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N O W AVA I L A B L E O N I PA D • W E D N E S DAY 6 J U N E 2 012 • I S S U E 12 2 7 • F R E E

”A brilliant re-entrance... glowing with unselfconscious charm.” 

  ++++ Rolling Stone

” Soul-baring honesty, razor-sharp songcraft and swooning pop hooks.” Noel Mengel, Courier Mail

” Full of brave songwriting and impressive new soundscapes.” Simon Collins, West Australian










U DO Thursday SOL 26th July


Sun 22nd Jul - The Corner TICKETS ON SALE NOW













with special guests

















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ISSUE 1227 W E D N E S D AY 6 J U N E 2 0 1 2

Wed 6. 7pm Footscray City Films 4-hour film festival Fri 8. 10pm - Echoes V10.0 experiments in dub Brookwise, Bryce Lawrence Matic, Mark Bauman & VJ Netzair


Sat 9. 10pm - ebb&flo deep, twisted, electronic dance Dean Millson, Lister Cooray, Nikko


& Jon Beta - Visuals by Netzair Sun 10. 10pm - NeeQ One Album Launch with DJ sets from J-Funk (The Game's Black Wall Street)& Shadyville's DJ Skillz Tue 12. 7pm - Read&Rights a book club with difference, discussing human rights issues as raised in a variety of literature 7pm (engine room) - TweetFilm talk through Bettlejuice, 140 characters at a time

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 16 360 takes stock of his runaway success 18 Ash Grunwald sees a revolution coming 20 Find out why Mat McHugh loves flying solo 20 Taking inspiration from the suburbs are New Estate 22 Slash on joining forces with a new bloke 24 Hot Chip are gonna soundtrack the table tennis at the coming Olympics… Seriously 24 Why Australia is like a big California with Train 24 Nylon strings and Mark Kozelek 26 The Vasco Era’s Sid O’Neil exposes himself in our Taste Test 26 From writing songs to marriage with Audego 26 Nadeah Miranda on French customs 27 Jackson Firebird make a ruckus 27 Kaiserdisco have performed some kind of mitosis to keep up with demand 27 Chasm’s dropped his third 28 On The Record rates new releases from The Temper Trap and Missy Higgins

FRONT ROW 30 Check out what’s happening This Week In Arts 30 Anthony Carew takes a look at Robert B Weide’s documentary on Woody Allen 30 Malthouse’s Circa and film The Cabin

The Blackeyed Susans (Trio)


(Saturday residency all of june)


The Susans return for their fourth annual winter residency to play five majestic gigs of countrified alt-rock. These are special shows; miss them at your own risk. 5pm

Group Managing Editor Andrew Mast Editor Shane O’Donohue Assistant Editor Bryget Chrisfield Editorial Assistant Samson McDougall Arts Coordinator Cassandra Fumi Staff Writer Michael Smith


Tess McKenna & the Shapiros

Mustered Courage Bluegrass instrumentation meets modern songwriting. Check ‘em out.



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BACK TO INPRESS 35 Gig Of The Week is a fundraiser for an Aussie punk 35 LIVE:Reviews check The Jezabels 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 Fragmented Frequencies is back with Bob Baker Fish 47 Pop culture therapy with The Breakdown 47 Hip hop with Intelligible Flow 47 The freshest in urban news with OG Flavas 47 Hyper Music trawls the net 46 Fill your dance card with our Club Guide 47 If you haven’t appeared in Fred Negro’s Pub, your mother probably still speaks to you 47 Jeff Jenkins gets down and local in Howzat! 48 Our Gig Guide fills your diary for the weekend 52 Gear and studio reviews in BTL 54 Find your new band and just about everything else in our classy Classifieds

This week we have five of the enormous Rage Silver Jubilee compilations, which each include two CDs and a DVD; plus, we have tickets to see Tehachapi and Planet Love Sound together at the Phoenix on Saturday, and Bonjah at the Corner this Friday.


SUNDAY 10 June

In I The Th Woods W d are reviewed i d 32 Simon Eales chats to Jamie Bell about National Interest, while London-based Liz Galinovic attends the press junket for Prometheus and ends up chatting to Ridley Scott 33 Rebecca Cook gets Cultural whilst Aleksia Barron finds out about The Motherfucker With The Hat at Red Stitch 34 Guy Davis gets cheeky in Trailer Trash 34 Paul Ransom finds out what the hype is around Chunky Move’s Keep Everything.



Tess McKenna and the magnificent Shapiros return for two nights of electric folk/rock & blues with pitchperfect harmonies — love that new guitarist. 9pm


ADVERTISING National Sales & Marketing Director Leigh Treweek National Sales Manager – Print Nick Lynagh Account Manager Cat Clarke Account Manager Frank Huynh

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Senior Contributors Jeff Jenkins Overseas Contributors Tom Hawking (US), James McGalliard (UK), Sasha Perera (UK). Writers Nick Argyriou, The Boomeister, Aleksia Barron, Atticus Bastow, Steve Bell, 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, Brendan Hitchens, Kate Kingsmill, Michael Magnusson, Baz

McAlister, Samson McDougall, Tony McMahon, , Luke Monks, Fred Negro, Mark Neilsen, Roger Nelson, Danielle O’Donohue, Matt O’Neill, James Parker, Josh Ramselaar, Paul Ransom, Antonios Sarhanis, Dylan Stewart, Izzy Tolhurst, Nic Toupee, Rob Townsend, Dominique Wall, Doug Wallen.


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


Stephanie Liew, Jan Wisniewski, Alexandra Sutherland


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. ©


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Renowned philanthropist Graeme Wood AM has become a major sponsor of The Falls Music & Arts Festival. Held over the New Year’s period, Falls takes place in both Marion Bay, Tasmania and Lorne, Victoria, and counts itself as a large contributor to the arts community of both areas, particularly Tasmania, as it is one of the leading festivals – music or otherwise – on the island state’s calendar. Last year’s event was headlined by Fleet Foxes, Arctic Monkeys and Missy Higgins. Announcing his contribution Wood, who made his fortune through the travel website, said that the festival “is a case study of the tangible economic impact that creative events, and cultural and ecotourism, can have for the Tasmanian economy. As a philanthropist and businessman, this inspirational combination of creative endeavour and sustainable economic return is something I’m very keen to support.” The news comes after doubts were raised over the future of the Tasmanian leg earlier this year, with promoters asking for a bigger slice of the Tasmanian government’s funding pie.

HEAVY RAIN FORCES TEMPER TRAP TO AXE REGIONAL QLD SHOW The Temper Trap’s headline slot at triple j’s One Night Stand concert in Dalby, southern Queensland, was cut after heavy rain caused front-of-house flooding and water damage to the stage monitors. The concert had attracted 15,000 punters with Stonefield and Matt Corby playing sets earlier in what a triple j press statement described as “a wet but fun day”. Twenty-five minutes into a set by hip hop star 360, the plug was pulled. The rapper finished his aborted set with the rhyme, “Mother Nature, I fuckin hate ya.” Station Manager Chris Scaddan explained, “Due to safety reasons 360’s set was postponed. After ten minutes it was clear the water wasn’t going to stop and the call was made by triple j and event production staff that the concert couldn’t continue safely.” The Temper Trap apologised to fans via triple j. “We were really disappointed when told we couldn’t go on stage... for safety reasons. We were advised the amount of water had made the site unsafe for the crowd, working personnel and the bands. The crowd at Dalby was awesome and we were amped to get out there and play. Thanks to everyone who came and we hope to see you at a show soon.”


Wally De Backer, better known as Gotye, left the Parkside Ballroom at the Sydney Convention & Exhibition Centre last week with the three most prized APRA Awards, picking up the peer-voted Song Of The Year, as well as the Songwriter Of The Year and Most Played Australian Work gongs. His smash hit, Somebody That I Used To Know, which remains at the top of the US charts this week, has won almost every accolade there is to win in Australia over the past year; topping the singles charts, winning ARIA Awards, taking the number one slot of the triple j Hottest 100 and picking up some serious coverage all across the world as well. Other winners on the night included Boy & Bear, who picked up the award for Breakthrough Songwriter of the Year, while Shane Nicholson (country), Busby Marou (blues and roots), The Potbelleez (dance), Birds Of Tokyo (rock) and Marvin Priest (urban) picked up the genre-specific awards. AC/DC and LMFAO won the overseas awards – Most Played Overseas and International Work of the Year. Performers at the ceremony, which was hosted by


Organiser Simon Daly told then, “It is the most rural festival in the country and it’s very costly to put on. Tasmania as an economy is really struggling, and our premise is to keep it affordable.” He added, “If our request meant the loss of a hospital bed or teaching job, then we’ll withdraw it. What we want to do is sit down with the Government and see what’s possible with how their current event spend is allocated.” With Wood’s announcement Daly said, “Major events have huge budgets, which is why they’re more commonly staged in larger markets. Tasmania is incredibly fortunate to have people like Graeme who understand the importance of supporting arts and cultural projects that are important to our community.” The 2012 events will see the tenth anniversary of the Tasmanian leg and the 20th of the Victorian. Daly added, “I’ve seen the difference the festivals have made to their communities, not just in economic terms, but just as importantly, the social and cultural impact, particularly in Tasmania. We created the festival in Marion Bay for Tasmanians, all Tasmanians. We’ve consciously made it the best value and most accessible festival in Australia and it’s rewarding to see such a broad mix of people, of all ages, connecting and having a great time together.” The festival claims that 40 to 50 per cent of attendees are from interstate, with 7,742 interstate punters making the trip last year and staying an average of 9.23 nights. The festival argues that it contributed $31.45 million in economic benefit to the state last year, including these visitors. Graeme Wood, whose personal wealth is believed to be in the hundreds of millions, is no stranger to philanthropic contribution to the arts, as he founded Artology, a non-profit organisation that looks to foster creativity in young people. He also provided funding for news site, The Global Mail, and gave the Greens $1.6 million for political TV ads, which is believed to be the largest political donation in Australia history. Jonathan Biggins and Missy Higgins, included Tina Arena with Tex Perkins performing Somebody That I Used To Know, Kate Miller-Heidke, who performed The Beards’ You Should Consider Having Sex With A Bearded Man, Bob Evans, who performed I Started A Joke by The Bee Gees, Kram performing Lanie Lane’s Oh Well, That’s What You Get For Falling In Love With A Cowboy, PVT performed The Real Thing with Russell Morris, Bertie Blackman, who performed Matt Corby’s Brother, and Sophia Brous, who performed Kimbra’s Cameo Lover, while awards were presented by special guests including Yusuf Islam, NSW Premier Barry O’Farrell, Felicity Urquhart and Philip Mortlock.


Josh Pyke has signed a worldwide publishing deal with Albert’s, with the iconic publishing division set to represent all of his new works from here on. In an announcement Friday afternoon, shortly after the deal was finalised, Albert’s said it was a continuation of their focus on “career songwriters”. Pyke has previously recorded in Albert’s Studios with producer Wayne Connolly and Michael Szumowski, Albert’s Head of Creative Development. He also attended the Albert’s Writing Camp recently, which saw him collaborate with fellow Albert’s-signed songwriter Megan Washington, among other locals. The announcement read, “Josh is one of Australia’s premier singer/songwriters. He is a modernday storyteller who’s unique and evocative use of both words and music places him in a league of his own.” Meanwhile, Melbourne’s Boy In A Box have signed to Four | Four records, an imprint of ABC Music. The band will release their new EP, On My Mind, Friday 6 July, with the first single – and title track – available Monday 4 June. They join Sydney’s The Rumjacks, who were the label’s first signing upon launch in February. ABC Music’s head Robert Patterson said of Boy In A Box, “They are an amazing live act and have a killer rock sound and energy that is truly captivating. We look forward to working with them in what is going to be an amazing career.” Sydney four-piece Sures have signed to Ivy League, the label has announced. Managed by Winterman & Goldstein, the suburban band play guitar-surf-pop that has been described as “blissed out”. They’ve already played the Laneway and Boogie festivals, as well as supported Best Coast and Wavves, despite the fact they’ve yet to release anything. Their debut EP, Stars, will be released late June, and will coincide with an east

coast (plus Adelaide) tour. The EP features current radio single, Poseidon. Following that they’ll head straight back into the studio to record their debut album.


Network Ten’s new late night news program, Ten Late News, will feature live music performances. TheMusic. revealed last week that bands, both international and local, will perform a track acoustically while also joining host Hamish Macdonald to commentate on the week’s news headlines. After the show was announced, the network refused to comment regarding the show’s format. Then, as the show changed its name from Ten Newsnight to Ten Late News, they seemed to back away from the variety/light-entertainment aspect. Last week, however, a spokesperson from Network Ten confirmed that live music will be a part of the show. “That will be a weekly segment,” they said of the live music aspect, “and not only will they be doing a live performance on set, but they’ll also be invited to have a chat about the news headlines and incorporate personality and opinion and social commentary in that way.” The show will be filmed out of the Sydney studios and they believe that will give them access to both local and international touring acts. “It is a news magazine program, so we will be giving the news headlines. We will be then focusing on stories of the day, we will have live in-depth interviews covering the stories of the day and the people that we have for live interviews will also be in the studio to chat to the artists, and vice-versa.” The show premiered Monday 4 June.


The problems surrounding urban music festival Supafest continued last week as organisers informed fans they will require another week to refund tickets from would-be patrons who seek them. A message posted on their Facebook page reads as follows: “We apologise for the time it is taking to pay the balance of the refunds. We are reconciling what tickets have and have not been scanned which is a timely process. We are seeking another additional week until Friday 8 June to finalise all refunds and hope that you can remain patient till then. THANK YOU.” Ticketholders were up in arms after two of the festival’s headline acts, P. Diddy and Missy Elliott, were withdrawn from the lineup just days before the festival was due to start. As a result the festival offered punters the opportunity to not attend the festival and receive a full refund. A message from the organisers on Saturday 12 May told the unused ticketholders that they would have to wait until Friday 1 June to receive their refunds, offering the exact same reasoning as they have today. TheMusic. left a message with the festival promoter asking for comment but are yet to receive a response.


Gotye remained atop America’s Billboard Hot 100 for the seventh week as Somebody That I Used To Know becomes the year’s longest-leading number one track. It passes fun.’s We Are Young, featuring Janelle Monae, which spent six weeks at the top earlier this year. It also means that the track, which features Kimbra, equals Eminem’s stint of seven weeks in 2010, which is the


Applications are now open for artists to perform at this year’s Peats Ridge Sustainable Music and Arts Festival over the New Year’s period. In order to apply to play, artists just need to jump onto the festival’s website and fill out the application form that is there. This, along with a recent CD/demo, needs to be submitted to the event organisers by Thursday 2 August.


Parklife promoters Fuzzy have announced dates for the 2012 edition, with a new venue announced for Sydney, Centennial Park. The festival, which specialises in electronic and crossover acts, will kick off late September in Brisbane. Fuzzy Director John Wall said of the venue move, “Parklife started its life deep inside Centennial Park and while Kippax lake has been a great venue for the last eight years, we’ve been itching to move back inside the Park for a while, so we’re very excited not only to be there but right next to the original Parklife 2000 venue. It’s a layout that hasn’t been used for a festival before and we think everyone will really love it.” Dates are as follows: Saturday 29 September, Riverstage and Botanic Gardens, Brisbane; Sunday 30, Centennial Park, Sydney; Monday 1 October, Wellington Square, Perth; Saturday 6, Sidney Myer Music Bowl and Kings Domain, Melbourne; and Sunday 7, Botanic Park, Botanic Gardens of Adelaide.



Funky Bunny for entertaining the unruly queuers for Prince’s ‘aftershow jam’ at Hi-Fi Bar last Wednesday night/Thursday morning. Highlight? Seinfeld theme.

RIP Dancing Man Of Kew and master of The Sprinkler. You made us wish for traffic congestion.


LUCKY BUCK The fact that Funky Bunny somehow ended up with a Prince VIP lanyard (evidence:

ROTTEN TO THE CORE Was that a Johnnny Rotten belch opening PiL’s new album? Of course it was and This Is PiL goes OFF!

music 10 • INPRESS

previous longest run at the top by a solo male artist. His track, Love The Way You Lie, also had a female guest, Rihanna. Kimbra’s had her own success this week, with her album, Vows, released in Australia September last year, debuting at 14 on the Billboard Album Chart. Her publicity company put out a press release prematurely, claiming the New Zealand-born singer had reached 13, before amending their statement as “early information received was incorrect”. Kimbra said, “It means a lot to have my album recognised in America at this level. It’s been an amazing experience to see it all come into fruition especially after the time, energy and effort it took to complete. I’m now really excited to be touring the US and sharing these songs with people one on one, it’s cathartic to have them transcend from being my experiences to now being someone else’s.” Mark Richardson, CEO of Kimbra’s management, Outpost, said, “This result reflects the effort and the undeniable quality of Kimbra, and the resources Outpost Management with WBR have committed to the Vows album. Kimbra has had such an amazing year with her success in Australia and New Zealand, the global success of Gotye’s single, Somebody That I Used to Know, and now with her debut release in the USA and Vows’ chart entry at # 14. This also highlights the talent we have in Australia and New Zealand and the impact these artists can have on the global music scene.” Elsewhere Sia has two singles in the US top 30 at the moment, with the Wild Ones single – a collab with Flo Rida – holding for a second week at number six, having peaked at five two weeks ago. Fellow Australian Havana Brown spends a ninth week in the Hot 100 with her single We Run The Night (featuring Pit Bull) bulleting from 65 to 56 this week. And as Kimbra celebrated debuting at 14 in the US album charts with Vows, the album also entered the Canadian charts, debuting at 24. Fellow NZ’er Ladyhawke also popped up at number 48 in Billboard’s Uncharted listing – it measures “developing” acts yet to appear on a major US chart.


ASHES TO ASHES Does Phoenix Public House really have to close? Seriously? Head to one of their closing week parties and cry with us at the bar.

LEAVING HOME “Australia’s sofa specialist“, Plush, for using Edward Sharpe & The Magnetic Zeroes’ Home in their mid-year sofa sale TV campaign.









Teaming up with the incredible Daniel Merriweather, Urthboy sidesteps peers while exhibiting his trademark sharp flow, songwriting talents and that knack for well-crafted hooks. Urthboy’s Naïve Bravado tour kicks off late August with The Last Kinection in support. You can catch them at the Evelyn on Friday 31 August.









One of the worlds’ most legendary and influential bands of all time The Beach Boys, will tour Australia this year as part of their 50th Anniversary tour with dates confirmed in Brisbane, Sydney, Melbourne, Adelaide and Perth. The 50th Anniversary tour marks the first time in more than two decades that original members Brian Wilson, Mike Love, Al Jardine, Bruce Johnston, and David Marks will tour together. Tickets go on sale nationally at 9am on Wednesday 13 June from Ticketek.



The local supports have been announced for the upcoming Ceremony dates. The Melbourne show happens on Saturday 30 June at the Bendigo Hotel (18+) and the line-up is ape shit. Joining Ceremony will be Extortion, Puerto Rico Flowers and Rort. Tickets from the venue, Oztix outlets and





Jonathan Boulet is excited to announce that he is packing up the van and taking his band on the road for an Australian headline tour in support of his brand new album, We Keep The Beat, Found The Sound, See The Need, Start The Heart out 8 June on Modular Recordings. Fresh from his incredible appearance at Vivid Live, the tour will be most fans’ first chance to see Boulet debut songs off the new album. He plays the Prince Bandroom on Friday 6 July. Get your tickets through Moshtix.














While the Federal Government urges Australians to get behind what is essentially an extension of the Intervention into the Northern Territory for the next ten years under a new title, Stronger Futures, a funk hip hop crew ironically called Whitehouse are urging their listeners to oppose what they view as more of the same government oppression on Australia’s first people. Whitehouse have been agitating for social change from the stage and from the studio since they originally crewed up in 2006, and in July 2012 they are taking their messages backed with funky bass lines and solid drum and guitar grooves to the wider community on their first East Coast tour. Catch them at the Laundry on Friday 13 July.





Saturday 9th June




(ALBUM LAUNCH) ANDRAS FOX Wednesday 13th June

Thursday 14th June


Friday 22nd June



Saturday 23rd June






Sunday 17th June


Tuesday 19th June

Thur 28th + Fri 29th June


Saturday 30th June





The lasting influence of incomparable singer/ songwriter Bob Dylan on music and popular culture is undeniable. This July, five of Australia’s finest performers will join together to pay tribute to Bob Dylan and celebrate 50 years since he released his debut album with a series of concerts around Australia. Eskimo Joe’s Kav Temperley, Josh Pyke, Jebidiah frontman Kevin Mitchell, Holly Throsby, and The Grates’ Patience Hodgson will select and sing their favourite Dylan numbers. The tour kicks off in Melbourne on Friday 6 July at the Palais. Tickets are on sale via Ticketmaster.


After blowing audiences away with his intimate performances in Melbourne and Sydney, Daniel Merriweather is announcing one last show at the Northcote Social Club due to overwhelming demand before heading back to New York where he is at work on his sophomore album. The encore performance takes place on Sunday 17 June.


Saturday 16th June



Sophie Koh’s highly anticipated third album Oh My Garden represents a sea-change for the Melbourne-based songwriter. It also features collaborations with Robin Waters (Boat People) and J Walker (Machine Translations). Working closely with producer Brad Wood (Liz Phair/ Smashing Pumpkins) and Ben Lee over four successive trips to Los Angeles, Sophie has stepped out from behind her guitar to explore new musical terrain. Sophie Koh will be launching Oh My Garden across the country when she performs at some of her favourite venues this July and August. She’ll play Friday 13 July at Northcote Social Club.

Thursday 7th June

Even and The Fauves are two names that loom large in Australian music. For nigh on 20 years these two bands of seasoned road warriors have blazed trails up and down this fine country. From every sweatdrenched band room to every parking lot bust up, Even and The Fauves have witnessed it all. Surprisingly, given the decades notched up between the two bands, these diggers have never toured together. They’ll play Friday 29 June at the Regal Ballroom.


Thursday 5th July


Friday 6th July




























































Pop icon Martika will tour Australia for the first ever time this September. During her decade-long reign at the top of the charts, she was responsible for the Prince-produced Australian #1 Love... Thy Will Be Done, US (and NZ) #1 Toy Soldiers and worldwide smash I Feel The Earth Move. Selling over five million albums throughout the late ‘80s and early ‘90s, Martika released a slew of chart hits. In the years since her early-‘90s heyday, she has maintained a loyal fan base, especially through the LGBT community where she remains a regular party favourite. Martika will play Friday 28 September at Trak Lounge Bar.


With details of their second album Coexist just announced, Mercury Music Prize winning UK artists The xx will return to Australian shores this July. Catch The xx perform at the Forum Theatre in Melbourne on Wednesday 18 July. Tickets for this intimate show are strictly limited and will be available via a ballot, which sadly closed yesterday. Winners will be notified at 9am AEST on Wednesday 6 June.




New York’s experimental dream-pop group, School Of Seven Bells are pleased to announce that they are returning to Australia for the Hi-Fi Shoreline Series. Ghostory is the third full-length album from the shoegaze-pop trio-turned-duo. With the new line-up comes an evolved sound and what just might be the band’s career-defining release. Having previously toured Australia twice before including a stellar performance at Splendour In The Grass, fans can expect to be enthralled in fuzzed-out, weirdo-pop goodness. They play Thursday 21 June at the Hi-Fi.

Rufus Waiwright is returning to our shores in September and he’s bringing his band. He plays Hamer Hall at the Arts Centre on Saturday 15 September. Tickets went on sale yesterday, so you’d be best to get your skates on.

After a sell out show at 920-year-old Konno Shrine in Tokyo, internationally acclaimed Benjamin Skepper returns to Melbourne to present a live and interactive sound exhibition marking the release of his selfproduced third solo album Inimitable. Skepper has presented performances at contemporary art galleries worldwide, produced music for Tokyo and Paris Fashion Weeks, taken stage at the Venice Carnivale, and undertaken an artist residency at the French Embassy in Tokyo. Now you can see him at the Toff In Town on Sunday 15 July. Tickets via Moshtix.


Due to popular demand The Black Seeds have announced a second show at the Corner Hotel on Tuesday 12 June after their first show on Friday 15 June sold out. Get your tickets from the venue.


In 2010 the RocKwiz team took to the road and played 35 shows in 19 venues across this wide brown land. A rotating cavalcade of stars surprised and delighted packed houses from Hobart to Darwin, from Perth to Byron Bay. Contestants from the audience demonstrated amazing rock knowledge and performed karaoke with the RocKwiz Orkestra. The critics raved… and so did the punters. In 2012 they’re doing it again and they can’t wait to come to a venue near you. The RocKwiz – Some Kind Of Genius tour will play Festival Hall on Friday 12 October. Tickets are on sale from 9am Thursday 14 June through Ticketmaster.


Just after releasing their fifth album Medicine Man (which just hit stores), The Bamboos have sold out their first Corner show. They will perform a second night at the Corner on Sunday 17 June. To avoid disappointment, get you tickets via the venue asap.


Drunk Mums will have the honour of joining Bunny Monroe, Boomgates and Blue Ruin on stage at the Reclink Community Cup this year at Elsternwick Park on Sunday 24 June after a bunch of highly impressive bands battled it out on Thursday 24 May at the Tote Hotel as part of the annual SYN Free Kick Competition. Drunk Mums are a four-piece formerly hailing from Cairns, who now call Melbourne their home, and their ‘70s garage-surf sounds are heavily influenced by Brian Jonestown Massacre, The Mummies, and Black Lips. 14 • INPRESS



Looking for love? Jinja Safari, Opossom and White Arrows get aquainted on the Blind Date tour. The three bands will get to know each other whilst blazing a trail across seven cities, including one very special under-18s show in Melbourne. Catch them on Friday 10 August at the Hi-Fi Bar and Saturday 11 at the same venue for the under-18s show.

SHAI AT RED BENNIES In 1992, the only a capella song to ever chart, reaching #2 on the US Billboard Charts was the worldwide smash hit If I Ever Fall In Love by the R&B collective Shai. The song went on to become one of the most popular songs of the ‘90s, and launched a successful career for the quartet. Now for the first time ever, Shai will be making their way down under for a series of intimate club shows across the East Coast. They’ll play Friday at Red Bennies.

JULIA STONE IN TOWN AND AROUND Julia Stone’s new album By The Horns, featuring the songs Let’s Forget All The Things That We Say and It’s All Okay, is out now. After selling out shows in London, Paris, Berlin, Amsterdam, LA, New York and Sydney, Stone will hit the road on an Australian launch tour throughout September. She’ll be playing Thursday 6 September at the Theatre Royal (Castlemaine), Friday 7 at the Forum Theatre, and Saturday 8 at Meeniyan Town Hall.

PARKLIFE DATES ANNOUNCED Clear the diary, save the date, tell everyone you know and get ready to party because Parklife, the touring festival for music heads and dancing feet, is bursting onto five inner-city green oases across Australia this September and October. The Melbourne event will take place on Saturday 6 October at the Sidney Myer Music Bowl and Kings Domain. Listen out for coming artist announcements.

BILLY TALENT TIME Billy Talent announced their arrival by crashing a Mack Truck full of complex riffs and fret-board wizardry into the lounge room of three-chord pop punk. Having skipped Australia on their last album tour due to a crushing schedule, the band wanted to make sure that we are one of the very first places that they visit on their upcoming world tour. Needless to say, expect a big big show! They hit town on Sunday 12 August for a show at Billboard.


After unleashing their monumental sounds to packed houses across the country last year, experimental metal outfit Russian Circles are back on our shores this September and are bringing Utah duo Eagle Twin along for the ride. Hailing from the windy city of Chicago, Russian Circles have been making their mark on the international underground since 2004. Starting with their self-titled, self-released debut EP, Russian Circles have gone onto critical acclaim by recording numerous singles and split releases, not to mention three full-length albums. Their latest offering Empros is their fourth and heaviest album to date. They play Friday 28 September at the Corner.


After almost ten years, Canada’s Rehab For Quitters have been synonymous with beer-swilling good times and good ol’ fashioned rock‘n’roll debauchery. With their unique brand of high-energy punk-encrusted rock and their slicked-back 1950s flair, they’ve rightfully earned this fist-pumping reputation. In 2010, RFQ toured extensively across North America, Europe and their first time to Australia, while 2011 gave the band a well deserved break from world domination to revamp their set list in preparation for their new record and their second trip down under. See RFQ at the Vineyard Thursday 14, Revolver and the Nash (Geelong) Friday 15, the Punk-A-Billy Fest Finale at the Barleycorn Hotel Saturday 16 and the Punk-A-Billy Fest recovery Show at Blue Tile Lounge Sunday 17 June.





Get down and hear Simone Felice perform songs from his wonderful self-titled debut album and favourites from his days in the Felice Brothers and the Duke & The King. He’ll be joined by Josh Ritter in solo acoustic mode on the night. It happens Wednesday July 11 at the Corner Hotel.


Lawrence Arabia will be presenting an album preview show for his new record The Sparrow. It’s happening at the Toff In Town on Wednesday 4 July. The Sparrow is Lawrence Arabia’s third solo album and is filled with wide, open pop songs set to Arabia’s charming turn of phrase. Showcasing the album in full, Arabia will be joined by his New Zealand band for their first Australian shows in three years.


Fijian-born musician Jay Hoad, who counts didgeridoo, Weissenborn lap steel, dulcimer, dulsitar, cigar box guitar, bass, harmonica, ocarina, djembe, percussion, loops and vocals among his many musical talents, is playing a two-set matinee show at the Northcote Social Club on Sunday 15 July. Doors will be from 2pm and tickets are available from the venue.



Gone are the golden days of the ‘50s, where form fitting polka-dot dresses and Elvis Presley reigned supreme. Fortunately, for fans of ‘50s fashion and rockabilly, Abbie Cardwell & Her Leading Men are bringing their unique, rootsy-rockabilly-twang to the Prince Of Wales Public Bar. Cardwell, who recently featured on The Voice, will perform complete a month-long residency at the Public Bar as part of it’s launch as a local live-music hot spot. Cardwell’s band, The Leading Men, feature her brother Jeb Cardwell on guitars, Ashley Davies on drums and Mike St Clare Miller on double bass. They’ll play Saturdays 9, 16, 23 and 30 June at 9.30pm in the Prince Of Wales Public Bar.



Mark Kozelek of the legendary Red House Painters and Sun Kil Moon returns to Australia on his Among The Leaves album tour. Among The Leaves is the fifth full-length album by Mark Kozelek under the Sun Kil Moon moniker and Australia is the first stop on his world tour. Unlike Red House Painters’ epic Rollercoaster, Among The Leaves displays a more raw and humorous side of Kozelek’s songwriting. He’ll play this Saturday at the Toff In Town and Monday at Phoenix Public House.


It’s been an whirlwind 12 months for Emma Louise with a raft of sold out shows and a list of accolades owed to her intoxicating voice and, of course, boundless coverage of her single Jungle. She now returns to home soil with a bout of intimate shows and her latest single Boy; the first taste of her forthcoming debut album due in early 2013. This year is all about making plans and eying the creation of her debut album. Taking all she has learnt in the last 12 months, Emma Louise is now remarkably assured and aptly inspired by the attitudes of the unconventional, the fearless, and the aesthetic of those unafraid to be themselves at whatever cost. She plays the Northcote Social Club on Friday 29 June with special guest Argentina.

Melbourne rock maestros Kingswood, Money For Rope and Damn Terran will combine forces to create the ultimate three-headed assault machine, aptly embarking on a tour called This Epic Tour. With all three bands basking in the success of their latest single releases, the shows, which will kick off with a massive one-two attack at Workers Club on Thursday 28 And Friday 29 June (tickets are selling fast), will be nothing short of explosive. Kingswood’s debut single Yeah Go Die is currently riding high at national radio and their new EP Change Of Heart promises to continue the momentum. Likewise for Money For Rope’s latest single Ten Times and Damn Terran’s first single Rebels off their upcoming album making their mark on listeners around the country.

SECOND YELLOWCARD HI-FI SHOW Following unprecedented demand from Yellowcard loving Melburnians, the band’s first show at the Hi-Fi is sold out. Luckily for fans, the band have announced a second show on Thursday 20 September at the same venue for those who missed out.


Secondhand Heart return with their first single since launching their debut EP in August 2011 and there is already a buzz beginning. Likened to early Big Scary and Sarah Blasko with their more dynamic tracks lending to Anna Calvi’s rock chic prowess, Secondhand Heart have been applauded by the biz for their musicianship. They’ve performed with fellow Melbournites Ainslie Wills, Kikuyu, Nicholas Roy, Private Life and established acts Hunting Grounds, Holly Throsby and Kate Miller-Heidke. Catch Secondhand Heart at the following support slots: This Monday at the Toff with Nadeah, Thursday 21 June at John Curtin with Whitaker and Friday 6 July at the Workers Club with Them Swoops and The Art Of Sleeping.

Sures are a four-piece from the suburbs of Sydney who play blissed out guitar-based surf pop. Fuzzy around the edges but melodic to the core, Sures have been making waves at home and abroad as a band to watch. Without a release to their name, they were chosen to support acclaimed international artists Best Coast, Real Estate and Wavves and were invited to play both Laneway Festival and Boogie Fest. In between playing all these live shows, the band found time to finish their debut EP Stars, which includes the single of the same name and radio favourite Poseidon. Catch Sures at the Northcote Social Club on Thursday 5 July.

ANTEBELLUM OWN THE NIGHT Multi-Platinum group Lady Antebellum announced that their Own The Night 2012 World Tour will roll into Australia this September. Tickets will go on sale at 9am on Friday 15 June with pre-sale tickets available from Tuesday 12. These will be Lady Antebellum’s very first headline shows in Australia, having last toured as special guests for Keith Urban in 2011 where their outstanding performances received standing ovations after each show – a rarity for an opening act. They play Tuesday 25 September at the Palais Theatre. Head to for all ticketing details.

HAYDEN CALNIN SHOWS Having recently finished touring with Gossling on her Intentional Living tour, Hayden Calnin jumps straight back into it opening Matt Corby’s sold out Forum shows (including tonight) as well as supporting Beautiful Girls front man Mat McHugh at the Corner this Thursday. In the lead up to his soon to be released debut EP City, Calnin will also be doing a Monday night residency at the Toff throughout July with Melbourne act Manor on support. At only 22, Calnin has begun to build a following for himself after garnering the attention of triple j and its listeners with comparisons to international acts such as Bon Iver and James Blake. His debut track Summer showcases mesmerising a capella vocals partnered with looping and layering techniques, creating a distinct sound exemplary of the honest and raw performance Hayden Calnin delivers.

DEEP SEA ARCADE OUTLANDS TOUR Deep Sea Arcade kick off their Outlands album tour this Friday night in Newcastle before heading across the country with special guests The Cairos and Woe & Flutter in tow. Their first Melbourne show at the Phoenix Public House has sold out, so the band have announced a second Melbourne date at the same venue on Sunday night. They’re also playing the Karova Lounge (Ballarat) on Saturday.



Australian rapper Matt Cowley, better known to his fans as 360, has gone from battling MCs and doing guest spots for his buddies to being the biggest solo rhymer in the country in a few short years. He tries to work out how it all went right with Chris Yates.


t feels great man – it feels kinda surreal and nothing is really sinking in. Just trying to keep going, keep making music and keep the ball rolling.” Matt Cowley’s talking about selling out and adding extra dates to yet another Australian tour that has surpassed everyone’s expectation, from the promoters and bookers of the tour to the man himself. It seems no matter how high the expectations, 360 just keeps topping them. Much debate has already been undertaken about why 360 is the guy who has broken through. Any argument consists of the idea that he is good with social media – and sure, he has nearly as many fans on Facebook as the veritable legends of the game, Hilltop Hoods and Bliss N Eso – but the support for his shows and his massive singles Boys Like You and Child prove that his success is not limited to the online world. There’s an undeniable point of difference between 360 and so much of the other Australian hip hop material going around, and this is linked to his internet presence, but it goes much further. So much of his material is a window into his own life and history – he takes a fairly traditional approach to songwriting from a pop music point of view, but it’s something you don’t see enough in Australian hip hop, with so much material either deeply political, or just stories about getting pissed.

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“I just go for it,” is his very simple reply when asked whether he ever worries about putting too much of himself into his lyrics. “I think over the years I’ve just really developed that mentality to just go for it. People are either gonna like it or they’re gonna hate it, but if you’re just yourself then there’s nothing else you can do. I love funny stuff and taking the piss and all of that, you know. I feel that there’s not a lot of humour in Australian music in general these days. I guess no one’s really had the balls to do it, or even just thought to do it so far. “My favourite stuff that I write is always the personal shit. So I reckon that’s what people like the most as well, when they can really relate to something like that. That’s always my favourite stuff to write about, any kind of personal experience that I go through – I give it my all and then people get to know some of my personality through my music. I know with some of the stuff that I’ve put out there, I’ve always been questioning if I should even put it out or if I was giving a bit too much away. But I think at the end of the day I look up to artists who are brutally honest – artists who are just being honest with themselves about their music.”

