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N O W AVA I L A B L E O N I PA D • W E D N E S DAY 10 O C T O B E R 2 012 • I S S U E 12 4 5 • F R E E au


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ISSUE 1245

W E D N E S D AY 1 0 O C T O B E R 2 0 1 2

Wed 10. 7pm - Fringe Festival's Electric Shorts - truely independent filmmaking by self-funded filmmakers Thu 11. 7pm - White Silk Road screening snowboarding afghanistan 9pm Fringe Festival's Jim Jam Presents: The Two Biscuiteers Co-created by Peter Hayward and Harley Hefford Fri 12. 9pm - Caribbean Bass Burundanga, Saca La Mois DJ & Sonidero Esperanza bring tropical bass, digital cumbia, moombahton & latin house to Loop Sat 13. 10pm - ebb&flo Gavin Martin, Jon Beta, Nikko, Lister Cooray & VJ Netzair electronic - techno, deep/tech house Tue 16. 7pm - Comfortable Shorts short film screenings, prizes & Q&A with directors and writers



INPRESS 18 Foreword Line brings you all the latest tour announcements 20 Moves and shakes with Industry News 22 Mumford & Sons – the most affable band in music? 24 Dappled Cities went back to go forward 26 Lee Ranaldo on Kim and Thurston’s split 28 Regurgitator are middle-aged juveniles 29 Steve Aoki is LA’s most glamourous superstar DJ 30 Husky takes the Taste Test 31 Tortoise continue to defy expectations 32 Living on the periphery with Grails 34 Dallas Frasca ain’t afraid of hard work 34 Good, better, best with We All Want To 34 Rudimental’s crazy year 34 Everclear’s last Australian tour was a disaster 36 The ReChords are still drummerless 36 Atomic Bliss drop some names 38 Bec Laughton is shaped by her musical theatre past 38 d’Eon sounds like Phil Collins 38 Kerri Simpson is two albums into a seven-album series 38 DJ Rashida’s hobby has grown to a full-time job 42 On The Record rates Tame Impala and Kiss

FRONT ROW 45 Check out what’s happening This Week In Arts 45 Meow Meow is back in the country

45 We W chat h t with ith The Th Rabble R bbl about b t Woolf’s W lf’ Orlando Ol d 46 We review The Unspoken Word Is Joe, Pinky Beecroft and Kissing And F*%king Up 46 Cultural Cringe attends the King Kong launch 46 Melbourne Fringe with Bangs? No, Fringe 46 Graham Hancock on the Origins Of Consciousness 47 We speak to Ezra Bix about Wittenberg 47 Chunky Move’s Anouk Van Dijk discusses An Act Of Now 47 Michael Ward chats new comedy Bond-A-Rama

BACK TO INPRESS 49 Gig Of The Week parties at Doomsday Festival 49 Live:Reviews heads to Parklife 52 Sarah Petchell will Wake The Dead with her punk and hardcore talk 52 Heavy shit with Adamantium Wolf 52 Dan Condon blues and roots in Roots Down 52 Diggin’ up the good shit with Search And Destroy 53 The freshest in urban news with OG Flavas 53 Pop culture therapy with The Breakdown 53 Hip hop with Intelligible Flow 53 If your club needs a boss, turn to Business Music 54 The best Live gigs of the week 58 Fred Negro’s Pub and Jeff Jenkins with Howzat! 60 Our Gig Guide fills your diary for the weekend 65 Find your new band and just about everything else in our classy Classifieds 66 Gear and studio reviews in Muso


We have in-season passes to the stunning new Aussie flick Hail; and the Brad Pitt-starring Killing Them Softly, the latest film from Chopper director Andrew Dominik. We’ve also got Artisan Guns albums and Glass Towers and Joe Bonamassa gig passes up for grabs. Booyah!




Equal parts dub-reggae and soul jazz is a live outfit consisting of drums, bass, keys, guitar, dub effects and vocals. 5pm

SATURDAY 13 October



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


Get twanging to the sounds of upbeat retro honkytonk. 9pm National Sales & Marketing Director Leigh Treweek National Sales Manager – Print Nick Lynagh Account Manager Cat Clarke Account Manager Okan Husnu




High vibe alt-country rock: makes you want to scull a hundred beers and call in sick on Monday. 5pm



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16 • INPRESS Inpress Cover Design/Art Direction Matt Davis Layout Matt Davis, Eamon Stewart, Eleni Papas

ACCOUNTS & ADMINISTRATION Reception Holly Engelhardt Accounts Receivable Anita D’Angelo Accounts Payable Francessca Martin


Senior Contributors Jeff Jenkins Overseas Contributors Tom Hawking (US), James McGalliard (UK), Sasha Perera (UK). Writers Nick Argyriou, The Boomeister, Aleksia Barron, Atticus Bastow, Steve Bell, Luke Carter, Dan Condon, Anthony Carew, Rebecca Cook, Kendal Coombs, Adam Curley, Cyclone, Guy Davis, Liza Dezfouli, Lizzie Dynon, Guido Farnell, Sam Fell, Bob Baker Fish, Warwick Goodman, Cameron Grace, Andrew Haug, Brendan Hitchens, Kate Kingsmill, Michael Magnusson, Baz McAlister,

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


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


Jan Wisniewski


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


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Street Press Australia Pty Ltd 584 Nicholson St, Fitzroy North Locked Bag 2001, Clifton Hill VIC 3068 Phone: (03) 9421 4499 Fax: (03) 9421 1011 Rural Press Victoria







Marksthespot and Melbourne Music Week are excited to announce the full ten-day line-up for Where?House that will include over 50 acts performing in the pop-up space from Friday 16 to Sunday 25 November. The line-up includes Animals Dancing, Bamboo Musik, Beats Antique, Ben Sims, Courtney Barnett, Eskmo, Floating Points, Housse de Racket, Lost Animal, Matias Aguayo, Mike Huckaby, Naysayer & Gilsun, New War, No Zu, PillowTalk and tons more. Tickets are on sale now, head to the MMW website for all the details.


Jamie Hay has seen it all and now the Conation/A Death In The Family/Fear Like Us vocalist launches debut solo album King Of The Sun (out Friday 2 November) and a tour to accompany it. Hay will tour alongside Lincoln Le Fevre and plays Saturday 10 November at the Reverence Hotel.






The Stone Roses



Next year’s Future Music Festival will feature two of the biggest British acts of the past 30 years: The Stone Roses and The Prodigy. The latter will curate their own stage, the Warriors Dance Arena, which will feature acts including Boys Noize and Feed Me (live). Other acts playing the festival, taking place at Flemington Racecourse on Sunday 10 March, include Bloc Party, Dizzee Rascal, Azealia Banks, Rita Ora, The Temper Trap, Fun, Steve Aoki, Madeon, Gypsy & The Cat, Rudimental, A-Trak (live), Zeds Dead, DJ Fresh and Zane Lowe.


ENTRY $10, 8PM $2.50 POTS, $5 VODKAS!



The Grandmaster Melle Mel tour has been cancelled and by now ticket holders should have been contacted by ticketing outlets.





Kylie Auldist is no stranger to the art of musicmaking. Recording her first song at age six, Auldist’s undeniable vocal talent has seen her sharing stages with the likes of Renee Geyer and Jimmy Barnes. Don’t miss Auldist as she launches her new album Still Life on Friday 23 November at the Evelyn.









ENTRY $10, 8.30PM




$2 ENTRY, 8.30PM $10 JUGS!


The relentless touring after the success of platinumselling debut, Tourist History, meant Two Door Cinema Club’s recording of their second effort, Beacon, strongly reflects on their time on the road. They will play a show in Melbourne on Saturday 29 December at Festival Hall while back in Oz for Falls Festival. Joining them will be special guests The Vaccines and The Jungle Giants.






The Hives will take over the Forum on Sunday 6 January as they deliver blistering proof they aren’t simply part of the royal rock family – they are the kings. Run your little legs to get tickets on Friday 12 October in order to hear these five single-minded men with a telepathic connection slam their instruments against each other and the floor. The Hives are a force to be reckoned with.


Pure Pop’s putting on a Summer Of Classic Albums with great artists performing classic albums in their entirety. Artist and album matchings include Tom Waits’ Bone Machine by Jeff Lang, Suicide’s Suicide by Black Cab and David Bowie’s Let’s Dance by Julia Stone. Each performance is only $10 entry or you can get six classic album shows for $50. To book email, phone (03) 9525 5066 or head into the store and book in person.


Boomgates started as a couple of friends having a loose Thursday evening sing and strum on the couch. They soon became a proper band in their own right. Now they are hitting the road to release their debut LP, Double Natural. You can catch them on Friday 16 November at the Curtin Bandroom.


Willis Earl Beal writes immediately arresting, warm, ernest and moving music using whatever instruments and materials he can find. He will tour Australia for the first time, performing at Falls Festival and his own headline show on Wednesday 2 January at Northcote Social Club.

Bleeding Knees Club head out on a national tour in November to launch Let It Go, the final single off their debut 2012 album Nothing To Do. These will be their last headline shows before they bunker down to start work on their second album. They’ll play Thursday 15 November at Karova Lounge (Ballarat), Saturday 17 at the Corner Hotel and Sunday 18 at Ding Dong Lounge.



Yasmin Levy returns to Australia with her new CD, Libertad and a hand-picked international ensemble. Her previous sold-out Australian tour ignited audiences. She plays Sunday 18 November at the Playhouse at the Arts Centre.


The Paper Kites, have added two dates to the Melbourne leg of their national Young North tour, after their gig at Corner Hotel sold out. New dates include a second show at the Corner Hotel on Thursday 1 November and an all-ages gig at Ding Dong Lounge on Sunday 4.

Due to popular demand Lagwagon have added a second Melbourne show on Monday 10 December. The show takes place at the Corner Hotel and tickets are on sale now.


The upcoming Martika tour has been cancelled. Refunds will be processed automatically back to the credit card used. Tickets purchased via cash or EFTPOS need to be returned to point of purchase along with photo ID.


Cosmo Jarvis has released his third album Think Bigger to rave reviews with the lead single Love This gaining lots of radio airplay. Jarvis and band have now announced an Australian tour including Falls Festival. Jarvis plays Saturday 29 December at the Bridge Hotel (Castlemaine) and at the Corner Hotel on Thursday 3 January.




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



Thu 11 Oct

Wed 17 Oct

Wed 24 Oct




Wed 10 Oct




Fri 12 Oct

Thu 18 Oct










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




Sun 4 Nov (matinee show) ‘TIMBER & STEEL PRESENTS’

Fri 9 Nov




Mon 5 Nov 2012 (Melb Cup Eve)

Sat 10 Nov







Sat 27 Oct

Fri 2 Nov

Wed 7 Nov










Sat 20 Oct







Thu 1 Nov




Fri 26 Oct




Fri 19 Oct


Sat 3 Nov


Sat 13 Oct















Eyehategod are early pioneers of the sludge and doom metal genre. In their 23 years Eyehategod have influenced a whole generation of aspiring doom warriors, whilst creating an undisputed cult-like following that has placed them in the high leagues of sludge and doom artists. In November, Eyehategod will be making their maiden voyage south of the equator. They’ll be playing Saturday 24 November at Billboard and Sunday 25 at CherryFest.

Hermitude and House Vs Hurricane will definitely grace the Jägermeister Independent Music Awards stage as performers, but will they also collect the respective awards for which they’ve been nominated? Bryget Chrisfield investigates.


Joe Robinson has been wowing crowds with his playing ability since he was 13, drawing praise and admiration from his industry heroes for his prodigious guitar skills. Still at the tender age of 21, Joe has a list of credentials that would make most musicians three times his senior envious. He’s back from his now home of Nashville and will play Saturday 8 December at the Toff In Town.


Following a sold-out tour earlier this year, the stunning First Aid Kit will soon make a triumphant return to Melbourne and Sydney stages alongside their Falls and Southbound festival appearances. For their third Australian tour, the Swedish sisters will welcome the new year in their most compelling settings yet and play the Forum Theatre on Wednesday 2 January.


Useless Eaters started in 2008 as a bedroom project to kill the boredom of being a teenager living in Memphis. They will be starting their Australian tour at this year’s Maggot Fest followed by a show at the Tote Hotel on Friday 16 November with Constant Mongrel, Ratsak and Bad Aches and another at the Nash (Geelong) on Saturday 17 with Living Eyes, Gentlemen and Hierophants.

House Vs Hurricane Have you ever won anything in the past? Luke Dubber (Hermitude): I won a billycart competition when I was a kid. We had to make our own billycarts and ride around this crazy track: there’s this old abandoned raceway in Katoomba in the Blue Mountains where I grew up, Catalina Raceway. I think I won, or I came second. I’ve got a trophy. I’ve still got it somewhere. I’ve got a couple of medals from piano playing when I was a kid. But as for Hermitude, we won the [triple] j [Music Video Of The Year] award for the Speak Of The Devil clip last year. So that was massive. House Vs Hurricane: Nothing music related. I think Dan [Casey, vocals]’s basketball team, The Pink Flamingos, won their premiership a couple of years ago. How was the songwriting process for your nominated album? LD: It came together a bit quicker than our previous albums – about twice as quick actually, but it was also because we spent a lot more time on it. Instead of having other commitments like we’ve had in the past, we decided to devote 100% to the writing of that record. We’ve got a studio in Leichhardt, near where we live, and we decided to go in there five days a week, during the days – kinda like a day job, really – and just work on the record. So we did that for a year. I went travelling for a month in June and that’s the only month we had off, actually. We started in January and finished in November, so it took about ten months… It was relatively smooth. You always have a month or a few weeks where you kind of lose a bit of the mojo and it’s a little bit harder to get stuff going, but then if you just keep persisting you get over that hump and eventually you come back into a phase where it’s really productive and fruitful, I guess. HVH: Chris [Shaw, guitar] wrote all of the music and demoed it at his home studio, then we’d refine it in the practice room. Dan and Riz [Ryan McLerie, vocals/ guitar] wrote the vocals to the recorded demos. We were able to take the completed album over to The Machine Shop, which helped a lot, and then we did a further week of pre-production to refine the songs a little more and get a fresh set of ears to add ideas. What’s an album from those nominated in this year’s JIMAs that you‘ve particularly rated and why? LD: I know Flume’s in there. I think for a single [Sleepless]. He’s awesome. He’s a guy that we discovered last year and we got him to do a support for us at the Speak Of The Devil launch at the end of last year, and then when it came around to doing a remix album this year we got him on board for that. And the remix that he wrote – the HyperParadise remix – has gone kind of bonkers... He’s the hot-right-now guy. HVH: Frenzal Rhomb – Smoko At The Pet Food Factory. We’ve all grown up listening to this band, they rule and this CD is just as awesome as all their old material. If you don’t think Bird Attack [from Smoko At The Pet Food Factory] is the greatest Australian song ever written, then there is something wrong with you. WHAT: Jägermeister Independent Music Awards WHEN: Tuesday 16 October



DIG (Directions In Groove) return to Melbourne for one night only with their new album, Clearlight. The original line-up is augmented with vocalist and co-writer Laura Stitt for one of their rare Melbourne appearances, this time at the Corner Hotel on Sunday. They will be supported by Nicky Bomba & Friends.


Sweden’s kings of unholy black metal chaos Marduk will be invading our shores, headlining the Serpent Sermon tour this summer. Joining them will be Australia’s own curators of the abyss, Portal, and Melbourne’s Order Of Orias. They play Friday 11 January at the Hi-Fi Bar.


Axolotl are a collaboration spearheaded by Ella Thompson and Dustin McLean. They share a love of cinematic, lush, layered production combined with lyrical songwriting. Fresh from touring with The Bamboos across the East Coast they present their debut EP and launch it on Thursday 18 October at Ding Dong Lounge.

Determined to be one of Southern Cali’s premier MCs, Hopsin bought an $8 microphone from Wal-Mart, installed Fruity Loops on his computer and locked himself in the basement. After a while, he combined his skills with a new image and emerged from the basement. He’s out and he plays Friday 23 November at the Prince Bandroom.


Once touted the saviors of rock’n’roll, Hot Snakes have re-formed and their Australian tour is right around the corner. They play Meredith and Friday 7 December at the Corner Hotel with SixFtHick and River Of Snakes.


In My Youth will showcase Shannon Noll playing the songs that he grew up with, songs he has always wanted to re-imagine and take on the road. He plays them on Thursday 13 December at Spirit Bar & Lounge (Traralgon) and Friday 14 at Wellers Restaurant (Kangaroo Ground).


With their latest single Sharp Shooter currently receiving a suitable thrashing on national radio, Brisbane’s Hungry Kids Of Hungary are shaping up for the perfect return, with their first Australian headline tour in 18 months kicking off in just over two weeks. With psyche surf-pop duo Gung Ho in tow as main support, HKOH have announced local supports in all areas. Support for their Cup Eve Northcote Social Club show will come from Bored Nothing.


Brighton-based duo Blood Red Shoes have announced they will be making their first trip to Australian shores in 2012, playing this year’s Pyramid Rock Festival. The duo released their third album, In Time To Voices, in July this year and while they’re out will also play a headline show on Thursday 3 January the Hi-Fi.


Good Heavens kicked off their tour at Format Festival in Adelaide last weekend. They were joined by the amazing Summer Flake whom they are thrilled to have supporting in Melbourne and Sydney too. Joining them in Melbourne is the unmissable Sarah Mary Chadwick (ex Batrider) who recently released her debut solo record to rave reviews. To round out the line-up will be the dream-gaze sounds of Lowtide. They all play Friday 26 October at the Tote.


Gasworks Arts Park brings the splendid sounds of spring to your ears as they present the Gasworks Spring Music Festival; a sublime selection of free springtime concerts during November. Held over three consecutive Sundays (11, 18 and 25), the Gasworks Spring Music Festival features a variety of high quality free music, including seminal Melbourne songstress Jen Cloher, experimentalpop duo The Twoks and legendary performer Jenny Morris. Head to for all the details.


After exiting Hüsker Dü, the granddaddy of alternative rock, Bob Mould, formed Sugar and released one of the most important underground rock albums of the early-‘90s. The powerful and ever-fresh debut album, Copper Blue, was a pivotal moment for alternative rock, laying the foundations for the surge of alternative rock and power punk of the 1990s. Mould is still kicking ass and brings Copper Blue back to be experienced as it should be – live and on stage. He and band perform Wednesday 13 March at the Corner Hotel.


Psycroptic are now the special guest headliners for Melbourne and Sydney Bastardfests. Check the flaming website ( for all details and full playing schedules. It happens Saturday 3 November at the Espy.


