D DJs CBD Club Aaron Southgate, Blaise White Barwon Club Ahab Old Hepburn Hotel Ajak Kwai Band Lomond Hotel Alexander Nettelbeck trio, Carrie Lakin Paris Cat Jazz Club Anna Paddick, Velcro, Popolice Edinburgh Castle Hotel Bateman, Viking Frontier, Cavalcade, Stockades Bendigo Hotel B-Boogie, Phil Ross, Chris Mac, DJ A-Style, Johnny M Fusion, Crown Black Water, Armoured Earth, Bullnecked, Overthrone, The Fak The Prague Blatnyak Russki criminal Disko Horse Bazaar Brian McFadden, Joe Sofo, Kitty Kat, Nikkos Co., Crown Caractacus, Meet Me In Cognito, Sentia, Easy Please, The Scholars, White Rabbit Pony Celebraties Anonymous, DJ My-T-Jaxx, So 1963, Chloe Cooper, Xavier Faze Noise Bar Chronik, Soul Ministry Veludo Cold Harbour, Crystal Thomas Lyrebird Lounge Crooked Saint Torquay Hotel Dead Boomers, Forces, Nun The Tote Decrepit Sun, Strict Vincent, Hybrid Nightmares Brunswick Hotel Dirty Three, Lost Animal, Laura Jean Palace Theatre DJ Ego, Mr Nice, Paz Loop DJ Quik, Simon Sez, Micka5k Prince Bandroom Djumba, Mortisville 303 DNA DJs First Floor Dropbunny, Death of Art, House Of Thumbs, Moth John Curtin Hotel
Ennis Tola, Anna Salen, Shadow Queen, Lords of this World, Steeple Jack Esplanade Gershwin Frankenbok, Dead, Wildeornes, The Hazard Circular Karova Lounge Harmonic Generator, The Poor Wheelers Hill Hotel Hetty Kate Dizzy’s Jazz Club Hirs, Useless Children, Shit Weather, Hex on the Beach, Headless Death, The Kremlins The Gasometer Hotel I A Man, Tom Milek, Windsor Thieves National Hotel I A Man, Tom Milek, Windsor Thieves The National Hotel, Geelong International Exiles, Rouge Fonce, The Art of Later Penny Black James Sherlock Hammond Trio Uptown Jazz Café Joe Ransom, Father 67 Balaclava Hotel John Cleese The Comedy Theatre Johnette Napolitano The Famous Spiegeltent Kerri Simpsons Allways for Pleasure Allstars Williamstown RSL Lieutenant Jam, Adam Eaton, Rachel By The Stream, Bricks Gertrude’s Brown Couch Lily and King The Gem Little Flame, Micha The Thornbury Local Little Wise, Micha Thornbury Local Lot 56 Wellers of Kangaroo Ground Love Connection, Bum Creek, Crumbs Bar Open Lucy Wise, The B’Gollies, John Flanagan, The Begin Agains Thornbury Theatre Mezzanine, Playpen, Mannequins Abode Mike Steva, Chris Ng, Anyo Lounge Bar Milford Academy, Stockades, The Sweets, Super Magic Hats, Andy Young Yah Yah’s Mondo Freaks The Night Cat No Zebra, Gateway to the Sky, Your Local Hero Cornish Arms Hotel Opiuo, Sun:monx, Russ Liquid, JPS The Hi-Fi Over Reactor, Epidemic… Over, Cave of the Swallows, Apache Medicine Man, Rusty Esplanade Lounge Pear & The Awkward Orchestra, Gallant Trees, Vicuna Coat, Carly Fern, Tane Emia-Moore, Since We Kissed Wesley Anne Peter Rowan Bluegrass Band, Big Bug Trio Brunswick Town Hall Poprocks at the Toff, Dr Phil Smith The Toff In Town Rebecca Mendoza Quartet Bennetts Lane
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Scorn of a Superhero, Indian Mynah, The Hidden Venture, Oscar Mike Esplanade Basement Shane Walters Elwood Lounge Shannon Noll, Jon Stevens, Josh Owen Band Melbourne Showgrounds Shaun Kirk, Jen Knight & the Cavaliers, Tom Rule Rubys Lounge Shaun Kirk, Jen Knight & the Cavaliers, Tom Rule Ruby’s Lounge SMRTS, The Bonniwells Workers Club Snakadaktal, Elizabeth Rose, City Calm Down Northcote Social Club Storm the Sky, Black Mayday, Caitlyn Can Wait, Dead September, Emerson, This Fiasco Music Sunday Chairs, Room 11, Ray Finn, Field Trip, Mike Callander, Lewie Day, Nick Jones Revolver The Band Who Knew Too Much, The Bearded Gypsy Band Phoenix Public House The Beards, Barbarion, The Stiffys Corner Hotel The Bonnie Doons The Vic The Cartwheels Pascoe Vale RSL The Getaway Plan, Gatherer Ferntree Gully Bowling Club The Kremlings, Goonbag Colostomy, Uruk-High The Gasometer Hotel (Upstairs) The Queen Tribute Show Frankston Arts Centre The Savages LuWOW Traditional Irish Music Session, Dan Bourke & Friends The Drunken Poet Udays Tiger, The Peep Tempel, DJ Mantooth Retreat Hotel Waterline, Hugh McDonald, Paul Reid Bella Union Trades Hall Waylon Joes Highway 31 Wicked City, Kretch, Fuckface, Bat Piss, DJ Broadbent The Old Bar Yolke, Glasfrosch, Wild Honey Pie Empress Hotel
SAT 17 Andre Camilleri & the Northernaries, Tall Buildings, Ben Mellonie, Mark Woodward Edinburgh Castle Hotel Archie Roach, Lou Bennett Brunswick Town Hall Art Vs Science, Grant Smillie, Bombs Away Albert Park Grand Prix Circuit Avalancha Cruzao Arepa Bar Bidet Mate, Cassini Great Britain Hotel Briefcase Full Of Blues The Palais, Hepburn Springs Carterrollins, Crooked Saint, Rick Steward Esplanade Basement Chelsea Drugstore The Vic
Chris Hillman & Herb Pedersen Caravan Music Club Chris Russell’s Chicken Walk, Velociraptor, Harmony, Drunk Mums The Tote Ciaran and the Ratbags Veludo Closed The Drunken Poet Cocophonics, Liberty Parade Idgaff Bar and Venue Coral Lee & the Silver Scream Union Hotel Brunswick Damien Howard Band Lomond Hotel Darren Coburn, Chief, Hey Sam, WHO Lounge Bar Depression, Bloody Hammer, Counter Attack, Hailgun Bendigo Hotel Diafrix, Joelistics, Ellesquire, Calski Corner Hotel Dive Into Ruin, Dirty Elvis, Robot Mugabe, The Murder Rats The Prague Divorced, Jack Mannix, A Gender The Grace Bandroom Ezekiel Ox, Jack Dariol, Tanya George Wesley Anne Flinders Quartet, Vince Jones Montsalvat Gallery George Hyde, Joshua Seymour, Moondogs Gypsy Blues Band, The Murlocs, The In The Out, Phil Gionfriddo Retreat Hotel Ghastley Spats, The Zingers, Asps, Oranj Punjabi The Gasometer Hotel Ghetto Filth, Midget Fidget, mBug, C:1, Matt Radovich, Jem the Misfit, snes mega, cuznmatt Loop Hetty Kate Paris Cat Jazz Club Hiding with Bears, Kurtis Gentle, Emma Hales, Ghosts, The Nest Itself, They Move Like Wolves Brunswick Hotel Jam Session - Tribute to Keith Jarrett, Tracy Bartram Dizzy’s Jazz Club James McCann & the Vindictives Tago Mago Jeff Lang, Spoonful Phoenix Public House Johnette Napolitano The Famous Spiegeltent Judge Pino & the Ruling Motions The LuWow Julia Messenger Band Bennetts Lane Kevin Borich & Lucius Borich, President Roots, Todd Cook, Harmonic Generator Mount Kill em All, Thunderstruck, Foovana Esplanade Gershwin Room King of the North, Stomp Box, The Antoinettes Penny Black Lenny Kravitz, The Cranberries, Wolfmother Sidney Myer Music Bowl Lights On at Heathrow, Lubbock Lights, Elliot Wood, Woolworths Blues Singers, Tim Guy, Jacob S Harris Empress Hotel Liz Bradley Elwood Lounge
