THE SMITH STREET BAND
PHOTEK
DIE! DIE! DIE!
SHIHAD
ICEHOUSE GIN WIGMORE LOON LAKE JODY WISTERNOFF
N O W AVA I L A B L E O N I PA D • W E D N E S DAY 2 2 A U G U S T 2 012 • I S S U E 12 3 8 • F R E E
www.themusic.com.au au
CERTIFICATE, DIPLOMA & DEGREE COURSES IN:
Audio Production Film Production Electronic Music Production
INFO E R O M R FO .au w.sae.edu VISIT: ww
AE EDU
0S CALL: 180
DIPLOMA & DEGREE COURSES IN: Graphic Design | Games Design Animation | Games Programming Web Design & Development
CRICOS Codes - 03204G (QLD) 00312F (NSW) 02047B (VIC) 02431E (WA)
SILVERSUN PICKUPS
78KL¶F @<7A<:;G EHAA8EF 6E4ML C ?BF 64@C8F<ABF CRAZY P LOS CAMPESINOS! E<I8E 6<GL 8KG8AF<BA 74E> ;BEF8F RIVER CITY EXTENSION 74E> ;BEF8F WINTER PEOPLE
BECK SIGUR RÓS i e
MONDO CANE GRIZZLY BEAR ’s tton
BEN FOLDS F<I8 58<EUT F4AG<:B?7 64>8 G;8 74A7L J4E;B?F G;8 5?46> 4A:8?F 6;EB@4G<6F BMB@4G?< ?<4EF 9±6> 5HGGBAF G;8 J4E BA 7EH:F DARK DARK DARK ea uring 5BBG?8: 4??8L G;8 F86E8G :4E78A G;8 64@C9<E8 FG4:8 :BHE@8G 9BB7 7E<A> FG4??F ;B?<FG<6 E8GEB I<AG4:8 4EGF @4E>8GF F<78F;BJF C?HF FHECE<F8F 7854H6;8EL :4?BE8
SATURDAY 10 NOVEMBER WERRIBEE PARK SUNDAY 11 NOVEMBER WERRIBEE PARK
TICKETS ON SALE NOW FROM HARVESTFESTIVAL.COM.AU & OZTIX.COM.AU 1300 762 545 *LINEUP AND VENUES ARE SUBJECT TO CHANGE 18+ ONLY EVENT - PHOTO ID REQUIRED
FACEBOOK.COM/HARVESTPRESENTS TWITTER.COM/HARVESTPRESENTS INPRESS • 3
TOURING LAKE AIR
FRI 12TH OCT THE CORNER MELBOURNE WITH SPECIAL GUEST JAPE
Supported by triple j
TICKET+VINYL BUNDLE ON SALE NOW Corner Box Office 57 Swan St Richmond 10-8 Mon-Sat 03 9427 9198 www.cornerhotel.com
4 • INPRESS
INPRESS • 5
6 • INPRESS
John Butler Trio (NYE Midnight Set) Sharon Jones & the Dap Kings (usa-nye sEt) tHE bLacK sEedS (nz) fRiEndLY fIreS dj Set (uk-nye sEt)
kRaFty kUtS Vs A.sKilLz (UK) tHE hERd (aus) Kaki King (USA) Blood red Shoes (UK) Unknown Mortal Orchestra (USA) Electric Wire Hustle (NZ) King Tide (AUS) mAt. mChUGh & THE SEPERATISTA SOUND SYSTEM (aus) 65DaysoFstatic (UK) Deep Sea Arcade (AUS) Gold Fields (AUS) Gossling (AUS) Will & The People (UK) Chapelier Fou (Fr) The Medics (AUS) NorthEast Party House (AUS) HatFitz and Cara (aus) Tuka (AUS) The Cairos (AUS) The PreaTUREs (AUS) Battleships (AUS) Lime Cordiale (AUS) Daily Meds (AUS) JONES Jnr (AUS) Tigertown (AUS) MicroWave Jenny (AUS) also featuring — The Return of The Dub Shack Plus many more artists to be announced...
INPRESS • 7
“LIVE AT THE LOMOND” THU 23RD 9:30PM
FRI 24TH 9:30PM
JJP EDISONS
((CONTEMPORARY ROOTS)
BLUEZ DELUXE
(BLUES GROOVES)
SAT 25TH 9:30PM
CHRIS CAVILL
AND LONG WEEKEND
(CROSS COUNTRY BLUES)
SUN 26TH 5:30PM
IIAN BLAND AND THE LAMINGTON DRIVE ORCHESTRA
(URBAN TROUBADOUR))
+ MARTY KELLY + ALBURY MAHER
(ACOUSTIC ROOTS))
ALL GIGS FREE! ~ EXCELLENT BAR AND RESTAURANT MEALS
PRE ORDER YOUR COPY OF AMID NOW!
ER W PO 50 N O ITI D E
OUT NOW VISIT WWW.THEMUSIC.COM.AU/STORE
8 • INPRESS
ADRIAN BOHM PRESENTS
ADRIAN BOHM PRESENTS THE STAR OF ABC TV’S BLACK BOOKS
18 & 19 OCTOBER REGENT THEATRE
10, 11, 12 & 13 SEPTEMBER HAMER HALL
SECOND & FINAL SHOW ON SALE NOW
4TH SHOW ON SALE NOW
BOOK AT TICKETMASTER 1300 111 011 TICKETMASTER.COM.AU
ABPRESENTS.COM.AU | FLUFFYGUY.COM
BOOK AT ARTS CENTRE BOX OFFICE 1300 182 183 ARTSCENTREMELBOURNE.COM.AU
BILLBAILEY.CO.UK | ABPRESENTS.COM.AU
ADRIAN BOHM + just for laughs PRESENT ADRIAN BOHM & JUST FOR LAUGHS PRESENT
IN CONCERT “His wit won deafening deafening cheers and feet stomping” pin ng” THE GUARDIAN
tuesday 23 OCTOBER ATHENAEUM THEATRE
MONDAY 22 OCTOBER ATHENAEUM THEATRE
tickets ON SALE NOw!
TICKETS ON SALE NOW!
BOOK AT TICKETEK 132 849 TICKETEK.COM.AU
ABPRESENTS.COM.AU
BOOK AT TICKETEK 132 849 TICKETEK.COM.AU
EDBYRNE.COM ABPRESENTS.COM.AU INPRESS • 9
WEDNESDAY 22ND AUGUST
TOM FRANCIS + SECOND LOVE
8pm $5
THURSDAY 23RD AUGUST
FREE MUSIC IN THE FRONT BAR 6pm CAT CANTERI ANNE OF THE WOLVES + KEL DAY + LADIE D 8pm $10 FRIDAY 24TH AUGUST
DAMON SMITH AND THE QUALITY LIGHTWEIGHTS BANJO JACKSON + SASHA AND THE DOOR HORSE
5:30pm
8pm $5
SATURDAY 25TH AUGUST
SLINGERS OF SENTIMENT MATT GLASS
3pm $12 6pm
SUNDAY 26TH AUGUST
MELTING POT PRESENTS SONGWRITERS 2pm $8 IN THE ROUND BURLESQUE AT THE WES 8pm Open...MON - THU...from 4pm ‘til late FRI...from 2pm ‘til late SAT - SUN...from 12pm ‘til late
Live Music Bookings wesleyannebookings@gmail.com www.wesleyanne.com.au
NEW 2 AUTUMN MENU 10 • INPRESS
TUESDAY 28ST AUGUST
OPEN MIC NIGHT
Winter Special for 1 meals weekdays before 6pm and all day Mondays $12 Jugs of Cider till 6pm. OPEN FOR LUNCH FROM MIDDAY
bookings: 9482 1333
7pm
INPRESS • 11
ISSUE 1238
W E D N E S D AY 2 2 A U G U S T 2 0 1 2
Wed 22. 7pm - Pause Fest Meet & Greet screening followed by drinks, chats, Pause visuals & music from the iPad DJ's Cade Diehm & Ignatius Gilfedder Thu 23. 6pm - NetSquared organisers will present on the best tools for not-for-profits to promote online collaboration - RSVP essential Fri 24. 10pm - Rachel Haircut EP Launch with supports Kure' (SYD), B.O.O.M.A, Jacob Silver, 2Fudda & Chronic Sans VJ Sat 25. 10pm - Locally Hosted & Unstable Sounds present PSPIRALIFE, ONE TASTY MORSEL, PAKMAN, AZRIN, RIZON, SOYTRANCE, LOAGSTA & more Mon 27. 6pm - The Vault a salon for creatives Tue 28. 7:30pm - Loopdeloop an animation challenge
PIERCE THE VEIL INPRESS 14 Foreword Line brings you all the latest tour announcements 16 Moves and shakes with Industry News 18 How Oh Mercy got their groove back 20 Hey, is that Pierce The Veil queuing at the Soundwave signing tent? 22 Icehouse turn up the heat 24 Gin Wigmore takes the Taste Test 26 Fifty riffs a song with Shihad 27 Kissin’ and huggin’ with The Smith Street Band 28 No go-slow zone with Die! Die! Die! 29 Photek has always been a leader 30 Hair by name, hair by nature – it’s The Incredible Kicks 30 Loon Lake have their shit together 30 To hell and back with Haunting August 30 Pay attention, it’s Jody Wisternoff 32 Hold your Gangsters’ Balls, it’s Red Hot Rhythmakers 32 Ooh la la, it’s Baby et Lulu 32 Ainslie Wills has a big year ahead 32 Boom and busk with Hayden Calnin 34 On The Record rates new releases from OFF! and Oh Mercy
FRONT ROW 37 Check out what’s happening This Week In Arts 37 Fatboy Slim levels about that infamous beach-doof spectacular in Brighton 37 Simon Callow is a life-long Charles Dickens nut
The Shambelles Jody Galvin (Tender Hearts) goes acoustic with new outfit, the Shambelles. 5pm
CREDITS EDITORIAL
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
Saturday night August residency 4, 11, 18 & 25
Chris Wilson & Band
ADVERTISING
sales@inpress.com.au National Sales & Marketing Director Leigh Treweek National Sales Manager – Print Nick Lynagh Account Manager Cat Clarke Account Manager Okan Husnu
Expect astoundingly good harmonica, cool blues guitar, banter extraordinaire and that big band sound as Wilson cuts loose every Saturday night in August. 9pm
DESIGN & LAYOUT
artroom@inpress.com.au Inpress Cover Design/Art Direction Matt Davis Layout Matt Davis, Eamon Stewart, Eleni Papas
ACCOUNTS & ADMINISTRATION
SUNDAY 26 August
Curds n Grain Equal parts dub-reggae and soul jazz, Curds n Grain is a live outfit of drums, bass, keys, guitar, dub effects and vocals. 5pm
109 UNION ST, BRUNSWICK UHBBOOKINGS@YAHOO.COM.AU
9388 2235
12 • INPRESS
BACK TO INPRESS 37 Gig Of The Week is a co-headliner 37 LIVE:Reviews catches Jordie Lane 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 Tales from Berlin with New York Conversation 45 Pop culture therapy with The Breakdown 45 Hip hop with Intelligible Flow 45 The freshest in urban news with OG Flavas 45 Funky shit with The Get Down 50 If you haven’t appeared in Fred Negro’s Pub, your mother probably still speaks to you 50 Jeff Jenkins gets down and local in Howzat! 52 Our Gig Guide fills your diary for the weekend 55 Fill your dance card with our Club Guide 57 Find your new band and just about everything else in our classy Classifieds 58 Gear and studio reviews in BTL
Head to our Facebook page to get your mitts on a bumper Pond pack, featuring an album, gig tickets, a t-shirt and a tote bag. We also have gig passes to Die! Die! Die! and Hayes Carll, and in-season passes to Film Carew’s movie of the century, Moonrise Kingdom.
SATURDAY 25 August
BRUNSWICK
38 R Reviews i off On O The Th Misconception Mi ti Of Oedipus and HIStory 38 Five minutes with Boris Eifman 38 Cultural Cringe wraps up MIFF and prepares for the Writers Festival 39 Terry McMahon shares the films he loves and hates 39 Circus Trick Tease gets to the root of dysfunctional relationships 39 Thoroughly Miffed’s top ten picks of MIFF
GIVEAWAYS GALORE!
BRUNSWICK
THE UNION HOTEL
20
accounts@streetpress.com.au Reception Holly Engelhardt Accounts Receivable Anita D’Angelo Accounts Payable Francessca Martin
CONTRIBUTORS
Senior Contributors Jeff Jenkins Overseas Contributors Tom Hawking (US), James McGalliard (UK), Sasha Perera (UK). Writers Nick Argyriou, The Boomeister, Aleksia Barron, Atticus Bastow, Steve Bell, Luke Carter, Dan Condon, Anthony Carew, Rebecca Cook, Kendal Coombs, Adam Curley, Cyclone, Guy Davis, Liza Dezfouli, Lizzie Dynon, Guido Farnell, Sam Fell, Bob Baker Fish, Warwick Goodman, Cameron Grace, Andrew Haug, Brendan Hitchens, Kate Kingsmill, Michael Magnusson, Baz McAlister,
themusic.com.au
Samson McDougall, Tony McMahon, , Luke Monks, Fred Negro, Mark Neilsen, Danielle O’Donohue, Matt O’Neill, James Parker, Josh Ramselaar, Paul Ransom, Antonios Sarhanis, Dylan Stewart, Izzy Tolhurst, Nic Toupee, Rob Townsend, Dominique Wall, Doug Wallen.
PHOTOGRAPHERS
Senior Contributor Kane Hibberd Jesse Booher, Ricky Dowlan, Chrissie Francis, Jay Hynes, Lou Lou Nutt, Heidi Takla, Sam Wong.
INTERNS
Tahlia Anderson, Stephanie Liew, Jan Wisniewski
EDITORIAL POLICY
The opinions expressed in this publication are not necessarily those of the publishers. No part may be reproduced without the consent of the copyright holder. By submitting letters to us for publication, you agree that we may edit the letter for legal, space or other reasons. ©
DEADLINES
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INPRESS • 13
FOREWORD LINE
NEWS FROM THE FRONT
BACK WITH A BANG
The Exploders have returned for the release of their latest LP Orche.Stratos.Pheric. The album is described as being a bizarre mash of myth, modern life, wive’s tale, proverb and perversion with electric country and psych rock music as glue. To celebrate the release, the five-piece band are hitting the road for their first shows in just over three years. See them at Workers Club on Wednesday 19 September, Ballarat’s Karova Lounge on Friday 21 and Geelong’s National Hotel on Saturday 22, supported by Luke Legs & The Midnight Specials.
WEDNESDAY 22 AUGUST
RESIDENCY
AGILITY LES GARCONS LOURDES
ENTRY $5, 9PM
THURSDAY 23 AUGUST
RMIT PHOTOIMAGING BAND NIGHT
SEVEN YEAR ITCH ANIMAUX THE KILNIKS GLASS MIRRORS DJS ENTRY $10, 8.30PM $2.50 POTS, $5 VODKAS!
FRIDAY 24 AUGUST
SINGLE LAUNCH
CLINT BOGE – EX BUTTERFLY EFFECT DAN ENGLAND CYRSTAL (BELLUSIRA)
ENTRY $15 DOOR, $10 THRU MOSHTIX, 9PM
SATURDAY 25 AUGUST
VIDEO CLIP LAUNCH
THEY MOROCCAN KINGS DIVE INTO RUIN VUTRUVIAN MAN ENTRY $10, 8.30PM
SUNDAY 26 AUGUST
MATINEE SHOW
AIRCRAFTE HOLLOW EVERDAZE SANDCASTLE ENTRY $4, 2PM
Primal Scream
OUR FAVOURITE AUNT
Aunty Meredith has announced the line-up for this year’s Meredith Music Festival and hoo-boy, it’s a doozy. If you haven’t heard by now, here’s what it looks like: Four Tet, Grimes, Primal Scream, Spiritualized, Royal Headache, Sunnyboys, Fraser A Gorman & The Big Harvest, The Town Bikes, Angus Sampson, Otologic, Brous, The Silence Wedge, The Toot Toot Toots, DJ Yamantaka Eye, Snakadatal, Saskwatch, Pond, Twerps, Regurgitator, Chet Faker, Turbonegro, Omar Souleyman, Big Jay McNeeley, Hot Snakes, Rahzel & DJ JS-1, JB Smoove, Earthless, Bitter Sweet Kicks, City Of Ballarat Municipal Brass Band and a few others to be announced. Meredith 2012 will be the same perfect size, and still proudly BYO, with no commercial sponsors, the No Dickhead policy still in place, one stage as always and all the marvelocities of the lush, spacious funpark that is the Supernatural Amphitheatre.
65DAYSOF(EC)STATIC 65daysofstatic have announced their first visit to Australia off the back of the announcement of the release of their back catalogue. Formed in 2001, 65daysofstatic quickly established themselves as one of the most influential post-rock exponents in the UK. The band’s live show (a “rock’n’roll rave”) has made them one of the most popular instrumental touring acts in the world. Head to the Corner on Friday 4 January to find out why.
DOOMSDAY, BITCH Headlining Doomsday 2012 will be special international guests (and first-time Australian tourists) The Atomic Bitchwax. Oozing out of New Jersey, the trio began their musical careers way back in the mid-‘90s in separate bands: Monster Magnet, Godspeed and Core. Doomsday hits the Northcote Social Club on Sunday 14 October. Keep your eyes peeled for further announcements.
EVENING SHOW
MATCHBOX TWENTY HEAD BACK
NATALIE TOMLINS & THE ECHO POINT MYSTICS JACE EXELL & THE SOUL SIX
In their sixth Australian tour Matchbox Twenty will headline arenas around the country. Be there to sing along to the classics from Matchbox Twenty’s hit-packed back catalogue plus a selection of tunes from their new album. Matchbox Twenty will be joined on tour by Aussie legends INXS. They play Rod Laver Arena on Saturday 20 October.
VIBRAPHONIC ORKESTRA KOOYEH ENTRY $12, 8PM
MONDAY 27 AUGUST
RESIDENCY – FINAL NIGHT
KEITH! PARTY BUTCHER BLADES/ WORNG ZANZIBAR CHANEL
DONATION ENTRY, 8PM $10 JUGS!
TUESDAY 21 AUGUST
RING IT IN AT MARION BAY
Tickets to the Falls Music & Arts Festival in Lorne sold out very swiftly, but the good news is that Marion Bay tickets are still on sale. There are plenty of reasons to spend New Year’s Eve in Tasmania. Head to fallsfestival. com to get your ticket to see Beach House, Best Coast, Bombay Bicycle Club, Coolio, Cosmo Jarvis (UK), Django Django, First Aid Kit, Lisa Mitchell, Matt Corby,
Maxïmo Park, SBTRKT, Sharon Van Etten, The Flaming Lips, The Hives, The Vaccine, Totally Enormous Extinct Dinosaurs, Two Door Cinema Club and so many more.
SECOND DATE WITH DELTA
Tickets to Delta Goodrem’s intimate theatre tour, An Evening With Delta, went on sale to the general public last week and Sydney and Melbourne shows have completely sold out. Extra shows have been added to the tour itinerary and opening the evening will be special guest Rachael Leahcar from The Voice. The new Melbourne show will be held at Hamer Hall on Thursday 8 November. Tickets are available now from the Arts Centre and Ticketek.
DEAD SET
Hayes Carll hasn’t been resting on his laurels since topping critics polls and winning awards for his album Trouble In Mind. Instead, he’s been on the road nearly non-stop with his band. Along the way, he was inspired to write a crop of new tunes that he says are “a layman’s take on our country – a snapshot of America in some small way”. The result is the sharply drawn collection KMAG YOYO (& Other American Stories). He plays Saturday 25 August at the Northcote Social Club.
OPEN FOR EVERCLEAR
Ahead of their October 2012 Australian tour Everclear have announced they will giving up-and-coming bands the chance to open for them at their shows. If you’re keen, head to the KillRockStar Entertainment Facebook page and hit ‘like’ – that will direct you to an entry form to submit your band’s details. Fifteen bands will be shortlisted for each city, and then it’s up to KillRockStar Entertainment Facebook likers to vote. You only have until this Thursday to get your band’s details in before public voting opens this Monday and closes on Friday 7 September. The Melbourne show will be held at the Hi-Fi on Saturday 13 October.
EASTERN SHOWDOWN
After taking their roaring live show coast to coast earlier this year, The Eastern are headed back to our shores to tell some tales, scuff their boots and throw it down yet again. Constantly on the road, The Eastern have toured and played with Justin Townes Earle, Fleetwood Mac, Jimmy Barnes, The Jayhawks, Steve Earle, Old Crow Medicine Show, Lil Band Of Gold, Jim White, Victoria Williams and Vic Chestnutt. Check them out at their rolling and rambling best at Bridge Hotel (Castlemaine) on Friday 5, Harvester Moon (Bellarine) on Saturday 6 and Workers Club on Sunday 7 October.
DANDO, HATFIELD DOUBLE
Long time friends and musical collaborators Evan Dando and Juliana Hatfield will tour Australia together this December. Performing the entire set side by side, the duo will deliver acoustic versions of their expansive back catalogues including The Lemonheads, Blake Babies, their own solo material and a selection of covers. Support for all shows comes from Bambino Koresh, the new project for members of Smudge, Sneeze and Godstar. Catch them on Tuesday 18 December at the Corner Hotel.
RESIDENCY – FINAL NIGHT
THE SIMON WRIGHT BAND ANTHONY YOUNG BAND DJ HUW JOSEPH
DONATION ENTRY, 8.30PM $10 JUGS!
COMING UP TIX AVAILABLE THRU MOSHTIX: AGILITY (WED IN AUG) MANSION, ALASKA (16 AUG) URTHBOY – SELLING FAST (31 AUG) ANIMAUX (1 AUG) RMIT VISUAL ARTS FUNDRAISER (6 SEPT) MY ECHO (7 SEPT WHITAKER (8 SEP) CARTEL (13 SEP) BLACKCHORDS – ALBUM LAUNCH (14 SEP)
FACEBOOK.COM/PAGES/THE-WORKERS-CLUB TWITTER.COM/THEWORKERSCLUB Wed 22 Aug
EXPATRIATE
(ALBUM LAUNCH)
Wed 29 Aug
(SINGLE LAUNCH)
(SINGLE LAUNCH)
PIGEON (BRIS) TIN LION LOST WEEKENDS Fri 24 Aug
MESS+NOISE LUNCHBOX SERIES PRESENTS
Sun 2 Sept 2012 (matinee show) Wed 12 Sept ‘TIMBER AND STEEL’ PRESENTS ‘THE FACTY FACT
QUARRY MOUNTAIN FANNY LUMSDEN & COMEDY GAMESHOW’ THE THRILLSEEKERS FT. LAWRENCE DEAD RATS
Thu 23 Aug
OH MERCY
EMMY BRYCE
SUMMERSET AVENUE
(SINGLE LAUNCH)
LEUNG + JOSH EARL
Thu 6 Sept
Thu 13 Sept
Wed 19 Sept
Wed 26 Sept
LUKE LEGS & THE MIDNIGHT SPECIALS THE PRETTY LITTLES
(ALBUM LAUNCH)
THE GENIE BJ MORRISZONKL
THE EXPLODERS
JAREK
SKIPPY’S BRAIN
Thu 30 Aug
Fri 7 Sept
Fri 14 Sept
Thu 20 Sept
(SINGLE LAUNCH)
(BOY & BEAR)
(ALBUM LAUNCH)
(FILM CLIP LAUNCH)
CHICKS WHO LOVE GUNS Fri 28 Sept
DUNE
TIM HART
DONNY BENET
Fri 31 Aug
Sat 8 Sept
Sat 15 Sept
Fri 21 Sept
(EP LAUNCH)
IN TRENCHES OUTSIDERS CODE
(SINGLE LAUNCH)
ROYSTON VASIE SUPER BEST FRIENDS DARTS
(SINGLE LAUNCH)
Sun 16 Sept (matinee show) ‘TIMBER & STEEL PRESENTS’
HOPELESS
ALEKS & THE RAMPS CLIENT LIAISON
MIMI VELEVSKA
Fri 24 Aug
LITTLE SCOUT (BRIS) EMPERORS (PER) COURTNEY BARNETT OCEAN PARTY
Sat 25 Aug
Sat 1 Sept
Sun 9 Sept
SENSORY AMUSIA (WA) THE SERAPHIM VEIL ASPERITY WITHIN
(SINGLE LAUNCH)
ONLINEDRAWING (USA) LANEWAY
BROOKLYN
THE TIGER & ME
JACKSON MCLAREN
STU LARSEN NEDA
LOWLAKES TOM MILEK
Sun 16 Sept (matinee show) ‘TIMBER & STEEL PRESENTS’
GOODNIGHT MIDNIGHT SECOND CHANCE EXIT
MAJOR ROCK HARD PLAYWRITE PRIVATE LIFE ABS (SINGLE LAUNCH) TULLY ON TULLY
ANDREW LIM LUCY B
Sun 16 Sept
CLIENT LIAISON
HAYDEN CALNIN
14 • INPRESS
Sun 26 Aug (matinee show) ‘TIMBER & STEEL PRESENTS’
THEWORKERSCLUB.COM.AU
THE DEMON PARADE JONAH MATRANGA’S WILDCAT GENERAL STRIKE THE QUIVERS
THE STATICS (ACOUSTIC) PETE BROADWAY
themusic.com.au
(ALBUM LAUNCH) THE PROMISES
THE PRETTY LITTLES CHK CHK BOOM
RED ACES
Thu 27 Sept
(EP LAUNCH)
LUCY’S CROWN
IOWA LOST WEEKENDS Sat 22 Sept
Sat 29 Sept
(SINGLE LAUNCH )
(SINGLE LAUNCH)
FEELINGS (SYD/GER) TOM LARK (NZ)
THE ENGAGEMENT ROYAL PARADE FAITH & GASOLINE
INPRESS • 15
FOREWORD LINE
NEWS FROM THE FRONT
2012
Battleships Band Name: Battleships Member/role: Jonathan Bowden – bass/keys Hometown: Sydney Short description of your band and your music: Battleships’ music tips its hat to the differing influences of the band’s individual members, blending indie rock sensibilities with the aesthetics of post-Britpop, to create a sound entirely their own. The four-piece set out to create music that they enjoy playing, something that they themselves would listen to... and hopefully, something that you would listen to too. What are you hoping to achieve from showcasing at BIGSOUND? BIGSOUND is a great opportunity to get our music out there further to as many people as will listen.
SEEING LARS
Slayer
SOUNDWAVE INSANITY
The second Soundwave announcement is here and, quite frankly, it’s crazy good. So forget about the bullshit you’ve had to endure the past year and be happy that you’re going to get to witness what has got to be the best heavy music festival Australia has ever seen. Additions to the already crammed line-up include: Slayer, Cypress Hill, Billy Talent, Gallows, Bullet For My Valentine, Bring Me The Horizon, Mindless Self Indulgence, The Amity Affliction, Sick Of It All, The Blackout, Fucked Up, This Is Hell, The Early November, Cerebral Ballzy, Polar Bear Club, Sylosis, Blood On The Dance Floor, The Dear Hunter, Confession and more. The Melbourne event takes place on Friday 1 March. Tickets on sale Thursday, 9am.
FRESH SIX
Why should people come and see you from amongst the myriad bands at BIGSOUND? Because we play honest, evocative music with a lot of heart.
Front End Loader were recently approached by topnotch Newtown brewery and local music fans Young Henrys to collaborate on a one-off beer. After a long day of hauling sacks of grain, Fresh Six the beer was born. An ‘agave rye pale ale’, Fresh Six clocks in at a hefty 6.66% alcohol, yet pleases with a fruity hop palate and a smooth rye finish. To celebrate the release of Fresh Six beer, comes Fresh Six the EP, which will be available in record stores in Australia in September. Front End Loader will also play the Tote on Friday 7 September. Silversun Pickups
SIX60 FOREVER
KEEP ON HARVESTING
Kingswood Band Name: Kingswood Member/role: Alex Laska – guitar Hometown: Melbourne Short description of your band and your music: Emotive ideas of life, love and darkness, shrouded in an explosive and dynamite-like experience. What are you hoping to achieve from showcasing at BIGSOUND? Stage 3 of World Domination. Why should people come and see you from amongst the myriad bands at BIGSOUND? We won the triple j Splendour Unearthed competition recently – www.triplejunearthed.com.au/kingswood. We’re an exciting band to experience.
Violent Soho Band Name: Violent Soho Member/role: Luke Boerdam – vocals/guitar Hometown: Mansfield, Brisbane, Qld, Australia Short description of your band and your music: Suburban slacker dope-smoking music. What are you hoping to achieve from showcasing at BIGSOUND? Free beer and partying. Why should people come and see you from amongst the myriad bands at BIGSOUND? Because we came all the way from Mansfield to be here. Also don’t miss Flume, Jeremy Neale, Bearhug, Straight Arrows, Step-Panther, Velociraptor and Super Wild Horses.
PRESENTED BY 16 • INPRESS
Melbourne Harvest has officially sold-out but don’t freak out, a second event has been announced for Saturday 10 November at Werribee Park with tickets on sale today. They have also unveiled a second round of artists including Silversun Pickups, Dexys Midnight Runners, Crazy P, Los Campesinos!, River City Extension, Dark Horses and Winter People. Head to harvestfestival.com. au for full line-up, further details and ticketing information.
CRASH COURSE WITH ROADKNIGHT
Internationally acclaimed singer Margret RoadKnight is holding a very special three-hour singing workshop at the Yarraville Community Centre on Sunday 14 October, 10am1pm. Renowned for her powerful vocals and wide-ranging roots-based repertoire with lyrics full of wit and wisdom, RoadKnight survives and thrives outside the mainstream music scene with flair and soul. Bookings to the workshop are essential (trybooking.com/BRVY) and the cost is $36.
ALL FINE FOR ALPINE
Alpine’s debut album, the almost self-titled A Is For Alpine, is now officially out and has been turning heads left, right and centre. No one was more pleasantly surprised than the band when it sat proudly at #1 on the iTunes album chart for two days running. Following the selling out of their show at the Corner on Saturday 8 September, they’ve announced another there for Sunday 9. Alpine will also stop off at the Loft (Warrnambool) on Wednesday 5, Karova Lounge (Ballarat) on Thursday 6 and Bended Elbow (Geelong) on Thursday 13.
SUPPORTS FOR SLASH
Rose Tattoo’s latest album, Blood Brothers, is a tribute to the band members Peter Wells and Ian Rilen who unfortunately recently lost their lives, but it’s also a manifestation of rock’n’roll of the strongest form. Rose Tattoo will be bringing their balls-out live show to Melbourne in support of guitar demon Slash. Along with Myles Kennedy & The Conspirators, Slash is set to perform an all-killer career spanning set. Catch the show at Hisense Arena this Sunday.
HEALS’N’HAWK
If you’re looking for some California dreamin’, head along to Ding Dong Lounge on Saturday 22 September for a killer double bill as two Melbourne favourites, Dancing Heals and Jimmy Hawk & The Endless Party, bid their hometown a fond farewell before they each head to faraway shores. Pop outfit Dancing Heals will be heading to NYC in October to play showcases before locking themselves away in a North Carolina studio to record their new EP. Hawk and co will launch single Morning Light on the eve of Jimmy’s departure to the UK for a run of solo shows. Doors open at 8pm and entry is around $13.
Since their last sold-out Australian tour in April, Six60 have not slowed down. The band completed their first European tour selling out three London shows and playing to more than 3,000 people. Now Six60 are set to tour Australia before heading to the US for a three-week tour. They perform at the Forum on Friday 28 September.
TBG SELLING FAST
Even in the midst of winter The Beautiful Girls are warming up crowds Australia-wide with their smooth, laidback sounds of summer. And fans are wasting no time ensuring they are front row and centre for one last beautiful groove-laden night of memorable music. With TBG10’s An Evening With The Beautiful Girls tour now in full swing, from east to west shows are selling fast. There are still a few tickets for this Sunday’s show at the Corner, with the previous two nights having sold out.
YA DIG?
Multi award-winning band DIG (Directions In Groove) return to Melbourne for one night only with songs from their new album Clearlight. DIG will be supported by Nicky Bomba and the show will feature a drum off with Bomba versus Richmond. DIG emerged from Sydney’s happening club scene in the early ‘90s and went on to worldwide success. Catch DIG at the Corner on Saturday 14 October.
ALL IS SWELL
MC Lars wrote his first rap song when he was 16; a hip hop take on William Shakespeare’s Macbeth called Rapbeth. Little did he know, he would later be able to turn this into a career. Pioneering the ‘nerdcore’ hip hop movement, MC Lars has released four albums and three EPs, which have included generational anthems Signing Emo and Download This Song, while collaborating with the greats of the punk and hip hop worlds including Ian Mackaye and KRS One to create something truly unique. He plays at NEXT on Thursday 4 October.
INPRESS PRESENTS
Make Them Suffer
BLACK & WHITE
Fuck The Politics: Black & White is the second instalment in what will become an annual hub for heavy music lovers and progressive metal heads, lovers of black metal, mosh metal and those few types in between. Fuck The Politics is the one place, once a year, where everyone comes together to celebrate their love of heavy music. The line-up for 2012 is as follows: Make Them Suffer, Boris The Blade, Widow The Sea, The Rose Line, Bury The Fallen, LORD, As Silence Breaks, Electrik Dynamite, Save The Clocktower, Dead City Ruins plus more to be announced. FTP 2012 festival is taking place at the Espy Gershwin Room on Saturday 13 October. Doors at 3pm. Tickets $25+BF available from the venue and all Oztix outlets.
BIG TIMES
Neology is the debut album from Australia’s first hip hop choir, Massive, and is also the act of inventing a word or phrase or the use of an established word in a new and different sense. The group blend oldskool hip hop, traditional choral harmonies and body percussion to create a genre of hip hop powered by diversity and westside ingenuity. They will launch Neology at the Evelyn on Friday 21 September. High On Fire
Blue-collar punk rock has seen a rise to prominence in recent years and at the forefront are Michigan’s The Swellers. The quartet are set to return to Australia. Joining The Swellers on the road will be Sydney hardcore act Endless Heights. They play Saturday 13 October at Bang and Sunday 14 at the Ferntree Gully Hotel.
KUTI FRUTTI
Seun Kuti, dressed like an African Elvis, showed WOMADelaide and VIVID in 2009 that Afrobeat still has its punch and that his true talent shines out from the enormity of his lineage. Kuti returns with polyrhythmic groove pioneers Egypt 80 and will play Sunday 18 November at the Hi-Fi Bar.
YOU DID WHAT?
Ruining It For Everybody is Iwrestledabearonce’s sophomore album and their most creative and accomplished work to date, serving as the ultimate middle finger to expectations, conventions and the norm. In Hearts Wake recently caught the attention of indie powerhouse UNFD for the release of their debut album Divination. You can catch both these outfits with Melbourne upstarts Storm The Sky on Wednesday 28 November at the National Hotel (Geelong, all ages), Thursday 29 at the Corner Hotel (18+) and Friday 30 at TLC Bayswater (all ages).
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NEW HIGHS
Underground thrash-sludge messiahs High On Fire have set a new standard in doom metal. Boasting apocalyptic riffage and gravel-gargling vocals, their latest opus Snakes For The Devil solidifies the band as one of the most important bands in metal today. They play Friday 28 September at the Espy’s Gershwin Room. Tickets on sale now via OzTix.
NEWS FROM THE FRONT
UNDER THE SEA
Deep Sea Arcade have had an incredible run so far this year, with no signs of slowing down. Their debut long player Outlands was released in March to critical acclaim and is continuing to win new fans across the globe every day. The Granite City tour will be heading through major cities and will be their last headline tour before they disappear into the studio early next year to record their highly anticipated follow up album. They play Friday 9 November at the Corner Hotel with The Preatures.
FOREWORD LINE
RARE BREED
Sydneysider Feelings (aka Simon Berkfinger) is ready to reveal his new single One In A Million. Building on his past in the sadly defunct Philadelphia Grand Jury, and roping in friends from his work as a producer, Feelings is putting the finishing touches on his new album right now. To celebrate the release he’s playing Saturday 22 September at the Workers Club with Christchurch’s rising start Tom Lark in support.
SPACE ODDITY
You could be forgiven for assuming that Ruby Frost had been beamed down on some celestial ray alongside Bowie’s Starman – but take another look and you’ll see the songwriter’s torn-up love songs are about as flesh and blood as you can get. Catch Ruby Frost with Polo Club, Private Life, Lost Weekends and Red Leader on Saturday 1 September in the Espy’s Gershwin Room.
LINER NOTES
MINOTAUR MADNESS
British India are hitting the road to mark the release of their new single I Can Make You Love Me, which has become a radio staple since release. Now, the band unveil the video behind the song. Featuring a lovelorn minotaur, the clip was directed by Oh Yeah Wow, the team behind much incredible work including Gotye’s stop-motion clip for Easy Way Out. See British India at Ferntree Gully Hotel on Thursday 18 October, the Corner on Friday 19 and Frankston’s Pier Hotel on Saturday 20. They’re also appearing at Queenscliff Festival.
THE BIG SLEEP
Melbourne four-piece Sleep Decade present a blend of shoegaze and dream pop through delicate arrangements and mature atmospherics. Brothers Casey and Monty Hartnett with Thom Plant and Tom Milekovic have spent much of the last year playing alongside bands like Pikelet, Richard In Your Mind, Love Connection and Francolin, and recording their debut album, Into Spinning Lights. Catch Sleep Decade live when they launch single Bicycle on Sunday 16 September at Bar Open.
Following sold-out shows dedicated to INXS’s Kick, Fleetwood Mac’s Rumours and Michael Jackson’s Thriller, Liner Notes have assembled a stellar cast for a spoken word tribute to David Bowie’s 1972 classic The Rise & Fall Of Ziggy Stardust & The Spiders From Mars. Special guests Tim Flannery, Benjamin Law, Deborah Conway, Joumana Haddad and First Dog On The Moon will join Emilie Zoey Baker, Sean M Whelan, Yana Alana, Ben Pobjie, Omar Musa, Alicia Sometimes and host Michael Nolan to poetically re-interpret Bowie’s masterpiece track by track. It happens as part of the Melbourne Writers Festival on Saturday at Regal Ballroom.
