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ISSUE 1242

W E D N E S D AY 1 9 S E P T E M B E R 2 0 1 2

Thu 20. 7pm - Pause Fest Meet & Greet Reignite the fire for Pause Fest 2012 screening followed by drinks, chats, Pause visuals & ipad DJ's Fri 21. 9pm - Dusty Milk Crates Vol.2 a mixed bag of visual art, dj’s & live beats ranging from future funk, boogie, soul & future beats from Amin Payne, Jackson Miles, SilentJay, Oisima, Able8, Tom Showtime - Visuals by Chronic Sans Sat 22. 10pm - Morebass ghettofunk, hiphop, dubstep, electro, broken beats and techno from Smile on Impact, C:1, Dan Deviant, JD, cuznmatt & STFU1 with Alt Esc Del on projections Mon 24. 6pm - The Vault a salon for creatives Septemebr guest speaker David Nichols Tue 25. 7:30pm - Loopdeloop an animation challenge

KATCHAFIRE INPRESS 12 Foreword Line brings you all the latest tour announcements 14 Moves and shakes with Industry News 16 The rise and rise of The Rubens 18 Grizzly Bear are back, harder and heavier 19 Regular John can’t live without music 20 Mystery Jets on kind-of concept albums 22 Enter Shikari are truly unique 24 Snow Patrol are unapologetic 26 The US-approved Monks Of Mellonwah 26 New faces, same old The Angels 26 Katchafire pinch themselves everyday 26 Nada Surf are still popular 28 The Exploders are back with a bang 28 It’s all good with Marianas Trench 28 Lehmann B Smith does his best work hungover 28 We’ve got Feelings too 30 On The Record rates new releases from The xx and Mumford & Sons

FRONT ROW 33 Check out what’s happening This Week In Arts 33 Cate Shortland’s follow-up to Somersault sees her tackle World War II Germany in Lore 33 Aussie rock legends played Melbourne Fringe artist Tommy Bradson’s substitute fathers

SATURDAY 22 SEPTEMBER

The Native Plants

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SATURDAY 22 SEPTEMBER

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INPRESS • 11


FOREWORD LINE

NEWS FROM THE FRONT

INPRESS PRESENTS

YOUR MAMMA

Melbourne slackers Drunk Mums are already causing havoc with their self-titled debut-album and it’s just out. Unveiling the cover of the album on Facebook last week, it took mere hours before the image was reported as being inappropriate and the cover was removed from the social networking site by censorship authorities. Drunk Mums will be heading out on the road to launch their debut-album, with a limited number of vinyl copies available from the shows. Catch them on Friday 19 October at the Grace Darling.

OH MERCY SUPPORTS

Oh Mercy are raring to hit the road on the national Deep Heat tour. They’ve announced Millions and Split Seconds will support for all Victorian dates bar Geelong where The Evening Cast will replace Split Seconds. They play Friday 12 October at the Loft (Warrnambool), Saturday 13 at Karova Lounge (Ballarat), Friday 19 at the Bended Elbow (Geelong) and Thursday 25 at the Hi-Fi.

WEDNESDAY 19 SEPTEMBER

RESIDENCY

DEMIAN CLEVER AUSTIN

KIRKIS DJ JACKSON MILES ENTRY $7, 8:30PM

THURSDAY 20 SEPTEMBER

AU REVIEW’S 4TH BDAY

MARTIN CILIA SURF BAND THE RECHORDS DAN WEBB CASH SAVAGE MC SUPER-SECRET HEADLINER

GY!BE SHOW DETAILS

Seminal Canadian post-rock collective Godspeed You! Black Emperor will bring their heart-rending live show to Australia for the first time this February. Already announced to perform at ATP’s I’ll Be Your Mirror, the band will also headline the Forum Theatre on Friday 15 February. Don’t miss this extremely rare opportunity to see the incredible force that is Godspeed You! Black Emperor.

FRIDAY 21 SEPTEMBER

ALBUM LAUNCH

MASSIVE CHOIR CARTE BLANCHE ZANE B WISE

ENTRY $16 DOOR, $11 THRU MOSTHIX, 7PM

SATURDAY 22 SEPTEMBER

ESG

SO MUCH SWEETNESS

THE SHIFITES T-BYRDS

Sugar Mountain will be held over multiple days in January, with the main event taking place at the Forum Theatre on Saturday 19 January. The festival will also utilise ACMI, Rooftop Bar, Polyester Records and Melbourne Central to showcase an impressive array of local and international creative talent. Curated by To & Fro Family, Two Bright Lakes and Wing & Gill, Sugar Mountain’s music and sound program is an inspired selection of local and international acts and includes thus far ESG, Action Bronson, HTRK, Kirin J Callinan, X Kris Moyes, Laurel Halo, Peanut Butter Wolf and Woods. There’s plenty more to be announced and tons of visual art also. Head to sugarmountainfestival.com for all the details.

ENTRY $7, 2PM

EXTRA SOMETHING FOR KATE SHOWS

SINGLE/VIDEO CLIP LAUNCH

THAT GOLD STREET SOUND LYNDAL BARRY AND THE APOLLOS THE SEVEN UPS

ENTRY $10 DOOR, $5 CONCESSION, 9PM

SUNDAY 23 SEPTEMBER

MATINEE SHOW THE SKYLINES MARMOSET

RESIDENCY – FINAL NIGHT

AMANITA HOLLOW EVERDAZE SUNK JUNK MAKISA SOOKY LA LA

DONATION ENTRY, 8PM $10 JUGS!

TUESDAY 25 SEPTEMBER

NEPH STAND TALL

THE MIND BOGLES

ARMY AND EMPERORS

Gary Clark Jr has already been announced as part of the Big Day Out line-up, but now fans will have the chance to see the budding bluesman up close and personal in newly-announced intimate headlining shows. He’ll play Tuesday 22 January at the Corner Hotel.

For more than a decade Summadayze has ruled supreme as one of Australia’s iconic summer celebrations. Year after year Summadayze has bought you the biggest and best international live acts of our time and 2013 will be no different. It will take place New Year’s Day at Sidney Myer Music Bowl and features: The Chemical Brothers DJ set, MIA, Knife Party, Fedde Le Grand, Mark Ronson DJ set, Kimbra, Booka Shade, Eddie Halliwell, AN21 & Max Vangeli, Carl Craig 69 Live, Maya Jane Coles, Disclosure Live, Erol Alkan, Fake Blood, Adrian Lux, Breakbot Live, Hudson Mohawke, Araabmuzik, Icona Pop and heaps more.

Melbourne MCs Yung Warriors will hit the road in November for their Hip Hop Coroboree national tour. The 14 date tour will see the Indigenous duo lap around the country, stopping in capital cities and regional centres in support of their new record Standing Strong. They play Thursday 1 November at the Loft (Warrnambool), Friday 2 at FReeZA (Portland), Friday 16 at First Floor, Saturday 17 at the National Hotel (Geelong), Thursday 29 at Karova Lounge (Ballarat) and Friday 7 December at Sand Bar (Mildura).

CLARK’S ON

CA VA (QLD) TASH SULTANA

MONDAY 24 SEPTEMBER

ONCE WERE WARRIORS

Sugar Army are heading out on the road on the Summertime Heavy album tour with special guests Emperors. They play Saturday 20 October at the Toff In Town with The Pretty Littles in second support.

EP LAUNCH

ENTRY $7, 7PM

Violent Soho first shot into the music world’s eyes when they signed to Thurston Moore’s record label Ecstatic Peace! in 2009 and released their sophomore self-titled LP. It was a move that saw the four friends relocate to the US for the next 18 months. Since returning to Australia the band have been hard at work writing and stockpiling material for their upcoming album due out next year, the first taste of which is their new single Tinderbox. They’re taking it on the road and play Saturday 17 November at the Tote.

Northeast Party House return with their new single Stand Tall and national single launch tour. Following on from Pascal Cavalier, Stand Tall is the second offering from the band’s recording sessions held in April this year. Featuring aggressive drums bursts and distorted guitar tones Stand Tall shows a new, slightly more serious side to the five-piece garage dance band. Catch them on Thursday at the National Hotel (Geelong), Friday at the Espy, Saturday at the Karova Lounge (Ballarat) and Wednesday 26 September at the Corner Hotel.

The Something For Kate tour is selling so fast that new shows have been added. If you’re quick you’ll still find tickets for their Monday 8 October at the Corner.

TANE EMIA-MOORE HUDSON

HAZY DAYZE

ANGRY BOYS

FREE ENTRY, 8PM $2.50 POTS, $5 VODKAS!

MIA

Eric Bogle has been announced to join Arlo Guthrie on the Port Fairy Folk Festival line-up. The festival takes place over the weekend of 8–11 March and first release tickets are selling quickly. Head to portfairyfolkfestival.com for tickets and details.

DING-A-LING-A-LING

Sleigh Bells will be returning to Australian shores in 2013 for performances that are set to be equal parts dance party and epic live show. While the Brooklyn duo are visiting for Big Day Out, they will also be playing two very special I Oh You parties. Sleigh Bells’ unmissable live performance will be joined by the ferocious DZ Deathrays and I Oh You DJs. They hit Billboard on Wednesday 23 January.

J-LO SECOND SHOW

After selling out her first two shows in quick succession Jennifer Lopez has confirmed second and final shows in Sydney and Melbourne. The new Melbourne show will take place on Wednesday 12 December at Rod Laver Arena. Advance tickets will be available to all Visa credit, debit and prepaid cardholders from 2pm Friday. Frontier members pre-sale starts 11am Monday and general public tickets are on sale Wednesday 26 September.

RESIDENCY – FINAL NIGHT

SEX ON TOAST RAWMANTICS MANDEK PENHA THE CALL UP THE VAUDEVILLE SMASH DJS

FACEBOOK.COM/PAGES/THE-WORKERS-CLUB TWITTER.COM/THEWORKERSCLUB

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ENTRY $2, 8PM $10 JUGS!

Wed 19 Sept

Wed 26 Sept

Wed 3 Oct

COMING UP TIX AVAILABLE THRU MOSHTIX:

LUKE LEGS & THE MIDNIGHT SPECIALS THE PRETTY LITTLES DJ PHIL GIONFRIDDO Thu 20 Sept

(ALBUM LAUNCH)

(SINGLE LAUNCH)

CLEVER AUSTIN (WED IN SEP) BIG WINTER – EP LAUNCH (27 SEP) KING PARROT (28 SEP) FRANCOLIN (MONDAYS IN OCTOBER) HOWARD (TUESDAYS IN OCTOBER CAMP A LOW HUM SHOWCASE (OCT 3) JERICCO - SINGLE LAUNCH (5 OCT) MOROCCAN KINGS – EP LAUNCH (OCT 6) GLASS TOWERS – SINGLE LAUNCH (OCT 12) NE OBLIVISCARIS (OCT 13)

THE EXPLODERS

THE ARCHETYPAL

SKIPPY’S BRAIN OH DEANNA

Sun 7 Oct

TIGERTOWN

CENTRE & THE SOUTH 9PM TINY LITTLE HOUSES

Thu 27 Sept

Thu 4 Oct

(EP LAUNCH)

JACK CARTY

Fri 19 Oct

Sun 28 Oct (matinee show) ‘TIMBER & STEEL PRESENTS’

Fri 21 Sept

Fri 28 Sept

Fri 5 Oct

Thu 11 Oct

(SINGLE LAUNCH)

DIRTY BALLROOM

(EP TOUR)

ALI BARTER

Sat 22 Sept

CALADONIA DJ DANGER Sat 29 Sept

Sat 6 Oct

(SINGLE LAUNCH)

(SINGLE LAUNCH) TOM LARK (NZ)

ROYAL PARADE FOX ROAD

Sun 23 Sept (matinee show) ‘TIMBER & STEEL PRESENTS’

Sun 30 Sept (matinee show) ‘TIMBER & STEEL PRESENTS’

AL PARKINSON JAMES KENYON

(SINGLE LAUNCH)

THE TIGER & ME

VANCE JOY

THE GRISWOLDS

THE ENGAGEMENT (SINGLE LAUNCH)

FEELINGS (SYD/GER)

DAVID O’CONNOR AMANITA

HEY GERONIMO

THE FEARLESS VAMPIRE KILLERS

PATRICK JAMES

Sun 7 Oct (matinee show) ‘TIMBER & STEEL PRESENTS’

THE EASTERN (NZ)

themusic.com.au

TIN SPARROW (SYD)

(7” SINGLE LAUNCH)

DARK ARTS THE RED LIGHTS

LUCY’S CROWN

Sat 27 Oct

Thu 18 Oct

THE PRETTY LITTLES CHK CHK BOOM

RED ACES

BEC LAUGHTON (BRIS)

Wed 10 Oct

(FILM CLIP LAUNCH)

STICKY FINGERS

Sun 14 Oct

MARK LOWNDES

CHICKS WHO LOVE GUNS (EP LAUNCH)

MIMI VELEVSKA

IOWA LOST WEEKENDS

12 • INPRESS

JAREK

MAXI

Sun 28 Oct ‘TIMBER & STEEL PRESENTS’

HARTS THAT GOLD STREET BAND

JACKSON MCLAREN PINKY BEECROFT (SOLO)

THE PREATURES (SYD)

TRAICOS

(ALBUM LAUNCH)

ANNA SMYRK & THE APPETITES Fri 12 Oct

Sat 20 Oct

(SYD) (EP LAUNCH)

(TWO SETS) ALISTER TURILL

STEP-PANTHER BAD DREEMS BORED NOTHING Sat 13 Oct

ESTHER HOLT (SINGLE LAUNCH) THE PRETTY LITTLES LISA SALVO

LLOYD SPIEGEL Sun 21 Oct (matinee show) ‘TIMBER & STEEL PRESENTS’

HAT FITZ & CARA ROBINSON (ALBUM LAUNCH)

Wed 31 Oct ‘I OH YOU & CONVERSE PRES’

HALLOWEEN HOUSE OF HELL’ FEAT. VIOLENT

EVERY MONDAY! LA NIGHTS $10 PINT & BURRITO BEFORE 8PM BREAKING & ENTERING DJS DJ FLETCH (24 SEP) WOODY MCDONALD DJ FLETCH (1 OCT)


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INPRESS â&#x20AC;¢ 13


FOREWORD LINE

NEWS FROM THE FRONT

INPRESS PRESENTS

I N D U S T RY N E W S W I T H S C O T T F I T Z S I M O N S frontline@streetpress.com.au

SONIC STROKES

Dallas Frasca has released her sophomore album Sound Painter. Frasca and Co hit the road immediately post release on an epic run of shows to launch the album that saw them take in venues from the Sydney Opera House to the Saloon Bar in Wagga Wagga and everywhere in between. Now, with over 30 shows and counting, and with the album still pummeling radio waves, Dallas Frasca and bandmates have just announced the final leg of their Sound Painter album launches. Friday 12 October they play the Prince Of Wales.

THIRD SHEERAN SHOW

Ed Sheeran’s performances next year are set to be a delight for all those lucky enough to attend. Don’t miss the opportunity to see two charismatic singersongwriters delight and inspire their audiences as Sheeran with special guest Passenger take the stage in 2013. They’ve announced a third Melbourne show to take place on Monday 4 March at Festival Hall. General public tickets on sale this Friday.

NEUBAUTEN SIDESHOW

Einstürzende Neubauten are heading down to Australia for the 2013 ATP I’ll Be You Mirror bash, and having committed to making the long trip south the iconic and infamous German avant-industrialists are taking full advantage of the opportunity announcing their own headline shows. They’ll play Tuesday 19 February at the Palace Theatre. Top: Steve Earle (with Belly!) Bottom: Transistors pics by Stephen Booth

BIGSOUND WRAP-UP

Leading Australian music industry conference and showcase, Brisbane’s BIGSOUND took place last week in a rush of panels and live performances. Over 120 bands played across two nights (not including separate label showcases and unofficial events) with the consensus of theMusic.com.au’s staff being that among the highlights were Transistors, Mia Dyson, Flume, Straight Arrows, Catherine Britt, Violent Soho and Clairy Browne & The Bangin’ Rackettes. Top panels came from Steve Earle, who gave a revealing and intimate look into his life and current situation, including the revelation that he is only writing his memoirs to pay for medical treatment for his autistic two-year-old son; Ben Lee’s candid look into his controversial career and new album plans, and the controversial ‘Are Artists Being Paid Too Much?’ panel, which saw Splendour In The Grass’ Jessica Ducrou admit that Coldplay weren’t a festival band and were a bad choice in 2011. Bluesfest’s Peter Noble confirmed that there will be more events taking place on his Tyagarah Tea Tree Farm now “that it looks like the Greens have lost the election”. In the Making Records That Matter panel, Ed Kuepper urged the audience not to use streaming services. The week also saw the launch of artist-focused royalty accounting company White Sky Royalty Accounting – a new partnership between White Sky Music and Royalty Accounting Services’ Gerry McKenna – plus a presentation from mobile app company ZAPPP. For full coverage of BIGSOUND, head to theMusic.com.au.

ROBERT FORSTER RETURNS

PREATURE CREACHERS

The Preatures are very excited to announce the release of their latest single Pale Rider from their upcoming EP Shaking Hands. Catch The Preatures on the campaign trail this October as they show off their unique brand of gothic soul and rock’n’roll. They play Friday 19 October at the Workers Club.

IT’S RUDIMENTAL

There’s no doubt about it, British electronic outfit Rudimental have arrived. Their smash hit single Feel The Love blazed into the UK charts debuting at number one on both the single and dance charts. Now they’re making some serious waves down here with Feel The Love already hitting number one on the iTunes singles and dance charts. Now the London-based lads get set to bring their anthemic electronic soul down under for the first time and play Friday 12 October at Brown Alley.

PARLOUR MUSIC

Melbourne rock band Scaramouche are hitting the road and will be unleashing their sizzling live show across the East Coast, where they will present a blistering set of tunes from their brand new EP Welcome To The Parlour. The East Coast tour is an important event for the band to flaunt their explosive stage show to new audiences. They hit The Penny Black on Friday.

PIL MEMBER TO SPEAK AT MELB CONFERENCE

Former Public Image Ltd band member Martin Atkins will be one of the international guest speakers at this year’s Face The Music summit in Melbourne. Atkins is well known for his tenure with the postpunk pioneers and was also a member of several other industrial bands - Killing Joke, Ministry and Pigface - and has previously spoken at SXSW, New Music Seminar and The Warped Tour. Joining Atkins at the event as a guest speaker will be Almudena Heredero, representing Barcelona’s Primavera Sound Festival, and a host of local industry experts including Fergus Linehan from Vivid LIVE and Jerome Borazio of Laneway Festival. Now in its fifth year, the conference will take place Friday 16 and Saturday 17 November at the Arts Centre.

PRESENTED BY 14 • INPRESS

HIGH FLYERS

After releasing EP Woodland Melbourne indie-folk five-piece The Paper Kites are back with a new offering, their Young North EP. The band will be celebrating the release with a national tour that hits Victoria on Friday 2 November at the Corner Hotel and Saturday 3 at the Karova Lounge (Ballarat).

Prinnie Stevens and Mahalia Barnes put on some of the most talked-about battles in the first season of Australia’s The Voice. Fresh from recording their brand new duet album Come Together the two divas have announced that they will once again be taking the stage together – this time for a national tour. They’ll play Saturday 3 November at Palms At Crown, Wednesday 21 at the Regent Theatre (Ballarat) and Thursday 22 at the Lighthouse Theatre (Warrnambool).

Hosted by Ryan Coffey, Pure Pop Records will be hosting a very special show on Tuesday 23 October. You can reserve your place for just $20, to be refunded on arrival, to see Lee Ranaldo (he of Sonic Youth) play a set followed by a Q&A hosted by Tim Rogers. Plus you can buy a brick to help with soundproofing the building while you’re there. All details to follow.

Avant-garde singer David Byrne (ex-Talking Heads) has teamed up with indie-chanteuse St Vincent (aka Annie Clark) for a national tour. Following on from their newly released collaborative album Love This Giant, the New York-based duo will visit Arts Centre’s Hamer Hall on Monday 14 and Tuesday 15 January 2013. They will play songs from their new album with a few surprises along the way. Backed by a brass band in lieu of a traditional rock line-up, the pair bring their boundaryerasing mix of melody, colour and sound to Hamer Hall.

KNOCK ABOUTS

FEELING GROOVY

Legendary British outfit Dr Feelgood will be hitting Australia this coming February. Known for their unique stomping, sweaty blend of high energy rock’n’roll and bluesy R&B, Dr Feelgood have cemented their place in history as one of the grimiest pub-rock bands the world has ever seen. They play Wednesday 20 February at the Caravan Club and Thursday 21 at the Corner Hotel.

Band Of Horses

BIG DAY OUT SIDESHOW MADNESS

Big Day Out have announced a whole bunch of Melbourne sideshows for this January. Here goes: The Killers play the Palace and Crystal Castles play Billboard on Tuesday 22 January, Band Of Horses play the Palais on Wednesday 23 and Bloody Beetroots play the Palace and Alabama Shakes play the Forum on Thursday 24 January. Tickets for all shows will be available from 9am Friday via bigdayout.com.

SIR CLIFF TO TOUR

Brooklyn’s much loved indie quartet Grizzly Bear catapulted to fame in 2006 following the release of their second album, the internationally acclaimed Yellow House. They have just dropped their highly-anticipated fourth album Shields and will bring their live show to Billboard on Monday 12 November as well as their Harvest Festival dates.

With global record sales beyond 250 million and a ceaseless performance schedule spanning the 54 years of his career, Sir Cliff Richard is set to return to Australia with a hit-packed national Still Reelin’ & A-Rockin’ tour. Celebrating his 54th anniversary in the music business this year, Richard is indisputably Britain’s all-time greatest hit-maker – the ultimate pop star. He’ll play Hamer Hall on Friday 15 and Saturday 16 February. Tickets on sale this Friday.

GORMAN’S LAST FOUR BUCKS

TREE TALES

BROOKLYN BEARS BACK

BYRNEING DOWN THE HOUSE

Mojo Juju will take to the stage in November performing songs from her debut self-titled album. Juju’s live performances are mesmerising and memorable. Drawing inspiration from the jazz age, early blues and Latin American ‘Pachuco’ culture of the 1930s and 1940s, there is most definitely something dark, dirty and seductive lurking in Juju’s music and in her live show. She’ll play Friday 2 November at Northcote Social Club and Saturday 3 at the Bridge Hotel (Castlemaine).

TOGETHER AGAIN

PURE POP RANALDO INSTORE

CHUGG PARTNER WITH A&R WORLDWIDE

A&R Worldwide has announced an Australian division, which is a joint venture with Chugg Entertainment. The independent global artist discovery and development company will now add Australian reach to its existing offices in North America and Europe. Chugg Entertainment’s CEO Michael Chugg said, “We have been working towards getting more involved in local artist development for years and the relationship with Sat [Bisla, A&R Worldwide’s President] and his team will expand our efforts and give us a global base to help develop Australian artists and bring international talent into our home markets.” A&R Worldwide have previously worked with Australian acts such as The Temper Trap, Missy Higgins and Sia as well as Adele, LMFAO and Muse.

The inimitable Robert Forster returns to the stage after a two-year hiatus, with a solo show presenting a sparkling cross-section of his acclaimed catalogue: old, recent, borrowed and new. Become re-acquainted with one of Australia’s most complex and intelligent artists, a performer and writer with a unique take on the human condition. Don’t miss Forster’s return to the stage on Friday 26 October at the Thornbury Theatre, Saturday 27 at Theatre Royal (Castlemaine) and Sunday 28 at Caravan Music Club.

GET YOUR MOJO RUNNIN’

Fraser A Gorman and his band Big Harvest recently headed back into the studio with producer Nick Huggins (Kid Sam, Mick Turner, Seagull) to record new single and live favourite Last Four Dollars. Along with b-side, Blossom & Snow, it’s the first taste of what will be their debut album, out early 2013. They’ll play a special single launch on Saturday 22 October at Northcote Social Club. Tickets are $10+BF or $12 on the door if available.

With a voice both tender and demanding, the vibrant Miss Elm can be described as a mixture of quirky part-pop and a sliver of jazz infusion. Her conversational lyrics and enchanting melodies can take you on a journey into the unknown with tales of anything from Facebook to heartache. This tour sees Miss Elm road testing new material and she’ll play Friday 19 October at the Wesley Anne.

Hailing from New York’s Lower East Side, The Knocks (Ben “B-Roc” Ruttner and James “Jpatt” Patterson) are rolling their explosive live show across the globe in a way that would make Rick Astley quiver in his cream loafers. Heading to Australia for the very first time, this may be one of those “I saw The Knocks on their debut tour and now they are President” kind of moments. They’ll play Saturday 1 December at the Toff.

NICE KITTY

QMF ROAD TO DISCOVERY

KELLY JOE PHELPS TOUR

Queenscliff Music Festival will host the semi-final of the Telstra Road To Discovery program on Saturday 24 November on the Hippos Stage. QMF is the final stepping stone for 17 performance and songwriting finalists from around the country for a place in the final at the 2013 Tamworth Country Music Festival. The festival boasts 56+ acts delivering 150 performances across five stages over the weekend of 23–25 November. All tickets and details at qmf.com.au.

Leading on from the success of their debut EP in 2011 and standout track Lions & Witches earlier this year, Sydney’s Tigertown have revealed their stunning new single Morning Has Finally Come accompanied by a striking video clip and a string of dates throughout October to celebrate the release of their forthcoming EP Before The Morning. Catch them on Sunday 7 October at the Workers Club.

BATTLING ON

Philadelphia’s The War On Drugs will tour Australia for the first time this November. Following several line-up changes including the departure of founding member Kurt Vile, the four-piece released their second album Slave Ambient in 2011 as the follow up to their 2008 debut Wagonwheel Blues. As well as their Harvest Festival dates, they’ll play Tuesday 13 November at Northcote Social Club.

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Digging up the ground he broke on Roll Away The Stone, Kelly Joe Phelps returns to Australia this spring to launch his new album. With the emphasis back on the simple songwriting and slide guitar that he is so renowned for worldwide, Brother Sinner & The Whale heralds a reconnection with some of his old fans, as well as marking an opportunity for new ones. Catch the launch on Saturday 3 November at the Newport Substation and Monday 5 at Caravan Music Club.


NEWS FROM THE FRONT

INPRESS PRESENTS

HAT’S ON

Having sold out their first Melbourne show in just over two weeks, Evan Dando & Juliana Hatfield will perform a second show at the Corner Hotel on Wednesday 19 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.

FOREWORD LINE

SITUATIONAL

Andrew Morris unveils his sixth solo release The Situationist on Monday 15 October and will tour the East Coast. Inspired by Tom Hodgkinson’s counter-consumer culture manifesto How To Be Free, Morris summoned as many of the members of The Gin Club as he could muster and put on the beers at his newly set up Northern Rivers home studio. The Situationist is what ensued, a collection of warm and spontaneous gems. Catch him on Saturday 27 October at the Grace Darling Hotel.

COMMON THREAD

A decade after their formation, Melbourne institution Horsell Common are coming out of hiatus for three intimate club performances. Capacities are limited and tickets are only available on the door for all shows, so be sure to mark the date in your calendar to avoid disappointment. They play Monday 5 November at Plastic.

BEARHUG JOIN MALKMUS

Because of the diversion of the Pavement tour of 2010, it is not since 2009 that we’ve had the pleasure of the company of Stephen Malkmus & The Jicks in Australia. We have, however, had the pleasure of the 2011 release of the excellent Mirror Traffic album, a split 7” with LA Guns and other recorded delights to keep us going until now when they’ll finally head to Australia for their 2012 Mirror Traffic tour. They’ll play Wednesday 3 October at the Corner Hotel with guests Bearhug.

SHOULDERING EXPECTATIONS

Since the release of Iconography Adelaide’s Travis Cook and Sydney’s Marcus Whale have spent more time (physically) together than usual, supporting and playing with a slew of international and local outfits. Collarbones have just revealed a seizure-inducing video for new single Hypothermia and now they are set to launch their sophomore album Die Young with dates across the country. Catch the electronic duo at Liberty Social on Friday 28 September.

ALLO ALLO

London’s primo indiepop troubadours Allo Darlin’ hit our shores in three weeks, bringing with them all the good feelings on their latest album Europe. Joining Allo Darlin’ on this tour will be former Lucksmiths bassist Mark Monnone, performing with his band Monnone Alone, road-testing tunes off their upcoming album Together At Last. They’ll play Thursday 4 October the Tote.

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

Ben Sims

WHERE?HOUSE ANNOUNCEMENT

Melbourne-based creative producers Marksthespot and Melbourne Music Week (MMW) are excited to announce the full line-up for three special nights at Where?House as part of a cutting-edge ten-day program. The opening night of MMW on Friday 16 November will feature Housse de Racket (France), PillowTalk (USA), New War, Harris Robotis and Bamboo Musik; on Sunday 18 Capacity 1000 will feature Mike Huckaby (USA), Ben Sims (UK), Four By Four, Mike Buhl, Matt Radovich and PWD; and Phatawompus on Thursday 22 will feature Spoonbill, Opiuo, Tipper, Beats Antique and Eskmo (USA). Tickets for these three anchor events go on sale today and are expected to sell out quickly. Head to where-house.com.au for tickets and details.

LED ON THE SLIVER SCREEN

After five long years, Australian fans will finally have the chance to experience what only 18,000 ticket holders have before when Celebration Day, Led Zeppelin’s legendary O2 Arena concert, rocks into cinemas for one night only on Wednesday 17 October. Founding members John Paul Jones, Jimmy Page and Robert Plant were joined by Jason Bonham, the son of their late drummer John Bonham, to perform 16 songs from their celebrated catalogue. Tickets for this rare cinema event can be booked via ledzeppelin.com.

The Amity Affliction

THE AMITY AFFLICTION BEAT PRESETS TO #1

Brisbane post-hardcore outfit The Amity Affliction have taken the ARIA Album Chart number one spot from moody London indie band The xx and hotlytipped Sydney dance duo The Presets this week. In one of the biggest chart shake-ups of the year, The Amity Affliction’s Chasing Ghosts, released by UNFD (the management company and label’s first number one) and Roadrunner, has taken top spot ahead of a strong-finishing The xx with Coexist. The Presets’ Pacifica had to settle for third, ahead of Birdy’s Birdy and Matchbox Twenty’s North, which was last week’s number one. UNFD co-owner Jaddan Commerford told theMusic.com.au that “The whole thing is quite overwhelming. We’ve just been doing what we’ve been doing with this genre and now we are lucky enough to have a large enough scene to support our bands to this level. The Amity Affliction are no exception to this who, after nine years, deserve all the success they are getting. This is a win for heavy music, not only in Australia, but all around the world.” A new look top ten also featured debuts from Kasey Chambers & Shane Nicholson’s second collaborative album, Wreck & Ruin, Bob Dylan’s new album, Tempest, and The Script’s newie, #3. In other chart news, Sia has cracked the UK charts again with the track, She Wolf (Falling To Pieces), another collaborative effort with David Guetta. The track landed at 14 on the singles chart this week.

DRUM MEDIA PERTH APPOINTS NEW EDITOR

The Drum Media Perth (published by this magazine’s publisher Street Press Australia) has appointed Troy Mutton as the magazine’s new editor following the departure of Aarom Wilson, who will be taking up a role at the state’s peak music industry body, WAM.

FIGHTS OR FLIGHT

Rick Fights takes on the shadow world with a suitcase full of his debut release Fights – seven new dark and broody tunes with lyrics that delve into crime, escape and misfortune available in 10” vinyl. He’s taken the show on the road and will play tonight at Northcote Social Club.

ANIMAL ANTICS

Third millennium psychedelic heroes Animal Collective are set to deliver a truly transformative live experience in Australia this January. Already announced for Big Day Out, the enigmatic quartet will bring their live show to the Palace Theatre on Wednesday 23 January when they make their first Australian visit since their soldout last tour. Setting ecstatic visuals to their streamof-consciousness set lists, the band’s sensory live performances aim to stimulate – stitching brand new sounds with the familiar, the wild with the serene, and moments of pop perfection with trademark chaos.

IN THE NORTHLANE

Last week Sydney metal juggernaughts Northlane headed over to Canada to start their first major overseas tour. Now the band are getting ready for a string of shows back in the southern hemisphere. They will be in Melbourne for three all-ages shows to make it up to younger fans who missed out on the band’s over-18s shows back in May. They play Friday 23 November at Healesville Public Hall, Saturday 24 at Coburg Public Hall and Sunday 25 at Ringwood Community Hall.

GET A HABIT

Pour Habit’s third Australian tour is just around the corner and as if having Hightime and Totally Unicorn on the tour wasn’t enough, they’ve scoured the country for the finest talent they could find and have announced the list of Aussie bands who will be partying on their tour. They play Saturday 1 December at Fest Mas at the Evelyn Hotel with Anchors, Darren Gibson, The Bennies, The Ramshackle Army, The Gun Runners, Cavalcade, Clowns and Take Your Own and Sunday 2 at the Tote with Declaration and Up & Atom.

