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EVEN IF YOU’VE NEVER TRAVELLED, YOU CAN BE WORLDLY. Some people believe that travelling the world, seeing the Seven Wonders or even meeting the Dalai Lama will make them a worldly person. The truth is, it takes a little more than that. To be a true citizen of the world, you must first develop a worldly mindset. The best place to open your mind, see new possibilities and think differently is at Deakin University. You see, in the right nurturing environment, the world of a person expands with every new possibility they’re presented with. Singular thought becomes plural. Black and white becomes a million shades of grey. That’s why Deakin believes every student should experience what they call good, holistic learning. It’s the ability to understand the part because you understand the whole. So, even if you haven’t travelled the world yet, you can still be worldly by travelling to Deakin. Visit DeakinWorldly.com to discover the world of you. CRICOS Provider Code: 00113B

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WEDNESDAY 13TH JUNE

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ISSUE 1228

W E D N E S D AY 1 3 J U N E 2 0 1 2

Wed 13. 7pm La Trobe's graduating Media: Screen + Sound students' documentary screening Fri 15. 10pm - Friday Night Crabfight Saca La Mois DJ, DJ Ego & Mr Nice sub-marinal dub, rum-funk and jerk-step Visuals by Phaic VJ Sat 16. 9pm - Prognosis progressive propaganda from PQM, James Brooke, Fabel, J-Slyde, Simon Murphy & Taran M. Visuals - vdmo Kstati Tues 19. 7pm - Comfortable Shorts short film screenings, prizes & Q&A with directors and writers Fri 22. 9pm - Dusty Milk Crates visual art, dj’s and live beats from Amin PaYnE [Live], Jackson Miles, Julian Love, Ph-ill Butter, Billy Hoyle, Silent Jay [Live], Tom Showtime [Dj/Visual Set], Visuals by Chronic Sans

LIGHTS

20

INPRESS 10 The Front Line brings you the hottest industry news 10 This week’s best and worst in Backlash/Frontlash 12 Foreword Line brings you all the latest tour announcements 16 Ned Collette likes Berlin’s little mysteries 18 The Audreys are sexy veggos 20 Lights put to the Taste Test 20 Tenacious D’s newie is one of the best albums ever 22 The Bamboos are ignoring the soul purists 24 Trial Kennedy are hanging up their boots 24 Hard-Ons are doing it for Blackie 25 Major Tom & The Atoms are edgy party starters 25 Buried In Verona hate their band name 26 Ganga Giri are one big community 26 Bustamento is Gilligan’s Island meets Kramer 26 Josh Ritter doesn’t always find words easy 26 Yung Warriors are making big waves 27 Bee Mask is scarily prolific 27 Muscles lives in a world of his own 28 On The Record rates new releases from A Place To Bury Strangers and Daughn Gibson

FRONT ROW 30 Check out what’s happening This Week In Arts 30 Lenny Henry chats about Cradle To Rave 30 Cultural Cringe reviews Red Stitch’s second season 31 Crime and punishment with Fragmented Fish 31 Danielle O’Donohue chats to dancer

The Blackeyed Susans (Trio)

CREDITS

(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

EDITORIAL

SATURDAY 16 June

Tess McKenna & the Shapiros

Group Managing Editor Andrew Mast Editor Shane O’Donohue music@inpress.com.au Assistant Editor Bryget Chrisfield Editorial Assistant Samson McDougall Arts Coordinator Cassandra Fumi frontrow@inpress.com.au Staff Writer Michael Smith

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SUNDAY 17 June

Stellar non-roots trio performing original guitar pop tunes propagated with 60s rock ‘n’ roll. 5pm

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35 Gig Of The Week gets its cock out with Jackson Firebird 35 LIVE:Reviews is alright with East 17 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 The view from EC4 with London Fields 45 Pop culture therapy with The Breakdown 45 Hip hop with Intelligible Flow 45 The freshest in urban news with OG Flavas 45 Quality control with Good Or Shit? 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

We have two double passes to give away to Lucy & The Lost Boys at NICA with the final year students; we also have two double passes to give away to a performance of Himmelweg (Way To Heaven) at Theatre Works on Friday 22 June.

SATURDAY 16 June

The Native Plants

BACK TO INPRESS

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BRUNSWICK

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

Jason Gilkison J Gilki ffrom Burn B The Th Floor Fl 31 Aleksia Barron finds out more about Himmelweg 32 We delve in NICA’s new show Lucy & The Lost Boys 32 We chat to The Vampire Diaries’ Steven R McQueen. 32 The Glory Box and Prometheus are reviewed 33 Animator Lissa Pascale gets personal on the eve of the Melbourne International Animation Festival 33 Game Of Thrones’ S2 finale will be screened at ACMI next month.

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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

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THE

FRONT LINE

URTHBOY

FRESHLY INKED Tim Levinson – aka Urthboy – has signed a worldwide publishing deal with Albert’s. Levinson had previously managed his own rights and brings his whole back catalogue and all future works to the publishing house. That includes his three solo albums and five albums with veteran hip hop collective The Herd, of which he is a founding member and primary songwriter. Levinson is currently working towardsthe release of his fourth solo album, due in October through Elefant Traks, which he co-founded in 1998, and recently released the album’s first single, Naive Bravado, featuring Daniel Merriweather. The news comes barely a week after Albert’s signed Josh Pyke on a publishing deal. Meanwhile, Oh Mercy have called their new album, Deep Heat, and will release it Friday 24 August. The Melbourne-based outfit, who have been recording the album in Portland, Oregon, have also announced they’ve inked a deal with Ameri-

GRINSPOON REVEAL ALBUM DETAILS FROM LA

Grinspoon’s frontman Phil Jamieson revealed details of the band’s seventh studio album to theMusic.com. au last week. The record will be called Black Rabbits and is slated for a September release. Hardcore fans might have guessed the name given it’s the title of guitarist Pat Davern’s blog, which they are updating during the recording. Currently recording in Los Angeles studio The Bank with producer Dave Schiffman, in something of a postcard, the frontman said: “Hello buddies. Grinspoon are currently bunkered down in Los Angeles recording album 7. We are recording with Dave Schiffman (the Bronx, Weezer, BRMC) in a studio called The Bank. We are going to track 14 songs after an exhaustive 2 year writing process when over 60 songs were composed. Those poor rejected songs all by themselves make me feel sad. Kristian is enjoying Korean taco stands. I am enjoying Olde English 800. Joe is enjoying the hockey (go Kings) and Pabst Blue Ribbon, Pat is enjoying whole foods, Trader Joes and hiking. Some of the crazy song titles so far include Just A Sound Beaujolais Carnies Make The Best Friends. That last one isn’t actually a song title, I just thought of it then. It would probably make an excellent tune though. We will be back around September annoying y’all with album 7. Till then, Philip. P.S. The album is called ‘Black Rabbits’. x”

LABEL CONFUSION OVER CALEXICO ALBUM RELEASE

Confusion has surrounded details of the Australian release for Americana folk outfit Calexico’s new album – and their first in four years – Algiers. A press releases from record label Epitaph’s Australian office was circulated announcing that the band had signed to Anti-, who are distributed by Epitaph and therefore Warner in Australia – and that the album would be released Friday 14 September. However the next day a press release from Spunk Records was sent out that claimed that they will be releasing the album Friday 7 September. The presser was essentially the same as Epitaph’s, but with different letterheads and Spunk’s made no mention of the Anti- signing. After contacting both labels, theMusic. com.au confirmed that Anti- have signed the band, but Spunk Records have the license to release the album in Australia and New Zealand. Spunk’s distribution is handled by Cooperative, who utilise Universal’s channels.

THE AUDREYS RALLY AGAINST LIVE EXPORTS

Taasha Coates and Tristan Goodall, the core of Australian adult-alternative ensemble The Audreys, have come out

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

can indie label Bad Cop Bad Cop after meeting at this year’s South By Southwest showcase. Bad Cop Bad Cop’s Michael Nieves said, “We couldn’t possibly be more excited to welcome Oh Mercy to the Bad Cop Bad Cop family. We have long admired their fantastic music and Alexander and the band have written and recorded their strongest and most infectious songs to date. Oh Mercy is a career artist and we are thrilled to be partnering with them on the release of Deep Heat.” Also, Brisbane’s Millions have signed to Stop Start, with the indie label – distributed through EMI – set to release their debut EP, Nine Lives, Six Degrees, Friday 22 June. The band has been around for less than 18 months, but in that time they’ve been Unearthed by triple j, played Splendour In The Grass, Big Day Out and enjoyed a number of support slots. The band has risen on the back of three singles, Those Girls, Guru and Slow Burner, all of which will appear on their upcoming EP. Stop Start’s head Andy Bryan said, “It’s really exciting to be working with Millions and I couldn’t be happier that they are joining our local roster. I love the songs they’ve delivered thus far; this debut EP is just a taste of what is to come. There is an aesthetic and energy about the music and it just feels like they are a band of the future both in Australia and overseas.” Furthermore, Saskwatch have signed with Melbourne indie label Northside Records with their album to be released in August. The band’s Liam McGorry said, “We’re incredibly excited to be signing with Chris [Gill] and Northside Records. Not only are they our favourite record store, but have been a supporter of local music in Melbourne for over ten years. It’s also a privilege to be the first release on their label.” in their opposition against Australia’s live export of sheep and cattle. The two musicians have appeared in a video for People For The Ethical Treatment of Animals (PETA) where they discuss their issues with the treatment of animals once they have been shipped out of Australia. They’ve also appeared in a new advertisement for PETA, appearing with a lamb with the caption “Do It For Her. Ban Live Export.” “I’m afraid that if we wait for the government or the industry to implement reforms that will alleviate the suffering of millions of sheep who are exported alive, we’ll wait forever,” Coates said in a statement. Last month the group announced they were partnering with PETA for their Cool, Calm And Collected tour, which they’re undertaking in support of their new Collected compilation.

WILL.I.AM: ‘CODING IS THE NEW RAP’

Will.i.am, global pop superstar with his band The Black Eyed Peas, Intel’s Director of Creative Innovation and “technology activist”, has claimed that computer coding is the way of the future. At an invite-only panel for Vivid Ideas at the Museum Of Contemporary Art on Thursday 7 June, the musician went as far as to compare the art of coding to rap and said that the spread of recognition will spread as rap spread out of America. Using a tagline “Code is dope”, he said, “Code hasn’t spread around the world yet, it’s the new thing. But it needs discipline.” He added, “When I see a coder it’s like pirates finding the Caribbean, it’s like a whole new thing.”

EMMA LOUISE’S EP GOES GOLD WITH 35,000 SALES

Brisbane songstress Emma Louise is enjoying a very nice welcome home present following her recent overseas travels – her debut EP, Full Heart And Empty Rooms, has officially gone Gold according to theMusic.com.au. The Gold certification means the EP, which features her breakout single, Jungle, and was released last year, has scanned 35,000 units.

SHOCK RECORDS LAUNCH NEW HARDCORE PUNK LABEL

Shock Records have launched a new label imprint, Halfcut Records, which will focus on punk and hardcore artists. Shock, which has released records from The Bronx and Bring Me The Horizon in the past, will use Halfcut as a home for their priority heavy releases. The label launched with three signings, the new-look UK outfit Gallows, Sydney pop-punk crew Heroes For Hire and emerging outfit (also from the UK) While She Sleeps. The new label will be helmed by Shock’s General Manager

of Music Leigh Gruppetta, long-time Shock staffer Stu Harvey (although he had a brief stint with UNFD, before returning last year) with publicity from Genna Alexopoulos. Gruppetta said, “The punk and heavy music genres are certainly an area we have excelled of late so we believe the time is right to give these bands their own home. “Halfcut is the brainchild of Stu Harvey and under his watchful eye the Shock Records team will be pulling out all stops to continue this success. Stu is the best in his field, bar none, so we couldn’t be more excited about the long-term future of Halfcut for the business.” Meanwhile Shock’s parent company Regency Entertainment last week launched Regency Film Distribution, a “dedicated and fully resourced” division that will service independent films to cinemas around Australia and New Zealand.

LITTLE KNOWN ARTIST THE VOICE OF TOURISM AUS CAMPAIGN

Little known Tasmania singer songwriter Dewayne Everettsmith is the voice of Tourism Australia’s latest advertising campaign, which was launched in China by Tourism Minister Martin Ferguson. Part of the There’s Nothing Like Australia campaign, Everettsmith follows in the footsteps of Lara Bingle but with a TV ad that has a very different focus – this time they’ve gone high-end class over bikini-clad babes at beaches. The ad features the track, It’s Like Love, which was co-written by Everettsmith and American viola player Jasmine Beams, who collaborated through a Tourism Australia campaign. Although Everettsmith has a limited profile outside of the Tasmanian and Indigenous industries, the Skinnyfish Music-signed artist has supported Gurrumul, John Farnham and Archie Roach, performed for Oprah hanger-on Gayle King and is the national ambassador for the Save The Tasmanian Devil appeal. “The ads are beautiful, with very high-quality production, and to have co-written and be singing the soundtrack is awesome,” said Everettsmith, who is still working on his debut album. “What’s really special for me is the idea that here am I – a guy from just about the bottom of the planet, still to get my first album out – and my voice has just gone out there, around the world, singing to people about my country. I like that!” The self-branded pop/soul songwriter will head into the studio later this year to record his debut album, which will likely include a reworked version of It’s Like Love.

RED BULL COMP ANNOUNCES FIRST FINAL

The Red Bull Bedroom Jam’s first final, dubbed Red Bull Backyard Jam, has been announced. The event will be taking place over at Masketta Fall’s backyard on Saturday 7 July in the Southern suburbs of Melbourne. Masketta Fall, along with the other finalists Let’s Not Pretend, Your Ticket Home, Go Mason Go and Break A Leg will be rocking out on stage before headliners Stonefield wrap up the festivities for the afternoon. The winner will be decided by a panel of expert judges on the day and will win studio time to work on their next release. Entries for Round Two are now open.

BILLY CORGAN SIGNS DEAL FOR PRO WRESTLING REALITY TV SHOW Billy Corgan, the founding member and frontman of Smashing Pumpkins, is also the Creative Director of a

FLEETWOOD MAC GUITARIST FOUND DEAD

Bob Welch, who was guitarist in the mid-period preNicks/Buckingham incarnation of enormously successful rock group Fleetwood Mac, as well as a highly successful solo artist, has been found dead in his home with a shotgun wound to his chest. The 66 year old Welch was found by his wife Wendy in his Nashville home on Thursday 7 June, local time. A note was also found at the scene. Speaking to Reuters, Fleetwood Mac founding member and Welch’s former manager Mick Fleetwood called Welch’s death “shocking” and acknowledged what an enormous role he played in the band’s development. “He was a very, very profoundly intelligent human being and always in good humour, which is why this is so unbelievably shockin. He was a huge part of our history which sometimes gets forgotten... mostly his legacy would be his songwriting abilities that he brought to Fleetwood Mac, which will survive all of us,” Fleetwood told the news service. “If you look into our musical history, you’ll see a huge period that was completely ensconced in Bob’s work.” Welch joined Fleetwood Mac after Peter Green and Jeremy Spencer left the band in 1971 and stayed with the band until 1975, a year before they found their greatest commercial success. Though Welch enjoyed success of his own, with his 1977 album, French Kiss, achieving platinum sales status in the US. It’s reported Welch had been suffering from medical problems, information on which is not being divulged. Crisis counselling is available for those who seek help. Call Lifeline on 13 11 14.

SIMPLE PLAN FANS CRY AT CANCELLED GIG

Simple Plan fans were in tears at Sydney’s The Standard on Tuesday 5 June after a planned promotional gig for the Take 40 Live Lounge was cancelled at the last minute. The band claimed doctor’s orders meant that frontman Pierre Bouvier couldn’t perform. But while the intimate show for 300 punters, who had bought tickets through Debit MasterCard, didn’t take place, four fifths of the band showed up to mingle with the crowd, sign autographs and have a Q&A with the audience. During the Q&A the band said that Bouvier was in fact masturbating back at the hotel, much to the appreciation of the audience.

FRONTLASH

BACKLASH

The Prime Minister did a great job on Q&A on Monday, aside from her misguided same-sex marriage spiel. The amount of questions from people more concerned about their hip pockets than the future of the planet has us worried about our country’s future, but.

We can’t see the big deal about Fairfax going ahead with plans to send sub-editing jobs offshore. Inpress has been written and edited by a bunch of six-year-olds in Taiwan for the past three years and we dsbsqwsj aawlk oal.

RING A DING DONG

DEAD STAR

A remodelled Ding Dong is reopening in July, complete with garden balcony. We want in to the “private den”.

Prometheus = yawn.

PRIME POSITION

COP THAT After going hard on Craig Thomson, we’re sure Tony Abbott will be riding Ted Baillieu to fire deputy Victorian premier Peter Ryan over claims he pressured a Lib MP to change his evidence to a police enquiry.

music 10 • INPRESS

smallish wrestling promotion company out of Chicago called Resistance Pro. Having held a couple of events recently Corgan – who has a management role, rather than an inside-the-ring role – is now in talks for a reality program based around the running of a wrestling company. According to Prowrestling.net (via Stereogum) Corgan revealed that he’s been having talks with producers during an interview on MLW Radio. “I’m doing a lot of behind the scenes stuff,” he said. “We’re trying to get a reality show made. We just signed a deal with a big reality show producer. A guy with an incredible track record. We’re in good hands. We believe that wrestling is fascinating on many, many levels. Socially, politically, even economically. The struggles independent wrestlers go through to try to find work. Those are real struggles that anybody can identify with. We want to show what goes on in a wrestling company behind the scenes.”

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INPRESS • 11


FOREWORD LINE

NEWS FROM THE FRONT

INPRESS PRESENTS

MATT SONIC & THE HIGH TIMES

REC’N’ROLL

WEDNESDAY 13 JUNE

A stellar cast has been assembled for Rock For Reclink, which is to be held on Saturday 30 June at the Hi-Fi to celebrate the Reclink Community Cup week, and features some of the best names on the scene. Performing on the evening at Rock For Reclink will be The Blackeyed Susans Trio, Dave Larkin Band, Davey Lane, Jess Ribeiro & The Bone Collectors, Kim Salmon, Leena, Matt Sonic & The High Times and The Ronson Hangup. Tickets are $35+BF and available now via Moshtix.

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THURSDAY 14 JUNE

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SATURDAY 16 JUNE

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MANSION, ALASKA ENTRY $15 DOOR, $12 PRESALE THRU MOSHTIX, 9PM

SUNDAY 17 JUNE

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MONDAY 18 JUNE

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TUESDAY 19 JUNE

RESIDENCY

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COMING UP TIX AVAILABLE THRU MOSHTIX: THE CACTUS CHANNEL (MON IN JUNE) THE SIMON WRIGHT BAND (TUES IN JUNE) VAN MYER (WED IN JUNE) KALACOMA (21 JUNE) HEAVEN – REFORMATION TOUR (22 JUNE) HIS MERRY MEN – ALBUM LAUNCH (24 JUNE) SARITAH – SINGLE LAUNCH (28 JUNE) THE RED LIGHTS – EP LAUNCH (29 JUNE) ANIMAUX (MONDAYS IN JULY) SEX ON TOAST (6 JULY)

ICELANDIC BEASTS

Icelandic indie-folk outfit Of Monsters & Men will be making their first visit to Australia this year in July. The six-piece’s debut album, My Head Is An Animal, was released in April this year and went straight to number one on the US iTunes Alternative Chart. They’ve already generated a huge buzz in North America and Europe. Of Monsters & Men play the Corner Hotel on Friday 20 July.

HAVE A FLUTTER Butterfly Boucher’s self-titled album is receiving rave reviews in Australia and internationally. Boucher has recently returned to Australia from Nashville and has just embarked on a national tour as a personal guest of Missy Higgins after co-producing Higgins’ longawaited third album with Nashville-based Brad Jones and co-writing her lead single Unashamed Desire. Catch Higgins and Boucher together on Friday 15 June at Geelong Performing Arts Centre, Saturday 16 and Sunday 17 at Her Majesty’s Theatre. Boucher will also appear solo at the Toff In Town on Sunday 12 August.

CRASHING THE PARTY Children Collide’s anticipated Monument tour is kicking into the next gear this week, as national supports are announced and the band release an online video for the track Sphere Of Influence. Two killer Australian acts will join the revelry. Rolling up in main support will be Brisbane’s Dune Rats and opening proceedings will be up-and-comers Bad Dreems, out of Adelaide. They hit the Corner on Friday 10 August, Yahoo Bar (Shepparton) on Friday 7 September, and the Bended Elbow (Geelong) on Saturday 8. Tickets available via Oztix.

TRUE NORTH Kellie Lloyd, well known as the bass player for Screamfeeder, is touring to promote her new solo record Magnetic North, an album of beautiful, haunting songs: pure sweet pop and dark heavy rock. Lloyd’s solo work features alternate guitar tunings,

STRINGER ALONG Melbourne-based folk/blues chanteuse Liz Stringer is set to take to the road celebrating the release of her much anticipated CD Warm In The Darkness (out now via Vitamin Records) with a bigger band and a much bigger sound, providing a natural progression from her previous releases to date. Catch her at Caravan Music Club (Oakleigh) on Friday 22 June and Meeniyan Town Hall on Saturday 23. Support for both shows will be Van Walker.

X SELLS Mercury Music Prize-winning UK artists The xx have sold out their upcoming show at the Forum Theatre on Wednesday 18 July.

FAIR AND SWEET Sydney duo Georgia Fair have released a new single, Blind, which they will be taking out on the road in July. The single is taken from the band’s debut album, All Through Winter, which features Band Of Horses’ Tyler Ramsay on piano. The album was recorded in the snow-covered mountains of Ashville, North Carolina. They will be launching the single at the Toff In Town on Thursday 12 July with support from Emma Russack.

FACEBOOK.COM/PAGES/THE-WORKERS-CLUB TWITTER.COM/THEWORKERSCLUB Wednesday 13th June

Tuesday 19th June

Thursday 14th June

LACHLAN BRYAN

Saturday 30th June

(ALBUM LAUNCH)

BILL CHAMBERS THE WEEPING WILLOWS Friday 15th June

NANTES

DIRT FARMER THEM SWOOPS Saturday 16th June

(ALBUM LAUNCH) JOHNNY MAC CHRISSY J

Sunday 17th June

TIGERTOWN DIRT FARMER CORDIAL FACTORY

Thursday 12 July

IAMLOVEPROOF (SINGLE LAUNCH)

DJ LOTION

ALI E MSG (MIA SCHOEN GROUP)

GOODNIGHT TIGER SELINA JENKINS

Friday 22nd June

Sunday 1st July

Saturday 14th July

FIRE! SANTA ROSA, FIRE! FOUNDS FRANCOLIN

Saturday 23rd June

THE LOVETONES (ALBUM LAUNCH)

DAMO SUZUKI (JPN) WITH NIKO NIKO THE PAUL KIDNEY EXPERIENCE ADNAN & THE WHALE

Thursday 5th July

I AM GIANT (NZ)

IMMIGRANT UNION FIELD TRIP

Tue 26 June ‘JMC ENSEMBLE PERFORMANCE NIGHT’ FEAT SWACKHAMMER DIJERIDANGEROUS LAVA LAMPS Thursday 28th + Friday 29th June

Friday 6th July

MONEY FOR ROPE DAMN TERRAN

DANIEL CHAMPAGNE MAX SAVAGE

KINGSWOOD

MICHAELSON ON TAP

New York native and quirky vocalist sensation Ingrid Michaelson returns to our shores for her second Australian tour this September. Bringing along her uniquely endearing stage presence, self-deprecating humour, heartfelt lyrics and pristine vocals, Michaelson is set to once again wow Australian audiences. Regularly compared to contemporaries Feist and Regina Spektor, she has become known for her unique live shows. With impromptu tap-dancing, ukelele-playing and witty wordplay, this DIY darling makes even the biggest of venues seem intimate. She plays the Corner Hotel on Thursday 13 September. Tickets on sale Friday.

JOIN THE CLUB

Clubfeet have announced their first ever live shows in their adopted Australian homeland with a national tour in July. The Melbourne-via-Cape Town five-piece appeared from total obscurity to release their debut album, Gold On Gold, in late 2010. To celebrate the release of their brand new City Of Light/This Time double A-side, the band are taking a break from recording their second album to perform their first Australian shows. Clubfeet play Thursday 5 July at the Toff In Town.

THEWORKERSCLUB.COM.AU

TOBIAS HENGEVELD URBANTRAMPER (NZ) CLAIRE BIRCHALL THE TEN IN ONE AINSLIE WILLS & BAND THESE PATTERNS

YUNG WARRIORS

12 • INPRESS

melodic piano and dreamy vocals. Now Lloyd takes the album on the road with Magnetic North launch shows across the country. Support will come from Penny Hewson and Dead River at the Grace Darling this Friday. Presales are available via Moshtix.

THE ART OF SLEEPING

THEM SWOOPS SECOND HAND HEART Saturday 7th July

BEARDED GYPSY BAND (SA)

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CAMERAS

HOWL AT THE MOON MARY OF THE MOON Thursday 19 Jul

DEMIAN

CLEVER AUSTIN KIRKIS Saturday 21st July

THE FUMES

Every Monday! LA NIGHTS (18 JUNE) DJ SIMON WINKLER (THISTHING) (25 JUNE) DJ FLETCH

Tuesdays in July RESIDENCY

8 BIT LOVE

Wednesdays in July RESIDENCY

GREY GHOST SPECIALS

FREE WIFI!

SWING BY AND SURF THE NET

BAND ACCOMM

BAND ACCOMMODATION IS AVAILABLE FOR $15 PER HEAD, NICE!

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THURS 14TH

MELTING POTS ‘LIVE STOCK’ SALT LAKE CITY W BRIGHTLY AND DAVY

FRI 15TH

HUNTER

W SOLAIRES, DEAR ALE, STOKADES AND NERVOUS

SAT 16TH

GATHERER

‘SO BE IT’ RECORD LAUNCH W ON SIERRA AND COBRA KHAN (NZ)

TUES 19TH FREE IN THE FRONT BAR

LINCOLN MACKINNON ( DEAD RIVER DEEPS ) 8PM

THURS 21ST

MELTING POTS ‘LIVE STOCK’ WHITAKER

W SECOND HAND HEART AND GUESTS

FRI 22ND

LA BASTARD ‘SINGLE LAUNCH’

W PEEP TEMPLE AND VELOCETTES

SAT 23RD

SINKING TINS EP LAUNCH

W STREAM 4 AND FULL UGLY

LATER ON... 13TH JULY

MUSHROOM GIANT 20TH JULY

OVER - REACTOR 21 JULY

SCOTDRAKULAR 2ND AUG

ROSETTA (USA)

KITCHEN TACOS: $8.00 FOR 2 SLOW COOKED BEEF PULLED PORK SHOULDER WILD MUSHROOM BUCKETS: SALT & PEPPER CHICKEN WINGS $12 DRY RUBBED PORK RIBS $15 HAND CUT FRIES W AIOLI $7 THURSDAY 280G GRAIN FED AGED ANGUS PORTERHOUSE STEAK $14 FRIDAY CHICKEN OR EGGPLANT PARMA $14/$12 PLUS OTHER CURTIN CLASSICS!!

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

INPRESS • 13


FOREWORD LINE

NEWS FROM THE FRONT

LOON LAKE LOOMING

In between tearing up the stage at the Big Day Out, Groovin’ The Moo and Pyramid Rock festivals, selling out their own shows and supporting the likes of Kaiser Chiefs, Girls and Cage The Elephant, triple j next croppers Loon Lake have been busy writing and recording and have announced the release of their next single Cherry Lips. Resplendent with driving riffs, rolling vocals and peppered with just the right amount of handclaps, Cherry Lips is a laconic pop gem. They’ll play Saturday 11 August at the Loft (Warrnambool) and Saturday 1 September at the Northcote Social Club.

BRINGING IT BACK

Off the back of his new single, Heard It All, MC Illy has announced a huge national tour throughout August/September and has announced that his new album, Bring It Back, will be released later this year via Obese Records. Illy will be diving into the Black Swan Hotel in Bendigo on Saturday 18 August, Swindlers at Mt Hotham on Monday 20 August, the Corner Hotel on Friday 7 (18+) and Saturday 8 (under-18s, daytime show) and Kay St in Traralgon on Saturday 8 (evening).

PLAYING DRESS UPS

The Fumes are a two-piece made up of Steve Merry and Jacob Mann, who love a good old dirty, blues riff. They’ve spent a bit of time in the studio to record their new EP Franky, due for release in August 2012. But the duo have already given us a taste of what’s to come with their brand new single, Dance In Costume. They’ll be launching the single with a bunch of tour dates that sees them play the National Hotel in Geelong on Friday 20 July and the Workers Club on Saturday 21 July.

AN ANNIVERSARY-ISH

MILLIONS CLAIMED

EMI imprint label Stop Start Sign have added Brisbane band Millions to their family. The four-piece have also unleashed a brand new EP, Nine Lives, Six Degrees, which will drop on Friday 22 June. They’ll be heading out on the road to celebrate these successes and will visit the Northcote Social Club on Friday 20 July.

JINJA SAFARI

Three’s the magic number. Go on a blind date with the bitchin’ triple bill of Jinja Safari, Opossom and White Arrows, touring together through August. The trio have just released The Blind Date Tour EP – available for free download with every tour ticket purchase. It will include one song from each band: Jinja Safari’s Toothless Grin, Opossom’s Blue Meanies and White Arrow’s Roll Forever. The Blind Date tour hits the Hi-Fi on Friday 10 (+18) and Saturday 11 August (under-18s).

PLANET OF THE APES

Perth clubbing juggernaut Big Ape will be celebrating its first anniversary with a national tour. Big Ape has accumulated a bunch of artists to create a line-up which he believes represents the origins of dubstep. Each artist will be bringing something new to the table, with an eclectic mix from roots to grime to garage and hip hop. The line-up will feature Skream, Joker and Plastician, who will be hitting up Billboard on Friday 20 July.

MISSING BONES

Oz electronic masters Collarbones are back with the sinister and heart-wrenching Missing. The track is taken from their forthcoming second album, due for a late2012 release via Two Bright Lakes/Remote Control. The two-piece have had a busy year since their debut album Iconography was released, supporting the likes of Neon Indian, Daedelus and touring with label mates Oscar & Martin, Ghoul (RIP) and many more. They’ll be launching Missing at the Gasometer this Saturday 16 June.

GET IN HARM’S WAY

Chicago’s Harm’s Way, who have been described as a “rewarding journey through the hardest of sonic assaults”, will be jumping on tour with Sydney’s Phantoms this July/August in what will be a momentous hardcore package of two of the world’s heaviest outfits. They will be plundering through the East Coast for this very rare co-headline tour, which is sure to ignite the pit. The show rolls into Bang on Saturday 28 July and Phoenix Youth Centre for an under-18s show on Sunday 29 July.

BE AFRAID

Dark-synth heavyweights The Night Terrors have emerged from the depths of the studio and are ready 14 • INPRESS

to launch their brand new double A-side, Monster/ Lasers For Eyes, via OSCL Records. Since the release of their debut LP, Back To Zero, in 2009, the Melbourne outfit have taken their theremin-fueled synthscapes across the world supporting the likes of Goblin, Hawkwind, Lou Reed and many more. Forces will take on main support duties for the tour, along with Ash Wednesday and DJ Whiteside. They’ll be hitting the Toff In Town on Saturday 7 July, with an afterparty at the Liberty Social with Night Terrors and Forces DJs.

It’s 22 years since 1927 released …Ish, one of the highest-selling Australian debut albums of all time. As the band have become more of an ongoing concern in recent years they have decided this is a milestone worth celebrating and they’re bringing some friends from overseas to help them party. Those friends are The Rembrandts, the guys who wrote and performed I’ll Be There For You, the theme song from Friends. The bands’ Generation-i tour lands at the Palms at Crown on Friday 24 August.

a

BATTER UP

Cancer Bats will be descending upon Australia for a blood-spilling assault this July, so Australian fans be warned: the Bats are back! Their new album Dead Set On Living sees them at their most ferocious. Fuelled by a burning desire to rage harder, play louder, and have more fun than any other band, Cancer Bats are used to turning venues into rolling pits of punk rock hell. Catch the madness on Saturday 14 July at the Hi-Fi.

THERE’S A GHOST IN HERE Melbourne MC Grey Ghost has added a couple more shows to his tour, in celebration of his latest offering, Ghost In The Machine Mixtape, which is a collection of bangers that you can download free of charge at greyghost.com.au. The MC’s debut self-titled EP is also out now. Catch him at the Workers Club every Wednesday in July.

CHIMES TIME UK producer, remixer and DJ Russ Chimes will bring his unique brand of electrifying pop/disco/house to our shores for the first time since 2010. Chimes has been remixing for artists such as Mark Ronson, Booka Shade, Kelis and Marina & The Diamonds, and has established himself as a young star in the UK music scene. He plays Pretty Please on Saturday 7 July.

GET HYPNOTIC

The Hypnotic Brass Ensemble will be returning to our shores after their visit last year for the Harvest festival. Comprised of eight brothers from Chicago’s infamous South Side, the band will unleash their unique live show for Australian fans. Catch them at the Espy on Thursday 26 July. Saskwatch and Judge Pino & The Ruling Moti will support.

FIASCO OF A TOUR After recently completing a successful seven-date tour, The Side-Tracked Fiasco have announced a string of East Coast shows. The funkcore band will be touring in support of their new single, 547, off their Enter The Motivational Sasquatch EP. They’ll be hitting up the Bendigo Hotel on Thursday 12 July.

THE LOVETONES AT WORKERS The Lovetones formed from the ashes of guitarist and songwriter Matthew Tow’s previous band, Drop City. In the aftermath of Drop City’s demise, Tow headed to the United States where he made the acquaintance of psychedelic savant Anton Newcombe (Brian Jonestown Massacre). Tow embraced the kaleidoscopic sounds and textures being explored in the psychedelic underground inhabited by Newcombe, and blended it with his own pop sensibility to create The Lovetones’ distinctive sound. Five albums later, The Lovetones bring us Provenance – Collected Works; the very best of The Lovetones’ songs as chosen by Tow, plus a bonus live DVD recorded at the Metro in Sydney. The Lovetones will perform a show at the Workers Club on Saturday 23 June.

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ROCKABILLY QUEEN

There’s no stopping Lanie Lane, ready to get back on the road for her On My Own Track tour. Her debut album, To The Horses, is a collection of 11 songs that have a touch of early rock’n’roll, blues and rockabilly. She’ll be visiting a number of regional venues on the tour – check her out on Friday 10 August at Stones Of The Yarra Valley in Coldstream, Saturday 11 at the Westernport Hotel in San Remo, Sunday 12 at the Caravan Club in Oakleigh, Thursday 20 September at Beav’s Bar in Geelong, Friday 21 at the Loft in Warnambool and Saturday 22 at Castlemaine’s Theatre Royal.


NEWS FROM THE FRONT

FOREWORD LINE

MONEY FOR ROPE

VALUE FOR MONEY

Enticing Melbourne rock fans to unfold their arms and move toward the stage is a challenge few bands meet. The average rock’n’roll outfit rarely evokes a punter’s desire to really move. Money For Rope reject this history. Their shows are different. Their crazed rock’n’soul surf garage parties always transform a stoic and cynical crowd into an exuberant force on par with the band’s own rabid energy. Money For Rope are heading out on a tour with Melbourne buddies Kingswood and Damn Terran for a bunch of epic co-headline shows. They play Thursday 28 and Friday 29 June at the Workers Club.

BACK IN THE VAN

Van She have announced their first string of tour dates in support of their forthcoming second album Idea Of Happiness. Van She’s new album is their most focused, joyous musical excursion to date. An album stirred by sun-baked travels and fleeting truths, and shaken with the sands of time, Idea Of Happiness was recorded, engineered and produced by the band themselves in Kings Cross, Sydney, and mixed by Tony Hoffer (Air, Beck, Phoenix, M83) in Los Angeles. They play Friday 13 July at the Hi-Fi. Tickets are available through the venue.

KIDSOF88 SINGLE LAUNCH

THREE-SECOND MEMORY

Jamie Hutchings’ band, The Goldfish Memories, will be making a rare live appearance over a small run of shows down the East Coast before jetting off to France to support the likes of Ty Segall and Kid Congo Powers. They’ll be showcasing old and new material, including music from their critically acclaimed album, Avalon Cassettes. Though this may seem as a farewell string of shows, it is also the celebration of the digital re-release of Hutchings’ entire back catalogue both with Bluebottle Kiss and as a solo artist. Head along to the Empress on Friday 22 June to say goodbye.

Evocative, wistful and driving, Tucan is the first single from NZ duo KidsOf88’s forthcoming second album, Modern Love. KidsOf88 bounced onto the scene with 2009’s My House, a major hit in NZ that saw them tour internationally, release their well-received album Sugarpills, pick up several NZ Music Awards and several gold and platinum singles. The new single sees Sam McCarthy’s chart-certified voice blend into a sound world composed of hip-hugging Kudoro drum rhythms, ethereal a capella arrangements and water droplet melodies. With a vocal assistance from Alisa Xayalith of The Naked & Famous, Tucan uncovers a soaring sense of yearning and a gentler, and a more melancholic side to a band renowned for their party-starting live performances. Check them out for yourself this Friday at the Espy. Tickets are $12.

INDIAN SUMMER DJS DO

Indian Summer DJs will be heading out on the road throughout June to celebrate the launch of their new single, I Do. The crisp and melodic, nu-disco/pop-house groove (which features a sample of Toya’s I Do) pulses along with confidence, jumping between deep bass and dizzying soundscapes. Check out Indian Summer DJs with Flume at the Liberty Social this Saturday.

FRASER A GORMAN AT THE TOFF JOHN 00 FLEMING

J00F DOOF

Following a hugely successful 2011, John 00 Fleming is returning to Australia with his J00F Editions brand in September. Fleming is one of the few artists that has maintained underground respect while enjoying commercial success during a career that has spanned almost a quarter of a century and seen more than ten million records sold. With J00F Editions, Fleming plans to “return clubs to the clubber”. JOOF plays Brown Alley on Friday 7 September.