Reel Big Fish, Goldfinger and Zebrahead are teaming up for a killer Australian tour this summer. This is the kind of tour that these titans of rock thrive upon: twisted flesh, flailing limbs and a sea of swarming bodies. Catch them on Sunday 2 December at the Palace.


St Kilda’s favourite day of live music, A Day By The Green, is back at St Kilda Bowling Club on Saturday. This time there are six new acts joining them for the first time. Billy Pommer Jnr & The Guilty Plea are back, Steve Lucas joins in with his new outfit Neon & Venom and finishing off the night are the incomparable Harry Howard & The NDE. There will also be the live debut of Dial Me For Murder, MC Tony Biggs, cheap drinks and a sausage sizzle and heaps more, all for $15. Doors open at 3pm.


The Toot Toot Toots have managed to squeeze in a pre-apocalypse tour of gargantuan proportions. They play Saturday 3 November at Ding Dong, Friday 9 at Karova Lounge (Ballarat), Saturday 10 at the Bridge Hotel (Castlemaine), Friday 16 at Baha Tacos (Rye), Saturday 17 at Beers By The Bay Festival (Mornington), Friday 30 at Barwon Heads Hotel, Saturday 1 December at the Apollo Bay Hotel, Saturday 8 at Meredith and Saturday 22 at the Loft (Warrnambool).


Roll up, roll up! In fact, rock up for the 2012 RocKwiz Some Kind Of Genius tour. Julia, Brian, The RocKwiz Orkestra and Dugald, legendary guests, curly questions, rock’n’roll trivia, rocking riffs and of course, rock brains from the audience who will amaze you with their knowledge and thrill you with their karaoke skills. It all happens this Friday and Saturday Festival Hall. Tickets are on sale from


ACMI have announced a ripper Melbourne Music Week line-up. On Thursday 22 November Nick Huggins and his band will be recreating his soundtrack for I Am Eleven live on stage. Other events include Goblin playing live to soundtrack Dario Argento’s masterpiece Suspiria; and in the Playing Under The Influence series, three of Australia’s bestknown musicians select, reflect and discuss the film that’s had the greatest influence on their music – featuring Chris Bailey (The Saints), Tex Perkins and Clare Bowditch. It all takes place during Melbourne Music Week (Friday 16 to Sunday 24 November), check for full details.

Kutcha Edwards’ story is one of twists and turns, ups and downs, but always one of family and culture. Blak & Blu is an album of his soul. He’s taking it on the road and will perform on Saturday 20 October at the Arts Centre, Saturday 17 November as part of Australasian World Music Expo at the Arts Centre and Friday 1 December at the Bridge Hotel (Castlemaine).


It’s pretty safe to say that the album tour from everyone’s favourite Menangle dudes, The Rubens, is shaping up to be a slam-dunk. They’re psyched to announce new shows on Wednesday 7 November at Karova Lounge (Ballarat) and Thursday 8 at Star Bar (Bendigo).


Steve Kilbey will sing as well as discuss the effect mythologies have had on his songwriting, in the Arts Centre series Performance Enhancers. Kilbey will de-mystify the myths he’s so fascinated by at 5pm Saturday 13 October. Other performances include: on Saturday 10 November Vika & Linda Bull discussing how artist Paul Gauguin and their mother’s home of Tonga have influenced their work; and on Saturday 8 December Clare Bowditch talking about how a Ballet Russes photography book influenced album Autumn Bone. Head to for all the details.


The Good China make their return with a new offering of their bright and brash indie pop with new EP We Knew That We Had To Leave. This EP is about change, travel, triumph and tragedy; about the growing pains each of us know with both fondness and fear. They’re touring it and will play Saturday 27 October at Ding Dong Lounge.




Melbourne sextet The Tiger & Me weave a rare mixture of styles and sounds as three lead vocalists exchange and merge tunes from whispered ballads to fevered maelstroms. Their second album, The Drifter’s Dawn, is due for release next week and they’re launching it on Saturday 27 October at Revolt, Thursday 1 November at Karova Lounge (Ballarat) and Friday 2 at the Barwon Club (Geelong).


The Golden Plains ballot is now open and as a teaser before their major artist announcement in a couple of weeks they’ve revealed Cat Power will be playing the sundown slot on the Saturday evening. Head to au to update your details and enter the ballot. Meanwhile, while the Meredith Music Festival is sold out, the festival has named its final acts: Tame Impala, Itch-E & Scratch-E, The Murlocs, Hiatus Kaiyote, DJ Flagrant and Boomgates. Tickets will be posted out in early November.

Young Gifted & Broke brings forth the next wave of artists behind New Zealand’s number one hip hop group Home Brew at a showcase on Friday 26 October at the Espy. The showcase features Home Brew, @Peace, Team Dynamite, Esther Stephens, Louie Knuxx and DJ Substance with local supports to be announced.


Established Australian artists are again pairing with refugee and asylum seeker musicians for a sequel to the excellent Key Of Sea compilation. We catch up with Sophia Brous and Awaz, who collaborate on the song Come Along.


At triple j, ears have been on alert searching Unearthed for the perfect sounds to open Harvest Festival; four bands to fill out four golden spots. And the winners have arrived! For Werribee Park on Saturday 10 November, they’ve unveiled The Murlocs and for the sold-out event on Sunday 11 they’ve enlisted Lurch & Chief.


Brother Ali will return to Australia for the first time since 2008 and Sean Price will be making his first ever trip to Australia. Both artists will be showcasing tracks from their brand new albums and dropping their classic tunes that have put them both at the top of their game. They play a double-bill on Wednesday 21 November at the Prince Bandroom.


Joining Hawthorne Heights on their upcoming tour are Sienna Skies. They play Saturday 8 December at Bang and Sunday 9 at Pelly Bar (Frankston).


Birds Of Tokyo will play Ormond Hall on Wednesday 5 December, with tickets on sale at 9am Friday via the band’s official website, Fans will need to join the mailing list before midnight tonight for a password to purchase tickets. The show is in aid of releasing their new This Fire EP.


The full-length self-titled debut release for Chris Russell’s Chicken Walk is about to drop and it’s low-down, down-home, juke-joint blues. The launch celebrations will take place on Cup Eve (Monday 5 November) at the Workers Club with most excellent support from Skyscraper Stan and Junk Horses.


William Elliott Whitmore returns to Australia for a series of headline shows in March, plus two special performances at Bluesfest. Hailing from a farm along the banks of the Mississippi River, Whitmore has developed an intense love and spiritual understanding of the land, which he flawlessly conveys through all of his records. Catch the show on Tuesday 26 March at the Corner Hotel.

LIVING END RELEASE SUPPORTS It’s just over a month until The Living End kick off their massive 39 date retrospective tour and the band have revealed the huge list of bands and DJs who be joining them. The Melbourne shows will feature Something For Kate, Ivy & The Big Apples, Area 7, The Meanies, The Smith Street Band, Kingswood, Dave Larkin Band and Money For Rope on various nights plus special guest DJ Cosmic Dolphin. Check for all the finer details.



Sugar Mountain, Melbourne’s boutique music and arts festival, have shared their second line-up announcement. Dirty Projectors, Hunx & His Punx, Boomgates, Lower Plenty, Brothers Hand Mirror, Collarbones, Forces with Antony Hamilton and Naysayer & Gilsun join ESG, Action Bronson, HTRK, Kirin J Callinan x Kris Moyes, Laurel Halo, Peanut Butter Wolf and Woods on the music program. The Sugar Mountain main event takes place at the Forum Theatre on Saturday 19 January.


In the early months of 2012, Saritah packed her suitcase and acoustic guitar and flew across the globe from Melbourne to California where she went into the studio and created an album of original songs. The result is Dig Deep, a rich album that unites roots reggae, dancehall, pop and nu-soul flavours. The album’s out in November and she’ll play Friday 30 November at the B.East.


It’s been a year since Thee Oh Sees tempted Australia with their cacophonous live shows. Now they return to celebrate their 14th release Putrifiers II with performances at the All Tomorrow’s Parties festival and a national tour serving tight psychedelic jams and an unrestrained live show. They play Thursday 31 January at the Hi-Fi and Wednesday 6 February at the Natonal Hotel (Geelong).


Touche Amore and Make Do & Mend both toured Australia separately in 2011, now both bands will be returning together. They’ve announced the local supports and their Friday 9 November Reverence Hotel show will feature Our Solace and at their Saturday 10 Phoenix Youth Centre show, Cavalcade and Disasters.


Direct from the deep south of New Zealand, psychedelic roots act Left Or Right are touring Australia for the first time to celebrate the Australian release of their sophomore album Buzzy. They’ll play Thursday 11 October at the Espy Front Bar and later at Pony, Friday 12 at the Reverence Hotel, Saturday 13 at Soundbar 229 (Hoppers Crossing) and Sunday 14 at the Tote.

Thundamentals MC Tuka launches his second solo album, Feedback Loop, this November with select shows. Not afraid to lean on all of his influences, mix them up and present something completely new, Just To Feel Wanted’s catchy, almost Gnarls Barkely feeling was just a small taste of what is to come on Feedback Loop. He plays Saturday 24 November at the Workers Club with Soliloquy, Remi and special guests.


This coming January, Gary Jules will be making his way to Australia. A born storyteller, Jules draws you in to his experience with his expressive songcraft. He plays Saturday 12 January at the Corner Hotel and Sunday 13 at Trak Lounge Bar.


Sophia Brous and Awaz How did you arrive in Australia? Awaz: l came by plane two years ago. Music l never do freely when l was ın Turkey. There was always strıct rules and there was always boundary. It wasn’t fair to my identity; l wasn’t able to play Kurdısh musıc. l never go to Newroz celebration which is Kurdısh celebration without police check. Here l live my culture without questioning. Now I’m learnıng my main language whıch I [was] never able to learn. Here l can say freely I’m Kurdısh, which l never did before. They all help me [be] confident about living as a human being. Were you familiar with your collaborator’s music before working together on Key Of Sea? Brous: When I was first asked to be a part of the project I didn’t know whom I’d be collaborating with but was excited about challenging myself to work in an environment outside of what I’m used to. I was sent a few clips of Awaz playing the Kurdish instruments – the kawal (Kurdish flute) and baglama (Kurdish oud) – and just thought his music was so beautiful. The kawal has such a sad, voice-like quality to it. I knew immediately that we should make music together. Tell us about the writing/recording of your song for Key Of Sea. Brous: It was quite drawn out in a way, with different parts quite separated by time and different touring commitments, etc. We started by playing for each other and then talking about Kurdish music and their song melodies and traditions. I wanted to try and get some understanding of that first. I then recorded us improvising and playing together in my kitchen and went away and edited and cut up the sessions and extracted parts to form our song. Throughout the process Awaz was facing some uncertainties about his immigration status – that was a lot for him to deal with. I felt like the song should somehow focus on that sense of uncertainty, of being in perpetual wait. Were there any cultural/language barriers you had to overcome in the recording of your song? Brous: Yes probably, spoken and musical. Awaz and I came from quite different musical backgrounds in the harmony we’ve been schooled in, the chords and scales we work from, the phrasing and song structures… the process was very much about navigating that and trying to chip away to make something that represented us both. It was sometimes challenging but rewarding – I learned a lot working with Awaz. What did you learn from the Key Of Sea experience? Brous: About connecting through listening, and submitting to the environs.

For over 30 years The New Christs have been a respected band in the Australian alterative music scene. Fronted by Radio Birdman vocalist Rob Younger, the past and present line-ups have included members of such iconic bands as Radio Birdman, The Saints, Celibate Rifles, The Hitmen, The Hoodoo Gurus and the Lime Spiders just to name a few. The New Christs play the Bridge Hotel (Castlemaine) this Saturday with support from The Wardens.

What do you hope listeners take away from the Key Of Sea project? Brous: Ditto. And a fonky riddum. The Key Of Sea Volume 2 is released Friday 19 October through MGM.



Those dapper English Mumford & Sons lads are at it again, inviting Australia to join them at the largest campfire singalong you could imagine. As Ted Dwane tells stories, laughs at bad jokes and generally charms, Benny Doyle wonders if there’s a more affable band in music.

GENTLEMEN, START YOUR ENGINES Smack in the middle of Mumford & Sons’ massive Australian tour is a date in Dungog. Where you ask? Don’t worry – you’re not the only one. It’s a tiny town in the upper Hunter Valley of NSW – a small dot of dairy country with a little over 2,000 townsfolk, and one of seven lucky locales in various parts of the world being treated to Gentlemen Of The Road stopovers.


hen Mumford & Sons arrived on the scene in 2009, this welldressed, better spoken collective of period-styled Londoners didn’t seem to fit any existing box. They were too trendy to be folk, too refined to be deemed an indie group and far too progressive to be considered a Country and Western band. But while music press around the globe were left scratching their heads trying to coin a new niche genre, the general public swooped, not so much interested in which category the quartet’s songs fell into but, more importantly, what their first single sounded like. Like Kings Of Leon’s Sex On Fire before it and Gotye’s Somebody That I Used To Know following, Little Lion Man became more than just a song. Their banjoled pop smash became a snapshot of 2009, one that will be entrenched in popular culture forever, like it or loathe it. Since that initial explosion of popularity, success has been unwavering for the band, and now after a three-year wait, Mumford & Sons are ready to deliver their fans a second helping by way of Babel. Ted Dwane is making a cup of coffee in his kitchen at home, a scene that the 28-year-old multiinstrumentalist describes as, “all quite civilised”. He concurs that on the eve of Babel’s release, 22 • INPRESS

the band were feeling a different kind of excitement in comparison to the weeks leading up to the release of their multi-million-selling debut, Sigh No More.

“It is and we definitely feel like we owe them one,” Dwane concedes, referring to their passionate fanbase, a collective that has helped position Mumford & Sons as this generation’s most popular folk band. “We’ve battled with the idea of being a prolific band and releasing a lot of records, and also our love for the road, but the two don’t really go hand in hand. This album came together by writing all the songs between tours. We’ve had a few weeks scattered about the last few years writing in various locations, but generally it’s been soundchecks and dressing rooms, so it’s a great feeling to have it done because it’s been a busy three years since Sigh No More. And some of those big festival slots that we’ve been playing, they’ve got you up there for ninety minutes, so to have twice the material out there is just going to be great to broaden the window of which people look into Mumford & Sons – it’s just a bigger picture for people to see what we can do.”

There’s more to this story

on the iPad

Against every trend in music and bucking every established idea of what should be topping the charts, these four unassuming Brits – Dwane and fellow buttoned-up bandmates Marcus Mumford, Country Winston Marshall and Ben Lovett – have attracted a fanbase without demographic boundaries or national borders. “We’re endlessly surprised,” Dwane admits. “We get absolutely everyone and it’s such a great thing. I remember when we were first setting out in London and we were a bit trendy and you’d get all the kids in their crazy uniforms, and that was really exciting, I thought, ‘Fuckin’ hell, here we go!’ But that’s very fickle isn’t it? That’s a moment – but there’s nothing more real than two or three generations of family coming together to a gig – that’s the dream.” Babel is the sound of the open road. There’s the expected Mumford warmth across the record’s 12 tracks, but it’s driven by romance, drama and restlessness. Not that they’d plans for any such things. “Not a lot of what we do is very intentional to be honest with you. And it’s an amazing thing for any sort of artist to have the acknowledgment of peers and to receive any sort of success, it does give you confidence. But when it comes to our creative process I think it’s the most un-cognitive thing in the world. We work within

our parameters with the instruments that we play and our ability; we all have various roles that kick in when we are writing or recording together. It’s just the band dynamic. It’s four people that write music trying to help each other and look after each other to create the best songs we can.”

Wanting to really capture the immediate feelings that the band were harbouring and mould them into workable songs, they gave themselves a fresh challenge – the ‘Ten-song game’. Played during a farm stint in Somerset, it was a creative process that highlighted Dwane as the murder balladeer of the group. “It’s true,” he laughs. “I shouldn’t be confirming that but yeah, it’s true. It’s there hidden underneath the jovial exterior.” To play this game, the band had to open the doors to their workshop; however, it’s far from the typical sense of the word. “We always refer to the Mumford & Sons workshop, which is a place full of halffinished songs and ideas that haven’t been fully developed, and I think with the ten-song game you just pull all that stuff out and get it done – you clear the workshop. It’s a really fun and healthy thing to do. When you focus on quality it completely shuts out your inner critic, like [you think] ‘Okay, that’s

a really obvious rhyme, but I’ve got to finish this song because I’ve got to write ten tracks in six hours.’ So you just get it all done, and when you turn off your brain a little bit and just write from a more intuitive place it just comes straight out.”

Introduced to Mumford & Sons by a group of writer pals in London, Dwane calls the ten-song game “the only formal exercise we’ve ever done,” and admits it worked well. “The idea is that at the end of the day you play all the stuff to the other people playing the game. It’s not a competition. You end up just hearing lots and lots of other people’s work and I think in every creative venture, whether it’s music or visual art or whatever, if there’s a bit of a scene it spurs you on.” The band had begun writing for the record in earnest before this, mind you. After a solid 18 months crisscrossing the globe, standing in each other’s shadows, they separated in December 2010. A month later, they reconvened in the heart of Tennessee to begin work on what we now know as Babel. “It was exciting,” Dwane begins. “The Nashville sessions were just writing – we borrowed someone’s house and just lived there and wrote all day long, so quite a few of the songs got solidified and finished there. And it’s always

exciting, like, the writing process for us isn’t at all set in stone – there’s no method at all. Someone will bring an idea in and anyone’s suggestion isn’t theirs by the time we finish with it and by the time it becomes a Mumford & Sons song it’s embellished with everyone’s creativity. And that’s a really important thing. It keeps all of us loving the songs forever. The Nashville week was certainly the first of the intentional time that we gave ourselves towards making the next record, but that was last January so a lot happened after that. We kept touring, kept writing and the album was just made between tours.” This stop-start cycle, Dwane says, is typical for Mumford & Sons, and it perhaps points to a reason why their music, especially on Babel, sounds so well-aged and learnt, like it’s being created by old heads with young hearts. “The creative stuff always happens on the road with us when we’re together. I mean, there’s a lot of travelling and a lot of sitting around and that’s where a lot of playing gets done. When we get into the studio we hope that the ideas are pretty well developed and we just work on getting a great sound.” Such an initial burst of success can afford a band a certain creative freedom to extend themselves on their second record. It’s a point of liberation for many artists, but a position that some inevitably abuse, deserting the sound that made them worthy in the first place. Babel avoids such a bump in the road. Mumford & Sons have paved the way for this album by doing what felt natural to them from the outset. Now, they’ve simply kept on paving. This time though, the results are bolder and more robust than ever before. “You always want to better what you’ve done before – you never want to do something that’s not as good,” Dwane emphasises. “On this record, I think we’re expressing ourselves more effectively and in the studio we recorded a lot more live. Originally, we were mapping click tracks and building the songs out like that, and then we realised that it wasn’t right so we just started smashing it out live and now it works a lot better. We just wanted it to be a snapshot of Mumford & Sons in 2012. A lot has happened in the last few years and that honest representation is Babel.” WHO: Mumford & Sons WHAT: Babel (Dew Process/Universal) WHEN & WHERE: Thursday 25 October, Rod Laver Arena

These dates, spliced in between the Mumford lads’ regular touring schedule, are an inspired undertaking, creating a complete experience for punters while injecting a healthy bit of revenue into some small town economies. Not only do they allow the band to connect with fans who otherwise might never have got the chance to witness one of their shows, but it also lets the Brits introduce ears to some new music that they think deserves to be heard on a bigger platform. “I spend a lot of time explaining it to people and very few of them seem to pick up on that being fundamental to the day,” Dwane admits in a rather chuffed manner. “For us, as Mumford & Sons, it’s been such fun, and I think the reason that we’ve always loved touring so much is that we’re very selective about who we tour with. We can’t go out and really deliver a great show unless the support band is someone that we love and gets us really psyched up and ready to play a gig, so that’s always been integral. “As we’ve grown as a band and we play these bigger shows, it’s been a hard thing to try and maintain [that intimacy] – a lot of the bigger venues can be quite cold and vibe-less. The GOTR stopovers are the perfect opportunity to play to 10-15,000 people but very much do it in our own way. We create a whole day – we find the location, make it look nice and the bands are all our favourite bands. We make sure the food is good and the beer is local. We play a lot of festivals now and we used to go to a lot when we were kids and we know what makes a good day, and we’re in a lucky position to try and create that experience, one that we’d enjoy, and it’s been a big hit so far.”