SWEET AS CHERRYFEST

The inaugural CherryFest happens on Sunday 25 November in the spring sunshine and will feature 14 acts over two stages in AC/DC Lane and Cherry Bar including the first ever Australian show for sludge metal godfathers Eyehategod. The day will also feature Omar Rodriguez-Lopez Group, a one-off reformation of stoner rockers Dern Rutlidge, Henry Wagons, Big D & The Kids Table, I Exist, Gruntbucket, River Of Snakes, My Left Boot, Frankenbok, Dead City Ruins and more. Tickets available exclusively from cherrybar.com.au.

MORRISSEY SUMMER TOUR

Morrissey will return to antipodean shores for the first time in more than a decade for a run of shows this December. Often credited as the man who patented indie music for the masses; Morrissey’s wit, swelling guitar anthems and signature sorrow have defined a musical path that many other bands have since travelled down. Joining Morrissey on tour will be American singer/songwriter Kristeen Young. Don’t miss the chance to see the enigma that has sold millions of albums across his career when he plays Wednesday 19 December at Festival Hall.

Chet Faker

CHET FAKER DOMINATES INDIE AWARD NOMINATIONS

The nominations for this year’s Jagermeister Independent Music Awards have been announced, with neo-soul poster boy Chet Faker amassing the most nominations across the categories with five. Close behind him with four was hip hop star 360, while there are repeat appearances from Royal Headache, The Jezabels and DZ Deathrays. The recently-announced awards will take place at Melbourne’s Revolt again this year Tuesday 16 October, with performances from Paul Kelly, The Bamboos, Hermitude, Loon Lake, House Vs Hurricane and more. Kane Hibberd will once again by curating a photo exhibition. Faker’s five nominations come across the main categories – Best Artist, Single or EP and Breakthrough – as well as genre-specific Dance/ Electronic Album and Single/EP. Nominations for the two ‘top’ awards are – Best Independent Artist: 360, Ball Park Music, Chet Faker, The Jezabels and Royal Headache. Best Independent Album: 360 – Falling And Flying; DZ Deathrays – Bloodstreams; The Jezabels – Prisoner; Royal Headache – Royal Headache; The Temper Trap – The Temper Trap.

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INPRESS • 15


Soulful blues-rockers The Rubens have completed a breathtaking rise from playing in front of 20 mates in the early hours of the morning, and lead singer Sam Margin lays it down for Chris Hayden.

HOME TOWN BLUES

Hailing from the tiny town of Menangle has its advantages and disadvantages for a band like The Rubens. With a population of 327 on Census in 2006, a quick look at the shire’s Wikipedia page already lists the boys as one of the biggest exports to come from the country town. You’d think then, that the whole place would be quietly losing their minds with the success of the three Margin lads and their childhood friend. Margin explains that this isn’t exactly the case.

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e often hear the phrase ‘overnight success’ in the context of artists that have actually been around for a while, and have suddenly broken through after years of hard slog. Gotye’s domination of the planet this year is seen, in non antipodean terms at least, as overnight – where in reality it was the result of years of tooling around in his home studio and scouring record shops for obscure samples. His partner in crime Kimbra seemed to pop up out of nowhere, but the deeper we investigated the more obvious it became that she had been steadily working on her sound and image for at least a decade. These days though, triple j’s ubiquitous Unearthed competition makes it possible for acts to be literally plucked from obscurity and, assuming they’ve got the chops, thrust on to the national stage in a matter of months. One such band is The Rubens. Ten months ago they were an unknown band of brothers peddling their soul-based rock to vaguely disinterested Sydney audiences. Today they are on the precipice of releasing one of the year’s most anticipated debut albums, a brilliant piece of souldrenched guitar pop recorded in New York with Paul McCartney’s producer. They also have the ability to sell out venues all over the country at the drop of a

broadcaster has had a lot to do with exposing them to a new and larger audience, with their first single, the smooth soul pop of Lay It Down landing at number 57 in last year’s Hottest 100. Subsequent singles have been inescapable on the station – so what do the band themselves think about being handed this golden ticket? “I guess being played on triple j sort of legitimises it for some people – anyone who can’t really think for themselves. It seems like people need to be told that it’s okay to like something,” Margin admits. “We’ve had to learn everything

already knee deep in planning the recording of their debut album. A sound engineer friend had passed on a demo of their track My Gun to big time New York based producer David Kahne – the man responsible for albums by Paul McCartney, Regina Spektor and The Strokes. Margin hopped on a plane with the intention of feeling the producer out and this meeting of minds resulted in the conclusion that Kahne was definitely their man. With no record label or financial backing behind them, the boys borrowed some money from their parents and headed

have someone talk to you like that about your babies – these things that you’ve created. We just had to keep telling ourselves that it was okay, that this guy knew what he was doing. He was a Grammywinning producer that had worked with Paul McCartney so we just had to trust him. It was difficult and it was stressful but in the end it made the recording process so much easier.” The production of the record itself really did happen in the eye of the storm, so to speak. At a time when their single was going gangbusters on radio back in

this pressure from all these different parties and there was pressure because of this producer that we’d hired. At that point we were just so fresh. David really did step in, he taught us a lot about the industry and what we didn’t want to be, and who to watch out for and what to be careful of. He really mentored us.” The album then, the result of all this gruelling work, is a testament to the focus of the three brothers Margin and their cousin Scott Baldwin. A tour de force in gritty guitar rock and soul, the self-titled effort is surprisingly muscular and nuanced, especially considering the more laid back feel of their earlier work. Both Lay It Down and My Gun appear reworked from their earlier versions with a heavier approach, lending credence to Margin’s earlier claim that they had to head State-side to become a real rock and roll band. One stand out is opener The Best We Got – a true exercise in the idea of writing what you know. A mediation on the idea of leaving Year 12 and heading out into the adult world, the lead singer is coy when it comes to explaining the motivations behind his lyrics. “It’s about those awkward few teenage years when you don’t really know what the hell is going on or what you’re about and you’re just running around blindly chasing girls or whatever,” Margin elaborates, all of a sudden going a bit quiet.

NO MARGIN FOR ERROR “I guess when you’re young and you have someone older, someone who is say 25 and you’re still in high school, and you’re whinging about high school and they say to you ‘You better enjoy those days because they’ll be the best days you got’ – I was just thinking that that was a bit depressing. I’d like to think there’s much more in store. I don’t know what I’m going to be up to in the next ten years but I don’t plan on these being the best days I’ve got.”

hat. So, how did it all happen? How did a band from a town with a population of less than 400 manage to trap the zeitgeist in less than a year? “We only learned how to be a rock and roll band when we went to America,” says lead singer Sam Margin, sounding every bit the young man in the eye of the storm. “When it all started we’d been together for maybe eight or nine months,” explains Margin down the line from the band’s home of Menangle, about an hour south-west of Sydney. “Before that we were working our separate jobs in bars and restaurants and all of that, playing shows where we could. We’d drive into Sydney and play those club shows where you have to play at 1.30 in the morning, trying to stay sober because you have to soundcheck at 6. It was a different thing to what we’re doing now. It was fun but it was also kind of a pain in the arse. “The reception was a bit mixed,” he continues. “We had a few people coming up to us after the shows and saying they enjoyed it and stuff, but everyone does. We had a bad review and that was pretty heartbreaking at the time. It feels a bit weird now – people liked what we were doing but to be honest with you I don’t think we were that good a band back then anyway.”

When you consider the fact that the ‘back then’ Margin is speaking of would be approximately this time last year, it becomes clear that things have moved very quickly for The Rubens. Obviously, the nation’s youth 16 • INPRESS

so quickly you know? Now we’ve got these massive crowds – it definitely changes how you feel about yourself as a band. We’re genuinely absolutely stoked to be doing what we’re doing and I think the crowds can feel that we’re honoured to be playing to that many people now.”

So the success and plaudits came quickly for sure, but it’s interesting to discover that when the tap on the shoulder came, The Rubens were

to the Big Apple. “We flew over there and just got straight into it. We had to learn so much in such a short period of time. We did five weeks pre-production with David in a big rehearsal studio, just picking songs apart, trimming the fat and making the best parts better,” Margin says. “We learned a lot about songwriting in those weeks. It was intimidating because he was telling us to do things like cut out parts and it’s hard to

Australia and the industry was clambering for a piece, The Rubens were holed up in their New York studio with Kahne, in equal parts focused and freaked out. “It was scary – it was very scary,” Margin explains. “Suddenly we had all these eyes on us and all these record labels after us. We knew we needed them because we were over there living off our parents’ money that we’d borrowed. Suddenly there was all

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Yeah, it’s probably safe to say that The Rubens have a few more good days ahead of them, although they’re not about get ahead of themselves just yet. In fact, in all that has happened in such a short space of time – there doesn’t seem to be a hint of pretence or arrogance about their future, nor are there any delusions about exactly what’s in store for them. “Since New York, we knew we were in for it,” Margin says with the excitement of a man very much in the catapult. “Now we’re just ready to just drop our lives and dedicate ourselves to The Rubens. It really is amazing. It’s amazing that this has happened to us.” WHO: The Rubens WHAT: The Rubens (Ivy League/ Universal) out September 14

“Menangle is not too far from Camden which is a bigger town, so we’re not as remote as some people like to think. Our mates are definitely like ‘What the hell happened?’ Me and Scotty have a few mutual friends and now we’ve all become friends with each other friends. They’re all pretty overwhelmed with what has happened – they just keep telling us we’ve blown up and whatever. “I think though, because we’re in such a small country town, a lot of people don’t really give a shit,” he laughs. “People hear about it but a lot of people in Menangle don’t really listen to triple j or anything – so we get mixed reactions. It’s in equal measure people losing their minds and not caring.” In the early days though, before their mates started freaking out over their success, The Rubens had to rely on these erstwhile fellows to come down to shows and prop up the room. Much like any other band in the early stages of their career (and some bands right until the end). For Margin though, it was often hard to summon the bravado of a rockstar while his school friends stood and watched on. “We were so new and fresh in those early days, and didn’t really know what it meant to be a proper band and play live, put on a show and interact with the audience and all that kind of stuff. I always found that really fake. Management would always tell me that I had to interact more but it just felt false to me because I wasn’t feeling it if it’s just in front of my mates. It feels a lot easier now that the crowds are a bit more into it.”


INPRESS • 17


HARD AND HEAVY Having led a life of no compromises as Cant, Christopher Taylor has returned to the Grizzly Bear fold for the “heavier” follow-up to the group’s Jay-Zendorsed third album, Veckatimest. “[A] lot of bands get to this place and they just do like their cocaine record,” Taylor tells Anthony Carew.

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hen last we heard from Christopher Taylor, the 31-year-old bassist/ multi-instrumentalist/in-house producer for beloved Brooklyn outfit Grizzly Bear, he’d gone solo; issuing an album as Cant and then touring Australia, last summer, with a band that included Devonte ‘Lightspeed Champion/Blood Orange’ Hynes. “I started to feel this need to pursue something that was just something that I was interested in, that I didn’t have to discuss with other people,” Taylor said, on the release of Cant’s Dreams Come True. “I just didn’t want to deal with compromising.” Yet, after some summer fun with his dark and synthy side-project, Taylor returned to the Grizzly Bear fold, and set out helming recordings for the band’s fourth album, Shields, the follow-up to 2009’s

feverishly-acclaimed Veckatimest. So, what was it like returning to the world of compromise after a stint as a boss calling the shots? “Um… interesting,” Taylor defers, with a laugh. “I knew what I was getting back into. That was part of the deal with Cant: it was this thing I could do right now, then it would be back to the Grizzly Bear lifestyle. In general, coming back was really cool. We’ve all grown up a lot since we last recorded. And there’s a lot more confidence in each other. There were more unplanned decisions on previous [Grizzly Bear] records; just that spontaneous ‘yeah, that’s great, sure’. But this one was definitely about trying to challenge ourselves to do something different. We did not want to make the second version of Veckatimest. That seemed really boring to us.” Did Grizzly Bear feel, however, that this was exactly what the rest of the world wanted: ‘the second version of Veckatimest’? “That’s a really interesting question, actually. Really interesting. Because you don’t really know,” Taylor ponders, as if weighing it up. “The mood for Veckatimest and the mood for Shields is so different, almost opposite. And I wonder how that’s going to go over with people. And I don’t know. That’s where your question’s interesting; because maybe people really did want the second version of Veckatimest, and they might not like this record at all.” Shields isn’t just different to its predecessor, but to the entire Grizzly Bear back catalogue. From 2004’s Horn Of Plenty (when Grizzly Bear were essentially the solo project for principle songwriter Ed Droste) to 2006’s Yellow House (the first album Grizzly Bear recorded as a band) to Veckatimest, what defined the albums was a sense of space and a love of harmony, with a predominantly acoustic sound and a fondness for cascading four-part vocals. For many, there was a folkie edge etched into their sound. Shields, however, is a sprawling, proggy opus; a succession of shape-shifting composition open to discordance. “There’s definitely a heaviness to this record,” Taylor says, of Shields. “Our minds are all a lot heavier with stuff; we’re all 30 now instead of 26. And it’s a different place in your head. There’s a lot of peering over the edge of proper adulthood at 30… There’s just so much more self-reflection at this stage than when you’re younger. Which I think is actually nice, because I remember feeling like older songs of ours lacked that amount of reflective quality, which is something I really like in music. I thought that was a cool thing to get into; to get into seriousness, and heaviness.” This narrative effectively writes itself: after feeling the freedom of the solo project, Taylor is lured back into the struggle of collaboration. And, Grizzly Bear, faced with the onerous burden of following-up a breakout success – the album that led them from the Brooklyn underground to the ears of Jay-Z and Beyoncé, Twilight-loving tweens, and corporate America at large – suffer through the difficult second album syndrome (even if, y’know, it was their fourth). Yet, Taylor claims he was unprepared for all of it; that, in his mind – feeling fresh, clean, and optimistic after moving from Brooklyn to the woodlands of Germantown in upstate New York – the Shields recordings were going to proceed with ease. “I was really ready to have something feel really easy,” Taylor says. “That was what I was hoping it was going to be. But it was anything but; this record ended up being harder than any others.” Why on earth did Taylor think following up Veckatimest was going to be easy? “I don’t know!” he laughs. “I feel like I’ve grown and learned a lot since we did Veckatimest. I’ve worked with a lot of other artists, I’ve been working on my solo thing, we’ve all grown up so much more, and we’ve already spent all this time playing together. There were times when I was doing things in Cant, and I was looking forward to how easy it was going to be when I was back working in this old collaborative relationship with guys that I knew worked truly well together. I thought, ‘This is gonna be great; we’ll have all this experience under our belt, and we’ll be able to nail things we haven’t been able to nail in the past, and it’ll all come together, and just be, like, cool’. I really thought that was how it was going to go, the first month we got together. And it certainly did not go that way.” It’s not too much of a strain to hear that struggle in Shields’ songs, which carry a more ornery air than anything the band have done previously. If Veckatimest was easy to love, sometimes Shields can feel difficult to like; the songs having a tortured feeling, as if they’re trying to pull themselves apart; this discordance kept hanging together by Taylor’s meticulous production. Pulling doubleduty – as both player and producer; though maybe it’s triple-duty, too, with engineering concerns – Taylor was working extra hard on the LP, and feeling the frustrations of the sessions doubly.

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18 • INPRESS

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“But it was a productive frustrating,” Taylor says, “because I think we actually really tried to get to know who each other were. And that’s a hard process. Like, we know a lot about one another, but this time it went deeper. I think we all respect one another more than we used to. It’s a longer relationship, now. We really wanted to know how to do what would really satisfy everyone; we really cared about making everyone feel pleased with it. So, that was the challenge, [and] that’s a challenge where you care a lot. It’s a nice challenge. And it means that even if it’s hard, you persist, and you do so with a kind of care, because its origins are in the right place. It’s coming from the heart. And it’s a lot harder to do that; a lot of bands get to this place and they just do like their cocaine record. Because it’s easier to do that than to really explore your relationship as a band, and to really get to the heart of what it means to be in your band, and what exactly you want that to mean.” WHO: Grizzly Bear WHAT: Shields (Warp/Inertia) WHEN & WHERE: Saturday 10 and Sunday 11 November, Harvest Festival, Werribee Park; Monday 12, Billboard


IN BLOOM Regular John weren’t sure they wanted to keep making music following the release of their debut album. But after realising he would “rather die” than quit, Ryan Adamson tells Brendan Telford the band are back with new energy on second record Strange Flowers.

‘T

aking a break’ and ‘changing direction’ are two terms in the music industry that fill one with instant trepidation. Sydney-based rock outfit Regular John found themselves offering both as they lost a guitarist and contemplated their future. They return with Strange Flowers after three years in the veritable wilderness, and much has changed. Case in point is album opener Sky Burial – what with its heavy organ and squalling guitar outro, it is safe to say that the ball-tearing stoner rock that the quartet dipped their toes in back in the mid-2000s has been left behind in favour of a much more diverse sonic palette. Yet the ‘70s psychedelic flourishes weren’t something that the band were actively changing when they sat down to write their new material. “There was one song that Cal [Caleb Goman, bass] initiated and we worked on that extensively, and I consider that one to have a King Crimson influence coming through – I think we called it Green in tribute to their album Red – but nothing was particularly referenced for the rest of the songs,” guitarist and vocalist Ryan Adamson states. “Cal does love his ‘70s stuff, but we are all big, big music fans across the board. So there was nothing overtly conscious, we just wanted to use the best ideas that came to us and I guess that’s what won out.”

can hear where the first album landed in parts of these songs, so I think that having that time off to take stock and have a proper think about what it is that music does for me made it easier to see where to cut back and refine things. There was a new energy, and we were determined not to compromise but instead make decisions where we saw fit. Things were allowed to be different; that idea seemed totally valid.” WHO: Regular John WHAT: Strange Flowers (Difrnt) WHEN & WHERE: Saturday 22 September, Toff In Town

The problem with such influences appearing in certain songs is that labels will be slapped on the entire album without giving each individual track its due. A good example is single Slume, an excellent slowburner of a track and standout song on the album that nevertheless has been stated to bear witness to the likes of Syd Barrett and Led Zeppelin.

‘THE INTENSE, BEAT-BRUISING SLEIGH BELLS LIVE SHOW IS NOT TO BE MISSED.’ – PITCHFORK

“To me Slume is very close to my heart, and to me it’s the closest I’ll probably ever get to writing a country song, just muddied up and covered in feedback,” Adamson asserts. “It’s certainly more in that realm. People will pick up what they assume from what they hear, and no one may pick this up other than me, but the bass line to me always makes me feel the same way that TV On The Radio does. Now I’m not saying they’re country, but the emotion that they can create… We are all huge music fans, and I think it comes through a lot more on this record, I don’t think there are easy labels [this time around]. We have made a big tangent from our last album, and we’ve had someone leave the band, so we don’t have to simplify our ideas as much anymore.” Strange Flowers as an album is a fully immersive affair, a cohesive whole that absorbs influences and styles rather than pinches from them; it’s sponge-like rather than a collage of sounds. Such a result may surprise those that have been fans of the band when they burst out of Marrickville back in 2004. From their namesake (an early Queens Of The Stone Age song) to debut album The Peaceful Atom Is A Bomb in 2009, Regular John have been thrown into the stoner-rock arena, something that Adamson doesn’t necessarily disagree with, but feels it is a very narrowminded way of looking at any music, let alone his own. “We have always had that label, and I still love belting out riffs like that, but I’ve never been interested in only making that kind of music,” Adamson admits. “Once upon a time that could have been it, my bread and butter, but if you love music, really love it, you can’t restrict yourself to just one thing. Me and Caleb, well he is my best friend in the whole world, [he is] my main collaborator, and we’ve always dreaded the word ‘maturity’. But to be honest I think it’s more about knowing what you are doing, and this time around I think our writing is a bit more esoteric, a lot more personal both lyrically and dynamically. This stuff breathes; it’s loud, it’s quiet, it’s a lot more human. For that reason it’s a lot easier to relate to.” The boys chose to work once more with Tim Powles (The Church) for the recording of the album, but the epiphany that they had reached in regards to their music extended into the studio to the point that even he was approaching things from a different direction. “The biggest difference, and there were a few, was that Caleb and I were really adamant that we use the studio as a tool as well. Ever since I was about 17 I have been into recording; I would find any spare time at home to fuck around with a four-track and pedals, and around the time we started writing this stuff I really got into analogue synths and I bought a lot of them. I have always kept these influences separate from the band, but after gaining more confidence in myself and what the band is capable of I thought that I should try and do what I have always done at home, but in the studio. I wanted to be involved in finding texture, of finding the right sounds, and Tim was really accommodating and helpful in allowing for that to happen.” The extended period away from the harsh light of media and audience expectations and opinion has helped to fuel the reinvigoration that permeates Strange Flowers, and while it wasn’t an overly planned move Adamson agrees that being left to their own devices has helped shape Regular John into something that they are collectively comfortable with. “We were at a stage where we weren’t sure if we wanted to play music anymore, and that was a fucking scary notion for us all,” Adamson stresses. “For us music is the escape, it was the beautiful thing in our lives, and we were at the point where we wanted to escape from the escape. I would rather die than live like that, it was a really heavy thing. So when I came back to it and to feel the beauty of it all over again, it was a giant relief but also really reaffirming. I don’t think that Strange Flowers is as dramatic a change as some might think, because I

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“REIGN OF TERROR” OUT NOW INPRESS • 19


THE MYSTERIOUS WEST Blaine Harrison, the wild-haired lynchpin of Londoners Mystery Jets, talks Benny Doyle through their fantastic fourth record Radlands and explains why Austin was as much a compromise as it was an obvious choice.

A

lways seen as one of the more quirky and intriguing musical prospects on the British indie landscape, Mystery Jets have delivered yet another curious curveball in the way of Radlands, their soundtrack to the dusty roads of the USA. Led by the partnered vocals of co-frontman Harrison and his long-time bandmate and friend William Rees, the quartet have channelled their experiences into a warm and expansive album that all but puts you on the adjacent bar stool. And unsurprisingly, the band is buying. Enjoying a break from touring at his London home while the Olympics take place around him, Harrison coyly admits that although he didn’t expect to, he’s quickly warmed to the sports-driven hyperbole that comes with the world’s largest spectacle.

“I’m not really a big sports fan or anything like that, but I was surprised by the ceremony; it was quite good,” Harrison confesses. “I think a lot of Londoners were surprised. I feel weird saying it but I’m interested in the Olympics. I didn’t think I would be at all. It’s always seemed to me that everyone in London has been paranoid about being nationalistic. It’s strange, you go somewhere like America and no one thinks twice about having the stars and stripes hanging off their houses, but here there’s almost a certain shame about being nationalistic, but that has kind of all disappeared during the Olympics. It’s all quite twee, waving the Union Jack around.” It’s funny that Harrison mentions the word “twee”. It’s a term that Mystery Jets have at times bordered on. But their sentimental nature seems rooted in honesty, life experience, learning and loving. This is more apparent than ever before on Radlands. Through the fictional character Emmerson Lonestar, the record documents the plundering lifestyle of a desert troubadour, managing to mix idealistic American nature with rogue English sharps in arguably their most cohesive body of work. “It’s always important for us with albums, that from start to finish they immerse you in something and they take you… not necessarily on a journey, but they suck you into a world and spit you back out half an hour later,” Harrison states. “I think with Radlands we felt like we definitely wanted it to be one of those kinds of records. It wasn’t an album built around singles, which we have done in the past; I think it’s sort of based on America, which is something we basically got from a comic book we wrote to accompany the record, and that very much influenced the themes on the album. It very loosely follows this narrative, which is essentially this three-part modern western. You can order it online and read it, and it’s very much an accompaniment to the record.” So, is this Mystery Jets’ take on a concept album? “In a sense it is,” he remarks. “I don’t think we set out to make a concept record, but when we came back [home] we realised that it was such a separate reality to being back in London that we needed to bottle it as something. This character Lonestar came out and the story plays out around him, and a book was just the next logical thing. The first part is already out and the second two parts will be coming out in the autumn and around Christmas as a graphic novel.”

There’s more to this story on the iPad To record the album, the band removed themselves from their safe haven of Eel Pie Island on the Thames and threw themselves into the beating core of America – Austin, Texas. It was a decision, Harrison admits, that made sense after their third record Serotonin. However, as much as the vibrant city lent itself to be a somewhat obvious choice, it took differing desires in regards to a recording location to land the band on the banks of the Colorado River. “In a way it could have been anywhere. We’ve always made our records in London and it’s so easy to get wrapped up in our own world over here. I think going away somewhere where we were away from all our friends, I think that’s what we knew we needed to do; and live in a house together, which we’ve never done before,” he explains. “But in terms of why America and why Austin – I remember that I really wanted to go to LA and make a real 70s kind of Neil Young sort of record, and then a couple of the guys wanted to go to New Orleans and be a part of those all-night street parties where soul bands play on the stoops – so Austin was a compromise because it was roughly halfway between the two. But just being there in the past for SXSW, it really is a special place and it’s a very freethinking and liberal city and I think it was the right place to go. “Texas is, in many ways, the heartland of America,” he continues, “and it’s insane how much they love their country over there. But Austin is kind of like this little blue dot in this big red square; Austin’s actually a very cultured town and there’s lots of interesting young people doing cool things in the technological world – IBM moved there, for example – [so] it has a real identity in that sense. But you can also see all the old bluegrass and bar bands just playing on little stages to people who still dress like cowboys.” Since the British rock’n’roll explosion of the ‘60s, America has always stood to be somewhat of a musical frontier country. Fifty years on, and that romanticism still remains. Mystery Jets arrived with wide-eyes and dreams, and they departed, thankfully, with much of the same. “It’s such a huge place and just touching on that, I dunno, you could write a whole series of records on it,” Harrison muses. “And it definitely bought something out in us just in terms of writing together. We really connected. Like, we were all reading the same books and it was just an exploration of our imagination, I think, because part of Radlands is a fantasy; it’s partly based on the world that we found out there and perhaps the world that we wanted to find out there, which was things we’d seen in films and all this imagery that comes from Hollywood. “I’ve always found that feeling like a fish out of water is conducive to songwriting,” he concludes. “I think being a stranger somewhere is always a good perspective to write from, and it’s not hard to feel like a stranger in Texas, so it was very fruitful for us. And there are still songs [left over] that didn’t make it onto Radlands and songs that have just come up since then, so I think in terms of the music being an exploration of that culture and that imagery, I think there is going to be more coming.” WHO: Mystery Jets WHAT: Radlands (Remote Control/Inertia) WHEN & WHERE: Wednesday 26 September, Corner Hotel 20 • INPRESS

themusic.com.au


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INPRESS â&#x20AC;¢ 21


SERENDIPITOUS FLOW There are very few bands that can proclaim to be completely unique. Enter Shikari are one of them. Rou Reynolds, frontman for the St Albans four-piece, gives Benny Doyle an insight into the Thai times that shaped their third record.

T

he summer has run its course in Ol’ Blightly once again. Some things the country experienced were different this year – they’re never having a Jubilee/Olympics double ever again – however, some events remained the same. One of those was the Reading and Leeds Festival, something of a rite of passage for any British music lover and two of the most iconic stages in the world. But even with all the massive names filling the bill – Foo Fighters, The Black Keys, At The Drive-In, Kasabian – one band stood head and shoulders above all for punters when votes were cast for performance of the weekend. Finishing off a bowl of strawberries and cream with his girlfriend (seriously), Enter Shikari leader Rou Reynolds humbly admits that the band was blown away when they heard the news. “Every year that we play Reading and Leeds the crowd is just awesome,” he gushes. “It’s one of our favourite festivals to play, definitely, and to get voted best band was quite surreal. On any stage of that size we try and naturally fill up the space and progress sonically, but we don’t think about it too consciously to be honest; you go out there after you’ve been couped up in a van for a few hours and it’s just like a playground.” Formed in 2003, old friends Reynolds, Rory Clewlow (guitar), Chris Batten (bass) and Rob Rolfe (drums) generated a wave of underground hype with a number of demo EPs before debut album, Take To The Skies, officially released in 2007, solidified their standing as one of the most explosive and popular British bands doing the circuit. Released at the start of this year, their third record, A Flash Flood Of Colour, builds further on this reputation, the album amalgamating hardcore ideals with dubstep and drum’n’bass breakdowns in a sound that is unlike any other. According to Reynolds, crowds have been eating it up. “This has definitely seemed like the most immediate album in a live sense; people have really taken to the tracks and they go down really well live and people are screaming the lyrics back louder than ever. We’re really enjoying it.” Although sessions for the record began in London last year, the band ended up decamping to Karma Sound Studios in Thailand for three weeks to complete the

22 • INPRESS

work, enticed by the opportunity to work in premium facilities surrounded by exotic beauty. Considering the energy and raw aggression found in most of the tracks, the location seems somewhat contradictory. However, Reynolds couldn’t imagine the results coming from anywhere else. “I certainly think getting away from it all helps, definitely. Getting away from the hustle and bustle of cities calms your mind and enables you to really concentrate and feel the music and it just works for us. I think if we had stayed in London and did the whole album there I don’t think it would have been as good. “The producer we were working with, Dan Weller, he did guitar production on [2009 album] Common Dreads. He’s just a great friend of ours and we get on really well, so we decided to go with him fully for this album and he had a friend who was building this studio out there. He’d finished it, it had all gone to plan and he’d had a few Thai bands and Asian bands there, but he was trying to attract a few more Western bands over and get his name out. So he offered us a proposition that we couldn’t refuse basically. We were in the middle of nowhere, so we had some inspirational walks around, but it was literally just jungle with this state-of-the-art studio in the middle of it. All we had nearby was a little fishing village that was completely untouched by Western influence, so that was amazing, to see how the locals lived. “And the great thing about it was there were just no distractions whatsoever. They even had cooks and stuff so we had meals made for us – this incredible traditional Thai cooking – so literally all we had to worry about was getting the music down. We had a room each, like basically a small hotel room each at the studio as well, which made all the difference because when we were in London we were commuting back and forwards on the Tube each day, an hour each way every day, which is not ideal to get you inspired,” he laughs. “So there was this really calm and relaxing atmosphere where the mind could be at its most creative.” Arguably, A Flash Flood Of Colour is Enter Shikari’s most consistent and flowing release, with the whole album seeming unified sonically and thematically, which is ironic considering the songwriting process Reynolds speaks of.

“In terms of the structure of the album we didn’t think too hard about it. We had all these individual songs and for the first time we didn’t think about how the album would flow actually, we just concentrated on each song as its own entity,” he admits. “And I guess it’s just through serendipity that it actually flows really well. We mulled over the order of the tracks quite a lot and tried out different things and thought about the outros of tracks going into the intros of others, but we were committed to keeping the tracks separate and not doing any little interludes or anything this time and it’s worked well.” And as far as band progression goes, that harmony is what Reynolds considers to be the biggest area of growth for the quartet. “I think probably the main thing for me was how whole we sound as a band [now]. It’s very much one unit. The lines between what is guitar and what is electronic and what is bass, it all got blurred. We’re really getting into bleeding the electronics either through the guitar or vice versa. The base rig is becoming ridiculously vast now, a lot of instruments run of Ableton and my laptop so yeah, it’s all becoming one sound and we’re not

themusic.com.au

really thinking about different parts, we’re just sitting down and saying, ‘What does this need? Does it need something tranquil and light, or does it need a sharp sound?’ We’re looking at all the instrumentation we’ve got at our fingertips instead of thinking in a traditional band sense.” Enter Shikari are genre smashers – plain and simple. Their sound walks a line between the dancefloor and the mosh pit and on their second visit to our shores in seven months, having made an appearance at Soundwave earlier this year, Reynolds is eager to deliver the meld those two worlds create and deliver the full experience to rabid Aussie fans. “Soundwave was great fun and the crowds were awesome – the vibe was great for us – but being able to play a much longer set with a full structure of all the new songs, we’re really looking forward to it.” WHO: Enter Shikari WHEN & WHERE: Saturday 22 and Sunday 23 September, Billboard


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HUMBLE BEGINNINGS It’s hard to imagine they once played to an audience of only 18 between dismantled strip poles in a seedy English club. But Snow Patrol, having released their sixth and most “inventive” album to date, have certainly not forgotten their more than humble origins. Lead guitarist Nathan Connolly speaks to Izzy Tolhurst.