FACTORY SOUND

C&C Music Factory were one of the biggest dance groups of the ‘90s. Through the early stages of that decade they perfected the art of mashing catchy pop hooks with house, techno and hip hop; their songs remain a part of pop culture some 20 years later. They’re heading our way and will play Thursday 12 July at Red Bennies.

HIDIN’ RUBENS

The Rubens have added a new date in Melbourne after the first show on their Don’t Ever Want To Be Found tour sold out super-fast. The Sydney four-piece will perform two headline shows at Melbourne’s Corner Hotel on Tuesday 10 and Thursday 12 July before heading to Byron Bay for Splendour In The Grass. Tickets to the second round of their headline shows are on sale now.

Fraser A Gorman embraces an old world style in his music that incorporates everything from ‘20s chain gang and gospel hymns to doo-wop country hip-shakers. He is influenced by early dustbowl singers such as Lightin’ Hopkins, Bob Dylan and Woody Guthrie as well as modern troubadours such as Justin Townes Earle, Frank Fairfield and Josh T Pearson. Gorman will be performing with full band and guests The Murlocs and Courtney Barnett at the Toff on Saturday 14 July.

BARBARION RETURN TO THE TOTE

Five years ago, seven mighty men came together with a mission to return the manliness to mankind and to destroy the growing blandness taking over the world by following the path of metal. After a year of planning and plotting, Barbarion’s first pub gig took place at the Tote in 2008. On Saturday 23 June, they return to the crucible where it all began, to celebrate their victories with a traditional winter solstice show. Support comes from My Dynamite and Riff Fist with DJ Byrn providing hymns from the metal gods.

HAVE A DRINK WITH CASH SAVAGE Cash Savage & The Last Drinks have a very special show planned for Tote patrons this Saturday evening with one of their favourite Melbourne bands The Death Rattles and other guests. Go clink a glass to/with them. Doors open at 8.30pm and it’s $12 pre-sale or $15 a the door.

HART ATTACK

Brisbane folk exponents Breaking Hart Benton will embark on a month-long tour later this month to launch their self-titled debut EP. The band play what they describe as “new time old time” – lyrically and melodically rich, modern day songs

with traditional undertones and strong Celtic and Appalachian influences. Breaking Hart Benton play Pure Pop Records at 3pm on Saturday 30 June and Wesley Anne at 5pm the same day. They also play the Old Bar on Tuesday 24 July.

GET ON THE RHOMB BUS It’s no $10 steak night, and it won’t mess with your local pub’s plans for Tits Out Tuesday – it’s Frenzal Rhomb playing weekends around Australia for the rest of 2012! The band have added two new Victorian shows to their live itinerary – they play the Hi-Fi on Friday 3 August and Pier Live in Frankston on Saturday 4 August.

LEAVE YOU WITH A SKA From humble beginnings in 2008, Ska Nation has hosted such favourites as Streetlight Manifesto, Nicky Bomba, The One Night Band, Commissioner Gordon, Area 7, The Planet Smashers, The Porkers, Chris Murray, Dan Potthast, The Resignators and many more. For Ska Nation 5 – the very last Ska Nation – a super ska party will take place across the entire Esplanade Hotel complex on Saturday 15 September. Acts playing include US legends The Toasters, Melbourne Ska Orchestra, Ska Vendors, The Resignators, The AuSkas, Steppin’ Razor, The Funaddicts, Menage-A-Ska, Admiral Ackbar’s Dishonourable Discharge and plenty more.

CAMERAS ON Epic Sydney indie quartet Cameras have had their new clip for June exclusively premiered across influential music site MTV Iggy in the US. To support the premiere of June, the second single to be taken from the band’s debut LP In Your Room, Cameras are hitting the road with their June In July tour along the East Coast of Australia. The band have recently been joined by full-time guitarist Mike Morgan, an integral part of the Cameras team for the last 12 months, contributing guitar, additional percussion and keys to live performances as well as co-producing, engineering and mixing all tracks on In Your Room. Catch them on Friday 13 July at Can’t Say at Platform One, Saturday 14 at the Workers Club with supports Howl At The Moon and Mary Of The Moon and Sunday 15 at Pure Pop Records.

STYLE WARS DJ contest Red Bull Thre3Style is back for its second year, hitting Roxanne Parlour this Saturday 16 June. You’ll witness six of the best local DJs going to headto-head in the ultimate mixing contest. There’s just one key rule: participating DJs must rock the house by playing a selection of at least three genres of music in a 15-minute set. Last year’s state champion Flagrant will face stiff competition from local crowd pleasers Demize, Thanks, Mu-Gen, Moonshine and Sizzle. Headlining the event to get the crowd pumping are Australia’s own mash-up maestros Yacht Club DJs. Competing DJs will be judged on track selection, technical skills, originality, creativity and the ability to work the crowd, with the best DJ talent in each state pocketing a cool $1,000 prize. They’ll also take their place in the national final against leading local DJs from other states.

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INPRESS • 15


SECOND HOME

Ned Collette explains to Samson McDougall that he likes “all the little mysteries of living in a new city”. His latest release with Wirewalker reveals some delicate delights of its own.

T

he first thing that strikes you about Ned Collette & Wirewalker’s latest release, fairly unimaginatively titled 2, is the beautiful cover art. Close inspection of the liner notes reveals it is in fact a detail of the main action from Vuelo de Brujas (Witches In The Air) from 1797, a painting by none other than the last of the Old Masters, Francisco de Goya. “A friend of mine gave it to me on a postcard a few years ago and it’s just been sitting on my wall next to my desk for ages,” says Ned Collette of the choice, down the phone line from his home in Berlin. “[Wirewalker percussionist] Joe [Talia] and I were talking about using an old painting as the cover because there are certain moments in the record that suggested that to us – I don’t know, a kind of Middle Ages austere religious painting. We were thinking authors do it with books all the time, you always see reproductions of old stuff. So we were looking at all this stuff and nothing really fit until I got back to Berlin and realised it was quite literally staring me in the face.”

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It could be argued that the bleakness of much of de Goya’s subject matter is in line with Collette’s darker, more introspective musings, but 2 has a sparsity about it, brought about by the lack of reliance on electric guitar sounds – Collette’s usual instrument of choice. The delicate brushstrokes of the outer art seem an incongruous match for the stripped lyrical and musical loopings that are largely found inside and, as Collette explains, this was born through solitude. “Because [2] came together slowly and from demos I was making at home it wasn’t like we all went into a studio and all played our instruments. It wasn’t me playing guitar and Ben [Bourke] playing bass and Joe playing drums, so I guess what happened was the album was pieced together from a whole bunch of different stuff and some of those things just didn’t have guitar on them yet, it wasn’t a conscious decision.” This unconscious step away from electric guitar allows any existent guitar passages to shine beneath trademark drone-like vocal lines and some creepy-as-hell keys. 16 • INPRESS

“Some of [the songs] were based around nylonstringed guitar, which is what I’ve been playing live a lot, and that as an instrument doesn’t take the front and centre as much,” he says. “So I think because I was kind of making the songs myself to begin with before Joe came in I was happy to kind of go with whatever the original instrumentation in my head was.” Overwhelmingly, 2 is an album that follows a sonic path. Each song drips from the last notes of the previous and you’re left feeling like Collette has told you a story. While he contends that there isn’t any real lyrical narrative, he admits there was a lot of attention paid to the sonic thrust of the album. “In a way we had two albums’ worth of material but when we finally decided which songs were going on this album and what sort of album it would be, that would definitely be determined by a kind of sonic narrative, the way the songs fit

out of their comfort zones… something Collette is familiar with. “I felt like I could see the next ten years of my life if I had’ve stayed in Melbourne,” he says of his decision to move to Berlin. “It wouldn’t have necessarily been a bad thing but it felt a bit strange that I could see how things were gonna [be] year in year out. I wasn’t really searching for a feeling here or a sound here or any sort of link to the very well documented musical history here. I still like all the little mysteries of living in a new city much more than trying to connect with a narrow-minded mythology.” His decision came at an important time in new band Wirewalker’s development of sound. For listeners who’d made the adjustment to Collette’s solo work being backed by bass and drums, it seemed like an odd choice of timing for the songwriter to seemingly abandon all they had worked so hard to achieve. “It was a weird

MELBOURNE’S EXTRAORDINARY AND HAS A REALLY GREAT MUSIC SCENE, BUT IT IS REALLY SCENE-BASED.”

together,” he explains. “We were trying to combine a lot more of the experimental sound with the songs and it was tricky to get the balance. Originally we meant for more of the experimental stuff to be in there but when we did that it kind of blew apart the structure. In a way we still tried to make it a coherent pop album with as much of the other stuff in there as possible.” It’s not until the exceptional fourth track How To Change A City (featuring guest vocals from Laura Jean and Biddy Connor) that you get a taste of what most would refer to as ‘pop’. Through the spare-ness of the instrumentation, however, there is complexity generated in the contrast of rising and falling intricate lyrical passages amongst the instrumental breaths – of which there are plenty. Overall this is an album of delicacies, small rewards for those willing to step

one,” Collette considers, “it was like that band had just started to settle and be consistently good in that last summer before I left. That was really hard to leave, especially because it took us a couple of years to get a good solid sound, so that was hard. But I wouldn’t say it was a risk. I always knew I’d continue to write and record music and I knew that Joe would be here at least once a year… We always make time to make sure these projects actually happen. It was just a bit sad really to leave that band, but at the same time I’m really really happy with this album because it does feel like a change of direction that was engendered by getting a bit of space from, not so much the band, but the scene and my regular life up until that point. “The simplest kind of way to put it is just the time and space that it’s really afforded me, particularly in that

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first year when a lot of the stuff was being written and committed to recording. I really had a lot of time on my hands ‘cause I wasn’t that busy with gigs and we’d done a band tour here. There was this really great period of six months where I’d just moved into a new place and I didn’t know that many people and I just worked a lot. Aside from that, whatever kind of influence a city can have is hard to determine or understand, ‘cause it’s really a subconscious thing. I certainly felt freer working on my own and for example thinking, ‘I’m gonna base this song around a drum loop and a droning organ because I don’t have a drummer and a bass player and a rock set-up here.’ But that was really fantastic, it was the best thing about moving here in that first couple of years was just the space I had to follow those ideas.” Collette also found freedom in the opportunities to gig more frequently that living in a large European city allows. Separating himself from the comfort zone of the Melbourne live-music realm, his reach has greatly increased. “The good thing here is that you can play a lot,” he continues. “I can play every week here, because if you play in a different area, people pretty much stick to their areas and a lot of venues have a built-in crowd that go to the venue. You’re constantly playing to new audiences. And I suppose what we don’t have in Melbourne is people always coming through the city – tourists and people working here, people from all over the world – so your audience is constantly changing so you don’t get that thing where people get bored of you, which is quite understandable. “Melbourne’s extraordinary and has a really great music scene, but it is really scene-based. By that I mean you do see all the same people and the bands are all interconnected and the audience is fairly static, it seems to me. And all that is really good in terms of growing music and seeing interesting local music. But here it’s the complete opposite; the audiences are never the same. It always shifts and I think one thing is that the local scene doesn’t thrive as much, but as a musician working here you get to play to different people all the time.” WHO: Ned Collette & Wirewalker WHAT: 2 (Dot Dash/Remote Control) WHEN & WHERE: Saturday 23 June, Northcote Social Club


PREMIER ARTISTS presents

with special guests

RIVER OF SNAKES* & MAMMOTH MAMMOTH^

PAPER, SCISSORS,

ROCK TOUR

JUNE 2012 - ALBUM LAUNCH Thur 14th Fri 15th

Retreat Hotel, Brunswick • FREE ENTRY*^ Wheelers Hill Hotel, Wheelers Hill*

Sat 16th

Bended Elbow, Geelong*

Thur 21st Fri 22nd

Retreat Hotel, Brunswick • FREE ENTRY*^ The Loft, Warrnambool*

www.ticketmaster.com.au & www.oztix.com.au www.oztix.com.au & Bended Elbow: (03) 5229 4477

www.oztix.com.au

Thur 28th Retreat Hotel, Brunswick • FREE ENTRY*^ Sat 30th Settlers Tavern, Mildura www.oztix.com.au

TICKETS AVAILABLE THROUGH VENUES & AT THE DOOR WANT A FREE TRACK?... WWW.FACEBOOK.COM/JACKSONFIREBIRD

DEBUT ALBUM COCK ROCKIN’ OUT JUNE 8 INPRESS • 17


COLLECTIVE SOUL Tristan Goodall may be competing with his other musical half in The Audreys for PETA’s ‘Sexiest Vegetarian’ award, but Nic Toupee finds that when it comes to making music they make a fine team.

S

itting around a marbled open fire, surrounded by framed gold records, slippered feet comfortably resting on a mink cushion, the successful band looks fondly back at their glowing career. Raising a glass of fine wine, band member ‘a’ says with a satisfied smile, ‘Old bean, what do you say to a retrospective record?’ Band member ‘b’ replies, whilst scoffing mascapone figs, ‘A fine idea, I say, we have a corking back catalogue – but what to choose?’ Band member ‘a’ replies in a contented drawl, ‘Why not release them all again, throw in some B-sides. I always wanted to release that obscure cover we played in the old days. Our public will love it, dear chap.’ And so, a ‘best of’ is born. At least that’s how one might imagine it. Or perhaps the same scene, but record execs and smoked quail legs. But, some bands – well you just wouldn’t expect it: band who aren’t about the gravy

train, the well-greased palm, the lobster thermidor. Take The Audreys: successful, there’s no denying it, but not exactly the smoked quail and fig types. In fact, they are both up for a PETA’s ‘Sexiest Vegetarian’ award. So how come Tristan Goodall and Taasha Coates are doing just that? Collected, their website reads, is a re-release of their three massively successful albums, plus the rare track and B-side sweetener. Goodall explains that far from a long-planned marketing strategy, the idea’s origin was an ARIA afterparty conversation. “The idea came up when we were hanging out after ARIAs” he begins, “and we thought it would be a good idea to celebrate the fact that each of our albums has won a a ‘Best Blues’n’Roots Album’ award by putting them out as a collection. Also, we could throw in some old songs that have never seen the light of day on record before.” It seemed like an even better idea when the band started trawling through the demos and rarities in their archive. “We had a lot of fun going through the old stuff to get the bonus material together,” Goodall remembers. “We had this huge, huge hub of stuff in Adelaide and had an absolute ball going back and listening to it all. There were quite a lot of tracks hidden away, a bit of stuff to choose from,” he understates, laughing. “Taasha and I spent a day just listening to it all, and reliving those times and associations.” They fished out a selection of tracks that never made the original cut, including some tracks that never made it past demo form – an error remedied now with 20/20 hindisight. “There are a few demo versions of tracks that ended up being heavily altered in the studio, and don’t sound anything like the early version, so it’s good to have them released in their simplest form. I’m happy with the albums as they are but there are a couple of songs which, listening back, surprised me. Why they didn’t end up on the albums I don’t know, but I’m sure it was all for the best.”

Live Nation & Modular present

Releasing Collected is definitely not an indication of a fallow period for The Audreys. Far from sitting comfortably allowing the earlier material to represent them, the band have been in the studio writing a new album while touring the Collected material. Goodall delivers the happy news reassuringly. “Taash and I have been writing new material, which will come soon,” he says, understandably a little cagey about giving the new material too much airtime. Having the opportunity to think about their albums as a unified whole, Goodall struggles to make any sweeping connections between them: Between Last Night And Us from 2006, When The Flood Comes (2008) and most recently Sometimes The Stars (2010). “I don’t think in terms of grand themes,’ Goodall explains. “I don’t think there’s anything that connects our songs in that way. But, maybe,” he continues uncertainly, “maybe you can find something in there, maybe others can find them. I like that about our music, [it] can have significant and different meanings to different people. I love going back and reappraising it myself, and seeing what I find in it now.” To tour Collected, Goodall and Coates have concocted a strippedback acoustic show that befits the idea of presenting demo and early versions of their songs. “I think it’s really nice in light of the Collected compilation that we can take a lot of the songs from our albums and present them the way they were originally written. It has been nice to play songs just with guitar and voice, which is how they started when we took the songs into the studio originally. Very few tracks on our albums are this stripped-back, so we’ve given them a stripped-back quality, and actually a more celebratory quality, live.” The simplicity isn’t a hindrance to expression in this show, in doing justice to the songs that were recorded in a richer, fuller way. In fact, they’re loving the freedom. “There’s a wilder, looser edge to it all – the songs in their rawest form,” he says, obviously relishing this wild, loose business they’re embracing. In a musical way only, of course, he quickly qualifies. “On the albums, our tracks have intricate parts locking together, whereas in this show we can be a little looser with them. I mean that in a good way,” Goodall laughs. “There’s a kind of openendedness to our performances on this tour. More of a chance for – sponteineity, being more responsive. It’s a lot of fun and quite exciting, I guess. A little bit more nerve-wracking as well.”

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Embracing the spirit of spontaneity, The Audreys are giving their audiences the chance to make requests – something more difficult to pull off with a bigger band. “If people ask for a certain song we can indulge them,” he cautiously offers. “We’re happy for them to yell out requests, and we’ll play them if we can. Even songs by other people.“ Certainly The Audreys have no need to use cover songs as a ‘set saver’; no emergency Hey Jude required to vivify a drooping setlist in their case. They genuinely enjoy playing cover versions, perhaps it’s a chance to air some guilty pleasures. “We love playing covers. We have played them our whole career. Ever since The Audreys started touring, we’ve been playing covers. In the early days Taasha and I would play a different cover song every night and let the audience request them. There were certainly some odd ones, but we find it a lot of fun.” The tour is presented in association with PETA to raise awareness of live animal exports. Whilst they’re serious about raising awareness around the subject of cruelty in live animal exports, their PETA ‘sexy veggie’ status has made the Audreys – to use a salient pun – a bit of a local laughing stock in their hometown. “We think it’s funny,” Goodall says. “But as a musician it’s hard to be in a position to give money to things you believe in, so it’s nice to find other ways to give. And it’s an issue we’re passionate about.” WHO: The Audreys WHAT: Collected (ABC Music/Universal)

vanshe.com | modularpeople.com | livenation.com.au

18 • INPRESS

WHEN & WHERE: Saturday 16 June, Toff In Town; Sunday 17, Palais, Hepburn Springs

themusic.com.au


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Every Wednesday from 7.30pm Hosted By Jess McGuire & George H $16 pot and parma or tasty vege option Table Bookings Advised: 9427 7300 INPRESS • 19


TASTE TEST: LIGHTS FIRST ALBUM I BOUGHT WITH MY OWN MONEY WAS

THE MOST SURPRISING RECORD IN MY COLLECTION

Oh, I think I bought tapes. I don’t even remember. That’s a good question. All the first ones I bought were really cheesy, like, I was a little kid and I bought Celine Dion tapes and things like that, you know? [Laughs] I think I was just exploring and trying new things. I mean, I’d buy all kinds of music that I never ended up really even listening to, but I’d just like to try and that was kinda before the browsing days of the internet and buying music that way.

I think a lot of people are surprised when I say I listen to black metal and stuff, which I’m actually a big fan of. I grew up being in a metal band and then I suddenly became electronic pop.

ALBUM I’M LOVING RIGHT NOW Com Truise: It’s like Tom Cruise, but switched. It’s really cool electronic. Actually, the keyboard player in my band, we all kind of play keyboards, but his name’s Adam and he’s always right up on what’s the newest and greatest electronic stuff happening. It’s just the cutting edge of production and that stuff interests me, and all of us in the band. So you always kind of pick up new tricks and ideas coming from that and a lot of Com Truise has no vocals in it so it’s just very musical, very production-forward.

MY FAVOURITE PARTY ALBUM Um, this is really embarrassing, but on the bus we always play a couple LMFAO songs because they’re so super-lame and really just get everybody moving. It’s party music. But I think a Ratatat album or stuff along those lines like Gorillaz most recent one [Plastic Beach] because it’s really positive but high energy too. It’s got really positive chords. You don’t wanna play something with sad chords at a party: everyone just getting all emo over in the corner.

MY FAVOURITE COMEDOWN ALBUM It would have to be Bon Iver; both of his records are awesome. What would be another one? I actually really love chilling out to Radiohead, some of that’s really great – creative but slow… When I’m depressed, I don’t like listening to music, I just make music – it gets it off your chest, ‘cause that’s kinda like an optimal moment to be creative and I just get frustrated listening to music at some points, you know? We listen to so much music: we tour all the time, we’ll play music every night. So, some days, silence is the most beautiful thing.

FIRST GIG I EVER ATTENDED It was probably a community centre punk rock show in my small town. I went to all those. It would’ve been local bands. In fact I used to go to shows all the time, and at those shows there were about four or five bands on the bill, and I remember after years of going to those shows I met – I was very young, but I met a band called Ten Second Epic at the community centre show, and then years later we ended up collaborating and becoming really good friends. It’s just funny how your life can come back around.

WEIRDEST GIG EXPERIENCE I’VE EVER HAD We’ve done those shows where it’s a dinner show and people are eating – that’s the worst. Like, awards shows and things like that and they’re just not fun AT all [laughs]. So you have to go into it with a different mindset. They could be into it, you know, but they can’t show it. We played from those awkward, sitting down, super corporate, in chairs, uncomfortable shows to those where people break onto the stage and the stage gets raided and then they steal all your stuff. We had a show in Houston a couple of years ago, and they kinda raided the stage afterwards and we came back and a bunch of our gear was gone. So it’s a weird thing: they wanted a piece of it, but we kinda needed the stuff the next day – like our pedals and my capo. Recently, on the last tour, I had a flannel on and took it off onstage and then someone took it! And then felt bad and came around afterwards and gave it back to me.

THE BIGGEST NON-MUSICAL INFLUENCES ON ME I would definitely have to say fantasy art and that sort of creative element. For example I was taking a book of fantasy art with me every day in the studio when we were recording Siberia… I was kind of creating a soundtrack to these other worlds – I mean, dark, warrior-like dimensions. And even though the women

are very sexy, they have weapons and they are really empowered and I think it’s a metaphor for something greater. But it was really inspiring just listening back to the music and looking at the pictures. So that was a big influence. I do like video games and role-playing games like that where it is a huge escape. And that’s what music ultimately is: it’s a few minutes where your listener can get away, and that’s what I get out of video games.

THE COOLEST PERSON I EVER MET My husband [laughs]. We met on the road; he’s a touring musician as well. He’s been out here a few times actually, with Soundwave. His name’s Beau [Bokan], he’s in a band called Blessthefall. We got married on 12 May, really recently, and I just got back from my honeymoon in Honduras. ‘I’m touring. See ya! Goodbye, I’m going to the other side of the world now.’

THE BIGGEST CELEBRITY CRUSH I’VE EVER HAD It was a funny story, because, speaking of video games, I’ve always had a crush on The Alliance King in World Of Warcraft. I just thought he was a huge babe. It’s a fictional character, yeah [laughs]. King Varian. I would always take screen caps and I would find him in the game and take pictures with him and I’d have his art as my background. I met Beau and he looks kinda like him and so it was like, ‘Oh, he’s my real life…’ I thought it was a sign of things to come and ended up

getting – I have a new tattoo, which is a portrait of King Varian with Beau’s face. So he was my crush.

IF I COULD HANG OUT IN ANY TIME AND PLACE IN HISTORY It would probably be the 1800s. I don’t know why but it’s funny, like, I think I’m fascinated with steam-punk culture: the style was really cool and elaborate and they were just starting to invent everything, and I think it’s cool.

IF I WASN’T MAKING MUSIC I would probably be in video game development. I take computer science classes on the side just to understand the world a bit more and appreciate it. I still would want to create that experience for people. Right now I try to do it through my music. I love drawing. My art’s very cartoon-y, it’s comic-style. I’ve been a fan of comics for a long time actually so I’m very influenced by the thick lines. And I’m learning how to be a tattoo artist soon, which is a whole other side of art as well. On the first two albums I did the art, so there’s a whole lot more to it than just the music. WHO: Lights WHAT: Siberia (Universal) WHEN & WHERE: Toured with The Jezabels

DOUBLE D “A simple peeled orange is awfully sexy if you finger it properly,” Tenacious D frontman Jack Black assures Bryget Chrisfield. His bandmate Kyle Gass laughs along, later admitting he’s paid for dental work in exchange for a blowjob.

T

wo funny guys, both on different phone lines. In Hollyweird, where we lay our scene. From ancient grudge… If you caught Tenacious D supporting Foo Fighters last December, you would have experienced their special brand of comedic rock’n’roll with generous lashings of berating banter in between. During the show this scribe attended, Tenacious D frontman Jack Black called his bandmate/sidekick/ lead guitarist Kyle Gass “clammy fingers Magoo”. “Oh my god,” Gass feigns outrage. “That’s so mean!” “You know, sometimes I get nervous and I lash out,” Black defends. The diss was delivered after only one song. “Oh my god, that’s right,” Gass recalls, “and then I think I had to quit.” Black continues, “That was – wait, that was the night that you quit the band. I remember. That was a legendary night.” Gass must have developed a thick skin to protect against such verbal abuse over the years. “I really have. I’m numb to it,” he admits. When asked whether there were any crazy happenings on this tour, Black offers, “Well we caused an earthquake in New Zealand and there was quite a good rap party at the end of that show. We all went over to someone’s hotel room and I remember somehow we ended up trying to carry a piano down the stairs.” Gass chuckles, “Was there some drinking going on before that?” “There was some drinking, yeah. It was one of those crazy nights.” Hopefully no pianos were harmed during this post-show revelry. “[The piano’s] fine,” Black stresses. “It’s functional. Thankfully there were no broken bones and no broken piano keys.”

Roadies are “the REAL rock’n’rollers” according to Black, so what of groupies? “Groupies!?” he baulks. “No. You see it’s 99% sausage fest out there.” Gass agrees, “Yeah, there’s a lotta dudes. A lotta dudes.” Black clarifies: “It’s possible to wrangle some groupies, but there has to be a person who’s special job it is to just go out there and find them and bring them back. But, you know, those days are gone for me – I’m married with children now, I don’t fuck around.” It has to be said that Tenacious D’s visual presence is instrumental to their appeal and accompanying video clips have been filmed for a whopping five out of the 14 20 • INPRESS

tracks on their latest Rize Of The Fenix set. “I could’ve gone at least one more,” Black opines. “I would’ve liked to’ve done one for Señorita.” Gass agrees, “Mmm-hmm, mmm-hmm.” The band’s manager, Michael Michaels, was so excited about the guest stars Tenacious D lured into the fold for these upcoming videos that he placed a call ahead of this interview to provide an extremely animated heads-up. Black and Gass are particularly pumped about the star of their Roadie clip. “We got Danny McBride,” Black extols. “It was quite a coup. We were a little surprised that we got ‘im. We just asked him and he said ‘yeah’. And it was a double coup: not as many people would know or care, but the director of most of the episodes of Eastbound & Down, Jody Hill, was the director of the video and that was equally thrilling for us ‘cause he’s so fucking funny.” Gass boasts: “Well I think that’s a good reflection on us.” Some fittingly freaky shit goes down in the duo’s clip for Low Hangin’ Fruit. “Well, you know, it’s very provocative and there’s lots of fruitplay,” Black reveals. “There’s a lot of fingering various fruits and licking fruits.” “You might not have thought that fruit was so sexy, really,” Gass contributes. Black concurs: “It’s amazing how provocative a piece of fruit can be.” What’s the sexiest citrus? “Well a simple peeled orange is awfully sexy if you finger it properly. It was a fun shoot. It was strictly me and Kage. There was a tremendous amount of provocative dance. Kyle’s got the moves.” “Let’s just say you were moving pretty good yourself,” Gass praises. “We had some pretty good wardrobe for that too – we were pimping it out.” Now that Rize Of The Fenix has dropped, how far would Tenacious D say they’ve come in their quest to become the best band in the world? Gass responds quickly: “It’s one of the best albums ever.” But Black has a lot more to say on the subject: “Quite honestly, it’s less about being the best band right now and more about saving rock’n’roll. Because let’s face it, rock’n’roll is laying down on the gurney right now, it’s flatlined.” This is true. “I’m not done with my analogy. The surgeons are looking at each other and saying, ‘Is it even worth it? Should we just put off – what’s that electric thing? The defibrillators?”

“Mmm-hmm,” Gass confirms. And Black’s off again: “And that’s when we – surgeons Kage and Jables – come in the room and say, ‘Step aside, we’ve got this,’ and bring it back to life. It’s nothing less than a heroic rescue mission. We’re like field team six going in to rescue sweet, innocent rock.” There’s a bit of adlibbing on album track Deth Starr and after claiming, “We’re basically having sex. I think there’s some love making,” Black divulges his source of inspiration. “You know how in the heyday of Van Halen when Diamond Dave would, you know, just be talking in the middle of a song? [Busts out the slow, sexy Panama riff] ‘Reach down, beneath my legs and ease the seat back.’ [Then, from Hot For Teacher] ‘I brought my pencil! Give me something to write on, man’.” Of the skits littered throughout the album, Classical Teacher is a standout. “It was terrifying I have to say,” Gass reflects on the ‘experience’. Black elaborates, “Well the lesson with the classical teacher was less about learning guitar technique and more about tapping into some hidden passions that Kyle wasn’t even aware of. You’ll notice when next we play in your town that Kyle plays with a kind of abandon only seen in the wild. He plays like a jaguar.” If you’re searching for LOLs, give 39 a few spins. Here’s a lyrical sample: “She needs a dentist appointment quick/I pay for it and she sucka my dick.” Is this song based on a real ‘lady’? “It was loosely based on someone Kyle was dating for a time,” Black handballs. Kyle? “Ugh, well, you

themusic.com.au

know, it was kind of a tough break up. It was more based on my ongoing midlife crisis, I think.” Black adds, “The names have been changed to protect the innocent.” Was a dentist appointment paid for though? “Excuse me, we have to wrap it up,” announces the phone conference operator. Much laughter. Black jokes, “We told her to interrupt if a dentist was asked about.” So did Gass in fact sort out a dental bill? “That part was true,” he chuckles. “But there was no agreement like [puts on a weird accent], ‘In exchange for the dentist you must x, y and z’.” When asked whether there are any topics too unsavoury to explore through song, Black shares, “There’s an invisible line in the sand and everybody knows [when] there’s too powerful a taboo. There’s a lot of things where the unsavouriness is just a matter of time, it’s like, ‘Oh, too soon!’ And there’s other things that are just too harsh to be funny. Our next album is the stuff that was too hot, too dirty and too unsavoury on all of our albums. We’ve compiled them all and it’s called…” Gass interjects, “D-licious.” “It could just be called ‘Licious,” Black muses and then one-ups himself, “I think it would be called ‘Spicable: Tenacious D – ‘Spicable.” Gass approves, “Mmm-hmm, mmm-hmm.” WHO: Tenacious D WHAT: Rize Of The Fenix (Sony)


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INPRESS • 21


FUNK? SOUL? BROTHER… The Bamboos are a backing band of choice for voices of a generation and a band of first choice for those who simply love funk/soul with a contemporary flavour. However, as frontman Lance Ferguson confirms, there’s more the band than genre rules. By Liz Giuffre.

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elbourne band The Bamboos regularly get rave live reviews and increasingly high profile screen soundtrack gigs with films like Crazy Stupid Love, and TV shows Grey’s Anatomy, One Tree Hill, Ugly Betty and local fave Underbelly. But their niche is one that they don’t necessarily sit in happily. “The Bamboos’ music is what it is and, I’m not an idiot, when you put on the record you can hear a soul side, but I think there’s a different intention behind it, too,” begins Bamboos bandleader (and ringleader) Lance Ferguson. “The soul kind of funk thing, as a label, as a pigeonhole, it seems like the hardest to escape from. Of course you can say someone’s a death metal band or whatever, but to me some of the great bands out there, my favourite bands, they don’t get those genre labels anymore, it’s just ‘That’s Foo Fighters’ or ‘That’s Radiohead’, or whatever. Now of course these are huge bands and I’m not saying we’re as big and as known as them, but I think it’s always good to aspire to whatever the best stuff is and the best standard is and to me, I aspire to having people just say, ‘That sounds like a Bamboos record’. I don’t want the band to be so genre driven; I just want us to be the band. I think this album [newbie, Medicine Man], as much as it’s got all these soul tracks on it, I think there’re a whole lot of other influences on it as well.”

There’s more to this story

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Ferguson doesn’t want to pay disrespect to the soul/funk set (and indeed, he acknowledges how that scene has done him and his roster of Bamboos, well over the last five albums and decade), he is clear that it’s not all that he listens to. “When I write I don’t listen to funk and soul, I try to listen to other genres to get a different sound and while writing this time I was listening to a lot of psychedelic stuff, as well as just some ‘80s pop as well,” he says, conjuring up a curious idea for an iTunes playlist. “It’s not the genre so much, but more that the purists of soul and funk music are – and many of them are my friends so I feel I can say this – but they have a really strong set of criteria

22 • INPRESS

for what makes something good or bad or not and I guess I’m not interested in that criteria anymore. I really used to be, but now I just want the band to be what that is.” If you haven’t come across The Bamboos until now, it might be because they have recently got their indie Aussie Rock Pig on. Most notably, their gigs with the likes of Megan Washington and Tim Rogers as guest vocalists have gotten them out of the soul/funk ‘hood, but also helped provide their fantastic guests with a chance to rock out without needing to worry about their own words. “Megan’s been with us twice… We did a track on which was a cover version – a cover of James Blake’s Wilhelm Scream – and it’s obviously a gospel-ly, soul take on the tune. But I didn’t want to have the same type of vocal on it, the soul diva type thing. I didn’t think at first that Meg would be available because she was moving overseas, but it worked out. Then I also had another song – all the music, a melody, some lyrics and some chords there – and then Megan came in like a whirlwind, as she does, with John Castle who also produced the album with me. She showed up in a whirlwind two days before she went to New York and did the cover and then she also said, ‘What else have you got?’ And so we worked on this other song that became Eliza, also on Medicine Man. And it’s a fantastic way to work because it’s really quick. It’s like, ‘Let’s write lyrics write here on the mixing desk’.” As for getting The Bamboos down with Tim Rogers, Ferguson also led with a relatively organic, but speedy, approach. “I went to Tim with the song but kept the creative book open, saying, ‘Look, if you want to change any of this, feel free. It is a song, but it’s a starting point’. Because Tim is a legend, he’s a living legend of Aussie music, I’d been hanging out with him a bit, especially when we were touring with Megan with the Big Day Out and stuff and he’s a lovely, charming guy. And I feel a bit a weird to go to him and say, ‘Here’s my song, just do that’. I didn’t want to come off as arrogant, I really wanted his input. But he thought it was great and said it really suited the headspace he was in at the time and so he of course, as you say, ‘Tim Rogered it’. We’d recorded it before he came into the studio and I’d demoed it up in a falsetto and I didn’t know how he’d do it, but it sounded best for him to put it in falsetto too and there’s something so special

about his voice. People don’t always know it’s him, but it’s great, he is a soul man, really. And he really owned.” The process of being “Rogered”, as Ferguson puts it, is a key part to The Bamboos stretch beyond the bounds of genre, but again, one based on a broad musical love. In addition, like many of the music loving public who have also, musically (metaphorically of course) been Rogered, it was a thoroughly satisfying experience. Ferguson says it was validating having Rogers record the song. “I must admit I’ve been trying to develop my songwriting over these years and these albums and it defiantly was like having a stamp of approval, to have him record it as he did.” Not counting indie rock vocalists on loan (as well as other guest vocalists on the album including Daniel Merriweather, Aloe Blacc, Bobby Flynn and Kylie Auldist), The Bamboos are currently a nine-piece touring troupe. It makes for a huge stage presence (and a logistical pain, no doubt). But it’s a size and sound that Ferguson continues to be excited about. “It is pretty massive. And that’s probably why we haven’t toured as much as we’d like to date, but hopefully with this record that will happen,” says Ferguson. “Having a horn section is the thing; that’s what blows the budget out. And we have an extra vocalist in the band now too – Ella Thompson – and I’ve recorded with her before and I think she covers the side of vocals that Megan does and she’s great; a really nice person to have in the band on a personal level as well. If nothing else, it’s great to have another girl in the

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band. Kylie [Auldist, regularly guest vocalist] is there as well, but she’s tougher than some of the blokes, so two girls on the stage, it’s great,” Ferguson says, bravely. Indeed, The Bamboos are becoming their own law, however they do remain a united front with a clear leader. It’s a role Ferguson takes purposefully and practically, but also one he does for the good of the collective. “The Bamboos as a band have tried writing a song together in a studio and that sort of thing can work and can be done, particularly if you have a four-piece. But with numbers like ours, it can get pretty weird being pulled eight or nine ways. It’s not that it’s my way or the highway, but I think that if someone has a clear vision then at least we have a place to start and work from there.” The “from there” is Ferguson’s want to keep it fresh. “It would be the easiest thing in the world for this album to just rehash what we’ve done in the past and do festivals and have that be it, but I feel like every album has to be a progression and I feel like I have to get in and be excited by the music. That sounds obvious, but I think the music has to keep advancing and I guess that’s it – we keep advancing it.” WHO: The Bamboos WHAT: Medicine Man (Inertia) WHEN & WHERE: Saturday 16 and Sunday 17 June, Corner


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DESIGN FOR LIFE Trial Kennedy are hanging up their boots, and guitarist Stacey Gray looks back at the last ten years with Danielle O’Donohue.

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hristmas Eve 2006 young Melbourne four-piece Trial Kennedy took to the stage of Brunswick’s Evelyn Hotel. Earlier in the year the band had released a split EP The Birds And The Bees with fellow Melburnians Horsell Common and with two popular EPs already behind them, Present For A Day and Picture Frame, the band was on the rise. But Trial Kennedy didn’t just nail this headlining gig, they blew the crowd away. This was the moment the band went from being a first choice support band for top-notch local acts to owning a stage themselves. Their sound was bigger, their performances more assured and their confidence just rolled off the stage. Trial Kennedy had grown up. There have been a lot of miles covered in tour vans and on airplanes since then. In 2008 the band finally, after almost ten years of being together, released their debut album New Manic Art. After that album cycle bassist Aaron Malcolmson left the band and long-time friends and remaining band members Tim Morrison (vocals), Stacey Gray (guitar) and Shaun Gionis (drums) enlisted Richie Buxton and got ready to do it all again. In 2011 Living Undesigned hit the shelves and after touring the album on and off over the last 12 months the band have decided to hang up their boots. To make sure they’re going out in style Trial Kennedy have kicked off one last tour. While Gray says the time is definitely right to be bowing out, it feels like the band are doing it on their own terms. “It’s going to be a good little final tour,” Gray says. “It’s good to do it like that with all your friends and be surrounded by great people and not just go, ‘We’re breaking up’ and not play again. We’re stoked with what we’ve had and the people we’ve met and all we’ve achieved. There’s no unfinished business.” The band have sacrificed a lot in their ten years on the road. Gray remembers an early gig, one of the first times they’d ventured out of Melbourne; the band played an opening slot on a bill, got paid $100 and spent $600 on getting to the show.