The criticism aimed at 360 from the elder statesmen of the Australian hip hop community has been pretty intense, and really hasn’t been helped by him dropping the occasional diss track in their direction. He even refrains from calling what he does ‘hip hop’ these days, preferring to label it as ‘pop music’, saying it’s because he references a lot of different styles in his music, and that it’s extremely popular. There’s even a feeling in the hip hop community that regardless of what he calls himself, the public and promoters and the industry see him as hip hop, and so he is somehow filling the hip hop quota on festival bills that should go to more deserving artists. He says it’s not like people are just saying this shit behind his back. “Yeah I hear it all the time man, everywhere,” he says seriously. “When I was making the album I was battling demons in my head for ages, like, ‘The older heads in hip hop aren’t gonna like this shit,’ but at the end of the day, I’m doing what I wanted to do and that’s make music that I love. I mean, I guess it is pop – pop just means popular – and it’s just like incorporating all the stuff that I listen to and just putting it into my music as well. I think it’s important to do it and I mean I don’t know how long the Australian scene can keep going making music that sounds early-‘90s and shit. I guess for a lot of the older dudes they came up listening to hip hop from the late-‘80s. They feel like they were involved in the hip hop scene from when it started out. I sort of came up listening to Eminem and shit like that. That was one of my biggest influences and I guess it wouldn’t be for them, you know what I mean? Of course the music’s gonna change. Dudes in five years are gonna come out who have only been listening to Lil Wayne and Soulja Boy and shit like that. You can’t really hate on it, it’s just a sign of the times. “People have gotta make different music,” he continues. “You can’t enforce your idea of what real hip hop is onto other people – it’s always gonna be different and it’s all about personal perspective, how you think real hip hop should be made. I don’t think real hip hop should be old, early-‘90s stuff, I think that’s dated. If I wanna hear old, early-‘90s stuff I’ll listen to old early‘90s stuff. I don’t wanna listen to someone else trying to make that – it’s 2012, you know what I mean?” For all the criticism, there’s some pretty compelling arguments to be made about what 360 is bringing to the game, even if it’s via some means that the old heads would consider unconventional. For one, he turned the idea of a rap cypher, with dudes taking turns in a circle dropping raps, into a YouTube phenomenon known as Rapper Tag. “I saw something similar in the States where this dude made a beat and filmed himself making it, and then at the end he called out a rapper,” he says of where he got the inspiration to start Rapper Tag. “It’s a similar idea – when I saw it I was like, ‘Fuck, I wanna do something

like that.’ But I wanted to do it as, like, a rap cypher on the internet. I hit up a few dudes to see if they would be up for it and when I found out that they were I got the ball rolling. It’s sick to see how many dudes have jumped in. There’s so many branch offs – there’s a UK Rapper Tag now too, a guy called Maestro started it. There’s also Arab Rapper Tag and all these different things have started now. There’s a Producer Tag, there’s a graffiti writer one where they do a piece and then tag someone in it. It’s just sick. It’s opened up a lot of doors for people to get a lot of new fans. If someone gets tagged in, suddenly a lot of people are hearing their shit because of it, so it’s worked out really good.” He chose carefully when thinking about the best Australian MC to take the challenge and do something special with it before passing on the baton. “I spoke to Urthboy beforehand and he was keen and I knew a bunch of other dudes that were keen as well,” he says. “I went straight to him because I thought he’d be perfect to set it off and he’s got a bit of a following and stuff. He’s a dude that people really take notice of and he’s got a lot of influence in the Australian scene so I thought he would be a good person to go second.” Another artist who 360 holds in high regard is accomplice Seth Sentry, who also chooses to write about life experience more than he does the clichés of the hip hop world. “We’ve been mates for so long, I think I’ve known him for about eight years,” he says of his relationship with Sentry. “I first met him through Pez because I was friends with Pez and he’d been making some music with him. Over the years we’ve kept in close contact and we’ve done a couple of tours and stuff like that. We’re just good mates. When I was doing a mixtape I just hit him up and he was keen to do something. I’ve been telling him to get a record together for ages and I think he’s on top of that now.” Also on the way is new music from 360’s other long-time cohort Pez, on which 360 will be appearing in one way or another. Whatever happens with his future, 360 is clearly very happy with his present. Having recently become engaged and kicking the booze, which he says has caused him a lot of unhappiness, he seems to be making some pretty serious lifechanges for his future wellbeing. “A year or two ago I would never have thought I would be where I’m at now, in life in general and in a relationship like this. I’m stoked as. I’m over the fucking moon!” WHO: 360 WHEN & WHERE: Thursday 14 and Friday 15 June, The Hi-Fi; Saturday 16, Pier Live, Frankston


At time of writing 360 has over 310,000 Facebook fans. An average post of, let’s say, a photo of him sitting on a toilet backwards (performing a “Reverse Kanga”) will clock a couple of thousand likes in minutes. There’s trolls amongst them of course, and any simple posting will usually turn into a vitriolic shitfight of homophobic taunts and arguments between the fans and the haters themselves. He barely interacts at all anymore past the initial post, but thanks to the wonders of Facebook Timeline it’s now possible to trace his history back a mere three years to when he joined Facebook himself and responded to basically every post that went up there. A scroll through the Timeline and you can see his fanbase exponentially grow with every accomplishment, until he appears with Pez on The Festival Song! and shit starts going ballistic. Fans got to laugh and grimace along with the rapper when he had a go-kart accident and (allegedly) needed surgery for a ruptured scrotum. They’ve listened to his war stories from partying too hard on tour to becoming a sober teetotaller. They’ve congratulated him on his engagement to girlfriend Crystal and cheered him on and given his videos a ‘thumbs up’ on YouTube when he’s been battling his arch nemesis, Sydney’s Kerser. His openness and honesty on the site is one of the things that has helped fans connect with him as a person, which is important when you rap about stuff that people need to have a personal connection with in order to relate. “I reckon it’s important to show it all and put it out there,” he says about his Facebook profile, and this philosophy he also extends to the endless stream of new material he constantly leaks onto the net. “You can be real anal and stuff about what you want to put out there, but I just love doing, like, the joke songs even – just stupid songs that don’t make a lot of sense. If it’s fun or it’s funny I just put it out.”

Maggie Gerrand presents


“A charismatic harismattic comic at his best” b The Guardian


In his new show




“Henry is the master of funk as well as fun”




KNOCK KNOCK With a new album set loose into the ether, Ash Grunwald tells Daniel Cribb he foresees a musical revolution just over the horizon, which couldn’t come any sooner for his credit cards.




sh Grunwald’s latest album may be called Trouble’s Door, but that’s far from the one it’s opened for him. Since its release, where it surfaced at number seven on the iTunes charts, Grunwald has had more airplay than ever before – the first track, Longtime, on high triple j rotation. What makes the success of his sixth studio album all the sweeter is the freedom associated with it and the confirmation that his fan base is stronger than ever. Having a home studio is almost standard protocol for musicians these days, saving artists thousands of dollars. Jumping onboard that bandwagon after the release of 2010’s Hot Mama Vibes Grunwald finds himself with a new level of independence. “A guy contacted me from America, he almost got me on a Ben Stiller movie and a few other things, and said ‘This TV show needs a Woody Guthrie cover’. I had people over and we were chilling out and I was like ‘Cool, I’ll just have some tea’ and I went down [to the studio] afterwards and we still partied and had a few drinks, but I recorded and mixed down a song while I was doing that and had it to him by the morning. I saw an email in the morning saying ‘Don’t worry, we’ve already got someone’,” Grunwald laughs. “But I thought ‘Oh well, the process was great because now he knows that I can turn something around straight away’.” The release of Trouble’s Door is the key to a new resource with which to fuel his livelihood – the fans. And by getting fans involved in the release of his latest album, he’s taken that freedom created by home studios to a new level. Launching a Music Pledge campaign, in which fans can contribute funds towards the album, in the final stages of its production, meant his credit card bills weren’t pages long this time ‘round. With that said, it’s far from a one-way street. When someone makes a pledge they receive a reward, ranging from a digital download of the album to a Skype guitar lesson or surf with Grunwald. “I’ve started doing my pledge things. I’ve sent out everything and I gave a few people calls on their birthday the other day. It was pretty strange because it was a bit like ‘Yep. How’s the weather there?’, and they’re like ‘Yeah, good... Okay, catchya later’,” he laughs. “I’m still learning. It’s all new things and this is what excites me. You know, the music industry is formed by a lot of tradition really. There are always people who did this and that before you. [Music Pledge] is a little bit like dub step music. It defiantly has its influences and its predecessors, but it sounds like radically new music. I get excited about things that haven’t been done before. To me, that gets me pretty stoked. There are things happening all around us. It seems like the rate of change is speeding up and I love it.” Ten percent of post target funds raised were directed towards the Lock The Gate campaign, whose mission is to hold the governments accountable for decisions made in regards to the environment – so that future generations are able to live their lives within a clean and healthy Australia. Themes of this temperament surface through the lyrical content on his new album. “I had some stuff percolating in my head for a long time that was a bit too apprehensive to write about,” he shares. “There’s a lot of pondering. Without wanting to sound too simplistic, one of the inherent problems in our system is that it’s geared as if the only important thing is capitalism. It seems to come unstuck, a lot of our environmental issues. It seems like any issue we come up with, like the coals and gas mining is one, it seems to be trading dollars verses our future. And you know, I’m not dogmatic about it either – I never have been. We’ve got to live and we’ve got to have energy, but that seems to me to be pretty ridiculous, the nature that it could change our water table forever. There’s nothing more important than your water. It’s scary, that’s why there’s the Lock The Gate campaign.




The musical change seems to be both internal and external, as Grunwald looks at the future prospects of his career. “Sadly, I can foresee the death of the album. I do love the album as a format, but I can see something else which is cool anyway – putting out songs on a song-by-song basis. It could be very musical and artistic in a way that you probably will start putting out more songs more regularly and worrying about each individual song less. So you really go with it and it might be a radically different sound for you, but you just put it out there and if it doesn’t stick, you just don’t give it a second thought and you move on. I can see negatives to that, with people not achieving their full potential. It becomes a bit more of a throw-away thing. But I can see a lot of positives in it. It’s going to be interesting... we really don’t know what’s going to happen in the future and I really love that.” WHO: Ash Grunwald WHAT: Trouble’s Door (Shock) WHEN & WHERE: Saturday 9 June, The Corner Hotel; Sunday 10, The Westernport Hotel, San Remo;


“I was originally going to write a blues album and I went around to a friend’s place, they were away, and I set up my gear there and I wrote nine original songs in one night. It’s interesting when I say they’re personal, it’s just what was going around in my head. A lot of it comes out sounding political. I think the album is pretty honest. I’ve often refrained from comment on certain things because I don’t want to get too political, I don’t want to get too anti-this or anti-that, or consider myself to be the party guy... I think I got to a time in my life and an age where I feel settled and comfortable and don’t really care very much about offending people. The irony of that is you do an album and probably find that you are offending very few people and that most people would probably agree with what is said on it. For me, that is a shift – to just put it out there and not worry about it,” he explains.








IN THE NAME OF THE FATHER After a decade travelling the world with The Beautiful Girls, Mat McHugh is now flying solo – well, some of the time – and giving away his new album. He tells Michael Smith why.


hen he takes our call, Mat McHugh is sitting at an Italian restaurant in Sao Paolo, Brazil, midway through a tour with The Beautiful Girls, sponsored by an airline. So, it seems, despite the suggestions, on the release of his second solo album, Love Come Save Me, to the contrary, The Beautiful Girls continue to be a going concern. “Well,” McHugh begins, cautiously, “it kind of is, you know, but I don’t know for how much longer. I dunno, it’s like a brand – and I hate using the word ‘brand’ but that’s the reality of the situation – it’s a brand I’ve been putting my music out under for a long time, for a decade. And a lot of work’s gone into it, so it’s kind of at a certain level that’s very hard to walk away from because that pays my rent, and at the same time I’m trying to leverage it and get my own name out there and kind of transfer it over, which is basically exactly the same thing, just a different set of letters on the front cover. So there are Beautiful Girls shows happening but the future, as they say in the movies, is uncertain.” At last count, the entirely independent Beautiful Girls had sold more than 285,000 albums, their last album, 2010’s Spooks, achieving #1 in the Australian Independent Chart and a respectable #18 in the ARIA mainstream Album Chart. “It was weird, you know,” he ponders. “The album before, [2007’s] Ziggurats, probably had more of a profile because we had a song [I Thought About You] that got commercial airplay, which was a first for the band, and I kind of wanted to react against that with Spooks and get a bit more dubby and weird, but it still did really good, you know? Probably like, I think by virtue of being around so long and grinding away at building a fanbase – each subsequent release the fanbase got bigger – so it came out and it ticked all the boxes as far as getting on the top of the independent charts and all that kind of stuff. I mean it wasn’t this huge, surprising revelation – it was more kind of a validation of a long time of work, I guess.”

Spooks also managed to make it to #7 in the US Billboard Reggae Chart, prompting yet another and even more successful tour of the US. “We’d just been touring America relentlessly for like eight years as a band, and as a band meaning that, you know, I would get an offer of a tour and then have to figure out in my head whether I can afford to pay the band, which is what I do, and have them come on the road. And we pull decent numbers in America now but it still costs money. We got to the end of this tour and what had happened was I had my appendix taken out and I had to cancel the last seven shows – I basically got rushed off stage and went straight to hospital and got the appendix ripped out – and there was just this point where I was like, ‘Right, that’s it, we’re not coming to America anymore. I can’t spend any more money here. Regardless, a thousand people turn up at a show, I just can’t do it. I’m away from home, this that and the other, it’s done – I’m done coming here.’ And then, literally got home after all that and got this offer to come back to America and play with John Butler. But I said, ‘Look, we don’t want to do it as The Beautiful Girls, but I’ll do it solo.’ I don’t even know why I said that ‘cause I’d never done any solo touring before with just literally me on stage, and he said, ‘Yeah’.”

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And it was that tour that finally convinced McHugh that he could do it on his own. Even when he took his previous solo album, Seperatista!, out on the road, he’d done it with a band. His only previous solo performing experience had been busking in the streets of New York years back in the day, but opening for John Butler before significantly bigger crowds was a new experience. Though, as he says, “I fell in love with it,” and the process of writing the songs that would end up on Love Come Save Me began.

“I came back from that and I was like, ‘Man, you know what?’ The reaction from the shows and how I personally felt about them was just on a different level than I’d felt about music for a long time. It took me back to when I had started writing these songs and playing and, yeah, just made me think I’m going to do this record. I had a bunch of events kind of happen, you know, like my partner and I got pregnant and we had a baby in this whole period following up after that, so it was this whole crazy shift of everything, like every kind of reality that I had moved a little bit. “That was definitely the start of it and then I started writing songs based on that, and then they continued being written based around the fact that I had a pregnant partner and I’d be playing acoustic songs around the house and singing to her ever-expanding belly. And then I had a baby

and I was playing more kind of peaceful quiet songs around him, and then it all was wrapped up in the idea that now I have someone where I have a legacy, you know? So I want to make him something that’s my name - something my son can say, ‘Look what my dad did.’ “And I wanted to start it off and give it away, you know, and just share and put love out into the world. I really want to leave behind something worthwhile on the planet, if it’s only just for him. Giving the music away is just a way of me kind of really giving back to music, ‘cause it’s given me so much.” WHO: Mat McHugh WHAT: Love Come Save Me (Independent) WHEN & WHERE: Thursday 7 June, Corner

REAL ESTATE New Estate’s fourth album Recovery could be considered a definition of suburban Melbourne DIY garage music. Samson McDougall talks to the band’s Mia Schoen (and gets a brief comment from bassist Toby Dutton) about keeping shit real in a crazy world.


here’s a bend on the Tullamarine Freeway where a suburb has popped up on the adjacent hill in the last couple of years. No big deal, you say, Melbourne’s urban spread is happening so fast it’s bloody difficult to get a handle on the scale of it. But this place is different. This place sits on a topographical rarity of the area – a hill. It’s an ugly place. McMansions jut from the hillside like warts, the barren land sulks in dull browns and there’s nary a tree been planted. The cover artwork of New Estate’s latest, and fourth, album Recovery carries an image, a painting to be specific, of new estate Gowanbrae, Victoria, 3043. This is the suburb mentioned above. But there’s trickery at play here. New Estate keyboardist/guitarist/singer Mia Schoen created the work and, in doing so, injected beauty that is otherwise unapparent from the freeway. It may be something to do with the composition – the clouds drifting lazily above the landscape – or the soft colours she’s used. Whatever it is, Gowanbrae is instantly recognisable but also strangely different. “You can see it from the Tullamarine, it’s about ten minutes away from where we rehearse, my house,” says Schoen. “I’ve been studying that area for a long time now since I moved to that house back in 2004. I’m really drawn to the new estate as a subject ‘cause it’s kind of like a site of change. So I’ve been documenting this change. It’s a new estate called Gowanbrae, which is unusual in a sense ‘cause it’s like an island. You’ve got the new estate here, then you’ve got the Tullamarine Freeway, then you’ve got the goods/service train line there and the Moonee Ponds Creek, so there’s only one road in and one road out and it’s only by car. They’re this little isolated new estate in quite a built-up area. “A lot of the paintings I’ve been doing over the last few years have been of that place ‘cause I’ve managed to see the change. When I first arrived in the area it was just a bald hill, there was nothing else there and now it’s covered in houses – the classic McMansions.” 20 • INPRESS

“It could be a metaphor for our music as well,” adds bassist Toby Dutton, “building up and forever changing [laughs].” Recovery could be described in a similar way to its artwork. Though the 13 songs read as unmistakably New Estate, there is a boldness of sound that is a little exotic in terms of their signature. All the trademarks are there - it’s scraggy pop with heavy Flying Nun references - but the mood is somehow lighter. It’s a big record and, as Schoen explains, they took their sweet time over it. “We really tried to treat each song as its own entity,” she says. “We really weren’t going for this consistency where everything had this coherent, consistent sound. From the outset, we decided we were going to record it and treat each song as its own little world. “So we’d record a couple of songs in a day and sit around and listen back – this is with the speakers outside, and we’d have a couple of beers – and people would suggest how they could be mixed. Then the next week we’d meet up again and repeat the process with different songs. So each song had its own thing; we wanted to treat each song separately.” The band jammed out the songs, recording as they went, for a period of two years to create the record. Schoen turned her hand to recording/mixing software GarageBand and they ended up recording and mixing the entire album at Schoen’s Broadmeadows house during that time. “We’ve recorded in studios before and you always have this pressure, like, time is money,” Schoen continues. “So you always have this thing, like, ‘We can’t actually afford to be here messing around with things, we actually have to make decisions and do everything now.’ When we’re recording it ourselves it’s total luxury. The process is just as much about discussing and trying out ideas as it is about getting it down and getting the product out there. “I had a bit of recording experience. The first New Estate album, Considering, I recorded on an eight-track reel-to-reel which I borrowed from

my friend but the results were pretty muddy. Now we have this amazing technology, you can’t really go wrong. As long as those levels aren’t peaking, you get a really great, clear sound.” Once finished, the band printed up 100 promo copies of the album to be forwarded to labels in the hope of securing a release deal. Little did they know, the question of who would release the album would be answered very close to home. Schoen explains that, though they’ve been friends for years, she was as surprised as anybody that Guy Blackman wanted the album for his label Chapter Music. “Before I sent any albums, I said [to Blackman], ‘We’ve just done this album, do you want to hear it?’ And he said, ‘Yeah, yeah, send it to me’. A week later he called me and said, ‘I’ll put it out’. I was genuinely shocked that he liked it... It’s a poppier kind of album and more aligned with his taste, I guess. “New Estate being released on Chapter is a nice return to the label [Schoen has a long relationship with Chapter and has played in bands with Blackman over the years], but I honestly don’t think Guy really liked any of our

previous albums... He’s been in different phases of musical interests and he’s recently returning to bands that are sort of more poppy, scrappy and real sounding.” It’s this ‘realness’ that shines in Recovery. New Estate have done much more than release another awesome Melbourne ‘indie’ pop record; they’ve managed to carry their collective identity through their sound, their artwork - the whole package. “We are kind of what a new estate isn’t in a way,” offers Schoen. “Often they’re built on tracts of land that are on the outskirts of town, they can only be accessed by car, they have no facilities ‘cause that’s an afterthought. The houses are getting bigger and bigger, the cars are getting bigger and bigger, the TV screens are getting bigger and bigger, it’s all about this denial of reality in a way, whereas New Estate is real [laughs]. We’re real people doing real things.” WHO: New Estate WHAT: Recovery (Chapter Music) WHEN & WHERE: Sunday 10 June, Northcote Social Club

Live Nation & Modular present

FRIDAY JULY 6 THE PRINCE tickets: 1800 438 849 NEW ALBUM OUT JUNE 8 featuring trounce and this song is called ragged | | INPRESS â&#x20AC;˘ 21

STILL HUNGRY After enlisting a star-studded cast for his previous solo record, Slash focused on working with one singer on new disc Apocalyptic Love. Brendan Crabb gets in the bunker with rock’s legendary axeman.


few days after making a guest appearance during Alter Bridge’s set at the Sydney leg of the Soundwave Festival, Slash is finalising the Apocalyptic Love mixes, as well as beginning a day of promotion for the new album. While fielding questions about the status of supergroup Velvet Revolver, he quickly remarks that they’ve been on hiatus for some time and little more. When quizzed about Guns N’ Roses’ then upcoming induction into the Rock And Roll Hall of Fame, he’s initially amicable, then jovial on the topic. When pried too much for his liking about whether he’s spoken to fellow former Gunners members about it though, it’s a polite, but firm case of, “I don’t want to talk about that anymore” and a quick change of subject. However, the top hat-donning guitarist is infinitely more enthusiastic whilst discussing Apocalyptic Love. He grins when it’s suggested that it sounds more like a fully-fledged band effort than its predecessor. His 2010 self-titled album featured numerous guest vocalists (Ozzy Osbourne, Fergie, Lemmy and Chris Cornell among them) and appearances from several former Guns N’ Roses members. Apocalyptic Love’s vocals and lyrics are solely handled by Alter Bridge’s Myles Kennedy, who also appeared on Slash. Did he feel the band vibe was something vital missing from Slash? “No, just as a rock‘n’roll kinda thing, the unity of an actual group is something that I pretty much strive for,” he explains. “But when I was doing the first record, which sounds great to me, it wasn’t put together that way because of the amount of people involved and just the way that it worked out. But the guys that I worked with, we still played together sort of in a band environment when I was doing that record. But this has got a little bit more of a synergy with the other guys. We’ve been playing together on the road for the last year-and-a-half and the songs were performed live in the studio, as opposed to pieced together, the way that a lot of people do records these days.” There is obvious songwriting chemistry between Slash and Kennedy – something the former says he felt immediately.


“That’s happened right from the very first rehearsal and then the ensuing shows. I started thinking this would be a good band to do a record with. It seems like everybody knew who Myles was but me,” he says when asked about his history with the vocalist/guitarist. “Matt Sorum [ex-Guns N’ Roses, Velvet Revolver] had reached out to him a couple of times over a long period with Velvet Revolver, but I didn’t know who he was until roughly around 2009. I reached out to him, because I knew of his reputation and I needed somebody to sing a couple of songs on the record. I’d finished the rest of it; I had two songs left over and I couldn’t think who should sing these two songs. I think a lot of it had to do with the fact that Zeppelin had called him in to replace Robert Plant at one point. So I thought, ‘This guy’s gotta be good!” he laughs. “I flew him into LA and we met for the session for a song called Starlight that was on my record. And that’s where we started.” It’s remarked that it must be easier to write with just one singer in mind. “Yeah, well, that’s the way I’ve been doing it for years,” he laughs. “I just did one record where I used a lot of different vocalists, which was a lot of fun, but it wasn’t a career move, it was just a project that I did.” It’s asked whether he envisions attempting the multiple vocalists’ schtick again. “No, that was just sort of a one-off. I might do something like that down the line at some point, but right now I’m just concentrating on this record, this tour and I would think that it would probably be if I was going to do another record after this tour was over I would do it with the same guys (known as Myles Kennedy & The Conspirators). That kind of chemistry just doesn’t happen all the time… You can’t take it for granted when it happens. We all work really well together and there’s a sort of spark there.” Touring is what Slash seems most enthused about; he lights up at the mere suggestion of returning to the road, with a return to our shores in August. While other acts have to focus more on the touring side to make a living due to free-falling record sales, the veteran guitar-slinger is in the enviable position of being able to largely work according to his schedule.

“Because I’m sort of my own record company and I’m more or less in control of my own destiny, really the only criteria for songwriting is just write something that’s good. It’s not necessarily focused on singles. But you know, there are people I work with that go, ‘Well, this would probably make a good single,’ and I’m like, ‘Okay, whatever’,” he laughs. The era of artists selling millions of copies of debut albums a la Guns’ 1987 classic Appetite For Destruction is largely no more. What does he think of where the industry is headed? “It is what it is,” the guitarist ponders. “There are certain aspects of it that I think are more or less progressive and sort of a natural par for course. And there are some aspects of it that I don’t agree with. But I don’t preach about it very much, I just figure out my own route to follow, and sort of navigate the terrain. It’s definitely a different time. I talk to a handful of young artists over time, here and there about it. Because they ask me,’What’s the best way to do it?’ The model that I used when I first started is non-existent, pretty much, now. So now it’s sort of like the Wild West, you’ve gotta just go out and make it up. There’s no tried-and-true method anymore… There’s a lot of great resources.

But there’s no guarantee that any of them will work, you know?” he laughs. “So you just have to sort of pick your own path and try and make the best of it. “There’s not a lot of artist development, like what I was familiar with, throughout the whole industry. It’s very few and far between, but there are people in the industry who really care about music for music’s sake, and are there to try and help. But you know, the business at large, it’s hard to really trust that, wait for that to happen,” he laughs. “But fortunately there are some people out there that really care about developing a band and going out and looking to see who’s around or what talent is out there. So it’s not non-existent, it’s just limited compared to how it was when I was first coming up.” WHO: Slash feat. Myles Kennedy & The Conspirators WHAT: Apocalyptic Love (Dik Hayd International/Sony) WHEN & WHERE: Sunday 26 August, Hisense Arena







HEAD CANDY Bryget Chrisfield learns Hot Chip’s Alexis Taylor has an encyclopaedic brain when it comes to music: “Unfortunately no one has ever asked me for any Frank Zappa or Roger Troutman of Zapp while I’ve been DJing.”


ondon is recovering from the Queen’s Diamond Jubilee while staring down the barrel of hosting the Olympics. Alexis Taylor’s hometown must be getting crazy! The Hot Chip vocalist/multi-instrumentalist laughs, “I’m sure it will get that way, but at the moment you can’t really tell.” Is he planning on escaping the mayhem? “Um, we’re meant to be doing some music for the table tennis tournament, so I think we’ll probably be around for that. They just commissioned us to write a piece of music that could be for any sport at the Olympics and Joe [Goddard, vocals/synth/percussion] really likes ping pong. So we’ve made the music, we’re just trying to finish the mix of it and then that will get used as the music as the players are walking out onto the pitch, or track.” If Hot Chip’s music were to be pumped through subwoofers during the tournament, the players would definitely try to keep in time. “Yeah, and it changes speed, actually, as it’s going on,” Taylor shares, “so that would probably confuse them quite a lot.” Hot Chip’s latest offering In Your Head is album number five. That’s enough for a boxset, surely. “Well you’ve gotta factor in all the unreleased material and that’s a classic part of a boxset,” Taylor muses. “Actually, when Hot Chip first started I remember us claiming that we’d already made 400 songs before the first one that we released: we were just trying to persuade people that we had a big vault full of unreleased gems like Prince. And so by this point in our career we’ve probably got about 8,000 unreleased tracks, so we’re ready for boxset material.” And that’s not even counting their various side-projects: Taylor’s in About Group, Goddard’s in The 2 Bears and New Build borrows multi-instrumentalist Al Doyle and drummer/keys player Felix Martin. Obviously Taylor’s never fallen victim to writer’s block. “Not so far,” the prolific artist acknowledges. “Thankfully… But maybe sometimes people suffer from that when they’re really actively trying to sit down and write music or something. I tend to let the ideas come to me a bit more, kind of of their own free will. I do work on music most days, but I don’t necessarily work on it in a strict sense. Sometimes it’s just things coming into my head and I’m sort of thinking about whether they’re worth dealing with or not. I’m not always at the computer

every day, I tend to let the songs drift along in my head and then work on them when they sound like they’re gonna be good ones.” Taylor is in tune with his internal jukebox, “whether it’s other people’s music or something else”. “I mean, I have suffered from mania induced by that: one of your own tracks that you’ve been working on, just a little bit of it, going around incessantly. But at the moment we’re rehearsing to go on tour and I guess I’m quite tired by the end of it all each day, so it’s not too difficult to sleep. And also with a young daughter, it’s one of those other things – you get into that zone. When I’m reading her bedtime stories, before she goes to sleep, it usually makes me feel quite tired as well.” What’s little miss Taylor’s name? “Prudence. We kind of decided on it fairly early on. We both like the name, the meaning of the name. We also like The Beatles’ song Dear Prudence and then we met Siouxsie Sioux from Siouxsie & The Banshees, who had famously covered that song, and she seemed really nice when we met her and we decided that was a good omen and that we would stick with that name.” Taylor is extremely gracious when informed Night And Day was this mag’s Single Of The Week a few issues back – “Oh, great! Oh, thank you” – and explains Goddard “was partly referencing Nightlife Unlimited – Peaches And Prunes, Ron Hardy edit” in the stomping track. “We were in the studio with a drummer called Leo Taylor, who’s played with us before – he’s been to Australia with us, in fact – and we got Leo to do these really crazy drum fills over the top of the track, and that’s how it kinda built up to another layer. And then it was at that point I did all the vocals for it, and it felt like the music had a kind of dark and quite sweaty, sort of sexy, sound to it. So I tried to write words that fitted with that.” A phrase in the breakdown – “I like Zapp not Zappa” – refers to Taylor’s frustration when fielding requests from the DJ booth. “Unfortunately no one has ever asked me for any Frank Zappa or Roger Troutman of Zapp while I’ve been DJing,” he despairs. “But the whole of that section was more just trying to make it really plain for people that I don’t necessarily have the things that they want, and that some of the requests are kind of annoying and stupid. Sometimes people really want you to play Hot

Frontman for Californian pop-rockers Train, Patrick Monahan tells Brendan Hitchens that the band will be checking at least one thing off their bucket list when next in the country.


Truth is, he probably has been. Like his music, there’s a perpetual positivity to his words, something he is happy to acknowledge. “I was in a very difficult relationship for a long time, so when I was writing songs likes Drops Of Jupiter and Calling All Angels I was searching for whatever it was that I was supposed to learn from that experience. Now I’m married to the girl of my dreams and I’m incredibly happy. The fact that people are listening to our music in a new way, with more enthusiasm than ever, there’s a lot to be happy about.” Indeed Monahan should be happy. In 2010 Hey Soul Sister reached critical mass. From its reinterpretation on Glee to its background play in a number of Hollywood blockbusters and receiving a Grammy; there was no hiding from the song. It reinvented the band that had formed in 1994 and gave them a new lease on life. With success however comes pressure and heightened expectations, though Monahan refuses to believe the band now writes for airplay. “I used to write for the radio and we missed, so didn’t hear from us for a while,” he says, referring to the eight-year gap between Drops Of Jupiter and Hey Soul Sister infiltrating worldwide playlists. “The songs sounded like they were aiming for something. We learnt that if we didn’t love the process when recording together and writing, then how could you expect other people to?” Riding their new wave of success post Hey Soul Sister, the band spent close to three years on the road, using their limited downtime to work on the follow-up. Fittingly, the new album takes its title from 24 • INPRESS

If Hot Chip’s live show’s on the menu, steel drums will certainly be served. “It was me actually, in the band, who first became really interested in that sound. [There were] loads of different records I used as influences. The Esso Trinidad Steel Band made an album in the ‘70s, produced by Van Dyke Parks, and I really liked it. That has things like Apeman by The Kinks and I Want You Back by The Jackson Five arranged for steel bands. Then also a Harry Nilsson album called Duit On Mon Dei that has steel drums all over it, and New Position by Prince [& The Revolution] from the Parade album. And P.I.M.P. by 50 Cent, which has a kind of keyboard steel drum as the main instrument. Those are the key records that got me excited about the sound.” An introduction to Fimber Bravo led to Hot Chip’s cover version of Transmission by Joy Division from “a few years ago”. “We really liked how he sounded on that and then we got him to play on One Life Stand, the album. And then by this record we actually went to Manchester and recorded with a full steel band rather than one solo pan player.

“The band itself had maybe, like, eight or nine people in it and they acted as a band for this one track, and I sang and played piano. And that’s gonna come out a little bit after the album, I think, or maybe it’s gonna be something that comes with the record but as a separate, non-album track. But that was really fun to record as well. So it’s been an ongoing obsession... I think it’s a really lovely sound and I think it’s a little bit um, you know: it’s not always in fashion that sound, the steel drum. People think of it as slightly ‘novelty’ at times, but I think it’s really beautiful.” Last time Hot Chip sizzled our dancefloors (2010), they were one man down. “I think that [Joe] was about to have the first child when we were away on tour and maybe towards the end of the tour the baby was born,” Taylor ruminates. “And then he’s got another baby due in about ten days or something like that. I’ve only got the one – and there’s no plan for another one immediately – so he doesn’t muck around.” When will Taylor and co be back? “I think we’ll hopefully be back in the beginning of January, around that time we’re looking at, at the moment,” Taylor reveals. “If we can make it, we’ll be there,” he promises. Tell Goddard to give it a rest and stop making babies then. “Haha, okay.” WHO: Hot Chip WHAT: In Your Head (Domino/EMI)



f their 2009 record Save Me, San Francisco was a statement, then California 37 is the celebration. With the follow up to the hugely successful record that returned the band to the mainstream, Train now continue their journey atop of the charts. Patrick Monahan, 43-year-old songwriter and lead singer of the group who began his musical career in a Led Zeppelin cover band, speaks with the poise and diction of a man who has been interviewed a thousand times.

Chip music and you don’t have it with you, but because you’re in Hot Chip they keep asking. It’s fair enough, I don’t mind people saying what they want, but it’s more just the lack of logic that’s difficult to deal with sometimes, and Joe said that he’s had someone ask him has he got any garage. And he said, ‘Yeah, this is garage that I’m playing,’ and they said, ‘Oh, good, I like garage’ – that’s the kind of thing that is quite amusing when you’re DJing.”

Red House Painters and Sun Kil Moon mainstay Mark Kozelek tells Doug Wallen about nylon strings and writing songs about touring.

the road whilst paying homage to their hometown. “California-37 is the highway that the three of us in Train use to get to each other’s houses and all sorts of gigs across San Francisco, Northern California and into Nevada. There are all sorts of memories there, like breaking down, or running out of gas, love stories and break up stories. There’s lots of history there.” The history too seeps through their music, bouncing between songs of reggae, folk, country, rock and the standard piano ballad. Their latest single Drive By has simultaneously positioned its way into the US pop, rock and adult contemporary charts, signifying the band’s broad and cross generational audience. Its verse/ chorus structure and lyrical hooks borrow heavily from the Hey Soul Sister template, and share the co-writing signatures of Norwegian production team Espionage. Monahan, a fan of Gotye and INXS, won’t be drawn in to labeling their sound a particular genre; instead he likes to think broadly. “Other people say we sound like California. If you’ve ever been to California and driven in the sunshine with the top down you get exactly what I’m talking about. That’s what our band sounds like.” Boasting the most played song in Australian radio history (Hey Soul Sister in 2010), it’s little wonder the band see Australia as their home away from home. “Australia is a big California; your attitudes, your surfing, the food, the great nature of people,” he says, speaking of the similarities. Returning to Australia for a brief east coast tour in June, Monahan particularly can’t wait to play the Sydney Opera House. “We’ve been looking at it for the past ten years we’ve been coming to Australia. The fact that we’ll be able to be on the stage playing our music, it’s like a bucket list.” WHO: Train WHAT: California 37 (Columbia/Sony) WHEN & WHERE: Saturday 9 June, Palais Theatre


ark Kozelek has been at it for 20 years now, which might explain why he cuts loose a bit on his latest album. Though forever known as the brooding, wistful songwriter behind Sun Kil Moon and before that Red House Painters, Kozelek peppers his fifth solo record with the arch wit fans will recognise from his stage banter. And yet Among The Leaves unfolds in a stream-of-consciousness sigh. “That’s true,” says Kozelek. “Most of the lyrics were written quickly. I just did it, got it over with. I was tired of the process – agonising over each word. I just wanted to spit it out and move on.” That idea of powering through material might seem odd from a man who sings with molasses-dripped deliberation in his drawl, but Kozelek sounds free and even propulsive as he breezes through fluid nylonstring guitar melodies. If there’s still melancholy hanging in the air, the mood is leavened by selfaware song titles like The Moderately Talented Yet Attractive Young Woman vs. The Exceptionally Talented Yet Not So Attractive Middle Aged Man. “I just felt like venting a little,” he admits, “and it was actually less effort going with long titles. Trying to figure out the perfect short title can be more work.” As for that defining nylon softness? Kozelek came around to it after buying a 5CD set by Spanish classical guitarist Andres Segovia while touring New Zealand a few years ago. He had studied classical guitar some as a child, but not much past the age of 15. “That album reintroduced me to the art,” he recalls. “In the actual classical guitar world, I’m ranked about as low as a player could be ranked. Most classical guitarists wouldn’t appreciate my technique, as I’m a steel-string player first. But I’m playing guitar more than I did in the past, and that’s important.” Listening to Among The Leaves is a bit like following Kozelek on tour, considering how many songs dovetail into reflections on a musician’s life. “What kind of man travels and sings?” he asks on That Bird Has A Broken Wing. UK Blues is about touring with the London riots

in the backdrop, but any potential grimness there is cut by Kozelek quietly mocking British food. Then there’s Sunshine In Chicago, which details the ritual of pulling his guitar from its case as well as watching his fanbase evolve from cute girls at Red House Painters shows in the ’90s to the aging men at today’s gigs. It reads like a diary, with Kozelek inserting himself into the lyrics even as he cracks jokes. It turns out he wrote the song backstage in Chicago and debuted it just 15 minutes later. “A lot of my songs – not all – are in first-person perspective,” he observes. “It’s what I do; I’m used to it. I’d had a really bad show the night before in Ottawa, Ontario, [at] a poorly organised festival. Sunshine In Chicago probably came about by trying to shake my bad night in Canada off of my mind. I think I just wanted to do something funny, distract myself and make the crowd laugh a bit.” While Kozelek has always been more funny and easygoing on tour (“I play requests. My sets are pretty loose,” he says) than his sadness-instilled albums might lead one to think, Among The Leaves conveys a weariness with touring. Is he ever tempted to leave the road behind and just make records instead? “I don’t know if that’s an option, the way the music industry is going,” he replies. “Albums are free now; you don’t have to buy them. Touring is a big part of how I – and a lot of musicians – make a living. It’s work, but there are worse jobs, I suppose.” WHO: Mark Kozelek WHEN & WHERE: Saturday 9 June, Toff In Town; Monday 11, Phoenix Public House

Supported by

Trouble’s Door album Tour Special guest fingers malone

SatURDAY 9 June The Corner Hotel, Richmond Tickets at

SunDAY 10 June The Westernport Hotel, SAN REMO Tickets at

New album, Trouble’s Door out 11 May INPRESS • 25

TASTE TEST: SID O’NEIL THE FIRST ALBUM I BOUGHT WITH MY OWN MONEY It was called 100 Australian Recordings or something like that, I think. It had a song called The Bastard Song or something, and I thought that was pretty rebellious when I was ten. So I think I bought that because I thought it was naughty. I think it was like four CDs or something, but I can’t remember what else was on it besides that song. I remember pretty vividly thinking it was cool because it had the song about bastards on it.