BLACKCHORDS NAME SUPPORTS
Melbourne band Blackchords will be hitting the road showcasing songs from their forthcoming album due for release in November. They play Friday 14 September at the Evelyn Hotel (with Mansion Alaska and Lyke Giants), Saturday 15 at the Bridge Hotel (Castlemaine, with Lyke Giants), Thursday 20 at Karova Lounge (Ballarat, supporting The Medics) and Saturday 22 at the Westernport Hotel (San Remo, supporting The Medics).
SOUL ROYALTY
After disappearing for 20 years The King Of Latin Soul, Joe Bataan, is now in high demand. In his only Australia club show at the Hi-Fi Bar on Friday 5 October, Bataan will be backed by the ten-piece Del Barrio Latin Orchestra complete with backing vocalists, horn section and three percussionists. RRR’s Chris Gill and PBS’s Emma Peel will be hosting a big bad boogaloo vinyl party before and after the main performance.
FUR BALLS
Kicking off with a plum spot at this year’s BIGSOUND in Brisbane, Saskwatch are setting off to launch their keenly-anticipated debut album Leave It All Behind. Replete with the sweetest jams and heavysteppin’ funk joints, Leave It All Behind ticks all the boxes and looks fantastic doing it. Get down with them when they hit the Corner Hotel on Friday 5 October, Karova Lounge (Ballarat) on Saturday 6 and the Palais (Hepburn Springs) on Sunday 8.
BEADLE BARBER BLUES PUT IT INTO DRIVE
Byron Bay’s Parkway Drive will embark on their most ambitious Australian tour this December to coincide with the release of their hugely anticipated fourth album, Atlas. The new album’s heightened ambition has led to plans for a more elaborate live show. December’s Atlas Australian tour will boast an all Australian line-up, with support coming from three exciting local acts, I Killed The Prom Queen, Northlane and Survival. They perform at Festival Hall on Saturday 22 December.
WAGON STREET
The first band ever signed to Fat Wreck Chords and the definitive act on the label, Lagwagon were pioneers of the now-famous ‘Fat Wreck sound’ with their speedy drums, guitar virtuosity and undeniable melodies. They’ve influenced hundreds of thousands of kids, been around the world more times than Ferdinand Magellan and twisted and redefined themselves over the course of a career that spans almost 25 years. They soon hit Australia with guests The Smith Street Band and will play Saturday 8 December at the Bended Elbow (Geelong) and Sunday 9 at the Corner Hotel.
TIME OFF
Charlie Mayfair may have taken a little extra time to hit the touring trail following the release of their Fall In Time EP, but after a sold-out Brisbane launch show, the band are now happy to announce they’ll be taking their newly-evolved sound to the live arena with their most commanding shows to date. Joining the touring trek for all five shows are the sweet pop strokes of The Falls. They play Saturday 15 September at the Grace Darling.
INDUSTRY NEWS WITH SCOTT FITZSIMONS frontline@streetpress.com.au
Despite coming from different parts of the globe, Australian blues/guitar maestro Ray Beadle and sultry Canadian chanteuse Jill Barber are united by a shared love of jazz classics. So much so that the duo will showcase their jazz chops for a series of live shows down the East Coast on the Come Out Swinging tour. They play Friday 2 November at Bennetts Lane.
LOCK IT IN
The Murlocs have quickly gained a loyal following around Melbourne. Their debut self-titled EP, released earlier this year, received solid rotation on community radio around the country and saw their passion for classic R&B, doom guitar and fuzzed out harmonica win fans over. Now The band will launch their new The Tee Pee EP on Friday 31 August at the Tote.
WESTERN ROYALTY
Emperors have announced a quick-fire run of shows in addition to their already-announced appearance at BIGSOUND. Their debut album Stay Frosty recently had the honour of being named a triple j feature album and more recently their single Be Ready When I Say Go was Single Of The Week on US iTunes. They play Saturday 15 September at the Workers Club with special guests Royston Vasie, Super Best Friends and Darts.
YOU KNOW YOU WANT IT
Brisbane’s We All Want To have a new album entitled Come Up Invisible. Boasting members of some of Brisbane’s best-loved bands, We All Want To are essential on record and completely undeniable live. They play Friday 12 October at the Bridge Hotel (Castlemaine), Saturday 13 at Pure Pop Records (3pm) and Yah Yah’s later on.
Little Red
LITTLE RED BREAK UP Melbourne’s Little Red confirmed their split with a statement last week that read, “It’s been 6 really great years of performing live across Australia and around the world, but it’s time for Little Red to say farewell, as the original members have parted ways.” Those members are pursuing other interests – vocalist Tom Hardy is now focusing on his project Major Tom & The Atoms, and Quang Dinh followed suit with his new band Naked Bodies. Drummer Taka Honda has been putting a lot of effort into his band The Hondas, while Dominic Byrne and Adrian Beltrame will continue to work together leading New Gods. The band’s demise has been heavily rumoured over the last eight months.
ACT ANNOUNCES MUSIC AWARDS The Australian Capital Territory will get its own set of awards this year with MusicACT announcing the MusicACT Annual Music Awards – the MAMAs. To be held in December and hosted by Paul McDermott, the ceremony will feature 19 awards covering a range of genres, including rock, folk, EDM and orchestra. Judges include artist managers Gregg Donovan, Chris Reeves, singer songwriter and music lecturer Greg Arnold and artist mentor Ian Pav. The award ceremony will take place Friday 7 December at Canberra’s Albert Hall. Tickets to the night are $30 for MusicACT members and $60 for non-members.
CUB SCOUTS, BEN SALTER WIN QMAS (PIC CUB SCOUTS AT QMAS) Cub Scouts picked up the Song Of The Year and the Pop Award for their track, Do You Hear, while Ben Salter received Album Of The Year for his album, The Cat, at the Queensland Music Awards last week, Held at Brisbane’s Old Museum. Kate Miller-Heidke, Pete Murray and The Grates won the fan-voted Most Popular Female, Male and Group awards respectively. There were also category wins for Harmony James, Rainman, Mosman Alder, Jeremy Neale and A Breach Of Silence among others. Garage metal band DZ Deathrays won the Export Achievement and Ed Kuepper was honoured with the Grant McLennan Lifetime Achievement Award.
SXSW CREATIVE DIRECTOR BRENT GRULKE DEAD AT 52 Brent Grulke, creative director of the South By Southwest conference and showcase, has died following a heart attack at age 52. Grulke’s death, which leaves behind his wife and a six-year-old son, comes as a surprise to many and Grulke had recently been in London celebrating the Olympics. According to the Austin Chronicle the attack came following oral surgery. Close friend and Australia’s SxSW representative Phil Tripp said he would fondly remember Grulke as “a perfect gentleman and all around great guy to be with.”
AMITY AFFLICTION LOSE MEMBER The Amity Affliction’s long search for a fifth member is continuing after a split with their most recent replacement guitarist. Imran Siddiqi left the band shortly after the recording of their new record, Chasing Ghosts, because “it just wasn’t working out.” Vocalist Joel Birch admitted to theMusic.com. au that he didn’t know who will be replacing the guitarist, saying, “We’ve just been trying to find a permanent guitarist for like four years and no one works, so we’ve just given up and will have someone play with us live and that’ll be that.” The new album, Chasing Ghosts, is out Friday 14 September.
PRESENTED BY
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INPRESS • 17
GOING DEEP
THE BLOW IN
Ever-present on Deep Heat is US musician Steve Berlin of Los Lobos, a group best known for playing the Ritchie Valens numbers on the soundtrack to the 1988 film La Bamba. The Philly native has contributed as either a producer or musician to an endless list of artists such as Sheryl Crow, Crash Test Dummies, Alec Ounsworth (Clap Your Hands Say Yeah), Faith No More, John Lee Hooker and The Dandy Warhols amongst many. On Deep Heat, he contributed horns, keys, an unforgettable flute solo on the title track and Hammond organ on the urgent Pilgrim’s Blues. Gow says he was set on having these instruments on the album from the outset, a far cry from the singer/songwriter aesthetic accomplished on his first two records Privileged Woes and Great Barrier Grief. “There are some awfully cheesy sax players out there,” Gow laughs, “but Steve is not one of them. With the type of music I make, I’d never let it get to that point. I’ve always loved the flute and I’ve always love the saxophone. People often ask me about my guilty pleasures and I respond saying that I simply don’t believe in guilty pleasures. I really think that if there is guilt involved then it’s simply not a pleasure. I love both the flute and the saxophone and I especially love the baritone saxophone, which is the one that Steve plays on Deep Heat. I always wanted them both on the record and Steve understands that kind of swagger that I was going for, so it was very easy to talk him through the parts.” of pop music stemmed from all those and then I discovered all the songwriters. Hearing The Velvet Underground was a big deal, and all that combined, well, that opens up a lot of different avenues.”
Melbourne’s Oh Mercy are back, more dangerous and sexier than ever with record number three and something of a new sonic attitude. Mainman Alexander Gow explains to Ben Preece just how deep Deep Heat goes. Cover and feature pics by Kane Hibberd.
I
f there is one thing you can’t accuse Alexander Gow of being, it’s unambitious. It can’t have been an easy road to album number three – Deep Heat – having experienced making records solo, losing original member Thom Savage and expanding the Oh Mercy banner to something that now genuinely feels like a band, with the inclusion of Eliza Lam, Rohan Sforcina and Simon Okely. Yet, here he stands, only three years on from the release of his debut EP In The Nude For Love, with his finest recorded release to date. Deep Heat abandons the acoustic-based and confessional nature of Gow’s music on the first two records – 2009’s Privileged Woes and 2011’s major label debut and acknowledged “breakthrough” Great Barrier Grief – and trades it for something brasher, something sexier and something with a deep groove, where basslines and sturdy drums dictate a classic swagger. This time, it’s a different beast entirely. “The birthing of Deep Heat, conceptually at least, came out of my realisation that people had managed to pigeonhole me as a serious, earnest singer/songwriter, which is fair enough considering the last record that I made,” Gow outlines thoughtfully. “But I’m not comfortable with the idea of being defined, you know, musically or even socially. So once I cottoned on that people had gotten comfortable with that idea of me as that type, I thought it’d be fun for me, subversive and interesting to throw them a curve ball and shake up their expectations a bit. That was the first and probably the most important realisation.” Deep Heat is a record of vibrant and forwardthinking proportions. Not once does it feel overthought or contrived, yet it takes Oh Mercy on an entirely fresh sonic path. Vocally, Gow is in finer form than ever, yelping like a banshee on the likes of album highlight Pilgrim Blues and overall, spitting hormone-driven and fictional lyrics over a sound that has been crafted with producer Burke Reid. The influences are very 18 • INPRESS
present, though never derivative – My Man is a slinky Roxy Music-esque gem, while the title track and pulsating bass-led first single Drums swagger on the right side of sexy arrogance. Still Making Me Pay takes on a direct reggae flavour.
hear him playing that shuffle feel and, I had always wanted to write a song with that feel. And I did.”
“I had always loved ‘70s R&B and groove-based music and late-’70s glam rock and reggae and dub music,” says Gow. “So I figured I might access that palette of my appreciation of music. I feel I still write music in the method I always have, except that I knew that I was going to execute them differently and I knew I was going to be subtracting all the rhythm-playing; there’s no one playing acoustic guitar, all the chord changes are implied by the bass guitar. So, yes, same old songwriting. So I do feel I’ve thrown the proverbial curveball.” Following the completion duties for Great Barrier Grief, Gow decided he wanted to shake up his sound, so he decamped to Portland, Oregon for a couple of months and set out to make the transformation with Read at the helm. His memories of the time are vivid. “I remember drinking mountains of beer,” he says, placing utmost importance on the alcohol. “It’s really, really cheap over there. I remember riding ten kilometres every second day around Lake Oswego with Rohan. I remember drinking a tonne of coffee. I remember Law & Order: Special Victims Unit being constantly on repeat on American TV – I fell in love with a couple of the actresses, in and out a few times. I remember how excitable Burke was and his endless amount of fuel that his creativity continuously burns on. I remember talking to him and describing approaches with him and generally talking with our crotches, while thrusting at one and other to try and explain the kind of sax solo we wanted on the song. I remember when Burke shaved his beard off and looked about 12 years old. I remember writing and recording Deep Heat, the song. I wrote it the first day and recorded it the second day. I wrote it in the shower while Rohan was setting up the drums. I was upstairs in the shower and I could
For the first time, Gow put his personal musings aside and began to write in third person. It all started with a song called My Man, which was written on the piano from the perspective of a woman, a little trick he wanted to try after reading a chapter in Paul Kelly’s memoir How To Make Gravy. “Paul Kelly famously does that and does it better than anyone,” he says. “I thought that would be an interesting exercise in writing. So I wrote My Man, which is the third song on the record, and it was a whole bunch of fun and a lot easier than I expected. It paved the way for the rest of the album to be this fictional style of writing. I think the reason that it’s easier is because I don’t have to be super-earnest and sincere and I am writing fictional work [so] I can access a wider palette of vocabulary and concepts. I can literally use words that I could never use if I was singing about myself; it made it really easy. That way, I’m not revealing anything – I’ve written a fictional record, it’s more coward than previous attempts. In terms of being provocative, like the content of the words and aesthetic, I find that just really fun. It’s fun to be that subversive, and it’s an Australian tradition. I don’t have any hangups about that at all and will continue to do so until no one cares anymore.” Some of the most obvious presences on Deep Heat are those of Gow’s influences. Clearly stemming from the pop world, Gow is too young to have lived through the material he clearly adores, so how did he hear this music he seems to reference? “By just listening to music,” he says. “It’s what I do. I investigate music and that’s what excites me. My knowledge of music isn’t as vast as some, but it is vast. If you heard me doing an iPod DJ set at a house party, you would probably notice that I don’t own many records past 1987 or something. I grew up listening to ‘60s pop groups and singers that I still love like Dusty Springfield, Nancy Sinatra, Dionne Warwick, Scott Walker, Lee Hazlewood – stuff like that. My love
themusic.com.au
Another big change to proceedings for Oh Mercy’s third record is that it was more of a band effort. In the past, Gow has decamped solo, buffered up with a crack team of musicians and producers and recorded that way. This time around, drummer Rohan Sforcina and bassist Eliza Lam tagged along for the ride and contributed heavily to not only the album’s aesthetic, but also to Gow’s time itself. “It was awesome!” he raves. “Rohan and Eliza have become a real asset to the band and to the sound. It was great; they really stepped up and, luckily for me, they’re also my friends. Having that support and friendship was priceless. I did feel like it was more a gang or something going over there this time – you know, simple stuff like going for a run with Rohan. It’s going to feel good to get on the stage with these guys who played on the record as well.” Overall, Gow is a happy man – or so it would seem. He talks about Deep Heat with immense pride, but when asked what he specifically and personally loves about it, he humbly answers with “the art” – the only part of the record he actually had nothing to do with. “I’m really happy about the artwork, I love Rennie Ellis, the photographer that took it – he’s one of Australia’s greatest and the fact that I can have one of his photos for my album cover is so exciting and pleasurable. I’m glad it has polarised opinions. It’s bombastic and it’s provocative and it’s by one of my artistic heroes. So that’s one of the things I am super proud of. In terms of the music, the song I’m most proud of writing is My Man. And my favourite song on the album is Still Making Me Pay. Just audiowise, I think it has a really interesting spectrum and it was as fun as it sounds to create.” It’s not only the sound and aesthetic that has changed for Oh Mercy; the band’s live show itself has shifted the goal posts considerably. “Eliza has had to really step up, it’s her record – the bass is the most prominent instrument on the whole thing,” Gow explains. “There’s fuck all guitar on it which is good for me because I never really liked the guitar in my music. I’m not playing guitar anymore, I’m just singing. I’m going to do the frontguy thing – it could be sink or swim, we’ll see how we go. I did it on the Finn Brothers show and then with The Triffids, that’s given me the confidence to try it at least. But Annabell, our keyboard player, and Eliza are kind of the stars of the show, musically. It’s going to be a whole new ball game.” WHO: Oh Mercy WHAT: Deep Heat (EMI) WHEN & WHERE: Friday 12 October, the Loft, Warrnambool; Saturday 13, Karova Lounge, Ballarat; Friday 19, Bended Elbow, Geelong; Thursday 25, Hi-Fi
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WORLDS COLLIDE If you purchase a ticket for the signing tent at Soundwave next year to meet your favourite band, you might find yourself standing in line with Pierce The Veil’s Vic Fuentes. Daniel Cribb discovers just how crucial being “little fan girls” was in finding success to call their own.
R
eturning home after a summerlong US jaunt playing the Vans Warped Tour, Pierce The Veil frontman Vic Fuentes barely has time to unpack in his bags before Soundwave promotion kicks in. “Yeah, just got home to my house and I’m going to do some laundry and take a shower,” Fuentes begins from his Californian residence. Why are these minor, seemingly boring details so important? They prove to fans that he’s real. It might sound weird, but Fuentes elaborates, citing recent Warped Tour experiences. “A lot of the times we do signing and kids scream out, ‘You’re real! You’re actually real!’ and we’re like, ‘Yeah, we’re real people.’ It’s crazy, right?” he laughs.
PRESENTS
This is the third time they’ve toured with Warped and each stint sees them one-up their last appearance. From playing the smaller stages early on in the day to being one of the festival’s headliners, a lot’s changed. “This year was a really cool lineup. We got to tour with some of the bands that we looked up to as kids – The Used and New Found Glory and Taking Back Sunday – and not just play with them, but become friends with them and hang out with them. We were little fan girls hanging out, so it was pretty awesome,” he admits. It’s being “little fan girls” that has helped them develop into the band they are today. But they’re not staking out tour buses with permanent markers; rather the signatures of their favourite bands appear in their lyrics and seep in through their music. “I think it shapes our band a lot. Since we started playing one of the big things I’ve been a big believer in is I think you should be inspired by the people around you and I definitely get a lot of inspiration from a lot of the bands that we tour with – whether it be their live show, their record, their personalities, the way they think – I think that’s something you should always soak in as a musician. I know my Dad taught me that you need to play with as many musicians as possible because that’s how you’re going to get good, and, you know, I’ve always kind of taken that to heart.” Musical talent runs in the family. From an early age, Vic Fuentes and his brother Mike, who plays drums in Pierce The Veil, were taught their instrument of choice by their father, who specialises in guitar. Although post-hardcore isn’t considered a popular genre in the parental community, Fuentes says his parents constantly keep tabs on the band’s music and success – whether or not it’s to check up on them and make sure the rockstar lifestyle hasn’t consumed them is another thing. “He and my Mum are huge fans, you know, like they’re the sweetest things. Every day they watch the YouTube videos from the shows, because kids always post them, so they kind of get to watch us play as we go.” Come February Mr and Mrs Fuentes will be watching a slew of shaky, distorted iPhone videos of their sons gracing Soundwave stages across Australia, bringing with them new material from their third full-length, Collide With The Sky, and a memorable afternoon for one lucky fan – theMusic.com. au ran a competition for readers, the prize a money-can’t-buy experience that involves hanging out with the band for the afternoon they’re in the winner’s town. The fan will be treated to lunch, a game of pool and a pretty nice merch package. “We just did one in the States where the winner got to go bowling with their favourite bands and stuff and it was really cool. We got to go bowling with this little girl who was a big fan. I couldn’t imagine what that would be like as a kid – I would definitely freak out. It’s cool to be there for our fans and become a little more than just a band, become something tangible to them. “I think from day one that was a big goal of our band. I wanted this band to be as connected to our fans as possible, because I looked up to bands that did that really well – like I thought Thrice did a good job as far as doing little things to make you feel like you know the band a little more. And I think these days with social networking and stuff it’s been pretty amazing how close you can become to your fans, just over the Internet. So yeah, we’re all over that and we do heaps of different things, like video chats and putting ourselves out there online.” Excited to head down to Australia, Pierce The Veil were one of the first bands to make an appearance on the Soundwave POP WOW online chat sessions, giving fans the opportunity to ask them anything and everything. “Honestly, we don’t really have anything like Soundwave. Like there’s no point in time in the States where I could ever play with Metallica,” he laughs.
THE GRANITE CITY TOUR WITH SPECIAL GUESTS THE PREATURES * FRI 9 NOV
THE CORNER HOTEL
MELBOURNE VIC
FRI 16 NOV
THE ZOO
BRISBANE QLD
THURS 22 NOV
UNI BAR (ALL AGES)
ADELAIDE SA
FRI 23 NOV
THE ROSEMOUNT HOTEL
PERTH WA
FRI 30 NOV
THE METRO (ALL AGES)
SYDNEY
ON SALE: MONDAY, 20 AUGUST TICKETS (GST INC): $18.00 + BF (PRE-SALES) / $22.00 (DOOR SALES) * EAST COAST SHOW ONLY
20 • INPRESS
Having toured and made friends some of their childhood heroes during Warped Tour, are there any bands on Soundwave they hope to develop relationships with? “We’ve looked up to Blink-182, you know, I’ve definitely found myself covering their songs in our bedroom back in the day with my brother. Now being able to play with them is pretty cool, I hope we get to run into them and talk to them a little bit.” If their live show has evolved as much as their music did between albums, their appearance at Soundwave will no doubt be a memorable one. Becoming a regular name on the US festival circuit, Pierce The Veil no longer rely on fancy lights or the darkness of a club stage to create a vibe – they’ve stripped their live set down to its bare bones and are all the more accessible and better for it. “With us it’s all about personal goals and trying to blow out of the water the last record, or we’ve gotta make this tour better than any tour we’ve ever done, so we put a lot of weight on ourselves… We’d never release something if it wasn’t the best we could possibly do at that time, so, yeah, we did about a year of writing and three months in the studio, which is way longer than a lot of bands take. We take our time on things. We had a lot of freedom and I think it came out better than the other stuff – I don’t even want to listen to the old stuff.” WHO: Pierce The Veil WHAT: Collide With The Sky (Fearless/Shock) WHEN & WHERE: Friday 1 March, Soundwave Festival, Flemington Racecourse
themusic.com.au
INPRESS • 21
MY OBSESSION His band Icehouse may be about to celebrate the anniversaries of two of their biggest albums, but Iva Davies tells Steve Bell why he’s not surprised at all that ‘albums’ are being perceived more and more like a relic from yesteryear.
W
ithout a doubt, Icehouse were one of the great Australian musical success stories of the ‘80s, the band dropping their debut album Icehouse in 1980 (when they were still called Flowers, before changing their moniker to avoid conflict with a similarly-named Scottish outfit) and then racking up the hits throughout the course of the entire decade. The brainchild of songwriter and frontman Iva Davies, their raft of singles such as Can’t Help Myself, We Can Get Together, Love In Motion, Great Southern Land, Hey Little Girl, Crazy, Electric Blue, My Obsession and Nothing Too Serious – seriously just the tip of the Icehouse iceberg – made them a household name in Australia and gained them major traction globally, even if that success did start to drift away for them once the calendar ticked over into the ‘90s.
Last year Davies pulled a version of the ever-fluid Icehouse lineup together for a run of well-received reunion shows, and now they’re taking the whole thing a step further, re-releasing the entire Icehouse catalogue with special emphasis on two of their most successful albums which celebrate simultaneous milestones in 2012 – sophomore long-player Primitive Man (1982) turns 30 and career pinnacle Man Of Colours (1987) turns 25 – and hitting the road for the aptly-named Primitive Colours tour. “I famously never, ever listen to albums once they’re finished,” a relaxed Iva Davies chuckles. “You put such a lot of effort into recording and mixing and it all seems to go on forever, and then once you’ve come up with a tracklist you sit down and you listen to it – in those days you’d have to listen to test pressings to make sure that there weren’t any clicks or pops – and by then you’ve put such a lot of work into it that I would never, ever listen to them again. Now I’m forced to do that, because later in the year we’re touring with a focus on Primitive Man and Man Of Colours, so I’ve been forced to go back and study them and kind of pull them apart, which has been interesting.” Even though Icehouse had already enjoyed considerable success prior to Primitive Man, Davies recalls that, for all intents and purposes, the album began as a solo project. “The process of Primitive Man was quite accidental on a number of levels,” he remembers. “The first album had been developed by a live band over a number of years, so they were all highly road-tested songs, and by the time we came to record them they’d been though a number of versions. It was a great success, and we went off on our first international tour and we went all over America and were pretty well exhausted when we came back. “I was still pretty unsure about how to write songs, and I had in front of me this prospect of producing a follow-up album to this huge album. That was daunting, but while I was in America I’d picked up a couple of pieces of technology that I’d brought back to Australia: one was a brand new invention called the Linn drum, which was a very effective prototype of a drum machine which sounded like a drummer – before then they’d been funny little electronic beat boxes – and the other thing was the first affordable home eight-track recording system. That allowed me to go into my bedroom and start producing things that sounded like rough finished recordings, and that was how I approached the task of trying to write the next set of songs. “The next thing I knew, it was suggested that the producer [Keith Forsey] from America would come out to Australia, and I’d go into a studio here and basically repeat the demos, which is what I did. [It] was basically me in a studio by myself, so of course what that produced was a completely different style, and a set of songs which were complete studio constructs – quite different to the four-piece band.” Given its ad hoc genesis and reliance on electronic sounds, Primitive Man has dated very well, especially compared to other albums from the time. “Even at that time we’d been though a number of years of synthesisers, and by the time we got into the very early-‘80s I was starting to hear things that I knew wouldn’t date very well,” Davies continues. “There were certain sounds that I thought were more quirky and idiosyncratic than anything else, and I scrupulously avoided sounds like that. To me it’s funny background decisions like that which may have saved some of these recordings from dating in a more spectacular way.” Then five years later came the smash hit Man Of Colours, a seeming success on every level and their highest-charting album all over the globe. “I think a lot of things came together. On the previous album Measure For Measure (1986) we’d worked incredibly hard, it was an expensive album and we’d gone over to record it in England and then toured every pit stop in Australia before embarking on a long and arduous tour of America, and it had a measure of success – a number of American Top 50 singles – without really breaking through,” Davies recalls. “But I firmly believe that the work that we put into the previous album really kind of set the stage for Man Of Colours, and really it was just up to writing a decent set of songs, which turned out to be better than decent. “I was surprised by its reception. In fact I was absolutely gob-smacked by what happened in Australia – it was number one for eleven weeks, and we’d never even had a number one album before. And then Electric Blue was a number one single, and that was the only one that we’ve ever had. So when it started taking off in America, I remember getting a call from our manager who said, ‘Crazy has just hit the Top 20 in America!’ and I was completely numbed by the shock of it.” Does Davies think it’s strange how albums seem to be dying off as a format, even as they’re still embraced by older generations looking back as with these two classics? “It is and it isn’t,” he mulls. “I put a great deal of it down to the technology that my children’s generation have – at their age I’d saved painfully for about three LPs and that was all I could afford, but they can have access to tens of thousands of songs, and as a result they’re going back in time and cherry-picking through the ages. It doesn’t surprise me now when my eighteen-year-old daughter comes to me and says, ‘I’ve just discovered Janis Joplin’, or maybe The Who or The Rolling Stones, or whoever - I think with the access they have to material, it’s not surprising at all that they’re not embracing the album as a form.” WHO: Icehouse WHAT: Entire catalogue re-released (Universal) WHEN & WHERE: Monday 5 November, Hamer Hall, Arts Centre
22 • INPRESS
themusic.com.au
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INPRESS â&#x20AC;¢ 23
TASTE TEST: GIN WIGMORE THE FIRST ALBUM I BOUGHT WITH MY OWN MONEY
(What’s The Story) Morning Glory. I bought it at this place called, I think, Music Wave, this like two-metre by two-metre record store in Devonport, in Auckland. I was about 13. I was absolutely obsessed with that song Don’t Look Back In Anger. It made me feel sad, and I loved feeling sad, and I loved sad songs. I was your classic horrible teenager - I must’ve driven my mum insane.
THE ALBUM I’M LOVING RIGHT NOW
I’ve been listening to a lot of Karen Dalton. She’s really cool; I like her voice. It’s a crazy voice! I’ve never heard anyone with a voice like that. She sings a song called Sweet Substitute, which is about her lover being better than her regular man. I like what she sings about – wanting, but also feeling kind of removed – and I like the way she sings it.
MY FAVOURITE PARTY ALBUM
Stuff from the ’50s, ’60s. I love doo-woppy stuff like The Ronettes and The Shirelles, Mama Said. I love dancing to Elvis. Chuck Berry. Anything from that time has this magical quality at a party, because it makes people dance, but actually dance! No one’s all over each other in some meat market way; the men become gentlemen and the girls become ladies. Everyone gets a little bit classier, somehow. It’s better than grinding your junk up on someone to Rihanna.
MY FAVOURITE COMEDOWN ALBUM
I’ve got a greatest hits of Irma Thomas. I love her, and I love all the songs on it; but It’s Raining and Cry On, those would be my repeat songs. I’d never think to write a song about something so simple as rain; but then you hear Irma Thomas just singing “it’s raining so hard/it’s really coming down” and you’re like ‘fuck!’ It’s amazing the way she can do that.
THE MOST SURPRISING RECORD IN MY COLLECTION
Benji Hughes. He’s this Viking-looking dude from, I think, Scotland [actually North Carolina]. I was turned onto him by Mikey Elizondo, who I recorded Holy Smoke with. And I listened to it, and I didn’t get it, and then I did get it. And then I love it, and then I don’t like it at all sometimes. Then I love it again. Then sometimes I look at it and wonder why the fuck I even have it. But I feel
24 • INPRESS
like I need to have it; it needs to be there in my record collection. It’s literally the most surprising record I have, because I never know how I’m going to react when I put it out. Like, I could be ‘this is blowing my fucking mind!’ and then the next time I’ll be like ‘wow, I hate this!’
THE FIRST GIG I EVER ATTENDED
Moby. I was probably 14 or 15. It was at the North Shore Events Centre. I went with a couple of girlfriends, and then we were picked up at the gate at 10.30 or 11 or whatever. I was a big fan of Moby when I was young. He was huge in New Zealand; it was at this stadium, it was packed. It was actually where I used to do my gymnastics on Saturdays. Then I went to this gig there!
THE WEIRDEST GIG EXPERIENCE I’VE EVER HAD
Last summer in New Zealand, I feel off the stage. I was reaching out my wineglass into the crowd, and I stepped onto this black sheet that was between two of the monitors, and I didn’t realise there wasn’t actually a stage under there. So I fell, like a metre drop, right on my fucking face, and then lay there on the ground like a fucking dick. People were screaming; there was like two or three thousand people there, and there were just these death screams from these teenage girls. It was really, really mortifying, getting back on stage and dealing with looking at the crowd.
MY BIGGEST NON-MUSICAL INFLUENCES People, people, lots of people. Friends, lovers. They know that because I’ll tell them: ‘Hey, I wrote a song about you! You pretty pumped?!’ And they’ll ask: ‘good or bad?’ And I’m like: ‘a bit of both, a bit of both...’
THE COOLEST PERSON I’VE EVER MET Charlie Sexton, definitely. I was doing a lot of co-writing for Gravel & Wine, and he was at the top of my shortlist of people to work with. And we did, we had three days together. He was a really cool dude who smoked way too many cigarettes, stayed up so fucking late, and was so nonchalant about everything; he was a really bad influence.
THE BIGGEST CELEBRITY CRUSH I’VE EVER HAD
I was obsessed with Leonardo DiCaprio when I was, like, 11. I saw Titanic five times, and that’s a really fucking long movie. I had posters on the wall, I had a wallet full of pictures I’d cut out of magazines.
IF I COULD HANG OUT IN ANY TIME AND PLACE IN HISTORY I’m a bit of a cliché: I’d go back to Paris in like the ’20s, ’30s. I know that’s probably what everyone says, but there’s just something so romantic about France in that era.
IF I WASN’T MAKING MUSIC
I’d love to be a primary school teacher. Teaching five, six year olds. I’m actually training by correspondence on the side to get my degree. Kids are fascinating; I love how they’re so enthusiastic, so full of wonder, so untainted
themusic.com.au
by the shitness of the world; they’re yet to be beaten down by life. That eagerness to know things is so cool, because when you get older, you get lazy, you get ‘who gives a fuck?’ Being around that excitement is amazing. Interview by Anthony Carew WHO: Gin Wigmore WHEN & WHERE: Friday 31 August, Northcote Social Club
SUNDAY 26TH AUGUST
PENNYWISE
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BEAUTIFUL NOISE Somewhere along the way, New Zealand’s Shihad became a greatest hits-calibre band. Vocalist/guitarist Jon Toogood talks 20-plus years of riffs, regrets and “ripping shit up” with Brendan Crabb.
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he various activities surrounding their new double-disc The Meanest Hits retrospective prompted Kiwi rockers Shihad to reminisce about the various aspects of their lengthy career – as difficult as that may be at times. Long-buried memories evoked, very public criticism evaluated and lofty career highlights celebrated. However, frontman Jon Toogood – instantly likeable and effervescent in conversation as always – encountered some other unexpected obstacles while preparing to tour in support of the release. “When we did the tour in New Zealand it was a two-hour set, which was just madness,” he explains. “We did everything in chronological order, from our first speed metal EP, (1990’s
Devolve) from when we were 18, onwards. I actually re-learnt all that stuff, which I gotta say is pretty intense. Music written while you’re not getting laid regularly, you know?” he laughs. “So your downstroke’s a lot better,” he adds, chuckling again. “It was actually a really good form of physical exercise, doing all that riffing; it’s about 50 riffs per song. The earliest speed metal stuff is like a real physical and mental challenge. But it was weird; like when we were doing stuff off the first album, the one we did with Jaz Coleman, (1993’s) Churn. It just sounds different to now, just because of the way he recorded it, plus what we were listening to at the time. It’s sort of metal, but without the guitar solos. Obviously heaps of Killing Joke, Ministry and stuff like that, and [it’s] just rhythmically really smart. Obviously I enjoy the songs we play off of every record, but for some reason that made me listen to that record. I don’t really spend much time listening to Shihad records.” Maybe not, but the recent Shihad: Beautiful Machine documentary was the catalyst for reflecting on the origins of the band Toogood formed in 1988 with drummer Tom Larkin. It also indirectly paved the way for the new hits collection. “We’re all just doing different things with our lives at the moment; it makes sense in a weird way. That documentary, [it] made us really have to think about our history, ‘cause we haven’t spent much time looking back on it. I don’t tend to like revelling in what’s gone past; it’s what’s next. So that movie, it asked us lots of questions about our past and things we hadn’t thought about for years. It made me go, ‘Oh man, we’ve got a huge body of work’. ‘Cause we’ve been hassled for the last, I’d say three or four studio records; ‘Oh, we’ve gotta do a greatest hits next time’. It’s like, ‘Yeah, yeah, we’ll do that’ and we never do it,” he laughs. “The movie made me think about the fact that we had eight studio records, which is really quite unusual for bands nowadays I think, for bands that are still together. So it was, ‘Yeah, sure, but we’ll choose it [and] we’ll also ask the fans what they reckon’, so it wasn’t just being tied down to singles or anything like that, which is choice.” He’s also quick to assure that said film is, “not a puff piece, bro.” It was helmed by Sam Peacocke, a young Berlin Film Festival prize-winning director. “He was more interested in, ‘How does this all work, this whole band thing?’ How come some bands split up and some stick together? What effect does it have on family life, on friends, people within the band? He just really nailed it. I did such stupid things when I was young; we gave him access to all the footage from when we were kids. I’m just such a dork, with some of the most ridiculous haircuts and fashion choices. Things that I thought were super important at 22 were just so ridiculously not important. But it’s good because it’s honest. It’s not a band piece, which I’m really glad about. It’s like a slice of life. Brutal, but sort of treated with care.” This candid approach includes addressing their brief tenure as Pacifier, and the ensuing ill-fated attempt to crack the US market. Is Toogood a man for regrets? “Well, it is what it is, bro, that’s kind of my approach to it and to most of my life now. I get to explain my side of things in the movie. It was like, shit A or shit B. Okay, option one – don’t change the name, but say goodbye to your dreams of America, which you’ve had since you were a kid at school, and not find out what it was like, even though we found out anyway,” he laughs. “Or, option B – change your name, make yourself look like cockheads and feel like you’ve compromised. But, have a chance to have your record released in America on a big label with a big push behind it and get to find out what that was. After six months of telling everybody, ‘Fuck off, there’s no way we’re changing our name’, we finally compromised. I hated it; I regretted it as soon as we did it. I felt like I was in another band, like a fraud. It made me question everything about being in a band. I’ve done my two years of regrets; I did it at the time. The only positive thing to come out of it was we copped so much shit from everybody – from fans, media, ourselves, our friends and families – that it made us go out and be quite ballistic live at the time, just to prove everyone wrong. It was just like self-destruction. Any regrets I’ve had I’ve sort of lived with them, gone through them and got rid of them. It is what it is, it makes for an interesting story, and you move on.” On the flipside, Toogood lists making 1999’s The General Electric in Vancouver with producer Garth Richardson, touring Europe with Faith No More and supporting AC/DC in Auckland in front of 62,000 people as career highlights. The reworked Australian version of The Meanest Hits includes a new single, Right Outta Nowhere. As mentioned earlier, the 41-year-old is always excitedly looking to the future, and that’s no different with regard to the next Shihad studio album. “The thing with Jaz Coleman was like,” his voice shifting to imitate the noise legend, “‘Stay on that riff, stay on it. Okay, build it up, build it up’. He actually taught us about songwriting, building up that sort of fire, which we didn’t really know about when we were young. The plan at the moment for the next Shihad record is to go with Jaz Coleman to Cairo, meet some musicians there, write a record, then piss off to Spain and record it, do it all within the space of a couple of months. If it happens (referring to Coleman recently reportedly going AWOL)… If we pull it off. I’m looking forward to making a really ballistic, heavy record, to tell you the truth. Which is what I think this band does really well, you know?” We sure do. WHO: Shihad WHAT: The Meanest Hits (Warner) WHEN & WHERE: Thursday 6 September, The Hi-Fi
26 • INPRESS
themusic.com.au
TAKIN’ IT TO THE STREETS Brendan Hitchens presumably avoids a cuddle but the rest of you may not be so lucky. Pack your breath fresheners ‘cause The Smith Street Band’s Wil Wagner and Chris Cowburn are threatening to hug each and every attendee at their upcoming (largely sold-out) shows. Gross.
