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ELECTRELANE BORIS WOODEN SHJIPS EVANESCENCE

N O W AVA I L A B L E O N I PA D • W E D N E S DAY 21 M A R C H 2 012 ~ I S S U E 1216 ~ F R E E

ADAM ANT

ALEKS & THE RAMPS

JAMES WALSH

STEVE EARLE

www.themusic.com.au


BIGGEST

SALE EVER

All stock must go! While stocks last! Hurry! Most items are one only!

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 AG

175 119 299 999 69 1399

69 69 149 549 35 699

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 ARCTICWHITEE EPIPHONE BASS EMBASSY STD PLUS ME EPIPHONE BASS THUNDERBIRD IV LTD EB EPIPHONE FLYING V KORINA 1958 EB EPIPHONE LP CUSTOM EB CHROME/MIRROR EPIPHONE LP CUSTOM LTD P-90 EB EPIPHONE LP STUDIO LTD MIDNIGHT V EPIPHONE MASTERBILT DR-500RA NS GIBSON EXPLORER TRIBAL X

599 449 799 999 1199 1199 699 1599 3299

299 219 450 499 499 499 399 799 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

3299 7999 3299 2299 5299 5899 7999 6699 3299

1599 3999 1599 1299 2299 2599 3999 3999 1199

GIBSON SG CARVED TOP AAA AUTUMN BURST 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 P HEAD A PLANET WAVES CT11 PEDAL TUNER ER

3999 3419 159 529 529 3499 179

1999 1999 99 299 299 1799 79

ROLAND CB100 BASS CUBE AMP ROLAND CB30 BASS CUBE AMP ROLAND CUBE15X GUITAR AMP TRACE TA-100 ACOUSTIC AMP MP P

1049 649 269 2 2399 2 23

499 349 169 1199

19 TRACE ELLIOT 1048H 4X10 BASS CAB 1999 TRACE ELLIOT 1210 BASS AMP COMBO 4099 TRACE ELLIOT 1215 BASS AMP COMBO 3999 EPIPHONE CASES TRACE ELLIOT AH-600-7 BASS HEAD 2499 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

EPIPHONE LES PAUL JUNIOR ASSORTED COLOURS RRP : $299

EPIPHONE CUTAWAY CUTAWA WITH ACOUSTIC WI PICKUP & ACCESSORIES

GIBSON STRINGS

$8 A SET!

1199 1999 1999 1299 25 199 149 69 599

SALE : $179

RRP : $329

SALE : $229

RRP

SALE

79.95 649 129 175 109 119

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 D 479 EPIPHONE LES PAUL STD + LTD BIRDSEYE 999 BIRDS D EYE YE WR

499 79 149 399 79 199 249 450 699 499 499 249 399

EPIPHONE LES PAUL STD + LTD NATURAL 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

KRAMER NITEV SB KRAMER VANGUARD S-440SS RED METALLIC KUSTOM 16WATT ACOUSTIC C AMP LANEY CD1042S 10 CH 2X200W 00W MIXER LANEY LC50-II 50W VALVE COMBO LANEY CX15-A 400 WATT ACTIVE SPEAKER

999 999 999 999 699 1199 599 1799 5299 FROM 2999 2399 4199 2999 829 FROM 239

449 449 449 499 349 599 199 999 1999 1199 1299 1999 1399 529 129

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

1399 459 79 179 1049 1699 399

750 49 199 39 79 499 999 199

SONTRONICS OMEGA VALVE MICROPHONE TRACE TA-200 ACOUSTIC AMP VOX BIGBADWAH JOE SATRIANI DUAL WAH D DAL VOX CT04TB OVER THE TOP BOOST PEDAL

899 2799 299 4 419

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

2 299 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 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 STUDIO VS

1199 999 699

599 399 299

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 STRANGE A EPIPHONE SG G-400 LTD LIGHTBLUEE EPIPHONE WILDKAT AN W/BIGSBY UE EPIPHONE WILSHIRE PRO LTD PBLUE

999 999 1599 1099 1099 479 899 999 599

449 449 449 549 499 249 399 499 299

FISHMAN LOUDBOX 100W AMP GIBSON EXPLORER TRIBAL X GIBSON FLYING V FADED WC RODUCTION O UCTIO GIBSON J-100 CUSTOM SPECIALL PR PRODUCTION GIBSON J-185 EC MAPLE (MC) AN

1049 3299 1699 5399 5399

9 499 159 99 1599 99 99 999 199 99 99 9 1999 249 99 9 2499

GIBSON ROBOT LP, SG & FLYING V (ASSORTED RTED COLOURS) GIBSON SG CARVED TOP (AUTUMN BURST ST & OCEAN BLUE) GIBSON SG STANDARD BASS EB OND BLK/WHT GIBSON SG ZOOT SUIT STRATABOND

3499 3999 2399 1799

1199 119 99 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 1999 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

SALE

79 149 499 From 55 445 399

19 49 299 19 229 189

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

175 129 79 499 999 319 389

89 69 49 249 599 199 149

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 DNIGHT EBONY

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 179 319 1795 2399 1799 1399

299 419 2299 79 269 999 1199 1099 599

1099

599

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 KRAMER VANGUARD S-440S RED METALLIC LANEY A1 65W ACOUSTIC COMBO MUSICMAN STINGRAY 4 BASS HONEYBURST 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 CTK3000 KEYBOARD

3999 9299 8499 7599 8499 4399 499 1899 339

1999 4499 4199 3799 4199 2199 329 1199 199

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

1999 1399 299 1099 329 1349 849 999 49.95 799 1495 599 849 949 299 329 499

1299 799 169 599 249 699 599 499 19 299 399 399 399 499 199 229 199


INPRESS • 3


WEDNESDAY 21ST

WEATHERMEN + KHRISTIAN MIZZI 8pm $6 + SIRENS THURSDAY 22ND

MALIA SLOMAN

6pm

FRIDAY 23RD

PEAR AND THE AWKWARD ORCHESTRA

6pm

LYALL MOLONEY & ASHLEIGH MANNIX 8pm $13 SATURDAY 24TH EZEKIAL OX 4:30pm $18

THE DARJEELINGS + CAT & SPOON + KID WOLF

8pm $7

SUNDAY 25TH

ELK & WHALE 8pm FABULOUS DIVA - RUTH ROGERS WRIGHT 4pm $20

Open...MON - THU...from 4pm ‘til late FRI...from 2pm ‘til late SAT - SUN...from 12pm ‘til late

Live Music Bookings wesleyannebookings@gmail.com www.wesleyanne.com.au

NEW AUTUMN MENU

TUESDAY 26TH

WESLEY ANNE OPEN MIC NIGHT

Autumn Special Two for One meals $12 Jugs of Cider till 6pm. OPEN FOR LUNCH FROM MIDDAY

bookings: 9482 1333

4 • INPRESS

7pm


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THE DELIGHTFULLY SHAMBOLIC COMEDY, MAGIC & MUSIC SHOW

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Me and my brother in our pants, holding hands

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MELB TOWN HALL 29 MAR – 22 APR TUE-SAT 9.45PM, SUN 8.45PM TIX FROM $25

ALEX Tim FitzHigham Gambler HORNE [UK]

A show about the 10 greatest bets in history

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The sold out hit of Comedy Fest 2010 is back with a sensational new show!

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BOOK NOW! 6 • INPRESS

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{Ê-Ì>}iÃÊUÊÇÊ >ÞÃÊUÊäÊ œ>Àà www.bestofbothsides.com.au


ISSUE 1216

W E D N E S D AY 2 1 M A R C H 2 0 1 2

Wed 21. 7pm Melbourne Queer Film Festival presents Celluloid Casserole (shorts package) Thu 22. 6:30pm The Pet - premiere screening Fri 23. 10pm Daniel Filipovic, Nic Tuohey & James Manning deeper strands of house & dub laden riddums - Visuals by Netzair Sat 24. 10pm DJ Yak, Square Eyes, Craig Pringle, Matt Collens, JACKMANLOOP & Louay Visuals by Vdmo Kstati Mon 26. 6pm The Vault - a salon for creatives with guest speaker Marc Pascal Tues 27. 7:30pm Loopdeloop - an animation challenge March theme Liquid

EILEN JEWELL INPRESS 10 The Front Line brings you the hottest industry news 10 This week’s best and worst in Backlash/Frontlash 12 Foreword Line brings you all the latest tour announcements 16 The Pogues eschew Irish kitsch 18 Jen Cloher put to the Taste Test 20 The past and future life of Adam Ant 22 Steve Earle on doing what he loves 23 To pop or not pop with Aleks & The Ramps 24 Krystle Warren makes good on her promise to return 24 Never heard of James Walsh? You probably know his tunes 24 Freakin’ out on Wooden Shjips 26 Japanese genre hopping with Boris 26 Electrelane defy expectations and lob into Melbourne 26 Five years later, here’s Evanescence 27 The re-emergence of Butterfly Boucher 27 Eilen Jewell’s still a country girl at heart 27 Nick Lowe looks back on his new album 27 Sietta have won over hip hop fans 28 On The Record rates new releases from Deep Sea Arcade and Justin Townes Earle 30 Text Book Music head south 30 Fairmont crosses borders

FRONT ROW 32 This Week In Arts plan your week ahead 32 Legendary actor Donald Sutherland discusses his role in The Hunger Games 33 Cultural Cringe sees Jane Birkin

BRUNSWICK

SATURDAY 24 March

The Re-chords

Rockabilly trio playing hillbilly, bluegrass and early rhythm ‘n’ blues from the 40’s to the 60’s, with a dash of doo wop. 9pm

One of the great lyricists, Sir Chuck returns to the Union for a special show 5pm

THE UNION HOTEL

BRUNSWICK 109 UNION ST, BRUNSWICK UHBBOOKINGS@YAHOO.COM.AU

8 • INPRESS

BACK TO INPRESS 37 Gig Of The Week is a royal ball for charity 37 LIVE:Reviews checks Taylor Swift 44 Sarah Petchell will Wake The Dead with her punk and hardcore talk 44 Andrew Haug takes us to the dark side in The Racket 44 Dan Condon blues and roots in Roots Down 44 Austin Calling brings you the best from SXSW 46 Pop culture therapy with The Breakdown 46 Hip hop news with Intelligible Flow 46 The freshest in urban news with OG Flavas 46 The best music on the net with Hyper Music 47 Fill your dance card with our Club Guide 48 If you haven’t appeared in Fred Negro’s Pub, your mother probably still speaks to you 48 Jeff Jenkins gets down and local in Howzat! 49 Our Gig Guide fills your diary for the weekend 52 Gear and studio reviews in BTL 56 Find your new band and just about everything else in our classy Classifieds

For your chance to grab one of three double passes to Jordie Lane’s Farewell Melbourne show on Friday 10 February at the EBC, along with two double passes to Blanche DuBois’ Saturday 11 February Toff In Town show, head to the Inpress Facebook page.

CREDITS 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 sales@inpress.com.au National Sales & Marketing Director Leigh Treweek National Sales Manager – Print Nick Lynagh Account Manager Cat Clarke Account Manager Brad Turner

DESIGN & LAYOUT

Chuck Jenkins Trio

33 Film Fil C Carew weighs i h in i on The Th House H Of Tolerance, Tl The Beloved, and Tomboy 33 Emmaline Carrroll discusses Tom Holloway’s Beyond The Neck 33 Andre de Vanny sees red in MTC’s Rothko play 34 TV Set spends a night with Psychic TV 34 Tom Pitts speaks Ad Nauseam

GIVEAWAYS GALORE!

ADVERTISING

SUNDAY 25 March

27

artroom@inpress.com.au Inpress Cover Design / Art Direction Matt Davis Layout Matt Davis, Kieryn Hyde, Eamon Stewart accounts & Administration accounts@streetpress.com.au Reception Holly Engelhardt Accounts Receivable Anita D’Angelo Accounts Payable Francessca Martin

CONTRIBUTORS

Senior Contributors Jeff Jenkins Overseas Contributors Tom Hawking (US), James McGalliard (UK), Sasha Perera (UK). Writers Nick Argyriou, The Boomeister, Atticus Bastow, Steve Bell, Alice Body, Luke Carter, Dan Condon, Anthony Carew, Chris Chinchilla, Rebecca Cook, Kendal Coombs, Adam Curley, Cyclone, Guy Davis, Liza Dezfouli, Lizzie Dynon, Guido Farnell, Sam Fell, Bob Baker Fish, Robert Gascoigne, Warwick Goodman, Cameron Grace, Andrew Haug, Andy Hazel, Kate Kingsmill, Michael Magnusson, Baz McAlister, Samson McDougall, Tony McMahon, Count Monbulge, Luke Monks, Fred Negro, Mark Neilsen,

themusic.com.au

Roger Nelson, Danielle O’Donohue, Matt O’Neill, James Parker, Adam Psarras, Josh Ramselaar, Paul Ransom, Leonie Richman, Antonios Sarhanis, Ingrid Sjolund, Dylan Stewart, Izzy Tolhurst, Nic Toupee, Rob Townsend, Danielle Trabsky, Dominique Wall, Doug Wallen.

PHOTOGRAPHERS

Senior Contributor Kane Hibberd Jesse Booher, Ricky Dowlan, Chrissie Francis, Giovanni Lorusso, Lou Lou Nutt, Heidi Takla, Sam Wong.

INTERNS

Cassandra Fumi, Stephanie Liew

EDITORIAL POLICY

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

DEADLINES

Editorial Friday 5pm Advertising Bookings Friday 5pm Advertising Artwork Monday 5pm General Inquiries info@inpress.com.au (no attachments) Accounts/Administration accounts@streetpress.com.au Gig Guide gigguide@inpress.com.au Distribution distro@inpress.com.au Office Hours 9am to 5.30pm Monday to Friday

PUBLISHER

Street Press Australia Pty Ltd 2-4 Bond Street, Abbotsford VIC 3067 PO Box 1079, Richmond North VIC 3121 Phone: (03) 9421 4499 Fax: (03) 9421 1011 Rural Press Victoria

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James Walsh (STARSAILOR) SOLO ACOUSTIC TOUR THE TEMPO HOTEL www.oztix.com.au with ELLIOTTS ROOM

BYRON BAY Sun 18 March

THE GREAT NORTHERN www.oztix.com.au with ELLIOTTS ROOM

ADELAIDE Wed 21 March THE GOV www.thegov.com.au

SYDNEY Sat 24 March

THE STANDARD www.moshtix.com.au

MELBOURNE Fri 23 March

THE ESPY www.oztix.com.au with JACKSON MCLAREN & THE TRIPLE THREAT

PLUS SPECIAL GUEST

120210_56162

BRISBANE Fri 16 March

SARAH MCLEOD

INPRESS • 9


THE

FRONT LINE

PLAYGROUND WEEKENDER IN STRIFE

The disaster-struck Playground Weekender festival’s promoter has told Your Daily SPA that he wishes the festival had been covered for disasters. The Wiseman’s Ferry boutique event was cancelled 36 hours before it was due to start as flooding concerns prompted the NSW State Emergency Service to instruct promoters that the event was not viable. Initially promising refunds and putting on alternative shows at the last minute, news since has been sparse. Late last week however the festival revealed the “financial strife” the company was in, writing in a statement, “The organisers would still like to try and offer refunds to all ticket holders but are keen to manage people’s expectations in that this will be a difficult and lengthy process given the rate of progress so far.” In a bizarre and unprecedented move, they encouraged punters to lodge disputes with their credit card’s bank or with PayPal against the event and claim that they had “not received what they paid for”. Promoter Andy Rigby told Your Daily SPA that while the event had racked up debts over the previous four years, “We’d been doing everything we could to make sure it was financially stable this year, but this was one step too far.”

INDUSTRY NEWS WITH SCOTT FITZSIMONS frontline@streetpress.com.au

new set of skills” to the table. They’d poured $1 million into this year’s festival while still having $1.8 million debt from Playground Weekender Pty Ltd. Rigby said, “Virtually all of the old debt was people attached to the event.” Mess+Noise recently pointed out that, among others, Del Rio Resort – the festival’s venue – are still owed $80,000. Rigby said new investors have been “supportive... All the shareholders are collectively involved. We had a meeting straight after the event and the only concern was that as many people get their money back as possible and that meant not one dollar to any shareholders.” He added that it was “too early to tell” if this would be the end for the festival and that his staff were too “battle-weary” to start contemplating it. Their insurance doesn’t cover natural disasters, either. “It is expensive, but there’s no way today I can say we shouldn’t have had natural disaster insurance,” Rigby told us. “It would be ridiculous for me to say… I just wish we’d been covered for this kind of event.”

THE FLOODED FERRY CROSSING

The Sydney Sailors have beaten the Western Walers in the first Reclink Community Cup to be held in Sydney. The charity Australian Rules match has become an institution in Melbourne and organisers say the first Sydney event, held at Henson Park on Sunday 18 March, attracted an estimated 2,500 – 3,000 people. Front End Loader, The Celibate Rifles and Wolf Pack performed for the crowd before, during and after the match. The Sailors, made up of music industry people – including Scott Dooley who kicked four goals – dominated the game early before some questionable refereeing decisions brought the Walers, made up of musicians, back into the game. Best on ground for the Sailors was triple j’s Alex Dyson, while Money For Rope’s Michael Cini was best on ground for the Walers. The event is held to raise money for Reclink Australia, who provide for Australia’s disadvantaged via sports and arts programs.

HOW I MET YOUR MOTHER ‘STOLE’ AUSSIE SONG

Producers for popular US sitcom How I Met Your Mother have paid out Canberra band Tonk after using their song without permission. The show, produced by the Fox network, used the song Golden Girl once in their sixth series and once in the seventh, both times being played by another band. Golden Girl had been shopped to American networks by American-based agency Undercover Tracks, run by Isabel Pappani, who specialise in Australian music in the US. After the story was revealed on triple j’s Hack last week, drummer Tristan Davies told Your Daily SPA that the process of getting financial reimbursement from Fox took, “About four or five months… Well, people were telling us about the song for a long time, but no one would give us the details of it. Eventually someone said ‘season six episode six’ so we looked it up and that’s when we began the official side of things.” First the band “got in contact with [Pappani] and confirmed that they’d sent the song over to that particular network for that particular series. So that’s when we confirmed that they had heard the song and it wasn’t just a coincidence.” From there they were able to broker a deal with Fox with help from Pappani and local advice from friend and prominent manager Gregg Donovan (Grinspoon, Josh Pyke). “There was a lot of back and forth initially, maybe they didn’t understand the scope of what had happened and the length that we were prepared to go to,” Davies said. “After a few back and forths we ended up getting what we considered was a reasonable amount of compensation.” He added, “Traditional licensing and syncing fees range from a thousand dollars to a couple of thousand dollars

decision to come to Australia to take part in the conference he offered, “I only need convincing to leave Australia.” And what he wants to take from Song Summit is: “Who is the next Pink Floyd and who do I have to call to make their first record?” The announcement came with the news that early bird tickets have now sold out and that further tickets options – as well as student discounts – are available from their website. The conference will take place at the Sydney Exhibition Centre from Saturday 26 to Monday 28 May as part of Vivid Sydney.

TICKET SALES THREATENING LOU BARLOW TOUR?

AC/DC TO SOUNDTRACK AFL CAMPAIGN

Dinosaur Jr.‘s Lou Barlow has threatened to pull the plug on his Australian tour if ticket sales don’t pick up. The indie rock and lo-fi pioneer is a member of Dinosaur Jr. and Sebaboh, among others, and is slated to tour Australia solo this April. However last week he tweeted that slow ticket sales are putting the shows in jeopardy. He wrote, “may have to cancel this tour if ticket sales don’t improve and I WILL take it personally,” providing a link to the tour details and encouraging his Australian “friends” to retweet. A spokesperson from promoters Handsome Tours did not respond to Your Daily SPA’s call in time for deadline last week.

OH MERCY SIGN TO ROUGH TRADE RECORDS

After this year’s cancellation it emerged that Playground Weekender Pty Ltd had entered administration. Rigby told us that this was just another part of the process of transferring the festival to a new name after a company was formed. After four years of running at a loss, the new company – Playground Festivals Pty Ltd – was formed in October last year featuring new investors and shareholders that Rigby says “brought a whole

SYDNEY SAILORS WIN COMMUNITY CUP

months later and Avalanche arriving in March 2010. Both Thieves and Avalanche debuted in the top ten of the ARIA Charts. Regarding the circling companies, Goldsmith said, “We have always maintained our independence. However, we are always on the lookout for the right partner, someone that will help get our music out to a broader audience. Our last three albums have all sold well and it’s nice to be consistent, but really… I think now is our time.” The single will now be released in May with launch dates rescheduled until winter. The album will be out this year.

and we ended getting significantly more than that, which is what we considered to compensate us for the loss of exposure and the trouble that we had to go through to sort it all out. At the end of the day they came around.” The band never got to the bottom of why their track was re-recorded and the credit given to the show’s music supervisor. “We think they were maybe trying to protect the composer that did it, because he’s quite a reputable person and has done a lot of work for them. So I don’t know whether he just made a mistake or what-not, but they eventually came to the party.” Tonk are currently “two-thirds” of the way through a new album.

EX-VINES DRUMMER JOINS WOLFMOTHER

Drummer Hamish Rosser has quit The Vines after ten years to join Wolfmother, citing differences with frontman Craig Nicholls. It was claimed around their Homebake appearance last year that Rosser and guitarist Ryan Griffiths had been sacked after neither played with the band, who appeared as a three-piece. Last week Rosser confirmed that he was no longer in the band and has joined the Andrew Stockdalehelmed Wolfmother. He made his debut with the band at Melbourne’s Sidney Myer Music Bowl on the weekend and will be supporting Lenny Kravitz on his Australian tour before European dates. Rosser told Your Daily SPA, “After ten years with The Vines I have made the decision to move on. I will always look back on my time with The Vines with fond memories and a huge amount of pride for what we have achieved and the music we made together. On the eve of my first show with Wolfmother I can say that there has been a powerful energy generated during rehearsals and I can’t wait to get on stage and tear it up.”

BRITISH INDIA’S NEW SINGLE IN “BIDDING WAR”

The release of British India’s new single has been pushed back as deals for publishing and recording are being finalised. The single, I Can Make You Love Me, was originally to be released in March as the first single from their upcoming fourth album, but the band are holding onto the apparently hot property as “they are currently in discussion with a number of interested parties and are close to signing both publishing and recording agreements.” The band’s manager Glenn Goldsmith told Your Daily SPA, “The boys are really happening right now; they have written some great songs and it has sparked a wave of interest from labels and publishers.” He added, “It’s always about the songs and we’ve had some killers in the past, but this new album is going to be the one.” British India broke out with 2007 debut album Guillotine, with Thieves dropping 12

Oh Mercy have signed to Rough Trade to release Great Barrier Grief in the Benelux region. The Melbourne band, led by Alexander Gow, released their second album last year and this deal will see the release of the record in Belgium, The Netherlands and Luxemburg. Kees van Weijen, Managing Director of Rough Trade B.V, said, “We are delighted to have signed such a talented band as Oh Mercy for release through Rough Trade in The Netherlands, Belgium and Luxemburg. The album, Great Barrier Grief, is very well suited for Europe and we believe in all the success of the album.” This European release – on Friday 23 March – will come complete with three bonus tracks from debut record, Privileged Woes. National Dutch radio 3FM already has two singles on high rotation.

TOP SONGWRITERS ADDED TO CONFERENCE

Song Summit have added Adalita, Megan Washington, producer of few words Nick DiDia and more as speakers. As well as the two leading Australian songwriters and producer DiDia – whose production credits range from Powderfinger and Pearl Jam to Bruce Springsteen and Rage Against The Machine – last week saw the announcement of Australian songwriters Kav Temperley (Eskimo Joe), Abbe May, Kate Miller-Heidke, Amandah Wilkinson (Operator Please), Catherine Britt, Darren Cordeux (Kisschasy), Franc Tetaz and New Zealand’s Don McGlashan. Already announced are Paul Kelly, Neil Finn, Imogen Heap, Kev Carmody and Bill Cullen. DiDia, who is currently in a Nashville studio, offered a few (brief) words last week, telling Your Daily SPA that he’s working on “The new Gaslight Anthem record and an EP by a new band called Von Grey.” The latter are a female folk rock outfit from Atlanta. Asked whether it was an easy

MUSICOZ ANNOUNCE FIRST PERFORMERS

The MusicOz Awards will have international Mickey Avalon perform with Kid Mac at this year’s ceremony. It was announced that there’ll also be performances from Dallas Frasca, I Am Sam feat. Sarah McLeod, Screaming Bikini and Fiona Jay Hawkins. Five more artists will be named from nominated acts. The independent music awards will be held at the Sydney Opera House Tuesday 15 May, with entries open via their website until Saturday 31 March.

FUSE BAND IN GREAT ESCAPE

South Australian electro rock outfit The Killgirls have been selected from the artists showcasing at the recent Fuse Festival to perform at the UK’s Great Escape Festival. They’ll follow in the footsteps of The Temper Trap in playing the event. The Killgirls – who released their second EP, Animal, late last year – will use the trip to play in Manchester, Berlin, Liverpool and other European cities.

FRONTLASH

BACKLASH

Neil Young has announced his new album with Crazy Horse drops late-June. The fact it’s called Americana and sports some weirdarse artwork only has us more excited.

Lou Barlow took the unusual step last week of tweeting that his upcoming Aussie tour may be cancelled if ticket sales don’t improve. C’mon people, extract your digits – we wanna see this show baaaad.

BACK ON THE HORSE

NOT-SO PLAIN JANE

Our fave song of the week? Spiritualized’s newie, the epic Hey Jane. Just don’t try watching the clip at work…

WITH FRIENDS LIKE THESE…

While we hate his guts, simply ‘cause it was him in Austin and not us, we agree with our South By Southwest scribe that this year will belong to Friends, Kindness and A$AP Rocky.

music 10 • INPRESS

AC/DC have licensed their anthem It’s A Long Way To The Top (If You Wanna Rock’n’Roll) for the first time and will soundtrack the 2012 AFL season’s campaign, called “Australia’s Game”. In recent years the AFL has looked to align itself with local music through live performances before games and Tim Rogers’ television ad. While AC/ DC have licensed their tracks to a sporting code before, “This is the first time that the iconic rock anthem, Long Way To The Top, with its recognisable guitar riff, has been approved to be used in a national advertising campaign,” wrote publishers Alberts on their website. The AFL’s General Manager Of Strategy And Marketing Andrew Catterall told Your Daily SPA that the league are delighted with the deal. “We are rapt with AC/DC and combining two icons – Australia’s game and Australia’s rock’n‘roll anthem. Such a perfect analogy for a season, for a team, for a young kid, for an AFL player, for a fan.” The deal was brokered by the AFL’s music supervision company Level Two and Karl Richter from the company said in the announcement, “The choice of an AC/DC song as the soundtrack to the 2012 season is a statement of intent and symbolic of a new chapter in the AFL’s relationship with the local music community. The AFL recognises there is a massive overlap between the communities of sport and music. We are all excited by the very real value the support of a body like the AFL can provide local musicians that contribute to an amazingly diverse and thriving music scene here in Australia.”

themusic.com.au

LOU B OR NOT LOU B?

ALL WHITE ON THE NIGHT

This year’s Logie noms were predictably bland, and predictably white. Even the token black musical act, Flo Rida, has been shipped in from O/S. Was Stan Walker unavailable?

FOR FOX SAKE

Anthony Callea has discovered a novel way of ensuring Fox FM flog his new single. The song and its accompanying clip sound and look like one long ad for the station.


POWERED BY

POWERED BY STREET PRESS AUSTRALIA STREAMING THIS WEEK

STREAMING THIS WEEK

JUSTIN TOWNES EARLE’S NOTHING’S GONNA CHANGE THE WAY YOU FEEL ABOUT ME NOW THIS MEMPHIS-SOUL STYLE ALBUM WAS RECORDED COMPLETELY LIVE WITH NO OVERDUBS OVER A FOUR-DAY PERIOD IN AN OLD CONVERTED CHURCH RECORDING STUDIO IN ASHEVILLE, NC.

OUT MARCH 23 ON BLOODSHOT RECORDS THROUGH INERTIA

YUKON BLONDE’S TIGER TALK

COMPARED TO CROSBY, STILLS, NASH & YOUNG, THE CANADIAN OUTFIT RECORDED THEIR SECOND ALBUM WITH PRODUCER COLIN STEWART (BLACK MOUNTAIN, LADYHAWKE).

OUT MARCH 23 ON DINE ALONE THROUGH SHOCK

LAST WEEK YOUR DAILY SPA WAS FIRST WITH: • SXSW NEWS, UPDATES, REVIEWS AND PICS • THE GETAWAY PLAN’S TOUR DATES • THE VIVIDLIVE ANNOUNCEMENT

SUBSCRIBE NOW AT THEMUSIC.COM.AU TO GET ALL THE LATEST DIRECTLY TO YOUR INBOX

THEMUSIC.COM.AU INPRESS • 11


FOREWORD LINE

NEWS FROM THE FRONT

album Hagere. Samuel has been compared to Keith Jarrett and Herbie Hancock in his virtuosity, and is a player of today with an undeniably interesting future. See him play at the Melbourne International Jazz Festival on Thursday 7 and Friday 8 June.

M A R L E Y FESTIVAL NEWS themusic.com.au/sfg/

WEDNESDAY 21 MARCH

JAZZED UP

DAYDREAM ARCADE THE KILNIKS POCO LA PAX

ENTRY $7, 8.30PM

THURSDAY 22 MARCH

ALBUM LAUNCH

THE CALL UP CHEV RISE ENTRY $7, 8PM $2.50 POTS, $5 VODKAS!

FRIDAY 23 MARCH

THE KHYBER BELT SUB ATARI KNIVES ARTILAH I AM DUCKEYE FISKER

ENTRY $15 DOOR, $10 PRESALE THRU MOSHTIX, 8PM

SATURDAY 24 MARCH

SWARM TOUR

TWELVE FOOT NINJA JERICCO CIRCLES

Due to overwhelming demand, Mutemath have added a second show to their first ever Australian tour this May. Since 2004 the genre-bending New Orleans trio have taken it upon themselves to deliver music that is unequivocally and defiantly their own. The new show will be at the Corner on Tuesday 15 May. Come and find out why Alternative Press calls them “The #1 band you need to see live before you die”.

DR LONNIE SMITH

RESIDENCY

THE PHANTOM AGENTS THE PHILISTINES

QUIET ARITHMETIC

THE GETAWAY PLAN

GOT TO GET AWAY

Over summer The Getaway Plan have been smashing it at festivals like Pyramid Rock, Big Day Out and Breath Of Life. Now they have announced they’ll also be doing three small Groovin’ The Moo sideshows, including one at the Corner on Thursday 3 May with guests New Empire.

FROM DUB TO JAZZ

Ethiopia’s Samuel Yirga was in Australia a few years back with his outfit Dub Colossus. He returns to our shores in June with his jazz quartet to play extensively off his new debut

A diverse cross-section of jazz royalty and the stars of a rising generation converge on Melbourne from all points of the globe for the 2012 Melbourne International Jazz Festival, held from Friday 1 to Sunday 10 June. With more than 300 performers playing in over 100 events – including 30 free events, 11 world premieres, 13 Australian premieres, eight festival exclusives and eight Australian/international collaborations – the festival is the most diverse of its kind in Australia. Acts playing include McCoy Tyner, Dr Lonnie Smith, Patti Austin, The Fringe, Terence Blanchard, Chris Potter, Renaud Garcia-Fons, Hiromi, Robert Glasper, Dee Dee Bridgewater, Eli Degibri, Samuel Yirga, Katie Noonan, Vince Jones, Allan Browne Quartet and Bernie McGann. Head to melbournejazz.com for details.

VIVID DREAMS

Sydney Opera House today announced the program for Vivid LIVE 2012 (Friday 25 May - Sunday 3 June). The stunning line-up includes Karen O (Yeah Yeah Yeahs), Florence + The Machine, The Temper Trap, Bryce Dessner with Nico Muhly and Sufjan Stevens, Janelle Monae & The Archandroid Orchestra, PVT, My Brightest Diamond, Seekae, Zola Jesus, plus more. Head to vividsyndey.com for more information.

ZOLA JESUS

JESUS’ ARRIVAL

Equally commanding and fragile, LA’s Zola Jesus transcends genre with her shape-shifting mix of cinematic synth pop and darkly anthemic balladry. Just announced for Vivid LIVE, Nika Rosa Danilova and her band will also perform at the Toff on Sunday 3 June. Danilova’s timeless voice and visionary mix of the traditional and futuristic has seen her heralded among America’s most compelling young musicians, and at 22 she has performed alongside Fever Ray and The xx, and collaborated with David Lynch and M83.

SOUNDS OF SIRUS

ENTRY $20 DOOR, $15 PRESALE THRU MOSHTIX, 8.30PM

A GOOD KNIFE OUT

SUNDAY 25 MARCH

NATHAN KEARNEY ALKAN ZEYBECK & HIS LESSERMEN

New Zealand electrifying power-rock duo Cairo Knife Fight will soon be in Australia after adding their unique sound to this year’s 2012 SXSW festival line-up in Austin, Texas. Get to know Cairo Knife Fight’s gritty, mesmerizing music and be prepared for their mosh-inducing live performances when they play the Workers Club on Thursday 26 April and at Cherry Rock Festival on Sunday 29.

THE UNUSUAL SUSPECTS ENTRY $7, 8.30PM

MONDAY 26 MARCH

RESIDENCY

SCOTDRAKULA KEITH! PARTY SPECIAL GUESTS DJ ITCHI BUM FREE ENTRY, 8PM $10 JUGS!

TUESDAY 27 MARCH

RESIDENCY

EL MOTH & THE TURBO RADS GHOST ORCHID 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) 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) SONS OF THE IONIAN SEA (7 APR) BELLUSIRA – SINGLE + FILM CLIP LAUNCH (13 APR) BUTTIFEST (14 APR) KIM BOEKBINDER (11, 18, 25 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

Leader Cheetah are gearing up to hit the stage for the last time in 2012, announcing intimate full-band shows including one at Northcote Social Club on Saturday 19 May. With Dan Crannitch and Dan Pash fresh from touring as a duo alongside Canada’s Dan Mangan, the Adelaide four-piece are looking forward to one last tour before undertaking work on their third album – the follow-up to 2011’s Lotus Skies. The band will be accompanied by a violinist, performing some songs in exciting new arrangements.

With their long-awaited debut record Bill, Dance, Shiner released this Friday, Bearhug have announced launch shows including one at the Workers Club on Friday 6 April. Exploding with song after song of classic west coast guitar rock, Bill, Dance, Shiner combines gloriously punchy riffs with cyclical melodies.

BARKIN’ UP THE RIGHT TREE

In Emily Barker’s third album Almanac, she shares her compelling stories and rootsy take on contemporary folk with her fellow Australians, exploring the meaning of ‘home’; a theme that’s inspiring her current songwriting.

FAST AS A ROCKET SHIP

San Cisco’s Rocket Ship Tour has launched into the galaxy full speed ahead, with the Wednesday 2 May show at the Corner now sold out. They’ve added another show there on Tuesday 1 to meet demands. Voltaire Twins will be supporting. Get your tickets now before they sell out again!

LOOKING BACK THROUGH A GLASS ONION

This year, John Waters and Stewart D’Arrietta are reviving their 1992 production of Looking Through A Glass Onion for a 20th anniversary national tour. The show is not a cut-and-paste biography of John Lennon or an emulation of the original recordings. It’s part concert and part biography, though it doesn’t seek to tell the full story of Lennon’s life. Catch the show at Chapel Off Chapel from Wednesday 2 to Sunday 6 May, with matinee shows available on Saturday and Sunday.

SPECIALS:

On Sale At Moshtix:

MONDAY $8 BURGERS TILL 8PM FISH & CHIP SHOP TUESDAY TUE - SUN 4-7PM HAPPY HOUR

Gin Wigmore 5/04 WEDNESDAY 21ST MARCH

MONDAY 9TH APRIL

Pikelet

The McQueens

DJ Billie Justice

Pete Keen (Sugar Mountain)

Joe McKee (Snowman)

Animaux

FRIDAY 23TH MARCH

MONDAY 26TH MARCH

WEDNESDAY 4TH APRIL

Brothers Hand Mirror

Seventh Gallery present:

CD Launch, Mick Hart, Nice Boy Tom Happy Hour 4-7pm

LA Pocock Pete Keen (Sugar Mountain)

Co/respond publication launch DJ Billie Justice

SATURDAY 24TH MARCH

WEDNESDAY 28TH MARCH

THURSDAY 5TH APRIL

THURSDAY 12TH APRIL

Gin Wigmore

Aluka EP Launch

Front Bar: Adam Christou (SYN)

Adam Christou (SYN)

FRIDAY 6TH APRIL

SATURDAY 14TH APRIL

Seven Hearts

The Run Run

Joe Mckee

Sunni Hart

Laura Jean DJ Billie Justice

SUNDAY 25TH MARCH

SUNDAY 1ST APRIL

Fierse

EP Launch, Hollow Everdaze, Billionaire Happy Hour 4-7pm

12 • INPRESS

GIMME A BEARHUG

ONE LAST RUN FOR CHEETAH

She’s appeared at several UK festivals such as Glastonbury, Celtic Conncections, Green Man and End Of The Road, and now you can see her at Pure Pop on Saturday 5 May or the Wesley Anne on Sunday 6.

Hayden Calnin Happy Hours 4 - 7pm

themusic.com.au

Bearhug

EP Launch Happy Hour 4-7pm

WEDNESDAY 11TH APRIL

The Bonniwells DJ Billie Justice

Koin Op Karaoke Sunni Hart


THURS 22ND

THE SICK MAN

W TYSON SLITHERS AND THE PHAT CHICKS, METALIC KO, AND THE COME DOWNS FRI 23RD

CREATURES OF KARMA (EP LAUNCH)

W NO LOVE FOR LEXI (SINGLE LAUNCH) AND YOKEY SAT 24TH

FALLOE & THE DIAMOND (RECORD LAUNCH)

W NORIKO TADANO AND THE PROMISES FRI 30TH

THE ROUTINES (SINGLE LAUNCH)

W THE PRETTY LITTLES AND I TOLD YOU I WAS ILL SAT 31ST

THE GIN CLUB

W TEXAS TEA (BRIS) AND THE NIMPHS

MELBOURNE INTERNATIONAL COMEDY FESTIVAL AND CURTIN COMEDY PRESENTS... ADAM KNOX + LADY BONER SHOWS

- MARCH 29TH, 30TH & 31ST APRIL 2ND, 3RD, 5TH, 6TH, 7TH, 9TH, 10TH, 12TH, 13TH, 14TH, 16TH, 17TH, 19, 20TH & 21ST

SATURDAY 24

CHAMELEON PRESENTS: RODSKEEZ (SYD)/ TIMMUS LIVE / UONE / MY FRIEND SAMUEL / FERGUS / LUKE SYRYLO

SUNDAY 25 WEDNESDAY 21

PHATO AMANO 10.30PM TIGERFUNK

COSMIC PIZZA 9PM

PAULY FATLACE 11PM NHJ

THURSDAY 22

FRIDAY 23

9PM

T’FUNK - LIVE 10.30PM MR. MOONSHINE

ROOFTOP 5PM

MONDAY 26 TUESDAY 27

JUICY

THURSDAY 22

FRIDAY 23

SATURDAY 24

“COQ ROQ”

SUNDAY 25

BLABE RUNNER AGENT86

“PANORMA”

PHATO A MANO MR GEORGE MATT RAD “TEXTILE” DOWN

JAY READING PAKMAN CHIEF

TUESDAY 27

ANDREW O’NEIL ‘ THE OTHER ALTERNATIVE ‘ - APRIL 14TH

9PM

“ROOF TOP PARTEY” “SOUTH SIDE HUSSLE”

MONDAY 26

- MARCH 29TH APRIL 5TH, 12TH & 19TH

IBIMBO

BAND 4PEACE

“FREE RANGE FUNK”

DJ WHO LEWIS CANCUT AGENT86

AGENT 86 HENRY WHO 11PM LEWIS CANCUT

AGENT 86 / TOM SHOWTIME / FLAGRANT / AYNA WEDNESDAY 21

8PM

POP UP PLAYGROUND + LATE NIGHT LETTERS AND NUMBERS SHOWS

ADAM ASKEW PAZ BOOSHANK

MONDAY: PALE ALE FISH AND HAND CUT CHIPS $13 TUESDAY: KANGAROO FILLET W MASH, VEG & RED WINE JUS $14 WEDNESDAY CHICKEN SCHNITZEL AND HAND CUT CHIPS $13 THURSDAY: 280G GRAIN FED ANGUS PORTERHOUSE STEAK $14 FRIDAY: CHICKEN OR EGGPLANT PARMA $14/$13 SATURDAY: CURTIN BURGER AND HAND CUT CHIPS $14

“STRUGGLE”

TIGER FUNK DAMON “COSMIC PIZZAS”

LADY ERICA NHJ

TRADING HOURS MON - WED 3PM - LATE THURS & FRI 11:30AM - LATE SATURDAY 4PM - LATE LATE KITCHEN HOURS THURS & FRI 12:00PM - 2:30PM & 5PM - 9:30PM SATURDAY 6PM - 9:30PM

UP

ASH-LEE MR MOONSHINE DJ B-TWO INPRESS • 13


FOREWORD LINE

NEWS FROM THE FRONT

TOMBOY, OH BOY

DIAMOND DOWN UNDER

Tomboy at Liberty Social is a queer indie discotheque; it’s a bar with beats happening and an atmosphere that’ll seduce patrons of any orientation. This Friday, they launch the night with a DJ set from indie heroes Electrelane. Melbourne’s amazing BiscoTTi are also playing a colourful cocktail of sounds and dance, not to mention sets from DJ Et-cetera, Hollabec and Coreycrush Core Dreamlover, plus more.