I’ve got that Neu! album, it’s kinda like minimal guitar, bass and drum music, which I think a lot of people have known forever but I didn’t really know until recently, and I really like that. I listen to it all the time.

MY FAVOURITE PARTY ALBUM I’ve been to parties with John Lee Hooker playing, and I really liked that, but it was just The Best Of John Lee Hooker, and I think I like that kind of music at parties. I also like doof a lot, but not a specific album.

MY FAVOURITE COMEDOWN ALBUM Probably Astral Weeks by Van Morrison. It just makes you feel good about everything, all the time, and I guess that’s what you want in a comedown album, isn’t it?

THE MOST SURPRISING RECORD IN MY COLLECTION I don’t own anything at all. I don’t have an iPod or any CDs or records.

THE FIRST GIG I EVER ATTENDED Pennywise and Millencolin; I would’ve been 12 or 13. It was an all-ages thing at Festival Hall. I’m from Apollo Bay but me and a couple of friends came down to watch it. I loved it. I knew all their songs back then.

THE WEIRDEST GIG EXPERIENCE I’VE EVER HAD I can’t really think of anything that weird! Has anything weird ever happened at our gigs?

We’ve kinda had lots of times when the whole crowd’s come up on stage and it can [get] weird depending on the venue because sometimes people can get really angry or whatever – but we never actually deliberately try to make anyone angry – yeah but that can get weird. Oh, hang on, I was at this doof gig once, in the bush, and was right up the front. There was about 2,000 people there or something. And this ute with a grandstand on it full of hippy-looking dudes and girls dressed like nuts [were] throwing out beers, and so the whole crowd parted and the car drove all the way up to the front right where the stage was and everyone started dancing up on the grandstand on the back of the ute, so that’s pretty weird isn’t it?


Probably the internet… does that count? I read books a lot as well. I started reading those kind of self-help, try-not-to-think-through-your-mind books, like The Power Now and The Alchemist, and I just found they were pretty influential in what they were trying to get you to do, even though it’s quite hard. I’ve had good experiences on drugs as well, when I was younger; I think that’s definitely pretty influential.


Well, I met this guy at this party years ago when I was younger. I’ve got no idea what his name was. He had an undercut, though – I remember that much! And he kinda told me, you know, how all the planets worked and the meaning of life and stuff, which is pretty cool and it seemed, at the time, pretty believable, so I guess it’d have to go to that guy! He was probably number one.


I think when I was young I used to, like, pretend to have crushes on all the girls out of Dawson’s Creek. There was one called Andie, who I thought was really cool to say you had a crush on. And Michelle Williams was in it and I think I had a crush on her too, when I was about 12

The partnership began when vocalist Carolyn approached Shehab, AKA hip hop turntablist/producer Paso Bionic (and a member of Curse ov Dialect and TZU), to remix a song for her solo vehicle Big Fella. “We became friends and then decided to try some other tracks and then... or did we get married?” Carolyn ponders, sitting in a noisy café in Melbourne’s inner-suburban Richmond. Shehab pipes up, “I think we got married first!” Again, it was all because of that remix. “Carolyn offered me money. I said, ‘I don’t want any money.’ So she said, ‘Okay, I’ll cook you dinner’ – and it sort of started from there.” Carolyn felt concerned that the couple’s collaborating on original music might not be so harmonious. “There was a little bit of worry because we didn’t know if it would work,” she laughs. “But it wouldn’t have mattered if it didn’t – we would have stayed married.” “Hopefully!” Shehab chuckles. Nevertheless, the pair laboured separately in a home studio. Importantly, Shehab gave Carolyn space – and freedom. In the past, others have ‘instructed’ her on how to sing. “And I wasn’t very happy with it in the end,” she rues. This time, Carolyn was content. Moreover, bouncing music back and forth ensured that the album fell into place “pretty quick,” as Shehab says. Surprisingly, Abominable Galaxy isn’t hip hop soul, but electronica (though not, as its title suggests, psychedelic!). As such, it’s different to Shehab’s established projects, including TZU – even with their last electro-oriented LP, Computer Love. “The first song we did was more sample-based. That’s Borrowed Time – I came up with the instrumental first and then [Carolyn] did the vocals over the top of that,” he explains. “But, a lot of the songs, Carolyn recorded the vocals first and then gave me just the a cappella with the harmonies in the background. I had just the vocals and I had to build stuff around it. I found it really difficult to find samples that were in the right key – that matched the vocals – so we ended up moving more towards 26 • INPRESS



I’m studying social work so… I don’t think of myself as really being a musician that much anyway, do you know what I mean? It’s not like I just play music and that’s all I do. And travelling, but I’m about to do that anyway. I wanna do something with [social work] eventually. Maybe youth work, hopefully, we’ll see. WHO: The Vasco Era WHAT: Final show for 2012 WHEN & WHERE: Friday 22 June, Corner Hotel


Shehab and Carolyn Tariq chat to Cyclone about how a single collaboration ignited marriage, a baby and Audego.


or 13. But I don’t know if it was just the cool thing to do or if it was an actual real crush.

I think I like the idea of the ‘20s, and that the prohibition was on, and you could have secret alcohol parties that were illegal. There’s a certain charm to doing things that are naughty but aren’t really that bad. I can imagine going to one of those sneaky bootleg pubs or whatever they were called would be pretty sweet.

MUSICAL MOTHERLODE elbourne’s Shehab and Carolyn Tariq are making spectral neo-trip hop as Audego, presenting a soundtracky debut, Abominable Galaxy.


synths.” Audego is new territory, too, for Carolyn, “a total band geek from back in the day,” accustomed to crafting piano-led vocal music. The Cairns native is classically-trained, having studied piano, violin and flute. Carolyn has likewise sung in a choir – and studied opera, which, incidentally, she “hated... I was 12 and I was sounding like a forty year old woman. There was something really unnatural about it for me and so I had to ‘unlearn’ that stuff.” With Audego, Carolyn harnessed the latest technologies, writing songs while recording them. “I can hear straight away if it sounds naff or not.” She experimented with harmonies for the first time. Shehab himself loves today’s musical hybridisation. “I like to think that’s what our sound is.” The Tariqs now have, not only an album, but also a baby. Balancing family life and music is tricky. Carolyn recorded Abominable Galaxy as her daughter, Taalia, napped. But, happily, motherhood hasn’t necessitated she set aside her creative life. “I think that was a bit of my nightmare – not that there’s anything wrong with that [being a parent exclusively] – but, personally, I didn’t wanna be just in lockdown and ‘mum mode’. So I’ve had to fight for time and space to do music. But it really stabilises me. If I didn’t have that, I think I’d be crazy.” For Audego time management is key, especially since Shehab is simultaneously involved in TZU’s comeback. In June, Audego will embark on a mini-East Coast tour, recreating an inherently studio project with the help of Ableton. “It sounds the same!” assures Carolyn. They even have visual projections by Jean Poole. And Audego are already planning another album – due next March. They’ll stick to the Audego “aesthetic”, Shehab says, but develop their ideas. “Our plan is just to try to release an album every year and keep doing it for as long as we can.” WHO: Audego WHAT: Abominable Galaxy (MGM) WHEN & WHERE: Saturday 10 June, Workers Club

“There’s a lot of women who get onstage here and they’re just pretty and they can’t sing at all.” Melbourne raised, onetime Nouvelle Vague singer Nadéah Miranda informs Cyclone of how the French value charm over cred.


elbourne rock chick Nadéah Miranda moved to Europe to find her voice and her niche. Now the onetime Nouvelle Vague singer is returning home to promote a bold solo debut, Venus Gets Even. Residing in Paris for nearly five years, Nadéah Miranda is today fluent in French – not that the French are always so intolerant of hapless English-speakers. “If you’re a pretty girl, I think you get away with murder anywhere,” she laughs. Miranda had wanted to travel since childhood, her mother’s heritage Indian, Portuguese, Serbian and English, and father’s Italian. Growing up in a largely Anglo-Saxon middle-class suburb, she was an outsider. “I felt very isolated. I never felt quite connected in Australia.” Miranda headed to England, where she fronted The LoveGods. The Brighton alt.rock band generated a buzz, releasing two albums before disappearing. “It didn’t have a natural life cycle, it was an abortion – an unpremeditated abortion,” Miranda groans. She’d wed, allowing her to stay in the UK, but an accident left her partner quadriplegic. The marriage ended and Miranda’s visa was forfeited. Back in Australia, she suffered “a major depression”, until her mother insisted she again get on a plane. The apprehensive muso journeyed to Paris, encouraged by The LoveGods’ French guitarist, Arthur “Art” Menuteau. Here, Miranda encountered Marc Colin, who persuaded her to join his subversive bossa nova collective Nouvelle Vague for 2009’s 3. Performing jazz proved a challenge for a vocalist into Janis Joplin, Jimi Hendrix and Led Zeppelin. “I think coming from Australia we’re very much into our rock, with our rock chicks, and being pretty heavy-duty onstage – like a Courtney Love-type thing. Going into Nouvelle Vague, I had to really tone all that down. I watched women with a source of power, with humour and femininity, and so I started to integrate that into what I do now. So now I have more colours on my palette.” Miranda wryly notes that, in contrast to the Brits, the French value charm over cred. “There’s

a lot of women who get onstage here and they’re just pretty and they can’t sing at all – really!” Venus... is a ballsy affair that combines folksy, bluesy and psychedelic rock with theatricality, Miranda less enamoured of chanson than musicals, cabaret and can-can – the latter for its “koochiness” and “brashness”. With a paucity of potential rock collaborators in France, Miranda struck other alliances, befriending conductor Nicola Tescari who’d produce Venus... when playing hostess in a “posh” Parisian café. “I met these people randomly – I was a girl hanging coats, just to get some money.” The English-language Venus... is rawly – and intensely – autobiographical with songs like Even Quadriplegics Get The Blues. “I got kicked out of England and came to Australia,” Miranda recaps. “I knew I had to do something with the surreal experiences I’d had in those moments, or [that] had happened to people close to me. I thought, ‘You can’t have all that shit happen and not do something with that material.’ And so Venus Gets Even is my attempt to make something beautiful out of something tragic.” While “very happy” in France, she hopes to spend more time in Australia, appreciative of its “healthy environment”. So what of her show? “It’s certainly nothing like the album,” she reveals. “It’s quite punk on stage, because the boundaries are movable. We basically would do anything to forge a connection with the public. If I have to sit on somebody’s head to get that, I will. But it can be just standing there, just a fragile moment when you’re looking at someone and you get that human-to-human contact with whatever feeling it is, be it compassion, recognition of our own vulnerability, whatever.” WHO: Nadéah Miranda WHAT: Venus Gets Even (Cartell Music/Inertia) WHEN & WHERE: Monday 11 June, Toff In Town


SHE’LL BE ROCK Two-man guitar and drum attack Jackson Firebird took their sweet time getting there, but as guitarist Brendan Harvey tells Michael Smith, it’s all good.

Kaiserdisco have had to split in half to keep up with booking demand. An “excited” Patrick Buck, the musical half soon to hit our shores, informs Cyclone, “I really like to party!”


ildura, population around 30,000, sits on the might Murray River in North Western Victoria close to the South Australian border. It sports about eight pubs and clubs – that’s not a lot of gig opportunities for a young musician – so inevitably, once you’re up and running, you’ve got three choices: head for Adelaide, head for Melbourne or resign yourself to cover gigs and B&S balls in the local area. Guitarist Brendan Harvey and drummer Dale Hudak, aka Jackson Firebird, the name of a favourite guitar, opted for Adelaide. “Funnily enough we didn’t play Melbourne that much, being Victorians,” Harvey admits from Melbourne, where he now lives, “we ended up everywhere else bar Melbourne, ‘til early last year.” The two musicians have been playing in bands together on and off for about 16 years, but got serious – relatively – about just playing together, no bass guitar, as Jackson Firebird in 2006, initially just jamming out in the back room of Hudak’s parents’ bakery. People started hanging around to see what all the noise was about, then gigs at the local pub led to gigs in Adelaide and beyond, supports for the likes of You Am I, The Fumes and Little Birdy and the next thing you know, the festivals started noticing. Along the way it seemed obvious that they had to cut an album. “We basically started to do the album for our own sanity. One thing we wanted to tick off in life was to record an album, so during just gigging around the countryside, we’d drop into Mixmasters in Adelaide with [engineer/producer] Mick Wordley and he was keen to do it and we sort of did it in dribs and drabs. I think there was, max, eleven or twelve days over probably fourteen months, so it was a very, very slow process. It wasn’t because we didn’t have the material; it was just finding time to get in there. “The major part of Jackson Firebird is the live show, so to get that on record was our main objective and we heard about Mick and the great stuff he does with live recordings, and to tape, and we hit him up at a

F Fuse Festival in Adelaide and gave him our EP [2008’s Bottle Bin] and he gave us a call the next day.” That EP had been co-produced by Kram, who’d heard the duo through a small band competition a few years before, and the album – titled less than subtly but saying all you really need to know to understand where Jackson Firebird are coming from, Cock Rockin’ – not only got finished but got picked up by major label Warner Music after some reps caught the band at Bluesfest. “It’s all pretty straightforward, straight down the line monkey out of the tree sort of stuff,” offers Harvey of Jackson Firebird’s music. “A lot of our songs were sort of written the music first and then we’ve sort of thought, ‘Well, we’d better put some lyrics over these.’” Their obviously very driven manager, who’d got the record in front of Warner in the first place, also got on the case regards getting the boys some festivals in the UK, which duly saw them head over to Brighton last month to play The Great Escape. “We got an offer to go over to play two shows, so we thought we’d make the most of it and there’s another festival called Liverpool Sound City, the weekend after Brighton, so they invited us to play a couple of shows and we played a few Aussie barbecues and a couple of our own shows.” WHO: Jackson Firebird WHAT: Cock Rockin’ (Warner) WHEN & WHERE: Thursday 7, 14, 21 and 28 June, Retreat Hotel; Friday 15, Wheeler’s Hill Hotel; Saturday 16, Bended Elbow, Geelong; Friday 22, The Loft, Warrnambool

orget cars. Germany’s big new export product is tech-house duos. We’ve had MANDY, then Booka Shade and now Hamburg’s Kaiserdisco – formed by DJs Patrick Buck and Frederic Berger. Alas, only Buck is touring Australia this month, Berger off to play Sónar in Spain. “When we started a couple of years ago, we were touring together, but right now there are so many booking requests that we have to split off mostly,” Buck explains. It’ll be his first visit down under and he’s “excited”. “I really like to party! I’ll play the best music that I’ve got in the bag and I’ll definitely do my best to make each party as good as possible.” Both Kaiserdisco members originally pursued conventional careers, despite DJing as teenagers. Berger trained for the hotel business. After school, Buck completed a year of civil service prior to commencing a law degree at the University of Hamburg. He didn’t enjoy it. Luckily, around this time he began to successfully produce music. “Before Kaiserdisco, I was a member of a project called Kaiser Souzai and a house project called Big World. I was also producing a couple of other artists in the dance and club scene and working as a producer for some pop acts. But I never felt right – and so it came to the point that I met Frederic... I’ve quit everything else and now Kaiserdisco is the only thing I want to do.” Berger was involved in Nudisco. The handle Kaiserdisco was created in 2008 by mashing up old project names, Buck unselfconsciously yet endearingly describing it as their “baby”. They issued the EP Traction on Micro.fon, then forged a fruitful partnership with the Cologne label My Best Friend, airing Pipe!. But Kaiserdisco generated more heat with the later tunes Espandrillo and Amalfino (this supported by everyone from Richie Hawtin to Laurent Garnier to Dubfire). Putting aside the ‘disco’ in Kaiserdisco, the combo straddle techno and house but, says Buck, they even go as far as making (and DJing) deep house. Kaiserdisco presented the album In No One’s Shadow two years back. “We are still proud of it and, of course,

it was a good decision to release the first album at that time. We could reach many people out there and it helped us a lot to build up a bigger fanbase. The good thing that I can tell you right now is that last week we started on the first track for our second album, which is planned for approximately May next year.” In 2010 Kaiserdisco also remixed Robyn’s Hang With Me – a pop coup. “We got a request from her to do a remix for that song and we didn’t have to think about it for a long time. We like what she is doing and, of course, we said ‘yes’.” At the end of 2011 Kaiserdisco felt they’d established themselves sufficiently to launch their own label, KD Music, proffering the EP La Familia. Kaiserdisco are maintaining their productivity. “There are a couple of things on the way. We just did a remix for Nicole Moudaber that is out right now on Kling Klong. After that one, at the end of June, there will be a release from Anil Chawla out on KD Music and we did a remix for that one. Our next EP will be in stores in July and we’ll release it on our own label as well. For the rest of the year there will probably be releases on [German DJ Marc Romboy’s] Systematic, [Swede Adam Beyer’s] Drumcode, and another one on KD Music for the one year anniversary.” As a German, Buck’s tax is hopefully going to save Greece, and Europe, if the current political deadlock can be broken. How would the canny Kaiserdisco solve the Euro crisis? “I think if I had an answer to that question I wouldn’t be a DJ,” Buck jokes, “I would be a politician and probably the next German Chancellor!” WHO: Kaiserdisco WHEN & WHERE: Sunday 10 June, 2-9pm, Brown Alley (with Chris Liebing)

FINDING IMMORTALITY “AG did his verse first, and I still don’t know who’s singing on the hook!” Chasm, Chris HamerSmith to his mum, admits to Aleksia Barron of I Am Legend, a track off his latest album.


ydney-based producer Chris Hamer-Smith, better known in certain circles as Chasm, is feeling relieved. His third album, This Is How We Never Die, has finally dropped and it’s been generating some great buzz. One can hardly log onto Twitter without a high-profile MC throwing his support behind the fresh LP. “After you spend so much time putting the record together, when it finally drops it’s just a bonus when people are chatting about it and enjoying it,” says Hamer-Smith. “It’s a good feeling.” It’s no surprise that This Is How We Never Die has inspired a legion of admirers, though. Hamer-Smith’s work has been winning him fans for years. After making music in the early noughties with ambient band Ukiyo-e, Hamer-Smith burst onto the hip hop scene in 2004, releasing a self-titled EP that caught the attention of everyone who mattered. He signed to Obese Records and released his first album, Beyond The Beat Tape, in 2008, which featured a plethora of Australian MCs on vocals, and followed it up in 2009 with Move, an album where he collaborated with soulful vocalist Vida-Sunshyne. This Is How We Never Die sees Hamer-Smith return to a blueprint laid out on Beyond The Beat Tape, with a wide variety of artists contributing the album’s vocals. That said, he’s not one to tread over old ground. Known for his wide-ranging musical tastes, Hamer-Smith had no interest in making the same album twice. “I really wanted to convey a certain mood with it – a certain overall feel. I guess I just wanted to make something really soulful, something with emotion behind it. I think I did get it across, to a degree.” Hamer-Smith also set himself the goal of switching up the expectations of his fans by deciding to look further afield for the album’s vocal contributors. “Before we put the album together, me and my manager sat down and had the idea of trying to pair an international rapper and an Australian rapper on every tune. It was basically just a wishlist of people I’d like to work with, and then just going through and seeing who was realistic and who wasn’t.”

Not everyone on Hamer-Smith’s list was available to come to the party, but he did snare a few prizes, such as USA underground legend AG, of Showbiz and AG. He appears on the track, I Am Legend, along with much-admired Australian MC Delta. It’s one of HamerSmith’s favourite tracks, not least because it still holds a little mystery for him. “When I first linked that up, AG did his verse first, and I still don’t know who’s singing on the hook!” laughs Hamer-Smith. Indeed, he has no idea whose pipes have contributed to the sung vocals. “I tried to find out, but [AG]’s never gotten back to me. So someone’s singing on that hook, but I don’t know who it is. One of his mates, I suppose.” For his part, while Hamer-Smith is happy to let his vocalists run amok with his beats, he’s not interested in influencing the lyrics they write. “I don’t feel that comfortable doing that – I generally just let them go with whatever they’re feeling,” he explains. It’s a strategy that often pays off for him, especially when the artists find impromptu inspiration in his production. The album’s lead single, The Truth – featuring The Tongue, Koolism’s Hau and SBX stalwart Dazastah – is a good example. “That track came together really easily,” recalls Hamer-Smith. “Dazastah was in Sydney last year and he had a day at the studio, and was just inviting different people down to record. I brought my sampler down there and Hau and The Tongue were there as well. I just played that beat off the sampler and they all just vibed on it that afternoon – they wrote their verses there and recorded it that night.” Whatever comes next – radio play, touring or his other projects, which include house music production and Elefant Traks’ Astronomy Class – Hamer-Smith will sleep easy knowing he’s made a good album. He’s a little shy, but happy to admit it: “I’m proud of this one.” WHO: Chasm WHAT: This Is How We Never Die (Obese) WHEN & WHERE: Friday 27 July, Laundry





LAWRENCE ARABIA Travelling Shoes Spunk Records In a good way, the instrumental opening to this track reminds me of the music from those ballroom scenes in The Muppet Show. There’s sashaying strings, plonky piano, woodblock chocks, triangle and sweetly whimsical singing. Lyrical mention is made of wearing PJs in a café, “magical boots”, “a unique style” – this protagonist sounds like my kinda guy! Some of the guitar work at the tail end of this calls to mind Psycho Killer by Talking Heads, but there’s also a vintage swagger to Travelling Shoes that just makes you wanna jump into the Tardis and cross everything you wind up in Arabia’s field of vision. Charming in a Jens Lekman kinda way. Play during high tea.







Communion Records/Polydor

The title ironically hints at an exhaustion with the grind of the music industry machine; the single/album/ tour cycle that success so often necessitates, that old chestnut, the ol’ razzle dazzle of the biz. Coming out the other side of the exhaustion, having come to terms with the frustration and after a few years spent in musical obscurity, Missy Higgins returns with album number three, laced with the same – often painfully – honest and earnest lyrics as previous efforts, but balanced with a carefree instrumentation and almost jubilant exploration of different corners of pop. The beauty of The Ol’ Razzle Dazzle is that you get the whole journey of its inception in almost every song; its creator’s sultry resignation (as in the verses of All In My Head), the anxiety (on Hello Hello the final question – “Hello, hello, is anyone there?” – lingers and for all its bareness, a probing and raw voice alone as the instruments fade to nothing, this line seemingly larger than the rest of the song), the pressure, the catharsis of rediscovery and the bold beauty of a passion reignited. There’s a renewed attraction to music that is found in the playful disco vibe of Temporary Love, the quirky pop of Hidden Ones, with its organ-heavy bridge, and the animal sounds of night that ignite the traditionally bluesy Watering Hole, a dark number driven by a chain gang beat.

All the success of their 2009 debut, Conditions, makes The Temper Trap’s self-titled second album highly anticipated, not just here at home but also in the UK and US. Having upgraded keyboardist Joseph Greer to a permanent member and enlisting the talents of Beck collaborator Tony Hoffer as producer, this is an offering that moves away from guitar-led rock and into a world driven by synths and littered with grand, sweeping moments.

If you want to know what liquid caramel sounds like, your answer lies here. British soul singer Michael Kiwanuka and his debut LP, Home Again, will take you to the glory days of Otis Redding and Van Morrison. Rich, full arrangements contrast with sparse acoustic numbers across the album’s ten tracks, all the while providing a velvety smooth base from which Kiwanuka’s rich voice ascends. The record is steeped in smoky jazz (Tell Me A Tale) and love songs (album highlights I’m Getting Ready and Home Again), and – courtesy of producer Paul Butler – sounds as though it’s being played through a scratchy record player from decades ago.

The Ol’ Razzle Dazzle

The Temper Trap




There’s nothing formulaic about what Animal Collective bring. Their tunes encapsulate the fun of kicking about in a ball pit where there are no height or age restrictions so you can just cut sick without fear of ejection. Avey Tare’s vocal adds texture rather than meaning, ‘cause you can’t really make out the lyrics, and these song titles give you a hint to stop trying. Honeycomb sounds like the dance your tastebuds do when a Violet Crumble is coming their way as endless sonic layers wrestle for prominence in the mix. Gotham is more subdued, after the sugar fix has worn off and you’re slothing on the couch with your top button undone. Animal Collective: always original and inspired composing music to make your imagination go wild.



When it comes to the revealing self-analysis that informs the record, nothing is more astonishingly honest or earnest than Everyone’s Waiting; lyrically unabashed Higgins gives voice to her anxieties while beneath it an almost military drum embodies the kind of resilience required to come back for album number three. Dave Drayton


Focusing on the magic of Doug Mandagi’s trademark falsetto and accompanied by sweet acoustic hooks, Rabbit Hole is the single which best bridges the music from their past work to now. Which probably explains why it was ‘unofficially released’ first to radio. The recent single, Need Your Love, and mid-album track, Never Again, are thick with fuzzy synths and driving drums that sound as though they were built to fill stadiums, and there are plenty of these moments throughout. To counterbalance this grandeur, flashes of quiet are found in Dreams and Miracle with sparse, dreamlike electronic soundscapes, the latter warming with harmonies at the chorus. Straying into social commentary for London’s Burning, their most creative track was born out of first-hand experience, the boys finding themselves caught up in the epicentre of last year’s London riots. Samples from news broadcasts, pulsing synths and chanting choruses lead the song to a panicked crescendo – an intelligent interpretation of the event.

Home Again

Home Again is an accessible album, one that will appeal to a wide range of music lovers. The definitive sense of nostalgia that prevails will have ‘the older crowd’ drift down memory lane, while alternative, independent music lovers will see Kiwanuka as a refreshing voice compared with many of the exaggerated artists of today. The pop scene, however, is where Kiwanuka’s popularity could explode. Having taken out the very mainstream BBC Sound Of 2012 award (previous winners include Adele, Mika, Corinne Bailey Rae and, umm, Keane), Kiwanuka has played the iTunes Festival in the UK, toured extensively with Adele and can currently be heard on any Packed To The Rafters commercial.

Perhaps the strongest indication of things to come is Trembling Hands. Brooding and atmospheric, its grandness is reminiscent of recent Coldplay work, perhaps the arena-sized space these boys are headed for.

Perfect for dinner parties, Sunday drives or relaxing by the fire with a smooth glass of single malt whiskey, Home Again makes an excellent accompaniment for all seasons. Kiwanuka breaks no moulds lyrically, but with a voice as golden as his, he could recite The Communist Manifesto and people would still pay good money to hear him.

Katie Benson

Dylan Stewart



Parlophone/Mute Records


Richard Hawley’s last offering, Truelove’s Gutter, was, surprisingly, a decidedly stripped-back affair compared to his earlier work. After an almost three-year sabbatical, he’s back with his seventh album, Standing At The Sky’s Edge, and, once again, a different sound.

Xavier Rudd’s new record, Spirit Bird, has all the unique charm the singer is known for, but also manages a steady confidence that makes it particularly impressive. While the album has its weaker moments, its highlights are incredibly powerful and certainly overshadow its shortcomings.

She Brings The Sunlight may be the opener to this album, but it’s in no rush whatsoever to get started. With its atmospheric, Eastern, gypsy-esque tinges, you can’t help but close your eyes and be carried away by the hypnotic beat and well-paced melody. Just as you get truly comfortable, though, along comes Standing At The Sky’s Edge, with its decidedly Western flavour. The title track is the weakest point on the album, sadly, but only in that it is let down by a couple of predictable, somewhat (dare I say it?) clichéd lyrics early on. Once you make it past them, it’s plain sailing thereafter. Interestingly, it is the only song of that style on the album.

The album opens instrumentally with Lioness Eye, in which Xavier’s classic fast-paced didgeridoo sound is coupled with a strong, steady rhythm that confidently sets the tone of the record. One of the record’s standouts reveals itself immediately afterwards with Comfortable In My Skin, which opens with an intoxicating harmonica melody. Title track Spirit Bird again showcases Xavier’s vocal talents, with soft, dark lyricism and vocal tones that are almost harrowing in their emotionality. The perfect combination of powerful and smooth vocals, unusual guitar melodies and a strong harmonica tune returns in another of the record’s highlights, Follow The Sun, which is sustained and impassioned in equal measure.

The remainder the tracks are closer to Hawley’s usual work. The breathtaking Don’t Stare At The Sun is worthy of mention due to its sheer beauty. Hawley and his long-time co-producer and bandmate, Colin Elliot, have once again seen to production.

Conversely, Culture Bleeding marks one of the record’s distinctly weaker moments. With somewhat unsatisfying vocals and confused instrumental lines, the song is far less captivating than the foregoing tracks. The singer’s vocal prowess returns, however, with Paper Thin. This song boasts the most sophisticated lyricism on the album as well as some of the more impressive melodies, making it another of the record’s standout songs. The album closes with Creating A Dream, which showcases the singer’s vocal range more comprehensively than other tracks but does feel a little more instrumentally confused than some of the more confident songs on the record. All things considered, the album’s complex combination of power and subtlety make it hugely satisfying.

Euphoria Warner

Sweden/being Swedish is so hot right now. Actually, when was it not? Euphoria’s already a hit in Loreen’s homeland and oh-so catchy. A weird barge-horn sound sets scene for smoke machines, Loreen’s voice is so pure and the dynamics throughout this song are suitable for a quick snog break before going, “Up, up, up, up, up, u-up” again into pogoland “reaching for divinity” \o/ We all need someone to run up behind us and lift us high into the air on cue (like in her Eurovision performance) as well.


That’s Why God Made The Radio EMI I was warned this was shit. So why go there? ‘Cause there’s no WAY listening to those blissful sibling harmonies could be a bad thing. The lyrics are fromage central: “It’s paradise when I/ Lift up my antenna/Receiving your signal like a prayer.” Fact: God did not make the radio; the first explorations into “wireless telegraphy” can actually be traced back to one David Edward Hughes. Another fact: This is no Barbara Ann, but it sounds a little like Surfer Girl.

THE BLACK SEEDS Cracks In Our Own Remote Control You can tell this track comes from the land of the long white cloud: vibratory bass; stoner keys; macho, brass blasts; and an overall funky groove. Lazy lyrics let it down – “Don’t know what we’re heading from/Only know what we’re running from” – der, “from” rhymes with “from”, does it? And that’s your chorus? And then there’s a toddleresque squeal at the very end that’s on par in the annoying stakes with that “YEEEEEUUUuuuuw!” noise so popular when punters are trying to prove they’re largin’ it. Promising, but then those two negative factors detract.

WARREN H WILLIAMS & THE WARUMUNGU SONGMEN Winanjjara: The Song Peoples Sessions ABC Music Not much Indigenous music makes it down these parts. There are exceptions of course, such as Archie Roach and Gurrumul, but in the main we seem content to view our past and present through a distinctly white Anglo prism, keeping our Indigenous influence to the football field. Born about 120km west of Alice Springs, Warren H Williams’ music is a unique kind of country blues. This is his first album in language, reconnecting with his grandmother’s family in Warumungu country to compose and record. The result is a unique hybrid of influences, blending the traditional, his own country style and electronic programming courtesy producer Tim Cole. There are synthetic textures played by Williams, yet also the sound of the traditional songmen, recorded outside with little accompaniment. It’s a strange, distinctly Australian fusion that shouldn’t work on paper but somehow does. The second disc is the raw unadorned traditional music, verses from a ceremonial song cycle of a Warumungu dance called Pujjali. It comes from the tradition of passing on knowledge and culture via song and, though this piece feels incredibly powerful, highly ceremonial, it is an open song, okay for non-initiates to hear. Each verse tells a separate tale of an ancestor’s travels through the Warumungu country, detailing encounters with snakes, now extinct marsupials, trees, waterholes and a cracked desert. There’s a real repetition here that creates a compellingly hypnotic effect. Bob Baker Fish


Standing At The Sky’s Edge

Sincerely touching, lyrically poetic and musically interesting, it seems Hawley has not been afraid to shake things up and push his songwriting further, and it is a move that has paid off handsomely. As you make your way through this album, the question that pops up in your head time and time again is, “Why is Richard Hawley so underrated?” This is something that must be changed and hopefully Standing At The Sky’s Edge will bring that change about. Dominique Wall

Spirit Bird

Lucia Osborne-Crowley








Opossom are essentially Kody Nielson, formerly of The Mint Chicks. When they split, his brother Ruban formed Unknown Mortal Orchestra and Kody retreated to his bedroom to write, play on and record Electric Hawaii. The album retains much of the bright energy of Nielson’s former band but it is also decidedly more trippy and psychedelic, awash with an array of electronic and tropicalia influences.

Perhaps there is no denying that Australian born singer/ songwriter Sam Sparro has earned his place amongst dance royalty as, chances are, many will easily recall the infectious chorus of 2008’s club hit, Black & Gold.

Listening to Sigur Rós is akin to surrounding yourself in a fluffy cloud and floating through the sky on a wave of beautiful music and angelic vocals. The joy of this band is that it doesn’t even matter that the lyrics aren’t in English, or that sometimes they aren’t even words at all, because the emotion behind each song comes through so clearly that it’s irrelevant.

There’s no denying it – the magic’s still there, 50 years on. Lyrically they may still be on a sunny California beach in 1963, but hey, isn’t that a great place to hang? Of course the images this reunion of the surviving members of The Beach Boys create are as illusory as those evoked by phrases like “summer of love” and names like Woodstock, but the point of music is to take you away somewhere, and a more innocent place and time is as valid as any other if you’re willing to go along for the ride.

Electric Hawaii

Getaway Tonight manages to make a hazy melancholic vocal work over frenetic drumming and all manner of strings and synths. Melody has always been a strong component of Nielson’s work and here it is amplified to a day-glo level. On Watchful Eye Opossom veer close to the psych rock of Tame Impala while the title track eschews vocals and conjures up the ghostly sound of a haunted carnival ride. The psych aspect is omnipresent throughout Electric Hawaii both in the way Nielson structures his songs, layers their elements and the sonic light in which he casts them. There are also traces of Beck’s experimental side and playful way with rhythms, and on closing track Inhaler Song Opossom channels Flaming Lips before tipping the music into a sonic blender, chewing it up and spitting it out as static in fantastic fashion. It is all over in 30 minutes, highlighting how tightly Nielson has edited Electric Hawaii. This type of psych pop music too often becomes an indulgent exercise, yet he has honed in on one or two key ideas per song and built a kaleidoscopic world around them that is intensely creative, a ton of fun and quite a unique listening experience.

Return To Paradise



Maintaining a high standard may seem like a precarious feat, however eager fans may be pleased to hear that his new album throws up some interesting and very welcome surprises. While channelling large doses of 1980’s funk may indeed sound like a gamble, Sparro’s efforts are certainly commendable. Opener Paradise People is a sleek affair with its smooth bassline, and the electronicinflections are just as inviting as the track is catchy, which sets the standard for the tracks that follow. Let The Love In is another example of Sparro’s fondness for retrospect, employing heady disco influences paired with gospel choir-esque backup vocals that fit together seamlessly. Departing from these flirtations with the past, Sparro returns to a contemporary club-appropriate electro sound, and Yellow Orange Rays fits the bill with its sing-along chorus and addictive tune, both raising the endorphins. Towards the end of the album, Sparro reverts back to a slower and smoother pace, and the title-track indulges in plentiful “oohs” and “ahhs”, and soaring choruses, which mimic the cheesiness of the 1980s perfectly once more. Certainly, the strength of Sparro’s album not only lies in his unconcealed commitment and talent for making music, but also his willingness to try something new. Most importantly, the album is extremely enjoyable and whether you like dance-pop music or not, one thing is for certain; it is darn hard to resist getting sucked in.

That’s Why God Made The Radio

Their sixth studio album is a beautiful collection of eight tracks that are more like moments than songs and have been described by the band themselves as “like an avalanche in slow-motion.” Valtari (steamroller in English) is just what you’d expect from Sigur Rós – classic instrumentals, great intros and epic crescendos throughout. Ég Anda opens the album with the calming sounds of waves crashing and whale cry as singer Jónsi Birgisson’s falsetto vocals and haunting lyrics float in, building to an abrupt finish. First single off the album, Ekki Múkk, is another success with softly played violins, tinkling piano and a warm crackling sound like an old record playing in the background. Rembihnútur is one of the more uplifting tracks with great harmonies and is followed by a number of instrumentals that are more like backing music than distinct, individual songs. Closing track Fjögur Piano is a great way to wrap up with a melancholic piano introduction that blends beautifully into soft strings, finishing with a solo violin that leaves you feeling calm and relaxed. Another clever and beautiful triumph from one of the most unusual bands around. Helen Lear

Naomi Dollery

And with those trademark harmonies uniquely arranged by The Beach Boys, their roots in doo-wop, barbershop and Phil Spector, that ride is so effortless. Add production sensitive enough not to mess with the original template – double-tracked vocals, just the right amount of reverb, plonky bass – and, while it’s a more sedate Beach Boys than the adrenaline rush of their classic ‘60s singles, That’s Why God Made The Radio is a delightful bit of ear candy up their unashamedly with their best – it’s certainly the best album to come out under The Beach Boys’ name in 30-odd years. That said, it’s not the next logical step up from the legendary unfinished masterpiece, Smile, released last year – their ostensible reply to The Beatles’ Sgt Peppers – the making of which finally tipped frontman Brian Wilson over the edge. It’s too late for that. Music has exploded out in so many directions and embraced so many experiments and innovations that no band with such a distinctive sonic fingerprint could ever hope to achieve that now, so many years after their last real masterpiece, 1966’s Pet Sounds. Michael Smith

Chris Familton

adventure into design THINKING | MAKING | CONNECTING

Considering switching or upgrading your qualification? Visit Billy Blue for a one-on-one info session and we’ll show you how. Enrol now for our July intake. Contact us on 1300 851 245 or at Think: Colleges Pty Ltd trading as Billy Blue College of Design, ABN 93 050 049 299, RTO No. 0269, HEP No. 4375, CRICOS Provider Codes: NSW 00246M, QLD 03107J, VIC 03252M.