F

ormerly Shrug and then Polar Bear, the band finally settled for Snow Patrol because both names had already been snapped by American bands, including one, (Polar Bear) fronted by Jane’s Addiction ex-bassist Eric Avery. Their first two albums, Songs For Polar Bears and When It’s All Over We Still Have To Clear Up, were received well critically, but made little impact commercially. In 2001, Snow Patrol were dumped by record label Jeepster, and then reduced to selling personal assets to keep the band afloat. It was during this period that Snow Patrol reached their ultimate “low point” – the aforementioned strip club performance – an experience that drummer Jonny Quinn refers to as plainly “horrendous”. It was the release of their third album, Final Straw – a very intentional name choice, says frontman Gary Lightbody – that turned things around. Signed then to Black Lion (Polydor Records), despite no significant shift in Snow Patrol’s sound, the album – and single Run particularly – did phenomenally well in both the UK and abroad. Then came Eyes Open, the album that solidified their name in the consciousness of modern pop-rock listeners. Inquiring whether Connolly has grown weary of hearing that Snow Patrol song – yep, the Grammy-winning, Grey’s Anatomy and ER featured, emotionally climactic Chasing Cars – Connolly is impressively diplomatic. “Depends what you mean. Live, I’ll never get sick of hearing people sing that song back… it’s a moment in our show… that’s what keeps it fascinating for us and not boring or mundane. Other than playing it live, I don’t really have an opinion about that. The song belongs to the public. It’s almost not our song anymore. And that’s the best you can hope for a song. Maybe at one point, around six months to a year after it came out and did what it did” – which Connolly adds, gave the band “a career and the opportunity to travel around the world” – “we felt like we were that band and that song. But we always knew there was much more to it. And on the other hand, I’d rather have a song like that, than not have it at all.” But regardless if it’s nails-on-a-chalk-board sentiments or otherwise, it’s 2011’s Fallen Empires that is most central

24 • INPRESS

to their upcoming Australian tour and the album, as it turns out, that drew huge inspiration from Arcade Fire. Snow Patrol have been quoted saying it was the Canadian seven-piece’s most recent, and ridiculously seminal album The Suburbs that compelled them above all to, “up their game”, and thus Connolly needs little invitation to unleash some praise. “That record’s fucking stunning,” Connolly blurts unabashedly. “But we feel that way about lots of albums,” he continues. “U2’s Achtung Baby was one for me. But The Suburbs, we listen to that album a lot, you know, because we’re fans of music. That’s who we are, that’s what we do. But the thing that excited us about that record was that it felt like its own world, its own complete record. It was honest. It was unapologetic. It’s a fucking amazing record. And we don’t necessarily want to make an album that sounds like that or copy it, but it’s the idea behind that and the inspiration from that. They set the bar incredibly high with that album. It’s almost like a healthy jealousy. And we’re not competitive in that respect, but I think healthy jealousy is a good thing. That’s what inspires us to make ourselves better and make better music.” And did Snow Patrol make better music on Fallen Empires? Connolly claims the album is the band’s best and gallant effort yet. “As musicians, it absolutely is. I think, I hope, it’s the first step towards something really great. They’re tentative steps into exploring all things. For example, a song like Fallen Empires, which I think is the most different and inventive thing we’ve done, that’s where I see the future of this band. I think the next record will be even braver and bolder, and more confident. We were all those things on this record, but I think it’s the first step.” And despite it changing all the time, Connolly’s favourite track off the recent album is one that epitomises the aforementioned sentiments: it’s strong, original, littered with unpretentious harmonies, and, hopefully not to anyone’s detriment, pretty damn addictive. “It’s different depending on the moment, but I think generally my favourite track is Fallen

Empires,” he says. “Because I think that track is us at our greatest. We’re inventive and strong musically. And again, unapologetic. And not afraid to try… and for that reason it’s that track.” Despite being kept busy with a new album and an arseload of touring, it turns out Snow Patrol do a good job at keeping their fingers in multiple proverbial pies, founding and managing music publishing company Polar Patrol Publishing, and scoring cameo roles in Game Of Thrones. Eager to address the musically irrelevant – but televisually phenomenal – early, I inquire about Lightbody’s donning of medieval gear for an upcoming episode of the fantasy series. “I only found out he was in it today!” exclaims Connolly. “And it’s great! It’s a great TV show, we’re big fans. I know that Gary’s a huge fan.” As for the publishing company, knowing too well the challenges of upholding commitments to major labels, Snow Patrol settle instead for one-album deals with the artists they endorse. PPP first signed Johnny McDaid, who’s now writing with Paul van Dyk, and have recently signed Brighton artist Kidda, and Brooklyn-based rockers Here We Go Magic, who played Splendour In The Grass just a few weeks back.

themusic.com.au

“[It was] our drummer Jonny Quinn, who had the idea of starting this publishing company, and he’s one for ideas. It’s about being involved beyond making your own music. And Here We Go Magic’s album A Different Ship, it’s probably the best record of this year. Listening to it, I don’t know whether to write more or give up! It’s hugely inspiring. I guess we’re just excited to be a part of that.” As for their tour, come September, Connolly gives little away about what to expect. “Well I hope we can make it more than just acoustic, and can be a lot more inventive with it. It’s somewhere we love being, it’s somewhere we love touring, and we haven’t been there in a while. It’s an amazing place. But I don’t have any preconceptions about what it’s going to be like, you know, we’ll just come down and do what we do. Enjoy being there… and hopefully make it a lot more than acoustic – without giving anything away.” WHO: Snow Patrol WHAT: Fallen Empires (Polydor/Island Def Jam) WHEN & WHERE: Sunday 30 September, Regent Theatre


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INPRESS • 25


TAKE A NEW LINE

US-APPROVED MONKS

New frontman, new drummer, new album, but one listen and you know that it’s still very much The Angels. Rhythm guitarist John Brewster explains it all to Michael Smith.

They might be a local indie rock four-piece with a funny name to you but to the Yanks, Monks Of Mellonwah are something else, as Michael Smith discovers.

T

he morning this interview took place, word came through that the video for the new Monks Of Mellonwah single, Neverending Spirit, lifted off their second EP, Neurogenesis, had been added to their regular playlists by the MTV Networks in the US. That came off the back of the boys winning Best Indie Rock Artists at this year’s Artists in Music Awards in LA, and picking up a nomination for Best International Artists in the LA Music Awards. “I’m not too sure,” Monks lead guitarist Joe de la Hoyde admits with regards to how it all came about. “Our manager was surfing the Internet and an opportunity came through his inbox about submitting to the Awards. We didn’t really think… It’s one of those things we sort of thought, ‘Why not?’ So we ended up submitting our song Neurogenesis, and they came back, loved it, they nominated us based on the song and on our social [networking] response. A couple of months later we’d been in contact with the guy who organised the event whose name is Mikey Jayy – he’s host of some [online] radio show in LA [The Great Unknowns presents KGUP 106.5] – and he asked us to come and perform over there as well. It was awesome to say the least. We went over for ten days to play the one show – it was insane!” Based around brother Joe and, on bass, John de la Hoyde and drummer Joshua Baissari, Monks Of Mellonwah started out with Will Maher on vocals but when he was obliged to drop out for a while, singer and guitarist Vikram Kaushik joined, and it was with him they recorded their debut EP, Stars Are Out, off which the track, Swamp Groove, managed to make AMRAP’s top 10 most requested songs across community radio. The new EP is different though, with Kaushik gone and Maher back in the fold. “As soon as Vikram had gone, we had to rethink our whole writing process,” Hoyde explains, Kaushik having been his co-writer in the band. “Me and my brother just started to take over it a bit more with the writing and concentrated more on

that ‘epic’ side of us. I mean it was different from the word go. Vikram had a kind of r’n’b sort of soul voice where Will has this really deep presence kind of voice. “The first EP, we didn’t have many developed song ideas and we sort of went into the studio blind and our producer helped us quite a bit because we’d only been together a couple of months, where on the second EP we really had an idea of what we wanted to sound like and focused songs, that kind of thing. We had a young producer called Ryan Miller, who really gave us some freedom over what we wanted to do. The songs, they’re all different, they’ll all got something different to offer based on, yeah, a lot of different things.” The band then took two tracks, the title and Neverending Spirit, and sent them to the States to be mixed by Grammy Award-winning producer Jeff Bova, whose credits include records for artists as diverse as Michael Jackson, Blondie and Iron Maiden. “We saw his ad online and we were happy with the mixes but not too convinced on a couple of things and considered getting them remixed – Neverending Spirit hadn’t been mixed – so we thought we’d just chuck Neurogenesis over to see what kinds of differences we’d get – and we were really happy with what came out from that,” Hoyde chuckles. “So we sent him the premix of Neverending Spirit to go nuts with.” WHO: Monks Of Mellonwah WHAT: Neurogenesis EP (Independent) WHEN & WHERE: Friday 21 September, Grace Darling; Saturday 22, Revolver Upstairs; Saturday 22 (2am Sunday morning), Pony

“You know, we really do want to spread the net as far and as wide as possible,” Bell explains. “That’s the reason we haven’t spent a whole lot of time at home over the past five years. The focus has been the rest of the world. We actually kind of feel at home in places like America now – we’ve done it so often over the past several years.” It creates an interesting conundrum for the group. Katchafire, more so than most, are a band of community and family. Ignoring reggae’s inherent connection to such ideals, Katchafire were initially formed of brothers and cousins. Yet, as they bring their message to the world, they inevitably separate themselves from all that is most dear to them as a collective and as individuals. 26 • INPRESS

The other thing, as it happens, is that Gleeson’s vocal range is just perfect for The Angels. “He’s got that timbre that you sort of need for us,” Brewster agrees. “I did it for a while with The Original Angels Band [The Brewsters and original rhythm section Bidstrup and bass player Chris Bailey, who came together in 2003 to play at a benefit concert for Bali bombing victims in Perth], and I think I do well in The Brewster Brothers, but I’m not a frontman, not a rock singer. I can write rock songs but I’m not a rock singer, and Dave’s just got all of that power and he’s so musical too, he’s very musical.” By August last year, Gleeson, the Brewsters, Bailey and multi-instrumentalist and songwriter Nick Norton, who had played in a band called Gangawry that John Brewster had mentored in their teens, had taken themselves into Albert’s Studios in northern Sydney suburb Neutral Bay to record some tracks. The result is their new album, Take It To The Streets. “The thing that we really needed to do and had needed to do for I don’t know how many years, as far as The Angels is concerned, was write a new album, and Doc wasn’t interested,” Brewster explains, their last original studio album having been 2000’s Left Hand Drive, released through Shock. Neeson, on the other hand, had decided to record a solo album. “So suddenly we’ve got this guy that is [interested] and a whole band that’s into it. We’d already started a lot of the [songwriting] process and Dave came in singing songs we’d already written.” The band has signed to Liberation, renewing their relationship with Michael Gudinski, who signed them to Mushroom back in 1984. WHO: The Angels WHAT: Take It To The Streets (Liberation) WHEN & WHERE: Thursday 20 September, Corner

They’ve been absent ten years from our shores but Nada Surf return this month. Frontman Matthew Caws tells Tyler McLoughlan how audiences will be treated to the wares of newly realised outfit.

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The band are very much a touring juggernaut. While boasting a less than wieldy line-up (seven musicians in total), Katchafire are one of the hardest-working bands of their genre. Their recent US tour saw them tackle 35 dates. Their upcoming Australian jaunt sprawls over 31 shows. It’s perhaps unsurprising they dubbed their fourth and most recent album On The Road Again back in 2010.

“I kind of believe in fate or serendipity, whatever you want to call it; it just happened and for all the right reasons and [was] a very natural thing. Dave came in and not only did he step into what people are saying are big shoes – I don’t think he’s stepped into anyone’s shoes, he just came in and started singing our repertoire, which has been a big part of his life anyway, he’s a big fan – but he did it so well and brought his own thing into the band and, you know, has so much respect for Doc anyway.

singer in the country, and I can’t think of [any] other people who could necessarily fit the bill either. He’s a good guy.”

GETTING THE JOB DONE

Katchafire are one of New Zealand’s most successful reggae exports. Ahead of their much anticipated return to Australian shores, singer-guitarist Logan Bell speaks to Matt O’Neill about the band’s surprising success.

“Yeah, it got to the point where we weren’t even playing in New Zealand because we were so busy touring,” singer-guitarist Logan Bell laughs at their hectic schedule. “We managed to get back there just recently – and, even then, it was only eight dates or so. Pretty exclusive. Our focus lately has pretty much been about trying to take our music to the world – all four corners of it.”

Founding members with Neeson, guitarist brothers John and Rick Brewster, meanwhile, threw themselves back into their own The Brewster Brothers band. It was while they were playing back in their original home state, South Australia, that a possible solution presented itself. “I don’t know how it happened,” John Brewster, on the line from his home in Victor Harbour, a coastal town well to the south of Adelaide, admits. “It’s just some freak thing that happened up here in the Adelaide Hills when we were doing a little gig in a place called The Haus [in Hahndorf], and Dave [Gleeson, The Screaming Jets frontman] lives nearby and he just happened to come along to this gig. We were looking for a singer and he came up onstage and sang, and I called him about two weeks later and said, ‘Dave, we’re looking for a singer. What do you reckon?’” he laughs.

“But he’s not trying to be him,” he continues. “I can think of a lot of great singers, but I think Dave is the best hard-rock

FIRING SQUAD

ew Zealand has one of the most fertile reggae scenes in the world. Few of its representatives can lay claim to Katchafire’s success, however. Forming in 1997 as a Bob Marley tribute act, they’ve since gone on to share stages with The Wailers, Horace Andy, UB40 and Maxi Priest; performing extensively throughout New Zealand, Australia, America, South America and Europe.

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t the beginning of last year, The Angels found themselves back where they’d been a few years ago when their original singer, Doc Neeson, had been forced to drop out because of the after-effects of a car accident. Reunited briefly in 2007 for the second national Countdown Spectacular tour, they’d then come together again the following year to tour off the back of the 30th anniversary reissue of their seminal breakthrough album, Face To Face. By the end of 2010, however, Neeson had decided not to continue the relationship and since the band had no recording deal anyway, it all ground to a halt again, with drummer Graham Bidstrup also opting out to manage Neeson as a solo artist.

“Yeah, that’s definitely an issue. Most of the boys in the band have multiple kids. Family is very important to all of us and being away from our loved ones is probably one of the hardest parts about being away on the road for so long,” Bell reflects sadly. “All we can do is try not to be gone for too long at a time, you know? Try not to be away for more than five or six weeks with each tour.” Still, there’s limited sympathy. Katchafire do it to themselves. If they weren’t so good at what they did, they wouldn’t be in such a predicament – and they are a genuinely exceptional ensemble. With five songwriters and seven musicians, Katchafire records have long been storehouses of both talent and eclecticism; strong reggae songcraft augmented by liberal lashings of funk, jazz, soul and pop. Their success is unsurprising. “Well, we pinch ourselves every day,” Bell laughs. “You know, we’ve always sought to keep our goals nice and realistic as a band. When we started, all we wanted to do was write and play the music that we liked to listen to as a band. When other people seemed to like it, we just wanted to see if we could release an album. It just kind of kept going. We all feel so lucky to be doing what we’re doing. “I mean, there’s demand for our music in Brazil, Indonesia, Bangladesh... Places we never thought would even hear our music,” the singer says incredulously. “And I just think that kind of following is the greatest compliment you could ever get as a musician.” WHO: Katchafire WHEN & WHERE: Friday 21 September, Forum

merican trio Nada Surf occupy an exclusive area of the industry reserved for those who quietly but proficiently go about their business, making life-long fans of anyone they manage to touch along the way. Add to this that 2012 marks their 20-year existence with an unchanged line-up, and that their later years have produced stellar indie pop-rock records that continue to transcend the vigour of early efforts – notably their 1996 debut hit single Popular – and you’ve got a near-perfect combination of musical magic. Given this, all Nada Surf had to do for this year’s seventh record The Stars Are Indifferent To Astronomy was keep on keeping on. But it was still time to address some home truths. “A funny thing has happened to us in the studio where we take songs that we played at a certain speed with a certain click [track] in practice, and we’d get in the studio and just slow them down,” frontman Matthew Caws admits. “I think because we felt that it was the mature thing to do or the thing that we were supposed to do, but then touring for those records, we’d find that the songs went right back to the way they were in practice, which was a little more breakneck. “And sometimes that could be a little troubling because we’d think that we were doing something wrong and then if we played it the way we felt it, that we were... you know, that we were rushing. That change was alarming because we kept on wondering about it, so this time we said, ‘Well, lets just keep the songs exactly like they are in practice’, and we did.” Caws also looked closely at his approach to songwriting for The Stars Are Indifferent To Astronomy, prompted by the process of sifting through his life’s work to prepare for start-to-finish performances of their records Let Go, The Weight Is A Gift and Lucky to promote their 2010 covers record If I Had A Hi-Fi. “I really had to listen to those records top to bottom a bunch of times to brush up on the songs we hadn’t done as often. I found something that a lot of songwriters feel

themusic.com.au

sometimes, the sort of, ‘Oh my god, I just write the same two or three songs over and over again’, and that happened to me in a big way while listening to those. “It really hit home how often I look in a kind of psychological mirror, you know… I didn’t want to turn 80 one day and look back at an entire lifetime of writing songs just about myself,” admits the son of a philosophy professor, noting a particular interest in the natural world and the very external issue of climate change across the new record. But these are not the only shifts abound in the Nada Surf camp; recently the trio has experimented with the live additions of Doug Gillard of Guided By Voices fame, and Martin Wenk, who is too busy with Calexico commitments to make it down under for Nada Surf’s brief visit this month. “I’m very, very excited about this four-piece and the shows will be, you know, I think they’ll be a bit richer than the ones we did ten years ago as a trio. I hope so, at least. “But I have great memories of it. I’m a big fan of Australian music and I can’t wait to go perusing in some record stores and just enjoy it, try and make the most of it. We’ll only be there for four days – criminally short, but that’s just the way it is. It’s been a really busy year and we have families and stuff so we’ve got to get in, get the job done, and get out.” WHO: Nada Surf WHEN & WHERE: Friday 21 September, Corner Hotel


INPRESS • 27


BETWEEN WORLDS

ANCIENT WANDERINGS

With Call Me Maybe, Canada’s Josh Ramsay has been responsible for one of 2012’s most inescapable earworms. Matt O’Neill speaks to the vocalist and songwriter as he brings his own band Marianas Trench to Australia for the first time.

It would be fair to say it’s been a long time between drinks for The Exploders. Paul Doery comes out of the wilderness to talk to Brendan Telford about ancient history, misplaced albums and a horse called Neil.

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he Exploders were at one stage tickling the underbelly of the Australian musical consciousness, flirting coquettishly with national youth stations and leaving audiences in awe of their psych-inflected rock. Yet the band have never travelled a straight or obvious path, and it has been some time since they have graced local stages let alone assaulted the public with new sonic wares, giving way to the question: where have they been? “We were playing a lot of shows at the end of the decade, 2007 and 2008, and after a while we all went our separate ways, doing our own thing and focusing on other bits and pieces,” Doery admits. “Things went on their own path and it was three years before we knew it. It wasn’t a split, just a rest. Now we are dusting our guitars off so to speak, and remembering how to play with each other. Finally we are able to get the new stuff out; it’s had a while to grow.” That new material makes up Orche.Stratos.Pheric, their electric third record and first in more than five years. Although musically it is an easily accessible ride, filled with short sparks of Paisley-era rock and jagged bursts of ‘70s Led Zep/Bolan-esque theatrics, it is a concept album through and through, with themes that Doery admits are from a far-flung land. “Those stories come [from] the darkest recesses of TJ [Allender]’s brain, and I have no idea what goes on in there,” he deadpans. “He has a fascination with the Roman Empire and ancient Greece, war and all that business, and the album stems from there. But past that, if anyone should know about TJ it’s me, and I have no idea. Some of the characters are fairly obvious; some are a little more hidden. Neil the horse seems to be a bit of a favourite.” The album was recorded for the most part three years ago, but getting the new material up and running was

clearly an arduous task. “We did it all in between gigs and tours, back when we were still pretty active, and our last show was in 2009, so we expected the album to come out around then. But a few things cropped up, such as parting ways with management. We even misplaced the masters of the sessions at one stage, which is typical of us. So TJ and I said to each other ‘Look, we’ve been playing flat out for a couple of years, we aren’t going to play any more shows until we get the album out’, thinking it would only be three to six months later. Then three years went by, and then the label said to us ‘We’re gonna put this out’, so here we are.” The inadvertent extended hiatus may mean they are a slightly rusty machine, but Doery asserts that The Exploders aren’t going to settle into a psych jam mode and are ready to, well, explode. “With [Orche.Stratos.Pheric] some of the songs were pretty elongated when we put them down, but we worked hard to trim that fat, plus TJ is one who gets bored easily, so he isn’t a fan of those ten-minute jams that play just one note,” he says. “I totally agree, and so we trimmed away until what we had left was something punchy. All the best bits are jammed in there, so nothing is left to chance this time around.” WHO: The Exploders WHAT: Orche.Stratos.Pheric (Rubber) WHEN & WHERE: Wednesday 19 September, Workers Club; Friday 21, Karova Lounge, Ballarat; Saturday 22, National Hotel, Geelong

Sometimes Smith has to be held back – there are 40 tracks on Little Milk, with the shortest being a mere 14 seconds in duration and the longest two minutes. He originally planned to have ten songs on the album, but then after they were completed he “just kept going”. “There’s a certain point where you do enough work to justify the kind of stupid nature of it, and I had to ask people when I should stop. I was gonna keep going to 50 or 60, but I think they cut me off at the path at the right time. I remember the first time I listened to it, I was like, ‘What have I done?’ So that was the idea behind that, just a fun challenge.” In a self-deprecating way that people are wont to use when talking about themselves, Smith says his songs stem from “dumb ideas”. To clarify, his preferred time to compose is when hungover and experiencing “brain vomit” (but not literal vomit). 28 • INPRESS

Their most recent album, Ever After, for example, tells a (surprisingly complicated) fairy tale of a stranger waking up in the land of an evil queen. Composed as a continuous piece of music, Ever After’s make-up runs the gamut from gospel to electro. Yet, equally surprisingly, it also produced multiple hit singles. Lead single, Haven’t Had Enough, actually reached #1 on Canada’s iTunes chart. “I think we’ve been really lucky. Ever After went gold in Canada in its first week. I’m still shocked that that actually happened. I mean, it’s only our third album,” Ramsay laughs.

At the heart of both the band’s dilemma and success is Josh Ramsay. The band’s main songwriter, Ramsay is something of a freak. His father owned a recording studio (entertaining clients such as AC/DC and Aerosmith) while his mother was a professional vocal coach. From an early age, he’s been indoctrinated with music – currently, he can play eight instruments, works as a professional songwriter and runs his own studio. “It was great. I actually thought everyone in the world was a musician until I was about ten,” Ramsay laughs. “Everyone in my family was a musician, everyone I met was a musician and, if I went to work with either of my parents, I only ever met other musicians. The great thing was, because everyone in my family was a great musician, every road trip and singalong was like a new lesson about music. “Like, I think the thing about me is that I’m not the kind of person or musician that only likes one genre. Some people only respond to one genre of music or they have that mentality that says something mainstream can’t be good or something indie can’t be good. The way I look at music, I just like good songs. I don’t care if it’s R&B or country or pop or rock or rap – if a song is good, I think it’s good. As a result, I write it all. It’s all good.” WHO: Marianas Trench WHEN & WHERE: Monday 24 September, Corner Hotel

Formerly residing over a Philadelphia Grand Jury, Simon Berkfinger’s latest project Feelings is up and about, and he tells Stuart Evans the biggest difficulty since going solo has been himself.

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“It seems natural on some level; I like playing music and stuff and albums are just like artifacts of the hobby of playing music. I think more people should have more albums out, or maybe I just take my own ideas more seriously and every dumb thing I do I think I should put out, while other people kind of have better quality control than I do! I’m not sure.”

“Bands like Queen, [The] Beach Boys, even The Beatles – the greatest thing about those bands was their sense of adventure. That ability to go, ‘Well, that instrument doesn’t really go with this genre but we’ll do it anyway.’ That’s the fun of music, I think.”

Our second record, we kind of started to figure out what we wanted to do as a band. I feel we really kind of came into our own with Ever After.”

BERKFEELINGS

The staggeringly prolific Lehmann B Smith does his best songwriting when he’s hungover, which might explain why he struggles to write happy tunes, he tells Stephanie Liew.

“It kind of became a backlog. I guess I’ve been working on stuff from like 2010 or something and then everything just got held up until this year, so it made me seem more prolific than I am,” laughs Smith.

Marianas Trench straddle a strange divide. Firmly established within their native Canada as a successful pop act, they’ve also made an unusual habit of experimenting with their artistic limits. As an example, Ramsay’s work with Carly Rae Jepsen has made him a much soughtafter professional pop songwriter – but his band have delivered multiple concept albums spanning everything from punk to pop to Broadway. “I really try and not have rules. I think, as soon as you put rules in place for a band’s sound, you put a ceiling on what that band can do.

“I feel really lucky because, really, our first album we were still searching for our sound in a way.

DON’T THINK, DO

ot content with already having released two albums this year – a split record with Patinka Cha Cha’s Natasha Rose and his own Little Milk – Lehmann B Smith is about to launch another for 2012, Girlfriends. After that, there’s another record planned for release in December, and three more (plus an EP) in 2013, and then a triple album in 2014 (yes, triple). The upside is that he looks like the hardest-working songwriter of the 21st century; the downside is that he will most likely experience “launch fatigue” in the near future.

h, that was very surprising,” Josh Ramsay laughs of Carly Rae Jepsen’s mega-hit, Call Me Maybe, which he cowrote and recorded with the Canadian pop star. “It’s funny, I’m standing in the room where that was written and recorded right now and it still seems weird to me that everyone in the world seems to know that song. Honestly, it’s been amazing because, obviously, what helps Carly helps out my band too.”

’m sitting in my underwear in front of a mixing desk in Berlin. I’m thinking about what I’ll do today,” tells a forthright Feelings, better known as Simon Berkfinger. That is some personal information shared right there. It is good when interviewer and an interviewee get intimate. He will record all the ideas he comes up with in this time, and listen to them later with a serious ear. “It all comes out of just not using any sort of thinking part of my brain to do it a lot of the time,” he says. There was a different motivation for Girlfriends, however. After releasing a couple of more melancholy records, Smith wanted to try his hand at something positive. He wanted to create a joyful album, and what’s more joyful than including a choir? “The logical thing, if I was going to do a happy album, was to get everyone in and feed off their happiness. Also it’s just fun singing in groups. But it was a logistical nightmare; never again. So many people.” As hard as Smith tried to make the music upbeat and jovial, his lyrical content betrayed him. He confesses that sad songs have always been easier for him to write. Reflecting on the songs on Girlfriends, he says, “I was trying to make happy songs. It makes me nervous thinking that I’m gonna write ‘I love you’ kind of songs. I want to eventually; I’m leading up to it, I’m working on it. I missed the mark terribly. I was thinking about it a couple of nights ago, going through all the songs in my head and what they’re about and they’re almost all break-up songs and almost all of them have some reference to being drunk or something in them. I dunno, I think there’s gotta be something happy in there, I’m sure there’s something! It’s still dark, but I thought I fooled everyone with the tambourines.” WHO: Lehmann B Smith WHAT: Girlfriends (Sensory Projects) WHEN & WHERE: Saturday 22 September, Bella Union, Trades Hall

Berkfinger is explaining that he is looking directly at a grand piano in the corner of his Berlin studio. There is also a drum machine, he says, and numerous other instruments. He cannot play the piano. “Well, I can just play enough to get by. It’s a challenge to try other and play other instruments as I am always trying to throw myself curveballs,” he laughs.

There’s more to this story

on the iPad

Berkfinger, now going under the name Feelings, is still largely known for his work with the now defunct Philadelphia Grand Jury who burst onto the scene with their shockingly catchy, Going To The Casino (Tomorrow Night). The name is a tad confusing as the three members of Philly Grand Jury hail from Sydney. All the same, last year the trio called time on the collective, citing “creative differences” between founding members Berkfinger and Joel “MC Bad Genius”. After the split, Berkfinger upped sticks and shifted to Berlin to focus on his solo work. Even though the divide occurred over a year ago, Berkfinger reveals that he is still confirming the band’s demise with fans via social media. “It’s a bit sad telling people on Facebook that we have split and that we will not be playing together again,” he says. When news first broke of a division within the Philly’s, the announcement said they were on “hiatus” with Berkfinger stating that Philadelphia Grand Jury is just one of his musical personas. The statement added that Berkfinger moved his recording gear to Berlin. In November 2011, the band announced via their Facebook page that they had split up. Berkfinger reveals that there are obvious pros and cons to going alone. “It’s very scary going out on your own and you start to think about your career, which isn’t a good thing to think about.”

themusic.com.au

There have been a few other eye-opening moments since he has flown the Philly coup. “The biggest thing I’ve noticed is that it’s hard for me to actually finish anything as whenever I sit down to finish something I always start writing new material. I’ve gone off on a lot of musical tangents and put pressure on myself by constantly challenging and tricking myself,” he tells. He is not kidding. He has a recorded 80 songs for his forthcoming debut album, with one potential song recorded over nine years ago. He has also coined a new phrase for his musical shape shifting. “It’s called spontaneous instrumentation,” he laughs before veering off to one of his loved tangents. “I can’t decide on what songs to use. When two people collaborate, they try different instruments and different approaches. I try a similar thing by playing an instrument and then playing another instrument with a similar melody. I then may try playing something else immediately afterwards.” If that sounds like hyperactive approach to music, it is. Thankfully, Berkfinger explains that there are other ways to expand and develop. “I’ve always got musicians dropping by who will often collaborate.” His first single under the Feelings banner is One In A Million, which has already been lauded. He’s also embarking on a national tour with the likes of Art Vs. Science’s Dan Sweat and Dappled Cities’ David Rennick. The Berkfinger live show experience is still a work in progress. “One thing about Philadelphia Grand Jury is that we had a great live show. It was fresh and had this cool energy about it. I’m still working on my live show as it needs to surprise.” WHO: Feelings WHAT: One In A Million (Inertia Access) WHEN & WHERE: Saturday 22 September, Workers Club


godspeed you! black emperor feb 15 — forum tickets on sale now: www.handsometours.com

INPRESS • 29


SINGLED OUT WITH BRYGET CHRISFIELD

ON THE RECORD

CHERRYWOOD No More/Pentridge Independent

Impress Or Scare Independent

“Why-yah-yah/Yah-yah-yah!” – sounds like something out of Geordie Shore! Impress Or Scare? A bit of both really and that’s an awesome combination for a garage-rock band. The Naysayers are in your face, but that won’t stop you from inching forward to check them out. Dangerously good without even trying.

THE FEARLESS VAMPIRE KILLERS Mexico iTunes

There’s something a lot (I’m Not Your) Steppin’ Stone by The Monkees about Mexico: cacophonous, cymbal-heavy drumming (Justin Olsson smashes it!); beseeching vocals that reach breaking point; and expertly played wailing guitars. The thing with existing bands worshipping music from the ‘60s (this single’s b-side is a faithful cover of Yer’ Blues by The Beatles) is that something needs to be added to distinguish the sound from the influence or else the listener will press eject and walk away to crate dig for the original.

CAT POWER

Tempest

Sun

Columbia/Sony

Matador/Remote Control

Some can’t believe Bob Dylan is still alive and are suspicious of the likely quality of new material from an oft-eccentric artist who’s certainly stepping into his twilight years. Then there are those who have heard his recent work, know that Dylan is still one of the world’s great songwriters and performers and embrace what the legend has to offer. Bob Dylan ceased being groundbreaking years ago (when everyone started copying him), but that doesn’t mean he’s not pushed the envelope in recent times – anyone who heard 2009’s Christmas In The Heart might argue he pushes it too far on occasion – and Tempest is another example of Dylan writing songs and making records on his own terms.

Cat Power’s new album Sun is a great individual achievement. Barring a couple of songs, which feature a handful of guest musicians, Chan Marshall made the entire thing all by herself. She wrote the songs, she played all the instruments, she produced it. It is the first time she has done it like this. It’s a statement of authority and control over the record, and indeed over herself. Independence and taking charge of yourself are strong themes in the album. In Always On My Own she sings, “I want to live my way of living”; in Human Being she sings, “You got a right to be whatcha want and where you wanna be”; in Sun she sings, “I may be a lover but I’m in it to win”. The palette of sounds is plentiful, from piano to ethereal synthesisers; real drums to drum machines. It is well performed and sounds lush and crisp, a credit to Marshall’s multitudinous talent as a musician.

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THE NAYSAYERS

LIVE

BOB DYLAN

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Now we’re talkin’! The sound of multiple bloke-vocals overlapping and lamenting love lost is irresistible. Slide guitar always adds an authentic edge and Graveyard Train’s Josh Crawley does the honours on No More. Local reference Pentridge gives Cherrywood a strong sense of place and shows you don’t have to reference America to make this style of music digestible. I betcha these guys don’t own any sloppy jeans or t-shirts either, such is their dedication to keeping traditional bluegrass alive.

The most important thing about Tempest is simple; Dylan once again contributes something of real weight and of real value, his music remains the opposite of disposable. If so inclined you could spend hours poring over the lyrics, researching and cross referencing his every line, all the while secretly knowing you’ll never hit on the true meaning of his lyric. Is Duquesne Whistle really about a train? Does Early Roman Kings speak of Italy in 600BC or South Bronx in the early-1960s? Much of the imagery is unmistakably bleak; talk of gangs, murder (Tin Angel is chilling) and a 14-minute dissection of the Titanic’s sinking (on the meaty but overrated title-track) among topics raised. Album highlight Pay In Blood has Dylan telling us he has “dogs that could tear us limb from limb” – in his gruff voice it’s more frightening than anything released all year. It’s no masterpiece, but with Tempest the Dylan legacy remains intact. Dan Condon

Title track Sun is brooding and full of swagger, with Marshall portraying our sun as an almighty thing that can give “the answers to every question”. Ruin is a kick in the bum to those who tend to sook, urging us to get on with things instead of “bitching, complaining/while some people ain’t got shit to eat”. Manhattan is a standout track, a romantic, head-bobbing, making-out-on-a-New-York-rooftop kind of tune. Nothin But Time is another highlight of the record. The 11-minute epic has a bit of David Bowie’s Heroes about it, with two major chords played over and over on piano, a fluent drum beat and a baritone Iggy Pop joining in halfway to sing with Marshall, “You got nothin but time, and it’s got nothin on you”. It is decidedly cool and uplifting. Sun is a captivating, powerful album from an artist who seems reborn, self-possessed and at the top of her game.