CATCH AND KISS TEKNOLOGY

Since the release of their game-changing 2007 debut album Today Is Tomorrow, Showtek have been on a steady succession to their rightful place at the forefront of modern dance music. Renowned for their amazing live shows, Australian audiences once again have the chance to immerse themselves in one of the great electronic music experiences available on the global dance music circuit. Witness them live at Chasers on Friday 25 May.

NOT FOR KATE While clearly touched by the light of a ‘60s torch song, Kate Vigo’s latest single Not The One has a clear contemporary edge. The track is a blend of sweeping strings, a Shangri-Las back beat and a whistling riff that is bound to stay on your lips for days. In celebration, Vigo will be hitting the road alongside fellow Melbourne popstress, Emmy Bryce. Catch them at the Palais Hepburn Springs on Saturday 7 April and the Thornbury Theatre on Thursday 26.

OUTTA THE BALL PARK

It’s been a while between gigs but Kisschasy have announced they are returning to the stage for two shows in April. The band will perform at Inferno Traralgon on Friday 20 April with Anchors Away and the Ferntree Gully Hotel on Tuesday 24 with with Anchors Away, Strangely Attraktive and Jekhyl & Pinwheel. After spending the last year on hiatus working on various side projects, Kisschasy have been busy in recent months writing a bunch of songs for their fourth studio album.

Indie-pop juggernauts Ball Park Music are proving unstoppable right now as they announce another two shows on their forthcoming 180° National Tour. They’re playing at Karova Lounge on Friday 13 and the Corner on Saturday 14 (sold out), Sunday 15 (under18) and Monday 16 April (sold out) with support from Nantes and Cub Scouts. They’ve just added their final Melbourne date at the Corner for Sunday 29 April, supported by YesYou and Them Swoops.

GOOD ONE, POPS

SEEING THE LIGHT

After a hugely successful New Years Eve show, the Australian Pops Orchestra is back this for two shows only, set to entertain with traditional classics, music from stage and screen in a light-hearted and enjoyable way only the Australian Pops Orchestra can deliver. Joining the orchestra will be the ‘Boy From Oz’ himself Todd McKenney and legendary conductor John Foreman. Held at the Palms At Crown, the shows will be held on Friday 18 and Saturday 19 May.

Dark, dynamic and brutally beautiful, New York duo Light Asylum will bring their mighty live show to Australia for the first time this June – just announced to play Vivid LIVE, they also perform two Melbourne headline dates. They use industrial electronica, driving ‘80s synthesisers and pitch-black imagery to powerful effect. See them in action at the Phoenix Public House on Friday 1 June and at the Toff on Saturday 2.

SMOOTH GIN

The follow-up to Gin Wigmore’s debut album Holy Smoke, Gravel & Wine is a punchy, razor-sharp collection of songs highlighting her love of the darker side of rock‘n’roll. Along with making a new album, Wigmore spent the past year working with people such as Mark Lanagan (The Screaming Trees), Butch Walker, blues legend William Bell, Charlie Sexton (of Bob Dylan’s band) and Julian Hamilton (The Presets). Catch her performing at the Workers Club on Thursday 5 April with support from Eaten By Dogs.

WALKING AROUND Ray Lugo is better known as the front man for New York outfits Kokolo Afro Beat and The Boogooloo Destroyers. He visits in May to debut his solo release We Walk Around Like This. Stretching from Brazilian to big Afrobeat influences, the new album from Lugo will have booties shaking, to say the least. He plays at Scatter Scatter on Friday 1 June with Manchild and Jumps.

THE DARKEST HOUR

HISTORY REPEATS Michael Jackson HIStory II, Kenny Wizz’s musical biography of Michael Jackson and the anticipated followup to last year’s sold-out live concert tour HIStory, will be staged in theatres across Australia in August/September 2012. Wizz, considered by many one of the best Michael Jackson impersonators in the world, will take fans right back to the Jackson 5 era before continuing on a thrilling journey to the current decade. More than 20 hit songs tell the story of one of the greatest pop icons the world has ever known. The show hits Her Majesty’s Theatre on Friday 17 and Saturday 18 August.

My Brightest Diamond (aka Shara Worden) has announced she will tour Australia this May. Having recently moved to urban Detroit, planted a garden and given birth to a son, Worden’s latest offering, All Things Will Unwind, addresses the juxtaposition of life and death, class and race, pantries and politics — as heard through the mesmerizing lullaby of a new mother. Catch My Brightest Diamond at the Northcote Social Club on Monday 28 May.

DRIVING IN THE DARK

There have only been a select few that can claim the sustained ferocity and relevance over the last fifteen years that Darkest Hour can. Quite simply, they are a metal phenomenon. Devildriver has always been a band on a three-pronged mission: Work hard, rock harder, and kick as many asses as possible in the process. They are touring Australia together and will come to Billboard on Sunday 6 May.

INPRESS PRESENTS

IN THE ARENA

A third and final concert has been announced for Tina Arena for the Arts Centre’s Hamer Hall opening celebrations. Fans won’t want to miss what promises to be a major highlight on Melbourne’s concert calendar as Arena is backed by the lush sound of a 54-piece orchestra. With her shows on Saturday 28 and Sunday 29 July sold out, get your tickets for the new Sunday 5 August show quick smart.

TOOT IF YOU’RE OUTLAWED

Melbourne band The Toot Toot Toots’ debut album Outlaws is a spaghetti western rock opera. Expansive sounds of twanging guitars, mariachi horns and thundering drums provide a sonic backdrop for tales of depravity and sin in an unforgiving land. The voices are parched, visceral and desperate, the hooks are irresistibly sharp and high drama is never far away. It’s due for release on Monday 2 April and the show is at the Hi-Fi on Friday 4 May.

TYHE VINYL COUNTDOWN

Ron S Peno & The Superstitions are set to release the critically acclaimed, award-winning Future Universe on heavy vinyl, pressed by the legendary MPO in France. The album has been described as Peno’s best work since Died Pretty’s Doughboy Hollow, and Future Universe will be released in a strictly limited batch of 300 on Friday 13 April, distributed by Fuse. To celebrate the release, a special theatre show has been announced. Good Friday 6 April sees Ron S Peno & The Superstitions play the gorgeous, newly renovated Regal Ballroom in Northcote. Tickets on sale now.

DIG DEEPER

Dig It Up!, the Hoodoo Gurus-curated party taking over the Palace on Anzac Day, Wednesday 25 April, just keeps getting better, with two more venues added to the day. Pony will open its doors at the earlierthan-normal time of 3pm on the day, playing host to Kim Salmon and Spencer P Jones as well as young Geelong act The Murlocs. Salmon and Jones will perform a solo set each as well as a double act, while The Murlocs will perform a set of their blistering R&B. A revolving cast of local celebrities will also DJ at Pony during the day, while in the Palace main room DJs will include Mikey Young (Eddy Current Suppression Ring) among others. And as it is with Sydney, the Melbourne Dig It Up! will now house a venue dedicated to comedy when the Spleen Bar opens it doors with featured comedians and fellow rock tragics Dave O’Neil, Andrew Goodone and CJ Fortuna. Bands on the bill include the Gurus (playing Stoneage Romeos in full), Redd Kross, The Sonics, The Fleshtones, The 5.6.7.8’s and more. 14 • INPRESS

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EVIDENCE WITH ATMOSPHERE

Atmosphere have been a driving force in independent hip hop for 20 years. Atmosphere’s music is more honest and textured than your typical hip hop act with machismo overtones. Atmosphere (with a full live band) are set to tour Australia with Grammy-winning rapper and producer Michael “Evidence” Perretta (formerly from Dilated Peoples). Catch them at the Hi-Fi on Thursday 10 May.


NEWS FROM THE FRONT

FOREWORD LINE INPRESS PRESENTS

DEATH BY DRUM

Bass Drum Of Death is a band from Mississippi. John plays guitar and sings and Colin plays the drums. Together they make blown-out, blazing songs. Having toured the world with bands like Wavves, Best Coast, Smith Westerns, and Unknown Mortal Orchestra, they’re now about to make the trek to Australia for the first time. Check them out when they play the Liberty Social with Drunk Mums and Sures on Friday 6 April.

ANU PAYS RESPECT

The music of soul queen Aretha Franklin will be honoured by Christine Anu in the brand new show Rewind – The Aretha Franklin Songbook. Anu will perform interpretations of Franklin’s most memorable songs including the signature tunes Respect and (You Make Me Feel Like) A Natural Woman, as well as Chain Of Fools, Today I Sing The Blues, Rock Steady and more.

MOUNT THIS

London’s premiere post-dubstep duo Mount Kimbie are returning to Australia in May as part of the The Hi-Fi Shoreline Series. After a series of acclaimed EPs, the duo dropped their debut album Crooks & Lovers in 2010. A mixture of post-rock, garage beats and traditional songwriting, the record was a stunning cohesion of influences. Get your dose of atmospheric dance music at the Hi-Fi on Thursday 3 May.

GET IN EARLEY

HUSH HUSH

Legendary singer, songwriter, actor and author Steve Earle will be appearing at Readings Carlton for a fantastic one-off event. Earle has released over a dozen critically acclaimed albums, including the Grammy Award-winning Washington Square Serenade and Townes. His novel I’ll Never Get Out Of This World Alive and companion album were released in 2011 to rave reviews. Get along to Readings Carlton to see Steve discuss his work and his stories on Friday 30 March at 1pm. This is a free event, but you need to book on 9347 6633.

The All Drive, No Lullabies tour featuring the dual talents of Dead To Me and Cobra Skulls will arrive at the Northcote Social Club on Thursday 29 March with support from The Gun Runners and Lame Excuse. In addition, three secret shows have been announced with details only through the Chopdog Promotions mailing list. Head to their website and sign up.

CHURCH IN SESSION

Steve Kilbey is the lead singer/songwriter and bass guitarist for The Church. He is also a music producer, poet, actor and painter. Steve Kilbey has released six solo music albums and collaboratively written and/ or produced recordings with the late Grant McLennan (of The Go-Betweens), Stephen Cummings, and Kev Carmody. Earthed, a book of fiction, was published in 1986 in conjunction with an album of the same name of instrumental electronic music. His book of poetry, Nineveh/The Ephemeron, was released in 1998 and was later republished. An Afternoon With Steve Kilbey will see the distinguished artist discuss his life and career with host Robert Chuter. It takes place at Chapel Off Chapel on Tuesday 27 March from 2pm. Tickets are $5.

THE SHIP COMES IN

It’s been nearly two years since The Good Ship stormed the beaches with their debut album Avast! Wretched Sea. Now they are nearing completion of their second full-length, due for release mid 2012. To get the ball rolling they’re launching the first single Seven Seas with an east coast tour throughout April. See them at the Grace Darling on Saturday 14 April.

AS THE DAZ GOES BY

TOUR IN MOTION

The Mission In Motion will once again be hitting the road this May on the All Work No Pay Tour, road testing new material from the band’s forthcoming sophomore album due out in late August 2012. Joining the bill is Melbourne’s Jonesez who have been turning heads since the release of their debut album Betty’s Soup. The tour will come to the Tote on Saturday 2 June.

PREPARE THE CEILING

The Espy is pleased to announce that it is once again opening its doors up to a night of all Australian hip hop. Raise The Roof 4 has just been announced for Anzac Day Eve, Tuesday 24 April. Funkoars are stopping by on their Being Vincent D’Onofrio tour, Lowrider will be bringing their mesmerising blend of soul and funk, and after his show stopping performance here last June, Vents returns with a vengeance. Also joining in is Def Wish Cast and Briggs. Tickets are available now through Oztix.

With a distinguished career spanning more than 30 years, Daryl Braithwaite is one of Australia’s premier performers. His initial success as a singer came with Sherbet, which he followed with a run of hits in the late ‘80s and early ‘90s, including As The Days Go By and The Horses. Braithwaite plays the Espy on Sunday 8 April (Easter Sunday) with guests The Marabou Project and Bad Boys Batucada. Doors at 5pm, entry is free.

HAN NOT SOLO

Melbourne singer-songwriter Alex Hallahan is hitting the road in support of his brand new, critically lauded second album Human Veins. Together with his band The Woodland Hunters, Alex will be showcasing his exploration into the human condition with a throng of east coast dates, including the Lomond Hotel on Friday 4 May and Tanswell’s Commercial Hotel in Beechworth on Saturday 5 and Sunday 6.

THE UNTIME IS RIGHT

THE TRAP IS SET

The Temper Trap will return home this May to perform headline shows in support of their forthcoming self-titled second album, the follow-up to 2009’s critically acclaimed Conditions. The tour will see the band headline two nights at both Melbourne’s Forum Theatre and the Sydney Opera House as part of Vivid LIVE. The new album is due for release on Friday 18 May, and they’re playing the Forum on Tuesday 29 and Wednesday 30 May.

Flying Nun legends The Verlaines will tour Australia next month, promoting the release of their 11th album, Untimely Mediations. Formed in Dunedin in 1981 by Graeme Downes, Craig Easton, Anita Pillai, Phillip Higham and Greg Kerr, the band went through multiple line-ups before going on an extended hiatus after their 1997 album Over The Moon. In 2003 they released a career retrospective, You’re Just Too Obscure For Me. The Verlaines have many high-profile fans, including Pavement’s Stephen Malkmus and Ryan Adams. The band play the Northcote Social Club on Sunday 15 April.

themusic.com.au

INPRESS • 15


ROLLING BACK THE YEARS SOUTHERN CROSS-REFERENCE From their very first album The Pogues made a habit of having an Australian connection in the music, with each of their first three albums having one song with a distinct Aussie bent. According to “Spider” Stacy; “We’re imbued with Australian culture! It’s from watching Neighbours probably. It’s an ancestral fear on the Englishman’s part of Dennis Lillee.” It’s these first three albums from which the bulk of their current live set is taken, and the songs in question are: Song: The Battle Of Brisbane From: Red Roses For Me (1984) A jaunty instrumental number, the song references the running street battle which took place in November 1942 between US troops stationed in Brisbane for the WWII Pacific campaign and Aussie servicemen and civilians who were envious of their superior amenities and treatment (“They’re overpaid, they’re oversexed and they’re over here” was the catchcry of the day). By the time the violence was quelled one Australian was dead and hundreds from both sides injured. Song: And The Band Played Waltzing Matlida From: Rum, Sodomy & The Lash (1985) A cover of Eric Bogle’s famous account of a young Australian soldier who was wounded at the treacherous Gallipoli campaign during WW1. Worth a listen for Shane MacGowan’s pronunciation of Suvla Bay alone. Song: South Australia From: If I Should Fall From Grace With God (1988) A traditional sea shanty given the inimitable Pogues treatment (also known as Bound For South Australia). Passed down over the years in the great folk tradition, the song has been covered by many great artists and is more about the tyranny of distance and the voyagers themselves than the destination per se. going to Ireland, because it’s kind of in a way like Britain, but in another way absolutely nothing like it at all.” For now there are no plans afoot for new Pogues music, they’re completely content having fun with their current catalogue and taking this music to fans old and new around the globe.

IT’S BEEN MORE THAN TWO DECADES SINCE THE POGUES’ ONLY VISIT TO AUSTRALIAN SHORES, AND FOUNDING MEMBER PETER “SPIDER” STACY EXPLAINS TO STEVE BELL HOW THE MORE THINGS CHANGE, THE MORE THEY STAY THE SAME.

L

egendary London outfit The Pogues are a band at once defined by the decade in which they rose to prominence – their classic body of Celticflavoured punk was crafted in the ‘80s, and a product of that decade’s political and societal upheaval – but also one out of sync with that same era, for their unique music and persona was completely and utterly different to everything surrounding them at the time. The band were informed by the spirit of punk that had energised the London scene so brightly in the late-‘70s before burning out or mutating into other musical forms, but they married this manic energy to the ramshackle bonhomie of traditional Irish folk songs to make something completely distinctive and timeless, a music certainly rooted in geography but not mired to a particular epoch. It’s fitting that the band’s creative core – shambolic frontman and songwriter Shane MacGowan (already an identity in the London punk community before the band got off the ground) and tin whistle player Peter “Spider” Stacy – famously first met in the toilets at a Ramones gig in London, little knowing the long-term ramifications that this chance encounter would have on the rest of their lives. “And The Saints!” Stacy exclaims of that fateful evening. “The Saints were the first band on that night – an Australian connection! I love that band. It was The Saints and Talking Heads and the Ramones. It was great – Talking Heads in between The Saints and the Ramones! I felt sorry for them before I saw them, but once they started I knew they didn’t have anything to worry about – they were fucking great. And The Saints were fucking great, then the Ramones were stunning.” It was a couple of years after witnessing that amazing proto-punk line-up before The Pogues played their first show – they played one infamous gig as The New Republicans, before changing their name to Pogue Mahone (Gaelic for “kiss my ass”) which eventually morphed into simply The Pogues – and in that intervening time their wedding of rock and folk came to stunning fruition. “I honestly don’t know how conscious it was,” Stacey recalls of the embryonic Pogues sound. “Essentially what happened was that Shane and I were around at a friend’s 16 • INPRESS

house, and he picked up a guitar and started playing [Irish folk tune] Poor Paddy On The Railway, just playing it really fast – he was essentially doing an ‘acoustic punk’ version of it, for want of a better expression. Whether or not that was something he’d had running through his head anyway or just something he did there and then on the spur of the moment I really don’t know, but we looked at each other and a sort of light bulb went off. It still took some time for that to coalesce and form and eventually form into The Pogues, that was 18 months before the first Pogues gig. “If you took the amount of time that was spent actually getting [the aesthetic] together it probably didn’t take that long at all. Shane and Jem [Finer – banjo] were knocking a few ideas around after the show we did as The New Republicans – the germ of the idea had remained, it never really went away. It was always going to turn up somewhere, because it worked so brilliantly – it was like a marriage made in heaven.” When things took off for The Pogues it was with the force of a hurricane. Supports with The Clash lead to headline tours and their 1984 debut Red Roses For Me, and before long the band had made headway both in the UK and overseas. There was a definite political bent to their music – many songs concerned the trials and tribulations befalling the working class – but there was also a radical, hedonistic edge to both their many songs about drinking and their actual lifestyles that made everything they did so distinct. This reckless element that made the band so beloved as rogues to so many eventually proved their downfall, when just after the release of their fifth album Hell’s Ditch in 1990 MacGowan succumbed to alcoholism and drug addiction and was forced out of the band. The Pogues continued for a few more years – first with punk icon Joe Strummer out front, then with Stacy handling vocal duties – before finally calling it quits altogether in 1996. “There was a lot of very intense touring, which is probably one of the reasons why we burned out the way that we did, or more accurately the way that Shane did, although he was far from the only one,” Stacy reflects. “But he personally just found it too much – the amount of touring that we were doing was insane, and really not conducive to any longevity, or so it seemed at the time.

I mean when Shane left the band went on for another few years, but when Shane left the real proper heart of The Pogues went with him. We sort of carried on, and it was The Pogues, but his songs are such a defining part of what the band is about that it’s very difficult to take one away from the other. Well it’s stupid even thinking about it, you couldn’t have The Pogues if you took Shane’s songs away, that goes without saying.” Eventually, in 2001 The Pogues – including MacGowan – reformed for a Christmas show, and since then have been playing sporadically, now branching out again into the overseas realms (their impending Australian trip will be their second, following their inaugural visit in 1989). Their music is still reaching new audiences – resonating as fully with new fans as it always has with the stalwarts – precisely due to its inherent timeless nature. “I think that’s got a lot to do with it, the whole idiom wasn’t really tied to any particular decade, or if it was it was the 1780s or something like that rather than the 1980s,” Stacy laughs. “Plus also the quality of the songs – with Shane’s songwriting plus a lot of the songs that we covered like The Band Played Waltzing Matilda and Dirty Old Town and those kind of songs – they are themselves kind of timeless songs, and played in that particular way they’re not specific to any era. There were a lot of bands from the ‘80s who clearly sounded like they were from the ‘80s, but we were something apart. And I think underpinning it all – the really crucial thing – is the strength of Shane’s songwriting. With all of those other things you could present a good body of work, but when you’ve got that added ingredient you’re on to a winner. And I can say that without blowing my own trumpet – he’s the one.” While The Pogues are often mistakenly taken for an Irish band because of MacGowan’s prominence and songwriting bent, most of them are Londoners – was it easy at the outset to embrace the music’s Celtic flavour? “Yeah, there’s something really appealing about the whole thing,” Stacy muses. “Plus you’ve got to bear in mind that growing up in London – especially near where I grew up in London – there are some very Irish areas, so it wasn’t something that I was unfamiliar with at all. But in a funny kind of way nothing prepares you for actually

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“Yeah, it actually relieves us of so many pressures – not having to worry about the legacy, not having to worry about living up to what we’ve done in the past,” Stacy considers. “It just wouldn’t work, a new Pogues album. You have to look at the songwriters and say that Shane as the main songwriter is not the same person that he was 27 years ago. He’s not going to be writing the same sort of songs, so you’d get something that might be a Pogues album in name and it mind sound kind of like The Pogues but it wouldn’t really be The Pogues. Unless you had that sort of continuity of creativity – like someone like Nick Cave as obvious example, or someone like Tom Waits , people who turn out consistently high quality, well-realised work, and they’re always looking to improve on what they’ve done before – with that continuity it’s a different story, but when you’ve had a break of 21 years since Hell’s Ditch came out, it’s just too long a time. “Plus, it doesn’t seem that we need new music to reach new audiences – a lot of the fans coming to the shows these days are very young, there’s no way that they were even thought of when we were around before. I guess we’ve always been popular in colleges and universities and stuff like that, given the strong sort of alcohol content in our songs – I think that possibly explains that in part. Going back to the late-‘90s before the first reunion tour I had the impression that we’d kind of been forgotten about almost, but you realise that just because you don’t see your name in the papers that often it doesn’t mean that people aren’t listening to you and digesting and absorbing what you’re doing. So you’re getting bands coming out that have shown [that we’ve been an] influence, and there’s obviously been this line of people that have been listening to us, it’s just moved down the line.” And finally, will Stacy be bringing any of the beer trays with him that he was so fond of whacking on his head as percussion back in the day? “Oh yeah, but it will probably be pizza trays!” he guffaws. “I don’t know what the story is in Australia, but it seems that in the rest of the world the beer tray is a thing of the past, or it’s become a valuable antique. If I’d realised that they would become this resource I might have treated them with some respect! No, I wouldn’t have actually...” WHO: The Pogues WHEN & WHERE: Wednesday 4 April, Festival Hall; Sunday 8 April, Bluesfest, Byron Bay


INPRESS • 17


TASTE TEST: JEN CLOHER THE FIRST ALBUM I BOUGHT WITH MY OWN MONEY

Michael Jackson’s Thriller, when I was eight. Who didn’t buy that album? Me and my girlfriend Georgina Trembath choreographed a dance routine to perform at school. We bought a pair of fingerless red leather gloves and wore one each.

THE ALBUM I’M LOVING RIGHT NOW Sharon Van Etten’s Tramp. It’s a lot more produced than her previous records but it’s great production – I think the drummer from The National recorded it [close, it was guitarist Aaron Dessner]. Regardless, it’s the quality of songwriting and her amazing voice that stands out. Also in the player is The Grateful Dead’s American Beauty, the new Immigrant Union album and the debut EP from Melbourne songwriter Courtney Barnett, I’ve Got A Friend Called Emily Ferris. It’s the best thing I’ve heard this year. She’s a freakin’ star.

MY FAVOURITE PARTY ALBUM Aretha, Otis, Prince. In that order.

MY FAVOURITE COMEDOWN ALBUM Kurt Vile – Smoke Ring For My Halo; Elliott Smith – Figure 8; Karen Dalton – In My Own Time. I reckon they all know a little bit about coming down.

THE FIRST GIG I EVER ATTENDED

The Eurythmics, when I was ten. It was the controversial tour where Annie Lennox wore a red bra. From memory the bra was a sparkly one, a little like Dolly Parton’s pink glitter fiddle.

THE WEIRDEST GIG EXPERIENCE I’VE EVER HAD I took acid at a De La Soul concert in Adelaide when I was 18 and the audience turned into a wax museum. Horrific waxy melting faces. Not sure what I was thinking… I also head-banged a speaker, knocking myself out at a Clouds and Falling Joys double bill when I was 16 and had to be carried to the Volvo and driven home.

THE BIGGEST NON-MUSICAL INFLUENCES ON ME

The author Raymond Carver, the actress Meryl

18 • INPRESS

Streep (how good is Mezza Strezza? Honestly, she’s peerless… Tilda Swinton comes close but Meryl is just everything that’s good about acting), the food my mother used to make, the comedy of Christopher Guest, the photos of Rebekah Davies.

THE COOLEST PERSON I’VE EVER MET

My best friend Judi. We met at NIDA and ignored each other for the first year because we were trying to ‘out cool’ each other. It only took a year for that dreadful institution to break our spirits enough to take refuge in a friendship.

THE BIGGEST CELEBRITY CRUSH I’VE EVER HAD Ryan “Baby Goose” Gosling is pretty dreamy and I just watched Michelle Williams playing Marilyn Monroe in that new My Week With Marilyn flick. They’re total babes but… I think I would be a bit tongue-tied if I ever met Patti Smith, PJ Harvey or Gillian Welch. I did a tour with Neko Case a couple of years back and she’s right up there with my favourite singers in the world. I was so starstruck that I was sitting in the band room trying to work out a casual way to start a conversation – pretty nerdy I know. Of course she was super nice and chatty and real funny; she gave me a little hug on the last night of the tour – cuuuute. It’s weird when you meet your idols because you know they’re just peeps in the world dealing with life like anyone else but there’s also that element of just loving their art and having a deep relationship with what they create. It’s hard to separate that when you meet someone for the first time.

THE MOST SURPRISING RECORD IN MY COLLECTION

I had an obsession with the War Of The Worlds record when I was seven. I discovered it at my aunty’s house and listened to it the whole weekend. Whenever we’d go to visit I would dig it out and sit on the couch for hours listening to it on repeat. I saw it in a record store a few years back and had to buy it. It’s an amazing recording, there’s all kinds of extreme human emotion going on, people facing imminent death and begging for mercy – so dramatic! It was part

of a radio show in America called The Mercury Theatre On The Air and was aired as a special Halloween episode in 1938. Due to the lack of commercial breaks, and the news bulletin style it was broadcast in, widespread panic ensued as people were convinced a full scale alien invasion was happening across the country!

IF I COULD HANG OUT IN ANY TIME AND PLACE IN HISTORY It’d be any ancient civilisation at the height of its power and wealth. Egyptians, Mayans,

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Romans, Greeks – and preferably born into royalty so you were treated like a god.

IF I WASN’T MAKING MUSIC I’d be helping people who make music to make music. WHO: Jen Cloher WHEN & WHERE: Sunday 25 March 1.30pm, Northcote Social Club


WEDNESDAY 21ST MARCH AQUA – 3RD SHOW

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ADAM ANT

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MONDAY 2 APRIL

BRIAN SETZER’S ROCKABILLY RIOT

FEAT: SPECIAL SET WITH SLIM JIM PHANTOM

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BRIAN SETZER’S ROCKABILLY RIOT

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THE SPECIALS

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SUBLIME WITH ROME

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THURSDAY 12 APRIL

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WEDNESDAY 25TH APRIL

DIG IT UP! THE HOODOO GURUS

– CELEBRATING 30 YEARS OF RECORDED HISTORY PERFORMING STONEAGE ROMEOS + MORE. ALSO THE SONICS (USA), DIED PRETTY, REDD KROSS (USA), THE 5.6.7.8’S (JAPAN), THE FLESHTONES (USA), HARD-ONS, THE LOVETONES + MORE TO FOLLOW. TICKETEK.COM.AU, PH 132849 & OUTLETS ALSO AT OZTIX OUTLETS POLYESTER CITY & FITZROY, GREVILLE, ESPY, NATIONAL HOTEL, OZTIX.COM.AU, PH 1300 762 545

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ORBITAL

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EIFFEL 65 & N-TRANCE

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20 - 30 BOURKE ST CITY - 9650 0180 WWW.PALACE.COM.AU INPRESS • 19


STILL STANDING AND DELIVERING WITH NEW “FAR REACHING” SONGS ON THE HORIZON, ADAM ANT TALKS TO CYCLONE ABOUT HIS PAST WITH THE ANTS AND HIS FUTURE WITH THE GOOD, THE MAD & THE LOVELY POSSE.

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any a young artist channels David Bowie, Ian Curtis or Siouxsie Sioux, but never Adam Ant. Stuart Goddard’s alter-ego is inimitable. But now there is a new Adam Ant – and, it turns out, it’s the original, wholly rejuvenated. London’s Cockney Rebel is returning to Australia to perform for the first time in 30-odd years and with his current band, The Good, The Mad & The Lovely Posse. So keen is Goddard that he recently flew in to promote the tour, reviving ‘Antmania’ in the process. The sometime graphic design student was once bassist in an unexceptional rock outfit, Bazooka Joe. When the Sex Pistols supported them, Goddard saw the future. He began to – slowly – form a fetish-themed punk band. Adam & The Ants

floundered initially, 1979’s independent album, Dirk Wears White Sox, not transcending its cult status. Goddard sought out Malcolm McLaren, the Pistols’ mastermind, to guide them. By decade’s end, punk had become grim and fresh ideas were needed. “They were all kinda off their faces,” Goddard recollects the scene. “A lot of drugs had got into punk, which I didn’t particularly like – and I just got sick of it. I thought, ‘This has gotta have a bit of colour.’” Goddard developed an ever-more theatrical – and colourful – postpunk image, complete with costumes and make-up, modelled on outsider figures: Native American Indians, cowboys and pirates (he himself is of Romani descent). “A lot of that was down to Malcolm saying to me, ‘What do you want? Do you wanna be indie, cult, or do you wanna be someone who people see on their Corn Flakes packets?’ I said, ‘I really wanna go for a hit record.’” McLaren played no direct part in The Ants’ breakthrough. He’d do a little buccaneering of his own, enticing Goddard’s musos away for another project, Bow Wow Wow. “We fell out. He inspired a mutiny in the ranks – and that wasn’t nice.” Goddard had to reassemble The Ants, recruiting guitarist Marco Pirroni and two drummers, one of them producer Chris Hughes, aka Merrick. They cut 1980’s Kings Of The Wild Frontier, a huge crossover success, partly due to Antmusic, which was an Australian #1. Goddard had decided to hire dual drummers after catching James Brown – and The Ants’ funky Burundi rhythms really helped distinguish them. In fact, Goddard was influenced by soul as much as glam or punk, The Ants “a hybrid”. “I grew up listening to Tamla Motown a lot and a lot of James Brown and Al Green, mainly the singers – ‘cause that’s what I do [sing]. So I was always trying to learn by listening to the way they use their voices.” The Ants followed with 1981’s avant pop Prince Charming, housing Stand And Deliver. Yet their lifespan was short and the group bowed out with their most outlandish single off that album, Ant Rap, ingeniously presaging hip hop. Goddard has suggested that Ant Rap was a pisstake. “I think [The Ants] had reached a sort of peak, as far as I was concerned. It got a bit too poppy and a bit too soft. I was under a lot of pressure from the record label to come up with a new look, new sound, new album... I let myself fall for that, but I didn’t know better. I do now, but then I didn’t... But, having said that, it was almost trying to put a song out that had no music on it, except for a harpsichord solo in the middle. I didn’t know it was rap ‘cause there’d only been Grandmaster Flash, really, I think at around about that time – or maybe after. I thought it was a cappella, not rap. Calling it Ant Rap was quite a literal thing.” Did Goddard ever regret The Ants’ early demise? He sighs. “I didn’t really have a choice. Things had crept into the group [Goddard notably banned drugs] – there were a few problems... It was almost like, you get the number ones and then what do you do? The only way is down, if you’re not careful, so it was quit at a peak.” Goddard’s solo career started promisingly with Goody Two Shoes, which finally broke him Stateside. Friend Or Foe was thankfully the first of a succession of albums though in the end he set music aside in the late ‘80s to pursue acting. Goddard scored a green card, moved to Los Angeles (settling in arty Silver Lake), attended classes and auditioned. “I didn’t really take any roles as a rocker, apart from Northern Exposure.” If in later years Goddard has slipped off the radar, it’s because he fought a widely reported – sometimes exploitively so – battle with mental illness. (He’d already experienced depression, anorexia and a suicide attempt, pre-fame.) Goddard also wanted time out with his young daughter. He published a candid autobiography in 2006, Stand And Deliver, having kept journals since the ‘70s. (“That’s probably the best therapy you can have,” he says.) In 2012 Goddard – who is pensive, quietly-spoken and, being residually shy, inclined to avoid eye contact – still looks the dandy pop star, like Johnny Depp’s Brit cousin. He’s clued-up on contemporary pop, but he rues that today’s bands neglect their presentation: so few look distinctive. Goddard is nurturing his own talent with “a boutique label”, Blue Black Hussar, its flagship Georgie Girl & Her Poussez Posse, a “tough” all-girl band Georgina Baillie fronts that will open for him in Australia. (“I’m trying to do a Motown label tour.”) In July he’ll drop his comeback, Adam Ant Is The Blueblack Hussar In Marrying The Gunner’s Daughter. He’s worked on the “raw” analogue LP with Boz Boorer, who collaborated on 1995’s Wonderful, plus ex-3 Colours Red guitarist Chris McCormack. “It’s eighteen songs and it’s really just, as always, songs and stories that interest me – and certainly songs about what I’ve been through in the last seventeen years since Wonderful. The songs are quite far-reaching. They’re all recorded live. I can’t really describe music – it’s a bit of a dangerous area – but hopefully it will sound like the next Adam Ant record.” Goddard has reason to feel optimistic. His live show is attracting the best reviews of his career. This month Aussie ‘Antpeople’ can anticipate the hits – and some “surprises” (Jubilee’s Plastic Surgery!). Quips Goddard, “It’s not gonna be a jazzfusion version of my catalogue with horrible medleys at the end, which a lot of bands do – they seem ashamed of their work. I don’t have a problem with my stuff. I love playing it.” WHO: Adam Ant & The Good, The Mad & The Lovely Posse WHEN & WHERE: Friday 30 March, Palace Theatre

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ABPRESENTS.COM.AU CHARLIEMURPHYCOMEDY.COM INPRESS • 21


ALIVE AND KICKING THE STORY OF STEVE EARLE IS ONE SO FULL OF SOARING HIGHS AND CRUSHING LOWS IT MAKES YOU FEEL LIKE YOU HAVEN’T LIVED AT ALL. BEFORE ANOTHER AUSTRALIAN VISIT, HE TELLS DAN CONDON ABOUT KEEPING BUSY, GETTING OLDER AND WHY HE’LL NEVER RETIRE.

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e haven’t seen Steve Earle in Australia since late in 2008, when he was touring in support of 2007’s Washington Square Serenade. He mentions he tried to get here on the back of 2009’s Townes, but it wasn’t to be. “The only reason we missed coming on the Townes tour was Treme,” he says from his home in New York City’s Greenwich Village, referencing the HBO drama series in which he stars. “The filming schedule hit right around Byron Bay [Bluesfest] and to make this make sense financially you almost have to have at least one festival.” But he was determined that we wouldn’t miss out on seeing him tour on the back of his excellent T Bone Burnettproduced record of last year, I’ll Never Get Out Of This World Alive, an album he considers one of his finest yet. “I’m really proud of the record,” he chirps. “I didn’t really want to think about how it sounded – I hired T Bone for a reason – I wanted to really concentrate on the writing and I’m really, really proud of this batch of songs. I think they’re, beginning to end, the strongest lyrics I’ve ever written. I worked on them right to the last minute when I walked into the studio and performed them.” In recent times Earle produced Townes as well as Joan Baez’s 2008 record Day After Tomorrow, but says that relinquishing control in this department was by no means a problem for him. “As I’ve gotten older I don’t feel the need to control everything, part of it’s a recovery thing, I’m just not suffering from the delusion that I control much of anything anymore,” he quips. “Art’s kind of an accident, but also, when you’re an artist and you’ve been doing it all your life, you can predict the outcome will be okay when you don’t fuck with it too much. And I think that’s where things go awry, when you become so obsessed with controlling everything that you become someone that second guesses yourself and someone that’s afraid to release something because you didn’t tweak this or that. I’m pretty good at making stuff and letting it go out into the world and then going on to the next thing. It’s just healthier for me.

“I’ve made two records in a row, Townes and Washington Square, which were arrived at pretty solitarily. It was a lot of me in the studio by myself doing a lot of overdubs and working with beats on Washington Square. Townes was just guitar and vocal performances where I just closed my eyes and did it and we added instruments later. That was a great way to make that record because it was a very personal record that was very much about my relationship with Townes [Van Zandt], it’s a very intimate record and it sounds like it. But I was ready to do something where I interacted spontaneously with a room full of musicians and somebody else worried about catching the lightning in the bottle. And T Bone’s good at that,” he finishes with a chuckle. Earle’s something of a creative renaissance man these days, but things almost went very differently for him. Initially a disciple of Townes Van Zandt, a kid kicking around with the likes of Guy Clark and Rodney Crowell, he became a professional songwriter and recording artist in the 1980s and achieved a great deal of success with his first and third records, Guitar Town and Copperhead Road. A long-held addiction to heroin took over though and he ceased writing and recording for a number of years in the early 1990s. After a stint in jail he cleaned up his act and has gone on to be more than prolific – he now lends his creative talents to a huge number of different projects. He’s a novelist, a playwright, an actor, a radio host as well as an active recording and touring musician. His plate is full, but he doesn’t consider himself a workaholic.

that aren’t my job. I do a lot of stuff – I make records I do some acting, I’ve got a radio show, I write in more than one discipline – but I like my job. I have to work, there’s no doubt about it, I don’t have enough money that I can just stop working so a lot of the reason that I work is because I have to, but I’m okay with that.” The different disciplines he practices have a positive impact on the way Earle approaches his other endeavours as well.

“I’m a person that does something they love for a living,” he says. “I think vacations and even weekends and certainly retirement are unseemly if you do something that you really love doing. Most people work and it’s a job they work and maybe it’s something they’re proud of or enjoy doing at times, but it’s work. There may be something they really dream of doing so they put aside what they’ve done for a living all their lives and retire and they hope to do something they’ve always dreamed of doing. I do what I’ve always dreamed of doing every day.

“As an actor I’ve only ever said words that were written by really great writers like David Simon and Tim Blake Nelson [who wrote] the one feature that I did [2009’s Leaves Of Grass], and you learn, you learn a lot about writing by going out and saying words that were written by really great writers.”

“I don’t think I’m a workaholic, I watch TV and I go to baseball games and I fish; I do make time for some things

“I can play a lot of stuff and I’m pretty good at it and it’ll cover a lot of ground. My shows tend to be, at this point,

As far as the setlists for this upcoming tour go, well, there won’t be any. But Earle promises lengthy shows featuring songs from throughout his career.

longer than most people in my audience can stand there in a standing venue so we’ll see what happens. I usually don’t use a setlist for solo shows, it’s one of the luxuries I afford myself is just not to have a structure, I just go out there and see what happens and have a lot of fun.” And it seems Earle is looking forward to visiting us the most. “I really like Melbourne, even though there are places in Australia with better weather, there’s just something…” he trails off. “I live in Greenwich Village in New York City and I like places like that and Melbourne is kind of like that in Australia as far as I can tell. I’m a big theatre person and there’s a really vibrant theatre scene there and I like hanging up there. I really like St Kilda.” WHO: Steve Earle WHEN & WHERE: Wednesday 28 March, Meeniyan Town Hall; Thursday 29 and Friday 30, Corner Hotel; Friday 30 1pm, Readings, Carlton; Friday 6 and Saturday 7 April, Bluesfest

‘Enthralling’ the new york times

The definitive career retrospective of the world-renowned artist and filmmaker ACMI Federation Square Melbourne www.acmi.net.au/kentridge

This exhibition is organised by the San Francisco Museum of Modern Art and the Norton Museum of Art.

William Kentridge, Invisible Mending (stills), from 7 Fragments for Georges Méliès, 2003; Collection of the artist, courtesy Marian Goodman Gallery, New York, and Goodman Gallery, Johannesburg; © 2012 William Kentridge.

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POP GUNS ARE ALEKS & THE RAMPS FALLING INTO THE TRAP OF WRITING UNPOPULAR POP TUNES? SAMSON MCDOUGALL FINDS OUT FROM ALEKS BRYANT AND SIMON CONNOLLY THAT THAT’S HOW THEY LIKE IT.

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he first single (and awesomely titled) Middle Aged Unicorn On Beach With Sunset has been getting a fair airing by community radio for a couple of months now and as of Valentine’s Day the new album, FACTS, from Melbourne’s most serious fun-time band, Aleks & The Ramps, has finally dropped. This time though, there’s no box of CDs to be distributed to stores (though vinyl will be available) and Aleks Bryant and Simon Connolly seem a little “meh” about the concept of a digital release.