THURSDAY 7 We Are Dying, Just Say Thank You – a new exhibition from Emma de Clario, Melbourne based visual artist whose work focuses on exposing the inexplicable, broken and yet shining tenacity of the human spirit. An attempt to understand how the knowledge of our passing informs our experience of being alive, as Yeats says, “we are fastened to a dying animal”. Opening night, [MARS] Gallery, 6-8pm until 1 July. The Burlesque Hour: Glory Box – a dazzling assembly of Burlesque performers. Our favourites are back and this time they’re unleashing Pandora’s box. Including Meow Meow and Ursula. Opening Night, fortyfivedownstairs, 7pm until 1 July.

FRIDAY 8 Tuesday – written by Louris van de Geer and directed by Brienna Macnish. Set in a suburban supermarket, in the car park where mothers are vying for parking spots behind the wheels of their spotless four-wheel drives. A satire of suburban banality and social alienation. Opening night, MKA Nth Melbourne Pop Up Theatre, 8pm until 23 June. Sweet & Lowdown – directed by Woody Allen a love story set in the jazz’s swing era. Sean Penn stars as musician Emmet Ray, a first class scoundrel. Who often brags that he is the second greatest jazz guitarist, second only to his hero, Django Reinhardt. This self-depreciating hero-worship often leads Emmet into destructive behaviour in his career and personal life. Part of the Melbourne Jazz Festival, ACMI Cinemas, 7pm. The Hunger Games – in the nottoo-distant feature, North America has collapsed. The Capitol selects a

THEATRE CIRCA The Malthouse: 01/06/12 Well. Um. This is about as good as it gets. Brisbane-based Circa Ensemble, under the artistic direction of Yaron Lifschitz, have created a gorgeous piece of visual/ physical poetry. Their show, Circa is stripped back, with no set or costume, and set to a driving and emotive soundtrack. It is entrancing from the first prat fall to the last group frenzy. Technically brilliant and exceedingly well-drilled as a troupe, the cherry is that they weave a highly


boy and girl from the 12 districts to fight to the death on live television. Katniss Everdeen volunteers to take her younger sister’s place for the latest match. Directed by Gary Ross, based on Suzanne Collins best selling novel. Astor Theatre, 7.30pm. The Motherfucker With The Hat – written by Stephen Adly Guirgis, directed by David Bell. A play about moral relativism when jealousies erupt over a seemingly innocent ‘hat’. Warning: strong fucking language. Opening night, Red Stich Actors Theatre, 8pm until 7 July.

SUNDAY 10 The Cabin In The Woods: Midnight Preview – five friends go to a remote cabin in the woods for a rustic vacation. Bad things happen. If you think you know this story, think again. From fan-favourites Joss Whedon (Buffy The Vampire Slayer, The Avengers) and Drew Goddard (Cloverfield, Lost) comes a new mindblowing horror suspense film, that turns the genre inside out like never before. Nova Cinemas, midnight. C3 Contemporary Arts Space – in foyer 1 is a piece by Ralf Kempken. Space A has Lyrics In Opaque Inventory, a collection of James Butt’s woodblock printing. In Space B is New Bodies an exploration by two female artists Isobel YaylorRodgers and Claudia Phares about their experience with dichotomies in expectation and reality throughout stages of womanhood. In the projection room Craig Cole has explored concrete hermits. Closing today, c3 Abbotsford Convent 10-5pm.

TUESDAY 12 No Lights No Lycra – dancing is good for the soul and No Lights No Lycra is a dance collective, open to everyone, it’s all about dancing in the dark, for the pure joy of dancing. St Marks Hall, 250 George St Fitzroy, 7.45pm.

ONGOING Reasons To Be Pretty – written by Neil LaBute, a play that examines our obsession with physical beauty considering the all-important question: how much is pretty worth? One of LaBute’s Beauty Play trilogy written over a ten year period. TheatreWorks, 8pm, until 17 June.

REVIEW sophisticated language through the piece. Despite the lack of narrative, character or spoken-word. The show utilises a core of acrobatics, but symbolic tenets of circus remain clowning, flying, rings, the strongman, contortion, are all suggested but subverted or diverted. It is such an elegat take on contemporary circus performance. Technically, it’s hard to believe Circa is a largely improvised show. But it does explain the vivid connection the ensemble have with each other and the audience. Simon Eales Running until Sunday 10 June



Anthony Carew takes a look at Robert B Weide’s documentary on the inimitible Woody Allen. Given Robert B Weide produced 53 and directed 27 episodes of Larry David’s legendary sitcom, perhaps it’s no surprise he sees the world through it. “On Curb Your Enthusiasm, we did an episode that dealt with the question of whether somebody was shy, or if they were an asshole,” Weide offers. He’s talking about the subject of his latest picture, Woody Allen: A Documentary. “That’s a question that comes up anytime someone’s a kind of stand-offish, and Woody is but in his case it’s because he’s really shy. Scarlett Johansson described him as being ‘cripplingly shy’. It’s true, and he’s been that way since he was a kid. But we fell into a really great rapport right away.” Weide has made, by his own estimation, a career out of chronicling his heroes; spending the last 30 years documenting people he first grew obsessed with in his youth. “These are all my cultural and artistic heroes, all of them discovered in my adolescent teen years,” Weide says, of the celebrity-studies that consist oeuvre. “The Marx Brothers, Lenny Bruce, WC Fields, Lenny Bruce, Mort Sahl, Woody Allen. These are very important subjects to me.” Weide’s attraction to Allen was sparked when he saw Take The Money & Run as a nine-yearold, and took hold forever when Annie Hall was released when he was in high-school. “I got to grow up with his work; it was maturing as I was maturing,” Weide smiles. He first interviewed Allen when making 1982’s TV documentary The Marx Brothers In A Nutshell, and soon Weide wanted to document Allen himself. “I made my first approach to him in the mid-’80s, he politely declined,” recounts Weide. “I went back to him in the mid-’90s, he politely declined. Then, in October 2008, I wrote him a letter and

pressed him on it, [but] he was convinced that no one would ever want to finance it, put it on a screen, or even watch it.” Once Allen agreed to the project, Weide set about chronicling a singular figure; which meant going beyond the myth (“there’s nothing that really jumps out as particularly weird or quirky or eccentric about him,” Weide offers, “like, he’s certainly not some crazed neurotic, he’s almost always very calm”) whilst showing due reverence for a vast, uncompromising body-of-work. “The phrase ‘independent filmmaker’ is rarely attributed to Woody Allen, yet he might be the most independent filmmaker in all of American cinema. Even the people who finance his films don’t even see scripts, they just want to be in the Woody Allen business; I can’t think of anyone else who works in a comparable situation. It’s unprecedented in American filmmaking, for one film let alone 40, and for me that makes for a fascinating career arc.” Woody Allen: A Documentary goes behind the scenes of the little-seen You Will Meet A Tall Dark Stranger (“it did no business at the box-office whatsoever”), then stumbles into the perfect end when its successor, Midnight In Paris, becomes Allen’s biggest-ever picture. “By accident, we suddenly got this unexpected uplift at the end of the film,” Weide says. “It was too perfect: at 76 years old, after 43 films, this guy’s suddenly had the biggest success of his career. It was the happy ending that we were never seeking.” WHAT: Woody Allen: A Documentary WHEN & WHERE: Screening at ACMI Cinemas until Monday 18 June




fallen flat as a mere technical/ geek experiment, were it not also characterised incredibly well.

Cabin In The Woods not only spoofs horror-movie tropes, it retroactively rewrites them. Masquerading as a fairly snug-fit hillbilly horror film, Cabin In The Woods begins as they all do, with a group of friends leaving for a, well, you know where this is going. But the film quickly stretches that familiar abstraction into a dizzying array of possibilities; a veritable star-map of the genre’s every iteration, including every iteration (again) upon those. To add further madness to that incomprehensible feat, the film concludes with this array of possibilities being capitalised on simultaneously. For the horror buff, the way Cabin in the Woods layers meta-narratives towards achieving this end is positively dizzying. Though a lot of why the film works can be credited to its gleefully deconstructive plot, it’s a story that could’ve potentially

Writers Joss Whedon and Drew Goddard create characters and their dynamics in such a way that just a single line of dialogue immediately sparks something real, and something very human and electric behind its speaker’s eyes. Whedon is a guy, who – like Dan Harmon – has honed these economised yet fulfilling character algorithms that are capable of imbuing even the most deliberate of archetypes with some emotional purchase; with an eminent watchability, exposing him as a sturdy go-to guy for making films with big casts and big ideas really work. Masterfully executing a thrilling, high-concept narrative with lightness and ease, Cabin In The Woods is a dizzyingly original film whose far-reaching cleverness is a maddening joy to behold. Samuel Hobson Opens Nationally 14 June.






RING A DING DING Simon Eales chats with one of the Jamie Bells about his latest role in Aiden Fennessey’s National Interest, and the melding of music and theatre.


(U K nd E er TS 30 $ $2 4 5) 0

‘James Bell’ is a real actor’s name. Jamie Bell pirouetted his way to fame as Billy Elliot, and James Harlee Bell made Golden Age films like I Walk With Zombies. There’s also Perth-born James Bell, who cut his teeth on The Sleepover Club, landed a role in the Robert Reid’s The Joy Of Text last year, and is now preparing for the Melbourne season of Aiden Fennessey’s National Interest. “National Interest is a very big story – that’s a line quoted from the show actually,” the 22 year-old Bell explains. “It follows the life, 32 years on, of June Stewart [played by Julia Blake], who is the mother of a guy called Tony Stewart who died in 1975 as a Channel 7 reporter on the border of Indonesia and Portugese Timor.” Rather than being a dramatisation of the unsolved mystery surrounding the Balibo Five, the play is “more about family and grief and loss for the mother character, June. My character, Tony, comes back as himself when he died, but as a ghost, basically to coax her out of this depression and dementia that she’s developed over the years.” It is a very personal story to the playwrite, Fennessey, who is a cousin of Tony Stewart. However, they have avoided drawing extensively on this connection. “I represent Tony Stewart but I am not playing Tony Stewart because I am a figment of June’s imagination,” Bell says. “They’re really just nametags in a way, to give prevalence to the prominent issues. He didn’t want us to represent, or act like they would in real life because he didn’t want to tell that story.”

Arriving fresh on the Melbourne theatre scene last year, Bell is relishing the opportunity to work with experienced actors like Blake. “‘The Juve’, they give that. ‘The Juve’,” he laughs. And there is definitely something juvenile (in a good way) about his exuberance. Bell honed both his singing and acting abilities in WAAPA’s musical theatre degree. “I always get asked: ‘what do you want to do? Acting or singing, or...?’ Like, pick one! And that really baffles me… I did musical theatre to smash them all together.” And that mix continues as Bell also builds his band, Sons Of Orbit, alongside Tame Impala drummer, Sam Davenport. “It’s good that we’ve got the EP already… putting it out there to people, helping to maybe jump into the smaller venues, like nightclubs, bars. Open mic nights – hopefully I’ll be able to skip that!” Bell is the band’s creative force, and emphasises his willingness to start at the bottom and work hard. “Obviously when jobs come up, like [National Interest], I’ve gotta put that to the side,” he says, “which is fine, but I am always writing songs anyway. The start of next year – that’s where I am aiming for [Sons Of Orbit] to hit the stage.” If his restless energy and self-assessment as “crazy!” is anything to go by, the various faces of James Bell are worth looking out for. “I do it because I can’t do anything else. That’s all my mind thinks about, acting and music.” WHAT: National Interest WHEN & WHERE: Opening Monday 11 June until Saturday 21 July, Arts Centre, Fairfax Studio


With the much-hyped Ridley Scott film Prometheus release, Liz Galinovic chats to the legendary director to debunk a few myths about his return to space. Prometheus is not a prequel. This has been tirelessly tossed around every blog, website and news source for over a year now – that Ridley Scott’s return to the sci-fi genre, after three decades of spaceabstinence, comes in the form of a prequel to 1979’s cult classic Alien – but it’s simply not true. The two films are closely related, they even (somewhat comically) parallel in parts, but Prometheus does not lead to Alien, not yet anyway. And why is that? “Because,” says Scott, “there may be three or four other films before you get to join up with number one.” In the distant future scientist/ archaeologist couple Elizabeth Shaw (Noomi Rapace, mostly known for her role as Lisbeth Salander in the original Millennium saga) and Charlie Holloway (Logan MarshallGreen) have convinced trillion dollar technology company Weyland Industries (see their website) to fund a mission that they believe will lead them to the creators of the human race – our “engineers” as they call them. Elizabeth is a faith-based believer despite what contradictions this may hold for her inner scientist – “I choose to believe,” she says – and Charlie

is more into Darwin. With the funds from Weyland behind them they set off on the Prometheus to find the planet that may or may not be paradise, with a crew of scientists and Weyland employees all representing various opinions on creation. Naturally, when they arrive, it all goes a bit pear-shaped. Already the themes are weightier than Alien – where a mining crew stumble across a distress signal that only leads them to more distress (and epic exercises in suspense) – the questions being asked are big ones. And without giving too much away – the seeds being planted are discomforting. “We think we know everything but perhaps we really know nothing,” says Scott. “The cataclysmic event of a comet coming and hitting this planet – the Bay Of Mexico was a comet. That probably was the comet that shifted the axis a little bit and all the water shifted. So in that moment all the dinosaurs got taken out and the world started all over again. Who did that? Or was it just an accident? These are big questions for movies.” A lot has changed since Scott made Alien, much of it to do with technology. But he just shrugs

as if it’s nothing. On shooting Prometheus in 3D, Scott simply states: “It was easy, it just wasn’t a problem. I don’t know what all the fuss is about. They say it’s really difficult but it’s not difficult at all.” On the introduction of CGI: “I honestly didn’t notice a difference; at the time when I had no technology I didn’t miss it because I didn’t have any. To me [back then] it was actually rubber bands and these things in the jaw of the alien”, he stretches his mouth to replicate that famous mouth within a mouth, “this skin, were contraceptives… they were contraceptives with KY Jelly.”

she from? Where is she now?’ And they said ‘well actually she’s coming to LA in about a month’. So I met her and when she came to my office, what walked in was a rather elegant beautiful woman who actually, I realise, isn’t a punk, isn’t street, is really an actress. And that really impressed the hell out of me. She owned that part, it’s fantastic.” As well as Charlize Theron, Idris Elba, Michael Fassbender and Guy Pearce are all aboard the ship so named for the Titan who stole fire from Zeus and gave it to man, thereby incurring the wrath of the pantheon and getting himself turfed from Olympus. As punishment Zeus created woman, Pandora, who opened up that box and let all the evil out – the only thing left was hope. In Scott’s Prometheus Elizabeth Shaw, a veritable Pandora, who opens up her own box of scary stuff, fights to retain her faith, her hope. It’s a fight that paves the way for a sequel to the movie that isn’t a prequel.

Scott has been known to create strong female roles, which he has again delivered in Elizabeth Shaw. But many have been asking why Rapace was selected for the lead role over academy award winner Charlize Theron, who plays an icy Weyland Industries executive. “Intuition,” Scott shrugs. “I’m always intuitive in my casting… something will click. It’s like putting all the parts together to the engine. And I was most impressed when I saw ‘Dragon Tattoo... I watched it three times and then I made a call and said ‘who is she? Where’s

WHAT: Prometheus WHEN & WHERE: Opening nationally Thursday 7 June


In this age of story-hungry journalism, can we trust what we read? Or are we just slaves to the media monster? In Robert Reid’s ingenious new satire, talented actors Virginia Gay and James Saunders transform into nine different characters.


MTC is a department of The University of Melbourne






WITH REBECCA COOK It wasnâ&#x20AC;&#x2122;t exactly Poltergeist but Fright Night at Emerging Writers Festival (EWF) did deliver some chills down the spine both for those in the audience and also for the front of house staff who appeared to be having some technical difficulties with the unusual venue â&#x20AC;&#x201C; Queens Hall in the State Library. Part of the excitement of this event was climbing up the staircase in this cultural institution â&#x20AC;&#x201C; there was a â&#x20AC;&#x2DC;Night In The Museumâ&#x20AC;&#x2122; vibe going on; hey, I know we bought tickets and all, but are you sure weâ&#x20AC;&#x2122;re allowed in here after dark? A sold out audience had come to hear spooky stories from a variety of writers in a beautifully maintained 19th Century hall. It was a mixed bag of tales from writers such as Leanne Hall, Andrew Harper, Narrelle Harris and Tim Pegler with the interpretation of â&#x20AC;&#x2DC;scaryâ&#x20AC;&#x2122; being quite liberal. One authorâ&#x20AC;&#x2122;s life as a nurse held plenty of gross-out horror, while performer extraordinaire Ash Flandersâ&#x20AC;&#x2122;s tale of a zombie Whitney Houston returning for her one true love was terrifyingly funny, and Harperâ&#x20AC;&#x2122;s King Of The Cats fable was more cracking Murakami book than The Exorcist. Only Leanne Hallâ&#x20AC;&#x2122;s straight up â&#x20AC;&#x2DC;this is a true storyâ&#x20AC;&#x2122; Melbourne late-night train yarn had the entire room on the edge of their seats. But who am I to complain, Iâ&#x20AC;&#x2122;m a scaredy cat, Iâ&#x20AC;&#x2122;m kind of glad there was no blood-curdling. Although there was plenty of nervous sweating over at another event in this yearâ&#x20AC;&#x2122;s festival. Participants in the Rabbit Hole attempted to write 30,000

words in a two-and-bit day writing boot camp. Face-to-face teams in Brisbane, Melbourne and Hobart turbo-typed alongside an online team with members from across Oz. By Sunday night (at the time of me writing) several had made the 20,000 mark and there were plenty of tweets on the hard slog, so there was also a bit of public procrastination. EWF wrapped up for another year with a spelling bee coinciding nicely with the finals of that American institution, the highly publicised Scripps National Spelling Bee which was won this year by 14 year old Snighda Nandipati after she correctly spelled â&#x20AC;&#x2DC;guetapensâ&#x20AC;&#x2122; (ah the stress of trying to make sure I type it correctly, let alone know what it means). Back in Melbourne freelance writer Tully Hansen took out the less well known but equally as enthusiastically-attended event with the word â&#x20AC;&#x2DC;haemorrhageâ&#x20AC;&#x2122; â&#x20AC;&#x201C; hey at least itâ&#x20AC;&#x2122;s English. In brief, the animation class within the Footscray Community Arts Centreâ&#x20AC;&#x2122;s Artlife program is seeking funds on crowd-funding site Pozible to complete All Of You, a 23-minute pilot episode for surreal comedy series made with people with disabilities. The show, which has been in development and production for two years, is presented in a segmented format with short comic vignettes of animation, puppetry and vox pops. Itâ&#x20AC;&#x2122;s said to be inspired by shows such as The Muppets, Sesame Street, Spike Millliganâ&#x20AC;&#x2122;s Q and Monty Pythonâ&#x20AC;&#x2122;s Flying Circus. Theyâ&#x20AC;&#x2122;re nearly a third of the way to their goal, you can help them make it!

TOPSY TURVY Red Stitch Theatreâ&#x20AC;&#x2122;s The Motherfucker With The Hat is the professional theatre debut for Michelle Vergara Moore, who graduated from NIDA and ended up in New York City. Sheâ&#x20AC;&#x2122;s back home, and tells Aleksia Barron that sheâ&#x20AC;&#x2122;s loving working on stage. Michelle Vergara Mooreâ&#x20AC;&#x2122;s acting career isnâ&#x20AC;&#x2122;t following the traditional chronological path. What usually happens is that a graduate will find local theatre work, maybe a bit of film or television as well, and then head overseas in pursuit of brighter lights and bigger cities. Moore, though, has turned that trend on its head. After struggling to find good acting work in Australia, she headed for New York where the opportunities were greater, ultimately landing a role in the upcoming Steven Soderbergh film This Bitter Pill, alongside Jude Law and Rooney Mara. Now sheâ&#x20AC;&#x2122;s back in her home country, preparing for her professional theatre debut in Red Stitchâ&#x20AC;&#x2122;s The Motherfucker With The Hat. Usually people make their theatrical debut before working with one of Hollywoodâ&#x20AC;&#x2122;s most lauded directors, and Moore admits the timing is a little strange. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s really weird,â&#x20AC;? she laughs. â&#x20AC;&#x153;At NIDA, about 95% of the

training is theatre training â&#x20AC;&#x201C; how to walk on stage, talk on stage, all that sort of stuff.â&#x20AC;? Moore always loved theatre during her training, but post-graduation, she couldnâ&#x20AC;&#x2122;t land a stage role. â&#x20AC;&#x153;I think I had about three stage auditions and got through to the next round in my first year out of NIDA, but then nothing came of it. I really love theatre, so Iâ&#x20AC;&#x2122;m excited to be doing this play.â&#x20AC;? The play in question, the Australian debut of The Motherfucker With The Hat, is written by the admired Stephen Adly Guirgis and is being directed by David Bell, who was behind Red Stitchâ&#x20AC;&#x2122;s Creditors last year. Itâ&#x20AC;&#x2122;s a confronting work; as Moore points out, the title â&#x20AC;&#x153; not the only swearing in the play.â&#x20AC;? Moore plays Veronica, a drug addict, whose boyfriend Jackie comes home from prison on parole. â&#x20AC;&#x153;Jackieâ&#x20AC;&#x2122;s [parole is conditional on him being] completely clean of alcohol and drugs,â&#x20AC;? explains Moore.

â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s basically about the relationship he has with my character, who is unfortunately a major drug addict and quite violent and excitable, and his relationship with his AA mentor.â&#x20AC;? Moore was drawn to the energy of the play â&#x20AC;&#x201C; the script alone was enough to convince her that she wanted the role. â&#x20AC;&#x153;When I read it, it was really fast-paced and bare-bones, in-your-face dialogue.â&#x20AC;? She was also amazed by the strong language. â&#x20AC;&#x153;The character Iâ&#x20AC;&#x2122;m playing, Veronica, she has got the filthiest mouth I think Iâ&#x20AC;&#x2122;ve ever heard. Some of the swearing that comes out of her mouthâ&#x20AC;Ś Iâ&#x20AC;&#x2122;m worried about my parents! Iâ&#x20AC;&#x2122;ll be like, â&#x20AC;&#x2DC;Oh, Mum, sorry about that!â&#x20AC;&#x2122;â&#x20AC;? The Motherfucker With The Hat also offered Moore the opportunity to explore New York further, from the comfort of an Australian stage. â&#x20AC;&#x153;The characters are pretty much born and bred in New York,â&#x20AC;? she

says. â&#x20AC;&#x153;Because Iâ&#x20AC;&#x2122;ve lived in New York City for over a year, I can see aspects of the characters in my own experiences.â&#x20AC;? Furthermore, she knows how New Yorkers sound, and is confident that this production will avoid the trap of the failed accent. Once this play finishes, Moore wonâ&#x20AC;&#x2122;t be heading back to New York right away. Sheâ&#x20AC;&#x2122;s landed a role in the upcoming ABC series The Time Of Our Lives, which sheâ&#x20AC;&#x2122;ll be filming next. However, the US will inevitably beckons, especially since she recently signed with a high-profile talent agency in New York. For a girl whose post-NIDA experience consisted mostly of unsuccessful stage auditions, Moore is enjoying quite a stellar ride. WHAT: The Motherfucker With The Hat WHEN & WHERE: Friday 8 June until Saturday 7 July, Red Stitch

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2011 #47

Film Season > ACMI Cinemas Friday 1 June â&#x20AC;&#x201C; Sunday 17 June 2012 Australian Centre for the Moving Image Federation Square, MelbourneďŹ lm



INPRESS â&#x20AC;˘ 33




WITH GUY DAVIS Warning: the following column may contain spoilers for Prometheus, which opens in cinemas tomorrow. And when I say spoilers, I don’t mean the way director Ridley Scott et al spoiled a potentially intriguing and provocative concept. Zing! Seriously, man, I’m gonna be talking about Prometheus this time around, and especially the reasons why I don’t think it works. So if you would like to go into this movie blind and ignorant – which are actually two pretty good traits to possess when you’re seeing something for the first time – maybe save this bad boy for later, because I don’t really see any way to delve into its flaws (and its handful of virtues) without breaking out the scalpel and doing a little dissection. So here we go. In many ways, Prometheus feels incomplete. I’ve read various justifications for this online from people who seem to have gotten more of the movie than I did; a lot of talk about how it’s posing big questions or inviting viewers to bring their own beliefs or opinions to the table. Believe me, I’m all for a piece of art that challenges me to think about its content, that opens itself up to inquiry and debate. And Prometheus, which seemingly takes its characters and its audience to a place where they’ll encounter the “engineers” of life on Earth, the creators of the human race, certainly seems primed to do that. But there’s a difference between a piece of art (or a piece of entertainment, even) that poses questions and one that presents information and situations with only the flimsiest strands of connective tissue. Or that fails to follow through on ideas that it posits.

My biggest problem with Prometheus is that it fails to engage as a story. It strikes me as an unwieldy amalgam of two concepts, a misbegotten servant of two masters. On one hand, it aims to explore some of the most primal questions humanity has: where did we come from? Did we naturally develop or were we made? If we were made, by whom? And what would happen if we reached a stage where we could confront our maker? This is truly interesting stuff, and I’d love to see it expressed and explored in a way that engaged a wide audience. But it strikes me that the only way Ridley Scott and his creative team would be given the opportunity to do so was by awkwardly piggy-backing that sort of story onto the Alien mythology, especially the indelible image of the ‘space jockey’ from Scott’s 1979 film. It does a disservice to both ideas, if you ask me. Alien was never meant to be anything more than a nightmare-delivery service, and it’s to Scott’s credit that it was put together with such panache that it basically elevated the whole genre. But don’t go mistaking it for anything deeper than a haunted-house story, albeit one where you can’t just run screaming the fuck out of the house. Because, as the tagline said, ‘In space, no one can hear you scream’. Alien’s parameters were narrow, and the film filled them perfectly. Prometheus has a wider, broader scope... and it seems unable to tackle everything within that. That said, there could be an awesome director’s cut on DVD within the year that fills in many of Prometheus’s blanks – that’s what happened with Scott’s Crusades epic Kingdom Of Heaven, merely okay when cut for its cinema release, something of a masterpiece in its true form.


you of lots of different things. But y’know, I still think that you need clarity in the work, a crafted form.” Indeed the challenge for choreographers is how to work narrative into an avowedly non-literal artform. How can dance tell a story without lurching into mime or didactic pastiche? Antony Hamilton’s take on it is clear, “Its subject matter is itself, absolutely; particularly if you’re talking strictly structural choreography that deals with time and space and body alone. But once you start to introduce dialogue, as this show does, you have the potential to stretch out time and have little semi-narratives going on… The discipline of dance is a very flexible one and it’s very fluid in terms of its ability to sit alongside other forms of expression.”

Melbourne-based contemporary dance superstars Chunky Move may be in transition but that hasn’t killed their sense of play. As choreographer Antony Hamilton tells Paul Ransom, their newest work is all about using what you find. Hoarders have been prominent on the media radar lately; but Chunky Move’s latest production Keep Everything has nothing to do with collecting junk. In fact, the Antony Hamilton-directed three-hander has more to do with ‘allowing’ than hoarding. “Spontaneity has always been a really good friend of mine,” Hamilton explains, “but often in my works I’ve skirted around what was happening in the studio. So, it was a revelation to me to keep the things in the show that were happening off the cuff in rehearsal, the things that people were doing almost as a joke.”

“There’s a human theatricality to the work, which is quite a divergence for me because I often work in a more architectural, formal way. But I’m quite sick of doing that… I really wanted to have a work that could be a forum for the expression of the performers and not be such a dictator.”

In this there is a reverence for the creative elasticity of child’s play. “It’s very much like children when they’re given an object,” Hamilton observes. “They can turn it into anything, they can really make a creation and a fantasy world out of very little and I’m really inspired by that.”

Keep Everything is a contemporary dance experiment with serendipity and creative happenstance. Although these are not new ideas in theatre they are less prevalent in the more exacting and often rigorously technical discipline of dance. As choreographer Hamilton reveals,

In Keep Everything Hamilton and his cast (Benjamin Hancock, Lauren Langlois, Alisdair Macindoe) are looking to explore playfulness and improvisational ingenuity. As well as ‘keeping’ rehearsal room inventions the show uses props that Hamilton loosely describes as “bits of rubble”.

However, Hamilton is quick to admit that the piece doesn’t have a rigidly structured narrative. “I’m a big believer in the audience defining the narrative,” he declares. “I try and make work that’s powerful and evocative with lots of strong imagery but which can remind

For a young choreographer like Hamilton, scoring a commission from a prestigious contemporary flagship like Chunky Move is much more than a choreographic challenge. He admits to feeling the pressure; after all Chunky has an internationally-lauded back catalogue and a hometown fanbase that expects a certain quality. Fortunately for Hamilton he is already an experienced virtuoso, having won Green Room Awards and mounted acclaimed works at drive-in theatres. “I’m lucky that I’m confident enough to just go in with nothing and enjoy that ‘empty’ process, where I start with zero and go from there.” After which, as the title suggests, he might just keep everything. WHAT: Keep Everything Chunky Move WHEN & WHERE: From Thursday 15 to Saturday 23 June, Chunky Move Studio

GIVEAWAYS Thanks to Chunky Move we have five doubles to giveaway to the Thursday 14 June performance to enter go to

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PRESENTS MISSY HIGGINS: June 15 Geelong Performing Arts Centre; 16, 17 Her Majesty’s Theatre


SAMUEL YIRGA QUARTET: June 7, 8 Comedy Theatre

THE AUDREYS: June 16 Toff In Town

DAVID MYLES: June 8 Wesley Anne; 9 Caravan Music Club

LAWRENCE ARABIA: July 4 Toff In Town

TRIAL KENNEDY: June 23 Corner Hotel

EAST 17: June 8 Trak SHAI: June 8 Red Bennies

FLIGHT OF THE CONCHORDS: July 14 Plenary; 15 Rod Laver Arena


HOWLER: July 24 Corner Hotel

TRAIN: June 9 Palais

FRIENDS: July 25 Northcote Social Club


DJANGO DJANGO: July 31 Corner Hotel


ELECTRIC GUEST: August 1 Northcote Social Club

SILVERSTEIN: June 9 Bang; 10 Pelly Bar (Frankston)


MARK KOZELEK: June 9 Toff, 11 Phoenix Public House


FRANCOIS K: June 10 Pretty Please INQUISITION: June 10 Bendigo Hotel JOELISTICS: Sunday, Espy



MATT CORBY: June 6 Forum MAT. MCHUGH: June 7 Corner TIGER CHOIR: June 7 Workers Club

There aren’t many Australian punk bands that’ve played as large a hand in the development of the identity of Australian punk as Hard-Ons. The outpouring of support for guitarist Peter “Blackie” Black after he was bashed while working as a cab driver a couple of weeks back has been amazing. In a continuation of this spirit, the Gaso are throwing a benefit this Sunday (the Tote also have a benefit on Saturday!) and they’ve thrown together a suitably raucous concoction of acts. On the bill are Conation, Useless Children, White Walls, Tyrannman, Counterattack! and Daddy Long Legs. All proceeds go to the recovery of Blackie! Doors are from 7pm and if last weekend’s Eye Gougers fundy is anything to go by, and it probably is, it’ll be rammed. Get there early!

Snakadaktal shuffle onto the stage. They look nervous but after the first song, it’s obvious they have nothing to be nervous about. Not only do Melbourne’s Snakadaktal have one of the best band names to say (go on try it; it’s pretty fun), the band, who have been touring the country all year, have been maturing their sound and become tighter. Their newer songs translate better at Festival Hall, as opposed to their old high school music, which seems lost in the size of the space. New song, Hung, is evocative and dark with an intricate drum beat, in many ways the antithesis of Air. They end with another new song, Dance Bear. Festival Hall (is now ‘legging’ full) and rocking out with them. After the final note, Snakadaktal thank us, unplug their own instruments and humbly walk off.

BULLS: June 8 Northcote Social Club THE BUTTERFLY EFFECT: June 8 Hi-Fi STRANGERS: June 8 Workers Club DEEP DEA ARCADE: June 9 Karova Lounge (Ballarat); 10 Phoenix Public House; ASH GRUNWALD: June 9 Corner; 10 Westernport Hotel JOELISTICS, POLO CLUB: June 10 Espy NADEAH MIRANDA: June 11 Toff In Town


Lights is a babe! Not only is she moving between two synthesisers effortlessly, she’s also wearing leggings (much to the throng’s delight). Lights chats to us with ease, a nice development from Snakadaktal, whose banter was minimal. Although aesthetically pleasing in Saviour, Lights is off tune in her higher register. The crowd go wild regardless, but this is disappointing.


KIDSOF88: June 15 Espy THICK AS BLOOD: June 15 Mechanic’s Institute (Ballarat, AA); 16 Bang; 17 Phoenix Youth Centre (AA) BEE MASK: June 17 Gasometer

Ducking out for a cigarette before The Jezabels start is met with conflict. Warning smokers: once you’re in Festival Hall, unless you want to use the ATM to, cough, buy overpriced drinks, cough, cough, then you can’t leave.

THE POPES: June 20 Corner EDDIE SPAGHETTI, TIM ROGERS: June 20 Cherry Bar TOMAS FORD: June 20 Bar Open; 22 Pony; 23 Empress SCHOOL OF SEVEN BELLS: June 21 Hi-Fi FASHAWN, EXILE: June 23 Espy CARRIE UNDERWOOD: June 26 Palais MACABRE: June 26 Bendigo Hotel; 30 Corner; July 1 National Hotel LADY GAGA: June 27, 28, 30, July 1 Rod Laver THE LIL’ BAND O’ GOLD: June 27, 28 Regal Ballroom; 29 Espy Gershwin Room CEREMONY: June 29 Irene’s Warehouse (AA); 30 Bendigo Hotel LAWRENCE ARABIA: July 4 Toff

SAY ANYTHING: July 13 Billboard FLIGHT OF THE CONCHORDS: July 14 Plenary; 15 Rod Laver Arena

BASTARDFEST 2012 (featuring Astriaal, Disentomb, Extortion and Broozer): November 3 the Espy

The familiar walk from Southern Cross station to Festival Hall is lined with black leggings (beginning to wonder if a fashion memo had been missed). Attention is turned to the unforgiving winds on the first night of winter.


THE HARD-ONS: June 7 National Hotel; 8 Karova Lounge (Geelong); 9 Tote BONJAH: June 8 Corner

SIMONE FELICE: July 11 Corner; 13 Meeniyan Town Hall

XAVIER RUDD: September 13 Palace; 14 Ferntree Gully Hotel; 15 Pier Hotel (Frankston); 16 Costa Hall (Geelong); and 19 Kay Street Saloon (Traralgon)


OVER-REACTOR: June 7 Pub (Bendigo); 8 National Hotel; 9 Espy; July 20 Curtin

I AM GIANT: July 5 Workers Club

JULIA STONE: September 6 Theatre Royal (Castlemaine); 7 Forum; and 8 Meeniyan Town Hall


The Jezabels step out in the safety of darkness; we all know the foursome are there though (well the front throng sure does and alerts the rest of us). The drums start us off, three flashes of blinding light and it’s begun with Endless Summer, the instantly uplifting number that demonstrates the sheer power of Hayley Mary’s vocals, which are quite simply staggering. This tour, hot off their debut album, Prisoner, is a considered production. Hayley Mary is styling a ‘90s ensemble (revealing her enviable torso) - she’s certainly living up to rock-chick ideals. Mary’s silhouette in Rosebud is reminiscent of seeing a young Gwen Stefani rocking out on this very stage some ten years ago. Drummer Nik Kaloper has skills. Whilst bashing out complicated grooves Kaloper looks effortless and at ease, like he’s just hanging out on the beach at Byron. It’s clear The Jezabels’ Melbourne fans missed them whilst they were touring. An illegal substance is wafting from the moment they start (considering you can’t smoke, intrigue is ignited... Bouncers?). Cassandra Fumi


placed stools. I’ll Never Break Your Heart is the serenade song of choice and then one of the Boys suggests, “let’s finish them off Backstreet style”. Turns out this means kneeling down in front of their respective stools, which is a relief. The band’s predecessors return for Step By Step, which is sprinkled with a bit of Salt ‘N’ Pepa’s Push It. Wahlberg is never without a hat, but often without a shirt. At one point he rips off his own black tank top. Pretty sure there are no complaints.