Lot 56 Northcote Primary School Fete Lot 56, Wilde & the Woolfe The Thornbury Local Louise Labour In Vain Made in Japan, The Give, The Wild Comforts Horse Bazaar Maitreya Reconnect, Eat Static, ESP, Electric Universe, Space Tribe The Hi-Fi Moonee Valley Drifters Mordialloc Food & Wine Festival Nicolette Forte, Twyce Daily, The Hollands The Chandelier Room Old Hands The Gem Our Lady of Pain, DJ Rockling, Issy Losi Barwon Club Over Reactor, Epidemic… Over, The Fak, Apache Medicine Man, Little Foot, Mr Sharp Pony Pedel Powered Cinema 303 Perch Creek Family Jugband, Eaten By Dogs, Grumpy Neighbour, Guy Kable, DJ Hillbilly Filly The Old Bar Phil Para Esplanade Lounge Planet Jumper, The Volatile Ram, T-Rek, Circuit Bent, Ash Mortimer, Ransom, Paz, WHO, Lewis Can Cut Revolver Rapskallion Bar Open Ricki-Lee, Vandalism, G-Wizard, Jo M.A.F.I.A, Phil Ross, Matty G, Chris Mac, Finlo White, Joe Sofo Fusion, Crown Sex Face, DJ Salinger Karova Lounge Shannon Noll, Bonnie Anderson Hallam Hotel SMRTS, Vodnik, Semuta, Pioneers Of Good Science Noise Bar Snakadaktal, Elizabeth Rose, Tehachapi Northcote Social Club Tania Doko, Andrew De Silva, The Hallmarks Kew Court House The Beards, The Stiffys, The Toot Toot Toots Bended Elbow, Geelong The Breakaways O’Sullivans Pub The Breakaways The Home Hotel The Dirty Three, Charles Bradley & the Extraordinaires, The Bamboos, Eric Bibb, Ben Sollee, Sal Kimber & The Rollin’ Wheel, Liz Stringer, Van Walker Mossvale Music Festival The Fearless Vampire Killers, The House deFROST, Andee Frost The Toff In Town The Getaway Plan, Gatherer Pier Live The Groves, Gecko Theory, Hands Like Ours Rubys Lounge The Groves, Gecko Theory, Hands Like Ours Ruby’s Lounge INPRESS • 53
The Hawaiian Islands, Drifter, High Tea, The Perfections Three Phase Studios The Long Yard Band Cunninghams Hotel The South of The River Gospel Choir Oakleigh Bowling Club The Wiggles Frankston Arts Centre This Town A Forest, The Rosetta Stone, Surrender Bang Twilight, Paige Elliott Phoenix, The Twoks, Primal People, Jon Montes, SmuDJ, Syme Tollens Valentiine, Dukes Of Deliciousness, Seedy Jeezus, Billy Walsh Cherry Bar Weekender, The Coincidents, Running Range, Steve Wide, Kieran O’Sullivan, Big Damo Yah Yah’s Zoophyte Evelyn Hotel
SUN 18 Alex Lashlie, Jeff May Great Britain Hotel Ben Salter Retreat Hotel Beware Black Holes, The Greasy Hawaiians Bendigo Hotel Bo Jenkins Davey’s Boogs, Spacey Space, Radiator, Silversix, Damon Walsh, Eddie Stephens Revolver Charles Bradley & the Extraordinaires, The Cactus Channel, Slim Charles Corner Hotel Charles Jenkins Carringbush Hotel Chris Hillman & Herb Pedersen Burke & Wills Winery Cilla Jane, D. Rogers, Snakadaktal, Elizabeth Rose Northcote Social Club Dan Rolls Bar Nancy Danny Walsh Banned, Lonesome, Nick Murphy Rainbow Hotel Opa 303 Dark Globes, Guests Bar Open Deja, Yuko Nishiyama, Smoking Toddlers, Andyblack, Haggis The Toff In Town Elk & Whale, Marta Pacek, Alanna & Alicia Egan, Chris Assaad (Canada) Wesley Anne Eugene “Hideaway” Bridges Williamstown RSL Fireballs, Matt McHugh, Jeff Lang, Dallas Frasca & Her Gentlemen, Dreamboogie, Papa Chango, The Animators, Todd Cook, Steve Approved Morning Star Estate Flo Rida, Grandmaster Flash, The Potbelleez, Stafford Brothers, Timmy Trumpet Albert Park Grand Prix Circuit Gemhna na Geala, Tim Scanlon The Drunken Poet
54 • INPRESS
Grandmaster Flash Trak Showroom Howlin’ Steam Train, The Bearded Gypsy Band, Lexi DeRock & the Sugarfoot Blues Band, DJ Lovepuff The Old Bar Jane Birkin Melbourne Recital Centre Jimi Hocking’s Blues Machine Young & Jacksons Jody Galvin & The Tenderhearts Union Hotel Brunswick Kylie Minogue Palace Theatre Laneway Funk Brothers, The Marabou Project, Bad Boys Batucada Esplanade Lounge Large No 12’s The Standard Hotel Lenny Kravitz, The Cranberries, Wolfmother Sidney Myer Music Bowl Lot 56 Camberwell Primary School Fete Luau Cowboys The Vic Maddison Wilson, Rebelquin Chandelier Room Marc Hannaford Trio Bennetts Lane Melody Moon, Zinnia Blue, Jayne West, Open Decks The Thornbury Local Melody Moon, Jayne West, Zinnia Blue Thornbury Local MJ Halloran & The Sinners, Poison Oak Grumpy’s Green Music Trivia, The Taylor Project, Jim Patterson, Nerdrew Empress Hotel Nick Charles & Blue Strings, Marty Kelly & Aubrey Maher Lomond Hotel Oh Sister Penny Black Phil Para Duo The Bay Mordialloc Popolice, Cool Drinks, Mr Speaker, Turvey Park The Gasometer Hotel Rory Ellis Mentone Hotel Sammy Owen Blues Band Ruby’s Lounge Scotdrakula Workers Club Sean Kershaw Labour In Vain Spectrum St Andrews Hotel Strine Singers Edinburgh Castle Hotel Take Your Own, All We Need, Averice, Trust & Fall Cornish Arms Hotel The Dirty Three, Lost Animal Theatre Royal (Castlemaine) The Little Stevies, Immigrant Union Phoenix Public House The Milano Express Veludo The Rumjacks, The Tearaways, Xander Cherry Bar The Toot Toot Toots The Famous Spiegeltent
The Wiggles Frankston Arts Centre Tiani O’Neil, Greg Mitchell Trio, Sounds of Midnight, Love Like Hate, The Divine Fluxus, The Anoushka Brunswick Hotel White Veins, Baaddd, Lousy With Mines, Lunaire, Drongo Yah Yah’s
MON 19 Ainslie Wills Esplanade Lounge Allan Browne Nihilist Quartet Bennetts Lane Brothers Hand Mirror Workers Club Don’t You Have Docs? Loop Michael Rother, Dieter Moebius, Hans Lampe, New War, Baptism of Uzi Corner Hotel Mustered Courage, Wiley Red Fox The Old Bar Passionate Tongues Poetry Brunswick Hotel Raja Ram, Emma Burnside, Vlad Badov Veludo Raw Comedy Evelyn Hotel The Bonniwells, Hierophants, Home Owner Northcote Social Club The End 303 The Monday Drift Empress Hotel
TUE 20 Acoustic Sessions 303 Alison Ferrier Retreat Hotel Brecker Mecca Dizzy’s Jazz Club Comfortable Shorts Loop El Moth & The Turbo Rads, Ghost Orchid Evelyn Hotel Fermanis, DiSario and Fischer Trio Bennetts Lane Irish Session Lomond Hotel LJ Esquire, Emma McDonald Veludo Michael Shaun, Samm Beulke, Little Paper Houses The Old Bar Millington, Matt Katsis, Language of the Birds, Hopwood Esplanade Lounge Open Mic Empress Hotel Patron Saints Cherry Bar The Quolls, Summon the Birds Brunswick Hotel Xavier Rudd The Hi-Fi
VENUE GUIDE BAHA TACOS Thursday Crooked Saint
BANG Saturday This Town A Forest, The Rosetta Stone, Surrender
BAR OPEN Wednesday High Tea, SMRTS, Duck Duck Chop Thursday Love Connection, Pageants, Angel Eyes Friday Love Connection, Bum Creek, Crumbs Saturday Rapskallion Sunday Dark Globes, Guests
BENDED ELBOW, GEELONG Thursday Snakadaktal, Elizabeth Rose Saturday The Beards, The Stiffys, The Toot Toot Toots
BIMBO DELUXE Wednesday Various DJs
BRUNSWICK HOTEL Wednesday The Brunswick Open Mic with host Brodie Thursday Our Best Laid Plans, Mystic Flare, Mama’s Rejects, In Your Hands Friday Decrepit Sun, Strict Vincent, Hybrid Nightmares Saturday Hiding with Bears, Kurtis Gentle, Emma Hales, Ghosts, The Nest Itself, They Move Like Wolves Sunday Tiani O’Neil, Greg Mitchell Trio, Sounds of Midnight, Love Like Hate, The Divine Fluxus, The Anoushka Monday Passionate Tongues Poetry Tuesday The Quolls, Summon the Birds
CORNER HOTEL Wednesday First Aid Kit, The Harpoons Thursday The Beards Friday The Beards, Barbarion, The Stiffys Saturday Diafrix, Joelistics, Ellesquire, Calski Sunday Charles Bradley & the Extraordinaires, The Cactus Channel, Slim Charles Monday Michael Rother, Dieter Moebius, Hans Lampe, New War, Baptism of Uzi
EDINBURGH CASTLE HOTEL Wednesday Nigel B Swifte Thursday Nice Boy Tom Friday Anna Paddick, Velcro, Popolice