That’s not to say they’re not pumped on the album, however. Two years in the making, FACTS is a considered work. Where their last release Midnight Believer rocked to a kind of schizophrenic pulse, the new record flows to an entirely different rhythm. As close to radio-playable pop music as the collective – the word ‘band’ should be applied fairly loosely, at least for the purpose this release – have ventured, FACTS comes at you from an obscure angle and weasels its way in through the back door. Similar to Midnight Believer, the strength of FACTS is in the continuity of sound. But while the former conjured a wild ruckus on the high seas (at least to this dude’s ears), the new album breathes summer throughout. “All our albums have a seasonal touch to them,” says Bryant, fairly ingenuously. “But it’s also got our most depressing song ever,” adds Connolly.

taking many obvious cues from their contemporaries. “All the bands we like, we don’t really sound like,” says Connolly of where they sit in the hypothetical record store shelves of his mind. If there’s one apt descriptor for A&TR it’d be ‘unique’. To search the record for influences, it’s bloody hard to grasp onto to anything much as familiar. In searching for local pop successes they may’ve turned to for inspiration, I offer up (not so much in any musically comparative sense) Wally DeBacker and his UK-charttopping single Somebody That I Used To Know for project Gotye. “I don’t really get why anything is popular,” says Bryant. “It might as well be him, ‘cause he’s a nice dude. Even in Pitchfork I’ll be like, ‘Really? That’s the popular thing? Boy do I feel old’.”

“Summer is actually the most depressing time of year,” continues Bryant. “It’s both the happiest and the most depressing time – it’s oscillating between the two. Autumn’s the most stable.” “Autumn’s the time for gettin’ stuff done,” says Connolly, “especially in bands. As soon as that whole summer festival thing’s over everyone just hits the ground running ‘cause you’ve only got a couple of months to get things done.” This sentiment was not applied to the latest recording. FACTS represents an experiment in persistence, of sorts, whereby Bryant put out a call to band members that recording was in progress and from there they dabbed the thing together over a long period. In a sort of twisted irony, they took this new approach in a backlash against the rigours and logistical headaches associated with more traditional ‘band’-type writing and recording. “[Midnight Believer] took a long time to make because we rehearsed it as a band and had all the songs written and then we recorded them,” says Bryant. “Then there was a really long tinkering process… [This time] we thought, ‘Why don’t we do that in reverse?’ Instead of getting five people together and throwing ideas around, which can be really time consuming, it was like putting an open call out that we were making a record, and we’d work on it in smaller groups – sometimes me and Simon, sometimes me and Jo [Foley], sometimes me and Simon and Janita [Foley], or whoever was around. “We could do it again but be more fascist about time,” says Bryant of the eventual (pleasing) outcome of the experiment, despite the two-year time frame. “The stakes weren’t that high. It’s not like we’re paying $550 a day and paying for an engineer.” Listening to FACTS (and especially through subsequent listens), it actually feels more together than their earlier work. The album reads more completely realised and conceived than its origins should suggest. “There’s been more of a directive going into this record than there has in the past,” continues Bryant. “Used to be [putting the voice of an idiot]: ‘Let’s just fuckin’ see what happens’ – in that voice as well. On this last one we thought maybe we should be a little more succinct with our ideas. There’s still a lot of stupidity, but [it’s] a bit more concise.” And the touch is markedly lighter right through the listen, the abrupt tempo shifts and frenetic nature of Midnight Believer only existing in shadows – a guitar lick here and a vocal phrase there. “We all like well-produced pop music,” says Connolly. Bryant interrupts: “We have no shame in saying that.” “We like the art and the whole process of doing that, we’d like to see if we can make it sound incredible – sleek and punchy and pristine sounding,” Connolly continues. “We’ve been striving to make strong pop music, not like because we gotta get this shit on radio.” FACTS does nothing if not reinforce A&TR’s sound as strange and elusive beast. It’s playful and smooth, exploring gentle pop ideas but in a cerebral way. Like radio tunes for reading folk, their tunes here ring too pop for the (now wildly over-exposed) garage scene, and too intellectual for the commercial pop world. “It’s just kind of fun making pop music,” Bryant continues. “It’s harder than making experimental… I guess it depends what you mean by ‘experimental’, but for a band that’s making weird music and then for them to go and make pop music almost seems like a cop-out but it’s actually really fucking challenging and hard. It’s like it’s way easier to make stupid weird music, there’s no barometer of good and bad. It’s like, ‘We’re gonna do this, so deal with it’. If you actually want to make good pop music, it’s really hard.” “It’s like [Weezer’s] Rivers Cuomo,” says Connolly. “After Pinkerton or something, he spent years trying to figure out the formula for making great pop songs and he claimed that he’d done it but he’s just made shit albums since… He already had it.” Bryant adds: “As soon as he stopped to think about it, he awoke from the dream.” But in this quest for crafting pop delights, it’s not like they’re WHO: Aleks & The Ramps WHAT: FACTS (Independent/Gaga Digital) WHEN & WHERE: Thursday 22 March, National Hotel, Geelong; Friday 23, Northcote Social Club

themusic.com.au

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LADY SINGS BEYOND THE BLUES BLUES/FOLK/GENERAL GORGEOUS PERSON KRYSTLE WARREN STOLE THE SHOW DURING LAST YEAR’S NICK DRAKE TRIBUTES AND SINCE THEN HAS MADE GOOD ON HER PROMISE TO RETURN. SHE TALKS TO LIZ GIUFFRE.

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ack in 2005 when Came So Far For Beauty, the big Leonard Cohen tribute show, happened at Sydney Opera House, a whole bunch of people were blown away by Antony Hegarty of Antony & The Johnsons. We had no idea who he was, but the minute he opened his mouth he stole the show – how does a sound like that come from a vessel like this? The same thing happened again last year when Krystle Warren took the stage for Way To Blue, the international tribute to ‘70s smoothvoiced singer (and long gone folkie hero) Nick Drake. She looks like a small, relatively unobtrusive hipster – not in a bad way, just in a low-key way. She stood as the opening bars to Drake’s even-handed Time Has Told Me played, calm but smiling. Then when she opened her mouth the most amazing sound came out. Part baritone as if she was impersonating Drake, but with richness that the greatest of female singers can also manage. “You know all of us were so giddy and nervous, with the Sydney Opera House being such an amazing theatre and also because it’s new territory. But it’s nice that there was that reaction, but to be honest I was too nervous to really notice,” Warren says. While we’re relatively late to the party, in the UK in particular she’s already well known and loved, having gotten the seal of approval from the iconic Jools Holland on his revered show Later…. By way of introduction for the newbies, she explains, “Well I moved over England [from the US] about three years ago and shortly after that move released my first album Circles, which was with my band The Faculty. From that, the producers from the Jools Holland show heard it and I ended up being invited to play there and I think really from that point that things changed. It’s one of the few shows really dedicated to music in that way and I think that was really a mark for me and the relationship that started to bloom in the UK. And previous to that I’d lived in New York from my hometown in Kansas City, Missouri and, you know, what really ended up bringing me to Europe was the label that brought out Circles. So it wasn’t really an ‘I want to just pack up from The States and venture off’, it was more that, ‘If I want to do this I have to do that’, and it’s become home.”

Warren comes to Australia to showcase her own music – a mixture of soul, blues, jazz, folk, pop and something else as well. It’s driven by her voice (part Dusty, part Drake, part something new entirely), but her writing is also about channelling a spectrum of sound and influences. “I was working very closely with the producer of that record [Circles], Russell Elevado, and his musical background is… well, we have a lot of common in terms of what we’re into musically, genres we’re into.” It would be easy with such a pedigree to leave Warren in retroland, but her approach is contemporary, too. One of the best comparisons this writer can offer is to the divine Rufus Wainwright, a performer who pushes to try and get something new. “I definitely did feel, you know, when I first listened to Rufus, that there was some sort of kindred spirit there,” she says. “There was someone who was just all over the place musically but there was still a common thread and I’ve never shied away from music no matter what colour it has to it… and in that way the mixture of all the genres, the kind of melting point, is genuine. And I think that is also true of him, but it’s quite a complement that you think I have something in common with him.” WHO: Krystle Warren WHEN & WHERE: Sunday 25 March, Brunswick Town Hall

UNCHAINED MELODIES STARSAILOR MAN JAMES WALSH IS A PROPER ROCK STAR, WHICH MEANS HE DOESN’T HAVE TO PUT VIDEOS OF HIMSELF SINGING IN HIS BEDROOM UP ON YOUTUBE. HOWEVER, HE STILL DOES. AND WE LOVE HIM FOR IT. BY LIZ GIUFFRE.

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ames Walsh is a man who can write and sing a great tune. With Starsailor, he’s been a darling of the international record industry for over a decade, least of all as many still keep Four To The Floor as a defining soundtrack to youthful escapades. But since then he’s continued to make music and perform with a generous mixture of professional skill and a music fan’s excitement. The latest is what he calls the 1000 club, where he posts acoustic covers of songs he digs on YouTube. It’s called 1000 because when the views hit that magic number, he takes that as a cue to record another. Just over a month into it and Lennon’s Real Love and Dylan’s I’ll Remember You have gotten a go – filmed just with a webcam in a bedroom so it seems. The recordings look and sound rough and ready, but they also have a warmth, skill and clear love that is infectious. Real Love, as it were. “I think it’s important and it’s a great opportunity to link to the fan base with YouTube and Twitter and all these things. It’s particularly important in the current climate, I think connections are very important,” Walsh explains of the idea initially. “And I think with the YouTube videos and things like that, I think people are a lot of more forgiving of little technical mistakes and things like that, as long as you’ve got a strong core. I do work on the craft when it comes to recording, but the great thing is when you send out a really unrehearsed and raw version of the song that gets a good reaction, then it makes me really excited that the things will go well when the all singing, all dancing version of the song is finalised and released.” The new songs in question include Walsh’s latest solo efforts, the latest being EP Live At The Top Of The World. It’s got his trademark smooth, almost soul folkie vocals, but also a slightly more direct

This tour marks the first significant one here for Walsh, although it’s not his first time to Australia. Believe it or not, he and Starsailor actually toured here as a support for Alex Lloyd in another lifetime. Speaking from home on the other side of the world after a relatively calm day (“I had a meeting in the morning and then quite an easy day, to be honest, which is good because I was quite hungover. I’m quite good at planning a day that’s not too busy when I’m hungover…”), he talks matter of factly but sweetly about getting over here to show off his solo wares. “[I’ve come back to Australia] for a few reasons, really,” Walsh continues. “I guess one of the few reasons was that we met a very lovely, charming Australian promoter in Dubai, who made it his mission to get me back out there, so yeah, that was a big part of it. But I’ve always made it clear to my own agent that I’d love to go back to Australia. It’s always a shame when you’ve only been somewhere once. We were novices then – quite inexperienced – and since we’ve done a lot of shows in Europe and shows in America and got better and better with each time. So it’s always a shame that we’ve not come to Australia and show off a more experienced version of Starsailor, so I’m making up for it now. “It’s a very different show now that I’m on my own, there’s a bit more pressure on me to regale the audience with all different tales,

but it will be good fun. All the Australians I know have great personalities and a good sense of humour so it should be good.” While you’ve got to love Walsh’s want to connect with this fans (and clear enthusiasm about being a music fan himself), does he ever get a little concerned that audiences will get a little too close, trying to run the show as it were? “I’ve learnt to kind of deal with it now, laugh it off. I’ve had experiences in the past where I’ve let a bit of rowdiness get to me a bit too much,” Walsh laughs, clear up for the interaction, but also confident enough to politely tell those who may overstep the mark to cool their heels. “I’m not worried about hecklers at all!” Given recent moves into other types of music making beyond band and solo stuff, to a recent stint with film music on Powder, it sounds like while Walsh will be in charge, there will still be plenty of wiggle room on the night. WHO: James Walsh WHEN & WHERE: Friday 23 March, Esplanade Hotel

PLEASURE BOATING WOODEN SHJIPS WANT AUDIENCE RESPONSE TO THEIR PRIMAL GROOVES. ANTHONY CAREW CHATS WITH BEATMAKER OMAR AHSANUDDIN.

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ooden Shjips had a great time in Australia on their debut tour here, back in 2010. Thanks for asking. “We had a great time, man,” says Omar Ahsanuddin, the drummer for the San Franciscan psych-rock crew. “We got to play [at Golden Plains] at Meredith. That was wonderful, magical, great and fun. We loved Melbourne, we had an afternoon off to meander round, found some really cool places. We can’t wait to come back; this time we get to go to Perth, and it’s our first trip out there. We’re looking forward to it.” The band will be returning to Australia on the back of their third LP, West. After first flickering to life as Erik ‘Ripley’ Johnson’s home-recording project (with designs on issuing purposefully obscure physical artefacts and existing outside the promotional mill of the online era) Wooden Shjips had, even in the six years since, never really gone beyond that: each of their first two records – 2007’s Wooden Shjips and 2009’s Dos – recorded live to a tape-machine in the band’s rehearsal room. “We’ve always recorded ourselves, playing in our own practice space,” Ahsanuddin says. “[But] we knew as soon as we had finished making [Dos] that the next time we wanted to go into a studio. We knew that that’d create something very different just by its nature; because West was the first time we’d ever been into a studio.” That studio belonged to Philip Manley, former Trans Am frontman turned producer of Barn Owl, Mi Ami, Psychic Reality, The Alps et al, and a friend of the Wooden Shjips dudes from around-the-town. “Having him there totally changed our own roles in recording,” offers Ahsanuddin. “Because, this time, we didn’t have to think of the nutsand-bolts. You don’t have to think about, ‘Did I press record before I played that song?’ or, ‘How can we work these microphones?’ or all that stuff – all that other stuff – that comes with trying to engineer yourselves. And, best of all, we didn’t have to worry about running out of tape halfway through a take and then having to go and buy some more, which has definitely happened to us before... “It provided the opportunity to have some genuine

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approach than with Starsailor. It’s not that the band is over or that he doesn’t like that vibe, but rather than he’s just enjoying the slight freefall, including exploring the pop path less often trodden. “One of the advantages of playing on my own is, when you play with a band you rehearse a set and when you sort of go away from the set and play a song that’s unrehearsed, everyone gets a bit nervous and it can be quite exhausting. But I’ve often found on my own I can let the audience draw it, I can go with the audience. If it’s a Sunday night and everyone’s chilled after a big weekend and they want some gentle acoustic stuff, then I’ve got plenty of that in my armour. But equally if it’s a Saturday night and everyone’s up for it, I’ve got Four To The Floor and Soul On Trail [from the new EP] and plenty of big covers in my book as well. So it’s going to be good fun.”

constructive feedback in the middle of recording; and to have someone there as a sounding board. Which we’ve never had before. Previously it’s just been the four of us, trying to puzzle it out ourselves. It’s nice to have someone there who can, when you’re listening back to a take, just say to you, ‘I think you’ve got a better one in you,’ or, ‘The tempo slowed down in the middle of the song,’ or, ‘That take was awesome’. Everything about making this record just felt so different.” West’s title happily tackles the mythologism of the American West; from its frontierdom to the eternal lure of California, forever pulling Easterners across the country. Wooden Shjips know all about it, each of their members – Johnson, Ahsanuddin, organ player Nash Whalen and bassist/trumpeter Dusty Jermier – grew up on the Eastern seaboard of the US. Ahsanuddin hails from tiny Morganton, North Carolina, and relocated to San Francisco 15 years ago. He and Johnson played in a noise band together, so, when Wooden Shjips were being turned from a recording project with conceptual live lineup into a functional rockband, Ripley rang up his old pal. “When the band started, we had a pretty good idea of what we wanted to do,” Ahsanuddin recounts, of those beginnings. “We wanted to make primitive rock music that has a good groove, that’s simple, that doesn’t go over the top on things, but just locks into this primal essence. That’s the way we approached it at the beginning, and it’s held true: I think it’s still the way we approach it now. “As a band, we try to look for repetition, look for simple ways of doing things. For me, as the drummer, that means not a lot of drum fills at all. I play a really stripped-down drumkit. I don’t want a lot of different things I can hit, it’s important for me to just lock in on the rhythm and the repetition, and let the guitars and keyboards sort of jump off from that, and hopefully just hit this groove where we can get people dancing.” Wooden Shjips’ repetitious, fuzzy, tranced-out psych-rock comes steeped in Ash Ra Tempel, Spacemen 3, The Doors, and anyone else who ever chased organ-draped space-rock towards the transcendental. In 2007, playing their second-ever show, they scored a support to an obvious spiritual antecedent: the legendary founder of The 13th Floor Elevators (and recent Australian tourist) Roky Erickson. “It was when he’d just started playing again,” Ahsanuddin recalls. “It felt so weird and also just crazy fast: our first show had been at a pizza parlour, and then for

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our next one we’re playing at the Great American Music Hall with Roky Erickson. It was strange and wonderful.” In their early years, there were many more “strange and wonderful” shows for Wooden Shjips: playing house parties and art galleries, or, memorably, in a half-pipe (“there were drunk people sitting up the top of the ramp, and they’d occasionally fall and tumble down into the bottom of the ramp where we were”). But after the release of Dos – effectively the band’s breakout set – they were touring more and more, playing at rock clubs at home (“it really sucks playing in bars in the US, because you have to be 21 to get in; we really wish we could play more all-ages shows) and European festivals. Whilst their record collector-friendly rep cultivates many a chin-scratcher audience, Wooden Shjips found that, touring in Europe, they’d find far more ‘live’ crowds. “In San Francisco where we’re from, you play a show to a roomful of people with their arms crossed, maybe someone nods their head. Being from Melbourne, I’m sure you know that scene,” Ahsanuddin says. “Which is why it’s so awesome to go on tour and go places where people are really psyched to have a good time and get into the music; where they’re going to be way more demonstrative in the way they respond to the music. You go play in Athens and no one’s just standing there, they’re hanging from the rafters, y’know? When you play in one of the more out-of-the-way places in Europe, people are just excited that a band from San Francisco has come to play.” WHO: Wooden Shjips WHEN & WHERE: Wednesday 28 March, Corner


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GOOD EFFECT AND RESULT OVER THE PAST 16 YEARS, BORIS HAVE RELEASED 17 ALBUMS ACROSS NEARLY AS MANY GENRES. AHEAD OF THEIR PENDING RETURN TO AUSTRALIAN SHORES, MATT O’NEILL INVESTIGATES THE JAPANESE BAND’S UNASSAILABLE LEGACY.

SOUNDS OF SILENCE HER BAND IS ON THE ACTIVE SIDE OF HIATUS AND DOUG WALLEN LEARNS THAT MULTI-LINGUAL SINGER/MULTI-INSTRUMENTALIST VERITY SUSMAN’S FAVOURITE ELECTRELANE ALBUMS ARE THOSE ON WHICH SHE SANG THE LEAST.

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ust two years ago you wouldn’t have put money on seeing Electrelane anytime soon, let alone in Australia. The great English quartet went on hiatus for “the foreseeable future” at the end of 2007, capping off a decade together and four starkly unique albums. But early last year Electrelane resurfaced, confirming summer festival dates in the UK and Europe. While their future remains less than assured, thanks to members split between continents and the usual obligations of personal and professional life, a second-ever Aussie tour is something to cherish. Before coming our way, Electrelane will have only played about a dozen shows in this their second incarnation. While the band have seen their share of roster changes since forming in 1998, the current lineup is the same as before the hiatus and solidified in 2004 - that’s singer/ multi-instrumentalist Verity Susman (who has played everything from clarinet and sax to guitar and keyboards), guitarist Mia Clarke, bassist Ros Murray and drummer Emma Gaze. Talking by phone, Susman seems appreciative of the band’s second lease on life, however fleeting.

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ne often doesn’t fully appreciate how totally industry and economics have permeated popular music until uncovering a band unaffected by their influence. For better or worse, Boris are such a band. The Japanese trio has successfully established a history of warm, human, volatile unpredictability that doesn’t so much defy industry expectations as ignore them altogether. Boris’ work over the past two decades has been defined almost exclusively through a series of philosophies. Born of Japan’s fertile late-‘80s hardcore scene, Boris have, throughout their ever-evolving music and performances, always maintained a fierce dedication to punk’s fundamental ideals of community, DIY and artistic freedom. “Our hardcore manner is always with us,” drummer Atsuo Mizuno says of the band’s values. “But it is not limited to the hardcore community in Japan. That should not be expressed particularly musically – everyone should show it as their attitude. Boris won’t ever try to record specific sound or aesthetic on purpose. We didn’t expect anything at first because playing together was just for fun. When I look back on that, it seems like a very long time ago.” The 16 years since the release of Boris’ debut album, 1996’s Absolutego, have seen them continually saddled with ambiguous genre tags like post-metal, nu-gaze and avant-rock. The band has flirted with everything from hardcore punk, doom and drone-metal through to pop, ambient music and psychedelic rock over the years. “Various titles or sub-genre tags will only ever show an outline of our music. It won’t ever be more than that. I will admit it might be helpful to communicate with someone else, though,” Mizuno says diplomatically. “Obviously, what we communicate is through music, not via language. We would like to do whatever we feel fresh and psyched at the moment. Boris won’t be faithful to fans if we neglect that.” Their work remains driven by the same basic principles as always – a refusal to be pigeonholed, an intense appreciation of the visceral intimacy of performance and an abiding respect and admiration for their audiences across the globe. Fittingly, their entire mantra seems to oscillate around the very sense of contradiction Mizuno pinpoints as the defining aspect of their catalogue – their practice and career an ongoing negotiation between absolute freedom and commitment. Boris’ longing for artistic freedom is both legendary and obvious. It is, by the band’s own admission, one of the key motivations behind their notoriously prolific work ethic. At the time of interview, Boris were recording – despite 2011 having already seen the release of three albums of new material (New Album, Heavy Rocks and Attention Please). “We’re looking forward to our tour of Australia. It is going to be our second proper tour over there. This time we will also be going to where we haven’t been yet so we feel excited,” Mizuno announces, relieved to be breaking away from the studio temporarily. “We are writing and recording new music these days and we scarcely see anyone else, so it should be great to meet up with many fans and listeners once again. “Boris loves studio work and, at the same time, we love to have a time for the immediate connection with our fans at shows too,” Mizuno continues later. “It has absolutely become harder for us over the years to keep up the touring. In general, Japan is an easy place to live so, once we go out to tour, it is often quite hard, but we have had great experiences during tours too. I think health management for touring leads to good effect and result to keep going what we do.” WHO: Boris WHEN & WHERE: Saturday 24 March, Corner Hotel; Sunday 25, Northcote Social Club 26 • INPRESS

“It seems that, having gone away, we got a warmer response,” she suggests. “It was more fun to play, because we weren’t used to it and we missed it and we were playing for [some] people who had never seen us before. We got into a really good, happy atmosphere. We’re in the nice position of playing songs from all our albums. Songs people know. It’s not like when you go out and play new material.” Formed in Brighton by Susman and Gaze, Electrelane released its mostly instrumental debut album, Rock It To The Moon, in 2001. Three years later came The Power Out, which featured singing in English, French, Spanish and German. Although their debut and Power were both recorded in Chicago with Steve Albini, 2005’s Axes swung back to the more instrumental side of the band. Recorded between Berlin and Michigan, 2007’s No Shouts, No Calls then shifted again, this time towards more vocal songs. But fans and critics alike stayed along for the ride.

“I feel like every time we finished an album,” Susman muses, “we wanted to do something different. We got bored with what we’d been working on and playing live, and we wanted to change. So I’d put the first and the third albums together, and the second and the fourth. Each one was a reaction against the one that was done before. Rock It To The Moon and Axes are probably my favourite albums.” But aren’t those the one where she sings least? “Yeah. I used to consider myself primarily an instrumentalist. As a band, the instrumental stuff is where we all really connect and it’s the most fun to play. I know other people think differently about that. But having made the first record and the third, I can understand why we wanted to do something completely different and challenge ourselves and experiment with more traditional song structures and lyrics.” If there’s a through line between the four albums, it’s a clear-eyed sharpness of melody, a kosmische-worthy rhythm section and, yes, an instrumental interplay that was always the true constant. For all the beauty of Susman’s singing – in whatever language – Electrelane seemed to wield vocals as one more instrument. Between her vocals and that studied kosmische influence, it was all too easy to line up Electrelane with English acts such as Th’ Faith Healers and Stereolab, who had also once been signed to the band’s eventual label Too Pure. But if there was anything in common between the three, it was a burning interest in never doing what’s expected. That said, “It was a great label to be on,” Susman recalls. “We definitely knew the heritage, and certainly that was important to us. It was nice to get an offer from them, and be on the same label that PJ Harvey had been on.” There’s no label involved with the band today, which is part of the reason the possibility of new songs and recordings looks a bit iffy. Coupled with the fact that Clarke lives in Chicago and Gaze in Los Angeles while the other two remain in England, not to mention all their day jobs, it’s a tricky situation. “I think everybody would like to, but whether it will happen I don’t know.” They’ve talked about sharing music with each other online, and certainly doing another record together would mean “thinking about some of those ways”. All four members have kept busy since Electrelane’s first lifespan. Clarke is pursuing a degree in English and Psychology and works as editor of the classical and opera section for Time Out Chicago. Gaze was training as a scenic painter – she was responsible for most of the band’s album art – but Susman says she might be working as a

music supervisor now. Murray has just finished a PhD on the French surrealist Antonin Artaud, and Susman’s been working for the London children’s charity Kids Company as well as working towards a masters in International Politics. And there have been assorted music projects in the wake of Electrelane – Trash Kit, Follows, Vera November, Ray Rumours – though none as high profile. The decision to reform was easy enough: “We were all free in the summer and missed playing together,” she admits. “We just decided to do that, with no real plans to do anything else. But then when the chance to come back to Australia came up, of course we wanted to do that.” Their previous tour here was in 2005, during which Susman recalls they crammed about four gigs into four days. This tour should give them more room to breathe, as well as put them in front of an audience that’s learned about them in recent years through online word-of-mouth. “It seems that way,” Susman agrees, “from reading stuff that people put on our Facebook page and meeting people at gigs.” Even as the 2006 collection, Singles, B-Sides & Live, confirmed the band’s breadth as much as any of the four albums, it obviously also cemented a live portrait of Electrelane as well as documenting such unlikely cover choices as Bruce Springsteen’s classic, I’m On Fire, and Roxy Music’s somewhat cheesy More Than This. “We don’t do More Than This anymore,” updates Susman. “We still play I’m On Fire. Last time we started playing a cover of Bronski Beat’s Smalltown Boy.” So there’s plenty to look forward to. “I think you get one chance to do a tour like that. After that, you need to get some new material.” WHO: Electrelane WHEN & WHERE: Friday 23 March, Corner Hotel

A NEW DAY AFTER FIVE YEARS BETWEEN RECORDS, INDUSTRY FOLK WERE TELLING MULTI-MILLION-SELLING US ROCKERS EVANESCENCE THAT NO ONE WOULD REMEMBER THEM. VOCALIST AMY LEE TELLS BRENDAN CRABB THAT SHE JUST DIDN’T LISTEN.

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s fickle as some music fans can be, it seems inconceivable for anyone who can recall how inescapable Evanescence were on radio circa the release of multi-platinum 2003 debut, Fallen, to suggest that they’d be forgotten less than a decade later. Hits like Bring Me To Life and My Immortal from the aforementioned album made them major players and 2006 follow-up, The Open Door, cemented their status as one of rock’s biggest names. However, on returning following frontwoman Amy Lee temporarily stepping away from the limelight, “the suits” told the American quintet that the fans had forgotten about them. Undeterred, their latest and self-titled disc debuted at number one in the US last October and they’ve embarked on a series of high-profile tours. It must be gratifying to return on the band’s own terms and seemingly not to have lost any momentum. “It’s awesome,” a cheerful Lee enthuses. “We couldn’t have expected it. It’s really all about the fans; we’re so grateful to them. I definitely went underground in a big way at the end of 2007, because I’d just got married and wanted to just live a normal life for a little while. I’d just been doing the Evanescence thing my whole adult life,” she laughs. “So that was good, but then it was one of those things, I got inspired and started writing music and went, ‘Okay, I’m going to come back and let’s do this, it’s going to be awesome. It doesn’t matter how many fans there are; it’s for us, it’s for me.’ But then when you get the fans too on top of it, it’s just like this amazing reward. It’s been really rewarding playing these shows, seeing our fans, seeing that they’re still alive and completely awesome after all of this time. We’re just super grateful for them.” Was she legitimately concerned about many fans possibly having forgotten about them? “I wasn’t. I could be totally happy playing our music, just making whatever music in a much smaller capacity – I really could – but it’s just this great thing that we have our fans. But I knew that we had our fans, because I’ve been watching them

totally explode on the Internet as soon as we started talking about, ‘Hey, we think we’re going to come back and make an album.’ There was just this total awesome outpouring of people that just came out of the woodwork. No, I wasn’t worried about it; it’s not that I didn’t consider for a while that this could be a much smaller thing for us this time around. But it didn’t worry me; I don’t know if that’s just like the Sunday school answer as they say, just like whatever anyone would want to say to make it sound positive,” she laughs again. “I was really cool with it being smaller, which it may end up being. I mean, that’s what happens over time, but so far it’s been really cool.” It’s suggested that such an attitude from some corners of the industry may have been more reflective of the business’ current insecurities as it ponders its own future, rather than an honest appraisal of Evanescence and their obviously loyal fanbase. “Well, you’ve got to think of it, things really are different. You’re not going to turn on MTV and see a bunch of rock bands. You’re not going to see any, really [laughs]. It’s a new day; we have to think about things in a new way. But I don’t mind that actually, I think it’s great. We still have millions of people looking at our videos online. It’s definitely a different day for music, it’s definitely not like people are making bank. Labels are all going under, everybody’s going broke. I think it’s a really cool thing for us that we’re able to survive it all. I think it’s important to just think outside the box and, most importantly, remember that it’s about the fans. You have to think like a fan and do what a fan would want.” In a recent interview with Street Press Australia, Seether’s Shaun Morgan (also Lee’s ex) recounted his annoyance at the manner in which guitarist Troy McLawhorn left in order to re-join Evanescence. However, Morgan added that he just hoped his former bandmate was content in his new/ old role. Lee assures all is well within the ranks. “I don’t know what to say other than we’re in a good place. This is the first album that Evanescence has made that was this much of a collaboration between all the members. Every single person in it was part of some of the creation of the work. I think that’s really cool and special. “It’s a different feeling to play a song on-stage when it’s part of you; you’re actually part of making it. Part of what was so cool about working with our producer Nick [Raskulinecz] was that he pulled everybody’s personality into the foreground. I think that you can hear some real depth in this record, because everybody’s personality is there. The way Will [Hunt] plays the drums – his style, his sound, the feeling of him – that’s all over the record. Troy,

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Terry [Balsamo, guitar], Tim [McCord, bass], me; it’s all of us. It’s something you can feel a little more. I love our other two records, I’m totally proud of them and I’m not dissing them in any way, but they have a little less depth just in the sense that they were written by, like, two people for the most part. So you only get that deep of a feeling. I think you can hear that real band dynamic and we are very happy as a band. We get along and it’s actually incredibly important that we all like each other.” Lee chuckles. “We like hanging out when we’re not just working.” The vocalist says the band’s live machine clicked back into gear quickly and Australian fans would receive an “awesome” light show and a set revolving around the performance, rather than theatrics. “We were nervous before we played the first show back. The tour started in October and the first show out of the box was like 100,000 people – Rock In Rio, huge, televised everywhere,” she adds with another laugh. “It’s like, ‘Whoa, first real show back and it’s really, really big.’ I was a little nervous before that show for sure, but it got a lot easier after that. Once you step back out there, it just snaps back, you remember what to do; I remember how it feels now and how it’s supposed to feel. I love my job, I love performing; it feels good. It has been a really long time and that break in a way was really good for me, because touring gets really exhausting in a lot of ways. I don’t feel any of that right now; I feel really excited that the shows have been fun, exciting. It feels really good to be back out there.” WHO: Evanescence WHAT: Evanescence (Wind Up/EMI) WHEN & WHERE: Saturday 24 March, Rod Laver Arena


A REBIRTH

NOIR AMERICAN SHE MAY NOW LIVE IN THE BIG SMOKE OF BOSTON, BUT EILEN JEWELL IS STILL A COUNTRY GIRL, IF A LITTLE NOIR, AS SHE ADMITS TO MICHAEL SMITH.

SHE’S BEEN BUSY PLAYING IN BANDS AND PRODUCING MISSY HIGGINS’ NEW ALBUM, BUT BUTTERFLY BOUCHER TELLS STEPHANIE LIEW THE TIME IS RIGHT FOR A RELAUNCH OF HER SOLO CAREER.

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t has been a long time since Australia has heard from Butterfly Boucher. One of the reasons for this might be that her second album Scary Fragile wasn’t given a proper release in Australia, and Boucher wasn’t able to tour it here, resulting in the album going unnoticed. Thankfully, with her recent single 5678! and upcoming self-titled album, Boucher is reintroducing herself to Australian audiences and showing a side of herself that hasn’t been seen since her debut album Flutterby. Her upcoming album is her first independent release and Boucher can see the pros and cons. “It’s really freeing to be able to do this and the creative process has been amazing, to not have that pressure of other people’s expectations because I already have my own big ones. But the promotional side and getting it all together… I’ve always been involved, but not this heavily, and it’s just so much work,” she sighs. “It’s really interesting, I’m learning a lot, but it’s certainly stressful. [But] any time something good happens, you feel like you’ve earned it a little bit more.” Although it seems that Boucher has been out of the music loop for a while, she has kept busy with collaborations and other projects, including touring as Sarah McLachlan’s bass player, playing in her new band Elle Macho, and co-producing fellow singer/songwriter Missy Higgins’ upcoming album. “It started out just writing some songs, and then we ended up demoing them together, and because I come from a production side of things as well, people started to enjoy even just the production of my demos. She was looking to work with a friend of mine, Brad Jones, who worked on my first album. It was funny that all these years later, she was looking to work with him and I was like, ‘Well, I wanna work with you too, let’s all work together!’ because I wanted to work with Brad as well! So we all ended up doing Missy’s album in Nashville, at the same studio that I recorded Flutterby in. It’s like a full circle!” Boucher feels that not focussing solely on her solo career for the last three years has been healthy. “I did my solo thing even though I had all these other things I really

S wanted to do, and at some point I got stuffed around so much [by her label and management]. Through that frustration I was just like, ‘Well, fuck it, I’m just gonna start doing all this stuff’. I had just become so stagnant; I wasn’t creating anything and didn’t enjoy it anyway. I was like, ‘This is terrible, this is very unhealthy,’ and I just started saying yes to stuff. I really like the new direction of where my career is going; it’s all broadened.” Despite the pains of learning how to be an independent artist, there’s undeniable optimism in Boucher’s voice. In her video for 5678!, in which she displays silly dance moves, you can see how comfortable she is with herself. “Looking back, I can’t believe I let people see me dance like that!” she laughs. “I can’t dance seriously so I might as well take the piss out of myself.” She has also challenged her fans to what she has dubbed ‘20 Seconds Of Pure Dance’; she hopes fans will send her videos of themselves dancing, so she can edit them all together into a second video for 5678!. Boucher’s new take on her music will be reflected in her new album. “It was trying to get back to that mindset where I hadn’t learnt the rules of songwriting and hadn’t been tainted by that. So my approach to this album was to let myself be as creative as I needed to be and not limit myself. I’m really proud; I dont know if I would’ve said that with the other albums,” she confesses. “It’s kind of like, ‘Yes, this is exactly who I think I am and what I have to offer as a musician’.” WHO: Butterfly Boucher WHAT: Butterfly Boucher (released 13 April though MGM)

Peaks all the time and as you know it has a real film noir atmosphere to it. And also, I really love old westerns and I think that there are certain images in old westerns that I’ve seen… and kind of noir-ish Pulp Fiction-type films trickle into my writing because they’re definitely a big part of what inspires me.” Ultimately of course, the core of Jewell’s music is folk-roots Americana. “I’ve just always really liked this kind of music,” she admits. “Ever since I can remember I really liked pretty anything with ‘early’ in front of it – early blues, early rock’n’roll, early jazz and early country – and even as a kid [in the ‘80s], I remember being seven years old and listening to the oldies radio station, which back then was playing a lot of Buddy Holly and The Kinks and Elvis. So I think, as soon as I figured out how to use a radio, I’ve been listening to the stuff I’m listening to now – it’s a whole life of having the same taste in music, pretty much [laughs]. So I think it was kinda natural that if I ever started writing songs, they would be in that style of music that I always felt at home in.” WHO: Eilen Jewell WHAT: Queen Of The Minor Key (Signature Sounds/Fuse) WHEN & WHERE: Thursday 22 March, Corner Hotel; Friday 23 12.45pm, Basement Discs; Sunday 25, Caravan Music Club, Oakleigh; Thursday 5 and Friday 6, Bluesfest, Byron Bay; Sunday 8, Boogie, Tallarook

THE DARK PASSENGERS DARWIN’S SIETTA ARE ON THE ROAD YET AGAIN, AND HAVE JUST RELEASED A NEW EP, THE DARK PASSENGER. PRODUCER JAMES MANGOHIG CAUGHT UP WITH ALEKSIA BARRON.

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ick Lowe is probably best known for singles like Cruel To Be Kind and I Love The Sound Of Breaking Glass, as well as (What’s So Funny ‘Bout) Peace, Love & Understanding, a hit for Elvis Costello, whose first few albums he produced. He is one of the UK’s great punk/ new wave survivors, a musical artisan rather than a pop star, as happy being in back of the likes of Costello and Ry Cooder or just part of the band, as he’s been with Brinsley Schwarz and Rockpile. Last year he released his 13th solo album, The Old Magic, an album that digs back, stylistically, to the kind of music popular when he was a kid.

The advantage Lowe had in coming to terms with his parents’ music was that he’s a songwriter and ultimately heard the incredible craft behind

“Then the songs came quickly. I think that the songs were waiting in the wings at the back of my mind until I had the time and the mental energy to write them down, and each of them come from a slightly different place I think. Some of them are autobiographical – the song Santa Fe is probably the most autobiographical song I’ve ever written – but songs like I Remember You are kind of based on a true feeling but the events in the song are made up in order to kinda symbolise what I’m feeling. And then, some of them are just totally fictionalised [laughs].”

“It’s funny that you mention David Lynch ‘cause his name has come up quite a few times in talking about my music, and I definitely think about Twin

WHEN & WHERE: Tonight (Wednesday 21 March), Northcote Social Club

ENGLISH SINGER/SONGWRITER, MUSICIAN, PRODUCER AND GO-TO SIDEMAN NICK LOWE IS LOOKING BACK ON HIS NEW ALBUM, THE OLD MAGIC, AS HE TELLS MICHAEL SMITH.

“One of the perks of being lucky enough to still have a career in your sixties and to still be writing is that you lose a lot of the youthful snobbery, I think, that certainly my generation had. It wasn’t all our fault, but our generation rejected our parents’ music when rock’n’roll came along. It was like, ‘We don’t need your stuff.’ Nowadays of course that’s not the case, kids and their parents all like the same stuff in many cases. When you get older, a lot of that sort of nonsense all goes by the board and suddenly you start to see how great Peggy Lee is or someone who my folks used to listen to and I always liked it back then, but when I became a teenager it was, ‘Ooh no, no, no.’ It took me to the age of about forty to actually figure it out, but I’m glad I finally did,” he laughs.

“I’ve been havin’ a really hard time writing while I’ve been on the road,” Jewell admits, on the line from her current home, “so I have to go to great lengths to get rid of the distractions in my life and the only thing I’ve found that works is go far, far away from everything that I’m used to and find some solitude and I chose the mountains of Idaho ‘cause I’m from Idaho originally. I know that I feel very at home there and I think I need a certain amount of familiarity and comfort with a place in order to feel that I can get some writing done.

The new album sounds a little like film noir meets those quaint radio play mysteries of the ‘30s and ‘40s – it’s very Lynchian in a way.

STILL COOL

“Yes, I suppose so,” Lowe admits, on the line from London. “It’s a curious thing about getting older in this business that there actually wasn’t a job available of my age [he turns 63 during his Australian tour] until fairly recently. Now they’re four a penny, you know – Bob Dylan and Paul Simon – I mean they’re all doing very good work. It’s not like they’re just still grinding ‘round the circuit on their past glories; they’re still serious artists and their records are considered.

he may be Boston-based right now, but chasing her music has seen singer/songwriter Eilen Jewell live in a lot of different places. Growing up in Idaho City, Jewell began her musical career busking on the streets of Santa Fe while at college, before lighting out to Los Angeles, then back east to Massachusetts where she recorded her 2005 debut album, Boundary County. All of which is probably why, when it came time to write her latest record, Queen Of The Minor Key, she felt the need to light and set up alone in a tiny cabin in the Idaho Mountains, no running water or electricity, with just her guitar.