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rank Turner gushed their praises on Twitter. International bands handpicked them as supports. Webzines and radio shows honoured them with album-of-the-year status. Fans covered songs on YouTube; many even had the album’s artwork inked into their skin. They’ve been invited overseas, sold out shows nationwide and now Melbourne’s The Smith Street Band will release their second album, Sunshine & Technology, the follow-up to last year’s hugely successful No One Get’s Lost Anymore. Songwriter Wil Wagner says the praise, while slightly intimidating, didn’t affect the band and there were no signs of difficult-secondalbum syndrome. In fact the transition between releases was seemingly uninterrupted. “As soon as we’d finished writing No One Gets Lost Anymore, which was probably six months before it came out, we began writing new songs,” he explains. The son of an author father and publishing mother, Wagner has a natural penchant for words and is never short of inspiration. Sunshine & Technology seamlessly shifts between the personal and political, as he weaves subtle wordplay into melody. “They’re really into the literary and arts world,” he says of his parents. “It was a positive influence growing up having books and music everywhere. Dad played in bands as well, so that made me want to really write.” So write is what he did. “If society’s taught me anything it’s that writing is much easier than speaking,” he sings on the album’s fourth track, with an uncompromising honesty. “Pretty much everything on the album is from my perspective; first person and personal. I feel comfortable with everything I’ve put out to the world, as far as the things that I’ve done and mistakes that I have made. A lot of the things on the album that I’m dealing with I wouldn’t be open to having a conversation with somebody about, but I feel totally comfortable singing about them. I don’t really think of it as writing, I just have to do it. If I don’t write for a day or two it’s noticeable how miserable I am.” Along with his first-person narrative, Wagner draws inspiration from authors and hip hop. “One of my biggest lyrical influences is Astronautalis, who does indie hip hop with really interesting wordplay. As far as authors, I read a lot of short stories. My favourite author is probably Raymond Carver, who Tom Waits was obsessed with. He writes these really bleak stories, that don’t really have a start or an ending and he hardly uses adjectives. It’s just a play by play of what happens. There’s so much emotion between the lines that you become attached to the characters and he sucks you into stories instantly. He uses as few words as possible to get his point across and I find that inspiring.” With a title reflecting our responsibilities towards nature in a digital age, drummer Chris Cowburn says the album is full of juxtaposed stories. “The two phrases fit as a metaphor for many of the album’s themes: staying young versus growing up, day and night, love and loss.” Despite not being thematic in nature, Wagner admits there are recurrent themes throughout. “I realised when recording the vocals that there was a real yearning to stay young in the lyrics. I guess coming out of my teenage years and into adulthood I’ve been preoccupied with the idea of ‘growing up’ and what that actually means.” Celebrating their youthfulness, recording for Sunshine & Technology began at Three Phase Studios on Sunday 20 May, the day before Wagner’s 22nd birthday. Weeks prior, the band completed a monthlong Wednesday night residency at Fitzroy’s Old Bar, road-testing tracks of the, then, soon to be recorded album. After their first performance, the set soon surfaced on YouTube and the following week, fans had memorised all the words, something Wagner had yet to do himself. “The songs on the new album were still being written while we were doing the Old Bar shows. There were some songs we played that we had literally learnt the day before at practice,” he confesses. “But I think doing the Old Bar residency was as important as demoing the songs in the studio. You don’t know a song well until you see how people react to it.” Stepping outside of their comfort zone once again, the band will head overseas in October for the first time. “We were invited to play at The Fest,” says Cowburn, of the weekend-long Florida punk festival featuring Propaghandi, Lagwagon and Anti Flag. “For the last five years I’ve wanted to go as a punter, so to now do that as well as play, is overwhelming. When that opportunity cropped up, we thought we’d make the most of it and make a tour around it. If everything comes together, we should have 15 dates in the US.” Prior to their American sojourn, the band will stop over in China for a week. “China came about when our bass player pointed out that the cheapest flights to LA stop over in Beijing. We had a contact over there, so we emailed him and 24 hours later we had five shows booked. I think it’s going to be a bit of a culture shock,” Cowburn admits with a grin, “but I’m looking forward to that.” Like their music, The Smith Street Band’s name is twofold, simultaneously referencing their influences whilst at the same time, the colloquialisms of their hometown. Cowburn admits there is some anxiety about how their lyrics will go down in a non-English speaking country. “It’s going to be interesting. We’re a lyrical driven band, so playing to potentially a lot of people who won’t understand what we’re talking about, we may just have to play really tight,” he jokes. The faith instilled in the band by the Chinese promoter is too reflected by their fans in Australia. Pre-sales for the album sold out weeks before its official release date, essentially all on goodwill as nobody has heard the album. “It’s pretty daunting,” says Wagner, humbled. “You hope we’re not going to rip people off. We’ve become so attached to this album now, that I can’t hear it with an objective ear anymore. The response so far has all been positive and we’re proud of it.” Add to that, the band sold out tickets to their hometown launch show at the Tote almost a month before the date. “Hearing that blew me away and made me want to go out and personally hug everyone who went out and pre-purchased a ticket. We’ve worked hard for a long time and selling out the Tote is something I’ve always dreamt of. If we break up the day after the show, I’ll be proud of everything that we’ve done.” Celebrating in style, the launch will see a combination of old and new songs. “We had a huge debate at practice the other day. Guitarist, Lee,
wanted to play all of the new songs, but a lot of people will be getting the album for the first time at the launch, so it’s not like they’re going to sit in the toilets and listen to it and walk out and know all the words. That’s wishful thinking,” jokes Cowburn. Given their fanatical following though, it wouldn’t be a surprise. WHO: The Smith Street Band WHAT: Sunshine & Technology (Poison City) WHEN & WHERE: Saturday 25 August, Tote; Sunday 26, Reverence Hotel; Saturday 15 September (Wil Wagner solo), Acoustic Arvo, Old Bar; Sunday 16, Poison City Weekender, Reverence Hotel
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INPRESS • 27
HARMONIOUS RESURRECTION Slowing down has never been in Die! Die! Die!’s musical playbook. Brendan Telford talks to drummer Michael Prain about reaching breaking point and starting anew.
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here was a point in the mid 2000s when you couldn’t blink without New Zealand’s Die! Die! Die! gracing an Australian stage, spitting vitriol and angular noise at all and sundry. The trio’s relentless touring and anarchic live presence meant that the band built up a reputable and rabid fanbase, aided and abetted by three favourably received LPs (2005’s eponymous debut, 2008’s Promises Promises and 2010’s Form) and a brace of smaller releases. Yet despite the frenetic nature of the band’s aesthetic and the burnout such energy often leads to, it always seemed unlikely that the band – Andrew Wilson on guitar and vocals, Michael Prain on drums and Lachlan Anderson on bass – would
ever temper their vision or ease up their fevered drive. Yet, it seems, even they are not impervious to the dreaded drain of endless touring, so much so that the fact that their fourth album, ironically titled Harmony, didn’t seem a likely proposition. “We had a few road bumps last year,” Prain acknowledges. “We were on a large European tour that was on the back end of releasing Form, as a record label distributed it over there, and in between all the shows we got some recording time where we did most of what is Harmony, and it all became a bit too much. We all realised that we needed a small break from each other, which in a lot of ways has been really good for us for it’s allowed us to think back over the past year and what we had achieved, and to see how much we loved this record that we had made. The break allowed us to be excited about things again, about playing and releasing new material.” It’s clear that Die! Die! Die! are alive and raring to fight another day, yet Prain admits that it was a close call. “Once you have been touring with the same three people, sharing space all the time, it can become too much. You need to have some sort of separation from all that. So when we came back last year we all agreed we needed time apart, and it was one of the best things for us. I never wanted to be in a band that becomes something that isn’t exciting, that becomes more like work, and your band are your work mates. It needs to be this really exciting and creative thing that you are doing alongside your friends. It’s what our band has always wanted to be, an extension of our friendship. So to turn around and say ‘Hey, I don’t want to see you for the next couple of months’ showed us how things were, and led us to becoming hungry for the band once again.” Cancelling tours and unofficially going on hiatus didn’t however prevent Anderson opting to bid them adieu to return to Melbourne. As luck would have it, Wilson and Prain were able to find the perfect replacement in a likeminded soul. “We asked Michael Logie, who used to be in The Mint Chicks, and he immediately jumped on board. He jumped on bass and it came together really easily. In most ways nothing has changed in that regard, which was really surprising. When you’re in a three-piece band it is quite skeletal in how much each member influences the sound. However with Michael it instantly clicked. It’s proven to be a natural progression.” Harmony itself doesn’t show any of the stresses that lay behind the scenes. If anything the band’s fourth longplayer is their most consistent and adventurous yet, tempering the aggression with some fuller, shoegaze elements that amplify Wilson’s songwriting without letting the inherent tensions of the band’s aesthetic to taper off. “We recorded it all at Blackbox Studios in France, then got it all together and did some overdubs here in Auckland at the end of last year,” Prain explains. “We had Chris (Townend – Portishead, Tim Finn) producing and engineering it, and we travelled to his home studio in Tasmania to polish it off. So it was put together in three locations, which made it seem like a jumble and at one stage we weren’t even sure if it could come together, but the end result has proven to be beneficial.” The name Harmony came in retrospect, and couldn’t be more apt. “It’s funny because when we left things it all felt a little strained,” Prain concedes. “But after the break we listened to these songs that we had recorded and it all fits together so well. There was nothing forced there, it all felt so natural. When looking at our albums in the past, people have often shied away from one of the quintessential Die! Die! Die! sounds, which is the quite extreme feedback-drenched guitar. Chris was the opposite; he would push the sound further, which has made the songs really urgent, learning to not be afraid to push the tempo past what feels comfortable. We felt excited about playing these songs - everything was in its right place once again.” Because of this extrapolation of tension and claustrophobia, Harmony tends to be a feverish grower of an album, burrowing under the skin rather than bludgeoning the ears – for every nihilistic moment such as No One Owns A View, there are moments like the title track where the boundaries within which the band can explore shift markedly. “The best thing about albums from my favourite bands is that they have that initial hook, but the rest of the album stays with you,” Prain admits. “We have always hoped to be able to provide something that is a little more than an immediate fix; that holds a deeper meaning. And it also came from taking a step back, being forced to sit on these songs for a few months and not revisit them for a period of time. We could come back with a clearer objective of what we wanted to achieve, could cut songs that didn’t fit that mould, and it’s made something altogether stronger than it might have otherwise ended up as.” It is clear that Prain is re-energised, and the favourable response to Harmony has him ready to hit the stage once more. “We have been playing these New Zealand shows and they have been electric, so we are ready to grab all this energy and push forth with it. We have a realisation that we have to all be on the same page for things to work, something that seems simple but unless you are aware of it it can wear you down. We made our own record label for this release (Records Etcetera) to make sure that we are the ones in control of our own destiny. We know what we want from this and what we don’t want, and what we want most is for it to be fun, for it to be a party. Only good things can come from that.” WHO: Die! Die! Die! WHAT: Harmony (Records Etcetera) WHEN & WHERE: Saturday 25 August, Ding Dong Lounge
28 • INPRESS
themusic.com.au
MONKEY MUSIC Drum’n’bass innovater Photek has seen a lot since his days as a ‘90s schoolboy raver. Cyclone talks to the man behind the moniker, Ruper Parkes, about ‘intelligent’ d’n’b and the potential guitar-driven backlash against the American EDM movement.
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ritish drum‘n’bass DJ/producer Photek (AKA Rupert Parkes) always was a leader. He moved to Los Angeles in 2001 to pursue soundtrack work. Today the city is also home to Paul Oakenfold, Switch and Rusko, all capitalising on new opportunities for EDM types. But are they chasing a dream? “I think everyone who comes to LA is chasing a dream, yeah, but it’s a pretty great place to live,” laughs Parkes, returning to Australia for the first time in seven years. “It’s got a lot of pluses about it. The only difficult thing is it’s not the easiest place to travel from.” Parkes, a schoolboy raver from St Albans, was drawn to hardcore in the early ‘90s. He built his rep as a jungle producer with 1994’s Natural Born Killa EP on Goldie’s Metalheadz under what became his dominant alias (he’d initially aired music with Rob “Lexis” Solomon as Origination). Parkes presented a critically acclaimed debut album, Modus Operandi, his expedition into darkly jazzy, abstract and minimalist drum‘n’bass, on Virgin’s Science imprint three years later. He’d be identified with the ‘intelligent’ drum‘n’bass movement, the music’s counterpart to high Detroit techno. It was post-tech-step. Soon after, the martial arts buff’s Ni-Ten-Ichi-Ryu was heard in the vampire movie Blade. Next Parkes deviated into avant-garde deep house. His 2000 follow-up, Solaris, comprised the hit Mine To Give with legendary Chicago vocalist Robert Owens. Alas, drum‘n’bass purists were miffed. Once in Hollywood, Parkes stepped away from club music – and its politics. He contributed to Nine Inch Nails’ US No. 1 LP WITH_TEETH. And he created music for TV and film (including The Italian Job). Yet scores are no longer Parkes’ focus. “I’ve done a few movies over the years, but right now I’m just working on Photek music, basically.” In fact, the Photek Productions boss is mixing down a third album. “It’s got echoes of my first album in some of the mood of it – it’s got a bit more groove to it, though. So it’s a bit more dancefloor than my first album, but all the texture and the mood of it is similar to Modus Operandi.” He plans to release it in October.
In Melbourne Parkes will play Sound Lounge, a pop-up dance party in the foyer of the newly refurbished Hamer Hall, alongside Nitin Sawhney. The DJ admits that he’s unaware of the prestige – and novelty – of such a gig here. But this haute bass designer has headlined arty venues before. “I just played at the MoMA [The Museum Of Modern Art], actually, I played at the MoMA in New York last week – and that was a really great show.” Still, Parkes notes, Melbourne booked him first. “Maybe they led the way?” WHO: Photek WHEN & WHERE: Saturday 1 September, Sound Lounge, Hamer Hall
Secret Sounds presents
The mild-mannered Parkes has been particularly active of late. He received a Grammy nomination for his remix of Daft Punk’s End Of Line off the Tron Legacy soundtrack. Then he began the year with a bassy – and experimental – volume in Studio !K7’s cult DJ-Kicks compilation series. Parkes is currently plugging the single Levitation, enthusiastically hailed by Mixmag as a cross between Disclosure and Radiohead. Being Stateside, Parkes didn’t experience firsthand the rise of dubstep in Croydon, London. Nevertheless, he’s stayed in the loop. “The last couple of years I’ve been back to the UK quite a lot – last year especially I lived there for about four months.” The serial reinventor tried his hand at dubstep on last year’s Avalanche EP (with lowkey input from Switch). He’s also issued music on Bristol DJ Pinch’s Tectonic and expertly remixed Jess Mills’ Vultures (not as out-there as his remodelling of folkie Ray LaMontagne’s This Love Is Over). Ironically, dubstep is now huge in the US, Skrillex proclaimed king. The genre’s popularity has even revived the fortunes of drum‘n’bass, Parkes stressing their similar evolution. “I’m surprised that it’s as big as it is, but I did think it would cross over in a much better way than drum‘n’bass, just ‘cause of the tempo.” What made dubstep “immediately palatable” to Americans, he believes, is that “it’s halfway between rock and hip hop”. “At its most aggressive, it sounds like nu metal.” The US has previously taken an almost faddish interest in EDM, with The Prodigy, The Chemical Brothers and Fatboy Slim spearheading the ‘90s big beat phenom. Mind, Parkes feels that the Americans will stick with electronica this time – its grassroots. “People like going to club and festival-type events, rather than going to watch bands.” Disco, the original mass EDM, was ubiquitous in the US, only to sink deep underground due to a rock-fuelled backlash. That could happen again, Parkes says. “Ultimately, there’s a lot of guitar people in America and there may be a backlash against dubstep. It may be like, ‘Let’s get back to people who play instruments and who’ve got some skill, rather than who can make the loudest wobble’ [laughs]. I think you will see a backlash on that, but it doesn’t mean that electronic music as a whole will be backlashed against.” In 2012 Parkes tags his style as “bass music”. “I’m not playing drum‘n’bass, per se. I’ll play a few of my drum‘n’bass tracks, but it’s generally whatever music I’m into – and the thing I’m into more than anything is what you call bass music and a bit of tech-house, really.” The new generation of partygoers don’t necessarily know dance music’s history – but, then again, nor do some of the DJs. David Guetta expressed astonishment that his Dutch protégé Nicky Romero was unfamiliar with Lil Louis’ French Kiss. Are old-time DJs obsessed with the past to the point of fetishising it? ”Maybe we are, but it just seems insane to me that you can make house music and not know French Kiss – it’s just ridiculous!” Parkes responds. “But it doesn’t surprise me – because any monkey can make electronic music these days. You don’t even have to like it!” The innovator has adapted to technological shifts in DJ culture – he’s “accepted” the laptop over traditional turntables. “I think that’s one big hurdle to get over mentally – that you don’t need beatmatching skills to go out there and ply your trade,” Parkes says laconically. “I’ve just had to embrace that and said, ‘Well, how can I turn this into a creative tool where I can shine?’ So what I’ve been doing is composing my sets in Ableton and figuring out ways to change what I’m doing and extend sections of songs and make arrangements on-the-fly. That’s what I do – instead of really skilful mixes, I do really creative mixes.” Parkes is bemused that a few DJs reputedly ‘fake’ their sets. “It’s getting more about showbiz than it is about how you’re putting your music together.” But he wonders if at big events the majority of punters would care about pre-records, “as long as it looked excitable what’s happening on stage.” Parkes is no crabby veteran, however. He’s genuinely inspired by contemporary electronic music. “The possibilities of what you can go out there and do musically still excites me,” he rhapsodises. “I’m interested in what I’m gonna do next.” EDM is established globally, which is liberating. “It doesn’t feel like the battle for electronic music anymore. When I first started doing it, I felt like it was a case of survival.”
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INPRESS • 29
LOONY TUNES
GOOD KICK
For a ‘slacker-pop’ band, Loon Lake certainly have got their shit together, as Brendan Hitchens learns from bassist Tim Lowe.
The Incredible Kicks’ Travis Hair talks Nic Toupee through the process of weaving stories through their songs to create something “mystical”.
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airytales, stories, odd vignettes – these are the bread and butter, the stock and trade one might say, of Brisbane band The Incredible Kicks. They’re all set to a rock a soundtrack so epically hook-filled and layered, one may forgive the late Freddie Mercury for sitting at the end of these boys’ beds and delivering them a stern word from beyond the grave. In fact, often described as a cross between classic Aussie rock (think Cold Chisel, The Angels and perhaps even Skyhooks for that extra hair-and-flares quota) and Queen, The Incredible Kicks seem to be succeeding where the hair rock of the previous few years has recently faltered: The Darkness, Wolfmother (Wolf who? Exactly.). Frontman Travis Hair – and not so named for nothing, let me tell you – explains the secret of his successful songwriting, from first EP Fairytales to the follow-up Ineffective Lullabies. “Our first EP was called Fairytales, and Ineffective Lullabies is a continuation in theme and style to that. I write little stories, and create journeys in songs. The music is also quite epic, so I like to think you can visualise something… mystical behind our songs.” While their fans may not necessarily perceive the mystical within the Kicks’ songs, they certainly have sussed out the complexity of their guitar lines – the nickname ‘The Incredible Licks’ nearly caught on, dampened by the fact that it could be easily misconstrued as a very different rock’n’roll talent. I digress. The source of all of these licks, or at least most of them, is Mr Hair himself. “I do most of the writing and recording myself,” he admits bashfully. “A friend came over and we played some of the guitar lines together, but the rest I mostly did. The songs themselves have turned out to be quite complex, a lot of different sounds weaving in and out. We overdubbed at least ten guitars and extra harmonies, [plus] double vocals.” Despite the fanciness of his one-man studio band, for the live shows Hair acknowledges there are limits to his ambitions: both that he needs a proper live band on stage, and that he needs to write and create records
that don’t sound comparatively weedy played live. As many bands who are fond of the studio trickery need to face, it comes down to either bringing the trusty laptop or writing records that have a chance of sounding great in front of a crowd. Hair chooses the trial-and-error method to figure out which are the winners. “I write a song, we play with it over a few rehearsals, the stuff we still like after six weeks of jamming we keep, and the rest we never play again,” he says. “As a rule, we don’t like to put out anything that we can’t perform live.” Hair isn’t boasting, but he does acknowledge that the reason Incredible Kicks can handle his grand epics live is not because he leaves bits out. It’s basically because they are a very tight unit capable of handling difficult arrangements. “I really do my best to make chords stick together fluently, finding something that inspires me. Then the challenge is putting interesting chords [with] this inspiring idea, and trying to build whole songs around that idea. Because of that back-to-front way of writing, our songs are full of weird and interesting chords, and our challenge is to try to make that sound effortless.” It’s not just complexity for the sake of it, though; it’s just how his mind works. “I didn’t realise our music was complex until other people said it was,” he laughs. “I did study a little bit of music theory, mainly the classical, romantic and baroque eras, so I think a bit of that knowledge seeps into the songwriting. We’re very well-rehearsed so we’re pretty seamless – I forget that sometimes from an outside point of view our songs are complex. For us it’s just… normal.”
WHAT: Ineffective Lullabies (Independent) WHEN & WHERE: Friday 24 August, Velvet Room, Thornbury Theatre
30 • INPRESS
Their openness has worked. Their EP, titled Thirty Three, is full of pop gems, with what could easily be six standalone singles. Lowe says that wasn’t necessarily the intention. “The way Sam writes is that the melody and hooks are pretty poppy and radio friendly. It wasn’t a conscious decision to make them all sound like singles but I guess it just turned out that way.”
Though their sound is certainly friendly for radio ears, their style has often been referred to as ‘slacker-pop’. Lowe doesn’t seem phased, viewing it as a compliment more than an insult. “We’re pretty relaxed, laid-back guys,” he says. “We make music because we like it. We don’t have many goals or anything like that; we do it because we want to have fun.” Along with ‘slackerpop’ the band’s style incorporates elements of surf, a sound far removed from their hometown of Wangaratta in country Victoria. “The other three guys, Dan, Sam and Simon all surf so they head down to the coast most weekends. We always love going to the beach in the summer, so I guess that comes out through the music.” The band will launch Thirty Three this month with a national tour, with many of the shows already sold out. Suitably laid back, Lowe doesn’t feel the pressure of playing capacity venues. “It’s more exciting. It’s relieving knowing people are going to show up.” WHO: Loon Lake WHAT: Thirty Three (Independent) WHEN & WHERE: Friday 31 August, Ding Dong Lounge; Saturday 1 September, Northcote Social Club; Friday 23 to Sunday 25 November, Queenscliff Music Festival
Jody Wisternoff has noticed most dance types have small attention spans. Cyclone manages to hold Wisternoff’s long enough to discuss his new album.
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Oscar’s Song might be described as an ‘issue’ song, which doesn’t mean it ain’t rocking, but for those of us who don’t know, Orr explains a little about the charity Oscar’s Law and why she feels it’s such an important deal. “The Government refuse to do anything about puppy factories where dogs are bred for their puppies in a factory farming way. These are companion animals that are kept in the worst possible conditions purely for profit. The puppies go to pet shops. That’s why you should never buy a puppy from a pet shop. Adopt from a shelter! I felt strongly for the cause so I wrote the song and we did a video that has clocked up over 2000 views on YouTube. It was
A band of brothers plus two close friends, Lowe wouldn’t be condemned for feeling pushed and on the outer. On the contrary however, he believes being in a quintet, with three of those relatives, creates a dynamic that’s both fulfilling and challenging, especially in the studio. “I think it works really well. No one holds any grudges and you can tell someone it sucks and they’ll just get over it. We’re all good mates so it’s easy.”
opportunities. “We’d been jamming for a couple of months and decided to do a few demos, so we put them up on the website. Then triple j contacted us to say we had won the competition.” Such opportunities included playing at the Big Day Out, Groovin’ The Moo, Pyramid Rock festival and supporting the likes of Kaiser Chiefs, Cage The Elephant and Jebediah. “We learnt a fair bit by playing with Kaiser Chiefs and it really opened our eyes to how professional everything is. It was great to play those massive venues and gain some confidence playing big stages.”
THE RIGHT TRAIL
Katalin Orr has been through hell and back. Tony McMahon finds out how it helped shape her new(ish) band Haunting August.
“[It’s] a completely different deal, apart from Danny still on drums,” she says. “After Kathematics fizzled out I had a break from music and had to deal with ‘grown up’ issues. My mum being put in a home with Alzheimer’s, which brought up unresolved issues of losing my brother (and only sibling) to Leukaemia as a teen. Then my dad died of Dementia in 2010. It’s been a full-on couple of years. I dedicated the EP to my dad. The weird thing is I came up with the name Haunting August a few years before he died, and he just happened to pass in August. It was one of those weird coincidences. It’s why we’re doing the launch in August. I guess I finally grew up and changed how I write. I’ve always loved ‘60s music and the tremolo pedal, and this band has a more retro sound and is way darker.”
Capitalising on their newfound fan base, earlier this month the band released their second EP, slowly revealing it to the world one song at a time. “We did it over six weeks and gave away a track a week for free on our website,” says Lowe. “We worked with a producer called Tony Buchen. That was really good for us because it was the first time we’d worked with a producer. Just to have someone else’s input and someone to push us really progressed the sounds on the EP.”
Formed little more than three years ago, it’s no surprise their songs were instantly picked up by radio. Taking out triple j’s BIGSOUND competition, an initiative from Unearthed, their prize included an industry showcase gig in Brisbane’s Fortitude Valley. For a garage band, it was a huge step forward and steamrolled their
WHO: The Incredible Kicks
ALL GROWN UP atalin Orr once fronted one of this city’s most underrated pop punk outfits, Kathematics. During their lifetime, Inpress were huge fans of this band’s searing live shows and criminally undersold CDs. With their demise a couple of years ago, a small yet significant Orr-shaped hole was left in the Melbourne music scene. The good news, though, is that Orr is back with a (mostly) new band, a truly terrific self-titled EP that was released last year and now a single, Oscar’s Song. Also, she tells us, Haunting August represent a wildly new musical direction born of some personal heartache and grief.
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f Loon Lake’s music sounds familiar, it’s because it probably is. Nescafe, Holden and Parks Victoria have all picked up the band’s music and used it in their recent advertising campaigns. It’s a perfect fit. The music is catchy without being irritating. It’s young and vibrant and contains a certain Australianness to the sound. “I know of a few people who have found out about us because of the commercials,” says bass player Tim Lowe. “It definitely helps. The wider the audience you get to, the better.”
organic that it happened this way and I’m very proud of this song. I feel like I’ve finally done something worthwhile that’s not just about my own ego.” For those who haven’t heard it, is Oscar’s Song representative of the rest of the songs on Haunting August’s EP? Orr indicates that it’s not really, and also confirms the rocking thing. “Not really,” she says. “The EP is darker, mainly minor chords. While Oscar’s Song is sad lyrically the chorus is pretty catchy and sing-along.” As mentioned above, one of the things we loved so much about Orr’s previous band was their absolute killer live shows, so it’s with some sense of anticipation that we ask about a Haunting August gig. But it seems that Orr has put as much thought into how she’s going to go about things on stage here as she always has. “We put the sadder and slower stuff in the middle. We have quite a few new unrecorded songs influenced by the ‘50s, Motown, rockabilly and reggae, and we put them at the end of the set so peeps can actually rock out to us.” And when it comes to the upcoming launch at Cherry, it seems the band have put some thought into this, too, with the result being bargains, guiltfree punting and a whole lotta love for the venue. “Apart from the free EP everyone gets on entry,” she says, “and the one hundred copies of Oscar’s Song for a dollar with proceeds going to Oscar’s Law, we have a bit of a song mash-up in store, dedicated to Cherry. You have to be there to hear what it is!” WHO: Haunting August WHAT: Haunting August (Independent) WHEN & WHERE: Friday 24 August, Cherry Bar
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ody Wisternoff entered the music biz in the mid’80s, finding fame with Way Out West (WOW) over the next decade, but now he’s finally presented an ‘artist’ album, Trails We Blaze, under his own name. The Brit DJ/producer, returning to Australia, laboured on his debut for two years. “You kinda spend a little bit of time underground and then you pop out again and just smash it – but the key is to keep the ball rolling.” Indeed, so worried are dance types about maintaining their visibility in the social media age that many are abandoning the time-consuming album enterprise entirely, preferring to air successive singles or EPs. Otherwise DJ bookings drop off. “People have very short attention spans,” Wisternoff rues. Still, he’s unconvinced that a single is sufficient to create buzz. “You don’t really do a tour a single, do you? Unless it’s a massive one!” Much has altered since the Bristolian fell into the rave scene. At 13 the budding turntablist was competing in the DMC World DJ Championships. Wisternoff teamed with future Reprazent stalwart DJ Die to cut hip house (Tru Funk), then jungle (Sub Love), before embracing house and forming WOW with Massive Attack tour DJ Nick Warren. The duo, who crossed over in the UK with their anthem, The Gift, pre-empted the hybridisation so prevalent today, traversing house, progressive, techno, ambient and breakbeat. Wisternoff is a cheerful character, laughing often, yet a few years ago he had a rough patch. He developed severe tinnitus. The family man took time out from music and experienced depression. However, his enthusiasm for dance music hasn’t wavered. “The passion’s always been strong – nothing’s really changed. It’s just like a constant kinda thing, really.” Trails..., revisiting old hits like Cold Drink, Hot Girl and Starstrings and including recent (vocal) singles, How You Make Me Smile and Just One More, is grounded in club music – it’s not ‘chill-out’. “The intention was to make an album that’s kind of a DJ set – almost like it feels like a mix comp.” Intriguingly, Trails... has been released by Anjunadeep, an offshoot of Above
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& Beyond’s Anjunabeats. A&B are generally equated with Euro trance, and Wisternoff with its cooler relative progressive house (he calls it just “good quality house music”) – and, of A&B’s output, the DJ admits, “it’s not personally my style,” while he can “fully appreciate what’s going on there.” Nevertheless, Anjunadeep, also sometime home to Aussie DJ Jaytech, is about house. And the Anjunabeats A&R crew were “really, really hands on” with Trails... – surprising considering Wisternoff’s expertise. “It’s a good thing to have A&R because otherwise you just end up going up your own arse.” He freely acknowledges they suggested changes. It was Anjunabeats who advised him to bring the album closer to his DJ sets (and podcasts), “because the initial version was a bit more peaktime: “I actually rewrote six of the tracks and cut a few of them out and did some new ones, ’cause it was sounding a little bit too dated, a little bit old school proggy... So we thought, ‘Right, let’s go back, let’s get it sounding a bit more housey, a bit sexier.’” Crucially, he valued the input, veteran or not. Wisternoff isn’t forsaking WOW. Already the pair, who’ve played Glastonbury, have commenced their fifth album, with around four tracks in the can. The challenge as usual is for them to schedule studio time as Warren, too, has a busy solo career. “But,” assures Wisternoff, “there’s no reason to stop the WOW thing. It’s bubbling on.” He hopes an LP will be done by early next year. Wisternoff will play some of WOW’s fresh material here, in addition to solo fare, both new and unreleased (he’s remixed A&B’s Alchemy). But there will also be familiar music. “I think you can be too cool and too upfront and leave people cold sometimes. It’s nice to have a bit of familiarity and a few classics as well occasionally.” WHO: Jody Wisternoff WHAT: Trails We Blaze (Anjunadeep/Balance) WHEN & WHERE: Friday 24 August, New Guernica
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INPRESS â&#x20AC;˘ 31
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A RED HOT GO Ahead of their appearance at this year’s Gangsters Ball, Michael McQauid’s Red Hot Rhythmakers reveals to Izzy Tolhurst that it’s gonna be a swingin’, jazzy good time. The Mighty Boosh’s Noel Fielding would assure us in his role as Vince Noir that jazz is a musical genre reserved for “science teachers and the mentally ill”, though if multi-instrumentalist Michael McQuaid has anything to do with it, his ten-piece band the Red Hot Rhythmakers (RHRM) will show you otherwise. They’re “rocking” at the moment, a word you’re definitely able “to use for a swing band”, and one fitting for the variety of swing and jazz the band are currently emanating. They should not however, be confused with Red Hot Rhythm (at least for the purpose of YouTube-ing), a Queensland-based tap-Irish-dancing fusion group whose musical career appears to have peaked in the throws of an Australia’s Got Talent final back in 2009. By contrast, video footage of RHRM bear witness to incredible musical ability and unity, as well as audiences who are pretty talented in their own right, usually as swing dancers, but also as super enthusiastic and rhythm-literate punters. Praised by multiple critics for their precision and embracing of a rather dated genre in spite of their youth, the bright-eyed Melbourne band attempt to breathe new life and enthusiasm into the work of jazz masters like Duke Ellington, Louis Armstrong, and Billie Holiday, who are “still probably the biggest influences for me today,” says McQuaid. But it’s more than the music of the 1920s and 1930s that appeal to the band, with McQuaid claiming enthusiastically, “We love the whole atmosphere of that period, which is part of the reason why we love the dancers so much as well! Not just for the quality of the music but because it leads to a great time as well. We often dress up and do our hair in the style of the ‘20s and ‘30s…it can be great fun. We occasionally play themed events too. Historically the 1920s were a really exciting time, with the war being over. And then the depression hit, so the music was something to escape to. I think it was a cool time in terms of heading out and having a good time.” With two albums already out and a third stewing in the works, RHRM have toured significantly both nationally
From party shenanigans to number one on the iTunes jazz chart in a flash, Nic Toupee gets Abby Dobson’s take on the rise of her Francophillic act Baby et Lulu.
T and abroad in recent years, with some of their most memorable shows being in countries least suspected of possessing thriving jazz scenes and their respective enthusiasts. “There was one when we were in Europe, at a great club in Stockholm…” McQuad reminisces. “It’s in the old town that’s been there for centuries. There was this old pub called Stampen, and we busked in the nearby town square during the day, and then told everyone we were going to play a gig at the pub that night. By then the place was jam-packed with young tourists and Swedish and German people – it was one of the most rocking gigs we’ve ever done. The whole place was just insane! And what was so exciting about it was that for many people in the room, it was a new style for them. They were young, just like us. And not even necessarily jazz fans.” However, the biggest event remaining on their calendar is sure to be The Gangster’s Ball, now in it’s fifth year and literally swinging through Melbourne, Sydney and Brisbane during September. “The key thing about it is that it’s great if you know how to swing dance, but it’s the sort of music that you can’t help dancing to even if you don’t know the steps!” McQuaid insists. “Everyone can get involved and we really enjoy that element of it. We’re going to be featuring a few new tunes, and choosing others we hope will be the right songs to get people on the dancefloor at The Gangsters Ball. It’s a great gig; we’re really looking forward to it. And, we’ll be doing some routines with (Harlem’s dance Troupe) Echoes Of Harlem!” WHO: Red Hot Rhythmakers WHAT: The Gangsters Ball WHEN & WHERE: Saturday 8 September, Forum
WILLS POWER A
“I’ve been trying to write as much as I can lately. Sometimes between playing live shows and rehearsing and stuff like that, you just can’t fit it in. I’ve moved around a couple of things in my house so I’ve got a dedicated writing space,” she explains, sounding satisfied. “In my mind, I’m looking into the next twelve months, with the record coming out next year. Once that’s out we’ll be touring it, obviously, but then I want the momentum to keep going, so that’s why I’ve been getting into writing a little bit more, which is good.” However, Wills has come across those who think the term ‘organised musician’ is an oxymoron and it’s a stigma she thinks is nonsense. “People think you can’t actually have both. Speaking specifically about having a career in a creative industry, you really have to look at it as a long-term thing and plan ahead, otherwise you can find yourself anywhere.” She admits that she hates using the words ‘creative’ and ‘business’ in the same breath, but the reality is that music is her chosen profession and hey, a woman needs a roof over her head and food in her belly. “I made that choice to be in this kind of industry and that’s definitely not an easy thing to do if you’re constantly feeling like you’re putting lots in and sometimes you don’t see the fruits of your labour straight away, but you do see it eventually. Yeah, that’s my rant!” Listening to Wills’ releases chronologically – from her 2007 self-titled debut EP, to a 2010 EP called Somebody For Everyone, to her most recent album previews – feels almost like reading her journal entries. Her intricate and layered compositions, once mournful and melancholy, grew more and more defiant and confident in tone and message, paving the way for the overarching theme of “standing up for what you believe 32 • INPRESS
With all of that unbelievable creativity – and gourmet edibles – to inspire, it’s easy to understand why musicians already successful in their own bands such as Abby Dobson (formerly from Leonardo’s Bride) and Lara Goodridge (from orchestral group FourPlay) might surrender to the haze of cool, and decide to form a French chanson covers band, calling themselves Baby et Lulu. Perfectly understandable, but not necessarily easy to get it right. Lucky, then, that both Dobson and Goodridge turn out to be proper Francophiles, both having spent time living in France, both being French speakers, and pretty decent with the old golden tonsils. Dobson explains that they’re both deliriously happy with the project, loving the songs and being the ABC Album of the Week is just the cerise on the top of the patisserie. “This is a very beautiful project,” Dobson says happily. “It’s lots of fun on so many levels, and so nice to work with Lara who is a great friend. It is also a real treat to be able to sing duets for a whole show – it makes every show so much fun to sing. It’s always great to sing, but it’s exquisite to sing with other singers.” Dobson recalls the fortuitous meeting which brought Goodridge and herself together, long before Baby et Lulu were even conceived. “Lara and I met years ago, she saw me play at the Basement in Sydney, and she had a little label called Trading Records. I was about to record a solo album and she asked if I’d like to release on her label. Our fledgling relationship worked really well, and everything I did with her seemed
effortless. After I signed to her label we developed a nice friendship by working together for a while.” What they didn’t know until much later was their shared obsession with all things French. “I’ve always loved French, and have learned to speak it. She also has [the] same love of French, and she has done her masters in French so she has a better grasp of grammar than I do, but we didn’t know that until we were both in France. I was living there for six months a couple of years ago, and we were in Paris having lunch and she brought along an early 20th century French songbook,” Dobson recounts. “When I came back Sydney, she and her boyfriend were having a warehouse party and he suggested we do a French song at the party,” she giggles. “We got up on crates and sang a French song in harmony, and it was so exciting, and made us so happy, that when it was over, we decided we were having too much fun to stop now.” Fast forward a couple of years and their party turn has now become Baby et Lulu, complete with costumes and a stage show, which not only still gives them a tangible pleasure, which can be heard in Dobson’s voice as she speaks of the show, but has now given them a number-one album. “Every song is joyous, we dress up and carry on like idiots on stage, and this all seems to be a hit with our audience. We had people come up to us after our performances and say, ‘We want to buy an album’ so we made an album. Once again, this was a joy of a project, and has just gone number one on the Jazz iTunes chart. I’ve never been called ‘jazz’ before,” Dobson laughs incredulously. WHO: Baby et Lulu WHAT: Baby et Lulu (Independent/MGM) WHEN & WHERE: Friday 24 August, Caravan Club
HELPING HAND
Ainslie Wills is writing from a much different place these days. Stephanie Liew finds an artist empowered and comfortable in her own skin. inslie Wills might be about to launch her new single, Stop Pulling The String, the second from her upcoming debut album and the follow-up to the gushed-about Fighting Kind, but she’s already setting her sights on the year ahead. Appearing to be finding her feet in both her professional and personal life, Wills is making the most of her time off touring to work on composing.
here are many reasons to love the French, from their tip-top edibles – such as macarons and baguettes, onion soup and cassoulet, and a ridiculous array of cheeses – to kooky cars, glorious fashion, the great Coco Chanel, situationism, existentialism, Plastic Bertrand, art, film and a stellar history of French song from Serge Gainsbourg, Edith Piaf, Charles Aznavour and Jacques Brel – all cool cats with equally cool sounds.