Saturday Andre Camilleri & the Northernaries, Tall Buildings, Ben Mellonie, Mark Woodward Sunday Strine Singers
EMPRESS HOTEL Wednesday Once Twice Away, Adam Eaton Thursday Rosaline Yuen, Emmy Bryce, Michael Meeking Friday Yolke, Glasfrosch, Wild Honey Pie Saturday Lights On at Heathrow, Lubbock Lights, Elliot Wood, Woolworths Blues Singers, Tim Guy, Jacob S Harris Sunday Music Trivia, The Taylor Project, Jim Patterson, Nerdrew Monday The Monday Drift Tuesday Open Mic
ESPLANADE BASEMENT Friday Scorn of a Superhero, Indian Mynah, The Hidden Venture, Oscar Mike Saturday Carterrollins, Crooked Saint, Rick Steward
ESPLANADE GERSHWIN ROOM Friday Ennis Tola, Anna Salen, Shadow Queen, Lords of this World, Steeple Jack Saturday Kill em All, Thunderstruck, Foovana
ESPLANADE LOUNGE Wednesday Holliava, Jailbird Jokers, Damn The Maps, Kalacoma Thursday Bearded Gypsie Band, Eaten By Dogs Friday Over Reactor, Epidemic… Over, Cave of the Swallows, Apache Medicine Man, Rusty Saturday Phil Para Sunday Laneway Funk Brothers, The Marabou Project, Bad Boys Batucada Monday Ainslie Wills Tuesday Millington, Matt Katsis, Language of the Birds, Hopwood
EVELYN HOTEL Wednesday Daydream Arcade, Pretty Strangers, Brightly Thursday Rosencrantz, Chop Squad, Home Owner, Black Crow Kings Saturday Zoophyte Monday Raw Comedy Tuesday El Moth & The Turbo Rads, Ghost Orchid
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Friday Dropbunny, Death of Art, House Of Thumbs, Moth
Friday DJ Quik, Simon Sez, Micka5k
LOOP
THE DRUNKEN POET
Thursday NuBody, Mood Friday DJ Ego, Mr Nice, Paz Saturday Ghetto Filth, Midget Fidget, mBug, C:1, Matt Radovich, Jem the Misfit, snes mega, cuznmatt Monday Don’t You Have Docs? Tuesday Comfortable Shorts
LOUNGE BAR Wednesday Adelle, Danny Silver, Sassou, Callum Friday Mike Steva, Chris Ng, Anyo Saturday Darren Coburn, Chief, Hey Sam, WHO
LUCKY COQ Wednesday Agent 86, Lady Noir, Joybot, Kiti, Mr Thom
NEXT Thursday Built On Secrets, Celadore, A Sleepless Winter
NORTHCOTE SOCIAL CLUB Wednesday Baro Banda, Underbelly Thursday Animaux, The Good China, Young Mavericks, Hot English Friday Snakadaktal, Elizabeth Rose, City Calm Down Saturday Snakadaktal, Elizabeth Rose, Tehachapi Sunday Cilla Jane, D. Rogers, Snakadaktal, Elizabeth Rose Monday The Bonniwells, Hierophants, Home Owner
PHOENIX PUBLIC HOUSE Wednesday Abigail Williams, Kai Welch, Clint Dylan O’Grady, Cat Moser Thursday Tinpan Orange, The Stillsons Friday The Band Who Knew Too Much, The Bearded Gypsy Band Saturday Jeff Lang, Spoonful Sunday The Little Stevies, Immigrant Union
PONY Thursday Caladonia, Homemade, Red Rhino, Vinal Riot, Geek Pie Friday Caractacus, Meet Me In Cognito, Sentia, Easy Please, The Scholars, White Rabbit Saturday Over Reactor, Epidemic… Over, The Fak, Apache Medicine Man, Little Foot, Mr Sharp
Wednesday Wine, Whiskey, Women, Ruth Lindsey, Alysia Manceau Thursday Mon Kerr, Blake Scott Friday Traditional Irish Music Session, Dan Bourke & Friends Saturday Closed Sunday Gemhna na Geala, Tim Scanlon Tuesday Weekly Trivia
THE HI-FI Wednesday St Vincent Friday Opiuo, Sun:monx, Russ Liquid, JPS Saturday Maitreya Reconnect, Eat Static, ESP, Electric Universe, Space Tribe Tuesday Xavier Rudd
THE OLD BAR Wednesday The Blue Bottles, The Murlocs, Frowning Clouds, Bad Vision Thursday Skippy’s Brain, Grief Parade, The Spaces Friday Wicked City, Kretch, Fuckface, Bat Piss, DJ Broadbent Saturday Perch Creek Family Jugband, Eaten By Dogs, Grumpy Neighbour, Guy Kable, DJ Hillbilly Filly Sunday Howlin’ Steam Train, The Bearded Gypsy Band, Lexi DeRock & the Sugarfoot Blues Band, DJ Lovepuff Monday Mustered Courage, Wiley Red Fox Tuesday Michael Shaun, Samm Beulke, Little Paper Houses
THE STANDARD HOTEL Wednesday Two Jacks & a Jill, Ben & Ash Blakeney Sunday Large No 12’s
THE TOFF IN TOWN Wednesday Ben Sollee, Piers Twomey Thursday AHAB, Lachlan Bryan, Indian Summer DJs, Tranter, Sleeves, Megawuoti, Supremes, Mickey P, Principle Blackman Friday Poprocks at the Toff, Dr Phil Smith Saturday The Fearless Vampire Killers, The House deFROST, Andee Frost Sunday Deja, Yuko Nishiyama, Smoking Toddlers, Andyblack, Haggis
THE TOTE Wednesday The Philistines, Home Owner, Bonnie Doons Thursday Burl Ivers, Cambodian Space Project, Ruth Lindsey, Sean Whelan & the Interim Lovers Friday Dead Boomers, Forces, Nun Saturday Chris Russell’s Chicken Walk, Velociraptor, Harmony, Drunk Mums
UNION HOTEL BRUNSWICK Saturday Coral Lee & the Silver Scream Sunday Jody Galvin & The Tenderhearts
WESLEY ANNE Wednesday Weathermen, Siren Thursday Chris Assaad (Canada), Sarah Jean, Big Seal and the Slipper Few, Citrus Jam Friday Pear & The Awkward Orchestra, Gallant Trees, Vicuna Coat, Carly Fern, Tane Emia-Moore, Since We Kissed Saturday Ezekiel Ox, Jack Dariol, Tanya George Sunday Elk & Whale, Marta Pacek, Alanna & Alicia Egan, Chris Assaad (Canada)
WORKERS CLUB Wednesday Jow McKee, DJ Billie Justice Thursday The Neighbourhood Youth, Private Life, The Red Lights, Adam Christou Friday SMRTS, The Bonniwells Sunday Scotdrakula Monday Brothers Hand Mirror
YAH YAH’S Friday Milford Academy, Stockades, The Sweets, Super Magic Hats, Andy Young Saturday Weekender, The Coincidents, Running Range, Steve Wide, Kieran O’Sullivan, Big Damo Sunday White Veins, Baaddd, Lousy With Mines, Lunaire, Drongo
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MANNY’S GUITAR MONTH
March is Guitar Month at Manny’s in Fitzroy North, and from 10am ‘til 5pm this Saturday 17 March, Stuart Mansley will be in the store to answer all your Martin Guitars-related questions as well as present some equipment demonstrations and provide an insight into some of the finest acoustic guitars on the market. Then 2-7pm on Thursday 22 March, Kelly Hulme will be in the building to talk Taylor guitars.
EDDIE COCHRAN TRIBUTE GRETSCH
Coming to town for a sideshow before heading up to Bluesfest in Byron Bay, one of Brian Setzer’s biggest idols was Eddie Cochran, and as it happens, the Gretsch Custom Shop has released a limited edition G6120EC Eddie Cochran Tribute Electric Guitar. Not that you’ll necessarily be able to pick one up from your local retailer as a mere 50 have been made, but for the collector and the committed Gretsch player, it’s a cracker, built by Gretsch master luthier, Stephen Stern, and his team, and replicated from Cochran’s original guitar that resides at the Rock’n’Roll Hall Of Fame in Cleveland, Ohio. It’s the only electric guitar the rocker, who was killed in a car accident in 1960, ever owned – an orange Gretsch 6120 Chet Atkins hollowbody he bought new in 1955 when he was still only 16. The tribute reproduction copies exactly Cochran’s own modifications to the guitar, including a warmersounding neck pickup, in the contemporary edition a Seymour Duncan “Dog Ear” single-coil, matched with a Seymour Duncan DynaSonic single-coil bridge pickup, along with a Bigsby B6GPVF tailpiece. As I say though, it might have to be an eBay job getting one.