“For everyone in our life it’s been number one,” Gray explains. “You put it ahead of everything you do for ten years. It’s like you’re giving away the thing that’s been most important in your life, but we’re all still best mates which is the most important thing. And it’s exciting as well. That door closes and a thousand more open.” For Gray it’s the people that he’s met along the way that have made being in Trial Kennedy such an important experience; the bands they’ve played with and the people they run into time and time again all around the country when they’re out on tour. “There’s no one thing that I think, ‘That was the pinnacle of our career’ but I think there’s heaps of things. It’s enriched my life tenfold. To be able to travel Australia and see everything and see a little bit of America and still be great friends with everyone in my band. Too many bands fall apart and then don’t talk. I think to be friends after everything we’ve been through – severe downs and severe ups. I think that’s a real testament.” But don’t be fooled by Gray’s insistence that the band are breaking up as friends. In ten years it hasn’t always been happy sing-alongs on the tour bus. “We’ve had some great barnies over the years,” Gray admits with a chuckle. “We’ve had some absolute crackers. Some alcohol-induced. Some just because we’re very passionate people. It’s healthy. If you kept everything inside, there’s no fire. You wouldn’t get to kiss and make up.

He didn’t speak to us for a week. It’s intensified. It’s like any environment - creative people especially. Creative people are very passionate because they’re very opinionated. You can’t expect everyone to think the same thing. If everyone agreed it would be boring.

is the hardest about being the band organiser. But it hasn’t all been early morning wake-up calls and endless stretches of highways. Trial Kennedy have had their rock star moments too, not that the humble Gray would ever own up to being a rock star.

“You get frustrated with people. It doesn’t matter who they are but you spend six weeks in a van with someone and the smallest little thing... I remember reading a thing on the Edge and he goes, ‘U2 will never break up over money or songwriting disputes or whatever, I definitely feel we’ll break up over who used my toothpaste tube on tour’. It’s the little things.”

“Trial Kennedy, without trying to sound cliché, we’re like brothers. We all tried to serve certain roles in our band. Shaun’s like the ideal child. If you had a child you’d want him to be Shaun Gionis. And then you’ve got Slick [Tim] and Richie who are obviously off in their own little world. They’re like your younger brothers who do stuff and you think, “Oh god.” And I play more like a mother and father role. I shepherd them.”

“We’ve had some crazy experiences. There’s heaps of really weird moments, stuff that you look back and go, ‘What the hell?’ We once played a gig at Parliament House on Australia Day. We are just four regular guys from Melbourne and you’re standing next to Kevin Rudd and Glenn McGrath and Natalie Bassingthwaighte. They’re the A-Listers. We’re just four bogans that are going, ‘Wa-hey, how ya goin’?’”

Though Gray has always been Trial Kennedy’s most laidback member, he’s more than happy to dish the dirt now. “I remember having an argument with Aaron [Malcolmson] over Caesar salad and he said it’s the fattiest thing you can eat and we said, ‘No, it’s not’.

Having had some experience as a tour manager, Gray says he can’t imagine looking after a band with ten or 15 members and says making sure everyone is where they need to be at the right time

WHO: Trial Kennedy WHEN & WHERE: Saturday 23 June, Corner

FOR BLACKIE’S SAKE It should have been a celebration of a reissue, but thanks to a cowardly act, the Hard-Ons will also be raising money to help founding guitarist Peter “Blackie” Black recover from an assault, as bass player Ray Ahn tells Michael Smith.

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he Hard-Ons may have been kicking around since 1981, cut 15 albums and a stack of EPs, toured nationally and internationally and managed to sell over a quarter of a million records over their 30 years together, but, like pretty much every independent act in Australia, they’ve never had a major league hit and they’ve never earned enough money to sit back and enjoy just making music. They’re still basically working Joes with day jobs to tide them over till the next gig. In his capacity as a cabbie, on the evening of Thursday 17 May Peter “Blackie” Black – founding member with bass player Ray Ahn and looking forward to launch the first of a five part reissue series of Hard-Ons albums, the remastered and expanded edition of their 1986 mini LP, Smell My Finger – pulled up in Crows Nest to pick up a fare. He was later found on the ground by his cab with injuries to his head and face. “One kid asked him to take him to Greenwich from Crows Nest for $6,” Ahn relays the story as Blackie had told him. As a self-employed cabbie, he was within his rights to refuse the fare and the kid to close the door. Blackie got out to close the door himself and then found him blocking the driver’s side door. “When Blackie asked him to move out of the way, he hit him in the face. At that point, Blackie tried to restrain him and call the cops and after that he blacked out.”

we can cover his expenses while he’s not working and suggested we put on the Hard-Ons’ Facebook that we’re taking donations. So through that we’ve managed to raise some money already for him. “And we’ve got two shows coming up as part of the Smell My Finger launch tour – we’ve had to cancel eight gigs as well, but we’ll play those two shows as the Hard-Ons, but Blackie’s place on lead guitar and lead vocals will be taken by our original drummer Keish. He’s quite a good guitar player so I’m sure he’ll be okay. Peter Kostic, the drummer we had before Murray Ruse, will do a couple of numbers as well. What we’re doing is we’re going to play as the Hard-Ons and if anyone wants to still come with this different line-up, they can come and all the door-takings that we’re going to get, from that we’ll pay the support bands, pay everyone that needs to get paid, but our earnings from it, we’re going to pay to Blackie to make his life a little easier.” The original intention for these gigs was the reissue of Smell My Finger, available in a two-disc set featuring the original tracks and around 50 further recordings from the period rediscovered and dusted off for the reissue.

who access to studios and stuff, they did some of it for us in England, so it was a lot of work.

Blackie had been hit in the back of the head with a skateboard. He woke up in hospital with 16 stitches inside his mouth from having been repeatedly kicked him in the face, a skull fracture in the back of his head and, of far more concern to his surgeon, a lump on his forehead from someone’s boot, which has caused swelling and bleeding on the brain. At best he’ll be out of hospital in two months, but being unable to drive for that period means Blackie is in a very difficult position.

“I think we all used our parents’ garages as storage once we moved out, so going through garages and stuff we found recordings in boxes,” Ahn explains. “But mind you, up until about ten years ago, none of us really wanted to know about them and it was only then, when a lot of bands started remastering their back catalogue with bonus tracks and stuff –and people kept on asking us if we were going to reissue our back catalogue – that we started seriously thinking about it.

“He’s spent his last cent putting together his [forthcoming] solo album,” Ahn continues. “He’s paid for it all off his own bat so he hasn’t any money. Luckily, Glenn [Koek] from promotional company Zombie Dog is going to set up a benefit for Blackie so

“We started digitalising a lot of our back catalogue and various desk tapes about seven or eight years ago. I used to have really good equipment back then, which I don’t have anymore, so I was able to do a lot of that at home and some of our friends

24 • INPRESS

“I still find a lot of [the salvaged party tapes and desk recordings] unlistenable to this day. They just don’t sound like something I would like to listen to nonstop, but it’s mainly because I was obviously involved in it and I kind of like to move on, but a lot of our friends have heard it and gone, ‘This still sounds really good’. But the stuff we uncovered certainly shocked us because… we did an interview recently and they said, ‘Look, you do covers of Australian punk bands that were back in the day like that band The Elois and also we did an Atlantics cover but from the period when they had Johnny Rebb in the band, the lead singer. We did stuff like B-sides of Kinks songs and tracks by obscure ‘60s garage bands that no one had heard of and stuff like that, so that’s pretty good going for a bunch of 17-yearolds, you know? So we put them all on there.”

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Ahn has designed a special T-shirt to commemorate the NSW launch gig, the profits going to Blackie. A benefit gig was staged at the Tote last weekend, with The Meanies, Regurgitator, The Spazzys, Dead and Bat Piss playing, while in the US, Jello Biafra from Dead Kennedys, through his label Alternative Tentacles’ website, has set up a donation site. “I’ve got to stress, we’re not asking for any handouts but we’re getting emails, well wishes and donations from bands and musicians that never even crossed paths with us before. A couple of people from the classical industry and some jazz and avant-garde musicians have sent in donations, just because they feel bad that a fellow musician has been hurt just because he can’t make enough money from playing music.” WHO: Hard-Ons WHAT: Smell My Finger (Citadel)


NOTORIOUS B.I.V.

UP AND ATOM Former Little Red member Tom Hartney never had the right voice for that group, he tells Doug Wallen, as he steps out with his new band, Major Tom & The Atoms.

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est known as the fatherly baritone amid the higher voices of Melbourne pop sensations Little Red, Tom Hartney took advantage of the time between albums to found the side project Major Tom & The Atoms. The new act wound up consuming him so much that Hartney recently announced his exit from Little Red. That’s perfect timing for Major Tom & The Atoms, who have a feisty new EP produced by Tony Buchen (Andy Bull, Tim Finn) and plan to record an album this year. Not bad for a band that played their first gig last September.

The Shake It Til You Break It EP has already yielded two singles in Mockingbird and The House That Love Built. Fans might notice a similarity in title between the latter and Hartney’s tune Place Called Love on Little Red’s second album. In fact, Little Red demoed The House That Love Built but didn’t have time to record it properly. It was also written back to back with the swaggering Place Called Love. “If someone wanted to look deeply into these things,” muses Hartney, “they could draw a link with the fact that I got married around that time. I was in a romantic frame of mind. But The House That Love Built has a bit more of a dark twist than Place Called Love. In any sort of love song, there’s got to be the element of danger and the chance that it might all fall apart. That’s what makes it so special.” Was getting married part of the impetus for founding a band that didn’t tour so much and so widely? “There may be an element of that in my subconscious somewhere,” he reckons, “but it mainly boiled down to the fact that I started playing with these guys [to] try a different musical path. I didn’t intend it to take over from Little Red, but I was really excited by the passion and enthusiasm of the other guys and obviously just the excitement of doing something new.” Hartney says touring with Little Red was actually the most fun part. On the other hand, he admits that his low voice wasn’t an ideal fit. “With Little Red, it was difficult because there are two guitars making a

lot of trebly noise,” he explains. “It probably, frankly, wasn’t the perfect vehicle for my voice.” He cites Tom Waits, Jim Morrison, Nick Cave and John Lee Hooker as vocal influences, adding, “What I’ve learned is, it’s as simple as how you arrange the songs and the band. You need to leave space for the vocal.” Major Tom & The Atoms certainly do that, letting his baritone throw its weight around. But the newer band is no less melodic than Little Red, thanks to shiny extras like Sean Vagg’s saxophone and Benny Huisman’s keyboards. There’s also an earthy rhythm section in bassist Si Lawrie and drummer Adam Swoboda, with fuzzy guitar teeth supplied by Simon Tait. It’s a darker, grittier affair all around, though there’s a party-starting edge that comes from Hartney’s longstanding love of soul music. And it turns out Vagg and Huisman play in the Melbourne funk/soul outfit The Skylines, some of whose vibe spills over into The Atoms. Early on, in fact, the band gravitated towards more accessible and upbeat soul-influenced songs “that just grabbed people instantly,” says Hartney. “What we’re moving towards now is edgier. A fusion of classic American rhythm and blues and more kooky showtunes, Shirley Bassey- or Tom Jones-style. Bombastic showtunes. As we start to develop a following, we’ll be able to indulge those tangents we’re most passionate about.” Providing the main support for King Cannons’ album launch tour in June, the band should bolster that following while confirming Major Tom & The Atoms as their own entity outside of Little Red. “We’re building up our own catalogue of songs now,” says Hartney, “which is exciting.” WHO: Major Tom & The Atoms WHAT: Shake It Til You Break It (Independent) WHEN & WHERE: Friday 15 June, Evelyn; Saturday 7 July, Espy

Sydney’s Buried In Verona have a brand spanking new record and a desire to get in the van. Mark Hebblewhite tracked down guitarist Richie Newman to discuss everything from unfortunate monikers right through to the plight of rural youth.

“I

’ll admit it, I really hate the name Buried In Verona,” laughs Buried In Verona guitarist Richie Newman. “A couple of guys who are no longer in the band came up with it, and I think they were going for that Romeo & Juliet vibe – personally I think it’s far too emo: but we’re too far gone now to do anything about it.” So is the moniker Buried In Verona actually hurting the group, or at the very least sending out the wrong message about what the band is about? “There are all those bands out there with ‘wings’, ‘buried’ or ‘skulls’ in their names and we’re nothing like that at all,” Newman suggests. “So yeah I think it does send the wrong message about who we are. Really all of us are fun-loving guys just skating, surfing and hanging at the beach – and the name Buried In Verona suggests something completely different. “But in the end a name’s just a name and I hope our music speaks for itself.” In Newman’s mind the band’s new LP, Notorious, with its distinctive moniker and artwork (a neck-to-waist shot of a fully-inked friend of the band) goes some way to redressing the problem. “The name Notorious sums us up – it’s who we are and what we want to do. The artwork is also important. The guy pictured in the image is our friend Scotty and the dude is the living embodiment of just not giving a fuck. It’s a statement about our scene, our generation and the lifestyle we’re living.” Notorious isn’t just notable for its cover. Sonically speaking the album speaking sounds incredible. “We travelled over to Gothenburg to record with Fredrick Nordstrom at Studio Fredman. We recorded our last album there as well so we knew that Fredrick understood the band and understood the sound we wanted. The album is in your face and sounds massive - we couldn’t be happier.” Once Notorious drops, Buried In Verona plan to undertake an unprecedented national tour, one that will go far beyond the well-beaten trail of capital cities to hit rural

and regional centres as diverse as Orange, Cairns, Ballarat and Wyndham. In Newman’s mind it’s not only a rite of passage but the also the right thing to do. “It’s so important that bands make an effort to play to kids who don’t get the chance to see much live music, especially kids who are into hardcore and metal. That’s why we make sure we can get out and play for those kids. “Every time we play somewhere like Orange or Bendigo, the kids are so amped to see us that the energy is just incredible. We get more amped because they’re so enthusiastic and the gigs just go off. Besides, that’s why we’re doing this – we want to play as many shows as possible, meet as many people as possible and get out there with our music.” So with their strongest album to date completed will be the band now look to crack the elusive overseas market? “Like every band we’d love to crack Europe or the States like Parkway Drive or Miles Away have done to some extent,” says Newman. “But we’re realistic about it because it is hard being an Australian hardcore or metal band. The guys who have done well haven’t just worked their arses off, they’ve also had some luck. But what’s really important to us is that we do it together as a group of friends. “We all love doing this and really it’s the experiences along the way rather than any far off goal that are most important to every member of the band.” WHO: Buried In Verona WHAT: Notorious (UNFD) WHEN & WHERE: Thursday 21 June, Next; Friday 22, Ringwood OLP; Tuesday 17 July, Musicman Megastore, Bendigo; Thursday 19, Karova Lounge, Ballarat

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 billyblue.edu.au 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.

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INPRESS • 25


MASHUP GANG

JAMAICAN ME CRAZY

World music stalwarts Ganga Giri might have a comfy home in Australia, but as Izzy Tolhurst learns, it’s that “world” part that excites them the most.

Nicky Bomba was searching for the essence of what turns him on with music via new project Bustamento. He tells Izzy Tolhurst, “It’s like Gilligan’s Island meets Kramer!”

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aking a warm rich vegetable soup is hardly the thing you’d expect to find members of tribal-electro fusion band Gangi Giri doing when you call for an interview. Yet sure enough, when the phone is answered, founder and didgeridoo exponent extraordinaire, the epynomous Ganga Giri, is in the throws of making a “veggie mashup - with all sorts of soupie, vegie ingredients.” So there’s definitely a career in the food industry if the music thing doesn’t work out. For the time being however, music is more than fitting, and as Ganga Giri, the musical collective, edge towards the end of their Get it Started tour, Giri explains, “this tour’s just about the single. It’s about celebration and coming together, dancing and having a good time.” This festive, fancyfree spirit has been with Giri from the beginning of his musical career, and he recalls how his band evolved from an extended period of busking, as well as the desire to capture the energy of live performance. “I started off making music I wanted to dance to when it wasn’t around. I was looking for something a bit more organic and a bit more live. From there I went to London and was playing on the street with beats, and I would DJ and MC… We sold a lot of CDs and I was doing okay, and we met a lot of people. So I started to gather other musicians and friends. But it really started as me busking and wanting to share that with a band.” Now, after more than six album releases, Giri’s dictum of “one world, one time, one people” rings truer than ever for the musicians in his band. Acquired from all corners of the globe, on stage it’s “demonstrated both musically and visually. We are like one big community, and music is the language that brings everyone together. I see the show as a foundation for some of our Indigenous brothers, or other musicians we’re collaborating with, to express a message or feeling. It’s become a platform for sharing positivity and bringing the community together.” The tour includes a 90-minute visual panorama, featuring the vivid landscapes of central Australia and the Northern Territory region of Arnhem Land. For

Giri, the logic behind this inclusion goes far beyond mere retina stimulation. “I just feel that some of the most powerful possibilities for education that we have access to are music and visuals. I just want to do something positive for the planet and inspire people; I think that’s really important. Music and multimedia are really amazing ways to share a message,” he feels. Inspiration can just as easily be sourced from playing to a 20,000 strong Canadian audience it seems, as Giri plucks out some highlights from a growing list of international tours. “The Vancouver folk festival was really amazing. We had our multimedia show and there were about ten of us on stage. It was just a big production, with big sound. Also playing in Bali last year, and playing with the traditional musicians. We just had a big mash-up. It was different and truly mystical. It was really symbolic of bringing culture together.” Asked if this was the best his band has ever been, Giri replies, “Well, there’s always room for improvement, but I reckon I could say that. The only limitation I find is having the budget to really showcase what we do. For instance, we don’t take our drum kit player everywhere… we don’t always have the big budgets so we often scale it down to two or three people. But when we are our full band, it’s amazing.” For the remainder of the Get It Started tour, Giri says, “I think Katoomba could be interesting. I like going to new places.” Beyond that lies a trip to central Europe, and a brief visit to the home of their biggest fan base: Canada and North America. And if all else fails, there’s always soup. WHO: Ganga Giri WHEN & WHERE: Friday 15 June, Baha Tacos, Rye; Saturday 16, The Esplanade, St Kilda

RITTER’S BLOCK I

Inspiration and relief finally crept up on him whilst he was sleeping, as he recounts. “It was a song called The Curse. I actually woke up in the middle of the night with that story in my head and then I wrote it down long-hand and sat and played and immediately started working on it. It was just something about how the mind works and how the confidence had gone away. It took a while to feel like it was coming back but when it did, it was like it was spring again and it then just carried through and powered all the rest of songs that come out.” 26 • INPRESS

Earlier in his career, at a musical conference in Essen, Germany, Bomba realised much of his attraction to reggae and roots music was the presence of “the same immediate happy and cheeky elements as Maltese music.” “I love reggae,” he says, “I’ve loved it all my life. But I wasn’t particularly well versed in what it was or where it was from; my first experience with it was with bands like The Specials, so I didn’t realise that this was the second wave, because in the ‘50s and ‘60s there was this massive amount of music made in Jamaica. When I discovered that, it resonated strongly with me… It was spontaneous, and that’s a very big thing in the Maltese culture. I felt a connection.” A recent pilgrimage to Jamaica solidified this connection, as Bomba recalls that he “became a part of a family there, and was catapulted deep into the culture.” The name of this latest musical offspring too, pays tribute to Jamaica – clearly a constant source of inspiration for Bomba and band. “We needed a name to kick it off and Barry (Deenick, double bass/vocals) mentioned Prince Buster, one of Jamaica’s recording pioneers, and I had just read that he was named after Alexander Bustamente, the island’s first prime minister,” he says. “It wasn’t too long

Despite the mischievous and jovial nature of Bustamento’s calypso sound, the lyrical content is deep. “When I write lyrics it’s actually very cathartic,” says Bomba. “If you wanted to have an in-depth, you could read my life through the lyrics in my songs. It’s like therapy for me. I’m sure I’m saving myself bucketloads of money on psychoanalysis!” Issued as a brightly illustrated CD-lyric book, the album is about rediscovering the spontaneity and splendour of music often lost in the production phase. “It’s a whole little journey of lyrics and the band coming together and discovering something. And the intrepid journey is about that constant search for the essence of what turns me on with music. And a lot of that is lost – in the way things are recorded, in the intention of writing a song or performing something. And there’s ambition and frustration with that as well. So for me it was getting back the things that are lost. “And when you see the connection that was established with the artist, it’s just great. It’s like Gilligan’s Island meets Kramer!” Amidst a tour that will take him from Fremantle to Mt Hotham and everywhere in between, Bomba modestly concludes by saying, “I love being a student of music. That’s never-ending. I’ll never be able to learn everything that you can in this lifetime, but just feeling like a little kid discovering everything… I really appreciate that.” WHO: Bustamento WHAT: Intrepid Adventures To The Lost Riddim Islands (Vitamin Records) WHEN & WHERE: Friday 15 June, Thornbury Theatre; Sunday 17, Williamstown RSL

Tjimba Possum Burns is one half of Indigenous rap duo Yung Warriors. He talks to Chris Yates about the massively important role hip hop can have in the lives of young Indigenous Australians.

daho’s Josh Ritter may have been included in respected US publication Paste’s list of the 100 greatest living songwriters, but that doesn’t mean things always come easily to him, even after six studio albums. In fact, according to Ritter, his most recent release, So Runs The World Away, was actually the hardest to write yet. He recalls that for a while it just seemed like nothing would happen: “It was really hard. I like to be working and writing, but it was a time when the thing that I felt made me who I am had just gone away. It’s like standing in the middle of a field but you can’t see your shadow.”

For that reason he has always resisted any temptation to write merely out of reflex or habit, instead always craving a feeling that he’s entering a whole new exciting territory. Ritter believes it’s the resulting self-belief that provides a common link through all his albums. “The one thing I’ve always tried to maintain is this feeling that there’s a spark from the first record that’s come into the next, that’s come into the next. That spark is my enthusiasm for the songs. The songs that I don’t feel enthusiasm for don’t show up on a record. They don’t need to be there because they don’t have the little bit of fire that came from the first time I wrote a song. It’s like carrying this little fire through your life and occasionally getting to a place with enough wood.”

Having played music for over 40 years, Bomba has been on a wild array of musical adventures. He founded and fronted Bomba, plays drums for John Butler Trio, is a recipient of the Australia Council’s Music Fellowship Award and, as a child, was part of a family band that he recalls were “the Maltese version of The Jackson 5”. Bustamento however, “captures the things I love. It’s about the energy of the musicians,” Bomba says fondly.

before one of us said Bustamento… It sounded good and, for added value, a ‘bustament’ in the Maltese language means ‘a very big boat’. We love boats. There it was.”

YUNG MCS

Josh Ritter tells Paul Smith that words don’t always come easy.

Despite his self-confidence being shot, Ritter acknowledges that it was an important experience to go through, and that he has always valued working hard at his craft. “I distrust stuff that comes too easily anyway,” he laughs.

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alling from his favourite Maltese island, Gozo, Nicholas Caruana, known to most as Nicky Bomba, is “writing songs and gathering thoughts,” in preparation for several shows in the Mediterranean archipelago. But it’s unlikely to be all rest and relaxation as Bomba prepares his new band, Bustamento, to tour their debut album, Intrepid Adventures To The Lost Riddim Islands around our currently much chillier island.

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jimba and his brother D-Boy are making big waves as Yung Warriors and are excited about bringing their music to audiences throughout Australia. Extensive touring, and the release of their new album, Standing Strong, is helping them do exactly that. The album is being released on Essendon AFL player Nathan Lovett-Murray’s label Payback.

His sudden outpouring of new-found confidence was so intense that he not only ended up with a new album, but he wrote a novel as well. The criticallyacclaimed Bright’s Passage allowed him to expand on the storytelling imagery so prevalent in his lyrics. As Ritter puts it: “Songs are very like a small dish, but with some songs you feel like you want to go to the all-you-can-eat buffet! Writing a novel was so exciting. It was like when you get out of the car and you look at the beach and you see all that expanse and you don’t have to walk in a straight line. And when I’m writing I don’t have to rhyme!” Perhaps intensified by his recent experiences, Ritter remains humble about his success and displays a simple motivation for what he does. “I guess I just write to entertain and I want people to be paid back for the effort of listening to a song or of coming to a show,” he reasons. “At a time when it’s hard for a lot of people to get to do this job I’ve been able to do it for a while and it really is a miracle. I even now get to come to Australia and play. That’s a long way from the Cat In The Cream coffee house in Ohio where I played open mic nights! It’s fantastic.” WHO: Josh Ritter WHAT: So Runs The World Away (Warner) WHEN & WHERE: Friday 11 July, Corner

“Do you know how hard it was to get a studio when we first wanted to record?” Tjimba asks rhetorically. “Especially in Melbourne, where it’s not what you know, it’s who you know. Nathan approached me and said, ‘Man do you want to get this label together?’ and it just kind of happened out of that little idea. Yeah, Nathan has been a big help, we used to go to school together and he’s a brother for life, you know? He wanted to get some independent advice about music, and he’s clearly a business-minded dude and I know a lot about music so we were sort of teaching each other. “Everything just sort of went from there about three years ago. It spins me out with Nathan – he does the business side of things and he plays football, and he’s always out in his community as well.”

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With family and community being such important parts of Indigenous Australian culture, it’s not surprising that Tjimba is well and truly aware of the impact that positive role models can have on the younger generation. He says it’s also nice to be acknowledged by his elders, even if it’s via the till recently unconventional means of hip hop. “I come from a close-knit family with kinship values, and it’s always about respect. We get a lot of elders coming up to us and going, ‘You know we don’t like hip hop, but we like what you’re saying and we can hear what you’re saying,’ and that makes you proud, having the

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elders come up to you like that – you know you’re doing something right. We do a lot of workshops and stuff for the young ones because they’re the next generation. When you get little kids coming up to you saying that you’re their hero – I just can’t explain the feeling.” Tjimba’s generation certainly didn’t have Indigenous Australians in hip hop to inspire them, although he still got into the music at a young age. “When I first heard Tupac I was in class,” he explains. “One of my boys brought it to me, I was still young as. Before that I was into NWA and that, but Tupac took it to the next level. Then I started to listen to where it really came from, like New York, learning about the producers and their sounds. But it all started with ‘Pac.” It must have been a real kick for the Yung Warriors when they were invited to collaborate with Tupac’s old crew Outlawz? “Oh definitely man, I felt like that was a sign,” he says excitedly. “They taught us a lot of things. They were doing a show at Sydney, and people didn’t come. They didn’t promote it properly. I got on the net and contacted them to see if they wanted to do a show in Melbourne and they were just up for it. We were spinning out that we actually got them to say yes! And what a privilege too, to learn stuff from those guys. It’s like, they would write something down, put the paper down, go straight in the booth and ‘boom boom’!” Tjimba laughs. “It’s their culture and it was just such a good experience being around them.” WHO: Yung Warriors WHAT: Standing Strong (Payback) WHEN & WHERE: Friday 15 June, Trak; Saturday 16, Workers Club; Friday 13 July, Laundry


BEHIND THE MASK

BRING BACK THE BUFF

Chris Madak of fringe US synth project Bee Mask reveals the inner workings to Doug Wallen.

On the verge of Manhood, Muscles (Chris Copulos to his mum) tells Matt O’Neill, “I feel like I’m in my own little universe and I’ve got no path to follow from other people.”

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n a sense, Chris Madak is scarily prolific, with dozens of releases since emerging as Bee Mask around the middle of last decade. Then again, his first few CDRs were limited to runs of literally six copies. With time, though, the Cleveland native has stepped up the reach of his output both for other labels and for his own Deception Island imprint. Last year’s Elegy For Beach Friday double-LP saw a more proper release, and now the longtime home-recorder is considering stepping into an actual studio to mix his future work. In the meantime, he’s growing his cult fame ever so slightly by doing a low-key Australian tour. A purveyor of instrumental synth and drone oddities, Madak has been associated in the past with making his own instruments. Those include synths and oscillators, including the guts of a 75 percent-finished “monosynth” currently strewn about his makeshift home studio. But unlike many of his peers in the DIY realm of handmade electronics, for him it’s always been a means to an end. “I build things and try to understand the process because I want to understand my material better to make better records,” he explains. “I took some time off from it because I felt like the overhead in terms of time and money was taking away from me being as productive as I wanted to be with recording, mixing and editing.” That said, he adds, “It was a thing that people really expected [at gigs].” Like most underground experimental acts, Bee Mask’s music can tend towards the esoteric. But amid all the hypnotic drift and synth-supplied gravitational pull of his creations, there’s a reliable ripple of melody that makes it more accessible than you’d expect. Besides, he didn’t start with those small runs just to keep more people from hearing his music. His early releases on his label – both from Bee Mask and his friends’ projects – were limited for a reason. “You make 20 of something because you can think of 15 people personally who might want to hear it,” Madak says, “and the other five go out in the ether.” He was also inspired by working as part of a collective in an art gallery that did a lot of edition work. But now he’s aiming to do fewer releases and more

runs, rather than the other way around. That means recording and stockpiling material for the better part of a year, with the goal of “having all that to draw on at the end and putting out one much stronger record,” as he did with Elegy For Beach Friday. Bee Mask’s next album, Vaporware/Sacanops, will come out on Brisbane label Room40, even if it won’t be ready for his tour due to an extra month of mixing. But that’s okay with Madak, who’s used to the vagaries of small releases. After all, he’s juggled tape and CDR artefacts on Deception Island. He’s also towed the label with him from his uni town of Northampton, Massachusetts, through stints in New York, Chicago and his native Cleveland before ending up in Philly, where his longtime girlfriend’s job took him. Since the label revolves around a tight circle of projects, real-life commitments on all sides have slowed the output. Madak began the label as just a name to put on releases to trade at his gigs, so it makes sense that his live show incorporates the entire Bee Mask continuum. That’s because, in addition to playing synth, he re-sequences and manipulates diced particles from his tracks old and new. He now has an archive of Bee Mask sounds including fourth- and fifth-generation derivatives of the original sources. So instead of trying to replicate his records when he tours, he re-imagines them entirely. That keeps his recording process blissfully open. “I use the proverbial kitchen sink to make records,” he says, “and then it’s on me to translate them.”

C

hris Copulos’ Muscles moniker was introduced to Australian audiences with a wave. Dropping in late 2007, Muscles’ debut album Guns Babes Lemonade saw the Melbourne producer’s name inextricably linked to then fellow rising stars like Cut Copy, Pnau, The Presets and Van She – early breakthrough hits such as Ice Cream and Sweaty coinciding with a national explosion of interest in locally produced dance music. “There was this Aussie wave – bands like Pnau, Empire Of The Sun. Even now, you have groups like Miami Horror and Art Vs Science kind of keeping the momentum going,” Copulos reflects. “It was really, really cool from an Australian point of view – to see these artists getting support both in Australia and overseas – but, then, everyone is sort of on their own path. My music doesn’t sound anything like their music.” Except Copulos has always operated within his own continuum. Since inception, his work as Muscles has been a weird overlap of contradictory outlooks and influences – from the simple collision of experimentation and pop hooks that was debut release Four Months in 2006 to the combination of raw electro and meticulously layered vocal hooks (see: Ice Cream) that has since become his trademark. “I kind of feel like Muscles is a special project,” the producer reflects. “You look around and there’s a lot of indie bands around who sound kind of similar to each other and a lot of hip hop, but I feel like Muscles is a special project. I feel like I’m in my own little universe and I’ve got no path to follow from other people. I’m kind of creating my own path with this music, if that makes sense.” The proof is in Copulos‘ delivery of a follow-up album – or, rather, his refusal to immediately deliver a follow-up album. One of the biggest breakthroughs of the late-noughties electro explosion, Guns Babes Lemonade debuted at number 14 on the Australian charts and topped the Australian dance charts.

WHO: Bee Mask WHAT: Vaporware/Sacanops (Room 40) WHEN & WHERE: Sunday 17 June, Gasometer

Yet, it has taken Copulos nearly five years to get around to releasing follow-up album Manhood.

FRIENDS

“Well, it didn’t take five years to write it,” the producer laughs. “It’s really just been the last two. After Guns Babes Lemonade was released, I was really on tour for a couple of years – until about the start of 2009 – and then I wanted to just take a break for a little bit. That’s why we released that EP, Younger & Immature, back in 2010. We wanted to give people something to tide them over until the album was done.” Manhood itself presents further evidence. Noisy, dark and eclectic; Muscles‘ second album isn’t generic Australian electro. It’s weird, sleek, sexual work. Aggressive and mercurial, Manhood does not arrive without Copulos‘ immediately recognisable vocal hooks and quirks – but it’s a product for the clubs, not the radio. Even in its softer moments, it feels too singularly unusual to stand alongside today’s electro-indie crowd. “I’m excited by it. I feel like it’s a nice, sexy little dance record, you know,” Copulos says of the album. “I hadn’t listened to it since I finished it, until just recently when I decided to take it for a spin in my car, and I was just listening to it thinking, ‘This is exactly the kind of follow-up record I wanted to make‘ – it’s exactly the second album I knew I wanted to make from the moment Guns Babes Lemonade was released. I can’t wait for people to hear it.” WHO: Muscles WHAT: Manhood (Modular/Universal) WHEN & WHERE: Saturday 16 June, The Bottom End

MAXIMO PARK

MANIFEST! TOURING FOR SPLENDOUR. THU JULY 25 THE NORTHCOTE SOCIAL CLUB The long awaited debut album features the singles

THE NATIONAL HE ALTH FEATURES THE SINGLE “HIPS AND LIPS” A superb return to form. Concise, instantly addictive pop songs that head straight for the hips even as they connect with the head.

“I’m His Girl”, “Friend Crush” and “Mind Control.

COMING SOON THE CAST OF CHEERS FAMILY

MAN WITHOUT COUNTRY

FOE

themusic.com.au

GLEN HANSARD

RHY THM & REPOSE

LAWRENCE ARABIA

THE SPARROW Touring in July

INPRESS • 27


SINGLED OUT WITH BRYGET CHRISFIELD

ON THE RECORD

THE PEEP TEMPEL

Mister Lester Moore/People Don’t Get You

Love This MGM

“You don’t know how much I love this.” If the audience sings along, this song scores an instant endorsement. Strings echo the chorus melody at song’s end and you’ll wish this depth had arrived earlier in the arrangement. Cosmo Jarvis has an appealing ease to his singing and a cheeky turn of phrase (“Tony Soprano is a teacher I respect”), but I can’t say checking out his junk in the tight red onesie he sports in the video is pleasurable.

SURES Stars

Ivy League Records What would “fucking the stars” look/feel like? Is that what they are indeed singing? Layered vocals and ringing riffs will lure your dancing feet into action and Dann Hume’s production is stellar as usual. Instrumentation calls to mind Billy Idol’s Dancing With Myself, there’s an early M83-esque spoken word segment and the kids will definitely go nuts for this. But I just can’t move past the perplexing concept of desecrating astrology.

Born Villain

PRINCE FATTY/ HOLLIE COOK

A PLACE TO BURY STRANGERS

Mr Bongo

Dead Oceans/Inertia

There’s no denying the all-pervading presence of Jamaican dub music. The sounds are more than 40 years old, made quickly on limited equipment by sonic adventurers such as King Tubby and Prince Jammy, yet still sound fresher, more imaginative and more adventurous than most music made today. The most recent royal to step up is Prince Fatty, a man who sounds like he hails from the golden age, yet in reality is Mike Pelanconi, a British sound engineer. He’s worked with everyone from members of Blur to A Tribe Called Quest, though perhaps more relevant to this album is his work with Gregory Isaacs, Little Roy or even Adrian Sherwood. The nom de plume is clearly a cheeky nod towards King Tubby, perhaps an acknowledgement of the great man’s influence, as this album sounds suspiciously analogue, suspiciously Tubbyesque.

Replacing bassist Jonathon Smith with Dion Lunadon (of The D4 fame), the new-look A Place To Bury Strangers have washed out the killing floor that was their 2009 Exploding Head record, replaced it with their own weapons of mass destruction, and deliver Worship, a record as abrasive as previous releases yet offering a stronger sense of melody than previously thought possible.

Hollie Cook In Dub

Hell, Etc/Cooking Vinyl/Shock The term “return to form” has been used so much that it has become somewhat of a cliché, but it really is the most appropriate way to describe Born Villain, the latest offering from Marilyn Manson. It does, however, beg the question: is it too little, too late? Following two dodgy albums which, by his own admission (more or less), served more as an excuse for Marilyn Manson (the man) to have a whinge, he has moved to his own label (Hell, Etc), changed his songwriting focus and delivered a decent reminder of when he and his band were at their disconcerting best.

VD

D

COSMO JARVIS

LIVE

MARILYN MANSON

D

It’s been recommended I get along and see this band and now that I’ve heard this – it’s gonna happen. They’re the real deal. Mister Lester Moore caterwauls through your speakers at a cracking pace and there’s no hesitation with the delivery. Frontman Blake Scott employs various vocal techniques and sounds a tad Ian Astbury sometimes with everpresent shades of Nick Cave. People Don’t Get You employs more of a swinging pace, but an overall message of revolt barges through. Commanding stuff.