MUMFORD & SONS Babel

Dew Process/Universal If it ain’t broke... To say that fans are awaiting Babel with bated breath is probably a huge understatement, but hang in there because Mumford & Sons’ latest studio album is definitely worth the wait. Marcus Mumford and co deliver exactly what we all hoped for and more; Babel is a prime example of what can happen when a group work together in such beautiful harmony. The opener and title track is an explosion of emotion. It’s effortlessly robust, setting the tone for the album as a whole, the perfect teaser for what’s to come – banjo and brawn. Following tracks Whispers In The Dark and I Will Wait continue to exceed expectations, the banjo-riff champions, and Mumford’s voice is all-consuming as he hollers “I will wait, I will wait for you”. Lover Of The Light is classic Mumford & Sons - if that’s what it sounds like in a studio, one can only imagine how breathtaking it must be live. Ghosts That We Knew and Broken Crown take on a more sombre feel, as Mumford cries out “give me hope in the darkness so I can see the light”. The emotion in his voice is almost overwhelming; you feel the yearning and the anger as if it were your own. Nothing is held back, and there’s a sadness and vulnerability here that’s captivating. It’s pretty much impossible to pick a standout track from this album because each one is so goddamn good. Mumford & Sons prove their worth again and again, and the only unfortunate thing about this album is that it has to come to an end. Katherine Edmonds

Warwick Goodman

ROBBIE WILLIAMS Candy

Universal If you didn’t have a private “aw” moment when Robbie Williams reunited with Take That in July 2010, you’re probably the type who rents My Girl for a laugh. Percussive horn blasts meet finger snaps before swoon-worthy strings enter and then there’s some tropical percussion and vocal melodies inspired by nursery rhymes (“Ring a ring of roses/Whoever gets the closest”). I challenge you to keep your head still on your neck regardless of what you think of this telegenic popstar. The recurring “If it don’t feel good what are you doing it for?/What are you doing it for?” motif could be Robbie’s psychologist of sessions past on loop. Oh, no! I just thought of something! Does this mean Williams won’t tour down under with Take That ‘cause he’s too busy promoting his own solo material? On second thought: don’t buy this!

ROLLER ONE My Friend, Complication/ Someone Like You Independent

Very poignant music. Picture this: a beaten up, middle-aged character (preferably played by Harry Dean Stanton) sprawled on the floor of his trailer clutching an almost empty bottle of Jack Daniels. The backstory is that debt collectors have barged in and confiscated every last piece of furniture to recover a gambling debt. Plucking, noodling, strings, it’s all here – as well as an overall sense of hopelessness that permeates throughout. Roller One sure have got the blues. Avoid during messy breakups.

ICONA POP I Love It Big Beat

With its recurring chorus of, “I don’t care/I love it,” every savvy party DJ out there is bound to drop this song into the mix during their summer festival season slots. These self-confessed “’90s bitch”es (‘cause lyrics are always autobiographical, right? Yeah, I know, not necessarily, but just go with it in this case, okay?) are from Sweden. If Style Of Eye (who co-produced this track with Patrik Berger) remixed Ace Of Bass it would sound something like this. 30 •INPRESS

REGULAR JOHN

BOB

LITTLE HURRICANE

Difrnt/MGM

Grand Hustle/Atlantic

Shock

Typically bands tend to get quieter, more introspective and mellower as their career progresses. Regular John began as a noisy rock band, full of bravado and riffs dug up from the dirge. While Strange Flowers still essentially is a psychedelic record, you can still catch glimpses of those solid guitar-generated riffs in amongst the droning bass lines and reverb-soaked vocals.

It starts strongly enough. Morgan Freeman, backed by strings, is as good a way to begin an album as ever. And when B.O.B starts throwing down his first verse, all seems fine. With venom he spits his rhymes with Eminem’s fury, culminating in a catchy chorus that screams ‘impressionable youths, I am your mouthpiece’. Digging deeper into the lyrics though, the realisation hits that there is actually very little there. “Whenever I wake up/I get this feeling/That I can’t wait up/’Cause time is ticking/Bombs away” – awesome.

Could Little Hurricane fill the void left behind by The White Stripes? While the parallels will no doubt be drawn from their debut Homewrecker, this San Diego duo has a point of difference. Made up of Celeste ‘CC’ Spina on drums and Tone Catalano on guitar, Little Hurricane were born to a love of soul and blues, yet rather than solely resemble their predecessors, they’ve breathed new life into the weathered genre.

Strange Flowers

Strange Clouds

With only ten tracks on Strange Flowers, this is a tightly harnessed record focusing on quality over quantity. The album’s title track is a blissful rendezvous, as it weaves its way in and out of a driving first section, before imploding in upon itself in the bridge and coming full-circle. This can also be said for the album as a whole. Opening track Sky Burial, is a pulsing bassheavy track made complete with jangly sparse guitars, while first single Slume is a dirty and emotional track that features some very intricate rhythmic changes and heartfelt lyrics. Letters In Braille is a more lowkey, casual affair yet still effectively portrays the band’s moodier side. Green is a blues-based jam inspired track, and by the far the album’s longest track, and features a stripped-back middle section. Regular John have mutated themselves into a different musical beast whilst still maintaining the soul that makes the band unique. It could have been very easy to make a straightforward rock-by-numbers record, yet they have opted to keep themselves interested and challenged by exploring sound textures and messing around with traditional song structures. Strange Flowers is everything a rock album should be: honest, edgy and damn right powerful. James Dawson

And from there, it’s pretty much a case of wash, rinse, repeat. In the second track Ray Bands it’s as though B.O.B is getting paid commission every time he drops a certain sunglasses brand, and the fact that Chris Brown features anywhere here, let alone singing the words “Damn, I’m killin’ em”, is shameful. In saying that, single Both Of Us featuring Taylor Swift is a guilty pleasure, and cameos by Nicki Minaj (Out Of My Mind) and Lil Wayne (Strange Clouds) are unsurprisingly a couple of other highlights. With an average song length of four-plus minutes, B.O.B’s willingness to push past the straight-up, Black Eyed Peas-esque pop songs is worthy of a mention, although sometimes it leaves tracks such as Out Of My Mind finishing anti-climactically. Strange Clouds is a little pithy. B.O.B aims for the clouds, and after his 2010 debut record peaked at number one in America it’s fair enough that he does. It’s just a little bit too saccharine sweet. You’ll find it filling floors at your local Top 40/R&B night (and Big Day Out 2013 – WTF?), just maybe not in your headphones. Dylan Stewart

themusic.com.au

Homewrecker

Little Hurricane have achieved a rare feat for a debut LP. They’ve established their parameters – that is, contemporary rock and blues – and instead of straying with fillers, they maintain a dark consistency across the entire album. The inevitable comparisons to the ‘Whites are established from the opening track Crocodile Tears, a rhythmic blues tune with an ominous tinge that chugs away beneath the call-and-response vocals between the duo. The contrast between Spina’s honeyed vocals and the threatening musical backdrop is the perfect point of tension, making it a standout track. Catalano shines with charging riffs and differing verse-to-chorus vocal tones in Trouble Ahead and Fourth Of July, yet is just as striking in the acoustic-driven Get By. Spina and Catalano team up again in Shortbread, another standout track. Spina’s one vocal line in the chorus forms the crux of the tale, singing, “Start a fire in my heart” to which Catalano responds with pained precision, “That’s what I’m trying to do.” Sweet Pea follows suit with a devastatingly plea from Catalano to a lover who fled, but it’s the choice of the outstanding Give Em Hell to close the record that really sharpens their collection. Homewrecker is one outstanding debut and one that has ‘cult following’ written all over it. Madeleine O’Gorman


POP SINGLES

SETH SENTRY

THE AMITY AFFLICTION

THE XX

Vacant Valley

High Score Records/Inertia

Roadrunner/Warner

Young Turks/Remote Control

Pop Singles’ debut LP starts all aflutter with Tam Matlakowski’s bright guitars and yearning vocals, Ashleigh Wyatt’s forever-bounding drums and Peter Bramley’s bass lines that wander and tumble in Hold You Tight. The guitars sound a bit like The Smiths. Vocally and lyrically the comparison rides too, the sweet melodies form a pretty facade but a solemness cuts through: “I see your eyes and I start to wonder/if all our dreams are shooting stars/ just left to die alone”. Title track All Gone continues with the theme: “It’s all gone/there goes the dream/ it’s not wrong/it’s not right/it’s nowhere in-between” sings Matlakowski, and it reads bleakly, but it’s not, as it’s delivered with a sweet air of moving forward.

Ever since Seth Sentry raced to national attention in 2009 courtesy of a kitschy, catchy song about crushing on a waitress, fans have been waiting for his debut album. After three years, that wait is finally over. This Was Tomorrow is an excellent record.

It’s hard to discuss the work of The Amity Affliction without mentioning the tall-poppy reception they receive from the hardcore community. Since Youngbloods dropped in 2010, it’s seemed that the band can’t release a new merch design, let alone music, without drawing criticism from message-board warriors.

To say that hordes are frothing over this second album from the Mercury-winning Brits The xx would be a complete understatement. The airplay garnered for stunning ballad and first single Angels certainly hasn’t discouraged the public’s enthusiasm – it’s not your typical radio single, but its sentiment would most certainly speak to, well, anyone with a pulse.

All Gone

Are You Still There? features gorgeous guitars and a some catchy vocal hooks, with a bass part that is highly complementary to the song. The jagged, fuzzy riff in Always Away is reminiscent of the grungy, gazey goodness of My Bloody Valentine, with chords that sound almost out of tune, ending in a squall of feedback and cymbals. They are mostly short songs, with nine of the 11 tracks clocking in at less than three minutes. The overall production may lack depth – some backing vocals here and there wouldn’t go astray – but this lo-fi aesthetic may be just what they are striving for. Most of all, the album shows a refined sense of songwriting; music and lyrics are thought-out and heartfelt. It’s a promising collection of songs from a talented young band sounding comfortable together. Warwick Goodman

This Was Tomorrow

Chasing Ghosts

Seth Sentry’s laidback, quirky style is an antidote to the rough, tough party sounds of Australian hip hop, yet he’s still capable of having a big impact. With broad ranges of both subject matter and beats, This Was Tomorrow is richly diverse, anchored by Seth Sentry’s unique lyrical style and viewpoint. This Was Tomorrow showcases the Melbourne MC’s almost uncanny knack for wordplay. He can deploy rhymes, puns, deadpan humour and unexpected segues at will. His tracks are often funny without becoming parodies, with Room For Rent a clear standout. The lyrics capture the hellish sharehouse experience and the songcraft is impeccable. Seth Sentry has an innate ability to look at tired topics with fresh eyes. His distaste for the rat race has been long-established, but in writing a track from the narrative point of view of a yuppie confronted by the zombie apocalypse – Where Was You (When The Dead Come Walkin’)? – he finds a new way to explore the ordinariness of the middle class. Whether turning his attention to the grind of the restaurant industry (Thanks For Your Hospitality) or society’s lack of hoverboards (Dear Science), Seth Sentry proves that hip hop doesn’t have to be loud or obvious in order to be catchy. Aleksia Barron

It would take a team of historians working around the clock to pinpoint exactly what The Amity Affliction have done to enrage Brisbane hardcore fans, but whatever its root, any hatred directed at the band hasn’t slowed them down. They’ve been selling out shows and found themselves at home on an international label for the release of Chasing Ghosts, an album which showcases that Amity have the classiness to rock a positive mental attitude, and the chops to make a damn catchy metalcore/melodic hardcore record. Sticking to the catchy chorus, dirty verse formula that served them so well on Youngbloods, …Ghosts sounds familiar. In spite of the changes that saw them lose a keyboardist since their 2010 record and gain their new positive ‘tude, …Ghosts is very much the next, logical step. The Amity Affliction know what they do, and they do it better than ever before on soaring numbers like Open Letter and Life Underground. There are incremental changes; a fresh, clean production highlighting the nuance of the songwriting, sharper songs with a greater sense of dynamic, but its business as usual for the band. And though this will undoubtedly incense their detractors, it makes for a pretty bloody good record. Tom Hersey

themusic.com.au

Coexist

And with that, Coexist picks up right where the trio’s 2009 self-titled debut left off. Jamie Smith’s production work has evolved incredibly – he’s now an in-demand remixer and producer – and certainly challenges the focus point of record one, the vocal interplay between Romy Madley Croft and Oliver Sim. He’s managed to master simplicity, hone the minimalist vibe and capture the silence like no other. In fact, so meticulously-crafted is the sound, it makes Croft and Sim seem a little sterile lyrically and a little separate in their deliveries, not so much sexy interplay anymore but more vocalising their own parts and telling their own part of the story. This ain’t entirely a bad thing though, as both possess a hell of a lot of soul. Chained feels R&B flavoured and is most well-placed to be another radio single, while Reunion and the subsequent Sunset pulse almost enough to qualify as “club” if there wasn’t just so much space, so much atmosphere. Aside from the beats, little else exists besides a guitar that echoes The Edge and a sampled Jamaican steel pan. In the end, Coexist is stunning, compelling in delivery, simple and beautiful. It’s a hot summer night romance that perhaps wasn’t the dirty romp of the debut, but still most definitely brings the heat. Ben Preece

INPRESS • 31


FEATURING

BENN BENNETT REBECCA BARNARD WES SNELLING TINA DEL TWIST YANA ALANA SCOTT EDGAR

DAREBIN MUSIC FEAST PRESENTS

UP LATE WITH KATE

Reinterpreting and paying tribute to the songs of Kate Bush ALL TICKETS $23

22 SEPTEMBER Â&#x2019; 8:30PM NORTHCOTE TOWN HALL For tickets phone the Northcote Town Hall Box OfďŹ ce on (03) 9481 9500 or visit www.northcotetownhall.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 27 Sep until 9pm &*!))-Ĺ&#x2022;Ä&#x201E;Ĺ&#x2022; #%/3/Ĺ&#x2022;Ä&#x201E;Ĺ&#x2022; Ĺ&#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

32 â&#x20AC;˘ INPRESS


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THIS WEEK IN

“She’s looking at individuals, and looking at how societies affect them. From that, you get a quite profound feeling; she’s not out on some thunderous crusade to enact justice through fiction, where these good people will triumph and these bad people will be punished. In the end, everyone is fallible, everyone is human, everyone makes mistakes. History isn’t about good guys and bad guys, it’s messier than that, and it’s more personal than that.”

ARTS

Hello My Name Is

WEDNESDAY 19 Hello My Name Is – a new work written, directed and designed by Nicola Gunn (At The Sans Hotel). Set in a community centre, it asks the questions about what we value and what that says about who we are. Part of the Melbourne Fringe Festival. Opening night, Theatre Works, 8pm, to Saturday 29.

THURSDAY 20 Tales Of The Black Forest – a new take on fairy tales Snow White, Little Red Riding Hood and Goldilocks – think Grimm’s tales with a splash of erotica. Opening night, Red Bennies, 8pm, to Saturday 22. The Anything Goes Slam – Slamalamadingdong offers up another slam poetry night. Featuring Sabrina D’Angelo, the only rule in place is the time limit: three-minutes ten-seconds. Bella Union, Trades Hall, 8pm.

FRIDAY 21 Princess – a film based on the life of Anna Lappalainen, the only psychiatric patient to have a memorial built in her honour. Lappalainen refused to defer to the authority of her 1950s doctors; instead, she insisted they address her as “Your highness”. This stubborn refusal led to a battle of wills within the institutions. Part of the Other Film Festival, Arts House, 9pm, to Sunday 23.

SATURDAY 22 Angela’s Kitchen – a piece of autobiographical theatre and one-man show from Paul Capsis about Angela. This is the journey of a matriarch, who left Malta in 1948 with five children bound for Surrey Hills, Melbourne. As any European will know, the kitchen is the centre of the home and no one is ever full enough. The Malthouse, Beckett Theatre, 7.30pm, to 23 September.

Writers Bench – a journey through the historical timeline of graffiti and street art culture in Melbourne, from its beginnings as political slogans plastered on walls throughout the suburbs and the colourful burst of murals splashed along train lines to the rise of street art as an inner-city tourist attraction. ACMI, 4pm, to Saturday 29.

SUNDAY 23 Playback Theatre – an improvised theatre company, Melbourne’s Playback Theatre present theatrical interpretations of audience experiences. In The Long Weekend Christine Brooks presents a look at the lives of a group of close friends. Whilst in Idioms Cale Bain conducts a theatrical exploration of common sayings and everyday phrases. The Space, 7.30pm. Á Rebours – a exhibition of one of Australia’s most important photobased artists, Pat Brassington. This is the first extensive gathering of Brassington’s work and explores her ongoing aesthetic language based on surrealism and cinema reinterpreted through photography. Closing today, ACCA.

In the follow-up to her critically adored debut film Somersault, Cate Shortland is tackling World War II Germany. She tells Anthony Carew the parallels we can draw with our Australian history. “I didn’t really want to make a historical drama, and I certainly wasn’t looking for one,” says Cate Shortland. But, when the filmmaker was at the Edinburgh Festival in 2004, someone gave her a copy of Rachel Sieffert’s novel The Dark

Room, a study of ordinary Germans dealing with the end of World War II, she was suddenly obsessed that it be her next project. “Rachel writes from a very intimate point of view, and she never preaches,” Shortland explains.

It’s a distin distinctly German film, too, dealing with how a group of children – its titular character, Lore, and her band of young siblings – reconcile the changing social climate with the doctrines they’ve grown up with. “There’s a real central contradiction to the film, where you have these innocent blonde children who harbour this really murderous belief system. It’s looking at a society in a tiny microcosm, essentially looking at a whole belief system through this one girl.”

TUESDAY 25 The Wind In The Willows: A Weasel’s Tale – inspired by Kenneth Grahame’s novel. ”We are the weasels, banished from the sunshine to live here where our nights are haunted by the wind in the willows.” Part of the Melbourne Fringe Festival, Monash Uni Student Theatre Space, to Saturday 6 October. Breaking – the State Premier is dead. While the public mourns, his former lover can only secretly grieve. Written and directed by Seanna van Helten and Penny Harpham. Part of the Melbourne Fringe Festival, Sketch & Tulip Cafe, 7pm, to Thursday 29.

Russell Brand – comedian Russell Brand is back in Australia for a national tour. Brand shot to fame when he was seen as rocker Aldous Snow (who just wanted to be inside her) in the Judd Apatowproduced comedy Forgetting Sarah Marshall. He has also starred in Rock Of Ages, Get Him To The Greek and The Tempest. Brand will present his new stand-up show I Am A Walrus on Friday 7 December at Rod Laver Arena.

Lore recently won the audience award at the Locarno International Film Festival – “I never thought I’d ever get an audience award for one of my films” – offering approval from German-speaking audiences. In Europe, where there’s a long-running dialogue conrinues to discuss the atrocities of the past, Shortland feels Lore will be a part of that conversation. In Australia, however, she sees it as having “a different life”, critically. “In Australia, we don’t deal with our colonial history very well, we don’t deal honestly with Indigenous issues. This is a film set in World War II Germany, but it could’ve just as easily been a film set in colonial Australia in which a girl is dealing with atrocities that her father had committed. So much of our history has been suppressed, and that creates a lot of fear and anger in the Australian psyche.” WHAT: Lore WHEN & WHERE: Opening nationally Thursday 20 September

And he is loath to let historical accuracy deaden a decent yarn. “My father is still around, much to the fiction of the show. There’s potential for some new truths, I guess. I like leaving a lot to the imagination.”

Lawrence Of Arabia – a restoration of David Lean’s film that stars Peter O’Toole, Alec Guinness and Anthony Quinn. Based on the real life of TE Lawrence, a British army officer who helped lead the Arab revolt against the Ottoman Empire. Astor Theatre, 2pm and 7pm.

COMING UP IN ARTS

Russell Brand

I FOUGHT THE LORE

Thus, Shortland’s follow-up to her debut Somersault – the film that took her to Edinburgh, and won an astonishing 13 AFI Awards – became Lore, another anoth study of an adolescent girl (“I’m on only interested in the female psyche,” she s admits), this time set against the instant collapse of the Third R Reich. Demanding to any interested producers that the film be shot on location in Bavaria, in German (“t (“there’s always, for me, a disconnect if you’re watching a film set in, say, France, when they’re speaking EEnglish; it’s just kind of odd.”), Sho Shortland set out to making a work of aaesthetic realism, if beautifully, dreamily photographed.

Shortland threw herself into a study of the Bund Deutscher Mädel, the girls wing of the Hitler Youth, and was struck, on discovering one story, of a girl’s memories of blithely watching an elderly Jewish woman get kicked down the stairs of her apartment building, but then throwing up thereafter. “That was always in my mind, how human instincts were suppressed, and how empathy was one of many things you had to sacrifice for this regime,” Shortland says.

PAST LOVE

In his third solo show, Tommy mmy Bradson narrates how Aussie rockk legends played substitute for his father. Simon Eales gets the full story. Tommy Bradson’s sold-out 2011 Melbourne Fringe show, Pirate Rhapsody, Mermaid Requiem, netted the Sydney native the festival’s award for Best Cabaret, as well as a whole raft of Green Room nominations. He returns to the Fringe this year, show-casing his extraordinary lyrical and idiosyncratic brand of cabaret, with The Men My Mother Loved. Bradson’s shows challenge and entrance, just as Fringe shows should. The concept of The Men My Mother Loved seems simple. “I wrote it for my actual mother,”

Bradson says, “and the show is sort of loosely based on her, and also on the great music that I listened to as a kid. As a child of the early ‘80s, my parents were really into Aussie rock’n’roll; they were into AC/DC, the Skyhooks, Cold Chisel and bands like that. It’s kind of the first music I knew and it affected me in ways I didn’t really think of until much later in life.” His influences are super eclectic, from Hans Christian Anderson to stand-up comedy. Musician-poets like Nick Cave, Paul Kelly and Tom Waits have had a big influence,

particularly on this show. “I have always approached [my shows] off poetry. Th That’s ffrom a place l ’ where h something will start for me, even before I have any links or ideas of how a song will be structured. I feel like a lot of these guys are the same, or at least they finish with a product that has great literature to it.” Bradson’s shows are known for their ballsy lyricism, grotesque beauty and their trash-glam aesthetic. But The Men My Mother Loved, he says, presents something different. “This is a much nicer show than I have ever done before. I’m not fooling around as much. It’s from a son to his mum; there’s not a lot of violence or craziness,” he laughs. “I look at photos of myself as a kid and it just looks like a nicer time. There’s no sort of foggy haze over the photos, but everything looks kind of happy and easy.”

Coming up to Fringe time, Bradson’s a case-study in what you should look out for within the packed program. He’s a skilled artist, intelligent, emotive, audiencefocused, and he takes risks. All that doesn doesn’tt make it any eeasier to sum up his ultimate goal tho though: “To remind us of our follies and tto not be blindsided by that which doesn’t really matter in the end. Th That’s kind of how I spiritually appr approach all these things. But a lot of th the time I am just wearing knickers and swearing at people,” he laughs laughs. “So maybe it’s somewhere in th the middle.” It might be his process of “puzzling together” that produces such enthralling theatrical poetry. Talking about his mermaid character who sang of irreconcilable loss, in Pirate Requiem, he says, “that was really just me talking – only I was wearing a coconut bikini, a fish tail and talking in a strange voice. Whether people know that or not, is not important, but somehow it really works in the end. It’s a strange, unfinished puzzle.” WHAT: The Men My Mother Loved (Part of the Melbourne Fringe Festival) WHEN & WHERE: Sunday 30 September to Friday 5 October, Lithuanian Club

INPRESS • 33


FRONTROW@INPRESS.COM.AU

REVIEWS

C U LT U R A L

FINDING NEMO 3D FILM Clownfish Marlin is widowed when a shark kills his wife and all but one of her eggs. Naturally he becomes incredibly protective of hi surviving son Nemo, and his entire world falls apart when Nemo is taken by divers. Marlin sets off on an enormous quest down the Great Barrier Reef to Sydney where, unbeknownst to him, Nemo is being kept in a fish tank at a dentist’s office. Finding Nemo is beautiful storytelling. Marlin is a real hero, overcoming all kinds of personal demons to find what is the most important thing to him – his son. While the search might seem like a fun adventure, death, pain and loss are all central themes of this film. This really

THE WELL THEATRE Interactive theatre is like olives: people either love it or hate it, with no middle ground. The Well, a new production written and directed by Robert Reid, does its best to win people over to the interactive experience, with mixed results. A comparison with Lost seems inevitable, since The Well starts with an interesting scientific premise (what would happen if the Earth fell out of its orbit?) and yet builds towards a kinder, stranger, more spiritual conclusion. It’s certainly a fresh take on the apocalypse tale, and Reid does a good job of keeping his oddball plot hanging together. The Well is performed by an ensemble of Monash University theatre students, and the unevenness of the group is probably

34 • INPRESS

Chloe Sesta Jacobs Saturday 22 & Sunday 23 September, ACMI

Still, if there is an apocalypse coming, the early-adopter hipsters will likely be the first to know. In that respect, The Well may well be onto something.

“I don’t get why he doesn’t just pick up the gun and shoot her at this point?” “Yeah, why does he wait until the third scene?” Ach! It’s enough to make you bang your head on the keyboard until YTREWQ is permanently tattooed across your forehead. You slave in mind-numbing silence over a script only to realise when it’s read out loud that there are major plot holes and the dialogue that sounded so snappy when you wrote it is less Alan Sorkin and more high school drama. Next week writer/ actor Kate Mulvany, author Richard Flanagan and local legend Daniel Keene will sit through the same important torture as part of this year’s Cybec Readings at the Melbourne Theatre Company. But it’s not a sit-around-in-someone’s-loungeroomon-a-couch-that-smells-of-milk-anddahl-kind-of-reading; it’s closer to a performance with proper directors directing proper actors (instead of whichever friends and family weren’t quick enough to fake a gastro outbreak) such as Leticia Caceres, Aidan Fennessy, Tom Budge, Marco Chiappi and Alex Menglet. Why spend time describing the plot of Mulvany’s offering when Boney M can do it so succinctly: “Ra Ra Rasputin/Lover of the Russian queen/They put some poison into his wine/Ra Ra Rasputin/ Russia’s greatest love machine/He drank it all and he said ‘I feel fine.’”

Mulvany’s The Rasputin Affair. Also getting an airing is Ronnie Gospers, a political satire by well-regarded author and first-time playwright Richard Flanagan, and The Curtain by Daniel Keene. “We are very excited to present three of the nation’s most accomplished writers for our 2012 Cybec Readings in the Lawler. They are all three very idiosyncratic visions and all at different stages of their development,” said MTC Associate Director Aidan Fennessy. Which means you could have an impact on how they eventually turn out. Laugh out loud at certain funny sequences and you can bet they’ll stay in the final version – unless of course they’re meant to be the quietly moving bits. Flanagan’s Ronnie Gospers, about a politician trapped in a car park, sounds like it might generate some straight-up guffaws, while audience members might need to be more sensitive listening to Keene’s work, The Curtain, about an upheaval in a boarding house. The Cybec Readings have been around since 2009 supported by the Cybec Foundation. The Foundation’s Director Dr Roger Riordan says the organisation funds the development of plays “because of the role of playwrights as custodians of the public conscience”. Several plays from the Cybec Readings have subsequently been performed as part of the MTC’s main season, including The Dream Life Of Butterflies by Raimondo Cortese last year, and Melissa Reeves’s play, Happy Ending, which is currently on. The Cybec Readings are on 27, 28 and 29 September, 7pm in The Lawler Theatre at Southbank. Go see them now so you can say: “I saw that play when it was just starting out, before everyone got onto it.”

ART

Aleksia Barron

S TA R T E R

Running until Sunday 30 September, La Mama Theatre

King with the help of kids and families on the forecourt in January. The Fairfax Studio will feature the charmingly surreal one-man physical theatre show Leo from Berlin-based company Circle Of Eleven. There is also the Australian premiere of the adult offBroadway show My First Time about first sexual encounters. As well as another Australian premiere of MTC’s The Other Place by Sharr White, directed by Nadia Tass and starring Catherine McClements and Philip Quast. For more info visit artscentremelbourne.com.au.

WITH REBECCA COOK

There was and still is an awful lot of mystery surrounding the assassination of Rasputin, the famed Russian lover, mystic and zealot. As noted so eloquently by the above ‘70s disco group, attempting to assassinate Rasputin (also known as the Mad Monk) was not straightforward so there’ll be plenty of fodder for

Kiss Them All Soundly, by Jason Kavanagh of Five Pound Theatre, although original and engaging, doesn’t quite know what it’s doing. There is a lot to like, notably some superb acting, but the piece suffers from a lack of clarity re the ideas underpinning the play. The most satisfying part is the developing relationship between the old man, George (Kiwi actor Peter Rowley, who is outstanding) and the schoolgirl, Alice (another kiwi, Brooke Smith Harris), because the characters themselves are given a journey to go on, whereas the rest of the play is about backstory unfolding. Nursery rhymes are used as a device to hinge the stories on

To celebrate the arrival of the theatrical event War Horse (preview performances begin Sunday 23 December), a new major exhibition developed with The National Theatre will be on display, War Horse And The Breath Of Life. Also taking inspiration from War Horse is Big Horse, a four metre-tall, flowercovered horse sculpture that will be constructed by artist Amanda

It seems as though Pixar can do very little wrong. Finding Nemo 3D is simply spectacular. The colour is fantastic and the 3D really packs a punch. Like always there’s a lot for the children, but so much for the adults too. Regardless of age, everyone will enjoy revisiting this experience in a visually sumptuous movie perfect for the 3D upgrade.

the production’s biggest problem. The cast, who manage to nail every permutation of hipster known to man, perform traditional scenes, but are also required to ad-lib with the audience and guide them around the room, so that the performance is observed from a variety of vantage points. Unfortunately, some of the actors don’t quite sell the audienceinteraction aspect of the work – their discomfort is as palpable as that of the most recalcitrant audience member’s. Plus, in a space as small as La Mama, different vantage points are more or less moot – all the shuffling is perhaps unnecessary.

KISS THEM ALL SOUNDLY THEATRE

ARTS CENTRE 2012-2013 SUMMER SEASON THEATRE

is a feast for your eyes, with every colourful fish in the sea making an appearance. There are countless familiar voices from Albert Brooks as the film’s protagonist and Ellen DeGeneres as his faithful sidekick, to Willem Dafoe, Brad Garrett, Eric Bana and Geoffrey Rush.

CRINGE

and around but there is a tenous link at best between the rhymes and what’s happening on stage, which makes for a problematic pretentiousness. The tale of mental illness doesn’t quite ring true because of the character’s unclear pathology, although there are some amusing moments that play out in this part. Staging, especially lighting design, is very nicely done. Kavanagh admits he wrote this play ten years ago and there is a definite naivete about it. However, apart from some early clunkiness in the opening speech (sheep come in flocks, not herds, for example), there is a distinctive voice at work here that is well worth encouraging. Liza Dezfouli Running until Saturday 22 September, Owl & The Pussycat

The Séance pic by Sarah Walker Five minutes with

UNUSUAL FRINGE VENUES Theatre taking place in unusual venues is in profusion at the 2012 Melbourne Fringe. This is refreshing, as why should shows always take place in a “traditional” stage/ audience layout. Last year during the Big West Festival Susie Dee’s award-winning show Taxi, took place in the back of a taxi as it drove around Footscray. At last years Melb Fringe A Window in Mine was performed on the Glen Waverly train to an audience watching at the Corner Hotel. Here is a sum up of some of the shows in this years Fringe that are certainly not atypical in performance space. A Grim Era – a new piece from Smallpox theatre, set within a junkyard theatre that has been built inside an abandoned quilt factory. Running Tuesday 2 October to Saturday 13, Quilt Factory Brunswick East. The Séance – audiences will attempt to make contact with the ghost of a dead celebrity. The location is secret and the show only facilitates ten individuals per performance. Running Wednesday

3 October to Saturday 13, meet on the steps (outside) the North Melbourne Town Hall. Certain Men – part installation, part performance, a piece inspired by the Men’s Shed movement and the spectre of being past it at 40. Running Wednesday 3 October to Saturday 13, Performed in a Tools and Electrical Imports shop (West Melbourne). David Quirk – this well-known comedian has spent one third of his life working at Fast Times Skateboarding (that’s longer than he’s done comedy). So for this stand-up show Quirk will perform around the boards he knows and loves. Running Wednesday 10 October to Saturday 13, Fast Times Skateboarding. Silent Dinner Parties – no audience just participants consuming a three course meal. Conducted by host Honi Ryan, the aim is to not interact with technology and stay with it for at least two hours. Running Thursday 4 October to Saturday 6, Private Houses around Melbourne. All shows part of the 2012 Melbourne Fringe Festival


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Following up a success is, of course, a loaded subject for Dayton and Faris, whose only prior film was the crowd-pleasin’, money-makin’, Oscar-nominated 2006 roadmovie, Little Miss Sunshine. “The connection was not lost on us,” says Dayton. “We certainly felt the weight of what it meant to have that kind of success, and that kind of a connection with audiences. It was very intoxicating. So, we didn’t want to return with something that was less of a film. For us, it was never an issue of writer’s block. In the six years since Little Miss Sunshine, we worked on various film projects, but none of them ever ended up being ready-to-shoot.” There’s more to this story

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A NOVEL IDEA

“Manic Pixie Dream Girl” might be the go-to cliché of alternative rom-coms – love it or hate it – these days, but Anthony Carew learns from the directors of Ruby Sparks, Jonathan Dayton and Valerie Faris, that there are still more ways to play with the oft-worn trope.