SOUND BYTES
Regina Spektor reunited with production partner Mike Elizondo (Eminem, Fiona Apple, Dr Dre) to record her new studio album, What We Saw From The Cheap Seats, over an eight-week period in Los Angeles, due for release late May. The Dandy Warhols’ eighth official studio album, This Machine, was recorded over the course of last year at the band’s clubhouse-cum-entertainment megaplex/studio The Odditorium with longtime engineer and sometime producer Jeremy Sherrer. It was mixed with Tchad Blake, well known for his recent work with The Black Keys, as well as Teenage Fanclub and Soul Coughing among many. The new album, Demoncracy, from Glendale, Arizona death metal giants Job For A Cowboy, was recorded at Audio Hammer Studios in Florida with producer Jason Seucof (Black Dahlia Murder, Trivium). Producer John Kimbrough recorded the new album, Rize Of The Fenix, from Tenacious D, in the garage behind his home in LA, with bass player John Spiker engineering and mixing. You probably won’t be surprised to discover that Jack White recorded and produced his debut solo album, Blunderbuss, due for release late April, at his own Third Man Studio in Nashville. The new Cannibal Corpse album, Torture, was produced by Hate Eternal’s Erik Rutan at his Mana Recording Studio in St Petersburg, Florida as well as Sonic Ranch in Tornillo, Texas. Melbourne singer/songwriter Adam Eaton recorded his debut EP, You & I & Us, over three days on a little island off the west coast of Norway with himself producing and Eivind Magnus Solberg engineering, the results then sent to Roger Bergodaz (Sime Nugent, Jordie Lane) in Melbourne to mix, Adam Dempsey (CW Stoneking, Jordie Lane) then mastering the EP at Deluxe Mastering. Former Dardanelles guitarist Alex Cameron has a new band, Bad//Dreems, with whom he has cut a debut single, Chills, the production debut for Children Collide frontman Johnny Mackay, who teamed with engineer Jack Farley (Twerps, Love Of Diagrams, Beaches) for the task. The results were mastered by William Bowden (Gotye, The Church, Straight Arrows). Gold Coast four-piece Oceanics headed into the legendary Albert Studios in Neutral Bay to record their second EP, Bright People, with producer Wayne Connolly (Josh Pyke, The Vines, Cloud Control). Singer/songwriter Monique Brumby has been taking her skills to the other side of the recording desk of late and recently produced, with engineer Nick Larkins, the new album by Melbourne singer/songwriter Simon Astley, recording it at Thirty Mill Studios. Four-piece Epidemic… Over, originally from Tannum Sands on Queensland’s central east coast, headed into Karibu Studios, a converted Queenslander just out of Mount Morgan, to recorded their third EP, Long Way Home, with producer Clint Vincent, who also engineered and mixed it before sending it to Dave Neil at Modern Mastering in Brisbane. 56 • INPRESS
IT’S BEEN OVER TWO YEARS SINCE XAVIER RUDD RELEASED HIS LAST ALBUM, FOLLOW THE SUN, BUT HE’S BEEN WORKING ON A NEW ALBUM, SPIRIT BIRD, DUE FOR RELEASE IN MAY. HE SPOKE TO MICHAEL SMITH ABOUT MAKING IT.
T
he forthcoming album from Xavier Rudd, Spirit Bird, is a solo acoustic album this time, which is something he hadn’t done for years. It was recorded in what he describes as “this beautiful wooden house by the lake”, Lora Bay Studios, in Thornbury, Ontario which, as it happens, belongs to the guy that does the pyrotechnics for Metallica, Doug Adams. “I met the guy who owns the studio a few years ago at a show,” Rudd, who produced the album himself explains, on the line from LA, “and he mentioned he had this studio on a lake in Canada if I wanted to record and it was all wooden – I love wood and I saw the photos and thought, ‘This place is amazing’. I’ve made two or three records since that time, but I didn’t really have any reason to go to eastern Canada to make a record. But on this trip I was kinda looking for somewhere to record and usually when I stop to record, it’s on the coast somewhere so I can surf, but I’d had back surgery so I couldn’t surf. So I needed to rehabilitate and this lake country sounded pretty amazing: wooden studio for sound, tone, and I went there on my own and recuperated and recorded. I did enjoy the time I was allowed to take on the album, rather than the usual pump ‘em out, you know? Spending some time with the songs. “There was a digital SSL board down in the basement of the house and a whole bunch of isolation booths down there and then I recorded up in the top part of the house and he ran a ‘snake’ all the way up and I recorded in this big open wooden room with a big wooden staircase and I recorded some stuff by the fire at night and some of the tracks down on the dock, like this track called Butterfly, where I just played this little slit drum, just with two mics and I was stomping on the wooden dock with my foot. The tone of the dock was amazing – like a real heartbeat – and as I was singing and playing, this little bird started singing back to me and you can hear him in the take that we kept.” The little Canadian warbler will be the odd one out on the as-yet unmastered album that Rudd features the sounds of some 30 species of native birds woven into the aural fabric of the various songs, an idea that preceded the fortuitous arrival of the Canadian contributor. “My initial idea was I wanted to do all the percussion, because I was recording it solo for the first time without
a drummer, with my guitar stuff almost to like triggering percussion that were natural sounds – birds. I wanted nature to provide the percussion through the whole record. So I was recording some birds – black swans, red-tailed black cockatoos – and tracking down bird samples and listening to a lot of different things as I was cruising ‘round the bush and wondering what sorta vibrations would work and sound and tones, plus like pitch and tempo I was listening to. It was a bit hard to know until I started trying it but it blew my mind – every bird worked, pitch and tempo. Mike Perry, who was working with me, when he started to lay ‘em in, like every time I had an idea of a bird in a track, we just laid it in and pretty much didn’t do anything to it. Pitch and tempo was spot on and it was working.” One final track was recorded in an hour back in Australia at Studios 301 Byron Bay and then Rudd called in Scott Horscroft (ex-Big Jesus Burger Studios, producer credits including Silverchair, The Sleepy Jackson, The Temper Trap and Birds Of Tokyo) to mix the recording at his new Forgotten Valley Music Studios in Lower Mangrove on the NSW Central Coast, though mixing began at 301 Sydney as Horscroft was in the process of moving his studio at the time. “I didn’t know Scott,” Rudd admits. “My manager mentioned that Scott might be the guy to mix the record and I looked at some of the stuff that he’d done and it’s
interesting, ‘cause on this record I was sampling those Australian birds and I was starting to work in some dance beats using triggers and things, some of the tribal beat stuff that I do. It’s definitely a new sound and I’m really inspired by it and I thought someone with the background that Scott had could add an interesting flair to the mixes. When we spoke, there was a lot about Space Echoes and a lot of those dub-style effects I wanted to use so he seemed like the right cat and it went well. “Everything I tracked I never listened back to once – I just let it go – and for like two or three months, by the time we mixed it, I couldn’t even remember what I did. I sorta knew what tracks I’d recorded but I had no idea, so it wasn’t until we dusted it off in Sydney with Scott that I started to understand what was laid down, and it got really exciting.” As well as various feathered friends, the album features the voices of members of the Mohawk Nation and some 250 kids from the Cape Bay Rudolf Steiner School, along with Fred Leone, an Indigenous hip hop artist from Brisbane, who drops some rhymes on one track. Spirit Bird is expected to be released Friday 25 May. Rudd plays Wednesday 21 March at Festival Hall.
STUDIO PROFILE
THREE PHASE REHEARSAL STUDIOS BEN HOVEY – OWNER/OPERATOR What’s the studio set-up you have there equipmentwise? We have brand new rehearsal rooms at our new premises at 8 Tinning Street, Brunswick. Every room is fully isolated from the next, fully ventilated, air conditioned, and with a brand new PA by Yamaha and RCF. The large rooms are huge, with 1300W Yamaha speakers and a 16 channel desk. Medium rooms also have a 16 channel desk with a pair of RCF speakers. The small rooms have 12 channel desks with a Peavey power amp running Yamaha speakers. All the PAs really crank – you’ll have no problem hearing vocals no matter how loud your band is. As many Sure SM58s as you require are also supplied. How many rooms are available for hire? We currently have six rooms at Tinning street, with five more to be built in the future.
Is there storage facilities for bands that book on a regular basis? We have over 20 storage bays which can swallow a few bands’ worth of equipment each. They can be hired short or long term for $20, but demand for these is huge. We’re an impoverished indie band – do you offer any deals for acts in our situation? We can do great day rates during the week, including half sessions. Full band rehearsals start from $35 for three hours. If you’re a solo performer, or just want to have a practice on the drums, the solo rate is $10 for an hour, $15 for up to three hours, or $20 for six hours.