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ne of 2011’s more unexpected musical breakthroughs came in the form of vocalist Caiti Baker and producer/ instrumentalist James Mangohig, who together make up Sietta. Described by Mangohig as “future beats and soul vocals”, the duo signed to Elefant Traks and released their debut album The Seventh Passenger. With swinging hip hop beats but no rap element to speak of, they were seen in some quarters as a rather unusual addition to the Elefant Traks label, although their prolific touring, including supporting Illy nationwide, certainly increased their profile.

that music, in the songwriting of people like Cole Porter, Johnny Mercer and Irving Berlin. “I always loved American music of any stripe, be it straight pop or country and western, blues or gospel, but also Broadway and film music and things like that. I always loved that stuff and I love what happened to that music when it came across the Atlantic to us and to Europe, so I also love French and Italian pop music, which is sort of a joke but there’s something in there that is sort of cool. If you mix it up – mix and match – you can come up with something really interesting and kinda hip. “I’m not trying to take the old masters on [with The Old Magic] – I am trying to make pop music, which is fairly disposable – but I like the skill and the craft of songwriting, which I think is kind of dying out now,” Lowe laughs again, “but I still enjoy it.” WHO: Nick Lowe WHAT: The Old Magic (Proper/The Planet Company) WHEN & WHERE: Thursday 22 and 23rd March, Forum Theatre; Thursday 5 April, Bluesfest, Byron Bay

“We did expect more of a backlash, to be honest,” says Mangohig. He was well aware that Sietta’s unique sound wouldn’t necessarily be seen as a good fit with the broader Australian hip hop community. “We knew that with Elefant Traks, the older Aussie hip hop heads would turn to see who we were.” Fortunately, audiences warmed quickly to the Darwin duo. “I think a few people, friends of ours, were worried that signing with Elefant Traks would mean that we were pigeonholed as Aussie hip hop, but I think that label, and even more so now with Hermitude’s record, proves that [CEO] Urthboy’s a pretty good tastemaker,” explains Mangohig. “He thinks to the future. He’s a music lover, not only an Aussie hip hop lover. I guess a lot of the Elefant Traks fans got on board, but I guess we’d built up a small fan base beyond that as well.” After all, Sietta had been touring hard for a couple of years prior to their fortuitous signing with Elefant Traks, although it wasn’t exactly champagne and caviar. Mangohig remembers a particularly unmemorable residency in Melbourne: “We’d have guys wanting to bum-rush the stage. They’d come up to us after and say, ‘All you need is a rapper, hey.’” Indeed, Caiti Baker’s vocals over Mangohig’s beats often take listeners by surprise – a fact that Mangohig attributes at least in part to the male-dominated Australian music industry. “There’s a higher percentage of male voices on the radio, and in the hip hop scene it can be a bit of a blokefest,” he says. However, he found the best way to counter such attitudes is simply to commit to the music that Sietta want to make. “We love our music and that definitely

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translates to the crowd – I think that puts people at ease.” Sietta have recently reclaimed their acoustic roots with The Dark Passenger EP, which features stripped-back versions of songs from The Seventh Passenger. Mangohig enjoyed the opportunity to take the songs in a different direction, especially given the duo’s acoustic origins. “Our first ever gig was actually playing acoustic at a friend’s wedding in Darwin, and then Joelistics got us to play a few acoustic gigs in Melbourne,” he recalls. “We loved stripping it back and giving Caiti a chance to sing without all the noises.” The Dark Passenger EP gave them the opportunity to explore these sounds further, sometimes with unexpected results. “We were just like, ‘What if we did a country version?’ as a joke, but then we just liked it!” says Mangohig, remembering the recording process. Even when performing with acts such as Hermitude or Illy, Mangohig keeps an acoustic song in the set for balance. “We still do an acoustic song in the set because we just love bringing that element.” The future is certainly bright for the duo – Mangohig is hoping that a second album will come out within the next 12 months – and he’s looking forward to exploring the complex, intricate sound of Sietta further. “I guess we haven’t been really fully pigeonholed yet,” says Mangohig. He just hopes that audiences, hip hop and otherwise, continue to embrace Sietta, even if the music isn’t exactly what they were expecting. “I think it’s important for bands to engage with the audience, but you’ve got to be yourself. If you believe in the song and the song’s good enough, I don’t think it always has to be one that makes people throw their hands in the air and be crazy.” WHO: Sietta WHAT: The Dark Passenger (Elefant Traks) WHEN & WHERE: Friday 23 March, Prince Bandroom INPRESS • 27


SINGLED OUT WITH BRYGET CHRISFIELD

ON THE RECORD

LOST ANIMAL Lose The Baby

Sensory Projects/Fuse

LIVE

What a compelling track. Shimmering synths, syncopated piano stabs and a programmed backbeat that could be galloping from Barry Morgan’s World Of Organs in Sunnyside Mall reverse-hoover you into planet Jarrod Quarrell. “And if you think that it cuts you up/I’m gonna sharpen up my tongue and really/Cut you up” – such unconventional but oh-so-effective vocal phrasing. Loose, foggy guitar doesn’t enter the spectrum until Lose The Baby’s outro and the track just builds and builds to its perfectly unexpected conclusion. Swoon.

DEEP SEA ARCADE

NUMBERS RADIO

And sure enough, things start out fairly promising. Although the album’s title is a direct reference to a fictional place from a Jean-Luc Godard film, the music has a lot more to do with the very real city of Manchester. Seen No Right and Granite City pop with a Doves-y exuberance while recent single Girls struts its stuff with the baggy psychedelia of The Stone Roses. Elsewhere the album delves deeper into the Manchester legacy, rekindling the likes of Herman’s Hermits and The Hollies on tracks such as Steam and The Devil Won’t Take You. On the face of it, Outlands is one suicidal singer and an E-popping hype man short of a Hacienda.

This opens up with a cheeky wink at The Angels’ No Secrets (GREAT song) riffs, which, come to think of it, also call to mind the guitar work in Our Lips Are Sealed by Go-Gos (ALSO a great song). And then there’s the rapid-fire verse delivery à la Billy Joel’s (SHITE) song We Didn’t Start The Fire. Anyhow, Numbers Radio have produced something memorable in Tokyo – minus the (Vampires & Wolves) encountered by The Wombats in Japan’s capital city during their similarly named cut – and the kids will love this song, whether or not they aced geography.

THE MESSENGERS We Can’t Get Along Independent We Can’t Get Along is the kind of tune that sounds like a 7” you found in your granddad’s attic. If The Messengers filmed all their music videos in black and white, you’d swear they were an outfit from yonder year recently unveiled. Mental tambourine, strawberry field harmonies, dance-with-me keys and glistening, surf-rock guitar direct from Dick Dale’s Misirlou (the track that Pulp Fiction reenergised and then Black Eyed Peas slaughtered via sample in Pump It). So three out of the five band members are rangas, ay? Good to know.

Nothing’s Gonna Change The Way You Feel About Me Now

Ivy League It’s been a long time coming for Sydney’s Deep Sea Arcade. Their debut album Outlands arrives three years after their first EP release, with a slew of triple j-supported singles filling the space between. With so much time and support in planning their first full-length strike, you would expect nothing less than a bull’s eye hit from this lot.

D

VD

VD

Shock

Outlands

D

Tokyo

JUSTIN TOWNES EARLE

Perhaps disappointingly though, Deep Sea Arcade have succumbed to the temptation of including all their old singles here, something I like to call John Steel Singers Syndrome. A debut album is a chance wipe the slate clean, which Deep Sea Arcade had indicated they were doing with sonic about-face Girls last year. It’s not that Lonely In Your Arms and Don’t Be Sorry don’t fit in here – although they’re by far the most derivative tracks – but their inclusion suggests there was nothing better to go in their place. And from a band who seemingly had all the time in the world to piece together their debut album, a throwback to 2009 just seems a stretch too far. Martin Blank

Bloodshot/Inertia There was a time when Justin Townes Earle stood in the shadow of his father. Steve Earle has been a huge name on the country music scene for decades, so Justin Townes had his work cut out for him (an addiction to heroin hardly helped). With Nothing’s Gonna Change The Way You Feel About Me Now, however, Earle has firmly cemented a standing in the country music landscape in his own right. And with the opening line of the record, “I hear my father on the radio”, he’s not shying away from anyone, or anything. Nothing’s Gonna Change… comes and goes far too quickly, with the album over in the barest of half hours. Unlike many other length-deprived, unfinished records, Nothing’s Gonna Change… is a balanced, thoughtful and subtle piece of art. Full of restrained horns (see the title track), genre tunes (“Starin’ down the black top on a cold dark night” – Memphis In The Rain) and swaggering, Rolling Stones-esque rockers (Baby’s Got A Bad Idea), Earle’s country stylings are perfect for any occasion. Hints of Jagger, Jackson Browne and Bob Dylan abound in the presentation, content and style of Nothing’s Gonna Change… but despite these comparisons, Earle’s appeal to the younger generations is undeniable. Anyone who’s seen him play live – and those who haven’t yet will have the chance in April – can attest to a beautiful performer, older and wiser than his years, whose storytelling and song-arranging ability is on par with anyone who has come before him – including his father. Dylan Stewart

SLEIGH BELLS Reign Of Terror Liberator Music Fast, furious and frenetic – welcome to Reign Of Terror. As the tension builds then explodes at the halfway point of opener True Shred Guitar, there’s a definite sense that Sleigh Bells are a force to be reckoned with. With a reputation for a killer live show, Reign Of Terror proves a more-than-competent replacement your ears will be enjoying for a long time to come. Reign Of Terror treads the line perfectly between killer tunes and all-out chaos – full of huge, stadiumfriendly guitar riffs courtesy of Derek E Miller and the pop princess-meets-banshee vocals of singer Alexis Krauss. Propelled by heavy beats and with enough layering and effects to keep the most ardent of technological folk interested, Reign Of Terror is at times gratingly brutal, at others purely fragile. The Brooklyn duo have only been around for a few years, yet have managed to hone a distinct sound in that time, distancing themselves from other female-fronted or two-piece bands. Reign Of Terror is their second album, and it kicks arse. This is not an album for early morning listening, for hangovers or for dinner parties. It’s for when the chairs are pushed back, for underground clubs, and – eventually – for stadiums around the world. Singles Comeback Kid and Born To Lose are poppier than most of the tracks, and although they’re accessible and appealing, it’s when Miller’s riffs take centre stage (see Demons for instance), that Sleigh Bells are at their best. Unrelenting, unadulterated, unflinching. Like a syringe full of adrenalin, this shit is gonna have you on your feet. Dylan Stewart

BEN BROWNING I Can’t Stay

Cutters Records The guitar hook is similar to that of Stardust’s Music Sounds Better With You and there’s also shades of Cut Copy’s Take Me Over here, but it’s Ben Browning’s vocal that really sticks. The Cut Copy bassist’s “ooh” and “ah” mastery is obviously well exercised via BVs within the band’s repertoire and he certainly has an elastic range. Juan MacLean’s remix injects some bubbles and curiously bent bleeps that kinda sound as if a bumblebee is lodged inside a cable, but it’s ultimately oh-so-danceable. The video’s sure to be ‘most requested’ also – wonderfully weird.

YOUNG GUNS Bones

Liberator Music Prepare for this opening drum pattern, which really jumps from the speakers and slaps you in the solar plexus – “I feel it in my bones (bones)/Bones (bo-ones).” There’s an awesome, instrumental-duel breakdown before lyrics that would translate well to your next Facebook status update (don’t forget to accredit the source though, yo!): “We’re all architects of our own private hell.” Oh, My! Frontman Gustav Wood is a looker, isn’t he? But, what I really wanna know is, are they named after the Wham! song or the starstudded, action-western flick? Totes matters.

SWEDISH HOUSE MAFIA Greyhound EMI Circular drum programming makes you feel all dizzy as if you’ve been hoisted up into a horizontal speccie by John Travolta in Saturday Night Fever and you’re both spinning out of control underneath a mirrorball. Bound to sound amazing through gargantuan, surround-sound club speakers. 28 •INPRESS

DEUS

FAIR OHS

SAY ANYTHING

PIAS/Liberator

Honey High/Longtime Listener

Equal Vision/UNFD

Belgium isn’t a country readily associated with top-class experimental rock, but for the last 20 years (less a fiveyear hiatus at the beginning of this millennium) it has housed the routinely excellent but perennially overlooked dEUS, one of the finest indie bands to emerge from the European mainland in this period. On Keep You Close, the outfit’s sixth album, dEUS keep their track record intact, crafting one of their finest pieces of work to date.

East London trio Fair Ohs have pumped out an album in Everything Is Dancing that is epic in sound, yet narrow in scope. This is okay for the most part – they’re good, fun musicians that infuse their East London slacker rock with ample lashings of African rhythms and sharp, precise guitar – but such an approach is fairly niche, and has been utilised by many bands in the past decade. And whilst their punk inflections add muchneeded heft and grunt to supersede the pretentious Vampire Weekends of the genre, there isn’t enough depth or variety to provide a lasting impression.

Anarchy, My Dear is the fifth studio album from vocalist Max Bemis and his gang of glorious misfits Say Anything. The band hired their …Is A Real Boy producer Tim O’Heir to recapture the band’s raw, emotive sound that projected their ascent. The end result is probably the best sounding Say Anything record to be released since that album in 2004. Anarchy, My Dear is undeniably Say Anything, as the band focus on large musical interludes with a strong emphasis on Bemis screaming his venomous vitriol. However, it is the intricate approach to shunning popular song structure that is this album’s defining characteristic.

Keep You Close

Everything Is Dancing

As always the brainchild of singer-songwriter Tom Barman – who along with keyboardist Klaas Janzoons is the only remaining foundation member – Keep You Close is a lush and sophisticated effort, beginning with the gorgeous strings underpinning the opening title track. dEUS have always seemed progressive and timeless and this trait remains, the music not rooted in the past, present or future, but just seeming to reflect Barman’s idiosyncratic muse. His vocal delivery is, as always, assured and confident, delivering his treatises on age and change with a mesmerising conviction. On Dark Sets In and Twice (We Survive) he’s joined on vocals by Afghan Whig Greg Dulli, and their vocal interplay on the latter is an album highlight. In fact Dulli’s mere presence is telling because there’s a lot of atmospheric similarities between his work and what dEUS have long been concocting on the other side of the world. The album is less eclectic and more stylised than previous dEUS fare, and it won’t claim the title of their best album – unless something drastic happens down the track that will always be 1996’s In A Bar, Under The Sea – but Keep You Close is a fine addition to an already powerful canon. Steve Bell

That said, there are some killer tracks on Everything Is Dancing that will most likely stand the test of time, especially when it comes to that magical season of summer. When the band explodes, like on the blissedout rockabilly of Eden Rock and Summer Lake, Fair Ohs nail it, a heady mixture of incessant beats and rock balls. It’s okay for hipsters to dance to this stuff. Yet when they take the foot off your neck, no matter how playful their underlying aggressive approach may be, the atmosphere they’ve worked so hard to construct begins to dissipate like lightweight fluff. Mixing afro rhythms with Eastern influences (the title track’s use of sitar-imitating sounds in particular) comes off as trying too hard to create a different sonic environment, losing any impetus they may have had. Everything Is Dancing should not be discredited for these missteps, however. Fair Ohs aren’t aiming for cerebral highs. They are an exciting, fun band. Cut the fat and the pomp, and the next album may offer a party album for the ages. Brendan Telford

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Anarchy, My Dear

Burn A Miracle opens this album with Bemis immediately grabbing your attention by singing “I once courted a boy, he looked a lot like me”. Bemis has penned the self-titled track Say Anything alongside Admit It Again, which when combined on the one album signals an acknowledgement of the band’s past, while also looking forward to the future. Say Anything is a departure from the band’s post-grunge influence and is instead based upon a sole acoustic guitar, which builds with a frantic pace in the chorus and ends in a mélange of rhythmic bursts. The epic The Stephen Hawking closes the album and comprises of time changes, key changes and all in between. Say Anything have delivered an album that undoubtedly sets the band apart from their contemporaries and whilst they delve further into defining their sound, their songwriting will capture the hearts and minds of the old and young. James Dawson


DJANGO DJANGO

PRIMAL ROCK REBELLION

Because/Warner

Spinefarm/Co-operative

2011: A Space Odyssey

As electronic genres form and then just as quickly mutate or fall by the wayside, it is refreshing to discover an act that seems to inhabit their own niche, combining familiar sounds to produce fresh and unique music. Django Django have made a connection between pop, electronica, kosmische and glam rock, weaving it all together in one seamless, never-ending mix of upbeat rhythms and sing-song lyrics with impressive results.

Ignore the naff band name, even worse album title and cheesy artwork – Iron Maiden guitarist Adrian Smith’s new venture doesn’t look overly fashionable on paper. That said, he co-wrote stone cold classics like 2 Minutes To Midnight and Flight Of Icarus, so we’ll cut him some slack.

Metal Postcard/Fuse

Django Django

The best track is the infectious bounce of Default, incorporating a mutant riff that sounds like Josh Homme jamming with Fatboy Slim. The vocal style of Vinny Neff is a constant robotic stream of rhymes and pop art mantras that sits between the English nursery rhyme naivety of Syd Barrett and futuristic blues and gospel proselytising. Everything, including his vocals, revolves around the rhythm of the songs, which gives them such a tight, driving sound. The other strength Django Django bring to the party is simplicity. There are few slow builds or massive bass drops, with most tracks possessing a linear feel of forward movement, much as Kraftwerk did decades earlier. The repetition of the band’s name is replicated in their music with stuttering notes multiplying the effect of a musical point being hammered. On Zumm Zumm it borders on annoying levels but somehow manages to know exactly when to relieve the listener’s nerve endings and shift gears. This is a playful, adrenalin-stirring modern pop record that, by virtue of its individuality, stands head and shoulders above most of the weekly deluge of new music. Chris Familton

Awoken Broken

Primal Rock Rebellion sees Smith combining with SikTh frontman Mikee Goodman, a union so unexpected it renders them metal’s odd couple. It’s radically removed from Maiden and only marginally closer to SikTh’s madcap noise. Their diverse debut incorporates melodic metal and ambient rock with industrial touches. Some plodding songwriting and odd pacing mean as an album it isn’t particularly coherent, but there are individual songs that hit the mark. No Place Like Home and Savage World are quirkily catchy; the infectious Search For Bliss follows a somewhat more conventional route. Smith provides incisive melodies and leads (sixminute Bright As A Fire or striking, acoustic-infused finale, Mirror And The Moon). Goodman’s oddball croon/screech/growl and off-kilter lyrics are certainly unique, lending a distinct edge to the project.

THE CAMBODIAN SPACE PROJECT Out of the darkness came light. Or so some say. The remarkable and touching story behind The Cambodian Space Project is worthy of a novel. But can they play? Well, yes – they can. Their album makes for a dazzlingly psychedelic style of Khmer-rock that is somehow overlain with touches of reggae and dub. If that sounds like musical ratatouille, it gets much more interesting. The band, based in Phnom Penh, is fronted by the vocally impressive Srey Thy and features Australian, French and Cambodian musicians. Think Western, imperial influences arranged with customary Khmer songs and instrumentation. Not that the album is going to race up the charts. No. The album is significant as most tracks were originally written by legends of the Cambodian music scene and re-made by CSP with a Western edge, making 2011: A Space Odyssey akin to a remix/rework blend.

Smith’s history outside of Maiden is chequered. He collaborated on two excellent Bruce Dickinson solo albums, but his ASAP and Psycho Motel projects didn’t create much interest. Awoken Broken may struggle to locate a concrete audience, but kudos to a filthy rich, 50-plus metal legend for not merely playing it safe.

2011: A Space Odyssey – even though we are well into 2012 – is still hugely relevant. Kolos Srey Chaom (Love Gold), probably the best of the bunch, is rock fused with blues. But 2011:... comes with a caveat: it’s not an easy listen and, at times, is harrowing. It is Thy’s lyrical narrative, delivered in her native tongue, that makes the album what it is, as she talks about her personal experience of child labour and escaping the clutches of sex traffickers. Although the album does not draw as much on the rich, eccentric and blatant Cambodian history as it could, it’s still an impressive achievement.

Brendan Crabb

Stuart Evans

THE WEEKND Echoes Of Silence XO In the space of twelve months The Weeknd has provided us with a staggering three, free exceptional albums. House Of Balloons, the first, was a triumph that lit up 2011 like a flash of lightning in the night. Thursday was a little more subdued and, good though it was, a little less impressive. Echoes Of Silence completes the trilogy even more quietly. It also carries with it an emotion that we had not yet seen from The Weeknd: self-knowledge. Drugs, sex, and ghosts remain but Abel Tesfaye is now more conscious than ever of who he is and what his one-man-band means. You can’t tell that from the first track, though. D.D. is a glorious surprise. Noting the track name and Tesfaye’s previous form you’d be forgiven for imagining it would be about breasts or some new name for cocaine. No. Instead it is a fairly faithful cover of the Michael Jackson classic Dirty Diana. From there we drift a little into atmospherics and gentle, warm textures. We never emerge. Montreal is all encompassing. Outside is quietly enchanting. Same Old Song is almost self-pitying, with our host taking a swing at the haters: “you said potential couldn’t ever last this long”. It’s some change from the drug-fucked, party-oriented man we met a little under a year ago. Echoes Of Silence is another step from The Weeknd. For some it will be a step in the wrong direction. Perfectly named, Echoes Of Silence is a subtle indulgence; an acquired taste. James d’Apice

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INPRESS • 29


THE JOY OF TEXT

CROSSING BORDERS

BIMBO AND LUCKY COQ’S BEST OF BOTH SIDES FESTIVAL AIMS TO BRIDGE MELBOURNE’S NORTH/SOUTH DIVIDE. DJ/ PRODUCER DARIUS BASSIRAY, A RECENT CONVERT TO THE SOUTH’S CHARMS, TALKS TO CYCLONE.

M

elbourne may be divided culturally, as well as geographically, by the Yarra River, but next month’s Best Of Both Sides festival, held at Lucky Coq and Bimbo Deluxe, is all about transcending that. And local DJ/producer Darius Bassiray, who lives in Brunswick, couldn’t be a more aptly ironic ambassador for the South Side, having recently been “totally surprised” by the great vibe at techno parties such as Onesixone’s Fluidlife Lunar. “I always had a preconception, or a stereotype, that that side of the river kinda wasn’t really as musically engaging as the other,” he confesses. Bassiray will perform live with Paul Beynon as Text Book Music at Lucky Coq’s Melbourne Techno Collective (MTC) bash. Bassiray is known in electronic circles as half of the DJ outfit Rollin Connection with Daniel Banko, but the sometime Sunny heroes have quietly called it a day. “That finished, I think, about July last year.” What’s more, after nearly nine years, he extricated himself from the promotional company Darkbeat, Banko again his partner. “I felt like I’d taken it as far as I could with the brand,” Bassiray says, alluding to creative differences. “We both felt it was time to part ways. We’re still great mates – [there’s] no animosity there.” Among other things, Bassiray wanted to focus on his label, Text Book Music, which he runs with Beynon’s help. He launched the concern in 2010 with his ethnic-flavoured tech-house EP El Camino, which, promisingly, both Hernán Cattáneo and Laurent Garnier supported. Bassiray and Beynon then decided to develop a live act, also called Text Book Music, premiering it at Kubik (Shop Local) in Birrarung Marr last November. They’re progressing on a studio project. “We’re just about to write an EP, which is based on what we did for the Kubik live show,” Bassiray says. “It’s very weird, abstract electronica with some techhouse. There’s some deep house, there’s some techno, there’s a lot of different things.” He continues to DJ. “I still DJ, I still love to DJ and that’s still one of the things that drives me musically – but that’s solo, just me.”

JACOB FAIRLEY TURNED TO MUSIC WHEN HE REALISED HIS DREAMS OF BECOMING A PRO SKATER WEREN’T GOING TO MATERIALISE. NOW BASED IN ROTTERDAM, THE MAN WHO RECORDS AS FAIRMONT UPDATES CYCLONE ON HIS MOVEMENTS.

Post-Darkbeat, Bassiray began going out anew “as a punter” – and crossing the river to Onesixone and Revolver. These experiences have inspired him to introduce a niche party brand, Electric Owl, with choice international guests. Bassiray has controversially – but admirably – chosen to not announce set times. He’d noticed that patrons would typically turn up five minutes prior to an international. “I was trying to break that mould by saying, ‘It’s not about when the international is on, it’s more about enjoying the locals – and also enjoying the party as a whole’.” So far his team have thrown three parties, the first with Funk D’Void. “It’s really invigorated my belief in the scene in Melbourne.” Coming up is this week’s Border Community showcase, an Easter party headlined by the iconic Moodymann, and then another Electric Owl with Ghostly International’s L’usine, whom Bassiray proclaims to be one of his favourite artists. Bassiray has long been associated with Melbourne’s progressive house movement and he cites Phil K as an enduring influence. But today he himself straddles prog, techno and deep house. That Text Book are billed at an MTC party surely proves that Melbourne’s electronic underground is less tribal now than of old. “Those guys have the same mentality as me – good music is good music,” Bassiray asserts. He admires MTC founder Matt Radovich who, as ‘Mike Hunt’, moonlights as a hip hop DJ. “It’s all about showcasing something that’s individualistic and that represents you.” WHO: Darius Bassiray WHEN & WHERE: Thursday 5 April, Best Of Both Sides, Lucky Coq (Bassiray); Friday 6, Best Of Both Sides, Lucky Coq (Text Book Music)

C

anada’s Fairmont, aka Jacob “Jake” Fairley, is the dark horse of James Holden’s Border Community stable. He might not have had a hit as ubiquitous as Nathan Fake’s neo-psychedelic The Sky Was Pink, but Gazebo came close – and his 2007 album Coloured In Memory surpasses even Junior Boys’ finest for its emotronica peaks. The Toronto native has an indie rock pedigree but, being a skateboard kid, there was also a b-boy phase. “Like a lot of people in the skateboard scene of the ‘90s, I got really into hip hop for a while,” Fairley divulges. “The stuff that was coming out around ‘92 and ‘93 was really exciting at the time. I loved the beats most of all. That’s actually how I got interested in production.” And this, he reckons, saved him from potential career failure. “My dream was to be a pro skater, but I was simply not good enough. It’s probably for the best that I ended up doing [music] instead.” Recording under his birthname, Fairley’s earliest music, minimal techno, was picked up by Toronto’s DumbUnit circa 2000. Germany’s Sender Records issued his debut album, Crisis, but, around the same time, Fairley began experimenting with vocal (and ‘romantic’) music as Fairmont; his Paper Stars LP materialising on Traum Schallplatten. The Pet Shop Boys included the Fairmont track Traum on their Back To Mine mix. “That was pretty cool, especially because it was a ‘best-of-all-time’ kind of CD.” However, it was the 2005 tune Gazebo, released on Border Community, that really established Fairmont as a countercultural ‘star’. Along the way, the live performer (he doesn’t DJ) became a nomad, moving to Berlin and, later, the Netherlands. “Most of my gigs are in Europe, so I spend about half my time there. At first I just stayed in Berlin, but now I kind of bounce around. Last year I was in Barcelona for the whole winter. That’s something I want to do again. Now I’m in Rotterdam, which I’m liking a lot as well.”

there’s no sign of a third Fairmont full-length. “I’ve been working on a new album for a while. I can’t say when to expect it, but it’s coming.” Regardless, the Fairmont sound continues to mutate. “I’ve always liked a variety of music. Around the time of Coloured…, I was really into a lot of stuff from the ‘70s and some ‘90s stuff. Now I’m a bit more into early ‘80s stuff and a tiny bit of disco – I think you can hear that on the Velora EP.” Fairmont was never about club music, and Fairley is gratified to have fans beyond the EDM ‘scene’. “I think it’s about 50/50,” he contemplates. “That’s something I’m really proud of. Working within the confines of a specific scene, and simply adopting a section of its fanbase, isn’t so exciting to me. Having a diverse [following] also reflects the kind of guy I am.” Lately Fairley, the co-owner of the techno imprint Beachcoma, has been going back to his indie roots, gigging with a (chillwavey) band. “I have a band called Bishop Morocco with a few friends from Toronto. At first it was just something we did in our spare time, but now it’s getting more serious.” Bishop Morocco played Austin, Texas the previous night for SXSW, he reveals. “I’ve never done the whole band tour thing, so it’s pretty fun for me to do it finally.” And Fairley still skateboards. “I quit for about 11 years, but now it’s a big part of my life again!” Fairley is coming to Australia for the first time with the Border Community tour. What can the fabled hardware buff say of his live show? “I’m pretty happy with my set these days,” he responds. “I started bringing a bit more gear, which has been a lot of fun. I think it makes for a better show, too. I’ll play some tracks from my last EPs, a couple of oldies, and a bunch of unreleased stuff.” WHO: Fairmont WHEN & WHERE: Friday 23 March, Brown Alley

In 2011 Fairley offered the buzzworthy Velora EP – but

Australian Tour SYDNEY

MELBOURNE

With support from THE RUMJACKS

With support from CASH SAVAGE & THE LAST DRINKS

The Manning Bar

The Prince Bandroom

Sydney University

29 Fitzroy St, St Kilda

Saturday 7th April 2012

Sunday 8th April 2012

(02) 9563 6000 Tickets available from www.manningbar.com

(03) 9536 1168 Tickets available from www.princebandroom.com.au

www.troubadour-music.com

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presented by

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BrUNSwICK

muSIC feStIvaL #24

14 –25 maRCH 2012 For the very best in folk, roots and world music

IN THE PHOENIX

IN THE BRUNSWICK

HAT FITZ & CARA ROBINSON WITH GEORGE KAMIKAWA & NORIKO TADANO

MY FRIEND THE CHOCOLATE CAKE CONUNDRUM WITH Wednesday 21 March, 8 pm GRAHAM DODSWORTH Thursday 22 March, 8.30 pm APRIL VERCH BAND (CAN) WITH RUTH HAZLETON & KATE BURKE PIERRE BENSUSAN WITH Thursday 22 March, 8 pm DUCK MUSIQUE Friday 23 March, 8.30 pm MARK SEYMOUR WITH GEOFFREY WILLIAMS CHRIS WHILE & Friday 23 March, 8 pm JULIE MATTHEWS WITH JENNY M THOMAS KRYSTLE WARREN WITH Saturday 24 March, 8.30 pm MARTA PACEK Sunday 25 March, 8 pm WHITE SHADOWS (1928 SILENT MOVIE) BATTLEFIELD BAND WITH LIVE SOUNDTRACK FIONA ROSS BY MIKE COOPER Saturday 24 March, 8 pm

PUBLIC HOUSE Thursday 22 March, 9.30 pm

SHOOGLENIFTY (ACID CROFT DANCE) WITH STRING CONTINGENT Friday 23 March, 9.30 pm

FRANCOLIN ‘SINGLE LAUNCH’ WITH SCOTDRAKULA & YEO Saturday 24 March, 9.30 pm

TRUCKSTOP HONEYMOON (US) WITH PERCH CREEK FAMILY JUG BAND Sunday 25 March, 7.30 pm

TOWN HALL

Shooglenifty

Truckstop Honeymoon

April Verch Band

Online bookings & early discounts brunswickmusicfestival.com.au Phone bookings 03 9388 1460 Box office opens 1 February 12 – 6pm

Presented by

INSTITUTE

Sunday 25 March, 8.30 pm

Hat Fitz and Cara Robinson

My Friend the Chocolate Cake

IN THE MECHANICS

Krystle Warren

Chris While & Julie Matthews Principal Public Partner

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THIS WEEK IN

ARTS

THIS WEEK AT SHADOW ELECTRIC OPEN-AIR CINEMA

ered opera, lycra and drag. Opening night, 9pm. The Famous Spiegeltent at the Arts Centre until 26 March.

Films screening this week include Louder Than A Bomb, a documentary chronicling the journey of four teams from Chicago competing for the world’s largest youth poetry slam (Thursday 22); In Bruges, a pitch-black comedy about hitmen hiding out in Bruges, Belgium (Friday 23); Senna, a documentary that spans the career of Formula 1 racing legend Ayrton Senna from his opening season in 1984 to his untimely death a decade later (Saturday 24); Wake In Fright, an alcohol-, roo shooting-, and gambling-fuelled yarn where the terror of the outback is depicted with brutal enthusiasm (Sunday 25). See all of these at the glorious open-air environment of Shadow Electric at the Abbotsford Convent. Films start screening at sundown. For more info see shadowelectric.com.au.

FRIDAY 23

WEDNESDAY 21 Ad Nauseam – text and music by Tom Pitts, for Attic Erratic, a play that follows one man’s journey through the streets and bars of an unkind city. A celebration of excess, egoism, and regret. Opening night, 6:30pm. La Mama Courthouse until 1 April. Awake – written and directed by Fleur Kilpatrick; fresh from a season at the Adelaide Fringe, a play about a land screaming for water, as a woman slowly dies from lack of sleep and in green suburbia a man and woman try and preserve their world in the face of debilitating amnesia. Based on true cases. Opening night, 8:30pm. La Mama Courthouse until 1 April. Sorry Seems To Be The Hardest Word – Christopher Green brings his outrageous character, Tina C, to the Malthouse. Tina is a country music superstar and global icon for the American way of life. She has decided that there’s some stuff to work out between the older and newer inhabitants of this country and she thinks she’s the woman to make it happen, using the obvious tool – the healing power of country music. Opening night, 7:30pm. Beckett Theatre, Malthouse until 14 April.

THURSDAY 22 Le Gateau Chocolat – an emotional kaleidoscope of a journey through the life of this Nigerian-born London boy with a law degree and a big heart, who against all odds, discov-

Mommy Is Coming – directed by Cheryl Dunye; a German film about a sexy young Berlin femme, her lover Claudia and an American dyke hotel clerk, who have that raunchy sex life every one dreams of. An Australian premiere. Part of the Melbourne Queer Film Festival. ACMI, 10.15pm.

SATURDAY 24 A Little Room – created by Michelle St Anne; a play centred on three women at different stages of their lives, sharing the joys and agony of new found love and of love lost. Caught in a web of their own making, they wait for the spell to break. These are their stories. Closing night, 8pm. Fortyfivedownstairs. Eulogy – written and directed by Christopher Bryant; a play about a wife left in isolation, a schoolgirl who finds a stray dog lying on the sidewalk, a young man’s experiences of jungle fever and a woman who sits and waits for her husband to return. Closing night, 9:30pm. Collingwood Underground Arts Park.

SUNDAY 25 VCA’s 40th Anniversary Street Party – to celebrate this occasion with everyone who has helped to shape the college of the arts over the past 40 years, be entertained by live performances from alumni and special guests including Clairy Browne and The Bangin’ Rackettes and Saskwatch. Victorian College of the Arts, 4pm.

MONDAY 26 A Clockwork Orange – Stanley Kubrick’s study of violence; a charismatic young man is used in a manipulative government experimental aversion therapy programme where, as a byproduct of the treatment, he is stripped of the ability to think for himself. Astor Theatre, 10pm.

TUESDAY 27 Meow Meow – the Australian cabaret darling has rescheduled her shows at the Spiegeltent. A post-post-modern cabaret diva, she has a unique brand of kamikaze cabaret and performance art exotica. Opening night, 9pm. The Famous Spiegeltent until 9 April.

GAME THEORY

TOM HAWKING GETS ALL AGOG AT SITTING IN THE SAME ROOM AS DONALD SUTHERLAND – AND DIRECTOR GARY ROSS – TO TALK ABOUT THE POLITICAL ALLEGORIES BEHIND UPCOMING DYSTOPIAN BLOCKBUSTER, THE HUNGER GAMES. “I thought ought it was a beautiful script,” said Donald ald Sutherland to Total Film recently. recently “[I thought] it had the possibility to be the most influential film made in this country for many years.” Sutherland was talking about the upcoming film adaptation of wildly successful young adult novel, The Hunger Games, a dystopian thriller that places its young heroine Katniss Everdeen (Jennifer Lawrence) in a sort of Survivor-meets-The Running Man deathmatch with 23 other underprivileged adolescent combatants for the entertainment of a populace that watches the entire thing on TV. Sutherland plays the sinister patriarch President Snow, the man whose role it is to keep the one per cent entertained and the 99 per cent oppressed. It’s a part Sutherland apparently chased off his own bat, and now he’s sitting opposite Front Row in a swanky LA hotel – the sort of place where there’s an iPad in every room, just because – fielding questions from a battalion of journalists from around the world. Front Row elbows its way between a veteran long-winded Italian and a studious film nerd from France to ask: why? What was it about The Hunger Games that impressed Sutherland so? I mean, shit, we’re talking about Hollywood royalty here, an actor whose career spans half a century, a man who’s got his star on the Walk of Fame, who worked with Fellini and Bertolucci, who played the lead roles in films like Don’t Look Now

and Klute. first],”” “I was not aware of the novel [at first] he admits. “But I was so impressed with Gary Ross’ script. Gosh. It was really terrific. I thought it could maybe be a catalyst for young people in this society, and to be a part of that – to be a part of something that was part of their movement – thrilled me.” There’s something puckish about Sutherland, an apparently undiminished enthusiasm for his craft and for life in general, a boyish gleam in his eye as he holds court, relating stories about Fellini, his son Kiefer and an acquaintance who got arrested at the airport after telling immigration officials that he was in the USA “to shoot a pilot”. But he speaks with a certain gravitas too, as if he’s used to being listened to. And he takes his time to think carefully about his answer when Front Row asks him what exactly he thought the film might catalyse. “Well,” he says, “apparently a lot of young people like these books. Maybe they will come to realise out of liking them that [the story] is an allegory – that certain aspects of the society that we live in are as unjust as perhaps the Occupy Wall Street people think. I didn’t care if I was walking on [in the film]. I would have walked on.” In the event, director Gary Ross wrote extra scenes to provide greater insight into Snow’s character – a wise move, considering that the President could so easily have been a fairly one-dimen-

JOHN PAUL YOUNG/STEVE KILBEY MUSICAL COMING A huge hit at the Sydney Fringe Festival, Van Park The Musical stars John Paul Young, Steve Kilbey and an eclectic cast of musicians and actors. Van Park combines Australian humour with a dash of British pantomime and a solid soundtrack. Van Park will have a two-week run at Chapel Off Chapel from tonight (21 March). More info at chapeloffchapel.com.au.

LIGHT WORKS FOR NGV On Friday, the National Gallery of Victoria will open Light Works, a contemporary photography exhibition that explores various artists’ approaches to light. Drawn from the NGV’s Collection, the 15 works on display show how photographers have exploited the creative potentials of natural and artificial light in their artworks. On display are works by Mike and Doug Starn, David Stephenson, Hiroshi Sugimoto, Bill Henson,

32• INPRESS

sional villain (a suggestion, it has to be said, that doesn’t amuse Sutherland: said “I don’t think,” he says sternly, “that any of my characters could ever be one-dimensional”). For his part, Ross was similarly struck by the novel’s powerful vein of allegory when he first read it – it’s a rare young adult novel that evokes the spirit of Guy Debord, after all. “I read The Hunger Games in one sitting,” Ross says. “I was completely riveted by it. I thought it talked about the way that entertainment can be used as a political instrument, and the way entertainment devolves into spectacle, and the way that spectacle can be used as a means of political control. And I think it’s the way that [the government] gets the people to participate in the games [that] is particularly brilliant. They’re not just oppressing them, they’re getting them to participate [in their own oppression]. I thought that the story had a lot on its mind that’s relevant to where we are today.” It’s Sutherland who delivers perhaps the film’s key line when he observes that the Hunger Games exist to give the populace hope, with hope being a far more effective method of repression than fear. This, as it turns out, was one of the two extra scenes that Ross wrote: “We had a long conversation about the nature of the kind of political structure [in the books],” Sutherland recalls. “[Gary] wrote those two other scenes, with Snow explaining why

of the 24, one survives. Why hope is essential. Why people will continue if you give them hope. But hope is a spark, and it will grow into a flame if you don’t control it.” The spark grows into a flame in the form of protagonist Everdeen, played with consummate skill by Jennifer Lawrence. Both Ross and Sutherland are full of praise for the film’s young star. Ross says, “There’s a beautiful human element [to the film], and that’s what Jen was able to add. Hers is a rare talent. I auditioned a lot of people, but when she came in, it was like, ‘Forget about it.’ Hers was the best audition I’ve ever seen.” Her performance also gives an anchor to what’s a fairly horrific concept: kids slaughtering other kids for the entertainment of the general public. One of The Hunger Games’ more notable achievements is managing to convey the abhorrence of its premise while keeping a suitable rating. “The trick to that,” Ross says, “is that you stay in [Lawrence’s] point of view. When you pop wide, you’re committed to a bloodbath. But when you stay in her point of view, you see a glimpse of blood, hear a twig break, [convey] the need to escape. I don’t have to be gratuitous or indulgent. But the key to the movie is the subjectivity.” WHAT: The Hunger Games WHEN & WHERE: Screening in cinemas from 22 March

Adam Fuss, Simone Douglas, Park Hong-Chun, Eugenia Raskopoulos, Sam Shmith, Christoph Dahlhausen and Patrick Bailly-Maitre-Grand. Light Works is on display at NGV International until 16 September.

INDIE GAMES FESTIVAL COMING TO ACMI Direct from the Independent Games Festival in San Francisco, a fresh batch of the world’s best independent games is set to arrive at ACMI. Dubbed the ‘Sundance of the game world’, the annual Independent Games Festival encourages innovation in game development and recognises the best work of indie designers from all around the world. Recognising excellence in various categories including design, technical aptitude, audio, visual art, innovation and overall excellence, the 2012 exhibition includes the latest trends in touch screen gaming, games that test your skill levels and games that immerse you in beautiful interactive animations. Best of the Independent Games Festival opens in ACMI’s Gallery 2 on Tuesday 27 March and runs to 8 July.