Hayden Calnin tells Tony McMahon he’d rather busk than play to a packed out auditorium of 3000.
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in and what you are” that is intertwined throughout her debut album, You Go Your Way, I’ll Go Mine. “When I did my first EP, from a personal point of view, I was in an interesting relationship; I’ll put it that way! I don’t think I was very happy, as you can probably hear.” Then, as time moved on, inevitably so did she. “You grow up and become more comfortable with yourself. By getting out of certain situations, you are empowered by that because you’ve made a choice and it’s the right thing for you.” As well as an evident evolution in her outlook, reflected in her lyrics and the subject matter of select songs, the new album sees Wills exploring cinematic, textural sounds with strong influence from decades past. It also marks a new songwriting process for Wills, courtesy her collaboration with her long-time guitarist Lawrence Folvig, whom she had met while they were both studying at VCA. For her EPs, Wills composed all the parts of a song herself, including Folvig’s guitar parts, but they shared writing duties on numerous tracks on You Go Your Way, I’ll Go Mine. “Thankfully, it’s evolved from having played lots of shows together and just keeping that relationship going, in that we’ve been able to really trust each other enough to start making the songs together and sharing that responsibility. The title is very much about us coming together with our creative ideas and creative processes; going the same direction in a parallel kind of style, I suppose. We’re lucky we don’t need to discuss much. We can say it through the music, which is really nice.” With eyes straight ahead and a clear head (and writing) space, Wills seems like she’s never been more sure of where she wants to go and how to get there, and it shows in her music. Here’s to the future. WHO: Ainslie Wills WHAT: You Go Your Way, I’ll Go Mine (Independent) WHEN & WHERE: Friday August 24, Grace Darling Hotel; Friday 31, Karova Lounge (Ballarat); Saturday 1 September, the Cube (Wodonga)
merging local singer/songwriter Hayden Calnin has followed the success of his debut single, Summer, with a new release, For My Help, the first off his EP, City. The new single negotiates the minefield of emotion-laden indie-folk with deftness and maturity that belie Calnin’s tender years, and should be further evidence – if any is needed – that this guy is an artist truly to ‘watch out for’. Given that For My Help represents the first offering from his EP, we ask Calnin if he chose it because it would give listeners a taste of things to come, but he indicates the opposite. “I think it’s more a stand-alone song. I don’t know how to put this, but I guess it was designed to be a single in some respects. It started life as a much longer track, and I will record it that way one day, but I cut it in half here because it just seemed to be the one that I wanted to represent me at this stage.”
As well as an obviously talented musician, Calnin has a degree in film, with a major in sound design. We posit that this is something positive that the music industry as a whole will soon begin seeing a lot more of, so we ask Calnin what he thinks of it as a pathway into his chosen career. “Studying film and sound design has really influenced what I do musically. I found myself becoming really interested in the sound in films while I was studying. It can really make or break a film. And the skills I learned at uni – going out and recording sounds and matching them with images, things like that – I’m pretty much doing the same thing when I make music. I have to find the exact right sound for the right bit of the song.” So, given he studied sound, it must have been something of a no-brainer that Calnin would produce his own record? He agrees, although he does indicate that this might not always be the case. “I thought about getting a producer involved,” he continues, “but I just thought ‘why not do it myself’. That was great because of the time I had to do it, I never felt like there was any rush to get it done on a deadline. I’ve got all these songs I want to record, so an album is definitely on the cards. I really love producing, though I
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think for something like that in the future I might get a producer involved on maybe a few tracks. It’s always great to learn new things, which is part of it as well.” Calnin’s music has the rare quality of being both delightful to listen to on record, while also striking the listener as being music they would like very much to see live. Your correspondent wants desperately to ask about the live show, but is journalistically bound to enquire first about Calnin’s recent performance at Tamworth. “Tamworth was… interesting,” he says. “I think that’s the only way I can describe it. The culture they have there and the appreciation is really something. I played in front of 3000 people with an amazing backing band. It was an experience of a lifetime, really. But I think next time I’ll decline the big auditorium and do a little busking thing, that’s where the real spirit of Tamworth is.” And how will Calnin replicate his complex sound live at the launch? It seems his backing band are in for some work, but not all that much. “I play half the set solo and then bring a band on and do the rest of the set with them. It’s going to be a big band to try and replicate the sound of the CD live. I want it to be, like, if you’re going to come and see me live, make it this show. It’s going to be something really special.” WHO: Hayden Calnin WHAT: City (Independent) WHEN & WHERE: Friday 24 August, Workers Club
Who says it’s not about the music anymore?
Billy Bragg & Wilco
Jeff The Brotherhood
Mermaid Avenue: The Complete Sessions
Hypnotic Nights
A four-disc set in celebration of centennial year of Woody Guthrie’s birth.
Co-produced by Dan Auerbach (The Black Keys) Single ‘Sixpack’ currently playing on Triple J and communities
Set includes two original ‘Mermaid Avenue’ albums plus a third disc of previously unreleased material from the sessions and the ‘Man in the Sand’ documentary. Billy Bragg’s ‘Ain’t Nobody That Can Sing Like Me’ Australian tour, incorporating Billy’s celebration of the music of Woody Guthrie, happens in October. Go to vivleespresents.com for details.
Punch Brothers Who’s Feeling Young Now? SOLD OUT SHOWS IN MELBOURNE, SYDNEY AND ADELAIDE. The band that T Bone Burnett has called “one of the most incredible bands (America) has ever produced.” “Punch Brothers are a superb cutting-edge band, exploring the outer edges of modern music, who happen to be bluegrass virtuosos.” – BRUCE ELDER, SYDNEY MORNING HERALD.
TOUR AUSTRALIA FOR 2013 BIG DAY OUT ‘Why the hell aren’t you listening to it?’ – STEREOGUM
Chris Robinson Brotherhood Big Moon Ritual DEBUT ALBUM OUT NOW. “… a slim portfolio of long songs which morph between country, rock, soul and the avant-garde, with guitar work redolent of the Dead and Allmans.” 9/10 - UNCUT. “… a compelling trip. Can’t wait for part two.” - RHYTHMS Exclusive Australian edition of new companion album ‘The Magic Door’ – with 3 extra songs - OUT SEPTEMBER 7.
Boogie! Australian Blues, R&B and Heavy Rock from the ‘70S’
Ry Cooder Election Special A wakeup call as the U.S. heads towards its November Presidential Election. Includes “Mutt Romney Blues”, “The Wall Street Part of Town” and “Guantanamo”. “In a recording career that stretches back more than four decades, Cooder has never before made an album as immediate as Election Special… an impassioned screed against the dumbing down of America…” 9/10 - Uncut “Ry has proved equal to the crying need of the times….” ++++ - MOJO
WWW.WARNERMUSIC.COM.AU
WWW.NONESUCH.COM
A TWO-DISC CELEBRATION OF BLUES-BASED OZ SOUNDS OF THE ‘70S. 44 TRACKS: Billy Thorpe & the Aztecs, Chain, Carson, La De Da’s, Madder Lake, Cold Chisel, Daddy Cool, Skyhooks, Rose Tattoo, Lobby Loyde & the Coloured Balls, Max Merritt & the Meteors, Wendy Saddington, Spectrum, the Dingoes, Jo Jo Zep & the Falcons, Sports, Masters Apprentices, Stevie Wright, Buffalo, Blackfeather, Ariel, Kevin Borich Express, Captain Matchbox Whoopee Band and more! Original cover art by Ian McCausland, liner-notes by Jen Jewel Brown.
WWW.FACEBOOK.COM/INDOCHINERECORDINGS
INPRESS • 33
SINGLED OUT WITH BRYGET CHRISFIELD
ON THE RECORD
BAT FOR LASHES Laura EMI
Wrote You A Melody/ Young Man’s Pride Independent This male singer seems to fancy himself as Bowie, both in vocal affectation and oblique lyricism. Introducing the female background vocal for the choruses (oops, there’s actually no ladies in the band so it must be falsetto?) somehow serves to obscure the melody. Still, the warm guitar tones pique my interest enough to listen to the reverse of this AA-side. Yep, Paul Connor could definitely work on developing his own voice rather than sounding like a collage of his influences. Young Man’s Pride is very The Cure. It’s oh-so close, but no Cuban blunt.
DEER TICK
Mature Themes
Dine Alone/Shock
Rough Velvet/MGM
4AD/Remote Control
Rhode Island reprobates Deer Tick have ditched the country-rock leanings of their first few albums and turned in a set of rock’n’roll drinking songs and tales of road debauchery which would give any sane person second thoughts about letting them crash on your sofa.
Hugo Race does what he wants. In his three decades in the music realm, he’s traversed blues, rock, electronica and film scores. Nevertheless, a plaintive album of covers anchored by the notion of love may catch people off guard, especially as No But It’s True is Race’s first “official” solo record. Here he explores what makes a love song stand the test of time, to the point where each track turns a light back on itself, baring its soul in the process – and Race’s intentions become clear.
Divine Providence
Mature Themes, the new album from Ariel Pink’s Haunted Graffiti, brings to mind Moe Szyslak’s definition of post-modern: “weird for the sake of weird”. Far stranger than rabbits hanging in harnesses, the album opens with Kinski Assassin and its repeated chorus, ‘Who sunk my battleship? I sunk my battleship” (the phrase “bring on the bogan shemales hopped up on meth” also hinting at Aussie origins), and things don’t get any less bizarre from here.
D
VD
VD
WILDCAT GENERAL STRIKE
LIVE
ARIEL PINK’S HAUNTED GRAFFITI
D
There are a lot of Bat For Lashes aficionados out there and when she first fluttered onto the scene I was a bit ‘evs. But after hearing this single, I totally get it now! Understated but poignant, this song belongs in a Skins episode. The piano is as sad and dramatic as Snoopy running away with all of his worldly belongings wrapped in a red and white polka dotted handkerchief carried over one shoulder on a stick. Seriously upsetting. Natasha Khan’s voice needs nextto-no embellishment and she’s got a knack for singing about individuals (see also Daniel, Sarah and Marilyn). Strings enter the scene to weigh heavily on your heart and lyrics illuminate: “Your tears fall hot on my bed sheets… Can we dance upon the tables again?” This funereal chorus will finish you off. Welled up at my desk.
Strange music and even stranger motifs abound, Is This The Best Spot repeatedly begging listeners to “step into my time warp”, before the title track and lead single Only In My Dreams drop in relatively traditionally-structured songs which sound magical amidst the madness (in the best Ween tradition), until Driftwood conjures the “bad breath of a cross-eyed goat” and things get mental again. The quizzically spiritual Early Birds Of Babylon leads into the patently pointless Schnitzel Boogie, which exists in complete contradiction to the album’s title. Symphony Of The Nymph finds Pink eulogising himself a la Rivers Cuomo, while Farewell American Primitive is all drug-addled polemic, as fun as it is confounding.
Sleep Alone
They jump through dozens of eclectic ideas, both sonic and conceptual, a cacophonous melange at times as alienating as it is interesting. As with previous effort Before Today (2010), Pink has embraced the studio and the resulting sheen sounds fantastic – miles removed from his early lo-fi bedroom recordings – and it just acts to magnify the oddity of his muse. There’s method to Pink’s madness though, and there’s enough going on in the margins to keep you coming back. A wilfully weird world, but a wonderful one to visit.
Kitsuné/Co-Op
Steve Bell
TWO DOOR CINEMA CLUB
Opening track The Bump’s refrain – “We’re full grown men! But we act like kids!/We’ll face the music, next time we come in” – is like the mission statement for some delinquent version of The Monkees, all snotty boasting over a barrelling barroom stomp. Someone mutters “You fuckin’ douchebag” before the Stones-y Funny Word tries to rip apart the concept of love, and the shouty drinking anthem Let’s All Go To The Bar conjures the hedonistic bonhomie of The Replacements (an inkling confirmed later in the piece when the album’s hidden track ends up being a ragged cover of Paul Westerberg’s Mr Cigarette). Most of the songs showcase the slightly caustic worldview of frontman John McCauley, although drummer Dennis Ryan offers the country confessional Clownin’ Around, and guitarist Ian O’Neil (formerly of Titus Andronicus) slips in smooth redemption tale Walkin Out The Door and somewhat turgid country rocker Now It’s Your Turn. There are subtle keys throughout courtesy of Rob Crowell, and these become sole subtle accompaniment for the bulk of crooned lament Electric, before jaunty acoustic romp Miss K. brings things to a suitably upbeat and sleazy finale. Deer Tick proffer a beguiling swagger and punk-like happiness to subvert their own cause by fucking around, plus they have that slight whiff of danger which adds credence to their trashbag aesthetic – an unexpected new direction but one which suits them down to the gutter.
HUGO RACE No But It’s True
The album opens with No Regrets, a track made famous by the Walker Brothers, and Race’s gravelly voice echoes over his acoustic guitar, his nostalgic approach a godsend. This works particularly well on tracks such as Leon Russell’s Song For You and the iconic Cry Me A River. The standout is Bruce Springsteen’s I’m On Fire, the production dissolved so that the lyrics are laid bare – that love can throw one to the edge of the abyss, trapped within its reckless whims. His bluesy grind on the inimitable Barry White classic Never Ever Gonna Give You Up lends the song a feverish urgency that the big man could never have imagined possible. The closer is the traditional ballad Silent Night, initially a strange late inclusion until it becomes clear – love is in everything. Whether it be love as an aphrodisiac, a road to ruin or a road to redemption, Race makes it inherent in No But It’s True that love is the true constant in the world, and as he murmurs in the Lee Hazelwood classic, “It’s gonna be all right/Wait and see.” Brendan Telford
Steve Bell
The adorable Irishmen are back and look all grown up in the video, bless their cotton socks. Sleep Alone is not as immediately catchy as I Can Talk, but Alex Trimble‘s vocal is so endearingly earnest and the instrumentation so jovial that you’re drawn in anyway. The outro soars and makes you wanna run full pelt down a hill impersonating an aeroplane.
PRIMITIVE CALCULATORS Cunt Life Chapter Music This is a song created in 1977 by The Moths, a pre-PCs band. Just as abrasive now, Cunt Life makes me mourn the days when shambolic, unhinged bands created a dangerous atmosphere for you to acquire gig souvenirs by way of rainbow-coloured bruises. “As soon as you’re born, you feel like nothin’/Whaddaya feel like?/ Nothin’/It’s a cunt life” – catch their drift, cunt? Guitar din gallops rabidly from the speakers and mum would definitely tell you to turn this down. I really would love to see The Feebles performing this. Fun fact: it’s been 33 years since their debut single and now Primitive Calculators are set to release their first ever studio album in 2013. Thank you, Mr Cave, for inviting this band to re-form for the All Tomorrow’s Parties you curated in 2009.
SLIGHTLY STOOPID Top Of The World Liberator Wanna hear something more than Slightly Stoopid? The title of their sixth studio album: Slightly Not Stoned Enough To Eat Breakfast Yet Stoopid. Now what rhythm have they borrowed for the delivery of this reggae/ hip hop fusion? Nearly got it. Brain hurts a bit. Tap out some beats on the table – that’s IT! “In France a skinny man died of a big disease with a little name…” Prince’s Sign O’ The Times! But nowhere near as good obviously. Top Of The World doesn’t even sound finished and now I’m off for a Prince fix.
JEFF THE BROTHERHOOD
MICACHU & THE SHAPES
OFF!
Warner
Rough Trade/Remote Control
UNFD
There’ll always be a spot saved in my CD cabinet for fuzzed-out stoner rock. Sonic Youth are in there, The Velvet Underground is in there, hell, even some White Stripes and Regurgitator tunes make the cut. For the past couple of years, JEFF The Brotherhood has taken pride of place alongside these luminaries, and for good reason. Their brand of denim-clad rock’n’roll gnaws at the base of your skull like an incessant mosquito bite, inching its way into your consciousness until you take your air guitar off the rack and play all night long.
Mica Levi is a lovely anomaly on the indie-pop arena. She’s effectively degenerated pop convention and style to its basest core then spliced it all together in a Frankensteinian endeavour gleaning bizarrely infectious results. Her 2009 debut Jewellery was well ahead of its time, experimenting with form and tempo to create songs that were more like anarchic collages of more generic fare, infused with neon and toys. The hyperactive artistry was affronting in its punk aesthetic, yet the end result was an incredibly savvy step into another realm, a playful performance founded in having fun.
You probably don’t even need to drop the needle on the record to know whether you’re going to like OFF!’s eponymous record; the Raymond Pettibon artwork, the song titles – Wiped Out, Borrow And Bomb, Feelings Are Meant To Be Hurt – and the fact it covers 16 tracks in 15 minutes ought to tell you you’re in for fast, thrashy, angry punk rock. The only thing you mightn’t be ready for, particularly if you didn’t give OFF!’s First Four EPs a shot in 2010, is how good these songs are. This band can do a lot in under a minute.
Hypnotic Nights
Although JEFF The Brotherhood (their capital letters, not mine) has been around for over a decade, the two-piece – real life brothers Jake and Jamin Orrall – didn’t break into the alternative mainstream until the release of their fifth album, Heavy Days, in 2009. It was off the back of this frenetic record the Nashville duo toured Australia for the first time (including Meredith in 2010) and garnered a whole bunch of fans. Hypnotic Nights sees JEFF The Brotherhood take a further step into the mainstream, while balancing the fine line of impressive melody and DIY-punk ethos (Jake plays a three-stringed guitar, for God’s sake). This is helped by the brilliant Dan Auerbach, whose deft hand behind the producer’s desk has lifted another two-piece, The Black Keys, into the stratosphere in recent times.
Never doesn’t overtly mix with this formula – apart from some spit and polish thrown into the production – as there really isn’t one. Easy uses the vacuum as a sonic tool, something that could almost be called a Micachu staple. The chugging riffs and industrial sounds of Waste, undercut by Levi’s reverb-heavy, cut-and-paste vocals, blend into Slick, using toy keyboard beats, eclectic instrumentation and warbling vocals to break up the skeletal twee elements that underpin it. Low Dogg is a killer tune, driven by 8-bit hip hop beats that MIA could pull off if she wasn’t concerned about maintaining her street cred. Further diversions into parallel worlds are offered in the tape-chewed surf-bop of Holiday, whilst the darker Nothing, complete with cameo croons from Marc Pell, is incredible in the way it revels in its unease.
With JEFF The Brotherhood getting plenty of airplay, and the band set to play Big Day Out in 2013, Hypnotic Nights and all that comes with it is sure to recruit more fans. I’ll be having to set aside even more space in my fuzzed-out stoner rock section, methinks.
Never is a cheekily rendered scrapbook of genres, all put through the prism of neon ingenuity and crackpot invention. Levi, like contemporary Tune-Yards, is intent on destroying all notions of what makes a pop song, and Never proves that such endeavours should be celebrated.
Dylan Stewart 34 •INPRESS
Never
Brendan Telford
themusic.com.au
OFF!
Keith Morris’ lyrics and the way he delivers them are packed with character; you can picture the crazed, dreadlocked 56-year-old hollering at you, “Have you been smoking pot, or is your head up your ass!?” like he questions in Cracked, or chasing kids off his lawn as he yells, “I’m gonna club you like a baby seal” on King Kong Brigade. The band is hot-as-hell too; Dimitri Coats’ every evil riff (and there are lots of them in 15-odd minutes) cuts through your brain as Mario Rubalcaba’s drums pound unrelentingly and Steven McDonald’s bass lines stick to them like glue. Maybe Morris’ semi-melodic delivery and the proficiency of these musicians means you don’t have to like Circle Jerks’ Group Sex or the first Black Flag record [both of which are Keith Morris masterpieces] in order to dig OFF!? Time will tell. But if you feel there aren’t many decent punk rock records released these days, you must run to OFF! immediately. It’s hard to think of anyone who’s doing this any better right now. Dan Condon
OH MERCY
THE RUBENS
SLUG GUTS
RAZIKA
EMI
Ivy League
Sacred Bones
Smalltown/Fuse
If you’re a fan of the acoustic-pop tunes that Oh Mercy favoured on their first two albums, and have since been salivating for album number three, then you’re in for a very big surprise. While their previous release, Great Barrier Grief, was celebrated for its summery ambiance, Deep Heat delves into a realm of silky, groovy rhythms. I’m sure a change of tune wasn’t encouraged by fans, nor necessarily required; yet it’s this unexpected shift that makes the album the timely gem that it is. Instead of producing another breezy, acoustic LP, they’ve taken a risk and surprised us all. The result is an exciting, innovative record with a huge presence. There’s definitely an air of ‘cool’ that douses the entire album. Recorded in America with producer Burke Reid (The Drones, The Mess Hall), Deep Heat has fun with a range of sounds, from ‘80s-inspired dance in Rebel Beats, to big-band in Fever before pulling off a blend of rock and reggae in the incredibly addictive Still Making Me Pay. Despite the range of genres, the transitions are seamless between each track. Whilst the indie-funk in the title track Deep Heat varies considerably to the glossy prelim of Rebel Beats, the changeover is fluid. Singer/songwriter Alexander Gow’s charisma is felt on this recording more than ever. There’s a playful confidence that he’s gained from recording such a theatrical album, from Elvis-inspired vocal hiccups amid the steady swaggering tune of title track Deep Heat, to momentary screams in the chorus of Fever. Whether it’s Gow’s new quirky self-assurance that completes the album, or just the refreshing sound, one thing’s for sure – they’ve taken a risk and nailed it. Madeleine O’Gorman
Tim Rogers once famously quipped that Jet’s Nic Cester could sing the phone book and it would still sound great. Not sure if Tim has come across The Rubens yet, but when he does it’ll be interesting to see what he thinks of Sam Margin’s set of caramel-soaked pipes. Displaying simultaneous smoothness and urgency, Margin leads his brothers (and cousin) through this, The Rubens’ much-anticipated debut with a level of bravado belying their relatively limited experience.
Opening track Scum sums Playin’ In Time With The Deadbeat, the third longplayer from Brisbane’s purveyors of Gothic nihilism Slug Guts, up perfectly. Three minutes of claustrophobic instrumentation (including a heady saxophone that emulates the vocals, an aural equivalent of the gnashing of teeth), Scum breeds darkness, desperation and despair, kicking and screaming in the cesspit of oblivion. It’s heavy stuff, mirroring the debauchery and disdain that the band sweat from their pores, and it’s a damaged masterpiece that’s hard to come back from.
European chanteuses have always pulled off the twee, chirpy vocal with great aplomb (think Bjork, Soko, First Aid Kit). In recent times, it’s almost unheard of for this to exist in a band format. Now along comes Norwegian all-girl four-piece Razika, brandishing those same vintage, pastel-hued vocals but wielding a delightful knack for sunny but ska-infused pop on debut album Program 91.
Deep Heat
The Rubens
Playin’ In Time With The Deadbeat
Plucked from relative obscurity late last year via triple j Unearthed, the Menangle boys landed on radars everywhere with slow burner, Lay It Down. Eight months later and it’s album time, but you get the sense on opener, The Best We Got, that they’re still very much transitioning. Margin spends the majority of the track riffing on the idea of finishing Year 12 with lines like “sweet 16 been and gone, 18 next year then we’re done” belying, and almost railroading, a solid attempt at an epic opening. All told, The Rubens are much more effective when they slow things down and play it all a little cooler. Never Be The Same is a brilliant piano-based lament and closer, Paddy, really nails their new-soul aesthetic. Elsewhere though, Stampy goes for a frenzied singalong that probably works great on stage but falls a little flat here and Elvis is a slab of Winehouse by way of The Black Keys that never really gets off the ground. Not to worry though, there is unlimited potential in what The Rubens do, and in Margin they possess a voice we’ll be hearing for decades to come. Chris Hayden
Yet somehow they do. Old Black Sweats oozes forth like a diseased blues ramble, threatening to infect everything it touches. The vehement rants on Suckin’ Down echoes out from an abandoned well, the drums pummelling them further down into the hole. The cavernous production amplifies the anguish and horror, whether it’s the empty warehouse grind of Order Of Death, the gross bluster inherent in Adult Living or the title track’s feverish swagger. You can hear the ghosts of The Birthday Party and Venom P Stinger in the band’s aesthetic, bashing their skulls in both agony and ecstasy. Yet there are tangential slivers of intent, as the almost pop tempo of Stranglin’ You Too and the carnival grotesquery of Glory Holes attests. These boys may be in pain, but they revel in it. Slug Guts are demons of filth and lords of wanton aggression, and Playin’ In Time… is their most consistent document of their riotous yet wilful decline. This won’t be everyone’s elixir, but for those ready to roll up the sleeves and dive into the filth, there’s not much more disturbingly rapturous than this. Brendan Telford
Program 91
These 20-something lasses have been crafting tunes since their mid-teens and the influences are clear to hear (although they’ve fervently denied references to The Slits, it’s along the same vein). Their blend of leading lady Marie Amdam’s sweet, sunny vocals and jangly guitars over fast-paced but no-fuss drums in opener Youth is the perfect introduction. This pattern repeats itself, somewhat a little tediously by album end, but on the whole the transitions from breathy Norwegian to clipped English are pretty adorable, and it’s hard not to get on board with the sparse, surf rock guitars and ska beats. Why We Have To Wait is a fun updated cover of Norwegian 1960s pop group The Pussycats, and it’s all fun and frolic with an infectious chorus, cascading guitars and clean percussion. There’s a bit more variety to be had in the more garage Vondt I Hjertet with some spacey offbeat snares and electric guitar noodling, and there’s a bit more pout and less puff in the galloping two/four pop-punk number Nytt Pa Nytt. These girls have found a winning formula, and hence, don’t stray too wide of it. Album closer and acoustic noodler Walk In The Park proves there’s more to be had from Razika when the reins are loosened and the pace relents. Carley Hall
BLOC PARTY. FOUR TRIPLE J FEATURE ALBUM “Four isn’t about comfort zone, but ripping free of it… about barrelling forward, not miming last decade’s Bloc Party”. ROLLING STONE Brand new studio album 17.08.12 Produced by Alex Newport (Mars Volta, Death Cab For Cutie)
themusic.com.au
INPRESS • 35
Arts Centre Melbourne presents as part of The New Hamer Hall Opening Season program
Nitin Sawhney Unplugged 2 September
â&#x20AC;&#x153;a ďŹ tting reďŹ&#x201A;ection of an implausibly free-ranging career (of) classical composer, club DJ and cultural commentator...â&#x20AC;? â&#x20AC;? ++++ The Times (UK) Book online or call 1300 182 183 artscentremelbourne.com.au
late bit See the exhibition and stay for the Late Bit â&#x20AC;&#x201C; a playful and eclectic â&#x20AC;&#x2DC;up lateâ&#x20AC;&#x2122; event with games-inspired music and free entertainment. Thu 30 Aug until 9pm #% & .Ĺ&#x2022;Ä&#x201E;Ĺ&#x2022; $ Ĺ&#x2022;Ä&#x201E;Ĺ&#x2022; Ĺ&#x2022; "#-% 3Ĺ&#x2022; )/-.)(
GAME MASTERS AFTER HOURS Get your game on at Game Masters every Thursday and Friday night until 10pm.
GET YOUR GAME ON PRINCIPAL PARTNER
36 â&#x20AC;˘ INPRESS
FRONTROW@INPRESS.COM.AU
THIS WEEK IN
played to, but it’s the biggest production – all bells and whistles,” Cook says. It was then suggested that his concert film would suit the big screen, amid surging demand for ‘event’ cinema. Cook’s cohorts The Chemical Brothers showed their Don’t Think in 600 theatres internationally. His is going to 800. “But I suspect that next year the Swedes will do it and they’ll be in 2000 screens worldwide,” he suggests ruefully.
ARTS
NO RAIN
An Evening with the New Yorker
THURSDAY 23 Simon Callow – opening Keynote Address of the Melbourne Writers Festival. In the bicentenary of Charles Dickens’ birth. British actor, writer and director, Simon Callow will discusses the importance of theatre to the life and work of one of the greatest storytellers in the English language. Exploring Dickens’ life with readings from his enduring novels. Part of the Melbourne Writers Festival, Town Hall, 7pm festival runs until 2 September. New Zealand Short Film Festival – the fifth annual New Zealand Short Film Festival, a showcase of New Zealand cinema that trots the globe to the worlds film festivals. Featuring dramas, black comedies and even a rom com from Kiwi filmmakers. Oh and there are goodie bags, with wine and cheese. Astor Theatres, 7.30pm. Slamalamadingdong – a mouthful to the average person but for the stars of poetry slamming, it’s as easy as A-B-C. This week, Luka Lesson, the 2011 Australian Poetry Slam Champion will be in the house. Bella Union, 8.30pm.
FRIDAY 24 Sayonara: Android-Human Theatre – a fusion of theatre and science performed by human actors and the Geminoid F. This short play tells the story of a young girl facing terminal illness and her gentle caretaker android who reads poetry to her. death and what it means to be human. It asks the question what does it mean to be human? Opening night, The Arts Centre 6.30pm until 25 August. Sayonara: Android-Human Theatre
An Evening with the New Yorker – delicately hold a Manhattan and toast the crew from the New Yorker one of the greatest cultural magazines. Editorial director Henry Finder reviews the stories, characters and of the mag. Finder is joined by The New Yorker’s art critic Peter Schjeldahl, staff writer David Grann, music critic Sasha Frere-Jones and veteran cartoonist Roz Chast. Part of the Melbourne Writers Festival. It will be like a living, breathing version of the New Yorker. Town Hall, 8.30pm.
Fatboy Slim took his beach-doof spectacular to a stadium and had it filmed. Cyclone gets the skinny on the whys and wherefors. Electronic dance music’s natural habitat is the nightclub, rave or festival, but, fresh from his cameo in the London Olympic Games closing ceremony, Brit DJ Fatboy Slim (aka Norman Cook) is bringing his Big Beach Bootique to cinemas. And you’ll be raving in the aisles.
Originally the big beat pioneer planned to “document” the fifth of his famous Brighton parties, and first in the seaside resort’s new football stadium, exclusively for DVD. He shot the second of June’s two spectacles. “It’s not the biggest crowd I’ve ever
Fatboy Slim: Live From The Big Beach Bootique will show on one night only, Friday 31 August, globally. “The idea is that if we get everyone to watch it at once on the same night, we get some kind of vibe like it’s a gig. Obviously, it’s not the sort of film that you’d go to the Tuesday afternoon matinee of [laughs]. [ The idea is to get eve everybody together at once - they may maybe have a few drinks before they go in - and [you get] as close to recreating r the show as you can. I su suppose it’s the nearest you can get without actually being there.” Coo Cook did have qualms about moving his festival, last held in 2008 on Brighton Beach, to Falmer Stadium (or The AMEX). Partygoers could be put off by the prospect of “a cattle shed”. “But,” he says, “it’s such a beautiful stadium.” The AMEX has superior facilities and, crucially, allows for greater crowd control. “It was a lot more relaxed for me ‘cause some of the ones on the beach I was throwing, I was shitting in my pants. There was one where a quarter of a million people turned up. The police were saying
SATURDAY 25 Despite the Gods – Jennifer Lynch’s assistant Penny Vozniak filmed Lynch while she was trying to make a Bolloywood film in India. A hit of the Sydney Film Festival earlier this year Lynch has proclaimed that this doco made her immensely prouder than the Bolloywood film disaster it documents. Part of the Melbourne Underground Film Festival, Cinema 1 Revolt, 7pm. God Bless America – Bob Goldthwaite’s jet black comedy about the terminally ill Frank and his unlikely accomplice 16-year-old Roxy who are on a mission to rid society of its most repellent citizens one gun shot at a time. Part of The Melbourne Underground Film Festival, Cinema 1 Revolt, 9pm.
MONDAY 27 The Vault – a monthly salon for creatively inclined folk . Let’s all get together to discuss this months topic: Does your creative work have a narrow or broad focus? go Loop, 6.15pm.
WHAT THE DICKENS!
British actor, novelist and biographer Simon Callow is a lifelong Charles Dickens nut. However, his recently published Dickens bio is no mere life story, as Paul Ransom discovers. It’s not often you interview an author/actor/director and have them not talk about themselves. Cue Simon Callow, the man who starred as Gareth in Four Weddings & A Funeral and also appeared in Shakespeare In Love and Angels In America. Apart from a stellar and varied career on screen and stage, he is also a renowned writer and unabashed fan of Charles Dickens. Indeed, the great 19th century scribe is the principal focus of Callow’s current Australian tour. True, Callow’s speaking engagements here will serve to promote his latest
biography, Charles Dickens & The Great Theatre Of The World, but they will also throw considerable light onto Dickens’ lifelong obsession with the thespian arts. “I love the scale of his characters,” he says of his subject. “I love the bigness of his characters, his comic invention and compassion, the enormous canvas on which he paints. All of that captured my interest from when I first read Pickwick Papers when I was twelve. And then of course I’ve had this collaboration with him as an actor.”