Do you have any in-house instruments at the studio acts can use, or is totally BYO? We have a small but quality selection of amps and drums, but we’ll continue to add to the collection. Currently we have Marshall, Mesa Boogie, Vox, and SWR amps, and a great solid Yamaha drumkit which can all be hired for only $15 each per session. What’s the access to the studio like with regards to plarking, flat load, etc? The new Three Phase on Tinning Street is blessed with fantastic neighbours who have all made their car parks available to our customers out of hours, plus loads of street parking. There is a drive-in undercover
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loading bay and being on the ground floor it’s a totally flat load in – not a single step in the whole place. Working in the studio can be arduous and we’ll need a break – what are the amenities in the local area? Any recommendations? Sydney Road is about 50 metres away at the end of our street, Lebanese bakeries, supermarket, pizza, kebabs – it’s all right there. The Edinburgh Castle hotel is a short walk – great food and beers on tap and perfect for a break from the rehearsal room or a beer afterwards. What are your contact details? Phone: 9939 8896 and threephasemusic.com.
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INPRESS â&#x20AC;˘57
EMPLOYMENT ADMINISTRATION 15year old bass player looking to join metal or punk band. influences include metallica, slayer, megadeth, anthrax, pantera, ozzy osbourne/ black sabbath and many more. email space1996@hotmail.com iFlogID: 16863
At STRINGS ‘N’ SKINS: You will find tuition for- Guitar, Bass, Drums, Didjeridu, 5 String Banjo. Rock, Blues, Country, Jazz, Slide, Finger Picking, Music Theory. Sutherland Shire. Terry 0402 993 268 iFlogID: 17400
DJ AVAILABLE- ANYTIME www.djzokithefab.com -0416306340 for any dj service club or home or birthday call anytimeGET A REAL DJ NOT MP3 PLAYER OR CRAPPY DOWNLOAD.......VINYL DJ ROCKS iFlogID: 16089
REC STUDIO /CD/DVD DUPLICATION Recording studio / PA hire CD/DVD Duplication service 50-500 with on disk color printing. Bands track your jam or rehearsal Studio 9.Byron bay Simon 0423 851 082 - 02 66 854 919 iFlogID: 17515
SALES & MARKETING People needed to send eMails offering a new music Book for sale. Must have own computer - payment by commission via Paypal. Contact Bill on (02) 9807-3137 or eMail: nadipa1@yahoo.com.au iFlogID: 13289
TRADES & SERVICES Vox Music Academy is looking for a qualified & experienced keyboard/ piano teacher one evening a week at our Brunswick studio. Applicants must be over 25 years. Please forward resumes to info@voxmusic. com.au iFlogID: 17469
FILM & STAGE OTHER darphi images is a film studio and requires help with finance. Each donation receives something in return, with investments starting at $5 for a credit in the film http://igg.me/p/59834?a=222791 iFlogID: 16914
CD / DVD
CD MANUFACTURING:Acme is Australias best price CD manufacturer. 500 CD package = $765.05: 1000 CD package = $1320.00 Short run also available. www.AcmeMusic.com.au KevinW@AcmeMusic.com.au
iFlogID: 13287
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DRUMS WANTED VINTAGE DRUM KIT, old Ludwig, Gretsch etc. Also want vintage snare drums etc. Sydney based but will pay top $ and arrange courier. Ph 0419760940 iFlogID: 13234
GUITARS Fender Pink Paisley Strat. Genuine 1980’s. All original. In case. Great tone/action/condition. Very rare. $1500 ono. Ph. 0428744963. Cooroy iFlogID: 13027
OTHER PEDALS - Brand new T-Rex - Distortion / T-Rex Alberta - $195 each. Fulltone - Choralflange - $195. Elect case Humidifier - $35. Acous case Humidifier & Hygrometer - $75. Mob - 0415285004 iFlogID: 16808
RECREATIONAL EQUIPMENT
100% LEGAL BUDS
“BubbleGum Hydro Legal High Buds” Just like a real manicured bud, and now even stronger than real weed. Our exclusive Australian Hand Made Buds were created with the strongest synthetic legal highs. these are beautiful high quality Buds. 100% Money Back Guaranteed to get you Stoned! Also available HASH and other Highs. ONLY AVAILABLE ONLINE www.BestLegalHighs.com iFlogID: 17762
PRODUCTION Experienced film director. Client list including 360, King Canons, The Drones, Melbourne City Council, EMI, Mushroom Marketing. Contact Agostino Soldati to produce your music video, epk, promo reel, gig. agostinosoldati@hotmail.com www.vimeo.com/agosoldati iFlogID: 17706
FOR SALE AMPS Peavey Bandit 80watt 12” guitar combo 2 channel. Footswitchable. Great fat tone. Reverb/saturation etc. USA made. VGC. $350. Ph. 0428744963. Cooroy
DUPLICATION/ MASTERING
Attention Musicians, Record Collectors, Universities, Libraries - new Book (print/cdROM/direct download) compiling 100 years of popular music. GO TO www.plattersaurus.com web-site on how to buy. Enquiries: (02) 9807-3137 eMail: nadipa1@yahoo.com.au
MUSIC SERVICES BAND MERCHANDISE BANDS WANTED Band Merchandise Wanted for new record store in Melbourne. Broken Glass Records is dedicated to stocking upcoming bands from all around Australia. Contact Erin brokenglassrecordshop@gmail. com or www.facebook.com/brokenglassrecords. iFlogID: 17735
iFlogID: 13019
HIRE SERVICES For as low as $100, you get a professional sound/pa mixer system with operator for the evening. Suitable for weddings, pub/clubs band gigs, private parties etc. Infovision@yayabings.com.au. Contact Chris 0419272196 iFlogID: 15173
MASTERING AMAZING MASTERING OFFER Fantastic world-standard mastering doesn’t have to cost the earth. Have your next project immaculately crafted by legendary British engineer Paul Gomersall for just $69 a song! Why?! www.gomersall.com for answers. iFlogID: 17797
Audio Mastering, mixing, recording. CD-R music & data duplication, cover artwork, colour disc printing, online global distribution. Full studio package deal for EP or full album projects. Enquiries ph: 02 98905578 iFlogID: 15162
OTHER ++ play more chinese music love, tenzenmen ++ www.tenzenmen.com iFlogID: 14468
Get your Band or Business Online Cost effectively and PROFESSIONALLY - from $299 including Hosting and email addresses! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au iFlogID: 15452
Music publicity. Do you want to get noticed? Affordable exposure for your band by someone that actually cares! www.perfectlywrite. com.au Drop me a line! iFlogID: 15737
WWW.BLISTMEDIA.COM Sick of seeing bands shittier than yours get all the media attention? iFlogID: 16964
PA / AUDIO / ENGINEERING Sydney PA Hire: Best quality equipment, small to large 2, 3 and 4 way systems, packages for all occasions, competitive prices servicing Sydney and environs. Details; http://www.sydneypa.biz, Chris 0432 513 479 iFlogID: 13943
PHOTOGRAPHY Image is everything! If you have a band wanting to get ahead let me capture the next gig. High quality pictures say everything. http://roybarnesphotography.com/ 0414 243 811 iFlogID: 16994
POSTERS GOLD COAST BYRON BAY NORTHERN NSW Poster distribution for touring artists & bands. Fast, efficient & reliable service at a competitive price www.thatposterguy. com.au
Eastern Suburbs guitar/ukulele/ bass/slide lessons with APRA award winning composer. Highly experienced, great references, unique individually designed lessons from Vaucluse studio. Learn to play exactly what YOU want to play! www.matttoms.com
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RECORDING STUDIOS
Music tuition, classical / flamenco guitar, celtic harp, theory & harmony, arranging. 9am - 9pm, 7 days. Parramatta area. $40 hr, $30 half hr. Mature & patient. Harps for hire. Ph: 02 98905578
Incubator Recording and Mastering. “Where the grooves are hatched”. Record your next demo or release in a relaxed creative enviroment with experienced engineer. Affordable check it out online at www.incubatorstudio.com.au iFlogID: 13892
RECORDING STUDIO $30ph iFlogID: 17084
Recording Studio, Parramatta, $30hr casual rate. No kits! Singers, songwriters, instrumentalists for acoustic, world, classical genres specialist. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days. iFlogID: 15160
SOUNDPARK RECORDING Fantastic studio complete with large tracking room, 3 booths and large control room. 24 track tools/studer tape, Tons of vintage gear, over 20 classic pre amps (neve, api, telefunken), over 40 of the best mics (neumanns, schoeps, coles, rca, akg), loads of compressors/eqs (emi/chandlers), la2a/1176 and vintage effects (plate reverb, space echos). complete with ludwig drums, grand and upright pianos, wurlitzer, gtr amps (ac30, twin) ampeg svt, wurlitzer, hammond and more. Bands with own Engineer - hire studio for $450 a day, or with studio owner engineer $650 a day, Northcote iFlogID: 17258
TUITION Drummer, Lessons Drum Lessons avaliable in Gladesville Teach all Levels,ages & experience.16 years experience. I studied at The Billy Hydes Drumcraft ,Obtained Dipolma in Drummming Mob: 0402 663 469 Michael iFlogID: 17025
ATTENTION: MUSIC CREATORS Contact me for your free chapter of my book “ Chord Voicing for Composers, Arrangers, Songwriters and Pianists”. The complete guide to advance harmony. jdmuspub@ gmail.com iFlogID: 16950
Beginners to Advanced Easy and Effective Singing lessong workshops include -Vocal scales - pitch and breathing excercises -singing and learning songs of choice -performance techniques -songwriting
iFlogID: 15154
Music tuition, classical / flamenco guitar, celtic harp, theory & harmony, arranging. 9am - 9pm, 7 days. Parramatta area. $40 hr, $30 half hr. Mature & patient. Harps for hire. Ph: 02 98905578 iFlogID: 15158
VocalHub - Sing like no one is listening! Singing lessons for vocal technique and care, audition tips and repertoire in a encouraging and supportive environment. Visit: http://www.vocalhub.com.au iFlogID: 17102
VIDEO / PRODUCTION D7 STUDIO MUSIC VID FROM $250 music vid $250. Live gig edits, multi angles, fr $125 a set, 1 live track $100. All shot in full HD. d7studio@ iinet.net.au 0404716770 iFlogID: 13368
Kontrol Productions is a highly professional production company that specializes in the production of music video’s. We ensure that our products are of the highest industry standards. For enquiries www.kontrolproductions.com iFlogID: 13827
MUSIC VIDEOS offer a great way to gain exposure. Immersion Imagery has worked with a variety or artists and strives to offer quality & creative Music Videos. Visit www.immersionimagery.com email info@immersionimagery.com iFlogID: 13825
MUSICIANS AVAILABLE BASS PLAYER Electric & upright bass. Good gear. Comfortable in most styles. Experience performing live and in the studio. Check out my website if you wanna hear more. http://www.wix. com/steelechabau/steelechabau iFlogID: 16159
DJ Dj available Dubstep to Drum&bass. Willing & able to adapt to your event. Low hourly rates. Everything negotiable. Easygoing, flexible entertainment. Call for a quote today. KN!VZ Entertainment Group Ph:0415680575 iFlogID: 16661
DRUMMER
iFlogID: 13407
iFlogID: 17621
iFlogID: 13230
Female guitarist/backup singer required for accompaniment of a lead singer for an upcoming performance at a food and wine festival in Sydney’s inner west.