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New EP SHAKING HANDS out Oct 12 on Mercury Records Features TAKE A CARD & PALE RIDER INPRESS • 23

WINDS OF CHANGE Tim Derricourt discusses with Brendan Telford why Lake Air proves that Dappled Cities are shiny happy people.


ydney quintet Dappled Cities have come a long, long way since their 2004 single Peach. Since then they have dropped the ‘Fly’ from their moniker, have travelled the world and can add bona fide models to their CV thanks to their Ben Sherman exploits, all in between crafting some adventurous pop gems over their four albums. They’re now a decade in, and Tim Derricourt admits that it’s been a wild ride. “One-hundred percent, I can testify that it’s been such an enjoyable experience,” Derricourt states. “I don’t really feel any older than when we began, it doesn’t feel like ten years has gone past – I would say five, max! We’ve been enjoying ourselves, and time seems to swing by when that happens. I mean, we’d love to sell a bunch of records and comfortably live off being in a band, but you have to accept that it’s lucky that you can even do it at all, so that’s why you keep doing it.”

After the success of their last record Zounds in 2009, the boys relocated to London, where they did a lot of travelling but also a lot of soul searching. The experience had a profound effect on them, yet in a more indirect way. “It inspired us to make a record that could travel outside our immediate circle,” Derricourt concedes. “We were hanging out and playing with people that were into completely different styles of music, who would hang out with all these weird Europop people in Paris, and you become a little less precious about your music. When you travel you can discard that. I think in the past we’ve been very protective of our own indie style of music previously, and I think that we’ve loosened up a little bit and can expand into other genres and other sounds.” The good times roll on, and on their fourth long-player Lake Air the five-piece sound more in control of their destiny than ever before. There’s been a sonic shift from some of the more eclectic fare that earlier releases were renowned for towards a stronger emphasis on pop aesthetics, something Derricourt admits they worked very hard on. “We’re very much a band that makes mottos for ourselves; ‘We are gonna be this now’, kind of thing,” he states. “Nothing about changing styles, just, ‘How we are gonna make a record? Okay, let’s go’. So we had two transitions – we had done Zounds, which was a very densely-layered, epic thing, and what we wanted to do was go even more epic; do something that was so wild that it would blow your ears if you listened to it with headphones. So tracks like Run With The Wind and The Leopard came out of that, and I think it was a ‘we’ve got a lot to prove’ kind of moment, something severely challenging for the ears. And then as the year went on, we had a nice time overseas and relaxed, and started writing more songs about, ‘What does it mean to be in a band?’, ‘What does it mean to enjoy yourself and be a happy person?’ and a reduced style came out of that. So when we came to make the record, we ended up doing the opposite and tried to take all the layers out of the music so you could really focus on the lyrics and the chords and the rhythm.” The result is an album that revels in overt pop eccentricities, showcasing not only the band’s musical prowess but also their positive mindset.

There’s more to this story on the iPad “Something happened to us; I don’t know what, but we became incredibly happy,” Derricourt laughs. “It’s funny because you start out wanting to make this record that challenges people and fucks them up, that kind of thing, but then you end up saying, ‘That’s not how I’m feeling at the moment,’ so you can’t force yourself to write an album that you think people will like. We pretty much jumped off the cliff and stuck to what we were writing, and I literally put that record on every day right now, so I couldn’t be more in love.” A run on from this is the absence of the guitar interplay between Derricourt and Dave Rennick, something that has been one of the staples of the band regardless of their direction. “It was definitely a purposeful decision,” Derricourt asserts. “For this album, literally the one thing we asked each other was. ‘Is this necessary?’ With the songs, we’ve felt that sometimes we haven’t left enough up to the imagination of the listener, we fill everything in for them with a hundred guitar lines and keyboard lines and all the melodies, and we thought it’d be nice to change something so there was all this space for people to fill in on what the song can do or can be. As long as you have the heart of the song there, that’s all that’s important. It was a challenge for us because we sat in the studio desperately – there’s takes of these songs with guitars noodling all over them, noodling keyboards all through it, and in fact the live show is full that; it’s this intense spectacle of a hundred different melodies, rhythm sections and ideas, but for the record we wanted to let the songs breathe for once.”





As the band prepares to tour Lake Air, it’s at that stage of their career that Dappled Cities are oft-described as “staples of the Sydney music scene”, a concept that seems incongruous to the band’s unique musical focus and the city’s ever-shifting landcsape due to venue closures and exoduses south of the border. But rather than such a tag being a lazy geographical categorisation, Derricourt muses that being a band from Sydney is as much about when you play as it is what you play. “I would say that being called a Sydney band would mean not playing that much, because there aren’t effectively that many places to play, so you put all your creative efforts into one or two shows here and there. Whereas if you are a Melbourne band, or a New York band, you can focus on putting on many different shows in your hometown. So what defines someone as a Sydney band is limiting themselves to a certain number of shows so that there is no risk of repeating themselves. So there’s always a show on somewhere that I know I’ll enjoy, but I think people mourn the loss of place like the Hopetoun or fear the loss of the Annandale and those kind of places, but there are places like The Standard and Oxford Arts Factory that are offering amazing sounding venues, better than ever before, so you just have to go with the times. I think that Sydney is pretty healthy. All I know is that when we decide to play, we want it to be special. We want everyone there to have the best time they are ever going to have, and that’s all you can wish for.” WHO: Dappled Cities


WHAT: Lake Air (Hub/Inertia) WHEN & WHERE: Friday 12 October, Corner Hotel



LEE’S TRIP Released during his “day band” Sonic Youth’s hiatus, Lee Ranaldo’s recent solo album Between The Times And The Tides took even its creator by surprise. Ranaldo talks to Brendan Telford about the creative process and the Kim Gordon and Thurston Moore split that led to Sonic Youth being shelved.


aving been at the forefront of the New York experimental rock movement in the 1980s that would go on to spawn the no-wave genre, in no small part due to the huge crossover success of his long-serving band Sonic Youth, Lee Ranaldo is synonymous with pushing creative boundaries. When not walking the tightrope between mainstream and underground aesthetics with SY alumni Thurston Moore, Kim Gordon and Steve Shelley, Ranaldo has continually walked his own path, delving into dissonance and destruction with the intention of exploring the outer regions of distorted manipulation. However, his latest solo offering, Between The Times And The Tides, contains a suite of songs that in the main stick to conventional pop music conventions, albeit

with his iconic guitar and vocals entrenched front and centre. Such an about turn has confused many pundits, but Ranaldo cannot see why. “In terms of solo output, for me right now this is just as experimental as anything else I’ve done in that regard,” he states. “It is unusual for me to put out an album of all songs, all with me singing. It came about, if not by accident, then not by my design. The songs started to manifest themselves at a time when I wasn’t even thinking about doing an album. I was asked to do an acoustic show in France in 2010, and I just figured I’d do Sonic Youth covers and a few other things, but whilst I was practicing a song popped out called Lost. So when I played that show I opened the show with that song that didn’t even exist two weeks before. That quick movement from nothing being there, to performing a relatively fully formed song, was interesting to me, and all summer long I was spending all my spare time on acoustic guitars, making stuff up, and I had some stuff that felt like it needed recording.” Further analysis of Ranaldo’s career within Sonic Youth adds further credence to Between The Times…’s inevitable creation. Many of the gems that he has penned – Wish Fulfilment, Skip Tracer, Eric’s Trip, just to name a few – are steeped in familiar and accessible musical composition, yet moulded to his uniquely abrasive aesthetics. The difference here is that while the seven-minute opener Waiting For A Dream harbours some of those familiar exploratory tropes, from Off The Wall onwards, Ranaldo’s influences (he cites widely, from Neil Young and Joni Mitchell to Cat Power and Bill Callahan) are more readily recognisable throughout. “[Off The Wall] is a statement of purpose in a way – ‘take me as I am’,” he laughs. “It’s the statement for the whole album. The thing people have to realise, and that I have always realised, is that nothing is going to come close to what Sonic Youth does, which is all down to the complementing of the people. It is only something that the four of us can do together. so if I’m writing something for Sonic Youth I tend to tailor it a bit to what I think the band might want to do with it. So with this stuff, I was pulling out all my acoustic guitars that had sat under my bed for ages, and being able to revel in the sound of these instruments whilst sitting in my living room. There was no push into any one direction. I was as surprised as anybody in terms of what they came out like, especially something as poppy as Off The Wall. It’s all about putting aside any kind of preconceptions of what I might do, and instead embracing what I did do.” This unexpected creative wellspring came from Ranaldo’s love affair with the guitar, the instrument often “speaking” to him, thus the conviction to leave the songs as they came into fruition without further development. Such a process has informed his artistic process from the beginning. “When you work with a lot of different tunings, you make up these tunings, then they indicate the type of song they want to play. Some are good for really dark, minor key settings, whilst something like Hammer Blows has a bluesier edge that comes about from nothing more than the tuning that the guitar was in. Some songs might sparkle with shiny chords. You get into, not a duel so much as a conversation with the guitar, it shows you what to do depending on whatever tuning you’re working on. It’s really exploratory, it’s a mystery to me too, and that is the most fun part about it.” The album came out after Sonic Youth announced their indefinite hiatus due to the breakdown of Moore and Gordon’s relationship, a fact that has led many to believe that Between The Tides… is a reaction to these events; a process of moving on. Quite the contrary – the record was done and dusted before the shock announcement, which even he didn’t see coming. “The album was written and recorded before I even had an inkling [Sonic Youth] would be going on hiatus or whatever,” Ranaldo stresses. “I wrote it all on some downtime from the band, where we were all working on our own stuff. We went through so many periods where we weren’t working as a group, everyone was working on the individual projects, so nothing felt overly different. I was doing stuff with [experimental band] Text Of Light, and this performance piece with my wife [Leah Singer] – so all of us were incredibly surprised at what was going on, because Thurston and Kim always seemed like this extremely stable couple. And this is personal stuff, and it’s hard to deal with in a public setting. But in a way things as they are don’t feel that different. Kim’s in Europe doing shows, Thurston has his hands full with different things. Everyone is still working hard and doing really interesting stuff. Currently we are working on archival stuff too. It’s almost 30 years to the day [since Sonic Youth formed], so in many ways it’s a perfect time to stop and take stock. We’ve had an amazing run, and whether things pan out for us to work together in the future or not, right now anyway, I’m not really fretting about it; none of us are discussing the ‘what-ifs’.” The passion and “wide-eyed wonder” that Ranaldo still holds for the creation of music will continue to drive him towards the horizon and beyond. “When I moved to New York my only aspiration was to become an artist and to work creatively. In music or visual art or poetry, it didn’t matter. So the drive is inherent in a certain way. The whole goal is to push yourself, to continually figure out who you are and what you want to say. The record is like that, to figure out what I would do on my own when all I had was an acoustic guitar and my thoughts. All these little facets define who you are, or indeed shows you who you are. And there is time to reflect on it all, because that’s what keeps it inspirational. For me, this all a natural state of affairs.” WHO: Lee Ranaldo WHAT: Between The Times And The Tides (Matador/Remote Control) WHEN & WHERE: Monday 22 October, Pure Pop; Tuesday 23, Melbourne Festival, ACMI (Text Of Light); Wednesday 24, Melbourne Festival, Hi-Fi









GOLDEN AGE Self-confessed “middle-aged juveniles”, Regurgitator are currently on tour performing Tu-Plang and Unit in full. Founding member Ben Ely tells Kate Kingsmill that even though the records are inferior to the band’s latest album, he understands their appeal, and says there’s still plenty of gas in the Regurgitator tank.


hen Ben Ely is not making music, he’s mostly making art about music, or art about video games. When Inpress tracks him down he is holed up at home creating a series of paintings about ‘70s punk rock for the Semi-Permanent exhibition in Brisbane, so is quite enjoying the reprieve of media interviews for Regurgitator’s upcoming tour. “This year I’ve been staying home and working alone a lot, painting for the show, so it’s kind of nice having a day where I can actually talk to some people!” says the super-amiable Ely. The exhibition involves a group of visual artists making art with an audio component, with a DJ cutting up the audio. “I’m doing a late-‘70s

punk rock kind of thing with a bunch of ‘70s punk bands with kind of punk paintings,” says Ely, whose recent artmaking soundtrack, despite his love of punk rock, has been mostly cheesy ’80s vinyl, mostly “because it’s cheap!” Ely’s other bands are more punk in sound than Regurgitator, but in essence, Regurgitator have always been a punk band, in attitude if not sonically. “I feel like our band, Quan [Yeomans] and I are kind of like these middle-aged juveniles,” laughs Ely, truly the nicest man in rock. “It’s like we’re in grade one, making up stupid songs. We can’t believe that people still come and see us play and stuff. It’s pretty nice. We both feel very lucky.” Over the 19 years the band have been together (Peter Kostic is the current drummer), they’ve constantly challenged themselves and their audience with stylistic changes on every album, and somehow always reconciled irony and satire with a strong sense of conviction. Ely and Yeomans, both now in their (early) 40s, find themselves making music in a band that they’ve been in almost half their lives. With characteristic humour, the group’s latest promo pictures show them made up to look like old, wrinkled men. How much is age an issue? Surely every successful rock musician in their 40s has wondered if they’re the right age for the job? “Quan and I had this conversation; we played at this festival with Hilltop Hoods and The Living End and Cat Empire and Quan’s like, ‘Do you really think we should keep playing in this band?’ I just said, ‘Well, as long as you feel like you’ve got the energy for it and you can do it with a really strong sense of conviction, that you’re going to do it and really believe in it and really love it and have the physical energy to be able to do it, I think it’s fine’.” A Nomeansno gig proved to a young Ben Ely that age doesn’t matter in music. “They were like old guys and they just rocked the hell out and they were so amazing. It doesn’t really matter I guess how old you are, it’s how much energy, physical energy you have for it. I think if you do have the energy and spirit for it I think it‘s completely fine. But obviously if you’re kind of tired and you don’t get on with the people in the band and you’re not really into the music, that’s probably a bit boring.“ Regurgitator have never been boring. Their debut record Tu-Plang earned the band a significant following with its exciting mash-up of styles, but it was Unit that brought them mainstream success. The 1997 album, which featured the singles Black Bugs, Polyester Girl and Everyday Formula, won the 1998 ARIA Award for Best Album, and is the record Yeomans still considers the band’s best work. It was recently voted the tenth best Australian album of all time on the triple j Hottest 100 Australian Album poll. Tu-Plang came in at number 44. That goes some way to explaining the band’s next move. Regurgitator have joined the classic-album-tour trend, touring the country playing Tu-Plang and Unit back to back. “Humans are very nostalgic, aren’t they?” says Ely by way of explanation. “It’s funny doing it because I feel like our new album [Super Happy Fun Times Friends] is a lot better than those albums. I wouldn’t say that about every album we’ve done, but I think this new album we’ve done is my favourite. So in some ways it kind of feels a bit silly to do it but in some ways it’s kind of fun too I guess.” This nostalgia for classic records is a sign of these times in which albums are becoming extinct. Acknowledging that most people listen to individual tracks digitally rather than full albums these days, Yeomans has said that physical albums are “kind of a dead concept now” and that Regurgitator are likely to only release digitally from now on. The band first did the Unit/Tu-Plang show for last year’s Falls Festival. “Then we had all these other people in other states going, ‘Can you please do it here’, and we felt obligated to them to do shows around the country,” says Ely. The band also had to re-learn how to play songs they hadn’t performed in years. “It was kind of fun doing it from start to finish, it felt a little bit more performance-y than a rock show.” In characteristic Regurgitator style, the band will be “putting together a bit of a show for it,” says Ely, which will include costume changes for each album and projections for each song. In support will be Chinese band Hedghog and Indonesian act Senyawa. “We usually like to get interesting support bands and usually support bands that aren’t standard rock bands tend to break up the night and make it a little bit more easy on the ears and a little bit more interesting,” says Ely. Hedghog are a guitar punk-pop band from Beijing and Senyawa are “a really amazing Indonesian avant-garde folk duo sort of thing. They’re kind of like Indonesian folk music crossed with The Boredoms or John Zorn or something like that. I saw them play at the Overground festival last year and was blown away and I just thought that the other guys in our band would be really into it too so we asked them to come out. “

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The lifestyle of a touring musician contrasts firmly with that of a visual artist, and like most musicians Ely tends to experience the post-tour slump. “I think lots of musicians have talked about it, every time a musician comes home from being on tour… it’s so exciting and there’s a lot of adrenalin kicking around your system and then you get home and it’s a bit of a crash.” WHO: Regurgitator WHEN & WHERE: Thursday 11 October and Friday 12, Hi-Fi; Saturday 8 December, Meredith Music Festival, Meredith Supernatural Amphitheatre