VD

Wing Sing Records

Born Villain sees Manson take up a guitar for the first time. Pay attention to Pistol Whipped if you’re particularly interested in checking out his guitar prowess. The biggest surprise on the album, it must be said, is the cover of You’re So Vain (added as a silent track), featuring none other than actor Johnny Depp on guitar and drums (he also helped produce the track). As is the case with all cover versions Marilyn Manson has done throughout the years, it’s great. According to Manson, he and Depp thought the tune would be “an amusing complement to the record”. Had this album been released after 2003’s Golden Age Of Grotesque, it would have packed a far heavier punch than it has. Manson’s relevance has been detrimentally affected over the past five years – let’s face it, it wouldn’t be too big a stretch to say he became boring – so it’s going to take some doing to regain his standing. Born Villain is a leap in the right direction. Dominique Wall

Hollie Cook was a member of the reformed British punk band The Slits and is daughter of Sex Pistols drummer Paul Cook. Her debut solo album was considered “tropical pop” by her label and engineered, of course, by Fatty. So it makes sense that they’d call him in to dub it up. He takes us straight back to the golden years, dramatically reducing the vocals and washing out his versions with layers of delay, heavy reverb and analogue-sounding organs. The techniques are old school, yet he’s also willing to increase the tempo at times. There’s a superslick ska version of The Andrews Sisters, a disco tune turned dub (originally from The Whispers), and the Shangri Las’ (Remember) Walking In The Sand. What Cook’s original album sounds like is irrelevant. This is a whole new hypnotic beast. It’s for those who mourn Tubby and wonder what he would’ve made of today’s sounds with today’s artists. Gold.

Worship

The band hasn’t foregone the noise however – far from it. This is likely to be one of the loudest records released this year. You Are The One starts like a gothic pop tune, opting for a brooding atmosphere and creeping bass before all hell breaks loose, Ackerman’s hushed vocals proving to be a menacing counterpoint to the sonic maelstrom. In fact his vocals prove to be an effective weapon in itself – when he murmurs “either way I choose/the choice is wrong”, the torment and gnashing of teeth are palpable. The pounding bass and industrial guitar distortion remain well and truly at the forefront of their sound – Mind Control threatens to blow up the speakers, just so that Revenge can finish off the job – but there is nuance here, like the moody, reverb-drenched Fear, the noirish sweetness of And I’m Up or the shimmering wall of guitar and incessant motorik drumming on Dissolved. The space allowed on the cavernous, Cure-baiting Slide helps to intensify the claustrophobia on tracks like Leaving Tomorrow, ensuring that any relief from the onslaught is fleeting. Worship is a record that takes in so many genres – shoegaze, krautrock, industrial noise, grindcore, garage rock – and melds them into a fierce mosaic of unrelenting aggression, confidence and surprising accessibility. An assured return. Brendan Telford

Bob Baker Fish

HUNTING GROUNDS Flaws

Redcat Sounds It’s fitting that Howl had to change their name to Hunting Grounds, because now they’re all grown up they sound like a different band entirely. Percussive strumming, keys stabbing, Cut Copyesque “oo-oo”ing and Michael Belsar’s enviable pipes accentuated by harmonies both lush and unexpected equal a very accomplished first taste from their upcoming debut longplayer. There’s something that sounds like a metal wobbleboard in use and fragility in Belsar’s timbre. Rather than a stacks-on sonic approach, Flaws showcases individual instruments and melodies.

CODY SIMPSON Got Me Good Warner “Word on the street is that you’re single/So baby have you heard my single?” Whassup with the laziest rhyme ever opening this track? Got Me Good sounds like parts of loads of different songs joined together – Bruno Mars, Rihanna, Maroon 5 and One Direction all in a blender. Australia’s own Bieber also replicates the toddler speech iYiYi influence in this one with chorus lyrics that double as an elocution lesson. At least Simpson assures the listener he’s “in love”, “…even in your sweat pants”, “… even when you wake up without any makeup”. POD from Snog Marry Avoid? would be proud.

THE DARKNESS Every Inch Of You Liberator Music “Every man woman and child wants to SUCK MY COOOOOOOCK,” Justin Hawkins roars. Even if he does have to sing so about himself, the man’s got a mean falsetto. The slow, sidestepping pace of this mid-tempo rawk number is well suited for their fanbase that has grown old with the band. It’s very Spinal Tap, but then what did you expect? The Darkness to change direction? Never. 28 •INPRESS

DAUGHN GIBSON All Hell

Mistletone/Inertia Daughn Gibson started plying his trade as part of a stoner-metal trio, yet in solo form he rides a horse, albeit a forlorn, skeletal one. In monochrome. In a rustic steampunk Western desert. In a parallel universe. So is the reaction of his debut All Hell that it can’t be helped but to think that Gibson is fucking with us. Starting out with the low, brow-beaten country of Bad Guys, All Hell changes tack considerably from the heavily sampled and eloquent croon of In The Beginning. It is the distorting and elongation of the vocals on tracks such as Tiffany Lou that evokes darkwave terrain, a windswept number that wouldn’t be out of place scoring an attempt at a love story by David Lynch. Rain On A Highway seems disingenuous, like Johnny Cash recorded on a green screen. The Day You Were Born is Tom T Hall, slowed by 200%, on peyote. Nothing is at it seems – yet this is Gibson’s world, and he’ll be damned if he’ll construct something that’s easy to take part in. The scary thing is, All Hell is actually very good. Despite its scattered, disparate elements, Gibson infuses it with so much of his own personality that there are commonalities that exist that allow these tracks to hold sway, gelling together in a cohesive way that on paper is inconceivable. All Hell isn’t likely to take the world by storm, yet – just like compatriots King Dude and, to a lesser extent, Aussie Jack Ladder and his latest opus Hurtsville – he has painted a niche that is infinitely interesting despite its genre trappings. Brendan Telford

GAZ COOMBES PRESENTS...

GRAVEYARD TRAIN

Here Come The Bombs

Spooky Records/MGM

Hot Fruit/Inertia

Til now they’ve mainly been known for the live aspect of their armoury – ‘that dark country gang with that guy who whacks the chain with the hammer’ – but that’s all destined to change for Melbourne country-noir outfit Graveyard Train with the release of their third album, Hollow.

Ya gotta feel for Gaz Coombes. As front-monkey with Britpop frontrunners Supergrass, he enjoyed sheer mega-stardom with a run of three stellar albums. To this day, indie discos worldwide rightly continue to spin the likes of Alright and Pumping On Your Stereo as classics. But once the ‘B’ word waned in coolness, the ‘Grass were left to grow with nobody watching. A shame considering their later career contained many more riches. Four years after their widely ignored finale, Gaz has retreated to his home studio where he seems contemplative yet content. Often, his vocals are laidback, restrained even, almost as if he’s trying not to wake the children. Bombs could have been written for them as a slumber song before he heads downstairs to rock out on Hot Fruit (the track which lends its name to Gaz’s new record label) and Whore. But a couple of rock-outs aside, there’s not much in the way of the ‘big’ sound we’re used to from Coombes. Without a band of merry men to egg him on, there’s little sense of urgency, which isn’t actually bad. White Noise for example is a catchy, tender song written from the point of a globetrotting rockstar returning to reintegrate into family life. With a touch of prog-rock here and electronica there, the DIY mentality of Here Comes The Bombs makes for a very homely kind of rock record. It’s like Coombes is almost glad the hoo-ha of Britpop and bandmates in tabloid sex scandals days are over, ‘cause the record he’s made sounds fresh, not burnt out. Mac McNaughton

themusic.com.au

Hollow

As always, apart from their occasionally eclectic instrumentation, it’s the gang vocals that really set Graveyard Train apart from the alt-country pack – the way their voices mesh in unison so powerful and stirring – but on Hollow there’s more electric guitar and a more traditional drum set-up, differentiating this set of songs from their past studio work. Furthermore these songs aren’t as lyrically enthralled to the realm of horror and monsters as in the past, although there’s still plenty of macabre imagery. Lead single I’m Gone is a great slice of western-tinged rock’n’roll and a great precursor to the album, but the real highlights lie elsewhere: how Mary Melody morphs from smooth bar-room beginnings into a rousing singalong; the way the stripped-back Life Is Elsewhere glides atop vaguely Morricone guitar lines; how The Doomsday Cult Blues is as perfectly dark and creepy as its title would have you expect, with its Nick Cave-esque sensibilities; or when the slow-paced Armageddon lament The End Of The World closes things perfectly with a portent of doom, a sinister finale you can sense coming from a mile off. This is a band with the songwriting skills and band ethic to transcend any hint of gimmickry in their setup or aesthetic, and Hollow should be the record which finally finds them acknowledged as a great band in their own right. If hell ever needs a saloon band, the devil won’t have too far to look... Steve Bell


JOE MCKEE Burning Boy

Remote Control/Inertia The ex-frontman of Perth-via-London dark horses Snowman, Joe McKee has risen from that band’s ashes to travel down a solo route, emerging with his debut Burning Boy. Opening with Lunar Sea, it becomes clear which elements of Snowman’s oeuvre were resolutely his. Gone are the menacing, propulsive rhythms, in their place ghostly orchestral washes and breathy vocals that occasionally informed that band’s quieter moments and more overtly informed their third and final record Absence. But it isn’t an easy listen – the coalescing strings, echoing synth and background chatter is an aural overload. The title track pares things back and offers us the Joe McKee of today – somewhat listless, unsure of his place in the world, as his return to his hometown of Perth would attest. It’s a hauntingly reflective piece that meanders around the plaintive guitar lines and McKee’s theatrical whispers. Single Darling Hills is more about being disconnected from the places and people that shaped you, a motif that informs the majority of the album. Immaculately composed, Burning Boy is an album that doesn’t hurry, its measured meandering tempo scoring McKee’s introspections. A sense of remorse and longing burbles underneath the surface, and it is this omniscient presence that drives the album. A shift in mood or pace would have made the listening journey a more interesting one – there is only so often you can travel in one direction at one speed before the landscape blurs into nothingness. McKee’s musicianship is majestic, his lyrics sharp, with Burning Boy providing the soundtrack for one man’s internal journey that hopefully leads to happier realms.

MOTION CITY SOUNDTRACK

TOM SHOWTIME

BROKEN WATER

Go

Obese

Hardly Art

Epitaph/Warner

A man can be many things, and Tom Showtime – DJ, producer and saxophonist – displays his many talents with aplomb on his debut album The Jam Thief. The record heavily features jazz-oriented production with some occasional hip hop leanings, ultimately yielding one of the most satisfying mixed-genre aural offerings so far this year. Tom Showtime’s passion for jazz holds centre stage on this album, not only in the musical samples chosen, but in the spoken samples and overall ethos of the record. Look no further than the six-minute tribute to famed saxophonist Charlie Parker, wittily titled Natural Horn Killer, which combines the meandering feel of a jazz track with slick sampling.

Ever since Glenn Branca and his merry men (including a very young Lee Ranaldo) created The Ascension in 1981, the no-wave noise rock movement has known no bounds. The band at the forefront of this sound is one that Ranaldo would go on to be a part of, Sonic Youth, but there have been 1000s of imitators attempting to harness the lightning-in-a-bottle mixture of serrated distortion, off-kilter pop aesthetics, aberrant aggression and highend audacity, with varying results. Other bands merely ape the sound and make it their own, but Washington trio Broken Water continue digging for fire on sophomore album Tempest – and come up with some burning gems.

The Jam Thief

Dubbed ‘Scrabble rock’ by the band themselves, Motion City Soundtrack’s brand of pop-punk takes less from the Blink 182s and Green Days of the world and more from the spiky keyboards of The Get Up Kids. With Justin Pierre’s complex, heart-on-sleeve lyrics leading the charge (hence the Scrabble rock), Go is much of the same from the Minnesotans. But it’s a more grown-up MCS and as a result these songs aren’t quite as immediate and sugary. Instead there are darker undertones and a pervasive angst at play. And though it may take longer to seep into your consciousness, seep it shall. Infectious melodies are a MCS trademark almost as much as the tonguetwister lyrics and while they’ve toned down the sugary, they certainly haven’t given it up entirely. As for Pierre’s lyrics, there aren’t too many who would confidently name-check Jonathan Safran Foer and Star Trek’s Captain Picard in the same sentence. Even in their darker moments MCS have always had a lyrical dexterity that is playful and often thrilling. Now that they’ve wrapped the lyrics in music that takes a bit of unlocking the really great moments feel even more like hidden gems. Bands like MCS that have managed to grow up both emotionally and musically push pop-punk well past those first few adult years and Go proves that pop-punk is just as capable of soundtracking the confusion and uncertainty of life once you’ve left your 20s behind. Danielle O’Donohue

The Jam Thief is a clever title for this record: it speaks to Tom Showtime’s decision to appropriate jazz, with its hallmark improvisation, into a more structured, productionbased sound. The album is a walking tour through syncopation and classic brass sounds, punctuated with verses on occasional tracks from Gift Of Gab, Lotek and Ash.One. In some ways, the hip hop-oriented tracks feel like they belong to a different album, particularly the slightly heavier Spaces And Places. That said, they’re relatively infrequent and spaced throughout the record, and they do serve as a reminder of the strength of Tom Showtime’s beats in a collaborative context. This album is a delicious meal of jazz and hip hop, with side orders of blues and funk. It’ll draw you into its relaxed groove and take you on a chilled, headnodding journey of great beats and late-night flavours. For those looking for the place where hip hop and jazz intersect, Tom Showtime is ready to be your guide.

Tempest

Opening number Drown is representative – chugging guitars that erupt into walls of noise, whilst drummer Kanako Pooknyw’s vocals are relatively indiscernible. She shares vocal duties with guitarist Jon Hanna, which again throws up the Sonic Youth signals, especially on Coming Down and Paranoid where Thurston Moore comparisons are inevitable. Hulking juggernaut Underground owes as much to Kurt Cobain as it does to Moore, whilst the slow dirge of River Under The River is haunting even as it bludgeons. Chantal Sezer breaks out of tradition (but not noise levels) offering a languorous pop malaise like a shoegaze ballad being played in a vat of molasses. Closing track When You Said even opens with some elegant acoustic strumming before all hell breaks loose once more. Tempest isn’t breaking new boundaries, yet that isn’t the purpose. Instead, it offers ten tracks of inimitable rawness and surprising beauty, to be played at maximum volume. Howie Tanks

Aleksia Barron

Brendan Telford

KING CANNONS THE BRIGHTEST LIGHT NEW ALBUM OUT JUNE 22 INCLUDES THE SINGLES TOO YOUNG, SHOT TO KILL AND STAND RIGHT UP ‒ BLUNT MAGAZINE

ALBUM LAUNCH TOUR / TICKETS ON SALE NOW WITH SPECIAL GUESTS MAJOR TOM & THE ATOMS

THURSDAY 21 JUNE, MELBOURNE THE TOFF IN TOWN WWW.MOSHTIX.COM.AU KINGCANNONS.COM

FOOTSTOMPMUSIC.COM

THEHARBOURAGENCY.COM

themusic.com.au

INPRESS • 29


FRONTROW@INPRESS.COM.AU

THIS WEEK IN

ARTS

MKA’S TUESDAY

WEDNESDAY 13 VCA Contemporary Plays Season – featuring the VCA 2013 acting company and production students. With plays: Ship Of Fools by Andrew Bovell; Whistling In The Theatre directed by Jane Woollard; Too Young For Ghosts by Janis Balodis, directed by Paola Unger; and Season At Sarsaparilla by Patrick White, directed by Naomi Edwards. Closing Night, VCA, 7pm.

THURSDAY 14 The Avengers – featuring iconic Marvel Super Heroes Iron Man, The Incredible Hulk, Thor, Captain America, Hawkeye and Black Widow. When an unexpected enemy emerges that threatens global safety and security, Nick Fury, director of the international peacekeeping agency known as S.H.I.E.L.D., finds himself in need of a team to pull the world back from the brink of disaster. Astor Theatre, 7.30pm. Showko Japanese Puppet Comedy – based on a 400 year old Japanese form of storytelling. The kimono wearing Shock, kneels on a cushion to perform but puts a new spin on it with her puppets and amazing ventriloquism skills to make it a more visual, fun comedy. Opening night, The Butterfly Club, 7pm until 17 June.

FRIDAY 15 Eames: The Architect & The Painter – James Franco narrates this engaging story of master Modernists, Ray and Charles Eames. Whose designs reshaped post-war America. Directed by Jason Cohn and Bill Jersey, a documentary that via archives dives into the heart of their dream factory in Venice, California. ACMI Cinemas, 6.45pm & 8.30pm.

SATURDAY 16 Let’s Dance – world premieres and classics from companies including West Australian Ballet, Sydney Dance Company Queensland Ballet, Australian Dance Theatre, Dancenorth and Expressions Dance Company. Each company has created a short piece, that demonstrates the diversity of our nation’s dance culture. Closing night, Arts Centre, State Theatre.

SUNDAY 17 Pina – a tribute to the late German choreographer, Pina Bausch who had a huge influence on modern dance since the 1970s. This film explores the life and work of this artist of movement, who made basic things like water, dirt and even gravity take on otherworldly qualities in dance. Astor Theatre, 4pm.

30 • INPRESS

Melbourne International Animation Festival – the opening of this eightday celebration of the best new, historical and retrospective animation from around the world. Across 35 programs, MIAF is a showcase of animation industry veterans to newcomers. The Opening gala is a variety of the highlights of the festival, ACMI, 7pm, until 24 June.

RAPPING AND RAVING British comedian Lenny Henry has crafted a new show addressing his lifelong flirtation with being a musician. He tells Baz McAlister all about Cradle To Rave.

MONDAY 18 Woody Allen: A Documentary – directed by Robert B Weide, a film that celebrates the remarkable career of American writer, director, comedian and neurotic, Woody Allen. Spanning over 40 years of filmmaking his distinct voice has evolved from his early days as a gag writer for television to an illustrious film career. Told through interviews with the elusive Allen and his many collaborators. Closing today, ACMI Cinemas, 2.30pm.

TUESDAY 19 Tweet Film – a screening of Beetlejuice, Tim Burton’s second feature as a director and the only movie to successfully combine the music of Danny Elfman and Harry Belafonte. And whatever your opinion of Burton’s later work, it’s hard to find detractors of this entry into the canon... oh yeah and tweeting will occur. Loop, 7.30pm.

ONGOING 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. MKA North Melbourne Pop Up Theatre, 8pm until 23 June. 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. Red Stitch Actors Theatre, 8pm until 7 July. National Interest – written and directed by Aidan Fennessy, a play about the coronial inquiry into the 1975 death of Tony Stewart, a young sound recordist for an Australian news crew in Balibo, East Timor. His murder, with those of his colleagues, at the hands of the Indonesian military had been officially covered up. Arts Centre, Fairfax Studio, 7.30pm until 21 July.

Never one to rest on his laurels, veteran comedian Lenny Henry is always seeking new ways to connect with audiences – and his latest show, Cradle To Rave, is all about his love of music. He delves into the musical moments that have defined his life in a show that’s being called ‘comedy cabaret’ by some. “I think the ‘cabaret’ element is because there’s a piano on stage – but I’ve only been playing piano since I was forty, and I’m shit,” admits the now 53 year old. “Me sitting at a piano on stage is a false image because you’re looking at a guy who wants to be a musician, but the gap between wanting to do something and actually being able to do it is huge. In the show, we are in that gap.” Henry recently read a book that talked about the idea of it taking 10,000 hours to master anything – from golf or cricket to swimming or playing an instrument. As he and his crew toured Cradle To Rave around the UK, they did some sums. “If you were to have lessons for two hours a day, it would take you nine years to master the piano,” he says. “It’s impossible, really. You’d have to start when you were too little to understand how long two hours is. I was a normal kid – I went outside and played with friends and so on. There’s a slightly antisocial thing about musicians. They don’t want to be with people, they want to be with an instrument.” It could be argued that Henry’s 10,000 hours spent hanging around with his friends prepared him perfectly for the role of comedian, and he agrees. Kicking off his acclaimed comedy career in the mid-‘70s he found success on TV in the ‘80s with his own show, and that’s when the sniff of a music career came knocking again. “I was told I had to be a comedian or a musician, I couldn’t do both.

And I chose comedy because at the time, I’d been doing it for ten years and I was doing well, and it was paying for my mum’s house. A lot of musicians would like to be funny, and a lot of comedians would like to be good musicians, but never the twain shall meet – except for Bill Bailey and Tim Minchin, because those guys are freaks of nature.” Henry’s done all right with music, for a comedian. He fronts a funk band (with Hugh Laurie on keys) called Poor White Trash, he’s sung Sex Machine on The Jonathan Ross Show, he’s sung with Bootsy Collins, Tom Jones and Kate Bush, and met Prince and Stevie Wonder – and of course he created the well-known comedy character of wild, sexy crooner Theophilus Wildebeest. “I could sing as Theo – but when you’re singing in character it’s very different to singing as your naked self,” Henry explains. And recently this Renaissance man has been getting rave reviews for his theatre performances, including notably a fantastic run as the eponymous tragic hero of Shakespeare’s Othello in England. Unsurprisingly, music features in that, too. “I would put in headphones backstage and listen to very loud hip hop to psych myself up for the scene where he has to kill Desdemona,” Henry laughs. “I’d play Ice Cube and Biggy Smalls – because it at least seemed like they had some idea of what it was like to pop a cap in someone’s ass, or at the very least slap someone around.” WHO: Lenny Henry WHAT: Cradle To Rave WHEN & WHERE: Thursday 21 & Friday 22 June, Her Majesty’s Theatre

C U LT U R A L

CRINGE

WITH REBECCA COOK

Despite standing on the roof at work with a sheet of perforated cardboard, Cringe missed the Transit of Venus, but she’s keen not to do the same with Red Stitch’s second season for 2012 which launched on Friday night. In announcing the new season, Artistic Director David Whiteley admitted he’d gathered together “some of the most unashamedly appealing shows we’ve offered in years.” The season of four internationally acclaimed plays will see Red Stitch crack the champagne on three Australian premieres – travelling through time and space, from modern day Edinburgh to 16th century Germany, to present day Yorkshire through to ‘50s suburbia. “We’ve managed to uncover a rare collection of gems for Season Two. Each of them, in very different ways, has heart, humour and humanity in abundance and I’m confident all of them will reward our characteristically adventurous audiences.” First cab off the rank will be Alexi Kaye Campbell’s The Pride in July which explores “contrasting times of chronic repression and supposed liberation for homosexual men.” The Kitchen Sink by Tom Wells is set inside a family livingroom in a faded seaside town in Yorkshire. Pitched as an “irresistibly funny and tender play” it’s about big dreams and small changes. For those who like their theatre a bit loftier than domestic dramas, David Davalos asks what if Dr Faustus, Martin Luther and Hamlet were all in Wittenberg, Germany at the same time? The result is Wittenberg: A Tragical-Comical-Historical In Two Acts. The season rounds out with a collaboration between sublime Scottish playwright David Greig

and songwriter Gordon McIntyre – Midsummer – described as a quirky love story with songs. Following on from the release of the Women In Theatre report a few months ago, it’s interesting that all four playwrights are men and there’s only one female director of the four shows. It seems the lack of women represented in the top end of the theatre industry is not just confined to home, but also a global problem. In fact a recent survey in the UK found that only around 17 percent of plays produced were by female playwrights, this is indeed worse than the 21 percent in Australia, so maybe we should think ourselves lucky – well comparatively speaking. In brief, while Red Stitch is going to take us to the other side of the world, the Australian Ballet is also heading to another exotic location – Altona. To commemorate the 50th anniversary of the company, the Federal Government is providing $2 million for the fit-out of their new production centre in Julia Gillard’s hometown. In opening the Commonwealth wallet, Arts Minister Simon Crean said the centre would be a state-of-the art facility for the creation, maintenance and storage of scenery, props, lighting and costumes. Federal Member for Gellibrand, Nicola Roxon, said the new national ballet production facility will bring a new dynamic to the Altona area. “The project is expected to deliver over 100 jobs during the construction phase and support for 200 ongoing jobs across the company, including specialist artisans and technicians with expertise in costume, set and lighting design.” Gosh it really does make Altona sound exotic – maybe the location will get a guernsey in Red Stitch’s next season.


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FRAGMENTED

a dirty word about 20 years ago, it didn’t have a lot of street cred. They’re a young, very passionate group of dancers. It’s nice to see them appreciated by audiences.”

FISH

Though dancing has taken on a whole new popularity since Gilkison and Robey were cha chaing their way around dancefloors, the former-champion wouldn’t change his own career. “We were very lucky to have had the career we had. We loved roughing it through Europe, doing competitions on the weekend. We’ve bonded with people for life – other couples from other countries from the World Championships from that generation. We’ve all done it hard. It was kind of good to do it that way. I kind of wish the dancers still had to do it a bit like that. But now they all fly business class,” Gilkison says with a laugh.

HE KNOWS HE CAN DANCE Fragmented Films’ favourite crime fighter is a sad-eyed frumpy jumper wearing uncommunicative police investigator from Copenhagen. She’s a new breed of female TV cop who doesn’t use her sexuality to either titillate the viewer or get results. Her jumper, which would be more at home on a Nordic ski slope, says it’s all about the brain. The show is Forbrydelsen (The Killing) a classic Hitchcockian whodunit filled with blind turns and red herrings. It begins with a horrific crime, with each one-hour episode charting a 24-hour period in the investigation. Its strength is its ability to interweave narratives and demonstrate the linkages between the police, the corridors of power, and those that have been touched by the crime – leading the viewer on a merry dance, always one step behind. But the key is Lund, her steely focus and the strained relationships she leaves in her wake. In The UK The Killing out rated Mad Men and Lund became a sensation. There’s actually a website dedicated to her jumper. (sarahlundsweater. com). What makes it all so addictive? Fifteen minutes before the end of the episode they ramp up the action and end either with a nailbiting cliffhanger, or at the very least a new direction in the investigation. It’s cruel and slightly manipulative but incredibly effective. The Killing Season 2 (SBS/ Madman) follows the same recipe. It begins subtly, yet even early on you start to feel the pull. As you proceed this increases to near hysterical

levels. Season 2 finds Lund banished to the provinces after the fallout from Season 1, yet she’s gradually coaxed back when Copenhagen’s homicide squad is stumped by another brutal murder. Part of the joy is that Lund is incredibly sharp, but no Sherlock Holmes. In fact often it’s her frailties that help her uncover new clues. She doesn’t switch off. Ever. And neither should you. This is the best show on the box. Danger 5 (SBS/Madman) is a self consciously kitsch parody of bad ‘60s spy films with a group of suave multinational agents sent on bizarre missions by a man with an eagle’s head to kill Nazis during WWII. With cardboard sets, bad dubbing and hackneyed dialogue, there are a few genuinely funny moments in this Australian production that is purposely terrible, perhaps a little too cool, but surprisingly fun. It was in The Slap, 30 Days Of Night, and in particular her portrayal of Laura, the beguiling patient who seduced Gabriel Byrne in HBO’s In Treatment, that Melissa George demonstrated her ability to mix it with the best. Perhaps it’s her thirst for a starring role, a cocaine addiction to finance, or perhaps she simply wanted a holiday in Scotland, but why she would bother with A Lonely Place To Die (Eagle) is mystifying. An unimaginative movieof-the-week thriller, it puts her on the side of a mountain with a bunch of adrenalin junkie rock climbers hunted by cartoon-like killers after stumbling upon a child trapped in an underground cell. Her pout is the best thing here.

THE STREET (HIGH STREET, NORTHCOTE) IS THE GALLERY Northern Exposure is a street-based arts project where local businesses and artists join forces on High Street in Northcote leaving a trail of discovery for the attentive observer. In its eighth year elements include: High Views – site specific art installed in shop windows; High Events – art related workshops, tours and events hosted on the evening of the launch and throughout the two week duration of the exhibition; and Small Works, Small Spaces – of either permanent or ephemeral artworks installed along the street in odd spots and out of the way places. More than 80 artists are involved with over 50 local businesses participating. Opening Night, Friday 15 June on display until Sunday 1 July. More info www.highstreetnorthcote.com.au.

GIVEAWAYS Look a little closer, what do you see? Thanks to Red Room Theatre we have two double passes to give away to a performance of Himmelweg (Way To Heaven) on Friday 22 June. The play was written by Juan Mayorga, translated by David Johnston and directed by Alister Smith. It tells the devastating tale of actual events that occurred during World War II, known as ‘Operation Embellishment’. This Melbourne premiere is about propaganda at its most deadly. To Enter go to www.facebook.com/inpressmag.

Jason Gilkison is a Ballroom champion. He tells Danielle O’Donohue why Ballroom is better to watch on stage than on screen. In 1981 Jason Gilkison and his dance partner Peta Robey began a dynasty as Australian Latin Ballroom Dancing champions that would last for 17 years. Now with the current renaissance in Ballroom Dancing on the small screen, Gilkison’s dynasty is Burn The Floor, a Ballroom

Dancing stage show that Gilkison has been touring since 2001. Though the show has its origins in Australia, like choreographer Gilkison, it didn’t take long before it was touring the world. “I think Australia’s always been the home of Burn The Floor,” Gilkison says. “It’s something that we never dreamed would happen. Going to Broadway in 2009 opened so many avenues for us, then after the show’s been pretty much non-stop the whole time. I’m looking forward to it being back in Australia I must admit.” With the advent of So You Think You Can Dance (a show Gilkison has choreographed numbers for in

Australia and in the US) the public’s attitude to Ballroom Dancing has changed. It’s a renaissance that Gilkison is quite proud of. “When we started we had a much older audience. We were trying to do ballroom dancing and reinvent it and give it a good kick lift and all that. What happened was we were getting traditionalists but we also wanted to tap into a younger market and since everything went to television our audiences have gotten younger and younger. “And now, it’s a completely new generation of people coming to our show. It’s people who go out and do salsa, go out and do swing dancing. We never had teenagers before. It’s good because ballroom dancing was

WHAT WE NOW KNOW Redroom Theatre’s new production, Himmelweg tells the little known story of a Red Cross visit to a Nazi concentration camp. Aleksia Barron speaks to director Alister Smith about the process of putting on the play. The Holocaust is recognised as one of the great horrors of the 20th century, yet it seems we can still be surprised by what we didn’t know. That was the case for Redroom Theatre’s artistic director Alister Smith when he came across Himmelweg, a play by Juan Mayorga about the Red Cross’s inspection of a Nazi concentration camp in 1944. What we know now – that Europe’s Jewish population was the target of an unprecedented genocide by the Nazi regime – was still the stuff of terrifying rumour for much of World War II. As a result, the experience of

WHAT: Burn The Floor WHEN & WHERE: Thursday 14 June - Saturday 30 June, Palms at Crown

nobody working on Himmelweg was either Jewish or closely connected to the community, Smith sought to form that connection himself. “We’ve made a wonderful relationship with the Jewish Holocaust Museum in Melbourne. It’s an incredible place. Just going over there, you feel the weight of this.”

IMAGE BY SARAH WALKER

WITH BOB BAKER FISH

And though he is happy to say that the kind of dancing in Burn The Floor is the kind of dancing anyone could be doing at the weekend with just a bit of practice, there’s a reason the dancers on stage in this show are there and there’s a reason that seeing dancing live on stage is so much more rewarding than watching dancing on television. “To hold an audience for two hours is very different than holding an audience for 90 seconds. You get to see the entire range of a dancer in two hours. You have to have ups and downs and ebbs and flows. I love taking time to be able to let a couple develop a relationship on stage. I love the energy that bounces off the dancers in Burn The Floor. I find that really difficult to film.”

that Red Cross inspector, who was shown around a strangely peaceful if caged Jewish community that turned out to be a living, breathing piece of propaganda, has slipped under the radar. “I can’t believe that [Himmelweg is] based on true events, that they set up a fake community to fool the world, and forced prisoners to learn scripts and act out as if it was every day, as if it was real, as a Red Cross representative was toured around,” Smith, who is directing the production, admits. “I’d never heard of that happening – I’d heard the horror stories about the

concentration camps and the death camps, but to have that happen, it’s just incredible.” Smith is passionate about the role of the arts in determining society’s discussions and he’s particularly proud to be bringing Himmelweg to Melbourne audiences for the first time. “This play has been beautifully structured in a way that’s re-engaging and re-inspiring. It doesn’t feel like a history lesson.” In taking on Himmelweg, Smith realised he would need to enlist the perspectives of people outside of his production team and cast. Since

Speaking with survivors of the Holocaust helped Smith understand the emotional landscape of his production better. “One of the wonderful things that they talk about is that none of them hate. They could so easily hate Germany and the Germans, and they said, ‘We don’t, because we’ve seen what hate can do to the world.’” He realised that Himmelweg would need to examine the dynamic between the Nazi and Jewish characters. “It would be so easy to get up on stage and just play hate and revenge and sadness, but finding those subtleties in there... [the survivors] speak about hope. It was really inspiring.” Most of all, Smith hopes people will come and see Himmelweg even though it’s not light, fluffy entertainment. Just because it’s not easy, he insists, doesn’t make it unimportant. “It’s dealing with an event in our history that we can never forget. It’s almost our civic duty as a theatre company to be sharing this story time and time again.” WHAT: Himmelweg (Way To Heaven) WHEN & WHERE: Thursday 21 June until Monday 1 July, Theatre Works INPRESS • 31


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STREET ART MEETS CIRCUS

MCQUEEN OF THE DAMNED

Sally Richardson and Skip Walker Milne, director and performer respectively, are taking graf art off the walls and into the big top in Lucy & The Lost Boys, as they tell Liza Dezfouli. Lucy & The Lost Boys sounds like the title of a wistful, old fashioned sort of story but, while there are elements of fairytales in the new work from the National Institute of Circus Arts, the aesthetic and inspirations are truly contemporary. Lucy & The Lost Boys brings to life in circus form characters you see on walls around Melbourne. The show’s director and devisor, Sally Richardson, explains: “We’ve taken some of the characters from the graffiti art and turned them into performance.” How does street art translate to the big top? “We were inspired by the figures you see flying down the walls and suspended in space,” continues Richardson. “We’re making it 3D.” Characters created by artists such as Vexta, Urban Cake Lady, Ha-Ha and Anthony Lister feature in the show. “The vision of the designer was to use real imagery from graffiti. One of the characters in the show is a graffiti artist and the actual making of street art is involved - the particular movement involved becomes part of the choreography of the show.” Skip Walker Milne, in his graduating year with NICA, has one of the ‘lead roles’, so to speak - that of Flying Boy who lives on the top of scaffolding seven metres high. He says his character (from a figure created by Vexta) makes a lot of sense to him ‘physically’. “I feel like I can empathise with the character,” he says. “I bring a certain physical energy to the table.” Preparation has been grueling. “There’s an enormous amount of physical activity. We’ve all learnt new skills that we combine with existing acts. The show isn’t like a regular stop-start show; we’re always moving. We have to do a lot of cardiovascular fitness activities.”

His grandad was Steve McQueen. His dad was in The Karate Kid, now The Vampire Diaries’ star Steven R McQueen chats to Guy Davis.

VAMPIRE DIARIES

It’s the flying aspect about the characters that particularly resonated with director Richardson. “I wish I could fly,” she says simply. “So with this show I asked, ‘How could it be about learning to fly?’ The character Lucy’s story is about her finding herself, and she performs on the flying trapeze so there’s a beautiful symmetry there, a perfect alignment with her breaking out in terms of storytelling.” Richardson notes that one of the most exciting things from a director’s perspective is the range of skills available in putting the show together. “It’s not often Australian audiences see 20 artists on stage at any one time, all working together,” she says. “They all have different skills and specialties. We can really show an array of apparatus, like a chair-swinging trapeze, and a net solo, which is a different kind of aerial performance.” Milne Walker, she says, brings a wonderful free-spirited sense of engagement with movement of his own to the show. ”He has a beautiful quality,” she adds.

McQueen’s name sounds familiar, of course. And yes, he is the grandson and namesake of the legendarily badass The Great Escape star (and the son of Chad McQueen, fondly remembered by ‘80s kids for giving Ralph Macchio grief in The Karate Kid). But even though acting is in his blood, it took him a little while to take to the family business. “When I was younger, I never thought I would act,” he says. “But growing up, I watched a lot of movies and

THEATRE

became more and more interested in giving it a try. And once I did, I found that I loved it.” Aside from a lead in the gleefully disreputable blood-and-boobs extravaganza Piranha 3D (“That was a lot of fun to make,” he laughs), The Vampire Diaries is McQueen’s main acting credit, and the role of Jeremy was one that was devised especially for the show. In the books by LJ Smith, Elena’s sibling is a little... different. “A four-year-old girl named Margaret, actually,” he smiles. “The books were really used as a bit of a guideline but the show really wanted to go in its own direction with its storylines. And Jeremy was a character they had no guidelines for because he wasn’t in the books. So it’s been interesting to see where they’ve taken him each season.” In McQueen’s words, Jeremy has “been through the wringer”, especially early on in the series. Initially a drug addict, he sought to become a vampire himself after the death of his girlfriend. In more

REVIEW

recent episodes, though, he’s become a vampire hunter with the ability to communicate with the spirits of the dead. “He started from this place of extreme weakness,” says McQueen. “He’s become callused over time, though, and now he just wants to be strong and protect the people he loves. He’s only human and can only do so much... and there are times when he fails to do so.” McQueen calls acting “therapeutic in a strange way”. “It’s fun as an actor playing all different aspects and personalities. You get to dive into your own psyche; you get to learn about yourself by exploring the emotions of other people. Jeremy’s pretty dark because he’s been through so much, and it’s sometimes hard to connect with him. But that’s kind of the fun of it.” As for the appeal of The Vampire Diaries, he feels it’s a combination of escapism and understanding.

FILM

“A lot of times in life we feel powerless,” he says. “Life throws curveballs at us and there are many things that are beyond our control. Jeremy’s dealing with that, and he can only do so much. I think it’s something a lot of people can relate to. As actors, we’re storytellers. And it’s terrific that people enjoy the stories you’re telling.” WHAT: The Vampire Diaries Season Three WHEN: Tuesdays, 8.30pm, FOX8

REVIEW

It may be urban street and contemporary, but Richardson is quick to point out that Lucy & The Lost Boys reaches beyond youth culture. “Those characters are so vibrant, they’re colourful, fantastic and fairy tale-like,” she enthuses. “There’s a beautiful connection with the movement of circus and this makes it suitable for a general audience.” WHAT: Lucy & The Lost Boys WHEN & WHERE: Tonight 13 June - Saturday 23 June, The National Circus Centre (NICA)

GIVEAWAYS We have two double passes to give away to Lucy & The Lost Boys, which features the final year circus arts students in collaboration with circus director Sally Richardson. To enter go to facebook.com/inpressmag.