Get your Band or Business Online Cost effectively and PROFESSIONALLY - from $299 including Hosting and email addresses! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au.
TOP INTERNATIONAL DRUMMER available. Great backing vocals, harmonica player and percussionist. Gigs, tours, recording. Private lessons/mentoring also available. www.reubenalexander.net iFlogID: 14261
GUITARIST 18 year old guitar player looking to form Rock N’ Roll band. Influences: Guns N’ Roses, Aerosmith, Led Zeppelin, New York Dolls. Preferably in South. Call Tom on 0401722767. iFlogID: 13358
OTHER We are a friendly jazz band playing music to any style for romantic situations, weddings, anniversaries, small cozy clubs - very affordable. contact Chris 0419 272 196 ventura@yayabings.com.au iFlogID: 15177
SONG WRITER Singer/song writer looking for hip hop musicians to create music for a song I have written for recording not performance purposes. 0405069374 iFlogID: 17726
MUSICIANS WANTED BANDS Up & coming bands wanted for gigs-get yourself some exposure in front of small/med size crowd-send band details & contacts to soundbar@bigpond.com iFlogID: 15385
Young guitar player looking to start metal, punk band. influences include metallica, ozzy, black sabbath megadeth, trivium, bullet, anthrax, slayer slipknot and many many more. email space1996@hotmail.com if interested iFlogID: 17027
DRUMMER
KEYBOARD PLAYER REQUIRED Keyboard player (female preferred) 20s-30s own gear / transport wanted for indie rock band. Backing vocals ideal. Rehearse Brunswick. Recording album now. Info/sounds @ www.noescapefortheking.com. Interested? Call 0414524422. iFlogID: 17424
SINGER Energetic and charismatic singer wanted to front a newly founded hard rock band with a groove. Must have easy access to Bondi 2-3 times a week. Preferred age:18-26. Call Jonno-0412362425. iFlogID: 17483
GOSPEL SINGERS WANTED for non-denominational music ministry to record triple-CD in Perth. World-class, passionate and devotional vocalists sought. View www. THE001Music.com for details. Jesus is KIng! Reverend Eslam. God Bless You! iFlogID: 13088
SERVICES BEAUTY SERVICES Fully Qualified & 8yrs Experience, Thai Massage $49/hr or Sensual Balinese Aroma $69/hr. In/Out calls, Male/Female Welcome. www.takecaremassage.com.au - By Anson 0433646338 iFlogID: 17428
GRAPHIC DESIGN Get your Band or Business Online Cost effectively and PROFESSIONALLY from $299 including Hosting and email addresses! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au
iFlogID: 15454
Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $399 including UNLIMITED pages, Hosting and 5xemail addresses and much more! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au. iFlogID: 13862
If you want to use DRUGS, that’s your business If you want to STOP, we can help. Narcotics Anonymous 9519 6200 www.na.org.au iFlogID: 16217
Need to promote your restaurant, club and make it the place to go? Contact us now, because providing good entertainment is a personal skill. Chris 0419 272 196 ventura@ yayabings.com.au iFlogID: 15175
SENTIMENT-O-GRAMS Singing Telegrams with sentiment and without the costumes. The perfect gift idea for your partner, friend, family or colleague. We do Special Occasions, Anniversaries, Birthdays and more. Call 0412449454. iFlogID: 17694
TUITION STAND-UP COMEDY WORKSHOP Have fun learning invaluable communication, presentation and humour skills from ARIA nominated Robert Grayson. 15 years experience. “Amazing! Fantastic! Liberating!” Jess Capolupo, HotTomato FM. www.youstandup.com / Robert@youstandup.com / 0401 834 361.
iFlogID: 15450
iFlogID: 17637
Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $399 including UNLIMITED pages, Logos, Hosting and 5xemail addresses and much more! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au
Vox Music Academy, a premier music singing academy has VOCAL & GUITAR TUITION available at our Dandenong, Bayswater & Brunswick studios. For Info and Bookings: 1300 183 732 www.voxmusic. com.au
iFlogID: 16936
iFlogID: 13864
HARDCORE DRUMMER WANTED Fast, creative drummer wanted for hardcore (eg Negative Approach, Poison Idea, etc) band “Cabin Fever”. Text Danny 0432197257
Limited Edition mens tees and hoodies with a sense of humour. All hand-screened and numbered. monstrositystore.com
iFlogID: 16830
$35 $60 $50 $50 $15 $20
RECORDING PROJECT ROOM FROM $100
OPEN 7 DAYS
themusic.com.au
iFlogID: 17717
KEYBOARD
2 positions available for females 20 - 30 years. For rock music video shot in Brisbane. Must be attractive, sexy & alluring. Experience prefered but not essential. Send bio/pics to info@earthgoat.com
Experienced drummer with a commitment to practice and regular rehearsals required for Melbournebased alternative rock band. Influences QOTSA, Foo Fighters, Nirvana… www.myspace.com/mollydredd 0411 372 469
$80
58 • INPRESS
OTHER
18 year old guitar player looking for another guitar player. Influences: GN’R, Aerosmith, Zeppelin, New York Dolls. Preferrably someone in the south (Shire). Call Tom on 0401722767
iFlogID: 16430
$25 $50 $40 $40
GUITARIST
A1 PRO DRUMMER AVAILABLE for freelance gigs, tours etc. Extensive touring experience, gret time/ tempo/groove, great drum gear and pro attitude. Sydney based but will travel. More info, ph 0419760940. www.mikehague.com
iFlogID: 13611
iFlogID: 17467
BIGGEST
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PRODUCT NAME
RRP
SALE
PRODUCT NAME
BOSS AC3 ACOUSTIC SIMULATOR BOSS LMB3 BASS LIMITER BOSS SL20 SLICER BUGERA 1960 CLASSIC 150W HI GAIN AMP CASTLE 3/4 DOUBLE BASS STRINGS DEERING GOODTIME 2 BANJO W/BAG G
175 119 299 999 69 1399
69 69 149 549 35 699 9