What did we do before the phrase ‘Manic Pixie Dream Girl’? It was only first coined on The A.V. Club in 2007, but the stereotype feels eternal, and any phenomenon that’s a constant reminder of how awful Garden State is should be lauded. Ruby Sparks, the second feature for married team Jonathan Dayton and Valerie Faris, takes to that noxious trope with a scalpel, Zoe Kazan’s script giving us a struggling writer (Paul Dano) who invents a MPDG, only to be confronted when she (Kazan herself) comes to life, Mannequin-style. “Zoe was interested in the way that men see women, and this idealised, fantasised version they have versus the real thing,” explains Faris. “And also the way women were portrayed in film,” adds

Dayton. So a conversation goes with the filmmakers who finish each other’s sentences plenty. “We don’t want this debate about Manic Pixie Dream Girls to overshadow the other more meaningful themes that’re explored in the film,” Dayton offers, before Faris chimes in: “It’s not a film where this sad male character’s life is magically changed by this girl. He doesn’t get to bask in this fantasy fulfilment; he actually has to pay a very real price for creating his dream girl.” Thus, the film isn’t just about skewering a stereotype of ‘indie’ romantic-comedies, but about the delusions people bring to relationships, Ruby Sparks’ “key thematic interest” being, Faris says, control. “We all carry a

certain amount of fiction with us about the person who we’re with, especially at the beginning of a relationship,” Dayton explains. “And that, as we come to see who those people really are, there’s an urge to control them, to try and force them to be more like this version of them that we believe in.” “People have this intense desire to control, both in their relationship and in their work,” Faris offers. “Part of [the main] character’s problem is that he’s paralysed by the task of following up this successful first novel, and that [paralysis] comes from trying to control how the world reacts to his work; and that becomes this psychic struggle that just saps the life from his work.”

Dayton and Faris describe — whilst never going in-depth — stalled productions where stars or producers seemed to have a different vision than them; but they were encouraged by a project that came with its young stars — and real-life couple — attached, and that they were able to get the final cut. This meant they could make a frothy rom-com a study of control. “We wanted to make this genre-bending movie that begins as a light comedy then goes to this darker place,” Dayton says. “There’s no way that being able to change someone else wouldn’t tap into these very dark elements of the human psyche.” WHAT: Ruby Sparks WHEN & WHERE: Opening nationally Thursday 20 September

which the children steadily climb through grades in school, puts the animated medium to perfect use. Children Who Chase Lost Voices is, in many ways, similar, another sentimental tale starring a headstrong girl with a dead father, though this time, our heroine finds her way into another world; a gateway to a mystical kingdom of glowering lore, interventionist deities and fantastical monsters. There’s a lyrical quality to the presentation – the way soft candlelight glows is intended to show a loving quality – but, compared to the profound emotional surety of the Miyazakis, Children Who Chase Lost Voices sometimes feels a tiny bit silly.

REEL DEAL Anthony Carew gets real al with the line-up for this year’s Reel Anime film fil festival. f i l Madman’s semi-regular Reel Anime jamboree never resembles an actual film festival; it is, on a curatorial and cultural level, nothing more than a glorified coming-attractions promotion for a handful of soon-to-be-available Madman DVDs. But, every year, it justifies its existence by showing worthy films that’d otherwise never play on big screens locally. Past years have turned up Mamoru Hosoda’s The Girl Who Leapt Through Time and Summer

Wars – two of the most superior anime pictures of the past decade, and artful exemplars of the form at its best – and those screenings alone can excuse Madman shilling their wares from here to eternity. This year’s Reel Anime selection is but four films, but there’s a weighty headliner: Up On Poppy Hill, the latest Studio Ghibli picture. Adapted from a shojo manga serial from the ‘80s by the legendary Hayao Miyazaki,

and directed by his son, Goro, it’s Ghibli at its least fantastical and most sentimental, similar in tone to Only Yesterday or Whisper Of The Heart. Set in Yokohama in 1963, it’s a tale of adolescent romance tinged with loss, both personal and cultural. Umi, its 16-year-old heroine, is effectively functioning without parents; her father died in the war, her mother is in America. The film is fascinated by her daily routines: raising and lowering nautical flags in honour of fallen sailors, or constant preparation of meals; borrowing what are thought of

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as realist techniques – calmly watching her chop vegetables, or deep-fry prawns – in a dignified portrait of domestic routine. Umi feels the first stirrings of love – presented, in time-honoured Ghibli fashion, with no notes of condescension – with a classmate Shun and, if you throw out a kids-battling-to-save-the-oldLatin-Quarter-from-a-developer storyline, then Up On Poppy Hill is a portrait of their passage into adulthood as succession of their lost parents; and, in symbolic turn, the New Japan moving on from the trauma of WW2.

Wolf Children is of a similar emotional bent, only more fantastical, it, too, concerned with the heritage of a dead father, and the children who’ve inherited both his blessings and curses. In this case, they’re the werewolf kids being raised by a human mother, struggling with their identities, juggling desires both bestial and human as they grow up. The set-up sounds cheesy, but the film takes its premise seriously, imagining the ramifications with almost socio-realist intent. It’s artfully directed, too; one passage-of-time sequence, in

And, if you’re down for dividing anime by genders, then Berserk: The Egg Of The King is comically butch. Based on a ridiculouslypopular manga – and set to be turned into an animated trilogy – the film is set in a medievalish fantasy world in which armoured men swing blades and ride on horses. There’s derring-do, double-crosses and countless battle scenes, with an infinite array of corpses piling up in its swift 70 minutes. WHAT: Reel Anime WHEN & WHERE: Thursday 13 to Wednesday 26 September, Cinema Nova


36 • INPRESS


GIG OF THE WEEK

SLEEPMAKESWAVES, MARLOW FRIDAY, NORTHCOTE SOCIAL CLUB

This year has been a large one for Sydney’s sleepmakeswaves, the instrumental post-rockers notching up their first ever shows in the States, Belgium and, er, Tasmania. Their debut album … And So We Destroyed Everything won plenty of international radio play following its release last year, and has just been picked up for a US release. Joining the band for this show as part of the Darebin Music Feast are Marlow; the anthemic Sydney rockers are launching their new single Always There. Marlow also play the Espy on Saturday 22.

FRONTLASH A BIG, BIG LOVE

Brisbane’s BIGSOUND music conference gets better every year, with waaaay too many band highlights to mention here (see our picks on page 41), and funny and informative panels. We drank a shitload of beer, too.

GOOD SONGS RISING Dave Mason of The Reels slipped into town with a new alt.country band (with members of Karma County and Mental As Anything) and proved he still possesses one of Australia’s finest voices. Someone book these guys for festivals.

IN A GOOD MOODY Sugar Mountain have pulled out a corker headliner with ESG. Local fans of the NY wonky funksters had given up waiting after 30 years when the band announced they would tour no more. Pretty stoked about Action Bronson, too.

BACKLASH Rufus Wainwright pic by Lou Lou Nutt us to our seats and we settle in for Krystle Warren, who resembles a trendy vagabond in her Mr Bojanglesinspired get-up and may have had trouble convincing stage-door security that she was in the band. Warren interrupts a song to say “bless you” to a sneezer and she sure does love a vocal run! Her voice is pure, but overemphasising the ends of lyrical phrases comes across as harsh in this setting. It’s so moving when you can decipher her words, but sometimes Warren sings random jibberish as if masking the fact she’s forgotten some lyrics. This artist fares much better later on within the context of Rufus Wainwright’s band.

Krystle Warren pic by Lou Lou Nutt

RUFUS WAINWRIGHT & HIS BAND KRYSTLE WARREN HAMER HALL: 15/09/12

Hamer Hall’s revamp has seen a new bright orange colour scheme introduced that seems a little at odds with the otherwise lavish interior. Apparently some seats (which now feature orange velvet upholstery) were removed to improve acoustics, but weren’t these always great in the cylindrical concert hall? Friendly staff usher

Plastic flutes of champagne are purchased during intermission and it’s fantastic to be able to bring these back into the auditorium instead of sculling them in the foyer. As the house lights dim, stage lighting isn’t yet activated as a row of candles in glass holders illuminate the stage’s edge. Rufus Wainwright appears in the darkness, opening with moving a cappella Candles. He’s easy to spot in his bejewelled white suit, which catches available light and shoots beams through the audience. The extraordinary tone of Wainwright’s voice experienced live immediately hushes his reverent congregation. The members of Wainwright’s backing band, under the musical direction of his bassist brother-in-law Brad Albetta (Martha’s hubbie), quietly assemble in upstage shadows during this number. When stage lights are activated, the mood shifts via the more upbeat Rashida from his latest album. “Yes, I’m wearing my wedding outfit,” Wainwright, who recently married his boyf Jorn Weisbrodt, acknowledges before adding, “So don’t throw tomatoes at me.” Taking a seat at his piano stool, Wainwright performs his selfdescribed “kind of a hit” Cigarettes And Chocolate Milk – an early highlight that demonstrates the singer’s

extraordinary breathing technique and masterful turn of phrase (“I’m just a little bit heiress/A little bit Irish”). After advertising the concert film, Sing Me The Songs That Say I Love You – A Concert For Kate McGarrigle, Wainwright leaves the stage as two highlights from the New York City Town Hall tribute are showcased: guitarist Teddy Thompson offers a captivating take on McGarrigle’s previously unrecorded Saratoga Summer Song and then Warren lovingly presents I Don’t Know, a song penned by one of Rufus’s older sisters, Ann McGarrigle. There’s a sense that these songs would be too painful for Wainwright to perform himself given that his mother passed away less than two years ago. When he returns to the stage for Respectable Dive, we’re floored: the family legacy is in the safest of hands. Discussing Mark Ronson as he introduces Out Of The Game’s title track, Wainwright is clearly smitten and refers to the album’s producer as “dreamboat”. “So goddamn hot and so goddamn straight,” he bemoans. The Man That Got Away (playfully retitled ‘The [Bitch] That Got Away’ tonight) is offered as a reply in song to Liza Minnelli, who we are told admitted in an interview Wainwright read that she didn’t feel it necessary to listen to his versions of her mother’s songs. (In 2007, Wainwright released a recording of his Rufus Does Judy At Carnegie Hall Garland tribute shows.) Wainwright’s revenge is exacted via the soaring majesty of this song’s closing sustained notes. One Man Guy, which is one of his dad Loudon Wainwright III’s songs, is performed as a trio and Wainwright trades verses with Thompson and incredibly sassy backing singer Charysse Blackman. The Art Teacher is performed so wistfully it’s almost a Kleenex moment. “If there are any Americans here, vote Obama,” Wainwright pleads, providing the perfect segue for Going To A Town (“I’m so tired of America”).

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FLIGHT OF FANCY

It’s not often that Media Watch get it wrong, but host Jonathan Holmes’ savaging of an inane (and admittedly unfunny) Sunrise segment set on a flight simulator, which happened to be broadcast on the anniversary of 9/11, was a major case of who gives a fuck?

ON THE BAND WAGON The best thing about The Voice, Keith Urban, is leaving the show after being poached by American Idol. With producers reportedly on the lookout for a handsome, articulate country superstar with housewife-appeal to replace him, we thought the choice would be obvious: Henry Wagons, come on down!

LOSING MY RELIGION Umm, isn’t religion meant to spread peace and love and goodwill and shit? Wainwright’s song about his daughter Viva, entitled Montauk, is hauntingly beautiful with a melancholy vocal melody to rival everything he’s composed to date. Now for the encore we wish we’d missed. Jolting us from our pensive reverie is some sort of scantily clad archangel (Wainwright’s husband?) who demands our applause to coax “Rufus Apollo” back to the stage. A “Bacchanalian dance party” is promised and a panto of sorts, starring this evening’s musicians (acting woodenly) in mish-mash fancy dress, ensues. A togawearing Wainwright leads a conga line through the stalls and many wish they were seated closer to an exit. It’s self-indulgent and feels suspiciously like a ploy to show off glitter-coated flesh. And what’s with that giant baguette prop that’s served up onstage? Way to break your own artfully woven spell, Wainwright! Bryget Chrisfield INPRESS • 37


THE RED PAINTINGS

DING DONG LOUNGE: 13/09/12 To say Brisbane orchestral, art.rock band The Red Paintings stick up for animal rights is an understatement. The band exist to serve as a soapbox from which frontman Trash McSweeny bleeds their extremist views on injustices born from the ugly side of mankind. He speaks to the masses about veganism and sticking it to the man. The band facilitate change in a way so utterly disarming that you are challenged not to heed their word. The Red Paintings beg you to evolve. The band appear. McSweeny sports a Communist hat offset by a clover green coat that brushes against his calves and hints at the red and white striped fabric underneath. An R2D2 backpack clings to him while he points a toy ray gun at his forehead. The set starts off building from samples of authoritarian male voices, space sounds haunting in the background as strings and cymbals collide. Drums kick in, shattering the ethereal introduction. McSweeny addresses us like a dictator. The band’s female string section are dressed as geishas. They are elegant but have a harder edge than their traditional effigy.

Xavier Rudd pic by Jay Hynes

XAVIER RUDD

BARRY ADAMSON, THE DAMES

The great Joe Strummer once said of his music, “This isn’t politics; it’s the difference between right and wrong.” The same can be said for Torquay musician Xavier Rudd, though for him it’s about culture and respect. As he sits barefoot on the Palace stage surrounded by two didgeridoos and various percussive instruments, the Aboriginal flag hangs suspended from the ceiling three levels above. The sterile walls become lit with an amber sunset backdrop, before the native bird samples that underlay his current album Spirit Bird begin.

As the few early arrivals bag seats and tables or skulk around the edges of the ample boogie space available at the Corner this Tuesday night, The Dames start up a happy instrumental groove. The Dames are drummer Clare Moore from The Moodists fame, and Kaye Louise Patterson, perhaps best known as pianist/vocalist in ‘90s country-rock band Acuff’s Rose. Tonight they have additional support from Moore’s husband Dave Graney on guitar, bass player Stuart Thomas (member of The Lurid Yellow Mist with Moore and Graney) and a synthesiser/tambourine player on some tracks. The band feels a little under-rehearsed, but overall the material is pleasant and melodious. There are a few interesting moods on offer: I’ve Got A Lot To Drink About is a chuckle-inducing track, while the darkly spooky dirge Alphonsus Will Get You changes the mood entirely.

PALACE: 13/09/12

Opening with Lioness Eye, Rudd exerts his talents as each limb connects with a different instrument to add groove and improvisation. The drone of the didge is hypnotic, so too is watching him simultaneously play drums. Throughout the night, it’s never about him, but rather his music and message and the mediums he uses to deliver them. For Let Me Be, Rudd is joined onstage by support act Yeshi who plays a native African Kamele ngoni. Creating a rich tapestry of sound, both artists feed off one other with a clash of cultures. In contrast, Follow The Sun, the most simplistic of Rudd’s songs instrumentally, utilises acoustic guitar and harmonica. There’s a fragility to Rudd’s voice and his use of stomp box adds a continuous heartbeat to the rawness. He sings with a perpetual smile and draws energy from the connection between audience and music. Introducing Message from his 2005 album Food In The Belly, Rudd prefaces it with an acknowledgment of country. “Australia is a place we need to protect and cherish,” he pleads, before Perth artist Warren Jones walks on stage in traditional indigenous clothing. Interpreting the spirit of the music through dance for its five-minute duration, the performance becomes bigger than either individual or the song. Rudd’s music is a carrier. Be it a connection with community or land, social or environmental change, or instilling positivity, it’s as much about education as it is entertainment and is a powerful experience. Rudd closes with the title track from his latest album, a song that came to him as an ethereal vision when working in The Kimberley. The song floods with emotion as a hush overcomes the audience. He wails the choral refrain in what appears to be indigenous dialect and the audience soon joins in. Spirit Bird is written about the compulsory acquisition of sacred land and, like so many or Rudd’s songs, it’s the amalgamation of meaning and music that makes it so special. Brendan Hitchens 38 • INPRESS

CORNER HOTEL: 11/09/12

Despite some lighting and sound hiccups early in the piece, the suaveness package that is Barry Adamson takes it all in his very sexy stride. Playing bass and singing front-and-centre, Adamson is in total command. He rips into Jimi Hendrix tribute Star Spangled Banner then amps up the funk with Get Your Mind Right from new album I Will Set You Free. The set is peppered with both new album tracks and older fan favourites such as the slinky dark noir of Deja Voodoo from his 1998 album, As Above So Below. The decidedly older crowd nod their heads in cool acknowledgment while a couple of over-excited, ever-so-slightly younger punters dance with crazy abandon. Adamson is a big presence, clearly enjoying himself as he slices through the backing provided by the three talented musicians who accompany him on guitar, drums and keyboard. His crimson openneck shirt and black vest combo plus wraparound sunnies add to his allure as he steers us through his mysterious, funky grooves. He is funny and relaxed, and adds much to his ‘honorary Melburnian’ status as he inserts city-specific lyrics into his songs: “I cruised the streets of Brunswick,” being just one example. He owns the rhythmic pulse of the band in new songs Turnaround and Destination, which sees the guitarist not needing to play rhythm so much as lay down distorted licks and atmospherics. The encore is fun, as Adamson brings out his ‘friends’, Howard and Dave: two creepy, skull-faced maracas that he proceeds to shake to the pulse of sensuous number Jazz Devil. The whole night is an enjoyable romp through the murky, inviting world of Adamson’s mind. Jaye Weatherburn

Local artists in the form of petite femmes are introduced and take to their canvases either side of the stage. Invigorated, two guys body slam to Dead Adults. We hear of McSweeny’s desire to have Björk paint Thom York’s penis during one of their upcoming European shows. McSweeny plays guitar with a jar containing a ‘pickled alien foetus’ named Elliot – nothing out of the ordinary. The epic, Alice In Wonderland-inspired tune The Streets Fell Into My Window invades the halfway mark of Walls and McSweeny looks distressed. He is gesturing for his bandmates to stop and mimes cutting his throat with a fingertip. “Don’t you just hate that fuckin’ song?” he asks. Jaws hit the floor. Nervous laughter follows. “Who the fuck likes Alice In Wonderland?” McSweeny launches into a rant about how he believes the author was a pedophile on LSD, then attacks McDonalds for their “Mary had a little lamb, fries and a coke”, campaign. He expresses that he keeps The Red Paintings going solely to turn people vegetarian or vegan. A man in the crowd interrupts: “I love Angus beef, fuck this vegetarian bullshit!” At that McSweeny announces the show is over. Punters throw up varied responses: “Why the fuck are we here?” and “We believe in you!” McSweeny’s bandmates talk him around. They begin again and rise up with urgency even as the crowd thins. It’s as if the new songs sort the weed from the chaff. McSweeny speaks of the band’s forthcoming The Revolution Is Never Coming LP and how it has apparently taken 10,000 years to finish. It is still uncertain when and if this will be released. We hear Rain amongst the drummer’s intentionally ironic suggestions of “Experiments are done for your protection” and “Refugee camps are here for your protection”. To close the set we are offered a choice between the band’s feisty Fuck The System or their cover of the Mad World by Tears For Fears. They play both, thankfully. Hands on knees and with the little breath he has left, McSweeny says goodnight. Bonnie Neville

KIRIN J CALLINAN, LOST ANIMAL, SCATTERED ORDER NORTHCOTE SOCIAL CLUB: 15/09/12

At his sold-out June gig at the Tote, Sydney’s Kirin J Callinan received the kind of eager congratulations usually reserved for long-suffering couples at an engagement party. If his ominous single W II W (Way To War) was the ring that promised the relief of a full-blown solo album, the nuptial we’ve been waiting for, then the real party would come once that album had been delivered. Tonight, on a break from recording and in the midst of industry-targeted gigs in Australia and the States, Callinan hosts casual drinks for friends old and new. The all-out lunacy – the costumes and unpredictability and weird merchandise – of a tour show has been pared back to something a little more relaxed, if such a word can be used to describe what Callinan does. He still struts about in waiters’ suit pants and a singlet and gives dedicated, grunting and soaring performances of staple and previously unheard songs, but it’s all quite jovial and calm. His usual veil of performance has been at least partially lifted. The man has face fluff. The night starts off trippy enough with Sydney’s Scattered Order, who have been making shroomclouded post-punk since the late ‘70s. The group found their way onto Chapter Music’s 2007 compilation Can’t Stop It! 2 and have since had tracks released by New Weird Australia and Ascension Records. Geometric and heat-sensor projects coat the three members, who are individually engrossed by synths (three, maybe four, maybe five) and laptops, with bass guitar lines pinning the undulating noise. It’s good stuff, transfixing and transcending, but it’s also the stuff of 4am freak-outs. Saved for later.

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Lost Animal appear in duo mode, keeping things sonically sparse if not emotionally light. Jarrod Quarrell can rarely be accused of leaving his songs’ intentions at the door. He hunches over his microphone and huffs out man-on-the-edge lyrics, cutting a figure on the stage that is one part desperation to two parts don’tpull-a-knife-on-us. The size of the stage and the room swallows some of that energy (and perhaps the weight of Lost Animal songs is greater when they are the focus of the night) and Callinan, who played on LA’s 2011 debut Ex Tropical, doesn’t make a cameo on guitar. When Kirin J Callinan does appear, it’s backed similarly simply by stand-up drumming and bass guitar. But there are also occasional electronic beats and two songs in we get a taste of what Callinan and The Presets’ Kim Moyes, hired as producer for the album, have been working on. Moyes’ influence is certainly apparent in the light use of Caribbean-influenced synths and overall grandness of production. Set against older songs built on Callinan’s clawing guitar playing, it’s piquing curiosity – what the hell will his album hold? Callinan isn’t telling, but he is talking. He jokes about his failing mic stand – “sometimes even inanimate objects decide to hate you and other times you’re an arsehole and you deserve it” – and the KJC-branded lighters he’s selling at the merch desk along with his cassettes. “The Bic people came to me,” he smiles, “and I thought, ‘Pens – I’m not writing that much. I haven’t shaved for a while. I’ve been smoking a lot of cigarettes.’ What are you laughing at? It’s not funny.” We do laugh and hoot as Callinan pulls out some elaborate dance moves. The Windmill gets a few goes, most effectively during late-set and forgotten song The Toddler, which features the standout line, “When I drop my guts you can see it in my face”. But those moments are cut with the gut-wrenching, scarred vocals and delicate guitar of ‘ballads’ Thighs and Landslide (or the “God is in the water” song). Even relaxed, Callinan is an undeniable presence. It isn’t difficult to trust, too, that when Callinan is this unguarded, something seriously stormy is brewing in the background. Adam Curley

PATRICK WOLF, BROUS FORUM: 11/09/12

Prepared for a night of acoustic feasting, the tiered audience take in Sophia Brous decked out in a large, ornate headpiece. Certainly a fitting choice with the decor, one could imagine her as one of the many sculptures dotted around the venue coming to life. Stripping back numbers with a skeleton crew of three, Southern Belle shines a light on her beguiling voice and cosmic edge. Her penchant for strange instruments – led by a large red box that’s part accordion, mostly keyboard – creates a conduit between ragtime elements and shoegaze pop. It’s a heady mix. “Well Patrick Wolf will be here shortly. His headdress is better. I am just competing,” Brous quips before departing. The stage plays host to an array of acoustics: harps, violins, cor anglais, ukes and guitars. All that’s needed is the peppering of people. Wolf’s duo of talented accompanists appear, minimalising proceedings with the help of violin and the injection of black and white visuals hovering above their heads. Waves of angelic faces fill the screen: a concertina of repetitive images, cherubs and religious dogma. Materialising without announcement, Wolf takes a seat at the piano. Wolf’s Sundark And Riverlight double album contains re-recorded acoustic versions from throughout his tenyear musical career and marks ten years since the release of his debut solo album, Lycanthropy. Touring on the back of this latest release, the acoustic nature of the material gives Wolf fans a chance to experience his quieter side. As he notes, “Last time I played this song in Melbourne I was rolling about on the floor, quite pissed. I am trying to be more demure these days.” Bluebelles exudes a dreamy quality that evokes an English autumn whilst Elizabethan royalty dance overhead on the screen. This glut of images is explained as comprising family videos of British holidays and Wolf muses, “It’s no wonder I ran away from home when I was 16!” The images interweave old family footage of a six-year-old Wolf running in fields with old music videos and sharpen his arrangements. Sunlight and darkness are toyed with as Wolf sings, “Close your eyes/Let the foxes fight”. A miraculous saw emerges and is played by a golden, female cupid armed with bow and drumstick. The ethereal sounds emitted capture Wolf’s lyrics in a silky glow. Wolf Song 13 years on is as fresh and haunting as it ever was. Returning to the stage one more time, Wolf’s lyrics, “Don’t let the city destroy our love”, coupled with the re-appropriated, “Can’t you see how Melbourne you have left your mark”, make for a delightful encore, with many an avid fan declaring their love, which he returns in barrels. The openness and honesty inspired by the intimate acoustics, coupled with promises of another tour next year sweeten this bitter goodbye. We are sated for the moment. Clementine Lloyd


America feel less like a band and more like a brand: Bunnell and Beckley are caretakers of this iconic machine. Row K man whoops in glee as his guess, Tin Man, opens the show. Then the hits roll out: You Can Do Magic, I Need You and Ventura Highway. The songs resonate in the ears and memories of baby boomers and younger audience members alike as they sing along. No one minds the slight waning in strength of the vocals over the decades; it doesn’t matter anyway because this night is all about nostalgia. Covers from album Back Pages are welcomed: Joni Mitchell’s Woodstock, and the Gin Blossoms’ Til I Hear It From You. The best part of the night comes at the end: the rumble of ‘70s rock-epic Sandman accompanied by nostalgic ‘60s and ‘70s projector footage. It presents a powerful image: these frontmen evoke another era and keep its memory alive. Segueing into the wistful rolling folk of Sister Golden Hair is perfect. The band are fully warmed up and rocking; the song finishes and the band exit to a standing ovation.

America pic by Jay Hynes

AMERICA, RICK PRICE

his spirituality and soul warm the room. Price’s pop-ballad world is like a warm hug – you want to stay enveloped in it just a little bit longer.

“Hello! You missed some great stuff. I was awesome!” Rick Price jokes as some latecomers try to slip into their front-row seats unnoticed. And he is awesome. Price’s voice is beautifully melodic. The years since his hits Heaven Knows and Not A Day Goes By have given his tone greater maturity and lushness while retaining a soaring boyishness. He offers these songs with a fresh touch, they lilt and drift through the audience like saccharine kisses. Drawing from a strong connection to his childhood and family, Love Never Dies is a touching song written for his late mother; he also pays tribute to his father and grandfather with Bridge Building Man. New song Shape Of My Heart is about personal happiness following his recent marriage;

The extra-anticipatory buzz reserved for musical legends is starting to fill Hamer Hall as a guitar tech flits around onstage. “He’s a bit like our dog, that bloke: he goes in, he goes out”, intones one excitable man in seating Row K, before launching into an animated betting discussion with everyone around him about which song America will open with.

HAMER HALL: 06/09/12

Dewey Bunnell and Gerry Beckley, two of the founders of America, lope onstage, accompanied by veteran band members Willie Leacox on drums, Michael Woods on guitar and comparative newcomer Richard Campbell on bass. There is camaraderie amongst these guys; they play together with the finesse and practiced polish of true professionals.

The encore is de rigueur and, besides, we haven’t yet been treated to seminal hit A Horse With No Name. The band reemerges, “Apparently we forgot one!” The evening is complete as the audience erupts in sing-along frenzy. “Forty years I’ve been waiting to see them,” sighs a woman swooning her way out into the rainy Melbourne evening. America are a truly impressive phenomenon: this machine shows no signs of slowing down anytime soon. Jaye Weatherburn

THE BRAND NEW HEAVIES TRAK: 07/09/12

Shoehorned into the Trak, Melbourne’s lovers of acid jazz become impatient for The Brand New Heavies who are running late. Meanwhile, the DJ spins an obvious selection of ‘90s acid jazz tunes from the likes of Arrested Development and Young Disciples. Neither brand-new nor particularly heavy, but celebrating 21 years in the business, The Heavies eventually take to the stage. Many acid jazz artists worked with samples, electronics and loops, but The Heavies’ focus was always on presenting us with an exhilarating live band experience that

themusic.com.au

showcased their ample musicianship. Tonight they deal the smoothest urban grooves that reflect the influence of funk, soul, jazz, R&B and ‘70s disco. After an instrumental intro, drummer Jan Kincaid and vocalist N’Dea Davenport duet on Back To Love. At this stage of her career, Davenport surely has the licence to look and act like a diva but instead she looks ready for a day at the office in a grey pantsuit. In any case, she joyously dances the night away as The Brand New Heavies deliver a set of greatest hits. The band effortlessly pumps out slick grooves, but it is disappointing that the vocals are somewhat lost in the mix. It is not until their cover of the disco classic Midnight At The Oasis that it all starts to come together. New track Addicted is another chilled, mid-tempo groover that finds Davenport telling us that she is addicted to your love. The Heavies really start to hit their straps when they leave acid and jazz behind and reach for the more glamorous retro of disco and funk grooves. During the second half of the show the Heavies get cooking with faster more energetic tunes. The P-Funk-inspired Have A Good Time gets the dancefloor moving. Davenport truly cuts loose when she belts out Brother Sister. Thanks to Andrew Levy, the mix has plenty of bottom-end as his bass bumps and burbles to create the band’s bouncy rhythms. Guitarist Simon Bartholomew struts like a rock god as he dispenses funky guitar licks and appears to be having more fun than many in the front row. The Heavies classic instrumental BNH finds a guest sax player from Sydney indulging us with a wild solo moment as Davenport catches her breath backstage. Previewing tunes from their new album rumoured to be released early next year, Sunlight typifies the uplifting, positive vibes overflowing with a whole lot of peace, love and happiness that brings a smile to the faces of many fans. This mood continues with tunes such as World Keeps Spinning and You Are The Universe. Dream Come True, which dates back to 1990, elicits a roar of approval. It bounces with soulful, back-inthe day vibes that end the gig on an uplifting note. Guido Farnell

INPRESS • 39


ROOTS DOWN

ADAMANTIUM WOLF

WAKE THE DEAD

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

METAL, HARDCORE AND PUNK WITH LOCHLAN WATT

HARDCORE AND PUNK WITH SARAH PETCHELL

The Swellers will be back in town in October, with Sydney’s Endless Heights lucky enough to have nabbed the national support. Catch them at Bang on Saturday 13 and the Ferntree Gully Hotel on Sunday 14 October, and check out their new EP, Running Out Of Places To Go, when it is released through Shock just in time for the run.