SHAUN’S KICK ASS PARTY The Australian comedy community will come together at Luna Park to celebrate the young and brave life of Shaun Miller who sadly passed before the event. Proceeds from the night will raise money for HeartKids Victoria. Local rapper B-Mike, who was so touched by Shaun’s farewell message to his friends on YouTube that he wrote a song titled Stay Strong will perform at the party this Friday 15 June from 6pm. 32 • INPRESS

The supernatural TV soapie The Vampire Diaries has become something of a worldwide phenomenon, as stories about attractive young women involved in love triangles that happen to contain vampires tend to do. Among the ridiculously photogenic young cast of the series is 23-year-old Steven R McQueen, who plays Jeremy Gilbert, the dark and troubled brother (well, actually cousin – it’s complicated) of the show’s heroine Elena.

THE GLORY BOX Forty Five Downstairs The Glory Box not only nails the cabaret classics, but delivers unexpected pleasures to boot. There are no tired show numbers, saggy sequins or half-arsed stripteases here, rather burlesque acts that strike the perfect balance between the seductive, the silly and the surreal. Visual puns and inspired writing characterise the best of the skits, including Moira Finucane’s very funny finale, set to the tune of Purple Rain, Maude Davey’s atmospheric rendition

of Portishead’s Glory Box, and an ensemble piece written by Christos Tsiolkas which provides blasphemous thrills on the theme of the holy trinity. If that all sounds rather leftfield, don’t worry; there are reliable favourites including a Dance Of The Seven Veils, handkerchiefs appearing from various orifices, and flammable nipples. You have to love a flammable nipple. All to be enjoyed in the convivial bordello atmosphere of a lantern-festooned Fortyfivedownstairs. Sarah Braybrooke Running until Sunday 1 July

PROMETHEUS Ambition is among the most noble and forgiveable of faults, so I’m inclined to cut Ridley Scott’s science-fiction/horror/philosophy hybrid, Prometheus, a little slack. But ambition isn’t Prometheus’ only fault, which is why I can’t cut it too much slack. This is a big, bold endeavour, vast in its scope and (at first glance, at least) expansive in its thinking. But it’s also unwieldy and kind of incoherent at times, either unwilling or unable to meld together the deep ideas it raises and the sharp shocks of its ancestor, Scott’s 1979 sci-fi thriller, Alien.

There’s no denying the connection – to my mind, this is Scott’s attempt to both answer some questions posed by the original Alien and spin the story off in a new direction. And it’s far from a total bust – its imagery is stunning, as you might expect from a Scott movie. It has some terrific performances, with the gifted Michael Fassbender bringing a beguiling sense of menace and inquisitiveness to his portrayal of David. And it does offer hints of a deep, fascinating mythology that, sadly, goes unexplored here. Guy Davis In cinemas nationally.


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A CHILD’S VIEW OF THE ADULT WORLD Animator Lissa Pascale explains to Simon Eales about getting lost in a vortex of creativity with The Last Photo screening at the Melbourne International Animation Festival at ACMI.

Game Of Thrones is adapted from George RR Martin’s book A Song Of Ice & Fire, and is a fantasy television show that has quickly become a cult sensation. Set in the world of Westeros with murderous plots, incest, gender role discussions, harsh terrain and even harsher familial codes. David Benioff affectionately describes the series as “The Soprano’s in Middle Earth”. We’re so excited to see the finale of season two on the big screen what did we do? Posted a status update. Some of our Facebook followers seemed to share the sentiment. Here’s what they had to say about S2: “Stunning and engrossing, but getting too big for its boots with about a hundred plot lines,” writes James Cerche.

“Thematically coherent, dramatically compelling, exciting, tense as fuck and it feels frustratingly incomplete,” Jem Splitter adds Daniel Lammien’s response: “Of course it feels incomplete. It’s a series!!” He goes on to write, S2 is “Wider in scope and narrative, bolder in ideas and execution. It builds on the successes of the first season as well as carving out a place of its own. Confirming it still as the most exciting and engaging show on television.” ACMI will farewell Season 2 on the big screen on Thursday 26 July at 7pm.

At the approaching Melbourne International Animation Festival, you will likely see works that have been years in the making. Lissa Pascale’s animated short, The Last Photo, is no exception. The eight minute film will show as part of the festival’s Australian Showcase program, displaying the diverse talents of home-grown animators. The Australian Film Television and Radio School graduate’s CGI film has already been added to a bunch of festival programs around the world. It whimsically portrays the wandering imagination of a little girl whose father has just trained off to war. She waits faithfully, treading bravely through a devastated landscape.

LISSA PISCALE

GAME OF THRONES: LET THE GAMES BEGIN

THE LAST PHOTO It is a very personal film, Pascale explains. “I was inspired by a bunch of stories about war orphans, but also my family’s history involved a few people that have fought in wars. I was always really fascinated with repercussions of that through history and generations, and then my own father passing away. It was kind of a creative meditation, I guess, on grief and loss, and a personal expression of that journey. It’s surreal and not based on anything specific in my life, but I suppose the emotion behind it was inspired by my life and feelings.” The protagonist sees adult life through innocent eyes. Again, this stems from Pascale’s own parents’ confrontation with WWII. “My

Mum escaped through France, so a lot of her recollections were kind of an inspiration as well for the way a child experiences and sees catastrophe. For her, the memories are really strange and dreamlike. “My Father was really young, and fought in WWII. He went to Nagasaki a few days after the bomb was dropped, so I think his perception as well was interesting in terms of how a young person interprets extreme situations of tragedy and devastation.” Sound too plays a big role in the way the film communicates atmosphere and emotion. “I remember my Mum talking a lot about the sounds of things, like the planes going

overhead and machine guns being fired. She has a much more vivid recollection of sounds than the actual images she went through.” The initial plans for the film, including Angela Little’s orchestrated score, were created as a graduation project at AFTRS in 2008. It has been a labour of love. “I kind of dropped the film for a while. Back then it was really hard to render that much work, by yourself, on one computer. It was only when computers got a little bit faster that I could progress with the project.” Many animators showing at MIAF could probably sympathise. “Most animators work independently and are self-funded. They take years to do their projects. It’s not like a live-action film where you can shoot it potentially in a few weekends.” Festivals like this provide a great forum to support these artists and build the community in Australia, Pascale says. Despite the technological demands of animation, a great creative team behind the Macbook screen is essential. “The more collaboration you can have with people outside of the visual picture, the better, because it kind of gives you limits to work with. If you don’t have those boundaries to work within you kind of disappear in this vortex of possibilities... It always comes down to story at the end of the day. People actually need to connect with the story.” WHAT: The Last Photo, part of The Melbourne International Animation Festival WHEN & WHERE: Thursday 7 June, 5.15pm, ACMI Cinemas MIAF runs until 24 June.

INPRESS • 33


GIG OF THE WEEK

TOUR GUIDE THIS WEEK

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

INTERNATIONAL

REHAB FOR QUITTERS: June 14 Vineyard; 15 Revolver, National Hotel (Geelong); 16 Barleycorn Hotel; 17 Blue Tile Lounge 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

THE AUDREYS: June 16 Toff In Town TRIAL KENNEDY: June 23 Corner Hotel LAWRENCE ARABIA: July 4 Toff In Town FLIGHT OF THE CONCHORDS: July 14 Plenary; 15 Rod Laver Arena OF MONSTERS AND MEN: July 20 Corner Hotel

NATIONAL

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 Retreat; 15 Wheelers Hill Hotel; 16 Bended Elbow (Geelong) KELLIE LLOYD: June 15 Grace Darling MISSY HIGGINS: June 15 Costa Hall; 16, 17 Her Majesty’s Theatre THE BAMBOOS: June 16, 17 Corner MUSCLES: June 16 Bottom End INDIAN SUMMER DJS: June 16 Liberty Social THE AUDREYS: June 16 Toff GATHERER: June 16 Curtin Bandroom CASH SAVAGE & THE LAST DRINKS: June 16 Tote ABBIE CARDWELL & HER LEADING MEN: June 16 Prince of Wales NEW EMPIRE: June 17 Toff DANIEL MERRIWEATHER: June 17 Northcote Social Club

FESTIVALS

EMERGE FESTIVAL: June 1-July 31

PRESENTS

HOWLER: July 24 Corner Hotel FRIENDS: July 25 Northcote Social Club DJANGO DJANGO: July 31 Corner Hotel ELECTRIC GUEST: August 1 Northcote Social Club PENNYWISE, THE MENZINGERS, SHARKS: August 26 Palace

JACKSON FIREBIRD THURSDAY, RETREAT

At Bluesfest a couple of years back, the line-up was particularly heavy on the international heavyweights and a little light on in terms of local content. The upshot of this was that via a couple of vigorous performances, a particular almost-unheard-of local two-piece by the name of Jackson Firebird rose up into the consciousness of all passing festivalgoers (another result was an unconscious Kram being carried from the stage). They smash out the filthiest rock you’ll ever come across, with on-the-floor hand percussion. They’re from Mildura and they’ll be ripping the guts out of the Retreat Hotel every Thursday this month with River Of Snakes and Mammoth Mammoth.

JULIA STONE: September 6 Theatre Royal (Castlemaine); 7 Forum; and 8 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) BASTARDFEST 2012 (featuring Astriaal, Disentomb, Extortion and Broozer): November 3 Espy

sdfsdfsdfdsf EAST 17 PIC BY ANDREW BRISCOE

KELLIE LLOYD: Friday 15 June, Grace Darling

UPCOMING INTERNATIONAL

THE POPES: June 20 Corner 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 EDDIE SPAGHETTI, TIM ROGERS: June 30 Cherry Bar LAWRENCE ARABIA: July 4 Toff I AM GIANT: July 5 Workers Club RUSS CHIMES: July 7 Pretty Please SIMONE FELICE: July 11 Corner; 13 Meeniyan Town Hall C&C MUSIC FACTORY: July 12 Red Bennies THE BLACK SEEDS: July 12, 15 Corner SAY ANYTHING: July 13 Billboard TERROR: July 14 Corner CANCER BATS: July 14 Hi-Fi THE TEA PARTY: July 14 Palais TERROR: July 14 Corner; 15 Thornbury Theatre (AA) FLIGHT OF THE CONCHORDS: July 14 Plenary; 15 Rod Laver Arena MELISSA ETHERIDGE: July 15 Plenary

EAST 17 DJ BEN G TRAK

While investigating start times on Trak’s website, we stumble upon the deal of the century: you can purchase East 17 meet and greet passes for a remarkably low $20 upon arrival! SO worth it for a new FB profile pic! After excitedly approaching a security guard who mans the velvet rope, we are immediately directed to the back of the queue. All must have their ID scanned, which makes us feel as if we’re in Walthamstow: the London borough with a postcode made famous by tonight’s headliners. This venue is lush and all who swan down the stairs feel like VIPs. Once the main doors are opened, the timewarp tunes pump from the state of the art sound system. DJ Ben G distinguishes himself behind the ones and twos with choice selections that include Jumpin’ Jumpin’ by Destiny’s Child, Aaliyah’s Try Again and Pony by Ginuwine. Sensational cuts to worm/dance your way down toward prime real estate. As we place our bets about East 17’s opener, a nearby random insists he has no doubt it’ll be House Of Love. No equipment is being set up onstage and so a soundsystem set is what we expect. Boom. “Everybody/Everybody in the house of love/One love/One god…” Look back to exchange knowing look with aforementioned random and we’re off! The joy you feel while pogoing to this song, singing along with your arm around your mate, cannot be underestimated. This is followed, straight up, by the relentless techno beast that is Let It Rain. Main man Tony Mortimer still looks dashing in his typical geezer ensemble of multicoloured, long-sleeved checked shirt. We knew there would be no Brian Harvey onstage, but miss him during Deep because there’s inadequate emphasis on the “So rest upon my chest” bit, which Mortimer originally performed – so what gives? Latest single I Can’t Get You Off My Mind (Crazy), the first evidence of East 17 in this very trio manifestation, would be a hit if covered by One Direction, but the lyrics are hard to swallow when delivered by middle-agers: “I just can’t get you off my mind/You’re drivin’ me crazy.” “We ain’t been here since ‘94,” says the one in the turquoise t-shirt advertising South Miami Beach (Terry Coldwell) and there’s a feeling of gawking at this threesome from a safe distance – inside a glass enclosure at Trak zoo? “They don’t quite get the screams they used to in their day, do they?” my plus one observes. In front of stage left turns out to be the way to go in terms of primo posi, ‘cause the bald one (John Hendy) looks a little creepy these days. Why

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is it always the one you don’t wanna shake hands with who constantly reaches out into the crowd (after grabbing his crotch)? Mortimer plays air piano and there’s a hilarious recurring motif when introducing songs, “Who remembers this one?” We remember them all (except those lifted from their recent Dark Light album). All three of them look ecstatic to still have performance privileges, but also a little selfconscious like an assortment of uncles asked to perform while the family digests Christmas lunch. There’s certainly demand for an encore, but they return to the stage in two seconds flat – hardly enough time for a swig of water. “Who remembers this one?” And in comes Stay Another Day (pretty sure this isn’t the Christmas version with the church bells, though). Memories of roughing it in London come flooding back and although we belt out “STAY NOW!” in the correct places, these are sadly omitted from the stage. Sensitive piano trills and a gently building verse sustain the poignant mood. Temporarily. Then it drops: “Alri-ight/Alri-ight/Everything is gonna be alri-ight!” The atmosphere sizzles. It’s an uprising. Minus Harvey and devoid of stupid hats, East 17 have still got it. Sadly, the lengthy meet and greet queue sees my companion bow out of a golden profile pic opportunity and this ain’t no solo mission. So it doesn’t happen. Come on promoters, we’ve seen their street urchin oncewere rivals, now bring out Take That already! Bryget Chrisfield INPRESS • 35


JACKSON FIREBIRD PIC BY ANDREW BRISCOE

TOUR GUIDE THICK AS BLOOD: Friday 15 June, Mechanic’s Institute (Ballarat, AA); Saturday 16 Bang; Sunday 17 Phoenix Youth Centre (AA)

JAY HOAD: July 15 Northcote Social Club BENJAMIN SKEPPER: July 15 Toff BENJAMIN FRANCIS LEFTSWICH: July 17 Northcote Social Club LADYHAWKE: July 17 Billboard THE XX: July 18 Forum OF MONSTERS AND MEN: July 20 Corner 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 HYPNOTIC BRASS ENSEMBLE: July 26 Espy MUDHONEY: July 27 Corner METRIC: July 27 Billboard FUN.: July 27, 28 (U18s matinee show) Hi-Fi; FATHER JOHN MISTY: July 28 Corner HARM’S WAY, PHANTOMS: July 28 Bang; 29 Phoenix Youth Centre (U18) 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 LOON LAKE: August 11 Loft (Warrnambool); September 1 Northcote Social Club 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 THE BEACH BOYS: August 31 Rod Laver Arena AMERICA: September 6 Hamer Hall HOWARD JONES: September 7 Billboard JOOF: September 7 Brown Alley BARRY ADAMSON: September 11 Corner PATRICK WOLF: September 11 Forum EARTH: September 12 Toff; 16 Corner INGRID MICHAELSON: September 13 Corner HANSON: September 14, 18 Palace SUBHUMANS: September 15 Bendigo Hotel RUFUS WAINWRIGHT: September 15 Hamer Hall WHEATUS: September 19 Corner YELLOWCARD: September 20, 21 Hi-Fi LADY ANTEBELLUM: September 25 Palais 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

NATIONAL

JACKSON FIREBIRD: June 21, 28 Retreat; 22 Loft (Warrnambool); 30 Settlers Tavern (Mildura) 36 • INPRESS

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 THE GOLDFISH MEMORIES: June 22 Empress LIZ STRINGER: June 22 Caravan Music Club; 23 Meeniyan Town Hall DANIEL CHAMPAGNE: June 23 Caravan Music Club TRIAL KENNEDY: June 23 Corner THE LOVETONES: June 23 Workers Club BARBARION: June 23 Tote NED COLLETTE & WIREWALKER: June 23 Northcote Social Club ABBIE CARDWELL & HER LEADING MEN: June 23, 30 Prince of Wales BUSBY MAROU: June 27 Bended Elbow (Geelong); 28 Corner KIRIN J CALLINAN: June 28 The Tote KINGSWOOD, MONEY FOR ROPE, DAMN TERRAN: June 28, 29 Workers Club 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 WORLD’S END PRESS: June 29 Corner BREAKING HART BENTON: June 30 Pure Pop Records, Wesley Anne; July 24 Old Bar HUGO RACE: July 1 Northcote Social Club HAYDEN CALNIN: July 2, 9, 16, 23, 30 Toff GREY GHOST: July 4, 11, 18, 25 Workers Club SURES: July 5 Northcote Social Club CLUBFEET: July 5 Toff KARNIVOOL: July 5 Hi-Fi; 8 Bended Elbow (Geelong) JONATHAN BOULET: July 6 Prince Bandroom THE NIGHT TERRORS: July 7 Toff 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 GEORGIA FAIR: July 12 Toff THE SIDE-TRACKED FIASCO: July 12 Bendigo Hotel SOPHIE KOH: July 13 Northcote Social Club WHITEHOUSE: July 13 Laundry Bar VAN SHE: July 13 Hi-Fi CAMERAS: July 13 Can’t Say at Platform One; 14 Workers Club; 15 Pure Pop Records FRASER A GORMAN: July 14 Toff 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 MILLIONS: July 20 Northcote Social Club THE FUMES: July 22 National Hotel; 21 Workers Club 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) FRENZAL RHOMB: August 3 Hi-Fi; 4 Pier Live TIM FREEDMAN: August 10, 11 Bennetts Lane LANIE LANE: August 10 Stones Of The Yarra Valley (Coldstream); 11 Westernport Hotel (San Remo); 12 Caravan Music Club; September 20 Beav’s Bar (Geelong); 21 Loft (Warnambool); 22 Theatre Royal (Castlemaine) JINJA SAFARI, OPOSSUM, WHITE ARROWS: August 10, 11 (U18) Hi-Fi CHILDREN COLLIDE: August 10 Corner; September 7 Yahoo Bar (Shepparton); 8 Bended Elbow (Geelong) BUTTERFLY BOUCHER: August 12 Toff ILLY: August 18 Black Swan Hotel (Bendigo); 20 Swindlers (Mt Hotham); September 7, 8(U18) Corner; 8 Kay St (Traralgon) KATE MILLER-HEIDKE: August 14 Corner 1927, THE REMBRANDTS: August 24 Palms At Crown HILLTOP HOODS: August 24 Setts (Mildura); 25 Festival Hall; 26 New Albury Hotel

JACKSON FIREBIRD, RIVER OF SNAKES RETREAT: 07/06/12

River Of Snakes are smokin’. Bass player Elissa Rose is just about setting the stage on fire. Better yet, the lady can play. The room is light and the mirror ball twirls disco dots on still masticating dinners as a couple of diehard fluoro-haired rockers swagger in front of the stage. Belting straight into Smashing The Beast, people begin to decline their chairs and saunter toward the stage to get a closer look at this extraordinary noise expellant. Track Aurora (self-described by crazed frontman Raul Sanchez as an “illuminescent phenomenon”), shows us River Of Snakes are living up to their fast growing reputation of pulsing, sexy, distortion punk that flies out from the stage and kicks you in the proverbial gonads. “Thanks for coming down… cunts,” says Sanchez, before burping into the microphone and launching into a whiplash rendition of Bikini Kill’s Rebel Girl. Around the moment Sanchez puts the entire microphone in his mouth is the moment we’ve cemented our seats at their next show, germ risks for the next singer aside. Lights go down, tables are put to the side and bodies file onto the floor as the thumping sound of a mic’d up, soup’d up ‘bottle bin’ is beaten on the floor of the stage. Heavy, blues-driven riffs dive atop the beat and, with the addition of megaphone-effect vocals, we are thrown headlong into a Firebird explosion. In case you were wondering, if Creedence Clearwater Revival, Splatterheads and Bob Log III were to produce a love child, Jackson Firebird is what it might sound like. There is an open ‘90s influence aboard a raw, blues-driven rock edge where everything is tweaked to a stellar level; their speed and precision are utterly impressive (we think guitarist Brendan Harvey may have lost the tip of a finger at one point) and both men have sexy, strong vocals to boot. Yet there is almost a parody involved in the performance, a satirical twist to their lyrics and physical approach (their debut album is titled Cock Rockin’) that suggests they don’t take themselves too seriously, while still having one helluva good time. “Thanks for coming down on a Thurrrrrrsday,” growls Harvey, as drummer Dale Hudak adjusts the sweatband around his forehead. To the rapturous applause of the onlookers, their last song begins with Hudak doing a flying leap from an amp and ends with him in a double-handed devil rock salute from the floor. Unfortunately they don’t really have anywhere to travel after this grand finish, so the encore probably could have been left off, thus ending the show on an ultimate high. However, it is dazzling, skilful and entertaining just the way rock’n’roll should be. Esther Rivers

SIMPLE PLAN

FESTIVAL HALL: 02/06/12 A decade since the band first graced Australian stages at the ill-fated M-One Festival, when the group was positioned alongside industry heavyweights like Nickelback and The Goo Goo Dolls, the career of Canadian band Simple Plan has followed an upward path. Tonight they play at Festival Hall, which may appear to be a step down from their usual stadium-sized venues, however this reviewer duly appreciates the spaciousness and intimacy. Opening with Shut Up! – their PG-rated counter-culture anthem – soon followed by the instructional Jump, the crowd is already in hysterics, helped in part by support act We The Kings. Simple Plan’s new, Sean Paul-featuring single, Summer Paradise – a clichéd stanza of a melting heart and a burning sun – introduces the first use of props onstage in the form of giant inflatable beach balls. The song is radio-reggae in the way that Train and Bruno Mars have flirtatiously populated the genre for commercial success. As they bounce through the song, so do the 30-plus beach balls, ping-ponging back and

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forth from each side of the venue. If anything, it makes for an amusing visual medium. Mid-set, they break into a medley of top 40 hits including Moves Like Jagger (Maroon 5 Feat Christina Aguilera), Dynamite (Taio Cruz) and Sexy And I Know It (LMFAO). The crowd laps it up. (So too, no doubt, the radio station sponsoring the tour.) Sixteen-year-old X Factor finalist Christina Parie Perri soon joins the band onstage. Not to be confused with American songwriter Christina Perri (who takes to the Palais stage just a couple of postcodes away on this very night), she has an unassuming exuberance about her as if she were plucked from nowhere. Truth is, she probably was. Trading lines, they fly through Jet Lag, the audience, showing disregard for duet conventions by singing both parts at excessive decibels. They close with an acoustic rendition of Perfect. Like Welcome To My Life before it, vocalist Pierre Bouvier plays the part of protagonist in a personal conflict of self-loathing. It lacks authenticity but the audience seems oblivious, granting the journal-like lyrics their own context and meaning. Over 90 minutes, Simple Plan works the crowd from start to finish and display the showmanship that comes with years of touring. With a decade worth of hits and a legion of die-hard fans on the other side of the world, the band’s trajectory remains onwards and upwards; or at least until they play Caloundra RSL next week. Brendan Hitchens

TZU, GALAPOGOOSE THE CORNER: 01/06/12

“I’m going to play some very, very strange music for you,” says the ponytailed young man standing on the stage. His name is Trent, but tonight he goes by Galapogoose, and his strange, experimental sound is certainly not what the hip hop fans filtering into the room were expecting. At least two are heard to nervously ask, “Is this the right show?” as Galapogoose cuts up Send In The Clowns, adding in plenty of odd electronica flourishes and plenty of enthusiastic head-nodding. As the set goes on, he offers a bit more consistency around his beats, which get a few people dancing. Mostly, however, everyone just looks confused. TZU are warmly welcomed on stage by a crowd that has clearly missed them. It’s been far, far too long between drinks, and as Joelistics and Countbounce launch into the opening verses of We Got The Feeling, the entire audience seems to be feeling “naturally high like a rush of endorphins”. Next up, we’re going back in time with Dam Busters, which feels brilliantly fresh for a track approaching its tenth birthday. And then, it’s time for the new material. The set is a clear signal of TZU’s intentions for the future, and that will involve a significant musical style change. They’ve been flirting with electronica for a while, but their new tracks, which blend an Empire Of The Sun-style frivolity with the intensity of the Silversun Pickups, seem to be dispensing with rap entirely. The audience seems mostly receptive – the new tracks certainly earn plenty of cheers, particularly the recent single, Beginning Of The End. However, there are also a few people yelling, “Play more old shit!” after every new song. Many of TZU’s fans will likely come along for the ride as they test new waters musically, but a few don’t seem likely to make the leap. TZU know it, too: “Thanks for putting up with that new material!” Returning to the old material puts the crowd back in their comfort zone, singing along to Mondays and Wild Stylee. On stage, TZU are simply brilliant: there’s brilliant synchronicity between the two vocalists, and plenty of depth coming out of what Joelistics loves to call “the backline”. Closing the evening with Step To The Pressure, it’s clear that TZU have the chops to carve up a stage and some seriously adoring fans. Hopefully, their people will come along for the ride even as they depart from the hip hop framework. Aleksia Barron


at, something that can also be said for the rest of the band. The bulk of the show consists of songs from their most recent album, M1, which saw the band move away from flamenco guitar-based world music sounds to a more electro beat-driven sound. When the curtains open it takes a while for the five Gold Coast men to tumble onto the stage but when they do, they kick things off with a hectic instrumental. They are all amazing musicians and are clearly all thoroughly enjoying themselves. They play the hypnotic Rise Up, then the butt-shaking Letting It Go, which George dedicates to everyone who has to work tomorrow as he kicks off his shoes to prowl the stage barefoot. They chuck in a couple of brand new numbers, including the one George declares his current favourite, which is full of flamenco guitar and fat, squelchy grooves - just what Tijuana Cartel is best at. It’s pretty hard to get a Northcote crowd jumping on a Sunday night but Tijuana Cartel does it easily, through the power of contagious passion. At one stage George plays his guitar flat on the floor, kicking over his beer in his enthusiasm. There’s a big dancing contingent down front of stage that goes crazy when they play White Dove. For the encore, Carey O’Sullivan, the man in charge of the beats, comes out from behind his equipment to play a flamenco guitar instrumental with George. Watching the two men play with such skill is mesmerising. The band finishes off with an epic instrumental freakout, with Blue King Brown’s percussionist Salvador Persico and a couple of members of Pigeon added to the mix. It’s a crazed and sweaty finish to an excellent gig. GRAVEYARD TRAIN PIC BY LOU LOU NUTT

GRAVEYARD TRAIN, HOWL AT THE MOON, JACKALS HI-FI BAR: 03/06/12

You know you’re in for an interesting night when the stage is adorned with mannequin heads and daisy chains. Keeping closely in theme with the ‘spook’ is opening act Jackals, who thrill with heavy reverb and measured, mighty beats. Multi-instrumentalist Mike Lillis ensures most eyes are firmly glued to his side of the stage as he rotates between the clarinet, piano accordion and one impressive handmade guitar resembling a belt of frets. They end with the cryptic and resounding VST; however it’s the line, “Walking down Slag Street” from an earlier song that sticks. Howl At The Moon arrive next with some mean-looking equipment. Their tunes are absolutely absorbing and akin to that of PJ Harvey, with highlight, The Hostage, drawing the biggest applause. There’s definitely no shortage of beards, red lipstick and polka dots. The Hi-Fi is packed to the brim, the crowd obviously keen to see horror-country outfit Graveyard Train for the second night in a row, a remarkable feat for the Melbourne lads. Word on the street suggests that last night’s show was phenomenal, further raising the stakes for tonight. The lights are cut as the sweet sound of the Willy Wonka tune, Pure Imagination, rings through the room while the daisy chains glow – a glorious, suggestive disparity before what’s to come. The six men pile onstage with a demonic presence that can only be seen to believe, opening with One Foot In The Grave from their highly acclaimed new album, Hollow. From the word go, their sinister undertone is exposed, one that’s both fearsome and addictive as all hell. Beau Skowron has devilish, bulging eyes that roam around the crowd, wickedly licking his lips in a satanic way. Their unparalleled set invites ominous rumblings through banter and song, especially when united to form an all-male choir, producing deep, sonorous vocals that shoot up your spine. Their killer new single, I’m Gone, is fast and sweaty, along with many of their new ones. Lead singer Nick Finch and band share a solid camaraderie that elevates the set, especially when they play old favourites from The Drink, The Devil And The Dance. Bit By A Dog is a highlight and one that has the crowd crooning every word while the band furiously belt away to a masterly, haunting rhythm. There’s no filler, no ‘time-to-go-to-the-bar’ songs, only pure animated madness that has you hooked from start to finish. They’re unrivalled and unlike anything you’ll ever see in the way of live music.

crowd hanging out at the Laundry Bar watching NTSC spinning some tunes on the decks. Still, you don’t become the reigning pioneers of Australian hip hop without a few tricks up your sleeve. When Def Wish Cast finally take to the stage, they rev the crowd up from a standing start. Within ten seconds of their first track, the room is pumping. Knights Of The Underground Table is an early highlight, eliciting a massive reaction from a crowd whose love of Australian hip hop predates its popularity. With a group history spanning over 20 years, there’s been plenty of time for side projects, and they’re given centre stage here. Sereck’s Celsius drops a couple of tracks, with Killawattz (Def Wish and Die C) following with the brilliant Killa Kombo. The journey through the back catalogue makes its way to 1996, and the mood of the room reaches new heights with AUS Down and Allstars. It must be said that Def Wish is in a league of his own when it comes to lyrical delivery – he nails his rapid-fire lines with precision and precipitous talent. Still, Sereck and Die C may not drop impossibly fast triple-time bars, but their onstage charisma keeps the set from becoming a one-man show. Indeed, one of the best hip hop sets of the year is unfolding right here on stage. It’s time for the new material and Thomas Rock steps up to the stage wearing a fantastic vocoder mask (it even lights up!). They launch into Evolution Machine, then Dun Proppa, and the sound is amazing – not only are the lyrics as strong and sharp as ever, but Def Wish Cast have clearly embraced every technological advance in sound production that’s happened in the last five years. The result is a rich, deep style of production that shakes the entire room. It’s huge. Having paved the way for Australian hip hop’s rise in popularity, Def Wish Cast are justly regarded as pioneers of the style. However, tonight they’ve proven themselves to be more than that – they’re continuing to lead the charge today, with new tracks that showcase their much-vaunted skills as well as genuine musical growth. Aleksia Barron

TIJUANA CARTEL, PIGEON

NORTHCOTE SOCIAL CLUB: 27/05/12

LAUNDRY BAR: 02/06/2012 It’s quiet… too quiet. Maybe it’s the near-freezing temperatures, or maybe it’s a city in shock over the surprise victory of the Demons over the Bombers. Whatever the reason, it’s a surprisingly small

Paul George is a totally engaging frontman. He’s got it all: charisma, a great voice and insane flamenco guitar skills, and he clearly totally enjoys performing. He is also not a difficult man to look

DEF WISH CAST

COCKS ARQUETTE, ZOND, PEARLS, URNS TOTE: 08/06/12

The messy sonic onslaught of Pigeon is a Sunday night slap in the face. There’s no excuse for the horrible vocoder action, the terrible lyrics, for generally being what Rat Vs Possum would be if they were shit. But most of all there is no excuse for the Phil Collins cover. Just Another Day In Paradise feels like hell, and the devil himself appears when they chuck in the Baker Street sax breakdown. I am very, very happy when Tijuana Cartel step on stage.

Madeleine O’Gorman

Kate Kingsmill

A good match for the night’s miserable weather, Urns get heavy early. The frontman may be screaming in English, can’t be sure, but he does an accurate job of capturing the first ten or 15 minutes of an Egyptian prison-style interrogation (When you still have energy to scream with outrage, but before they cut out your tongue). Effortlessly crossing into some deep doom breakdowns, even the staunchest arm-crossers in the sparse crowd have to get their ‘occult-ritual sway’ on. Some heads nod slightly and, being a Melbourne crowd, this probably means Urns are going to be huge. Judging by aesthetics, one can imagine that the members of Pearls spend most of their time driving around together in a minivan solving mysteries with their canine sidekick. Tonight they get together to play some bittersweet, heroin rock. Lush guitar drones and ethereal, reverb-drenched female vocals float above organs and drums that seem to switch between rock swagger and a drunken stumble, calling to mind Murder City Devils at times. The male singer’s loaded croon renders the songs less desperate, but more comfortably depressed. The Tote seems considerably packed by the time Zond take the stage. As always, they deliver an intense semi-instrumental set, full of tremolo picking and a non-stop drum clinic. Hypnotic, fuzzy and often triumphantly confident in their mastery of noise, Zond make everyone in the crowd a little more cultured. Whilst watching Cocks Arquette launch their album, the words ‘avant-garde’ keeps entering my thoughts. So there. It’s said. Within the genrehopping set we witness some kosmische intros, usually followed by bursts of post-hardcore and a whole lot of meditative swirling and screeching oscillations. Digital excretions, mostly emanating out of the pile of wires, blinking LEDs and DI boxes that sit on a desk in front of the bandleader, aside from attracting comparisons to Mike Patton, mostly serve to make audience members feel nauseousness and vertigo, the masochistic kind that you experience inhaling whippets or watching beheading videos. The headliner’s set ends the way every good four-band bill should end: with a five-guitar, double-drum kit, stoner-doom epic that may have some of the crowd experiencing either enlightenment or epilepsy. Hats off to the person responsible for booking this show: four great bands with completely different styles, yet they somehow perfectly match. An effective means of splicing and combining a few of Melbourne’s infinitely disparate scenes. Dylan Hewitt

CANYONS, NO ZU

NORTHCOTE SOCIAL CLUB Finally. A band that’s not only passionate and entertaining, but quirky, innovative and fresh. NO ZU are a whacky blend of electro, jungle funk

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and psychedelia. They bring new meaning to the phrase ‘bells and whistles’, but with zero negative connotations. They ARE the bells and whistles; and drums (by four) and shakers and bass and sticks and dance moves and lunges and echoes and smiles. At first there is scepticism, as the near-empty bandroom is littered with a dozen or so people that have made a semi-circle around the back edges of the room. Yet as Nicholas Oogjes and his band of merry men (and woman) play on, they bridge the gap between stage and audience with their infectious energy. Did someone say, “Top pick for Meredith?” No. It was just an ocker guy behind us saying, “They’re goin’ AWF.” But that’s what he should have said. Props for originality, a refreshing approach and for planting the beat under our feet, NO ZU. Canyons have a hard act to follow. Electronic duo Ryan Grieve and Leo Thomson take the stage (after a lengthy changeover) to kickstart the set with a drums and synth intro. Grieve bops along to his automated beat, head in rhythm, and doesn’t stop for the entirety of the show. Moving into the second track, they are joined by a percussionist, bassist and, when drums are taken over, Thomson moves to guitar. Smatterings of distorted psych licks are dropped into the tracks, allowing a wraithlike giddiness to wash over as you lose yourself in the beat of metaphoric valleys and, well, canyons. By now the whole crowd, at first timidly approaching the stage, are swaying and moving together, eyes closed, lost in the pulse. Sounds of the desert filter to us from the percussion corner: rattlesnakes, frogs and birds. The crowd are moving in ways that are ugly and uninhibited – the best kind of dancing. It means that they don’t necessarily understand the music or why they like it, they just do and so they dance. Cheers abound as Thomson finishes a song and utters, “[How] quiet it is in here”. The poor bass player is sweating buckets and looks as if he might keel over at any second, though keeps at it with an iron will. Mid-set it is explained that he has the flu, so stellar effort there. Thomson’s vocals are lacklustre and inconsistent at times, yet hardly the key to this experimentation of sound with omnipresent electronics. The duo’s multi-instrumental abilities are impressive and for lovers of house music, Canyons are just the ticket. Esther Rivers

DEEP SEA ARCADE, THE CAIROS, WOE & FLUTTER PHOENIX PUBLIC HOUSE: 08/06/12

It is so brilliant to walk into a gig and immediately start grooving to the music of the first support band. Woe & Flutter are young, loud and exude indie-punk rhythm. This four-piece from the Gold Coast has traces of Nirvana in their tunes while also displaying their own unique sound and stage presence. Sharehouse Blues is a hit with its universal experience of bed bugs, stoner housemates and terrible decor. The pun bandname is cute: a play on the term ‘wow and flutter’, meaning imperfections in sound quality such as pitch changes or warbling sounds. If this is a joke about their talents, there is no evidence of it tonight. Woe & Flutter are so much fun, especially their closing song that pounds with lo-fi punk intensity. The Cairos have honed their musical chops with major support slots and it shows. Seasons Of Snow is full of sonic energy and soaring vocals. There are funky grooves and tasty guitar work on offer. A highlight is Shame, with its angst-ridden melody. Their Bette Davis Eyes cover leaves the Gwyneth Paltrow version in the shade, and We All Buy Stars is an ‘80s throwback with echoes of Midnight Oil. The set has it all: fantastic pop hooks, memorable melodies and lovely three-part harmonies. Deep Sea Arcade morph onto the stage with quiet confidence. Seen No Right opens with a peppy, ‘60s handclap rhythm and catchy chorus. Granite City starts with a laidback groove segueing into a great danceable rhythm. The Devil Won’t Take You is pure slinky, sexy goodness. The saccharine sweet melody of Steam gets the crowd going, and when the surf guitar-riff of Lonely In Your Arms kicks in, that’s the cue for sing-along bopping and hands waving in the air. Ride sees the pace slow down with its psychedelic wispy energy. In a break between songs, vocalist Nic McKenzie asks if he can take a photo of the crowd and is answered by grinning faces and beer bottles thrust into the air by energetic arms. Popular single Girls gets everybody dancing as the low bass riff gives way to swirling harmonies. Mention must be made of the amazing sound quality at the Phoenix Public House that contributes to how excellent all three bands sound; it is sad that Melbourne is losing such a fantastic venue as Phoenix closes its doors to bands on Tuesday 12 June. Woe & Flutter are the spark of the evening, The Cairos are the polish and Deep Sea Arcade are the woozy afterglow. Jaye Weatherburn INPRESS • 37


THREE ON THURSDAY

This Thursday’s line-up at Yah Yah’s brings together Melbourne’s most exciting guitar-based pop bands. Kicking off the night is Mad Nanna, a rough around the edges but beautifully melded forlorn, offbeat band. Squished in the middle are Autoportraits, delivering melodic, heartfelt pop songs with an upbeat, memorable flair, solid rhythms with the dueling harmonies of female/male vocals. Rounding out the night are The Stevens with their jangling sound of post-punk, catchy pop riffs and multicoloured melodies, still fresh from their choc-a-block album launch. Doors are at 9pm and entry’s $7.