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C U LT U R A L

CRINGE

WITH REBECCA COOK In a recent episode of Absolutely Fabulous, Edina helps an ageing former French actress sing at Albert Hall. Little does Eddie know that the suitably chic French actress is no chanteuse. In fact, she appears to be a mime. With this episode in mind we took ourselves off to Jane Birkin Sings Serge Gainsbourg at the Recital Centre on Sunday night. Sixty-five-year-old Birkin is the former movie star-slash-singer and muse of French singer/songwriter Serge Gainsbourg. She’s no Edith Piaf but at least the mother of edgy French actress Charlotte Gainsbourg can hold a tune, and unlike the chain smoking poseur from Ab Fab, she has a good sense of humour. Elegantly tailored to within an inch of her life, she bantered her way through the evening in a cabaretstyle show with a Japanese back-up band. Revealing between songs small snippets from her life with the king of the double entendre, such as the fact that he was disappointed that he was never ‘covered’ in English, and that defining album The History Of Melody Nelson took a long time to gain the recognition it deserved. “So the writers out there who haven’t been published, you just have to wait 40 years,” she said reassuringly. If that wasn’t heartening for the authors in the crowd, she certainly made the night of many a middle-aged man as she danced her way through the audience. The Japanese back-up band also had a back story: it seems Gainsbourg, who died in 1991, is still insanely popular in Japan where they play his films every night (according to

FILM

Birkin), such that she was invited to perform in a concert as part of the recovery efforts after the tsunami. The idea of performing a Japanesestyled interpretation made sense to her and she and the band have been touring for a year now. Considering the popularity of this show, imagine the potential to extend the concept – Courtney Love Sings Nirvana, Joan As Police Woman Sings Jeff Buckley, Debbie Rowe Sings Michael Jackson…the opportunities are endless. Hot off the press at time of writing, hundreds of cabaret-loving folks have banded together to donate more than $15,000 to save the Melbourne Cabaret Festival via crowdfunding site pozible.com. The 35-day fundraising campaign raised $18,180 (121 percent of the target needed). It’s likely to be the first time in Australia that a festival has received ‘core funding’ via crowdfunding and is a pretty strong indication of the level of support for the fest. It’s also the first time Melbourne’s cabaret venues have united through supplying items for sale, running fundraising events and partaking in a new annual festival membership scheme. Executive producer of the fesival Neville Sice was obviously rapt by the support: “In the final few days, as we realised that the broad, often disorganised cabaret community – audiences, performers and venues – of the city we love had swung behind us, another benefit of crowdfunding struck us. By being open with our supporters and asking them for help direct, the festival had been validated in a way that other methods of raising funds can’t achieve.”

CAREW

WITH ANTHONY CAREW The French Film Festival has gone from a tiny event to a sprawling epic, the fest now taking over five cinemas for over three weeks. And such sprawl means that, every year, there’s bound to be something brilliant; even if the overall programme plays – like, it must be said, this year – as a little tepid. Bertrand Bonello’s brilliant, brutal, bruised The House Of Tolerance is more than enough to justify the FFF’s unending rom-coms. The oddball auteur follows up the deliriouslygood On War (Film Carew’s #5 movie o’ 2008; feel the honour!) with an ensemble portrait of a belle époque bordello, period-piece starch tossed aside for the same blithe treatment of narrative convention and brilliant employment of music, motif and repetition. The last time such a gifted auteur made a provocative portrait of a 19th Century brothel came with Hou Hsiao-Hsien’s Flowers Of Shanghai. There’s similarities in their narrative explorations of group dynamics and sisterhood in times of gender oppression, but the twin pics’re starkly different: Hou fashioned a fearsome political tract merely masked by Vaseline-lensed dreaminess whereas here Bonello studies prostitution on a visceral level, his drama a body horror painted with skin, with sperm, with decay, with disease, with disfigurement, and with one haunting, recurring nightmare. Inspired by his own dreams, Bonello marks one of his ladies – his ‘flowers’ – with the scar of The Man Who Laughs; thereby making tangible the spiritual debt to German expressionism his work has long been soaked in (The House Of Tolerance shows this too within the

shrouded, shadowy darkness of its imprisoning fortress). Here, the hideous disfiguration is no back story to rise above, but a constant source of unease; Bonello’s giddy disinterest in standard screenplay structures finding time endlessly folding back on itself in his interpretive editingroom dance; the moment – happening again and again; as premonition, as memory, as nightmare, as trauma – a constant symbol of the sacrificial rituals of women submitting their bodies to the cruel whimsy of randy patriarchy. There are oddball gentlemen throughout, but The House Of Tolerance is a study in the women at work; kept souls as slaves to the grind, careerists as long as their flesh can hold out. They’re both powerful and powerless, and, beyond his stylistic tics and narrative tricks, Bonello’s gifts as cinematist take you deep into their guts, making them tragic figures worthy of heart-rending melodrama; the film, ultimately, an impossibly sad picture of the ravages of time. “I don’t want to die,” smiles (the ever-brilliant) Jasmine Trinca in a profound turn as livewire drained of life by the death-sentence of syphilis; and the line hangs so heavy it goes beyond the film’s thematic undercurrents (the death of an era) and becomes almost unfathomably human, dragging an audience to selfreflection bordering on depression. Life is but the slow rotting of flesh; death its inevitable, sole conclusion. Another French FF highlight, The Beloved, marks the second major musical production for queer auteur Christophe Honoré, a follow-on from the form he first tried his hand at with 2007’s Love Songs. His key leads – Ludivine Sagnier, Louis

THERAPY THROUGH THEATRE

EMMALINE CARROLL TALKS TO ALICE BODY ABOUT TOM HOLLOWAY’S LOOK AT THE VICTIMS OF THE PORT ARTHUR MASSACRE, BEYOND THE NECK. What role can or should art play in a country’s understanding of a national tragedy? Just as Red Stitch launched their season of Tom Holloway’s Beyond The Neck – a play dealing with victims of the Port Arthur massacre – news flooded in that Sydney-based artist Rodney Pople had controversially won the Glover Prize for a work already being discussed as ‘the Martin Bryant painting’. Red Stitch’s production is the premiere of Holloway’s play in Victoria, and the fact that Beyond The Neck’s season kicked off within a week of Pople’s $35,000 win will surely be a catalyst for some discussion. For Beyond The Neck actor Emmaline Carroll, the ability of art to distill and explore emotions and perspectives, thereby framing and reframing public discussion, is important for a country to come to terms with such an event, and perhaps under-utilised. “There’s

really not a great deal of material out there,” she says. “There are books and documentaries, but there have been no plays or things like that.” Carroll adds that a couple of members of the cast and crew were from Tasmania: “They’ve both told anecdotes of how it’s still a very hush-hush thing. People really don’t like to talk about it.” Carroll is of the opinion that Beyond The Neck has been important in addressing the Port Arthur massacre in several ways. “It’s a play. It’s theatre. Theatre is not always there to educate or anything like that, but [the shooting] was pretty important in our lifetime as Australians. I remember the event and most people do, but I really can’t recall many of the details – and a lot of people don’t – because we weren’t really told many details.” Bearing in mind that the shooting happened 15 years ago, before

the floodgates really opened on the Information Age, the lack of prevalent detailed information certainly reflects on a certain discretion. “It was so private,” Carroll asserts. She references those men and women with real-life accounts of the massacre who agreed to be interviewed by Holloway for the purposes of writing the play that would interweave these accounts: “I think it was a cathartic experience for those involved in that collaborative process of telling their stories and being heard.” Beyond its sensitive subject matter, Carroll believes Beyond The Neck is an exciting piece of theatre in its own right, an opinion reflected in the play’s 2007 debut as one of only ten chosen to be part of the Royal Court Theatre’s International Young Playwrights’

Festival in London. “The play is called a quartet on loss and violence, and it’s written like a quartet with an overture, first and second movement, and a coda,” she explains. “There are four characters – not all of whom have a direct link to the Port Arthur massacre – but they’re all experiencing their own journey of either tragedy or loss, and they come together at the Port Arthur site. And I think that’s refreshing. It’s not like, ‘We’re going to do a play about persons A, B, C, and D who were affected by the Port Arthur massacres.’ It’s really just stories about people who are experiencing extreme things and how they deal with that.”

I wandered through the East Village and stood outside the studio where the play is set. It’s very visceral – the sounds, the smells, the subway.” De Vanny says his major challenge in preparing for this role is in ‘letting go’ – allowing the director ‘to be the director’ and also giving himself over to the rhythms of the language. “It’s only my second real play,” he says. “It’s different from film acting. There’s a lot of dialogue; when you look at all those steps it seems like a big journey. Not that I am afraid of the whole thing but it can seem like a gigantic task; there

are so many beats and moments. It’s about trusting the rhythms, trusting each moment will get you to the next moment. The lyricism in the dialogue can be a beautiful thing.” In an echo of the play’s themes, de Vanny mentions his enjoyment of working with Friels. “It has become very important to me, the relationship with Colin. He’s a very generous actor.”

WHAT: Beyond The Neck WHEN & WHERE: Until 14 April, Red Stitch Actor’s Theatre

PAINTING THE TOWN...

LIZA DEZFOULI TALKS TO ACTOR ANDRE DE VANNY ABOUT HIS ROLE IN RED, THE PLAY ABOUT ARTIST MARK ROTHKO. Actor Andre de Vanny is well known to Melbourne audiences from his numerous appearances in film and on television, notably in the programme Wicked Science, among others. He is about to step onto the stage in Red, by American playwright John Logan, in his debut with the Melbourne Theatre Company. Red is the story behind painter Mark Rothko’s withdrawal from a lucrative commission to paint murals for an upmarket New York restaurant in the late ’50s, but the saga of the Seagram murals is the background to the real driving story, explains de Vanny, who plays assistant Ken to Colin Friel’s Rothko. “It’s a play about the relationship between two men. They develop a wonderful relationship over the two years; Rothko is a great mentor.” De Vanny’s character isn’t drawn from anyone in particular, says the actor. “Rothko had several assistants at the time. My character exists as his conscience. He is there to learn and listen. And they develop this wonderful friendship.” So where does the play’s drama come from? “There is no major event; no one dies,” notes de Vanny. “But the play is filled with drama. The relationship becomes like a father/son relationship and then there’s the question of artistic integrity and ambition.

It’s about the importance and power of art.” The Seagram murals were never hung in their intended place in the Four Seasons restaurant; Rothko famously refused to continue with the project, citing his distaste for the bourgeois environment in which his paintings would hang, although he had understood from the beginning the social milieu of the restaurant’s clientele. “The overarching story is that it weighed heavily on his conscience,” de Vanny continues. “He was considered one of the greatest living painters, if not the greatest, at the time. The play asks the question, ‘What does art mean to these two men?’ It’s concerned with integrity versus ambition.” The late ’50s saw an intense flowering of artistic expression and dialogue, especially in New York, notes the actor. “It was a fertile time for artists, such a pivotal time. During the play you really get a sense of what’s outside the room. ”Excitingly for de Vanny, he was already in the States and so was able to visit New York City after being cast as Ken. “I saw some of Rothko’s work;

Garrel, Chiara Mastroianni – all return, and the same kind of highlystylised, colourful, cute handling of dark subject matter is at play. Here, a multi-timeframed family saga skips gaily through social tumult, with even Russian tanks rolling into Prague being set to Sagnier pirouetting cutely in a colourful frock. One of last year’s best French films – unexpected MIFF highlight Tomboy – is about to score a well-earned local release. Céline Sciamma’s profound drama shows the filmmaker growing into a fascinating cinematic voice, provocatively poking at closed social notions of gender and the poisonous marketing myth of Mars/ Venus. Her debut, Water Lilies, explored the emotional blackmailings of three 15-year-old girls; comingof-age writ as understanding the

social complexities – and the capital currency – of their ‘blossoming’ sexuality. With Tomboy, Sciamma tracks back further, unravelling the archetypes of gender as she goes. The titular character is 10-year-old Laure, who takes the opportunity of moving into a new apartment block to take up a new identity: as Mikael. There, her tomboy discomfort is reinvented as masculine swagger: she goes shirtless, wrestles, fights, kisses girls, is dirty and reckless and cocky. The more summer saunters on, the further the ruse must be taken; but this isn’t some Tootsie sitcom, rather a dignified tribute to a human doggedly determined to shrug off imposed expectations; a doomed pre-teen quest that plays as neither comic or tragicomic, but endlessly noble.

WHAT: Red WHEN & WHERE: Thursday 22 March to Saturday 5 May, Sumner Theatre, MTC

THE HOUSE OF TOLERANCE

INPRESS • 33


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TV

SET

WITH ANDREW MAST

him now). These psychic operators sit at desks at the back of the set, seemingly sheathed in wisps of fine mesh and separated by twinkling purple curtains. Their desks are strewn with the tools of their trades – an assortment of paraphernalia normally found down the back of a crystal market in Daylesford. Most objects seem to be purple – also colour of choice for their website (so mystical). If you have no need to call upon their services every night, you can still sit back and enjoy watching other callers partake. Hark back to the days of Ten’s UpLate phone-in quiz with Mike Goldman (oh yeah, She, can you track him down too?), where the disembodied voices of lost souls (or quiz insomniacs) gently entrance you to sleep. Now, that is a gift. On a recent Friday evening, one caller enquired as to whether or not she would find happiness in her “dream job”. The giant earring-bedecked tarot card reader’s advice was for the caller to burn a candle during a waxing moon. On-duty-host asked if it should be any particular candle, to which Earring Tarot Lady responded, “Whatever.” Asked if she should burn the candle during the day or night (remember, a waxing moon had been mentioned), Earring Tarot Lady again responded, “Whatever.” It wasn’t a dismissive “whatever” however, it was more of a chakra-re-align-

It was like someone was guiding my hand. I was searching for Country House Rescue, but it was as if I was not in control of my thumb as it pressed on by LifestyleYOU and brought itself to rest on that listing lurking at the bottom of Foxtel’s ‘Entertainment’ menu, Aurora. It was here I met my whitehaired spirit muse, Annie, and her mouthful of gleaming teeth. Psychic TV had found me. Annie had reached out to my chakra (her bio says she has a “comprehensive awareness” of them). It seems Annie also enjoys using crystals and then giving Oracle card readings. She calls it a “gift”. And she will gift this to you, right there on live TV – you can drop the remote and free up your hand for a workout on your phone keypad. Annie will take you now! It’s all very Videodrome. But Annie is not alone. Not only is there a soothingly-voiced host to act as intermediary between callers and Annie, but behind her sits a virtual factory of mediums, healers, clairvoyants, astrologers, and palmists (perhaps you fax your hand through). There sits Roxanne, Papa Eclipse, Dee, Bella, Harry T, and/or She DMontford (her main claim to fame being that she once found a “little boy lost” on 7’s short-lived The One, hosted by Andrew Daddo – wonder if she can find

ing “whatever”. And, as may sometimes be the way of strangers you happen upon in the late evening, especially those offering to share their “gifts” with you back at their mood-lit place-of-work, a small monetary thank-you is appreciated. But what price the sweet relief they offer you? Actually, it’s $5.45 per minute – the maximum length of a session is 30 minutes... do the math, that’s umm, $165.35. Well, they do promise a happy ending. Or, at least, that’s surely what they mean in the small print that wafts amongst the purple at the bottom of your screen: “this service is for entertainment purposes only.” The Psychic TV crew have found sanctuary with the openminded folk at Aurora, who also give shelter to Queer TV, Drags Aloud, and a plethora of displaced fishing shows. And, yes, it does bunk down between episodes of Home Shopping now and again, but you have to remember, a show’s gotta do what a show’s gotta do to survive. This community channel launched in 2005 and claims it is “committed to screening interesting, diverse, and innovative content to encourage awareness and understanding of community issues and interests.” It even has a section on its website to allow anyone to submit work for possible broadcast. This may explain PWC TV – The Personal Watercraft Show – tailormade for Kenny Powers – though it would be mind-busting viewing to see a Psychic TV/PWC cross-promotional episode with mermaids forecasting next summer’s best wake boarding days.

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Perth - Adelaide 34 • INPRESS

Melbourne - Sydney - Sunshine Coast

IN EXCESS

“EVERYONE IS CAPABLE OF INFIDELITY,” EXCLAIMS TOM PITTS, WRITER/DIRECTOR OF ATTIC ERRATICS’ AD NAUSEAM. HE SPEAKS TO CASSANDRA FUMI AHEAD OF THE PLAY’S LA MAMA RUN. Ad Nauseam began as an academic work for Tom Pitts’ Honours in Performing Arts at Monash. It was “basically about musical rhythm and whether that can affect audiences; if an actor is doing a comedy scene and you put a sad song on... are people still going to laugh?” he explains. Ad Nauseam was performed as part of the 2010 Melbourne Fringe Festival and earned Pitts a Special Commendation for Best Emerging Writing. The story formed when lead actor Nick Bendell, Attic Erratic associate writer Giuliano Ferla, and Pitts decided to “go out and do some research, by getting smashed”. This formed the basis for the plot of Ad Nauseam. “It’s about excess,” Pitts says. “We really wanted to get the remorse of his infidelity without losing the part of his character that people seemed to enjoy; the arrogant, the confident, and the suave. “This was the first show Nick and I had done to music and that was a constant thing along the way; as an actor you can’t just lash out and hold a pause. The music is the second character, so, like adding another character on stage, it adds something else that completely changes the atmosphere. I personally believe that you can’t help feeling a certain way if there is certain music going on.” The music

reflects how Nick’s character is feeling: “There are points where he gets really drunk and the music starts with a rhythm and the rhythm gets lost. “One of the best things about working with Nick is we know how far we can push each other, what makes us tick, when to stop and when to change.” This is not a traditional one-man show; the two women in the lead’s life are played by Kate Lavarack and Grace Traveglia. “All of a sudden with the women [on stage] you could see the relationships and as soon

as you see a relationship it’s got weight. I mean, no one gives a shit if they are just talking about it,” says Pitts. “[However] as it’s this man’s memory of events the female characters are the way he sees them, not the way they actually are.” Pitts, who also fronts Melbourne band The Harlots, does not keep his musical and theatrical lives separate. “A lot of Harlots songs have come from plays; I don’t think theatre and music are that dissimilar, I think that theatre does not need to be so serious – there is also a theatrical nature to performing live. “What excites me about the La Mama season is just putting it on again. This show I just love to watch, I really enjoy the way Nick is able to speak to the audience and he does, literally. He talks and plays off them – he even gives people a bit of sexy eye.” WHAT: Ad Nauseam WHEN & WHERE: Tonight to 1 April, La Mama Courthouse


MARY

TOBIN

PRESENTS

STEPHEN K AMOS R E T H G U LIAS MY

A D N E G A +++++

MELBOURNE TOWN HALL 29 MAR – 22 APR

(DATES & TIMES VARY - CHECK PROGRAM) FRANKSTON ARTS CENTRE THUR 12 APR 8PM

TEL:: 03 9784 1060 TEL 1060 WWW.THEFAC.COM.AU WWW.THEFA T C.COM.AU

1300 660 013 COMEDYFESTIVAL.COM.AU www.marytobinpresents.com.au

INPRESS • 35


GEELONG MELBOURNE BRAIDWOOD CENTRAL COAST CRONULLA SYDNEY BYRON BAY SUNSHINE COAST BRISBANE NEWCASTLE ADELAIDE

36 • INPRESS

National Hotel Thornbury Theatre Park & Wallace Cafe (via Canberra) Lizottes, Kincumber Freedom Music, (Masterclass) The Basement Byron Bay Brewery Solbar The Old Museum (ANZAC day eve) Lizottes Higher Ground

Fri 13 April Sat 14 April Sun 15 April Tue 17 April Wed 18 April Thu 19 April Sat 21 April Sun 22 April Tue 24 April Thu 26 April Sat 28 April


GIG OF THE WEEK

TOUR GUIDE THIS WEEK

GEOFFREY O’CONNOR

INTERNATIONAL AQUA: March 21 Palace ELBOW, BOMBAY BICYCLE CLUB: March 21 Festival Hall DURAN DURAN: March 21 Rod Laver 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 ELECTRELANE (DJ SET): March 23 Liberty Social Club 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 EVANESCENCE: March 24 Rod Laver Arena NICK CURLY: March 25 Revolver TRUCKSHOP HONEYMOON: March 25 Phoenix Public House JOHN FOGERTY: March 27 Rod Laver

NATIONAL XAVIER RUDD: March 21 Forum DANIEL CHAMPAGNE: March 21 Famous Spiegeltent CANYONS: March 22 Toff GARETH LIDDIARD: March 23 Regal Ballroom SLEEPMAKESWAVES: March 24 Corner WEENED: March 24 Cherry Bar TWELVE FOOT NINJA: March 24 Evelyn Hotel JEN CLOHER: March 25 Northcote Social Club DAVE GRANEY & THE LURID YELLOW MIST: March 25 Famous Spiegeltent

CHE-FU: Saturday 24 March, Hi-Fi

LAST GREATEST SHOW ON EARTH SUNDAY, REGAL BALLROOM

To celebrate the impending apocalypse Northcote’s Regal Ballroom will be transformed into a glittering Las Vegas-style show room this Sunday and will showcase some hot-as-hell music all in the aid of a fantastic cause. The bill is about as long as an orangutan’s forearm and includes the likes of Laura Jean, Geoff O’Connor, Jessica Says and Harmony, and all monies raised will be put towards musical instruments, a jukebox and a music therapist for the John Cade Psychiatric Ward at Royal Melbourne Hospital. There’ll be some kind of alien marriage ceremony, guest appearances from dead celebrities, fountains, dancers, balloons and confetti. Tickets are only $25 pre-sale or $35 on the door and festivities kick off around 7.30pm.

PRESENTS 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 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 BLUEJUICE: April 26 Eureka Hotel (Geelong); 27 Pier Liver (Frankston); 28 Hi-Fi (U18 arvo, 18+ evening) BIC RUNGA: May 1, Wellers, Kangaroo Ground; 2 Geelong Performing Arts Centre; 4 Athenaeum Theatre

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TAYLOR SWIFT PIC BY HEIDI TAKLA

an interpretive dance troupe that burst from trampolines beneath the stage and dance in a way that is wholly too enthusiastic for country pop, a nine-piece band, massive back-projected screens showing animated videos and the gold sparkly dress Swift strides about in. Despite the scale and jaw-dropping logistics required to make such a show work as seamlessly as it does, it never for a moment feels alienating. Swift constantly sings about personal connections and we respond in kind.

FESTIVALS

Opening with Drop Everything Now, she moves on to latest single Mine, the first of many country pop songs about a small-town girl falling for or getting over a cute guy. She then tells us that this is the second-last date of her world tour and spends several minutes explaining in a refreshingly unrehearsed way, what she loves about Melbourne and us. Tap dancing, ballet, acrobatics, elastic trapeze and many massive, briefly used props spell out songs’ themes and explain why Swift was the highest touring earner of 2011. This bizarre combination of André Rieu’s stupendously opulent sets, Cirque de Soliel’s atmospheric dance pieces and the cheery Grand Ole Opry shouldn’t work, but does. The entire scene shifts from minute to minute, as if each song has its own live video acted out onstage. “I’m not a princess, this ain’t a fairytale,” she sings in White Horse. Well, Taylor, you’re living pretty much living every girl’s dream right now.

YACKANDANDAH FOLK FESTIVAL: March 23-25 THE HILLS ARE ALIVE: March 24-25

UPCOMING INTERNATIONAL 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 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 LUCINDA WILLIAMS: April 2 Palais PINK MOUNTAINTOPS: April 2 Tote BRIAN SETZER’S ROCKABILLY RIOT: 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

TAYLOR SWIFT ROD LAVER ARENA

Hordes of chattering fans crowd outside the arena as attendants spray Taylor Swift’s custom perfume on proffered wrists and lightbulb-lined mirrors reflect excited tweens getting makeovers. The atmosphere is one of a fairytale coming true and it’s very hard not to be caught up in the excitement. Inside, the stage extends over the seats, a ‘Juliet’ balcony hangs high beneath the roof and a pop quiz about Taylor Swift is projected on looming screens. Lights dim, massive red velvet curtains part and the largely female audience’s squeals drown out the first 30 seconds when the star herself appears metres from the front row, rising through a trapdoor amidst gusts of dry ice. Before ears can comprehend the music, the eye is struggling with the sheer volume of exploding glitter, the Venetian staircases, balustrades and bridges, erupting fireworks,

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Balancing this out are the periods in which Swift brings it back to just her sitting onstage with a banjo, or walking through the audience to sit, mid-crowd, underneath a rotating luminous tree where she talks to us about writing songs, about friends, and strums a guitar. She plays Ours and Last Kiss before returning through the hordes for You Belong With Me, still one of the best pop songs of recent years. Her song Safe & Sound from the Hunger Games soundtrack and Fifteen close the show, as she circles over our heads on the Juliet balcony. Throughout, her warm, unaffected voice softens and humanises everything she says, and it is this plainness that makes her songs’ PG-rated drama all the more real and affecting. Wasn’t My Girl a more honest and heartbreaking story of relationships than (500) Days of Summer? Andy Hazel INPRESS •37


BLACK LIPS PIC BY CHRISSIE FRANCIS

TOUR GUIDE GARETH LIDDIARD: Friday 23 March, Regal Ballroom

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 BASS DRUM OF DEATH: April 6 Liberty Social Club 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 SETH LAKEMAN: April 8 Bennetts Lane 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 SEASTICK STEVE: April 10 Corner MACEO PARKER: April 11, 12 Corner JAMES VINCENT MCMORROW: April 12 Toff PETER HOOK: April 12 Palace Theatre 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 THE 5.6.7.8’S: April 24 Tote CAIRO KNIFE FIGHT: April 26 Workers Club DMX: April 27 Trak THE SONICS: April 27 Caravan Music Club THE EXPLOITED: April 28 Corner ANDREW WK: May 2 Pier Live; 4 Corner Hotel CITY & COLOUR: May 2, 3 Palais Theatre MOUNT KIMBIE: May 3 Hi-Fi ORBITAL: May 4 Palace Theatre DIGITALISM: May 4 Forum DEVILDRIVER, DARKEST HOUR: May 6 Billboard FRANK TURNER: May 6 Espy WAVVES: May 9 Corner THE MOUNTAIN GOATS: May 10 Corner ATMOSPHERE, EVIDENCE: May 10 Hi-Fi MORGAN PAGE: May 10 Alumbra DEUS: Corner Hotel May 12 MUTEMATH: May 14, 17 Corner 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 THE BRIAN JONESTOWN MASSACRE: May 19 Forum NEW KIDS ON THE BLOCK, BACKSTREET BOYS: May 19 Rod Laver FLORENCE & THE MACHINE: May 20 Rod Laver S CLUB 7, BIG BROVAS: May 23 Palace Theatre BELL BIV DEVOE, GINUWINE: May 25 Trak Live Lounge MICKEY AVALON: May 25 Espy SHOWTEK: May 25 Chasers NATURALLY 7: May 26 Palais Theatre ANTI-FLAG: May 27 Hi-Fi MY BRIGHTEST DIAMOND: May 28 Northcote Social Club YOUNG GUNS: May 30 Hi-Fi RAY LUGO: June 1 Scatter Scatter LIGHT ASYLUM: June 1 Phoenix Public House; 2 Toff SIMPLE PLAN: June 2 Festival Hall ZOLA JESUS: June 3 Toff MARK KOZELEK: June 9 Toff, 11 Phoenix Public House LADY GAGA: June 27, 28, 30, July 1 Rod Laver MELISSA ETHERIDGE: July 15 Plenary RADIOHEAD: November 16,17 Rod Laver Arena

38 • INPRESS

NATIONAL TWELVE FOOT NINJA: March 29 Mac’s Hotel (Melton); 30 Ferntree Gully Hotel; 31 Pelly Bar (Frankston) 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 GIN WIGMORE: April 5 Workers Club YACHT CLUB DJs: April 5 Prince Bandroom; 6 Bended Elbow; 7, 8 Karova Lounge BEARHUG: April 6 Workers Club EMMY BRYCE, KATE VIGO: April 7 Palais Hepburn Springs; 26 Thornbury Theatre SNEAKY SOUND SYSTEM: April 8 Palace BOY 8-BIT: April 8 Revolver THE RUBENS: April 11, 12 Northcote Social Club 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 THE MEDICS: April 13 Northcote Social Club BALL PARK MUSIC: April 13 Karova Lounge; 14, 15 (U18), 16, 29 Corner SUPER BEST FRIENDS: April 13 Brunswick Hotel; 14 Pony THE GOOD SHIP: April 14 Grace Darling BAG RAIDERS: April 14, Bottom End MY DISCO: April 14,15 Toff 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 KISSCHASY: April 20 Inferno (Traralgon); 24 Ferntree Gully Hotel THE HERD, THUNDAMENTALS: April 21 Corner BLEEDING KNEES CLUB: April 21 Northcote Social Club TIN SPARROW: April 21, 22 Grace Darling CHET FAKER: April 21 Toff POND: April 22 Northcote Social Club BIG SCARY: April 24, 25 Corner JOHN BUTLER: April 24, 25 Hi-Fi 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 Tote EMMY BRICE, KATE VIGO: April 26 Thornbury Theatre AN HORSE: April 27 Corner BLUEJUICE: April 28 Hi-Fi (U18) SAN CISCO: May 1, 2 Corner JOHN WATERS, STEWART D’ARRIETTA: May 2-6 Chapel Off Chapel THE GETAWAY PLAN: May 3 Corner AYA LARKIN: May 4 Wesley Anne THE TOOT TOOT TOOTS: May 4 Hi-Fi LANIE LANE: May 4 Karova Lounge; 25 May Meeniyan Town Hall; 26 May Corner Hotel CHANCE WATERS: May 5 First Floor GOSSLING: May 5 Thornbury Theatre EMILY BARKER: May 5 Pure Pop Records; 6 Wesley Anne WE ALL WANT TO: May 5 Empress; 6 Pure Pop Records, Kew RSL KIMBRA: May 9 Palais Theatre (AA) CALLING ALL CARS: May 10 Kay Street (Traralgon); 11 Hi-Fi JOSH PYKE: May 11 Forum MICK THOMAS: May 11 Regal Ballroom CATCALL: May 12 Toff BOY & BEAR: May 16, 18 Forum; 19 Deakin’s Costa Hall (Geelong); 20 Hi-Fi (U18) 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 AUSTRALIAN POPS ORCHESTRA, TODD MCKENNEY, JOHN FOREMAN: May 18, 19 Palms At Crown LEADER CHEETAH: May 19 Northcote Social Club TUMBLEWEED: May 25, 26 Tote LANIE LANE: May 26, 27 Corner Hotel THE TEMPER TRAP: May 29, 30 Forum THE JEZABELS: June 1 Festival Hall

Young Revelry provide a sonic wall of fuzzed-out, 21st century southern American rock and they pull it off like they were born to do it. Despite a decibel count that is waaaay too high for most ears, Young Revelry are certain to win fans tonight and provide another example of how Perth bands do it better than their East Coast rivals. By now the crowd have packed themselves in nice and cosy like, but leave enough room for breathing and other low-movement activities (such as chatting with neighbours in the crowd, drinking Melbourne tinnies etc). Ben Kweller takes to the stage amid a flurry of movement and audience applause, and he – and his three-piece band – launch into new single Mean To Me, off his latest album Go Fly A Kite. Dressed in a bitching denim vest and red jeans so tight it’s practically impossible not to look at the dude’s junk, he leads his band with verve and attitude, without alienating the crowd or making any point of the night seem awkward. Apartment (dedicated to New York City), Hospital Bed and an acoustic version of Falling prove set highlights, and even a keyboard that won’t stop fucking up – after some onstage banter between Kweller, his guitarist/ keyboardist and their sound guy, the thing keeps playing up – can’t stop what is truly a lot of fun. Sundress and Penny On A Train Track get a great crowd reception, even if most of each song is played on guitar.

BLACK LIPS, SPENCER P JONES TOTE

Was this gig held elsewhere, it could be seen as a lastminute effort to cater to the overflow of Black Lips’ sold-out Golden Plains sideshow at the Corner. But history adds sentimentality to the Atlanta, Georgia garage group causing havoc at the Tote: this is the location of their first-ever Melbourne gig in 2007. Back then, we got a drunken, jubilant show complete with vomit (the band’s). Tonight, they return to give us – well, who knows? Even bassist Jared Swilley admits with some pleasure early in their set, “We didn’t think we’d be playing here again.” The venue fills up as Spencer P Jones plays a knockout solo set to a response of chatter. Fresh (or perfectly mouldy) from a month of Sundays with Kim Salmon at the Old Bar, he cuts a slight figure as he turns Escape Committee grinds into scary-beautiful twangs. The climax of the exercise is Clementine, from 2003’s Fait Accompli – the recorded psych lament would perhaps be a better precursor to Black Lips’ own inner-ear productions, but this simple, breathe-out version is touching, if not a little sobering (but it is Tuesday). A shoulder-to-shoulder crowd all the way to the back of the room means little space to get loose when Black Lips arrive. It doesn’t, however, stop a crowdsurfer clawing his way around the front pit as the band get into Short Fuse early on. Another leaps from the stage not long after. There is something in the air: a desire for this to be like the once antic-driven band’s shows of old. But Black Lips are no longer that band. The four members aren’t falling over each other. Guitarist/singer Cole Alexander and Jared Swilley aren’t spewing to the side of the stage. Even as they hold their positions and plot through older songs over playing from their sonically expansive and ‘song’-concerned (read: not bratty) latest album, 2011’s Arabia Mountain, they aim to – or perhaps can’t do anything but – play well rather than feverishly. Dirty Hands, O Katrina!, Hippie Hippie Hoorah: the songs are bright, the members are in sync. Black Lips are doing it all so right. It’s the direction that was the alternative to living large and falling apart, and it was a good choice: their newer material shows there’s much to be explored yet in the band’s songwriting. It’s excellent stuff. But Black Lips’ future isn’t in dingy rock clubs. Tonight we get a big gig scaled down for the Tote. Indeed, it’s a sideshow to a sideshow that acts as a novel chance to rehash what happened five years ago sans spontaneity. It just isn’t punk rock; Black Lips have surpassed that point of their being. And now I feel a little foolish for wanting something we already had. I should have gone to the bigger show. Adam Curley

BEN KWELLER, YOUNG REVELRY, ROYSTON VASIE HI-FI

It’s a sparse crowd as we descend the steps into the Hi-Fi soon after the venue’s doors open. Word on the street is that local lads Royston Vasie will be on stage shortly, but obviously the word is wrong, as it’s just after 8pm when the Melbourne four-piece come on. Honest and rocking, comparisons to Children Collide are sure to abound and there is even a smattering of a lesswankerish Oasis in the band’s more poppy numbers (hell, they’ve even got a song called Cigarettes & Alcohol). Perth outfit Young Revelry are up next. Having cut their chops on the Aussie scene now for a few years, the band recently dropped their debut EP You And I, which is getting some solid rotation on radio, led by the title track. They drop the song into their set but, for the most part,

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Finishing his encore with Wasted & Ready (hard to believe that song’s ten years old!), Kweller’s enthusiasm and attitude can’t be faulted. Add to that tonight’s solid support slots and this is a killer gig. Dylan Stewart

APHEX TWIN PALACE

Amid occasional anticipatory cheers, the sold out crowd settle into an atmosphere of rowdy anticipation. A deep, colon-bothering bass loop stretches the flapping PA speakers while dry ice spritzes across the stage, 15 minutes before scheduled start time. Then the man of a dozen aliases and the master of turning profound bafflement into ardent love, Richard D James aka Aphex Twin, appears, triggering deafening cawing from the crowd. In typically atypical form, James gives us dance music based on soul samples with a touch of bubbly techtrance that provokes some cramped dancing, and further cheering. The front few rows pose for a roving video camera that feeds, via a processor manned by someone working their way through every single Photoshop effect, to onstage screens as we revel in the optimistic ‘90s feel of the music. For a man credited with inventing ‘intelligent dance music’ and who epitomised a dystopic future better than anyone in musical history, it seems as if he’s in whatever mood he was in when he released 26 Mixes For Cash. Despite using the heaviest bass since Sunn O))) nearly demolished the Hi-Fi in 2007 – and bringing in an occasional high, lost melody to amplify the oceanic depth of the beats – it’s the visuals that capture attention. Images of James that seem as though they’ve (literally) passed through Chris Cunningham and a 3D printer grace the screens as lasers turn the air above us into a psychedelic loom. Slippery stabs of glitchy electro ride a cavalcade of beats that are somewhat disappointingly plodding in rhythm. Just as you’re thinking, ‘This has to be a set-up. Any second now the beats will die a squelchy, sickly death, some atonal horror will take over and his grotesque grin will occupy every screen,’ that exact fantasy occurs, exactly half an hour in. After the familiar Fingerbib sends everyone nuts before disappearing underground into a seismic pulse, every face in the crowd seen on the screens is overlaid with his. Soon almost every internationally famous Australian has their face clumsily, hilariously and scarily, replaced with James’s manic grin. Now we get the unpredictable and fun Aphex Twin; music you can’t dance to without a fistful of datura and some seriously reconfigured neurochemistry. The rhythm track of Didgeridoo and some wriggly synthlines explode around us, accompanied by garish visuals and blinding lights. Even brighter though, is the intense, fluoro orange sportswear worn by Die Antwoord who burst from nowhere for some insane-yet-reverential freestyling. Rapper Ninja crowdsurfs while screaming, “Aussie, Aussie, Aussie/Oi, Oi, Oi,” as Aphex intensifies the sound of a malfunctioning forklift played on a skipping CD. Once Die Antwoord leave it’s time for a genuine monolithic headfuck that ends exactly on the stroke of 11.30. We cheer, stamp and clap but to no avail. The screens briefly flicker messages such as “Keep calm and fuck off” and “Kill yourself”. On come the house lights. Cheering continues at near-deafening levels for ten minutes after the stage manager motions no more. Finally, we leave to board trams abuzz with conversations about the show, of how expectations were and weren’t met and how lucky we were to see it. Andy Hazel


MAYER HAWTHORNE, ELECTRIC EMPIRE

TINIE TEMPAH PIC BY ELAINE REYES

CORNER HOTEL

Electric Empire roll out unapologetic funk and prove to be the perfect choice, warming up our hips for tonight’s lovable dork of a headliner. What voices and exquisite harmonies! The soulful crooning of Dennis Dowlut is world standard and you better believe he received his vocal education courtesy of Stevie Wonder on high rotation. Baby Your Lovin’ is all effortless swagger and you can expect to hear a lot more from this Melbourne trio who graced the Glastonbury stage last year. Authentic, soul-soaked sounds to punctuate good times. An attempt to infiltrate the front rows in between sets proves harder than anticipated. Couples zealously guard their patches of dancing space, anticipating the aphrodisiacal nature of Mayer Hawthorne live. A bobblehead Mayer Hawthorne (which he could have stolen from Dwight Schrute’s desk were it not for the different-coloured spectacle frames) is set up on his keyboard stand next to the tambourine. Hawthorne’s band takes to the stage and then the suave performer is given a fittingly classy, oldschool intro: “Ladies and gentlemen, Mayer Hawthorne!” The energy Hawthorne exudes is beyond contagious and the air inside the Corner simply sizzles. When Hawthorne sings “gangsta” within his lyrics, the word is so far removed from his dapper physical appearance you can’t help but smile. “This is a show not a concert,” he stresses, encouraging those who wish to party to make their way down the front. Hawthorne is clearly in awe of his band and allows them to shine through spine-tingling solos while he dances along and looks on approvingly. The guitarist makes his axe his bitch and his form is incredible to watch. Your Easy Lovin’ Ain’t Pleasin’ Nothin’ sounds loads like You Can’t Hurry Love by The Supremes and its bouncy pace carries us away. The Mayer Hawthorne live experience is as much about the band as it is their fearless leader. The appeal of Hawthorne lies in his braggadocio-filled lyrics that seem so incongruous when delivered by this poster boy of geek chic. He even adds a spontaneous, spoken, “That’s right, bitch!” to The Walk (“So long, you did me wrong”). You can’t help but mimic the gloriously dorky, synchronised, sidestep dance moves being performed onstage. That is unless you’re part of a couple and choose to dance cheek to cheek. Songs roll seamlessly, one into the next (particularly transitioning into Stick Around). We witness an artist who is meticulous when creating setlists, comprising live arrangements that pop: Dreaming interspersed with segments of You Make My Dreams Come True (Hall & Oates) is pure genius. Hawthorne taunts us by slowly unzipping his jacket and the punters whoop excitedly as if he were removing so much more. During I Wish It Would Rain, Hawthorne instructs us to mime rain falling down with both hands and then leaves it to us, “You’ve gotta make it look real pretty.” No Strings is killer and a lot of ladies in the crowd are guilty of thought crime: “I know you’re tryna be good girl/ But you imagine what I’m like in bed.” Hawthorne takes a photo of the audience and then announces it’s “photo time” so we are welcome to reciprocate. Band members pose in a variety of freeze frames and Hawthorne moves to different parts of the stage to facilitate Kodak moments for everyone. Hilariously, the positions they take up are designed to make resulting snaps resemble action shots. We are then instructed to put all devices away and embrace the foreign concept of actually experiencing the show “in real time”. Hawthorne points out that those who are not present don’t deserve to feel as if they were. Okay, that means the end of note taking on my mobile phone then. Dance on. Bryget Chrisfield