TERROR: July 14 Corner THE TEA PARTY: July 14 Palais TERROR: July 14 Corner; 15 Thornbury Theatre (AA) MELISSA ETHERIDGE: July 15 Plenary THE BLACK SEEDS: July 12, 15 Corner BENJAMIN FRANCIS LEFTSWICH: July 17 Northcote Social Club LADYHAWKE: July 17 Billboard THE SHINS: July 23 Festival Hall LANA DEL REY: July 23 Palace HOWLER, ZULU WINTER: July 24 Corner JACK WHITE: July 25 Festival Hall THE AFGHAN WHIGS: July 25 Hi-Fi FRIENDS: July 25 Northcote Social Club MICHAEL KIWANUKA, BEN HOWARD, TIM HART: July 25 Corner BAND OF SKULLS: July 26 Corner MUDHONEY: July 27 Corner METRIC: July 27 Billboard FUN.: July 27, 28 (U18s matinee show) Hi-Fi; FATHER JOHN MISTY: July 28 Corner YOUTH LAGOON: July 29 Corner MIIKE SNOW: July 31 Palace ELECTRIC GUEST: August 1 Northcote Social Club THE SMASHING PUMPKINS: August 2 Hi-Sense Arena ROSETTA: August 2 Curtin; 3 National Hotel; 4 Black Goat Warehouse (AA) ED SHEERAN: August 3 Palais MARK GARDENER: August 5 Corner PUNCH BROTHERS: August 6 Melbourne Recital Centre TIM BARRY: August 10 Gasometer BELL BIV DEVOE, GINUWINE: August 10, 14 Trak Live Lounge BILLY TALENT: August 12 Billboard NASUM: August 19 Hi-Fi HAYES CARLL: August 25 Northcote Social Club PENNYWISE: August 26 Palace SLASH: August 28 Hisense Arena AMERICA: September 6 Hamer Hall HOWARD JONES: September 7 Billboard BARRY ADAMSON: September 11 Corner PATRICK WOLF: September 11 Forum EARTH: September 12 Toff; 16 Corner HANSON: September 14, 18 Palace SUBHUMANS: September 15 Bendigo Hotel RUFUS WAINWRIGHT: September 15 Hamer Hall WHEATUS: September 19 Corner YELLOWCARD: September 21 Hi-Fi RUSSIAN CIRCLES: September 28 Corner MARTIKA: September 28 Trak CANNIBAL CORPSE: October 5 Billboard STEEL PANTHER: October 7 Palace COUNT BASIE ORCHESTRA: October 10 Hamer Hall JOE BONAMASSA: October 11 Palais WARBRINGER: October 13 Northcote Social Club EVERCLEAR: October 13 Hi-Fi PAUL HEATON: October 18 Corner THE BLACK KEYS: October 31 Sidney Myer Music Bowl COLDPLAY: November 13 Etihad Stadium RADIOHEAD: November 16, 17 Rod Laver Arena


LISA MITCHELL: June 13 St Michael’s Church WOLF & CUB: June 14 Toff 360: June 14, 15, 17 (U18) Hi-Fi JACKSON FIREBIRD: June 14, 21, 28 Retreat; 15 Wheelers Hill Hotel; 16 Bended Elbow (Geelong); 22 Loft (Warrnambool); 30 Settlers Tavern (Mildura) KELLIE LLOYD: June 15 Grace Darling MISSY HIGGINS: June 15 Costa Hall; 36 • INPRESS

16, 17 Her Majesty’s Theatre THE BAMBOOS: June 16, 17 Corner MUSCLES: June 16 Bottom End THE AUDREYS: June 16 Toff GATHERER: June 16 Curtin Bandroom THE BAMBOOS: June 16 Corner ABBIE CARDWELL & HER LEADING MEN: June 16, 23, 30 Prince of Wales NEW EMPIRE: June 17 Toff THE BAMBOOS: June 17 Corner BURIED IN VERONA: June 21 Next; 22 Ringwood OLP (AA); July 17 Musicman Megastore (Bendigo, AA); 19 Karova Lounge (Ballarat) THE VASCO ERA: June 22 Corner DANIEL CHAMPAGNE: June 23 Caravan Music Club TRIAL KENNEDY: June 23 Corn NED COLLETTE & WIREWALKER: June 23 Northcote Social Club er BUSBY MAROU: June 27 Bended Elbow (Geelong); 28 Corner KIRIN J CALLIHAN: June 28 The Tote EMMA LOUISE: June 29 Northcote Social Club EVEN, THE FAUVES: June 29 Regal Ballroom MAKE THEM SUFFER: June 29 Karova Lounge (Ballarat); 30 BANG; July 1 Phoenix Youth Centre (Footscray); 3 Megaman Music Store (Bendigo) CHARGE GROUP: June 29 Tote WOLRD’S END PRESS: June 29 Corner HUGO RACE: July 1 Northcote Social Club KARNIVOOL: July 5 Hi-Fi; 8 Bended Elbow (Geelong) JUDITH DURHAM: July 7, 8 Her Majesty’s Theatre THE BRIDE: July 10 Musicman Megastore (Bendigo, AA); 11 National Hotel; 12 Karova Lounge (Ballarat); 13 Phoenix Youth Centre (AA) THE RUBENS: July 11 Karova Lounge (Ballarat); 12 Corner HEROES FOR HIRE: July 11 Karova Lounge (Ballarat); 12 TLC (Bayswater); 13 Evelyn; 14 Thornbury Theatre SOUND OF SEASONS: July 14 Fist 2 Face; 15 Spensers Live (AA) DZ DEATHRAYS, YACHT CLUB DJS, BLEEDING KNEES CLUB: July 19 Corner SOMMERSET: July 20 Tote THE NATION BLUE: July 21 Tote MCALISTER KEMP: July 21 Hallam Hotel CHARLES JENKINS & THE ZHIVAGOS: July 21 Corner DON WALKER: July 26 Northcote Social Club; 27 Caravan Music Club NINE SONS OF DAN: July 28 Revolver; 29 Spensers live (under-18) TINA ARENA: July 28, 29, August 5 Hamer Hall HOUSE VS HURRICANE: July 31 Musicman Megastore (Bendigo, AA); August 1 Bended Elbow (Ballarat, AA); 3 EVs (Croydon, AA); 4 Hi-Fi; 5 Phoenix Youth Centre (AA) TIM FREEDMAN: August 10, 11 Bennetts Lane CHILDREN COLLIDE: August 10 Corner; September 7 Yahoo Bar (Shepparton); 8 Bended Elbow (Geelong) KATE MILLER-HEIDKE: August 14 Corner HILLTOP HOODS: August 24 Setts (Mildura); 25 Festival Hall; 26 New Albury Hotel URTHBOY: August 31 Evelyn SHANNON NOLL: September 1 Moama On Murray Resort; 25 BHP Esso Wellington Centre (Sale); 26 Capital Theatre (Bendigo); 27 Wangaratta PAC; October 11 West Gippsland Arts Centre; 12 Ballarat Regent Multiplex; 13 Eastbank Centre (Shepparton); 14 Lighthouse Theatre (Warrnambool) JULIA STONE: September 6 Theatre Royal (Castlemaine); 7 Forum; 8 Meeniyan Town Hall THE MCCLYMONTS: September 12, 13 Palms At Crown XAVIER RUDD: September 13 Palace; 14 Ferntree Gully Hotel; 15 Pier Hotel (Frankston); 16 Costa Hall (Geelong); 19 Kay Street Saloon (Traralgon) KATIE NOONAN, KARIN SCHAUPP: September 19 Capital Theatre; 21 Melbourne Recital Centre DAMIEN LEITH: September 20 Wangaratta Performing Arts Centre; 21 Palms At Crown

FESTIVALS EMERGE FESTIVAL: June 1-July 31 WEEKENDER FESTIVAL: September 14 Tote; 15 Corner; 16 Liberty Hotel PARKLIFE: October 6 Sidney Myer Music Bowl QUEENSCLIFF MUSIC FESTIVAL: November 23-25 STEREOSONIC: December 1 TBA

An inflatable kangaroo makes its way onto the stage and Wahlberg shares, “I really wanna kick the shit out of this thing but it says Australia on it, so I can’t.” He then sniffs a pair of undies that land at his feet and overshares, “Smells good Down Under” – too far! The Kids separate and walk right through the crowd and up to the back of the lower tier. Dannie Wood comes closest to us and despite being flanked by security he looks petrified. Then it’s the Boys’ turn and they enter via the back of the lower section, making their way down aisles uncharted by their forerunners. This arrangement of As Long As You Love Me sounds a lot like I’ll Be Around by The Spinners. Jordan Knight hits an absolute clanger during I’ll Be Loving You (Forever) and the many wincing faces in our midst concur. Kids join Boys onstage and after Carter mime-humps that inflatable kangaroo, Knight tries to one-up the rival band member by placing the kangaroo’s snout at crotch height.



“Lots of big, glossy photos of Nick and the boys,” a programme seller spruiks as we wander through the venue’s circular foyer, lapping up this pre-show people-watching opportunity. It’s a smart business move teaming a pair of heritage-listed boy bands on the same bill and scrolling down the endless surnames (Knight twice, obviously) on the back of a tour t-shirt amplifies our excitement. All of these objects of teenage fantasies in the flesh onstage at once! Hope they’ve got smelling salts at first aid. There’s still plenty of empty seats when Johnny Ruffo appears to warm up the arena. Those who dilly-dally miss out and Ruffo, who placed third on The X Factor last year, has improved in all areas. His original song Throw Your Hands Up takes us there. With Ruffo accompanied be just two female dancers and a dude in charge of backing tape/live keys/BVs, it’s a compact set most suitable for shopping centre appearances. There’s one bum note during Stevie Wonder cover Sir Duke, but it’s a brave choice and he nails the rest. Ruffo’s MJ tribute is impressive, but not quite to Usher’s standard yet. In between song banter is great, but he’s breathless – is Ruffo a smoker? Give up the gaspers, son, you’ve got the goods to take you far. We clock some banners in the break: “Donnie I’m Legal Now” and “Jordan+Top Off = Heaven”. Jordan–Top = Heaven would have been better, perhaps? Many in the crowd wave accoutrements that resemble flashing dildos. Suddenly, New Kids On The Backstreet Block’s live band plays Can You Feel It by The Jacksons. Rehearsal photos of individual members from both bands grace the giant screens giving punters the opportunity to cheer allegiance. Deafening pyros. Suddenly ALL NINE of them appear onstage and it’s almost too much for this ticker. Coldplay’s Viva la Vida is the chosen instrumental backing with NKOTB’s Single and BSB’s The One somehow sung over the top to open. It kinda works; it’s just confusing when you expect the original’s, “For some reason I can’t explain,” lyrics. But who gives a shit! We’re looking at McIntyre, McLean, Knight, Dorough, Knight, Wahlberg, Littrell, Wood and Carter all at once! New Kids follow up with their 2008 comeback single Summertime and the programmed light chases that illuminate the massive catwalk culminate in a streamer/confetti explosion to punctuate the quintet’s closing pose. Backstreet Boys are up next with The Call and their moves are somewhat outta sync. We call it: NKOTB are way more professional, better rehearsed and also boast superior chorey. Nick Carter tries his darndest to make up for it with vigorous pelvic thrusting and sure loves to emphasise that he is, in fact, only 32. New Kids On The Block’s You Got It (The Right Stuff) scores a rapturous response, particularly once it’s noted they’re replicating moves from the original music video throughout the chorus. Ouch! Donnie Wahlberg’s singing lets this one down, however. During BSB’s Larger Than Life, Carter tries too hard during a tricky move, wipes out, tries for a fancy recovery, but then wipes out again. New Kids invade and they’re all hatted up to perform a slow, crooner section with mic stands. It’s oh-so slick and you can see where Human Nature’s influences lie. Joey McIntyre takes out tonight’s gold medal for Please Don’t Go Girl and we chuckle, “Joey would totally win The Voice!” BSB penetrate the audience to select a lady each. All four lucky selections are then escorted onto the catwalk and sit on meticulously

Everybody (Backstreet’s Back) makes the perfect encore song. Then it’s a NKOTB takeover when they take the stage wearing green-and-gold trakkie tops with sequinned sew-on letters that read “Australia”. Hangin’ Tough contains excerpts of Queen’s We Will Rock You and props must go to the musical director for this once-in-a-lifetime double-act. Backstreet come back sporting the same trakkie tops in a different colour scheme and a distinctly Sharks Vs Jets rumble vibe is created. The bands face-off with a live Everybody/Hangin’ Tough mash-up. This crowd collectively lose it down memory lane tonight. Bryget Chrisfield


A deafening explosion of guitar noise smashes into the crowd, heralding the arrival of Jonathan Boulet and five-piece band. Several people laugh at themselves after nearly jumping out of their skins. The drummer and percussionist pounding in sync and the four-part vocals is less of a warm-up band and more of a wakethe-hell-up! band; four boys yelling with passionate rock energy. 321 Ready Or Not is a quieter moment, but it’s mostly just loud with the likes of Trounce and This Song Is Called Ragged. Elements of thrash metal emerge with screeching guitars and guttural throat-screams from Boulet. The drums are tribal in intensity, yet despite the pounding rhythms the crowd seems stuck in polite nod-bop mode. Boulet puts in an energetic performance but the music does not leap off the stage to infect or sway the crowd. The joyous swirling tones of A Community Service Announcement to finish could not be further away from the smack-in-the-face opening. Kindness (aka Adam Bainbridge) is up next. The six-piece band play the funky riff of Cyan before we see Bainbridge. With perfect timing, he saunters nonchalantly to the mic for his first lyrics. He dances like a lanky, newborn colt and spills his drink early. He lies down to cover The Replacements’ song Swinging Party then informs the audience that he just lay in the spilled drink. Bainbridge should be oozing hipster cool, but he seems to have left it in the puddle on the floor. Despite the soul funk erupting onstage, there is minimal dancing in the crowd. Bombastic starts with Bainbridge singing a cappella with two female backing singers, while a lot of the audience talk noisily over it. Gee Up sees Bainbridge walk into the crowd taking photos and engaging with front-row punters. Overall this is a performance that would be better as background at a skinny-jean dance party for someone’s 30th. Tom Vek arrives and his three-piece launch into the funk of C-C (You Set The Fire In Me). A devilish red light suffuses the stage. There’s not much small talk, a simple “hey!” after the second song Someone Loves You is a rare concession as the majority of songs segue into one another. Vek gestures expressively with his hands and a hardcore few in the front row copy him, most notable being a scraggly-haired, bleachblonde surfer boy who screams the words back at the stage, complete with interpretive-dance hand movements. The laconic, detached delivery of lyrics in World Of Doubt and We Do Nothing has the flavour of Californian band Cake, but it’s too disengaged here. The rubbery bass intro of Nothing But Green Lights is funky but not enough mojo is bouncing out. This Modular triple-headline show is an eardamaging symphony of bluster and swagger. Each act struts and frets their hour upon the stage, but the memories do not remain. Jaye Weatherburn


floods. They hold the Tote in the palms of their hands and prove once again that a good song will transcend age, fashion, industry bullshit and beefs gone by.

Outside of a Laneway Festival performance last year, it’s been a long time between Melbourne drinks for Sydney/London tech rockers PVT. We find the Phoenix in the ballpark of three-quarter full, the ideal capacity for punter comfort but on the shy side of what we would’ve expected for such an act. A low pulsing thrum builds through the PA as the headliners finish tweaking their rather elaborate set up. PVT tentatively enter the set with a lo-fi keys and a bass-heavy number before frontman Richard Pike straps on a bass and they launch into a markedly more upbeat newbie, Evolution. From here the thing descends into darkness as they unleash a little of the awkward menace we’ve been craving. Last album Church With No Magic’s Light Up Bright Fires falls on the room like a cloud before Pike introduces the band and asks our permission to allow them to try out some more new shit.

Samson McDougall


Through to the mid-point of the set, Pike’s voice stands front and centre, cutting through the dense gusts of sonic wind. The strength of his vocals make it hard to ever imagine an instrumental incarnation of this band, though their 2008 release O Soundtrack My Heart was exactly that and, strangely, no less powerful for the omission. Technical difficulties (really, from an audience perspective the show sounds amazing; for mine, they give the sound guy a bit of an unnecessary hard time) force a few stoppages but actually draw a bit of banter from a band that is often tepid with regard to audience engagement. We’re drawn through a brace of new numbers and the common thread is density of sound. Lawrence Pike’s drumming is as enigmatic and mathematic as ever as brother Richard switches from high-strapped laser gun guitar, bass and keys and perpetual noodler Dave Miller tweaks and warps. Standout tunes through the back-end include Church With No Magic, the Sophia Brous accompanied Vertigo, the almost-rapped vocal lines of Casual Success and the instrumental mentalness of O Soundtrack My Heart. They save Window for a kind of token ‘encore’ and apologise profusely for their sloppy set as the 80(odd)% male audience wails for more. XXX THE TEMPER TRAP PICTAKLA BY X PIC BY HEIDI


Under the gothic nightscape of the Forum Theatre in full glow, all is beautiful. When Sydney outfit Seekae take to the stage the venue is packed, with plenty of punters obviously eager to catch a glimpse of one of the best electronic groups going around. Throwing down cuts such as Borg and 3 from their latest album + Dome, it’s clear how impressive the trio is. Against a crowd seemingly only interested in the headline act though, much of Seekae’s ambient sound is lost on the audience. Nothing can drown out lead single Blood Bank though, a beautifully simple number that encapsulates everything that Seekae does right. Although tonight’s set falls a shade flat on an underwhelmed crowd, take every opportunity to see this outfit – it’s the shit. Despite a short-lived Gudinski sighting, when The Temper Trap arrive on stage, the only direction that audience eyes are pointing in is towards the band. Bursting to life with the anarchic, Midnight Oil-esque chorus of London’s Burning, and following on with the huge four-part harmonies of Need Your Love, it’s clear that the Melbourne five-piece has already got runs on the board with some of the songs off of their selftitled record, which is our current number one on the ARIA Albums Chart. ‘Old’ songs Down River and Love Lost are accompanied by huge crowd sing-alongs before newer cuts Miracle and set highlight Rabbit Hole – cue some killer strobe lighting – appear. As The Temper Trap move through songs such as Fader and Trembling Hands, however, there’s a sense that no matter how awesome the Forum is, neither the size of the venue nor the stage does their show justice. They’re not a stadium rock band yet, but a crack at Festival Hall rather than two shows at the (smaller) Forum would have given them more room to move. Finishing with an encore of Soldier On and (predictably) Sweet Disposition, it’s hard to get too caught up with the plethora of phones being waved around; such is the love in the room. It’s a home-ground advantage that The Temper Trap use to perfection. Dylan Stewart


Support band The Latonas prepare the crowd, which proves to be a healthy turnout by anyone’s

standards. As soon as one band member admits they’ve penned a song called ‘Sex With Hound’, it’s apparent The Latonas have already given tonight’s headliners the thumbs-up. There are three alternating vocalists up there, the redhaired lad faring best tonight. Drummer Michael Rourke looks a little Josh Homme (if you squint) and you could do far worse than stumbling upon this unruly style of ramshackle indie rock next time The Latonas hit your hood.

Samson McDougall


The punters are obviously keen to cop a squiz at Hound since all clamber up on benches or stand firm on top-steps to maximise visibility. Six musicians fill the Cherry stage and immediately launch into action – at certain times they call to mind Mountain Goats, others Boy & Bear (are there secrets shared between animal-named bands?). Hound perform a style of music that’s a lot gentler on the ears than what this venue generally books. The dual, overlapping, male-female harmonies form a rich nectar and there’s a very mature sensibility at play. Vocalist/keyboardist Jess Amory is a stunning (and talented) frontwoman, her sweet tones perfectly complementing those of vocalist/percussionist James Tyrell. You can tell from the get-go that all onstage are committed to the overall sound – there’s no competition between members, just a shared determination to present this set of songs in the best possible way. There’s some instrument swapping, which adds further interest and authenticity. Our focus is directed staunchly stageward and there’s not much gas-bagging during songs. The variety of instrumentation onstage means there’s always something to zone in on, dissect and admire. Steal Life And Wine is immediately charming, with meandering melodies held together by inventive percussion. If harmonicas make you swoon, you enjoy digging deeply into lyrical content to ponder a song’s message – “Satan please try to understand me/You know I’ve got so much vision, I just can’t see” – then Hound are well worth checking out. Apparently the party is “back at Paul’s”, to which everyone offers their best howling-hound sounds. Sounds like a True Blood ‘werebarn’ in here! Hound launched their self-titled EP tonight and, if the amount finding good homes in exchange for a fiver out in AC/DC Lane is anything to go by, they will need a second pressing. Bryget Chrisfield

Too dancey for the rock crowd, too convoluted for the dance crowd and too pop for the math-rock nerds, PVT are nothing if not themselves, and do nothing if not remain true to their own sonic directives and style. The combination of their purity of spirit and the deluxe environment that the sadly-soon-to-close Phoenix Public House allows will make this night pretty tough to top as a standout local live performance of the year.

Ever since their Saturday arvo residency at the same venue last year, Sun God Replica’s legend has swollen to the point that they draw a half-full Tote audience as first support on a dreary Friday. These three ooze personality, though probably not the kind of personality you want to take home to your mother. Drummer Lochie Cavigan’s beats and fills drive this bus – all flailing limbs and beard sweat. Most importantly, their songs leave lasting recognition. Tim Pickering’s bassline coupled with Link “Meanie” McLennan’s slackly sung chorus through I’m In Love With The World lingers for days like a mosquito bite – dogging you at first but oh-so sweet to scratch. Album title track Primitive Clockwork is the other clear standout as Sun God Replica lay down the mantle for a “rock’n’roll war” and a night of heavy perspiration and BO hugs. It was easy to feel cynical about Tumbleweed’s belated reformation a couple of years back. A fairly ordinary Meredith appearance and some kind of booze-related promotional tour later and there wasn’t much evidence to suggest these dudes were even trying to convince us they were legit. This time ‘round though they’re hot. Not only do they deliver a dose of hearty ‘90s nostalgia, but they also hammer it home with super-tight playing and enough stage presence to rival a younger incarnation of themselves. The hits shine here. Sundial invokes a full-crowd sing-along and rickety head-bobs from their ageing patronage. Carousel lifts the set even further with snake hips comin’ out all over the shop as backs crack and knees buckle. Lenny Curley’s guitar hooks register as being crisp and smooth as singer Richie Lewis’s vocal lines, and from beginning to end the band carry every tune with a mixture of youthful exuberance and practised dexterity. Though they do nought to reinvent any rock’n’roll machinations or even delve much beyond the limits of their early-‘90s sound, on this night Tumbleweed justify their return to the live circuit as something more than serving to wistfulness for times gone by. More than a history lesson, the overriding message here is that of not letting the bridge wash away through past


WESLEY ANNE: 26/05/12 The beautiful Wesley Anne’s restaurant/gig room is packed tonight and this proves to be a doubleedged sword. While it appears that most of the people present are here to see the performers, there are enough who aren’t and don’t seem to care that the rest of us are actually trying to listen. To his credit, Daniel Bowden doesn’t seem to register the raucous conversations as he works through his set (although whether or not that’s because he actually can’t hear what’s going on at the back, who can say). Amiable and chatty, it’s hard to not like Bowden, even if his brand of blues-tinged folk isn’t quite your cup of tea. Sadly though, the majority of his set fades into background music thanks to the thoughtlessness of other diners, making it very difficult to get a proper handle on what you’re listening to. By the time The Gracemakers take to the stage, the noise from the crowd has partially died down, but it is still a frustration. Drummer Davey Pinder joins singer Tiffany Kommedal and guitarist Kent Morris for tonight’s EP launch. For a band touted as having “hauntingly brilliant vocals” and being “a beautiful expression of sweetness”, something appears to have been lost somewhere along the line, because tonight there is no evidence of these traits. Only a few songs into their set, Kommedal begins to explain the meaning behind the next song, Wake Up, stating that it has to do with her going straight and that tonight’s show is only the second that she has done straight, adding “most people wouldn’t tell others, but I’m a very open person.” It certainly works in her favour as the song receives a rousing reception. While such brutal honesty is to be appreciated (and her effort commended), it is an honesty that doesn’t seem to translate to the songs. The lyrics are oh-so-emotional, but there doesn’t seem to be any innate, soul-touching beauty. It doesn’t help that the songs themselves are not particularly memorable, with no discernable hooks to draw you in or keep the song in your head for any length of time. Eye Of The Storm, Blanket, Heaven’s Friend and Wildflowers are among the songs played tonight. When modern folk is done well, it is superb; when not, it can be quite painful. Hopefully this was just an off night due to having to contend with disrespectful audience members. Dominique Wall


It’s been a cold, dreary day as Melbourne makes its way into winter. It’s hard to imagine weather less suited to Dune Rat’s summery surf rock. Despite this, a decent-sized crowd gathers in the Workers Club bandroom, armed with beanies and woolen jumpers, ready to forget the crappy weather, if only temporarily. Udays Tiger are the first band playing. They’re a local duo that appears to be strongly influenced by Death From Above 1979 and DZ Deathrays. The guitar is heavily laden with effects to fill out the otherwise sparse sound and they have a strobe light that flashes during the more frenetic moments of their set. From a distance, they even look like DZ. They throw in a really good cover of Queens Of The Stone Age’s Millionaire. Next up is another local group, ScotDrakula. The trio play rough and raw garage rock with songs that seem to disappear or peter out just as people start dancing. A group of people up the front persist and are rewarded with some boogie-friendly moments as some more polished songs are played later in the set. Dune Rats’ popularity has been growing rapidly over the last year or so, thanks to more triple j airplay, some music videos and tours supporting like-minded acts including Best Coast, DZ Deathrays and Bleeding Knees Club. Tonight, however, is their night as they launch new single, Fuck It. The duo are aided by Brad Heald, from The Vines and Red Riders, on bass. They have a lot of fun onstage as they pound out their barebones surf tunes. During Wooo! they break into giggles for some reason, but manage to hold it together and finish the song. Their finale of Fuck It and Rat Bags brings the crowd to life as dancing takes over during the former track but gives way to a handful of people moshing during the closer. The show’s over all too soon and the crowd heads back out into the cold night, this time with sounds of summer fun to occupy us. Josh Ramselaar INPRESS • 37


After doing the hard yards whilst growing up at venues in hometown Sydney’s Southern Beaches, Strangers are ready to bust out. Having spent the better part of 2012 crafting their debut album with Shihad’s Tom Larkin at the controls, Strangers are recording what will be one of 2012’s heaviest and melodic local albums. Recently signed to Shock’s new imprint label Permanent Records, Strangers will escape the catacombs of the studio to showcase their visceral live sound at the Workers Club this Friday with support from Sydney noise-mongers Gatherer and Melbourne’s Jonesez.




Dark rockers The Eternal will make their return to the Melbourne live scene after spending most of 2012 working on the follow up to their highly acclaimed album Under A New Sun. Joining The Eternal this Friday are Melbourne metal act Contrive, Melbourne powerhouse rock duo King Of The North as well as local up and coming rockers Crying Sirens. This promises to be a powerful night of local music at the Prague in Thornbury.

FUN MACHINE EAST COAST TOUR Colourful Canberra trio Fun Machine are back and are set to charm with their latest offering Ready For The Fight. Known for their eclectic mix of unorthodox punkpop sounds and honeyed harmonies, Fun Machine’s new work is more indicative than ever of the band’s ability to make relevant, raucous records with a penchant for pop. They head out on an East Coast single tour soon, and you can catch them at Bar Open on Friday 20 July with guests The Dub Captains.


King Cannons’ debut album The Brightest Light will be unleashed to the world on Friday 22 June with releases confirmed in Australia, New Zealand, Germany, The Netherlands, Austria and Switzerland. Since day one, their manifesto has been to be a band for the people. The type of band that actually means something. A band with a career that is based on substance over style. They are launching The Brightest Light at the Toff In Town Thursday 21 June.

CUB SCOUTS AT THE GRACE Cub Scouts are an energetic Brisbane-based fivepiece who have been crafting their own style of indie pop music over the last year. Their debut single Evie swept the nation with its infectious melody. Do You Hear is the second single off the band’s forthcoming EP, which looks to have no less effect on all those who hear it. Cub Scouts will be launching Do You Hear at the Grace Darling with local artists Dirt Farmer and Griffon Green. Pre-sales are going fast so get on it.

CHICKEN WALK AT THE RETREAT Chris Russell’s Chicken Walk bring their two man juke joint party to the Retreat every Wednesday in June. Chicken Walk play real, living blues pulled straight from the heart of modern day Mississippi. Shake off your winter blues and shake your ass! Max Savage 8.30pm; Chris Russell’s Chicken Walk 9.30pm.

Doubleblack are going tear Wednesday a new orifice by getting down at the Cherry Bar for a Wednesdays in June residency, including a great hand-picked special guest act every week. Tonight, it will be The Australian Kingswood Factory. Did we mention that it’s free entry and $4 Jagers will be available?

CLAIRE BIRCHALL’S ALBUM LAUNCH Move On is the first single from Claire Birchall’s forthcoming solo album, PP. The single is available for free digital download from clairebirchall.bandcamp. com, and PP will be released digitally on bandcamp on Saturday 16 June, with CDs available in store locally from Saturday 23. Join Claire Birchall and friends at the album launch at Workers on Saturday 30 June. Guests are Ali E, MSG and Michael Plater. Doors are at 7.30 and entry’s $8.


Audego launch their new LP Abominable Galaxy this Sunday, Queen’s Birthday Public Holiday eve. They’re on stage at 11pm, with guests The Townhouses opening at 9pm, followed by Andras Fox at 10pm. Entry’s $10 but $20 will get you entry plus a copy of Abominable Galaxy, and doors are at 8.30pm.


The Delta Riggs are launching their new EP Talupo Mountain Music Vol II at the Workers Club this Saturday

at 11pm. Guests Johnny Rock & The Limits are on at 10pm and The Pretty Littles will be opening at 9pm. Doors open at 8.30pm and tickets are around $12.


Melbourne’s death-hop masters, Over-Reactor, are hitting the road to celebrate the release of their latest single Mouth Of The Ghetto from their forthcoming album by the same name, due in the second half of 2012. Ezekiel Ox (ex-Mammal, Full Scale) and Cory Blight (ex-Dukes Of Windsor), launched OverReactor 18 months ago. Check out Over-Reactor at the Espy front bar this Saturday with guests The Siren Tower and Red Sky Burial. It’s free entry.


This Sunday for Queen’s Birthday Eve the fine folk at the Grace Darling are putting on a party. It’s free entry with Get Goggles DJs from 2pm in the main bar and bands NO ZU and Mildlife from 8pm taking over the band room upstairs. Get down early enough and you can catch Staffans Songs (Francolin) residency from 5pm in the mysterious underground cellar bar. There’s something for everyone.

THE DRINKING CLUB THIS FRIDAY Fancy some speed dating? Make sure all you singletons make it down to the Retreat this Friday. There’s bound to be a few dapper gents and lovely ladies milling about. The Drinking Club fire up to launch the first single of their soon to be released debut album and along for the ride are special guests, The Harlots. The show’s free from 9.30pm.


Country-folk outfit The Little Sisters celebrate a long tradition of female vocal harmony. After sharing the stage with some of Australia’s most exciting up and coming bands, The Little Sisters have been highly praised for the richness of their vocal harmonies and the depth of their songwriting talent. Having recently released their debut self-titled EP to much acclaim, the trio and their musical accomplices will now bring their show to the Retreat this Sunday from 7.30pm. Expect pints, petticoats, and many a piss-take.



TIGER CHOIR LP LAUNCH DOTCOMS – DOTCOMS What’s the title of your new EP? It’s self-titled. We know, we’re sorry. The next one’s going to have a really great name. It’s probably going to be really badass. God it’s going to be an awesome name. How many releases do you have now? This is our first. We used to spend all our money on rehearsal rooms and stickers/ beers but now we realise that bands are supposed to record their songs and get played on the radio, so we’re all about that now.

Tasmanian trio Tiger Choir are getting ready to pounce for the national release of their debut album Unicycles and a vinyl launch tour. Unicycles manages to be both otherworldly and completely immediate, informed by the luminaries of experimental pop while remaining entirely its own beast. The boys are now taking their new record on the road, with a fourth member joining the choir on synthesisers and live visual jams. With previous support slots touring with international acts like Moon Duo, Deerhunter and The Drums, as well as appearances at Falls Festival and Camp A Low Hum (NZ), their show at Workers Club this Thursday should be kickin’. Guests are Brothers Hand Mirror, Cat Cat and Love Connection. Doors are at 7.30pm and entry’s $10.

How long did it take to write/record? Writing tracks is a fairly quick and organic process; we keep it simple. Recording/releasing took a lot longer but it meant we got to work with Matt Voigt (Living End, Cat Power) and do things properly like talk to you guys.

The Newbirds. This awesome The Who/Beatles-sounding freshly re-named bunch of talented guys write the sweetest pop songs going around. Doors at 5pm and the door charge is $13 from 8 to 11pm, then $10 until 5am.

What was inspiring you during the making of the EP? It was our first time around expensive equipment, so we were trying to recreate what we do on stage and in dank studios but also make it sound massive. We were watching The Toot Toot Toots and Ouch My Face a lot around that time. Aaron (drummer) was listening to D’Angelo. I gave up sexual relations during the recording so I could get a bit crazier. Probably won’t do that again.

At Cherry this Saturday, Decimatus launch their new EP with help from Frankenbok, Envenomed and Alkira. Frankenbok are one of Australia’s most lauded heavy metal bands and have been ripping eardrums for 15 years now. DJ Dan Watt is on decks until 3am, then DJ Big Scotty until 5am. Doors at 5pm and the door charge is $13 from 8 to 11pm, then $10 until 5am.

What’s your favourite song on it? Smack Ballad. It’s hard to listen to it now after hearing it so many times and writing newer songs since, but when the horns/mouth horns kick in at the end I still goose bump it up. We’ll like the EP if we like… We’ve been described as The Black Keys meets Pulled Apart By Horses. We want to be Children Collide meets Bodies but end up being white Wu Tang with electric guitars. Our EP is pretty diverse but you’ll understand when you come to a show. Will you be launching it? Yes, on Saturday 9 June at Old Bar with The Once Overs, Clavians and BJ Morriszonkle.

MIKELANGELO & THE TIN STAR CELEBRATE Mikelangelo & The Tin Star return to the Retreat to celebrate Queen’s Birthday (Eve) this Sunday. Melbourne’s finest exponents of the surf’n’western genre will be cranking it up in her ladyship’s honour on this auspicious day. Expect reverb-laden tremolo guitars, thundering surf drums and tales of sex and carnage, fronted by the action moves of the man they call Mikelangelo. Hot on the heels of their first tour to exotic New Zealand, this will be the last Tin Star show for a few months. Entry is free and the band are playing two sets from 10pm.

MISS INK COMPETITION On Saturday 23 June, Cherry Bar will once again host the Victorian Miss Ink Competition in search of Victoria’s most beautiful tattooed woman. This is a beauty pageant with a difference. There will also be a burlesque performance from Miss Nic Raunchy and a live rockabilly set from Sunset Riot. Doors open from 8pm and tickets are $23 from the Cherry Door on the night.

WATCH SASKWATCH See Saskwatch at the Cherry Bar this Thursday for one of their June residency shows. Cherry has been supporting this incredible nine-piece soul act for well over two years. DJs Vince Peach and Pierre Baroni will be spinning tunes, doors open at 5pm, and the door charge is $10 from 8pm to 5am.

THE SPIN AT CHERRY This Friday at Cherry Bar, The Spin, Towers and DJ Lucy Arundel take to the stage, providing you with tunes from 10pm to 5am. The Spin were originally The Moons, then



There was a lot right with the ‘90s, and unfortunately the horrendous throw-away R&B and chart-pop is getting dug up and hailed as masterwork, whereas the actual enjoyable musical output of the decade is ignored. At Fuzz, they celebrate the bands that embraced the distortion pedal and volume over bad synths and dance moves, the artists that wouldn’t be caught dead in sequins or with big hair. From midnight on Friday, upstairs at Yah Yah’s you can expect to hear Sonic Youth, Dinosaur Jr, Pavement, Archers Of Loaf, Sebadoh, L7, Superchunk, MBV and so much more, all for a genuine 1994 price of $5.


It’s set to a be a big one at Cherry this Sunday Queen’s Birthday Eve, with Chris Russell’s Chicken Walk playing two sets from 2 to 7pm, with DJ Max Crawdaddy. Then Kitty & Connah play from 8pm to 2am. In the evening there’s Don Fernando, Battle Axe Howlers (launch) and System Of Venus, with the Cherry DJ playing until 3am. Doors are at 8pm, it’s $13 entry from 8 to 11pm, then $5 onwards.


After the release of their debut EP in March, Melbourne’s Bayou headline their first show Thursday at Yah Yah’s. The EP sees the band blend cascading guitar lines, eerie female harmonies and propulsive drumming with anthemic lead vocals to create a sound that is haunting, commanding and dirty. A starring support feature in this line-up is Minibikes. Joining these Melbourne new-bloods are special guests Ali E and L’il Leonie Lionheart. Doors at 5pm, bands start at 9pm, and entry is $7.


Oscar & Martin will be on DJ duties this Queen’s Birthday (Monday) at the Workers Club. Oscar & Martin play vibealicious dance tracks ranging broadly from old R&B to new R&B. What they lack in skill they make up for in enthusiasm, charisma and un-hinged, un-adulterated bumping and grinding. LA Nights picks the creamiest Melbourne DJs to play the dirtiest, overplayed, under appreciated booty shaking jams you heard this side of Monbulk. It happens every Monday from 8.30pm. $2 entry.

their dark country vibes at us. Plus, HMAS Venedatta are sailing in to town sporting many a fine moustache. This debauched and deranged menagerie are kicking it in style at the best rock pig trough in Collingwood. Doors at 5pm, bands start at 9pm, and entry is $10.


Is this track from a forthcoming/ existing release? This is the title track off our first record Persona Non Grata that is being released in August 2012 through Permanent Records. How long did it take to write/record? This was the first track we worked on through the album process. The album was recorded over six months in Melbourne in 2011. What was inspiring you during the song’s writing and recording? The band was frustrated and itchy to get out on the road again. We found ourselves swallowed up by mediocre jobs and stuck in the same town seeing the same faces doing the same things. We knew we had to make this record and use it as an outlet to vent our frustrations, so we did and now we are here.


Will you be launching it? We are playing in Melbourne on Friday 8 June at the Workers Club with Jonesez and Gatherer.

Grand WaZoo return to the Velvet Room at Thornbury Theatre Sunday 17 June from 6pm. Grand WaZoo perform there just once a month, but that always depends upon your ongoing patronage, come rain or come shine. So while it may be cold outside, once you enter the Velvet Room and imbue yourself with the band’s music, you will be well set up for the week ahead. And as the gig ends at 9pm, you’ll be home nice and early (always a bonus on Sunday nights). At this show featured singers will be Wylie J (Roaddog) Miller, Joys Ferris and John (JT) Toney. Entry is $10 and there is also happy hour in the foyer bar from 5 to 6pm.