THE VENDETTAS RETURN TO YAH YAH’S

KID MAC’S NO MAN’S LAND TOUR Kid Mac’s No Man’s Land tour kicks off on Friday 29 June to celebrate the release of Mac’s highly anticipated album. Having just won Artist Of The Year and Best Video at the 2012 MusicOz Awards, Mac will take his No Man’s Land Tour around the country. Kid Mac delivered his first track off the album in April; the super punchy She Goes Off featuring US artist Mickey Avalon. She Goes Off has already clocked over 130,000 views on YouTube and features cameos from Snoop Dogg, Steve Aoki and Sarah McLeod. The song is getting airplay on Nova nationally and MTV. Off the back of an Australian tour with Mickey Avalon, Kid Mac will head off on his headline tour. See him perform at the Westernport Hotel (San Remo) on Friday 6 and the Espy’s Gershwin Room on Saturday 7 July.

38 • INPRESS

It has been a busy time for The Vendettas since the release of their debut album Burn last year, the five-piece frequently hitting the local scene with some notable gigs at the Retreat, Cherry Bar, the Espy and the Palace (House Of Rock) while pushing their national profile playing in Adelaide and Tasmania. This tireless hard work has made the lads a well-oiled rock’n’roll machine, with good news that talk of recording a second album is on the cards. This Friday at Yah Yah’s The Vendettas return to where it all started, bringing Idle Hands and Damn That River along for the ride. Free entry for all. Doors are at 5pm and the music starts at 9pm.

ULTRA CURDS

With a jazz beats vibe fusing equal parts jazz, soul, funk and reggae, original Melbourne based group Curds N Grains lay down a solid and intelligent groove to move your mood toward the kaleidoscopic. Ultravibralux are a cocktail of nasty funk, jazz and Afro-inspired rhythms, born out of a string of heady psychotropic jams that took place in the misty Dandenong Ranges one million years ago. Check both bands out at Yah Yah’s this Sunday from 8pm. Entry’s free.

HEAVEN AT THE EVELYN

After ten years, Australian heavy rock outfit Heaven are back. They found success in the US

during the ‘80s, supporting the likes of Motley Crue, Motorhead, Dio, Iron Maiden and Judas Priest. Their knack for making hard-driving yet melodic songs ensured they were formidable arena players, performing alongside the best of the big guns. Catch their comeback show at the Evelyn Hotel this Friday with support from Hazmat.

LAUNDRY WEDNESDAYS

At Laundry Bar tonight, Carmex and Baddums will be doing their deep, dark and minimal dubstep and drum’n’bass thing. Back with a bang with special guest Kamo on board, the Laundry will be reunited with the sound that surfaced there around 2008 with Bass-High Sessions and Heavy Innit; two big names in the early beginnings of the dubstep movement here in Melbourne. Doors from 9pm ‘til late and entry is free.

will be the lovely Ali E. The show’s on every Monday night in June from 8pm and it’s free.

NANTES AT WORKERS

Following the recent release of their latest single Unsatisfy, Nantes have enlisted the talents of three DJ/producer teams to rework their single for a remix EP. The new EP is set to coincide with the announcement of supports for their upcoming Satisfy The Unsatisfied east coast tour in June. This year has already been a busy one for the band. They hit the road running in February with Millions and Northeast Party House on the Triple Treat Tour and have also returned to the studio to begin work on their debut album, with Unsatisfy materialising as an undeniably strong first statement. Catch them at the Workers Club this Friday with support from Dirt Farmer and Them Swoops.

MIKELANGELO PLAYS FAVOURITES

Mikelangelo returns to the Old Bar to perform four of his favourite albums by monumental artists that shaped his ears as a lad. Each week he will tackle a different album and will be joined by different guests on this epic undertaking; tonight it’s Nick Cave & The Bad Seeds’ Your Funeral My Trial with Julitha Ryan. These are all albums that Mikelangelo has happily fallen asleep listening to over the years, thus they have worked their strange magic on his dreams and become pivotal influences on his singing and his songwriting. Each guest will perform their own set to open the night and will then will also join Mikelangelo in his set. Knowing the man of action, other guests are bound to pop up during the residency as well.

BJORD BORD AT THE OLDIE

Blake from The Peep Tempel will be playing songs from his not to be recorded side project, Bjorn Bord. For three nights only, exclusive to the Old Bar, he will be celebrating the recent end to his 20s by singing about how fruitless and generally fucked they were... No better way to cheer yourself up on a cold Monday night! Joining him

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INTO THE WOODS AT THE EMPRESS

This Saturday Into The Woods will be dazzling the Empress with their sweet hooks and tasty licks. Retro in the sense that everything before now is actually retrospective, Into The Woods will be fusing malt-shop pop with diet soda to get malt shop diet soda pop. Joining the malt shop fusion are the popular rock sound explosion of The Staffords and their good friends, Running Away With The Circus, with their kaleidoscopic folk. What this all actually means, can only be found by attending. Keep it secret, keep it safe.


Hammond Aurora Classic after being discovered on Spicks & Specks. Catch Barry Morgan at the Regal Ballroom on Saturday 30 June.

HIGH TIMES

INTERNAL NIGHTMARE’S WAR ON SILENCE

DANCING INTO THE NIGHT

Melbourne-based four piece Dancing Heals are set to return to the stage after several months’ break from the live circuit, with the launch of their debut album Into The Night on Friday 13 July at Cherry Bar, with special guests Planet Love Sound and The Corsairs making a dream line-up. Included on the album is last year’s single, Diamonds, which garnered airplay on US college and internet radio stations, and was added to the KCRW music library. Doors open at 8pm and entry is $13.

JAMAICAN JUMP UP WEEKENDER

The dedicated band of music lovers that are the Way Out West group have been looking after the blues and roots folks for over a decade but for the first time they present a weekend of all things Jamaican. Kicking off this Friday night, The Ska Vendors continue their Friday night monthly residency by acting as backing band for one of Australia’s hidden vocal treasures, Pat Powell. On Sunday, Nicki Bomba leads Bustamento for an afternoon of island grooves. This show is part of an extensive Australian tour to celebrate the release of the album Intrepid Adventures To The Lost Riddim Islands and the single Manana from the album. Kilmarnock Steve will be on hand to play original Jamaican vinyl to keep the vibe grooving. It all happens from 8pm this Friday at the Williamstown RSL.

CLAUDE HAY AT RETREAT AND BAHA

Following a massive year of touring overseas in 2011, Claude Hay has being bunkering down in the first half of this year to finish recording his third release I Love Hate You; an album where Hay both laments and rejoices different aspects of his life. Claude Hay now returns to the road to do some prealbum release shows. The full album national launch is due in October. Catch Claude Hay at the Retreat tonight and at Baha Tacos (Rye) this Saturday.

BARRY MORGAN’S ORGAN

Adelaide’s favourite organ salesman Barry Morgan has caused a stir on social media this morning with the launch last night of his new video clip for Big Bossa. The video has caught the attention of fans the world over including the US’s current #1 artist Gotye, one of the first to tweet and Facebook the clip. Barry Morgan is the celebrity organ salesman (performed by musician/comedian Stephen Teakle) who has wooed audiences with the golden syrup sounds of his vintage 1980s

THE TOOT TOOT TOOTS RESIDENCY

Melbourne chaotic death thrash trio Internal Nightmare have released the cover to their upcoming promotional CD War Of Silence. With three brand new songs to release on the CD, Internal Nightmare are showcasing their new direction, with a teaser for their fans. Internal Nightmare have released the first tune War Of Silence exclusively through HEAVY Magazine’s Mixed Tape. A launch party will be announced soon, where limited edition physical copies of War Of Silence will be available for purchase. In the meantime, check out Internal Nightmare supporting murder metal maniacs Macabre at the Bendigo Hotel on Tuesday 26 June with The Mung and at the Nash Sunday 1 July with King Parrot.

Ahead of the upcoming Eight Miles High psych extravaganza at Yah Yah’s, Samson McDougall catches up with The Demon Parade’s Michael Badger and Lowtide’s Giles Simon. LOWTIDE

CLOSING NIGHT FOR THE SPHERES Audio-visual ensemble The Spheres play a very special show in No Vacancy’s QV gallery as part of the closing night celebrations of their exhibition The Book Of Hours this Sunday. Promising to be a unique performance of multi-screen projection and live experimental music bookending their week-long AV residency in the QV Gallery, The Spheres will be previewing tracks from their new album which is scheduled for release later this year. Doors open at 6pm and entry is $7.

EMMA LOUISE SPARKS TOUR It’s been an whirlwind 12 months for Emma Louise with a raft of sold out shows and 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.

MELODY MOON GETS CARRIED AWAY Melody Moon will launch her new EP Carried Away on Friday 29 June at the Wesley Anne. After a successful year of touring and songwriting, this rising indie-folkstress is back with a unique lineup and enticing sound. The five-track EP features Moon’s Bjork-esque vocals and honest presence that lends itself to daring cello lines, passionate harmonies, tinkles of ukulele and sweeping bursts of trumpet. Carried Away will be available on the night on CD and special edition cassette tapes. Melody Moon will be supported by Tane EmiaMoore, Frankie Andrew and Tom Francis.

It’s that time of year again; the weather is getting colder, the Unicorns are on the field and 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 starts at 8pm.

How did your band come to be? MB: I spent a year of writing songs and layering instruments by myself in my studio. It was the first time I had not been in a band since I was a young teenager so I had the freedom to create anything I wanted, using any instrument I wanted. 2008 was a very self indulgent year – there seemed to be a lot of changes in society and I recall there being a hell of a lot of drugs around that year. Looking back on all the songs I wrote that year I can see why I created what I did at the time. GS: Gabe [Lewis] was making some ambient music as Three Month Sunset and that is where the band came out of really, Gabe’s guitar sound. We added everything around that and then eventually morphed into Lowtide. You make psychedelic music, would you call yourselves particularly psychedelic people? MB: I’m not sure how one would be classified as a “psychedelic person” in this day and age in comparison to the late ‘60s. We are inspired by everything around us, love the sound of big spacious guitars accompanied by harmonies, and most of all we love what we do. GS: Definitely, we all have deep connections to the psyche. Gabe’s psychedelia is more oriented around punk and metal, Anton [Jakovljevic] and Lucy [Buckeridge] get right into their cat.1 stimulants, while mine is more of a pastoral psychedelia. Think Flying Saucer Attack and rock balancing. Psychedelic music has been mutating for over 50 years now, was there a particular period of psych history that inspired your sound? MB: I will have to give a very broad answer and say that I have favourite psych bands from each period. I may have discovered each of them for different reasons. Early on I was rather influenced by ‘60s music. I think I stumbled across The Small Faces’ Ogdens Nut Gone Flake when I was about eight years old. My parents were in bands in the ‘80s and ‘90s and they were heavily influenced by The Church and maybe even a bit of Blue Cheer, so I was constantly around it all the time. I joined my first band in the late ‘90s so I caught the tail end of the Brit-pop movement. What people call psychedelic music however, should really be referred to as a style of music where artists can combine different cultures and make something new. Growing up I would never say I was actually into the psychedelic scene nor did I ever try to be psychedelic. I am also influenced by Middle Eastern music as my relatives were originally from Lebanon, so as a very young child I can remember listening to traditional Middle Eastern music. I’m sure that influence has a lot to do with what I create today. GS: I think the classic ‘60s period of west-coast psych bands such as The Beach Boys, Love,

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Buffalo Springfield, Billy Nichols (maybe a bit too west) are pretty important, at least to me. The sort of ‘second wave’ in the ‘80s could probably be said to have had a greater influence on our music, although I don’t know where to draw the line with psychedelia, maybe it’s best not to. Given that psych music originally stemmed from the US and Europe, how do you think Australia has made its mark within the spectrum? MB: Historically I’m not overly sure. But currently Australia seems like a place that a lot of international bands like to visit often. We’ve had the Brian Jonestown Massacre three times in just under four years and bands like Black Rebel Motorcycle Club, Dead Meadow etc don’t seem to mind the distance either. I think that due to the fact they visit us often there’s quite a healthy scene of inspired young guitar-based bands coming through the ranks and, considering the population difference between Australia and the US and Europe, it seems to be rather popular down under. GS: Australia has had so many great musicians, although I don’t know how the summer of love really went down here. I like to think of Australian music as having its own type of psychedelic history. Maybe it could be called pastichedelic but it was still awesome. Pip Proud & The Stems come to mind. Maybe The Moles in the late ‘80s and The Moffs too! Are you prone to psychedelic ‘wig outs’? How do you approach the live show in comparison to your recorded material? MB: Our live shows are much more brutal than our studio recordings. I find it funny when we’ve been described as “shoegaze”, as although it’s an influence in our sound, our music is far from it. GS: Not really. We like to keep it pretty calm when we play live, let music do the work, if you know what I mean. Save the wig outs for the bandroom. We record the same way as we play live, electric and eclectic. There are fantastic bands on the Eight Miles High bill, who are you excited to see and why? MB: It is a fantastic line-up but considering I’ve seen all the local acts in the past few months, I’ll be hanging out to see Sister Jane from Sydney. I wouldn’t necessarily call them psychedelic but friends and fans of the other bands will love their ‘60s blues/psych-infused rock’n’roll. GS: Probably Sister Jane. Last time we played with them in Sydney I lost my mind. All I can remember is looking at Liam’s shoes. WHAT: Eight Miles High, featuring The Demon Parade, Lowtide, Sister Jane, Buried Feather WHEN & WHERE: Saturday 16 June, Yah Yah’s

INPRESS • 39


PITY SCISSOR UPSTAIRS

Pity Scissor, made up of members of Heirs, Useless Children, URNS, Flesh Vs Venom and Night Terrors, could be the best new band on the block. Only thing is that they’ve all been around the block a bunch of times with their high charged and loud punk rock. Joining them at the Gaso Upstairs this Thursday are fellow punk enthusiasts Mother Fucking Teresa and their broken riff/rib hurting music.

HUDSON ARC AT THE GRACE

Hudson Arc use diverse and broad brushstrokes in their music arrangements; one moment they journey through beguiling lilting sounds that create a peaceful, reflective atmosphere and the next, a blood-pumping crescendo that makes you remember you are alive. Forming only nine months ago, the classically-trained Newcastle four-piece have achieved a lot in a very short time. The band have toured Melbourne and Sydney, have become a hometown favourite in Newcastle, MusicOz finalists 2012, and they can now also tick off their checklist the recording of a full length album. Don’t miss Hudson Arc as they perform their own special blend of climactic string-laden pop at the Grace Darling on Saturday 30 June with support from The Hazelman Brothers and Gabe Lynch. Entry is $10.

THE ROYAL JELLY DIXIELAND BAND’S REMIX

In addition to recording with Clare Bowditch on her forthcoming album, and launching their own debut EP to a sold out crowd at the Workers Club earlier this May, The Royal Jelly Dixieland Band now release a new remix of the EP’s A-side Supernatural. On the debut release, Hot Little Hands’ member Raphael Hammond leads this new rabble through a sepia-toned homage to the polyphonic sounds of an era when jazz was king. Now, Hammond has re-forged ties with Robin Waters and the result is Waters’ remix of Supernatural (Fighting Kite remix feat Julez). Waters’ remix is a spacious, theatrical and spooky affair that wraps around Julez’ dreamsequence flows. Watch the band at the Post Office Hotel Sunday 1 and the Corner Wednesday 4 July, and the LuWow on Friday 3 August.

CHRIS WILSON AT THE RETREAT Chris Wilson has been an essential part of blues and rock music scene in Australia since taking the stage with the Sole Twisters over 20 years ago. Stints with Harum Scarum and Paul Kelly & The Coloured Girls followed, and by the end of the ‘80s Wilson was renowned as one of our finest vocalists, harmonica players and songwriters, fronting the superb Crown Of Thorns. Chris Wilson & Band perform two sets at the Retreat Hotel this Friday from 9.30pm. It’s free entry.

THE RECHORDS AT BENNETTS LANE

The ReChords are a three-piece who play rootsy ‘30s and ‘60s tunes without the aid of a drummer, and they’ve been doing just fine. The two guitarists and double bassist experiment with harmonies and switch around lead vocal duties, just for something different. Having supported the likes of Justin Townes Earle and King Cannons, performing at Meredith Musical festival and playing at Cherry Bar recently, the western swing, R&B and roots act are now set to do a show at Bennetts Lane this Thursday. Doors open at 8pm.

CHEAPDATE WEDNESDAY

In an attempt to be the venue that continues to offer different sounds of the underground seven nights a week in Melbourne, the folks at New Guernica are trying to keep their finger on the pulse and offer everybody something new for a mid-week destination. Every Wednesday evening, old favourite Cheapdate is programming the soundtrack to your favourite celebrity birthdays. Doors are at 8pm and entry’s free.

SKINNY BITCHES AT NEW GUERNICA

New Guernica are introducing $4 skinny bitches (vodka soda) to the menu on Thursdays from 1am. Also on offer are $2 pots (10-12am) and $6 spirits all night, with music played by the diabolic Post Percy and support from Awesome Whales, whose drop-out slacker record-store employee attitude of playing house music with crumpet munching post40 • INPRESS

ELECTRIC FRIDAY TWO SETS FROM THE KILLJOYS The Killjoys are playing a rare full band show this Sunday at the Retreat Hotel Brunswick. The six-piece stalwarts of Melbourne’s melodic pop scene will be playing songs from their new critically acclaimed album Pearl as well as a selection of material from their 24-year career. Hear Anna Burley’s angelic voice with the full lush backing for free from 7pm, with two sets.

punk and land of chocolate kosmische will make for a more than decent night out indeed. Free entry.

HYDE AND SEYMOUR George Hyde and Joshua Seymour will be playing at the Victoria Hotel this Sunday. It’ll be a little bit country, a little bit folk and a little bit slow (that’s Hyde), a little bit sad and maybe just plain little (that’s Seymour, although he has a big heart). Zoee Marston provides the support from 5pm and entry is free.

This Friday at the Gaso, Yosemite, Leaks, Flash Forest and Willow Beats join forces to present an opportunity to see some of Melbourne’s new contributors to the electronic movement, which is slowly gaining popularity on our shores. The night features a range of producers and beat makers, exploring genres ranging from chillwave, shoegazing electronica, post-dub and instrumental hip hop. For those of you who are fans of nodding your head to down tempo beats, we suggest sacrificing this winter Friday to enjoy exactly that.

WARBRAIN AT THE GASO

Fresh off touring with Xibalba, Warbrain are sharing the stage with new heavyweights from the Gold Coast/Byron Bay, Survival, and Brisbane’s stormtroopers of death, Thick Skin. Joining them upstairs at the Gaso this Friday are new local cavemen Reincarnation. Check out some of the best hardcore punk that Australia has to offer.

SUNDAY BLUES

GARY AND JIMMY REUNITE Some of you may have fond memories of ‘80s Melbourne band The Pete Best Beatles. Three of the five former Purple Princes of Cabaret will reunite at the Newport Bowling Club as The Gary Adams & Jimmy Williams Band. Head to the club this Friday 7.30pm to get in on the action.

DOUBLEBLACK RESIDENCY Doubleblack are continuing their Wednesdays in June residency at Cherry Bar. Last week was supposedly a blast with free entry, $4 Jagers and a great hand-picked special guest act. This week they’ve got riff merchants The Vendettas kicking off the night in style.

Prepare for a night of garage blues upstairs at the Gasometer this Sunday, featuring Castlemaine two-piece The Astros, Italian duo Bug & The Whatelotion, and acoustic acid folk rocker Kestral.

DOUBLE WHAMMY AT THE VIC

Get some power pop action as two of Melbourne’s brightest guitar bands join forces once again at the Victoria Hotel this Saturday. The Little Murders are in the middle of recording a new album and Thee Wylde Oscars have a new lineup so sparks will be flying. The music starts at 10pm and entry is free. Dancing is compulsory.

PONY UP

TURTLE & FOX AT THE HAMMY Turtle & Fox are a folk-inspired brother and sister duo nestled snugly in Melbourne. They have been hibernating in their kitchen in order to work on their eagerly awaited, self-recorded debut album. Surfacing early from their anticipated spring release, Turtle & Fox’s first three official tracks Go There, Just Peer Up At The Sky and My Sleep have been clocking up a storm on Triple J Unearthed. Check them out at the Hammy this Friday from 10pm. Entry’s free.

Kicking off the night this Thursday at Pony will be the slick rockabilly punk sound of The Naysayers. Second up are Honey Smack, who formed just last year literally on a stage in St Kilda. After a few jams together they’ve played a few impressive venues while taking their blues/punk/rock sound to a wide audience. Headlining are The Black Hills, whose sound can be likened to early Blur with just a touch of Sex Pistols swagger. Doors open at 8.30pm.

GLACIERS UP LATE

Glaciers are stepping out. It began with two school friends playing their guitars in bedrooms and garages across Melbourne, taking cues from the

THURSDAY TOTE TIMES

LOWER PLENTY AT BAR OPEN

After selling out the smallest venue in Melbourne for their album launch and, much to the band’s surprise, landing Triple R’s album of the week, Lower Plenty return to Bar Open. Consisting of members of The UV Race, Total Control and Deaf Wish, Lower Plenty are not the band you’d expect from their lineage. They rollick where their former counterparts ravaged, representing less the sweaty mass of bodies at a UV Race gig and more the late winter afternoon you slept through to the day after. Lower Plenty play seminal miner-rock classics at Bar Open this Thursday accompanied by Bosom and Jealous Husband. Doors are at 9pm and entry is free. crisp sounds of The Radio Dept. and Deerhunter. Years later, Glaciers have emerged as a fresh fourpiece, and have built a quiet buzz with a set of reverberating demos built around bright, echoing guitars and melodic bass lines. Check them out at 1am this Thursday night at Pony. Entry’s free.

SERI VIDA RELEASES THE HOUND Having recently released seductive single The Hound, Seri Vida has left the northern quarters to roam the streets of the CBD in loud and obnoxious Friday night fashion, this time at Pony with fellow packrats Fathoms, No Escape For The King and gig circuit favourites, Constant Killer. Seri Vida is a singer/songwriter who has since moved onto more personal projects, dissecting her musical persona to discover a sound and soul uniquely her own. With plans to release her debut LP To Be Free late this July, now is the time to witness her artistic talents in their aggressively seductive prime. Doors open at 9pm.

ANGRY MULES’ LATE SHOW After taking a short break, Angry Mules return to the gigging life with a 2am slot at Pony this Friday. Be warned; they are angrier and more sinister and brooding than ever. Catch the excitement for free. DRUNK MUMS

Skyscraper Stan & The Commission Flats are a nine-piece band fronted by a man call Stan, who has a voice like a storyteller’s dream. Matt Sonic, minus his beloved High Times, is straight from the dirty autumn north east winds of the surf coast, and will psych you out with looping and delay. HolyTrash and I/O (Input Output) will also be providing sweet sounds. Head to the Tote this Thursday. Doors are at 8pm and it’s only $10 to get in.

EASTER FOR DOOM FANS This Friday, the Tote’s hosting an event that is being hailed as an Easter for doom fans, with the return of Melbourne’s doom stalwarts Clagg. With seven years of creating gloom-laden riff monstrosities under their belt, Clagg have risen again with a new line-up, ready to destroy eardrums with the evil they have created. Coming to help sonically annihilate your senses are the technical speed sludge masters Broozer, deliverers of massive ear bleeding heavy riffage Swidgen, and doom jazz maestros Agonhymn.

URBANTRAMPER ALBUM LAUNCH New Zealand’s Urbantramper are launching their new album Internet Is Freedom at the Gaso this Thursday with friends Sleep Decade and Book Of Ships. Described as a homage to the new poetics of wi-fi, email and online chat, the album references the ‘80s, ‘90s and tomorrow to create the soundtrack to the future we forgot; idealistic pop for the wireless. Join them for an evening of electric utopia, angular dancing, shoulder pads, and glorious chorus.

DANIEL CHAMPAGNE LAUNCHES REAL LIVE

Wrapping up a mammoth national tour, Daniel Champagne returns to Melbourne for his Real Live EP launch at Caravan Music Club on Saturday 23 June. Another Melbourne show has just been announced, this time at the Workers Club on Saturday 7 July, with the Bearded Gypsy Band and Max Savage. There’s also been a Geelong show added at Beav’s Bar on Thursday 28 June. These shows will be your last chance to catch Daniel Champagne before he heads back over to the US for an extended North American tour, including a number of support slots for Kelly Joe Phelps.

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YER MUM

It’s Reclink Community Cup time again and match day is creeping ever closer. While the footy match will be the centerpiece, the bands always kick some arse. Much-loved iconic ‘80s Melbourne band Blue Ruin have been enticed to come out of retirement to perform a set at the end of the match. Other bands performing are winners of the SYN Free Kick competition Drunk Mums, Melbourne indie-pop band Boomgates and all-girl Melbourne rock outfit Bunny Monroe. All bands will play some of The Cramps’ songs in amongst their sets. Make sure you head down to Elsternwick Park on Sunday 24 June to catch the action and support Reclink.


CLOWNS AT PONY

After a successful south-east Asian tour back in February, Clowns will be headlining Pony before they hit the road again on their tour of NSW in July. The Magic Bones play rock‘n’roll with a varied array of influences and styles subtly coming out in their set. Melbourne-based trio Thrasher Jynx are known for playing loud grungy tunes packed with hard hitting drum beats, wicked bass lines, fat distorted guitar riffs and growling powerful vocals that leave a lasting impact on their sweat-drenched audiences. Rounding out the line-up are Charm. Catch the show at Pony this Saturday from 9pm.

FINAL KEGGIN’ SHOW

After three years and countless beer soaked performances, Keggin’ are calling it a day, after creating such hits as Goon But Not Forgotten, Smirnoff F**koff, Absinthe Makes The Heart Grow Fonder and Indiana Jones & The Temple of Goon. This final perfomance is not one to be missed. So head down to the Gasometer upstairs this Saturday and catch Keggin’ (for the last time), Cruntburgers and Fisty Cuffs.

FRED SMITH AT BELLA UNION

The critical acclaim for Fred Smith has been coming for years, but his remarkable 2011 release Dust Of Uruzgan has been the watershed. Written while working an 18-month stint in southern Afghanistan, Dust Of Uruzgan showcases the breadth of expression in his writing covering the waterfront from classic Australians-at-war anthems, to entrancing reflective ballads, to outrageous comic dirges. Over the last ten years, Smith has built a rich working relationship with Liz Frencham, renowned on the festival circuit for her exquisite vocal performances and melodic stewardship of the rhythm section on double bass. Together, and backed by a band of Melbourne guns, they will be performing songs from Dust Of Uruzgan, Fred’s back catalogue and their duo albums. See them live at Bella Union (Trades Hall) Saturday 23 June.

It’s been almost two years since monstrous West Australian sludge rockers The Devil Rides Out last hauled arse across the Nullarbor to Melbourne in support of the release of their debut album The Heart & The Crown. Since then, the band have kept themselves busy destroying Doomsday Festival in Sydney, holding their own alongside Dead Meadow, Fu Manchu and Black Cobra in Perth, while writing new material for their next recording, planned for a late 2012 release. See The Devil Rides Out this Saturday at Pony’s 2am late show with local newcomers Them Bruins. Free entry.

Damn The Torpedoes and Uptown Ace join forces for a night of rollicking rock action at the Vic Hotel this Friday. Damn The Torpedoes are a thinking man’s rock band; their wild punk rock sounds have been likened to Hot Snakes and The Bronx.

SINGLE FOCUS

GOODBYEMOTEL IN 3D Goodbyemotel are stepping boldly into the 3D spotlight. On the afternoon of Sunday 24 June at the Northcote Social Club, you will be given a pair of 3D glasses on arrival, which you will then don to watch the band perform live with their 3D music and video spectacular. Doors open at 2.30pm, so get in early!

SOUL-A-GO-GO

THE DEVIL RIDES OUT

DAMN ACE FRIDAY

Uptown Ace channel classic songwriters and rock’n’roll anthems, from Tom Petty to Hot Water Music to Husker Du. Both bands are preparing to head into the studio shortly, so now’s your chance to hear all their brand new hits in their purest form, before they go through crazy Brian Wilson/Phil Spector-esque recording sessions and come out drenched in handclaps, cowbell, string arrangements and gospel choirs. Free entry!

PBS 106.7FM presents Soul-A-Go-Go on Saturday 7 July at Bella Union. Get down with Richie 1250, Miss Goldie, Pierre Baroni, Manchild, Zac Rampage and special guest from Perth The Foxman at Melbourne’s biggest floor-stomping funk and soul dance-off. All the action happens from 9pm. Tickets are only available at the door; $10 for members and $15 for future members. Get in early to avoid the queue, and grab a limited edition Soul-A-Go-Go t-shirt while you’re at it.

WOLF & CUB’S DOUBLE A-SIDE Two years since the release of their acclaimed second album Science & Sorcery, Adelaide’s Wolf & Cub are back with a cracking double A-side single featuring the tracks See The Light and All Through The Night. See The Light is primarily driven by a snaky bass line, with reverb-rich vocals delivering a subtle but persuasive hook tempered by chiming delayed guitars. All Through The Night is a dreamy pop gem floating on a fragile falsetto vocal and broad sonic guitar brush strokes. Wolf & Cub have also just finished recording their upcoming double A-side single Shut Me Out and Got Nothing Coming. Wolf & Cub perform at the Toff this Thursday with special guests.

THE BANDS THE INDUSTRY THE LOCALS THE ENCORES THE DJS THE GIGS THE PRODUCERS THE CLUBS

LACHLAN BRYAN – GOING STRAIGHT What’s the song about? It’s a sort of New Year’s resolution. Is this track from a forthcoming/ existing release? Yes, it’s from the album Shadow Of The Gun. The album title is taken from a line in this song. How long did it take to write/record? It took about half an hour to write. What was inspiring you during the song’s writing and recording? I wrote it walking home from a long night out. I walked about eight kilometres at about 6.30am. People were off to work and I (temporarily) wished I were one of them in a suit and tie etc. We’ll like this song if we like… Good songs. Do you play it differently live? I change the words a little now and again. Will you be launching it? Yes, at Workers Club on Thursday 14 June with Bill Chambers. For more info see: lachlanbryan.com.

THE ARTISTS THE FESTIVALS THE GROUPIES THE ALBUMS THE TOURS THE FANS

LIVE NOW! themusic.com.au

INPRESS • 41


JUDGE PINO RULES

HAVE YOU HEARD

Bringing you the digs from vintage Jamaican sounds of the ‘70s, rocking out dancehall and reggae hits with bonus live dubs and mad improvisations, Judge Pino & The Ruling Motions are here to move you and groove you. Catch them at Bar Open this Saturday from 10pm. Entry’s free.

SINGLE FOCUS

THE VAUDEVILLE SMASH THE EVELYN

WHITE SUMMER PLAY THE ESPY ON THURSDAY 14 JUNE How did you get together? Jimmy Stanfield, vocals/drums: We all went to school together, had long hair and didn’t surf. It was only a matter of time. Have you recorded anything or do you prefer to tool around in your bedroom? I’m currently writing this on the floor because my bed is up against the wall, does that answer your question? Also, at our next gig we’re launching our double A-Side, Dirty Highway/See You Again. Can you sum up your band’s sound in four words? Big f**k off sound. If you could support any band in the world, who would it be and why? The Black Keys, so we could get close enough to steal their secrets. If a higher power smites your house and you can only save one record from the fire, what would it be? My brother traded a dim sim for MC Hammer’s Please Hammer, Don’t Hurt ‘Em in grade four, so it would have to be that. Do you have a lucky item of clothing you wear for gigs and what is it? Our guitarist had a lucky piece of material stapled to his guitar stool but battery acid ate it when we started busking and our battery tipped in the trunk of his car. If you invited someone awesome ‘round for dinner what would you cook? Well if it was right now, all we could cook would be a can of baby corn and some taco shells. What’s your favourite place to drink in Melbourne? Cheap I think is the key word here because we spent all our money.

THE AUDREYS DUO PLAY TWO SETS

To mark the release of their most recent album Collected, The Audreys have announced an intimate duo tour. The shows will see Taasha and Tristan playing songs off all three albums, plus some new material. Collected is a unique package containing their three ARIA winning albums from 2011, 2008 and 2006 respectively along with a rare collection of demos, B-sides, live tracks and videos including the previously unreleased song Train Wreck Blues. Collected comes in a beautifully designed digipak with a unique digital code to access this brand new material. Catch Taasha and Trsitan from The Audreys playing two sets at the Toff this Saturday.

The Vaudeville Smash return to the north side of the river and to one of their favourite venues, the Evelyn, for a massive show on Saturday night. They’ll be teaming up with indie wonderkids Daydream Arcade and newcomers Mansion, Alaska. Get in early to avoid disappointment; the Smash have got a reputation for crazy live shows.

FRANCOLIN WON’T LET YOU DOWN

Three minutes at a time, Melbourne’s Francolin play pop music to bring colour to celebratory short stories. Swedish-born Staffan Guinane writes for cold and warm nights, doubts and shaky certainties, life and after-life and whatever lies in between. Their debut full-length Won’t Let You Down was recorded beside a yellow wall of hay by inimitable producer Nick Huggins (Oscar & Martin, The Harpoons, Kid Sam). It features the very best of the quintet’s first two years together, including the singles Suddenly Painlessly and Hospital Song. The album’s official departure into the wild wide world will be celebrated at Northcote Social Club on Saturday 14 July. Francolin plus special guests will be joined by the undefinable Aleks & The Ramps and garage blood-suckers ScotDrakula.

THE RIDING HOOD DEBUT SHOW

Out of the ashes of Melbourne’s best kept secret, The Sand Pebbles, rises The Riding Hood. Playing their debut show at Bar Open tonight, they will present a night of reinvention. Tor Larsen plays a rare solo set as support. Larsen is best known for his time as The Sand Pebbles’ eccentric guitarist and co-lead vocalist, as well as fronting cosmic trippers The Sun Blindness. Opening the night is Lucy Jean Roleff. Doors open at 8pm and entry’s free.

CONGO TARDIS ARE #1

AUDIO CAFFEINE RETURNS

Audio Caffeine Returns is the latest performance brought to you by the Go Live music group ran at Prahran Mission. Go Live was born out of a desire for Prahran Mission participants to hone their live music performance skills. The group host a diverse style of musicianship ranging from punk, rap, folk and blues not to mention many fine original compositions. Go Live play a gig at Revolver tonight; it kicks off at 5.30pm with poetry and readings by the writing group with music commencing at 6pm. Entry’s just a gold coin donation so head out and support a good cause.

LAZYBOYPROACTIVE THURSDAY

LazyboyProactive are fast becoming a favourite of the Melbourne live electronic music scene, combining progressive, tech and pop sensibilities with live vocals, guitars, synths and stunning visuals. The LBP live show is an epic audiovisual journey featuring tracks from their debut album Kaos Dream (2011), and you’ll have the chance to see it yourself at Revolver this Thursday. The supporting line-up includes up and coming psychill producer from Germany, Robodop Snei; Garagee, Melbourne’s finest experimental cinematic producer; UK ex-pat breaks, beats and dub producer Stickleback; and last but not least prolific local producer Arcane Trickster. Doors open 7.30pm and entry is $5.

PUNK-A-BILLY FRIDAY

Congo Tardis #1 are Australia’s premier tropical sound-system, comprising Ms Butt, Paz and Lewis CanCut. All highly sought after producers/DJs in their own right, together they’ll be performing a show using decks, samplers, illuminated hats, custom electronics and iPhone apps, mashing together music of their own with bleeps and beats from across the globe. Having released their debut EP on clear vinyl earlier this year, which gained support from Benny Blanco (Spank Rock), The Very Best, Ajex and more, their performance this Friday will see Bar Open transforming into a mini oasis of carnival. Doors from 10pm, entry’s free.

The Punk-A-Billy Festival Grand Finale is just around the corner and as always it brings with it a whole bunch of side shows throughout the greater Melbourne and Geelong area. Kickstart your weekend on Punk-A-Billy eve this Friday, with Sydney’s ska-a-billy wrecking crew Casino Rumblers tearing apart Revolver Upstairs in Prahran. The Rumblers bring with them and allstar mash-up of supports including ska veterans The Resignators, drunk punks Strawberry Fist Cake on the second last show of their east coast tour, The Shadow League and those crazy Queenslanders of punk, The Flangipanis. Doors open at 8.00pm. Pre-sale tickets $10+BF available.

NEW EMPIRE – ONE HEART/MILLION VOICES What’s the song about? Peter Gillies, guitar: The song came swiftly and unexpectedly the morning after a tour in 2010. Our recent experiences had taught us to cherish the gifts and lives we have been given. The song was then written to pass on what we had learnt. Is this track from a forthcoming/existing release? Yes. It is the final track and current single from our recently released album, Symmetry. How long did it take to write/record? The song was written in about one hour and was recorded 12 months later. What was inspiring you during the song’s writing and recording? On tour, we were constantly being inspired by people and conversations. Meeting people pursuing their various dreams and passions helped us connect to something bigger than we are. We’ll like this song if we like… A strong melody and a message that you can really get behind. Do you play it differently live? No. We don’t want to mess up a good thing! Will you be launching it? Yes. We head out on our One Heart/Million Voices tour all of June. In Melbourne we play an under-18s show at 3.30pm at SUB on Sunday 17 June and an 18+ show that night. For more info see: facebook.com/newempireband

POURPARLOUR AT REVOLVER

Are you a Lucksmiths fan of old? Do you enjoy a Death Cab For Cutie tune every now and then? Good, Pourparlour will most likely meet you somewhere in the middle of those soundscapes. After devoting 18 months to writing and refining their style, the band are genuinely impatient about breaking down rehearsal room walls and connecting with audiences again, with their debut self-titled EP due out soon. Catch Pourparlour at Revolver Upstairs this Saturday with support acts Tully On Tully, Language Of The Birds, Full Code and Morning Of The Earth.