FUTURE MUSIC FESTIVAL FLEMINGTON RACECOURSE

So many fliers litter Epsom Road en route to Flemington Racecourse that it may well be time to bring back the human billboard. There are four bicycle cops assisting an acid casualty on the lawn leading down to the festival entrance and clearly Save-A-Mate campaign’s message hasn’t reached his party posse just yet. Australia’s own version of Guidos are stoked that today’s weather permits topless fashion and personal training sessions pay off as ripped torsos are put on display. For the ladies, it’s all about false eyelashes, too high-waisted short shorts and spray tans that would make plunging into the Foamarama pit a huge mistake. And since when was it cool to expose your pudgy midriff in a crop top? The infamous Stafford Brothers & Timmy Trumpet are first up on Las Venus stage and whip the crowd into a fabulous frenzy. The dynamic between the built-like-a-box trumpet player and the duo works in everyone’s favour. The Staffords bring forth favourite tunes, from Otherside by indie rockers Red Hot Chili Peppers to Matt Corby’s Brother, mixing them with pulsing house beats while Timmy Trumpet adds unique trumpet solos throughout. Apart from executing their own set, the trio come and go on this stage several times during the festival, spicing up the gaps between acts. Professor Green is next up in the early afternoon on neighbouring main stage, Mazda2 Flamingo, his Brit twang

NEW ORDER PIC BY ELAINE REYES cutting through the crowd. Pro Green fans up near the stage are easily pleased with some old hits and the new Read All About It is recited under our collective breath. Azari & III play early – directly after Jamie Jones, who so brilliantly remixed their Hungry For The Power – in the techno-oriented (and very tastemaker) The Likes Of You tent. In fact, Jones closes his set with the aforementioned remix before Azari III open with the original – you’d think they’d compare notes! That the Canadians are DJing (the producer half, anyway), and not performing as a live band, is mystifying. Azari favour the same retro-nuevo Chicago house, Detroit techno and acid sounds heard on their eponymous Modular album. Alas, the sunglass-wearing duo doesn’t engage with the crowd. They might be spinning in a bedroom. German veteran Oliver Huntemann follows Azari. The DJ, touring behind his new experimental ‘artist’ album Paranoia, understands the dynamics of a dancefloor and so his set has cool transitions, textures and tension, spanning clip-cloppy minimal, revved-up techno rave and deeply funky, post-progressive (he was in the fabled Hamburg trance outfit Humate, after all). The crowd, including the girls, likes it. And Huntemann looks like he’s having fun. The guy doesn’t have the DJ profile of sometime collaborator Dubfire, but he should. Approaching DFA Records stage, the proscenium arch artwork features the record label’s hand-drawn lightning bolt logo in assorted kindergarten colours. The bpm difference between this stage and the neighbouring Knife Party Presents Ear Storm Records stage, just metres away and separated by a stack of shipping containers, is startling and, impressively, there’s no sound bleed carried across on the breeze. Although the area in front of DFA stage is sparsely populated, the party is in full swing: a reveller dances on a rubber strip that stretches from stage to sound desk, probably concealing cables, as if it were a tightrope and munters play catch with a couple dudes who lob an invisible ball from sidestage. Those not queuing to have their photo taken at Smirnoff DJ Photo Studio – wearing the baseball cap and headphones provided, pretending to be in the mix – are all dancing to Horse Meat Disco. Uplifting tunes to match today’s sunny climes. Juan MacLean is the man. He’s such an unassuminglooking bloke, but his selections are on the money and our dancing feet take flight. MacLean’s opening cut features saxophone over a bubbling backbeat and Jestofunkstyle bass, which beckons a few passers-by onto the dancefloor. But sadly this section is used more as a thoroughfare at this point of the afternoon (he clashes with Skrillex). Still, those in attendance soak up MacLean’s funky sounds and we don’t need to consult watches to realise he’s rapping up his set since he puts his pullover back on, packs up his case and then wanders away from the console leaving his final track to play out. Captain of ‘genre of the moment’, Skrillex pulls a good crowd. Let’s face it; basically he just made some superawesome, light-speed dubstep happen. At only 24 years old, he’s already a force to be reckoned with. The festival is now in full swing and Skrillex adds to its momentum. He gives the crowd what they want. Hits such as Bangarang and Scary Monsters And Nice Sprites only feed punters’ thirsts. People are dancing like crazy. Unable to contain their aural ecstasy, they throw Frisbees around and vomit in corners. In between his originals, Skrillex also craftily mixes in old-time favourites such as Roger Miller’s Engine Engine No 9 and Benny Benassi Feat Gary Go’s Cinema, to which the crowd goes off.

remake of New Order’s Confusion during which Arthur Baker even reprises his role from the original clip.) Eating is cheating and food is forsaken in favour of Friendly Fires on the Mazda2 Flamingo stage. This calls to mind one of the band’s lyrical confessions – “Skippin’ a meal for a G&T” – and there’s definitely more smoke-machine fog than Hawaiian Air down in the front stalls. The band members all have sweaty fringes and dance with contagious abandon. It’s not just frontman Ed Macfarlane, who a security guard later claims “has no shame”, who is gyrating as if alone on a darkened dancefloor concealed by a cloud of smoke plus lasers. Guitarist Edd Gibson comes a (very) close second. A blistering, closing rendition of Kiss Of Life revives us, but the other main stage, Las Venus, is way better attended. Over on the Las Venus stage, Tinie Tempah, dressed in a sporty white top and shorts, delivers an energetic set worthy of Big Day Out – even if it’s a live PA thing. The Brit MC starts with his monster album Intro. Next is the drum’n’bass-climaxing Frisky. Tempah later throws in his cheeky mixtape cut Lucky Cunt. Alas, Ellie Goulding’s voice sounds tinny on the Wonderman backing tape, but the crowd sings along when Mr T does Written In The Stars. Be afraid, Dizzee Rascal. More than his BBC Radio One cohort Annie Mac, Zane Lowe has an amorphous musical identity, championing indie, dance, hip hop, everything. On the tiny Knife Party stage, the expat Kiwi is the day’s liveliest DJ, approaching his set like a workout. His festival steez? Less ‘mash-up’ than Ed Banger on steroids. Surprisingly, he drops the tempo with Fatman Scoop’s R&B club staple Be Faithful. It’s a blast, but Lowe might not yell into his mic so much! While waiting for The Rapture at Mazda2 Flamingo (the band not the apocalypse – will that ever get old?), we’re subjected to Ruby Rose. The beautiful model/MTV VJ drops that horrid remix of Forever Young into the mix – ugh! New York’s punktastic dance quartet rescue us as soon as they hit the stage, one by one, as each separate instrumental part of In The Grace Of Your Love calls for their input. It’s hard to drag your eyes away from Gabriel Andruzzi in his double-denim (aka Canadian tuxedo) ensemble. “What’s up, Australian people?” frontman Luke Jenner shrieks and his vocals inspire euphoria. The sneaky tempo of their tracks requires coordination to dance to and Andruzzi’s sidestepping combinations, whether he’s wielding a sax or a cowbell, call to mind Mr Squiggle. He somehow succeeds in simultaneously being the posterboy of cool, though. Apart from delivering debilitating songs such as Whoo! Alright-Yeah… Uh Huh, House Of Jealous Lovers and Echoes (wow, so Public Image Limited-influenced!), Jenner’s banter is also a delight. “Does anyone else hate that they’re spraying people?” he enquires of the bouncers’ means of getting punters off shoulders. “These are beautiful Australian people, they’re not cats!” Security guards actually cease this practice for the duration of their set and Jenner graciously thanks them before leaving the stage. The high energy dancing is getting to be too much for many and an afternoon snack is in order before one of the festival highlights: Fatboy Slim. ‘Slimmy’ is 48 years young

and plays the decks like a pro in his geeky button-up shirt, giving the crowd a no-frills performance with all his hits on show. Praise You is first up and starts the crowd rolling, followed by The Rockafeller Skank and old faithful, Star 69 (“What the fuck?”). Fatboy Slim also ingeniously remixes crowd favourite Basement Jaxx’s Where’s Your Head At? and can’t resist the inclusion of Cee-Lo Green’s Fuck You. In The Likes Of You tent, the crowd has dispersed, Dubfire’s music not so much minimal techno as mono prog. Luckily, a serious-looking Sven Väth brings back the drama as the daylight fades. The German maestro, a FMF regular, proved that minimal could work on the main stage years ago at Summadayze. He’s since moved on to a contemporary strain of traditional techno and the Melbourne shuffle contingent revel in it. A much different experience awaits punters at the Mazda2 Flamingo stage (or what some call “the triple j stage”). Of course, that’s where Liverpudlian band The Wombats run amok at about 19:40 hours. Dusk is setting in and it’s getting just a little bit romantic. Let’s Dance To Joy Division is aptly played (New Order are just around the corner), amongst crowd-miming favourites: Our Perfect Disease, Tokyo (Vampires & Wolves) and 1996. The band manage to inject some real hipster-indie into this predominantly dance music-oriented festival. Night is coming on heavily and the minimal clothing many are sporting doesn’t cut it now. The flashy younger crowd all shift together for warmth and grab a place for the muchhyped Swedish House Mafia, while many of the older guys saunter over to and then inside of The Likes Of You tent. Here, Aphex Twin creates a magical and mesmerising land of maximum bass, ripped beats and harsh, cut-up breaks. Visual projections of disembodied figures bearing his mutated face are strewn on the walls. This guy is from the old school, tearing drum’n’bass a new one in the mid-‘90s, and he’s working it. There’s nothing soothing emanating from the turntables, but that’s what Aphex Twin appreciators expect. New Order – on the Mazda2 Flamingo stage – is a festival highlight. The ‘80s band, these days a five-piece led by Bernard Sumner, have many young fans. New Order open with a rockin’ Crystal. Usually, the Brits save Joy Division’s classic Love Will Tear Us Apart for the finale, but tonight it’s the third song. This performance is a bit too jangly, and perfunctory, while Sumner’s voice could be turned up – but better is to come. New Order offer flawless renditions of the ‘dancier’ Bizarre Love Triangle, The Perfect Kiss and, yes, Blue Monday. Plus Tom Chapman adeptly (and discreetly!) reproduces the estranged Peter Hook’s basslines. The anxieties surrounding Melbourne’s embattled transport system are such that the festival exodus begins early – on the Mazda2 Flamingo stage as soon as Blue Monday closes. This year may yet be the one in which FMF grew up. There have been disappointments – Frank Ocean’s low-key cancellation chief among them – but scoring New Order was a coup. Hopefully, Flemington’s battered rose bushes recover soon. Bryget Chrisfield, Cyclone and Shailla Van Raad

FATBOY SLIM PIC BY ELAINE REYES

Next up on the DFA stage is Holy Ghost! and frontman Nick Millhiser makes a keen observation after commending this Melbourne massive as their “best crowd so far” during this Future Music Festival tour. “It’s hard to be a band on a DJ tour,” he shares. “It’s worth it, but it’s weird.” Hold On is rapturously received and they look stylin’ up there in leather jackets – it’s easy to see why the quartet have been chosen to perform at events such as Fashion Night Out at Prada Soho, NYC. (Fun fact: Holy Ghost!’s I Will Come Back video is a shot-for-shot

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INPRESS • 39


WAZ WAS ‘ERE

From the seminal sonic grunge pop of Brokenhead to his current new country sounds, Waz E Jame has been recording and releasing music, both independently and through established record labels, for more than ten years and has consistently toured Australia playing major cities as well as the renowned country festival at Tamworth. The Waz E James Band play two sets in the Retreat front bar this Saturday from 7.30 to 9.30pm.

BRAVE MESSENGERS

STATE OF THE UNION

WHERE THERE’S A WILLS

Melbourne-based melodist and pop chanteuse Ainslie Wills is set to release a new single, Fighting Kind, early April. Following on from her lauded debut single Wide Load, Wills’ latest offering is an uplifting track that asks the protagonist to ‘find the truth’ about his or her self. Combining shimmering guitar hooks, sparse yet driving drums and just the right amount of handclaps, Fighting Kind captures Wills’ rich and soulful vocals that linger long after the track has ended. Collaborating with long-time musical ally, guitarist Lawrence Folvig, Fighting Kind is the first single taken from Ainslie Wills’ forthcoming debut album, You Go Your Way, I’ll Go Mine, scheduled for release later in 2012. Wills launches Fighting Kind at the Workers Club on Saturday 12 May.

THE KIDS OF TRUCKSTOP HONEYMOON’S KATIE EULISS AND MIKE WEST WOULDN’T BE CAUGHT DEAD PLAYING MUSIC WITH THEIR PARENTS, WEST TELLS MARY BOLLING. Flings with France aside, this is the first album on which Truckstop Honeymoon tackle their biggest journey – leaving New Orleans after Hurricane Katrina hit in 2005, and moving to the wide-open plains of Kansas. The album title, Steamboat In A Cornfield, refers to the challenges of the transplant. “Steamboat In A Cornfield, that’s how we feel!” explains West. “Having moved to the Midwest, we really have come to love the place.”

O

nce you’ve named your band after your first night of wedded life, how does a husband and wife duo keep up the marriage of romance and music? They take the kids on the road, of course. New Orleans couple Katie Euliss and Mike West pump out a bluegrassy and ballsy alt.country, and have been since the turn of the century. Along the way, they’ve also pumped out four kids – right now, aged 11 and under. This is the fourth trip Down Under for Truckstop Honeymoon and each time they’ve had little tackers in tow. “The first time we ever played Australia, we were staying up at Woodford, and all the kids were jetlagged,” West says. “At our hotel, they were suddenly awake at three in the morning. I told the kids they couldn’t get up before they heard a kookaburra – and then the kookaburras started at 5am! There was no keeping them quiet then, so I got up and started practising banjo – until the folks in the next room complained.” What could be more rock‘n’roll, right? “Oh yeah! The kids are tearing up the hotel room as we speak, they’re just like The Rolling Stones. It’s lucky there’s no TV, or it would be straight in the pool.” The family road trip vibe spills over from tours to tunes. With sassy Euliss on double bass, and shaggy-haired West furiously plucking banjo, there’s a chaotic edge, like driving a fine line along the precipice of insanity. Their latest album makes a catalogue of seven, and travels contribute to the content in a big way. “This particular record has a bunch of songs inspired by our European tour,” West explains. “We came back and Katie wanted to be French – she’s got a few French words, a few stripey T-shirts – there’s a long way to go!”

SINGLE FOCUS

It’s party time at the Toff this Saturday from 8pm, with a dual single launch party to be thrown in style by The Messengers and Brave Face. On The Messengers’ side of the coin, We Can’t Get Along is a quick shot of contagious hooks and virulent tones; it’s succinct, swaggering popflavoured rock at its primal best. Taking up the challenge on the other side, Brave Face offer their debut single Something Old Something New, a luscious slice of ‘50s nostalgia. Support comes from Private Life and the DJ Pierre Baroni.

HIGH TIMES WITH THE DEVIL’S UNION

On The Prairie Now is the second track on the album. Its second line is, “Just like all them buffaloes and cows.” It’s a far cry from the brassy street parties of New Orleans, and it chugs along as steady as the rolling big wheels of covered wagons. So is this latest album that bit more buttoned down than previous offerings? “There’s nowhere like New Orleans, but the Midwest does have its own character – we’ve met folks who play and write music, and they’re all heart. The new record is kind of about the transition – sometimes it’s difficult trying to make peace with a new environment when you compare it to what to you’re used to.”

Matt Sonic & The High Times kick off a huge run of shows with a return to the Retreat this Friday. Support comes from the incredible Rich Davies & The Devil’s Union, who start at 9.30pm. Matt Sonic and co are on at 11pm. Entry is free.

THIS SHIT IS BANANAS

In December 2011, Why Don’t You Believe Me? Records hosted a three-night residency at the Gasometer, recording all the various acts’ sets and compiling a live album, Bananas, which was released in February. To help celebrate the launch this Thursday, a number of awesome bands including Go Genre Everything, Fatti Frances, Jonny Telafone, The Great Outdoors and Rites Wild are playing a show at Gaso, so get on it.

This is the fourth album for Truckstop Honeymoon since Katrina, but it’s the first time the duo have really tackled the emotions left by the disaster, and by losing their home and community. “That first album, it was kind of a fun, upbeat rock‘n’roll record!” West says “We couldn’t face making a record about the pain and the longing.” Truckstop Honeymoon are set to play with The Perch Creek Family Jug Band, another family affair. So do West and Euliss plan on extending their band to the next generation? “Well, what you have to remember is, we are their parents,” West says. “The kids have their reputations to think of – we keep asking, ‘Do you want to play with us? And they keep saying, ‘With you? No way!’”

SPARROW’S ART

Sydney four-piece Tin Sparrow will release their new single Azzuro this Friday 23 March via iTunes. Having recently toured the country with Matt Corby, the quartet have now sold out the first Melbourne date (at the Grace Darling) on their April EP tour, and will be playing a second show at the same venue on Sunday 22 April. Produced by Liam Judson (Belles Will Ring, Cloud Control), Azzuro follows first single Hector Myola, the Mark Myers-produced track that was released in November. Both singles will appear on Tin Sparrow’s new EP, which will be released in April.

WHO: Truckstop Honeymoon WHAT: Steamboat In A Cornfield (Squirrel Records) WHEN & WHERE: Wednesday 21 March, Bendigo Folk Club; Friday 23 and Saturday 24, Yackandandah Folk Festival; Sunday 25, Brunswick Music Festival, Phoenix Public House; Sunday 1 April, Old Hepburn Hotel

FRIDAY

THE MESSENGERS – WE CAN’T GET ALONG What’s the song about? Dima Kran, vocals/keys: The song is about having/ doing/taking things you know are bad for you. Is this track from a forthcoming/existing release? Yes. We are planning on releasing it as a 7’’ at some stage but it’ll also be on our long-overdue debut EP coming out around the middle of this year, and we can’t wait. I think it might just blow some minds (mainly our own). How long did it take to write/record? When writing it, the initial outline came easy,– a few chords and a riff. Because of its nature, we were conscious to not over-think it. We found that some tracks can suffer from too much thought and time, so we did some experimenting with hooks and melodies and came up with the end result rather painlessly. Recording the song was a little harder. We actually went through several different recordings, mixers and mixes until we were happy with the sound. Steve Schram (mixer) got it right from the moment we put it in his hands. What was inspiring you during the song’s writing and recording? A few of us were studying jazz at uni, which inspired us to take a much more simplistic approach to music. Not that there’s anything wrong with jazz – we have some good friends who are dirty jazz-heads. At the time, some of us were getting stuck right into garage rock and were exploring sounds from the Nuggets series and similar compilations. Some of us were listening to stuff from Phil Spector’s catalogue. We are all still very inspired by all of that. That, and Brett Lee’s Six & Out. We’ll like this song if we like… Contagious hooks, jangling guitars. If you DON’T like jazz, you’ll probably like this song. If you do happen to like jazz, all is not lost – we have a jazz album planned for early 2067. Do you play it differently live? There have been some surprises with our live set. I’d like to take a scat solo towards the end, but the guys rarely allow it. They’re just jealous. Will you be launching it? Yes, at the Toff In Town on Saturday 24 March from 8pm. It’s a dual single launch with our good pals Brave Face and support from Private Life and DJ Pierre Baroni. For more info see: facebook/themessengersmusic.

SATURDAY

PAST PRESENT & FUTURE INDIE ROCK HITS DJS CLEFB & KNACKERED CONVERSE Free Entry 9 -3 Happy Hour(s) 9- 11pm

NEW MENU!!!

WENESDAY

EVEN MORE PARMAS!!

$12 POT AND PARMA

Happy hour 4-7pm weekdays

6-9pm

TUESDAY

THURSDAY

TRIVIA FROM 7:30PM

UNI NIGHT

Tens of dollars worth of crap to be won! Jug giveaways all night!

Flash your uni ID for cheap piss 9pm-late

40 • INPRESS

INDIE, GARAGE, ROCK & POP Free Entry 9 -3 Happy Hour(s) 9- 11pm

Opening Hours

Tues-Thurs 4pm-late Fri-Sat 4pm-3am, Sun 4pm-late

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SUNDAY $10 SANGRIA AND PIMMS JUGS from 4pm info@rochestercastlehotel.com.au www.rochestercastlehotel.com.au facebook.com/rochestercastlehotel


THERE’S A SWARM FRONT COMING

SINGLE FOCUS

MELBOURNE’S PROGRESSIVE HEAVY MUSIC SCENE IS IN FINE FORM IN 2012 AND THREE OF ITS BEST ARE CELEBRATING WITH A TRIPLE BILL. TWELVE FOOT NINJA AND JERICCO WILL BE JOINED BY NEWCOMERS CIRCLES ON THE NATIONAL SWARM TOUR. WE CHECKED IN WITH THE BANDS BEFORE THEY HIT TOWN.

HULL OF A TUNE

HOWL AT THE MOON – JUST A KID What’s the song about? Katie, guitar/vocals: Falling for everyone. In this town there are an endless supply of creative types to platonically crush on. Is this track from a forthcoming/existing release? It is from our debut album which we are launching on Saturday 24 March at the Northcote Social Club. The album is called Squalls. How long did it take to write/record? Roughly eight months ‘til we finished tracking/ mixing/mastering… but a year from go to whoa almost to the date. What was inspiring you during the song’s writing and recording? I’d just started working a new job after five years of market research. After a tenure of that length in that industry everything you do afterward takes on rather a rosy glow. It’s definitely our sweetest song. Honest. Brief. The rosy glow was probably helped along by a lot of in-studio martini drinking. We’ll like this song if we like… That two-martini feeling. And Radiohead. Do you play it differently live? It’s definitely harder to nail the prettiness when you’re sweating profusely. But we try and get it as close as possible without it sounding like a boring carbon copy. Will you be launching it? Album launch on Saturday 24 March at Northcote Social Club, with Pony Face and On Sierra. For more info see: hatm.com.au

CIRCLES

Without Words is the first single to be lifted from Eliza Hull’s forthcoming EP, Dawn. With a delivery that mirrors the dizzying realities of the love it details, Without Words is a formidable introduction to the EP’s hypnotic aura. While universally themed, Without Words is stark in its intimate candour. Blending subtle electronic stylings, heartfelt lyricism and Hull’s dynamic vocal delivery, it’s a deeply emotive and moving track. Hull will be launching Dawn at the Toff In Town with Sophie Koh on Thursday 31 May.

DON’T STAY IN BED

Aitches’ debut album Stay In Bed is 15 tracks of melodic punk goodness in less than 33 minutes. Recorded in a house in Toorak and band member Shaun’s lounge room, the album kicks off with first single Trouble and doesn’t let up. Check them out for yourself at the album launch at the Gasometer this Friday, with support from The Swedish Magazines, Calvacade, Chambers and Headless Death.

JERICCO

CAN’T RESIST CAKE

After selling out their two recent shows at the Spiegeltent in Melbourne and taking audiences by storm at the Garden Of Unearthly Delights in Adelaide and Port Fairy Folk Festival, My Friend The Chocolate Cake continue their touring tornado throughout March with new single release The Centre Cannot Hold. Catch them playing the Brunswick Music Festival tonight (Wednesday 21 March).

TWELVE FOOT NINJA

A GAYE OLD TIME

It’s a typical love story: boy meets girl, girl gets pregnant, boy now man in band tours a lot, girl now woman stays home bringing up kids, woman starts playing guitar and writing songs while waiting for man to return. Woman shows man her music, man gets turned onto the woman’s sound and together they become Victoriana Gaye. They’re playing a couple of sets in the Retreat front bar this Tuesday from 8.30pm. Free entry.

BLESS THIS HOUSE

This Friday 23 March the Lounge hosts a new night showcasing Melbourne’s finest deep house and disco DJs. Called Fine Tune, it’s a night dedicated to quality underground music. Melbourne has recently produced a fine array of producers whose musical talents have placed our great city high on the international scale, challenging those once-held assumptions that great house music comes only from NYC or Chicago. DJs featured include Francis Inferno Orchestra, Weekend Express, Mr George and Jobin.

HAWK HIATUS

Four-piece Melbourne future-soul band Hiatus Kaiyote are set to release their debut EP Tawk Tomahawk with a string of shows in Melbourne, Sydney and Brisbane. The EP is cinematic in scale, building tension towards poetic releases and head-jerking chord changes. In total it registers as a moody, intricate, elaborate and delicate release. They are playing the Northcote Social Club on Thursday 5 April.

So the tour is called the Swarm Tour – where do you think the progressive metal scene is swarming? Kin, Twelve Foot Ninja: Into infinity and beyond! And hopefully this year, a lot of it will swarm overseas. Dave Hunter, Circles: Well I can’t speak for everyone, but from my personal experience punters seem to be more open-minded when checking out bands. I think the fact that bands are experimenting a bit more and exploring different avenues within the genre, we’re only going to see more diversity and less clones in the scene. Fetah Sabawi, Jericco: The scene is amazing

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at the moment, especially in Melbourne. This outburst of originality is becoming too eclectic to be labelled “prog”. Longer songs (or “epics”), more complex time changes and more complex conceptual ideas is maybe a starting point for many bands, but it’s not the destination. The first three years of a band’s life will usually define who they become. If they keep writing. All being members of the Melbourne progressive heavy scene, presumably you all know each other well. Tell us a dirty secret about one of the other bands on the bill. K: Well, Circles started out as a Christian rock/ boy band called The Apostles. And we’ve heard rumours that Jericco (also a boy-band) sleep standing up. But we will confirm that on tour! DH: Well, you all know the rule: ”What goes on tour stays on tour”. Haha! Maybe anyone who reads this should come out to the shows and find out for themselves. There will be no shortage of antics with 15 dudes on the road for a month. FS: Roy from Jericco and Russ from Twelve Foot Ninja are having a bromance. It’s no secret. What’s a moment in your set where the crowd is guaranteed to swarm the stage? K: Most likely during the outro of one of our songs, Portrait #2. DH: Our track Clouds Are Gathering is always a crowd favourite. We’ve found that it’s almost the track that the crowd is waiting for, ready to unleash their newfound vocal skills. Definitely a high point in the set. FS: Any time we get a chance to play in front of an audience is appreciated. Any time in the set would be a good time for a swarming. What can punters expect of the Swarm Tour? K: A great and eclectic line-up of bands, who’ll all be showcasing their own brand of grooveoriented heaviness. So each show is guaranteed to be energetically massive! Get on it! DH: A solid line-up of bands who have busted their chops to deliver an amazing show. We’re all really stoked to be teaming up on this one and we won’t be satisfied until a sufficient amount of face melting has been achieved! FS: Some of the best independent live alternative rock and metal fusion bands in the country doing what they do best. The Annandale, the Evelyn, the Enigma Bar are all iconic live music venues and should be supported. This is why we are very proud of this tour and all the great bands participating. The Swarm Tour hits the Evelyn this Saturday, Mac’s Hotel (Melton) on Thursday 29 March, the Ferntree Gully Hotel on Friday 30 and the Pelly Bar (Frankston) on saturday 31.

INPRESS • 41


WOK’N’ROLL

EP FOCUS

Jogjakarta’s Wok The Rock is the convenor of Kretex, described as a cross between Discharge and Can or a punk Chrome. Kretex features Nathan Gray (The French, Snawklor) on synth, Tym Krasevac (Zond) on drums and Indonesia’s Wok The Rock on guitar and vocals. Don’t miss their only Australian show at Bar Open this Sunday 25 March from 7.30pm. Entry is free.

JUSTIFIED RESPONSE IN THE EAST LET’S BE FRANC

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 soldout farewell show 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 launch the single at the Phoenix Public House on Saturday 24 March, supported by the ultra-talented Yeo and the always entertaining ScotDrakula.

SERVED ON A PLATE

In celebration of the release of his double A-side single Rings Of Smoke/My Final Cause, available now via bandcamp, local indie/art-rock singer/songwriter Michael Plater will be playing at Wesley Anne this Wednesday. He will be joined by the mod/soul rock of Marsden Williams & 245T and the folk lyricism of The Tattered Sails. Doors are at 8pm.

WAGING WAR

New Zealand’s The Vietnam War are in Melbourne to play a show at the Gaso tonight (Wednesday 21 March) with local ratbags UV Race and suicidal hippies School Of Radiant Living. This show is going to be epic, or ‘ipic,’ as Kiwis would say. Entry’s a mere $10.

HIGH AS A KITE

A mixture of rock, indie and electro will awaken the senses at the Prague this Thursday. You would probably be best not wear socks to the show, because they will more than likely be blown off by the end of the night. Supporting headliners Spy Kite will be Guests Of Ghosts, Citizen and The Fog.

EARNEST INTENTIONS

Sydney’s favourite earnest, mathy indie-punk band Intentions are launching their new 7” record Guilt Party at the Gasometer this Saturday, bringing their live show to Melbourne for the first time in two years. Joining them are local heroes Infinite Void (featuring members of the dearly departed Diamond Sea and Circuits), the mesmerising duo Little Killing and new outfit Carbs, featuring members of Truth From Facts and Encircling Sea.

GREEN AND KEEN

Electro-soul newcomer Griffon Green has been refining his sound behind closed doors for quite some time now. It’s a real thrill for his debut Orphan Souls EP to finally see the light of day, with a launch at the Gasometer this Sunday. This year is shaping up to be a big one for Green,

SEVEN HEARTS – THE STORY OF THREE How many releases do you have now? Vladimir Keca, guitar: This is our debut EP and we are planning to record our debut album later this year, which we are super-excited about. How long did it take to write/record? We wrote and recorded most of the EP over three months, with the exception of the song Bourbon Head, which Zoe [Harris, vocals] had already written before we had met each other.

New Zealand’s The Eastern will be returning to our shores for a round of shows that will also coincide with the Australian launch of their new release Hope & Wire. Thursday 22 March will see The Eastern kick off their Aussie tour at the Retreat Hotel. Hope & Wire, The Eastern’s third and most realised record yet is loaded with stories, heart and harmony as well as the grand bar-room philosophising and old time fury the band are known for. Cherrywood support from 9pm.

CLUB NIGHTS

What was inspiring you during the making of the EP? Zoe and I had just met each other through a mutual friend. We happened to live in the same neighbourhood and we just started hanging out and playing music on evenings at each other’s house. I suppose there wasn’t any plan of a band, or a recording or the name Seven Hearts. We were just hanging out and pretty much getting to know each other through making music. What’s your favourite song on it? Wow, well this changes all the time for me and impossible to answer, but if I’m forced to I would say Bourbon Head… and clearly the theme is in the title! We’ll like the EP if we like… Honest and loving music. Will you be launching it? We are launching The Story Of Three at the Workers Club this Friday 23 March. We have a very special guest support, Mick Hart from Sydney, as well as Nice Boy Tom and Qlaye Face. with interest in the EP steadily mounting. Early comments on the release have seen Green compared to esteemed UK producer James Blake and touted as ‘one to watch’. Supports come from Sandcastle, Velcro and Brightly.

A COLOURFUL SHOW

See All The Colours (the new project for Miami Horror frontman Josh Moriarty) play songs from their upcoming debut album at the Toff tonight (Wednesday 21 March). The shows are in support of their debut single Love Like This. All The Colours’ sound is a lot of vocal harmonies, tight grooves, tasteful solos and vintage tones. Support comes from Rohypnotise and Evelyn Ida Morris.

VISIT CANYONS

Fresh from releasing their debut LP Keep Your Dreams at the end of last year, Canyons will be taking to the road next month for their first ever national tour – debuting in Melbourne at the Toff this Thursday. Bamboo Muzik DJs provide the musical support. Doors open at 8pm and tickets are $10 in advance from Moshtix, $15 on the night.

In a belated celebration of the launch of their live album, The Gin Club will hit the road next week with their buddies Texas Tea. These may be the last shows for The Gin Club for this year due to member absences so make sure to get to one. They are playing the Oakleigh Caravan Music Club on Thursday 29 March, Pure Pop Records on Friday 30 and the John Curtin Hotel on Saturday 31 March with the Texas Tea and The Nymphs.

DANCING IN DAREBIN

Sundays are traditionally a day of rest and relaxation. Next month in Darebin, Sundays are about music, All are invited to join in the fun of A Month Of Sundays. In Darebin Parklands there will be Opera In The Park on Sunday 1 April. Sunday 8 will be Dancing In The Park at Bundoora Park. The Koorie Pride Youth Festival will be held on Sunday 15 at Ray Brabham Gardens. Sunday 22 will feature Music In Sullivan at CH Sullivan Memorial Park and finally on Sunday 29 April is Opera At Edwardes Lake.

DA VINCI’S NO STRANGER

After a productive 2011 and stellar start to this year, Vitruvian Man are back to launch their long awaited debut album, The Stranger Within, at Pony this Friday. More than a year in the making, the album encompasses an eclectic mix of compelling riffs, powerful harmonies and striking melody. Offering main support are Bugdust, smashing out their unique brand of heavy, fast paced, nasty rock. Opening proceedings are the whacky and unpredictable antics of The Contortionist’s Handbook.

IN THE SPIRIT

On Anzac Day Wednesday 25 April, HMAS Vendetta will debut their operatic rock epic entitled The Anzac Spirit – Australians in the Great War in a matinee performance at The Evelyn. Complete with visuals, costumes and theatrics HMAS Vendetta have a unique sound with electric violin, cello, piano, organ and semi-operatic vocals added to the driving rock rhythm section of bass guitar and drums.

The boys from death-hop duo Over-Reactor will be playing the Tote tomorrow night (Thursday). Having recently signed to Cross-Section, the boys have just released their first single and video from their new album Mouth Of The Ghetto. Catch six new songs as well as a completely new live show.

NO QUITTING

The Resignators don’t often play all age gigs, but they are dead keen to launch their mayhem on the kids from 2pm on Sunday 1 April at Disgraceland. Joining The Resignators will be former Resignator Naf in his new project Someone Else’s Wedding Band, plus Bravo Juliet and Hollies Target.

GALA IN THE GRAMPIANS

Feed your soul and lift your spirits with the beautiful sounds of Hamilton’s Promenade Of Sacred Music. This wonderful show features performances from acclaimed virtuoso soprano Greta Bradman, as well as from the Australian Chamber Choir and the Young Adelaide Voices. The event will run from Thursday 26 April to Sunday 29 at the Hamilton Performing Arts Centre.

PHILLIES AND A SAUSAGE

Party with The Philistines and get involved in some midweek debauchery every Wednesday in March at the Tote. Tonight Tyson Slithers And The Fat Chicks play support. Doors are open from 7pm. It is $4 entry with a weatherpermitting BBQ in the beer garden for gold coin donation.

WHICH GRINDER?

Witchgrinder have been taking a break from the Melbourne live scene for the past few months, working on the writing and preparation of their debut album. Ready to unleash some of their new material this is going to be one hell of a show. With support from some of Melbourne’s biggest bands, Bronson, Subjective, Decimatus and Abreact. It’s 8pm at the Tote this Friday with an inclusive BBQ.

HAVE HOPE

New Zealand journeyman Bryce Wastney writes beautiful, heartfelt songs filled with rawness and honesty. His style is smooth, soulful, and authentic. Think a mix between the catchy melodies of Neil Finn, melodic builds of Coldplay and the storytelling imagery of Bob Dylan. Wastney launches his second album Hope Mountain at the Toff this Sunday, with support from Jesse Mitchell.

SATURDAY RATTLES

This Saturday night at the Tote for a very small fee you may be treated to three great acts. The Death Rattles, The High Water Ballroom Band and Matt Bailey will all appear. The doors open at 8pm so get in early for prime position.

HARDCORE PONY

Saturday 24 March at Pony is gonna be a night of hardcore as never seen before at the venue, featuring In Motions, a melodic hardcore band who have quickly developed a tight and solid live set. Their determination and passion for their music has given them the edge over so many local bands around Melbourne. They are joined by hardcore pals Of Stolen Moments, hot on the heels of their EP launch, as well as metalcore bandits Event Horizon. Doors open at 9.30pm.

THE LIGHT SIDE

Combining some new and old bands together for a night of merriment, Ska Wars promises a night filled with drinking, dancing and some great music from The Resignators, old favourites The King City Seven, female-fronted ska popsters Mandy Meadows & The Madness Method and the oddest named bunch of drunkards, Admiral Akbar’s Honourable Discharge. Combine this with the styles of DJ Monky Balls and Madball and Saturday 31 March at CBD nightclub is sure to be a cracker.

RIVALS AND FRIENDS

As A Rival return to Melbourne to unleash an arsenal of riffs and melodies after a small stint in Europe. The hard rock trio’s solid guitar driven melodies, infectious hooks and powerful live performance will demand your attention. Joining them on Thursday 5 April at Pony to help celebrate their return are the explosive and experimental On Sierra and garage blues/rock trio The Jail Bird Jokers.

42 • INPRESS

A STELLA EVENING

Stella Angelico, Dan Sullivan and Ben Sullivan formed their tight-knit trio (Stella Angelico & The Switch) to make music that moves through psych/ exotica, lounge and soul. To launch their EP, they will be bringing their unique show to the Toff on Thursday 29 March with friends Midnite Bosom. Join this exotic gang for a night of hip swaying, foot stamping, bongo balancing and spectacular costume to celebrate what is surely just the beginning.

PARTY IN THE PYRENEES

Celebrating all things blues, rock, Celtic, country rock and classic, Avoca Music Festival is the ultimate regional music event. For a truly country experience, visitors can indulge in a big breakfast while listening to bush poetry and the sounds of local wildlife. With fantastic views of the Pyrenees in the background, and camping available on site, take the family along for a memorable experience. Find the festival at the Function Centre and surrounds of Avoca Racecourse this Friday to Sunday.

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RACE FOR THE PRIZE

Chook Race and Unity Floors launch their debut 7”s at the Gasometer on Saturday 31 March. Chook Race sing songs about playgrounds, dairy products and summer romance. Combining an ear for scrappy melody, dual harmonies and instrument switcheroo they have come off a string of sweet supports and are now releasing their three-song debut 7”, recorded last year with Mikey Young at the Tote. Sydney’s Unity Floors are Gus and Henry, two of the chillest/coolest dudes you can meet. Their debut Women’s Golf record is one of the best you are going to hear this year or next; it’s full of insanely melodic and poppy goodness. Joining them on the night will be Terrible Truths, the best Adelaide-by-way-of-Brisbane-by-way-of-Melbourne band you’re going to hear. Topping the night off will be the garage hocus-pocus of Hierophants.


LAURA IMBRUGLIA

LITERARY CONTENTION

SEAS CHANGE

The Jane Austen Argument are holding their much anticipated debut album launch, Somewhere Under The Rainbow, at the Phoenix Public House tonight (Wednesday). Featuring all-original music, the duo ask you to travel to places that are uncomfortably familiar, look at them in a new light and sing your stories proudly. Support from Oh, Deanna with entry at 9pm for $8.

WHO’S LOUNGE ROOM SHITBOX NOT SO SHIT

As part of the large-scale charity fundraiser for the Cancer Council, known as the Shitbox Rally, the Retreat are holding a day of music this Sunday beginning at 3pm, with acts including Laura Imbruglia, Wild Turkey, Blackchords, Swamplands, Dan Lethbridge & Damon Smith, Ben Salter, Jack On Fire and Buried Horses. Entry is $10 with proceeds going straight to charity.

OBSESSIVE REPLACEMENTS

Tim Rogers, Nick Barker, Davey Lane, Chuck Jenkins and Dave Larkin will appear 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.

TERMITE MIRACLE

Recently returned from a run of dates in the US, True Radical Miracle launches their new album, Termites, at the Phoenix Public House on Friday 30 March. Termites is the group’s second collection of claustrophobic noise rock, delving further into the banality and sweatinducing anxiety of modern life. Joining proceedings are the crushing might of Täx, the delicate droning pop of Circular Keys, and the dense wall of Radical Creation. Copies of Termites will be available on the night.

This Saturday 24 March pre-midnight vibes are taken care of by the Lounge’s rising star Chief, while young bloods Silversix and first time player Nayzi take over to build the room for Boogs, who undoubtedly brings the ruckus, and to finish it off, recovery resident Who smashes the dancefloor until late in the morning. House music all night long at the Lounge; entry is $10 from 11pm.

LIFE’S A BEACH PBS 106.7FM and Shadow Electric Open Air Cinema are teaming up to throw one last rockin’ summery bash on Tuesday 27 March before the warm days leave us for good. Once the sun goes down, catch a screening of cult comedy/horror flick Psycho Beach Party and get in the mood from 6pm for the pre-psycho party with cool ‘50s and ‘60s tunes courtesy of PBS DJs Dingo (It’s A Gas) and Mr Doo Wop (Malt Shop Hop). Also joining the party will be hot dog stand Massive Wieners, providing you with traditional foot long hot dogs and old school soda pops. Tickets at $19+BF or $16+BF for concession holders and are available at shadowelectric.com.au. For PBS members, jump on to pbsfm.org.au. You’ll find Shadow Electric Open Air Cinema at the Abbotsford Convent.

DJ BOOTH

System Of Venus take their low-end tunes and high-end grooves to Pony this Thursday. With a new addition to the skins, System Of Venus will be busting out their highly energetic in-ya-face antics and infectious riffage. Joining them on the night will be The People and Art Of Later. Entry is $5 and doors open 9pm.

CROOZING FOR A BROOZING

This Friday see Broozer bring their monstorous clouds of impenetrable riffs as they punish the Brunswick Hotel with their teched-up sludge speed stoner! If that ain’t enough, you’ll see the Blue Mountains’ most insane progressive metalers, Red Bee, playing tunes from their about-to-be-released album; Melbourne’s doom jazz extrordiaires Agonhymn will have you wishing for a change of jocks; while local thrashers Sewercide kick it all off. It’s free entry so no excuses! Doors open at 8pm.