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ECHOES AT LOOP Echoes returns for its tenth instalment at Loop this Friday from 10pm, celebrating the influence of dub in electronic music. Echoes V10.0 will take you on a bass heavy journey from Kingston to London via Detroit and Berlin. This edition sees the return of Brookwise to the decks and welcomes Bryce Lawrence doing his debut alongside the residents Matic and Mark Bauman. VJ Netzair will provide the visual stimulation. Let the power of dub be the perfect start of your long weekend.

Empire hit Yah Yah’s again this Friday to tear the place apart. The boys have had a change of name since last time they played the venue (ex-Dead Lovers Lane) but are still playing their aggressive/melodic metal! Coming along for the ride are NSW heavy hitters Hearts Like Wolves fresh from support slots with Northlane and Hand of Mercy. The Grace Of Graves and City Of Sirens round out one hell of a good bill. Doors at 5pm, bands start at 9pm, and entry is $12.

Ebb&flo is back again at Loop this Saturday from 10pm, with their fourth show for the year. Coming off a memorable night with Mike Callander in April, they’re sticking to the theme of showcasing experienced and talented DJs with a diverse range in music. The next guest is a true icon of the Melbourne electronic community: Dean Millson. A DJ, promoter and allround nice guy, Millson has been a regular at prominent Melbourne events for some time now. His in-depth knowledge of electronica will certainly complement the deep, twisted, creative environment that is ebb&flo. It’s free entry with residents Nikko, Jon Beta and Lister Cooray also playing and live visuals by Netzair.



Vultures Of Venus are playing as a duo at Yah Yah’s this Saturday whilst their bass player is in Europe, and apparently they’ve got an obscene number of new tunes to pour down your ear. Red Rockets Of Borneo are gonna be there too, and Golgotha Motel are suiting up and strapping on their guitars to push

What’s the song about? The song is about the frustration of wanting to get out of your hometown and not letting the people in that town influence your life decisions. I wrote it lyrically when I was in a pretty destructive place surrounded by destructive people.

Yah Yah’s is thrilled to have Black Cab’s first show for 2012 on Queen’s Birthday Eve this Sunday. The band will be debuting material from their forthcoming album Fourth as well as unveiling a new extended line-up (with Wes Holland from Sand Pebbles on sticks and Lucy Buckeridge from Lowtide joining them on bass). Joining them will be the incredible Baptism Of Uzi and Humans, the new Alan Vega inspired electronic project for Chris Chapple and the Spoils’ Sean Simmons. Formed in 2004, Black Cab’s sound has ranged from psychedelic kosmische to Germanic electronic, often drawing inspiration from Europe and America in the ‘60s and ’70s. Doors are at 9pm and entry’s $12.




This Sunday from 10pm, Loop celebrates Holla Back Entertainment recording artist NeeQ with an album launch party, comprising the previewing of the album, the launch of the first single and video clip with live DJ sets from J-Funk and Shadyville DJs’ newest recruit DJ Skillz. Entry is $10.

We’ll like this song if we like… To do everything in excess. Do you play it differently live? Depends on how drunk we are.


It’s that time of year again: The Toot Toot Toots are back at the Old Bar for their third annual June Sunday residency. After successfully launching their latest opus at the Hi-Fi Bar they return to their favourite watering hole to make Sundays in winter worth leaving the house. It’s gonna be an epic run of Sundays. It starts at 8pm so get down early to avoid disappointment.


The Dames are Clare Moore, Kaye-Louise Patterson and Rosie Westbrook; three unique female musicians each with their own history in the Australian music scene. Having performed and recorded as solo artists and with a number of local and international musicians, The Dames have come together to rock your world with their highly original, mind -expanding and innovative material. The Dames are currently recording their first release, which will also feature a number of special guest performances from musicians such as Dave Graney, Ash Naylor and Matt Walker. Preview some of the tracks from the CD at their Tago Mago show this Sunday from 5pm.


In 1992, alternative rock spawned a revolution that transformed youth culture and revived a moribund music industry. By 1995, the new alternative nation had splintered into dozens of new subcultures. Five years later, alt.rock was dead, leaving behind more questions than answers. To answer these questions, Craig Schuftan takes you on a journey through the ‘90s. His book Entertain Us! presents the story of alternative rock – the people who made it, who loved it, the industry that bought and sold it, and the culture that grew up in its wake. Schuftan hosts a celebration at the Tote this Thursday, with performances by Kevin Mitchell (Jebediah/Bob Evans), Adalita (Magic Dirt), Planet Love Sound, Sid O’Neil (Vasco Era), Sam & Nick Nolan (Loon Lake), Courtney Barnett, Valentiine plus a ‘90s DJ set by Steve Parkin. Entry’s $15 and books will be available. INPRESS • 39

LOVERS JUMP CREEK AT PENNY BLACK Sydney band Lovers Jump Creek are coming down to Melbourne to play at the Penny Black in Brunswick this Friday. It’s only their fifth time here, and they’ll be playing to celebrate the reception of their first and second singles, Ditty and Half Chubbed, off their debut EP Bless This Mess.

ULTIMATE TRIBUTE NIGHT AT THE ESPY Tease your hair and squeeze into your old leather pants, or don your mohair cardigan with your finest flannelette shirt as glam rock-meets-metal-meetsgrunge at the Espy’s Ultimate Tribute Night on Friday 22 June. The Australian Bon Jovi Show bring their full production to the Gershwin Room stage, complete with original costumes worn by Bon Jovi at the pinnacle of their career, for a gob-smacking authentic ‘80s experience that will leave you thinking, “Is this real?” Special guests for the night are Port Phillip Bay area thrashers PantallicA combining the hits from metal legends Pantera and Metallica. However, if you’re more of a grunge fan, Foovana will kick off the night playing the biggest and best tunes from the heavyweights of the ‘90s, Nirvana and the Foo Fighters. Best of all, the show is free.

HUDSON ARC GRACE THE GRACE Hudson Arc are the brainchild of singer/composer/ producer Gareth Hudson, who has produced and recorded award-winning artists including The Hilltop Hoods, The Last Kinection, Amy Vee and Buddy Knox. Hudson teams up with renowned string trio Ensemble Arc; the end result is a marriage of lush string lines, driving rhythms, intense dynamics and a diverse mix of styles resulting in expertly crafted, honest and real compositions stamped with their own unique sound. Having only formed nine months ago they have achieved a lot in a very short time. Check them out at the Grace Darling on Saturday 30 June, supported by The Hazelman Brothers and Gabe Lynch.

THE BREAKFAST CLUB After a month hiatus, Darkbeat & New Guernica reunite to present the fourth instalment of The Breakfast Club. This Sunday sees the one and only Guy J (Israel) play a special three+ hour set. Guy J has established himself as one of the most sophisticated and emotive producers in electronic music. Whether it be his sensual, hypnotic take on house music, his deeply textured techno or his wondrous ambient material, his sublime Depeche Mode-esque synth work points to a talent that has surprised many, considering his short time releasing records. Support comes from Phil K, Rollin Connection, Andrew Wowk, Dave Juric, Mish’Chief, Simon Murphy, J-Sylde, Andrew Slattery, Chestwig, Flo, Thomas Touche, Seb WIld and Marcus Holder.


Following a spate of sold-out shows across the country, Sydney four-piece The Rubens will play four very special shows in July in support of their new single Don’t Ever Want To Be Found. The band will perform headline shows in Melbourne and Sydney before heading to Adelaide for Spin Off Festival and Byron Bay for Splendour In The Grass. The Rubens’ debut album is set to be released this September. Meanwhile, you can see them live at the Corner on Thursday 12 July, with guests Them Swoops and Danco.


To celebrate the launch of their debut double A-side, Dirty Highway/See You Again, White Summer will be playing an exclusive free launch show at the Espy Front Bar Thursday 14 June with very special guests King Of The North, The Pretty Littles and The Corsairs. White Summer play rock music – but not just any rock music, the kind where blues drips from grit-stained fingers, the kind where dancing comes with screaming and the kind you wouldn’t let your daughter near for all the whiskey in the world.


Tehachapi and Planet Love Sound, two of Melbourne’s finest and most progressive live acts, are linked by friendship, blood, and a history of musical collaboration. Not only are the lead singers of the two bands brother and sister, but both Tehachapi and Planet Love Sounds’ EPs were produced by The Brothers Todd. See Tehachapi and Planet Love Sound this Saturday at the Phoenix Public House.


The Yung Warriors launched their highly anticipated album Standing Strong at the Dreamtime at ‘G, followed by a community launch at MAYSAR. Funds raised from the event were collected for the Melbourne Aboriginal Tent Embassy. Now they’re bringing their show to the Workers Club, with a launch on Saturday 16 June.


Got a Friday free this month? Get down to the Old Bar from 2 to 4pm for Burning Vinyl broadcasting live. Every week will be another couple of fabulous free performances by some top musicians, so head down to unwind, enjoy some music and a drink, and support live music, Burning Vinyl and 3CR. Mikelangelo and Lindsay Phillips will performing this Friday.


El Rincon H2 hosts a fundraiser at My Aeon as part of the 3CR Radiothon. Come along to a night of hip hop, dub step, drum & bass and more. Catch local artists the High Society, Faff, DJ Changeling, Brown Acid and Mandrax, and support 3CR’s South American hip hop, reggae and flavas program El Rincon H2. Entry is $10 on the door.

WINTER BALL LINE-UP ANNOUNCED Charles Jenkins & The Zhivagos have announced the line-up for the fourth annual Winter Ball fundraiser at the Corner Hotel on Saturday 21 July. This year’s

performers include Melbourne soul queen Suzannah Espie, rock‘n’rolla Joel Silbersher, the fabulously dreamy Orbweavers, new kid Alex Lashlie and surfwestern genius Mikelangelo. Stunning chanteuse Ms Angie Hart, the ever-debonair Jon Von Goes, luxe lady Linda Dacio, bourbon balladeer Cash Savage and the brilliant Pony Face will also decorate the stage. More acts are to be announced. So dust off your Winter Ball gear and come out and help us raise some bucks for this year’s charity, Support Act. Tickets are $25+BF presale or $30 on the door if available.


After bewildering and blistering audiences in recent times with their constantly expanding widescreen noise-rock epics, Cocks Arquette are finally unleashing their self titled debut CD/LP at the Tote this Friday. The devastating line-up curated for this event includes gothy punkgaze deconstructors Zond, the slow burning heartbreak at menacing volumes of Pearls and the no-moustache, no-chestbeating, no brodown, face-melting hardcore of Urns. Doors open at 8pm woth $12 entry.


Recently Hard-Ons’ guitarist Blackie (Peter Black) was the victim of a physical assault while at work driving a cab. He sustained head injuries that will see him unable to work for two months at the very least. Hard-Ons were forced to cancel their remaining tour dates. The financial pressure this puts on the band and Blackie is immense. Hard-Ons operate on a shoestring budget and Blackie, being self employed, will have no income while out of work. This Saturday the Tote Hotel will host an epic line-up of Regurgitator, The Meanies, The Spazzys, Dead and Bat Piss, with all proceeds from the show going to Blackie. There will also be a raffle and merch for sale giving everyone plenty of great ways to contribute to the cause. All proceeds from songs played on the Tote’s jukebox will also be included. Doors open at 8pm with tickets on sale through the Tote website for $25.


Every year the Sculpture Department at RMIT University has to raise money for their graduation exhibition. This year they decided to organise a show at the Tote Hotel and get some of their very talented friends to play. Headlining will be fine art graduates Bum Creek with the dreamy Ancients, cosmic-pop legend Angel Eyes, gloomy-disco queen Rites Wild, psych-rockers Art & Craft, punk-dudes Franco Cozzo and new bands Stationary Suns and People Person. It is all happening on this Sunday (Queen’s Birthday Eve) and will also have Radio Valerie’s Psychedelic Coven DJs. The celebrations will begin at 3pm and tickets cost $14. Come and see some amazing bands and support local emerging artists.


Melbourne based four-piece Dancing Heals are set to return to the stage after several months’ break from the live circuit to launch their debut album and introduce their new bass player. Into The Night is in many ways a layered chronicle of the band’s genesis and continuum. They are launching it at Cherry Bar on Friday 13 July with support from Planet Love Sound and The Corsairs.


Goodbyemotel are stepping boldly into the 3D spotlight. On the afternoon of Sunday 24 June at the Northcote Social Club the audience will be given a pair of 3D glasses on arrival so they can watch the band perform live with their 3D music and video spectacular. Pretty good way to spend a wintery Sunday arvo in Melbourne. Doors open at 2pm.


Having been busy gigging and recording locally over the past few years, pop-rocker Michael Shaun is headlining an eclectic line-up showcasing Melodic Music’s best offerings at Revolver tonight . Opening the night are the very exciting Cub Crain and then the much talked about Tc & The Drop Bears. Doors open 8pm. Tickets are $5 available on the door.


As well as having a string of solo albums under his belt, over the past 20 years or so Spencer P Jones has been a constant in the Australian music scene, from early obscure inner city scufflings with The Emotional Retards and Cuban Heels, to the hilarious psychedelic cabaret of The North 2 Alaskans and the gold status cowpunk incontinence of The Johnnys. He’s perhaps most widely known as a founding member/guitarist with The Beasts Of Bourbon. Head to the Retreat Hotel front bar this Monday 11 June to catch a blistering two setter (for free) from Spencer Jones & The Escape Committee from 4pm. There will also be a performance from Water Music from 7.30pm. 40 • INPRESS


Following the success of the brand new single Let You Go, Melbourne band Zoophyte will hit the road for a slew of dates throughout the country including some in support of INXS. Let You Go has seen solid support from media nationally with steady spins from regional radio and the Triple M network. Catch Zoophyte supporting their new single at the Espy Friday 29 June and the Palais on Friday 6 July.

Tomorrow (Thursday), Hybrid Nightmares brings the new terror to the Revolver lounge. Preparing to embark on their Long March North tour across the East Coast of Australia, they are ready to pummel your sanity. Joining them on the Victorian leg of their tour are Agave Maize, who have emerged from their fetid chrysalis to anoint the world of black metal with their contagion. Mardraum bring to their stage their own style of raw black metal. Breaking from the theme for the evening are Victorian metal power houses The Douglas Quaid Experiment. Their powerful presence on stage is sure to leave you entirely awestruck. Doors open 8 with $10 entry.


Bobbicupcakes is turning thirty and Revolver’s throwing a huge party. Kick off your Queen’s Birthday Weekend celebrations this Saturday watching a selection of Melbourne’s finest rock, punk and hardcore bands. The night will feature The Hawaiian Islands, Bateman, Declaration, Andrew McDonald (ex-Tiltmeter), and throughout the night the amazing Heels On Decks will be spinning all the classic hits from the last 30 years. Doors open at 8pm with tickets available pre-sale for $8+BF and $10 on the door.


On Queen’s Birthday Eve (this Sunday) Revolver Upstairs will be entertaining a bunch of Australia’s finest live techno exports: Deepchild live, Steve Stevens live (Jamie Stevens & Steve Ward) and Haul Music live (Mike Callander and Craig McWhinney). Front room DJ support will come from Out Of Focus Crew, Bryce Lawrence, Louis McCoy and Glyn Hill. Even more DJs have been announced for the backroom line-up, Boogs, Spacey Space, T-Rek, Radiator, Sunshine, Silversix, Sean Rault, Jesse Young, Nick Jones, Who, Eddie Galinovic and Dylan Bauer. That’s a lot of good times. Door changes from 8pm,


Having burrowed away for the past year writing her debut album, indie darling Kathryn Kelly has emerged to give us a sneak peak of her new EP Don’t Find Me Now before its much anticipated August release. She’s accompanied by the lovely Tess Guthrie, who at the tender age of 17 has storytelling a voice that will have you captivated. They are playing the Hammy, a new alcohol free venue in the city this Friday. Entry is free and the doors open from 10pm.


Worng makes hypnotic absurdist disco refracted through a prism of childhood hyperventilation. Circular Keys push a blurred, flailing mass of sequenced pulse and patter towards the dance floor, Mt Mutombo is the fledgling solo project of Alex Nosek (Hammocks & Honey, ii). Innovation and atmosphere for the mid week at Bar Open tonight. Entry is free with doors opening at 8pm.


Mob Queens play a mean blend of hopped-up, swungout trash punk. This hot eight-piece anarchist orchestra has to be seen to be believed, mashing metal into surf into hardcore into western into thrash and back out again. Appearing for a special return date at Bar Open tomorrow (Thursday) after a packed show in April, they’ll be sharing the stage with the enigmatic surf-divas of all-girl band Swimsuit Dynamite, and the stunning sounds of solo riot girl Left At The Altar. Doors open at 9pm with free entry.


International Rudeboy, Lotek returns to Bar Open this Friday. As well as performing all the favourites from his critically aclaimed debut solo album, he’ll also be previewing brand new songs from his next release. He’ll be joined by his backing band The Rebel HiFi and Melbourne soul sensation Florelie Escano. There will also be a guest appearance from Joe Moonie, the wisecracking UK MC who is currently working on an album with Lotek. Expect the throbbing dub bass, slamming hip hop beats and ska rudeness that has become Lotek’s signature sound.


Cookin On 3 Burners are a three-piece powerhouse who serve up the rawest in deep funk, jazz, boogaloo and soul. Led by a wailing Hammond Organ, they are distinctly different to many other funk acts, yet you’ll be no stranger to the grooves and pounding drums. Their top notch reputation led to them supporting Sharon Jones & The Dap Kings in Sydney, jamming live with Breakestra and becoming a premier demand band South of the equator. They are playing this Saturday at Bar Open for free. Doors open at 10pm.


Streams Of Whiskey hit Bar Open this Sunday. Armed with their mandolins, accordions, banjos and a full array of other instruments. Johnny Gibson’s fire cracking rhythm section has never sounded better and is locking in tightly with the lightning strums of Mark Jennings on guitar. Steve Milligan has survived the moshpit of the recent MYC reunion and is ready to stand and deliver. Also appearing on the night is Rowan Blackmore. It is a free show and the next day is a public holiday so plenty of reason to party hard and late. Doors open at 10pm.


With a dapper new rhythm section and a stunning new smart-casual wardrobe, The Mean Times are taking to the Pony stage tomorrow night (Thursday). They are teaming up with their new buddies, one quarter of Telecom and three quarters of something else, Western Stars. Also along for the ride are Renegade Robot Cops. A night of slacker, geek, indie-punk, garage rock. All three acts promise jangly, guitar music. Geek Pie will supply the late tunes from 12am.


Hot on the heels of their debut 7” vinyl, Black Fox are set to kick off a string of national shows with a long weekend party at Pony this Friday. The band will be banging out songs from their upcoming LP Line Of Sight, and will be joined by Melbourne hipsters Cataract George, Dinosaurs Exist and Winter Moon. Slap on your best shoes and grab a free Black Fox tattoo at the bar. Major Tom & The Atoms breeze in to play the coveted 2am late slot.

HONEY BADGERS THIS SATURDAY Honey Badgers are finally leaving the garage and heading for their favourite Melbourne address, Pony this Saturday. Honey Badgers ditch ‘60s revivalism for trashy meditations on romance with compelling melodies and bursts of noise. Joining them on their maiden voyage are their favourite psychedelic band in Melbourne Buried Feather, their new garage-rocking friends Bidet Mat, and old mates Buck Creek, who’ll be offending with their urban-hillbilly bluegrass punk. Bimbo Electro cap the night off at 2am.


Free Fun Fest comes to Pony this Queen’s Birthday Eve (Sunday), kicking off at 9.30pm. Five of Melbourne’s hardest party-starting underground circus bands are hungry to take the stage and show Melbourne what brews beneath its surface. The acts as Organ Morgan, Cholesterollers, Mick The Merciless, Terrorbyte Strips and Spermaids. Me Turbo spins from 3am to even later.




Foreign Land To The Media

Independent Dotcoms’ music is a combination of garage pop/ rock with a modern pop/ funk/soul edge. Opener, single and standout Janie Got Super Cute features rap verses, chunky distorted bass and grunted group backing vocals in the chorus while lead vocalist Jason Leigh sing-whines lustily over them. For Big Man, Leigh switches between a rock holler and theatrical croon, with some grit and slides for good measure. Susie Likes To Party, with its slowbouncing bass and ska-like rhythm, ends with a guitar solo over brass. Dotcoms play the Old Bar this Saturday.


Independent While the EP itself is a little hit-and-miss, there is some real psych-grungepop potential stirring here. In Rainbow Youth, the guitar churns and whirls over vocalist Matt Stapleton’s falsetto wailing. Goodbye Jeff starts off with what sounds like wind-up box music before becoming a melancholy wave of atmospheric guitars and synths beneath Stapleton’s yearning vocals, expertly building up and crashing in the bridge. Sprawling guitar and a winning harmonised chorus in Foreign Land make you feel like you’re on top of a mountain, looking down. Agility play a show at the Toff this Sunday.


Shake It ‘Til You Break It

Young Minds

Independent Ex-Little Red baritone babe Tom Hartney showcases his appealingly gruff vocals on this EP. Those pipes were made for this music: “funkytonk blues” with a seductive groove. You can’t help but envision ladies in full skirts working some serious jazz hands on the dancefloor to The House That Love Built, while the big band and piano sounds of Rolling Stone also entice one to jive. Highlight and single Mockingbird is a tiny bit I Want Candy, made mature with jungle sax, marimba tones and, of course, that voice. Catch the band at the Evelyn Friday 15 June.

Independent What’s the Australia version of Americana? Australiana? Whatever it’s called, this EP encapsulates it. It’s storytelling via bluegrass and folk music, with classic-yet-refreshing songwriting and captivating lyricism. The campfire harmonies in Young Minds express an earnestness, and there’s a twist at the end you never see coming. The jaunty, barnyard-dance vibe of If We Got The Love, complete with scratchy fiddles, belies its somewhat depressing lyrics, but it has an uplifting ending. The band perform at the Palais, Hepburn Springs this Friday.



THE SHEEPDOGS Five Easy Pieces Atlantic/Warner Listening to Five Easy Pieces, you can tell The Sheepdogs really like their solos. Like, a lot. While they are impressive, eventually they begin to overshadow the other aspects of the songs; they’re overused. However, there’s still a lot to like: the slow, rollicking guitars and the jam-before-a cappella-final-line ending of Who?; and the massive rock sound and splitting riffs fit for a stadium in Learn My Lesson. Feel-good The Middle Road has jolly tambourine, fingers stirring up a frenzy on the fretboard and rambunctious harmonies responding to the melody.

OCEANICS Bright People MGM Oceanics make straightforward, danceable, indie pop. Vocalist Elliot Weston sounds like the teenage, not-British answer to The Kooks’ Luke Pritchard, which lends to the fun, carefree feeling emanating from their songs. The guitars are clean and bright, Weston’s endearing strains always manage to hit the mark even when you don’t think they will (there’s an eyebrow-raising belt in American Honey), and the songs are catchy but not at all distinctive. Indigo Lane is worth a mention, with its inventive change of pace between verse, chorus and bridge, as opposed








Fresh from the success of their groundbreaking single Empty Hands, Brisbane’s Art Of Sleeping are excited to announce that they will be embarking on a debut headline tour in June and July. After recently charming listeners on Owl Eyes’ Crystalised tour throughout May, the band will be headlining shows along the East Coast for the very first time with a brand new single just around the corner. Catch them at the Workers Club on Friday 6 July.


Coming to the Gasometer tomorrow (Thursday) are Quince and Messed Up. Quince deliver you pure energy in a tightly-wound garage-punk parcel. Drawing on prototypes, The Saints and modern day heroes Eddy Current Suppression Ring, Quince play music dripping with twang and reverb. The four-piece will be releasing their very first EP on 10” vinyl next month so get to the Gaso to see them in prime form.


Why Don’t You Believe Me? is releasing a live cassette by Velcro and to celebrate they are putting on a show at the Gasometer this Friday. The tape is a live set they recorded with two bonus home-recorded tracks. It was recorded, mixed and mastered by Astral Traveller. Also appearing on the night are Mole House, MSG (Mia Schoen Group) and JA Core.


Upstairs at the Gasometer this Friday promises to be a huge night of noise, sweat and beers with a killer four band bill squeezing into the space. Bringing the fun are the amazing Sun God Replica, Buried Horses and The Spinning Rooms who’ll be joined by brand new three-piece, Cut, who are playing their debut show. A large night of rock’n’roll is on the cards so bring the noise, stretch out those shoulders and get ready to hang from the rafters, this one is going to be big.

We Built Atlantis are firmly cementing themselves as one of the most exciting bands in heavy music scene. A fiercely DIY work ethic has seen the band spend their early inception locked away in the studio honing their craft. The results is the band’s debut EP Empty Cities, a unique blend of fist pumping choruses, crushing breakdowns and techno dance creating a unique sound. We Built Atlantis are currently on the road in support of their new single Tidal Waves, with special guests By Design. Catch them at Kate’s Party (Bayswater) this Friday and at an all-ages show at Musicland (Fawkner) this Saturday.

BLACKIE BENEFIT AT THE GASO The Hard-Ons are legends of Australian music. Blackie and the guys have influenced many Melbourne bands so when a couple of them heard that Blackie was laying in hospital last week after being physically assulted they wanted to help raise funds for his costly medical bills and a lengthy lay off from work. The result is a benefit at the Gasometer this Queen’s Birthday Eve (Sunday) with a sweet line-up featuring some amazing bands. Conation, Useless Children, White Walls, Tyrannman, Counterattack! and Daddy Long Legs are all playing. All proceeds go to the recovery of Blackie.

THE INSTINCTS PLAY THE PRAGUE The Instincts moved from Sydney to Melbourne over a year ago to find a bass player and get some decent gigs. After playing many shows around town last year and currently they’re presently recording their debut album with some help from Baby Animals guitarist, Dave Leslie. The Instincts will be having an album launch at the Prague in a few months, however if you can’t wait that long they are headlining the Prague on Thursday 14 June.

THE PAPER KITES ARRIVE IN JULY Hailing from Melbourne, The Paper Kites are renowned for their harmonic, whimsical and romantic folk tunes laced with sounds of the banjo and the mandolin. The Paper Kites’ music captivates audiences and conjures up images of nature and dream-like landscapes. They are playing the Northcote Social Club Thursday 12 July. BJ MORRISZONKLE

THE CACTUS CHANNEL PLAY THE EVELYN EVERY MONDAY IN JUNE How did you get together? Lewis Coleman, guitarist: Casual jam sessions on toots and the meters in the bowels of the Princes Hill music department in Year Eight/Nine that slowly but surely attracted too many members and are now the orchestra you see today. Have you recorded anything or do you prefer to tool around in your bedroom? We have released two 45” singles (Pepper Snake/The Dap and Emanuel Ciccolini/Budokan) with our debut album mastered and just around the corner! However tooling around in our bedrooms is a fundamental part of it all. Can you sum up your band’s sound in four words? Car-chase funk, smooth soul. If you could support any band in the world, who would it be and why? Lady Gaga On Ice: The Tour, with a 360 degree stage, and we get to play on skates – because that’s just ridiculous. That or a hologram of James Brown & The JBs. Another candidate might be Sharon Jones & The Dap-Kings, because they are smokin’ hot. If a higher power smites your house and you can only save one record from the fire, what would it be? I would burn in the fire trying to decide, with maybe a hand in the direction of Make The Road By Walking by The Menahan Street Band. Do you have a lucky item of clothing you wear for gigs and what is it? Not so much lucky, but I’ve been leaning towards the purple pants and slippery bowling shoes in recent times. If you invited someone awesome ‘round for dinner what would you cook? Some epic smoked ribs, followed by some vibe’n profiteroles. What’s your favourite place to drink in Melbourne? The Evelyn, because we’re playing there every Monday in June and it’s free entry!

BONJAH – FALL TOGETHER What’s the song about? To be perfectly honest I wrote the lyrics to this song about an hour before I put the vocals down to keep. I had my girl in mind and the same image and phrase just kept coming back to me: when everything turns to shit, who’s the one person I’d want by my side? And the rest is all just metaphors and imagery to me. Is this track from a forthcoming/ existing release? This track is from our latest record Go Go Chaos and is the fourth single from it. How long did it take to write/record? The music for this had been there for a little while but we all kinda put to one side not really feeling it for a few months. So it all really came together in the studio, over half a day. Was anything in particular inspiring you during the making? The actual chords used in the song I loved, and they were a big inspiration to completing the song as I wanted to have the right melody and phrasing to do the track justice. What’s your favourite part of the song? It’s a pretty straightforward tune with not much variation in terms of dynamics and rhythm so there’s not a lot to pick from but if Ihad to I’d have to say the wee bass slide somewhere in the third verse. Do you play it differently live? Don’t know… we haven’t yet. Let’s hope it goes well. Will you be launching it? Yes! We will be at the Corner on Friday 8 June with support acts Buckley Ward and Mitch Davis & The Dawn Chorus. For more info see:



Canada’s Flatliners have achieved plenty in their almost ten years as a band, the members may only be 25-years old but they’ve toured the world multiple times with NOFX and Bad Religion, signed to Fat Wreck Chords before they were old enough to drink and now they are back in Australia for the second time touring with the US’s Anti-Flag and Strike Anywhere. Due to their love of this country they’ve decided to stay on another week for a holiday and hell, if they’re hanging around they may as well do a show at the Gaso this Saturday. Also playing are the Gun Runners, Calvalcade, and Strickland.


Secret Birds brings haze-psych tones to Melbourne this Saturday, upstairs at the Gasometer. They will be playing selections from their forthcoming tape In Hex. Also appearing on the bill is Melbourne’s favourite son Angel Eyes who has just released a killer entitled Vice To Vice. Rounding it out are new synth/noise/darkwave monsters Nun, live record spinning from Psychedelic Coven DJ Kate Reid, and a mystery first show from Exhaustion, rumoured to feature members of Deaf Wish and Ooga Boogas. 42 • INPRESS


Canberra is home to a lot of strange things including two particularly demented civil servant one-man bands. One of these guys is Bacon Cakes, who makes an inferno of garage-punk garbage. The other is Bumface who plays slide-country, with a little surf-punk thrown in. He has a huge snare-bass drum, keeping up the fast-paced tempo. These two will go head-to-head with two of Melbourne’s best one-man bands, the brainteasing cartoon orchestra mad man BJ Morriszonkle and the farmyard ragtime, science fiction plucker Made For Chickens By Robots. All four will battle out broken beats and ear-bleeding brainwash for two shows only on Saturday 28 July at the Nash in Geelong and Sunday 29 July at Bar Open.


On May 14, River Of Snakes went into Head Gap studios to record another distortion-happy 7”, which was tracked and mixed in a 12 hour frenzy. The 7” will be out in late July/early August on Thornbury Records’ brand new vinyl label. But until then they have a scored a national tour supporting Jackson Firebird that kicks off at the Retreat Hotel tomorrow (Thursday), and then returns to the Retreat every Thursday in June. Get your dose of scuzz-rock before you get old waiting for the 7”.








KATATONIA DOC WATSON Hate to say it, but it’s another sad column from me this week, with the passing of two (very different) guitar greats. Doc Watson, who was blinded by an eye infection before his second birthday, was one of the most influential acoustic guitarists around, his approach to flatpicking replicated by thousands of guitarists the world over. Growing up initially playing the harmonica, Watson received his first stringed instrument – a banjo – made by his father, who used the skin of his family’s deceased cat to make the head of the instrument. Watson was 41 when he recorded his first album, the eponymous Doc Watson. It featured no other musicians, just Watson playing predominantly old traditional songs on guitar, banjo and harmonica as well as singing. The following year Watson cut his second record, this time with his son Merle, called Watson & Son. The record showed their musical relationship was already in full bloom and it was a relationship that would continue for decades, Merle playing right hand man to his father up until 1985 when he was tragically killed in a tractor accident. After Merle’s death Doc struggled to continue playing and considered throwing it in, but thankfully for us he stayed strong, eventually establishing MerleFest in his son’s honour, a festival which celebrated its 25th year this past April. With over 50 albums and seven Grammy Awards to his name, Watson leaves one hell of a legacy. But it is perhaps in the playing styles of those who have come since that his greatest legacy lies. Both his playing style and his profound knowledge of American folk music tradition have been invaluable sources of inspiration for many players. Watson was also a master storyteller, something that can be heard on any of his live records. It’s the most obvious example of how Watson injected his own personality and influence into predominantly old traditional songs or covers of artists whose songwriting Watson admired. Of course a deeper look shows a considerable number of musical flourishes which added such an exciting new element to the music, making him such an awe-inspiring interpreter of song. Doc Watson took a fall last week and while he didn’t break any bones, he was required to have surgery due to a pre-existing condition which was agitated by the accident. Following the surgery he was listed in critical condition, but passed away in the Wake Forest Baptist Medical Center in Winston-Salem, North Carolina on Tuesday 29 May at the age of 89. On the other hand, Pete Cosey is not a name that very many people would be all that familiar with. He was always quite a private person and seemingly didn’t care for the spotlight all that much, but he was also quite an influential guitarist, this time in the realms of early ‘70s psychedelia. It’s funny, in the blues world it would be hard to find a guitarist who has contributed to more maligned records, namely Muddy Waters’ 1969 Electric Mud and Howlin’ Wolf’s The Howlin’ Wolf Album of the same year – both experiments by Chess Records to get these blues players in with the Hendrix crowd. Neither record was received all that well critically, but listening to them now, the playing of Cosey is certainly excellent and you can see how it would have influenced so many of those early-’70s fuzzy psych acts. Cosey went on to join Miles Davis’ band for a few years, playing on the wild as hell Get Up With It, Dark Magus, Agharta and Pangaea records – his fuzzed-out playing honestly sounds like something from a different planet on those records. He didn’t record much through the ‘80s and ‘90s but had become a little more involved in some Miles tributes in the past decade, proving his style hadn’t mellowed at all in his later days. Sadly Cosey died at the age of 68 last week of causes unknown at this point in time. 44 • INPRESS

The end of Queensryche? Three core members of Queensryche have formed their new band Rising West that features Michael Wilton, Eddie Jackson, Scott Rockenfield and Parker Lundgren along with powerhouse vocalist Todd La Torre of Crimson Glory. The band have plans on hitting the studio some time late this year to begin recording their first release. Queensryche singer Geoff Tate entered the studio in February to begin recording his second solo album. Melbourne cyber metallers Synthetic Breed have just released a new EP titled Zero Degrees Freedom via indie metal label Rogue Records America. It was mastered by Mike Spreitzer of Devildriver at his studio in California. The EP contains five blistering industrial metal cuts fronted by stand-in female vocalist M Refalaeda. Commented drummer Daniel Luttick, “It’s been a couple of years since we’ve released new material. It’s a great feeling to be releasing new and re-worked material. I’m a big fan of Devildriver and Mike’s work adds a bit of polish that really brings out the best of what we’ve done. Zero Degrees Freedom is just preview of what people can expect from our next full-feature album.” Swedish dark rockers Katatonia have set Dead End Kings as the title of their new album, due on 28 August via Peaceville Records. The CD, which will feature a guest appearance by Norwegian singer Silje Wergeland (The Gathering), was recorded over a two-month period at Stockholm’s Ghost Ward studios and the band’s new, as-yet-unnamed headquarters. David Castillo returned to “twiddle the knobs”, while band co-founders Anders ‘Blakkheim’ Nyström and Jonas Renkse handled the rest of the production duties.

Commented Renkse: “Dead End Kings is about the corridors of our mind from where there is no return. Be a king or queen in your own right in these hallways, even at the dead end. Carry your burden with pride. That’s what we are doing, twenty years and counting. Kings, because we believe in what we are creating, in our own disturbing faith.” Added Anders: “This album has doors revolving into many different genres of music but remain disguised within the Katatonia trademark. We have walked the fine line between attempting not to repeat ourselves but also not to distance us away from what people know and love. We’re now ready to hand over the evidence and whatever the direction this has taken is now for you to decide. We’re confident the creativity and passion on this album is something that will be echoing even beyond the dead end.” Montreal’s progressive death metallers Augury have released the following statement: “It is with great pleasure that we announce the return of bassist Dominic “Forest” Lapointe and drummer Étienne Gallo to Augury. The writing process has begun with all the original members, and the band is focused 100% on the new album. The time has come for Augury to birth a new interplanetary opus, faithful to the original spirit of the group, which made its reputation with its two first albums, Concealed and Fragmentary Evidence.” Austrian blackened death metal outfit Belphegor will enter Mana Recording Studios in St Petersburg, Florida on 29 May with producer Erik Rutan (Hate Eternal) to begin recording their as-yet-untitled new album for a January 2013 release via Nuclear Blast Records. The recording sessions and the mixing/mastering process will be completed by mid October. Commented bassist Serpenth: “All right, a new chapter. These are the last days before we hit the Mana studios in Florida. We’re all set. The nine sound collages are faster and more aggressive than on the previous album.” Added guitarist/vocalist Helmuth Lehner: “The last rehearsals turned out fantastic. We get every arrangement to its highest audial potential. Added a lot of new haunting and compelling structures/rhythm parts and tritones intervals: tones that were forbidden by the damn church in middle ages. We’re on fire. Expect more shredding, more magick, more of everything.”


CHRIS WATSON Chris Watson is a founding member of the early ‘70s Sheffield synth-pop outfit Cabaret Voltaire, though to be fair during his involvement they were a little less synth poppy and a lot more experimental weirdo. In 1983 Watson left to form the Hafler Trio, an art project of steadily revolving members anchored by Andrew M McKenzie that used techniques like music concrete, montage and cut-ups to create their unique sound. Yet it’s the next step in his evolution that is perhaps the most interesting. In the early ‘90s, a growing fascination with field recordings led him to work with the RSPB (Royal Society for the Protection of Birds) and into television sound production. These days he is a freelance sound recordist for film TV and radio, working regularly for the BBC with a particular interest in wildlife and nature recordings. In parallel with this activity he has been releasing his material in varying forms for the Touch label in the UK for the last 16-odd years. Perhaps the best evidence of his love of the natural world is 1998’s Outside The Circle Of Fire (Touch), which contains 22 intimate recordings of everything from the purring of an adult cheetah to the rattle of death-watch beetles. He used techniques like tying two omnidirectional microphones to the carcass of a zebra to record the sounds of vultures tearing at the flesh. He speaks of hopping on a plane to the UK 24 hours later, wiping the blood off the mic, and attaching it to the lapel of an English MP for a BBC interview. Watson’s fascination is about putting the mic where the ear can’t reach to uncover sounds that could never otherwise be heard. He speaks of dropping mics in lakes, digging them into sand, embedding them in bees’ nests – you name it, he’s tried it.