NEW EMPIRE ACOUSTIC SHOW New Empire are currently in one of the busiest periods of their burgeoning career, with live dates that commenced in May and culminate in a performance slot on the prestigious Vans Warped Tour in the US throughout July. Prior to heading off overseas, they’ll hit the road for shows with indie rockers The Getaway Plan, before packing their bags and heading up and down the East Coast on their acoustic tour. Send them off when they play the Toff this Sunday.

ALBERT SALT RESIDENCY

Having just released his new single Positive, a more up-beat reworking of his unique blend of rhythmic rock and electronic music, Albert Salt is currently doing a Tuesday night residency at the Toff. After releasing his debut album Dearest Stranger in May last year, Salt was a Triple J Unearthed High finalist, which was just a precursor to playing at Parklife, and then supporting such bands as Boy & Bear, Jinja Safari, Cut Off Your Hands and Owl Eyes. Doors are at 8.30pm and entry’s $10. 42 • INPRESS

STAFFAN’S CELLAR RESIDENCY THE CAIROS’ HEADLINE TOUR

Touring non-stop around Australia since the release of their new EP Colours Like Features in April, Brisbane-based band The Cairos now announce a new batch of East Coast shows. Having supported Bluejuice in April, Mutemath in May and Deep Sea Arcade in June, The Cairos will be enjoying the headline spot this time around with Sydney’s The Preachers opening their shows in each city. Catch them at Karova Lounge Friday 20 July and at Northcote Social Club on Saturday 21 July.

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Staffan, Swede songwriter from local pop-quintet Francolin, will be playing a heap of brand new songs and a selection of oldies every Sunday in June in the Grace Darling Cellar. Joining him each week, for rare solo and duo performances, are talented friends from Tehachapi, Seagull, Planet Love Sound, Kid Sam and more. Starts at 5pm and it’s $5 entry.


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ROOTS DOWN

THE RACKET

WAKE THE DEAD

BLUES ‘N’ ROOTS WITH DAN CONDON ROOTSDOWN@INPRESS.COM.AU

METAL, HEAVY ROCK AND DARK ALTERNATIVE WITH ANDREW HAUG

HARDCORE AND PUNK WITH SARAH PETCHELL

DARKEST HOUR

RUFUS WAINWRIGHT It’s been a pretty slow week in the world of blues and roots so I figured I’d use this time to fill you in on a few folky/bluesy/rootsy tours coming up that I haven’t mentioned because I haven’t had space or, frankly, I haven’t really seen the need to. “If this record is uplifting compared to my old ones it’s because I feel stronger from all the beat-downs and shit I’ve taken in the past,” so says Richmond, Virginia singer/songwriter Tim Barry about his new record 40 Miler. The record, which has just been released, is a little more positive than his previous work but it hasn’t lost the grit and attitude that has made everything he’s been involved with so awesome in the past. After a couple of very successful recent jaunts to Australia, both by himself and as part of the Revival Tour shows, Barry is wasting no time in getting back down under in support of the record, once again playing intimate venues that promise to ensure some pretty magical experiences when he gives us tunes from the aforementioned latest record as well as songs from throughout his solo career and from when he was out the front of punk rock masters Avail. Catch him at Gasometer on Friday 10 August. I saw Barry when he was here as part of the Revival tour a couple of years back and he was truly excellent. In the past 12 months, Emma Louise has sold out shows across Australia, signed international record deals, and generally let the world know that she has arrived and is ready to give you a taste of her considerable songwriting and performing talents. We haven’t heard much in the past couple of months though, so we’re excited to hear about the release of Boy, the first single from her debut album which will drop early next year, and the accompanying single launch tour to boot. The swaying, mid-paced song shows that there’s a real solid foundation to her songwriting, plenty of depth and broader talent than some may expect. It’s an alluring first taste that will make you very excited for the album’s ensuing release. In the meantime, catch her at the Northcote Social Club on Thursday 28 June unless you have tickets to her sold out show at the same venue on Friday 29. Perhaps the most successful of the enormously talented Wainwright stable of artists, Rufus Wainwright is returning for an Australian tour with his full band in September. This time around he is making the journey down to our part of the world to showcase his acclaimed new Mark Ronson-produced album Out Of The Game, which has been getting a lot of very positive publicity in the weeks since its release. The full band that he brings out on the road with him features a few up and coming artists who may seem a little familiar to you for one reason or another, one of them being recent visitor, folk-jazz-soul singer/ songwriter Krystle Warren and another is Teddy Thompson, son of the great British musical pairing of Richard and Linda Thompson. As well as appearing in the band, both Warren and Thompson will also be alternating as the opening act for the national run of dates. When they hit Brisbane they will play a special show at the Hamer Hall, Melbourne Arts Centre on Saturday 15 September. Time to get those feet tapping because the legendary Count Basie Orchestra have announced a special Australian tour in October. Founded in the late 1930s by piano blues pioneer William “Count” Basie, they have maintained a huge following in the wake of the decline in swing music popularity in the 40s and 50s as well as Basie’s death in 1984. Over the years, they have collaborated with Frank Sinatra, Billie Holiday, Nat King Cole and Ella Fitzgerald. Their current ensemble includes saxophonist John Williams, trombonist Clarence Banks, bassist James Leary and vocalist Carmen Bradford, who has performed with Tony Bennett and the late James Brown. It will be an enriching night of fine music when they play the Hamer Hall, Melbourne Arts Centre on Wednesday 10 October. 44 • INPRESS

This is a surprise! Skid Row bassist Rachel Bolan has recently laid down the bass tracks on the forthcoming fourth studio album from Stone Sour. He has described the material on the record as “fucking fierce”. Stone Sour replaced their former bassist a few months ago citing musical differences; there has been no official word that Bolan will join the band as a full-time member. Fozzy, the band featuring WWE wrestling superstar Chris Jericho and Stuck Mojo mastermind Rich ‘The Duke’ Ward, have finished mixing their new album for a late-2012 release. Ward has previously stated, “I can honestly say that this new album is going to blow everyone away. It’s the epitome of who Fozzy is as a band and will expand upon the ultra-heavy yet super melodic and hooky territory that we’ve refined for the last 12 years. I have a strong feeling that this will be known as our definitive masterpiece for years to come.” Device is the name of the new collaborative project featuring Disturbed vocalist David Draiman and former Filter guitarist Geno Lenardo. The band will enter the studio later this week to begin demoing material for their debut release. Draiman previously described the group’s sound as in the vein of industrial acts such as Nine Inch Nails and Ministry. When asked by a fan via Twitter if the project would be anything “like dubstep,” Draiman wrote, “No, it’s about as close to it as Nine Inch Nails or Ministry or Rammstein are. Industrial predates dubstep… In other words, it is at all times a guitar-driven sound.” Vintersorg, the Swedish folk metal band led by Borknagar frontman Andreas Hedlund (aka Vintersorg), will release their ninth album, Orkan, on 29 June via Napalm Records. According to a press release, Orkan “combines the best of two worlds. The eight tracks provide the listener with rousing and hymn-like

refrains, extreme diversified vocal parts, superb riffs and brilliant melodies. Above all the compositions tower Vintersorg’s highly unique vocals which show a wide range of new facets. The new opus is therefore a highly interesting and recommendable album, comprised of all periods of the Swede’s creative musical life, thus achieving a whole new level of songwriting.” Legendary Swedish doom metallers Candlemass have released the following statement: “We are sorry to inform you that Robert Lowe is no longer the singer for Candlemass. It has been a very difficult decision for the band and has mainly to do with the quality of the live performances. No word on a replacement as yet.” Death metallers Grave will release their new album, Endless Procession Of Souls, in August via Century Media Records. Washington DC metallers Darkest Hour have issued the following update: “It’s with a heavy heart that we announce the official departure of longtime friend and bassist, Paul Burnette. Paul’s presence on the stage, in the jam room, and everywhere in between will be missed. He has helped us to both conquer the world and develop the sound of the band. For that we’ll be eternally grateful. As many of you who have seen us live know, Aaron Deal (ex-Salome mastermind) has been doing an amazing job filling in these past few tours. He’s rocked Asia, Australia, Europe, and North America with us and it’s safe to say, he’s a true bro. We couldn’t ask for a more badass addition to the dudes.” Legendary extreme-metal drummer Gene Hoglan has finished laying down the drum tracks for the third album from Dethklok. He writes on Twitter, “This is going to be killer! Stoked!” Sydney melodic metallers Lord will release their new album Digital Lies later in the year through Dominus Records. Commented the band: “We’re currently about halfway through recording the album and while it’s been a lot of hard work making sure it’s up to the standards we’ve set ourselves, it’s already sounding great. If you’re familiar with Lord you’ll know what to expect for the most part; a very diverse album ranging from traditional metal to commercial rock to extreme metal and everything in between.”

GOOD OR SHIT? QUALITY CONTROL WITH LIZ GALINOVIC

SKY’HIGH Sky’High is a scary chick. Growing up in Sydney, listening to hip hop, being in the scene as they like to say – myself and my girlfriends watched her at gigs, from a distance, with trepidation, fascination and a lot of curiosity. I suspect the boys were a touch frightened of her as well. I’ve only seen her perform live once, many years ago, in the middle of nowhere, and I have to confess I don’t remember a lot about that gig in general. Other than this: we knew she rapped and we knew she was rough as guts. This was back in the days when hip hop in Australia demanded that we hit the streets in our Nikes with the obligatory hoodie on top. When the only kind of movement at a show was the up and down of a raised right arm. When after a few beers – why do we seem to get more drunk at hip hop gigs than anywhere else? Are those plastic cups bigger than regular pots? – boys in garish combinations of striped polo shirts beat each other up while boys in t-shirts with graff prints emblazoned on the front stood around in a cipher. Most of this has changed now. Sure the ciphers still exist and the beer still gets you drunk but the striped polos are rarer (or gig-specific), girls

in frocks dance in the front row, and the sense of menace has generally been replaced with happy vibes. I’m not saying this is a bad thing, I’m saying it’s one of the reasons why the release of Sky’High’s debut album Forever Sky’High is – for want of a better phrase – fuckin’ siiiiiiiick. A lot of people aren’t going to dig it – it’s distinctly Australian. And with the general middle classness of local hip hop, her commission house-ness could frighten a few of those girls in frocks. But this is a wicked album. She is rough, raw, and completely unabashed about the kind of woman she is, the kind of life she’s had and the things she’s done. She’s also super cheeky at times and full of feeling at others. Tracks range from classic battle style, party pumpers to slow and serious. Beats come via NZ’s P-Money and she’s got proper flow so accent haters better shut their traps or you could quite possibly lose them. Personally I have a mad girl-crush on her. It’s been a long time since I’ve heard anyone speak in pig-Latin, let alone rap in it. This album makes me want to cruise the streets with “my hoodie and my Nikes on”. Eshay braaaa.

themusic.com.au

CANCER BATS To start off with, one of the most exciting hardcore tours of the year will be kicking off this July and August seeing a well-loved Australian band teaming up with a relatively new and exciting US band for a co-headline, East Coast tour that is going to rule! For those that don’t know, Chicago’s Harms Way are notorious for an intense live show and writing the hardest of hard hardcore. Their most recent release, Isolation, was described as a fusion of heavy hardcore and Entombed-style distortion, adding yet another player to the heavy hardcore game. As for Phantoms, you’ve heard me rave about them time and again, but this time they will be heading on the road in support of a brand new release – a 7” titled SOS to be released this July through Broken Hive Records. You can catch the tour in Melbourne on Saturday 28 July at Bang Nightclub in Melbourne then on Sunday 29 at Phoenix Youth Centre for an all-ages show. Another tour announcement that will have fans of hardcore and even metal fans moshing for joy is the news that everyone’s favourite Canadians, Cancer Bats, will be heading back to Australia this July for a round of shows in support of their newest album Dead Set On Living. This album sees the band at their most ferocious and has earned them rave reviews from all corners of the music media. It is without a doubt that their live shows will rage harder than their album, so these are shows that are definitely not to be missed, especially since they are only playing three east coast shows and that’s it. You can catch the dudes in Melbourne on Saturday 14 July at Hi-Fi for an 18+ show. Well the cat got let out of the bag the other night when a prominent producer jumped the gun on a Sydney band that were set to announce they were entering the studio. The band is Sydney hardcore powerhouse, Relentless, who are in the final stages of pre-production before heading into the studio with Nick Jett (Terror, Piece By Piece, SOS) later this month. Jett is heading out to Australia especially to record the band’s follow-up to their 2010 debut Set In Stone. I’ve been told to expect big things from this record, and that Relentless have stepped things up another level. Coupling that with Jett’s extensive production experience (for example Darker Half by Backtrack and the Under The Shadow EP by Take Offense) and this should be one of the releases to keep an eye out for in the latter half of 2012. The connection between Sacramento punkhardcore act Trash Talk and the infamous Odd Future hip hop group is pretty well known (especially if you follow vocalist Lee Spielman on Tumblr). It looks like the connection has been cemented in ink with the announcement last week that the band will be releasing their third album through Odd Future Records, in conjunction with their own Trash Talk Collective label. Odd Future is the fledgling label founded by rapper/producer Tyler The Creator and there is a pretty hilarious press release floating around the web to announce the union between the two. The new album from Trash Talk will be called 119 and is set for release later this year. Stay tuned for more information! Last up this week, it’s my favourite time of the year where we’re heading into the American summer and the labels start posting free samplers of the artists that are on their labels. First up is the annual compilation put together by Deathwish Inc. This year’s compilation features tracks from bands such as Give Up The Ghost (aka American Nightmare), Rise And Fall, Touche Amore and Cursed. If you head on over to the Deathwish website, you can find a number of links to download the mix.


LONDON FIELDS

OG FLAVAS

INTELLIGIBLE FLOW

THE VIEW FROM EC4 WITH JAMES MCGALLIARD

URBAN AND R&B NEWS BY CYCLONE

HIP HOP NEWS & COMMENTARY WITH ALEKSIA BARRON

HER MAJ If the expression ‘as wet as a long weekend’ doesn’t yet exist, it should do. While the Queen’s Birthday doesn’t rate as an excuse for a bank (public) holiday in the UK, the commemoration of 60 years since Queen Elizabeth II came to power was the reason this year’s late spring bank holiday was bumped forward a week – to create a four day long weekend in celebration. The atrocious weather throughout allowed journalists to exhaust all puns involving plays on rain and reign, leading to such delights as reigning cats and dogs. In spite of the weather street parties were held up and down the land, and this was held up as an illustration of plucky British spirit. As Ratty opined in the opening of Wind In The Willows, “there is nothing – absolutely nothing – half so much worth doing as simply messing about in boats.” And so, on the Sunday, nearly a million people endured wind, rain and security checks to assemble on the banks of The Thames to witness the largest flotilla in over 300 years make its way down the river towards Tower Bridge. Perhaps it wasn’t as much fun to watch as The Queen’s Jubillegal (a parody event on the preceding day, which saw the hoi polloi take to Regent’s Canal in dinghies or anything that floated), but that may have been because the TV coverage of the event was nearly as poor as the weather. Maybe it’s just me but if you put Jubilee, boat and Thames into the same sentence, I think of the Sex Pistols infamous exploits on the river in June 1977, which led to arrests, and God Save The Queen failing to be a number one record, despite reportedly selling more than any other single in that week. If music ended up being a key part of the Queen’s Silver Jubilee in an unofficial capacity, 60 years on the throne was marked by a huge official concert outside Buckingham Palace put together by Take That’s Gary Barlow. It was hard to work out for whom the line-up was supposed to appeal (although it must have been right for some as the accompanying album Sing debuted at number one that week). Like a seasoned gig-goer, the monarch herself wisely avoided the first 90 minutes of the concert. Her face on arrival seemed to bear a look of disdain; was she thinking “One is missing the season finale of Game Of Thrones for this?” It was much more likely she was concerned for her husband, who had been admitted to hospital earlier in the day (and her minions had probably already downloaded GoT for her anyway). It all seemed to go well enough, with Kylie dressed as a swinging ‘60s Carnaby Street version of a Pearly Queen, Madness playing Our House from the roof, Grace Jones hula-hooping through Slave To The Rhythm and Elton John wisely avoiding playing Candle In The Wind. When Rolf Harris included punk in his list of the types of music that had featured so far, he was sadly mistaken. For the only punk to be seen over the weekend was as part of BBC Four’s Punk Britannia season, which featured a three-part documentary, as well as new films about John Cooper Clarke and TV Smith. The Palace concert’s finale saw Paul McCartney doing a warm-up for his Olympics gigs but who knows why the Palace was lit like a reverse version of the French tricolour. While sellers of bunting will certainly have done well, outside the crammed confines of central London the celebrations all felt a little muted. Although Sunday’s riverbanks were crammed, more people took to the streets on Saturday 13 February 2003 to protest the UK’s actions in Iraq than attended this free spectacle. With Scotland hoping for a referendum on independence before the next general election and the Queen now aged 86, there are definitely going to be some interesting times ahead for the institution. While there’s no doubting this nation’s love of Her Majesty in many ways the celebrations seemed less universal than they were for last year’s royal wedding. Any republican demonstrators over the weekend just appeared party-poopers, but there were certainly fewer flags flying from cars and windows than when England plays a major football tournament. Some of the Union Flags I saw were hung upside down; was this lèsemajesté, plain ignorance or as a signal of distress?

PLAN B This year has been bleak for urban music fans. So far 2012’s best album is actually Lana Del Rey’s Born To Die – hip hop soul, Black Dahlia-style. But there will be much to enthral over winter – and we’re not thinking of Snoop Dogg sidekick Wiz Khalifa’s ONIFC (Only Nigga In First Class), with its routine StarGate-stamped lead single Work Hard Play Hard, but real event albums. Chris Brown, who drops Fortune this month, should watch that ass: Usher is reclaiming his title as the Prince of R’n’B with Looking 4 Myself, out by time y’all read this. The follow-up to 2010’s Raymond V Raymond has an electronic direction, with the Swedish House Mafia on board. Looking... has already spawned three singles, the killer Climax, Diplo’s most convincing crossover production. The Neptunes provide a respite of retro R’n’B in Twisted (featuring Pharrell Williams). Turn up the music! Illwave soulster (and Odd Future member) Frank Ocean quietly withdrew from the Future Music Festival. The good news? His official debut on Def Jam is expected... soon. Besides airing the quiet storm Thinkin Bout You, snatched back from Roc Nation’s Bridget Kelly, the New Orleans native has leaked songs like the sly Euro club banger PDA (originally intended for the Backstreet Boys!). Otherwise, details are frustratingly scant. Into traditional neo-soul? The troubled D’Angelo has lately toured Europe, leading up to the release of his long-awaited third album, James River. Indeed, the muso has performed new material. Will any Mark Ronson contributions make the cut? The pair’s Glass Mountain Trust on Record Collection was so dope. Hip hoppers have waited ages for new Nas. This game changer hasn’t had a record since 2008’s

Nigger – apart from the collaborative Distant Relatives with Damian Marley. Life Is Good is due in July. It’ll be Nas’ final Def Jam album. Every top beatmaker ever (even Dr Dre) has been attached to the project, reputed to be a ‘90s throwback, but we just wanna hear Nas’ joint with Odd Future. The late Heavy D has a production credit for The Don. Nicki Minaj’s Pink Friday: Roman Reloaded was a spectacular disappointment, so we have high hopes for Azealia Banks’ debut, Broke With Expensive Taste. The Harlem femcee, singer and street suffragette has teamed with Paul Epworth (Plan B). She’s just issued a digital EP, 1991, on her new label, Universal, as a stopgap. It contains 2011’s breakout 212, definitely Banks’ Video Games, and Liquorice, but not the fresh (and very post-MIA) Jumanji – that’s plucked from her forthcoming Fantastic mixtape. The fashionista fave, hitting Splendour In The Grass, also pops up on Scissor Sisters’ Boys Noizeproduced Shady Love, albeit uncredited. Ironically, Banks has generated a greater buzz than that other breakthrough Harlem MC, A$AP Rocky. His Long Live A$AP (home to Goldie) is anticipated mid-year. The gossip mags are in a frenzy over Kanye West’s romance with Kim Kardashian, the duo nicknamed “Kimye”. Yet the mogul has found time to assemble tracks for the first GOOD Music showcase, Cruel Summer. ‘Ye has previewed two songs: the dancehall Mercy (featuring Big Sean, Pusha T and 2 Chainz) and electro Cold AKA Theraflu (with DJ Khaled), the latter referencing his relationship with Ms Kardashian. GOOD has impressive acts – cue John Legend – but it’s poorly marketed. Cruel Summer is a good idea. That self-proclaimed polymath Plan B (AKA Ben Drew) is on a roll. The Brit’s iLL Manors (now slated for July) ties in loosely with his gritty full-length directorial debut. The album signals Drew’s return to the hardcore rap of 2006’s Who Needs Actions When You Got Words following his hit ‘soul’ outing, The Defamation Of Strickland Banks. The lead single, likewise entitled iLL Manors, is Al Shux-produced bass-hop that samples German MC Peter Fox’s classically-themed Alles Neu.

THE BREAKDOWN POP CULTURE THERAPY WITH ADAM CURLEY

NIKKO The rush of standout Australian releases the past month begs another Breakdown rap. Don’t worry, I won’t rhyme. I would, however, like to go all Kitty Pryde (ie. legit bullshit) on the monarchy in this week of recognising the Queen’s birthday and jubilee. That said, these will be the halcyon days when we’re all laying our livers at the edge of a quarry in honour of Gina Rinehart’s 120th. With members currently split between Brisbane and Melbourne, Nikko have some airport time on their hands through June thanks to a Friday residency at Brisbane’s Powerhouse. They’ve also released the opening track from their forthcoming second record, Gold & Red (out through Tenzenmen Records on 3 July) – the stunning eight-minute track The Child can be heard at nikko.bandcamp.com. The lengthy song simply lets us spend time with the group: vocalist Ryan Potter makes his down-mouthed observations while guitars and piano lines threaten to leave him behind then allow him to wander ahead. Drums come and go, the bass intuitively flows and eddies. Strings follow it all like a child dragging a stick. Its delicate melancholy is affecting; few bands tell Australian stories like this one. As one of the founders of the excellent and tenacious Sydney label and management company Speak N Spell, Jonathan Wilson has brought us the likes of Fionn Regan, The Duke Spirit and, more recently, Sydney’s Step-Panther. But Wilson sits on both sides of the booking table and has been busy building a home studio, recording with Jack Ladder and working on his own dark synth-gaze project Castratii with former Starky bandmate Beauvais Cassidy. The duo will release their first album, Eora LP, through LA label Time No Place in July. The first single, Kingdom, features The Duke Spirit’s Leila Moss on vocals and is all kinds of slow-mo anxiety attack goodness. Hear it at castratii.bandcamp.com.

Another Aus band getting a small US release is Brisbane post-Little Band group Slug Guts. Their new 7-inch, Stranglin You Too, is out via a limited-member singles subscription run by Chicago label HoZac called Hookup Klub. That means buying it requires also buying a heap of other releases and getting them shipped over from the States (and if you’re into that you can go to hozacrecords.com). The beautifully pained title track, however, can also be heard on FBi’s new music stream at fbiradio.com/pages/new-musicsoundcloud. (Scroll down to the week of May 18.) Brisbane’s Jeremy Neale is usually seen playing guitar and singing in Velociraptor and bashy garage duo Tiger Beams. Allowed to put his voice up front and dig into some first-person drama, however, and Neale’s presence explodes. It also helps that his new solo single, Darlin’, contains one of the greatest recorded sax parts in recent memory. It’s a swinging rhythm’n’blues thing, balancing its fidelity on a wire to carry both coarse urgency and melody. Throw him a dollar (or more) for the track at jeremyneale.bandcamp.com. Sydney band Sures, recently signed to Ivy League, are often described as ‘surf-pop’, but they also draw a heaping of seaside sadness from the north-east England Merseyside scene of the ‘80s and early-‘90s, which threw up The La’s and Cast. Sures’ debut EP, Stars, has been re-released through Ivy League and the four-piece are out touring to launch it this month. It can also be streamed in all its bashful, layered, harmony-filled glory at sures.bandcamp.com. A couple of excellent Australian clips have been getting an airing in the post-pub hours of Rage. Melbourne’s Little John have belatedly released an incredible clip for the track Wolves from their 2010 album Put Your Hands On Me. The clip, made by Aaron Hoffman, beautifully matches the tension of the desert-lightning-storm song, the images of Melbourne’s train stations and a screaming frontman John Dickson heightening the strings and, well, John Dickson’s screaming. Sydney’s Kirin J Callinan has hardly been conventional in his solo work away from his Jack Ladder post, but the clip for his W II W had even many jaded Twitter heads asking W T F on its release mid-May. Directed by Kris Moyles, it is, like the incessantly looped and growled song, disturbing.

themusic.com.au

BIG WORDS Sometimes you stumble across the best new music precisely when you’re not looking for it. So it was when I ended up in Grumpy’s Green a couple of weeks ago and happened to catch a set from Big Words. These talented Melbourne youngsters are doing something very interesting with hip hop, blending the skill of their MCs with a variety of musical styles, and eschewing samples and decks in favour of live instrumentation. There’s something a little bit Plan B in how they build their tracks, crafting their songs in a more traditional band setting but weaving a hip hop element throughout. Check out their Soundcloud site (soundcloud. com/bigwords-1) and have a listen to the soulinfluenced Blue Skies or the indie-rock feel of Lost Myself. However, if you want a real treat, see them on a stage. (I’d never seen anyone play piano and rap at the same time before these guys – it was damn impressive.) They’re playing Limelight at the Order Of Melbourne on Sunday 19 June, and hitting Grumpy’s Green again on Saturday 23. Catch a set and enjoy the unusual and very exciting take on hip hop that these guys are trying out. In other slightly unusual hip hop news, the upcoming poetry slam event Slamalamadingdong will feature a preview of the new performance platform The Jam Slam, which will combine poetry and music in a new format. The marvellous Candice Monique is one of the great minds behind this concept – if you’ve ever had the pleasure of seeing her perform her brilliant poem The Boy Behind Me, you’ll never again doubt that poetry and hip hop walk hand-in-hand. Many of hip hop’s most intriguing artists, including Omar Musa and Luka Lesson, walk in both the hip hop and poetry-slam spheres, so if you’re curious to gaze into another word-driven world, head along to Slamalamadingdong on Thursday 21 June, taking place at the Bella Union at Trades Hall. Adam Crook is a name worth keeping an eye on. The dreadlocked MC recently had the honour of supporting Atmosphere in Perth, which he described as a “career highlight”. His album, One Of A Kind, has the talented Rob Shaker on production, and it’s definitely worth a listen – check it out at adamcrookmusic. bandcamp.com. Highlights include Two Emcees On The Set, featuring AMC, and Voicemail featuring Downsyde’s Optamus. Hooray for Hermitude! The production powerhouse have released an EP titled Parallel Paradise, featuring remixes of tracks from their stellar album HyperParadise by some of the country’s top maestros, including Flume, Sampology and Ta-Ku. I’m particularly taken with the twangy, disco-driven remix of Speak Of The Devil, crafted by none other than the esteemed M-Phazes. Hermitude are also poised to become our latest successful export into other parts of the world – the original version of Speak Of The Devil has been played on BBC Radio 1, and the single is now set for a UK release in July. The boys will be following it up with a show in London on 2 July, so let’s all wish them luck for this important overseas jaunt. I’m looking forward to Spirit Level, the upcoming album from Illlevel (the joint musical project of talented women Que and Liones). They’ve enlisted beats from the likes of Calski and Prowla, and the spectacular Jess Harlen will be making an appearance on the album. These two MCs have been integral in building female support and inclusion in hip hop over the years, and it’ll be great to see them shine on an LP together. You can check out a promo video for Spirit Level at youtube.com/enessrecords. INPRESS • 45


WED 13 Carmex, Baddums: Laundry Coq Roq: Lucky Coq Cosmic Pizza: NHJ: Bimbo Deluxe 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

THU 14 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 Heartbreaker: Revolver Bandroom Loose Joints: The Workshop Lounge Thursdays: Citizen.com, 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 15 393 Fridays: First Floor 393 Anytime: The Workshop Bass Station: 3D Block Party Fridays: Marrakech Bottom End Fridays: Bottom End Breakfast Club: New Guernica Complextro: Electro Mafia: Fashion Keyboard Crabfight: Loop Danceteeria: Laundry Destination: La Di Da

Drumatix: Dave Pham, Simon Slieker, Matt Radovich: My Aeon Espionage: Hype Williams: Roxanne Parlour Fake Tits: Tramp Freedom Pass Fridays: Co. Nightclub, Fusion Freeplay Fridays: Amber Lounge Fridays at Eurotrash: Eurotrash Girl & Eve: North Pollard, Sophia Sun, MAFIA, MZRIZK: New Guernica Helmet: Josh Reynolds Kris Savoia, Phaon Phipat, Will Elder: I Know A Place Indecent Fridays: Syn Bar Juicy: Bimbo Deluxe 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 16 All City Bass: Brown Alley Alumbra Saturdays: Alumbra Audioporn: Dr. Zok, James Ware, China Hoops, Rowie: OneSixOne Billboard Saturdays: Billboard Bottom End Saturdays: Bottom End Dis You!: The Workshop Empire: Denzel Park, Luciana, Ed Coleman, G-Wizard: Co. Nightclub, Fusion Forbidden Saturdays: Amber Lounge Houseparty: Eurotrash Hotstep: Bimbo Deluxe House De Frost: The Toff Kigu Party: Jobin vs Mr George, Otologic vs Simon TK: New Guernica

victorianrollerderby.com

BOUT 4

SATURDAY JUNE 23 MELBOURNE SHOWGROUNDS

DOLLS OF HAZZARD VS ROCK MOBSTERS DEAD RINGER ROSIES VS TOXIC AVENGERS

Original photo: Jesse Booher

The VRDL is a not-for-profit organisation, owned and operated by the skaters.

TICKETS AVAILABLE THROUGH MOSHTIX — ADULT: $20 CHILD 8 – 16: $11 UNDER 8: FREE

www.moshtix.com.au Phone: 1300 GET TIX

(surcharge applies)

Mobile: moshtix.mobi + all moshtix outlets including Polyester Records (City & Fitzroy) and Greville Records. Tickets available at the door if not sold out: Adult $25, Child $15.

DOORS: 4.45PM GAME 1: 5.45PM GAME 2: 7.45PM WWW.FOXBODYART.COM

46 • INPRESS

themusic.com.au

Majik Saturdays: Room680 Mashouse Saturdays: 577 Lt Collins Mux Mool: Laundry Pash: The Roxy Playground: Seven Nightclub Poison Apple: La Di Da Pressure Drop: Laundry Upstairs Prognosis: PQM, James Brooke: Loop Royal Doof Afterparty:Mekkanikka, Menog, Mad Maxx: Brown Alley Saturdays at First Floor: First Floor 393 Speech Therapy: Laundry Upstairs Strut Saturdays: Trak Survivor: Muscles: 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 17 4AM Sunday Mornings: Wah Wah Lounge Be.: Co. Nightclub DJ Battles: Laundry Get Wet: Word Bar Guilty Pleasure Sundays: Pretty Please New Guernica Sundays: New Guernica 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 Sunday Set: AndyBlack, Haggis: The Toff

MON 18 Gear Shift: Horse Bazaar Hair Of The Dog: Revolver Upstairs

IBimbo: Bimbo Deluxe Monday Struggle: Lucky Coq L-Burn Illuminati, DylThomas: Laundry

TUE 19 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


HOWZAT! LOCAL MUSIC NEWS BY JEFF JENKINS obviously a slew of new bands, but a lot of the same people are still as passionately involved as ever – RRR stalwarts, music writers, promoters, APRA, street press, etc. I think Melbourne has always been a great town for musicians and for music fans.”

XXX

PENNY’S ENDLESS DESIRE

Twenty-one years ago, prior to the release of Nirvana’s Nevermind, there was a gulf between mainstream and indie. Melbourne band Sea Stories were indie darlings, regularly doing gigs at the Club and the Punters Club, signing directly to American label IRS, and releasing two albums –1990’s Miller’s Pond and 1991’s Wide Eyed And Dreaming. Their brand of folk pop still sounds fresh and exciting. Sea Stories singer Penny Hewson was a mainstay of Melbourne’s indie scene, but then she disappeared, relocating to the US. “I had a great life in LA,” Penny tells Howzat!, “but it was never intended to be a permanent move. Things just went well for me over there and three years turned into ten! But I love being home.” Has the Melbourne scene changed much? “The heart of it still feels the same. Certain live venues have disappeared but it seems that other cool, smaller venues have sprouted up in their place and with a great local community vibe. There’s

Penny had an indie rock band in LA called My Zuko. “We played some shows around town and recorded an EP, but it was purely for self-satisfaction,” she says. “I was burned out on trying to get anywhere with my music, so I took a left turn and got a full-time job in a music/dotcom business – where I actually got paid! I was then able to fund any creative projects I wanted to do along the way, without having to answer to anyone.” The result is a new solo album, It’s An Endless Desire, which will be out in August on Popboomerang Records. Unlike Sea Stories’ guitar pop, this is a piano-based record. Penny wrote the album on her grand piano, which she shipped home to Melbourne “for lots of thousands of dollars, but it was worth it”. The first taste of the album is the double A-side, This One’s For You/My Lover’s Touch, which Penny is launching on Friday at the Grace Darling (with Kellie Lloyd from Screamfeeder). Does the subject of This One’s For You know the song is about him/her? Penny laughs and replies, “Yes, no, maybe.” It’s a serious song, but it concludes with a chuckle. “I can’t remember exactly what prompted the laugh,” Penny says, “but I liked how it sounded, so I left it in.” It’s Penny’s first solo album in 14 years, following 1998’s Me. “Oh god, has it really been that long?” Does it feel good just having your name on the cover? “Hmmm, good question. It’s not so much about the

name on the cover, it’s more about finding my voice – in the songs, the sounds and the subtleties. And feeling that I’ve finally made the album I wanted to make.” “It’s an endless desire” is a line from one of the songs, Between The Lines, a love song, but it could also refer to Penny’s music career. “It’s basically about creative yearning,” she says, “and passion. Really, at its essence, it’s desire for life.”

OLD SCHOOL

Into The Flame EP MATT CORBY (22) How Will I Know SARAH DE BONO (24, debut) Child 360 (25) Romeo And Juliet ADAM MARTIN (26, debut) Do It Like That RICKI-LEE (29) In My Mind IVAN GOUGH & FEENIXPAWL (30)

Great to see Stephanie Bourke resurface in Sydney. Stephanie was a major player in Melbourne’s indie-rock scene in the ’90s, running Rock’n’Roll High School in Collingwood. She says it inspired Jack Black’s 2003 movie School Of Rock. “He heard about it through Queens Of The Stone Age,” Stephanie told the Sydney Morning Herald. “Josh Homme married one of the girls who went to the school, Brody Dalle.” Stephanie is now a music teacher in Potts Point.

Landslide KARISE EDEN (32)

READ ABOUT IT

The Temper Trap THE TEMPER TRAP (five)

Friday I’m In Love LAKYN HEPERI (39, debut) Missy Higgins matches Delta’s record and sees her first three albums top the charts. The Ol’ Razzle Dazzle MISSY HIGGINS (number one, debut) The Story So Far KEITH URBAN (two)

Two exciting rock biographies are coming soon. The prolific Jeff Apter has done a book on the life of Skyhooks singer Shirley Strachan, who would have been 60 this year, but died in a helicopter crash at the age of 49. Shirl: The Life Of Legendary Larrikin Graeme Shirley Strachan will be out on 1 August. Meanwhile, Mark Mordue’s Nick Cave biography, Tender Prey, is due in November.

Falling & Flying 360 (12)

CHART WATCH

By The Horns JULIA STONE (26)

Don’t Funk With Me ALSTON (16) Notorious BURIED IN VERONA (20, debut) Two Worlds Collide THE McCLYMONTS (24) Drinking From The Sun HILLTOP HOODS (25)

Mr Percival leads the way with his Stevie Wonder cover.