Callow has ap appeared as Dickens on a number of occasions, oc including his two cameos as the great man on Doctor Who. No surprise then that he has written a book that brings Dickens firmly into the world of the theatre. “He was absolutely besotted by the theatre. He wrote his first play at the age of seven,” Callow explains. “When he was in his teens he went to the theatre every single day for three years. He imitated all the actors of his day and he even applied to audition for the Covent Garden Theatre; but it so happens that he fell ill on the day.” Before Dickens could make it back to the rearranged audition he had landed a job as a parliamentary reporter and his career path veered off in an altogether literary direction. “But all the while he was writing plays, although the truth of the matter is they are terrible beyond belief. More than terrible, in fact, because they
to me, ‘People will die tonight.’ They said, ‘It won’t necessarily be your fault, but statistically you’ve got 250,000 drunk people on the streets – people are gonna die.’ Then we did one on NY’s Day and the weather absolutely pissed down on us and everyone was soaked – not cold, but soaked. I was getting electrocuted. So compared to the ones I’d done on the beach, this one was a stroll in the park.” And The AMEX is a more environmentally sustainable choice. Cook previously had to fork out a small fortune to clean up the shingle beach, post-party. “It took a team of fifty people a week to sift through all the pebbles and get all the muck out of it.” Coincidentally, Cook himself lives on Brighton’s seafront with his wife, media personality Zoë Ball, and their children. Arriving on the South Coast from Surrey as a uni student in the ‘80s, he was already DJing there prior to joining the indie-pop group The Housemartins as bassist. “Of course, while we were taking the broken glass out of the pebbles, we were finding Victorian broken glass and bits from the ‘30s and the ‘40s,” Cook continues. “The beach has never been as clean as it was after we did that!” Might this model citizen have called in Time Team’s archaeologists? “Yeah,” he replies laconically, “it was mainly broken glass.” WHAT: Fatboy Slim: Live From The Big Beach Bootique WHEN & WHERE: Friday 31 August, Hoyts Victoria Gardens, Chadstone & Highpoint
aren’t the least bit Dickensian.” Even after becoming the most famous novelist in the world, Dickens remained stagestruck and started mounting amateur productions, gaining a reputation as a director and, finally, as an accomplished actor. Queen Victoria even regarded his turn in The Frozen Deep as the finest performance she had ever seen. “He loved to do public readings,” Callow notes, “but they weren’t just readings; he’d do all the characters, the voices and so on. They used to sell out. They were the kind of the rock concerts of their day.” That theatricality, Callow argues, is deeply embedded in his novels and goes some way to explaining the ease with which his work translates so readily to stage and screen. “The only thing you miss with the adaptations is the author’s voice, which of course is so clear and strong. There is also a tendency with adaptations to be realistic but Dickens was anything but that. In fact I would describe his books as being more like magic realism.” Callow is clearly enamoured. At one recent appearance he spoke for three hours on the topic. Australian audiences, however, will get the abbreviated version. “Yes, well, I shall try to stick to the best bits; although the trouble is they’re all pretty good. Typical Dickens really.” WHAT: Dickens and the Great Theatre of the World. Melbourne Writers Festival Keynote WHEN & WHERE: Thursday 23 August , 7pm, Melbourne Town Hall
INPRESS • 37
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REVIEWS
On The Misconception Of Oedipus
ON THE MISCONCEPTION OF OEDIPUS THEATRE Malthouse Theatre The story of Oedipus – the tragic king who killed his father, married his mother and spawned centuries’ worth of psychiatric theory (as well as some unfortunate offspring) – is one of the most famous in theatrical history, thanks two infamous interpretations by Sophocles and Seneca. This bold new work, devised by Zoe Atkinson, Matthew Lutton and Tom Wright, looks at Oedipus’s origins, from maternal want to conception to birth to… what came next. Lutton directs this production and clearly wishes to push the boundaries of what theatre is, or could be. His set is an illuminated box containing three chairs, three microphones and an ever-present tape recorder, tracking the proceedings of the events that follow like a scribe. It looks almost cinematic, or like a diorama, and when Richard Pyros (Oedipus) appears on stage, he seems almost terrifyingly large in the limited space. Pyros monologues about the life of Oedipus – a complex, convoluted tale that combines Seneca’s outline with some odd modern inflections, and then Daniel Schlusser and Natasha Herbert appear as Oedipus’s parents, Laius and Jocasta. Wright’s text treats them more kindly than it does Pyros, giving them the chance to play off one another and explore the paranoia and burning need of procreation.
as “the world’s number one Michael Jackson impersonator”, stand up? Wizz definitely looks the part, to a frightening degree. Surely that’s a mask. It can’t just be make-up! Surgery, perhaps? When there’s Blood (literally) On The Dance Floor (also on his
face AND shirt) during tonight’s rendition of Earth Song, we worry something has come unstuck. After a quick t-shirt change, it’s established the show must go on and Wizz returns to the stage for I Want You Back. Fronting a live band comprised of musicians from all corners of the globe (South
with a backflip from standing, which he then tops by ripping open his own t-shirt and exposing a (somewhat unexpectedly) buff chest. Wizz gives a shout-out to “Johnny” on lights and “George” on sound. And just when we think the level of professionalism could not sink any lower, there’s an
announcement over the venue’s PA as we file out of the theatre: there are “40 tickets left” for tomorrow night’s show, apparently. Jackson’s own lyrics accurately sum up HIStory II: “I don’t know whether to laugh or cry.” Bryget Chrisfield Season finished
BERNIE FILM There are several good reasons to see this film, the first being the brilliant and uncharacteristically understated performance from Jack Black, who plays opposite screen legend, Shirley MacLaine. The second is that it’s a Richard Linklater film. Linklater made his name in the ‘90s with Dazed & Confused, Waking Life and Before Sunrise (followed years later by Before Sunset), and he directed Black in School Of Rock. Bernie is based on an article about the real-life Bernie Tiede, played by Black, and it’s a fascinating story. Bernie is a mortician in Carthage, Texas, and he’s the nicest, most solicitous guy you could meet. A pillar of the community who attends church, supports charities and performs in local theatre productions, he meets the elderly wealthy widow, Marjorie (MacLaine), when he prepares her dead husband for his funeral. The pair strike up an extremely close friendship and become inseparable. But after a few years of this platonic intimacy (Bernie’s pretty obviously gay), the cranky old cow, Marjorie, finally pushes Bernie to do something drastic. What follows is the ‘truth being stranger than fiction’ part. Matthew McConaughey is at first almost unrecognisable as the sunglasses-wearing DA Danny Buck – a man who starts to suspect Bernie of being a moneyhunting shyster even though everyone else won’t hear a word said against him. The characters in the small town are all delightfully offbeat but genuine, and the end result is a triumph, especially for Jack Black, who should be up for a swathe of awards for this role. Vicki Englund Screening at Cinema Nova
CRINGE
WITH REBECCA COOK In true Melbourne form, we can’t go more than three days without being served up a hot cup of culture, so as the Melbourne International Film Festival closed on Sunday, the Melbourne Writers Festival is gearing up to crack the spine on Thursday. This year’s MIFF was relatively scandal-free; no directors removed their films, no protests out the front of cinemas and no attacks on the MIFF website – better luck next year. Now that the celluloid nuts can retire back to their own darkened rooms for another year, it’s time for those other famous extroverts to take over the city – readers. And of course some writers and an even larger group of ‘folks with a novel in them’ who’ll be attempting to lure said published writers into warmly-lit cafes playing Nick Drake to discuss their manuscript over a chai latte. Beware 350 international and local writers involved, this year the Festival hopes to attract around 50,000 attendees. That’s an awful lot of chai lattes. Melbourne Writers Festival (MWF) really does seem to bring out the fan girl/boy/ stalker in some people. Sci-fi writer David Mitchell said at a Wheeler Centre event last year that writers festivals were the only place he felt like Dave Gilmore instead of Dave Mitchell. Joss Whedon practically caused a stampede at Melbourne Town Hall as part of the 2010 MWF and a pre-Fest gab with Bret Easton Ellis was not only sold out but filled with boys dressed as Patrick Bateman. This year, it seems we’ll be trading psychos in suits for
Running until Sunday 26 August
HISTORY II THEATRE
Bernie
ladies in love as ‘romance’ gets itself a box seat. Yep, as female erotica hits the bestsellers’ lists, romance is also having a makeover. And it turns out that one of the highest selling romance writers, a New York Times bestseller if you don’t mind, is a local lady named Stephanie Laurens. Laurens, who used to run a research laboratory and write in her spare time, will be talking at several events over the opening weekend. Still on the topic of romance, beauty director at Harper’s BAZAAR, current dating columnist for Cosmopolitan magazine, novelist and Hamish Blake’s better half, Zoe Foster, will also be chatting about her latest book The Younger Man and the art of modern romance. This is the final Melbourne Writers Festival with Steve Grimwade at the helm, he’ll be passing the baton to former Emerging Writers Festival Director Lisa Dempster in October. Interestingly Grimwade was Director of the Emerging Writers Fest before Dempster as well. Considering the innovation and growth that occurred at the EWF under Dempster’s rein, it will be interesting to see where she takes the MWF. In early interviews, she has been keen to explain the different focuses of the Festivals while also commenting on her hopes to continue exploring the digital space. But enough about the future, this year’s Fest is upon us and around one-third of the events are free so put on your literary bathers and wade on in – or skinny dip with a tall handsome stranger who happens to be a prince with commitment issues.
ART S TA R T E R
Five minutes with
BORIS EIFMAN Pyotr Illych Tchaikovsky composed some of ballet’s most recognisable pieces of music, including The Nutcracker’s Dance Of The Sugar Plum Fairy and Swan Lake’s Dance Of The Swans. It makes sense then, that Russian choreographer Boris Eifman would take inspiration from the life of this brilliant composer. Bringing his Eifman Ballet company to Australia for the first time to present the acclaimed work Anna Karenina and Tchaikovsky, Eifman is grateful to be able to work with such rich subject matter. “Tchaikovsky’s work is some of the greatest in the world culture,” Eifman says. “Someday we will be gone, as well as our problems and doubts, but the emotional and spiritual elements created by the composer will power many generations to come.”
Aleksia Barron
38 • INPRESS
Africa, Canada, New Zealand and even Ipswich), the songs are performed with great accuracy although we wonder whether Wizz would be better off miming since he struggles to hit his idol’s highs (especially during Ben). Wizz nails the moves, although there’s a general lack of precision. The two male backing dancers excel in their street-style stunts, but struggle with choreography lifted straight from Jackson’s music videos. Their four female counterparts are student quality at best and could well be girlfriends of the band (probably not of Wizz). We’re not required to suspend disbelief. In fact, punters yell out “Kenny!” throughout the performance and one crowd member is spied brandishing an “I Heart Kenny” banner. A little kid in the front row of the upper circle steals the show as he sings along with every lyric and busts energetic moves that threaten to send him tumbling down to the stalls. Smooth Criminal’s ‘concrete boots’, gravity-defying lean doesn’t disappoint and we’re left aghast when Wizz closes Black Or White
HIStory II
When the play moves into more physical, confrontational territory, it jars, and there’s a significant loss of momentum. It’s an overlong experiment that is improved by a jaw-clenchingly awkward final scene that humanises two of theatre’s most tragic figures.
King Of Pop-inspired attire is the order of the evening as this multi-generational crowd is summoned inside by the incredibly wonky-sounding Her Majesty’s alert bell. We know what the late, great MJ intended his next move to be thanks to This Is It, so how does Kenny Wizz, billed
C U LT U R A L
Despite a lifetime immersed in the world of ballet, Eifman hopes that his Australian audiences aren’t just made up of long-time ballet fans. “I would like to emphasize that our work is available to anyone who is willing to open his or her heart to the art of the dance. We do not focus on the experts and sophisticated audiences. It is really hard to describe in words what we try to say with body language. Our ballet is not a composer’s biography adapted for the stage but an attempt to put his personality, emotions, and immortal music into the dance.”
To mark Eifman’s massive contribution to dance culture in his home country of Russia, a new academy bearing the choreographer’s name has opened in St Petersburg and is about to celebrate its first intake of students. “We are going to look for talented kids from all over Russia to give them a unique education. Students of the dance academy not only will be able to become ballet dancers or theatre management specialists but also will get a chance to succeed in life and find their place in society. Careful attention will be given to orphans and children from problem families. I believe that art people today have no right to ignore acute social problems facing all of us.” But first, dancers who have already been influenced by this worldrenowned choreographer will be giving Australian audiences a glimpse of Eifman’s magic. Danielle O’Donohue WHAT: Anna Karenina/ Tchaikovsky WHEN & WHERE: Wednesday 29 August -Sunday 9 September, Regent Theatre
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ART S TA R T E R
LOLLIPOPS, MILKSHAKES & CRACK
Terry McMahon on Right Five minutes with
TERRY MCMAHON, DIRECTOR OF CHARLIE CASANOVA IN MUFF. If an actor was to play you in a movie who would it be? Morgan Freeman What film do you wish you had made? One Flew Over the Cuckoo’s Nest What film to you wish had never been made ? Charlie Casanova What film is your guilty pleasure? All of Adam Sandler’s movies
What director inspires you? Spike Lee If Heaven exists, what would you like to hear when you arrive at the pearly gates? The girls are waiting for you in the Jacuzzi WHAT: Charlie Casanova the opening night film of the Melbourne Underground Film Festival WHEN & WHERE: Festival Opens Friday 24 to Saturday 1 September, Revolt
ART
Welcome to Springfield High. It’s 1958 and there’s not a Simpson in sight. Instead, there’s a gym full of prom queens and a juke box full of girl pop. That’s right boppers – it’s time to frock up with The Marvelous Wonderettes and lipsync your adolescent heart out. When the Australian premiere production
T H O R O U G H LY
S TA R T E R
Five minutes with
of Roger Bean’s off-Broadway hit transforms Forty Five Downstairs into a high-school gymnasium, complete with photo booth and ‘50s-themed bar, the skirts will be big and quiffs suitably stiff. For the show’s Australian director Noah Sharwood, the attendant
structure so he performs amazing skills, freestanding headstand on a bottle, a trick rarely done by Western trained performers. Farhad has toured for a decade with circuses around the world. “Miss Tinkle and Mr. Plonk run the circus, they are a couple too. It’s a typically dysfunctional relationship seen in most marriages that have outlived their usefulness. Unfortunately, they feel that need to stay together in order for the circus to survive, a metaphor for soooooo many relationships perhaps. Miss Tinkle drinks for solace, Mr. Plonk has the veneer of a “sensitive” man, but, his real agenda, all the crying and fawning, is to get down your pants, any pants, he’s not too fussed.” WHAT: Circus Trick Tease at The Gangsters Ball, WHEN & WHERE: Saturday 8 September, Forum Theatre
ten years later at their high school reunion, where we discover “who slept with whose boyfriend”. To fill the four roles, Sharwood auditioned 178 girls and confesses that the eventual winners - Angela Scundi, Erin Herrmann, Karla Hillam and Lauren Midgley - were chosen as much on appearance as voice. It was essential that all four had a 1950s look. “What it came down to was a body shape; and also to how they looked with each other because we’re selling the four and you’ve got to believe that they’re best friends, otherwise the show goes nowhere. So yes, it was a very strange audition process.” For creator Roger Bean and Sharwood, the other big challenge was making the show more than a night of covers. “As a musical it works because the base of the entire show is the relationship between the girls. I think an audience will see themselves in the four girls. Y’know, they’re quite stereotypical characters in a sense so you can think, ‘Oh, I was you in school.’” The Marvelous Wonderettes is an avowedly camp time capsule, or as Sharwood explains it, “There’s a lot of hidden depth and societal comment but it’s all caked in sugar and spice; which is why we like it.” With the show’s sequel having already opened in New York, the prospect of further episodes on crinoline skirts swirling with renewed teenage vigour are assured. As for the lollipops …
to the wind, and leaving only the savage landscapes of rural Yorkshire in the 19th century; making a film whose darkness, corporeality, and brutal weather stand at odds with every period-piece cliché. 7. Children Of Sarajevo (Bosnia, Aida Begic): With shades of the Dardennes, Begic’s socio-realist portrait of a pair of grown-up orphans struggling to keep their heads above water in an eternally-dark Sarajevo doubles as portrait of the post-war generation in the former Yugoslavia. 6. Alps (Greece, Yorgos Lanthimos): The deadpan don of the Greek Weird Wave follows up his almighty Dogtooth (one of the 21st century’s greatest artworks) with another singular slice of screwball symbolism and stilted acting; Lanthimos’ vision of modern humanity in which ersatz emotions and pantomimed routines are acceptable approximations of reality. 5. Modest Reception (Iran, Mani Haghighi): Provocative parable from Asghar Farhadi where associates send a pair of mysterious Tehranis into the impoverished, rural mountains to throw bags of cash at locals as aggressive act of forced charity; the (unanswered) question being whether the tainted lucre is a gift from god, or the work of the devil. 4. Neighbouring Sounds (Brazil, Kleber Mendonça Filho): Befitting its title, Filho’s debut is a masterclass in sound design, with the ever-present
noises of a Recife neighbourhood evoking the film’s greater – and great – themes: the unnatural existence of life in high-density cities, where all actions are overseen either by neighbours or surveillance cameras. Filho – a former filmcritic! – plays brilliantly with the passage of time, the screenwritten form, and audience paranoia.
WHAT: The Marvelous Wonderettes WHEN & WHERE: Opening tonight, 7.30pm, until 1 September, Fortyfivedownstairs
MIFFED
#1 Moonrise Kingdom
CIRCUS TRICK TEASE Teasers by name and teasers by nature, Circus Trick Tease are one feature act at the infamous Gangster’s Ball this September. Performer Shannon McGurgan let’s a few tricks out of the bag. “One ‘trick teaser’ is Mr. Plonk picking up female audience members,” snickers McGurgan, “continuing with a magician’s sleight of hands.” Another is the love triangle, which takes a decidedly queer twist on the traditional. And another yet again, is a narrative-driven circus show – Gasp. McGurgan is a circus performer and acrobat who trained the troupe in specialized acrobalance skills. He started in gymnastics and moved professionally into circus beginning with The Circus Arts School in Atlanta Georgia and culminating ten years later as one of the first graduates from The National Institute of Circus Arts in Melbourne. ”Malia has a background in ballet, much of her career has been as a fire performer,” McGurgan explains, “including training in Samoa and New Zealand in both art forms. Farhad grew up doing gymnastics in his home country of Iran and wasn’t tied to any formulaic
The prom queens are back in crinoline as The Marvelous Wonderettes get ready for real life. However, as director Noah Sharwood tells a suitably smitten Paul Ransom, his four princesses are already taken.
nostalgia for an era of imagined innocence is a plus. “The music is what sells that era and sells the nostalgia,” he states simply. “Music in that day and age told a story, which it kinda doesn’t do anymore. There’s so much heart in the music that you forgive everything else.” The Marvelous Wonderettes unfolds around a cavalcade of camp lollipop hits, including Stupid Cupid, Lipstick On Your You Collar and, you Lollipop, but more than guessed it, Lol that it taps into int the iconographic power of the late la ‘50s, with its emergent youth culture and newly emerge white-bread prosperity. unblinking wh As Sharwood explains, “It was the first time that there were clothing lines invented for young teenage girls. Everything Everythin just exploded; there music that told stories and was this musi they were able to dress in a way that told a story stor about them. That it set a trend era is iconic because b which we’re sstill living in today.” what must surely count However, in w as one of pop culture’s most satisfying ironies, the wholesome prom queen aesthetic and its teen melodrama soundtrack has been co-opted and nursed back to health by the gay community. Noah Sharwood laughs at the idea but has to concur. “It all comes down to the music and the fashion and the costumes. Who doesn’t want to put on a big sequined dress and prance around the place? Y’know, I had someone come to rehearsal the other day and say, ‘Oh my God, it’s like four Disney princesses on crack.’” The princesses in question are best friends and in Wonderettes we see them at their prom and then
Although we’ve come to the end of the road, still I can’t let go. It’s unnatural. So let me cling onto the annual defining cinematic event of any calendar – the Melbourne International Film Festival – just that little bit longer, and sate withdrawal symptoms by remembering it all one last time, in the very best way imaginable... FILM CAREW’S 12 PICKS O’ MIFF ‘12: 12. Tropicália (Brazil, Marcelo Machado): Colourful chronicle of the Brazilian psychedelic epoch is a wild riot of archival footage, mindexpanding Tom Zé quotes, and shit-hot jams; Machado’s movie managing to live up to the music, not just live off it. 11. Our Children (Belgium, Joachim Lafosse): Lafosse’s smothering, claustrophobic, catastrophic family drama feels like an asphyxiating cinematic experience; the pic starting off airy before slowly having the life choked from it. If you managed to miss the MIFF program synopsis
– which gave away the entire plot – the descent was doubly brutal, the end genuinely shocking. 10. Miss Bala (Mexico, Gerardo Naranjo): Naranjo’s high-art actionmovie holds audiences hostage in the midst of a cops/cartel turf-war in Tijuana; staging the best-directed guntotin’ thriller since Children Of Men. 9. Whores’ Glory (Austria, Michael Glawogger): Whilst his forays into fiction can be so-so, Glawogger cements his reputation as one of the world’s great documentarians with this portrait of third-world sex workers. As ever, the Austrian is fascinated with the path of money; and how it trickles down through economies, to those toiling at the very bottom of the global food-chain. 8. Wuthering Heights (UK, Andrea Arnold): One of the great radical adaptations of canonical classic lit, Arnold razes Emily Brontë’s to the ground; scattering the words
3. The Loneliest Planet (Georgia, Julia Loktev): Shot high in the Caucasus Mountains, The Loneliest Planet plays as backpacker tourismporn whilst tilting towards tourism’s dark side; the extremes people will go to, physically and culturally. This is unspoken and implied, though; Loktev abandoning exposition for the phenomenological effect of being present amidst vast landscapes. 2. Holy Motors (France, Leos Carax): Leos Carax’s lurid stylepiece creates a bizarre world that is, effectively, cinema made manifest; theatricality, immortality, symbolism, and narrative repetition all alive, and at play, in this endlessly playful, secretly profound picture. 1. Moonrise Kingdom (USA, Wes Anderson): Straight superlatives: far and away the pick o’ the fest; the pick of the year so far; the culmination of Anderson’s aesthetic; his magnum opus; one of the most beautiful films I’ve ever witnessed; and one of cinema’s greatest-ever depictions of young love. Hits regular cinemas next week. Rejoice.
INPRESS • 39
Game Masters Film Program
Indie Game: The Movie Determined to secure their own gaming domination, three indie game developers discover that success (or failure) often falls outside of their control. Film Season > ACMI Cinemas Thursday 23 August – Sunday 2 September ACMI, Federation Square, Melbourne www.acmi.net.au/film
40 • INPRESS
Jordie Lane pic by Steve Martin
JORDIE LANE FRANCOLIN, THOMMY WILSON REGAL BALLROOM: 17/08/12
The Regal Ballroom, not quite the establishment one would expect to encounter when watching an artist known for alt.country commotion. But here we are, waiters milling, white tables and chairs surrounding a pristine wooden dancefloor, one Thommy Wilson standing solo armed with an acoustic guitar, his heavenly vocals for company. Channelling British songstress Laura Marling for his cover of Blackberry Stone, pure passion ensconces him like a warm blanket. The hazy lilting quality of his arrangements accompanies his cut glass vocals while musing “All I want to do is dance with you in the rain”. The raised stage with its plush velvet drapes next becomes home to five-piece Francolin. Someone is primed to make dancers of voyeurs, so we tentatively invade the floor jiving with all the freewheeling vivre of their music. Guitars, trumpets, bass and drums amp the crowd ‘til barely any chair is left filled, before they bid their adieus leaving the spot open for Mr Jordie Lane and band. The return of Matty Green on guitar and the beautiful Clare Reynolds lending her vocals for new and established tracks lends a family vibe, with Roger Bergodaz on drums and Zane Lindt on double bass, completing the ensemble. Being that he has recently spent time lost amongst the American landscape, writing and recording with Tom Billa in LA, Lane’s set is flush with new tracks. Highlighting his stylish flux between introspection and lavishness, big sweeping stompers such as The Publican’s Daughter give way to fresh new numbers. Sharper in their complexity, sweeping brushed steel and carefully plucked strings washing over Reynolds’ swelling vocal marks Lane’s talent for grand arrangements with a band in mind. Perhaps going solo is a thing of the past?
Jordie Lane pic by Steve Martin
GIG OF THE WEEK
Money For Rope
THE DELTA RIGGS, MONEY FOR ROPE THURSDAY, NORTHCOTE SOCIAL CLUB
Money For Rope are no strangers to a joint tour, having recently come off the road from an extended jaunt – fittingly dubbed This Epic Tour – with Kingswood and Damn Terran. The local six-piece are one of our fave live bands getting around at the moment; their wild combination of two drummers, two guitarists, bassist and keys man – with four singers – is guaranteed to get any venue heaving. We recently dragged the band into Cherry Bar to lay down a track for themusic sessions – check it out at themusic.com.au/watch/video/2012/08/16/ money-for-rope-cherry-bar. On the upcoming Double Vision tour, which rolls into the Northcote Social Club this Thursday, Money For Rope will be rotating the headline slot with The Delta Riggs, a Queensland-bred, Melbournebased band who proclaim they’re “bursting with a punk rock ethos yet channeling the classic songwriting of ‘68”. Frontman Elliot Hammond has recently come off tour playing keys for Wolfmother, while The Delta Riggs are still riding high following the recent release of the well-received Talupo Mountain Music Vol. II EP.
Never disappointing with his sharp wit and silly tales, we are regaled with stories of warring dogs and his mother’s choice between the two (harder than choosing between Lane and his younger sister we hear). Before one could even shout ‘encore!’ we are bereft of the band and greeted again by Lane and the one and only Matty Green for the captivating I Could Die Looking At You. Dedicated to lovers, with a special mention of two friends who have chosen to wed, the audience sways under the spell of Lane’s deep resonating voice. Whispers of a new record coming in 2013 leave you no choice but to get thee to a performance to get your Lane fix ‘til then. Clementine Lloyd
FRONTLASH
BACKLASH
A second Harvest festival! With Dexys! Un-flippin’-real!
The only thing keeping Kerry Packer’s War from being a Paper Giants-style borefest is the facial hair. We’re hanging out for the James Packer mini-series, with Tom Cruise playing himself, Packer and Kate Fischer.
ALL HANDS ON DEX
K&K MUSIC FACTORY The Presets’ own Kim Moyes is producing Kirin J Callinan’s debut album? More excited than Big Kev (RIP) ever was about this!
WHERE’S RON SWANSON? Parks And Recreation star Aziz Ansari is playing Sydney’s Just For Laughs fest. Fingers crossed for a Melb sideshow (and a Tom Haverford-hosted after-party).
themusic.com.au
HOWZZZZ…
A RIOT GOIN’ ON Keep posting shit on Facebook/Twitter/ Tumblr/whatever about those farcical Pussy Riot jail sentences, but don’t forget to listen to their music. They fuckin’ rock.
MMMEDIA WATCH Dave Gleeson on MMM, naming his top moments in rock, gave a special shout-out to Elvis Presley, even though “obviously we can’t play any Elvis”. WTF? The King had more rock’n’roll in one eyebrow than most of MMM’s shitty playlist put together. INPRESS • 41
on Ziggy Stardust into rousing pub sing-alongs. Even seem surprised that they have managed to instil a little Bowiemania in the crowd tonight. Naylor smiles but complains about the complexity of the chords used in Soul Love. Many in the crowd take the opportunity to sing along to every song in the set. Some probably own the 20th, 30th and 40th anniversary remastered versions of Ziggy Stardust and could probably tell you how each successive re-release improves on the original. The genius of Moonage Daydream strikes strong emotional chords with punters and it blurs into an epic version of Starman. Naylor and his spiders from Melbourne flip the record and start playing side two, which starts with the dreamy Lady Stardust, undeniably haunted by the ghost of Marc Bolan. It’s hard not to hear the record playing in your head as Even rip into Ziggy Stardust and Rock‘n’Roll Suicide. Hearing these songs again it is hard to believe that Bowie was able to draw from the music of the ‘60s, galvanise glam for what it was about to become and predict punk and new wave across a concept album of just 11 songs. Back in the day Bowie was an androgynous space cowboy rocker from another planet who provocatively traded on his trashy glamour and ambiguous sexuality. Tonight Even strip it all back and prove that when the hype and publicity stunts fade all that is left of Ziggy Stardust is just classic rock‘n’roll. Guido Farnell
TEX PERKINS & THE DARK HORSES LUI BAR (VUE DE MONDE): 12/08/12
Zoobombs pic by Sofie Muceniekas
ZOOBOMBS, MESA COSA, BAPTISM OF UZI, BATPISS THE TOTE: 17/08/12
Once again the Tote have put together a bill worth getting down early to catch. Batpiss are a band on the rise. They’ve always had this real early punk kind of feel to them but their playing has tightened considerably in the last 12-or-so months and they fuckin’ kill this set. Singer/guitarist Paul Piss has a deceptively strong voice (deceptive because he does his best to bury the prettiness of it in vocal distortion) and their second-last number The Great Equaliser without doubt takes the song of the night title. They write great tunes, their playing gets better and better, they must have a growing regiment of fans, so answer me this Batpiss: how about a fucking album? Participants at this year’s Boogie Festival will understand Baptism Of Uzi have got to be the most underrated band in town. They slot into the space left open by the recentlyexited Sand Pebbles with mind-altering psychedelic jams. They don’t look much – all sloppy with untucked shirts, holey shoes and geeky-lookin’ guitars (the bass looks like something developed beyond the Iron Curtain circa 1962) – but they fuckin’ floor their audiences every time. This is no different. The edges of their ‘songs’ meld into a sonic porridge and it’s impossible not to be drawn into the bowl. Ditto the last sentence of the previous paragraph. It’s a bloody difficult slot to fill and Mesa Cosa miss the mark. They brought tonight’s headliners out from Japan, so they have every right to play main support, but there’s only so far their party jams can take them when following up music of the quality we’ve just witnessed
celebration of one of the greatest glam rock albums of all time, David Bowie’s The Rise And Fall Of Ziggy Stardust And The Spiders From Mars. Ageing baby boomers have packed out the room. Most of them have long since left behind the glittery camp fashion excesses for which glam music was known. Sadly, only a handful of young fans have turned up wearing glittery Aladdin Sane make-up, looking a touch flamboyant.
and their songs just aren’t up to a Friday-night packedTote audience yet. Their energy is infectious, sure, and there are flashes of something special (early singles 666 and Shoplifter shine), but they rely too strongly on their vibe when they could be focusing more on their writing. Zoobombs suffer no such hurdles. Their ten albums to date span garage through several shades of psychedelia into folk, blues and the avant-garde and the stage show follows a similar progression (did I just use a ‘p’ word?). For this reason the performance appeals, in parts, to fans of wildly different music but lacks any genuine direction outside of tracking the sonic pathways of the group. Their earlier stuff, Highway A Go Go especially, gets the crowd fizzing but the set lags severely through the mid section and the band seem tired. There are sparks towards the death, but the journey is a little arduous for a casual listener. Based on this performance you could say that Zoobombs occupy that rare space where a band’s records far surpass the quality of their live performance; if only because when you listen in your loungeroom you can skip the boring bits. This is a night that belongs to the future (see paragraphs one and two).
Melbourne three-piece Even warm the crowd with a five-song set that leads off with No Surprises, released way back in ‘98. One of the most overlooked bands to emerge from Melbourne in recent years, they have honed their skills across countless gigs in pubs around the country. Even sound tight and remarkably polished as they work their way through Black Umbrella. As the set progresses it becomes obvious that Ashley Naylor, the band’s frontman, is deeply influenced by a range of pop and rock music from the ‘60s and ‘70s. The hooks and melodies of Rock And Roll Saved My Life and Bowie In My Dreams wash over like vintage Bowie with a harder Britpop edge, making it easy to understand why Even are performing the Ziggy Stardust album later tonight. Even leave the stage but Naylor has already made it clear that their performance of Ziggy Stardust won’t slavishly reproduce what Bowie put down on record all those years ago. After breaking out the Ziggy songbook, the band launch into Five Years with the help of three additional guest musicians on keys, sax and cello. The lack of makeup and period costume makes it clear that Even are no tribute band, rather they are here to celebrate the 40th anniversary of the release of an album that has profoundly influenced the music they produce. They provide rough and ready versions that twist the grandeur of the songs
Samson McDougall
EVEN
CHERRY BAR: 18/08/12 It is a bustling Saturday night at Melbourne’s favourite rock’n’roll hangout, Cherry. Thumping ‘60s garage and rock’n’roll that goes well with a few beers produces a feel-good vibe that puts a smile on everyone’s face. The easy-going crowd are here for the evening’s
Does anything scream “ageing rocker” more than “exclusive Sunday afternoon cocktail bar”? And it’s no ordinary cocktail bar that Beasts Of Bourbon frontman Tex Perkins has stumbled upon; he is in the empire of celebrity chef Shannon Bennett – his Lui Bar, at oh-so-hot Vue de Monde, is on the 55th floor of the Rialto. But if anyone can take a cliché, crack it open, and still cash in, Perkins is that man. And let’s face it, he’s been around long enough to pull it off. “This is a corporate meeting,” he pompously informs the well-heeled crowd. His stage is backed by a sweeping view of Melbourne’s north; his guitar keeps banging avant garde lampshades. “You’ll be much more productive by the end of the show.” Playing with Dark Horses, Charlie Owen and Stephen Hadley, Tex kicks off with his Tex, Don & Charlie back-catalogue – Here I Am and Sundays are situationappropriate – before hushing the cocktail-filled crowd. “I won’t ask again,” he gravely intones. It’s deep enough to command respect – at least a song’s worth. They know Perkins is big enough to hack a bit of chatter. And Tex has their measure too. Introducing Paul Kelly’s You’re 39, You’re Beautiful and You’re Mine, he confesses his carnal devotion to middle-aged ladies: “They’ve got plenty of time on their hands.” Blokes scuff the floor, as baby boomer ladies squawk: “39 is not middle-aged!” Tex, however, has given up the pretences of a rocker in his prime. Seductive charms have been traded for dad jokes: “I’ve never been higher than this,” he deadpans. The setting winter sun gives the city a brief golden glow, and the show rolls on. “I think we have to face the facts – we’re closer to the end than the beginning.” And beginning to end, there’s not a growl out of place, nor a twang of Charlie Owen’s slide guitar that doesn’t send shivers. The Neil Young cover is a good idea, and Tex can banter with the best of them. It’s not meant to be a rock show, and comes off more like a well-attended, high-end studio session. There’s no encore – Perkins has done what he was paid (no doubt handsomely) to do. It’s possible he’s already sprinting down 55 flights of stairs, and back to his rock‘n’roll roots at a dirty pub. I hope his heart holds out. Mary Bolling
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Cosma jokes that My Happiness – Elvis Presley’s first recording, which he paid for himself – wasn’t written by Bernard Fanning. The story goes that the receptionist who was working that day made a note that Presley was a “good ballad singer”. During Blue Moon Of Kentucky, Cosma playfully refers to Stain as (Presley’s first guitarist) “Scotty” (Moore). Stain’s guitar solo proves as awesome as the facial expressions he pulls during its execution. How good is Red Hot (“My gal is red hot/Your gal ain’t diddley squat”) by Billy “The Kid” Emerson? The Toff is limbs akimbo for this one. And let’s bring the term “diddley squat” back into circulation. Then along comes Johnny Cash. Who knew Cry, Cry, Cry was written in a day? Stain’s eyebrows dance as he sings and there’s a (fake, we’re assured) dollar bill woven through his guitar strings à la The Man In Black. Presley’s Mystery Train is another set highlight. Not long into Get Rhythm, Stain yells “F!” into his microphone and from this we deduce he’s decided to prompt his bandmates. They smirk and exchange bemused glances. Historical tale of the night goes to the one about Jerry Lee Lewis, who allegedly downed a cufflink with a swig of water after mistaking it for a pill. It would take a Whole Lotta Shakin to bring that shit back up! Sun Rising pic by Matthew Rosamilla
LIBBY GORR
CHLOE HOOPER
To mark the anniversary of Elvis’ death (RIP), this Sun Rising gig sees a stellar crew of cats assembled onstage to showcase hits from a ridiculously fertile period of Sun Records releases. Our focus is directed towards a rare framed portrait of The King and Sam Phillips together thanks to a spotlight and the stage is dressed with images of other Sun-related artists such as Howlin’ Wolf, BB King, Jerry Lee Lewis and Johnny Cash. Retro red letters spelling out the label we are honouring hang from a mirrorball and precious vinyl is also utilised for its decorative appeal. A lot of love and effort has gone into this set-up and it shows.
Bryget Chrisfield
BITCH PREFECT, UV RACE LIBERTY SOCIAL: 17/08/12
There’s a pretty nice vibe going at the Liberty Social tonight as the room is filled with friends, acquaintances and friends of friends. The members of Bitch Prefect moved from Adelaide to Melbourne, started and continued heaps of bands, stuck together, and now they are here to launch their debut LP, Big Time. Before they play, UV Race head to the
TEK TEK
TOFF IN TOWN: 16/08/12
MARIA MINERVA
The Sun Rising band comprises killer pianist Damon Smith, David Cosma (who Smith later jokes is “on the guitar, jokes and swearing” – if “arse” counts as a swearword), ridiculously talented (and cocky) guitarist Daniel Stain, upright/electric bassist Trent McKenzie and drummer Adam Coad (who apparently keeps the beat for a million bands around town). From the get-go, it’s established that we are in for a night of stellar ‘edutainment’ as Cosma takes us through the background of each track as it’s introduced into this evening’s chronological setlist. Rufus Thomas’ Bear Cat, which we are told is the “answer song” to Hound Dog, is so like the original it instigates chuckles all ‘round. Unsurprisingly, we learn that the ensuing copyright-infringement suit nearly bankrupted Sam Phillips’ record label. The LOLs keep coming as
Bitch Prefect get things underway with little fanfare, which sets the tone for their set. Scott O’Hara steps up the microphone and announces to the audiences “we’re ready when you are”. Many punters are left to scramble to find a good position as the first song begins. Bitch Prefect take a no-thrills approach and it suits them just fine. The crowd are treated a set of songs from Big Time plus some old favourites such as Holiday In America from last year’s EP. O’Hara and guitarist Liam Kenny swap vocal leads throughout the night and find effortless melody in everything they sing. A simple chord progression on one guitar is complemented by a deceptively simple run on the other, or alternatively a heavy load of noise. Their set is raw and by acknowledging and celebrating the negativity in life, Bitch Prefect hit a beautiful nerve. Every chorus and lumbering guitar solo finds the mark. The crowd have settled into a more relaxed space with everyone intent on catching every chord. Bitch Prefect finish with single, Bad Decisions, an ode to just that. The crowd joins in for the sing-along chorus which is played enough times to ensure that those walking away from the night will have it stuck in their head for days. O’Hara mentions the LP is on sale for $20 and with that they’re out. Jan Wisniewski
DAVID BRIDIE
SUN RISING: THE SONGS THAT MADE MEMPHIS
Most cats in the house dance and bop as if they’re at a “high school hop” throughout the night and there’s a standing ovation from the seated crew. A legitimate encore follows, leading us Down By The Riverside to High School Confidential until we wish Sun Rising didn’t ever have to set. Hopefully this incomparable roster of talent will be resurrected annually to celebrate The King’s legacy.
corner of the room where the instruments are set up. Sometime during their set, frontman Marcus Rechsteiner thanks Bitch Prefect for giving them the chance to get the ‘partay started’, and that’s exactly what is going on. Things are pretty raucous towards the front as the crowd fist pumps with the driving rhythm section and dance to the drone of the keyboard. Not one to let the momentum of the set slow in between songs, the jolly frontman fills the gaps with some casual banter. He shows off his fresh tat and seems surprised by the amount of girls dancing in the crowd. The six-piece whip through a quick and noisy set of literally lyricised tunes and look like they could have settled in for a long haul. But after guitarist Alistair Montfort joins Rechsteiner for a quick waltz over some heavy jamming, their set is over and they join their mates in the crowd.
COLLIDER SOLO IN RED
FRIDAY NIGHT LIVE
3RRR Presents LYRICAL
An extraordinary fusion of music, text and images led by acclaimed Melbourne composer Kynan Robinson, Solo in Red is inspired by the unmistakable writing of Cormac McCarthy and performed by the renowned contemporary music sextet blending brass and strings Collider.
Start your Festival weekend with Friday Night Live in the spectacular BMW Edge. Join Australia’s sharpest siren, Libbi Gorr, for the Festival’s Letterman meets-Jon Stewart late-night talk show, with provocateur Germaine Greer, comedian and author Mark Watson, science writer Margaret Wertheim, comedian Lawrence Leung and musicians Maria Minerva and house band Tek Tek.
On Saturday 1 September, two musical events at The Toff in Town explore storytelling through song, as celebrated songwriters showcase their work in an intimate evening of show and tell. The artists will let us in on the stories behind their songs as they perform them.
Presented by Melbourne Recital Centre and Collider in association with MWF WHEN FRI 24 AUG 6pm + 8pm, SAT 25 AUG 8pm TICKETS $40/$30 WHERE Melbourne Recital Centre BOOKINGS melbournerecital.com.au or 03 9699 3333
LINER NOTES One of Melbourne’s best-loved spoken word events, Liner Notes is a poetic tribute to a classic album, song by song. This year, we salute David Bowie’s leper Messiah from outer space, Ziggy Stardust, on the album’s 40th anniversary. Tim Flannery, Deborah Conway, Joumana Haddad, Benjamin Law and First Dog on the Moon, Emilie Zoey Baker, Sean M. Whelan, Omar Musa, Yana Alana, Ben Pobjie, Alicia Sometimes, and Michael Nolan WHEN SAT 25 AUG, 8pm WHERE Regal Ballroom TICKETS $25 BOOKINGS mwf.com.au
WHEN FRI 31 AUG, 9pm WHERE BMW Edge TICKETS $25
THE RADIO HOUR Be part of the audience for a unique radio event recorded live for broadcast on ABC Radio National’s 360documentaries. Telling stories on the theme ‘Do You Read Me?’, Pico Iyer, Chloe Hooper, Jon Tjhia and Jessie Borrelle (from audio journal Paper Radio), Natalie Kestecher (ABC Radio National) and Rachel Maher will be accompanied by musicians James Cecil, Shane O’Mara and Dan Marsh. Hosted and produced by Jaye Kranz, this is documentary radio like you’ve never seen before.