BASIX CLASSIC HI-HAT STAND BEHRINGER PMP1000 500W 12CH MIXER BEHRINGER XV AMP FLOOR FX UNIT BELCAT 25W BASS AMP BOSS BF3 FLANGER BOSS CS3 COMPRESSOR BOSS DS2 TURBO DISTORTION N
EPIPHONE BASS EB-3 ARCTICWHITE US M EPIPHONE BASS EMBASSY STD PLUS ME EPIPHONE BASS EMBASSY STD V TB V LTD EB EPIPHONE BASS THUNDERBIRD IV 8 EB EPIPHONE FLYING V KORINA 1958 EPIPHONE LP CUSTOM + NA LTD
599 449 499 799 999 1199
9 299 219 279 450 499 599
OME/MIRROR ME/M /MIRR RROR EPIPHONE LP CUSTOM EB CHROME/MIRROR 0 EB EPIPHONE LP CUSTOM LTD P-90 EPIPHONE LP STUDIO LTD MIDNIGHT NIGHT V EPIPHONE MASTERBILT DR-500RA NS ONYY O ON EPIPHONE ZAKK WYLDE ZV EBONY GIBSON EXPLORER TRIBAL X
1199 1199 699 1599 1199 3299
9 499 499 399 79 799 59 599 159 9 1599
GIBSON FLYING V TRIBAL V GIBSON LES PAUL '57 GOLDTOP DB MINI HUM GIBSON LES PAUL BASS HS GIBSON LES PAUL JNR BILLIE JOE ARMSTRONG VS GIBSON LES PAUL JR JOHN LENNON NK GIBSON LES PAUL STD BLACK SPARKLE GIBSON LP STD CANDY APPLE BLUE GIBSON MANDOLIN A-5 GIBSON ROBOT LES PAUL STUDIO DESERTBURST GIBSON SG CARVED TOP AAA AUTUMN BURST GIBSON SHRD-X W/EMG (GOTM08) GIBSON SONGWRITER SPECIAL MF ANT.EB *LTD KORG PANDORA MINI BLACK KRAMER NITEV SB KRAMER STRIKER CUSTOM S-424CR VS ORANGE 50W RETRO CUSTOM SHOP HEAD AD R PLANET WAVES CT11 PEDAL TUNER
3299 7999 3299 2299 5299 5899 7999 6699 3299 3999 4199 3419 159 529 529 3499 179
1599 3999 1599 1299 2299 2599 3999 3999 1199 1999 1999 1999 99 299 299 1799 79
ROLAND CB100 BASS CUBE AMP ROLAND CB30 BASS CUBE AMP MP ROLAND CUBE15X GUITAR AMP TAR AMP ROLAND MICRO CUBE RX GUITAR TRACE TA-100 ACOUSTIC AMP
1049 649 269 399 2399
499 349 169 229 1199
SS CAB TRACE ELLIOT 1048H 4X10 BASS 1999 TRACE ELLIOT 1210 BASS AMP COMBO 4099 TRACE ELLIOT 1215 BASS AMP COMBO 3999 TRACE ELLIOT AH-600-7 BASS HEAD 2499 EPIPHONE CASES VOX AC15VR VALVE REACTOR 15W AMP 499 VOX AMPLUG TWEED SPEAKER CABINET 39 VOX BIGBADWAH JOE SATRIANI DUAL WAH 299 VOX JAMVOX MONITOR+SOFTWARE 299 VOX V845 LIGHTWEIGHT WAH 99 YAMAHA STAGEPAS 250W PORTABLE PA 999
1199 1999 1999 1299 249 25 199 149 69 599
EPIPHONE LES PAUL JUNIOR ASSORTED COLOURS RRP : $299
EPIPHONE CUTAWA CUTAWAY WITH ACOUSTIC WI PICKUP & ACCESSORIES
GIBSON STRINGS
$8 A SET!
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RRP : $329
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39 399 79 49 89 69 69
FROM 599 BOSS GT10 & GT10B GUITAR/BASS FX UNITS BOSS MD2 MEGA DISTORTION 119 BOSS SL20 SLICER 299 CB700 3800 DLX 5 PCE DRUMKIT WHITE PEARL 699 ELECTRO-HARMONIX DOCTOR Q 199 399 EPIPHONE BASS EMBASSY SPECIAL IV RE EPIPHONE BASS EMBASSY STD WL 449 EPIPHONE BASS THUNDERBIRD IV LTD EB 799 EPIPHONE EMPEROR II HS 1399 EPIPHONE LES PAUL CUSTOM LTD ANT IVORY 1199 EPIPHONE LES PAUL CUSTOM P-90 EB 1199 EPIPHONE LES PAUL LP-100 RED 479 EPIPHONE LES PAUL STD + LTD BIRDSEYE 999 R EYE WR RDS RDSEYE W
499 79 149 399 79 199 249 450 699 499 499 249 399 3
EPIPHONE LES PAUL STD + LTD NATURAL ATURAL ATUR URAL AL EPIPHONE LES PAUL STD LTD MET LIGHTBL EPIPHONE LES PAUL ULTRA LTD NATURAL EPIPHONE SO CAL 50 VALVE HEAD EP VALVE SENIOR HEAD EPIPHONE ZAKK WYLDE ZV EBONY FRUITY LOOPS XXL PRODUCER GIBSON LES PAUL NASH JNR DBL CUT P90 GIBSON LES PAUL STANDARD 50S BC GIBSON ROBOT SG & EXPLORER – ASST. COLOURS GIBSON SG STANDARD BASS EB GIBSON SHRD-X W/EMG GIBSON VEGAS STANDARD EB JBL EON315 POWERED PA SPEAKER KRAMER FOCUS VT-211S 'FATBOY' T Y – RED TBOY' TBOY RED, EB, R EB VS
999 999 999 999 699 1199 599 1799 5299 FROM 2999 2399 4199 2999 829 FROM 239
449 4 449 449 499 349 599 199 999 1999 1199 1299 1999 1399 529 129
KRAMER NITEV SB KRAMER VANGUARD S-440SS RED METALLIC C AMP KUSTOM 16WATT ACOUSTIC LANEY CD1042S 10 CH 2X200W 00W MIXER LANEY LC50-II 50W VALVE COMBO LANEY CX15-A 400 WATT ACTIVE SPEAKER
529 529 299 999 1799 1 999
299 299 169 299 699 499
LEGACY DD508 DIGITAL DRUMKIT (6 PCE) LINE 6 FX PEDALS – ASSORTED STYLES MXR BASS D.I. PLUS PLANET WAVE DUAL ACTION CAPO TUNER PLANET WAVES CT11 PEDAL TUNER ROLAND CB100 CUBE BASS AMP ROLAND JC120 JAZZ CHORUS AMP ROLAND MICRO CUBE RX GUITAR AMP SIB MR VIBROMATIC PEDAL SONTRONICS OMEGA VALVE MICROPHONE TRACE TA-200 ACOUSTIC AMP VOX BIGBADWAH JOE SATRIANI DUAL WAH VOX CT04TB OVER THE TOP BOOST PEDAL D DAL
1399 1
750 49 199 39 79 499 999 199 149 499 1399 199 99
VOX JAMVOX MONITOR+SOFTWARE VOX V412BN 4x12 CAB YAMAHA BR15 PASSIVE PA SPEAKER YAMAHA KX61 USB MIDI KEYBOARD YAMAHA MW8CX USB MIXER YAMAHA STAGEPAS500 PORTABLE PA
459 79 179 1049 1699 399 379 899 2799 299 419 4
299 2 1099 695 699 469 1999
149 399 199 249 249 1199
PRODUCT NAME
RRP
SALE
BASIX STD POWER DRUM KIT DEEP BLUE BELCAT 25W BASS AMP BOSS AC3 ACOUSTIC SIMULATOR BOSS BF3 FLANGER BOSS CS3 COMPRESSOR BOSS DN2 DYNA DRIVE X BOSS ME70 GUITAR MULTI-FX BOSS ML2 METAL CORE
499 175 175 109 129 399 159
299 49 69 89 69 69 299 99
BOSS MT2 METAL ZONE 139 BOSS TU88BK TUNER (BLACK OR WHITE) 79 BOSS XT2 XTORTION 289 ELECTRO-HARMONIX THE WORM 195 EPIPHONE EMBASSY BASS STD PLUS ME 449 999 EPIPHONE FLYING V KORINA 1958 KO EPIPHONE JEFF WATERS ANNIHILATION V (BLACK CK OR OR RED)) 1199
99 49 69 99 219 499 449
EPIPHONE LES PAUL CUSTOM + NA LTD EPIPHONE LES PAUL STANDARD + BIRDSEYE TA EPIPHONE LES PAUL STANDARD QUILT LTD BC EPIPHONE LES PAUL STUDIO VS EPIPHONE LES PAUL ULTRA BK CHERRY EPIPHONE LES PAUL ULTRA NATURAL EPIPHONE MARCUS HENDERSON APPARITION EPIPHONE MASTERBILT AJ-500ME VS EPIPHONE MASTERBILT DR-500P NS EPIPHONE SG G-310 EMILY THE STRANGEE EPIPHONE SG G-400 LTD LIGHTBLUE EPIPHONE WILDKAT AN W/BIGSBY EPIPHONE WILSHIRE PRO LTD PBLUE
1199 999 999 699 999 999 1599 1099 1099 479 899 999 599
599 399 399 299 449 449 449 549 499 249 399 499 299
FISHMAN LOUDBOX 100W AMP GIBSON EXPLORER TRIBAL X GIBSON FLYING V FADED WC RODUCTION O UC O GIBSON J-100 CUSTOM SPECIAL PRODUCTION GIBSON J-185 EC MAPLE (MC) AN