More recently he has begun to edit his sounds. Perhaps the most successful is 2003’s Weather Report (Touch), which collapses recordings of Kenya, Iceland and Scotland, blending and editing time to create new narratives. The Guardian listed it in its 1,000 Albums To Hear Before You Die list. He won a BAFTA in 1998 for his work on The Life Of Birds and regularly works with David Attenborough, most recently on The Frozen Planet. His latest album is El Tren Phantasm (Touch), a nostalgic soundtrack to a train journey through the heart of Mexico from the Pacific to the Atlantic on a railway that no longer exists. Watson is contributing a new four-channel work based on his fieldwork with David Attenborough as part of Liquid Architecture, Melbourne’s longstanding festival of sound art and culture. Liquid Architecture 13: Antarctic Convergence is their first themed program, designed as a means of “investigating the philosophical, social and environmental ramifications of the growing human presence in Antarctica.” Alongside Watson, the festival will host works from numerous artists from disparate disciplines whose practice has taken them to the frozen continent. People like Scott Morrison, whose AV release Ballad(s) For Quiet Horizons (Room40) from last year was nothing short of extraordinary. There’s Argentinean video and installation artist Andrea Juan; Douglas Quin, a US sound designer who recently worked on Werner Herzog’s Encounters At The End Of The World; French artist Anne Colomes; and New Zealand sound and video artist Phil Dadson. Everyone’s favourite laser (or giant Theremin) dude Robin Fox will be there along with Melbourne sound artist Phil Samartzis, who recently visited Davis Station in Eastern Antarctica to document the effects of extreme climate and weather events on the human condition. Room40 honcho Lawrence English, no stranger to Antarctica will also perform. Liquid Architecture is a different kind of festival, placing as much importance on installations and sonic experiences as live performances. It begins on 28 June. Check

BILLY TALENT First up this week is some news that missed the deadline for last week’s column. Canada’s Billy Talent are one of those polarising bands: you either love them or you hate them. Personally, I loved the first two albums and then kind of got over it. But each to their own! Anyway, it has been over three years since the band released their last record III, in part due to their incredibly quiet schedule for 2011 as their drummer recovered from open heart surgery. This is also the first time the band have been here since an appearance on the Soundwave Festival a few years ago. Anyway, the band are gearing up for the release of their fourth album (of which there isn’t much information as yet) and with the launch of the first single from that album, Viking Death March, the band are heading back to Australia for a short run of shows down the east coast. You can catch the band when they play an 18+ show at Billboard The Venue in Melbourne on Sunday 12 August. Tickets are on sale now through Ticketek. Going back over my past columns, one thing I forgot to mention was about the Just Shoe It Tour happening later this month and into July. The line-up sees the hardworking Heroes For Hire joining up with Tasmania’s Luca Brasi (riding high on the release of their brilliant debut album Extended Family) and Australia’s newest pop-punk act Carry Me Home (which apparently features members of I Killed The Prom Queen and Confession). 2012 has been a packed year for Heroes For Hire, kicking things off with an appearance on Soundwave as well as heading straight into the studio to record their third album (in what I’m pretty sure is as many years) with New Found Glory’s Steve Klein. Anyway, tickets for the tour are on sale now, and you can catch it in and around Melbourne this July. On Thursday 12 July, the tour hits TLC in Bayswater for an all-ages show with Madison and Way With Words. Then on Friday 13 July, there is an 18+ show at the Evelyn with Apart From This and Tigers. Then finally, on Saturday 14 July there is another all-ages show, this time closer to the city at the Thornbury Theatre where Strickland and Summerset Avenue will be kicking things off. Local supports have been announced for Ceremony’s forthcoming Australian tour. It looks like this tour is going to be one of the most unmissable tours to hit Australian shores in 2012. A lot of this has to do with the choice of supports given that at the all-ages show at Irene’s Warehouse on Friday 29 June, Extortion, Straightjacket Nation and White Walls will support Ceremony. Then on Saturday 30 June, Extortion will also support, but joining them will be Puerto Rico Flowers and Rort. There are a few new tracks from forthcoming albums floating around the interwebs this week. Motion City Soundtrack have released the first single from their album Go, which is to be released 12 June through Epitaph Records. The track is called True Romance and is available as a free download through the Billboard website. The Gaslight Anthem have also released a new song, a cover of the Tom Petty & The Heartbreakers called You Got Lucky. This track is the B-side to their recent single 45, taken from their fourth album Handwritten (due out 24 July). I’m just going to end this week with a bit of shameless self-promotion: the newest issue of No Heroes is online now at We’ve hit Issue 15, which I’m pretty excited about not only for surviving this long, but also because the contents are some of the best we’ve ever had. Check it out for interviews with Ceremony, Kevin Lyman of the Vans Warped Tour, Hot Water Music, Cancer Bats, Hoodlum Shouts, Your Demise, Basement and Bodyjar. We plan to keep this going for a while yet, so stay tuned for Issue 16 at the beginning of July.








LUNICE There are a lot of ways to discover new music online, but at the end of the day most services end up plateauing on a dozen or so songs at any given time. That is, you’re very likely to stumble upon the same songs on, say, Pitchfork and Hype Machine and We Are Hunted. And really, you’re probably likely to hear them on triple j or community radio, too. One place that exists in its own universe is the Red Bull Music Academy. The likelihood of your actually knowing any of the artists that get selected to attend is low, so it’s a rewarding adventure for the listener as from the thousands that submit applications only a very select few make it in and the quality is generally high. The Red Bull Music Academy is hardly new and will probably never hit mainstream due to its corporate branding (haters gonna hate) but in Hyper Music’s opinion, this is a good thing as it keeps the website fairly niche. The list of alumni is solid, too, with the likes of Hudson Mohawke, Benga, Flying Lotus and Aloe Blacc having graduated from the academy. In addition to the RBMA website being a hive of hidden treasures, it’s pretty easy to get your hands on their annual Various Assets compilations, which feature music created at the academy. This brings us to Nouveau Palais, a trio made up of former RBMA participants Ango, Lunice and Prison Garde. (You might recognise the Lunice name from the awesome música/ TUMBALONG festival last year) They’ve released an EP, Avant Gang, which is a glorious mish-mash of squelchy synths and drum machines and soulful croons. To be honest, Lunice is the only name we were familiar with coming into this and the EP sits nicely amongst his previous offerings. It’s spacey and sexy and funky and hip as fuck, borne out of a 1980s vision of the future. If a highlight needs to be pointed out (of course it does!) it’s the dubby To Be. Avant Gang can be downloaded for free from the RBMA website.

Australians have always had a magpie approach to pop culture. Word is that Baz Luhrmann, the King of the Aussie mash-up, won’t be using ‘20s jazz tunes in his (3D!) adaptation of F. Scott Fitzgerald’s The Great Gatsby, filmed in Sydney. No. Going by the trailer, the music will instead be contemporary, as it was in his irreverent Romeo + Juliet. And, befitting the story’s bling theme, Luhrmann has selected No Church In The Wild by Jay-Z and Kanye West (with Frank Ocean) for a party scene. Even Melbourne deep funk traditionalists The Bamboos are ‘magpie-ing’. Forget the Aloe Blacc cameo. On the collective’s fifth album, Medicine Man, again out through the British label Tru Thoughts, leader Lance Ferguson has roped in old pal Megan Washington. She sings a warmly romantic, almost decadent, cover of James Blake’s beguiling post-dubstep The Wilhelm Scream – itself a reworking of his father James Litherland’s Where To Turn. (Litherland was in the jazzy prog-rock outfit Colosseum, admired by the likes of Katalyst for their wicked breaks) Early on Washington performed The Bamboos’ groovy cover of Kings Of Leon’s King Of The Rodeo. More excitingly, Mark Ronson’s protégé Daniel Merriweather guests on the ‘garage psych’ co-write I Never – way stronger than Gotye’s Somebody That I Used To Know. Bizarrely, Merriweather just opened for Kimbra’s sold-out national tour. The gifted soulster should have long transcended support status. At any rate, Merriweather is reportedly keen to reconnect with Australian audiences – like Sam Sparro, being based abroad. The Change singer, originally a member of Melbourne’s Crooked Eye crew with Phrase, also features on Tim “Urthboy” Levinson’s new single, Naïve Bravado. Meanwhile, Merriweather is progressing on the sequel to 2009’s wondrous Love & War, which went platinum in the UK. There’s talk of an EP.

On the subject of Levinson, Elefant Traks, the label he runs with The Herd, has signed Sydney femcee Sky’high (aka Skh’ai Gerrey). Very few nu-skool femcees have experienced enduring crossover success, Nicki Minaj reversing the trend. Brit Speech Debelle won the Mercury Prize for Speech Therapy, but has failed to build on the momentum, this year’s Freedom Of Speech anti-climatic – and under-promoted. In Australia A-Love gave us 2007’s excellent Ace Of Hearts, but didn’t generate the buzz of an Illy. Let’s hope Gerrey fares better with her debut, Forever Sky’high. Gerrey is a hardcore MC with the narrative to match. She has Scottish, Aboriginal and Fijian ancestry and grew up in public housing. Her family history is colourful, too, Granny a go-go dancer in Kings Cross and Mum involved in running strip clubs. Ironically, in the same way that many an Aussie MC once impersonated Eminem, Gerrey offers a convincing take on the OTT Minaj in the otherwise straight-up hip hop joint Don Dada. Still, Gerrey’s image is that of the “tough” girl – and ol’ skool femcee. She’s not gonna wear tutus. Besides, Gerrey is about “authenticity”, not artifice. If Gerrey reminds us of anyone, it’s the grime Lady Sovereign. Though Gerrey and her main producer, New Zealand’s P-Money (Scribe), favour ‘90s boombap on Forever Sky’high, she also gets her magpie on. The album opens with the rock-spiked Let’s Just, then segues into the psychedelic Carnival, followed by the darkly funky (and D12-ish) Death Row. Reign is dubsteppy – closer to Skrillex’s variant than the avant Sietta’s – but rather incongruous. Where Ya Head At is obviously inspired by Basement Jaxx’s tune. While Gerrey is to be commended for not jumping on the Euro-hop train, the turntable scratching on the ‘classic’ So High sounds passé in 2012, as sax solos did in the ‘90s. Gerrey lists diverse influences on her MySpace (Hole, Paramore, Faithless). But, curiously, aside from Salt-N-Pepa, she cites few femcees – one of them Remy Ma, formerly of Fat Joe’s Terror Squad and now in jail. And Gerrey reveals herself to be an emo fan. Her emo moment on Forever Sky’high comes with the stand-out Nuclear Love, about drug addiction. Forever Sky’high is an ambitious debut, and Gerrey compellingly attacks the mic, but it’s a little scattered. Minaj is apparently not alone in suffering a musical identity crisis.


URTHBOY There are good, good things coming out of the Elefant Traks stable up in Sydney. Urthboy’s new solo single Naïve Bravado, featuring the brilliant Daniel Merriweather, has dropped, and it’s already lighting up radio station request lines. It’s a great track – lyrically, Urthboy is on fire, and the catchy beat has a dash of something deliciously ominous, courtesy of some great, dark, horn samples. A tour has also been announced, which is excellent news, since Urthboy does some of his best live work when showing off his solo material. It’s a little while away though – he hits the Evelyn on Friday 31 August. In the meantime, buy Naïve Bravado via iTunes and check out the video clip at Urthy also dropped into triple j last week with the rest of The Herd, Sky’high, Nooky and Radical Son to perform a Like A Version cover of the Sam Cooke classic A Change Is Gonna Come. The track, performed in honour of National Reconciliation Week, is a great example of how thoughtful and progressive hip hop can be. If you haven’t seen it yet, check it out on triplejtv. That fearsome MC Delta has just released his Alien EP, which will no doubt build anticipation for his upcoming album Pyramid Schemes. He’s reached deep into the old-school barrel for inspiration – the samples on Alien will induce flashbacks to the days of 8-bit gaming systems, while Carry On has a swaggering grandeur that conjures images of gritty ‘80s action heroes. Even the EP’s cover art recalls the classic creature that Ripley battled so valiantly in 1979. Get your copy via iTunes or Obese Records as soon as you can. We’ve got a long weekend coming up (unlike those weird WA folk who had theirs on Monday – what’s with that?) so what should you all be doing with yourselves? Well, New Zealand’s Dave Dallas will be visiting Melbourne from across the seas this week, so if you’d like to get your super-weekend off to a most excellent start, get down to his gig at the Espy on Friday 8 June. He’s built a reputation as one of the slickest MCs around and his gig will definitely be something special. It’ll be a great night, with Diafrix, Candice Monique and MoneyKat all on the support bill. Plus, the smooth soul sounds of Jade MacRae will be going down in the Front Bar for free if you need a change of pace during the evening.

In a similar musical vein, Two Inch Punch is making the sort of music you’d expect would naturally follow the trajectory of Burial’s career. Lots of people (including us) thought that this was where James Blake came in, but TIP (aka Ben Ash) is even closer – at least with Paint It Red he is, featuring the sort of vocal lashings that Burial littered his album with, alongside the usual half-tempo business and mournful ambience, before it comes into its own. A jazz vibe in guest Mikky Ekko’s vocals announces the song’s intentions, before veering into a galaxy of lush synth stabs. Grab a listen at

Get ready for one of the biggest hip hop shows of the year on Saturday 9 June, when Ghostface Killah (Wu-Tang Clan), MF DOOM and Chino XL hit the Forum for the 2012 Rap City tour. Since this show was last mentioned in this column, legendary locals Ciecmate and Newsense have been added as the local openers for the night, and it’s been announced that Killah Priest will join Ghostface Killah on stage for what will surely be a killah set. (Sorry, couldn’t resist.) Tickets are selling fast via Ticketmaster.

Apparently yet to play a live show, Churches is an aptly named Glaswegian group making cathedral-sized dark electronic pop – and they’ve a solitary song up on SoundCloud: Lies. Vocalist Lauren Mayberry constantly sounds like she’s on the verge of tears; quivering, her sweet tones are offset by moments when her Scottish accent come through, making for some interesting dynamics.

Since you (hopefully) won’t have work on the Monday, head back down to the Espy, because Sunday 10 June sees Joelistics take over the Gershwin Room (free entry) with Polo Club, The Psyde Projects and DJ Manchild. Now that TZU are back on the touring circuit, opportunities to see Joelistics play material from his 2011 solo album Voyager are becoming rarer and rarer, so it’ll be worth getting down to enjoy some great tracks that you mightn’t otherwise hear for a while. Plus, playing in the Front Bar that night, also for free, will be Daryl Braithwaite. Seriously. That mightn’t be hip hop, but it’s still awesome.

It’s the synth equivalent of shoegaze with Gothic undertones and boasts a massive beat a la The Big Pink via The Knife – if you’re a fan of either the former’s Velvet or the latter’s Heartbeats you need to be on this right now as it’s almost a mid-way point between the two. The synths that kick in at the chorus are huge, huge, HUGE. It’s end-of-the-world bliss. Grab it at


WED 06 Coq Roq: Lucky Coq Cosmic Pizza: NHJ: Bimbo Deluxe Freestyle Sessions: Laundry Halfways: The Workshop Inner City Trash: Lounge Mechanics: The Workshop Loaded Wednesdays: Revolver Upstairs Lost and Found: Spidey, Gupstar & Dan, Shaky Memorial: Revolver Upstairs Lounge Wednesdays: Matty Raovich, PCP, Adelle: Lounge Wednesday Night Special: Post Percy: New Guernica Wednesdays @ Co: Petar Tolich, Scotty E: Co. Nightclub Whisky Wednesday: Strange Wolf

THURS 07 3181 Thursdays: Hans DC, Nikki Sarafian, Jake Judd, Sam Gudge, Sean Rault, Jesse Young, John Doe: Revolver Upstairs

CLUB GUIDE Billboard Thursdays: Billboard Bottom End Thursdays: Bottom End Dirty Bit Thursdays: Co. Nightclub Do Drop In: Kiti, Lady Noir, DJ Foo: Carlton Club Dub Step: Eurotrash First Stop Thursdays: Urban Bar Free Range Thursdays: Lucky Coq God Save The Queen: Chardy, Strange Talk: Order of Melbourne Heartbreaker: Revolver Bandroom Loose Joints: Workshop Lounge Thursdays:, Ghetto Filth: Lounge Love Story: 1928: The Toff Midnight Express: The Toff Carriage Room New Guernica Thursdays: Post Percy, Awesome Wales: New Guernica Night Skool: Eurotrash Noizy Neighbours: Room 680 Pennies: Laundry Rhythm-al-ism: Fusion

Safari Thursdays: Pretty Please Shake Some Action: Street Party, Samaritan, Polyavalanche: OneSixOne Soul in the Basement: Cherry Bar Switch: EVE The Factory: Trak Tigerfunk: Bimbo Deluxe Trinity Thursdays: La Di Da Unlucky: Seven Nightclub Wah Wah Thursdays: Wah Wah Lounge

FRI 08 2-Up Skool: Laundry 393 Fridays: First Floor 393 Animals Dancing: Tom Trago, Jacques Tenault: Mercat Basement Anytime: The WorkShop Bass Station: 3D Block Party Fridays: Marrakech Bottom End Fridays: Bottom End Breakfast Club: New Guernica Destination: La Di Da

Echoes v10.0: Bryce Lawrence, Brookwise, Matic, Mark Baumann: Loop DirtyLoud Weekend: Dirtyloud, Your Ol’ Lady, Zayler, J.Nitrous: Royal Melbourne Hotel Fake Tits: Tramp Freedom Pass Fridays: Co. Nightclub, Fusion Freeplay Fridays: Amber Lounge Fridays at Eurotrash: Eurotrash Hairy Chiwawa, Guido, Scheider: Potato Head Heavy Innit: Youngsta, Toast, Boot: Brown Alley Indecent Fridays: Syn Bar Jack In The Box: James Curd, Sonny Fodera: OneSixOne Juicy: Bimbo Deluxe Kandy Mansion: Kalus, Keesh, Orkestrated: Chasers La Musica: La Di Da Lounge Friday: Citizen. com, DJ Who, Tahl, Dave Pham: Lounge Mu-Gen, Token: Eurotrash Outrageous Fridays: Wah Wah Lounge Panorama: Lucky Coq

PopRocks: Dr Phil Smith: Toff Retro Fridays: Club Retro Revolver Fridays: Revolver Upstairs Sounds of Fusion: Fusion WOW Fridays: Neverland

SAT 09 All City Bass: Brown Alley Alumbra Saturdays: Alumbra Aphelion: James Selby, Mark Major, Ed Muggles, Adam Boswell: My Aeon Audioporn: Dr. Zok, James Ware, China Hoops, Rowie: OneSixOne Big Dancin’: Larrie, Sizzle: Laundry Billboard Saturdays: Billboard Bottom End Saturdays: Bottom End Dis You!: The Workshop Ebb & Flo: Dean Milson: Loop Empire: Jody Mcleod, Helena, Brooke Evers Co. Nightclub, Fusion Forbidden Saturdays: Amber Lounge Ghostface Killah, Doom, Chino XL: Forum Houseparty: Eurotrash Hotstep: Bimbo Deluxe

House De Frost: The Toff Majik Saturdays: Room680 Mashouse Saturdays: 577 Lt Collins Meat Katie: New Guerrnica More Fire: Chant Down: Chant Down Pash: The Roxy Playground: Seven Nightclub Poison Apple: La Di Da Pressure Drop: Laundry Upstairs Riddim & Bass: Laundry Upstairs Saturdays at First Floor: First Floor 393 Strut Saturdays: Trak Survivor: Bottom End Textile: Lucky Coq TFU Saturdays: Two Floors Up Under Suspicion: Brown Alley Wah Wah Saturdays: Wah Wah Lounge Why Not?: Pretty Please

SUN 10 4AM Sunday Mornings: Wah Wah Lounge Armada Night: Tydi, Myon, Shane54, Tenishia, Alex Morph: Trak Be.: Co. Nightclub

Bloke4d, Prolix, Aeph, Neonlight: Prince Bandroom Day Rave: Chris Liebing, Kaiserdisco: Brown Alley Francois K: Pretty Please Get Wet: Word Bar Guilty Pleasure Sundays: Pretty Please Guy J: New Guernica Lockdown: Switch: Royal Melbourne Hotel Masquerade Ball: Fabian Gray, Chardy: Platform 1 New Guernica Sundays: New Guernica Off Beat: The Workshop One Night In London: Red Bennies Revolver Sundays: Revolver Upstairs South Side Hustle: Lucky Coq Spit Roast Sundays: Cushion Star Bar Sundays: Star Bar Sundae Shake: Bimbo Deluxe Sunday Sessions: Lucky Coq Surrender: SCNDL, Steve Bleas Fusion The Ska Vendors, Vince Peach: Acqua e Vino The Sunday Set: AndyBlack, Haggis: The Toff

Viper Room Reunion: DJ Kat, King Karim, Johnny L, Rob Anthony, Murray Van Zaff: Number 5

MON 11 Gear Shift: Horse Bazaar Hair Of The Dog: Revolver Upstairs IBimbo: Bimbo Deluxe L-Burb Illuminati: Laundry Upstairs Monday Struggle: Lucky Coq L-Burn Illuminati, Uncomfy Beats: Laundry

TUES 12 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


“...The most popular standup comedian in the US...” TIME MAGAZINE BBA J, Featuring: ACHMED, PEANUT, BU O NEW GUYS JOSÉ JALAPEÑO, WALTER & TW





BETWEEN THE DARKNESS AND THE DAWN Some artists slip between the cracks. “You get what you all deserve,” Liz Stringer declares in the opening cut of her fourth album, Warm In The Darkness (Vitamin Records). But on the second track, she concedes, “Sometimes the grit don’t become the pearl.” Liz has toiled for the past six years, churning out world-class records that sit comfortably alongside albums from Shawn Colvin, Melissa Etheridge and Lucinda Williams. If she got what she deserved, she’d be a worldwide star. That’s not to say that Liz doesn’t have her champions – Triple R’s Neil Rogers has been a long-time supporter; indeed, he turned Howzat! onto Liz’s many charms. I guess it’s a crowded marketplace and it’s easy to overlook yet another rootsy singer/songwriter. Liz is not reinventing any wheels, but Warm In The Darkness is so strong, it’s time she got what she deserved.

Before Howzat! heard the new album, a fan told me he was slightly disappointed. He felt the album was over-produced and lacking the warmth of Liz’s previous offerings (2006’s Soon, 2008’s Pendulum and 2010’s Tides Of Time). But to Howzat!’s ears, it’s her strongest set yet. These songs are effortlessly instant. Check out the centrepiece of the album, the beautifully titled Glutton. The song swaggers and soars, as she riffs like The Rolling Stones, though the lyric aches. “I’m a glutton,” Liz sings, “and feeding upon this pain is better than nothing.” You’ll be hard-pressed to find a stronger song this year. And the rest of the record showcases similar superior songwriting. These are songs that immediately sound like old friends, even if some of them have a restless spirit. Warm In The Darkness, indeed. In anybody’s language, Liz Stringer is a star. She launches Warm In The Darkness at the Corner on Sunday, and is also playing at the Caravan Music Club in Oakleigh on 22 June.


Dave Powell knows his rock. The former manager of Jet is now looking after Melbourne band Kingswood. After some major heart problems, Dave has a titanium valve in his heart. And his x-rays are part of the artwork for the new Kingswood EP, Change Of Heart. Triple j’s Dave Ruby Howe calls it “big, burly, fuck-off rock music.” Tough, but melodic, this Kingswood is classic.


Gotye has equalled the US chart record by an Australian male solo artist. APRA’s Song Of The Year, Somebody

That I Used To Know, has now spent seven weeks at number one in the US – matching Andy Gibb’s sevenweek stretch in 1978 with Shadow Dancing. Only two songs by Aussie artists have spent more time on top – Olivia Newton-John’s Physical (ten weeks in 1981) and The Bee Gees’ Night Fever (eight weeks in 1978). The Gibbs and ONJ were, of course, former English migrants to Oz based in the US at the time; Gotye is the only Aussie-based artist to have such a reign in the US. Gotye is the tenth Aussie act to have a chart-topping single in the US (after Bee Gees, Helen Reddy, ONJ, Andy Gibb, Air Supply, Rick Springfield, Men At Work, INXS and Savage Garden). Meanwhile, Kimbra’s debut album, Vows, has entered the US charts at number 14.

Different Worlds BRITTANY CAIRNS (15)


The Temper Trap spend just one week on top. Will Missy Higgins score her third number one album next week?

Barry Morgan and his organ exploded via Spicks And Specks. This is a great music character, with the luxuriant hair, safari suit, beautiful teeth and an instrument that permits plenty of puns and jokes (“What is more romantic than roses on a piano? Tulips on an organ”). Barry is actually the alter ego of a fine Melbourne musician and songwriter named Stephen Teakle, who has played with many artists including Neil Murray, Andy Baylor and Alex Hallahan. Barry has now done an album, The Touch Of You (out this Friday on Perambulator Records through MGM). Instead of doing organ covers of classic songs, Stephen has written all the tunes. It’s not quite the same without Barry’s crazed smile, but it’s good, clean, cheesy fun.

Do It Like That RICKI-LEE (19) Into The Flame EP MATT CORBY (22) Child 360 (24) Ave Maria FATAI V (25, debut) In My Mind IVAN GOUGH & FEENIXPAWL (29) Somebody That I Used To Know GOTYE (30) If Looks Could Kill TIMOMATIC (35) Wherever I Lay My Hat DARREN PERCIVAL (37) Listen SARAH DE BONO (38)

The Story So Far KEITH URBAN (number two) The Temper Trap THE TEMPER TRAP (four) By The Horns JULIA STONE (11, debut) Falling & Flying 360 (19) Two Worlds Collide THE McCLYMONTS (21) Don’t Funk With Me ALSTON (22) Drinking From The Sun HILLTOP HOODS (28) Mr And Mrs O’SHEA (39, debut)



Guy Sebastian has a golden debut.


Gold GUY SEBASTIAN (number ten, debut)

Change Of Heart KINGSWOOD

Sitting On Top Of The World DELTA GOODREM (11)

I Understand SOPHIE KOH

Timebomb KYLIE MINOGUE (12, debut)


Landslide KARISE EDEN (14, debut)



WED 06

Agent 86, Lewis Can Cut, WHO Lucky Coq

Matt McHugh Corner Hotel

Adam Katz, Charlie Lim Paris Cat Jazz Club

Andy Swann Blues Band Dogs Bar

Agent 86, Lady Noir, Joybot, Kiti, Mr Thom Lucky Coq

Anna’s Go Go Academy Victoria Hotel

Michael Shaun Band, The Indian Skies, Centre & The South, Centre & South Esplanade

Andrew Lowden, Dru, Sol De Heer Wesley Anne Anthony Paine, Richard Andrew, Wayward Breed The Standard Hotel Aurimor, Cleveland Blues, Full Code, The Twoks Esplanade Lounge Black Chords, Kid Garrett Kent St Bopstretch Uptown Jazz Café Chris Russell’s Chicken Walk, Max Savage Retreat Hotel Claudia Osegueda, Oscar Poncell Cruzao Arepa Bar Cookie Baker, Al Parkinson The Drunken Poet

Annie Smith Dizzy’s Jazz Club Browne Hannaford Pankhurst Trio Uptown Jazz Café Cavanagh & Argus, Adrian Stoyles, D. Dumbo Empress Hotel Circuit Bent, Monkey Marc Miss Libertine Conductors, James Kane, Negative Magick, Nu Balance, Post Percy New Guernica Contortionists Handbook, Aurora, Sooki La La, Private Radio The Prague Dave Pham, Uone Bimbo Deluxe Dirty Elvis, Cisco Rose Great Britain Hotel Dr Lonnie Smith Trio Bennetts Lane

Dave Rex trio Dogs Bar

Empires Fall, Eyes Wide Open, Fractal, Hunt The Haunted Karova Lounge, Ballarat

Dizzy’s Big Band, Peter Hearne Dizzy’s Jazz Club

Fem Belling Quartet, JMQ The Commune

Doubleblack, The Australian Kingswood Factory Cherry Bar

Finlo White, Kitty Kat Co. Nightclub

Danny Silver, Mu-Gen Lounge Bar

Electric Mary, Toehider Northcote Social Club Lo-Res, Damien Ellis Band, Ben Gory 303 Bar Mega Love, Mz Wood, Midi Window John Curtin Hotel Michael Shaun Band, Ben William, The Tattered Sails Empress Hotel Mikelangelo, James Seedy Old Bar Montero, Superstar, Jonny Telafone Phoenix Public House

Hiatus Kaiyote, Bankrupt Billionaires, Cosi Evelyn Hotel Home To Kelly, Street Fangs, Storming Vegas Bendigo Hotel Hybrid Nightmares, Agave Maize, Mardraum, Douglas Quaid Experiment, DJ Blazzazferg Revolver Upstairs J Boogs, Fiji, Peetah Morgan Prince Bandroom Jackson Firebird, River of Snakes Retreat Hotel

Nessa Quintet Open Studio

Jess Locke Edinburgh Castle Front Bar

Renaud Garcia-Fons Bennetts Lane

Keijzer/Delecca Quartet Paris Cat Jazz Club

Sam Lawrence, James Daley, Manny Fox Hangman’s Club The Toff In Town

Kiti, Lady Noir The Carlton

Slow Chase, Wolf vs Fire, We Disappear, Easy Please Bendigo Hotel

Lama Rama, Mrose & The Bystanders, Roni Shewan John Curtin Hotel

The Lost Sunnies, Chev Rise The Tote Tom Tuena Veludo Van Myer, Pourparlour, Acid Western Evelyn Hotel Worng, Circular Keys, Mt Mtumbo Bar Open

THU 07 Adalita, Kevin Mitchell, Planet Love Sound, Sid O’Neil, Sam & Nick Nolan, Courtney Barnett, Valentine The Tote


Lachlan Doley Trio 303 Bar

Lauren Glezer & Her Band, Jonathan & Marissa Skoyron, Yoni Diamond Wesley Anne Lewis Can Cut, Broadway Sounds Grace Darling Hotel Little Sisters, Charm Bar Betty Lost Cause, Dixon Cider, Scray Fish, The Half Pints, Wot Rot Blue Tile Lounge Mandy Connell Lomond Hotel Matt Dean, Matty Grant, Phil Ross Billboard

Mini Bikes, Ali E, Lil Leonie Lionheart Yah Yah’s Mob Queens, Swimsuit Dynamite, Left At The Altar, DJ Lovely Clear Water Bar Open Morning Of The Earth, Mose Veludo Nick Murphy Labour In Vain Over Reactor The Pub, Bendigo Phil Para, Doubleshot Of Blues Musicland (Fawkner) Rosencrantz, The Doldrums, Rumor Control, Unicycle Inventors Brunswick Hotel Saskwatch Cherry Bar Shags & Danielson Lounge Bar Sienna Skies, My City Screams Next Simon Bruce Bar Nancy Simon Hudson Band Cruzao Arepa Bar

Brad Martin, The Publican Band Rainbow Hotel

Kids Without Bikes, The Scarecrows, You and Your Friends, Fifth Friend Esplanade Basement

Brookwise, Bryce Lawrence Loop Bulls, Roller One, Matt Bailey Northcote Social Club Catch Release Cornish Arms Hotel

Lovers Jump Creek Penny Black

Closure in Moscow, Ikarii, The Morning After, Anamiya, The 540 Project Pier Live

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

Cold Harbour Lyrebird Lounge Contrive, The Eternal, King of the North, Crying Sirens The Prague Curtis Why Bar Betty Dan Bourke The Drunken Poet David Dallas, Diafrix, Candice Monique, Moneykat, DJ Penfold Esplanade Gershwin Room Dean T, Johnny M, Nova, Tate Strauss Fusion Nighclub

Sister Sledge The Hi-Fi The Kodiak Club Pony Late Show

Dr Lonnie Smith Trio Bennetts Lane

The Mean Times, Renegade Robot Cops, Western Stars Pony

Dru & The Intentions, Andrew Lowden Rice Queen

The Peep Tempel, Sun God Replica, The Single Men’s Drinking Club, The Purgatories Esplanade

Dubfonik, Affiks & A13, Droid Sectors, Toast Boot, Jesse Jahmal, Youngsta, Nam, Bass Bin Laden, Safire Brown Alley

The Royal Jelly Dixie Land Band Open Studio

East 17, DJ Hullywood, DJ Ben G Trak Lounge Bar

The Twoks, Jimmy Daniel Rainbow Hotel

Elana Musto, Greg Sara, Scott T Match Bar

Tiger Choir, Cat Cat, Brothers Hand Mirror, Love Connection Workers Club

Elephant Eyes, Owls of the Swamp, Siobhan Grace Darling Hotel

Tim Braun 29th Apartment Yeo Rice Queen

FRI 08

Empire, Hearts Like Wolves, The Grace Of Graves, City of Sirens Yah Yah’s Foxtrot, Kill The Matador Victoria Hotel Fuzz Yah Yah’s (Upstairs)

Alex Lashlie, Junk Company, Rumdaddles Gertrude’s Brown Couch

Geoffrey O’Connor, Mildlife, The Murlocs Liberty Social

Alison Ferrier Basement Discs

Hetty Kate & the 2020’s Lomond Hotel

Angela Librandi, Arlen De Silva Hotel Max Prince Maximilian

Hyfrydol Edinburgh Castle Front Bar

Apart From This, Oh Pacific, Up and Atom, Lucky Charm Blue Tile Lounge Beware Black Holes Town Hall Hotel Black Fox, Cataract George, Dinosaurs Exist, Winter Moon Pony Bombay Royale, Sye Saxon, Greazy Chicken The LuWow Forbidden Temple Bonjah Corner Hotel

Lotek, The Rebel Hifi, Florelie Escano Bar Open

Chairman Meow, Coburg Market, Mr. Fox, Tiger Funk, WHO Bimbo Deluxe

Deep Sea Arcade, The Cairos, Woe & Flutter Phoenix Public House

Lounge & Gershwin Room

Laura, Meniscus, This Is Your Captain Speaking, Lunaire Evelyn Hotel

Jackhammer Ruby’s Lounge Jade MacRae, Lewis Can Cut, Remi, Jungle Money, DJ Mu-Gen Esplanade Lounge John Flanagan & The Begin Agains The Palais, Hepburn Springs Julie O’Hara Dizzy’s Jazz Club

Major Tom & The Atoms Pony Late Show

Michael Oliphant’s Gentlemen’s Hours Dogs Bar Mohair Slim, Orange Street, Derek DJ Ska Calypso The LuWow Island Village Motion Uptown Jazz Café N’fa, Showtime, Eddie Mac, Cam, The Psyde Projects, Moonshine, Jumbo, J. Smith Lounge Bar Over Reactor National Hotel Pearls, Zond, Cook Arquette, Urns The Tote Private Life, Yuko Nishiyama, Tully On Tully Empress Hotel Rough Cut Country Band Pascoe Vale RSL Scratch N Sniff, Anchors Away, Cabin Fever, OPG, Hailgun Bendigo Hotel Shai Hulud Red Bennies The Butterfly Effect The Hi-Fi The Human Electric, Driveby Epic, The Greeting Method, SHERIFF Bended Elbow, Geelong The Medicators, DJ Del Amp, Heavy Beach, Ladie Dee Old Bar

SAT 09 Abbie Cardwell Prince Of Wales Public Bar Area 7, Damn Potthast, God God Dammit Dammit, The Bennies, Phat Meegz Evelyn Hotel Arlen De Silva, Sunny Knoll Hotel Max Prince Maximilian Ash Grunwald Corner Hotel Banda Sin Frontera Cruzao Arepa Bar Beaker, Syme Tollens, Neo Abode Billy Hoyle, Duchesz, MZ Rizk, Wasabi First Floor Bimbo Electrico Pony Late Show Blue Dog Cruiser St Andrews Hotel Blue Dog Cruiser St Andrew’s Hotel, Evening Show Boogs, WHO, Dave Pham, Bryce Lawrence, Louis McCoy Lounge Bar Carmex, Baddums, Baron Von Rotton The Order Of Melbourne Cashno Elwood Lounge Cat Or Pillar, Aubrey Grove, Bear The Mammoth, Leena, Oceans To Athena, Mattriks & The Bok,

Chris Cavill & The Long Weekend Rainbow Hotel Closure in Moscow, Foucault, The Furys, Thirty One Fifty, Voxangelica Ferntree Gully Hotel Cooking On 3 Burners feat Kylie Auldist Bar Open Damen Samuel, Paul Copeland Bar Betty

Dean Millson Loop

The Spin, Towers And Opener Cherry Bar

Deep Sea Arcade, The Cairos, Woe & Flutter Karova Lounge, Ballarat

The Yard Apes, Dead, Nous Karova Lounge, Ballarat

Dezperados, Stackful Town Hall Hotel

Trio Alvorada Cruzao Arepa Bar Victor Pender Cape Café

Kathryn Kelly The Hammy

Waylon Jones Highway 31

Kicking Horses Elwood Lounge

Yvette Johannson Caravan Music Club

House Vs Hurricane, Dream On Dreamer, Sienna Skies, Hand Of Mercy, Shinto Katana, Feed Her To The Sharks Collingwood Town Hall James Macaulay’s Romanian Rebop, The Robert Glasper Experiment Uptown Jazz Café Jason Ayres, Temple Of Tunes, Greg Mitchell Trio Brunswick Hotel - Arvo Joe Neptune Great Britain Hotel Lazerface, Cradle in the Crater, Spermaids John Curtin Hotel Les Thomas Edinburgh Castle Front Bar Lose Cause, Dixon Cider, Foot Soldier, The Half Pints, Wot Rot National Hotel Mark Kozelek The Toff In Town