ALL ENCOMPASSING Steve Aoki is Los Angeles’ most glamourous superstar DJ. But as Cyclone discovers, the Dim Mak Records boss is less about playing the “Hipster King of LA”, as Mixmag called him, than embracing dance music’s new egalitarianism.


n January Steve Aoki, broadly associated with electro house, finally presented his debut album, Wonderland, a composite of EDM, urban and rock. He’s been touring ever since – last stop Australia. “I always judge how the album is doing by crowd reaction from all the different shows. Whenever you see kids lip-syncing or singing along with the song, it’s probably one of the best feelings in the world.” Wonderland has an epic guest list, including Weezer frontman Rivers Cuomo, Wynter Gordon,, Lil Jon, Chiddy Bang, LMFAO (R.I.P), Nervo, Lovefoxxx of CSS, KiD CuDi, Blink-182 drummer Travis Barker, and ex-Exploited guitarist Big John Duncan. As Aoki describes it, the album was completed by way of a huge studio crawl. “I think me being in LA made it really easy and convenient for people to work with.”, with whom Aoki cut 2010’s crossover club joint I’m In The House, works nearby. Barker’s studio is 10 minutes away, and Cuomo’s 20. Then Aoki has his own set-up – and here Lil Jon, KiD CuDi and Chiddy Bang popped by. “Basically, my studio is the den of my house that I’ve outfitted, or retrofitted, to a studio spec to my liking.” The Hollywood DJ originally known as Kid Millionaire was born in Miami to the late Hiroaki “Rocky” Aoki, a Japanese wrestler who founded the US Benihana restaurant chain, and his first wife, Chizuru Kobayashi. Steve’s parents separated when Kobayashi discovered that Rocky not only had a mistress, but also a child with her. Steve, growing up in California, had limited contact with his father. In later years Rocky battled his children (though not Steve) for legal control of the family’s assets.

there is to be more inviting and find more ways to bring women into that world, so it’s not so daunting of a task.” Regardless, Aoki points out, women dominate dance in a way men never can: as vocalists. His Aussie DJ friends Nervo have used that ability, to compose melodic “toplines”, to their advantage, covering different bases. Aoki has enjoyed some of his “most memorable shows” in Australia, first visiting around 2005. This time he’s excited about maximising the benefits of playing indoor venues. “It’s always about the crowd to me.” WHO: Steve Aoki WHEN & WHERE: Saturday 13 October, Shed 4, Docklands; unday 10 March, Future Music Festival, Flemington Racecourse

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Aoki attended the University Of California, Santa Barbara, majoring in Sociology and Women’s Studies (he was one of two males in his final year). “It’s kinda an odd thing to do – it questions your own sexuality, it questions a lot of ‘man-ness’ in you or masculinity,” he says of his interest in feminism. “But I have no problem with what society or people think of me. [If] they don’t think I’m man enough, because I’m a Women’s Studies graduate, they can go fuck themselves.” Momentarily Aoki sounds almost terse. In fact, he has a sly sense of humour. When recently the DJ’s extravagant tour rider went viral, he blogged a funny commentary: “Two bottles of Cristal is definitely a ballin’ move. Do I need it? No, but if I can get it… sweet!” It was as a college student that Aoki, a hardcore punk, threw himself into music. He hosted gigs in his digs. Aoki was in the band This Machine Kills. He conceived Dim Mak, its name (the martial arts ‘death touch’) a twisted homage to Bruce Lee, in 1996. Meaningfully, he self-funded it; Dad not involved. Aoki issued music by The Kills, Gossip and Bloc Party. But, like Kele Okereke, he soon gravitated towards electro, emerging as a key proponent of indie-dance. Dim Mak subsequently signed MSTRKRFT. Aoki began to produce, initially with Blake Miller. He’d go on to remix Michael Jackson, Duran Duran and Drake, not to mention Lady GaGa (along with every other DJ). And he’s collaborated on bangers with, among others, Armand van Helden, Laidback Luke (the Lil Jon-featuring Turbulence), and Afrojack (Olympian Michael Phelps has cited their No Beef as a motivational record). In 2008 Aoki offered Pillowface And His Airplane Chronicles – more mixtape than mix-CD. Though he deserted academia, Aoki still views DJ culture in sociological terms. Now in “a position of power”, he strives to be “fair”. “In a way, I got into my school, which is a really great school, due to affirmative action – they needed more people of colour in that school. So I really take that into light with everything I’m part of. At least, I try to.” In 2012 EDM is the sound of America, Aoki the country’s top-grossing DJ, according to Pollstar. “I think that the reason why it has been bubbling with so much energy and passion and vigour is from all the youth – this is the youth’s generation’s choice of music.” What appeared to be a reboot of ‘90s electronica is more grassroots. “It’s a whole lifestyle – it’s not just the music, it’s a culture.” Aoki did much to stimulate LA’s underground, eventually becoming resident (and music director) at Wynn Resorts’ Surrender Nightclub in Las Vegas. While oldtimers mock the ‘EDM’ tag, Aoki sees it positively as an “all-encompassing” concept. There’s no tribalism in the current scene – it’s “a more harmonious environment”. “Before trance artists would never play a dubstep song, and a dubstep artist would never play an electro record.” Dim Mak secured the psy-trance duo Infected Mushroom for this year’s dubstep-inspired LP Army Of Mushrooms. Aoki himself has teamed up with the trance Tiësto (Tornado), strayed into dubstep on Wonderland, and dabbled in moombahton on the new single Beat Down with Iggy Azalea (for July’s Wonderland Remixed). “I’m influenced by all these different genres,” he says. “As an artist, and as a producer, I’m really just taking what I feel is the best from every genre and using that as my mood board to create new music.” Aoki has expressed disillusionment in (indie) rock – and, ironically, even stadium heroes Muse are going dubstep. The DJ suggests that rock acts learn from EDM, appealing to potentially passionate young audiences via social media. After all, (major) labels no longer hold sway with marketing. “Music is completely decentralised.” As a label mogul, Aoki believes in “strategically” giving music away. “Before people were afraid of leaking music and how it’s gonna affect your album sales, how it’s gonna affect your career… Some indie artists I remember, there’s one in particular, didn’t release an album because it got leaked early! Now it’s like you wanna leak your album, you want people to circulate that music… I always say that the most important thing is: circulate the music first and then we can sell music later.”

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Aoki is inherently entrepreneurial. He’s long had a Dim Mak streetwear (well, merch) range, but he has spoken of launching a fully-fledged fashion label, DASA, with his half-sister Devon, the supermodel and Sin City actor. “We’re still figuring out what we’re gonna do with this line.” Aoki is mates with Australia’s Ksubi crew and joined them in a restaurant venture in LA (Dad would be proud).

New album Babel out now

However, as “all-encompassing” as EDM is, a gender imbalance exists in the DJ ranks. The Women’s Studies grad has his own theory about that. The impetus is on DJs to produce, he says, yet the studio domain is populated by male geeks. “I think that the issue



Songs Of Leonard Cohen. I was 12 years old. My mum was giving me a ride somewhere and the tape was playing in her car. So Long, Marianne came on and something in his voice and the melody just lit a flame in my heart. Without really hearing the lyrics immediately or knowing who it was or what he was on about, there was a kind of beauty and truth that spoke to me. It was like it brought to life a part of my brain I had never used before. So I went out and bought the album.


Grizzly Bear’s new record Shields. I’m starting to really get into it. I think they’re just about the best band going around now. I’ve also been listening to Beck’s Sea Change again. It’s a great album to listen to on the road, so atmospheric and overwhelmingly moving. It has this incredible way of being really complex and detailed whilst coming across perfectly simple and understated. It has a rare kind of beauty.


Kick by INXS. On the right night I can dance and sing along to that album from start to finish. It’s happened a couple of times. It’s a great party album but also an album of great songs. That’s hard to find.

MY FAVOURITE COMEDOWN ALBUM Nick Drake – Pink Moon. It’s mellow and dark, with the perfect frequencies and tempos.


The Bangles – Everything. When I was a really young kid I was on some kind of school excursion and these girls, a few years older than me, were singing Eternal Flame. It was this magical moment, I was fascinated and for a moment totally in love with those girls. It was my first experience with love. Anyway, now when I listen to The Bangles it’s like a direct worm hole to the past, it transports me straight back there and I feel like that little kid again. Music is amazing like that – it’s like a time machine.


Faith No More – Festival Hall. I was too young to be allowed into the general admission or the mosh pit. But I was desperate to get in there. I got caught


Husky – Husky Gawenda, second from left jumping the fence on my first attempt, by a security guard who flung me back over. But the second time I slipped past them and made a run for the mosh pit and disappeared inside. The next hour and a half was like a chaotic, wild dream, one of the best moments of my life. I was a small kid and I remember being flung around like a rag doll, completely overcome by the power of the music and the performance.

MY BIGGEST NON-MUSICAL INFLUENCES The authors and poets I read growing up. People like John Steinbeck, F Scott Fitzgerald, William Faulkner, Henry Miller, Jack Kerouac, Dylan Thomas, Wordsworth, Donne, Blake. People I’ve met and known. There’s one in particular, my first love.


My big sister. When I was a kid, she was the coolest thing ever. And she had all these beautiful friends. And she went to Guns N’ Roses concerts when I wasn’t allowed to yet. And she smoked cigarettes

out the bathroom window and let me take drags. She taught me how to sing and was the first person to tell me I had a good voice and encourage me to sing. I still think she’s one of the coolest people around.

used to hang out in San Fran. It was great, but of course they’re gone now and what remains is tourists like me who wish they were there.


I’d be a wildlife photographer. I’ve always had a mild obsession with wildlife documentaries. My grandmother used to love them and we used to watch them together. This planet is teeming with the most fascinating and diverse creatures. And I always feel like I learn something about myself, even when I’m watching two elephant seals trying to kill each other or penguins singing to their mates after months of separation. David Attenborough is my hero.

I didn’t have many celebrity crushes. I was more interested in girls I knew. I did have an intense but short-lived crush on Jennifer Love Hewitt when I first saw her on Party Of Five. I had a man crush on Paul Newman for a while. I went and rented every movie he ever made – Cool Hand Luke, Cat On A Hot Tin Roof, Butch Cassidy & The Sundance Kid, etc. I also had the hots for Sandra Bullock back in the day.


San Francisco in the ‘60s. I’d hang out with the beatniks. Poetry, acid, free love, it was a heady time. I visited the book stores and coffee shops where characters like Kerouac and Ginsberg


Interview by Brendan Hitchens WHO: Husky WHEN & WHERE: Thursday 11 October, Corner Hotel

SETTING STANDARDS Seminal instrumentalists Tortoise continue to defy expectations and buck trends. Brendan Telford speaks to drummer John McEntire about their continuing legacy.


ortoise often seems like an incompatible name for the Chicago outfit who are now entering their third decade together. The five-piece, comprising of Jeff McEntire, Jeff Parker, Dan Bitney, John Herndon and Doug McCombs, have embraced their free-jazz leanings to create serpentine melodic jams that defy definition. Since bringing out their last record, Beacons Of Ancestorship, back in 2009, they’ve been far from idle, busy with various collaborations including one with Bonnie ‘Prince’ Billy and another with Thurston Moore and Brian LeBarton covering Yanni’s Live At The Acropolis for Beck’s online Record Club project; scoring Lovely Molly, a horror film by Eduardo Sanchez, who’s most renowned for The Blair Witch Project; and incessant global touring. Even in their “downtime” the various members have focused on other projects – McEntire’s band The Sea & Cake have just released their new record, Runner – solo albums, production duties and contributions to albums by Bright Eyes, Warm Ghost and others. Yet it hasn’t stopped there, with the 20th anniversary of hugely influential Chicago label Thrill Jockey seeing every Tortoise record garnering reissues. It continues to be a busy time for the band, who have always stayed true to their mission statement – if indeed there is one.

state where we play together, tour together, all strive for the same goals that we did twenty years ago. We would love to do more film work; it’s something that seems made for our sensibilities. We’d like to do more collaborations too; to work with other artists is proving to be another drive. And then of course we want to keep on putting out solid records as often as we can. Unfortunately, due to doing a lot of touring over the last three, four years, we haven’t paid any particular efforts towards the new album. However we are hoping that this fall or winter we can head back in – everyone’s schedule is finally clear.” WHO: Tortoise WHEN & WHERE: Saturday 13 October, The Corner

“Man, I don’t even know if I can articulate that, it’s never been established,” McEntire laughs. “(Playing together) is one of the easiest things, all of those things just flow together in a weird way. Even when the situation itself may be very different (for us), it’s still merely making some small adjustments to your perspective. It’s just something that we instinctively know. Every time we get together to work on something, it’s pretty clear, and this goes back to the fact that we have known each other so long that when the five of us get together there is this very specific aesthetic that happens where we are working as one mind. There are no big discussions on the aesthetics or the merits of something; it either works or it doesn’t, and when it doesn’t you can just let it go. I wouldn’t be able to articulate it into specific points, other than to say that it is what it is.” When their second album, Millions Now Living Will Never Die, hit the shelves in 1996, it was met with the kind of critical and commercial credence that was incongruous to the time. Since then they’ve embraced their jazz roots (TNT in 1998), the avantgarde (2001’s Standards) and ambient frameworks (2004’s It’s All Around You) whilst continuing to craft their own niche. Their fanbase is as ardent as ever, and such longevity has proven to be just as much a lightning-in-a-bottle happenstance as it is a dedicated endeavour to keep everything moving forward. “I’m not sure if there has been any one reason why we’ve focused on touring, because I think any band sees themselves shift in direction from album production to touring as far as a revenue model goes. And we are totally happy to do it. It all has to do with our personalities. We are all pretty mellow dudes, there aren’t any ego issues at all, or ever have been. The other thing is I think we are all relentlessly interested in doing things that challenge and excite us musically; we definitely aren’t trying to make another version of Millions Now Living… again and again and again. The issues that generally break up bands are not at all present in our scenario.” One of those challenges has been the soundtrack for Lovely Molly, an experience that McEntire admits has been a burning desire for quite some time, although the idea of creating something for someone else’s vision was a foreign concept. “We were actually approached directly by the director as well as the producers about another project back in 2004 that never materialised,” he explains. “Yet it was clear that they really wanted to work with us, and when this project was floated we saw it as a really good opportunity. We had been talking about this kind of thing ever since we started the band, yet the offers haven’t been exactly rolling in. But we finally got this, and it was pretty… I don’t want to say easy, but the ability to communicate their ideas to us was great, and they were really happy with the stuff we were submitting, so it was easy to move forward on this. They had specific ideas on what each scene needed; they had families of sounds and themes that they wanted to compact into sound bites, so we had a pretty detailed road map and we were left to fill in the blanks.” New material of any kind is likely to excite many, especially as the band’s live show has not diminished in intensity and passion one iota over the past two decades. But the anniversary of Tortoise’s self-titled debut record has brought along with it a time for introspection and reflection, especially when looking at the trajectory the band has travelled over the years. Being an instrumental ensemble is always a decision that can steer people away, a notion that McEntire understands even though it irks him. “I would never say instrumental music is limiting, but it certainly is challenging, for the performer and the listener. For us it can be difficult to come up with something from a creative standpoint, because the few projects we have done with vocalists has always been like, ‘Oh my God, this is so easy!’ You can get away with murder with what your backing track is doing and in terms of simplicity or repetition. Yet if you are instrumental-concerned and you actually have to create some interest that would fill the void of a vocal track, it is super challenging. It’s one of the reasons it takes so long for us to make records. Yet I think it is totally worth it for all concerned.” Nevertheless while instrumental music may seem hemmed in by such boundaries, it also means that the other shackles that anchor more traditional songwriting can be shrugged off and discarded, and that is where the majesty of Tortoise really resides. “It’s super energising,” McEntire admits. “Once we get to a point where we can see how something is going to materialise, it offers up so many possibilities along the way. So now we live in a blessed


PROPHETIC ISOLATION Portland instrumental giants Grails have created an idiosyncratic suite of sounds that could fit the back catalogue of several bands. Emil Amos describes to Brendan Telford how living on the periphery allows for absolute creative freedom.