LYRICAL: FROM THE GROUND UP With the eclectic David Bridie, the alt-country folk of Kate Fagan and Hello Satellites’ Eva Popov. WHEN SAT 1 SEP, 3pm (Doors open 2.30pm) TICKETS $25
LYRICAL: BREAKING AND ENTERING With gothic electro of Maria Minerva (UK), lounge-pop duo Fox + Sui and the sensual stylings of Lost Animal. WHEN SAT 1 SEP, 8pm (Doors open 7:30pm) TICKETS $25
Proudly supported by APRA and 3RRR
Proudly supported by ABC Radio National WHEN SUN 2 SEP, 6pm TICKETS $25 WHERE Fairfax Theatre BOOKINGS artscentremelbourne.com.au or 1300 182 183
themusic.com.au
INPRESS • 43
ROOTS DOWN
THE RACKET
WAKE THE DEAD
BLUES ‘N’ ROOTS WITH DAN CONDON ROOTS@INPRESS.COM.AU
METAL, HEAVY ROCK AND DARK ALTERNATIVE WITH ANDREW HAUG
HARDCORE AND PUNK WITH SARAH PETCHELL
BFMV were named in the latest Soundwave festival announcement, alongside Slayer, Cypress Hill, Sylosis, Confession, This Is Hell, Fucked Up and more. The festival rolls into Melbourne on 1 March.
Ry Cooder The new record from Ry Cooder came out last Friday and hopefully plenty of people have taken the opportunity to have a listen over the past week or so that it has been floating around both online and in physical formats. I do very much like the work of Mr Cooder, though I wouldn’t say he has an infallible back catalogue, so I’m pleased to say I think this record pretty much nails the modern, roughneck blues that he’s hinted at hitting on his previous few records. This is the straightest blues record he has done for a while (though it has its twists and turns) and the best he’s done in ages. His Pull Up Some Dust & Sit Down record of last year came close to perfecting this kind of casual, pissed off, sardonic storyteller ground he’s been covering of late, but I think the relative simplicity of Election Special and the kind of raw emotion he packs into the songs, as well as the fact that he’s no interest in shrouding his thoughts about the subject matter at hand (immigration, segregation, racism and general nastiness that Cooder believes could creep in should a Republican candidate – specifically Mitt Romney – be elected as President of the United States) lends a real undiluted form of power. Election Special is out now through Nonesuch/Warner; I had a chat with Mr Cooder the other day, so keep your eyes peeled for that. The Mullumbimby Music Festival is set to happen once again this November and the main announcement made this week makes it look like it could very well be the biggest year that the festival has ever had. There are some mighty fine acts from all over the world on the bill for this year’s event and plenty of them haven’t announced any other Australian dates as yet so, even if you can’t make it to the festival, there’s every chance they’ll be playing at a location somewhat more convenient to you. Heading up the bill for 2012 are Jamaican roots-reggae-rasta masters The Abyssinians with their nine-piece band, Malian blues maestro Boubacar Traoré, local dudes done good Husky, one of the truly great American singer/songwriters currently living the travelling troubadour life, Joe Pug, old mate from The Voice Darren Percival as well as *deep breath*: Tinpan Orange, Mama Kin, Nano Stern, Gossling, Mia Dyson, Clairy Browne & the Bangin’ Rackettes, Will & The People, Bustamento, King Tide, Electric Empire, Tim Freedman, Joe Robinson, Liz Stringer, Aya Larkin, Stiff Gins, Hat Fitz & Cara, Suzannah Espie, Vince Jones, Winter People, Entropic, Sara Tindley, The Rescue Ships, Band Of Frequencies, Darky Roots, Kingfisha, The Lucky Wonders, Juzzie Smith, Victoriana Gaye, Jojo Smith, Loren Kate, Round Mountain Girls, Gyan, ShakShuka, Rosey, Scarlett Affection, David Ades, Kapcha, One Dragon Two Dragon, Lifeline, Potato Potato, Brad Butcher, Jimmy Dowling, Eleea Navarro, Starboard Cannons, President Roots, Mr Cassidy, The Windy Hills, Jack Carty, The Buckley’s Family Band, Uke Mullum, The Biggest Little Town Choir, Raise the Roof Community Gospel Choir, The Pitts Family Circus, Stukulele & Miss Amber and a bunch more still to come. The festival happens in and around Mullumbimby on the North Coast of New South Wales (one of the most stunningly gorgeous parts of the world you’ll ever come across) from Thursday 22 November through to Sunday 25. Finally, I must tip my hat to the organisers of the Meredith Music Festival for another great lineup in 2012 and while there’s not a huge amount of blues and roots fare, what’s there is very good. Big Jay McNeely is one of the original great blues saxophonists, so it’ll be amazing to see the 85-year-old start a party at Meredith, Omar Souleyman is said to put on a hell of a live show, Royal Headache, Bittersweet Kicks and Pond are rock bands with bluesy/soulful edges and they’re all freaking excellent, Saskwatch are keeping Melbourne’s deep soul flame burning bright and, on a small scale, Fraser A Gorman is writing some great country gospel type material at the moment. If you can make it down, I strongly recommend it. It happens from Friday 7 December to Sunday 9. 44 • INPRESS
Bullet For My Valentine US sludge metallers Baroness were recently involved in a serious bus accident near Bath, England. The band members and crew are recovering at local hospitals. Apparently, the band’s tour bus crashed and fell 30 feet over a viaduct. Seven people were taken to the Royal United Hospital in Bath, while two others who were trapped and had to be rescued by firefighters using hydraulic cutting equipment have been transported to Frenchay Hospital in Bristol. South Africa’s Voice Of Rock Radio recently spoke with vocalist/guitarist Matt Tuck from Bullet For My Valentine in regards to their musical direction on their forthcoming album. Tuck said, “I definitely think we’ve got longevity, ‘cause we are longevity… We’re still at the top of our tree of our style of music. I mean, no one’s really kind of tried to take us over. So we have kind of taken the foot off the gas already a little bit with 2010’s Fever, and the album we just recorded, we’ve actually backed off a little bit again – not because we don’t think people don’t wanna hear heavy music, we’ve actually made it heavier by slowing down and less is more. Like Metallica’s Black album, you wouldn’t necessarily call it a heavy album, but the sound of it is fucking heavy and it’s big and it sounds timeless because of that. We’re not trying to make a ‘black’ album, we’re just trying to kind of take that theory of slowing down, putting less technical bits in and concentrating on the vocals and the meat and bones of the song.”
Swedish extreme metallers Shining have set Redefining Darkness as the title of their eighth full-length album, due later this year via Spinefarm Records. Unlike all previous Shining efforts, Redefining Darkness’s title will not be prefaced with a number. Commented Shining founder and frontman Niklas Kvarforth: “The new album is without a doubt the darkest thing I have ever done or heard. People will be upset, for sure and hopefully its divine genius will destroy the lives of thousands.” German thrash metal veterans Destruction have set Spiritual Genocide as the title of their 30th anniversary album, to be released in November via Nuclear Blast Records. Commented the band: “The drum recording for the upcoming Destruction album is finished! Vaaver did an amazing job on the fastest Destructions album in history!” New York hardcore/metal veterans Merauder will enter the studio this fall to record a brand new EP, to be issued on Rebel Sound Records. Montreal, Quebec, Canada-based sympho/black/ folk/power metallers Blackguard are hard at work on pre-production for their fourth album, Storm. Vocalist Paul Zinay states, “Everyone here is ecstatic over the material we have. Our new guitarist, Louis, is a riff machine and working his ass off to help make this the best Blackguard album to date.” New York death metal veterans Immolation recently entered Sound Studios in Millbrook, New York with longtime producer Paul Orofino to record their ninth full-length album. The follow-up to 2010’s Majesty & Decay. “Just got out of the studio a couple of days ago,” commented Immolation guitarist Robert Vigna. “The new album will have ten tracks of some of the most intensely dark material we have ever written! Very powerful and very heavy. Steve (drums) really pushed it all to the limits on this one, too.”
THE GET DOWN FUNKY SHIT WITH OBLIVEUS Agent 86’s The Ultimate (Melbourne represent)! I’d definitely recommend any lover of music to make this a destination, as it’s just as much an interactive museum as it is a retail outlet for music geeks.
Amoeba Music What’s going on, The Get Down readers? It’s 1am stateside and I’m still fairly pissed from a wedding, so you’re getting a recap of what digging in California is all about these days. First up, let’s start with Amoeba Records, of Haight and Ashbury in San Francisco fame. I wasn’t in the country for an hour before my mate picked me up for this Mecca-like experience. Imagine a record shop about the size of the Hi-Fi, with just about every conceivable genre of music stocked, catalogued and organised in a way that would make any OCD sufferer snicker into the moonwalk. Bottom line, this place is massive! They stock all forms of vinyl, CDs, cassettes, eight-tracks (?), 78s, acetates, DVDs, videos; hell, I think I ran into every form of outdated technology within the entertainment industry, including Courtney Love’s fake tits. But it’s the vinyl that’s the real attraction; specifically, for me, the 45 singles on offer. I quickly went to the ‘used soul’ section (yes, there was also a ‘new soul’ section) and within five minutes found two mint copies of Fingertips, Parts 1 & 2 by Stevie Wonder. Why two copies? Well, for $2 each, why not? Excited by my first kill, I added some more Stevie, Junior Walker, Al Green, Jackie Wilson, Aretha Franklin, Joe Liggins, The Champs, Jackson 5’s version of Little Bitty Pretty One (tune!), Gladys Knight, even Three Cool Cats (my favourite Coasters track). I even ventured into the electronic section and found two copies of
Rasputin’s, in my hometown of San Jose, was my next spot and I managed to find the 25-cent 45 bins (the only 45s in the place). Though cheap and, mostly, of the ‘I’m 25 cents because nobody would ever pay more than that’ variety, I did manage to score some Impressions, Smokey Robinson, Joe Tex, Dee Dee Warwick, Fats Domino and late-era Wilson Pickett gold. All up, I dropped $10 for 40 pieces and the win! Down the street I ran into my old favourite spot from when I was in high school, Streetlight Records. Though the vinyl section has definitely dwindled since I was last in, there was still plenty to dig through. Plus, I did score my find of the day here, Curtis Mayfield’s If I Were Only A Child Again. Nobody could front Mayfield during this era and this bad boy tune will be getting a lot of plays in the near future. It cost me a buck, so to say I cracked a mongrel is an understatement. Another find was down in Monterrey, where I got lucky. Not even looking for another store, as my dwindling funds meant it was going to either be food or vinyl, I almost reluctantly entered into this small shop that was filled to the ceiling with tunes. I mean, this was something straight out of High Fidelity. On offer were racks and racks of records; organised, sleeved and happily spoken about by the aged hippie proprietor of the establishment. It was a calming experience made even better by my purchase of Little Anthony’s Shimmy Shimmy Ko-Ko-Bop and Gladys Knights’ version of I Can See Clearly Now. Both are personal favourites and were the cherries on top of my large pile (I didn’t eat much that day). Yeah, you can say vinyl is still truly alive in California, but make sure you tread off the beaten path, as most places have been purged for that many years. Still, with the high Aussie dollar and plethora of spots to dig, I guarantee any true vinyl geek will find greatness in the land of the cheap Californian record stores. With that, I am out.
themusic.com.au
The Swellers Atlas is the name of the new album from Parkway Drive, and this December the band will be bringing on the road with them the hugest names in established and up and coming punk and hardcore. They are I Killed The Prom Queen (who are reported to be working on a new album), and Northlane. But one of the surprise acts on the bill is Survival, who blew minds at this year’s Hardcore 2012 festival on the all ages day. Tickets for the tour go on sale 22 August and we know these are going to sell out so get in quick! You can catch the Atlas Tour in at Festival Hall in Melbourne on Saturday 22 December. Last time The Swellers were out here was as a part of the Counter Revolution festival back in 2011. The blue collar, punk rock band are finally back in Australia touring off the back of a new EP. Joining The Swellers will be Sydney’s own Endless Heights (whose name seems to be popping up everywhere these days). You can catch the tour at Bang in Melbourne for an 18+ show on Saturday 13 October or at the Ferntree Gully Hotel in Ferntree Gully for another 18+ show on Sunday 14. Two bands that have been making waves across hardcore and punk scenes for the last year or so have been Touche Amore and Make Do & Mend. Now this pair of bands are joining forces for a massive tour in November that will see them play in venues that are more conducive to their sound and aesthetic from when they both had toured previously. You can catch them when they play an 18+ show at the Reverence Hotel on Friday 9 November or on Saturday 10 at Phoenix Youth Centre. Tickets for all shows are on sale now. Everyone’s favourite Tasmanians, Luca Brasi are back with a new release, just weeks after the band completed their most extensive national tour to date (the “Just Shoe It” Tour with Heroes For Hire). The band recently laid down two new tracks and a cover of The Gifthorse song Passed The Break for the upcoming digital/7” release called simply Tassie, thanks to the guys at Poison City Records. Keep an eye out for pre-orders for the limited edition 7” through the Poison City E-Store, otherwise there will be a general release 24 September. Coerce are one of the most original and exciting bands to emerge from Australia’s heavy music scene in recent years – their second album Ethereal Surrogate Saviour even earned them an ARIA nomination. But now, with all four members firmly planted in the same city for the first time, the band is set to release their newest record, Genome, through Capitalgames Records this October. Anticipated as a four-track, 10” vinyl with accompanying digital release, Coerce are taking a new approach with this record by recording in a pop-up studio – the Old Council Chambers Trades Hall in Carlton – with the specific aim of the Hall becoming a lab for creating new ideas and sounds. Stay tuned for more details, include dates of a national tour set for late 2012. Alexisonfire are a band that prides themselves on keeping their promises to their fans, so exactly one year after the announcement that Alexisonfire would be no more the band announced their tenth anniversary farewell tour. Spanning the month of December, starting in London and ending in Toronto, the tour hits Australia for two shows only at Sydney’s Hordern Pavilion on Tuesday 11 December and Melbourne’s Festival Hall on Wednesday 12. Tickets went on sale Friday 17 August and at the time of writing there were tickets available (though I don’t imagine they will last long).
NY CONVERSATION
OG FLAVAS
INTELLIGIBLE FLOW
TALES FROM THE BIG APPLE WITH TOM HAWKING
URBAN AND R&B NEWS BY CYCLONE
HIP HOP NEWS & COMMENTARY WITH ALEKSIA BARRON
Jessica Mauboy Get in the trunk This year has been a strange one for a lot of people, and for NY Conversation, it’s ended up as a weird, inebriated Forrest Gump stagger through a bunch of international “situations“ – a riot in Athens, a full-scale revolution in Egypt… Nothing, though, has been quite as strange as the frankly crazy shit that went down when your correspondent was in Berlin earlier this month. Here’s the scene: NY Conversation and Mrs NY Conversation have just sat down at a table outside a modest Italian restaurant in Neukölln. As we’re debating the merits of the pizza versus the pasta, we notice a crowd is starting to gather on the corner where the main street we’re on intersects a smaller, residential street, perhaps ten metres or so from us. A crowd draws a crowd, so we get up and take a few steps down the street to check what’s going on. At first we just see three cars stopped in a row at a green light, which seems strange. And then we catch sight of the two heavy-set black-clad dudes with balaclavas. They’re standing in the middle of the small street round the corner from us, and both are wielding very real-looking pistols. They’re pointing said pistols at a handcuffed guy in a business suit, who appears to be wearing an eye mask. Another balaclava-wearing gentleman is standing on the corner with one of those hand-held stop-go lights, with which he’s making it clear that no traffic is going to be turning right off our street anytime soon. I’ve never really seen a gun being wielded with serious intent before. The closest I’ve come before is when a couple of jacked-up kiddies pulled guns on the A Train in New York last year, as also related in this apparently ever-more dramatic column, and even then I heard the gunshots rather than actually saw the weapon. So the natural instinct is to get the fuck out of harm’s way in case bullets start flying. We hit the ground and wait for something to happen. Nothing happens. After perhaps a minute, I peek out from through the branches of the comically large pot plant behind which I’ve taken shelter. The handcuffed guy is gone. The stop-go guy has climbed into the first car, and the pistol wielders are backing their way to the middle car, tracking their guns left and right as they climb into it. They slam the door, and the first car drives off. With a final glare at the bystanders, the pistol guys follow in their car, and the third takes off after it, driven by someone who I don’t get any sort of a look at. And they’re gone. The whole thing has taken perhaps two minutes, max. What… the… fuck? The crowd seems as bewildered as we are – everyone just kinda mills around, unsure of what to do. There’s much discussion in German, and eventually we hear a couple of American backpackers speaking English. “They put the guy in the trunk of the car,” one tells me. “They just shoved him in there and drove off.” No one seems to have thought of calling the police. The natural inclination, perhaps, is to want to believe there must be some official explanation for what’s apparently a broad daylight abduction. Either way, a van full of cops pulls up about ten minutes later. They get out, wander round for a minute or so, get back in their car and leave. If they were supposed to be involved in whatever sort of operation just went down, they’re way too late. For want of any better ideas, we resume our seats outside the restaurant. The waiter comes by a minute or so later and speaks enough English for us to ask him what on earth that was all about. He seems delighted by the whole thing. “Special forces,” he says proudly. Special forces? “Yes. They’re good, yes?” Good? Well, I’m not sure. I have no way of knowing what we saw. I’m not entirely sure I want to know. Maybe it was the police, although I’m not entirely sure they wear balaclavas as a matter of course. Maybe we saw a mafia kidnapping. Maybe it was just some bored businessman’s weird fantasy being played out. One thing’s clear – if it was special forces of some description, it also means that pretty much anyone in Berlin could put on a balaclava and abduct someone off the street and no one’d bat an eyelid. And I wonder in this era of national security, extraordinary rendition etcetera, just how different it’d be in any other free Western country. If you don’t hear from me for a while, ask around, eh?
There has been much buzz surrounding the feel-good movie The Sapphires – an adaptation of a stage musical, itself inspired by a real ‘60s Aboriginal girl group. Jessica Mauboy stars. The Sapphires is the Aussie version of Dreamgirls, also a musical, then film, loosely based on The Supremes. The ‘60s was the heyday of the girl group, The Supremes, from Detroit (‘Hitsville USA’), a symbolic crossover triumph for the Civil Rights movement. Yet, when commemorating Motown’s 50th anniversary in 2009, Mojo named Martha & The Vandellas’ Dancing In The Street as its greatest song. Ouch. Girl groups are synonymous with drama. Amy Winehouse loved ‘60s girl groups (and the beehives), their influence permeating Back To Black. More than The Supremes’ dramatically romantic soul-pop, Winehouse was surely into the ‘bad girl’ Ronettes, fronted by Veronica “Ronnie” Bennett – whose future husband, producer Phil Spector, moulded them. Winehouse reinvented The Ronettes’ Be My Baby as B Boy Baby with ex-Sugababe Mutya Buena. The ‘90s saw a huge girl-group revival, led by the new jill swing En Vogue (mind, producers Denzil Foster and Thomas McElroy put the Cali outfit together). Recall SWV, Xscape or Mariah Carey’s protégés Allure? How about Britain’s Eternal? Most fell apart, like The Supremes before them. Dawn Robinson quit En Vogue to pursue an ill-fated solo career with Dr Dre’s Aftermath Records, only to rejoin, then leave again... Atlanta’s mega TLC, on LaFace, were more hip hop, Lisa “Left Eye” Lopes the ‘crazy’ rapper. Dramarama! Destiny’s Child reigned supreme into the 2000s. Unlike others, they endured successive (scandalous) line-up changes. After the controversial exits of
LeToya Luckett and LaTavia Roberson, who next conceived the long forgotten Anjel, Destiny’s Child aired the brazen Survivor. In the same way that The Supremes launched Ross’s solo run (she farewelled them with Someday We’ll Be Together), Destiny’s Child did Knowles’. The Houston combo dissolved in 2006, destiny fulfilled. The now iconic Knowles last released 4. She still covets that Oscar-winning movie role. Kelly Rowland, 2011’s Here I Am floundering, is a judge on Australia’s Everybody Dance Now. Michelle Williams, who’s forged an impressive profile in theatre, plans another gospel album in 2013. Even more than Destiny’s Child, Sugababes have courted drama. The Brits, rocked by endless departures, presented an album subversively called Catfights And Spotlights. Currently, not one founding member remains. Nevertheless, original ‘Babes Buena, Keisha Buchanan and Siobhán Donaghy have announced that they’re back with a new vehicle – Mutya Keisha Siobhan. The trio have been working with Emeli Sandé as well as Shaznay Lewis of All Saints, another doomed girl group, best remembered for Never Ever – and are cooler than Spice Girls. (Lewis has likewise co-written Black Heart for new girl group contenders Stooshe.) But, if Destiny’s Child ever had a British counterpart, it was the two-step Mis-Teeq. The Beyoncé-ish Alesha Dixon is today a popular UK media personality. Girl groups don’t always implode. Often they just fade away. Xscape’s Kandi Burruss, who’d pen hits for TLC, Destiny’s Child and P!nk, proffered 2000’s promising Hey Kandi, then vanished, eventually resurfacing in The Real Housewives Of Atlanta. Some ‘90s groups have re-formed to tour, trading on nostalgia. Post-SWV, the charismatic Cheryl “Coko” Clemons dropped Hot Coko. It under-performed and so she switched to gospel. But to return to The Sapphires. The film has a choice soundtrack. In fact, it’s a defacto Mauboy album, albeit with mostly classic soul covers. There’s also Mauboy’s rendition of Linda Lyndell’s What A Man – remodelled as a posse-cut by En Vogue and SaltN-Pepa in 1993. Mauboy co-wrote the single Gotcha (with The Potbelleez’ Ilan Kidron!). And, ironically, she herself once briefly sang in a girl group: Young Divas.
THE BREAKDOWN POP CULTURE THERAPY WITH ADAM CURLEY
Bitch Prefect With so many festival and international tour announcements it’s been very possible to miss the excellent local action of late. If news of the impending influx of screaming sonic valentine swans is showing this year to be one of ‘80s alterna-icons on the big stages, then a roundup of albums and tracks dropped by our own folk is signalling a small-stage year of snarky songwriter punk via the deteriorating suburbs of whichever city it’s coming from. Turns out Australia is getting really good at pared-back, fauxnaïve emotional bedroom-rock, which probably isn’t a surprise if you’ve spent the last few years listening to Kes Band or Scott & Charlene’s Wedding or anything from Adelaide, and comes as even less of a surprise when you look into who’s turning out the latest batch. Melbourne’s Lehman B Smith last year released two albums, including the 40-track Little Milk through Special Awards Records, home also to Lower Plenty and Jonathan Michell. Like Michell’s Mum Smokes project and that group’s Easy/House Music double album of 2009, a venture into pop with warm production values sees Smith releasing his latest, Girlfriends, through Sensory Projects. That basically sums up Girlfriends, a wonderful collection of curly never-hits led by Smith’s nasally and endearing croon. It isn’t too far from the brighter moments of Kes Band, in which Smith plays, with all songs boosted by a choir featuring Laura Jean and Monica Sonand (Mononoke). There are some essential moments here, including the stunning piano frolic Friends (Hang On To Your Soul). Rougher with their guitars and straighter with their rhythms, Melbourne’s Drunk Mums have released a very clever video for their Rubbing Your Gums single. The track comes from the band’s debut selftitled LP, released this month through Gaga Digi. The
video has a pretty simple premise: a man with an inflatable penis for a head hits the pubs of Melbourne’s inner west, causing trouble and getting wasted. That’s not the clever part, obvs. The clever part is that filmmaker Jack Riddle manages to make this suburban stereotype sympathetic – you can’t help but feel a little gooey when he meets a vagina-head and the two stumble into the toilets together. Adelaide’s Bitch Prefect have been winning ears for some time with their melodic lo-fi ramblings, which explains the big response to their debut album, Big Time, out through Brisbane’s burgeoning Bedroom Suck label. Guitarist Scott O’Hara is the musical soulmate of Craig Dermody, frontman of Scott & Charlene’s Wedding; the two share a love of atonal vocals, purposely naïve lyrical and musical phrasings and imperfect jamming. But where Dermody infuses S&CW with earnest pleadings that pit the band in the real, Bitch Prefect take a more whimsical approach – these are cheeky jams about crushes, fucking up and being broke. As light moments in garage rock go, though, Big Time is exceptional and will no doubt be winning ground right through to summer. Darker in scope is the new 7” from Melbourne’s The Spinning Rooms, Don’t Stop Me/Painted Volcanoes. Recorded with The Nation Blue’s Tom Lyngcoln and mastered by Mikey Young, side A is a snarled, bassheavy romp pinned by snarls and punctuated by peaking yelps. Their debt to kosmische makes the band peers of New War, whose recent debut album threw up similarly sinister and danceable stuff. But where New War often bury themselves under a blanket of deep watery sounds, The Spinning Rooms let their rough surface show at all times – Don’t Stop Me isn’t suffocating but elating. It can be heard at thespinningrooms.bandcamp.com. If it’s all too heavy then go straight for the new single from Melbourne’s percussion party NO ZU, Emotion, taken from their forthcoming Life album, out through Sensory Projects later this month. There are light kosmishe beats, there are shuddering vocals, there are bubblegum keys, there are horns – and on this side of it there is dancing. Have a listen at nozu.bandcamp.com.
themusic.com.au
The Pharcyde Well, it’s finally here – Obesecity 2 dropped last week in all its double-disced glory. I was actually in Sydney when it was released, and ended up having a chat with a local NSW youth about it. He expressed some concern over the lack of “big names” amongst the compilation’s contributors, pointing out that the first Obesecity release featured the Hilltop Hoods. This is true. But Obesecity dropped in 2002, and the Hilltop Hoods were not yet the mammoth powerhouse that we know today – that came a bit later, with a track about nosebleeds and mainstream radio play. When Obesecity dropped, they were still just some guys from Adelaide trying to win people over to Australian hip hop. The artists on Obesecity 2 are similarly pushing some boundaries. The beauty of the Obesecity releases is that they celebrate the people who are still doing the hard yards, or only just breaking through. Back when Obesecity was released in 2002, that was pretty much everyone. Today, we’ve got a lot of established artists at the top of the heap, with radio play and record deals and press coverage, but we’ve also got an up-and-coming generation who are just aching to push the boundaries even further. These are the people you’ll hear on Obesecity 2 – everyone from the ladies like Class A, to the newcomers like P-Link, to the old heads who will always do what they do, like Tornts. Get yourself a copy and get to know some of hip hop’s less wellknown artists. It’s out now via Obese Records. He came close, but unfortunately young Melbourne rapper Soliloquy missed out on winning triple j’s Unearthed High competition for 2012. However, he has now gotten his name out to many more people who are no doubt glad to know about him. He’s only fifteen (!) but he’s already got some amazing tracks under his belt and has caught the attention of many senior MCs. If you haven’t heard his track Set It Off featuring Mantra, Jeremedy and Jules, rectify this immediately by visiting soundcloud.com/soliloquy1996. He’s also released an incredibly accomplished EP, Seven. The ‘concept EP’ is a musical exploration of the seven deadly sins, and it’s available for free download at soliloquy.bandcamp.com. If you’re thinking you’d prefer to see this young cat performing live, there’s good news – he’s actually on one of this week’s big bills, supporting none other than The Pharcyde. Yep, Uncle Imani and Bootie Brown are heading to the Espy to spit some classic hip hop this Thursday 23 August (although they haven’t talked Fatlip back into the fold, so don’t pin any hopes on seeing him up there). Computer Jay will be the main support for the show, with Soliloquy, Remi and Manchild rounding out the bill. Grab your tickets from theespy.oztix.com.au. This week’s other big gig is, of course, Hilltop Hoods, who finally make it to Melbourne on their Speaking In Tongues tour. Reports from interstate suggest that these shows have been going off, and it’s a fair bet that their Festival Hall show this Saturday 25 August will be no exception. Supported by the brilliant Horrorshow, as well as hot property Briggs, this show will be huge. As I write this, tickets are still available via Ticketmaster. The “best new video” award for this week is going, hands-down, to Newcastle hip hop group Blades, who have put together a beautifully animated effort for their track The Future, complete with happy monsters. (No, really. They’re adorable.) Group members Kid Lyrical, Wizadry and Likewyse are joined on the track by singer Carmen Smith, who adds her own flavor to the dubstep- and electro-infused hip hop sound. It’s available to view at vimeo.com/36875466. INPRESS • 45
CELTIC CANNONS
Their Oz-inflected brand of Celtic-colonial Australiana has been loosening floorboards around the country since 2009. Now, following the release of their debut album Somebody’s Opus, Byron Bay alt.folk duo Starboard Cannons are back with a full four-piece line-up for a single Melbourne show as part of their seven-date East Coast launch tour. With special guests Matty Green Band kicking off proceedings, don’t miss this one-off, free show at the Retreat this Sunday.
BICYCLE AT THE BAR
THE FAMILY TRAIN
PBS 106.7FM are preparing to set up studio at Port Phillip Men’s Prison for a special live radio broadcast this Father’s Day. On Sunday 2 September, tune in from 1pm for a set from Melbourne’s purveyors of bone shaking country blues, Graveyard Train, from the Visitor’s Centre at Port Phillip Correction Centre in Laverton, with PBS’s Claire Stuchbery hosting proceedings. The audience for this show will be prison inmates and their families – the focus is to provide a unique musical experience for the children of inmates on a significant family day.
HOUSE PROUD
Melbourne’s favourite New Estate will be bringing their thing to the stage this Saturday 25 August at First Floor in Fitzroy. Joining them in tuneful spirit will be fab acts Tender Bones and Courtney Barnett. It’s free entry and there are drink specials until midnight. The action starts at 8.30pm.
TENDER TOMORROW NIGHT
Boys, boys, boys. Dick Diver don’t play much too much, but they do now, I mean, they will on this night. Not peace, but rest the doctor ordered. The Stevens and The Clits are supporting and they’re real pistols. New songs aplenty. Believe it and get there tomorrow (Thursday) at the Toff. Doors open at 8pm. Tickets are $8+BF through Moshtix or $10 on the door.
SMASHING IT OUT
Melbourne wunderkind Mike Mills has done it again; another ridiculous Toehider single is out now. Smash It Out is a tongue-in-cheek rapid-fire blues rock Queenesque Muse-topping two-minute adventure. The band will launch the new track this Friday at the Thornbury Theatre, before performing at this year’s Progfest on Saturday 8 September at the Espy. Toehider have also recently been announced as the support for hirsute rockers The Beards on their Tasmanian tour in November.
KILLING YOU SOFTLY
Exploding with the force of a leopard-print strat, Kill Ya Darlins will make their dirty, velvet blues, rock’n’roll debut at Bar Open tonight. The debauched lovechild of members of Rapskallion and the Miss Friby vaudevillians, Kill Ya Darlins bring their take on classic ‘60s and ‘70s riffage, daubed in glam, peppered with world grooves, spiced with three-part harmonies, and dripping with grunge. They’ll be supported on the night by the smokin’ blues of The Swamp Legs, the soulful crooning of Kayne & Jimmy and the vivacious HoopDogg. Entry’s free and doors open at 8pm.
Melbourne four-piece Sleep Decade present a blend of dream pop and shoegaze through delicate arrangements and mature atmospherics. Their debut album Into Spinning Lights is set to be released late October. The first single, Bicycle, explores the moment when hopelessness and longing is overturned by a strong connection with another human being. Catch Sleep Decade live when they launch Bicycle on Sunday 16 September at Bar Open. Support comes from Seagull and Staffan’s Song (Francolin). Entry’s $10.
GET WIRED
Mistress Mondays started the year off with a fourweek residency coinciding with National SLAM Day, showcased at Adelaide’s Fuse Festival and released single/video clip Thorn. Their recently-released debut EP Words Like Wire is an edgy and a lyrically provocative record that highlights the talented fourpiece’s musicianship. Mistress Mondays will be officially launching the EP at Ding Dong Lounge this Friday with special guests Lost Weekends and The Corsairs. Tickets are around $15 with doors from 8pm.
HIT THE ROAD, JACK
This Friday night at the Retreat, Jack On Fire play their last gig until later in the year. Joining them are super pals Bayou and afterwards the night kicks on with Ken Eavel from PBS’s Go For Broke spinning tunes behind the decks until close. It’ll be a big’un. The music starts at 10pm and it’s free.
GOODNIGHT TO GOODMORNING
There is some soul in the basement tomorrow night (Thursday) at Cherry Bar. A neo-soul revolution will be brought about early as Dr Goodnight performs live. DJs Vince Peach and Peirre Baroni will follow. Doors from 8pm with $10 entry.
NOT JUST A TRIBUTE
This Saturday, Cherry Bar welcomes three very special sets from Weened, the ever-faithful Ween tribute band. Their sets start at 8.30pm, will go until late and DJ Mermaid will push festivities through to 5am. TJ and Gringo Party will play in the Jenni Bar from 8.30pm. It’s only $13 entry from 8pm to 11pm, then $10 after that.
HAPPY BIRTHDAY TO SLUG
This Sunday, Cherry Bar celebrates Slug’s 40th. It’s free entry with heaps of acts including the viking metal of Barbarion. Also on the bill are Red X, Uptown Ace and The Council. It is free entry all the way to 3am.
SAINT ROCK
The Patron Saints continue their August residency this Tuesday with two sets from 9pm at Cherry Bar. The Patron Saints are Kim Volkman and Billy Pommer Jr shooting straight-laced, old school rock’n’roll. Doors open at 6pm and entry is free.
SCOUTS HONOURED
On the eve of their national tour with Loon Lake, Brisbane buzz-band Cub Scouts were awarded Song Of The Year at the Queensland Music Awards. Do You Hear takes their indie-pop sounds to the next level and has cemented their place as one of the most exciting acts in the country. The tour comes to Ding Dong Lounge Thursday 30 and Friday 31 August, before heading to the Northcote Social Club on Saturday 1 September.
SAVE MY SOUL SCREENING
Cam Butler (Ron S Peno & The Superstitions etc) plays a special screening of the five videos made for his breathtaking new album, Save My Soul, at ACMI on Thursday 30 August. Butler commissioned four directors (hailing from Melbourne, Berlin and Kabul) to make a video for each track on the album. Butler will be playing solo electric guitar to accompany the videos and the album’s lush orchestral backing music. The show starts at 7.45pm and costs $15. 46 • INPRESS
Melbourne garage-rock four-piece Wildcat General Strike will launch their new double A-side Wrote You A Melody/Young Man’s Pride on Saturday 1 September at the Workers Club. After receiving triple j love with their earlier efforts, Wildcat General Strike’s new release is the sound of a young band hitting their straps. Local indie stars The Demon Parade will also be launching their new single She’s Gonna Be A Star.
SIX OF THE BEST
IN THE KEY OF PLATER
MESSY NIGHT WITH MORRISONS
The Morrisons play rock’n’roll, they play it loud and they play it fast. The Morrisons are a Melbourne fourpiece punk rock’n’roll explosion, infamous for filling sticky dance floors with sweat. They play the Retreat this Saturday with support from Clowns, with DJ Shaky Memorial spinning tunes until late for free.
YOU AND MR JONES
Emerging from the primordial soup like some swamp-dwelling many-headed serpent, Spencer P Jones & The Escape Committee set up shop at the Retreat Hotel for the month of August. Spencer and his motley crew have been performing every Thursday night, with James McCann & The New Vindictives supporting from 9pm. There’s only two more shows to go, so get down there. Entry is free.
In celebration of the release of his solo album Exit Keys, local indie/art-rock singer/songwriter Michael Plater is bringing his crack team of sonic adventurers The Exit Keys to the Grace Darling Hotel tonight (Wednesday). They will be joined on the night by indie-pop geniuses The Coves and the feedback-laced brilliance of Claire Birchall (Paper Planes). Doors are at 9pm.
EASE OF SPEECH
Wednesday night is the new Friday! So why not cruise over to Revolver Upstairs, grab a beer and kick back with an epic line-up of original acoustic artists? Speakeasy will be sure to loosen your lips and take away the tension with their eclectic and energetic mix of songs. They will be joined on stage by visceral and passionate alternative singer/songwriter Dan Krochmal, infectiously catchy pop/roots duo Sol, and talented and poignant folk/pop songstress Fontaine. Doors open at 8pm.
CLEO GETS A HAND
LOSING GRIP
Vice Grip Pussies continue their Wednesday residency at Cherry Bar tonight. Also appearing on the bill for a loose night of rock’n’roll are New Support. DJ Yuri Barbarion continues the party to 3am.
With a seamless cross between rock, pop and soul, the excitement surrounding Saving Cleopatra is growing. Their debut single Running is a perfect example of what’s to come from their upcoming EP due out later this year. Saving Cleopatra launch the single with excellent local bands Nikhail, Mani & The Rissoles, Cardinal and more to be announced. Doors open at 8pm with tickets $12+BF available through Moshtix or $15 on the door.
RYAN PHELAN OF BEARHUG TELLS INPRESS ABOUT HIS FAVOURITE MUSICAL THINGS. SOMETHING OLD A Ghost Is Born by Wilco is probably the first album that made me want to start writing songs, and stop listening to so much prog metal. So probably that. Plus it has Muzzle Of Bees. I met Jeff Tweedy once and he thought I was someone from the media and it was really uncomfortable because I didn’t really want to talk and sound like a fanboy, so we just kind of stared each other until one of us left. It was him. SOMETHING NEW Slaughterhouse by Ty Segall Band. We could make an album as good as that. We just don’t want to. It’s also his second of the album of the year, out of three. It took us four years to make an album. Fuck. SOMETHING BORROWED I borrowed The Infamous by Mobb Deep from some kid when I was in high school. It was burned on a CD. Which seems beyond archaic to me now. I still listen to it a lot. I honestly can’t even remember who lent it to me.
RETURNING CASH
Last time Cash Savage bundled her beloved band The Last Drinks east to Castlemaine, she took to the stage of the Theatre Royal… and the crowd refused to let her go. As Savage prowled the stage, growling her signature blues thick with country sentiment, a party ensued around her. Drums, trumpet and fiddle filled the old theatre and when the music stopped, the crowd demanded more. Savage and her band, it turns out, were just as keen to kick on. The time has come for her triumphant return to Theatre Royal. Catch the Cash Savage bandwagon as it rolls in on Friday 31 August.