Steve Earle I spent last week hitting up the always incredibly fun but utterly draining BIGSOUND music industry conference in Brisbane’s majestic Fortitude Valley, soaking up anything I thought might be remotely interesting and trying to find some hot new acts to blather on about. It will come as no surprise that I was particularly interested in the Getting Back To Our Roots panel, which took place on the Wednesday afternoon and featured panellists Peter Noble (Bluesfest), Bill Hauritz (Woodford Folk Festival), Henry Wagons, Helen Britton (Six Shooter Records), record producer Mark Moffatt and Damian Cunningham (Peats Ridge), facilitated by triple j Roots & All host Sarah Howells. I’ll be honest, there wasn’t a lot gained from the panel, but there was a lot of discussion about what roots music actually is; it’s such a difficult question and one which will never definitively be answered. There are just too many arguments for why something is or isn’t able to be pigeonholed in such a way. After this, talk turned to Americana and things got somewhat more interesting. Peter Noble very bluntly commented that he doesn’t like Americana, as he thinks it’s nothing more than a marketing ploy despite the fact that Mark Moffatt is the Chair of the comittee of the International Americana Music Association. The best comments from the panel came rather late, when Bill Hauritz gave advice to the musicians present that should apply to everyone who plays music, regardless of genre. He urged that no artists set out to be roots musicians – particularly given that roots music is the genre du jour for many of the hip young people today – rather, he suggested that people just be musicians and wait for other people to pigeonhole them. He finished by emphasising the need for authenticity and stating that the best way for an artist to sound authentic is to merely sing in their own voice, rather than adopting an accent, American or otherwise. I am a massive fan of Steve Earle, and having had the pleasure of speaking with him in the past I knew that he would make a perfect keynote speaker for any music industry conference. He certainly didn’t disappoint when he opened proceedings on the Wednesday morning of BIGSOUND, giving us an hour of amazing stories and insights from a guy who has done and seen so very much. Being an avid fan of Texan singer/songwriters of the 1970s, I was particularly excited to hear him speak about the cult of Townes Van Zandt and stories about the work of Guy Clark, Jerry Jeff Walker, Lucinda Williams, Mickey Newberry and Willie Nelson. One thing that really struck me, a thing that had not occurred to me before, was how wide the appeal of Willie Nelson was (and I imagine is) to the Texan people. Earle spoke of concerts that Nelson would put on that just everyone would go to, from rednecks to longhairs and everyone in between. It was rather sad to hear him reveal that he’s writing his forthcoming memoirs almost purely for money, as his two-year-old son has just been diagnosed with a form of autism and they need money to pay for medical treatment. Fans of the band will be particularly excited to hear that he has finished a new record and should have it out around March next year. You can watch the entire chat on theMusic.com.au – if you’re into Steve Earle at all, pour yourself a glass of wine and crank it up. Music-wise, I didn’t catch much roots fare; it’s great to see the wonderful Mia Dyson back in action; it’s great to see Bill Chambers at any time, on this occasion playing alongside Catherine Britt; Saskwatch are doing a pretty decent job of slick, deep funk; and Clairy Browne & The Bangin’ Rackettes just smashed it outta the park with the sassiest, grooviest goddamn jazzy soul music replete with choreographed dancing and gorgeous costumes. A great couple of days, sure, but now I really need to get some sleep. Just quickly; Bluesfest announce their first bunch of bands for the 2013 line-up this week. Get excited! 40 • INPRESS

The Amity Affliction You’ve almost definitely heard about it by now, but massive props must be given to The Amity Affliction for topping the charts last week with their third album Chasing Ghosts. It only goes to show that heavy music is stronger than ever, and Adamantium Wolf is comfortable in hoping that this isn’t a one-off. Perhaps Parkway Drive will be the next band to do so? Their fourth album Atlas is due for release on 26 October, with the band this time working with producer Matt Hyde (Slayer, Hatebreed, Children Of Bodom, Strung Out). Vocalist Winston McCall described the album as “ten years of Parkway Drive, ten years of travel, ten years of being alive and watching our world spiral out of control. We’re not holding anything back, we’re not pulling any punches, and this world deserves nothing less.” You can check out a video for the first crushing single, Dark Days, on that YouTube thing that some people use sometime. There’s also a preorder bundled with a limited edition Parkway Drive beach towel available through JB Hi-Fi, and a vinyl version available directly through Resist Records. Though it was announced some time ago, it appears that this piece of news evaded being chucked into this column thus far – Michigan punks

Sydney power metallers LORD have unveiled the first single of their forthcoming album Digital Lies. The video to Betrayal Blind is online now, with a downloadable version of the song available for $1 from lord.net.au. The band will play shows in Melbourne (TLC in Bayswater and the Espy), Geelong, Ballarat and Bendigo through October. Two years after putting the brakes on, Melbourne alternative punk rockers Horsell Common have announced an end to their hiatus in the form of three shows. They play We Come Out At Night in Sydney on 30 September, Black Market in Adelaide on 19 October and Plastic in Melbourne on 5 November. Future plans from that point on haven’t been confirmed nor denied by the group. Melbourne grindcore crew King Parrot, who feature ex-Blood Duster drummer Matt Rizzo, have set up some pre-orders for their debut album Bite Your Head Off. Grab a copy of the frenzied punk/ metal assault with free shipping within Australia from kingparrot.bigcartel.com and catch the band at Bastardfest at the Espy on 3 November. Adelaide sludge lords Space Bong have confirmed that they are indeed halfway through the recording process of their new album Deadwood To Worms. They will be taking their jams interstate again later this month, playing the Karova Lounge in Ballarat on Thursday 27 September and the Reverence on Friday 28 September. Hard rocking Swedish power metallers Sabaton, who will be out here in January to play a few supports with Nightwish, have announced their own headlining show. Check them out on 12 January at The Prague with locals Eyefear and Black Majesty.

THE BREAKDOWN POP CULTURE THERAPY WITH ADAM CURLEY havoc in their suburban neighbourhood, Where’s The Love threw them into the busy city streets of London, surrounded by older people dancing to the song and staring at them as if they were some magical oddity. Hanson In 1997, the downstairs loungeroom of my parents’ house was my domain. I was 14 and, though I’m the youngest of four, had only the younger of my sisters with whom to share space in our humble suburban two-storey. The downstairs lounge had been converted by my father from a double garage, my attached bedroom from a woodwork room. When it was down to the two of us kids, my sister had the run of the upstairs rooms, the ‘main’ part of the house, and I got the downstairs. It was in the lounge room, during a routine Saturday rage session, that I saw the video for Hanson’s Where’s The Love, 15 years ago this month. Of course, like everyone else, I’d already experienced the phenomenon of the group’s first single, MMMBop, earlier that year. I’d bought the CD single the week of its release in a fairly confused state, thinking that Taylor Hanson was a girl, that I had a very large crush on her and that the band were possibly from the ‘70s given the washed out production of that single’s video. I wasn’t a worldly kid, but this was also a time when research on the Internet meant waiting half an hour for an unhelpful Geocities page to download, and when an American group could enter the Australian chart without anyone knowing anything much about them, including the salespeople at the local shopping centre music store. By the time of Where’s The Love, I knew more about Hanson. I knew they were not to be liked, that Taylor was a boy, that he was not to be liked, that MMMBop was a terrible song and I’d shamefully listened to it in secret too many times. I also knew that Where’s The Love had a far superior clip. Where MMMBop had pitched Hanson as a trio of teens causing cute

This was, no doubt, the impression the filmmakers and record company wanted to give. We were supposed to believe that these kids were beautiful freaks of nature sent to earth to be enjoyed by man, woman and child alike. But Taylor Hanson was two months younger than me and was, to my mind, not a freak but a 14-year-old who clearly had people outside his lounge room listening to his ideas about the world. It was there in the clip. And they were big ideas. Where’s the love? I was asking the same question. Not in those terms exactly, but I knew that pop music needed to be simpl. And how simpler to communicate the burgeoning awareness of an individual’s isolation? Where’s the love? It’s not enough. But there was something else going on in that video. My crush on the female Taylor Hanson had been manipulated into envy of, and empathy for, the male Taylor Hanson, the attraction still buried. I wanted to be him, to be famous and heard; I saw myself in him, the way he didn’t fit into the knowing cool of the music clips around him, his awkward androgyny; and deep down I wanted to do things with him, sexy teenage things. The lines were blurred even more by the fact that he looked and dressed a little like my sister: stringy blonde hair and maroon slim-fit suede jackets. She was, at the time, my only link to the grungy real world I knew existed beyond the boundaries of the suburbs I had no means of breaching, no one to breach them with. In my cave downstairs, I longed to know her better. It’s taken me a long time to see that none of those feelings trumped the others. It was not only about my sexuality, and not only a fame fantasy. They were all equally valid, all part of getting older and figuring things out. It took even longer to claim those feelings as nothing shameful, no failure on my part to make good or know more or be more brave. Fifteen years on, Hanson’s question lingers, but not in that lounge room.

themusic.com.au

Parkway Drive The specific details have finally emerged for Parkway Drive’s newest album, Atlas, including the release of a video for the first track off the album. The album is set for release on Friday 26 October through Resist Records, and the announcement comes as the band unleash the video for a track called Dark Days. The album was recorded in Los Angeles with producer Matt Hyde, and it sees the band pushing musical boundaries. “Everything has been enhanced,” says vocalist Winston McCall. “People don’t have to kiss the old parts goodbye. When you think of change, you think of things being taken away, but there’s not a case here where anything has been taken away. This is just more on top.” Atlas comes hot on the heels of Parkway Drive’s platinum-selling DVD, Home Is For The Heartless, a unique travelogue that follows the band’s adventures touring to many obscure destinations. According to Winston, the DVD gives an additional insight into the album’s lyrical themes, which are closely related to exploration and discovery. “Reading the lyrics to Atlas after watching the DVD, I think you will have more of a sense of where we are coming from,” he reveals. “The album is called Atlas because it’s a combination of the travelling we’ve done over the past year, while also playing on the idea of Atlas, who carried the weight of the world on his shoulders.” Pre-orders are available now through JB Hi-Fi for a beach towel/CD bundle and pre-orders for a colour vinyl edition are available through Resist Records. Adelaide band SXWZD are getting set to release their second album, Grey Matter/White Matter, in the next month. The album is the follow-up to the 2009 self-titled debut, and if you don’t know who SXWZD are, they feature members of Jungle Fever, Shotpointblank, Robotosaurus, Stolen Youth, A Secret Death and I Exist. The band have further refined their sound between albums. The combination is good and the result is fuzzed-out, groove-laden and crushing noise. Anyway, the album is up for pre-order now through Clarity Records (in LP, CD and digital formats) and the LP version will be strictly limited, with 100 in a limited black/white colour and the remaining 200 as a standard black. It’s for fans of bands such as Trash Talk, The Melvins and Infest; the album will be released on Friday 19 October. It’s amazing that Perth hardcore act Miles Away are spending 2012 celebrating their ten-year anniversary as a band, and it looks like they’ll be celebrating in style as they headline the Make It Count festival. This is an opportunity for friends and fans to share in what has been an incredible journey for one of the most respected bands in Australian hardcore. Joining them on the line-up will be Portland, Maine’s Cruel Hand, who will bring a dash of the international to the festival. The rest of the line-up will include the best of the best of Melbourne hardcore, past and present, with a newly invigorated Hopeless, Iron Mind, Ill Vision and Outright rounding out the list. It all happens on Sunday 2 December at Phoenix Youth Centre in Footscray. Tickets are on sale now and I suggest you get in quick because if this is going to be anything like the Break The Ice fest earlier this year, then tickets aren’t going to last long. In a recent interview with Rolling Stone, Fucked Up vocalist Damian Abraham talked about what’s next for the band. Despite announcing a hiatus last November, that didn’t seem to last long as 2012 has been filled with festival appearances and 2013 appears to be the same, with the band appearing on the 2013 Soundwave Festival. From the article it appears that the Canadian septet are aiming to hit the studio sometime through our summer to record their next album, the follow-up to their brilliant David Comes To Life. Can I call album of 2013 now or is that too presumptive? Lastly for this week, Issue 17 of No Heroes magazine is online now. We’re all really stoked with how this issue turned out and hope you all are as well. This issue there is The Amity Affliction on the cover, and interviews with The Smith Street Band, Propagandhi, Gallows, Baroness and a really interesting interview with Zoli Teglas from Pennywise, where yeah, he does talk about Pennywise but he talks more about his involvement with Sea Shepherd. You can check out the new issue at noheroesmag.com.


OG FLAVAS

THE BEST OF BIGSOUND

INTELLIGIBLE FLOW

URBAN AND R&B NEWS WITH CYCLONE

OUR PICKS FROM LAST WEEK’S BRISSIE MUSIC FEST

HIP HOP NEWS & COMMENTARY WITH ALEKSIA BARRON

Flume pic by Stephen Booth

Rita Ora Rita Ora’s ORA is gonna be huge. The Brit urban ‘It’ girl has achieved fame in the new way. While Emeli Sandé’s unique selling point was her songwriting prowess (and that voice) and Jessie J’s was her voice (and co-writing Miley Cyrus’ Party In The USA), Ora has projected herself as a fashionista – she actually has a modelling contract. Then the star has popped up in gossip magazines, dating Rob Kardashian. Oddly, another Roc Nation artist, J Cole, was rumoured to have a sex tape with Rihanna before his debut album dropped. The tape never surfaced, but Cole generated press. Suss? Mind, Ora, 21, does have the vocal chops. She’s also enjoyed three consecutive UK No 1s. The Londoner sang on DJ Fresh’s drum‘n’bass Hot Right Now. Aussies first heard her solo on the platinum How We Do (Party). Ora has since unleashed the rockin’ dubstep RIP, featuring Tinie Tempah – a song Drake originally wrote for Rihanna with production from expat Norwegians Stargate (who sample a Chase & Status remix of Nneka). It’s a pity that Ora’s US-centric label hasn’t persuaded the credible UK music media to come on side, despite her touring with Coldplay. They’ve mostly ignored her. Ora has fascinating antecedents. She was born in what is now Kosovo, in the troubled former Yugoslavia, before her family moved to the UK. Ora dabbled in acting, landing a role in the East End flick Spivs. However, music became her focus. She sang on Craig David’s 2007 non-single Awkward. Ora even auditioned to represent the UK in 2009’s Eurovision Song Contest. The same year Roc Nation spotted her. Unfortunately, little of the singer’s personality – or history – is reflected on the oft-predictable ORA. And Ora has worked largely with US-based producers – Major Lazer, The-Dream, will.i.am – at a time when the UK is at the forefront (cue Plan B’s proudly British iLL Manors). The exception is Fraser T Smith (Adele). Explaining Tinie’s guest spot in her bio, Ora says perplexingly, “I wanted to keep it British. I need to rep for the UK!” If only. ORA is a Frankenstein creation. The songs might have been written for, or recorded by, anyone: Rihanna, Katy Perry, P!nk… Still, there are decent tracks, so expect loads more hits. ORA has already topped the UK charts. The album opens with Switch’s Facemelt, sampling ‘Dirty Dutch’ houser Bart B More. It’s a dubstep banger that sounds like it was laid down near a MotoGP. As with the flashy How We Do..., which nicks its refrain from The Notorious BIG’s Party & Bullshit, The-Dream’s Roc The Life is rock&B – it’s also very Rihanna-esque, although, happily, Ora doesn’t have the Bajan’s nasal qualities. Not coincidentally, How... was co-produced by Florida posse The Runners, who machinated RiRi’s California King Bed, a possible reference here. Lily Allen’s pal Greg Kurstin demonstrates that he has studied David Guetta’s electro/house/trance pop formula with Radioactive, co-written by Sia Furler of Titanium infamy. Roc Nation’s Alexis Jordan (remember Happiness?) should be jealous. Ora adores Gwen Stefani – hence her platinum hair and red lipstick – and the empowering Shine Ya Light, courtesy of Smith, starts off like heavier No Doubt reggae. Jay-Z doesn’t cameo, but Cole does on Stargate’s synthy midtempo Love & War, which, like will.i.am’s hyper-electro Fall In Love (those fa-la-la-las are so annoying!), has some auto-tuning. Ora mimics Nicki Minaj’s stylised rap-singing on the disco Uneasy – one of The Ting Tings has a writing credit. Ora delivers two trad ballads, the restrained Hello, Hi, Goodbye beating the Rihanna-ish Been Lying. This month in a Q mag spotlight on producers, Madonna ally Stuart Price deplores today’s ‘brief encounter’ mode of recording, in which artists and writer/producers share but a transitory (and mercantile) relationship. This is ultimately the problem with ORA: it’s production-line urban-pop. Teaming with the same pool of hitmakers as your rivals can turn you into an apparent clone or, worse, biter. Mary J Blige had Puff Daddy, Aaliyah had Timbaland, and Amerie Rich Harrison. Ora needs her own go-to guy or girl to put some aura into ORA.

ANDREW MAST 1. Transistors:

For the second year in a row NZ’s Arch Hill Recordings supply the BIGSOUND best. Hopefully it won’t take the world as long to recognise Arch Hill as it did fellow NZ label Flying Nun.

2. Mia Dyson:

Any worry that Dyson’s long absence signalled she might be losing her way was dashed here. The new material has Dyson finding her voice as our toughest and truest voiced country rocker.

3. Garage galore:

Could it be that the ‘indie’ Oz live scene is finally on the way out of its twee folk and ironic pop period? With Drunk Mums, Straight Arrows and The Gooch Palms all pulling big crowds, we dare to hope.

greatness, but it’s Dyson herself that remains the showstopper – a great, gutsy voice, effortless guitar chops that’ll make you weep and the kind of relaxed, friendly demeanour that you just can’t help but like all making us remember why we loved her to begin with.

5. The quality:

Picking five acts is just impossible. Sets from acts such as Loon Lake, Violent Soho, Bearhug, The Gooch Palms, The DC3 and Clairy Browne & The Bangin Rackettes oughtn’t be ignored, and I know there are scores of acts I didn’t see that we’re probably at least close to as good. Out of 120 bands, you’re bound to land a few winners no matter what, but the wealth of talent on BIGSOUND 2012 was just astonishing.

4. Violent Soho:

A few years ago there was much murmuring about these guys being the leaders of the new grunge wave. Wrong. They are just leaders. Their gig on the QMusic stage was triumphant.

5. Flume:

This guy knows exactly what he’s doing. He mixes just the right amount of underground house and chill wave grooves with a bit of Oz rap and a dash of dubstep to appeal across the board. He had a full house at Magic City eating out of the palm of his hand and it seemed pretty likely they’d eat any other body part he offered up as well. Punters were left panting for more.

The Gooch Palms pic by Stephen Booth

BRENDAN TELFORD (This top 5 doesn’t include Straight Arrows, because otherwise they’d take up all five slots)

1. King Gizzard & The Lizard Wizard:

Clairy Browne & The Bangin’ Rackettes pic by Stephen Booth

DAN CONDON

2. Bearhug

1. Straight Arrows:

Or, more accurately, the crowd who flocked to see them. The band have played Brisbane a number of times over the past few years, but they’ve never drawn the kind of crowd they did at Electric Playground. They smashed out a loud, infectious set as good as they always do, but this time there were plenty present to bathe in their awesomeness. A new record would be a treat, but we’re still pretty content with the songs from the first one.

2. Transistors:

An incredibly pleasing new discovery for me at this year’s BIGSOUND, these indie-garage guys are fun, loud and full of life. Really looking forward to seeing them do more over here, you’d like to think there’d be an audience for them.

3. Jeremy Neale:

A lot has and will be said about Velociraptor, but that band’s frontman Jeremy Neale really proves his pop smarts with his “solo” project. Ripped straight from ‘50s and ‘60s American pop radio, his hooks are incredibly infectious, his band perfectly loose but capable and his voice getting better each and every show.

4. Mia Dyson:

I could have picked any of the hyped garage rock bands over the two days, but it’s the Melbourne seven-piece that took the cake. They anchor the hedonistic shambolism with warmth and frivolity, and every instrument can actually be heard and makes a point, which is always nice. The boys clearly loved the loose and drunken atmosphere, and the denim jacket-wearing crowd surfer who insisted on continuing his search for the big wave even after the band were done put the cherry on top.

So good to finally have these J Mascis/Jim James-loving chaps. A rollicking set that is just my cup of tea, made all the more enjoyable because it was the only time during a show that the stars aligned and I enjoyed drinks with all my fellow BIGSOUND-attending mates.

3. Violent Soho:

It’s been a long while since anything GRUNGE came out of Mansfield, yet with a new GRUNGE single in their GRUNGE pocket these GRUNGEhound GRUNGE acolytes tore a GRUNGE hole in the sky. The thing about these GRUNGE guys is that they are unabashed in their GRUNGE, and it’s GRUNGE. GRUNGE. Pass the vaporiser.

4. The Gooch Palms:

Cock and balls at 8pm? You got it. The Newcastle duo straddled addled, camp and blood-flecked debauchery with the biggest curveball of BIGSOUND Live – amazing soul. These guys might still drink out of a brown paper bag in the gutter of Hunter Street Mall, but this set made me want to join them – that’s saying something.

5. Go Violets:

Wow. It’s been a long time since we’ve had the pleasure of witnessing Mia live in action and now we don’t want her to leave! A good mix of material fleshed out by a shit-hot band contributed to the set’s

Can these girls become the rulers of the world already? The one show I saw where I wanted to cram so many people into the joint it became a risk to public health and safety. More people need to partake in their guitar-pop delicacies, and if I had to risk fire, stampede or suffocation to do it, cest la vie.

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Evil Eddie Mdusu (also known as MD or Duse) has dropped a killer new production album titled Charts. The Gold Coast-based artist has been known to turn his talent to a few different musical styles and pursuits, but there’s simply no denying his talent when it comes to producing great tracks. Charts draws on a variety of genres and samples, from the ethereally dubby Closer to the ‘80s-tinged I Have Nothing, a reimagining of the Whitney Houston song of the same name with shades of Jim Steinman thrown in for good measure. It’s well worth a listen and can be downloaded for free at tapedeath.bandcamp.com/album/charts. In fact, Queensland is kind of where it’s at this week – Evil Eddie has also dropped a new single, Golden Age, a taste of his upcoming album Welcome To Flavour Country. It’s got the same bouncy, bassy beats and cheeky lyricism that made his 2010 single Queensland so indisputably infectious. Interestingly, the ex-Butterfingers MC is also one of the latest hip hop artists to enlist the power of crowdfunding to get his music out there. He’s currently running a campaign on PledgeMusic where fans can pre-order Welcome To Flavour Country and, in doing so, help ensure it gets finished and released. In fact, only 500 physical CD copies of the album will be made, and they’ll be available exclusively to those who pledge or purchase the album via his website (evileddie.com). It’s a very interesting approach to funding an album’s release, and one that we’ll probably see more of from niche artists as time goes on. If you’d like to contribute, visit pledgemusic.com/projects/evileddie. The other person using crowdfinding in a very smart way is Urthboy, who has started a Pozible campaign to raise money for the release of his upcoming album Smokey’s Haunt – on vinyl. This, to me, is a slam-dunk move. Vinyl is something that a lot of music aficionados want, and it’s particularly prized within the hip hop community, but it’s increasingly become financially untenable for labels and artists who are trying not to go totally broke over a new release. By making the vinyl release of Smokey’s Haunt contingent on a Pozible campaign, Urthboy is basically asking fans of vinyl to put their money where their mouths are. After all, the biggest problem with vinyl is that everyone says they want it, but not enough people fork out for it when it’s available. I wouldn’t be surprised if more artists take this approach for vinyl releases in future. You can show your support for the project at pozible.com/urthboy. If you’re after a dose of classic hip hop, get along to the Espy this Thursday 20 October to check out Bone Thugs-N-Harmony. These guys can’t seem to stay away from Australia at the moment – Wish Bone and Krayzie Bone are back for another tour featuring plenty of their beloved classics. Also on the bill are Neeq, Legit, Velvet Sands and local alternative hip hop outfit Big Words have been added to the bill as well. Tickets are available via theespy.oztix.com.au. This Saturday 22 September, the Northcote Social Club will be the place to be if you want to catch the Melbourne leg of Big Village Records’ Big Things tour. The label has released their compilation Big Things Vol 2 which features some of Australian hip hop’s most innovative voices, and in celebration of the release, a bunch of the contributors are heading out on tour. The line-up includes Tuka (of the Thundamentals, in solo mode), the marvellous Ellesquire and party-starters Daily Meds, plus True Vibenation, Loose Change, Sketch The Rhyme and Reverse Polarities. It’s set to be a night of fresh, left-of-centre music with great beats and some intriguing flows, so don’t miss it. Tickets are on sale at northcotesocialclub.com. INPRESS • 41


HAVE YOU HEARD?

AMBIENT SURROUNDS

From the far, windswept edges of Melbourne’s music scene, I Will Surround You brings together a group of articulate musicians to the Gasometer’s downstairs bandroom. Combining styles ranging from dream pop to textural ambient with hints of industrial, Saturday 14 October is set to be a beautiful night. Em Vecue Aquieu, Constant Light, Zac Keiller and Monolith all play.

STRING IT OUT MARLOW PLAY THE NORTHCOTE SOCIAL CLUB THIS FRIDAY 21 SEPTEMBER AND THE ESPY THIS SATURDAY 22. How did you get together? Travis Wall, guitar: We have been jamming since school, and picked up our bass player Matt a couple of years later. Can you sum up your band’s sound in four words? Vibrant, positive, relentless, powerful. If you could support any band in the world – past or present – who would it be? Cog. You’re being sent into space, you can’t take an iPod and there’s only room to bring one album – which would it be? Kanye West’s My Beautiful Dark Twisted Fantasy.

This Saturday at the Flying Saucer Club, virtuosic instrumental trio The String Contingent perform their sparklingly beautiful music live. Tickets are $20 on the door and the doors open at 8pm.

INNER REGIONAL

City VS Country are a seven-piece alt.country band from Melbourne who recently launched their bangin’ debut single Please Don’t Talk To Me (I’m Fucking Wasted) at Yah Yah’s to a full house, so they have been invited back for an encore show tomorrow. Sydney blues rockers Blind Valley and local swamp rockers Hound Hounds Hounds are supporting. The bands start at 9pm with free entry.

BOG MOTH

Swamp Moth rise from the murky mists and revive hard rock’s long forgotten masters of the unholy riff. Five of Melbourne’s finest purveyors of swagger and groove dig deep to find the best of the rest of late-’60s and early-’70s psych, hard rock and protometal. They play Yah Yah’s this Sunday at 8pm.

Why should people come and see your band? We get on stage to give the audience goosebumps. We keep it raw, heartfelt and leave everything on the stage.

Wagga Wagga-bred, Melbourne-based The Ocean Party come to Yah Yah’s this Saturday at the end of a South-East Coast tour. From The South and Grand Prismatic support. The music starts at 9pm with free entry.

Dane Certificate will launch his new album Well this Friday at Melbourne’s new magic theatre – Dane Certificate’s Magic Tricks, Gags & Theatre located at 859a Sydney Rd, Brunswick. The night will feature close-up magic tricks, music and a sword swallower.

Tinsmoke are an Australian alternative rock band based in Melbourne. They traverse a variety of musical styles including psychedelic rock, folk and alt.country. Supported by seasoned swamp rockers Dead River Deeps, they play the Retreat this Saturday.

DEAD DUCK

MAJESTIC PERCEPTION

Burn In Hell have an abundant appetite for sensual, grinding rhythms and gravelly vocals. Think swampy cabaret with a gypsy attitude. The Burn In Hell lads are back on our fine shores to launch their new album with a show at Ding Dong this Friday. Supporting them will be St Kilda’s finest Bittersweet Kicks and local lady of rock Suzie Stapleton.

SPRING BREAK Gold Coast singer-songwriter Turner has embarked on his Brick By Brick tour to promote the release of Carry On – a track recorded as part of the 100 Songs Project. He will be showing off his band when he plays the Curtin on Thursday 27 September, Revolver on Friday 28 and Pure Pop Records on Sunday 30.

CAN SMOG

CERTIFIED MAGIC

HOT IN HERE

TURN IT UP

Tonight (Wednesday) in the front bar at the Retreat Hotel, gothic folkies Wayward Breed continue their residency with support from the sweet country of Alysia Manceau. The music begins at 8.30pm with free entry.

The Tiger & Me are the newest signings to ABC Music imprint Four Four, just in time to release their second album The Drifter’s Dawn. The band will launch the first single from the album Pantomime at the Workers Club this Sunday.

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ROCKABYE

ERRANT STOCK

PERSONABLE BIG CAT

Clairy Browne & The Bangin’ Rackettes are coming to the Flying Saucer Club, Elsternwick on Friday 28 September. They are currently breaking in the US on the back of single Love Letter and Browne featuring in the latest Heineken advert. So catch them now before the world catches on

Since hitting the music scene in 2008, Brisbane’s Big Dead have built a strong line-up as a progressive rock jazz infused six-piece. They have just released debut single How It Ends, How It Starts. They play the Wesley Anne Friday 12 October and the National Hotel (Geelong) on Saturday 13.

It is The Return Of The Voodoo Sheiks this Sunday at the Flying Saucer Club, Elsternwick. The band feature Aussie music greats Joe Camilleri and John McAll playing together in an old-school R&B big band. The doors open at 3pm and tickets are $25+BF through the venue website.

WATER GATHERING

WHAT A RACKETTE

LARGELY DECEASED

THE SHEIK HAS RETURNED

Do you like gentle harmonies, introspective heartfelt lyrics and an unassuming stage presence? Then do not come to Yah Yah’s this Friday. The Exotics only know how to rock’n’roll. You will get all the stompin’, blood pumpin’, crazy chicken-dancing, ripping guitar and pounding drums you want from the legendary band. Their special guests for the night are The Wardens. The bands start at 9pm with free entry.

After being chosen by triple j to play Groovin’ The Moo 2012 the boys from Grand Perceptor have returned with a bunch of new singles, which will be celebrated with a launch at the Grace Darling Hotel on Saturday 29 September. The Pretty Littles and Grand Prismatic will support. The doors open at 9pm, entry is $10 including a single.

Greatest rock’n’roll moment of your career to date? Packing 300 heads into the Stag in Sydney for our single launch last year.

The Black Lullaby have announced the release of their self-titled debut EP, produced by Lachlan Mitchell. Blending acoustic instruments with fine grittier guitars, a solid rhythm section backbone and great harmonies, the first single off the new EP Journey Up delivers group vocals, handclaps and outstanding melody. The Black Lullaby play the Grace Darling Thursday 4 October.

EXOTIC ROCK

LuWow are having a beach party this Friday. So grab your boys in bikinis and girls on surfboards for Rockaway Beach. Special guests The Volcaniks play surf instrumentals in worship of the gods of reverb and twang. Wild Turkey will be rockabilly sea dogs just for the night. DJ Beach Bunny Babz will be keeping the surf rock spinning while LuWow’s Go-Go Godesses twist the night away. Entry price is $5, from 8pm.

Deadly Are The Naked play dirty old blues with elements of funk thrown in for good measure. Think equal parts Joe Cocker, The Jon Spencer Blues Explosion and The Jimi Hendrix Experience spiced up with the insanity of Cake and The Bloodhound Gang. They headline an evening of celebration and good times at the Espy Basement this Friday. Main support comes from Silent Duck, a funk-rock act from Adelaide who deliver a high-impact live show with an ethos of fun. Getting the fun started are Uncle Rudey and Lamarama. Free entry, bands from 9pm.

OVERDUBS

Melbourne’s premier 15-piece pseudo-reggae act The Dub Captains are playing the Retreat Hotel this Friday. This show will celebrate a year since the band’s 2011 reformation which has seen them steadily increase their following and perform many headline shows. Neo-soul group Dru & The Intentions will be supporting from 9.30pm. It is free entry.

HIP-SO-FO

Prita Grealy’s unique sound combines her love of hip hop, soul and folk. Having returned from a Germany she brings her Postcards From Europe tour to the Wesley Anne tonight (Wednesday). Jenny Biddle and Brett Winterford play support. The doors open at 8pm with free entry.

SIGN OF THE TIMES

Girl Interpreted returns in 2012, bringing together Auslan sign language interpreters and fantastic musicians from Darebin and further afield. This year’s line-up includes Lucie Thorne, Mojo Juju, Georgia Fields and Tracy McNeil. See incredible lyrics come to life before your very eyes (and ears) in the lush Thornbury Theatre this Saturday.

2012 MELBOURNE FRINGE FESTIVAL 26 SEP – 14 OCT CELEBRATING 30 YEARS OF INDEPENDENCE AND ART Tickets on sale now at melbournefringe.com.au 42 • INPRESS

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FAVOURITE THINGS

TOASTED FORNICATION

ROUGE HOT

Sex On Toast are back to the Evelyn in September for a month of vibrant and exciting gigs, each different to the last. This week supports are Rawmantics, Mandek Penha, The Call Up and The Vaudeville Smash DJs.

THE MUSIC ACT

Catch New South Welshmen Thomas Convenant at Revolver Upstairs tomorrow (Thursday) as they launch their EP. Joining them are female punk duo Chaos Kids, who will have your head bopping all night, plus Revolver regulars Scaramouche will kick off the night. The doors open at 8pm with $7 entry.

THIS WEEK INPRESS ASKS NIKKO GUITARIST/VOCALIST RYAN POTTER TO TELL US ABOUT SOME OF THE GREATEST THINGS MUSICAL HE’S ACQUIRED. SOMETHING OLD I have a sitar that’s really old; I got it from Varanasi in India. It’s made from gourd and camel bone and has some beautiful artwork. We used it on the title track of our new album, Gold & Red. SOMETHING NEW My dad’s building a new instrument, a cross between a hurdy gurdy and a cello. It has no frets, is carved out of solid wood with a high-powered guitar pickup, four thick electric guitar strings and an old fishing reel connected to a nylon wheel. The wheel rotates along the strings for neverending drones. It looks amazing and will be the future of Nikko. SOMETHING BORROWED My acoustic guitar was one I borrowed from a friend and they will never get it back. I lent them a coffee table in return that I don’t ever want to see again. It’s a Japanese Gibson copy as old as the hills. I’ve seen Elvis playing the same guitar. SOMETHING BLUE I play a blue Fender Jaguar. It’s the first “not-cheap” guitar I ever bought.

RA, RA, REVOLVER

This Friday at Revolver highlights a great mixture of Melbourne hip hop. Headliners RaRa have a live set that is disturbingly beautiful and hectic. They are joined by Blunt Paper Massive who fuse modern funk, soul, and hip hop. Bastion Killjoy and Grinny will open the night. The doors open at 9pm and tickets are $10 on the door.

GRANEY MIST

Dave Graney & The Mistly come from the clouds. An abstract songwriter with a band who can lay down a crude and filthy boogie, they play few ballads. Their roots are in the non traditional postpunk scene. Dave Graney & The Mistly have been touring Australia for their latest CD You’ve Been In My Mind for months and will be out for a while yet but have scheduled a few Melbourne and Victorian shows over the next couple of weekends. They play this Friday at the Palais (Hepburn Springs) and on Saturday the Newport Substation.