he anomaly of Portland’s Grails doesn’t stand with the fact that there is no singer; it’s that they can communicate a miasma of ideas and emotions without lyrical signposting. Rather than focus on tried and tested formulas inherent within instrumental rock, the quartet of Alex John Hall, Will Slater, Zak Riles and Emil Amos incorporate all of their influences – ranging European soundtracks, Eastern folk, and an almost spiritual inhabitation within the fluidity of rhythm – to create something sinuous and indefinable, thus the tangential shifts in various releases. Amos admits that his other musical experiences – he also drums for hugely influential doom-metal band Om – don’t really prepare him for the Grails aesthetic; it’s very much its own entity. “The exchange of art is perpetually off balance in a sense because the concert

is free of any bondage [for the audience] – it’s the end of their day, they’ve finished work, they have a beer in their hand and they are probably trying to meet a girl,” he explains. “They’re at the show and they’re looking up at the stage, so all the pressure is on us. The audience is free to let the world melt away so this idea, this picture of the art that they love, is their focus. “We aren’t really allowed to do that; we’re at work. So as we’re playing we can’t enjoy the chorus of a song the way they can, because I’m thinking that I don’t wanna drop my stick, one of my cymbals has fallen down, and I have to keep this whole ship steady. So it’s the audience that’s experiencing the pleasure areas of their brain, but mine isn’t. It’s odd to think of the amount of effort that goes into creating this stuff, but I’m not experiencing pleasure as I’m creating it. I’m doing the hard work, all of the time.” Last year’s album release Deep Politics saw their musical focus shift to encompass ‘70s Italian Giallo compositions alongside the sweeping suggestiveness of their French contemporaries, in the process creating a brooding classic that nonetheless had critics and fans alike reaching for new genre staples, spaghetti post-rock being one of the most touted. Amos is wary of the double-edged sword that is taking umbrage over labels that don’t necessarily fit. “Looking back at [Deep Politics] it was more of a record collector’s fantasy album,” he continues, “the truest crystallisation of all the music that we were all listening to at that very point. But then again I think that is what we do, which makes Grails very different from any band I’ve ever personally known too. It’s a template where you are able to recycle anything you’ve heard, anywhere, from any part of the world, almost immediately. With vocal-based music you couldn’t do that anywhere near as fast, to hybridise as much. But then again that’s our job. I don’t mean that in a compulsory slavery kind of way either. If you are a DJ your job is to go dig for records, so you’re crawling out in different directions at all times, through all eras and cultural plains for something that changes your perspective that gives you something unique to your set, and Grails operates in the same way. Our occupation is to inadvertently understand the last century of recorded music, so the songs come 50% from direct inspiration from what people have accomplished, and 50% is just raw melodies that come out of us. Where those two things meet is what dictates our sound.” This impetus on calling Grails a profession may sound like the musical process is tiresome and gruelling, but it’s the working mindset that invariably ensures that Grails remains the exciting, organic and fruitful endeavour that it is. “I have four different bands, so music has gone beyond a ritualistic hobby for me; it’s become a lifestyle,” Amos states. “So all my pleasure, my pain, even my tasks of the day to day, it’s all derived from music. This may sound like the kind of lecture that a monk would give, but the nature of life is not fireworks and successes, it’s something that is constantly plagued with problems of trying to find a way to enjoy this thing that’s inherently flawed and mortal. “It’s also a big part of my personality to remind people of the negative side of things,” he chuckles. “I don’t relate to music being made from the perspective of the winner. I’ve never been someone who has felt truly acknowledged or absorbed by a larger audience; we’ve always been complete cult entities that the larger world doesn’t even know about, so we exist in our own isolation. We don’t have that connection with other musicians or the crowd. It can get a bit strained because you become so far removed from each other. Effectively being a character in this larger random script isn’t really satisfying; you aren’t getting any sense of bringing something or doing something important, because you never see how it may have touched their lives. “And every once in a while something special will happen where you kinda get it for a second, but then it goes away immediately and then you spend most of your time in a basement or in your studio, away from the sunlight, and you don’t live in any state of glory. The second you finish on a record, you start on another one. The life of an artist is not filled with much soft ground of congratulations. I do what I do because I love it, and hopefully others will love it too – but often that’s as far as it goes.” Such isolation is justified when looking at the finite ways people can come across Grails, either through other artists on their Temporary Residence label, an allegiance to instrumental rock, and most recently fans of Om. It’s evident to the Grails collective that they’ll always be a peripheral band, which reaps its own rewards for members and fans alike. “The benefits to being a lonely, isolated artist are few, but they’re worth it,” Amos enthuses. “You get much more freedom, you can really flex your muscles. If you feel like no one’s paying attention to you, you can really do whatever you want to do. Larger artists at times seem constrained by having the guise of the entertainer; even when you’re touring, you’re surrounded by people that are focused on how many people are coming in, and you lose some of the artistry when you’re forced to talk to people who have no idea where you’re coming from. Sometimes it’s necessary, but I often need to act as a preservationist. People get swept up in these mainstream ideals to the point where the underground scene today is a bit of a graveyard to what it used to be in the ‘80s. That level of mystique has been stripped away from many bands, some willingly so. That will never be us.” WHO: Grails WHEN & WHERE: Saturday 13 October, Corner Hotel; Thursday 18, Northcote Social Club



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EVERYBODY WANTS SOMETHING Tim Steward from Brisbane’s We All Want To tells Chris Yates that while the new album may not have turned out exactly how he expected it to from the beginning, the end results are more than he could have imagined.

Melbourne’s Dallas Frasca chats with Sam Hobson about hard work and her new album.


ne afternoon, the band said, ‘What if we were to really make this count, and the pot of gold at the end of the rainbow will be that once we’ve finished the album, we’ll fly to New York and record the whole thing live?’” That’s Melbourne singer Dallas Frasca’s summary of why her band upped and off’d to New York for her second album Sound Painter: to record an album in just six days. In total, the group had been working on the record for two years, and before leaving for New York, they spent countless weeks in permanent, intensive rehearsal. In retrospect, the decision is one that appears as much like a reward for all their hard work, as it does a kind of purging. “Yeah, before we went to New York, we spent every single night in a recording studio,” Frasca explains. “We were like, ‘We’re flying the fuck to New York – the songs had better be good, man!” In the six day span it took to record Sound Painter, Frasca recalls that its sound shifted from what the band had slavishly rehearsed, changing with its new environment. But this organic change was something the band expected, even embraced. It all became part of the mythos of the album’s creation, and formed the artefact of the album in its finished state. “We’re all pretty self-determined, and passionate,” she explains, “so we really wanted to get it right first time, you know?” But, of course, that never happens. It took the band many, many takes. “We had this big sign on the wall that my drummer painted before we went into the studio that said, ‘It Is What It Is,’” Frasca intones rather seriously. “It may not have turned out exactly how we wanted it at that particular moment,” – and here she’s talking in more a matter of degrees – “but oh my god, we listen to it now, and we’re very proud with what we achieved. It’s just so far from what we were musically capable of, say two years ago.”


explains, they’ve “always been quite a strong live band,” so this was sort of a natural fit. “I had this moment at the beginning of the songwriting of the album where my guitarist was sitting across from me on the couch,” the singer recalls, explaining how she was struck by what a ‘gifted musician’ the man was. “I could just hear him constantly [while we were] playing. I felt like, in that [moment], that we were only offering maybe ten percent of what we were musically capable of. So the idea of the album was to capture everybody’s strength in every single moment in every single song. That was our job.” As to where that expansion leaves their music now, Fransca wistfully assures that the band, despite “firing on all cylinders” still has many new places to go. “It’s like an apprenticeship that goes for a number of years,” she smiles. “I feel like we’ve done our apprenticeship together as songwriters, and now we’ve begun writing our first real album. “There’s so much passion and love, and we all have the same vision, which is so hard to find, even in a friendship – in anything, you know? To have that in a band… I feel very blessed. Here’s this big thing that we’ve achieved together, and I’ve written all the stuff I want to write. I think, when you go through crazy kind’ve moments like this, it can define the kind’ve person you are.” WHO: Dallas Frasca WHAT: Sound Painter (Spank Betty Records/MGM) WHEN & WHERE: Friday 12 October, Prince Bandroom; Friday 2 November and Saturday 3, Wangaratta Jazz Festival

The challenge of recording something to sound live is quite a difficult thing, too. But, as Frasca

However it’s not like the quartet from Hackney, London just one day decided to make a track and there it was; Piers Agget, Kesi Dryden, Amir Amor and DJ Locksmith have been at it for a couple of years now, although share a much longer history. “Yeah it has been a really big year, there has been a few pretty difficult times but the good times definitely outweigh them,” begins Locksmith on another busy day of interviewing. “I mean directly we’ve grown up with each other since we were very, very young, so we kinda know each other inside out, we know our weaknesses we know our strengths.” Locksmith recognises the opportunities Feel The Love has now given the group, and is excited at the prospect of taking their sound outside of London. “The international stage is something we have always wanted to take on. Now we’ve got an opportunity…” One you sense they’re not going to pass up on. The duo’s second release in Australia, Spoons, took a markedly different turn from the anthemic first single, and while it’s obviously not been embraced with mass sing-alongs on the dancefloor, its chilled vibes have been no-less appreciated. “When we get to the studio we never ever sit down and say we need to make a drum’n’bass beat today or we need to come up with a house beat today. We come from a sort of eclectic listening music background. “For example four members of us, we all listen to different types of music so you got myself who listens to old school garage, you got Kesi who is into hip hop, Amir was into hip hop and R&B, Piers used to love his jungle… Mix all those together once you get to the studio we come up with different vibes, different flavours, that’s pretty much how we go about it.” Their latest single, Not Giving 34 • INPRESS

While it would be great to hear a stripped-down version of We All Want To, it’s a blessing that Mudge’s big vision for production was given an opportunity to shape the record. It’s not surprising he knew what to do, having played in Steward’s landmark band Screamfeeder as a second guitarist for a period when the band was a four-piece, as well as playing in more than a handful of other Brisbane bands. Also on his list of recent achievements is recording Steward’s partner from Screamfeeder Kellie Lloyd’s highly acclaimed solo album.

Over a seven-minute duration, Ramp Up The Bleeding goes through multiple transformations, with a dense layering of production that sets the tone for the whole record. “That was the last song we wrote before we recorded and we hadn’t actually played it before we recorded it,” he says after a long pause, trying to recollect why he made the unconventional decision to open the record with such a long track. “I guess I’ve often done that in the past, just put the very newest thing at the front because I’m sort of just that excited by it. I put it all together on the computer and I was just looping stuff up and it just got longer and longer until it was about seven minutes long. I’d demoed it at home, and brought it into the guys and we decided to put it on the album. I’d never even played it before, because of the way I just sort of patched it together on the computer, so we all had to learn how to play it together. I’d also written in a couple of different tunings so I had to figure that out as well. I said to the guys that I wanted to put it on the record but it either had to go first or last, and everyone agreed with it going first so we just decided to run with it.” Steward has dabbled in quite a few projects outside of Screamfeeder over the course of the band, so what is it that keeps him returning to bands? “Well playing solo live is quite difficult for me,” he says candidly. “I tend to be a performer who makes a lot of mistakes and I forget my own lyrics and shit like that. If you’re playing with a band you can kind of cover it up really well,” he laughs. “I try to anyway.” WHO: We All Want To WHAT: Come Up Invisible (Plus One/MGM) WHEN & WHERE: Friday 12 October, Bridge Hotel, Castlemaine; Saturday 13 (3pm), Pure Pop Records; Saturday 13, Yah Yah’s


Ahead of their DJ set at Brown Alley and just-announced slot at next year’s Future Music Festival, Troy Mutton chats to DJ Locksmith from UK superstars Rudimental about just how massive the past year has been.


“The thing is, when we recorded and especially when we mixed I was always wanting to keep it sparse,” Steward says of his early intentions. “With the [2010 self-titled debut] We All Want To album I really wanted to record an album that we could represent live that really sounded honest and like a band. And it kinda worked to a little extent, but with the new one again I really wanted to take that minimal route in mixing. Darek [Mudge] who recorded and mixed it – he was very much our production guy and we kind of had a couple of months [at his studio]. I really wanted to reference some lo-fi stuff and he kept saying, ‘Nah man, it’s got to be better, it’s got to be better.’ It took us a while through the mixing of the album to really get each other and to move forward together. Once I got what he was doing, I agreed and realised he was right actually.”

The opening track on Come Up Invisible is like a highlyconcentrated account of what to expect from the record.


ou’d be hard-pressed to find a bigger crossover hit in 2012 than Rudimental’s good time drum’n’bass banger Feel The Love, featuring the vocals of a Cee Lo Green-esque John Newman. It’s been smashed on all kinds of airwaves, debuting at #1 in the UK and #3 here, and before you know it they’re a household name.

hen the time came to record the second album for We All Want To, Steward had in mind a raw and stripped-back affair. Anyone who’s heard Come Up Invisible can attest to the fact that this certainly did not happen! Instead, the record is a deliberate and carefully thought out collection with nods to Steward’s past, certainly, but also showcasing a mix of influences from different members of the band, plus an outside contributor whose impact on the album is obvious and thorough.

Everclear are returning to Australia for the first time in 14 years to right some long-standing wrongs. Frontman Art Alexakis tells Steve Bell about pain, redemption and feeding the emotional hunger.

In – again featuring Newman and also Alex Clare - has ramped it back up with a chorus line and big brass section. Of course this sharp increase in attention has led to them needing to get their shit together when it comes to Rudimental live – almost a necessity in the current age of dance music festivals. It’s had a few run throughs, but remains a work in progress. “We are definitely thinking about our live shows. We actually just did a live show in Hackney in East London where we’re actually from, so that was something special. So we are looking to build off that, building some more tracks into our live show so we can show everyone that,” he tells. “On a programming level we will be using Ableton and then working through – Kesi and Piers on keyboard and Amir on bass. We was thinking of implementing a lot of brass into it but don’t know quite how it’s going to happen and obviously we don’t have a finished product yet. If we was going to go off the back of our last live performance, we had three brass players there, we had trumpet, saxophone and trombone so that was pretty cool.” Until they sort that out for Future Music Festival next year, there’s their current DJ tour of Australia, and then finalising what will be their debut album. “Yeah, the album is coming to completion, just getting into the synching of the tracks on there so I think it’s going to be really special. I’m really excited about it. As you’ve witnessed with Spoons and Feel The Love, two completely different genres, it’s going to be like that across the board of the album, it’s going to be something for everyone we hope. The vibe of it is pretty cool.” WHO: Rudimental WHEN & WHERE: Friday 12 October, Brown Alley; Sunday 10 March 2013, Future Music Festival, Flemington Racecourse


verclear’s inaugural tour to Australia back in 1998 should have been a triumph, but was instead an unmitigated disaster. At the tail end of a hectic world tour promoting their 1997 third album So Much For The Afterglow – and only a couple of years since their 1995 sophomore effort Sparkle And Fade had become a huge hit in Australia on the back of ubiquitous radio singles Heroin Girl and Santa Monica – the Portland trio’s Australian shows were plagued with bad luck from the outset: frontman Art Alexakis was hit by a shoe in Wollongong and cracked some teeth, a ‘fan’ disrupted the Melbourne show by letting off explosives onstage, gear was stolen at the Gold Coast and eventually – amid much in-fighting and acrimony – the tour was cancelled so that the band could limp back home to lick their wounds and recuperate. The Everclear returning to Australia this month for the first time since that tumultuous experience are a new outfit – only Alexakis remains, former bassist Craig Montoya and drummer Greg Eklund having since been replaced by a seemingly fluid roster of musicians – and should be unsullied by the prior experience. “It was crazy, we were touring so much, and there were certain members of the band drinking and drugging too much, and just the travel caught up with us as well,” he reflects of their previous Australian sojourn. “For a few years we did really well [in Australia] – the first time we came down there was like 500 people waiting at the airport, I was like, ‘So this is what it’s like!’ It wasn’t quite like The Beatles, but for us it was pretty close... I’ve wanted to come back. We just needed to put out the right record, and now’s the right time.” The record he’s referring to is Everclear’s seventh studio effort, Invisible Stars. “Musically I wanted it to be a rock record,” Alexakis admits. “I was writing rock songs and I wanted to have an added touch to it, but I didn’t want to go to the organ or use the soft strings that I’d been using recently – that really doesn’t work well with heavy guitars, it kind of softens everything and waters it down.

“I didn’t really write a lot for a long time – just a few songs here or there – but I hadn’t been in the mood to write a record until about two years ago, and I just started writing, mostly on electric guitar, and I think that helped shape what I was writing and put a certain edge on it... I’m not hungry like I used to be physically, but emotionally I am, and I think the record shows that. There’s a hunger there, and I feel empowered again and excited to play music. Anything gets old after a while – I feel bad for porn stars, if you’re doing that every day, where’s the fun in it?” he guffaws. “I guess, I don’t know...” Having harked back to Everclear’s glory days, Alexakis reflects on Sparkle And Fade – he didn’t know at the time that he was writing a special batch of songs. “I didn’t know that [it was special] per se, but I knew that I had made the best record that I could make, and I knew that it was a better record than a lot of people gave us credit for making,” he reminisces. “I remember the night we mastered it with Bob Ludwig – who’d worked with U2 and Springsteen, and he was so helpful, he worked with me all day and was so patient – and going to my hotel room and popping the mastered CD, all sequenced and sounding like the record, into my Discman and listening through headphones and it just sounded like a rock’n’roll record, like a big label rock record. I just remember my heart pounding and calling the guys in the band, and we were all freaking out and screaming over the phone while I’m playing it over the phone in the hotel – it was like an epiphany, a real exciting moment.” WHO: Everclear WHAT: Invisible Stars (Entertainment One) WHEN & WHERE: Saturday 13 October, Hi-Fi Bar












“His wit won deafening cheers and feet stomping” THE GUARDIAN












The ReChords’ singer Tyron Shaw talks to Dominique Wall about vinyl issues, drafting in drummers and the lost art of the video clip.

He’s no name-dropping tosser, but Atomic Bliss’s Stav Milonas is understandably rapt with the results of working with some big-name producers on new single RADIO, writes Tony McMahon.


ome videos are becoming too much like short films and the context of the video doesn’t even relate much to the song,� says Tyron Shaw, double-bass player for Melbourne trio The ReChords. He’s talking about the band’s debut video clip for their soonto-be-released single, Don’t Know Much, and, much like the band itself, the video is offering something different from everything else out there. “There’s not enough clips of bands performing – not live, but just performing, so you get to see the band members and the instruments, so we thought, ‘Let’s keep it simple and do that’.� It’s been a crazy couple of years for Shaw and his bandmates, Leo Francis and Felix Potier. They’ve released two albums (one being a split with WA’s now-defunct – due, sadly, to the death of singer, Tyson Feifar – Salt Flat Trio), worked incredibly hard setting up a solid following here, have toured Europe on the back of Spain’s High Rock-A-Billy and Belgium’s Rockabilly Day festivals, with an invitation to play Spain’s Screamin’ Weekender in 2013, and recorded a number of tracks in Germany. “This band still surprises me to this day. I’ve never been in a band that’s accomplished so much in three years,� Shaw exclaims. If that wasn’t enough, they also recently recorded four tracks with renowned producer, Lindsay Gravina, including their impending single. The ReChords are known and loved for being a drummer-less trio, but with the band’s sights set on taking their music to a wider audience, Gravina’s advice, while sage, did make Shaw, Francis and Potier think. “He said that, realistically, competing in a wider market, where we’d be played between dance and rock tracks, without the extra force of drums behind us might be pretty hard. It was his suggestion to introduce drums, which was a really hard decision for us to make as we thought it might be going against what we’re doing. We used Sue Shaw [The Exotics] and she nailed it straight away. She was already a fan of the band, but felt awkward about the whole thing because she loves the band without drums and was almost fighting herself taking on the job of being the drummer on these tracks. She pretty much wanted to keep it simple and laid back, which is exactly what we wanted.