Medicine Man THE BAMBOOS (28, debut)

I Believe DARREN PERCIVAL (number six, debut)

This One’s For You PENNY HEWSON

HOWZAT! PLAYLIST

Sitting On Top Of The World DELTA GOODREM (12)

Glutton LIZ STRINGER

I Can’t Make You Love Me DIANA ROUVAS (16, debut)

Change Of Heart KINGSWOOD

I’m With You BEN HAZLEWOOD (17, debut)

I Understand SOPHIE KOH

Gold GUY SEBASTIAN (18)

Set Me On Fire MISSY HIGGINS

themusic.com.au

INPRESS • 47


WED 13

THU 14

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

360 The Hi-Fi

Bopstretch Uptown Jazz Café

Bo Jenkins, Bluestopia Music Land

Calle Gertrude’s Brown Couch Carmex, Andy Ouch The Order Of Melbourne Cassawarrior, Dd, Ricka E55 Charles Jenkins The Standard Hotel Claude Hay, Chris Russell’s Chicken Walk Retreat Hotel ClaudyKnight, Jason & the Lyrebirds, Dancing Heals The Grace Bandroom Dave Rex trio Dogs Bar Dizzys Big Band, Peter Hearne Dizzy’s Jazz Club DJ PCP Lounge Bar Dufrayne, Hairy Chicken, Concerted Collective, Slammetz Empress Hotel Full Code, Violent Colours, The Hidden Venture, Le Belle Esplanade Lounge Jamie MacDowell, Luke Smith, Tane EmiaMoore Horse Bazaar Letterbox Music Open Studio Lisa Mitchell, Georgia Fair St Michaels Church Lo-Res, Maka Khan, Slipper 303 Mikelangelo & Friends, Julitha Ryan Old Bar Monash Recital Night Paris Cat Jazz Club Petar Tolich, DJ Scotty Co. Nightclub Run Caballito, Chris Hale Bennetts Lane Sam Lawrence, Manny Fox Hangman’s Club The Toff In Town Someone Else’s Wedding Band, Bravo Juliet, Sweet Teens Bendigo Hotel The Brunswick Open Mic with host Brodie Brunswick Hotel The Lost Sunnies, Sun God Replica, Sex Tape, Teenage Libido The Tote The Riding Hood, Tor Larson, Lucy Jean Roleff Bar Open Tobias Hengeveld, The Ten In One Workers Club Tom Tuena Veludo Trivia Edinburgh Castle Hotel Van Myer, Squarehead Evelyn Hotel Wendy Matthews Wellers of Kangaroo Ground Wine, Whiskey, Women, Teresa Dixon, Rachel Byrnes The Drunken Poet

Agent 86, Lewis Can Cut, WHO Lucky Coq

Bosom, Lower Plenty, Jealous Husband Bar Open Circuit Bent, Monkey Marc Miss Libertine Colectivo29 Open Studio Conductors, James Kane, Negative Magick, Nu Balance, Post Percy New Guernica Danco Lomond Hotel

Phil Ross, Chris Mac, Johnny M, Joe Sofo, Nikkos Co. Nightclub Pity Scissor, Mother Fucking Teresa The Gasometer (Upstairs) Private Radio, Home To Kelly, Pretty Dulcie Esplanade Basement Rehab for Quitters, Myrtle Place The Vineyard Salt Lake City, Brightly, Davy John Curtin Hotel Sam Keevers Quartet Uptown Jazz Café

Daniel March Elwood Lounge

Saskwatch, DJ Vince Peach, Pierre Baroni Cherry Bar

Dave Pham, Uone Bimbo Deluxe

Simon Bruce Bar Nancy

Daz Hammond Combo 303 DJ Rowie European Bier Café DJ Who, Citizen. com Lounge Bar Glaciers, DJ Geek Pie Pony Late Show Henry Manetta, Luke Smith, Tash Sultana Horse Bazaar Hussy Hicks The Drunken Poet Jack Donne, Jack Mitchell & Friends Great Britain Hotel Jacob S Harris, The Disappointments, Microflora, Nathan Hollywood Old Bar Jarek, Nice Boy Tom, Skippy’s Brain Evelyn Hotel Jess Locke Edinburgh Castle Hotel Jimmy Daniel, Xani & Mark Rainbow Hotel Kiti, Lady Noir The Carlton Lachlan Bryan, Bill Chambers, The Weeping Willows Workers Club LazyBoy Proactive, Arcane Trickstar, Stickleback, Robodop Spei, DJ Garagee Revolver Upstairs Luke Howard Trio Paris Cat Jazz Club Mammoth Mammoth, River of Snakes, Jackson Firebird Retreat Hotel Matt Collyer & the Company, Big Seal & The Slippery Few, The Promises, The Weekend People Gertrude’s Brown Couch Matt Dean, Matty Grant, Phil Ross Billboard Michael Griffin Quintet Bluestone Lounge Miss Nichols, Spykite, Temple, Too Soon Bendigo Hotel Mrs Hemingway, Taylor/Finn Duo Wesley Anne Nick Murphy Labour In Vain

48 • INPRESS

Northlane, Feed Her To The Sharks, Culprits Next

Skyscraper Stan And The Commision Flats, Matt Sonic & The High Times, Holy Trash, I/O The Tote Stephanie Monk Dizzy’s Jazz Club The Black Hills, Honey Smack, The Naysayers, Glaciers, Geek Pie Pony The Harlots, Thnkr Red Bennies The Instincts, Electric Alice, This Weather, TWSS The Prague The Ivory Junction, Bianca Fenn Veludo The Men they call Jayne Brunswick Hotel The Stevens, Autoportraits, Mad Nanna Yah Yah’s Tim Willis & The End Bennetts Lane Urban Tramper, Sleep Decade, The Book of Ships The Gasometer Hotel Virtual Proximity, Butcher Birds, Deep Crossing Empress Hotel Vulgargrad, Tek Tek Ensemble, Mikelangelo, DJ Russian Disco Northcote Social Club White Summer, King of the North, Pretty Littles, The Corsairs Esplanade Lounge Wolf & Cub, Iowa, Machine The Toff In Town

FRI 15 360 The Hi-Fi 3CR’s Burning Vinyl Benefit, Bison Grass, Cabin Inn, Wicked City, She’s the Band, Bodies Old Adrian Whyte Town Hall Hotel Alwan, Vardos Open Studio Angry Mules Pony Late Show Audemia, Miss Nichols, Moonshifter Music Land Bennie & The Fly-ByNighters Lomond Hotel

Bill & The Jerks, Panchromatic, Jayne Lane, Purple Tusks, Cohorts Nomen Noise Bar

Hunter, Solaires, Dear Ale, Stokades, Nervous John Curtin Hotel

The Detonators Brycees Tavern, Mooroolbark

Cairo Club Orchestra Victoria Street Mall, Coburg

Little Murders, Thee Wylde Oscars Victoria Hotel

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Jono Francisco, Arlen De Silva Prince Maximilian Kellie Lloyd, Penny Hewson, Dead River Grace Darling Hotel Kids of 88, Red Ink, I’lls’, Deja Esplanade Gershwin Room Kill Two Birds, Houndsteeth, Cheet St, My Favourite Emily Brunswick Hotel Kunjani Dizzy’s Jazz Club Lachlan Bryan The Red Till Major Tom & The Atoms, Red Rockets Of Borneo, Quang Dinh & Band Evelyn Hotel Mammoth Mammoth, The Devil Rides Out, Dead Star Renegade, Seedy Jeezus Esplanade Front Maniaxe, Harlott, Ordnance, Blackened The Prague Missy Higgins, Butterfly Boucher Geelong Performing Arts Centre Number Station, The Townhouses, Winterplan Wesley Anne Outlawz, Neda Esmali, Stylz, Baby D, Big Saad Trak Showroom Pat Powell, The Ska Vendors Way Out West Club (Williamstown) Phil Ross, A-Style, Chris Mac, Joe Sofo, Kitty Kat, Johnny M, Nikkos Co. Nightclub Poprocks at the Toff, Dr Phil Smith The Toff In Town Renae Brennen Elwood Lounge Ross Hannaford, Bart Willoughby Basement Discs

Dirt Farmer, Them Swoops, Nantes Workers Club DJ Mannequin, Xtian BluAfterGlow DJ Mish, DJ hijack, DJ Jean Paul Veludo Duchesz, Ooh Ee, Paz First Floor Eaten By Dogs, The Great Western, Perico Empress Hotel Elana Musto, Greg Sara, Scott T Match Bar Elly Hoyt Quintet Bennetts Lane Empra, Octane Overdrive Barwon Club Ganga Giri Baha Tacos Graft vs. Ghost, A Bomb Whores, Foxtrot Idgaff Bar and Venue Huckleberry & Me, Jemma Molton & Emily Smith The Thornbury Local

Rotterdam The Butterfly Club Saca la Mois DJ, Mr Nice, Ego & Phaic VJ Loop Seri Vida, Fathoms, No Escape For the King, Constant Killer, Angry Mules, White Rabbit Pony Shaun Kirk, Shoeshine Grind ‘n’ Groove Bar Shaun’s Kick Ass Party Luna Park Steve Magnusson Trio Uptown Jazz Café Steve Sedergreen Quartet Paris Cat Jazz Club The Black Seeds, Cheap Fakes Corner Hotel The Blackchords Bended Elbow, Geelong

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The Gary Adams & Jimmy Williams Band Newport Bowling Club The Outlaws Trak Lounge Bar The Quarters, As a Rival, Waverley Cornish Arms Hotel

Cast Iron Piñata, Deadstar Renegade, The Advocates, DJ Dan Watt, DJ Big Scotty Cherry Bar Chained Lizard, The Song Remains The Same Music Land Cherrywood Labour In Vain

The Rye Catchers, The Electric Sun Kings, Mutations Karova Lounge

Chop Squad, Too Soon, The Lost Day Idgaff Bar and Venue

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Clowns, The Magic Bones, Charm, Thrasher Jynx, The Devil Rides Out, Them Bruins, Mr Sharp Collarbones, Bon Chat Bon Rat, Brothers Hand Mirror, Namine The Gasometer Hotel

The Union Pacific, Declaration, Patriachal Bendigo Hotel The Vendettas, Damn that River, Idle Hands, Richie 1250 Yah Yah’s Thick As Blood, Taken by Force, Destined, Nicholas Cage Fighter, A Call to Anguish Mechanics Institute, Ballarat Topnovil, No Idea, Myrtle Place, The Half Pints, The Tearaways The Nash Hotel, Geelong Traditional Irish Music Session, Dan Bourke & Friends The Drunken Poet Turtle & Fox The Hammy

Claude Hay Baha Tacos

Craig Schneider Trio Dizzy’s Jazz Club Damnations Day, Myridian, The Plague Central Club Hotel Darren Coburn, Luke McD, Nick Coleman Lounge Bar Denzal Park, Luciana, G-Wizard, Ed Coleman Co. Nightclub Edd Fisher, Knave Knixx Red Bennies Elly Hoyt Quintet Paris Cat Jazz Club

Victor Pender Cape Café

Empra, Black Aces, Low Point Newmarket Hotel, Bendigo

Warbrain, Survival, Thick Skin, Reincarnation The Gasometer (Upstairs)

Fine Art Dealer, Transistor, Wicked Game, Rick Da Scale Esplanade Basement

Yosemite, Leaks, Flash Forest, Willow Beats The Gasometer Hotel

Ganga Giri, Cumbia Cosmonauts, Culture Connect, IHHP, Phil Para Esplanade Lounge

SAT 16 360, Bam Bam, Hermitude Pier Live Abbie Cardwell & Her Leading Men Prince Bandroom Alex & Michael Elwood Lounge Alithia, Breaking Orbit, Manatarms The Prague Ally Oop And The Hoopsters, Velcro, Cash Savage & The Last Drinks, The Death Rattles The Tote Amanita, Long Legged Monsters, David O’Conner Cornish Arms Hotel Andrew Nolte & His Orchestra Open Studio Atluk, Bad at Knitting, By The Night Brunswick Hotel - Arvo Be’Lakor, Okera, Arbrynth, Dark Earth Esplanade Gershwin Room Bon Scotts, Anna Smyrk & The Appetites, Del Luna The Grace Bandroom

Gatherer, On Sierra, Cobra Khan John Curtin Hotel Grace Lawry, Nathan Seeckts, Sean Callanan Bendigo Hotel Guy Sebastian, Ben Burgees Palais Theatre Husk, The Empire, Podkin Fly, The Soulenikoes Brunswick Hotel Into The Mystic: The Songs of Van Morrison Caravan Music Club Into The Woods, The Staffords, Running Away With the Circus Empress Hotel Jackson Firebird, River of Snakes Bended Elbow, Geelong Judge Pino & the Ruling Motions Bar Open Keggin, Fisty Cuffs, Crunt Burgers The Gasometer (Upstairs) Kigu Party, Sunshine, Chestwig, Mu-Gen, Jobin vs. Mr George, Otologic vs Simon TK New Les Thomas Edinburgh Castle Hotel

Nick Charles, Raw Brit St Andrews Hotel Paul Williamson Quartet Uptown Jazz Café Paulie Bignell & the Thornbury Two Highway 31 Phoebe & The Night Creatures Tony Starr’s Kitten Club Pour Parlour, Tully On Tully, Language of the Birds, Full Code Revolver Upstairs PQM, James Brook, Fabels, J-Slyde, Simon Murphy, Taran M Loop Quarry Mountain Dead Rats, Howlin’ Steam Train, Sweet Jean, Master Gun Fighters Northcote Social Club Raised By Eagles, The Original Snake Skins, Calle, Rob Farnham & Band Retreat Hotel Rehab for Quitters, Topnovil, No Idea, The Australian Kingswood Factory, Strawberry Fist Cake, The Flangipanis, Casino Rumblers, Myrtle Place, The Half Pints The Barleycorn Hotel Robin & The New Revolution The Hi-Fi Shaun Kirk, Hiding with Bears, Tom Rule Ruby’s Lounge Ships Piano, Phantom Agents Great Britain Hotel Skinny Leather Ties, Jacket Off Veludo SmuDJ, Syme Tollens BluAfterGlow Stomp Dog The Drunken Poet Teenage Shutdown, Sye Laxton Gertrude’s Brown Couch The Audreys, The House De Frost The Toff In Town The Bamboos, Axolotyl, Pierre Baroni Corner Hotel The Blackeyed Susans Union Hotel Brunswick The Bon Scotts, Anna Smyrk & The Appetites, Del Luna Grace Darling Hotel The Corsairs, Agility, The Latonas Noise Bar The Demon Parade, Sister Jane, Lowtide, Buried Feather, Flying Colours Yah Yah’s The Devil Rides Out, The Wardens, My Left Boot, DJ Cisco Rose Old Bar The Devil Rides Out, Them Bruins, Mr Sharp Pony Late Show


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The Funkiteks Penny Black The High Society Rainbow Hotel The Vaudeville Smash, Daydream Arcade, Mansion, Alaska Evelyn Hotel The Volcanics Town Hall Hotel Thick As Blood, Taken by Force, Crowned King Bang

Falloe, Peter Bodin 303 George Hyde, Joshua Seymour, Zoee Marston The Vic (Brunswick) George Hyde, Joshua Seymour Victoria Hotel Goyim Great Britain Hotel Grunge Safari, Amanita Bar Open Guy Sebastian Geelong Performing Arts Centre

Tim Wilson’s Cannonball Bennetts Lane

Josie Jason Memorial Esplanade Gershwin Room

Victor Pender Cape Café

JVG Guitar Method Labour In Vain

Warako Musica, Zelia Rose Burlesque, Dan The Man The LuWoW

Lloyd Spiegel, Charles Jenkins The Drunken Poet

Warbrain, Survival, Thick Skin, Outsiders Code Phoenix Youth Centre

Lourdes, Kite Club, Lands Evelyn Hotel

Waz E James Band Lomond Hotel Yung Warriors, Chrissy J, Johnny Mac Workers Club

SUN 17 360 The Hi-Fi Ade Ish Trio Open Studio Admiral Ackbar’s Dishonourable Discharge, Working Horse Irons, Myrtle Place, Fisty Cuffs, The Punk-A-Billy Mishmash band of Potatoes Blue Tile Lounge Anbessa, Tenzing Yeshi, Kairo, La Descarga, Ras Jahknow, Autochi, Koorie Tiddas Choir Fitzroy Town Hall Band Band, Space Ghost Tago Mago Beemask, David Shea, Angel Eyes The Gasometer Hotel Benny Walker Post Office Hotel Bitter Sweethearts The Standard Hotel Black Cat Bone St Andrews Hotel

Matt McFarlane Empress Hotel, Arvo Show Midnight Caller, The Enclosures Brunswick Hotel Mild Sparrow, The Migrations The Thornbury Local Missy Higgins, Butterfly Boucher Her Majesty’s Theatre

Phoebe & The Night Creatures Prince Maximilian Roesy, Flying Saucer Terror Bar Nancy Ross Hannaford & The Critters Caravan Music Club Simon Wright Veludo St Leonards College - with Peter Foley Dizzy’s Jazz Club Staffans Songs, Lucy Wise, Mischa Herman, Chris Bolton Grace Darling Hotel

Busta Mento, DJ Kilmarnock Steve Way Out West Club (Williamstown)

The Audreys The Palais, Hepburn Springs

Daniel Merriweather Northcote Social Club DJ Andy Black, Haggis, New Empire The Toff In Town

Twyce Daily Chandelier Room

MON 18 Allan Browne, Marc Hannaford, Sam Pankhurst Trio Bennetts Lane Bjorn Bord (Peep Tempel), Ali E Old Bar Drew Veludo Eaten By Dogs, Joshua Seymour Esplanade Lounge Passionate Tongues Poetry Brunswick Hotel Rites Wild, This Free Field, Exhaustion Northcote Social Club The Cactus Channel Evelyn Hotel

Albert Salt The Toff In Town

The Astros, Kestrel, Bug and the Whatelotion The Gasometer (Upstairs)

Dale Ryder Band, Nudist Funk Orchestra, Bad Boys Batucada Esplanade Lounge

Trevor Watts, Veryan Weston Bennetts Lane

Nick Charles & Blue Strings, Marty Kelly & Aubrey Maher Lomond Hotel

Bruce Pumpa & the Perfect Gentlemen, Greg Walsh Gertrude’s Brown Couch

Curds n Grain, Ultravibralux Yah Yah’s

Tigertown, Dirt Farmer, Cordial Factory Workers Club

Trivia The Standard Hotel

Temple, Yoshitoro, Miss Nichols, Brutal Assault Idgaff Bar and Venue

Chris Russell, Dean Muller, Dj Max Crawdaddy Cherry Bar

Thick As Blood, Taken by Force, Thorns, Divisions Phoenix Youth Centre

My Imaginary Heart, Taylor Project, Jana Reilka, Sandy Jeffs, Initially No Brunswick Hotel - Arvo

Bo Jenkins The Bay Mordialloc

Busta Mento Williamstown RSL

The Toot Toot Toots, Saint Jude, Alysia Manceau, DJ Mary Ocher Old Bar

The Bakersfield Glee Club, The Killjoys Retreat Hotel The Bamboos, Axolotyl, Pierre Baroni Corner Hotel The Dukes of Despair Penny Black The Dust Revival Band Edinburgh Castle Hotel The Grand Wazoo Thornbury Theatre The Native Plants Union Hotel Brunswick The Spheres No Vacancy QV Gallery

TUE 19 Irish Session Lomond Hotel Jason Seeman, John Lillis, Nicolette Forte, Jamie MacDowell, The Elliots Esplanade Lounge Lincoln, Mackinnon John Curtin Hotel Mary Ocher, Water Music, Ali Gray Exhibition Opening Old Bar Oliver Tank Northcote Social Club Paul Williamson Trio Bennetts Lane The Brunswick Discovery Brunswick Hotel Urban Tramper, Ainslee Willis, These Patterns Workers Club Weekly Trivia The Drunken Poet

BANG

Saturday Thick As Blood, Taken by Force, Crowned King

BAR OPEN

Wednesday The Riding Hood, Tor Larson, Lucy Jean Roleff Thursday Bosom, Lower Plenty, Jealous Husband Friday Congo Tardis #1 Saturday Judge Pino & the Ruling Motions Sunday Grunge Safari, Amanita

BENDIGO HOTEL

Wednesday Someone Else’s Wedding Band, Bravo Juliet, Sweet Teens Thursday Miss Nichols, Spykite, Temple, Too Soon Friday The Union Pacific, Declaration, Patriachal Saturday Grace Lawry, Nathan Seeckts, Sean Callanan

BILLBOARD

Thursday Matt Dean, Matty Grant, Phil Ross

BIMBO DELUXE

CORNER HOTEL

Friday The Black Seeds, Cheap Fakes Saturday The Bamboos, Axolotyl, Pierre Baroni Sunday The Bamboos, Axolotyl, Pierre Baroni

CORNISH ARMS HOTEL

Wednesday Trivia Thursday Jess Locke Friday Hyfrydol Saturday Les Thomas

Sunday The Dust Revival Band

EMPRESS HOTEL

Wednesday Dufrayne, Hairy Chicken, Concerted Collective, Slammetz

Saturday Into The Woods, The Staffords, Running Away With the Circus

EMPRESS HOTEL, ARVO SHOW

Sunday Matt McFarlane

ESPLANADE BASEMENT

Sunday Midnight Caller, The Enclosures

Friday Damman, Kryptic, Gzu-Tek, Broken, Blue Collar MCs, Harvest, DJ Rellik Saturday Fine Art Dealer, Transistor, Wicked Game, Rick Da Scale

CARAVAN MUSIC CLUB

Friday Brian Henry Hooper, Heidi Everett, Rudely Interrupted, Emma Jane Hawkinds, Emotion 21 Saturday Into The Mystic: The Songs of Van Morrison Sunday Ross Hannaford & The Critters

Monday Rites Wild, This Free Field, Exhaustion Tuesday Oliver Tank

Friday Seri Vida, Fathoms, No Escape For the King, Constant Killer, Angry Mules, White Rabbit

Thursday Private Radio, Home To Kelly, Pretty Dulcie

Tuesday The Brunswick Discovery

Monday Eaten By Dogs, Joshua Seymour

Sunday Daniel Merriweather

Thursday Jarek, Nice Boy Tom, Skippy’s Brain

EDINBURGH CASTLE HOTEL

Saturday Husk, The Empire, Podkin Fly, The Soulenikoes

Monday Passionate Tongues Poetry

Sunday Dale Ryder Band, Nudist Funk Orchestra, Bad Boys Batucada

EVELYN HOTEL

Friday Eaten By Dogs, The Great Western, Perico

Friday Kill Two Birds, Houndsteeth, Cheet St, My Favourite Emily

Saturday Quarry Mountain Dead Rats, Howlin’ Steam Train, Sweet Jean, Master Gun Fighters

Saturday Amanita, Long Legged Monsters, David O’Conner

Friday Chairman Meow, Coburg Market, Mr. Fox, Tiger Funk, WHO

Thursday The Men they call Jayne

Saturday Ganga Giri, Cumbia Cosmonauts, Culture Connect, IHHP, Phil Para

Thursday The Black Hills, Honey Smack, The Naysayers, Glaciers, Geek Pie

Thursday Virtual Proximity, Butcher Birds, Deep Crossing

Wednesday The Brunswick Open Mic with host Brodie

Friday Creatures of Karma, Cathouse Canary, Ceres, Rock Scars

Friday The Quarters, As a Rival, Waverley

Thursday Dave Pham, Uone

BRUNSWICK HOTEL

Thursday White Summer, King of the North, Pretty Littles, The Corsairs

Tuesday Jason Seeman, John Lillis, Nicolette Forte, Jamie MacDowell, The Elliots

ESPLANADE GERSHWIN ROOM

Friday Kids of 88, Red Ink, I’lls’, Deja

Saturday Be’Lakor, Okera, Arbrynth, Dark Earth Sunday Josie Jason Memorial

ESPLANADE LOUNGE

Wednesday Full Code, Violent Colours, The Hidden Venture, Le Belle

50 • INPRESS

VENUE GUIDE

themusic.com.au

Wednesday Van Myer, Squarehead

Friday Major Tom & The Atoms, Red Rockets Of Borneo, Quang Dinh & Band Saturday The Vaudeville Smash, Daydream Arcade, Mansion, Alaska Sunday Lourdes, Kite Club, Lands Monday The Cactus Channel

GRACE DARLING HOTEL

Friday Kellie Lloyd, Penny Hewson, Dead River Saturday The Bon Scotts, Anna Smyrk & The Appetites, Del Luna

PONY

Saturday Clowns, The Magic Bones, Charm, Thrasher Jynx, The Devil Rides Out, Them Bruins, Mr Sharp

PRINCE BANDROOM

Saturday Abbie Cardwell & Her Leading Men

LOOP

Friday Saca la Mois DJ, Mr Nice, Ego & Phaic VJ Saturday PQM, James Brook, Fabels, J-Slyde, Simon Murphy, Taran M

LUCKY COQ

Wednesday Agent 86, Lady Noir, Joybot, Kiti, Mr Thom Thursday Agent 86, Lewis Can Cut, WHO

NEXT

Thursday Northlane, Feed Her To The Sharks, Culprits

NORTHCOTE SOCIAL CLUB

Thursday Vulgargrad, Tek Tek Ensemble, Mikelangelo, DJ Russian Disco

Thursday Skyscraper Stan And The Commision Flats, Matt Sonic & The High Times, Holy Trash, I/O Friday Clagg, Broozer, Swidgen, Agonhymn Saturday Ally Oop And The Hoopsters, Velcro, Cash Savage & The Last Drinks, The Death Rattles

UNION HOTEL BRUNSWICK

Saturday The Blackeyed Susans Sunday The Native Plants

WESLEY ANNE

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Saturday Stomp Dog

Tuesday Lincoln, Mackinnon

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Thursday Hussy Hicks

Wednesday Wine, Whiskey, Women, Teresa Dixon, Rachel Byrnes

JOHN CURTIN HOTEL

Saturday Gatherer, On Sierra, Cobra Khan

Tuesday Albert Salt

Thursday Mrs Hemingway, Taylor/Finn Duo

Friday Traditional Irish Music Session, Dan Bourke & Friends

Friday Hunter, Solaires, Dear Ale, Stokades, Nervous

Sunday DJ Andy Black, Haggis, New Empire

THE DRUNKEN POET

Sunday Staffans Songs, Lucy Wise, Mischa Herman, Chris Bolton

Thursday Salt Lake City, Brightly, Davy

Saturday The Audreys, The House De Frost

Sunday Lloyd Spiegel, Charles Jenkins Tuesday Weekly Trivia

THE HI-FI

Thursday 360 Friday 360

Saturday Robin & The New Revolution Sunday 360

THE STANDARD HOTEL

Wednesday Charles Jenkins

Sunday Bitter Sweethearts Monday Trivia

THE TOFF IN TOWN

Wednesday Sam Lawrence, Manny Fox Hangman’s Club Thursday Wolf & Cub, Iowa, Machine Friday Poprocks at the Toff, Dr Phil Smith

Friday Number Station, The Townhouses, Winterplan

WORKERS CLUB

Wednesday Tobias Hengeveld, The Ten In One

Thursday Lachlan Bryan, Bill Chambers, The Weeping Willows Friday Dirt Farmer, Them Swoops, Nantes Saturday Yung Warriors, Chrissy J, Johnny Mac Sunday Tigertown, Dirt Farmer, Cordial Factory Tuesday Urban Tramper, Ainslee Willis, These Patterns

YAH YAH’S

Thursday The Stevens, Autoportraits, Mad Nanna

Friday The Vendettas, Damn that River, Idle Hands, Richie 1250 Saturday The Demon Parade, Sister Jane, Lowtide, Buried Feather, Flying Colours Sunday Curds n Grain, Ultravibralux


INPRESS • 51


BEHIND THE LINES SPIRIT TRACKS

BROUGHT TO YOU BY

WITH MICHAEL SMITH

APRA CONNECTING GEELONG

On Tuesday 26 June at 6.30pm, Pan Studios in Geelong will be hosting an evening dedicated to helping APRA members and those aspiring songwriters, solo and band members, who should be members get the inside info on one of the big issues for any songwriter – Gigs And Getting Your Music Out There. As part of the ongoing APRA Connecting Members initiative, a panel of experts featuring Heidi Braithwaite of Riot House Publicity, venue booker Steven Nichols who jointly owns multi-purpose music business Spinning Half, Artistic Programmer and Operations Coordinator at QMF Andrew Orvis, and Sarah-Jane Wentzki AKA musician Princess One Point Five, who’s also an APRA writers services rep, will share their experiences and knowledge in a discussion coordinated by APRA’s Con Kalamaras. It’s free, but space is limited so RSVP to victas@ apra.com.au or call (03) 9426 5200 now.

THE FENDER JAGUAR TURNS 50

Back in 1962, having already established something of a timeless template for the electric guitar in the Stratocaster and the Telecaster, Fender decided to shake things up a bit by introducing a guitar that paired the Jazzmaster body style and its elaborate control layout with a shorter scale and smaller, brighter pickups with more output. The result was the Fender Jaguar, and 50 years on, having been rediscovered by the punk/post-punk/grunge generation, Fender has produced an anniversary model that features the classic 24” scale length, a new onedegree neck-angle-pocket cut that improves pitch, a repositioned tremolo plate that increases bridge break angle and sustain, and specially designed hot Jaguar single-coil neck and bridge pickups that deliver fatter tone and more output. Test drive one today.

SOUND BYTES

Something For Kate are travelling to Dallas, Texas to record their next album with US producer John Congleton (Explosions In The Sky, The Walkmen, St Vincent, Okkervil River). The band will blog on their website during the recording process. The latest and ninth album from Swedish dark metal five-piece Katatonia, Dead End Kings, was recorded at Ghost Ward Studios and The City Of Glass with the band’s Anders Nyström and Jonas Renkse producing and David Castillo (Opeth, Bloodbath) mixing. Scottish four-piece The View recorded Cheeky For A Reason at Liverpool, UK’s world class Motor Museum Studios with producer Mike Crossey (Arctic Monkeys, Razorlight, Foals). The official Diamond Jubilee song, Sing, co-written by Spandau Ballet’s Gary Barlow and some bloke called Andrew Lloyd Webber, was recorded in Abbey Road Studios’ Studio One. Progressive metalcore six-piece A Hero A Fake recorded their new album, The Future Again, at The Basement Recording Studio in their homestate North Carolina with Jamie King (Between The Buried And Me, Wretched), who recorded their previous two albums, with Cameron Mizell mixing and Joey Sturgis mastering the results. Expat Australian singer/songwriter Nadia Ackerman, who has called New York City home for 14 years, used an AKG Tube mic to record her vocals on her bedroom home studio-recorded and produced album, The Ocean Master. Due out 20 July, the new album from Old Crow Medicine Show, Carry Me Back, was recorded at the Sound Emporium in Nashville with producer Ted Hutt (Gaslight Anthem, Dropkick Murphys, Flogging Molly). Proudly “made by seven men in seven days”, the new album from Graveyard Train, Hollow, was recorded at Atlantis Studio in Melbourne, bar one track that was recorded at Sing Sing by Loki Lockwood (Hugo Race & True Spirit, The Drones, SixFtHick), who also mastered it at Creepy Hollow. Sydney five-piece Bears With Guns called on ARIA Award-winning producer Wayne Connolly to record their debut EP, Taken For A Fool, which is being released by Highway 125, an indie label run by Trackdown Studios, which runs out of the Entertainment Quarter in Sydney’s Moore Park. Craig Morrison, who last November picked up the gong for best country song at the Australian Songwriters Association Awards, recorded his recently released eponymous album at the Fun House Studios and Big Dog Studios, owned by expat Australian producer Mark Moffatt (The Saints, Yothu Yindi, Keith Urban, The Monitors), in Nashville, with John Saylor (Hank Williams Jr, Neil Young) engineering, but brought the album back to Sydney to get it mastered at Studios 301 by Leon Zarvos (Eskimo Joe, John Butler Trio).

52 • INPRESS

Xavier Rudd takes Michael Smith through his new album, Spirit Bird, track by track, providing a little insight into the recording process.

R

ecorded bar one track in what he describes as “a big wooden house in Thornbury Ontario, Canada,” (in fact Lora Bay Studios) Xavier Rudd produced his latest album, Spirit Bird, himself, with Mike Gilles engineering and his instrument technician and production assistant Luke Davis on hand to keep his battery of instruments up to scratch. It was mixed by Scott Horscroft, assisted by Jeremy Nothman, at Forgotten Valley Studios in the NSW Hinterlands and mastered at Sydney’s Studios 301 by Steve Smart. Dispersed here and there across the album are the sounds of a variety of Australian birds, grafted into the tracks from an album of Australian birdcalls and bush sounds recorded by wildlife sound recordist David Stewart. Lioness Eye – Built up around a drum pattern, Rudd explains he’s “had a lot of [Indigenous] elders tell me I have a woman’s spirit with me, on my journey. So that pounding rhythm is that ancient woman spirit that’s moving with me and as I’m learning these lessons in life I guess I’m seeing things through the Lioness Eye a bit clearer, you know?” The main bird song featured is the kookaburra. “I’ve found that kookaburras have been talking to me all my life, and they continue to. They always command me to stop and listen – they have this unique ability to make you stop and listen to them no matter what’s going on – so they’re a pretty powerful old bird I reckon.”

back half of the song just came pouring out, again very emotional. The next day I realised that was happening at the time the police had moved in on James Price Point and started dragging elders off country and came in to claim the land. So I feel that there are scatterings of Kimberley spirit that has come through me on this record, and Spirit Bird is the most obvious reflection of that.”

While the pounding drums and didge sound close mic’d, Rudd puts his vocal way back in a sea of reverb, “almost standing on a mountain kind of vibe. I guess I did sing it like a long way away from the mic, but it’s more that feeling of… proclaiming, you know? Arms in the air, shouting it to the universe a little bit.”

Prosper – More a sound collage than a song, Rudd “was in New Orleans and there was an old man with a megaphone on the street and I recorded him on my phone, so that’s the old man you can hear. And then I put the Mohawk Ohniakara mob [Native American tribal singers] that we recorded for Bow Down – they did a chant – and I wanted to put that native chant underneath the preaching in our modern world. And then I also put cane toads and galahs to represent politicians.”

Comfortable In My Skin – A far more intimate track, just voice, close mic’d, harmonica and guitar. “That track was a take that I did when I first went into the studio, and I actually did it in a different key than I wanted the track to be in. All the takes we did of the song after were in A and that was in D, but it just had a charm to it and a rawness that I really liked about that take.” Spirit Bird – In contrast a big production, complete with the sounds of the red-tailed black cockatoo, “and yellow-tailed cockatoos too,” Rudd adds, the sound of currawong outside his kitchen window. “The song came from an experience I had with a red-tailed black in the Kimberley. That was such a profound story and time that it’s hard to put into words, but I had this moment where I came across this red-tailed black cockatoo and she just looked through me and I had all these visions and memories that weren’t mine, and I guess she was talking to me and later that day I wrote the start of Spirit Bird in the sand on a beach, and it was all very emotional, and when I finished it a few years later in Canada, about ten o’clock at night and I was sitting by a fire and the

All which explains why Rudd brought in the voices of the students of Cape Byron Rudolph Steiner School in Byron Bay, recorded by Jordan Power. “Yeah, bringing in that sense of one mob. What’s going on in the Kimberleys is a world issue that requires everyone to stand up and recognise it. That’s one of our missions on the planet.”

Bow Down – Features the Mohawk choir as it builds but begins stripped back with just bass drum, handclaps and slide guitar. “I didn’t want to layer it too much but I’m able to get a lot of layers just with what I’m running [live] now, solo too, so it’s definitely pretty thick [sounding]. I’ve sort of stripped back my effects and I’m just using two Carbon Copy delay pedals and Tube Screamer on the dirty amp and I’ve got triggers now so I’m sampling stuff both at my guitar station and my percussion station, but it’s all real time, no loops.” Follow The Sun – The first single off the album, it was recorded last, in an hour and a half back here at Studios 301 Byron Bay, engineered by Jordan Power, stripped back again to just bass drum, acoustic guitar, voice, harmonica… and magpies. Butterfly – Features a Canadian warbler! “I just played this little slit drum, just with two mics, and I was stomping

on the wooden dock with my foot – the tone of the dock was amazing, like a real heartbeat – and as I was singing and playing, this little bird started singing back to me, and you can hear him in the take that we kept.” Culture Bleeding – “Freddie Leone, who was the guest vocalist on it – Impossible Odds he calls himself and he’s a Badtjala fella and sang in Badtjala – and I think it’s pretty self-explanatory. It’s recorded pretty live; it’s just me playing didge and my percussion kit, and the siren kind of effect you can hear is a tawny frogmouth, and then a sooty owl in the other groove.” Paper Thin – Back to the basic close mic’d voice, acoustic, slide – “It’s a folk song. I guess it’s a reflection on life and love and all that jazz. We’re pretty fragile vessels and we forget that a lot of the time and end up damaged [laughs].” Full Circle – “I had two Aboriginal aunties that came and sort of cleared a space for us in Canada on the day that I recorded that, and they’ve been pretty profound in my journey. I didn’t have any lyrics prepared for it; it wasn’t even called Full Circle and I just recorded it in one take and sang what I sang straight off the cuff.” Mystery Angel – The slit drum reappears, as does the slide – and the pied butcherbird. “That drum was given to me by Ben Harper’s brother Joel. He’s written a children’s book, All The Way To The Ocean, and he asked me to be the crane in the animation they’re going to do. ” 3 Roads – Bass player Tio Moloantoa and percussionist Andile Nqubezelo, with whom Rudd recorded previous album, Koonyum Sun, used to sing the chant Rudd sings here. “It’s just a song to pay respect to our three roads, and that we will come together again.” Spirit Bird is out now on Universal. Xavier Rudd plays Civic Theatre, Newcastle Thursday 6 September; Waves, Wollongong Friday 7; Enmore Theatre Saturday 8; and Playhouse Theatre, Canberra Sunday 9.

GEAR REVIEW

LTD MH-350 NT & LTD MH 350 FR GUITARS

LTD guitars have followed the global trend of outsourcing their stock to other countries to cut down on manufacturing costs so they can compete in terms of cost and quality. And while the top of the range Japanese ESPs will no doubt cost you a fair bit of coin, they’re simply stunning instruments, “Metal Machines” akin to a Samurai sword for the hard rocker. So what happens when you outsource your baby ESPs to an Indonesian plant? Let’s have a look at two variations of the LTD MH-350, a Neck-Thru model with a String-Thru bridge, and the ever-popular Floyd Rose version. Both guitars featured the fantastic coupling of EMG ’81 and ’85 pickups and the models reviewed were finished in a demonic transparent black. First up I was keen to see how the Floyd Rose model stood up; being a not-so-proud owner of a “Licensed” Floyd Rose bridge in the past, the difference in quality between bridge types is massive these days. This particular guitar featured the Floyd Rose “Special” bridge, so one would assume it’s close to the real deal. After pulling the guitar out of the box I did what every guitarist dealing with a Floyd Rose has to do, stretch the strings out and get the tuning right before locking

down the nut. It took quick a bit of time to get the tuning stable, but then it was time to take this axe to the races. I screwed in the whammy bar and threw down every known guitar trick at the bridge and it came back into tune almost perfectly every time. I’d definitely say the Floyd Rose Special lacks a bit of lustre against the Floyd Rose Original, which in my experience always returns to perfect pitch after the strings have been played in. Then after I’d run out of shred, I took on the other version of this guitar, the String-Thru model. I immediately noticed the action on this guitar was set up a touch higher and with heavier strings. No tuning issues here, but rather a simple design dedicated to massive sustain and great rhythm

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and lead playing with a wonderful neck that was simply flawless, just as good as the top shelf ESP’s in terms of finish. This guitar was definitely more my cup of tea, as it was easier to tune down to Drop D and slam out some fat riffs or go even lower, which is the trend of today’s metal society. In summing up, both these guitars are great value for money. The pickups and hardware are both top notch EMGs, but the tone woods are nowhere near as dense as the Japanese ESP/LTDs. Reza Nasseri For more info, see www.cmi.com.au. Originally published in Australian Musician.


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INPRESS â&#x20AC;˘ 53


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Inpress Issue 1228  

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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