NOT WOMANITA

Four-piece experimental band Amanita are hosting Monday nights in September at the Evelyn, playing alongside friends both new and old. This week it is Hollow Everdaze, Sunk Junk, Maksia and Sooky La La playing support.

Following their 2011 Melbourne support of scene heroes Dropkick Murphys, The Ramshackle Army joined them on their St Patrick’s Tour of the US, peaking with a slot at Shamrock Fest in Washington DC before 15,000 eager Celt-punk fans. The six-piece Celt-rock band draw on a vast array of influences including the punk they grew up on, the Celtic traditions of their family history and Australia’s colonial heritage to make music designed to bring listeners out of the cold, shout “whoa whoa!” to the heavens and “it’s your round!” to the guy next to you. They play at The Espy with support from Max Savage on Monday 24 September. And it’s free entry!

The Black Pancake Club is where disc-jockeys bring in their treasured record collections to share with ya’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 on Thursdays at Lounge. Tastemakers on rotation include Shags and Richie 1250. Free entry from 10pm.

FLAT FISH

After recording at the famed Grove Studios with acclaimed producer Andy Mak (Silverchair, Boy & Bear), Flounder are now set to release their honed funk/rock sound upon the world, beginning with the launch of their first single Big Bird at the Toff this Thursday. The single is overflowing with raw, unbridled funk energy, bursting at the seams with screaming saxophone, juicy hooks and a distinctive Flounder groove.

ENDLESS HEALING

Travelling folk-pop troubadour Tané has settled in Melbourne long enough to lay down his debut selftitled EP. He is delivering it with trademark “street style” aplomb at the Evelyn this Sunday. Ca Va (Bris), Hudson and Tash Sultan are supporting.

CELTIC ARMY

HOT TOPPINGS

WHEN & WHERE: Thursday 20 September, Empress (acoustic); Friday 21, Old Bar

RESTING TRAVELLER

COVERS GALORE

Avid fans of Cold Chisel are in for a treat on Friday 5 October when Melbourne-based tribute band Gold Chisel perform in the Gershwin Room at the Espy, in a portrayal featuring all the classic hits of the legendary Aussie band. Support comes from Basketcase and Van Hagar.

STILL SMOKIN’

The Kerry Mitchell Quartet are a smokin’ jazz quartet that have managed to achieve the perfect blend of swing, Latin, and ballad styles of jazz for their live shows. Head to the Hammy this Friday to see the Kerry Mitchell Quartet play some smokin’ tunes, while sipping on Melbourne’s renowned syndicate coffee and sampling an array of decadent desserts. No cover charge, doors open from 8pm til late.

WEDNESDAY WARMERS

Warmth Crashes In are the result of two rockers having minimal tech blasted at them for a year; the band’s sound is ethereal to intense but always rhythmic, smooth and shiny. They take to the Tote every Wednesday in September for their first shows in Australia. Joining them tonight are Strangers From Now On, Honey Badgers and Creep & Harp.

CRAZY SENIORS

WHAT: Gold & Red (Tenzenmen/ Music-Fix/MGM)

That Gold Street Sound are a Motown funk, rock and soul band from Melbourne who will make you shake your tail feather. They launch their debut single and video clip Get Up at the Evelyn this Saturday. Lyndal Barry & The Apollos and The Seven Ups are supporting.

The moment to shine has arrived for songstress Hailey Cramer. Having collaborated and performed with an array of globally recognised names (including lending her vocals to Michael Franti, 360, Blue King Brown and the smash hit collaboration The Festival Song with Pez), Cramer finally made the decision to step back to focus on her solo work. Her debut EP is being launched this Sunday at The Toff In Town with special guests Remi and Kisshead.

Numbers Station meld trademark glassy vocals with driving post-punk beats and are headlining a great Revolver bill this Saturday. Joining them are Sydney’s Monks Of Mellonwah, plus Melbourne’s Rain Party and Waverly. The doors open at 8pm with entry for $10.

SOMETHING LOST I had a TASCAM audio interface – I woke up one morning with a hangover to find it sitting out on the deck, very wet. At first I thought it was beer but it smelt funny and it definitely wasn’t water. I’ve been known to sleepwalk and must have done something to it in the night. I had to throw it out. I’m not sure what, but my subconscious was trying to tell me something.

STREETS OF GOLD

HAILEY’S A COMET

STATIONARY NUMBERS

SOMETHING YOU’D LIKE Adam Cadell who plays violin with us is moving to Ghana in November and we will need to find a new fiddler. We’ve gotten used to having him so anyone that likes playing violin with heaps of distortion and delay should apply!

If you’re looking for some California dreamin’ in September, you’ll do no better than getting along to Ding Dong Lounge this Saturday for a killer double-bill as two Melbourne favourites, Dancing Heals and Jimmy Hawk & The Endless Party, bid their home town a fond farewell before they each head to faraway shores.

It began as a solo project in 2006 but Lilly Rouge and her band have grown to become a respected musical act. Splitting their time between the Gold Coast and Melbourne, They play edgy, riff-heavy rock that is led by the raw and emotive vocals of frontwoman Rouge. Lilly Rouge are launching their debut EP Severed Souls at Cherry on Sunday 23 September, Revolver on Wednesday 26 and IDGAFF on Thursday 27.

Mad Nanna come to the Tote to launch their latest single I’m Not Coming Here this Thursday with generous support from Lower Plenty and Moffarfarrah. Peter Schlump from Unwucht Records, who is responsible for the 7” art, has designed two gig posters for the night. There will be a record store set up with records from bands on the bill, the Alberts Basement label and distro.

MAXIMUM RIFFAGE

Sons Of The Ionian Sea were forged from the loins of two warring tribes, deep in the jungles of Guinea more than 1000 years ago. Steeped in vampirical practices and founded on a culture of blood-lust and human sacrifice… ah whatever. If you like riffs just get down to the Tote this Friday. Sun God Replica, Teenage Libido and Marcus DePasquale will all pull together on a biscuit of love and other catastrophes.

THINKING IT OVER

Aussie nu-disco/electro duo Philosophy Of Sound have found their footing in music, steadily building a following for their own brand of conscious electronic music. Get yourself ready for their Fragile Disco EP, which is set for release on 12” vinyl, CD and digital download this month through Discotexas. To celebrate the release they’ll play Friday 19 October at Liberty Social.

REASONS TO HIT THE RES

Not only does the Res offer cheap, quality meals and the weekly Treasure Trove Market on Saturdays (2–6pm), but also two of Melbourne’s finest are performing weekly residencies during September. Wednesdays you can see Taka Honda of Little Red for free from 7.30pm and Sundays catch one of Melbourne’s finest, Mr Davey Lane (You Am I/The Pictures), also for free. There really is no excuse not to visit the Res every day of the week.

TOFF OF THE POPS MODERN SADNESS

You may not yet know what the ‘mean reds’ are, but Kira Puru & The Bruise will help you understand. Slowly. Skillfully. Here’s how it goes: you’ll stand, arms-crossed and uncertain, while KP+TB unfurl an ode to modern sadness in 40 uncomplicated minutes this Saturday at the Tote. Helping out will be Book Of Ships and Second Hand Heart.

PRAGUE’S PARTY

The Prague, one of Melbourne’s most atmospheric venues, is turning two. With interstate and international tours and work done to improve all aspects of the venue, growth and development of The Prague is set to continue over the coming year. Help celebrate its birthday this Saturday with performances from Bellusira, Anna Salen, InVolume, Red Sky Burial, Apsis and Fenian. There will be drink specials all night, free pool, an art exhibition and MC Dillinger spinning your favourite tunes from the depth of the Australian underground. The fun starts at 6.30pm, entry is $15.

Poprocks at the Toff with Dr Phil Smith happens every Friday from 9pm, playing no brainers, guilty pleasures, club classics and the best in pop from Chuck Berry to Katy Perry and everything in between.

PARTY POPPERS

“It might blow up but it won’t go pop” is the philosophy at Buhloone Mindstate and features Melbourne’s finest bands and DJs playing every Friday night, late at Lounge. That’s just how they roll, they’re all about the late night boogie. Expect all things funk, hip hop, soul, reggae, disco, boogie and house. Only $10 from 11pm.

ALL ABOARD

The Blues Train have a super run of upcoming shows featuring: Jimi Hocking, Phil Manning, Lloyd Spiegel, Chris Wilson, Geoff Achison, Shane Pacey Blues Trio, George Kamikawa & Noriko Tadano, Claude Hay, Andrea Marr, Blues Mountain Trio and tons more. General public tickets for the season go on sale today from bluestrain.com.au. Get on board.

themusic.com.au

WOOLY BULLIES

Mammoth Mammoth bring their own brand of patented murder fuzz to the Retreat every Thursday night during September. They have been described as sounding like “Motorhead and AC/ DC doing mushrooms with The Butthole Surfers, channelling the Birthday Party at a Black Sabbath concert.” Don Fernando opens this week at 9pm. INPRESS • 43


CRIMINALS OF SOUND

SINGLE FOCUS

Thankfully hosting insane gigs is not some human rights/war crime violation otherwise the Gaso would be the Pol Pot of Smith Street. This Thursday Book Of Ships take a break from the recording studio to drop by. Kangaroo Skull, Matthew Brown and PCP play on Friday and things are going to go crazy. Saturday is one of the garage rock gigs of the year when Sydney’s Straight Arrows and Newcastle’s Gooch Palms head down to smash heads with Geelong’s Frowning Clouds and Austmuteants in some kind of large antlered deer/punk-garage domination ritual. There will be only one winner.

BIMBIL AT THE BLACK ROLLER ONE – MY FRIEND, COMPLICATION/ SOMEONE LIKE YOU What’s the song about? Adam, double bass: My Friend, Complication is about life. Someone Like You is about love. Is this track from a forthcoming/existing release? Yes, we will be releasing the full album next year. First we have to tour in Europe for a little while… maybe we will be back in March to release it here. How long did it take to write/record? The record was made over a period of time, maybe a year or thereabouts. We first started recording after we toured Europe in early 2011. We started quite quickly, then took a little longer finishing it, getting everything right. What was inspiring you during the song’s writing and recording? While we were recording this record we were playing with some great musicians, making up small gigs and large – anything, really. People like Lindsay Phillips, Justin Cusack, Emily Ulman, John Dickson, Felicity Cripps and Pinto. There were lots of little unknown shows that we would make in little bars and just invite each other along to play and play with each other’s songs… and drink whiskey together. These intimate shows make you fit and strong and confident to try new things and then when you record it’s about bringing the intimacy of those shows to the record and the style and ideas from the improvised. We’ll like this songs if we like… Country or folk music; Astral Weeks or Mickey Newbury; gin. Do you play it differently live? Yes, it’s different live and often different from performance to performance. Will you be launching it? We are launching two songs from our record – the show will be at the Toff In Town on Wednesday 19 September with Angel Eyes and BJ Morriszonkle. The doors open at 8pm. For more info see: rollerone.com. au and thetoffintown.com.au.

Fresh from the studio RDZJB head to the Penny Black this Saturday in support of their upcoming EP Bimbil. The band are the brainchild of Reece Dillon, who after spending four years abroad gigging and writing returned with a musical vision. After rounding up a few friends, the band set about fusing elements of folk, experimental and electro music. Entry is free.

THORNBURY FEAST

GET UP COUNTRY

Need some country air? Visit Castlemaine, a little over an hour from Melbourne by train and host to the Bridge Hotel. Coming to the party every Sunday in September is local favourite Archer. Also making the pleasant trip are King Gizzard & The Lizard Wizzard on Friday to launch their debut album Twelve Bar Bruise. Excitedly announced last week, Stephen Malkmus & The Jicks will be visiting central Victoria to play the Bridge on Tuesday 2 October and to represent NZ, The Eastern take the stage on Friday 5 to play two sets.

This Saturday Danny Walsh once again brings a show to the Darebin Music Feast. Since his first gigs at the Thornbury Local, Walsh has taken his original blues-meets-country songs from Copenhagen’s cafés and Ireland’s pubs to Festivals like Port Fairy and the Fringes Of Edinburgh. Now he returns to the Thornbury Local with his band and songs from his forthcoming debut album Rolling On this Saturday. He’ll play two sets from 9pm. All Darebin Music Feast details can be found at musicfeast.com.au.

S-MULDER-ING CONVERSATION TOPIC

The annual experimental music showcase Everybody Talks About The Weather returns to Melbourne to the Northcote Social Club tomorrow (Thursday). The blistering 2012 edition will feature the first ever Oz performance from Norwegian noise legend Lasse Marhaug. Oren Ambarchi, Husbands and Marco Fusinato will also feature.

SIBLING SHOW

Throughout the entirety of this year Mulder have been slaving away in a hillside basement to bring you their debut short player Young. A beautifully crafted record that surpasses the expectations set by their incredible live show, Young swings from catchy pop numbers to huge sprawling walls of sound to piano ballads without missing a beat nor compromising the holistic nature of the record. This Friday Mulder launch Young at their home away from home, the Bird, supported by local excitement machine Sprawl and the hauntingly beautiful The Bosons.

Melbourne brother and sister duo Marissa & Jonathan Skovron combine their considerable talents to present a unique double EP release party on at Red Bennies on Thursday 27 September. Their special launch deal will get you both EPs, entry and a drink for $18.

MASSIVE HIP HOP PARTY

Australia’s first hip hop choir, Massive, blend oldskool hip hop, traditional choral harmonies and body percussion to create a genre of hip hop powered by diversity and westside ingenuity. Massive are launching their debut album Neology – neo tunes for an old world – on Friday at the Evelyn Hotel. Massive are also currently collaborating with Arts Centre Melbourne on the Raising The Roof project for the re-opening of Hamer Hall program later in the month and with the MSO on their Romeo & Juliet project at Hamer Hall in November.

44 • INPRESS

HAVE YOU HEARD?

Fuck The Radio is a record label bringing together a collective of eight talented producers in Melbourne at its heart. Enjoying triple j play, as-well as regular gigging around Melbourne where the members regularly support each other, the label is launching its first 12” vinyl, which includes original tracks from Willow Beats, Colourwaves, Bee Ampersand and Yosemite. All these artists and more will play at Brown Alley on Saturday 29 September. There are no pre-sale tickets, pay entry at the door for $15 on a list or $20 general public.

The Bendigo Hotel, newly renovated into a veritable rock‘n’roll banquet-hall, is proud to present four hot acts for your extreme listening pleasure. Barry Savage & The Little Caesars, Kit Atkinson (The Kits), The Electric Guitars Diminished and The Night Sky will all play this Saturday. Entry is $6 and doors are from 8.30pm.

Songstress and carnivalesque musical all-rounder Susy Blue has created her own whimsical blend of shadowy alt.folk. A finalist for the Melbourne Music Prize and Darebin Music Feast Songwriter’s Award, Blue’s unique style and voice have been recognised by critics and music lovers alike. She plays this Friday as part of the Darebin Music Feast at Northcote Town Hall, Studio 2.

Lime Cordiale are a Sydney-based quartet who grew out of the Northern Beaches music scene. Drawing from their classically trained background and experiences from their awkward teenage years, Lime Cordiale strive to create strong pop music with a fresh sound. Catch Lime Cordiale with support from Private Life, Hot English, and Adam Hynes on Saturday 29 September in the Espy front bar. Free entry.

FTR SHOWCASE

CAN YOU DIG?

Directions In Groove are a ground breaking, multi award-winning band from Sydney who emerged from the happening club scene in the early ‘90s. Beginning with a residency at Kinselas, their dedicated following grew exponentially leading to a self-financed recording which became the largest selling Australian EP of its day with the hit song Re-invent Yourself. They’re back and will play Sunday 14 October at the Corner Hotel with support from Laura Stitt.

WILDS PLAYS THE GASOMETER THIS THURSDAY 20 SEPTEMBER. How did you get together? Joel Hanna: I’ve kind of always played in loud rock bands, and have always found it tricky to keep everyone motivated and onto it, ‘cause if nothing happens and you don’t get anywhere, there’s always three other guys to blame, right? I’ve also always found it particularly difficult (in company) to create the kind of music I was proud to be releasing. Being a solo, electronic artist means you have full control… which means full responsibility, I guess that’s the tricky part. Have you recorded anything or do you prefer to tool around in your bedroom? I released my first EP earlier in the year (Non Inter Changeable, find it on Bandcamp), which I recorded in a spare bedroom at home. I’m planning to follow that up soon – stay tuned!

ROCK’N’ROLL BANQUET

SUSY’S FEAST

FOOD COLOURING

FELINICITY

Sydney’s Tigertown have revealed their stunning new single Morning Has Finally Come accompanied by a striking video clip and a string of dates throughout October to celebrate the release of their forthcoming EP Before The Morning. Tigertown play the Workers Club Sunday 7 October.

HUMPDAY PARTY

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 European girls from the hostel). Humpday Animals is your midweek stomping ground, featuring DJs Danny Silver, Manchild and Mu-Gen at Lounge. Free entry from 10pm.

IN THE WEE HOURS

EY:EM at Lounge features residents Boogs and Dave Pham, who 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. Only $10 from 11pm.

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Can you sum up your band’s sound in four words? Umm, I’ll try… beats, loops, haziness, Wilds. How’s that? If you could support any band in the world, who would it be and why? Someone like David Bowie or Reece Mastin. You know, one of the greats… If a higher power smites your house and you can only save one record from the fire, what would it be? Would definitely have to be my copy of Paul Simon’s Graceland on vinyl, I grew up listening to the same record, with the scratches in the same spots, five times a day for like 20 years. I still listen to it today, it’ll never get old. Do you have a lucky item of clothing you wear for gigs and what is it? I definitely wear clothing at gigs, except for when I don’t… then it’s definitely lucky. If you invited someone awesome ‘round for dinner what would you cook? We’d definitely have food, maybe some beers, possibly desert and definitely good times. What’s your favourite place to drink in Melbourne? Hmmm, maybe the Esplanade Hotel, my place or somewhere where someone else pays.


ALBUM LAUNCH & NEW SHOW

Quirky Berserky

the turkey from Turkey with legendary kidâ&#x20AC;&#x2122;s performer rmer

Peter Combe hols School  e Matinelclub.com ia c teso northco 0 724 867 130 +bf Tix: $17

and the

  

     in a Pizza Band Northcote Social Club 301 High St, Northcote how Thursday 4 October, 18+ show p Doors 7.30pm

Bring along your toffee apples, newspaper hats and sing along with Mr Clicketty Cane, Newspaper Mama, Toffee Apple, Spaghetti Bolognaise, Juicy Juicy Green Grass, Chopsticks, Tadpole Blues, Jack & the Beanstalk, Baghdad, Saturday Night, Syntax Error and... Quirky Berserky, The Song about Captain Cook, Rock Scissors Paper The songs that a million Australian kids grew up on... and some new ones

Tickets: $23 (+bf) 1300 724 867 or northcotesocialclub.com

INPRESS â&#x20AC;˘ 45


when I was a kid, that was the perfect description. And I’m still playing with Minibikes!” Indeed, he is. Minibikes are playing at Basement Discs on Friday at 12.45pm. For Woods Or Trail is being launched at the Northcote Social Club on 6 October.

HOWZAT! LOCAL MUSIC NEWS BY JEFF JENKINS

Minibikes

Minibikes

BLAZING A TRAIL

It’s a wonderfully paradoxical band name. Most artists try for something grand when searching for a band name, something big and powerful and suggestive, but Marcel Borrack called his new band Minibikes. And it fits perfectly. Marcel is the pop genius not many people have heard of. He’s quiet and understated. Like his band name, he might not make a big noise, but his songs are gems. His fans, like manager Wally Kempton, know how good he is. After a couple of brilliant solo albums – 2004’s Help and 2006’s I Was Only Dreaming – Marcel decided 46 • INPRESS

it was time to start a band, with guitarist Robbie Mackenzie, bass player Nathan Farrelly, keys player Libby Chow, and former Frente drummer Al Barden. What sort of band did Marcel want? “A big one! I wanted a band that could do lots of textures and I definitely wanted to sing with Libby, who has the most incredible voice.” You can check out the band in the video for Minibikes’ Oh Japan. The cute clip, made by Mish Armstrong, is an epic adventure, featuring a mysterious axe-wielding panda. Marcel’s local park was the location. “It was shot in a tiny forest about 40 metres square,” Marcel reveals, “but we were lucky to have a very talented cinematographer who made it look like we went on a day-long journey.” Who played the panda? “All I can tell you is he’s one hell of a manager.” Oh Japan includes the line, “Your interest is Japan, mine is the 1980s”. Who are Marcel’s favourite ’80s acts? “Where do you start?” he laughs. “Prince is right up there, Hall & Oates never fail to please, and Tears For Fears’ Songs From The Big Chair has got to be one of my all-time favourite records.” The title of Minibikes’ debut album, For Woods Or Trail, comes from a Honda minibike ad from the ’70s. Does Marcel own a minibike? “I did have one as a kid – a Honda Z50. It’s long gone but I still have nostalgic thoughts about it.” The album includes a song called Broken Bones, and Marcel recalls “fractured wrists after falling from the aforementioned Honda”. The album concludes with a song called Emo Kids, which is a gentle dig. What’s the best description of Marcel Borrack? “We have a newer song called Motor Cross Kids, and

REYNE FORECAST

Jaime Robbie Reyne is getting set to release a new EP, to keep the home fires burning, as he works on his debut album in North America. The first song from the EP is a nifty pop tune called Word Gets Around (available as a free download at his Soundcloud page via jrreyne.com. Now recording as JR Reyne, he’s doing pre-production in Ontario, Canada, before heading to record at Tom Cochrane’s studio in Austin, Texas. JR plans to be home for some summer shows.

THE FAME GAME

Howzat! is disappointed the ARIA Hall Of Fame is no longer a stand-alone event. A separate event ensures that the inductees get the attention they deserve, but again it will be part of the ARIA Awards, on 29 November. Following Kylie and The Wiggles last year, who will enter the Hall in 2012? Sources say that the late-great Grant McLennan was a reluctant potential inductee, but, surely, The Go-Betweens need to be in the Hall Of Fame? And the time has certainly come for Stephen Cummings and The Sports, as well as Dave Graney and Clare Moore. And it’s time to correct an oversight and induct Air Supply – you can’t argue with eight top-ten hits in the US. Rick Springfield also deserves the honour, and his induction would be a way of acknowledging the work of Darryl Cotton. Eighties pop is often derided, but how ’bout recognising Pseudo Echo as they celebrate their 30th anniversary? And will ARIA ever acknowledge the enormous contribution that record producers

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have made to our music industry? Vanda & Young were part of the first induction in 1988; since then, producers have been cruelly ignored. Here are five names for ARIA, just for starters: Mark Opitz, Charles Fisher, Tony Cohen, Mike Chapman and Peter Dawkins.

TENDER BIRTHDAY Happy Birthday to Nick Cave, who turns 55 on Saturday. Mark Mordue’s Cave biography, Tender Prey, is coming soon. Also on the way is The Art Of Nick Cave: New Critical Essays, edited by John H Bauer from the University Of Westminster.

SURVIVAL EXPERTS Some thought the show was over for Something For Kate. Their sparkling new album, Leave Your Soul To Science (out 28 September on EMI), shows otherwise. All three band members are parents, but they sound reinvigorated and refreshed on the new record, which concludes with a song called Begin. Drummer Clint Hyndman says: “In many ways, it feels like the band I was in when I was 19. I love hearing Paul sing, and playing with those two… I always said it – my favourite band in the world to listen to is ours.”

HOWZAT! PLAYLIST Oh Japan MINIBIKES Word Gets Around JR REYNE Survival Expert SOMETHING FOR KATE Great Collage ANDREW MCDONALD Why Don’t We Just Stay Home SARAH HUMPHREYS


INPRESS • 47


TOUR GUIDE

PRESENTS

VIOLENT SOHO: Saturday 17 November, Tote

THIS WEEK INTERNATIONAL

WHEATUS: September 19 Corner Hotel FUTURE ISLANDS: September 19 Northcote Social Club EIFFEL 65, N-TRANCE: September 20 Palace GOOD CHARLOTTE: September 20 Festival Hall YELLOWCARD: September 20, 21 Hi-Fi KATCHAFIRE: September 20 Ferntree Gully Hotel; 21 Forum ENTER SHIKARI: September 22, 23 Billboard JIMMY BUFFETT: September 23 Palais MARIANAS TRENCH: September 24 Corner Hotel LADY ANTEBELLUM: September 25 Palais

NATIONAL

RICK FIGHTS: September 19 Northcote Social Club KATIE NOONAN, KARIN SCHAUPP: September 19 Capital Theatre; 21 Melbourne Recital Centre THE EXPLODERS: September 19 Workers Club; 21 Karova Lounge (Ballarat); 22 National Hotel (Geelong) PRITA GREALY: September 19 Wesley Anne; 23 Penny Black ROLLER ONE: September 19 Toff XAVIER RUDD: September 19 Kay Street Saloon (Traralgon) NORTHEAST PARTY HOUSE: September 20 National Hotel (Geelong); 21 Espy; 22 Karova Lounge (Ballarat) THE MEDICS: September 20 Karova Lounge (Ballarat); 22 Westernport Hotel (San Remo); 21 Ferntree Gully Hotel THE ANGELS: September 20 Corner Hotel 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) KING GIZZARD & THE LIZARD WIZARD: September 21 Bridge Hotel (Castlemaine) SPRAY’N’WIPE FESTIVAL: September 21 Espy MARLOW: September 21 Northcote Social Club, 22 Espy MASSIVE: September 21 Evelyn MONKS OF MELLONWAH: September 21 Grace Darling; 22 Revolver, Pony Late Show BIG VILLAGE RECORDS: September 22 Northcote Social Club DANCING HEALS, JIMMY HAWK & THE ENDLESS PARTY: September 22 Ding Dong FEELINGS: September 22 Workers Club GREENTHIEF: September 22 Pony LEHMANN B SMITH: September 22 Bella Union Trades Hall MIA DYSON: September 22 Corner Hotel TINPAN ORANGE: September 22 Caravan Music Club POND: September 23 Corner Hotel SHANNON NOLL: September 25 BHP Esso Wellington Centre (Sale)

UPCOMING INTERNATIONAL

JAMES MORRISON: September 26 Forum SCISSOR SISTERS: September 26 Hamer Hall MYSTERY JETS: September 26 Corner Hotel EL GRAN COMBO DE PUERTO RICO: September 26 Palace Theatre FEAR FACTORY: September 28 Hi-Fi HIGH ON FIRE: September 28 Espy RUSSIAN CIRCLES: September 28 Corner Hotel ULCERATE: September 28 Bendigo Hotel GIGAMESH: September 29 Seven SNOW PATROL: September 30 Regent Theatre KELLY CLARKSON: October 1 Rod Laver Arena 48 • INPRESS

STEPHEN MALKMUS & THE JICKS: October 2 Bridge Hotel (Castlemaine); 3 Corner Hotel MC LARS: October 4 Next BIG DADDY KANE: October 4 Espy ALLO DARLIN’: October 4 Tote CANNIBAL CORPSE: October 5 Billboard JOE BATAAN: October 5 Hi-Fi THE EASTERN: October 5 Bridge Hotel (Castlemaine); 6 Harvest Moon (Bellarine); 7 Workers Club BILL SUMMERS: October 5 Prince NEKROMANTIX: October 6 Hi-Fi STEEL PANTHER: October 7 Palace HIGH WOLF: October 7 Gasometer COUNT BASIE ORCHESTRA: October 10 Hamer Hall JOE BONAMASSA: October 11 Palais MARTIKA: October 11 Trak RUDIMENTAL: October 12 Brown Alley WARBRINGER: October 13 Northcote Social Club EVERCLEAR: October 13 Hi-Fi STEVE AOKI: October 13 Shed 4 (Docklands) TORTOISE: October 13 Corner Hotel THE ATOMIC BITCHWAX: October 14 Northcote Social Club THE SWELLERS: October 13 Bang; 14 Ferntree Gully Hotel BEC LAUGHTON: October 14 Workers Club PAUL HEATON: October 18 Corner Hotel BIG FREEDIA: October 18 Hi-Fi; 20 Tote XIU XIU: October 19 Gasometer ALT-J: October 20 Ding Dong MATCHBOX 20, INXS: October 20 & 21 Rod Laver Arena ELAINE PAIGE: October 24 Palais PRINCE ALLA: October 26 Espy WEDNESDAY 13: October 27 Esplanade MADLIB: October 28 Prince Bandroom THE BLACK KEYS: October 31 Sidney Myer Music Bowl JOHN WAITE: November 1 Palace AT THE GATES: November 2 Billboard JILL BARBER, RAY BEADLE: November 2 Bennetts Lane ARRESTED DEVELOPMENT: November 2 Prince GREGORY PORTER: November 3 Toff KELLY JOE PHELPS: November 3 Newport Substation; 5 Caravan Music Club CHERRY POPPIN’ DADDIES: November 5 Corner Hotel THE BLACK SEEDS: November 5 Espy TOUCHE AMORE: November 9 Reverence; 10 Phoenix Youth Centre EMMYLOU HARRIS: November 10 Palais GRIZZLY BEAR: November 12 Billboard COLDPLAY: November 13 Etihad Stadium THE WAR ON DRUGS: November 13 Northcote Social Club RON POPE: November 15 Chapel Off Chapel ELECTRIC EMPIRE: November 15 Hi-Fi; 24, 25 Queenscliff Music Festival REFUSED: November 15 & 16 Palace BETWEEN THE BURIED & ME: November 16 Corner Hotel RADIOHEAD: November 16, 17 Rod Laver Arena BOYZ II MEN: November 17 Costa Hall (Geelong); 18 Billboard OWL CITY: November 18 Corner Hotel (matinee under-18s, evening 18+) SEUN KUTI: November 18 Hi-Fi ELTON JOHN: November 18 Rod Laver Arena DI’ANNO VS BLAZE: November 22 Hi-Fi LEE RANALDO: October 23 Pure Pop; 24 Hi-Fi DARK FUNERAL: November 24 Corner Hotel NICKELBACK: November 27, 28 Rod Laver Arena BIG D & THE KIDS TABLE: November 28 Barwon Club (Geelong); 29 Ding Dong Lounge IWRESTLEDABEARONCE: November 28 National Hotel (Geelong); 29 Corner Hotel; 30 TLC Bayswater

XAVIER RUDD: September 19 Kay Street Saloon (Traralgon) THE MEDICS: September 20 Karova Lounge (Ballarat); 22 Westernport Hotel (San Remo); 21 Ferntree Gully Hotel 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 BEC LAUGHTON: October 14 Workers Club THEESATISFACTION, BIG FREEDIA & THE DIVAS: October 18 Hi-Fi BRITISH INDIA: October 18 Ferntree Gully Hotel; 19 Corner Hotel; 20 Pier Hotel (Frankston) XIU XIU: October 19 Gasometer VELOCIRAPTOR: October 19 Tote TEXT OF LIGHT: October 23 ACMI LEE RANALDO: October 24 Hi-Fi THURSTON MOORE: October 25 Hamer Hall HALLOWEEN HOUSE OF HELL (featuring Violent Soho, Dune Rats, Drunk Mums): October 31 Workers Club BASTARDFEST 2012 (featuring Astriaal, Disentomb, Extortion, Broozer): November 3 Espy THE BEARDS: November 3 Hi-Fi; 22 Karova Lounge (Ballarat) CHERRYFEST (featuring Eyehategod, Omar Rodriguez Lopez Band): November 25 Cherry Bar JEFF MARTIN: December 5 Karova Lounge (Ballarat); 6 Ruby’s Lounge (Belgrave); 7 Cherry Bar; 8 Northcote Social Club EVAN DANDO & JULIANA HATFIELD: December 18, 19 Corner Hotel GODSPEED YOU! BLACK EMPEROR: February 15 Forum EINSTÜRZENDE NEUBAUTEN: February 19 Palace Theatre

Bone Thugs N Harmony, Neeq, Legit, Velvet Sands The Espy, Lounge Bar Bonniwells Liberty Social City vs Country, Blind Valley, Hounds Hounds Hounds Yah Yah’s Cookin’ on 3 Burners 303 Duck Musique Lomond Hotel Emlyn Johnson, The Melways The Drunken Poet Flounder, Better Than Wizards, Rosencrantz The Toff In Town Good Charlotte Festival Hall Greg Champion The Caravan Music Club Hans DC, Nikki Sarafian, Jake Judd Revolver Upstairs (Late) Jenny Taylor, Fabulous Country Choir Northcote Town Hall Katchafire, + Special Guests Ferntree Gully Hotel Katie Noonan, Karin Schaupp Wellers of Kangaroo Ground Kinloch Troons, Framelines, The Stutterers Idgaff Bar and Venue Lanie Lane Beav’s Bar, Geelong Lasse Marhaug, Oren Ambarchi, Marco Fusinato, Husbands Northcote Social Club Lights On at Heathrow, Shoot the Sun, The Battery Kids Grace Darling Hotel