JUDGE YOURSELF

Judge Pino & The Ruling Motions are a living tribute to the greats of 1970s Jamaican reggae. While versioning and covering classic 1970s lovers rock, early dancehall and reggae tunes in their own genuine style, they create a retro-phonic space filled with rhythm and sound that will move everybody into a dance. The Bar Open favourites return on Saturday 24 March to fill your soul with warm sounds. Doors open at 10pm, entry is fre

HOODOO YOU LOVE

The Hoodoo Mayhem Brass Band return to Bar Open this Friday 23 March. The New Orleans-style band is powered by lungs and sticks. As pedal power can move, wind power can groove, so get ready to shake your hooty when the Hoodoos roll into town. Six horns, drums and the all mighty funkin’ sousaphone bring the joy and culture of New Orleans direct to your ears! The band features horn players from acts including Gotye, The Bombay Royale, Labjacd and Public Opinion Afro Orchestra. Doors open at 10pm, entry is free.

LIME CHAMPIONS

Lime Cordiale grew out of the Northern Beaches of Sydney. Their studies at Sydney’s Conservatorium Of Music brought jazz and classical influences to their music. The four guys juggle a clarinet, trumpet and trombone with their guitars and drums, creating a unique sound of their own. Lime Cordiale have shared stages with Bluejuice, Icehouse, Empire Of The Sun, Sparkadia, The Jezabels and the UK’s Cosmo Jarvis. Now, Lime Cordiale are travelling for the first time to Melbourne with The Specials. Lime Cordiale launch their Faceless Cat EP when they play with the Specials at the Palace on Thursday 5 April.

SOLAR SYSTEM

MUSICAL STU

TOM SHOWTIME PLAYS BIMBO DELUXE THIS FRIDAY AND THE GEORGE LANEWAY PARTY THIS SATURDAY.

Red-hot space-surfster enigma The Stu Thomas Paradox return to Tago Mago this Friday 23 March. For two sets, they will paint the air with shimmering sounds, like the love-child of Iggy, Ziggy, Lynch and Tarantino. They’ve shaken derrieres from Melbourne to Berlin to Mars. Get caught in their orbit now, and you can say you were one of the first to see them before they went supernova.

What inspired your DJ name? “Showtime” has always meant “on point” or “pimpin’” to my friends, thus Tom Showtime was born.

What track turns you on right now? Lost Where I Belong by Andreya Triana on a downtempo tip and I’ve been dropping Going Going Gone by Featurecast in all my recent sets.

Goodbyemotel return from living in New York for the past six months, writing and recording their new album. To celebrate their return to Melbourne, they’re throwing a homecoming show this Friday at Yah Yah’s. Be amongst the first to hear songs from their new album. Joining the line-up with be coastal rockers Violent Colour and harmony-rich The Tealeaves, plus Ash Naylor (Even) on DJ duties.

COUNTING THE BEATS

Uncomfortable Beats return to Bar Open tonight (Wednesday 21 March) with a strong line-up of locals and internationals. This time around UK rapper Motley will showcase his cheeky brand of hip hop. Class A and Aoi’s new super-group The Baroness will perform new tracks from their recently released self-titled album. One of London’s most recent imports to Melbourne, newcomer Melody, will be showing her skills both as a talented beatmaker and vocalist. Able8 & Ghostsoul, fresh from their Sydney tour, will be pushing some new unheard sounds in an exclusive joint mini-set. Gavin Campbell from PBS will DJ the finest selections of glitch hop and future beats to get you moving. Entry is free as always, doors open at 8pm.

WEEPY WEDNESDAY

Wednesday. The middle of the working week. It is a black hole of despair. A wound of sadness. An inescapable prison of tears and agony. The only way to break the shackles of this horror is to get out of your disgusting house and get to the Bendigo Hotel to watch a bunch of bands play music about the sadness of Wednesday, which coincidentally is the day of 4 April. Wednesday night has a list of some of the heaviest Melbourne music crammed onto one bill. The night features experimental psychedelic duo Hotel Wrecking City Traders, avant-garde doomers Disrupture, psychopathic punk band White Veins and thrashing groove metalling Syndrome.

NEARLY THERE

Following the demise of The Jackson Code, Mark Snarski decided he’d had enough of being in bands and that it was time to relocate, so he moved from Sydney to Madrid. After a short hiatus work began on recording an album that was originally entitled Mancini, Morricone, Wolf And Me. Referring to his own guitar playing abilities as The King Of Clunk, Snarski met with the TB Allen to arrange the 20 or so songs he’d written. Demos were recorded in Madrid and Galicia but there was one man who needed persuasion to produce the first 16 songs, and that man was Mick Harvey. Snarski had been attempting to persuade Harvey to work with him for many years. In February 2009, the debut album for The Nearly Brothers, You Can’t Hide From Your Yesterdays, was recorded, featuring Martin Casey on bass and Mark Dawson on drums. The band play Pure Pop Records on Saturday 7 April, the Northcote Social Club on Sunday 8 and the Caravan Music Club on Friday 13.

CHICKEN BOOGIE

In a nutshell, describe what you play? From bebop to breakbeat, I’ve got it covered. If it’s funky I’ll play it…

HELLO, GOODBYE

On their second album Tree Of The Seas, Jarek have taken a different approach from the June 2011 single release Massive Portise, which was recorded in Jared’s bedroom. Instead of the DIY approach, Jarek have put their music into the very capable hands of Davin Pidoto (Dirty Three, Paul Kelly, Augie March), who recorded the remaining seven songs over two days at Sing Sing South Studios. The album in its entirety is even more diverse in influence than its predecessor. The band’s album launch tour hits the Brunswick Hotel with guests Skippys Brain on Saturday 14 April.

What made you start DJing? It was the natural progression from playing sax and producing tunes.

TYGER BRING A GAME

What’s the weirdest thing you’ve seen in a nightclub? Too many incidents, usually involving my mates – therefore, no comment. The most idiotic request you’ve had as a DJ? Just last week I was playing some Mr Scruff and these dudes asked me, “Is this a jazz night?”

The new double A-side single from Lone Tyger, Stone Crow/Fortune Teller, was recorded with and produced by Stephen Schram. Valve guitar, driven bass and thundering drums give the vintage electric tone to this pair of swaggering lo-fi blues rock tunes. Lone Tyger launch their new double A-side Friday 30 March at Yah Yah’s.

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Chris Russell was joined by Dean Muller on drums in December 2011 to create a two-piece that sound like a full band. With Muller, the Chicken Walk sound fills the room with hypnotic boogie. Endless, droning, head nodding blues – North Mississippi Hill Country style. Before he heads off for his annual pilgrimage to Mississippi, Russell plays four special Saturday afternoons in the front bar of the Tote Hotel. Some shows will be solo, some will be duo, some will have special guests.

WEEKEND STARTS EARLY

Party n Bullshit, the lounge’s dedicated mid-week stomping ground, 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 mid-week stomp! Every Wednesday at the Lounge, entry is free.

INPRESS • 43


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

create a rich, haunting sonic landscape in the vein of soundtrack composers such as Jerry Goldsmith, Danny Elfman and Hans Zimmer. A total of ten songs make up this 78-minute masterwork 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. CRADLE OF FILTH

DAVID BROMBERG Musical mastermind David Bromberg is making his first visit to Australia following a long absence from the music industry at large. Roots Down recently had a chat with the legendary musician about his career before he made his way out here. This guy has played with everyone from Bob Dylan to Link Wray to The Eagles as well as establishing a deep well of incredible material of his own. He hasn’t been here in more than 20 years. “1903 I think it was,” he quips from his Willmington, Delaware home when asked when his last visit was. “A wonderful year.” Much of the footage circulating of Bromberg’s live shows feature him in full flight with his Big Band, but logistics got in the way of bringing them to Australia. “The Big Band is 11-pieces so that’s pretty hard to move around,” he says, “but the quartet is a pretty versatile group and I’m proud of it – we play some nice music. I like having three horns, it gives you a great feeling of power, but there’s a little intimacy you can get with the quartet that’s a little different. The strange thing is, I don’t plan the shows; I’ve never planned a set in my life. Just before we hit the stage we decide on what the first tune will be and then the tunes kind of string themselves together.” There’s no doubt Bromberg has friends in high places. His latest record, Use Me, features songs written and produced by the likes of Los Lobos, Vince Gill, Dr John, Levon Helm and John Hiatt to name a few. While he hopes each gig he’s done has helped shape his style, he’s just not sure. “I hope I’ve taken something from every gig I’ve done but that’s a lot of gigs,” he admits. “When I was a studio musician in New York I was on over 150 LPs, that’s a lot of recording and a lot of different artists; but I think I learned a lot during those days. The thing is, if you’re smart – and I try to be smart – you don’t stop learning.” For 22 years his learning took on a different form. He opened a violin shop and turned his back on the world of touring and recording. “The first thing you have to understand about me is that I’m a complete idiot,” he says. “I was touring at an unreal rate; I was on the road for two years without being home for as long as two weeks. If you do stuff like that you’re gonna get burnt out, but I never believed I could get burnt out. I didn’t want to be one of those guys who drags his sorry arse out on stage and does a bitter imitation of something he used to love. I didn’t wanna be that guy, there’s plenty of them.” In that time hip hop fans got to know David Bromberg, as his song Sharon loaned its main riff to Beastie Boys’ classic 1989 track Johnny Ryall. “I felt very good about it,” Bromberg says of the New York rappers appropriating his song. “At this point it wasn’t necessary to pay the people who wrote the material that you sampled. But they said, notwithstanding their right to sample, they wanted to pay me. We worked out a deal and when I sent them the signed contract they asked for an autographed photo which made me feel very, very good. It was a wonderful thing; that they wanted it was a great compliment.” Was he happy with how they used his riff? “Why not?” he exclaims. “What’s not to be happy about? Any time anyone shows appreciation for your work, you’re an ingrate if you can’t appreciate it. You can’t determine how someone is going to relate to it; everyone relates to it in their own way and that’s as it should be.” David Bromberg Band play Bluesfest Thursday 5, Friday 6 and Saturday 7 April and The Toff In Town on Tuesday 10 April. 44 • INPRESS

Do you want to drum for Finnish melodic metallers Stratovarious? The band has issued the following update: “We have some great candidates already, but since we have a bit of time, we decided to also cast a wider net to see what comes up. So, if you have some touring and recording experience, are musical and hard hitting, and – most important – a nice dude, you might be the one we are looking for! If you think this sounds like you, playing in a world-famous metal band for a living sounds like something you’d enjoy, and if you want us to listen, please put on some headphones and record a video of yourself playing any of these three Stratovarious songs: Coming Home, Father Time or Deep Unknown. You can for instance upload them to YouTube. Send the video links and a short letter with your personal information to this e-mail address: drummer@stratovarious.com. What do you have to lose? The world awaits you! Plus money, fame, great times, and all the beer you can drink.” Midnight In The Labyrinth is the latest, inspired work from British extreme metallers Cradle Of Filth. It will be released in April. The album is a recollection taking the most requested tracks from the first four official releases. The band have fulfilled audience desires by creating an album based on their most popular older tracks, but one that is delivered orchestrally to

Acclaimed Middle Eastern guitarist Yossi Sassi from Orphaned Land has just released his debut solo album Melting Clocks via Verycords. The CD was produced and composed by Sassi, and features guest appearances by several known musicians, including former Megadeth guitarist Marty Friedman. Familiar to numerous music fans all over the world by his unique trademarked signature sound, Sassi blends east with west, rock with world music, melodic tunes with progressive passages, and traditional folk instruments with roaring electric riffs. Massachusetts metallers All That Remains have written eight or nine songs so far for their next album, which they plan to release before the end of the year. According to singer Phil Labonte, the band will write five or six more tracks before entering the studio. Noel Smart of sickdrummermagazine.com recently conducted an interview with former Suffocation drummer Mike Smith and asked why he left the band? Smith stated: “The decision was pretty much inevitable. When we first reunited, the economy was in a much different place and I was able to make Suffocation my full-time job. Over the last few years, the ability to tour and support a house, family and all it entails became a strain on myself and my family. Once you reach a certain point financially, decisions have to be made before falling to a point of no return. Melodic death metallers Be’lakor will release their third full-length album, Of Breath & Bone, in late May/ early June via Kolony Records.

AUSTIN CALLING CAMBELL KLOSE CHECKS IN FROM SOUTH BY SOUTHWEST based eight-piece Of Montreal follow The Shins’ lead and stick mainly with their older material when they play at the Waterloo Records 30th anniversary celebration event. Their set is one of the most entertaining of the festival, inspired by Singer Kevin Barnes who looks decidedly like an eccentric 18thcentury landlord, dressed in a tunic, frilly bright red shirt and beret. All eight members just seem to wander around the stage hitting instruments at will, but their show is absolutely phenomenal. FRIENDS PIC BY CAMBELL KLOSE South By Southwest is an unfathomably large festival in Austin, Texas with more than 70 official music venues and literally hundreds of unofficial ones, ranging from parking lots to houses. The whole city is inundated with people and music. Many of the streets in downtown Austin are closed off. There are buskers on every corner; the whole city bustles with life, even after 2am when liquor licensing prevents alcohol being sold. Friends become one of my favourite acts at the festival with their scintillating live performances. Led by sultry singer Urbani, the Brooklyn outfit captivate audiences with their tight, percussion-driven indie pop. Kindness are another group who create a lot of buzz, and for good reason. Their dreamy blend of disco, funk and rock is a world apart from every other sound at the festival. Their enthralling live performances win them many new fans. Lead singer Adam Bainbridge is particularly mesmerising, a highlight of their set a cowbell-fuelled rendition of Teardrops. As the sun sets on Friday the city of Austin puts on a free show down beside the river with The Shins and M Ward as headliners. Both artists put in absolutely flawless performances and The Shins’ set is mainly made up of material from Chutes Too Narrow and Oh, Inverted World. It is the closest thing to a spiritual experience a city council has ever provided. Georgian

A number of Australian acts also cause a bit of a stir. Brisbane duo DZ Deathrays are so loud in the Trade Hall they have their sound cut off. As news of this incident filters around the festival they achieve a kind of cult status for their antics. Kimbra is also huge. She packs out any venue she plays at and everyone on the street seems to be talking about her. I manage to see her play one day and her live performance is definitely one of the more enchanting shows of the festival. Dressed in a frilly blue dress, she charms the crowd with her self-deprecating humour and strong stage presence, dancing and laughing her way through the entire set. Considering she is playing up to three shows a day her energy levels are amazing. In fact, Kimbra and DZ Deathrays are not an exception – all the Australian acts put in sublime live performances. Definitely one of the strangest experiences from the festival is when I meet a local who invites me back to a punk gig at a local co-operative house (a place where people practise communual-type living). It turns out to be an anarchist punk night and a number of local bands and others from around the area are thrashing out some of the most intense punk I’ve ever witnessed. After a rather frenetic hour of black clad youths crashing into one another on the dancefloor the police ome and shut it down. South By Southwest is so unique. There is no other place where so many bands and people can mingle together and celebrate each other’s music in such an amazing atmosphere. I am already planning how to get there again next year.

themusic.com.au

PENNYWISE Pennywise were one of the very first punk bands that I ever got into way back in, like, 1998. The band have kept on keeping on since then and in 2012 are back in full force with a brand new album, which is sure to influence and inspire yet another generation of punk rock kids. The album, called All Or Nothing, is one of Pennywise’s most powerful albums to date, taking their message of self-reliance and perseverance yet another step further. “It felt like we got to go back to our roots in the songwriting process,” says guitarist Fletcher Dragge. “There was a lot of passionate discussion between everybody. In the old days that’s how our best records got made, lot’s of yelling and smashing shit. And as a result the music started sounding like an old school Pennywise record.” The album will hit the streets on 27 April, but best of all, this album will be released through Epitaph, making the release seem like a homecoming for the band, as well as being the first release with new vocalist Zoli Teglas (from Ignite) at the helm. Bridge 9 and hardcore group Terror are teaming up for a release that will show the band in a new light. Last week Bridge 9 announced that they would be releasing a retrospective live CD/DVD/ LP that will capture the band during their Bridge 9 years. Titled No Regrets, No Shame: The Bridge Nine Days, the release shows Terror at their beginnings as a band with never-before-seen interviews and performances from one of their most popular albums, Lowest Of The Low. Filmed back in 2003 the footage was captured by thennew filmmaker Ian McFarland and has sat in the Bridge 9 vault since. The release will hit stores in the US on 24 April, but keep your eyes glued to the Bridge 9 website for pre-order information. Sticking with a punk theme for this week’s column, it looks like The Bouncing Souls are also getting set to release some new material. The band will be releasing their album, Comet, through Rise Records/Chunksaah Records midJune. The album marks the Souls’ ninth full-length, having been a band since 1989 and having earned legendary status years ago. The ten tracks that make up Comet were produced by the legendary Bill Stevenson (of the Descendents) and marks another solid record in the band’s discography. Stay tuned for Australian release dates and preorder information as it is made available. La Dispute have announced plans for a new release, but this release will have a little bit of a twist to it. Taking the form of an EP titled Conversations, it will feature interviews with the band’s frontman, Jordan Dreyer, about the themes and songwriting involved in the creation of 2011’s Wildlife. Also adding to the uniqueness of the package will be demos and instrumental pieces that were recorded by guitarist Chad Sterenberg. Wildlife made it onto a number of top ten of 2011 lists, and with good reason. Set for release later this year, the package will come with other as-yet unnamed goodies to be sold through the band’s website. Brisbane’s The Amity Affliction have announced that they are heading to the US for a tour with Asking Alexandria, but while they are over there they will also be heading into the studio to record album number three and the follow-up to 2010’s hugely successful Youngbloods. There aren’t many details about the album yet, but with the absence of Clint Ellis (he is currently back with The Getaway Plan) and the subsequent addition of Imran Siddiqi on guitar duties, as well as keys player Trad Nathan leaving the band, it is possible that the result of these sessions could mean that the sound of a new album will be somewhat different to what we’ve heard from them previously.


victorianrollerderby.com

BOUT 2

SEASON 2012

SATURDAY MARCH 31 ROCK MOBSTERS VS TOXIC AVENGERS DOLLS OF HAZZARD VS DEAD RINGER ROSIES TICKETS THROUGH MOSHTIX

Original photo: Jesse Booher

MELBOURNE SHOWGROUNDS

ADULT: $20 CHILD 8 – 16: $11 UNDER 8: FREE

Web www.moshtix.com.au Mobile moshtix.mobi Phone (surcharge applies) 1300 GET TIX (438 849) + all moshtix outlets including Polyester Records (City & Fitzroy) and Greville Records. DOORS: 4.45 PM GAME 1: 5.45 PM GAME 2: 7.45 PM

INPRESS • 45


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

Recording.) Significantly, Falson was associated with the UK’s ‘wonky’ (read: eccentric) pop phenom, together with Mika and the electro La Roux.

SAM SPARRO ANGIE HART It was an easy line to the front barrier when Angie Hart and Simon Austin walked onto the outdoor stage at Brisbane’s Big Gay Out last week. Hart was smiling in a shimmering gold dress; Austin was dressed more casually in a polo shirt and shorts but appeared in a similarly excitable mood. Their smiles continued as they were joined by Peter Luscombe and Bill McDonald, the same rhythm section that helped Hart and Austin bring Frente! back to life for a successful 2005 tour. But there was shyness, or perhaps an awareness of the group’s somewhat awkward placement at the festival, behind the smiles, too. Though the crowd was generally polite, giving the band its attention and clapping after songs, few in attendance openly recognised many songs in the set. The band knew that most were waiting for the one song to which they could sing along. “It’s coming,” Hart said, still smiling, at one point. It’s a familiar scenario, a crowd awaiting a hit single. It’s more familiar when the band on stage is playing exclusively from old sets, as Fente! were at the festival, making the likelihood of hearing known songs that weren’t hits slim for those who haven’t sought them out. Though the stereotype is made reluctantly, the truth is that it’s even more familiar again when the crowd is drawn from an ‘LGBTI community’. That isn’t to say LGBTI people aren’t interested in music, just that those who attend events based around bringing together LGBTI people aren’t usually there due to a shared love of music, let alone any particular kind of music. At Big Gay Out, a call for Accidentally Kelly Street was made from somewhere in the crowd even after Hart informed us there were three songs left in the set. It was difficult to suppress the surprise that even those with a casual relationship to Australian music couldn’t guess that the final three songs would be sing-along hits from the days of (or some days of) Doc Martins and pixie haircuts. Hart, too, told us we might have known the next song before the band played Ordinary Angels, which went to number three on the Australian chart in 1992, followed by their New Order cover Bizarre Love Triangle and then Accidentally Kelly Street, which got its sing-along but lacked the expected impact of a charted single played live. As the crowd went back to chatting and drinking, then, a question lingered: Why does pop music made by bands so often slip through the cracks in Australia? Our biggest rock bands old and young can headline mainstream festivals and major-labelbacked pop singers remain the only kind given the media exposure to become household names. But when it comes to pop bands, we often shrugged them off as too light for ‘serious’ music fans and not commercial enough for the everyman. Of course, Frente! came up in a time when ‘alt’ was in, hence the chart figures. They also called it a day long before they deserved the accolades awarded to the likes of, say, Nick Cave or The Jezebels (joke). But even pop-writing peers who stuck it out and also had hits are rarely awarded outside loyal circles: The Clouds, Ratcat and Custard to name three. Frente! can be directly charged with influencing a new and unashamedly Australian pop songwriter – from Sally Seltmann and The Grates to newcomers Elizabeth Rose and Emmy Bryce – yet are hardly ever talked about as anything more than a group with a couple of incidental chart hits. A pop act. Hopefully their booking by the organisers of the Big Gay Out is a sign that, in this case at least if not for all our great pop bands, the old saying is true: First come the gays, then come the girls, then comes the industry. 46 • INPRESS

Sam Sparro (aka Samuel Falson) is back – and with a soulful second album. Yes, soulful! Return To Paradise is out in May. The singer has just wrapped a mini-tour, taking in Mardi Gras, to reintroduce himself to Australian audiences – as if we’d forgotten him. Still, Falson hasn’t released solo music since 2008’s eponymous debut, entailing the mega-hit Black And Gold. He’s also switched labels, signing to EMI Australia “for the world”. Falson was born in Sydney but at ten moved with his family to Los Angeles, his dad a muso and Christian minister. He sang in church. By chance, Chaka Khan heard him, praising his abilities. That’s now part of the Sam Sparro mythology. Leaving school, he came back to Sydney, then headed to London, immersing himself in the club scene (and coming out). Eventually, Falson, already making music in his teens, returned to LA where he met production cohort Jesse Rogg. Falson penned Black… while working in a coffee shop. It first aired independently in 2007 with tastemaker DJs Pete Tong and Annie Mac both spinning it. Such was the buzz that the electrosoulster scored a deal with Island. The re-issued Black… shot to number two in the UK and number four here. An album followed, entering the UK top five. He was nominated for several ARIAs. (Black… was also put up for a Grammy as Best Dance

But, even in a Mixmag cover story, Falson indicated that his debut was rushed, the label anxious to capitalise on the momentum of Black… He teamed with Paul Epworth in addition to Rogg. Mixmag referred to Black… as that year’s Crazy. Adele covered it – and Falson supported her. The feisty Londoner told Mixmag, “When I first met Sam, I was expecting Cee Lo Green, not a skinny gay white boy.” Yet an unhappy Falson subsequently left Island, their loss EMI’s gain. Regardless, he never slipped totally off the radar. Falson guested on tracks like Basement Jaxx’s Feelings Gone off Scars. He joined Mark Ronson’s supergroup Chauffeur with hipster MC Theophilus London. And he’s currently remixing the likes of Kimbra. Industry types flocked to Falson’s Melbourne showcase as he previewed Return… and performed old favourites. His band is the tightest OG has seen in ages, the backing vocalists (a guy and a girl) executing slick choreography (and the guy played sax!). Falson’s dashing brother James is on guitar. For Return…, Falson has tapped into vintage soul, funk and disco – specifically from 1978 to 1984. His new music, which is more live-oriented, and intentionally not over-polished, offers a welcome respite from the trancey/electro/urban hybrid currently clogging up the airwaves. Rogg is on board – and Greg Kurstin (Lily Allen) is credited for The Shallow End. The funky Let The Love In, Falson said on stage, was inspired by Khan. There’s an ‘80s electro-boogie charge to I Wish I Never Met You. Falson, who endured a break-up when prepping Return…, also sang a ballad, Shades Of Grey. Paradise People is celebratory – and very early George Michael. Incidentally, the Return… title references the fabled New York club Paradise Garage. What’s more, the lead single Happiness features a rare remix from Chicago’s Larry Heard, aka Mr Fingers, the Godfather Of Deep House.

HYPER MUSIC THE BEST MUSIC ON THE NET WITH DCR you want quick access to. You can import data from iTunes, which finds all the albums and songs in your iTunes library and adds the appropriate Rdio links to your Collection. This service probably works well with smaller libraries, but when you’ve got 50,000 songs you find some funny things pop up in your collection – double ups for example and, unfortunately, it lists albums that aren’t available on Rdio, which is of no use to anyone.

RDIO If Spotify had planned on launching in Australia, they’ve missed their chance to do so and potentially dominate the market. While smaller services have popped up in the past, it wasn’t until the launch of Rdio a few weeks ago that Australia really got its first major player in the subscription-based music streaming business. Rdio didn’t bother with a soft launch – it took a risk and launched itself with heavy artillery, including mobile apps, aligned itself with a highly praised digital speaker system and threw itself a party at Sydney’s Beach Road Hotel. Firstly, the cost. For $8.90 per month you’ll get web-only streaming, which is perfectly adequate if your life doesn’t revolve around portable devices. For $12.90 per month, however, you get full use of Rdio’s service, allowing you to use the mobile apps (iOS/ Android/Windows Phone) and desktop apps (Mac OS and Windows) or stream to Sonos speakers. The website’s user interface is gloriously simple and carefully designed – the music app itself doesn’t reload whenever you click through to another page on the site. Importantly, the service is lightning fast. Search results display almost instantly and music starts playing immediately and rarely lags. You can add albums or songs to your Collection, which is basically a page of bookmarks to albums

As for Rdio’s collection of music, the success rate has so far been above 90%. If your taste in music sways towards Britpop and “indie” then you’re most definitely safe with Rdio. Radiohead are there, so too are New Order, Blur, The Libertines, Royal Headache, Total Control, Bauhaus, Sleigh Bells and Last Dinosaurs, for example. Lots of soundtracks, too, although many of the compilation-types are missing a song or two. Elton John’s represented rather extensively. No Led Zeppelin, though. Joni Mitchell’s Blue is missing even though many of her other albums are there. Finding music is limited to searching cold or via the stream on your Dashboard, which lists the albums your friends are adding to their collections or listening to, as well as some sort of curated list of new and popular releases. The search facility could be a lot better – an advanced search option would be welcomed; the ability to search by year or country or record label would be great. The social networking element is subtle – there’s no chatting or status updates (yet), just the ability to see what others are listening to, which is handy. Following companies such as record labels (eg Mistletone) and media companies (theMusic.com.au – plug!) is good for checking out what’s new and seeing the sort of music they’re listening to at any given minute. You can build playlists, too, which can be embedded elsewhere. If you can afford the cost (which, to be honest, isn’t much compared to, say, Foxtel) there’s absolutely no reason why you shouldn’t subscribe. There’s a free trial, however, so you can see for yourself.

themusic.com.au

TORNTS Melbourne MC Tornts dropped his fifth album Concrete Slang last week through Broken Tooth Entertainment, and if you haven’t given it a spin yet, you’re missing out. For those unfamiliar with his work, Tornts is pretty much the antithesis of palatable, party-anthem hip hop. His rhymes are uncompromisingly and often brutally honest, and he makes no bones about the life he’s lived and his view of the world. If art is meant to challenge us and force us to see beyond what is simple and easy, then Tornts is one of the truest artists around. Tornts and Intelligible Flow caught up over a few brews to talk about Concrete Slang, starting with that first taste: the clip for Traumatic Cinema (check it out on youtube.com/BigHeata1 if you haven’t seen it). It’s almost less of a music video and more of a short film, with the visuals following the narrative of the verses – although if it hadn’t been for young MC P-Link, the clip may not have even been completed. “We had a couple of guys who were supposed to come through for the second day. They didn’t turn up. We were going through all these people’s names, trying to figure out someone to use. [Discourse] rang up P-Link, and P-Link came through out of the middle of nowhere, at the very last minute. He had to leave the dentist. It all just freakily worked out.” There are plenty of sinister stories told on Concrete Slang, from the corrupt undercover cops of Undercover Maggot to the drug dealers of Smack Dust. However, Tornts has also uncovered new lyrical territory, such as on the strangely uplifting track Rise Up. “That’s an unusual song for me. It’s a song I wanted to do. I just hate being always pigeonholed so I thought I’d do a track about kids who have gone through shit and people who are struggling. If they’re fucked up in their head, if they’re struggling, they might listen to that and go, ‘I can keep doing this shit, I can keep going,’ instead of doing something to themselves or other people. I just thought, ‘Fuck it, I’ll do a joint that’s different to normal.’ I’m not scared of doing different shit.” That same attitude led him to write The Rain, which he describes as “…some mega personal shit about my life.” The track lays his childhood out for his listeners – something very different for Tornts. “I haven’t really done much of that before – I’ve mentioned a few lines, but this is like a whole song about it.” With blistering lyrics and a mournful, slightly less aggressive beat, it’s one of the standout tracks of the album. If you haven’t gotten your copy of Concrete Slang yet, it’s highly recommended that you do so as soon as possible. It’s available on iTunes or on CD from JB Hi-Fi, Soul Clap Records and good retailers. If you’re craving some live sounds this weekend, we’re a little spoiled for choice. Beat monsters Hermitude are playing the Prince Bandroom this Friday 23 March, supported by Sietta. They’re touring to launch their much-lauded album HyperParadise, and by all accounts, this tour is something special. If you’re looking for something to do on the north side that night, head to the Laundry Bar, where Melbourne acts MoneyKat and Vice Versa will be joined by ACT crew Raw City Rukus. MoneyKat are well worth seeing live – they carved up the Espy crowd at the last Raise The Roof. Friday is also the night of Tom Showtime’s Spaces and Places single launch at Bimbo Deluxe, featuring MCs N’fa Jones, Lotek and Ash.One. All in all, Friday is set to be a pretty packed night. Ideally, something will have been invented enabling people to be in three places at once before then.


CLUB GUIDE WED 21 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 22 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, DJ Foo: 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 Inner City Sounds: Workshop Lounge Thursdays: Citizen.com, Ghetto Filth: 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 Rhythm-al-ism: Fusion Safari Thursdays: Pretty Please

Shake Some Action: Street Party, Samaritan, Polyavalanche: OneSixOne Soul in the Basement: Cherry Bar Switch: Polyfonik: EVE The Factory: G-Money & Sammy Prosser: Trak Trinity Thursdays: La Di Da Unlucky: Seven Nightclub Wah Wah Thursdays: Wah Wah Lounge

FRI 23 393 Fridays: First Floor 393 Animals Dancing: Prosumer: Mercat Basement Bass Cartel: Workshop Bass Station: 3D Block Party Fridays: Marrakech Border Community: Brown Alley Bottom End Friday: Prequel, Andee Frost, Marco Polo: Bottom End Breakfast Club: Anthony Pappa: New Guernica

Destination Launch: Ryan Biback, Joel Fletcher, Jamie Vlahos, Funk Da House: La Di Da Fake Tits: Tramp Freedom Pass Fridays: Co. Nightclub Freeplay Fridays: Amber Lounge Fridays at Eurotrash: Eurotrash Hot Dog Disco: Bottom End Indecent Fridays: Syn Bar Juicy: Bimbo Deluxe Latino Quarter: TRAK Lounge Friday: Citizen. com, DJ Who, Tahl, Dave Pham: Lounge Midnight Midnight: New Guernica Mu-Gen, Token: Eurotrash OneSixOne Fridays: OneSixOne Oxfam Aid: Wah Wah Lounge Panorama: Lucky Coq PopRocks: Dr Phil Smith: Toff Retro Fridays: Club Retro Revolver Fridays: Revolver Upstairs Roxy Fridays: The Roxy

Sigma: Royal Melbourne Hotel Sounds of Fusion: Phil Ross, Dean T, Chris Mac, DJ Jay-J, Johnny M: Fusion WOW Fridays: Neverland

SAT 24 All City Bass: Brown Alley Alumbra Saturdays: Alumbra Amber Saturdays: Amber Lounge 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 Envy Saturdays: Co. Nightclub Equalise: Word Bar Forbidden Saturdays: Amber Lounge For The Record V: Loop Freakzone: The Workshop Houseparty: Eurotrash House De Frost: The Toff

themusic.com.au

Hot Step: Bimbo Deluxe Laundry Saturdays: Laundry Land And Sea Adventure: Lady Cutler LiveOneNight: Mobin Master: EVE Lounge Saturdays:, Darren Coburn, Luke McD, Boogs, DJ Who: Lounge Majik Saturdays: Room680 Mashouse Saturdays: 577 Lt Collins Midi Widow: First Floor New Guernica Saturdays: Weekend Express, North Pollard, Chestwig Mu-gen, Lopan Thomas Touche: New Guernica Pash: The Roxy Playground: Seven Nightclu Poison Apple: La Di Da Prognosis: Loop Re.Play Saturdays: Femme, Lady Lauryn Fusion Rodekeez, Timumus: Bimbo Deluxe 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 25 4AM Sunday Mornings: Wah Wah Lounge Be.: Jade Angela: Co. Nightclub Get Wet: Word Bar Guilty Pleasure Sundays: Pretty Please 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 Summer Series: Nick Curly: Revolver Upstairs The Sunday Set: AndyBlack, Haggis: The Toff The Sundae Shake: Tigerfunk, Agent 86, Phato-a-Mano: Bimbo Deluxe Tribe: Brown Alley

MON 26 Gear Shift: Horse Bazaar Hair Of The Dog: Revolver Upstairs IBimbo: Bimbo Deluxe Kool Aid: Laundry Monday Struggle: Lucky Coq

TUE 27 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 Fourplay Tuesdays: Cushion MSG Tuesdays: Laundry Oasis: Tramp Space Hopper: Match

INPRESS • 47


else does, too… Everybody wants complete fidelity from two or three lovers simultaneously.” Barnesy concludes: “All I want to be is idiot-free.”

HOWZAT!

RAMPING IT UP

LOCAL MUSIC NEWS BY JEFF JENKINS COLD CHISEL

FOR THOSE ABOUT TO RUCK

The AFL missed a great opportunity last year. Instead of having Meat Loaf perform at the Grand Final, they should have booked The Angels, who could have dedicated Am I Ever Gonna See Your Face Again to Mick Malthouse. The big question is: Who will perform at this year’s game? Seeing a band stuck in a stadium in broad daylight is not Howzat!’s idea of entertainment, but if it promotes Australian music, it’s a good thing. And surely, after the Meat Loaf debacle, the AFL will look locally this year. We’re still 48 • INPRESS

staggered that Paul Kelly has never performed at the Grand Final. The AFL has booked acts such as Irene Cara and Lionel Richie, but ignored a legend who’s actually a footy fan and has a song that mentions the MCG. How good would it be hearing Leaps And Bounds on that one day in September: “I’m high on the hill, looking over the bridge to the MCG…” With Cold Chisel back on the road, they should also be on the AFL’s wishlist. Chisel plus Paul Kelly doing Leaps And Bounds, Russell Morris singing The Real Thing, Mike Brady reprising Up There Cazaly, with a supergroup doing the AFL’s new theme song, It’s A Long Way To The Top… now, that would be Grand Final entertainment. Despite licensing It’s A Long Way To The Top to the AFL, the Acca/Dacca guys reportedly don’t think that music and sport is a good mix (even though Thunderstruck is also the unofficial Melbourne Storm anthem), which is why they have never performed at events such as the Super Bowl. So I doubt that we’ll be seeing AC/DC at the ’G, though it would be sweet to see them doing the rightful Grand Final anthem: Back In (red and) Black.

EVERYBODY KNOWS

Speaking of Cold Chisel, their new album No Plans – their first in 14 years – will be out on 6 April. The album’s second single Everybody is a gem, with a marvellous melody that creeps up on you, and a biting Don Walker lyric. It’s a savage song about the state of the nation. “Everybody wants to be famous,” Barnesy sings, “Everybody wants to be a tragedy in a supermarket magazine… Everybody wants their name on the guestlist/Everybody wants to get in free… Everybody wants to be an individual/Everybody

Boys Like You 360 & GOSSLING (number six) Into The Flame EP MATT CORBY (11) I Love It HILLTOP HOODS & SIA (16)

Howzat!’s favourite album right now: Aleks & The Ramps’ third, Facts. Left-field indie pop that’s clever and compelling. It’s launched on Friday at the Northcote Social Club.

Set It Off TIMOMATIC (29)

CLASSIC SHOCK

Hilltop Hoods beat Bruce to confirm their status as Australia’s leading hip hop act. The number one debut follows 2009’s chart-topping State Of The Art and 2006’s The Hard Road. The Hoods are the seventh Aussie act to have three number one albums this millennium, joining Powderfinger (who have four), Kasey Chambers (three solo and one with her husband, Shane Nicholson), the John Butler Trio, Kylie, Delta and Pete Murray. The Hoods have three albums in the Top 50 this week, with The Hard Road at 49 and 2003’s The Calling at 50.

It’s the station that’s had more name changes than John Mellencamp. It pioneered FM talk in Australia when it started out as Vega in 2005. Then, in 2010, it became known as Classic Rock, with a playlist led by the might of Midnight Oil and the class of Cold Chisel. But the station is now known as Melbourne’s 91.5FM, with an ’80s format that’s clearly pitched at women aged 35 to 49. Howzat! tuned in the other night to hear Air Supply’s All Out Of Love and 1927’s Compulsory Hero, as well as Karma Chameleon and Eternal Flame, songs that could never be called “classic rock”. Will 91.5 steal listeners from Gold and Mix, or will it forever be seen as a great wasted opportunity? It could have been the station that owned the wealth of Aussie “heritage” artists, such as Chisel, The Black Sorrows, Mark Seymour, Stephen Cummings, James Reyne, Hoodoo Gurus, Paul Kelly and Renee Geyer; artists still at the top of their game.

LOW SUN TAKES HIGH ROAD

Has anyone seen a bad review of the new Dirty Three album, Toward The Low Sun? It appears that one of the music critic’s commandments is: Thou shalt not give less than glowing reviews to Dirty Three, Nick Cave, The Drones and Eddy Current Suppression Ring.

CHART WATCH

After nine months in the Top 40, Gotye’s worldwide smash might finally be on the way out.