Moose Jaw Rifle Club, Jude St Jude The Thornbury Local

Death Rattles Baha Tacos

Trio Agogo, Baba Yaga Orkestar 303 Bar

Honey Badgers, Buried Feather, Buck Creek, Bidet Mate Pony

Cherrywood Labour In Vain

The Single Men’s Drinking Club, The Harlots Retreat Hotel

Tony Touch Esplanade Front Bar

Hey Charger, Dozza Bended Elbow, Geelong

Michael Griffin Quintet Dizzy’s Jazz Club

David Myles, Camille & Stuie Caravan Music Club

Tom Logan, Ailsa Piper Glenlyon General Store

Hetty Kate, Irwell Street String Band Paris Cat Jazz Club

Rachel By The Stream, G-Pop Ruby’s Lounge

The Plains, Sleepy Dreamers, Hollow Hounds Idgaff Bar and Venue

Thundabox, Bombs Are Falling, Spew n Guts, Liquor Snatch, The Clowns, Lost Cause, The Worst Brunswick Hotel

Frock, James O’Brien, Zac Rush Open Studio

Dirt Farmer, Griffon Green, Cub Scouts Grace Darling Hotel DJ Rowie, Action Sam European Bier Café Doom, Ghostface Killah, Chino XL Forum Theatre

Muscle Car, Seedy Jeezus, Suzi Coil, The Council The Prague Nina Las Vegas Prince Bandroom Overreactor, Red Sky Burial, The Siren Tower Esplanade Front Bar Pacman, Jean Paul, Moonshine, Tahl Lucky Coq Patti Austin Melbourne Recital Centre Phil Manning St Andrew’s Hotel, Arvo Show Philosoraptor, Neverview, Asylum, Techaid, Dice Esplanade Basement Planet Love Sound, Tehachapi Phoenix Public House

Silverstein, skyway Bang Spoonful, Plague Doctor Post Office Hotel Tek Tek Ensemble Rice Queen Tess McKenna & the Shapiros Union Club Hotel The Big Tease The Hi-Fi The Blackeyed Susans Trio Union Hotel Brunswick, Arvo Show The Delta Riggs, Johnny Rock & The Limits, The Pretty Littles Workers Club The Divine Fluxus, The Vice, The Antoinettes Idgaff Bar and Venue The Evening Son, Hotel on Mayfair Brunswick Hotel The Hawaiian Islands, Bateman, Declaration, Andrew McDonald, Heels On The Deck DJs Revolver Upstairs The Hello Morning, Kingswood, Ben Wright Smith, Ben Wright Smith & The Birthday Girls, The Pretty Littles Esplanade Gershwin Room The Moonee Valley Drifters, Hank Snow & The Frozen Rainwater Highway 31 The Resignators, Voltera, Witchgrinder, Hanzel Und Grety, Noize Bunny, Hocico Revolt The Savages, Vintage Red The LuWow Forbidden Temple The Sweets, Papa Maul, Euthymia Noise Bar Them Bruins, Udays Tiger, Western Stars, Constant Killer Cornish Arms Hotel Victor Pender Cape Café Vultures Of Venues, Red Rockets Of Borneo, Golgotha Motel, HMAS Vendetta Yah Yah’s

Poco La Pax, Daydream Arcade, Her, Granston Bendigo Hotel

We Built Atlantis, Avalerion, By Design, This Elasco Musicland (Fawkner)

Pony Face, The Ivory Elephant, Waz E James Retreat Hotel

Whitaker, The Tealeaves, Sugarcraft Northcote Social Club

Dotcoms, The Once Overs, Clavians, BJ Morriszonkle Old Bar

Project 321 Explosion, Harrison Grove, Wewouldsleep Empress Hotel

Edd Fisher, Knave Knixx Red Bennies

Red Hot Rhythmakers Victoria Hotel

Fats Wah Wah Lomond Hotel

Regurgitator, The Meanies, The Spazzys, Dead, Batpiss The Tote

Frankenbok, Decimatus, Envenomed, Alkira Cherry Bar

Seven Hearts The Palais, Hepburn Springs

Saturday Night Fish Fry The Gem Scott Boyd, Jake Nauta 303 Bar

SUN 10 Agent 86, Tiger Funk, Phato A Mano Bimbo Deluxe Agility, The Mcqueens, Young Mavericks, Corsairs The Toff In Town


8:30PM $7





8:30PM $8














9387 6637




140 Sydney Rd















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DJ GEORGE HYDE MONDAY 11TH JULY â&#x20AC;&#x2DC;QUEENS Bâ&#x20AC;&#x2122;DAYâ&#x20AC;&#x2122;

8:30PM $10

























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Ash Grunwald, The Fingers Malone Ensemble Westernport Hotel Askew, Booshank, Disco Harry, Miss Butt, Junji, Peter Baker, Paz Lucky Coq Audego, Andras Fox, The Townhouses Workers Club Bakersfield Glee Club The Standard Hotel Battle Axe Howlers, System of Venus, Don Fernando Cherry Bar Black Cab, Baptizm Of Uzi, Humans Yah Yah’s Bum Creek, Angel Eyes, Terrible Truths, The French, Art & Craft, Stationary Suns The Tote Cheeks, Tom Mac, David Bass, Ransom, Carmex, Same-O, Baddums, Affiks Laundry Bar Chris Liebing, Kaiserdisco Brown Alley Chris Russell’s Chicken Walk, Dean Muller Cherry Bar, Arvo Show Daryl Braithwaite, Nudist Funk Orchastra, Bad Boys Batucada Esplanade Lounge David Bramble, Steph Brett, The Weeping Willows Wesley Anne David Pittaway, Lish Skec, Viki Mealings, John Coulter, Gerald Proctor, Ben Bray, Baz Daly Deep Sea Arcade, The Cairos, Woe & Flutter Phoenix Public House Deepchild Live, Steve Stevens Live, Haul Music Live Revolver Upstairs Emerson, Under Oceans, Geroff, Head First Brunswick Hotel Forces, Diamond, Miles Brown, Dan Moss Evelyn Hotel Freya Hollick & The Useless Superheroes, Dan Houlihan, Jules & Yuko Karova Lounge, Ballarat Girls On Top Khokolat Bar Goyim Great Britain Hotel Guy J New Guernica Horse & Wes Barney Allen’s Bar Inquisition, Thrall, Vomitor Bendigo Hotel Jeb Cardwell Victoria Hotel Jimi Hocking Bay Hotel Joelistics, Polo Club, Psyde Projects, DJ Manchild Esplanade Gershwin Room Jose Nieto Cruzao Arepa Bar Jules Boult & The Redeemers Rainbow Hotel Julia Turner, James Macaulay & His Old Socks Open Studio Kellie Fernando Bird Elwood Lounge


Kelly Aunty Band, Ken Maher, Tony Hargreaves Lomond Hotel Lily & King The Drunken Poet, Arvo Show Liz Stringer Corner Hotel Matt Katsis The Bay Mordialloc Mental As Anything Way Out West Club (Williamstown) Miguel Enriquez The Hi-Fi Mikelangelo & the Tin Star, The Little Sisters, Stomp Dog, DJ Shaky Memorial Retreat Hotel Mild Sparrow, The Migrations The Thornbury Local Mim Crellin Group, Benezra Bar Nancy Mustered Courage Union Hotel Brunswick, Arvo Show Neeq Loop

Vika & Linda Caravan Music Club Warren Earl & The Atomic Rockers The Gem Wolf vs Fire, TWSS, Shaded Grey, Sustainer Engine Ruby’s Lounge

MON 11 Allan Browne Trio Bennetts Lane Blake Scott Old Bar Bob Stamos Lounge Bar Eaten By Dogs, Joshua Seymour Esplanade Lounge Eva McGowan, Erick Parker, Dan Rolls Dogs Bar Jame Forbes Veludo Lady Noir, Kiti Bimbo Deluxe Mark Kozelek Phoenix Public House

New Estate, Harry Howard & the NDE, Emma Russack Northcote Social Club

Mu-Gen, Ms Butt, 2 Kool Tony Laundry Bar

Nick Barker Baha Tacos

Penny Hewson, Kellie Lloyd Grace Darling Hotel

Nick Charles The Drunken Poet No Zu, Mildlife Grace Darling Hotel Opa! 303 Bar Phil Manning Musicland (Fawkner) Phoebe & The Night Creatures Dogs Bar Ron Peno & the Superstitions Labour In Vain

Nadeah, Secondhand Heart The Toff In Town

Pop Singles, Ice Claw, Bunyip Moon Northcote Social Club Shannon Bourne, Fraser A Gorman Post Office Hotel Spencer Jones & The Escape Committee, Water Music Retreat Hotel

Saint Jude Post Office Hotel

Terracotta Tile Games, Mamrot/Svalbe/ Batrouney 303 Bar

Sandy Evans Trio Bennetts Lane

The Cactus Chanel, DJ Miss Goldie Evelyn Hotel

Sarah Rzek Grocery Bar Saskwatch The Hi-Fi, Arvo Silverstein, skyway Pelly Bar Spectrum St Andrews Hotel Spectrum St Andrew’s Hotel, Arvo Show

TUE 12 Adam Askew Bimbo Deluxe Canos, Jason Ayres, Mike Elrington, Daniel March, SteelBirds Esplanade Lounge

Spermaids Pony Late Show

Cisco Rose, Dave Wright Trio, Indian Pacific Old Bar

Streams of Whiskey, Rowan Blackmore Bar Open

Claude Hay Royal Standard Hotel

Terrorbyte Stripes, Mick The Merciless, The Cholesterollers, Organ Morgan Pony Terry McCarthy Special Penny Black The Dames Tago Mago The Dust Revival Band Edinburgh Castle Front Bar The Velvets, John & Alexander, City Sound Idgaff Bar and Venue Timmy Trumpet, Adam Bartas, Ross Horkings, Stevie Mink, Andy Murphy, Nick Kennedy, Chardy Billboard Tinsley Waterhouse Cornish Arms Hotel Tom Milek, Staffans Songs, Anna & Andrew Grace Darling Cellar Bar

Kain Borlase Trio Kojo Brown Lets Dance Big Band Dizzy’s Jazz Club Liz Bradley, Jack Johnstone Veludo Motion Bennetts Lane Phil Ceberano, Tony Kopa Dogs Bar Royal Jelly Dixie Land Band, Pallet Town, T Bird & The Lumberjacks, Jeff Hieser Revolver Ruth Lindsey Labour In Vain Smells Like Nirvana Brunswick Hotel The Black Seeds Corner Hotel The Simon Wright Band, The High Society, Tame Mia-Moore, DJ Big Kahuna Burger Evelyn



Saturday Silverstein, skyway


Wednesday Worng, Circular Keys, Mt Mtumbo Thursday Mob Queens, Swimsuit Dynamite, Left At The Altar, DJ Lovely Clear Water Friday Lotek, The Rebel Hifi, Florelie Escano Saturday Cooking On 3 Burners feat Kylie Auldist Sunday Streams of Whiskey, Rowan Blackmore


Wednesday Slow Chase, Wolf vs Fire, We Disappear, Easy Please Thursday Home To Kelly, Street Fangs, Storming Vegas Friday Scratch N Sniff, Anchors Away, Cabin Fever, OPG, Hailgun Saturday Poco La Pax, Daydream Arcade, Her, Granston Sunday Inquisition, Thrall, Vomitor


Thursday Matt Dean, Matty Grant, Phil Ross Sunday Timmy Trumpet, Adam Bartas, Ross Horkings, Stevie Mink, Andy Murphy, Nick Kennedy, Chardy


Thursday Dave Pham, Uone Friday Chairman Meow, Coburg Market, Mr. Fox, Tiger Funk, WHO Sunday Agent 86, Tiger Funk, Phato A Mano Monday Lady Noir, Kiti Tuesday Adam Askew


Thursday Rosencrantz, The Doldrums, Rumor Control, Unicycle Inventors Friday Thundabox, Bombs Are Falling, Spew n Guts, Liquor Snatch, The Clowns, Lost Cause, The Worst Saturday The Evening Son, Hotel on Mayfair Sunday Emerson, Under Oceans, Geroff, Head First Tuesday Smells Like Nirvana


Friday Yvette Johannson Saturday David Myles, Camille & Stuie Sunday Vika & Linda


Thursday Matt McHugh Friday Bonjah Saturday Ash Grunwald Sunday Liz Stringer Tuesday The Black Seeds


Friday Catch Release Saturday Them Bruins, Udays Tiger, Western Stars, Constant Killer Sunday Tinsley Waterhouse


Wednesday Michael Shaun Band, Ben William, The Tattered Sails Thursday Cavanagh & Argus, Adrian Stoyles, D. Dumbo Friday Private Life, Yuko Nishiyama, Tully On Tully Saturday Project 321 Explosion, Harrison Grove, Wewouldsleep


Thursday Michael Shaun Band, The Indian Skies, Centre & The South, Centre & South Friday Kids Without Bikes, The Scarecrows, You and Your Friends, Fifth Friend Saturday Philosoraptor, Neverview, Asylum, Techaid, Dice


Friday David Dallas, Diafrix, Candice Monique, Moneykat, DJ Penfold Saturday The Hello Morning, Kingswood, Ben Wright Smith, Ben Wright Smith & The Birthday Girls, The Pretty Littles Sunday Joelistics, Polo Club, Psyde Projects, DJ Manchild


Wednesday Aurimor, Cleveland Blues, Full Code, The Twoks Friday Jade MacRae, Lewis Can Cut, Remi, Jungle Money, DJ Mu-Gen

Tracy McNeil & Band Carringbush Hotel

Sunday Daryl Braithwaite, Nudist Funk Orchastra, Bad Boys Batucada Monday Eaten By Dogs, Joshua Seymour Tuesday Canos, Jason Ayres, Mike Elrington, Daniel March, SteelBirds


Wednesday Van Myer, Pourparlour, Acid Western Thursday Hiatus Kaiyote, Bankrupt Billionaires, Cosi Friday Laura, Meniscus, This Is Your Captain Speaking, Lunaire Saturday Area 7, Damn Potthast, God God Dammit Dammit, The Bennies, Phat Meegz Sunday Forces, Diamond, Miles Brown, Dan Moss Monday The Cactus Chanel, DJ Miss Goldie Tuesday The Simon Wright Band, The High Society, Tame Mia-Moore, DJ Big Kahuna Burger


Thursday Lewis Can Cut, Broadway Sounds Friday Elephant Eyes, Owls of the Swamp, Siobhan Saturday Dirt Farmer, Griffon Green, Cub Scouts Sunday No Zu, Mildlife Monday Penny Hewson, Kellie Lloyd


Wednesday Mega Love, Mz Wood, Midi Window Thursday Lama Rama, Mrose & The Bystanders, Roni Shewan Saturday Lazerface, Cradle in the Crater, Spermaids


Friday Brookwise, Bryce Lawrence Saturday Dean Millson Sunday Neeq


Wednesday Agent 86, Lady Noir, Joybot, Kiti, Mr Thom Thursday Agent 86, Lewis Can Cut, WHO Friday Matt Rad, Mr George, Phato A Mano, Tom Meagher Saturday Pacman, Jean Paul, Moonshine, Tahl Sunday Askew, Booshank, Disco Harry, Miss Butt, Junji, Peter Baker, Paz


Thursday Sienna Skies, My City Screams


Wednesday Electric Mary, Toehider Friday Bulls, Roller One, Matt Bailey Saturday Whitaker, The Tealeaves, Sugarcraft Sunday New Estate, Harry Howard & the NDE, Emma Russack Monday Pop Singles, Ice Claw, Bunyip Moon


Thursday The Mean Times, Renegade Robot Cops, Western Stars Friday Black Fox, Cataract George, Dinosaurs Exist, Winter Moon Saturday Honey Badgers, Buried Feather, Buck Creek, Bidet Mate Sunday Terrorbyte Stripes, Mick The Merciless, The Cholesterollers, Organ Morgan


Thursday J Boogs, Fiji, Peetah Morgan Saturday Nina Las Vegas


Wednesday Cookie Baker, Al Parkinson Friday Dan Bourke Sunday Nick Charles


Sunday Lily & King


Saturday Saturday Night Fish Fry Sunday Warren Earl & The Atomic Rockers


Thursday Sister Sledge Friday The Butterfly Effect Saturday The Big Tease Sunday Miguel Enriquez


Wednesday Anthony Paine, Richard Andrew, Wayward Breed

Sunday Bakersfield Glee Club


Wednesday Sam Lawrence, James Daley, Manny Fox Hangman’s Club Saturday Mark Kozelek Sunday Agility, The Mcqueens, Young Mavericks, Corsairs Monday Nadeah, Secondhand Heart


Wednesday The Lost Sunnies, Chev Rise Thursday Adalita, Kevin Mitchell, Planet Love Sound, Sid O’Neil, Sam & Nick Nolan, Courtney Barnett, Valentine Friday Pearls, Zond, Cook Arquette, Urns Saturday Regurgitator, The Meanies, The Spazzys, Dead, Batpiss Sunday Bum Creek, Angel Eyes, Terrible Truths, The French, Art & Craft, Stationary Suns


Wednesday Andrew Lowden, Dru, Sol De Heer Thursday Lauren Glezer & Her Band, Jonathan & Marissa Skoyron, Yoni Diamond Sunday David Bramble, Steph Brett, The Weeping Willows


Thursday Tiger Choir, Cat Cat, Brothers Hand Mirror, Love Connection Saturday The Delta Riggs, Johnny Rock & The Limits, The Pretty Littles Sunday Audego, Andras Fox, The Townhouses


Thursday Mini Bikes, Ali E, Lil Leonie Lionheart Friday Empire, Hearts Like Wolves, The Grace Of Graves, City of Sirens Saturday Vultures Of Venues, Red Rockets Of Borneo, Golgotha Motel, HMAS Vendetta Sunday Black Cab, Baptizm Of Uzi, Humans





Thursday 7 June, the luthier behind Godin Guitars, Patrick Godin, will be in store at Manny’s Music in North Fitzroy from 7pm. Godin is heading here all the way from Montreal, Canada, to introduce you to some of the latest additions to the family, including the Seagull, La Patrie (named after Godin’s original hometown in Quebec) and the Art & Lutherie, as well as the Godin, all of which you can test drive on the night. It’s essential to RSVP for the event so best get onto Manny’s on (03) 9486 8555 pronto. By the by, the company’s master guitar tech is one Rick Harper, who learned his chops setting up guitars working with Cold Chisel, AC/DC, INXS, The Angels and Tommy Emmanuel among others.


Gibson Acoustic has released the new Sheryl Crow Southern Jumbo Special Edition, which they reckon is the most expressive Southern Jumbo in the company’s history. Handcrafted with a top made from solid Adirondack red spruce, and back and sides of solid mahogany, this model features a one-piece mahogany neck carved to a comfortable modified-V profile and topped with a bound rosewood fingerboard with a 12” radius and a 14th fret neck joint. Where the guitar really excels however is in its distinct onboard pickup, the Trance Audio Amulet, which allows the delivery of an unblemished natural acoustic sound, something that has eluded performing artists for decades. Every note is amplified without artificial tone coloration and with the high-end intact, allowing for an uncompromised unity between the instrument and the musician.


Roland and Fender got together a little while ago to “reinvent” the electric guitar as the electronic guitar. The result is the V-Guitar G-5 Stratocaster, classic Fender Strat feel but with Roland electronics, including the GK Divided Pickup system with 13-pin GK interface compatibility and 20 instrument and pickup tones, as well as instant alternate tunings, all available at your fingertips. The GK system provides instant access to any of Roland’s GK-equipped products, including the GR-55 Guitar Synthesiser and VG-99 V-Guitar System. It’s certainly worth checking out at your local stockist.


The new album, Re.Birth, from reggae icon Jimmy Cliff was recorded over eight days at the Sound Factory in LA with Rancid’s Tim Armstrong. Sydney five-piece Machinemachine recorded their second album, Mysteries, in a sandstone bunker during the winter of 2010 and an urban warehouse last year with engineer Tim Kevin (Youth Group, Peabody, La Huva), who co-produced it with the band’s leader Joseph Leonard, while Wayne Connolly (Josh Pyke, The Vines, You Am I, Silverchair) mixed and Roger Seibel (Pavement, Broken Social Scene) mastered it. Brisbane’s Hungry Kids Of Hungary have been busy at Albert’s Studios in Neutral Bay recording their second album with producer Wayne Connolly. They’re off to Europe later in the month and while overseas will spend an extended period in Berlin where they’ll mix the album with old friend Simon “Berkfinger” Berckelman (ex-Philadelphia Grand Jury). Co-produced and engineered by longtime Youth Group collaborator Tim Kevin, the forthcoming debut solo album from Youth Group frontman Toby Martin, Love’s Shadow, was mixed in Nashville by Mark Nevers (Bonnie “Prince” Billy, The Silver Jews). The second album, Sunshine State, by Edward Guglielmino was recorded with his new band The Show across much of last year in Brisbane with producer Jamie Trevaskis (The Wilson Pickers, The Gin Club, Texas Tea, Timothy Carroll) at his Junkship Studios. Sydney three-piece Circle Make Music called on veteran engineer Mike Stavrou (America, David Bowie, Kate Bush) to record their forthcoming album, The Middle, produced by the band’s Radi Safi, the finishing touches provided by Brian Gardner (Phoenix). Recorded and mixed by Russell Pilling at Damien Gerard Studios, the forthcoming album from Sydney four-piece artcore band Feick’s Device was co-produced by band members Michael and Caz with Pilling, and is being mastered by William Bowden at King Willy Sound. Guitarist extraordinaire Jeff Lang recorded Victorian three-piece The Jed Rowe Band live to tape over seven days in his home studio for their second album, The Ember & The Afterglow. Fresh out of Menangle in rural NSW, four-piece The Rubens recorded their latest single, Don’t Ever Want To Be Found, in New York with producer David Kahne (Paul McCartney, Regina Spektor, The Strokes). 52 • INPRESS

Many musicians aspire to create a sonic world through which they capture the imagination of their listeners, but no one has taken that mission to the lengths Pepe Deluxé have with their latest album, Queen Of The Waves, as Michael Smith learns from the group’s Jari Salo.


n the line from Helsinki, Jari Salo (aka James Spectrum) of the originally Finnish electronic music-oriented collective Pepe Deluxé, assures us that what Pepe Deluxé are all about is creating a complete world within which the music they create is an integral part but not the whole picture, which is why their recording abounds with the unlikeliest instruments – among them The Great Stalacpipe Organ, Samuli’s Pneumatic Percussion Machine, the Chromatic Gusli and the 500,000 volt ‘Singing Tesla Coil’ synthesiser. “They really aren’t gimmicks,” Salo explains. “They fit the story of The Iron Giant. So really they are like extra details supporting the theme.” Iron Giant? Well, the first thing to understand is that the latest album, Queen Of The Waves, is based on the stories of one Frederick Oliver, written back in 1886, who created his own vision of the legendary Atlantis, in which this Iron Giant plays a significant part. That’s why it was important for Salo and his collaborator, the New York-based multi-instrumentalist Paul Malmström, to create not only a soundscape utilising ‘instruments’ no one else may have ever considered, but a whole ethos, a vision of the world they’ve created sonically. “I think a lot of people understand it better when I say that Paul’s a really excellent musician while I’ve given up playing instruments almost totally, so it’s really that we are more like directors, if you think of this more like a movie project. Instead of playing the instruments, I’m playing the musicians and trying to find the right people for the right roles. Like, Teppo Mäkynen is a really great jazz and funk drummer, so asking him to play old heavy metal type of things and just things that fit the tunes. So it’s that almost movie-like thinking, and that’s all part of really seeing the thing as a visible thing, especially when you listen through headphones, things would be really three-dimensional and would be giving you images.” As they describe it in their liner notes, the idea was to give you an imaginary sonic window into a world that might have existed in 10,000BC. That’s certainly the ethereal essence of the 1.30 minutes of music Malmström composed for The Great Stalacpipe Organ, titled appropriately enough In The Cave. “The biggest problem we had in recording the piece was that, though we’d informed the owners about what we wanted to do and when, they refused to close the caves to the public, so once we set everything up, we had to wait for the visitors to follow the tour

guide as far from where we were recording as possible and even then it was difficult to get a long enough period of relative silence to record because of course the acoustics were so good, you could hear the tours even when they were deep into the caves.” The Great Stalacpipe Organ is what’s described as an ‘electrically actuated lithophone’ located in a gigantic natural cave within the vast Luray Caverns system in Virginia. Designed and set up in 1956 by an engineer named Leland W Sprinkle, the idea is based on the natural tones created by the striking of various stalactites within the cave. Seated at a custom-made console set up like a church organ, connecting cables allow stalactites of varying sizes to be tapped with solenoid-actuated rubber mallets. “The surprising thing to us,” Salo admits, “was that while many concerts have been held in the cave and classical pieces have been played on it no one had ever composed something specifically for the instrument.” Malmström and Salo had the idea of recording The Great Stalacpipe Organ some six years before they finally did it, which gives you some idea how much thought was put into creating the album itself. As it happened, the instrument had become quite dilapidated so the pair patiently set about repairing it as best they could. When at last they got down to the recording itself, they set up an old Swiss-made stereo Nagra recorder, the once de facto standard sound recorder for film and television production, running ¼” tape at 15” per second – opting again for equipment that best related to the instrument being

recorded and its location – and a stereo microphone, Malmström, in white tuxedo and bow tie sitting at the Stalacpipe and playing in the hope there wasn’t too much ambient noise from the tourists also being captured. Then there was the Tesla Coil Synthesiser. “They’re so much fun,” Salo enthuses, “and I’m a big fan of Tesla [Serbian American inventor and engineer] so when I first heard about the idea of the synthesiser I was blown away; it’s such a silly idea but it’s also so cool, you know, having this half-a-million volts, so it’s really deadly. And then realising that they actually have this sound from a guy who’s controlling or capturing this lightning, so it’s like singing lightning. And then the guy is using, like, old chainmail and at first he was just dancing there but now they have a thing where he’s actually playing this strange, almost like a bass that’s also protected, so you’re playing the bass and the lightning is striking the bass while he’s playing it. So it looks so cool and it’s so insane, almost like a Victorian crazy freaks or circus thing but at the same so it’s so insane it’s marvellous. “It was the perfect thing because I was looking for; the whole idea was the first tune is like we are here and now and we need to have something special that’s sort of opening this almost like a metallic gate through time and space into the world of Atlantis, so when I read about the Tesla Coil I contacted the guys and they said of course they could record stuff for us. Again, you can listen to the album without knowing any of these stories.” Queen Of The Waves is out now through Shock


Producer: Sammy Kannis

What areas of engineering do you specialise in? Artist development, vocals, guitar, bass, drums, strings, recording, mixing. What is your favourite kind of project to work on? Anything that comes from a place of authenticity regardless of genre. Are there any pieces of gear that you couldn’t get by without? Mic pre-amps that match the source material. What song/album can we listen to to get the best idea of your work? Anything on my website: What do you like to see from an artist or band in the studio? Their soul transmuted into musical expression. Are you currently working for a studio or are you freelancing? Owner/operator of The Cauldron. Do you have any advice for young or inexperienced artists who are heading into a recording studio? The space you choose should be conducive to creativity and the people you choose to assist you in recording your material should really know and understand YOU as the artist.

What notable acts/projects have you worked with/on? Leo Moctezuma (Pink, Christina Aguilera, Ricky Martin), Sierra Montana, The Patience Project, Beca Sopher, Tamara Jaber, Bec Cartwright, James Kannis, Amy Pearson, Amy Meredith, Kid Courageous.

Do you have any words of wisdom for those wanting to become an audio engineer? Love Your Art Not The Credit. Contact details:

INPRESS â&#x20AC;˘ 53

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

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TRADES & SERVICES VOX SINGING ACADEMY with studios in Brunswick, Bayswater & Dandenong, is always looking for qualified & experienced singing teachers. Applicants must be over 25 years. Please forward resumes to

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FILM & STAGE PRODUCTION Experienced film director. Client list including 360, King Canons, The Drones, Melbourne City Council, EMI, Mushroom Marketing. Contact Agostino Soldati to produce your music video, epk, promo reel, gig.

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FOR SALE AMPS CYPRESS HILL 2004 Australian Tour Shirt. Brand New, Black, Medium. Til Death Do Us Part image on front and tour dates on back. $20 Ph.0449713338

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Hater? Dont care about success? Unenthusiastic? Not a team player? Depressed? Don’t like dealing with clients? Think the world owes you something? Want to spend 2 weeks thinking about an Eagle tattoo before starting it, No idea about business? Low self esteem, bad attitude? Hate customer service?Don’t respect women in business? No idea??? PLEASE DO NOT APPLY At Bondi ink we are looking for Tattoo Artists that respect their art and wellbeing. Promote yourself in a safe, media savvy,family friendly environment and get on with your life and career. Tattoo in a world class studio on the beautiful Bondi Beach, the best location, with the best clientele. This could be the ultimate Sea Change you’ve been waiting for. Please send your confidential application and portfolio to

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Looking for a new Image ? Promo Videos or Photos being taken ? Organise a consult to give your band or solo act the edge 0419618209

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

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Vox AC30TBs amplifier reissue for sale. Has Top Boost and 3 tone controls. Very good condition. Ready to Gig. $2800

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

TOOL Concert Poster - Big Day Out, Auckland MT Smart Stadium 21Jan2011. Adam Jones Artwork Ltd Edition of 100. Mint Condition. 60 x 45cm on Heavy Card. $70 Ph0449713338.

iFlogID: 18689 TOOL Concert Poster - Big Day Out, Gold Coast Parlands 23Jan2011. Adam Jones Artwork - Ltd Edition. Mint Condition. 60 x 45cm on Heavy Card. $90 Ph0449713338.

iFlogID: 18687 TOOL Concert Poster - Brisbane Entertainment Centre 24Jan2011. Adam Jones Artwork - Ltd # Edition of 50. Mint Condition. 60 x 45cm on Heavy Card. $90 Ph0449713338.

iFlogID: 18683 TOOL Concert Poster - Melbourne Myer Music Bowl 02Feb2011. Adam Jones Artwork - Ltd Edition # of 100. Mint Condition. 60 x 45cm on Heavy Card. $90 Ph0449713338.

PA EQUIPMENT Lots of Watts annual June sale, Wednesday 20th June 7am-Midnight. 22 south st, Rydalmere. Huge range of ex-demo, ex-hire, new and used professional equipment all at drastically reduced prices.

STUDIO GEAR Sony DAT Walkman model TCD-D8 original owner perfect condition includes Sony ECM-MS957 stereo mic, head cleaning tape and power plug. $400.00 firm 042 408 1965 or

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OTHER PEDALS - Brand new T-Rex - Distortion / T-Rex Alberta - $195 each. Fulltone - Choralflange - $195. Elect case Humidifier - $35. Acous case Humidifier & Hygrometer - $75. Mob - 0415285004

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

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

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OTHER ++ play more chinese music - love, tenzenmen ++

iFlogID: 14468 Award-winning Experienced, Qualified Music Producer: 1.Doing Instrumental version of any song for $40 2. Mix your multi-tracks for $50 and produce personalized original instrumentals for $50. 3. Check lovenabstudio on email:

iFlogID: 18269 Get your Band or Business Online Cost effectively and PROFESSIONALLY - from $299 including Hosting and email addresses! Contact or see

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PA / AUDIO / ENGINEERING Sydney Livehouse... great venue, 200+ capacity, dedicated merch shop. Talented resident photographer and sound operator. We are Looking for quality well presented organised original acts who know exactly how to promote and sell tickets to their target audience. Any genre, Jazz to Metal we do it all.... Seated dinner and show gigs or just straight rock n roll standing room only. Great for EP, Album or product launches, master classes, clinics, training nights and other corporate functions and birthday parties.

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POSTERS GOLD COAST BYRON BAY NORTHERN NSW Poster distribution for touring artists & bands. Fast, efficient & reliable service at a competitive price

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

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Music publicity. Do you want to get noticed? Affordable exposure for your band by someone that actually cares! Drop me a line!

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PHOTOGRAPHER- FILM & DIGITAL Promo, covers, gigs, launch/opening nights, music, stage, stills, events, anything. 8 years exp. 35mm and 120mm FILM and DIGITAL- Rates neg. All areas. Will tavel. P. Gracie 0432 609 739

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Prince 21 Nights Oversized Harcover Book w/CD. 13.8 x 9.9 x 1.2 inches 2.4 kg Sealed. Brand New. $30 Ph0449713338

ROLAND JX 3P SYNTH - For sale in Melbourne will post good rates. Excellent condition with non original hard case no PX 20. Come and test if in Melbourne Best offer over $650

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

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

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iFlogID: 17084 Recording Studio, Parramatta, $30hr casual rate. No kits! Singers, songwriters, instrumentalists for acoustic, world, classical genres specialist. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days.

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STUDIO HIRE Gold Coast ParallelHarmonyStudioRobina. 30 square metre live room, large vocal booth. Handsome range of range of topoftheline Neumann, Rode and Shure microphones. Call 0755808883 for details.

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TUITION Eastern Suburbs guitar/ukulele/bass/slide lessons with APRA award winning composer. Highly experienced, great references, unique individually designed lessons from Vaucluse studio. Learn to play exactly what YOU want to play!

iFlogID: 16690 MUSIC CLASSES - Tuition for Piano, Guitar, Singing, Drums and Bass. 7 years of experience. Great rates for classes. For info call 9530 0984/ 0425 788 252 or visit

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Professional Bass/Music lessons available for hire, great with beginners or those wanting to start playing the bass but unsure how to go about it. Learn classic songs and songs of your choice. Throughout a variety of seasoned gigs, playing a variety of styles, I know the stage can sometimes be daunting, but with me, I can work you through the process of how to get the best out of your performance and to own the stage. First lesson lesson is $25 for the hour and then $45 thereafter.

iFlogID: 18563 VocalHub - Sing like no one is listening! Singing lessons for vocal technique and care, audition tips and repertoire in a encouraging and supportive environment. Visit:

iFlogID: 17102 VOX SINGING ACACEMY, a premier singing academy has VOCAL TUITION & ONLINE VOCAL TUITION available at our Dandenong, Bayswater & Brunswick studios. For Info and Bookings: 1300 183 732 or

iFlogID: 18516 VOX SINGING ACADEMY, a premier music singing academy has VOCAL TUITION & ONLINE VOCAL TUITION available at our Dandenong, Bayswater & Brunswick studios. For Info and Bookings: 1300 183 732

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VIDEO / PRODUCTION D7 STUDIO MUSIC VID FROM $250 music vid $250. Live gig edits, multi angles, fr $125 a set, 1 live track $100. All shot in full HD. 0404716770


DJ Dj available Dubstep to Drum&bass. Willing & able to adapt to your event. Low hourly rates. Everything negotiable. Easygoing, flexible entertainment. Call for a quote today. KN!VZ Entertainment Group Ph:0415680575

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iFlogID: 18334 TOP INTERNATIONAL DRUMMER available. Great backing vocals, harmonica player and percussionist. Gigs, tours, recording. Private lessons/mentoring also available.

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

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

Musician/Guitarist seeking fame. I play blues and have a good ear for melody and improvisation. Im looking for likeminded people who want to start touring. Go to

iFlogID: 13827 MUSIC VIDEOS offer a great way to gain exposure. Immersion Imagery has worked with over 30 artists and strives to offer creative quality Music Videos.

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MUSICIANS AVAILABLE BASS PLAYER Electric & upright bass. Good gear. Comfortable in most styles. Experience performing live and in the studio. Check out my website if you wanna hear more.

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

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

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MUSICIANS WANTED BANDS Anyone wants to form a REGGAE band in Northern Beaches NSW? I play drums, percussions and keyboard. YouTube: sydneypollak. Mobile: 0402 549 423 Michael

iFlogID: 18610 Anyone wants to form a REGGAE band in Northern Beaches NSW? I play drums, percussions and keyboard. YouTube: sydneypollak. Mobile: 0402 549 423 Michael

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Image is everything! If you have a band wanting to get ahead let me capture the next gig. High quality pictures say everything. 0414 243 811

I’ve recently released an EP which you can listen to at: I need a guitarist, a bassist and a drummer to complete the line-up. People between 18-25, with great gear, their own transport and a lot of experience. You’ll need to be able to do back-up vocals and you’ll need a highly energetic stage presence. If you’re interested and ready to make a big commitment, e-mail

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$25 $50 $40 $40



$35 $60 $50 $50 $15 $20

Guitarist 20s-30s own gear / transport wanted for indie rock band. Lost current one to overseas job. :( Lead/rhythm mix with rock/pop/melodic/tongue-incheek-metal grooves. Rehearse Brunswick. Mixing album now. Info/sounds @ Interested? Call 0414524422. Prima donnas need not apply.

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

iFlogID: 13088 VOCALIST/GUITARIST WANTED Australian Nickelback Tribute Band seeking mature vocalist/guitarist to complete lineup. 30+ band, Melbourne western suburbs, jam weekends, must have own equipment/transport and ROCK like CHAD! Email Dom:

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SERVICES BEAUTY SERVICES Fully Qualified & 8yrs Experience, Thai Massage $49/hr or Sensual Balinese Aroma $69/hr. In/Out calls, Male/Female Welcome. - By Anson 0433646338

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GRAPHIC DESIGN Get your Band or Business Online Cost effectively and PROFESSIONALLY from $299 including Hosting and email addresses! Contact or see

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OTHER Get your Band or Business Online Cost effectively and PROFESSIONALLY - from $299 including Hosting and email addresses! Contact or see

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iFlogID: 13862 If you want to use DRUGS, that’s your business If you want to STOP, we can help. Narcotics Anonymous 9519 6200

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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 if interested

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

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What happens when you start paying attention? When you become an active member and start participating in this elusive thing we call life. WWW.WHATISTHEHAPS.COM

DRUMMER Drummer needed for Sydney hard rock band. Aged 17-21, must have a dedication to music, good work ethic, and playing experience. Contact: 0400 886 673 for more details.

iFlogID: 18559 Experienced drummer with a commitment to practice and regular rehearsals required for Melbournebased alternative rock band. Influences QOTSA, Foo Fighters, Nirvana… 0411 372 469

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Inpress Issue 1227  

Melbourne is one of the few true rock’n’roll capitols of the world. And Inpress magazine is the voice of this great rock’n’roll city. For ov...

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