“We mixed the song in a way that the drums are not as prominent as you might expect them to be, so that the double-bass can still be heard and you won’t miss them when we perform live because we will still play as a three-piece.� It’s now that Shaw ties the song with the video. “That was the concept behind the video – we didn’t want to have a drummer in it, so that’s when Leo came up with the concept of using the snare and having each of us hitting it, because you can’t hide the fact that the snare starts the song, but once it gets going, you don’t really notice that there’s no drummer there.� While in Germany, the trio recorded ten songs at the Lightning Recorders studios in Berlin. “There are four songs we’re really happy with, that are in a totally different style of recording [to the Gravina-produced tracks], so you’ve got two ends of the spectrum in terms of recording styles – one extremely vintage and stripped-back style and one that is higher-end production. Hopefully they still sound the same in that you’ll still hear the ReChords sound. We wanted to release a seven-inch from these recordings before releasing this single, but we’ve had problems with one of the pressing plants – one of the machines broke down, then things were backlogged, then there were issues with some of the tracks not fitting on before they worked out a way to do it, so it’s all been one hold up after another. I’m hoping we’ll have it some time in October.� WHO: The ReChords WHAT: Don’t Know Much single (Independent) WHEN & WHERE: Friday 12 October, Northcote Social Club


aving developed from the psychedelic prog sounds of The Boris Pink, singer-songwriter Stav Milonas’ new group, Atomic Bliss, while much more pop/rock-oriented, still show traces of something slightly more, well, freaky. RADIO, the second single from the band’s self-titled debut album, due in December, bears this out: impossibly catchy and fun, while also edgy enough to present as quite obviously more than your standard sing-along number. According to Milonas, this was kind of the plan all along, and the release of the single was a well thought-out affair. “Without sounding too proud, I think there’s three or four tracks out of this bunch of 11 or 12 songs that could potentially be singles. This one, to be honest, has a lot to do with timing. RADIO’s got a fresh feel to it, a little bit of brash energy to it. We thought it would be a good time of year to get it out. It just has that kind of energy. And the producers, you know, the Swedes [Pelle Henricsson and Eskil Lovstrom] had a lot to do with that. They had a bit of a claim to fame with that record by The Refused [The Shape Of Punk To Come]. They just really captured the energy of the song really well. We thought it might be a good way to get the ball rolling.� And the Swedes weren’t the only producers involved with the album: a veritable who’s who of the recording world lined up to get involved. “Yeah, look, we were really lucky. I’d tracked it with a dear friend of mine, Jimi Maroudas, who’s won a couple of ARIAs with Bertie Blackman. I just did some rough mixes myself, which I over-compressed and made them sound a bit punky. There were some producers who I just loved, like David Kahne [The Strokes, The Bangles, Paul McCartney]. I just basically contacted him and Sylvia Massy [Tool, Johnny Cash] and Tony Visconti [Bowie, T-Rex]. I asked David how much it would cost and he said it wasn’t about money for him: it’s more about him enjoying the music. Tony Visconti was the same. I was actually shocked that these people were keen enough to do mixes on spec.

We were really lucky. It sounds like a bit of a toss, I suppose – like I’m dropping names left, right and centre – but it isn’t supposed to, it actually all happened.â€? Despite the production of the record being, quite obviously, world class, there’s an energy and cleanliness to RADIO that makes one feel it will also be excellent music to see live. Milonas says this was always at the forefront of his mind. “The reason I made sure that the mixes had the energy they did was because I really wanted to capture that live sound. There should always be a bit of an X factor when a band plays live. The reason I went with the Swedish mix was because I was sure it was a better reflection of what we’re like live. They captured that sort of pop punk energy.â€? When it comes to what punters can expect at the single launch, it seems that you can take the boy out of the prog band, but not the prog band out of the boy‌ “Mate, if I could borrow the early Kiss pyrotechnics, that would be brilliant, but not at this stage,â€? he says. “We can’t quite afford the exploding stage show. Hopefully by the time we release the album we’ll be able to get something like that happening. Having said that, punters who come along on the night are in for something pretty special: we’ve got some great support acts and a pretty killer lighting show.â€? WHO: Atomic Bliss WHAT: RADIO (Independent) WHEN & WHERE: Saturday 13 October, Revolver





























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2011 #47






Releasing new EP By The Fire, Bec Laughton tells Tyler McLoughlan how her musical theatre background and some guidance from an industry heavyweight has shaped her career.


“It’s as if God has been crowdsourced to the rest of society,” says deep-thinking Canadian d’Eon. Anthony Carew chats with the accidental adultcontemporary musician.

risbane songstress Bec Laughton’s broad vocal ability recently earned her a 2012 Queensland Music Award – not a bad effort considering the Dance/Electronic category win was a bedroom side-project collaboration that came in the midst of her work to release her second EP By The Fire.

all these things’ and he was like, ‘Wow, excellent’, and hooked me up with Jan Skubiszewski [Owl Eyes, Cat Empire] who was the producer of the EP.”

“I grew up in musical theatre, trained in jazz but then my heart is definitely in soul music so that kind of comes out in everything. My original stuff is kind of quirky soul pop but then I seem to work in the funky house scene as well,” Laughton says of the cross-over ability that scored her a QMA.

With the spirit of collaboration acquired from her rich musical theatre background and an open jam-style approach with her seven-piece band, Laughton’s strong personality across By The Fire has been backed by guest vocalists Rachel EverettJones and Ni.Na, also known as Madame Peal.

“I guess everything I do has soul as the basis, whether it’s a dance track that’s soulful and upbeat or if it’s a more soul pop sound like Amy Winehouse or Adele,” she admits. “And even if I’m doing jazz it’s normally like a bluesy kind of soul ballad, so I guess it’s the one thing that ties everything together… Soul to me is more than a genre – it kind of says what I’m singing about as well which is music that has heart and meaning. And so a lot of my music is about the lyrics and the message that I’m actually trying to say – I’m trying to speak life into people, because I heard once that music is the one voice that can speak into your life without your permission.”

“It sounds rad on the CD but if you hear it live it has just got this power to it that is absolutely paralysing,” Laughton says of Ni.Na’s vocal. “She’s much more than a singer – you can hear I guess her soul when she opens her mouth and it’s just incredible. Have you ever been in a zoo when a lion has roared? It just sends chills down your spine…” she explains, an apt analogy considering Laughton herself is often described as ‘lion lungs’.

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on the iPad

Laughton’s soulful sass grabbed the attention of industry A&R and management veteran Michael Parisi in a vital development stage. “In 2009 I got sponsored to go down [to Melbourne] for Dream Inc which is a conference that he was running with [singing teacher] David Jaanz,” she recalls. “Michael Parisi loved my music but he said, ‘You’ve got this, this and this to do’ – kind of gave me a list of things to do. Then two years later, which was end of last year, I wrote to him and said, ‘Look, I’ve done

“That was a nickname that I developed when I was playing Dorothy in The Whiz from musical theatre. And it was about my singing but it was also about my speaking voice ‘cause apparently the cast could hear me from the dressing rooms as soon as I’d pulled into the car park…” Laughton laughs, adding how this side of her performance persona will impact the EP launch shows. “It’s given me some great ideas for the launch – we’re doing some funny, funny whacky production things that are gonna make the performance so memorable in like a 3D kind of way… There’s some interactive stuff happening with the crowd that includes fire and things like that – it’s gonna be really fun.” WHO: Bec Laughton WHAT: By The Fire (Independent) WHEN & WHERE: Sunday 14 October, Workers Club


Simpson points out that luck isn’t just about everything that succeeds, but also everything that doesn’t fail. “Sometimes recordings can go wrong – sometimes working in a studio, great disasters occur for one reason or another. Electricity gets cut off, some piece of equipment stops working… we were very fortunate that none of that happened on this album.“ With the grant given by Thirty Mill Studios, Simpson has spent two years completing an astonishingly large library of songs, which she is producing in sections, and releasing as a series of albums called Knockin’ On The Back Door. 38 • INPRESS

Raised in Halifax, Nova Scotia, d’Eon’s father built IT databases for provincial government, and instilled in his son a suspicion in the budding internet. Throughout his youth, d’Eon dreamt only of being a composer: studying piano, music theory and composition through his adolescence. D’Eon would eventually drift to Montreal in 2009, first playing keyboards in a rock band called Omon Ra II, then finally debuting solo amidst an inspired creative scene; his first d’Eon show in the apartment of Doldrums’ Aldrick Woodhead, amongst 30 friends who included Sean Nicholas Savage and members of Tops and Braids. “It was the first d’Eon show, the first Grimes show, the first Majical Cloudz show,” d’Eon recounts. “Through 2010, 2011, there definitely was this feeling that something was happening. We were all friends. Everybody’s been friends with each other, dated each other, had sex with each other interchangeably over the years.” D’Eon’s solo sound would draw from a strange mix of influences: kosmische synth music, Indian classical, Steve Reich, early-’90s New Jack Swing (“If I tried to be any more R&B than the music currently is, I think it’d probably sound pretty distasteful.”), mid-’90s drum’n’bass, and ’80s Peter Gabriel and Phil Collins. “My whole life I’ve been listening to

Genesis and [Gabriel and Collins’] solo careers,” d’Eon offers, on the latter. “When people on the internet started saying ‘his voice, it sounds like Phil Collins’, I never would’ve placed that comparison. And it’s true! It’s a totally apt comparison. But it’s totally unintentional. I never intended to sound adult contemporary, it’s just come out, amidst all this stuff.” All this stuff is, of course, all the thoughtful compositions and dense themes of the heady LP, which grew out of daily life in the new millennium (“when I scroll through a Twitter feed or a Facebook feed, I read all this shit, I know all this shit, but is it really providing any kind of substance?”) and explores the surveillance state as proxy for an omniscient God, and technology itself as a kind of religion; the song My iPhone Tracks My Every Move effectively boiling down those sentiments into its title. “You can hear the narrator – whoever the voice of the lyrics is – becoming paranoid,” d’Eon says. “‘Everyone is watching me except for God. All my friends can see what I’m doing, all my peers can see what I’m doing, anyone can Google me and see who I am and what I am, but there’s no sign of God.’ Who, traditionally, before the internet, was the only one to have known all those things. It’s as if God has been crowdsourced to the rest of society. And I feel like we’re definitely underqualified for that role.” WHO: d’Eon WHAT: LP (Hippos In Tanks) WHEN & WHERE: Friday 12 October, Gasometer

A simple hobby evolved into a full-time endeavour that’s taken DJ Rashida Robinson around the world and even caught Prince’s attention. She explains the transformation to Cyclone.



“I just love the song,” Simpson says of the title. “Fortune Favoured Me is a song Charles Jenkins wrote – I’m a big fan of his – and it seemed to be a nice happy title, so, I guess that’s it.” As straightforward as that sounds, it certainly doesn’t mean Simpson doesn’t recognise luck has had a part to play in her continued career – particularly when it comes to the recording of that new album. “I’m pretty lucky I managed to get the album finished,” she says wryly. “I got a recording grant from Thirty Mill Studios – that’s pretty lucky. Also, a lot of musicians are featured on the album, and people were happy to come in and help out.”



Backed by a recording grant and some very talented guests, Kerri Simpson has just released the second album in a series of seven, writes Nic Toupee. ome might say that calling your album Fortune Favoured Me is tempting fate, pure and simple. In fact, interviewing renowned Australian blues singer Kerri Simpson, I feel I should be following her around with a lucky rabbit’s foot, or if she’s a vegetarian, perhaps a fist full of shamrocks. Maybe, Simpson is just telling it how it is – after all, she is a talented successful blues and country singer who has lived the dream in Chicago and New Orleans, releasing a new album with a guest list bigger than a music festival (it includes Matt Walker, Jeff Lang, Charles Jenkins and Kylie Auldist). That sounds like pretty decent luck, on reflection. However, alas, the explanation turns out to be far less complex than that.

P, the banally-titled latest album for d’Eon, is 2012’s most audacious work of thematic lyricism. Conceived as the opposite of “a band like Yes or Tool, all these stupid cosmic lyrics that don’t mean anything”, it’s a double-album discussion on the place of old-school theology in the information age. “There’s not a lot of spirituality on the album,” says Chris d’Eon, the not-related-to-Celine Canadian behind the work. “It’s more like: ‘Where is God? If Gabriel is the bringer of information in the Bible and in the Koran, why is he, in this era of abundant information, not even in the equation?’”

“When I got the recording grant, I couldn’t decide what album to write – I love all sorts of music. So I decided to take my band The Prodigal Sons and record lots of songs in different genres, and make that into a series. The first was Maybe By Midnight, which was me taking my hat off to country music. The songs on this one are indie rock, roots and stuff – the next will be a jazz album, and that one is nearly finished now.” Two down, five to go… “I decided that there will be seven records in the series. We recorded 50 or 60 songs over a couple of years, and will release them slowly as the Knockin’ On The Back Door series. “Because I had a lot of guests in the studio laying down tracks, there’s something in those tracks that represents the essence of those people,” Simpson explains. Citing the example of Geoff Achison, she says: “Geoff came in and recorded for the album when he was here visiting, and the lyrics I wrote to the song we made have a link to a song he recorded at an earlier time – I wanted to link back to his lyrics and his songs. All of the songs with guest performers have a little of the essence of the person connected with that song.” WHO: Kerri Simpson WHAT: Fortune Favoured Me (Knocking At The Back Door/Planet) WHEN & WHERE: Sunday 14 October (3pm), Substation

rince has always fostered credible female musicmakers, from Wendy & Lisa to Sheila E to Rosie Gaines. He’s discovered a very contemporary talent in the vivacious Los Angeles DJ Rashida Robinson, who lately toured Australia with him. This week a solo Robinson will play the launch of the Melbourne Festival Hub. “I am super excited,” she exclaims. In fact, it’ll be her fourth visit. “The last time I was there I was with Prince. The time before that, I was on the Good Vibrations tour with Kelis. And the time before that, I was in a band called PlantLife and I went out with them.” Robinson was gigging with the boho soul PlantLife when she met Prince in the early 2000s. “I was doing a little rapping and singing and background stuff.” She was also resident DJ at LA’s House Of Blues. Prince approached her to DJ a bash but, coincidentally, PlantLife were committed to an Australian tour. ”He’s like, You’re gonna hear about this party and be mad about it.” Robinson admits to feeling torn – and “bummed”. “My homeboy [PlantLife frontman] Jack Splash, his joke was that Prince was stealing me and putting me into his band!” Prophetic... Robinson, a fine arts grad, began DJing in ‘Hotlanta’. “I have no desire to live in Atlanta again, but I don’t think I would have become a DJ if I hadn’t lived there. I moved to Atlanta when I was 13 going on 14. There was some crazy stuff happening back home and so my dad picked me up and took me to Atlanta. I went to high school there and I also went to college, art school, there – and that’s where I was when I got my turntables and got into DJing.” Initially, Robinson, a self-described purist, spun rare groove. ”I very much just played what I wanted.” Her mission was to “break” records that radio might neglect. But, realising that DJing had become “a full-on career,” she started to “adapt”, determined to be versatile musically. “In the beginning I didn’t care. It wasn’t about [making a living] at all. It was just a hobby. It’s what I did for fun. I didn’t really give a crap about the business side of it.” Back in California, Robinson found herself booked for celebrity and corporate parties (she’s just DJed a GQ function). She was even hired to DJ on the MTV show America’s Best Dance Crew. Today Robinson covers the spectrum of hip

hop, R&B, dancehall, Latin, house and rock. “I had to learn how to play the Top 40 kind of set, but make it fun and still find a way to put my music and my touch into it.” Robinson still digs alt.urban, namechecking Frank Ocean, Lianne Le Havas, and Flying Lotus bassist Thundercat. Not that she doesn’t like pop. “There’s actually really good pop music out right now, which is very pleasing to me because there was a period when I was not feeling almost any of it.” Robinson, “a house head” of old, likewise appreciates the new electro-fuelled urban. “As a DJ, I love it ‘cause I love mixing house – mixing hip hop is fun, cutting and whatever, but mixing house is a feeling. I really enjoy it.” Nevertheless, Robinson senses an imminent backlash. “The house thing is gonna go the way of maybe like disco... It’s just got to the point where people are getting burnt out on it.” She hopes pop will re-embrace “real” instrumentation, possibly combining it with digital elements. DJing for Prince, Robinson has carte blanche – and he’s the ultimate music teacher. “Oh man, I have learned and been exposed to just so much. I’m super grateful to have been close to him and him be a friend to me and [to] get to go on these adventures and really just see and hear all of these beautiful things, basically. It’s been amazing. He is music, so you can’t help but learn a lot being around him.” Robinson is tentatively considering recording her own music, but also wants to continue creating her visual art. “I need to figure that out, actually – how to make it all work together.” WHO: DJ Rashida Robinson WHEN & WHERE: Thursday 11 October, Melbourne Festival, Foxtel Hub; Saturday 13, Yo Yo, Key Club

BROUS Melbourne songstress Sophia Brous joins us for a long-awaited hometown show. Thu 11 Oct at 8pm, $30

CAPSIS OCTOBER SHOW Paul Capsis and his four-piece band celebrate legendary singers and songs. Fri 12 Oct at 8pm, $40


THE RENOVATORS A wildly entertaining supergroup ft. Eddie Perfect, members of Hermitude and the band from Keating! The Musical.

Under Princes Bridge, on the banks of the Yarra River Thu 11 – Sat 27 Oct, 7am til late

Sun 14 & Mon 15 Oct at 8pm, $30



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What can we expect to learn from this course? The Audio Production degree comprehensively prepares you with the practical skills and theoretical knowledge required for a successful career in the audio industry. Our commitment to quality and our emphasis on hands-on education guarantees you will receive vast access to our world-class audio facilities and equipment, providing you with extensive opportunity to advance your skills to a professional level and giving you a competitive edge upon graduation.

What is the name of course? Bachelor Of Music. What can we expect to learn from this course? Students will learn the following: to perform at a professional standard while defining their techniques, skills and team work abilities through solo, group and choir performances; to compose, arrange, and improvise music using a high level of skills and understanding through the subjects taught at the Guild; to notate professional scores, record MIDI and audio using sequencing software and technology, create promotional websites and computer-assisted instruction software related to music teaching; to create lesson plans, gain understanding in the psychology required teaching students; develop a personal philosophy on how to teach students, and to teach their major instruments; to increase knowledge and understanding in theory, ear development and history of music.

Is there a practical component to the course? Students perform solo, and in groups for choir and ensemble. Students record onto sequencing software plus create compositions in class time. What kinds of jobs have previous graduates of this course gone on to do? Students have gone on to complete their Dip Ed and become full-time music teachers. Are there any scholarships that students can apply for? There are no scholarships at present being offered.

Students who successfully complete the first three trimesters of the six trimester Bachelor of Audio Production degree course are eligible to receive an accredited Diploma of Audio Production qualification should they choose to exit at this point.

Does the course have any famous graduates? Mal Sedergreen: saxophone player, son of Bob Sedergreen who plays regularly with James Morrison, graduated in 2011 and teaches at the Guild as a visiting lecturer.

What kinds of jobs have previous graduates of this course gone on to do? Previous students have gone to a vast array of jobs. Some land jobs in premier recording studios such as Studios 301, as an audio engineer in

Australian Guild of M usic Education Incorporated A0010197v

The Australian Guild of Music Education System is comprehensive Music and Speech Education offered throughout Australia and overseas. The AGMED offers a flexible


learning system, as the course is essentially a distance education course. DVD’s of these sessions are available for students too far away to attend the 3 days. At the Guild, you’ll

entertainment centres and also working live gigs and events industries, location recording television and advertising, post production for television, and working as part of teams on original music scores for motion pictures. Are there any scholarships that students can apply for? Students can apply for two different scholarships. Firstly, commencing students can apply for a Commencing Scholarship where they will receive free tuition for Trimester three of their first year and Trimester six of their second year. The Academic Ambassador Scholarship is awarded to a current student who has demonstrated excellence in their academic studies and who has also contributed to campus life or the quality of student experience at the campus.