PRIDE IN MELODY
SOMETHING BLUE April from Sun Kil Moon still makes me want to kill myself while being surrounded by intense beauty. Exactly like that Japanese suicide forest.
MUSIC COMEDY GIG
Exploding out of Newcastle come four-piece The Main Guy & The Other Guys – a musical comic experience that aims to make you laugh, dance and hopefully undress. Armed with catchy tunes about absolutely nothing, they play party-pop/country/ disco/rock/ballads filled with puns that will most likely change your proverbial everything. They play the Edinburgh Castle Thursday 30 August, the Cornish Arms Friday 31 and an afternoon show at the Empress on Sunday 2 September.
LOG IN
A perverse product of the Arizona desert, Bob Log III has been diligently traversing the globe since 1996, showcasing his incomparable talents and developing a devoted following along the way. A whirlwind of dextrous limbs and digits, this super-star sonic showman has to be seen to be believed. He is a one-man-band slide guitar party. He plays the Tote this Friday with the everexiting Puta Madre Brothers and Rattlin’ Bones Blackwood in support. The doors open at 8.30pm.
themusic.com.au
SOMETHING YOU’D LIKE I would like our band to delve more into my prog metal tendencies and release something so awful it is mistaken for genius. Or just laughed at. It would be a concept album based around really bad ‘90s sitcoms. SOMETHING LOST The last and only amp I have ever owned has been broken for two years. I still haven’t got a new one. It is beyond pathetic. It was a Marshall stack. It was way too big and a complete pain to carry around. I completely misjudged my bandmate’s willingness to play prog metal music. Bearhug play the Gasometer on Friday 31 August.
HAVE YOU HEARD?
LOWLIFE
Revolver is going to explode on this Saturday as Melbourne favourites The Latonas launch their double A-side single This Is Low/Nightlife. The Latonas blend catchy guitar melodies, explosive drums, and a threepronged vocal line-up to deliver an infectious set. The Latonas will be supported by Kids Without Bikes and Seesaw. Doors open at 8.30pm. Pre-sale tickets $8+BF available through Moshtix or $10 on the door.
FRANCIS TO FLEE DUNE PLAYS THE WORKERS CLUB ON THURSDAY 30 AUGUST. How did you get together? Jade MacRae, vocals, keyboards, production: Dune is a solo project that I started putting together late last year. Kind of feels like the project I always meant to do but hadn’t quite got there until now. Have you recorded anything or do you prefer to tool around in your bedroom? I’ve recorded an EP, due out later this year, and now I’m working on the next one. I do enjoy tooling around in the bedroom though! Can you sum up your band’s sound in four words? Synths, vocals, layered, large… If you could support any band in the world, who would it be and why? My answer to this could be a different band every day but today I’ll go with… M83, because I’m a fan and I’m yet to see them live. A purely selfish choice. I love their sound and I’ve heard some live recordings; seems like they really nail it love, something I really respect. I’d love to stand side stage and let the sound wash over me. If a higher power smites your house and you can only save one record from the fire, what would it be? Uuurrrrgh, tough choice… Maybe I’d grab The Beatles’ White Album – partly because it’s a double album, so at least if I only had one record it would be a long one. Plus, if my house burnt down I would definitely feel like turning Helter Skelter up loud. I would probably regret not grabbing a Prince record though. And what about Stevie Wonder? LCD Soundsystem’s Sound Of Silver? Beck’s Sea Change? Kanye’s Beautiful Dark Twisted Fantasy? I would probably grab the whole record crate or die trying!
What’s your favourite place to drink in Melbourne? I’ve given up drinking. But in days gone by my drinking hole of choice was always at home where I could avoid making a goose of myself in public. If I had to go out for a drink, Borsch, Vodka & Tears – it’s where my husband first seduced me (with vodka), haha.
Following on from their Love Letter tour, Clairy Browne & The Bangin’ Rackettes have settled in the Toff for the month of August. Over the course of this residency, CB&TBR have unveiled their culty, family ways with a series of collaborations and special guests. Tonight’s guests are Kira Puru & The Bruise, Simon Paige Jones and Miles O’Neil. Tickets are $15+BF through Moshtix or $20 on door. Doors open at 8pm.
AGILE ABILITY
Francis Plagne (band), Matt Bailey and The Ancients commingle their auras for a special showcase of fine Melbourne song wrangling and crystal-clear art direction tonight (Wednesday) at the Toff. Plagne is about to go on hiatus, back into the studio, so come and get yourself some of this band’s sonically rich and ever-evolving live incarnation. Doors open at 8pm with entry $8.
Melbourne psychedelic-grunge band Agility have played the Evelyn every Wednesday in August. With support from Les Garcons and Lourdes, tonight will be another great one. Doors open at 9pm with $5 entry.
FUN AND FUNDS To help raise funds for RMIT’s photoimaging students’ graduation, Adamnoteve will put on a night of music and cheap booze at the Evelyn tomorrow (Thursday), headlined by young local upstarts Seven Year Itch. Joining them are Evelyn favorites Animaux as well as The Kilniks. Glass Mirrors shall be spinning tunes all night.
GROUND DOWN
Hunting Grounds are coming to the Toff on their In Hindsight tour this Saturday. The band’s new single Flaws is racking up airplay and recently Oprah Winfrey publicly revealed the front cover artwork for In Hindsight to the world. Good mates of the band, Brisbane’s Gung Ho will bring their well-oiled blend of surf pop with attitude to the night. Tickets are $15+BF through Moshtix or $18 on the door. The doors open at 7.30pm.
ALBARE BUZZ
The buzz for Albare ITD continues, following his successful East Coast tour with harmonica virtuoso Hendrik Muerkens last week, and his recently completed multi-date jazz club tour in Europe. Albare returns in late August with eminent tenor sax player George Garzone; having played the Broadbeach Jazz Festival on the Gold Coast on the weekend, he plays Bennetts Lane on Sunday 26 August and Bakini on St Kilda Road on Monday 27.
CLINT CONDITION
TESKEY TIMES
The Teskey Brothers will launch their debut album at the Toff this Monday. Josh has a voice capable of handling D’angelo to Stevie Wonder and anything in between. Sam provides the atmospherics and soaring guitar solos. Joining the brothers are Rob Harwood and Mouth Tooth. Tickets are $8+BF through Moshtix or $10 on the door.
Clint Boge, vocalist for The Butterfly Effect and Thousand Needles In Red, has one of the best voices in the biz. His reputation is forged out of sheer grit, determination and a work ethic that is second to none. He launches his new single this Friday at the Evelyn with Dan England and Crystal (Bellusira).
US AND THEY Melbourne hard rock band They are coming to the Evelyn to launch their debut music video entitled Climb It, Tarzan!. The track is taken from the band’s recently released EP Unleashed. They will be bringing good friends Moroccan Kings, Dive Into Ruin and Vitruvian Man along to the party.
WRIGHT ALL ABOUT IT
A few of you may remember the good old days of Monday nights at the Evelyn with Simon Wright & The Eclective. Well they’re back, only now it’s Tuesdays. Each week The Simon Wright Band will be joined by some of Melbourne’s freshest funk, soul and hip hop acts as well DJ Huw Joseph. This week’s support is the Anthony Young Band, so pull your drinking hat out of the closet and dust off your dancing shoes. Doors open at 8.30pm.
ARTS AND CRAFTE Aircrafte are a four-piece alternative rock band dedicated to pushing the limits of genre. Their influences include bands like Radiohead, The Smiths, Jeff Buckley and Beach House. They are playing this Sunday at the Evelyn. Entry is $4, doors open at 2pm and support comes from Evelyn favorites Hollow Everdaze and newbies Sandcastle.
GOOD VIBES
Do you have a lucky item of clothing you wear for gigs and what is it? I’ve got a sick pair of boots I bought a few years back in New York. They have thick rubber soles and make me feel like I could kick the shit out of someone/something! If you invited someone awesome ‘round for dinner what would you cook? It’s a regular occurrence at our place – I love to cook for my friends. Anything from Mexican feasts to fiery curries to Sunday roasts with Yorkshire puds.
KIRA JOINS CLAIRY
The Vibraphonic Orkestra bring their unique mix of Afro-funktional soul and jazztec dub to the Evelyn Hotel this Sunday. They straddle the divide between electronic, organic, digital and live and have amazed audiences from the red desert of Central Australia to the back-alley bars of Melbourne. Support on the night comes from Kooyeh, an eight-piece reggae/soul/dub band. Doors open at 8pm.
LARKIN’ ABOUT
Dave Larkin Band and the very awesome Drunk Mums go head-to-head this Saturday at the Grace Darling band room for one of the local rock’n roll ‘must see’ gigs of the year. A very special guest in Aussie garage legend Spencer P Jones will open the night at 9pm. Pre-sale tickets are available for $12+BF at davelarkin. com.au or else on the door, subject to availability.
NO GRIEF FOR KEITH If you’re acid-fried and lonesome then come to the Evelyn this Monday to connect deeply with other sexy trippers at Keith Is Dead #4. Live performances from Australia’s newest and fiercest diva-house duo Zanzibar Chanel and sensual/minimal mastermind Worng. There will be DJ sets courtesy of the seriously phenomenal Butcher Blades and Vicks-huffing wax-hunters Keith! Party rave crew. Doors open at 8pm with free entry.
QUARRY MEN
Quarry Mountain Dead Rats return for their first Melbourne show after selling out the Northcote Social Club in June. Fresh from releasing their album Bloodhound Killed My Squeezebox, which received rave reviews nationally, they will play the Workers Club this Sunday afternoon, bringing their raw and gritty version of bluegrass kicking and hollering into the modern day. Tickets available from Corner Box Office.
Summer School 2013 January 14-19 Orchestral, String, Band, Jazz & Music Theatre. Apply now: mym.org.au or 03 9376 8988 themusic.com.au
INPRESS • 47
GOT THE ROT
Kenny Lopez & The Havana Connection
SURREY HILLS, WORRIES NIL
The Surrey Hills Music Festival is a not-for-profit music event, hosted and supported by the Surrey Hills Neighbourhood Centre, which will take place on Saturday 27 October from 12pm to 11pm. The festival presents a wide variety of genres including folk, jazz, blues, world, classical, rock, alternative and choral. For the third instalment of the festival, traditional and contemporary Cuban band Kenny López & The Havana Connection have been announced as the headline act.
VEGAS IN THORNBURY
In January, Damian Mullin won the 2012 Ultimate Elvis Tribute Artist contest at the Elvis Birthday Bash in Surfers Paradise. Mullin is the closest to the real deal that Australia has. He is playing Thornbury Theatres’s Viva Las Vegas Casino Night this Saturday. A night of casino fun, laughs and excitement.
IN THE HUNT
Lisa Hunt finally makes it to Melbourne for a onenight-only show at Thornbury Theatre on Friday 31 August. Doors are at 8pm, tickets are $25+BF for general admission through Oztix, $30+BF for reserved seating and $65+BF for dinner and show. Tickets are $30 on the door if available.
HAVE YOU HEARD?
After a few months in hibernation Internal Rot are back in action now that Max has done his time behind the drum kit with Agents Of Abhorrence on their recent US tour. They will be joined by grind/ hardcore proponents Trench Sisters, power-punkers Täx and new punk heroes Ratsak. Catch them at Pony this Friday with Deaf Wish playing late.
LuWow have got Bent Cabaret on Thursday night. The show features Bad Ladies Burlesque with Lady Melody, Bambi Lipshitz, Miss Deviant, Blueberry, Baby Cherry, MC Eevie La Volpe and more. It’s only $15 presale or $20 at the door.
LIDO SHUFFLE
Saturday at LuWow they have some of their favourite boys The Breadmakers doing their once-a-month residency. They really are one of the coolest bands on the planet and they’re playing one of the coolest rooms in town. It’s only $10 entry and DJ Bruce Milne will be spinning garage, blues and rock‘n’roll all night.
Formed in 2011, Leez Lido quickly became well known around the Melbourne pub and live music scene. All three members bring something amazing and different to Leez Lido and they’ll be stopping in at Pony this Saturday night with good pals Lebelle and Timbre Terrorists. As A Rival will be playing the 2am late show. Doors open at 9pm.
HARDCORE ARMS
Call To Arms Music have announced a night of launches. Not only are they launching the record label but also their first two releases: the Before It’s Too Late EP from The Declaration and the Architects Of Our Fate EP from Right Mind. The launch goes down Friday 31 August at the Bendigo Hotel with other hardcore acts Crowned Kings, Ill Vision and Anchors Away (last show ever).
MARIACHI OPENING FOR NEW STORE Mad Mex is set to open another Melbourne store in the QV precinct, as demand for their fresh Mexican food soars. To celebrate in true Mexican style, they will host a mariachi band tomorrow (Thursday) in addition to $5 burritos, $5 Coronas and $5 Frozen Margaritas this Thursday and Friday from 5pm.
ARTFUL SHOWCASE
The Artful Dodgers Studio provide innovative and creative spaces for young people whose lives may have been affected by difficult circumstances. This Friday night the Artful Dodgers Studio artists are showcasing their skills on the decks and mic with a friendly battle of the beats featuring MisSsta, Casey Richardson, The Fro and Riak Riak. Head down to the Hammy at 8pm this Friday for a night of free music.
SWEET WEDNESDAYS
STARLIGHT
Bright Star are a new Melbourne-based band who draw on the sounds of punk-rock, shoegaze, dream pop, and post-rock. Bright Star will be bringing their powerful live set to the Tote tomorrow (Thursday), joined by post-rock connoisseurs Tender Bones & Drawing Arcs for what should be a great night of music. The doors will open at 8.30pm with $5 entry.
How did you get together? Tyme.: We’ve been friends for a long time. We started this collaboration since I asked her to sing in the recording on my band MAS. Have you recorded anything or do you prefer to tool around in your bedroom? Our album GYU has been released recently from Editions Mego (Austria). Available from iTunes store or at our gig. Can you sum up your band’s sound in four words? Greetings, lights, thoughts, Christmas. If you could support any band in the world, who would it be and why? Sonic Youth. I’m a big fan of them. If a higher power smites your house and you can only save one record from the fire, what would it be? MacBook. Do you have a lucky item of clothing you wear for gigs and what is it? Red pants. If you invited someone awesome ‘round for dinner what would you cook? Rice balls. What’s your favourite place to drink in Melbourne? Sorry, I’ve never been to Melbourne. This tour is the first time! 48 • INPRESS
DON’T FLOG IT
Ride out the end of winter every Saturday evening at the Tote with Buried Horses as they perform by the open fire and warm surrounds of the front bar. This will be your last chance to catch the band before they ship out to Europe to promote the recent Beast Records release of their debut LP Tempest. For now, this limited edition vinyl will only be on sale at shows. East Brunswick All Girls Choir and Josh Davidson to support.
FRIDAY NIGHT BALLOONS
“It might blow up but it won’t go pop” is the philosophy at Buhloone Mindstate and features some of Melbourne’s finest bands and DJs playing every Friday night, late at Lounge. They’re all about the late night boogie. Expect all things funk, hip hop, soul, reggae, disco, boogie and house. It’s only $10 from 11pm.
SWINGIN’ SEVENS
Friday night LuWow have Lucky Seven, a swing band from Adelaide. You can expect lots of rockabilly dance offs at this one. They also have DJs Barbara Blaze and Greazy Chicken, making for one of the swingin’-est good-time Friday night parties around. Tickets are only $10 on the door.
LVE MUSIC RESURRECTION
BAKING IT UP HAT MAGIC
Witch Hats are a mixture of primal pop, post-punk, swamp rock, avant-noise and gothic-noir, five decades of music can be heard distilled within the sound of this fuzz-laden foursome. At the heart of it though, Witch Hats are a rock band. And they write great songs. Their new album is their most tuneful record yet, full of cracking melodies and killer riffs. They play tomorrow (Thursday) at the Liberty Social.
GUITAR-TASTIC
A feature of the Northern College of the Arts & Technology Community Open Day is the handmade guitar exhibit. There will be more than 34 handmade guitars and ukuleles on display. They will be showcasing work by four independent luthiers and Maton Guitars. It happens for one day only, this Saturday 10am till 3pm at 62 Murray Rd, Preston.
FAVOURABLE ACCUSATIONS
Sweet Teens bring endless dangerous possibilities to the Tote for a month of Wednesdays this August. They will be playing songs of their recentlyreleased download-only album This Ain’t England & The Ominous Horror. Tonight they are playing the band room with special guests Foxtrot.
TYME. X TUJIKO PLAY THE NORTHCOTE SOCIAL CLUB THIS SUNDAY 26 AUGUST.
LUWOW BURLESQUE
For seven years Duncan Graham & His Co-Accused have been rocking town and country with their idiosyncratic country-soul epics. Tomorrow (Thursday), The Co-Accused bust out a rare inner-city show at Pony, with morethan-able support from Johnny Gibson & The Hangovers and Rex Watts. Neo-psychedelic act The Citradels will be playing at 1am followed by Geek Pie. Doors open 8.30 and entry is $6.
HUMPING ON
Enter the middle of the week; for some it’s the beginning of the weekend, for others it’s a break from study, for those of us who are travelling, it probably has no real significance (unless you’re wanting to party with the hot Europeans from the hostel, because any day is simply another day when you’re travelling). Humpday Animals is your midweek stomping ground, featuring DJs Danny Silver, Manchild and Mu-Gen at Lounge. Free entry from 10pm.
TOPPING IT OFF
The Black Pancake Club is where disc jockeys bring in their treasured record collections to share with yaw’ll. Expect undiscovered nuggets, lost gems, far-out-there covers, crackling garage and rockabilly, and a host of other eclectic delicacies and toppings for your black pancakes. Taste makers on rotation include Shags and Richie 1250. Free entry at Lounge on Thursday nights from 10pm.
LATE NIGHT LOUNGE PARTY
EY:EM at Lounge features residents Boogs and Dave Pham, who will host Melbourne’s top purveyors of club music, showcasing both local and international DJs playing the most upfront club music on Saturdays at Lounge. With rotating DJs Sleep D, Bryce Lawrence, Louis McCoy, Caine Sinclair, Glyn Hill and Toby Mackisack, expect nothing but excellent house music all night long. And remember, clubbing happens in the EY:EM.
Seven bands from various campuses in Victoria will be battling it out on Thursday at Yah Yah’s for a spot in the finals of the National Campus Band Competition. NCBC is a great way to get live music experience under your band’s belt, not to mention some great prizes along with media and record company attention. Previous winners and entrants have included Eskimo Joe, The Vines, Jebediah, George, Grinspoon, Waikiki, Frenzal Rhomb, Spiderbait, 78 Saab, Augie March and The Vasco Era to name a few. Doors are from 5pm, live music starts at 7pm, free entry.
FROCKS ON
Melbourne’s premier all-girl band DollSquad look as lethal as ever as they shimmy back into their catsuits in order to start strutting the stage and deliver their own very special brand of wig flipping rock and roll this Friday at Yah Yah’s. DollSquad are itching to try out some their new songs before returning to the studio and cutting their next disc. Europe is calling and the girls are getting restless. Frock up and rock up to Yah Yah’s this Friday.
WINTER BLUES KILLER
Gee whiz, it’s been a while since The Wellingtons have played a show. Yes, yes it has. They’ve been spending some long winter hours in the studio – the result is a new EP, Hey Hey which will be released on 10” vinyl in October. The power-pop enthusiasts will soon be back on the road touring the release through USA and Europe but before they head off they’ll treat Melbourne to a free show. So shake off those winter blues and put a spring in your step this Saturday at Yah Yah’s.
ISLAND NIGHT
Saltwater Rhythms 2012 will see three of Torres Strait Island’s strongest female singer/songwriters joining forces to mark the 20th anniversary of the Mabo High Court victory, this Friday at Bennetts Lane. The stellar line-up includes Melbourne’s leading Indigenous jazz songstress Liz Cavanagh, playing alongside the award-winning Lisa Maza and acoustic-soul diva Jessie Lloyd. Entry is $20/$10 and tickets are available from bennettslane.com or 9663 2856.
GO GO TO THE BELLA UNION
Exit winter with a bang and get on down to Soul-A-GoGo on Saturday 1 September at the Bella Union. It’s Melbourne’s biggest soul and funk party, and it’s got your name all over it. PBS luminaries Miss Goldie, Manchild, Richie 1250, Pierre Baroni, Zack Rampage plus special guest DJ Prequel will be dishing up the best floor thumpin 45s from 9pm untill 3am. It’s $10 for members and $15 for future members. Proudly presented by PBS.
LOUNGE TUESDAYS
Witness as Bob Stamos takes you all on a journey of musical explorations in all things, well, music on Tuesdays at Lounge. Bob has been in the ‘bizness’ for over 25 years and has travelled the world and played some of the biggest parties known to man. Ladies melt when Bob enters the room. Bob is king of men. And ladies. From 10pm.
YAH YAH’S SUNDAYS
St Jeromes’ the Resurrection Bar plays home to intimate acoustic gigs and fun-time DJ sets every Wednesday to Sunday. Tonight (Wednesday) is Mighty Sun Band performing an acoustic set at 7.30pm, tomorrow will see Percy Valentine doing a DJ set from 9pm to 1am, Friday there will be rad tunes from Business Hours DJ spinning platters from 9pm to 1am and Saturday will be Jimmy Hawk With Children doing an acoustic set from 7pm.
CAMPUS BAND BATTLE
Trappist Afterland feature the songs and music of Adam Cole. They make spirit music for the dispossessed, they explore psychedelia, ritualism and chanting amidst folk songs. Trappist Afterland play two consecutive Sundays at Yah Yah’s. This week, support comes courtesy of The Dust Revival Band, described as psychedelic-folk/alt.country with nice cowboy boots. Doors are from 5pm and the live music starts at 7.30pm, free entry.
themusic.com.au
SCHMICK
Founding member of The Boys Next Door, The Birthday Party, and Nick Cave & The Bad Seeds, Mick Harvey performs an intimate gig at the Bridge Hotel, Castlemaine on Friday 24 August accompanied by his bandmate and bona fide musical genius JP Shilo. Harvey will perform songs off his recently released Sketches From The Book Of The Dead. Do not miss what may well be Castlemaine’s gig of the year. It’s only $15 Entry. Doors at 8.30pm.
INPRESS • 49
MELBOURNE MUSIC WEAK
HOWZAT! LOCAL MUSIC NEWS BY JEFF JENKINS Nyro and Burt Bacharach. What a great time to be a songwriter – when the craft was so respected.”
Penny Hewson
PENNY’S NEVER-ENDING DESIRE It’s been a sweet homecoming for Penny Hewson. After a decade in the US, the former Sea Stories guitarist and singer has returned to glowing reviews for her first solo album in 14 years, It’s An Endless Desire (out now on Popboomerang Records). “The record’s template could be Carole King’s Tapestry,” Craig Mathieson wrote in The Age EG. Jeff Apter called the album “very human, very real” in The Sydney Morning Herald. “Hewson’s voice won’t shatter the crystal,” he wrote, “but who cares when she can articulate desire so well?” And in Rolling Stone, Barnaby Smith said the record was “startling in its innocence and sincerity”. “I have to admit I did like the comparison to Tapestry,” Penny says. “I see myself more naturally as a songwriter/musician than a singer. And I would’ve loved to have had a gig at the Brill Building in the ’60s and ’70s, rubbing shoulders with Laura 50 • INPRESS
Penny launches the album at the Empress on Friday 31 August, with The Dead Salesmen duo and former Helvelln frontman Jeremy Gronow. “I don’t think we played any shows with The Dead Salesmen back in the day, but I really like the last Underminers album and I’m looking forward to sharing a stage with Hap. Helvelln and Sea Stories certainly did some shows together, and Jeremy and I reconnected recently via Facebook – as you do!” Will Penny drop any Sea Stories songs into her set? “Oh,” she says, surprised, “I hadn’t thought about it.” It’s An Endless Desire is a deeply personal record, right down to the artwork. “When I got back to Melbourne, I took some life drawing classes,” Penny explains. “The one on the cover was literally one of my first drawings. It came from a 20-second warm-up exercise, so I had no time to think about it. I like it because it’s so simple. It was a spontaneous response and I thought it matched the feel of my album.” As Penny says, “There’s a lot to be said for approaching things with a beginner’s mind.” So is it hard to keep music-making fresh? “Honestly, I don’t feel like I’ve been doing it for a long time. I guess it’s always been in fits and starts, when the creative part of me gets fed up with my lack of industriousness and demands I pay attention. It certainly felt fresh recording this album, partly because I did take those years out, but also because I really waited to be ‘in the right place at the right time’.” In the liner notes, Penny writes, “This is the album I’ve always wanted to make.” What next? “Now that I’ve finally gotten to here, I think I can go one better,” Penny smiles. It is, indeed, an endless desire.
Melbourne Music Week is a City Of Melbourne initiative “dedicated to celebrating and supporting the city’s world-famous music scene”. This year’s event, running from 16 to 24 November, will feature more than 200 acts spread over 90 events. No doubt most of them will be local. But MMW’s first announcement, of nine acts, included five overseas artists – three from the US, one from France and one from Italy. As a mate of Howzat!’s said: “It’s a disgrace – I don’t want my parking ticket fines funding French synth house and Italian prog rock crap!”
BLUES FOR YOU Local bluesman Black Smith Hopkins is putting the finishing touches to a new double album. Meanwhile, he’s playing at the Prague, 911 High Street, Thornbury on Saturday.
DO YA THINK I’M SIXTY
Dancing With A Broken Heart DELTA GOODREM (15, debut) When The Lights Go Out HAVANA BROWN (16) Everyone’s Waiting MISSY HIGGINS (24) Lolita THE VERONICAS (27) Run Alone 360 (30) On Top JOHNNY RUFFO (35) The Sapphires soundtrack becomes the sixth Aussie album to top the charts this year. The Sapphires Original Motion Picture Soundtrack (number one) There Will Be Love ADAM BRAND (four, debut) The Ol’ Razzle Dazzle MISSY HIGGINS (six) My Journey KARISE EDEN (seven) A Is For Alpine ALPINE (11, debut) Broken Brights ANGUS STONE (19) Happy Home DARREN PERCIVAL (20)
Deborah Conway dubbed him “God-inski”. He started Mushroom Records 40 years ago. He’s never been afraid to put his money where his mouth is when it comes to supporting local artists. Happy Birthday to Michael Gudinski – he’s 60 today (Wednesday).
Drinking From The Sun HILLTOP HOODS (21)
IT’S THAT TIME OF YEARRR
The Temper Trap THE TEMPER TRAP (35)
Don’t forget to subscRRRibe – rrr.org.au or 9388 1027.
CHART WATCH Guy Sebastian scores his sixth number one single. Only two Aussie acts – Kylie and Delta – have more chart-toppers.
The Story So Far KEITH URBAN (24) Falling & Flying 360 (27) Shooting Star RACHAEL LEAHCAR (32) Cornerstone HILLSONG LIVE (38)
HOWZAT! PLAYLIST No Regrets PENNY HEWSON Your Love SASKWATCH Pistol MIA DYSON
Battle Scars GUY SEBASTIAN (number one, debut)
Maiden Name SPLIT SECONDS
Boom Boom JUSTICE CREW (two)
Tennis Clothes MINIBIKES
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INPRESS • 51
THU 23
TOUR GUIDE
PRESENTS
LAGWAGON: Saturday 8 December, Bended Elbow (Geelong); Sunday 9, Corner Hotel
THIS WEEK INTERNATIONAL
BURNING LOVE: August 24 Bendigo Hotel HAYES CARLL: August 25 Northcote Social Club DIE! DIE! DIE!: August 25 Ding Dong AOKI TAKAMASA, KAZA KIMURA: August 25 Hamer Hall SLASH: August 28 Hisense Arena
NATIONAL
THE DELTA RIGGS, MONEY FOR ROPE: August 23 Northcote Social Club SENSORY AMUSIA: August 23 Eastern Station Hotel (Ballarat); 25 Workers; 26 Nash (Geelong) 1927: August 24 Palms At Crown HAYDEN CALNIN: August 24 Workers Club HILLTOP HOODS: August 24 Setts (Mildura); 25 Festival Hall; 26 New Albury Hotel THE BEAUTIFUL GIRLS: August 24, 25, 26 Corner HUNTING GROUNDS: August 24 Karova Lounge (Ballarat); 25 Toff QUARRY MOUNTAIN DEAD RATS: August 26 Workers Club ALBARE ITD: August 26, 27 Bennetts Lane; 25 Monash Uni Music Auditorium CLAIRY BROWNE & THE BANGIN’ RACKETTES: August 28 Toff
UPCOMING INTERNATIONAL
ALEXKID: August 31 Revolver Upstairs THE BEACH BOYS: August 31 Rod Laver Arena I:CUBE: August 31 Mercat Basement GIN WIGMORE: August 31 Northcote Social Club APOCALYPTICA: September 1 Hi-Fi PHOTEK: September 1 Hamer Hall NITIN SAWHNEY: September 1, 2 (acoustic) Hamer Hall IMPENDING DOOM: September 5 Kangaroo Flats Leisure Centre; 6 National Hotel (Geelong); 8 BANG; 9 Thornbury Theatre AMERICA: September 6 Hamer Hall HOWARD JONES: September 7 Billboard JOHN 00 FLEMING: September 7 Brown Alley 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 CARTEL: September 13 Evelyn; 15 Ferntree Gully Hotel; 16 Lilydale Showgrounds HANSON: September 14, 18 Palace JONATHAN WILSON: September 14 Corner OCTAVE ONE: September 14 Mercat Basement SOLA ROSA: September 14 Northcote Social Club SUBHUMANS: September 15 Bendigo Hotel RUFUS WAINWRIGHT: September 15 Hamer Hall NEWTON FAULKNER: September 18 Corner Hotel WHEATUS: September 19 Corner FUTURE ISLANDS: September 19 Northcote Social Club EIFFEL 65, N-TRANCE: September 20 Palace GOOD CHARLOTTE: September 20 Festival Hall (all-ages) 52 • INPRESS
YELLOWCARD: September 20, 21 Hi-Fi KATCHAFIRE: September 20 Ferntree Gully Hotel; 21 Forum FAR EAST MOVEMENT: September 21 Trak ENTER SHIKARI: September 22, 23 Billboard MARIANAS TRENCH: September 24 Corner LADY ANTEBELLUM: September 25 Palais JAMES MORRISON: September 26 Forum SCISSOR SISTERS: September 26 Hamer Hall MYSTERY JETS: September 26 Corner EL GRAN COMBO DE PUERTO RICO: September 26 Palace Theatre FEAR FACTORY: September 28 Hi-Fi RUSSIAN CIRCLES: September 28 Corner MARTIKA: September 28 Trak SNOW PATROL: September 30 Regent Theatre KELLY CLARKSON: October 1 Rod Laver Arena CANNIBAL CORPSE: October 5 Billboard NEKROMANTIX: October 6 Hi-Fi 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 TORTOISE: October 13 Corner PAUL HEATON: October 18 Corner XIU XIU: October 19 Gasometer PRINCE ALLA: October 26 Espy WEDNESDAY 13: October 27 Esplanade THE BLACK KEYS: October 31 Sidney Myer Music Bowl AT THE GATES: November 2 Billboard GREGORY PORTER: November 3 Toff CHERRY POPPIN’ DADDIES: November 5 Corner EMMYLOU HARRIS: November 10 Palais COLDPLAY: November 13 Etihad Stadium RADIOHEAD: November 16, 17 Rod Laver Arena OWL CITY: November 18 Corner (matinee under-18s, evening 18+) DARK FUNERAL: November 24 Corner NICKELBACK: November 27, 28 Rod Laver Arena SIMPLE MINDS, DEVO: November 29 Palais; December 1 Rochford Wines (Yarra Valley) THE SELECTER: November 30 Corner LAGWAGON: December 8 Bended Elbow (Geelong); 9 Corner Hotel JENNIFER LOPEZ: December 11 Rod Laver Arena REGINA SPEKTOR: December 14 Plenary WEEZER: January 16 Sidney Myer Music Bowl ED SHEERAN: March 5, 6 Festival Hall
NATIONAL
DUNE: August 30 Workers Club NAT COL & THE KINGS: August 30 Evelyn; 31 Ruby’s (Belgrave); September 1 Bended Elbow (Geelong) KING CANNONS: August 31 Bended Elbow (Geelong); September 1 Corner URTHBOY: August 31 Evelyn SEEKAE: August 31 Corner THE PUBLIC OPINION AFRO ORCHESTRA: August 31 Prince Bandroom PETER BYRNE: August 31, September 1 Palms At Crown POLO CLUB: August 31 Can’t Say LOON LAKE: August 31 Ding Dong Lounge; September 1 Northcote Social Club
JULIA STONE: September 6 Theatre Royal (Castlemaine); 7 Forum; 8 Meeniyan Town Hall THE MEDICS: Loft (Warrnambool) September 6; 14 National Hotel (Geelong); 15 Toff; 20 Karova Lounge (Ballarat); 22 Westernport Hotel (San Remo); 21 Ferntree Gully Hotel SPLIT SECONDS: September 8 Ding Dong THE GANGSTERS’ BALL: September 8 Forum XAVIER RUDD: September 13 Palace; 14 Ferntree Gully Hotel; 15 Pier Hotel (Frankston); 16 Costa Hall (Geelong); 19 Kay Street Saloon (Traralgon) THE BLACKCHORDS: September 14 Evelyn; 15 Bridge Hotel (Castlemaine) MARLOW: September 21 Northcote Social Club; 22 Espy REGULAR JOHN: September 22 Toff In Town MYSTERY JETS: September 26 Corner Hotel TIM & ERIC: Saturday 29, 30 September Forum DAPPLED CITIES, JAPE: October 12 Corner Hotel FUCK THE POLITICS (featuring Make Them Suffer, Boris The Blade, Widow The Sea): October 13 Espy OH MERCY: October 13 Karova Lounge (Ballarat); 19 Bended Elbow (Geelong); 25 Hi-Fi XIU XIU: October 19 Gasometer BASTARDFEST 2012 (featuring Astriaal, Disentomb, Extortion, Broozer): November 3 Espy THE BEARDS: November 3 Hi-Fi; 22 Karova Lounge (Ballarat)
SLASH: Sunday 26 August, Hisense Arena
WED 22 Acoustics Anonymous The 86, Fitzroy Agent 86, Lady Noir, Joybot, Kiti, Mr Thom Lucky Coq Agility, Les Garcons, Lourdes The Evelyn Bohjass, Kewti, Louise Goh 303 Cassawarrior, Dd, Ricka E55 Collage, La Belle, Incredible Kicks, Enerate, Red X The Espy, Lounge Bar Danny Silver, Manchild, Mu-Gen Lounge Bar Davey Lane Retreat Hotel Dead Water City The Standard Hotel Dizzy’s Big Band Dizzy’s Jazz Club DJ Petar, Tolich, Scotty E Co. & Fusion Nightclub at Crown Duets Night Kent Street Bar, Fitzroy Expatriate, Red Aces The Workers Club Francis Plagne, The Ancients, Matt Bailey The Toff In Town Julie Roginson Open Studio Kate Lucas, Jayne West The Drunken Poet Kill Ya Darlins, Kym Clark Bar Open King Salami & The Cumberland Three, The Knockouts, Kim Volkman The Espy, Basement