1049 3299 1699 5399 5399
499 9 159 1599 99 9 999 199 99 9 1999 249 99 2499
GIBSON ROBOT LP, SG & FLYING V (ASSORTED RTED COLOURS) GIBSON SG CARVED TOP (AUTUMN BURST ST & OCEAN BLUE) GIBSON SG STANDARD BASS EB D BLK/WHT / GIBSON SG ZOOT SUIT STRATABOND
3499 3999 2399 1799
1199 119 9 1999 199 129 1299 89 899
GIBSON SHRD-X W/EMG JBL EON305 PA SPEAKER JOHNSON GUITAR AMP WARRIOR 15W KORG KOAX3A ACOUSTIC MULTI-FX KRAMER NITEV SB KRAMER PARIAH GREY FLAMES KRAMER STRIKER CUSTOM FR-424CM VS KUSTOM 30W ACOUSTIC AMP MAXWATT 50W GUITAR AMP COMBO MUSICMAN STINGRAY 4 BASS ELECTRIC BLUE PLANET WAVE DUAL ACTION CAPO/TUNER ROLAND CB30 BASS CUBE AMP ROLAND MICRO-CUBE RX GUITAR AMP STERLING RAY 4 BASS BLACK W/GIGBAG BAG G
4199 629 179 529 699 529 499 399 3295 79 649 399 1595
1999 199 399 49 99 299 299 299 299 299 1999 39 299 199 899 89 99
TRACE TA-100 ACOUSTIC AMP TRACE ELLIOT 1210 BASS AMP COMBO TRACE ELLIOT AH1000-12 BASS HEAD TRACE ELLIOT AH500-7 BASS HEAD VOX AD100VTH AMP VOX AD100VT-XL AMP YAMAHA AW1600 MULTI-TRACK RECORDER YAMAHA MM6 61 KEY SYNTH
2399 4099 4999 2999 2 849 1299 2299 1099
1199 11 119 199 1999 2299 1399 299 399 499 549
PRODUCT NAME
RRP
ARTEC 2CH ACTIVE DI-BOX ARTEC COOL DRIVE OR CRAZY METAL PEDAL BASIX STD POWER DRUM KIT MET WIND RED BEHRINGER UT100 TREMOLO OR UV300 VIBRATO BOSPHORUS ORACLE 18” CRASH BOSPHORUS ANTIQUE 14” CRISP HIHATS BOSS AC3 ACOUSTIC SIMULATOR BOSS BF3 FLANGER BOSS DN2 DYNA DRIVE BOSS TU88BK TUNER & MICRO MONITOR(BK OR WH) BUGERA 412F-BK 4 X12 CABINET BUGERA BTX36000 NUKE BASS HEAD DUNLOP JIMI HENDRIX WAH ELECTRO-HARMONIX GRAPHIC FUZZ
19 49 299 19 229 189 69 89 69 49 249 599 199 149
629 349 1199 999 1199
299 199 449 399 49 499
899 1599 1199 3299 4799 From 2999 4199 2599
499 799 599 1599 2350 1199 1999 1399
529 799 3550 2299 179 319 1795 2399 1799 1399
299 419 2299 1150 79 269 999 1199 1099 599
1099
599
EPIPHONE BASS EB-0 PERFORMANCE PACK CH EPIPHONE DR-90S PLAYER PACK NA EPIPHONE JEFF WATERS ANNIHILATION V LTD RD EPIPHONE LES PAUL STANDARD QUILT LTD BC EPIPHONE LES PAUL ULTRA II MIDNIGHT EBONYY
EPIPHONE MANDOLIN MM-50 VINTSUNBURST EPIPHONE MASTERBILT DR-500RA VS EPIPHONE ZAKK WYLDE ZV EBONY (SCRATCH & DENT) GIBSON FLYING V TRIBAL V GIBSON L-4 A VIN.SUNBURST GIBSON ROBOT EXPLORER, LP, SG & FLYING V GIBSON SHRD-X W/EMG GRETSCH ROCK KIT WHITE SWIRL + HARDWARE
SALE
79 149 499 From 55 445 399 175 175 129 79 499 999 319 389
KRAMER VANGUARD S-440S RED METALLIC LANEY A1 65W ACOUSTIC COMBO MUSICMAN STINGRAY 4 BASS HONEYBURST ORANGE AD30 TWIN CH VALVE HEAD PLANET WAVES CT11 PEDAL TUNER ROLAND DIGITAL STEREO MICRO MONITOR STERLING RAY 5 BASS BLACK TRACE TA-100 ACOUSTIC AMP VOX AC30CCH VALVE HEAD VOX AD100VTH AMP + V412 CABINET VOX V412BN 4X12 CABINET
BLACKBURN KEYBOARD & PIANO STORE ART HEADAMP 5 CH HEADPHONE MIXER/AMP ART PRO VLA II PRO STUDIO COMPRESSOR
225 599
115 399
BALDWIN 113D SATIN MAHOGANY PIANO BALDWIN 131U HIGH POLISHED MAHOGANY PIANO BALDWIN B-42 HIGH POLISH EBONY PIANO BALDWIN B-47 HIGH POLISH EBONY PIANO BALDWIN B-47 SATIN WALNUT PIANO BALDWIN H112 HIGH POLISHED EBONY PIANO CASIO CTK6000 KEYBOARD CASIO AP420 CELVIANO DIGITAL PIANO BLK CASIO CTK4000 KEYBOARD CASIO CTK3000 KEYBOARD CASIO CTK7000 KEYBOARD
3999 9299 8499 7599 8499 4399 499 1899 389 339 699
1999 4499 4199 3799 4199 2199 329 1199 239 199 429
CASIO WK7500 KEYBOARD CASIO PX830 PRIVIA DIG PIANO BLK CASIO PX730 PRIVIA DIG PIANO BLK DBX 266XL COMPRESSOR/GATE DBX DRIVERACK PA+ AUDIO PROCESSOR EDIROL UA25EXUSB AUDIO INTERFACE EV LIVE X POWERED 12” SPEAKER – ONE ONLY JAMHUB GREENROOM SYSTEM LANEY CX15-A 400 WATT ACTIVE SPKR NADY QH200 STUDIO HEADPHONES NOVATION REMOTE SL 49 ROLAND SP606 SAMPLING WORKSTATION ROLAND VS100 V-STUDIO SHURE PSM200 WIRED IN-EAR SYSTEM M SOUNDCRAFT FX8 MIXER YAMAHA A10 PA SPEAKER YAMAHA HS50M STUDIO MONITOR YAMAHA KX25 USB MIDI KEYBOARD
819 1999 1399 299 1099 329 1349 849 999 49.95 799 1495 599 849 949 299 329 499
449 1299 799 169 599 249 699 599 499 19 299 399 399 399 499 199 229 199
COMEDY FESTIVAL IS COMING – BOOK CHEAP TICKETS NOW!
SAMABOUT SIMMONS THE WEATHER “BREATHLESSLY INVENTIVE PSYCHO-COMEDY” THE INDEPENDENT (UK)
MELB TOWN HALL 29 MARCH – 22 APRIL TUE – SAT 9.45PM SUN 8.45PM “simply extraordinary…unmissable” Daily Telegraph 2011
27 March – 15 April, Tue–Sat 8.45pm Sun 6.15pm (except 27 & 28 Mar 7pm), Comedy Theatre PREVIEWS: 27–29 MAR / ALL TIX $25
PREVIEWS: 29 & 30 MARCH / ALL TIX $25
PREVIEWS: 29 MAR – 1 APR ALL TIX $24
29 MARCH – 22 APRIL COMEDY THEATRE
TUE – SAT 7.00PM, SUN 4.30PM
As seen on ‘Adam Hills In Gordon Street Tonight’
“laconic comic genius” HERALD SUN
As seen on The Project
6–22 APRIL FORUM THEATRE
“don’t miss this” ★★★★★ Scotsman
Swiss House, 29 March – 22 April Tue–Sat 9.30PM Sun 8.30PM
PREVIEWS: 29 MAR – 1 APR / ALL TIX $20
Tom Ballard Doing Stuff
kfast as heard on triple j breakfast as seen on The Project ject
“really hysterical” BEAT Magazine
“ Simply put – this guy is funny” ADELAIDE ADVERTISER
“funny as hell”
★★★★★ Time Out
Swiss House 29 March – 22 April Tue–Sat 7pm, Sun 6pm Previews: 29 Mar – 1 Apr / All Tix $20
VICTORIA HOTEL 29 March – 22 April, Tue – Sat 7:15pm, Sun 6:15pm Previews: 29 Mar – 1 Apr / All Tix $20
VICTORIA HOTEL
29 MARCH – 22 APRIL Previews: 29 Mar – 1 Apr / All Tix $20
“hilarious… buoyantly fun, slightly twisted”
“impressive and hilarious”
Beat Magazine 2011
“ABSOLUTE ABSOLUTE GENIUS… GENIUS MUST SEE” SEE – TIME OUT
Herald Sun 2011
HiFi Bar & Ballroom 30 March – 22 April Previews: 30 Mar – 1 Apr / All Tix $25
ARTHUR’S BAR, ROSATI PREVIEWS: 29 MAR – 1 APR / ALL TIX $20
MEL OU NE TOWN HALL PREVIEWS: 29 MAR – 1 APR / ALL TIX $20
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