FEE HELP & VET FEE HELP is available to eligible students RTO 3589, VET Courses offered: Certificates I, II, III, IV, Diploma of Music & Advanced Diploma of Music Higher Education Program: Bachelor of Music Degree

Melbourne Office:

also have access to some of the latest equipment and facilities.

Phone/Fax: 03 9822 3111 Dean (Dr. E. Knoop) – Ph: 0412 327 665 Email: or

A Guild qualification will open up career pathways in all facets of the music industry.






Passenger Independent

Mount Beauty Independent

Mount Beauty has an appealing structure: it starts pared back with Cloher introducing the melody over gentle strumming. Then the drums kick in, together with percussive clapping and bass, and it somehow feels like a thematic flashback in song. Shimmering strings bring a nostalgic touch, a single piano chord is rhythmically smashed out and then it all culminates in Cloher’s closing contemplation: “Why does it take me so long to get over someone?/Why does it take me so long to move on?” File next to Adalita.


Independent “R-a-d-i-o/Let’s go!” The opening of this track sounds like a cheerleader chant. Is this a case of putting it out there to the universe? Like The Secret? The best bits are when the riffs take flight and the production is slick. “I’ll be doing coke, doing blow/With the jet set” – not sure whether anyone uses the term “blow” anymore, but Atomic Bliss do kind of sound like they wish they were Jet.




Ninja Tune/Inertia

Last Minutes And Lost Everythings

Love And Other Numbers 1980-1984 Omni You’d think you’d be hard pressed to find a link between Melbourne rockers Models and German industrial experimentalists Einsturzende Neubauten. Models, of course, had that hit Out Of Mind, Out Of Sight in 1985, yet in their early incarnations they truly were alternative and quite experimental, operating in the same sphere as Nick Cave’s Boys Next Door. The link is Ash Wednesday, who lasted a year with Models in the late-‘70s and these days is part of the Einsturzende Neubauten touring outfit.








Remember the incorrigible Kiss Reid from The Scare? Self-described as, “The Tyler Durden [Brad Pitt’s Fight Club character] of the pop world”, this is Reid’s new direction and receives an open-armed welcome. The track itself features a military drum intro, irresistible beats, outerspace synths and Reid’s impassioned delivery: “She needs more/She want it/She want it/She want it all.” Does he sing “brown passenger”, though? That calls to mind a turd just as much as Dexter’s “dark passenger”. Passenger is extremely dancefloor friendly and Reid has a huge future ahead of him with that awesome caterwauling stage presence. Admire Reid’s vocals on Itch-E & Scratch-E’s Electric? This’ll make you moist.

Prior to his move to Berlin in the ‘90s, Wednesday was extremely active on the Melbourne music scene, playing in synthetic shock rock outfit Jab, Models, and a few more bands, featured on this collection. Wednesday was extremely interested in early synths and many of the tunes presented here are examples of his attempts to grapple with their numerous possibilities. The opener, Love By Numbers, features Wednesday simply counting over the top of a catchy synthetic pop beat. It’s hilarious and slightly absurd. Later his studio-only group The Metronomes feature a male and female alternatively reading out the contents of a shopping trolley above a funked-up drum machine on Sex II. That’s part of the key to Wednesday’s music: there’s a dark swagger, yet it goes hand in hand with an absurdist sense of humour. This reissue charts an extremely fertile period in Wednesday’s artistic development. It’s universally sparse and austere, with an experimental approach to synthesiser, a punk rock spirit and an abundance of humour.

An honest and passionate troubadour from England, Frank Turner quickly found a home for his singalongs in Australia, and this country seems to have embraced the singer/songwriter with gusto. Each tour has seen Frank play to more people, and in March next year he’ll perform to his biggest crowds yet as part of Bluesfest. To make it easy for the people who may not have known Turner when he was in punk band Million Dead or when he first started out on his own, a highlights package has been put together for local release. This collection casts Turner in a similar light to a songwriter like Tim Rogers; self-deprecating, wry, forever exploring his craft and what it means to be a touring musician. The beauty of Turner’s writing is his ability to tap into universal experiences by telling very specific stories, as he does in Dan’s Song or Long Live The Queen. The music Turner builds around his poetry, whether acoustic in his earlier work or with the band as things started to grow in scope, is mostly simple and vibrant and made for singing along to. Because while putting Frank Turner on at home and shuffling around the kitchen or singing along on a road trip is fun, nothing makes these songs sound better than when yours is one of many voices raised in song in a dark, sweaty pub with a couple of beers under your belt and Turner telling his amusing anecdotes and flashing the grin of someone having his lyrics sung back at him with quite a lot of gusto. Danielle O’Donohue

12 Bit Blues

Kid Koala has never really done things by the book. A scratch DJ of incredible skill, Eric San has enjoyed exploring the far reaches of those skills, whether that includes making sludgy rock with the boys from Wolfmother, starting gigs that combine headphones, arts and crafts and cups of tea instead of alcohol, or making story books to go with his music. His latest musical project 12 Bit Blues recontextualises the blues in an age of musical technology that the form’s early practitioners could never have dreamed of. But, because this is Kid Koala, there is an enormous amount of respect dedicated to his task. This isn’t throwing a couple of Muddy Waters songs over a bangin’ house track. Instead segments of old blues tracks, with vinyl crackles still audible, are clipped, folded in on themselves or given space to roam. Songs such as the beautifully still and quiet 9 Bit Blues gives listeners a new way of hearing the heartbreak and weariness that marked this genre from its earliest days. Lyrical lines are used sparingly and when they are, they’re stretched, scratched or cut up into something else entirely, but the real beauty of this album is the way Kid Koala has managed to embody the spirit of the blues without needing a lot of the overused motifs that now make up the genre’s lyrics. Instead the ever-present harmonica, 12-bar blues pacing of many of the songs and smoky, late-night air around the whole thing makes these songs sound timeless. Danielle O’Donohue

Bob Baker Fish

FISHING Choy Lin Yes Please

Fishing reminds me of Lemon Jelly, with a little bit of Passion Pit’s Sleephead thrown in the mix. Intriguing, electronic babbling, which calls to mind an ever-changing, incandescent kaleidoscope. Choy Lin navigates you through the uncharted waters surrounding your grey matter. Spod helped Fishing with the music video, which is stunning and yah-inducing. Great pensive tunes for in-thebath listening, which is interesting in itself since Lemon Jelly have a tune called In The Bath.


Bec Laughton kicks into this track with some almost-Betty Boop scatting before name checking featured artist Ni.Na who then returns the favour. At times there’s triple-layered female vocal lines, which creates a rich sound. Jan Skubiszewski’s production always highlights the important nuances and drumstick clicks cut right through the mix here. Choruses are euphoric and Laughton sure can sing.

NICK BARKER & THE REPTILES Bend Not Break Independent

This track cranks straight into it with no stuffing around: Chris Harris’s harmonica playing barnstorms through the arrangement after four sharp drum beats (think the start of Tone Loc’s Funky Cold Medina). Further interest is added immediately with the “I will bend not break” refrain repeated as alternate verse lines. Nick Barker & The Reptiles are the real deal and this single features the classic Goin’ To Pieces line-up, invigorated in 2012. Bend Not Break is a belter that keeps building and building. You can’t teach an old(ish) rockdog new tricks, but Barker’s all over it anyway.





Roc Nation


Considering Gene Simmons proclaimed to gaggles of journalists at the Download Festival several years back that, “The record industry is dead,” it’s somewhat surprising rockers Kiss returned via 2009’s Sonic Boom. Perhaps the blood-spitting four-stringer saw numerous marketing tie-ins associated with another record.

Attention pop lovers, hip hop enthusiasts and R&B followers, this will be your go-to album for the summer of ‘12/’13. Rita Ora’s debut album, Ora, is an eclectic mix of funky beats, electro sounds and catchy pop songs. While perhaps aimed at a younger generation overall, everyone will be able to find a little something in there for them.

Breathy “Gotta be above it” vocals that sound like motivational phrases repeated by a jogger negotiating a steep incline open Tame Impala’s second album. These opening moments sound more like Unkle and you’ll instantly realise this ain’t no background music. Be Above It takes off and soars – you’ll feel like a hang glider. Endors Toi, which evokes For Your Love by The Yardbirds, introduces glistening keys. The screech of hands racing up and down fretboards remains and Kevin Parker’s beseeching vocals sound simultaneously reassuring and exhilarating. There’s lyrical contemplation – “Am I getting closer?/Will I ever get there?/Does it even matter?” – and Parker’s compositions are like fractals, although the songs somehow manage to sound instantly memorable rather than deliberately tricky or alienating. Why Won’t They Talk To Me harks back to the unrequited longing of Why Won’t You Make Up Your Mind? but this time Parker’s persona sounds more self-assured. That dirty, thunderous Elephant riff perfectly complements Parker’s purposely-metrical cadence: “… like an el-e-phant shaking its big grey trunk for the hell of it.” Whispered warnings (“Here it comes”) and approving “yeah”s all contribute to this sonic masterpiece. (Heard the Todd Rundgren remix? Do it!) There are sounds throughout Lonerism that conjure shooting stars or slow motion boomerangs. There are also chuckling schoolkids and looped Furby conversations wouldn’t sound out of place.



Which brings us to Monster, sporting one of the tackier-looking album covers in eons. If Sonic Boom signalled Kiss having a fling with analogue, opener Hell Or Hallelujah’s boisterous riff indicates a full-blown, lipstick-coated romance. Simmons has been trotting out the “mix between Destroyer and Revenge” line for so long it’s become empty rhetoric. Monster has elements of the former, certainly, but for all the trumpeting (to the extent of calculation) of its predecessor being a “classic ‘70s-sounding record”, this is more successful in that regard, warmly channelling the spirit of their first few records. No ballads, keyboards or orchestras, but more cheap innuendos than you can thrust a studded codpiece at. While Simmons sometimes phones it in, Paul Stanley (whose voice is understandably thinning after four decades) seems enamoured of rediscovering early sources of inspiration. Channelling The Who (Freak), Stones-like swagger (Eat Your Heart Out) or Simmons’ childhood obsession with The Beatles (Wall Of Sound) shows Kiss were once a hungry band and not merely a bloated brand. Axeman Tommy Thayer and drummer Eric Singer also expectedly, if capably, lend lead vocals to a track each among the customary filler. There isn’t a Kiss Klassic here, but a reasonable number of solid, albeit workmanlike songs. After nearly 40 years, Kiss still make big, dumb arena anthems about as deep as a puddle, but should satisfy their dedicated army.

Opening single Facemelt does actually make your face melt, but not in the way Ora obviously intended it to. Thankfully it doesn’t set the tone for the whole album – as Ora’s ambitions grow higher, the quality improves. Ora utilises an impressive array of collaborations. A cool mix of electro beats is found on Fall In Love, featuring Will.I.Am; hip hop meets pop in the single Love And War, with J Cole guesting; while the hit single RIP, featuring Tinie Tempah, isn’t actually a stand-out on the album. How We Do (Party) is the stand-out. And it WILL be your summer anthem. With the lyrics “I wanna party and bullshit… that’s just how we do”, it pretty much sums up everyone’s summer, right? With a catchy beat, fun lyrics and Kesha-esque feel, you can’t really go wrong. In close second place it’s a toss-up between Radioactive and Hot Right Now, also both sure to be massive summer hits. That said, the one thing that pulls this rather large range of genres and beats together is Rita Ora herself. With a huge set of pipes and personality to match, both Ora and the girl herself are sure to be hits. Watch out Rihanna, Rita Ora is coming to get you. Ashleigh Lucas

Many line-up changes have been implemented to accurately translate Tame Impala’s material for the live arena. Beats me how these musicians are such brilliant players on whatever instrument they may choose to switch to! Lonerism’s a cohesive body of work that’s gonna be hard to top. But, then again, so was Innerspeaker, which is what makes this album such a mammoth achievement. Bryget Chrisfield

Brendan Crabb 42 •INPRESS






Finland death doom troupe Hooded Menace have spent the last two years churning out a stream of split releases. Most of these have been undeniably choice, like the ear-splitting 2010 effort with Japan’s Coffins, but all these split releases have invariably left fans wanting more – the two or three, sometimes even one, song that these extreme behemoths can cram onto one half of a 7” is never enough. That’s why Effigies Of Evil is such a treat, because even though Hooded Menace seem to be constantly releasing splits, they’re only up to full-length album number three after over a decade of playing together. A chunky, visceral embodiment of the Autopsy/ Abscess-style gore‘n’doom death metal, Effigies represents everything you knew that the two-piece could do with the longer running time of a full-length.

In Total Loss, Tom Krell (aka How To Dress Well) is trying to communicate a lot of things to a lot of people. These songs are apologies, confessions, thank yous and cries for help. There’s a sense here of abandonment, of letting go after a long struggle to hold on. Set It Right mixes huge layers of vocals, synth and piano with a delicate rollcall of people in Krell’s life he’s let slip, one way or another, and this album is for them.

Effigies Of Evil

Bludgeoning straight off with the ten-plus-minute dirge opener, Vortex Macabre, the band are relentless across Effigies Of Evil. Drummer Pekka Koskelo is hanging back behind the beat, thrashing the skins hard and slow on numbers like In the Dead We Dwell, while guitarist/bassist/vocalist Lasse Pyykko is similarly on point. Here he sounds like a kind of death/doom Frankenstein, comprised out of the parts of some of the genre’s finest. His tormented howl is in the league of Autopsy’s Chris Reifert, and his lead work on numbers like Curses Scribed In Gore sounds inspired by some of Gary Jenning’s solos on the first few Cathedral records. There are a myriad more of these moments throughout Effigies..., and sitting down with the record, any fan of the genre will happily find them out for themselves. Tom Hersey

Total Loss



Fuse/Freeform Patterns

Providence, the opening track of Lisa Mitchell’s second album, builds above a simple piano motif, Mitchell’s whisper soon augmented by a crowd of voices. And from there she takes her cue. Mitchell’s voice has a beautiful sweet strain; it’s a whisper with the gale force of wind.

Bless This Mess

Meat + Bone

In the spoken word intro of Say My Name Or Say Whatever, a kid talks about how it feels to fly, “nothing around you but clear blue sky, no one to hassle you, no one to tell you where to go or what to do… The only bad thing about flying is having to come back down to the fuckin’ world,” before a bright and clear piano backing comes in. Krell sings about self-respect and getting away from the past, while the song becomes a dreamy, wishful representation of what the world might be like if he never had to come back down to reality. Confession is a common theme in RnB music, but it’s rare to see anything approaching the honesty and pain of this record in the mainstream charts. These songs aren’t interested in keeping to genre conventions anyway, using drum machines, synths, strings and fuzzed-out guitars indiscriminately to create a record that is direct and whole. In How Many, Krell sings about his struggle with depression: “I was living on a sacrifice/Never never can I have myself a vision” - and this album is a statement, to himself as much as anyone, that that time is over. His vision is clear and beautiful. Madeleine Laing


It’s been a while between drinks for The Jon Spencer Blues Explosion. The band’s last studio album was Damage in 2004. But a new album has been inevitable since the dynamic trio remastered their catalogue two years ago. The re-releases came on top of a wellreceived return to the live circuit, including shows at Sydney Festival. And now back in the studio, the band have lost none of the swagger and spark that won this incendiary three-piece all the praise the first time around. Co-opting the blues to make dirty rock long before The White Stripes and The Black Keys decided to go vintage, The Blues Explosion sound more like bands such as The Hives, bands that give their blues influences a very hard-rock edge. As a result Meat + Bone is a snarling, shuddering garage rock volcano that erupts every time frontman and snake oil salesman Jon Spencer himself steps up to the mic. There’s not a lot of modern-day frontmen who could get away with lines like, “Get your pants off, let your hair down, get your rock’n’roll on”. But part of the mystic of The Blues Explosion has always been you have to be willing to buy what Spencer is selling. He’s always been fully aware of the smoke’n’mirrors he’s wrapping around these bluesy tracks. Now he’s asking you to buy in. If this album was any less visceral and less fun, the decision would be a lot harder. But even eight years out of a studio isn’t enough to diminish the spark that has always been The Jon Spencer Blues Explosion. Danielle O’Donohue

Spiritus, released as a single/EP earlier in the year to stoke the fire, is still pop gold; the indecipherable charming mess of Mitchell’s bubbling-brook vocals, and the Graceland-era Paul Simon-channelling scatterbrained euphoria of it all. And it’s in fine company with equally jubilant tracks like So Much To Say (which features a wonderful harpsichord segment); The Raven And The Mushroom Man; and the surprisingly rollicking ode to NYC, Pretty Thing; as well as another ghost from the Spiritus EP, Diamond In The Rough. Dann Hume’s role as producer cannot be overlooked, nor understated – Mitchell has a beautifully quirky and unique voice, and songwriting chops to boot (she can turn more than her fair share of phrases brimming with whimsy and wit, and doles out dreamy, expansive takes on ditties), but Hume’s skills in the studio allow the rest of the music to match the fantasy of Mitchell’s musical horizons. The instrumentation is wonderfully expansive; the harpsichord and horns on So Much To Say, the sitar in The Present… An eight-minute jam that seems the perfect accompaniment to The Present ends the album, a spaced out, floating and ethereal vocal exploration set atop slowly morphing chords and White Album-esque rambling drums. Mitchell has long been quaint, unassuming even, but Bless This Mess is anything but. Dave Drayton

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is a pretty intense showbiz travel lifestyle with masses of suitcases and Marlene Dietrich-esque degrees of costumes, sequins and whatnot,” Meow says before deadpanning. “They can be a bugger to get through customs though.”

Merricks Beach Installation – Schoolhouse Studio Artist.



Place Of Assembly – with the Abbotsford Schoolhouse Studios’ demolition scheduled for the end of 2012, a vibrant chapter of local history is drawing to a close. To honour this passing the 75 artists of the Schoolhouse Studios are holding an exhibition of the works they’ve developed while in residence. Music is curated by Two Bright Lakes. Part of Melbourne Festival, Abbotsford Schoolhouse Studios, official opening 6pm, to Saturday 27 October.