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100% No Modern Talking EP KNIFE PARTY (31) Somebody That I Used To Know GOTYE (40)

Drinking From The Sun HILLTOP HOODS (number one, debut) Falling & Flying 360 (six) Vows KIMBRA (26) Home TROY CASSAR-DALEY (27) Making Mirrors GOTYE (28) Moonfire BOY & BEAR (30) In A Million Years LAST DINOSAURS (32)

HOWZAT! PLAYLIST

Crocodile ALEKS & THE RAMPS Black Coffee HOWL AT THE MOON Behind Every Door JACK HOWARD 5678! BUTTERFLY BOUCHER Everybody COLD CHISEL


WED 21 Able, MZ Rizk, Raceless, Sizzle Miss Libertine Adam Dunning, Catch Release Horse Bazaar Albare Bennetts Lane Alex & Nilusha: Cd Launch Paris Cat Jazz Club All The Colours, Rohypnotise, Evelyn Ida Morris The Toff In Town Allison Ferrier Kent St Aqua Palace Theatre Bopstretch Uptown Jazz Café Bunny Monroe, Chk! Chk! Boom!, Shoot the Sun, Tim Mcmillan Band Cherry Bar Butterfly Boucher, Private Life, Yeo Northcote Social Club Celluloid Casserole Loop Chris Hillman & Herb Pedersen, Brent Parlane, Herb Corner Hotel Compression Session, Cassawarrior, Dd, Ricka E55 Coq Roq, Agent 86, Lady Noir, Joybot, Kiti, Mr Thorn Lucky Coq Daniel Champagne The Famous Spiegeltent Daydream Arcade, The Kilniks, Poco La Pax Evelyn Hotel DJ Petar Tolich, Scotty E Co. Nightclub Dnny Silver, Addele, Mark J, Samari, Sassou, Callum Lounge Bar Donald Cant Geelong Performing Arts Centre Elbow (UK), Bombay Bicycle Club Festival Hall Harry Hookey Band Veludo High Fangs, Charm, The Diecasts, Dear Stalker Esplanade Basement Holliava, Kills Collapse, The Wells, By The Night Esplanade Front Bar Hoodrapz Workshop Joe McKnee, Pikelet, DJ Billie Justice Workers Club Julien Wilson Quartet, Hetty Kate 303 Bar Marisa Quigley, Sarah Carnegie Retreat Hotel Medical Madness Karova Lounge, Ballarat Michael Paynter, Selena Cross Revolver Upstairs Michael Plater, Marsden Williams, 245T, The Tattered Sails Empress Hotel My Friend The Chocolate Cake Brunswick Town Hall New Guernica DJs New Guernica Nigel B Swifte Edinburgh Castle Hotel Open Mic Dancing Dog Café Open Mic Elwood Lounge Open Mic Ontop in Ormond

Open Mic Thornbury Local Open Mic & Jam Night Grind ‘n’ Groove Bar Phoebe Jacobs, Teresa Dixon The Drunken Poet Rick Price- The Waters Edge Tour Topolinos Ryan Sterling, Das Musik Mann The Standard Hotel Soul Army Bimbo Deluxe The Blue Bottles, Brash, Ali E, DJ Dan The Old Bar The Elvis and Tom Jones Tribute Show Cardinia Cultural Centre, Pakenham The Jane Austin Argument, Oh Deanna Phoenix Public House The Philistines, Pom Fritz The Tote The Quirns, Vinny Cash Tempo Hotel The Vietnam War, The School Of Radiant Living, The UV Race The Gasometer Hotel Tim McGraw & Faith Hill, El Bastardo, Eli Young Band Rod Laver Arena Troy Cassar-Daly, Harmony James Hallam Hotel Uncomfortable Beats, Motley, The Barroness, Melody, Able8, Ghost Soul, Gavin Campbell Bar Wilks & Heath Thornbury Theatre Xavier Rudd Forum Theatre

THU 22 3181 Thursdays, Of Stolen Moments, Emerson, City of Sirens, In Motions, Am Farrows Revolver Upstairs Adalita The Famous Spiegeltent Agent 86, Lewis Can Cut, WHO Lucky Coq Aleks & The Ramps The National Hotel, Geelong Alice Blu, Capcha, Salt Lake City Horse Bazaar April Verch Band, Kate Bourke, Ruth Hazleton Brunswick Town Hall Beware the Bandit, Sleepy Dreamers, From Next Door Commercial Hotel Bitter Sweet Kicks, Merri Creek Pickers, Cold Harbour Yah Yah’s Blue Sun, Adam Eaton Empress Hotel Boris the Blade, Hallower, Aversion Crown, The Construct Next Cam Scott Hammond Group 303 Bar Canyons, Bamboo Musik The Toff In Town Cherrywood, The Eastern Retreat Hotel Dave Cosma Rainbow Hotel Dave Pham, Uone Bimbo Deluxe DJ Kiti, Lady Noir The Carlton

DJ Nikkos, Joe Sofo, Kitty Kat Co. & Fusion Nightclub at Crown Echodrama, E! Moth, The Turnborads Veludo Eilen Jewell (USA), Cold Heart, Sweet Jean Corner Hotel Eyes Wide Open Karova Lounge, Ballarat Flounder, The Neighbourhood Youth, Number Station, The Run Run, Oscar & Martin DJ Set, Glass Mirrors, Smoking Toddlers, Wednesday the Rat Laundry Bar Go Genre Everything, Fatti Frances, Jonny Telafone, The Great Outdoors, Rites Wild, Stewed, Screwed and Tattooed The Gasometer Hotel Hat Fitz, Cara Robinson Phoenix Public House Hexx, Jessica Killl and Dan Velvet Lounge James O’Brien, Zac Rush Sporting Club Hotel Jesse & his Hucklebuckers Lomond Hotel Joe Chindamo Bennetts Lane Kretch, The Volatiles, Bat Piss, Interceptors Bendigo Hotel Le Foxx, Pallet Town, Field Trip, Spell House Noise Bar Levitating Churches, Fortress of Narzod, Pronoun Brunswick Hotel Low Key Mid Week Beats The Thornbury Local Lucy Rose Burlington, Black Whisky, Legless Tempo Hotel Lyall Moloney Baha Tacos Mad Nanna, Admin Bldg, Bonnie Mercer, Galactagogue, Monolith Grace Darling Hotel Matt Dean, Matty Grant, Phil Ross Billboard Mick Hart, Jantina Gardener & the Jaguars, Asami, Sarah McLeod, Jackson McLaren Esplanade Front Bar Nice Boy Tom Edinburgh Castle Hotel Nick Lowe- The Old Magic Tour Forum Theatre Noriana Kennedy Caravan Music Club Open Mic Acoustic Café Our Ithaca Creek, Luke Sullivan Dowse Bar Over Reactor The Tote Perch Creek Family Jugband Thornbury Theatre Phil Kaye, Steve Smart, Sista Zai, Skye Loneragan Bar Open Prince Albert, Mirko Guerrini Quartet Paris Cat Jazz Club Rick Atkins, Ridge Back Dizzy’s Jazz Club Rick Price (solo acoustic) Wellers of Kangaroo Ground Soul Safari Cherry Bar

SpyKite, Guests Of Ghosts, Citizen, The Fog The Prague Suzie Stapleton, Nigel Wearne The Drunken Poet System of Venus, The People, The Art of Later, Geek Pie Pony Tax, Eastlink, Ice Claw The Old Bar The Black Jesus Experience The Order Of Melbourne The Call Up, Chev Rise, Scotdrakula, The Phantom Agents, The Philistines Evelyn Hotel The Pet Loop The Sick Man & Tyson Slithers, The Phat Chicks, Metalic K.O, The Come Downs John Curtin The Weekend People, James Hazelden The Great Britain Tiny Ruins, Vietnam War, J Walker Northcote Social Club

FRI 23 Agommorah, Red Bee, Broozer, Sewercide Brunswick Hotel Aitches, The Swedish Magazines, Calvacade, Chambers, Headless Death The Gasometer Hotel Aleks & The Ramps, Lowtide, Ocean Party Northcote Social Club Amy Meredith The Hi-Fi Anna Paddick, Boom! Bap! Pow! Edinburgh Castle Hotel Anthony Pappa, Phil K, Gab Oliver, Kasey Taylor New Guernica Anyo, Mike Gurrieri, Hoops, Jen Tutty, Josh Paola, Jules Jay, Prequel, Oskar & Bebra 161 Avus, Fairmont, Luke Abbot Brown Alley Ben Smith Band Rainbow Hotel Carmen Hendrix Max Hotle Max Prince Maximilian Chairman Meow, Coburg Market, Mr Fox, Tigerfunk, WHO Bimbo Deluxe Cheap Thrills, Stevie Mink, Katt Niall, Magoo, Sneddon, Tiesbeau Commercial Hotel Chelsea Drugstore Town Hall Hotel Creatures of Karma, No Love for Lexi, Yokey John Curtin Hotel Dan Bourke The Drunken Poet Dan Lethbridge & The Campaigners, Cardwell, Matt Green Band Empress Hotel Dirty Deeds Westend Hotel DJ Manniquin, Lady J Abode Don Fernando, Dead City Ruins, My Left Boot, Stomp Box Cherry Bar East Brunswick All-Girls Choir Sporting Club Hotel

Electrelane, Songs, New War Corner Hotel Fergus, Snowie, Citizen. com, Tahl, Dave Pham Lounge Bar Gareth Liddiard, Lost Animal The Regal Ballroom Goodbye Motel Yah Yah’s Hermitude, Sietta Prince Bandroom High Fangs, Charm, The Diecasts, Dear Stalker Esplanade Basement Hoodoo Mayhem Bar Open James Walsh (Starsailor), Sarah McLeod, Jackson McLaren Esplanade Gershwin Room Jim Hockings Blue Machine Miscawber Tavern Joe Sofo, Kitty Kat, Nikkos Co. Nightclub Jumpin’ Jack William Balaclava Hotel Kate Miller-Heidke The Famous Spiegeltent Killawail Ruby’s Lounge Lewie Day, Mike Callander, Tom Lally, Chestwig, Damon Walsh, John Ross & Jarrod Bell Revolver Upstairs Locus Wimple, The Grand Scheme, Flannelette, Punchline Tempo Hotel Look Who’s Toxic, Sun God Replica, Peep Tempel, Batpiss, DJ Drawfour The Old Bar Louis King & The Liars Club Lomond Hotel Lyall Moloney, Ashleigh Mannix Wesley Anne Masa Thornbury Theatre Matt Rad, Mr George, Phato A Mano, Tom Meagher Lucky Coq Myrtle Place, Strawberry Fist Cake, The Half Pints, Where’s Grover, Fisty Cuffs Barleycorn Hotel NFA Jones Laundry Bar Nic Tate Band, Vicuna Coat The Thornbury Local Nick Tate, Vicuna Coat Thornbury Local On Sierra, Solaires, PCP Grace Darling Hotel Orkestrated, Chardy, Rob Pix, Heath Renata, Andy Murphy, Stevie Mink, Polyfonik, Nick Coleman, T- Rek Billboard Piece Pai Baha Tacos Quiet Child, Branch Arterial, Alex Anonymous Central Club Hotel Renae Brennen Elwood Lounge Rich Davies & The Devils Union, DJ Xander, Matt Sonic & The High Times Retreat Hotel Running on Reality Miss Libertine Ruth Rogers, Dan Ryan Horse Bazaar Seven Hearts, The Lee Forster Band Workers Club

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Shooglenifty, The String Contingent Phoenix Public House Sigma, Tommy Dub, Rick Dirk, Datura, Alteregos, Defy, Freeform, Monkee Royal Melbourne The Khyber Belt, Sub Atari Knives, Artilah, I Am Duckeye, Fisker Evelyn Hotel The Rebelles LuWOW The Red Eyes, Carissa Diktionone, Elsewhere, Salubrious, Paulie Bignall & the Northcote two, The Thousands Ferntree Gully Hotel The Redans Karova Lounge, Ballarat The Stu Thomas Paradox Tago Mago The Sweets, Agility Victoria Hotel The Weekend People The Great Britain Vitruvian Man, Bug Dust, The Contortionists Handbook, Escargo-Go’s, White Rabbit Pony Witch Grinder, Bronson, Subjektive, Decimatus, Abreact The Tote Wolf & Cub, Royston Vasie, Machine, The Verlins Esplanade Front Bar

SAT 24 8 Foot Felix, Daimon Brunton Quartet Open Studio Acid Western, Towers Victoria Hotel Andre Camelleri’s Lone Star Quartet, The Northernaires, Bird Brain, Trappis Afterland Band, Julitha Ryan Edinburgh Castle Hotel Andrew De Silva Max Hotle Max Prince Maximilian Audrey Auld Pure Pop Courtyard Backward Creatures Duo Rainbow Hotel Bateman, Safe Hands, Mindset, Declaration, Term Four Yah Yah’s Beaker, Syme Tollens Abode Ben Smith Band Baha Tacos Boris, Laura, Sleepmakeswaves, These Hands Could Separate The Sky Corner Hotel Che Fu & The Krates, Jess Harlen The Hi-Fi Chris Russell’s Chicken Walk, The Death Rattles, Highwater Ballroom Band, Matt Bailey The Tote Czardaz Chandelier Room Dancehall Rackateers Lomond Hotel Darren Coburn, Silversix, Hey Sam, Boogs, DJ Who Lounge Bar Darrin Archer Trio, Gian Slater, Chris Hale Bennetts Lane Eilen Jewell (USA) Meeniyan Hall Evanescence, Blaqk Audio Rod Laver Arena

Falloe & The Diamonds (Album Launch), Noriko Tadano, The Promises John Curtin Hotel For the Record V, Square Eyes, Craig Pringle, Jackmanloop, Louay Loop Francolin, Scotdrakula Phoenix Public House Geneva Spur Karova Lounge, Ballarat Gimme Skelter Rye RSL High Fangs, Charm, Die Casts, Dear Stalker Esplanade Basement Howl At The Moon, Pony Face, On Sierra Northcote Social Club In Motions, Of Stolen Moments, Event Horizons, Unaustralians, Mr Sharp Pony Intentions, Infinite Void, Little Killing, Carbs, Taco Leg, Constant Mongrel, Mad Nanna, Interzone, Nun The Gasometer Hotel Jacket Off Veludo Jenny Biddle, Stewart Kohinga, Sarah Eida The Chandelier Room Jody Galvin & The Tenderhearts The Drunken Poet Judge Pino & the Ruling Motions Bar Open Kate Miller-Heidke, Dave Graney The Famous Spiegeltent Last Leaves, The Zebras Empress Hotel Late Arvo Sons, Soma Coma, Bits of Shit, Bad Aches, DJ Lovepuff The Old Bar Lieutenant Jam, Nathan Kearney, The Vocal Lotion The Empress Lyall Moloney, Ashleigh Mannix Baby Black Café Mamma’s Rejects Rubys Lounge Matty G, Dean T, Marcus Knight Co. Nightclub Mick Danby, 3 Days Off Tempo Hotel Myrtle Place, Strawberry Fist Cake, No Ones Home, Where’s Grover Blue Tile Lounge Nathan Kearney, Lieutenant Jam, The Vocal Lotion Empress Hotel, Arvo Show Plum Crazy, DJ Bodz Bended Elbow, Geelong Relax With Max The Night Cat Reptiles, Cuntz, Passion Fruit Pulp Grace Darling Hotel Rick Price- The Waters Edge Tour Somerville Function Centre Sammy Owen Blues Band Ruby’s Lounge Scarlette Cook The Thornbury Local Sienna Skies, I Sleep You Dance, Ennui Breathes Malice, Culprits Bang Simon Barker, Sam Keevers, Chris Hale, Javier Fredes Quartet, Ben Hauptmann Uptown Jazz Straylove, Electric Opera Revolver Upstairs

Sweet Felicia & The Honeytones The Standard Hotel Synaecide, Dr Quinn, Andy Hoffman, Paradigm Shift, Rob Jones, Jackson Roberts, Play Station, Doolz, Ion Squared Noise Bar Tatu Rei The Palais, Hepburn Springs Ten Thousand, The Mercy Kills, Blind Munkee, The Fighting, Phil Para Esplanade Front Bar The Battlefield Band, Fiona Ross, Krystie Warren, Marta Pacek Brunswick Town Hall The D.Y.E, The Fourfront, Cult Fiction Horse Bazaar The Darjeelings, Cat & Spoon Wesley Anne the F100’s, Retro Honky Tonk Highway 31 The Messengers, Brave Face, Private Life, Pierre Baroni The Toff In Town The Pretty Littles, Joe Neptune The Great Britain Twelve Foot Ninja, Jericco, Circles, Sounds of Sirus Evelyn Hotel Wayward Breed, Mr Sparrow Sporting Club Hotel Waz E James, Suzie Stapleton Band, River of Snakes, DJ Shaky Memorial Retreat Hotel Weened Cherry Bar Xenograft, Ungus Ungus Ungus, Vincent, Bear The Mammoth Brunswick Hotel

SUN 25 Archer Yah Yah’s Bobby Rydell Frankston Arts Centre Bryce Wastney, Jesse Mitchell, DJ Andy Black, Haggis, Dr Sketchy’s Anti Art Class, Evie Red The Toff In Town Chuck Jenkins Union Hotel Brunswick Eilen Jewell (USA) Caravan Music Club ‘Fabulous Diva’Tribute to Nina Simone Wesley Anne Formosa, Midnight Caller, Gravey, Thirty One Fifty, Nobody Likes Milhouse Brunswick Hotel Griffon Green, Sandcastle, Velcro, Brightly The Gasometer Hotel Hello!, Les Thomas, Acoustic Bar Nancy High Fangs, Charm, Die Casts, Dear Stalker Esplanade Basement Howlin’ Steam Train, The Harlots, Jimmy Saint, The Sinners, DJ Shitshake The Old Bar Jen Cloher, Sweet Jean, Boris, Bonnie Mercer Northcote Social Club

INPRESS • 49


Kretex, Mof Far Far Rah Bar Open Laneway Funk Brothers, The Marabou Project, Bad Boys Batucada Esplanade Front Bar Laura Imbruglia, Wild Turkey, Black Chords, Swamplands, Dan Lethbridge, Damon Smith, Ben Salter, Jack On Fire, Buried Horses Retreat Hotel Lincoln MacKinnon Victoria Hotel Liz Stringer, Heather Stewart Duo, Andy Baylor The Drunken Poet Lyall Moloney Elwood Lounge Mal De Mer, Roxy Lavish, Rusty Douglas, Your Humble Narrator The Great Britain MJ Halloran & The Sinners, Wedgetail Grumpys Green Monique Di Mattina, Marty Kelly & Aubrey Maher Lomond Hotel Nathan Kearney, Alkan Zeybek & the Lessermen, The Usual Suspects Evelyn Hotel Nick Curley Revolver Upstairs Overproof Groove, Tub O Vas, The Pierce Brothers Baha Tacos Raised by Eagles Carringbush Hotel Rick Price- The Waters Edge Tour Supreme Bar Royston Vasie, Machine Esplanade Gershwin Room Sally-Anne Whitten, Brooke Taylor, Open Mic The Chandelier Room Steve Purcell Mentone Hotel Strine Singers Edinburgh Castle Hotel Sweet Felicia & The Honeytones The Standard Hotel The Bitter Sweethearts, Sean McMahon’s Western Union, Brendan Welch Empress Hotel, Arvo The Dawn Addicts, A Vast Hope, The Cavalcade, Amberain Tempo Hotel The Light Rail Open Studio The Milano Express Veludo The Sitar All Stars Regal Ballroom Tom Binns The Palais, Hepburn Springs Truckshop Honeymoon Phoenix Public House Tully Sumner The Thornbury Local Winter Palace Deans Marsh Festival Xavier Rudd The Hi-Fi

VENUE GUIDE

MON 26 Ainslee Willis Esplanade Lounge Brothers Hand Mirror, LA Pocock, Pete Keen Workers Club Dan Watkins, Paddy Montgomery Sporting Club Hotel Mustered Courage, Oh Pep! The Old Bar Open Mic Bertha Brown Rosey with Duncan Yardley Bar Nancy Scotdrakula Evelyn Hotel Tex Perkins & The Dark Horses The Famous Spiegeltent The Monday Drift Empress Hotel The Shelf The Toff In Town The Vault Loop The Zingers, Tax, Hyper Space Vision Northcote Social Club

TUE 27 Dan Waters, Lucy Jean Roleff, Guy Kable The Old Bar El-Moth, The Turbo Rads, Ghost Orchid Evelyn Hotel Flaccid Palms Brunswick Hotel Foramen, Tom Lyngcoln The Tote Irish Session Lomond Hotel Jamie MacDowell, Nicolette Forte, Language of the Birds, Jimmy Phoenix Esplanade Lounge Jimmy Stewart, Clinkerfield, Miserable Little Bastards John Curtin Hotel John Fogerty Rod Laver Arena Loopdeloop Loop Mosh Ben Ari Prince Bandroom Never Cheer Before You Know Whos Winning, Melbourne Fresh Industry Showcase Revolver Upstairs Open Mic Empress Hotel Patron Saints Cherry Bar Pop Rock Escalate, Harvton, Unsought Duke Tempo Hotel Remco Keijzer Quintet Bennetts Lane Victoriana Gaye Retreat Hotel

BAHA TACOS Thursday Lyall Moloney Friday Piece Pai Saturday Ben Smith Band Sunday Overproof Groove, Tub O Vas, The Pierce Brothers

BANG Saturday Sienna Skies, I Sleep You Dance, Ennui Breathes Malice, Culprits

BAR OPEN Wednesday Uncomfortable Beats, Motley, The Barroness, Melody, Able8, Ghost Soul, Gavin Campbell Thursday Phil Kaye, Steve Smart, Sista Zai, Skye Loneragan Friday Hoodoo Mayhem Saturday Judge Pino & the Ruling Motions Sunday Kretex, Mof Far Far Rah

BENDED ELBOW, GEELONG Saturday Plum Crazy, DJ Bodz

BILLBOARD Thursday Matt Dean, Matty Grant, Phil Ross Friday Orkestrated, Chardy, Rob Pix, Heath Renata, Andy Murphy, Stevie Mink, Polyfonik, Nick Coleman, T- Rek

BIMBO DELUXE Wednesday Soul Army Thursday Dave Pham, Uone Friday Chairman Meow, Coburg Market, Mr Fox, Tigerfunk, WHO

BRUNSWICK HOTEL Thursday Levitating Churches, Fortress of Narzod, Pronoun Friday Agommorah, Red Bee, Broozer, Sewercide Saturday Xenograft, Ungus Ungus Ungus, Vincent, Bear The Mammoth Sunday Formosa, Midnight Caller, Gravey, Thirty One Fifty, Nobody Likes Milhouse Tuesday Flaccid Palms

CORNER HOTEL Wednesday Chris Hillman & Herb Pedersen, Brent Parlane, Herb Thursday Eilen Jewell (USA), Cold Heart, Sweet Jean

50 • INPRESS

Friday Electrelane, Songs, New War Saturday Boris, Laura, Sleepmakeswaves, These Hands Could Separate The Sky

EDINBURGH CASTLE HOTEL Wednesday Nigel B Swifte Thursday Nice Boy Tom Friday Anna Paddick, Boom! Bap! Pow! Saturday Andre Camelleri’s Lone Star Quartet, The Northernaires, Bird Brain, Trappis Afterland Band, Julitha Ryan Sunday Strine Singers

EMPRESS HOTEL Wednesday Michael Plater, Marsden Williams, 245T, The Tattered Sails Thursday Blue Sun, Adam Eaton Friday Dan Lethbridge & The Campaigners, Cardwell, Matt Green Band Saturday Last Leaves, The Zebras Monday The Monday Drift Tuesday Open Mic

EMPRESS HOTEL, ARVO SHOW Saturday Nathan Kearney, Lieutenant Jam, The Vocal Lotion Sunday The Bitter Sweethearts, Sean McMahon’s Western Union, Brendan Welch

ESPLANADE BASEMENT Friday High Fangs, Charm, The Diecasts, Dear Stalker Saturday Toll, The Certifiables

ESPLANADE GERSHWIN ROOM Friday James Walsh (Starsailor), Sarah McLeod, Jackson McLaren Sunday Royston Vasie, Machine

Tuesday Jamie MacDowell, Nicolette Forte, Language of the Birds, Jimmy Phoenix

EVELYN HOTEL Wednesday Daydream Arcade, The Kilniks, Poco La Pax Thursday The Call Up, Chev Rise, Scotdrakula, The Phantom Agents, The Philistines Friday The Khyber Belt, Sub Atari Knives, Artilah, I Am Duckeye, Fisker Saturday Twelve Foot Ninja, Jericco, Circles, Sounds of Sirus Sunday Nathan Kearney, Alkan Zeybek & The Lessermen, The Usual Suspects Monday Scotdrakula Tuesday El-Moth, The Turbo Rads, Ghost Orchid

GRACE DARLING HOTEL Thursday Mad Nanna, Admin Bldg, Bonnie Mercer, Galactagogue, Monolith Friday On Sierra, Solaires, PCP Saturday Reptiles, Cuntz, Passion Fruit Pulp

JOHN CURTIN HOTEL Thursday The Sick Man & Tyson Slithers, The Phat Chicks, Metalic K.O, The Come Downs Friday Creatures of Karma, No Love for Lexi, Yokey Saturday Falloe & The Diamonds, Noriko Tadano, The Promises Tuesday Jimmy Stewart, Clinkerfield, Miserable Little Bastards

LOOP Wednesday Celluloid Casserole Thursday The Pet Saturday For the Record V, Square Eyes, Craig Pringle, Jackmanloop, Louay Monday The Vault Tuesday Loopdeloop

LOUNGE BAR

ESPLANADE LOUNGE Wednesday Holliava, Kills Collapse, The Wells, By The Night Thursday Mick Hart, Jantina Gardener & the Jaguars, Asami Sunday Laneway Funk Brothers, The Marabou Project, Bad Boys Batucada Monday Ainslee Willis

Wednesday Dnny Silver, Addele, Mark J, Samari, Sassou, Callum Friday Fergus, Snowie, Citizen.com, Tahl, Dave Pham Saturday Darren Coburn, Silversix, Hey Sam, Boogs, DJ Who

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LUCKY COQ Wednesday Coq Roq, Agent 86, Lady Noir, Joybot, Kiti, Mr Thorn Thursday Agent 86, Lewis Can Cut, WHO Friday Matt Rad, Mr George, Phato A Mano, Tom Meagher

NEXT Thursday Boris the Blade, Hallower, Aversion Crown, The Construct

NORTHCOTE SOCIAL CLUB Wednesday Butterfly Boucher, Private Life, Yeo Thursday Tiny Ruins, Vietnam War, J Walker Friday Aleks & The Ramps, Lowtide, Ocean Party Saturday Howl At The Moon, Pony Face, On Sierra Sunday Jen Cloher, Sweet Jean, Boris, Bonnie Mercer Monday The Zingers, Tax, Hyper Space Vision

NORTHCOTE SOCIAL CLUB, ARVO SHOW Sunday Jen Cloher, Sweet Jean

PHOENIX PUBLIC HOUSE Wednesday The Jane Austin Argument, Oh Deanna Thursday Hat Fitz, Cara Robinson Friday Shooglenifty, The String Contingent Saturday Francolin, Scotdrakula Sunday Truckshop Honeymoon

PONY Thursday System of Venus, The People, The Art of Later, Geek Pie Friday Vitruvian Man, Bug Dust, The Contortionists Handbook, EscargoGo’s, White Rabbit Saturday In Motions, Of Stolen Moments, Event Horizons, Unaustralians, Mr Sharp

PRINCE BANDROOM Friday Hermitude, Sietta Tuesday Mosh Ben Ari

SPORTING CLUB HOTEL Thursday James O’Brien, Zac Rush Friday East Brunswick All-Girls Choir

Saturday Wayward Breed, Mr Sparrow Monday Dan Watkins, Paddy Montgomery

THE DRUNKEN POET Wednesday Phoebe Jacobs, Teresa Dixon Thursday Suzie Stapleton, Nigel Wearne Friday Dan Bourke Saturday Jody Galvin & The Tenderhearts Sunday Liz Stringer, Heather Stewart Duo, Andy Baylor

THE HI-FI Friday Amy Meredith Saturday Che Fu & The Krates, Jess Harlen Sunday Xavier Rudd

THE OLD BAR Wednesday The Blue Bottles, Brash, Ali E, DJ Dan Thursday Tax, Eastlink, Ice Claw Friday Look Who’s Toxic, Sun God Replica, Peep Tempel, Batpiss, DJ Drawfour Saturday Late Arvo Sons, Soma Coma, Bits of Shit, Bad Aches, DJ Lovepuff Sunday Howlin’ Steam Train, The Harlots, Jimmy Saint, The Sinners, DJ Shitshake Monday Mustered Courage, Oh Pep! Tuesday Dan Waters, Lucy Jean Roleff, Guy Kable

THE STANDARD HOTEL Wednesday Ryan Sterling, Das Musik Mann Saturday Sweet Felicia & The Honeytones Sunday Sweet Felicia & The Honeytones

THE TOFF IN TOWN Wednesday All The Colours, Rohypnotise, Evelyn Ida Morris Thursday Canyons, Bamboo Musik Saturday The Messengers, Brave Face, Private Life, Pierre Baroni

Sunday Bryce Wastney, Jesse Mitchell, DJ Andy Black, Haggis, Dr Sketchy’s Anti Art Class, Evie Red Monday The Shelf

THE TOTE Wednesday The Philistines, Pom Fritz Thursday Over Reactor Friday Witch Grinder, Bronson, Subjektive, Decimatus, Abreact Saturday Chris Russell’s Chicken Walk, The Death Rattles, Highwater Ballroom Band, Matt Bailey Tuesday Foramen, Tom Lyngcoln

UNION HOTEL BRUNSWICK Sunday Chuck Jenkins

WESLEY ANNE Friday Lyall Moloney, Ashleigh Mannix Saturday The Darjeelings, Cat & Spoon Sunday ’Fabulous Diva’- Tribute to Nina Simone

WORKERS CLUB Wednesday Joe McKnee, Pikelet, DJ Billie Justice Friday Seven Hearts, The Lee Forster Band Monday Brothers Hand Mirror, LA Pocock, Pete Keen

WORKSHOP Wednesday Hoodrapz

YAH YAH’S Thursday Bitter Sweet Kicks, Merri Creek Pickers, Cold Harbour Friday Goodbye Motel Saturday Bateman, Safe Hands, Mindset, Declaration, Term Four Sunday Archer


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BEHIND THE LINES SOUND MODERN

BROUGHT TO YOU BY

WITH MICHAEL SMITH

WARREN ELLIS SIGNATURE TENOR

Best known as the explosive violinist with the Dirty Three, Warren Ellis is also of course Grinderman’s multi-instrumentalist who also plays piano, bouzouki, guitar, flute, mandolin and tenor guitar, and it’s that last instrument that Ellis has turned his design talents to. Produced by Eastwood Guitars, based in Ontario, Canada, Ellis has designed a four-string tenor guitar. Available in vintage cream or cherry, the Warren Ellis Signature Tenor features a solid alder body, a bolt-on maple neck with a rosewood fingerboard, running at 23”, with a single coil Blade pickup, and a fully adjustable Tele-style bridge. You can test drive one yourself if you pop into 555 Music Company in Hawthorn. They’re on 9818 5040.

STEVE SEDERGREEN JAZZ MASTERCLASS

One of this country’s master jazz musicians, composers and educators, local Steve Sedergreen, has finally put some of his knowledge into a book, simply titled Start Playing Jazz Piano Now! He’ll be talking about the book, his ideas about performing and more in a two-hour masterclass on Saturday 14 April from 5pm, at Allans Music & Billy Hyde, (Bourke Street, city store). As usual, space is at a premium, and the event is free with the purchase of Sedergreen’s book, but you can sort all that out by RSVPing to Andrea Porcaro on (03) 9656 0571.

STEVE VAI ON HIS NEXT ALBUM

Guitarist Steve Vai, who’s touring Australia with G3, has been recording a new solo album in the studio he’s built on his property in California he’s called The Harmony Hut. Though he’s got a lot of analogue gear, he’s been recording to ProTools. “I did a tremendous amount of experimentation while I was building the studio,” he explains, “and I realised certain ways to work within the digital domain to retain the quality and warmth and it’s unfortunate that I’ve only realised that now because my last two solo records I think suffered a bit audibly because of the inferiority of the equipment that was available at the time, and my ignorance on certain things.”

SOUND BYTES

Visiting Australia for Bluesfest in Byron Bay, Yann Tiersen, composer of the soundtrack to feature films Amelie and Goodbye Lenin, recorded his seventh album, Skyline, due mid-April, in studios in Paris, San Francisco and Ouessant, with Ken Thomas (Sigur Ros, M83, David Bowie, Psychic TV) mixing. Baltimore dream pop duo Beach House recorded their fourth album, Bloom, at Sonic Ranch Studios in Tornillo, Texas, co-produced with Chris Coady (Yeah Yeah Yeahs, TV On The Radio, !!!, Grizzly Bear) and mixed it at Electric Lady in New York. Mick Thomas went to Portland, Oregon, to record his debut solo album, The Last Of The Tourists, at Type Foundry Studios with producer, fellow Australian singer/songwriter Darren Hanlon. Adam Selzer engineered and mixed the album, which was mastered at Stereophonic Mastering by Timothy Stollenwerk. Currently living in Berlin, Sydneysider TJ Eckleberg returned home briefly last year to record a new album, West & Lime, at Megaphon in St Peters with engineer Shane Fahey. He produced it himself with a little assistance from Fahey and Tom Kazas (The Moffs), while William Bowden mastered the record at King Willy Sound in Balmain. Former Balmain resident and singer, guitarist and harmonica player extraordinaire Mitch Grainger has been living in California for a little while now and is gigging with country/folk singer/ songwriter Rosa Pullman, whose EP, Dusty Road, he produced, as he describes it, “out in the high California desert, very near to Joshua Tree.” Black Blackman, singer and guitarist with Sydneybased cinematic art-rock four-piece Charge Group, recorded and produced the band’s self-titled second album in a church in Newcastle. He then took it to Albert Studios for some additional recording, where it was mixed by Wayne Connolly before it was sent to Sterling Sound in New York City to be mastered by Greg Calbi (Grizzly Bear, The National). Meanwhile, the master cut of the vinyl edition of the album was done by Lupo at Dubplates in Berlin. Melbourne band Zoophyte recorded their forthcoming album at Melbourne’s Woodstock Studios and then sent it to be mastered by legendary American engineer Bob Ludwig (Nirvana, Radiohead, AC/DC). 52 • INPRESS

MELBOURNE-BORN LONDONBASED, IT WAS TO LOS ANGELES THAT THE TEMPER TRAP TURNED TO RECORD THEIR SECOND AND SELF-TITLED ALBUM. GUITARIST LORENZO SILLITTO TALKS MICHAEL SMITH THROUGH SOME OF THE PROCESS OF MAKING IT. Based these days in London, The Temper Trap haven’t exactly rushed into cutting a follow-up to their incredibly successful debut album, 2009’s Conditions, which was produced by Scott Horscroft (The Sleepy Jackson, Silverchair). But that’s all to the good as far as they’re concerned, lead guitarist Lorenzo Sillitto, on the line during rehearsals for their forthcoming American tour assures Inpress. As it happens, much of last year was taken up by working up the material for that second album, self-titled this time, which they recorded at The Sound Factory in Hollywood over two months from the end of November last year with American producer Tony Hoffer (Beck, Phoenix, M83, The Kooks). “We were talking to a few other people,” Sillitto admits, regarding the choice of Hoffer, who leases Studio B in the LA facility as producer, “but we spoke to Tony and just a lot of the things that he said kind of really resonated with us so we decided to go with him. And then when we first met him it was like, why didn’t we choose you sooner. We had a great working relationship with him, he knows a lot of music, very knowledgeable in that respect, and he’s actually got an amazing knowledge of synthesisers and he can pull sounds very quickly, so we couldn’t have asked for anyone better.” The Sound Factory’s Studio B is “old school”, with a analogue Custom API 40-channel console as well as a Neve 5302 Melbourn mixing console, through which the band ran their drums, the studio itself featuring a big L-shaped performance area and two isolation rooms. “They do have a tape machine and stuff like that, so while everything was recorded digitally into ProTools [HD/3 Accell], all the outboard was completely analogue and really old, so we got a nice kind of warm feeling to the record.” The fact that Hoffer has extensive expertise with regards to synthesisers suggests that sonically The Temper Trap were moving away from the sound they established on Conditions, and Sillitto confirms this. “We bought a Moog and we bought a Nord and we had a few other little things floating about and I guess when we went into the writing process we had those there. So rather than trying to write things as we had done before, we’d move onto these new instruments and Joseph [Greer] obviously is a very good piano player as well, so that kind

of features heavily in the songs. We like to write kind of big, anthemic songs, and there are a few other songs which are more of the electronic vein, conceptualised in the computer by Toby [Dundas, drums] and then fleshed out more in the rehearsal space, and that was something that we really wanted to explore as well. We’d done a few things like that on the last record but not quite as heavily as on this one. “As for me, I’d bought some new pedals and things like that. It was kind of weird because towards end of the first half of the record I was trying to take away the effects and try and be more intuitive with my guitar playing. It was working for some things and then it wasn’t for others, and I just happened by just like a multi-effect pedal [a Line 6 M9] so I could come up with things at home. So I got into the studio one day and decided I’d completely go the opposite way and try and make the guitar sound nothing like a guitar, and that seemed to work really well for a lot of things. So there are a lot of things on the record that are probably me playing but you probably don’t really know; that could be a synth or some type of synth lead line but it’s coming through the guitar. So it was good, kind of like a regression and then a progression from there, just trying to change things up a little bit. “Tony, in the studio, one of his catch phrases was that we want everything to sound modern, which was just saying trying to make things sound different to the way you may have heard before. So I always use Telecasters

– they’re kind of like the go-to guitar first off – playing through my Marshall Bluebreaker, but in the studio we used really old ‘60s Silvertone 1450 amps and there was this Ovation electric [The Breadwinner], the only one they ever made, in the ‘80s, that I used on a couple of songs. It’s unlike anything I’ve ever heard before. I had a [Fender] Jazzmaster in there and this guitar that’s like a Reverend, which has P90s [pickups] in it that has a particular tone to it that Johnny [Aherne, guitar] was using a bit. “The studio had a lot – you know, 335s, Les Paul Juniors, things like that. It just depended on what the song was needing, so it was a mixture of things. We had like four amps set up and it was a blend basically – we had an AC30, this Matchless Roland JC 120 and then my Marshall – and most of the guitar sounds are a blend, and the JC 120 was pretty much blended in with everything – a solid state amp blended in with a valve amp and just work from there. But it’s pretty hard to distinguish what’s what I guess. On the cleaner stuff I think it’s pretty much the JC 120.” The album was also mixed by Hoffer at The Sound Factory and mastered by Dave Cooley (M83, Die Die Die, Dangermouse), at Elysian Mastering, again in LA. The Temper Trap will be released on Liberation on Friday 18 May. They band play the Forum on Tuesday 29 and Wednesday 30 May.

GEAR REVIEWS

ECTOMORPH MERCURY BASS

Ectomorph basses are a relatively new diversification from long-time woodwind specialists, Tom Sparkes Instrument Repairs. Their luthiers, Rob and Paul, both stand well over six feet tall and thus had little problem conceiving an appropriate brand name for their custom-made range. They aim to ‘...match people to instruments…’ by involving ‘… customers in every aspect of bass building’. Consequently, Ectomorph offers a diverse roster of handmade basses, starting from $1400. (The guys also manufacture guitars and have recently been invited to produce one for The Foo Fighters’ Dave Grohl). Our Mercury test bass features many of the materials, construction and hardware choices available from their exhaustive options list, and is consequently priced at $3200 (including a quality gig bag).

the neck relief, string radii, intonation and pickup heights combined beautifully to produce clean, sustaining and tuneful notes, whilst still offering a very comfortable action. Balance is good on the supplied leather strap, but the Mercury is prone to moderate neck diving when played on my lap (a compromise with the excellent upper fret access provided by the deeply cutaway lower horn). At 4.5kg, the bass is no heavier than an average ash-bodied four-string, and its 19mm string spacing at the bridge will also feel natural to traditional players. Unusually, the bass’ neck/body join features ergonomic blending, via some clever woodworking. Slappers might feel somewhat restricted in the modest popping area afforded by the neck/neck pickup relationship, but again, this is a trade off (in this instance, balancing a two-octave range against optimum string sampling requirements).

Visually, the Mercury presents contemporary yet quite distinctive styling. Its flowing body is primarily stained black, with a red relief outlining the pickup and bridge area (a highlight which is repeated on the headstock face) and is finished with a clear lacquer. A multiple oiled/cut finish seals the neck and a bass clef is inlaid at the twelfth fret. All the hardware is chrome, except the pot knob tops, which are pearlescent. Construction-wise, the bass features well matched, quality tone woods, the grain visible on the body being particularly appealing. The neck offers an addictive combination of body and taper, with position changes being especially effortless. A good balance of note absorption and reflection is available from the fretboard, and the Graphtec nut is well profiled to the DR Black Beauties strings. The glued neck configuration helps to produce a defined yet integrated B string tension and sound. Truss rod adjustment is available at the headstock.

I was particularly impressed by the Mercury’s electronics package, from the intuitive placement of the knobs and switches to the transparent tones offered by its 9v circuit. The preamp offers a solid passive mode (handy for alternate sounds/battery failure), perhaps only lacking a highs roll-off option for old-school tones. The active controls provide ample boost/cut for well-chosen bass, middle and treble frequencies and all include centre detent (flat) positions. Additionally, a more sensitive and wider band mid-frequency is accessed by pulling the corresponding knob. The pickup blend pot and coil tap switches are functional in both passive and active modes. Ectomorph have deliberately mismatched impedances to emphasise the inherent strengths of the pickup locations. Dual batteries (dedicated for preamp and fibre optics) are housed in separate quickrelease compartments on the rear of the body. A single LED lights all dot strands, for maximum battery life.

The instrument arrives with a comprehensive medium setup;

Soloed for practicing, the Mercury delivers an astonishing

themusic.com.au

array of voices and never makes its long scale/five string specification tiresome. In rehearsals (with my son’s unsubtle drumming) the bass speaks extremely solidly and articulately, without the need for big volume or dramatic equalisation. At a jam session, with multiple guitars and keyboard etc, the Ectomorph draws favourable comments (both aesthetically and sonically) from many performers and audience members alike. In passive single-coil mode, the instrument immediately locks with the drum kit, providing a clear supportive voice. With its active circuit engaged, the Mercury is only a knob twist away from any tone imaginable; all settings remaining extremely musical and unbelievably hiss free, even at stage volume, through my tweeter-equipped cab. I did detect a few purely cosmetic shortcomings with our tester; woodworking and finish inconsistencies, which would not normally be evident in production line guitars (perhaps this is the nature of, or even a justification for a handmade instrument?). From a functionality viewpoint, I would have preferred to see some additional fretboard markers, in the event of a battery/LED failure. Rob Morse For more info, head to ectomorph.com.au. Originally published in Australian Musician.


themusic.com.au

INPRESS â&#x20AC;˘53


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54 • INPRESS

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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

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THE RRP IS THE RECOMMENDED RETAIL PRICE SET BY THE AUSTRALIAN DISTRIBUTOR OF THE PRODUCT AND MAY NOT HAVE NECESSARILY BEEN SOLD AT THIS PRICE POINT IN THE PAST OR SOLD IN THE FUTURE. ALL PRICES WERE CURRENT AT THE TIME OF PRINTING MARCH 2012. WE CANNOT BE HELD RESPONSIBLE FOR PRICE RISES OR REDUCTIONS AFTER THIS DATE. WE RESERVE THE RIGHT TO CORRECT ANY MISPRINTS. STOCK SUBJECT TO AVAILABILITY. SOME STOCKS ARE LIMITED.



Inpress Issue #1216