Mimi Velevska, Chk! Chk! Boom!, The Pretty Littles Workers Club Nikko, Nathan Hollywood, Kathryn Rollins The Empress Penny Hewson, The Killjoys, Hamish Cowan Wesley Anne (Band Room) Prequel, Edd Fisher, Principal Blackman The Toff In Town (Carriage Room) Rebecca Mendoza The Commune Riff Fist, Mortarian, Motherslug Pony Scaramouche, The Art of Later Penny Black Sol Haus and the Spokesmen, Vince Peach, Pierre Baroni Cherry Bar Swimsuit, Jimmy Tait, Laura McFarlane Old Bar The Angels, + Guests Corner Hotel The Black Pancake Club Lounge Bar The Book Of Ships, Ballads, Wilds, Boats Gasometer The Call Up, Toyota War, Hollow Everdaze, Going Swimming Bar Open The Evening Cast, Windsor Thieves, Sunk Junk, Von Stache Brunswick Hotel The Magic Bones, Gerard Smith Cornish Arms Hotel

Pond: Sunday 23 September, Corner Hotel

WED 19 Alysia Manceau Retreat Hotel Front Bar Charles Jenkins The Standard Hotel Demian, Clever Austin, Kirkis, Jackson Miles Evelyn Hotel Future Islands, + Special Guests Northcote Social Club Houndsteeth, RPGS, Sarah Jean The Empress Hump Day Animals Lounge Bar Jimmy Stewart The Curtin Bandroom King of the North, Strangers, Jack Davies Cherry Bar Lanie Lane, The Maple Trail The Caravan Music Club Marilla Homes, Lydia Phillips The Drunken Poet Open Mic Grind ‘n’ Groove Bar Open Mic The Thornbury Local Petar Tolich, Scotty E Co. & Fusion Nightclub at Crown Prita, Brett Winterford, Jen Biddle Wesley Anne (Band Room)

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Roller One, Angel Eyes, BJ Morriszonkle The Toff In Town Saltiare Gertrude’s Brown Couch Scarcasm, Royal Mercury, Mojo Jacket Jacket The Espy, Lounge Bar Sean McMahon, Matt Green Kent Street Bar, Fitzroy Slow Down Earth, Myyth, The Black Galaxy Experience Old Bar Spidey, Del Amp, Shaky Memorial Revolver Upstairs Take Honda St Jeromes The Exploders, Luke Legs & the Midnight Specials, The Pretty Littles The Workers Club The White Mouse Bohemia Tom Fryer Quartet, + Guests 303 Warmth Crashes In, + More The Tote Wayward Breed Retreat Hotel Wheatus, Nova & the Experience Corner Hotel

THU 20 Blow The Horn

Luke Brennan & the Sticky Valentines, Steffan’s Songs The Great Britain Mad Nanna, Lower Plenty, Moffarfarrah The Tote Mammoth Mammoth, Don Fernando Retreat Hotel Marin & The Vague Sensations Musicland (Fawkner) Martin Cilia, The ReChords, Dan Webb, + Very Special Guests The Evelyn Martin Cilla Surf Band, The ReChords, Dan Webb, Cash Savage, + Special Guests Evelyn Hotel Mic Club The Espy, Basement

The Union Pacific, Sweet Teens, The Summervilles Reverence Hotel, Footscray Thomas Convenant, Chaos Kids, Scaramouche Revolver Upstairs Tim Guy Wesley Anne (Front Bar) Tranter, Sleeves, Megawuoti, Supremes, + More The Toff In Town (Late) Yellowcard, Heroes For Hire, For Our Hero The Hi-Fi

FRI 21 Andy Baylor & The Banksias Band Lomond Hotel


Anna Smyrk & The Appetites, Elephant Eyes Wesley Anne (Band Room) Buhloone Mindstate Lounge Bar Bunny Monroe, The Council, Friendy’s Puppetry of the Penis, Max Crawdaddy Cherry Bar Burn In Hell, Bittersweet Kicks, Suzie Stapleton Ding Dong Lounge Charles Baby, Cat On Pilar, Strangers From Now On The Curtin Bandroom Dan Bourke & Friends The Drunken Poet Dave Graney & The Mistly The Palais, Hepburn Springs Deadly Are The Naked, Silent Duck, Uncle Rudey, Lamarama The Espy, Basement Dr Ludwig Yah Yah’s (Late) Ferry Corsten The Palace Theatre Fisty Cuffs, See Saw, Refl ex Rex Gasometer (upstairs) Frankenbok Mynt Lounge Hernan Cattaneo, Fritz Kalkbrenner Brown Alley Humonic, Involuntary Convulsion, The Seaford Monster Disasters Pony Late Show Jeff Lang Baha Tacos Kangaroo Skull, Matthew Brown, PCP, Skyscraper Gasometer Katchafire, Andy Ites Forum Theatre King Gizzard & the Lizard Wizard The Bridge Hotel Kristina Olsen, Hugh McDonald, Heidi McDermott The Caravan Music Club Lanie Lane The Loft, Warrnambool Leonards Beard, Cursing Tomorrow, Immersion, Sex St Idgaff Bar and Venue Lot 56, Waylon Joes The Thornbury Local Mannequin, Xtian Abode Level One Masketta Fall Nexus Youth Centre, Horsham Massive Hip Hop Choir The Evelyn Mini Bikes Basement Discs Monks of Mellonwah, Bellastrades, Club Crain Grace Darling Hotel Mulder, Sprawl, The Bosons The Bird Nada Surf, The Gold Hearted Corner Hotel Neology Evelyn Hotel Nikko, Bodies, DJ Cisco Rose, Hoodlum Shouts, On Sierra Old Bar Northeast Party House, Strange Talk, Oscar & Martin, Dune Rats, + More The Espy

Phil Ross, Chris Mac, B-Boogie, Dean T, Johnny M, + More Co. & Fusion Nightclub at Crown Poprocks at the Toff The Toff In Town Pretty Dulcie, Mikey & The Alignment The Hammy Priestessa, Winternationale, Great Earthquake, Beth Knights, Trio Agogo 303 Project 321 Explosion, Alta, Halcyon Drive, The Sunsleepers Gertrude Contemporary Art Spaces - 200 Gertrude St RaRa, Blunt Paper Massive, Bastian Kill Joy, Grinny Revolver Upstairs Ras Jahknow, Tally Oh Oh Oh The Empress Red Aces, Iowa, Lost Weekends, + More Workers Club Sean McArdle Pony Seedy Jeezus, Auto Da Fe Tago Mago Shaky Memorial Retreat Hotel (late) Sincerely, Grizzly, Ali E Victoria Hotel Sleepmakeswaves, Ennis Tola, Marlow, Steering by Stars Northcote Social Club Sons Of The Ionian Sea, Sun God Replica, Teenage Libido, + More The Tote Susy Blue, + Band Northcote Town Hall Swimsuit Wesley Anne (Front Bar) Teramaze, Blacklist, Damnations Day, Harlott, Seppuku The Prague The Afrobiotics Bar Open The Cartwheels Glenlyon General Store The Dub Captains, Dru & The Intentions Retreat Hotel The Exotics, The Wardens Yah Yah’s The Exploders, Luke Legs & the Midnight Specials Karova Lounge, Ballarat The Ivory Elephant, The Velvets, The New Savages, The Lachlan Bruce Band Brunswick Hotel Tin Lion Platform One White Summer, Winter Moon, Yog Cornish Arms Hotel Wild Turkey, Volcaniks, Barbara Blaze The LuWow Forbidden Temple Yellowcard, Heroes For Hire, For Our Hero The Hi-Fi

SAT 22 Andee Frost The Toff In Town (Late) Barry Savage & The Little Caesars, Kit Atkinson, The Electric Guitars Diminished, The Night Sky Bendigo Hotel

Bellusira, Anna Salen, Involume, Red Sky Burial, Apsis, Fenian, + More The Prague Cherrywood, DJ Kezbot, Nathan Hollywood, Palm Springs, The Death Rattles Old Bar Chico Flash, Dirty F, Montresor, Glasfrosch Gasometer (upstairs)

Lake Palmer Retreat Hotel, Afternoon Show Lanie Lane Theatre Royal (Castlemaine) Lieutenant Jam, Fierce Mild, The Wild Comforts 303 Lucie Thorne, Mojo Juju, Georgia Fields, Tracy Mcneil Thornbury Theatre

MIA DYSON: Saturday 22 September, Corner Hotel

Cisco Caesar Union Hotel Brunswick, Arvo Show Clampdown, Mac McAnally Rochester Castle Hotel Copse, Police & The Thieves, Lungs, Marlow, Romeo Knights The Espy, Gershwin Room Danny Walsh Band The Thornbury Local Dave Graney & The Mistly Newport Substation, Newport Dick Diver, Liquid Handcuffs The Curtin Bandroom Dotcoms, Mightiest Of Guns, Silent Duck Cornish Arms Hotel Electric Mary, Virtue, Slow Chase, Destroy She Said The Espy, Lounge Bar Enter Shikari, In Hearts Wake Billboard EY:EM Lounge Bar Feelings, Tom Lark The Workers Club Greenthief, Aircrafte, Assemble The Empire, The Sinking Teeth Pony Hayley Couper Band, Messed Up, School Girl Report Grace Darling Hotel Howlin’ Steam Train Baha Tacos Jimi Hocking & the Blues Machine St Andrew’s Hotel Judge Pino & the Ruling Motions Bar Open Kathryn Kelly, Tess Guthrie, Farquenharson Fitzroy Bowls Club Kira Puru & The Bruise The Tote Lab 22 The Palace Theatre

Mana, Divina Providencia Victoria Hotel Matt Dwyer’s Las Vegas Grind, Sye Saxon, Mohair Slim The LuWow Forbidden Temple Mia Dyson, Courtney Barnett Corner Hotel Milk Teddy, Towels, Northlands The Empress Moonee Valley Drifters, + Guests Highway 31 Mr Black & Blues The Drunken Poet Nick Larkins & The Bones, Wicked Annabel The Empress (afternoon) Numbers Station, Monks of Mellonwah, Rain Party, Waverly Revolver Upstairs Ocean Party, From The South, Grand Prismatic Yah Yah’s Outright, Crisis Alert, Outsiders Code, Tigers Reverence Hotel, Footscray Phil Manning St Andrew’s Hotel, Arvo Show RDZJB, Folklektro The Penny Black Reds Under the Bed 303, Arvo Show Regular John, + Guests The Toff In Town Scalem., Texas Jedi, Three Quarter Idgaff Bar and Venue Shaky Memorial Yah Yah’s (Late) Sheriff, The ReChords, Hounds Hounds Hounds, DJ Mermaid Cherry Bar Spoonful Post Office Hotel

TOUR GUIDE SIMPLE MINDS, DEVO: November 29 Palais; December 1 Rochford Wines (Yarra Valley) WILL & THE PEOPLE: November 30 Whalers Hotel (Warrnambool); December 1 Workers Club THE SELECTER: November 30 Corner Hotel THE KNOCKS: December 1 Toff POUR HABITS: December 1 Evelyn; 2 Tote JEFF MARTIN: December 5 Karova Lounge (Ballarat); 6 Ruby’s Lounge (Belgrave); 7 Cherry Bar; 8 Northcote Social Club GRIMES: December 6, 7 Corner Hotel SPIRITUALIZED: December 6 Hi-Fi HOT SNAKES: December 7 Corner Hotel PRIMAL SCREAM: December 7 Palace TURBONEGRO: December 7 Hi-Fi LAGWAGON: December 8 Bended Elbow (Geelong); 9 Corner Hotel JENNIFER LOPEZ: December 11, 12 Rod Laver Arena ALEXISONFIRE: December 12 Festival Hall REGINA SPEKTOR: December 14 Plenary JB SMOOVE: December 15 Thornbury Theatre EVAN DAND0, JULIANA HATFIELD: December 18 Corner Hotel MORRISSEY: December 19 Festival Hall 65DAYSOFSTATIC: January 4 Corner Hotel NIGHTWISH: January 14 Palace DAVID BYRNE & ST VINCENT: January 14, 15 Hamer Hall WEEZER: January 16 Sidney Myer Music Bowl ALESTORM: January 18 Hi-Fi GARY CLARK JR: January 22 Corner Hotel THE KILLERS: January 22 Palace CRYSTAL CASTLES: January 22 Billboard BAND OF HORSES: January 23 Palais SLEIGH BELLS: January 23 Billboard ANIMAL COLLECTIVE: January 23 Palace BLOODY BEETROOTS: January 24 Palace ALABAMA SHAKES: January 24 Forumz CELTIC THUNDER: February 7 Geelong Arena; 9 Hisence Arena DAVID HASSELHOFF: February 14 Corner Hotel SWANS: February 15 Corner Hotel GODSPEED YOU! BLACK EMPEROR: February 15 Forum CLIFF RICHARD: February 15, 16 Hamer Hall EINSTÜRZENDE NEUBAUTEN: February 19 Palace DR FEELGOOD: February 20 Caravan Club; 21 Corner Hotel NORAH JONES: February 21 Plenary LINKIN PARK: February 27 Rod Laver Arena ED SHEERAN: March 4, 5, 6 Festival Hall

NATIONAL

NORTHEAST PARTY HOUSE: September 26 Corner Hotel SHANNON NOLL: September 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) CHICKS WHO LOVE GUNS: September 27 Workers Club WEDDINGS, PARTIES, ANYTHING: September 28 Palace COLLARBONES: September 28 Liberty Social SIX60: September 28 Forum Theatre

themusic.com.au

SUGAR ARMY: Saturday 20 October, Toff In Town

SETH SENTRY: September 28 Karova Lounge, Ballarat; 29 Corner Hotel ELLIOT THE BULL: September 28 Revolver, 29 Empress PATRICK JAMES: September 30 Workers Club STRANGERS: October 3, 10, 17, 24 Cherry Bar THE AMITY AFFLICTION: October 4, 5 (two shows: under-18 and 18+) Palace Theatre SASKWATCH: October 5 Corner Hotel; 6 Karova Lounge (Ballarat); 8 Palais (Hepburn Springs) SOUND OF SEASONS: October 5 Newmarket Hotel (Bendigo); 6 Fist 2 Face (Ringwood, all ages), Royal Melbourne Hotel; 7 National Hotel (Geelong) THE DECLINE: October 5 Bendigo Hotel TIM ROGERS: October 5 Bended Elbow (Geelong); 6 Theatre Royal (Castlemaine) MICK THOMAS, SAL KIMBER: October 5 Leura Park Estate Vineyard (Curlewis); 6 Big Marma Murtoa Big Weekend; 12 The Sisters Hall; 13 Mollongghip Hall; 14 Wandiligong Hall; 19 Caravan Music Club; 20 Toora Community Hall; 21 Substation (Newport) DARREN PERCIVAL: October 6 Palms At Crown KING GIZZARD & THE LIZARD WIZARD: October 6, 7 Tote TIGERTOWN: October 7 Workers Club SOMETHING FOR KATE: October 6, 7, 8 Corner Hotel HEY GERONIMO: October 6 Workers Club CREO: October 6 Ding Dong JOE MOORE: October 6 the Wick THE FEARLESS VAMPIRE KILLERS: October 6 Workers Club MINIBIKES: October 6 Northcote Social Club THE PRETTY LITTLES: October 6 Ding Dong MATT WALKER: October 6 Bridge Hotel (Castlemaine), 7 Toff In Town KARISE EDEN: October 10, 11 St Michael’s Church HUSKY: October 11 Corner GLASS TOWERS: October 12 Evelyn JULIA & THE DEEP SEA SIRENS: October 12 Empress REGURGITATOR: October 12 Hi-Fi CAULFIED: October 12 POW (Werribee); 13 TLC (Bayswater); 14 Nash (Geelong) WE ALL WANT TO: October 12 Bridge Hotel (Castlemaine); 13 Pure Pop (3pm), Yah Yah’s OH MERCY: October 12 Loft (Warrnambool); 13 Karova Lounge (Ballarat); 19 Bended Elbow (Geelong); 25 Hi-Fi THE ASTON SHUFFLE: October 13 Toff DALLAS FRASCA: October 12 Prince Of Wales MAKE THEM SUFFER: October 13 Espy

INPRESS • 49


Straight Arrows, Gooch Palms, Frowning Clouds, Ausmuteants Gasometer Stringybark McDowell Grind ‘n’ Groove Bar Sun Rising The Palais, Hepburn Springs Syme Tollens, SmuDJ, + More Abode Level One Tate Strauss, Phil Ross, Nova, Johnny M, Joe Sofo, + More Co. & Fusion Nightclub at Crown That Gold Street Sound, Lyndal Barry & The Apollos, The Seven Ups Evelyn Hotel The Dufranes, Cold Irons Bound Tago Mago The Exploders, Luke Legs & the Midnight Specials, The Fire Alive National Hotel The Final Cut, Mercury White, Scalar Fields, The Communists The Hi-Fi The Native Plants Union Hotel Brunswick The No Real Need The Great Britain The Nudgels Retreat Hotel Front Bar

The Slingers of Sentiment Wesley Anne (Band Room) The String Contingent Flying Saucer Club Tim Woods & The Dirty Shoes, Arty Del Rio Wesley Anne (Front Bar) Tinpan Orange The Caravan Music Club

SUN 23 Aitches, Cavalcade, Blood Wolves, Jay Stevens The Gasometer (upstairs) Andyblack, Haggis The Toff in Town, Afternoon session Archer The Bridge Hotel (afternoon)

SEX ON TOAST: Tuesday 25 September, Evelyn

Tinsmoke, Dead River Deeps Retreat Hotel Tuka, Ellesquire, Daily Meds, True Vibenation, + More Northcote Social Club Valium Girl, Colourwaves, Cicada, Blanket Fort Black Goat Warehouse Waz E James Band Lomond Hotel

Bad Vision, Valley Girls The Tote Battleships, Ainslie Wills, Packwood, Hayden Calnin, Grizzley Jim Lawrie The Toff In Town Ben David & The Banned, Nathan Seeckts, Tim Hampshire, Dan Raw Reverence Hotel, Footscray

Blasphemous Sundays Kent Street Bar, Fitzroy Boogs, Spacey Space, T-Rek, Radiator, Silversix Revolver Upstairs Chris Duffy Tribute The Caravan Music Club Chris Russell’s Chicken Walk, Dean Muller, Max Crawdaddy Cherry Bar, Arvo Show Darebin Songwriters Guild 303, Arvo Show Dave Larkin Retreat Hotel Front Bar Davey Lane St Jeromes Jemma & The Wise Ambitious Men, DJ Matt Stabs, Dominic Miller, Eaten By Dogs Old Bar Jimmy Buffett The Palace Theatre Josh Owen St Andrew’s Hotel, Arvo Show Lilly Rouge, Pretty Dulcie, Black Tea House Cherry Bar Marty Kelly & Aubrey Maher Lomond Hotel Melting Pot Wesley Anne (Band Room) Nicky Del Rey & The Slowtown Social Club Victoria Hotel

Nudist Funk Orchastra, Dale Ryder Band, Bad Boys Batacuda The Espy, Lounge Bar Open Decks The Thornbury Local POND, Super Wild Horses, Pikelet Corner Hotel Raised By Eagles Union Hotel Brunswick Rebels Without A Clue Lomond Hotel (afternoon) Ryan Coffey, Luke Mcgregor, Matt Burton, + More 303 Sarah Carnegie The Great Britain Shannon Bourne Post Office Hotel Sincerely Grizzly, Red Lights, Ali E Gasometer (upstairs) Swamp Moth Yah Yah’s TanA, Hudson, Tash Sultana Evelyn Hotel The Antoinettes, Houndsteeth, Al Parkinson, Gravey Brunswick Hotel The Exploders, Singing Is For Humans Cornish Arms Hotel The Hired Guns The Standard Hotel The Tiger & Me, Al Parkinson, James Kenyon Workers Club

CASH SAVAGE: Tuesday 25 September, Toff In Town

Jimmy Stewart Post Office Hotel Marianas Trench, + Guests Corner Hotel The Jane Austen Argument, Playwrite The Toff In Town The Quarry Mountain Dead Rats, Max Savage The Espy, Lounge Bar The Ramshackle Army, Max Savage The Espy White Walls, Justin Fuller, Cocks Arquette, + More Northcote Social Club

TUE 25 Three Kings, Livingstone Dasies Retreat Hotel Tracy Mcneil Band Carringbush Hotel Val & Cal Walker, Lily & King, Liz Stringer, Charles Jenkins, Ruth Lindsay The Drunken Poet Vicuna Coat, Emotional Baggage Handlers Tago Mago

Voodoo Sheiks, Joe Camilleri, John McAll Flying Saucer Club Waking Fate Idgaff Bar and Venue

MON 24 Amanita, Hollow Everdaze, Sunk Junk, Maksia, Sooki La La Evelyn Hotel Cherry Jam Cherry Bar Jam Sessions Old Bar

Bat Piss, SHERIFF The Tote Cash Savage, Saint Jude The Toff In Town Charles Jenkins Retreat Hotel Front Bar Dom Cooley, Nishia, Belt Eaters, Curtis Why The Espy, Lounge Bar Idiotic Monkey Brain Old Bar Industry Showcases Revolver Upstairs Irish Session Lomond Hotel Mal Webb 303

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INPRESS • 51


52 â&#x20AC;˘ INPRESS

themusic.com.au


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INPRESS • 53


BEHIND THE LINES DWIGHT ALRIGHT

BROUGHT TO YOU BY

WITH MICHAEL SMITH

LOOMIS GUITAR CLINIC

Nevermore guitarist Jeff Loomis took the classic styles he learned from listening to the likes of Jason Becker and Yngwie Malmsteen and recast them into a playing technique all his own. Allans Billy Hyde and Schecter Guitar Research present Loomis in a performance/clinic on Thursday 4 October from 7pm at Allans Billy Hyde Melbourne, tickets just $15 online or in store. Loomis also puts in an instore appearance from 1pm on Saturday 6 at Allans Billy Hyde Blackburn.

NEW NEIL YOUNG & CRAZY HORSE Neil Young & Crazy Horse are releasing a second new album, Psychedelic Pill, barely three months after releasing their Americana set, recorded again at Audio Casablanca with Young producing with John Hanlon (whose engineering and mixing credits include records for Stephen Still, Robyn Hitchcock and Cat Stevens), and Mark Humphreys. And, despite being just eight songs, it’s a double-album with an additional alternative mix of the title track – that’s how long the tracks are, truly old school. Knowing Young’s thoughts on the whole CD/MP3 thing, he’s ensured that there’s a vinyl release – a three-LP set in fact. It’s all released through Warner Music Friday 26 October.

WIN A TD30KV V-DRUM KIT

Book a time with your local participating Roland equipment retail store, get yourself set up behind a set of Roland V-Drums, get a little practice in and they’ll help you organise to submit a live performance drum solo video of five minutes or less that you can then upload to YouTube. Get it up there by Wednesday 31 October and you’re in the running to win a Roland TD30KV kit.

SOUND BYTES

The Who’s Pete Townshend will be picking up the Les Paul Award at the 28th annual Technical Excellence & Creativity (TEC) Awards in Anaheim, California at the end of January next year. The TEC Awards honour “outstanding achievement in audio technology and production”. The third album, unimaginatively titled #3, by Dublin’s The Script, was recorded at Sphere Studios in London and produced by band members Danny O’Donoghue and Mark Sheehan with fellow Irish producer Jimbo Barry and mixed by Mark Stent (Coldplay, Muse, Oasis, No Doubt). Old Crow Medicine Show headed into Sound Emporium in Nashville with Englishman-inCalifornia and founding member of Flogging Molly, producer Ted Hutt (The Gaslight Anthem, The Bouncing Souls, Dropkick Murphys) to record their latest album, Carry Me Back. Hutt also mixed the album with Ryan Mall at King Size Sound Labs at Eagle Rock, California, Tom Baker then mastering it at Precision Mastering in Hollywood. Glasgow’s Frightened Rabbit recorded their forthcoming fourth album at the famed Monnow Valley Studio in Rockfield, South Wales, with producer Leo Abrahams (Brian Eno, David Byrne, Grace Jones). Scottish singer-songwriter and multi-instrumentalist Sandi Thom recorded her fourth studio album, Flesh And Blood, at 16 Tons studio in Nashville, Tennessee with producer Rich Robinson of The Black Crowes. Canadian singer-songwriter Tim Chaisson recorded his new album, The Other Side, at Woodshed Studio with producer Colin Linden (Bruce Cockburn, Lucinda Williams). Vancouver, Canada metal band Bison BC recorded their third album, Lovelessness, due in October on Metal Blade, at Soma and Electrical Audio Studios in Chicago with producer Sanford Parker (Pelican, Yakuza, Zoroaster). Irish singer-songwriter Damien Dempsey, who has just signed with ABC Music’s alternative imprint FOUR|FOUR, recorded his latest album, Almighty Love, in Kilburn, London, with producer John Reynolds (U2, Bjork, Seun Kuti). The eighth album, Away From The World, from the Dave Matthews Band, was recorded in Seattle earlier this year with UK producer Steve Lillywhite (U2, The Killers, The Rolling Stones, Peter Gabriel). Tim Whitten (Augie March, The Go-Betweens) recorded the debut album, A Year At Sea, from The Winter People, with Brooklyn NYC’s Peter Katis (Interpol, The National) producing and Rich Costey (The Shins, Bloc Party) mixing. The forthcoming fourth album, Atlas, from Parkway Drive, was recorded in Los Angeles with producer Matt Hyde (Slayer, Hatebreed). 54 • INPRESS

For album number 26, 3 Pears, Dwight Yoakam kept things real, though he’s not looking to be retro, as he tells Michael Smith.

B

orn in Kentucky, it was in Los Angeles rather than Nashville that singer/songwriter Dwight Yoakam’s mix of traditional country, rock, Americana, pop and soul found its first real audience, in the early ‘80s. It’s where he recorded his major label debut LP, 1986’s Guitars, Cadillacs, Etc., Etc., and it’s where, 25 albums later, he recorded his latest, 3 Pears, surprisingly perhaps only the second he’s produced himself. He utilised four different studios around LA – Sunset Sound, Capitol Studio B, EastWest and Henson Studios – to record the album. “All four are pretty historic rooms,” Yoakam explains from a chair in the Warner lot where he’s being prepared for a film shoot in the Warner Sound Live Room. “Three of the four are Neve boards; at Henson, we were using an SSL, but that’s still the old school of Class A/D [analogue desk], and we were using the same amps, moving from room to room. It was interesting – I enjoyed the experience.

Yoakam’s vocal on A Heart Like Mine is drenched in reverb; very Sun Studio meets mid-‘50s rockabilly. “Beck ran that through an Atari eight-track one-inch tape machine from the ‘70s, and he actually put the tape slap onto that, so it’s real tape slap that he’s got running. We were just exploring what was here in the moment. We weren’t trying to do anything that was retro but unlike on contemporary records where it’s all cut into hard drive, Pro Tools, it’s done through real tube amplifiers, tube mics and through Telefunken mic pre’s – some of the best music recording was done that way. “The thing he and I kind of established on [those two tracks] was my approach. I just went in by myself with my electric guitar and his assistant engineer played drums and synth engineer played the bass, and I overdubbed a little electric and acoustic, and I found that to be a good template for the rest of the record.” Gibson recently released a limited edition of one of Yoakam’s trademark guitars, the Elitist Dwight Yoakam “Dwight Trash” Casino Epiphone, and has also released a Dwight Yoakam Honky Tonk Deuce Acoustic-Electric guitar.

“EastWest Studios was originally United Western Recorders, where I did some of my original demos back in 1981, that were on the Best Of that Warner’s and Rhino put out in 2004, and it was really interesting to go back, and we worked in there a lot. Capitol Studio B, we cut Long Way To Go there, blocked out the time there for the one track, but we worked a lot in the old A&M Studios, which are now called Henson. Those are great rooms – the molecules in those rooms are simply magical.”

While it’s been seven years between 3 Pears and his last album, 2005’s Blame The Vain, his first not to be produced by guitarist producer Pete Anderson, Yoakam was writing new material throughout. The gap was essentially down to his decision to leave the independent label he’d signed with – New West – and seek another major label, ultimately signing once more with his original label, Warner Music. As for the songs themselves, though undeniably country, they’re shot through with Yoakam’s other, sometimes unlikely, musical passions. For a start, the album opens with the track, Take Hold Of My Hand, written by Kid Rock.

As it happens, United Western Recorders’ Studio 3 is the room Brian Wilson used for much of the recording of The Beach Boys’ Pet Sounds. While Yoakam produced the bulk of 3 Pears, he did hook up with Beck to co-write, record and produce two songs – A Heart Like Mine and Missing Heart. “I just wanted to be in real rooms with real sonics. Beck and I went to Sunset Sound where we cut Missing Heart. The first track I recorded with Beck, A Heart Like Mine, was actually at his home studio, which is dubbed The Library, in one section of his house.”

“There are a variety of melodic influences throughout,” he explains. “I mean there’s a bit of The Monkees’ lick from I’m A Believer, Neil Diamond’s song, at the beginning [of A Heart Like Mine], but it turns into a bit of an homage, unintentionally, to the Stones’ The Last Time kind of meets Johnny Cash. I grew up listening to Top 40 radio when it was truly an eclectic mix of all kinds of music, and that’s had a major impact on me that remains. So with Trying, I’m sure the influence of having heard Sam Cooke’s work is there.”

There are two versions, too, of Long Way To Go – a full band version and a haunting solo voice and piano one that closes the album. “Yeah, it just seemed that night, in the studio, Joe Chiccarelli was actually engineering, and I walked by the mic and I said to my extremely talented multi-instrumentalist sideman Brian Wheelan, ‘Hey, would you just play the chord changes on Long Way To Go?’ ‘cause we’d just recorded it – he played bass on the track, on the electric version – so he started playing it through and I said, ‘Just play the changes. I’m gonna sing it stripped down like that.’ And we did a version of it that way, and there’s an additional verse on that version.” Monday 24 September Yoakam will be presented the Cliffie Stone Pioneer Award at the sixth annual Academy of Country Music Honors Awards in Nashville. Then in November, Yoakam brings the guys he made the album with to Australia for a tour. “Hopefully people will see what the new album has in it for me, the message of joy and happiness.” 3 Pears is out Friday through Warner Music. Dwight Yoakam plays the Palais Theatre on Monday 12 November.

GEAR REVIEW

TECH 21 BOOST SERIES PEDALS

Tech 21 are one of the the effects heavyweights, based in NYC, USA on Andrew Barta’s vision of the Sansamp. His legacy lives on through other killer pedals like the new ‘Boost’ series featuring a form of drive coupled with up to 21dB of clean, switchable boost. The Tech 21 Boost Overdrive was first under the microscope. I used this pedal with my Les Paul and Marshall Plexi to get a beefier tone out of my amp. The overdrive consists of controls for ‘Level’, ‘Tone’, ‘Drive’ and ‘Sparkle’. All the usual suspects are here except for the addition of the ‘Sparkle’, which “adds upper harmonics for an open, snappy sound.” The overdrive did a very convincing ‘TS808’ emulation, a great ‘Top Booster’ for ‘70s drive, and good blues overdrive when dialed in with cleaner tone. Overall I thought this pedal sounded great for older ‘70s and ‘80s hard rock/metal tones, and using the boost on its own sounded the best with my Marshall for getting the tone I was after. I took the same approach with the Boost Fuzz pedal and plugged into a driven amp, and what could be better than a Strat into a vintage Marshall for that Hendrix sound. The combination of a driven amp plus fuzz results in magic. Again, this pedal sees the same format of ‘Level’, ‘Tone’ and ‘Drive’, but the inclusion of ‘Sag’ adds an extra dimension, “allowing notes to bloom and sing at your command, for a dynamic, organic performance.” A wide array of tones was available, from Hendrix to Weezer to The Smashing Pumpkins. This pedal did a killer job of emulating those vintage Germanium fuzz pedals guitarists drool over. The Boost Distortion has hints of that iconic modern Tech 21 distortion heard all over the world on some great albums (Nevermind…). It was easy to a get a thick clear distortion that emulated a modern high-gain amp, and is perfect for turning a good clean amp into a monster. This time the ‘Sag’ effect “adds an expressive tube-like response to every pick stroke,” and did a good job of sounding like a worn-in tube amp when digging into the strings, adding that tube feel even with solid-state amps. Finally, a pedal for bass; the Boost Fuzz Bass was my favourite of the bunch, as it did a number of

different things really well. I plugged this pedal direct into my mixing desk as I was after that insane fuzz bass you hear on Nine Inch Nails recordings and on some electronic recordings and it delivered with unexpectedly good results. This time the secret ingredient was the ‘+ Clean’ knob, which dialed back in a clean signal making it possible to blend fuzz and clean together generating a massive doubled sound when distorted guitars are in the mix. There is so much drive on tap that it is possible to go from warm, spongy drive to insane globs of mush that would be perfect for heavier styles such as stoner rock, death metal and industrial music. Dialing back the ‘Level’,

themusic.com.au

‘Tone’ and ‘Drive’, and boosting the ‘+ Clean’ adds a bass boost to your overall tone, while turning the ‘Tone’ up keeping the ‘Drive’ midway was cool for ‘Sabbath-like’ rumble. This new line of Tech 21 pedals is great and will appeal to musicians searching for a certain sound, whilst still having the flexibility to produce a variety of different tones. Each pedal has a certain vibe to it and the inclusion of a switchable clean boost means you won’t have to rely on your sound tech to turn you up for lead passages. Reza Nasseri For more info head to nationalmusic.com.au


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Inpress Issue 1242  

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

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