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Lake Palmer The B.East Link McLennan, Eaten By Dogs Old Bar Matt Glass, Hudson Veludo Michael Plater, The Exit Keys, The Coves, Claire Birchall Grace Darling Hotel Mighty Sun Band St Jeromes Miles Brown, A Dead Forest Index, Heirs, Pearls The Gasometer Hotel Open Mic Dancing Dog Café Open Mic Great Britain Hotel Open Mic, Brodie The Brunswick Hotel Rob Burke Quartet Bennetts Lane Speakeasy, Dan Krochmal, Fontane, Sol Revolver Upstairs Sweet Teens, New Gods, Foxtrot The Tote System Unknown DJs Tago Mago The Adam Rudegeair Trio Paris Cat Jazz Club The Unkind, Poison Fish, Sordid Ordeal Gertrude’s Brown Couch Tom Francis, Second Love Wesley Anne (Band Room) Vice Grip Pussies, DJ Yuri Barbarion Cherry Bar
Aleister James Campbell’s Embraceable Few Open Studio All We Need, Riot Co, Too Soon Reverence Hotel, Footscray Anne Of The Wolves, Kel Day, Ladie D Wesley Anne (Band Room) Australian Art Orchestra Bennetts Lane Bears With Guns, Esther Holt, Kate Vigo Gertrude’s Brown Couch Ben Grayson Trio 303 Brightstar, Tender Bones, Drawing Arcs The Tote Cannonball Uptown Jazz Café Carly Fern, Smiles. Rifles, Ronja Moss The Curtin Bandroom Chris Russell’s Chicken Walk Labour In Vain Closure in Moscow, Ikarii, The Playbook Colonial Hotel Cullen Sporting Club Hotel Davey Lane, Smoking Martha The Vineyard Del Barrio First Floor Dick Diver, The Stevens, The Clits The Toff In Town Dirty Chapters, Aids, White Veins Bar Open Duncan Graham & His Co-Accused, Johnny Gibson & The Hangovers, Rex Watts Pony Grass Taylor, Jam Roots, Holy Trash, Cisco Rose The Espy, Basement Hans DC, Jake Judd, Nikki Sarafian Revolver Upstairs J.P. & The Edisons Lomond Hotel Jonathon & Marissa Skovron, Huckleberry & Me, Lauren Glezer & Her Band Thornbury Theatre Kenny Rogers, Troy Casser-Daley Palais Theatre Lady Melody, Bamibi Lipshitz, Miss Deviant, + More The LuWow Forbidden Temple Long Holiday, My Favourite Episode, Slightly Left Of Centre The Prague Matt Dean, Matty Grant, Phil Ross Billboard Midnight Caller, Mad Nanna Tago Mago Money For Rope, The Delta Riggs Northcote Social Club Mr Goodnight, Vince Peach, Pierre Baroni Cherry Bar Naked Bodies, Yeo Birmingham Hotel NuBody Loop Open Mic Night The Espy, Lounge Bar Owl Eyes, Stonefield Monash University, Clayton Percy Valentine St Jeromes Phil Para Band Musicland (Fawkner) Pigeon, Tin Lion, Lost Weekends The Workers Club
Pour Parlour, Dane Certificate, Sunk Junk, Tully On Tully The Brunswick Hotel Prequel, Edd Fisher, Principal Blackman The Toff In Town (Carriage Room) Prince Albert Paris Cat Jazz Club Sandcastles, Bored Nothing, Owls Of Buru Old Bar Seven Year Itch, Animaux, The Kilniks, Glass Mirrors The Evelyn Spermaids The B.East Tango Angelitos, Rowan Blackmore The Drunken Poet Tatu Rei Dizzy’s Jazz Club The Citradels, Geek Pie Pony Late Show The Elliots, Sunday Chairs Veludo The Incredible Kicks Blue Tile Lounge The Nudgels The Great Britain The Pharcyde, Computer Jay, Soliloquy, Remi, Psyde Projects, + More The Espy, Gershwin Room Tim Braun 29th Apartment We Are The People, Skyways & Highways Grace Darling Hotel Witch Hats, White Walls The Liberty Social
FRI 24 1927, Dale Ryder Band The Palms Ainslie Wills, Secondhand Heart Grace Darling Hotel Al Good, Gaza, Jessie I, Matt Cant, + More The Order Of Melbourne Antarctica, The Steins Tago Mago Aram Chapers, Daniel Tardrew, Liam Waller, + More Revolver Upstairs Australian Kingswood Factory, Muscle Mary, Saturday Knights Cornish Arms Hotel Baby Et Lulu, Abby Dobson, Lara Goodridge Caravan Music Club Banjo Jackson, Sasha & The Door Horse, Kaura Cronin, Nick Bastiras Wesley Anne (Band Room) Beautiful Girls, DJ Rudekat The Corner Hotel Bluez Deluxe Lomond Hotel Bob Log III, Puta Madre Bros, Rattlin’ Bones Blackwood The Tote Briana Cowlishaw Quartet Paris Cat Jazz Club Burning Love, Pity Scissor, Urns Bendigo Hotel Business Hours St Jeromes Clint Boge, Dan England The Evelyn
HILLTOP HOODS: Saturday 25 August, Festival Hall
Tread, Howling Dollhouse, Die Hard Dolls, Insygnia Bended Elbow, Geelong Verona Lights, Moonshifter, MF Jones, No Stairway, The Smoking Aces The Espy, Gershwin Room Vikingo De Jerez Open Studio Voodoo Swamp Daddies, Infernos Lucky 13 Garage Wendy Stapleton Frankston Arts Centre
SAT 25 Cold Hiker, Loki, James Sidebottom Bended Elbow (Front Bar), Geelong Craven Souls, Gypsy Physics, Rory Dwyer Ruby’s Lounge Damon Smith Wesley Anne (Front Bar) Dan Bourke & Friends The Drunken Poet Darius Mendoza Prince Maximilian Deaf Wish, Deaf Wish Jukebox Pony Late Show DJ Femme, Phil Ross, Chris Mac, B-Boogie, Dozza, 5FT2 Co. & Fusion Nightclub at Crown Doll Squad, The Antoinettes, Sooki La La Yah Yah’s Dr Ludwig Yah Yah’s (Late) El Moth Bar Open Faker, Mountfield Plains, The Quarters Ferntree Gully Hotel Footy Sporting Club Hotel Grace Knight Wellers of Kangaroo Ground Haunting August, Arcane Saints, Falconio, Max Crawdaddy Cherry Bar Hayden Calnin, Lowlakes, Tom Milek The Workers Club (Late) Hilltop Hoods, Horrorshow, Briggs Settlers Mildura Home To Kelly, Third Earth, The Tarantinos, The Submarines, Dear Ale The Brunswick Hotel Hunting Grounds, Gung Ho Karova Lounge, Ballarat Internal Rot, Trench Sisters, Tax, Ratsak Pony Jack On Fire, Bayou, DJ Ken Eavel Retreat Hotel James Sherlock Trio Uptown Jazz Café Jamie Lockhardt, Craig Fraser, Mark Gardner Band Idgaff Bar and Venue Liquid Stranger, + Local Support Brown Alley Lucky 7, DJ Barbara Blaze, Greazy Chicken The LuWow Forbidden Temple Matt Rad, Mr George, Phato A Mano, Tom Meagher Lucky Coq Mick Harvey, JP Shilo The Bridge Hotel Mistress Mondays, Lost Weekends, The Corsairs Ding Dong Lounge
Nichaud Fitzgibbon Dizzy’s Jazz Club Obits, Kim Salmon, Ross de Chene Hurricanes, Bad Vision Northcote Social Club Oh Mercy The Workers Club Passenger The Hi-Fi Poprocks at the Toff The Toff In Town Pretty Villian, Artilah, Los Amigos, Midnight Drive, Moments Apart The Prague Prophets Of Addiction, The Mercy Kills Portland Hotel Quarter Life Crisis, AJ Steel, King George, Tim Smyth, Trio Agogo 303 Rachel Haircut, Kure, B.O.O.M.A, Jacob Silver, + More Loop Saltwater Rhythms Bennetts Lane Saritah Baha Tacos Saving Cleopatra, Nikhail, Mani & the Rissoles, Cardinals, + More Revolver Smoking Martha, The Underhanded Lyrebird Lounge Suff Daddy, Min Payne, Run For Your Life, + More Prince Bandroom Suzie Stapleton, DJ Cisco Rose, Little Wing, My Left Boot, Sun God Replica Old Bar Terry Oldfield The Palais, Hepburn Springs The Balls, Fighting Mongoose Victoria Hotel The Black Swans Of Trespass Famous Blue Raincoat The Box Brightspace Gallery The Delta Riggs, Money For Rope The Loft, Warrnambool The Go Set, Between The Wars, The Ravines, Jimmy Wilson The Espy, Lounge Bar The Great Western, Perico Gertrude’s Brown Couch The Mercury Theatre, Cat or Killer, Dear Stalker, Albury Grove The Espy, Basement The Speedsters Pascoe Vale RSL The Terry McCarthy Special, The Idle Hoes Penny Black The Velocettes, Ryan Nico & The Overlanders, HOY The Curtin Bandroom
Albare, George Garzone Monash University, Clayton Andee Frost The Toff In Town (Late) Apache Medicine Man, Sons of Abraham, Involume, Apsis, Shortfall The Espy, Gershwin Room As a Rival, Mr Sharp Pony Late Show Beautiful Girls, DJ Rudekat The Corner Hotel Benny & The Fly-ByNighters, Suzannah Espy, Ian Collard Flying Saucer Club Brooklyn, Sensory Amusia, The Seraphim Veil, Asperity Within The Workers Club Buried Horses The Tote (afternoon) Cast Iron Piñata, The Vagrants, Overdrive Bended Elbow, Geelong Cherrywood The Drunken Poet Chris Cavill & The Long Weekend Lomond Hotel Cooper Collective Duos The Great Britain (afternoon) Dave Larkin Band, Spencer P Jones, + Special Guests Grace Darling Hotel Die! Die! Die!, Damn Terran Ding Dong Lounge Dread, Master Beta, Von Stitch, Mother Slug Reverence Hotel, Footscray Duke Batavia Post Office Hotel Emma Peel, Mohair Slim, Buddy Love Grace Darling Cellar Bar Enerate, Busy Kingdom, Mapped By What Surrounds Us, Bears With Guns 303 Feenixpawl Prince Bandroom Fox Road, Jen Knight & the Cavaliers Victoria Hotel Grace Knight Caravan Music Club Greg Slaiher, Will Addict The Order Of Melbourne Hayes Carll, Kirsty Akers Northcote Social Club Hilltop Hoods, Horrorshow, Briggs Festival Hall Hunting Grounds, Gung Ho The Toff In Town James Fava, Keesh, Will Sparks Billboard Jimmy Hawk St Jeromes Judge Pino & the Ruling Motions Bar Open
Kurtis Gentle, Elvina, Susan Lily Chandelier Room Mannequin, Catatonic, Syto Abode Mark Smith St Andrew’s Hotel, Arvo Show Matt Bailey Sporting Club Hotel Matt Glass Wesley Anne (Front Bar) Max Savage & The False Idols Baha Tacos Moonee Valley Drifters, + Guests Highway 31 Moroccan Kings, Dive Into Ruin, Vitruvian Man The Evelyn New Dub City Sound, Lotek, Stryka D, Phil MacDougal Night Owl Ol’ Timey Music Jam Session, Craig Woodward Victoria Hotel (afternoon) Prophets Of Addiction, Ten Thousand, Smoking Martha Barwon Club Pspiralife, One Tasty Morsel, Pakman, Azrin, + More Loop Ransom, J’Nett, Jimmy James The Espy, Basement Rattlin’ Bones Blackwood, Dan Dinnen The Great Britain Raw Brit St Andrew’s Hotel Richie 1250 Yah Yah’s (Late) Ross Wilson & the Peacenicks The Palais, Hepburn Springs Spectrum Tago Mago Stan Walker, Didier Cohen, DJ Samari, + More Co. & Fusion Nightclub at Crown Teenage Mothers, Scotdrakula, Flying Colours, Richie 1250 & The Brides Of Christ, Shards, See Saw The Curtin Bandroom The Breadmakers, Bruce Milne The LuWow Forbidden Temple The Fearless Vampire Killers, Harts, Red Aces, Winter Moon, Western Stars The Espy, Lounge Bar The Hello Morning The Bridge Hotel The Latonas, Kids Without Bikes, Seesaw, Jay Dee Revolver The Seven Ups The Penny Black The Ska Vendors, Lucky 7 Williamstown RSL The Slingers of Sentiment Wesley Anne (Band Room) The Smith Street Band, Hoodlum Shouts, The Bennies, Foxtrot The Tote The Wellingtons, Stringfellow Hawke, Oh Deanna Yah Yah’s Thorns, Distant Wreck, Legions, Local Pony Three Quarter Beast, Husk, Riff Fist, Caladonia The Brunswick Hotel Viva Las Vegas Thornbury Theatre W4 Guests, East Brunswick All Girls Choir, Josh Davidson The Tote, Cobra Room
Weened, TJ & Gringo Party, DJ Mermaid Door Cherry Bar Wicked Annabel, Seedy Jeezus The Brunswick Hotel (afternoon)
SUN 26 Aircrafte, Hollow Everdaze, Sandcastles The Evelyn (afternoon) Alice Blu, Paper Sky, Busy Kingdom The Curtin Bandroom Andyblack, Haggis The Toff In Town (Carriage Room) Beautiful Girls, DJ Rudekat The Corner Hotel Bluevein, Dear Plastic, Saint Hill Bar Open Burlesque Wesley Anne (Band Room) Dan Watkins, Paddy Montgomery Sporting Club Hotel Dave Addis, Scott Tinkler, Simon Barker Uptown Jazz Café David Jones, Carmen Warrington, Megan Kenny Kindred Studios Performance Space Deborah Conway, Willy Zygier Flying Saucer Club George Hyde, Josh Seymour Victoria Hotel Harlequin Chapter, + Guests The Brunswick Hotel (afternoon) Ian Bland & Lamington Drive Orchestra Lomond Hotel (afternoon) Kerryn Fields, Laura K Clark The Great Britain Leo Sayer, Jon Stevens, Rhonda Burchmore, Ross Wilson, + More The Palms Lloyd Spiegel Bay Hotel Marty Kelly, Aubury Maher Lomond Hotel Michelle Meehan, Sarah Elda Chandelier Room Monstressor, Vincent, Lunaire The Brunswick Hotel New York Stories The Toff In Town Nigel Wearne And The Cast Iron Promises The Retreat Hotel Nudist Funk Orchastra, Dale Ryder Band, Bad Boys Batucada The Espy, Lounge Bar Oracle 303, Arvo Show Quarry Mountain Dead Rats The Workers Club (afternoon) Red X, Uptown Ace, The Council, Barbarion Cherry Bar Shaun Kirk St Andrew’s Hotel, Arvo Show Sime Nugent, Lily & King The Drunken Poet Simon Henry Bruce, Sharon Mac Duo Tago Mago Slash, + Guests Hisense Arena Spectrum trio The Ivy Restaurant, Olinda Tehachapi, Matt Kelly, + Special Guests Grace Darling Cellar Bar The Bulls The Bridge Hotel (afternoon) The Detonators Ferntree Gully Hotel
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The Royal Jelly Dixie Land Band Post Office Hotel The Smith Street Band, Jamie Hay, Maricopa Wells, Sweet Teens Reverence Hotel, Footscray The Stetson Family Carringbush Hotel The Vibraphonic Orkestra, Kooyeh, Natalie Tomlins & The Echo Point Mystics, Jace Excell & The Soul Six The Evelyn Trappis Afterland Band, Adam Cole, Dust Revival Band Yah Yah’s Tyme X Tujiko, Emergency, Mountain Static Northcote Social Club Xavier Michaelidis, Matt Burton, David Quirk, Karl Woodbury 303
MON 27 Albare, George Garzone Bennetts Lane Cherry Jam Cherry Bar King of the North, Apache Medicine Man The Espy, Lounge Bar Max Crumbs, Kangaroo Skull, Legendary Hearts Northcote Social Club Melting Pot Wesley Anne (Band Room) Mike Noga Post Office Hotel Murphy’s Law, Brian Cowlishaw 303 Nigel Wearne And The Cast Iron Promises Old Bar Passionate Tongues Poetry The Brunswick Hotel Pitbull Rod Laver Arena Roman Wafers, Michael Ozone, Michael Kucyk The Toff In Town (Carriage Room) The Tesky Brothers, Mouth Tooth The Toff In Town Worng, Zanzibar Chanel, Butcher Blades The Evelyn
TUE 28 Clairy Browne & the Bangin’ Rackettes, Kira Puru & The Bruise, Simon Paige Jones, Miles O’Neil, ‘ The Toff In Town Collage, Backyard Funk, The Elliots, Leadlight, Baberaham Lincoln Lounge Bar Discovery Night The Brunswick Hotel Hiatus Kaiyote, Ghost Orchid The Workers Club Irish Session Lomond Hotel Kestral The Bridge Hotel Obits, Mesa Cosa, Yis The Tote Open Mic Night Wesley Anne (Band Room) Patron Saints Cherry Bar Sime Nugent John Curtin Hotel The Simon Wright Band, Anthony Young, Huw Joseph The Evelyn
TOUR GUIDE THE NIGHT TERRORS: September 1 Ding Dong SHANNON NOLL: September 1 Moama On Murray Resort; 25 BHP Esso Wellington Centre (Sale); 26 Capital Theatre (Bendigo); 27 Wangaratta PAC; October 11 West Gippsland Arts Centre; 12 Ballarat Regent Multiplex; 13 Eastbank Centre (Shepparton); 14 Lighthouse Theatre (Warrnambool) STARLING: September 6 Northcote Social Club FAIRCHILD REPUBLIC: September 6 Revolver; 7 John Curtin JULIA STONE: September 6 Theatre Royal (Castlemaine); 7 Forum; 8 Meeniyan Town Hall THE MEDICS: September 6 Loft (Warrnambool); 14 National Hotel; 15 Toff; 20 Karova Lounge (Ballarat); 22 Westernport Hotel (San Remo); 21 Ferntree Gully Hotel DREAM ON DREAMER: September 6 Corner; 7 EV’s Youth Centre (AA) MIA DYSON: September 7 Old Hepburn Hotel; 22 Corner PONY FACE: September 7 Northcote Social Club CHILDREN COLLIDE: September 7 Yahoo Bar (Shepparton); 8 Bended Elbow (Geelong) ART OF SLEEPING: September 7 National Hotel (Geelong); 8 Northcote Social Club CHET FAKER: September 8 Revolt Artspace LITTLE SCOUT: September 8 Workers Club SPLIT SECONDS: September 8 Ding Dong HOWLIN’ STEAM TRAIN: September 9 Northcote Social Club THE MCCLYMONTS: September 12, 13 Palms At Crown TIM ROGERS: September 13 Spirit Bar (Traralgon); 14 Regal Ballroom; October 5 Bended Elbow (Geelong); 6 Theatre Royal (Castlemaine) XAVIER RUDD: September 13 Palace; 14 Ferntree Gully Hotel; 15 Pier Hotel (Frankston); 16 Costa Hall (Geelong); 19 Kay Street Saloon (Traralgon) THE RUBENS: September 13 Loft (Warrnambool); 14 Bended Elbow (Geelong); 15 Forum BLACKCHORDS: September 14 Evelyn EMPERORS: September 15 Workers Club CITY RIOTS: September 15 Liberty Social LANEWAY: September 16 Workers Club KATIE NOONAN, KARIN SCHAUPP: September 19 Capital Theatre; 21 Melbourne Recital Centre THE ANGELS: September 20 Corner DAMIEN LEITH: September 20 Wangaratta Performing Arts Centre; 21 Palms At Crown LANIE LANE: September 20 Beav’s Bar (Geelong); 21 Loft (Warnambool); 22 Theatre Royal (Castlemaine) MONKS OF MELLONWAH: September 21 Grace Darling; 22 Revolver, Pony Late Show BIG VILLAGE RECORDS: September 22 Northcote Social Club GREENTHIEF: September 22 Pony POND: September 23 Corner WEDDINGS, PARTIES, ANYTHING: September 28, Palace SIX60: September 28 Forum Theatre SETH SENTRY: September 28 Karova Lounge, Ballarat; 29 Corner PATRICK JAMES: September 30 Workers Club THE AMITY AFFLICTION: October 4, 5 (two shows: under-18 and 18+) Palace Theatre HEY GERONIMO: October 6 Workers Club KARISE EDEN: October 10, 11 St Michael’s Church REGURGITATOR: October 12 Hi-Fi OH MERCY: October 12 Loft (Warrnambool); 13 Karova Lounge (Ballarat); 19 Bended Elbow (Geelong); 25 Hi-Fi BIG FREEDIA: October 18 Hi-Fi; 20 Tote LAST DINOSAURS: October 21 Ding Dong (under-18s); 26 Corner CLARE BOWDITCH: October 26 Regal Ballroom; 27 GPAC THUNDAMENTALS: November 2 Basement 159, 3 Northcote Social Club THE BEARDS: November 3 Northcote Social Club; 22 Karova Lounge (Ballarat) DELTA GOODREM: November 7 Hamer Hall ANGUS STONE: November 21 Palace; 23 Ferntree Gully Hotel; 24 Pier Live (Frankston) MISSY HIGGINS: December 4 Palais GOTYE: December 8 Sidney Myer Music Bowl THE LIVING END: December 11-17, 21, 22 Corner JUSTINE CLARKE: December 15 Dallas Brooks Centre INPRESS • 53
VENUE GUIDE BAHA TACOS
Friday Saritah Saturday Max Savage & The False Idols
BAR OPEN
Wednesday Kill Ya Darlins, Kym Clark Thursday Dirty Chapters, Aids, White Veins Friday El Moth Saturday Judge Pino & the Ruling Motions Sunday Bluevein, Dear Plastic, Saint Hill
BENDIGO HOTEL
Friday Burning Love, Pity Scissor, Urns
BILLBOARD
Thursday Matt Dean, Matty Grant, Phil Ross Saturday James Fava, Keesh, Will Sparks
BRUNSWICK HOTEL
Wednesday Open Mic
CARAVAN MUSIC CLUB
Friday Baby Et Lulu, Abby Dobson, Lara Goodridge Saturday Grace Knight
CORNISH ARMS HOTEL
Friday Australian Kingswood Factory, Muscle Mary, Saturday Knights
GRACE DARLING HOTEL
Wednesday Michael Plater, The Exit Keys, The Coves, Claire Birchall Thursday We Are The People, Skyways & Highways Friday Ainslie Wills, Secondhand Heart Saturday Dave Larkin Band, Spencer P Jones, + Special Guests
JOHN CURTIN HOTEL
Tuesday Sime Nugent
LOOP
Thursday NuBody
Friday Rachel Haircut, Kure, B.O.O.M.A, Jacob Silver, + More Saturday Pspiralife, One Tasty Morsel, Pakman, Azrin, + More
LOUNGE BAR
Wednesday Danny Silver, Manchild, Mu-Gen Tuesday Collage, Backyard Funk, The Elliots, Leadlight, Baberaham Lincoln
LUCKY COQ
Wednesday Agent 86, Lady Noir, Joybot, Kiti, Mr Thom Friday Matt Rad, Mr George, Phato A Mano, Tom Meagher
NORTHCOTE SOCIAL CLUB
Thursday Money For Rope, The Delta Riggs Friday Obits, Kim Salmon, Ross de Chene Hurricanes, Bad Vision Saturday Hayes Carll, Kirsty Akers Sunday Tyme X Tujiko, Emergency, Mountain Static Monday Max Crumbs, Kangaroo Skull, Legendary Hearts
PONY
Thursday Duncan Graham & His Co-Accused, Johnny Gibson & The Hangovers, Rex Watts Friday Internal Rot, Trench Sisters, Tax, Ratsak Saturday Thorns, Distant Wreck, Legions, Local
PRINCE BANDROOM
Friday Suff Daddy, Min Payne, Run For Your Life, + More Saturday Feenixpawl
REVOLVER
Wednesday Speak Easy, Dan Krochmal, Sol & Fontaine Friday Saving Cleopatra, Nikhail, Mani & the Rissoles, Cardinals, + More Saturday The Latonas, Kids Without Bikes, Seesaw, Jay Dee
REVOLVER UPSTAIRS
Wednesday Speakeasy, Dan Krochmal, Fontane, Sol Thursday Hans DC, Jake Judd, Nikki Sarafian
140 Sydney Rd
BRUNSWICKHOTEL.NET
Friday Aram Chapers, Daniel Tardrew, Liam Waller, + More
SPORTING CLUB HOTEL
Thursday Cullen Friday Footy Saturday Matt Bailey Sunday Dan Watkins, Paddy Montgomery
THE CORNER HOTEL
Friday Beautiful Girls, DJ Rudekat Saturday Beautiful Girls, DJ Rudekat Sunday Beautiful Girls, DJ Rudekat
THE DRUNKEN POET
Wednesday Kate Lucas, Jayne West Thursday Tango Angelitos, Rowan Blackmore Friday Dan Bourke & Friends Saturday Cherrywood Sunday Sime Nugent, Lily & King
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THE HI-FI
Friday Passenger
THE OLD BAR
Friday Suzie Stapleton
THE ORDER OF MELBOURNE
Friday Al Good, Gaza, Jessie I, Matt Cant, + More Saturday Greg Slaiher, Will Addict
THE STANDARD HOTEL
Wednesday Dead Water City
THE TOFF IN TOWN
Wednesday Francis Plagne, The Ancients, Matt Bailey Thursday Dick Diver, The Stevens, The Clits Friday Poprocks at the Toff Saturday Hunting Grounds, Gung Ho
THE TOFF IN TOWN (CARRIAGE ROOM)
Thursday Prequel, Edd Fisher, Principal Blackman Sunday Andyblack, Haggis Monday Roman Wafers, Michael Ozone, Michael Kucyk
THE TOFF IN TOWN (LATE)
Saturday Andee Frost
THE TOTE
Wednesday Sweet Teens, New Gods, Foxtrot Thursday Brightstar, Tender Bones, Drawing Arcs Friday Bob Log III, Puta Madre Bros, Rattlinâ&#x20AC;&#x2122; Bones Blackwood
Saturday The Smith Street Band, Hoodlum Shouts, The Bennies, Foxtrot Tuesday Obits, Mesa Cosa, Yis
THE TOTE, COBRA ROOM
Saturday W4 Guests, East Brunswick All Girls Choir, Josh Davidson
THE WORKERS CLUB (AFTERNOON)
Sunday Quarry Mountain Dead Rats
YAH YAHâ&#x20AC;&#x2122;S
Friday Doll Squad, The Antoinettes, Sooki La La Saturday The Wellingtons, Stringfellow Hawke, Oh Deanna Sunday Trappis Afterland Band, Adam Cole, Dust Revival Band
NO COVER CHARGE
FRI 24 AUGUST
THE BRUNSWICK HOTELâ&#x20AC;&#x2122;S OPEN MIC NIGHT
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Sunday Aircrafte, Hollow Everdaze, Sandcastles
Sunday New York Stories Monday The Tesky Brothers, Mouth Tooth Tuesday Clairy Browne & the Banginâ&#x20AC;&#x2122; Rackettes, Kira Puru & The Bruise, Simon Paige Jones, Miles Oâ&#x20AC;&#x2122;Neil, â&#x20AC;&#x2DC;
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WEDNESDAY THE 22ND OF AUGUST - 8PM
+43
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THE EVELYN (AFTERNOON)
SARITAH
WITH YOUR HOST BRODIE GET IN AND REGISTER FROM 7PM ONWARDS $10 JUGS OF BRUNSWICK BITTER
SAT 25 AUGUST
THURSDAY THE 23RD OF AUGUST - 8PM TILL MIDNIGHT $3 SCHOONERS $5 BASICS
MAX SAVAGE AND THE FALSE IDOLS
8PM
POUR PARLOUR
FEATURING: DANE CERTIFICATE, SUNK JUNK, TULLY ON TULLY
FRI 31 AUGUST
FRIDAY THE 24TH OF AUGUST - 9PM
HOME TO KELLY
ALLENSWORTH ( USA )
FEATURING: THIRD EARTH, THE TARATINOS, THE SUBMARINES, DEAR ALE SATURDAY THE 25TH OF AUGUST - 5PM
WICKED ANNABEL
SAT 1 SEPTEMBER
WITH GUESTS SEEDY GONZALES
Papa Pilco and The Bin Rats
9PM
THREE QUARTER BEAST
SAT 8 SEPTEMBER
WITH GUESTS HUSK, RIFF FIST, CALADONIA
The Quarry Mountain Dead Rats
SUNDAY THE 26TH OF AUGUST - 5PM
HARLEQUIN CHAPTER FINAL SHOW!
WITH GUESTS, TBC! 9PM
MONSTRESSOR
WITH GUESTS VINCENT, LUNAIRE MONDAY THE 27TH OF AUGUST - 8PM
PASSIONATE TONGUES POETRY
HOSTED BY MICHAEL REYNOLDS OPEN STAGE READINGS AND SPOKEN WORD WELCOME WITH FEATURE PERFORMERS EVERY FORTNIGHT $10 JUGS TUESDAY THE 28TH OF AUGUST - 9PM
THE BRUNSWICK HOTEL DISCOVERY NIGHT
GIVING CHANCES TO UP AND COMING LOCAL TALENT! THIS WEEK: SPEAR BRITTANY, EVACUATE THE FALLEN, THEY
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WED 22 Bass Party: Laundry Coq Roq: Lucky Coq Cosmic Pizza: NHJ: Bimbo Deluxe Halfways: The Workshop Inner City Trash: Lounge Loaded Wednesdays: Revolver Upstairs Lost and Found: Spidey, Gupstar & Dan, Shaky Memorial: Revolver Upstairs Lounge Wednesdays: Matty Raovich, PCP, Adelle: Lounge Mechanics: Workshop Wednesday Night Special: Post Percy: New Guernica Wednesdays @ Co: Petar Tolich, Scotty E: Co. Nightclub Whisky Wednesday: Strange Wolf
THURS 23 3181 Thursdays: Hans DC, Nikki Sarafian, Jake Judd, Sam Gudge, Sean Rault, Jesse Young, John Doe: Revolver Upstairs
CLUB GUIDE Billboard Thursdays: Billboard
Safari Thursdays: Pretty Please
Extravaganza: The Workshop
Bottom End Thursdays: Bottom End
Shake Some Action: Street Party, Samaritan, Polyavalanche: OneSixOne
Fake Tits: Tramp
Do Drop In: Kiti, Lady Noir, DJ Foo: Carlton Club Dub Step: Eurotrash
Soul in the Basement: Cherry Bar
First Stop Thursdays: Urban Bar
Switch: EVE The Factory: Trak
Free Range Thursdays: Lucky Coq
Thursdays: Liberty Social
Funhouse: Co. Nightclub
Tigerfunk: Bimbo Deluxe
Glitch Thursdays: Q Lounge
Trinity Thursdays: La Di Da
Heartbreaker: Revolver Bandroom
Unlucky: Seven Nightclub
Loose Joints: The Workshop
Wah Wah Thursdays: Wah Wah Lounge
Lounge Thursdays: Citizen.com, Ghetto Filth: Lounge
FRI 24
Love Story: 1928: The Toff
393 Fridays: First Floor 393
Midnight Express: The Toff Carriage Room
Bass Station: 3D
New Guernica Thursdays: Post Percy, Awesome Wales: New Guernica Night Skool: Eurotrash Noizy Neighbours: Room 680 Pennies: Laundry Rhythm-al-ism: Fusion
Block Party Fridays: Marrakech Bottom End Fridays: Bottom End Booty Call: Laundry Breakfast Club: Jody Westernoff: New Guernica Destination: La Di Da Get Madd: Order of Melbourne
SAT 25
Freedom Pass Fridays: Co. Nightclub, Fusion Freeplay Fridays: Amber Lounge
All City Bass: Brown Alley Alumbra Saturdays: Alumbra Audioporn: OneSixOne
Fridays at Eurotrash: Eurotrash
Bam Bam Saturdays: Q Lounge
Indecent Fridays: Syn Bar
Big Danciní: Laundry
Juicy: Bimbo Deluxe La Musica: La Di Da Liquid Stranger: Brown Alley Lounge Friday: Citizen. com, DJ Who, Tahl, Dave Pham: Lounge Midnight Midnight Massacre: New Guernica
Billboard Saturdays: Billboard Bottom End Saturdays: Bottom End Empire: Stan Walker, Dider Cohen: Co. Nightclub, Fusion Extravaganza: The Workshop Favela Rock: Liberty Social
Mu-Gen, Token: Eurotrash Nexus: Rhythmik, Luke Shamanix: My Aeon Panorama: Lucky Coq PopRocks: Dr Phil Smith: Toff Retro Fridays: Club Retro Revolver Fridays: Revolver Upstairs
First Floor Saturdays: Agent 86, Moonshine, Genetix, Phil Smith: First Floor Forbidden Saturdays: Amber Lounge Gerg Slaiher, Will Addict: Order Of Melbourne Houseparty: Eurotrash
Slinky Fridays: Q Lounge Vive La Techno: Will Addict, Greg Slaiher: Brown Alley WOW Fridays: Neverland
Machine: Linas: My Aeon Majik Saturdays: Jochen Miller, Rank1: Room680
4AM Sunday Mornings: Wah Wah Lounge
Mashouse Saturdays: 577 Lt Collins
Get Wet: Word Bar
New Guernica Saturday: New Guernica Pash: The Roxy Playground: Seven Nightclub Poison Apple: La Di Da Sound Lounge: Aoki Takamasa, Kazu Kimara, Matt Radovich: Hammer Hall Special Request: Laundry Strut Saturdays: Trak Survivor: Bottom End Textile: Lucky Coq TFU Saturdays: Two Floors Up Under Suspicion: Brown Alley Unstable Sounds, Locally Hosted: Pspiralife, One Tasty Morsel, Pakman: Loop
Hotstep: Bimbo Deluxe
Wah Wah Saturdays: Wah Wah Lounge
House De Frost: The Toff
Why Not?: Pretty Please
Inthemix Awards: Chardy, Andy Murphy: Homehouse Nightclub
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SUN 26 Be.: Co. Nightclub Guilty Pleasure Sundays: Pretty Please Off Beat: The Workshop 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 Sunday Works: I Know A Place The Sunday Set: AndyBlack, Haggis: The Toff
IBimbo: Bimbo Deluxe Monday Struggle: Lucky Coq Toasted: Laundry
TUES 28 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 Harmonics: The Workshop MSG Tuesdays: Laundry Oasis: Tramp Space Hopper: Match
MON 27 Gear Shift: Horse Bazaar Hair Of The Dog: Revolver Upstairs
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56 â&#x20AC;˘ INPRESS
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OPEN 7 DAYS
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INPRESS • 57
BEHIND THE LINES TIME ON THEIR SIDE
BROUGHT TO YOU BY
WITH MICHAEL SMITH
AUSTRALIA’S ULTIMATE DRUMMERS WEEKEND
It’s on again, the annual Ultimate Drummers Weekend, pulled together by DRUMscene magazine and happening Saturday 25 and Sunday 26 August at Darebin Arts & Entertainment Centre in Preston. Headlining in masterclasses, workshops and clinics over the weekend are three of the world’s most respected drummers – Thomas Long, Dave Weckl and Dom Famularo. The Austrian Lang’s CV includes stints with Paul Gilbert, John Wetton, Robert Fripp and Glenn Hughes among many and his 1995 solo album, Mediator, topped the European charts. All his instructional DVDs and books have been bestsellers. American Weckl, who has played with everyone from George Benson and Chick Corea to Simon & Garfunkel and Diana Ross is no stranger to Australia either, while Famularo is similarly celebrated as both a player – with BB King, Lionel Hampton and more – and as an educator. Call Drumtek on (03) 9482 5550 for details and tickets.
DIESEL & THE MINI MATON Though a lot smaller than the standard dreadnaught, the Mini Maton Diesel Model is a small-bodied acoustic guitar with a very big voice. It features an “AA Select” Grade solid Sitka spruce top, solid blackwood back and sides, AP5 pickup system, gold Grover Rotomatic machine heads and a vintage amber stain, available in six- and 12-string configurations. For the electric guitarist, in something of a coup, Maton have called on Josh Homme to help develop the BB1200 JH, a semi-hollow body with centre block, which features Victorian blackwood front and back, with a “rock” maple neck for maximum sustain, Maton JHB and JHN pickups, with Alnico 8 magnets, Trapeze tailpiece and bridge. As always though, the proof is in the playing, so check either or both out at your local Maton stockist.
58 • INPRESS
It’s been 15 years since the last album from LA’s Redd Kross, but the pop-punk originals are back with Researching The Blues, and talk all about it with Michael Smith.
T
heir first gig, back 35 years ago, was opening for Black Flag at a school graduation party, and for 20 years Redd Kross, based around brothers singer and guitarist Jeff and bass player Steve McDonald, made the kind of pop punk that would inspire everyone from the Seattle grunge kids to New York art rockers Sonic Youth. A much-needed hiatus after the release and touring of their last album, Show World, looked like it might become something more permanent with the untimely passing, in 1999, of guitarist Eddie Kurdziel from an overdose. Reconvening in 2006 with Robert Hecker from It’s OK on guitar and The Muffs’ drummer Roy McDonald, Redd Kross started recording a new album in September the following year, but it’s only now that the Researching The Blues album, recorded at American Recorders in LA with ex-Ramones drummer Tommy Erdelyi producing, has finally been released. “In our hiatus time,” Steve McDonald explains, “both of us have gotten interested in learning recording and both have spent a lot of time making our own recordings and recording other people – Jeff’s produced other bands, I’ve produced other bands and artists.” “But with this record, it’s very strange,” Jeff chips in, “because we started recording it on half-inch eight-track, and then it kind of mutated into going in the studio with the Neve board, then going into our own basements with our Pro Tools – we just did every imaginable technique.” “Yeah, we just worked with what we had,” Steve continues. “We went into a proper studio and did, like, basic tracks for a while, but then the thing that I think was the biggest game-changer for us was that we’d had these tracks for quite a while now and they’d been in various stages of being finished but I felt so strongly about making sure that the record lived up to the songs, ‘cause my brother had written this
incredible collection of songs, and we had them around in various forms of rough mixes and they were cool and they were exciting but I was still, like, this is such a beautiful picture, let’s not put a shitty frame around it. “And so I feel like in some ways I had to learn how to mix well enough to get to the stage where I thought that the sound and the presentation lived up to the content.” That, along with the fact that the brothers found themselves busy with other projects, explains the length of time it took to get the new album together. That and, as Jeff admits, “it is bad for someone like me, I know, the lack of deadlines. You’ll sing a backing vocal and, like, four weeks later go back and do something else.” “It’s hard to stay focused and be disciplined,” Steve adds. “I mean, basically, it’s funny how this record got finished. Like I said, it started a while ago and then we’ve had other things, but I came to Australia four months ago with a hardcore band I also play in called OFF!, with Keith Morris, the original singer of Black Flag, and Jeff actually took me and Keith to the airport, and Jeff had been working on the record a little bit prior to that and he just gave me a disc and he said, ‘Look, this is where I think the record is right now. I think it’s really close,’ and I had two things on my iPod, a biography on tape about Albert Einstein, like, twenty hours of Einstein’s life, and what was to become the new Redd Kross record, Researching The Blues. “So I spent all my listening on that tour learning about Albert Einstein,” he chuckles, “his theories…” “Applying them to our record,” Jeff interjects. “Kind of,” Steve continues, “and getting super inspired. So in a weird sort of way, the finishing of that record started in this country. When I got home in December, I got really disciplined and said, ‘I’m not doing anything else – I’m not going out at night, I’m not hanging out with my friends – I’m going to stay in the basement, I’m going to finish this record. I was going to do all those backing vocal parts I hadn’t done yet and I was going to mix this record. And that’s what I did.” For all the changes in the way they approached the recording of Researching The Blues, which of course is decidedly not a blues record, it still sounds like four guys all in the same room enjoying making a racket. “Essentially we were,” Jeff confirms. “The only time we weren’t was,
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like, if there was a song to be sung, I had the luxury of just sitting by myself and recording a vocal – and a few guitar solos – but for the most part we had a really solid basic track as a band.” “We did, like, sixty per cent of the record in one week,” Steve adds. “It wasn’t that different from our other records,” Jeff continues, “in that sense, where we were all together as a band…” “But then it was just sort of the overdubbing portion,” Steve cuts in, “which is – the record is very light on overdubs – but just that portion of it, normally a band goes into a studio, then to a cheaper studio for an extra week and you nail down your overdubs and some of the mixes and you’re done. That was all left up to us, and it’s hard when you’re by yourself. I really give up respect to the artists that do the entire thing themselves because it’s hard to not have a cheerleader in the room going, ‘Wow, that was an awesome take!’ Or whatever it is that helps to motivate people.” “And another thing about the new technology,” Jeff adds, “being able to record at home. It’s not about cutting and pasting and doing all this trickery, ‘cause for me I approach it just the same way as normal studios, just that it’s in a box. The biggest, I think, struggle is just making decisions, you know, especially when you’re working by yourself – ‘Is this good? I dunno’ and you go off in this direction for a day, then, ‘No that’s not good’ – that’s a nightmare. Having too many choices.” Researching The Blues is out now through Shock Records.
2012 MELBOURNE FRINGE FESTIVAL 26 SEP â&#x20AC;&#x201C; 14 OCT Celebrating 30 years of independence and art Tickets on sale now at melbournefringe.com.au