Blaze Dance Auditions – international street dance show Blaze is coming to the Arts Centre in January 2013 and looking for dancers across hip hop, tap, break and street styles to join the company for the Melbourne season. Dancers must be 18+ and all styles and skills are invited to submit an online expression of interest to audition. A current CV, photograph and a link to their demo reel on YouTube should be sent to auditions@blazetheshow. com by Friday. Auditions held on Saturday 20 and Sunday 21 October.

THURSDAY 11 The Aesthetics Of Alienation – photographer Gregory Crewdson (current exhibition In A Lonely Place at CCP) will discuss the techniques and artistry behind his works. Part of Ringside Artists in Conversation and Melbourne Festival, Foxtel Festival Hub, 1pm.

FRIDAY 12 Orlando – a reworking of Virgina Woolf’s parable about Orlando, a young hedonist male who awakens one day transformed into a young woman. Created by The Rabble, inspired by Chopin, astrophysics and the Great Frost of 1709, this is a stark painting of Orlando as a pre-Raphaelite punk. Part of Melbourne Festival, the Malthouse’s Tower Theatre, 8pm, to Saturday 27 October. Fantastic Fear Of Everything – a one-night-only screening of this Irish Film starring Simon Pegg who plays a children’s author turned crime novelist ridden with irrational fear. Followed by a Q&A with Pegg in the UK, presented by Popcorn Taxi, Palace Kino, 6.30pm.

TropFest 2013 Entries – entries to the world’s largest short film festival, Movie Extra TropFest will open at the end of this month. Films must not exceed seven minutes and in the long-standing festival tradition, must contain the Tropfest signature item, which for 2013 is ‘Balloon’. Last year’s winner Alethea Jones (Lemonade Stand) is heading to LA next month for casting sessions on her new US feature film. Entries for 2013 will close 3 January, 2013. For more info head to


Sarah Braybrooke discovers that Meow Meow thinks a lot about the fine balance between sincerity and self-indulgence as a performer. Meow Meow, the unmissable, inextinguishable and onomatopoeic cabaret diva, is back. Following sold out seasons in New York, Berlin and London’s West End,

Got A Love Letter? – upcoming play by Kylie Trounson Love Letters is based entirely on real-life love letters. Across Australia anyone can submit love letters they have written to St Martins Youth Arts until Sunday 14 October. The letters will be included in an exhibition in the Fairfax Studio foyer, which will be on display during the play’s season. Love Letters will open Wednesday 31 October at Fairfax Studio, Arts Centre.

COMING UP IN ARTS Sarah Silverman Is Coming – funny lady Sarah Silverman is coming to Australia for her first ever stand-up shows down under. The Emmyaward winning comedian will take the stage at Melbourne’s Palais Theatre on Saturday 8 December. Silverman is known for her versatility in the business, ranging from her stand-up shows to film, television and as an author with the New York Times bestselling book The Bedwetter: Stories of Courage, Redemption and Pee. Silverman was

Blaze Dance Auditions

a writer and occasional performer on SNL and of course created The Sarah Silverman Program and that memorable video collaboration with Matt Damon which became a You Tube sensation. Tickets go on sale Monday 15 October at 9am.

Striking the fine balance between S sincerity and self-indulgence as a performer is something that Meow Meow seems to think about a lot. “I never want to make things so specific that it doesn’t speak to a wider audience. Because that is the whole point of singing publicly - so that you are communicating and not just telling your story…it’s a little


SATURDAY 13 Melbourne Fringe Awards Night & Closing Party – another Melbourne Fringe Festival comes to an end. Join the artists, judges, staff and volunteers as the winners of the Melbourne Fringe Awards are announced followed by an always banging party. Fringe Club, 10.30pm.

she’s returning for an encore tour of Australia before heading back to London for a run of The Little Match Girl at the Queen Elizabeth Hall. It’s been a very busy year. “It really

With a repertoire that typically includes classics like Jacques Brel’s Ne Me Quitte Pas and Surabaya Johnny by Bertolt Brecht and Kurt Weill, on her Australian tour Meow also plans to preview some songs from a forthcoming album which she has been developing with Thomas Lauderdale of Pink Martini. Writing the album has been a long journey; one of the album’s songs took over two years to finish, she explains. ““You know, life changes radically in two years time. It began as a lilight love song…but it’s become ssomething extremely symbolic ffor me. It is actually a very laden ppiece. If I’m writing something, it is much easier for me to write tthings which are very distant ffrom myself, and more kind of ggenre-based. It is much easier to write a ditty, but if you are writing w ffrom your heart and soul you want tto be true to your experience.”

The shifting sands of Melbourne theatre are allowing audiences increased exposure too the little guys guys. Oliver Coleman touches base with The Rabble’s Emma Valente and Kate Davis about their adaptation of Woolf’s Orlando. Emma Valente and Kate Davis, co-artistic directors of The Rabble, sit on wonky chairs and smoke cigarettes outside the converted warehouse they’ve been using as a rehearsal space. Valente and Davis have been consistently working together since they met at university back in 1997. “We are almost telepathic now,” says Davis. Together they’ve developed a visually rich and uniquely experimental aesthetic that has seen them stage work in both Sydney and Melbourne to wide acclaim. Their most recent turn, a reimagining of Virginia Woolf’s Orlando, is being staged at the Malthouse Theatre as part of Melbourne Festival.

Woolf wrote Orlando as a love letter and literary joke for her lover Vita Sackville-West. Upon publication it surprised both Woolf and her publisher by becoming an enormous success. The narrative of Woolf’s novel concerns the character of Orlando, a rake and a poet, who travels through time from the reign of Elizabeth I to the 1920s. Most significantly, one day on his journey Orlando awakens to find that he has become a woman. Valente, the director of Orlando, remarks on her desire to stage this work, “Orlando has been on my list for a long time. I read the book when I was in my early-20s

and was really taken by the imagery and the idea of changing gender. “ However, one would not expect The Rabble to produce a neat adaptation of any text let alone one as rich with theatrical possibilities as Orlando. Valente points out, “Everything comes from the book but it’s not necessarily a literal translation of it. We’ve made up some things and we haven’t stayed true to the timeline but we have taken the essence of Virginia Woolf’s novel.” Davis, the designer, shines a light on their process: “It’s a method where we have a dossier of images that have been inspired by the text and then we use both things to find the work through improvisation on the floor so it becomes this tapestry – but it is ultimately a response to the text.” The question of gender, central in Woolf’s novel, is a theme that reoccurs within The Rabble’s body of work. Valente elaborates, “Gender is something that is a very common

bit smug in a way, to have a captive audience and just subject them to your personal emotions. But on the other hand people do sometimes want to see you bleed. I often feel as though I bleed in performance, even though sometimes what I’m doing is ridiculous. Completely ridiculous and stupid and funny, but I don’t ever really feel like I’ve done a good show unless I’m bruised,” Meow pauses for mock dramatic effect and smiles, “Either physically or emotionally: I don’t see the point of doing things half-heartedly.” As a performer, Meow Meow embodies a kind of vulnerable vampishness that manages to be simultaneously melancholic, seductive and very funny. These contrasts are far from accidental. “I think that’s actually the way that life is. I’m often aware of my ridiculousness, that for instance, when you are feeling something passionately you might not realise that your skirt is tucked into your pants. Or, that someone is only actually looking at your boobs, no matter what you sing.” Meow Meow laughs, before saying philosophically, “You can’t control how people perceive you, and so I try to give as many options to the audience as to how they want to perceive me. And that’s quite freeing really.” WHAT: Meow Meow WHEN & WHERE: Friday 26 & Saturday 27 October, The Anthenaeum Theatre

theme in our work. We look at what it means to represent gender and really question those boundaries and this story is perfect for what we do. I find that problem really interesting: how you can’t escape your own body but how people want to or try to. I think it marries so well with the idea of theatre. You can play a woman if you’re a man but you’re still a man. Acknowledging that and then seeing if we can become gender blind in a theatrical context… I think that maybe we can.” It is an exciting time for theatre in Australia, especially in Melbourne. The divide between the major theatre companies and the small companies working on the fringes is slowly beginning to shrink. In 2013 the Melbourne Theatre C Company has programmed a studio season of five independent theatre companies, including The Rabble. This programming choice continues a trend that has been occurring at the Malthouse for a number of years. Valente remarks on her experience of this, “The fact that we have now been programmed at the two major theatre companies [in Melbourne] is something that we never thought would happen. It’s a major shift in taste.” Let’s hope that the sands continue to shift and even larger audiences are witness to the challenging work that is being made by independent artists such as Valente and Davis. WHAT: Orlando WHEN & WHERE: Friday 12 October to Saturday 27, Melbourne Festival, Malthouse Tower Theatre





PINKY BEECROFT: MAINSTREAM FUNK MELBOURNE FRINGE The endless, delightful silliness of Pinky Beecroft – sometimes sneaky, often outright – will keep you snickering and beaming for the full hour you’re with him. But later that night, or the next day, or whenever it is that you next find yourself all alone, the emotional kick of this remarkable show will hit and you’ll realise Pinky belongs to the same class of philosopher twit as Spike Milligan. The alleged structure of the evening is to spin a “wheel of topics”, with Beecroft telling stories to match. But his enormous human charisma tends naturally toward the meandering monologue kind of deal, and the wheel is often ignored as Pinky pursues intriguing tangents or, more often, simply abandons a story

THE UNSPOKEN WORD IS ‘JOE’ MELBOURNE FRINGE From the moment you step foot into the tiny La Mama Theatre, it is unclear what exactly is part of the play and what isn’t. It continues this way until the very end of the performance. Zoey Dawson’s The Unspoken Word Is ‘Joe’ is best viewed with as little prior knowledge of what it entails as possible. All you need to know is that it’s about how one woman deals with a shambolic break-up, and that it’s raw, clever, deceptive, meta and keeps you constantly guessing. Its strength lies not in its story, however, but in the way it unfolds; fourth walls are broken, scenes fluidly warp from one into the next, characters convincingly drift in and out of

halfway through because he just remembered an even funnier one. Tonight he told about being stalked by an overaffectionate pastry chef, the raft of physical afflictions that have hit him in the past year, and tripping balls with an octogenarian limo driver in Townsville cemetery. He proselytised for the joys of “spooning with a softie,” and analysed the generic anatomy of regional Australia’s many “premier night spots”. A gently devastating (but still funny) letter written to his stepmother about his father is perhaps the best moment. The content is bound to change from night to night, as Beecroft clearly has a thousand stories to tell. And shit, does he know how to tell ‘em. Get a double dose if you can. Johnny Pineapples Running at North Melbourne Town Hall until Saturday 13 October

reality. For a play about something inherently sad, it elicits consistent laughter, both uncomfortable and enthusiastic. As things go from bad to worse, somehow tragedy becomes comedy, in an honest and relatable way. Nikki Shiels excels as the heartbroken, distraught playwright, as does Annie Last as the hyper-extroverted “crazy girl”. Watch out for Georgina Capper’s inspiring, very thorough introduction. This play cannot really be explained without ruining the experience, and therein lies its genius. It will leave you delightedly confused, questioning what’s real and what’s not, and almost wondering whether it was really a play at all. Stephanie Liew Running at La Mama Theatre to Sunday 14 October

KISSING AND F*%KING UP MELBOURNE FRINGE “And I pushed her up against the stone wall,” he said with a cheeky smile. “She was between a rock and a hard place.” This hot and heavy makeout session with a German backpacker was one of 11 storytelling monologues that came alive in Brunswick Green tonight. Bawdy, playful and masterfully performed, this immersive sequence of tales follows the romantic life of an unnamed protagonist from his awkward, fumbling love affairs and emotional disconnection to an eventual longing for deep attachment. Each monologue was performed by a different actor playing interpretations of the same dorky, pseudo-confident wannabe ladies-man. Performances were inviting and funny, with particularly strong consistency from the three

female members of the ensemble. However, these vignettes were selfreferentially just that: only a series of monologues. Although linked as a chronological tale, the interplay of the monologues was stilted and I would have liked to have seen a broader presentational framework to tie this narrative together more strongly. Some performances were stylistically out of place – overdirected and better suited to a theatre than a bar. Broden Kelly’s outstanding example of seeming like he was just an average guy, in a bar, telling a story. But despite the structural teething problems, this was a thoroughly enjoyable show with stunning acting across the board and I highly recommend everyone to check it out before it closes. James Danielm Running at various venues throughout the Fringe until Friday 12 October


Five minutes with

GRAHAM HANCOCK What lessons can we learn from Ancient civilisations that might have been forgotten by modern humans? That life is magical, that the universe is enchanted, that the earth is a precious garden of experience, and that it is an incredible opportunity for the soul to be born in a human body. Your earlier work helped to bring the knowledge of the Mayan calendar to the western world. What do believe will happen in December 2012? I don’t believe anything will happen on 21 46 • INPRESS

December 2012. The Mayan calendar is cyclical and what it predicts for that date is not the end of the world, as some foolishly suppose, but the end of a great cycle of the human story and the beginning of the next. What I find interesting is that the start date of the current cycle of the calendar is in 3114 BC with the end date in 2012 (ie, a period of 5,126 years) and this period does span the time of emergence, dominance and decline of big, centralised, hierarchical states; big, centralised hierarchical religions; and big, centralised, hierarchical corporations. The existing world order based on these controlling hierarchies is undoubtedly in a terminal decay

and something new – hopefully something better that honours individual sovereignty, that nurtures love rather than hatred, fear and suspicion, and that has reverence for the cosmos – is in the process of being birthed. Do you believe that tours like the Origins Of Consciousness are a good forum for discussing these ideas? Yes, an excellent forum. The new consciousness that is being born in the world is based around communities of ideas in which like-minded people can get together to reimagine reality. I hope the tour will act as a catalyst for

new and better ways of thinking about the past and the future. WHAT: Origins Of Consciousness Tour WHEN & WHERE: Saturday 13 October, Melbourne Uni and Sunday 14 October, Abbotsford Convent


WITH SIMON EALES The main reason this last weekend of Melbourne Fringe activity was so epic was Friday night’s Silent Dinner Party. Honi Ryan has been running three-course dinners where no linguistic communication of any kind is allowed across the world for a while now. I went with a mate; we got absolutely plastered, dressed a stranger in a pirate suit made of sticky tape, ate beans and poached pear and I can’t remember leaving. The next morning I went back to reclaim my drunkenly abandoned backpack. I spoke to Ryan, who was in the middle of watching footage of the previous night’s dinner, where a couple spontaneously got engaged. For her the dinner parties are a chance for people to connect in “Real Space”, unmediated by media or text. “In Beirut it was politicised, and I felt the presence of the silent witness or the danger of silencing the people,” she recalls. “In New York it became cabaret with each person’s time to shine in front of the group. In Melbourne this year I experienced a heartfelt warmth and sense of romance in the connections strangers made very quickly with each other.” I felt like I was in Lord Of The Flies. Take language away and things get messy. Literally. Ryan said she spent the entire day trying to get sticky tape off everything we had put it on the night before. The rest of my week was sedate, by comparison. Monday, I wandered up to RMIT’s Brunswick campus to check out Artland. It was like they were exterminating, not a soul around. Big weekend maybe. Student visual and installation art pieces were dotted around the campus: an arts and crafts weather-station here; big, pink fabric worm inflated and animated by a building’s air-duct there. Daisy Catterall’s little installation, The God Of Design, is essentially a shrine commemorating the Baillieu


Pinky Beecroft government’s funding cuts to arts education. Ants were pouring-over and disintegrating the sugar skulls that formed part of the structure. Nature chiming-in for an ironic twist, I reckon. The Séance, by new-comers No Show, is not so much a séance as a big ol’ piss-take. Starlet worship and séances themselves are made ridiculous... An open mind you must indeed have, including if you were expecting a real séance. They did very successfully bring Mariah Carey back from the dead, though. Then it was a battle of the best Fringe storytellers. Sarah Collins and Attic Erratic’s Choir Girl delivers a tale of jealousy, romance, and alto singing, backed by a disturbing chorus of female choristers. Think 12 brides of Chucky singing scales whilst fabric shopping in a dreamscape. Collins’s skill is in her bright-eyed, mock-innocent satire. She’s never common but always close-to-home. Kiwi Gregory Cooper chimes in with his Heroic Faun No. One, about his not-so heroic real-life experience as an extra in The Chronicles Of Narnia: The Lion, The Witch & The Wardrobe. The story’s super tight and unfolds playfully. And he tells why Tilda Swinton is a minx. But my highlight was Pinky Beecroft’s show, Mainstream Freak. The former Machine Gun Fellatio lead singer, and prolific writer, is eloquent, selfdeprecative, and tells a ripper yarn. Beecroft rambles and improvises his way through the drug-fucked, sweet, and hilariously life-threatening tales of his life. Each show’s random and differs night-to-night. I’d totes go back.


WITH REBECCA COOK Imagine King Kong The Musical, it sounds a bit like Jaws The Opera, or Alien Live On Stage – that is, it sounds virtually impossible, unless you’re the folks from Global Creatures and you’ve just made the arena spectaculars Walking With Dinosaurs and How To Train Your Dragon. Then you say: “Creating a one-tonne, six-metre tall silverback to perform in a theatre with a proscenium arch, hell yeah, we’ll give that a crack!” Needless to say everything about this new theatrical production, which will have its world premiere in Melbourne in June next year, is massive. From the size of the set and the most technologically-advanced puppet in the world to the 49-strong cast members (actors, dancers, singers, circus performers and puppeteers), and the crew of 76 right through to the musicians involved – Massive Attack, The Avalanches, Elbow and Sarah McLachlan. The media launch on Sunday arvo was even massive; the Ballroom at the Regent (the show will be in the theatre upstairs) was packed with Melbourne’s theatre community, there was a live orchestra, and the event was introduced by the massively popular Myf Warhurst. Producer and CEO of Global Creatures, Carmen Pavlovic has spent five years bringing the big gorilla to the stage. “As I really got to think about it I became more and more captivated by the fact that it was a love story and I could see the musical possibilities in that very strongly.” The vision Pavlovic had for the music was born through

a conversation with her brother over fish and chips several years ago. Of course, turning these conversations into a reality is a lot easier if your brother is Stephen Pavlovic of Modular People, the record label and promoter. Key to the project is composer Marius de Vries (Moulin Rouge, Romeo & Juliet) who is tasked with revamping 1930 Broadway classics such as I Wanna Be Loved By You and integrating the new work into what Carmen hopes will create a score that will “travel through genre and time in a way that is contemporary and redefining.” After hearing three of the songs performed live at the launch, I’d say she’s achieved what she set out to do. The all-Australian cast were announced by American director Daniel Kramer at the launch and they include doyenne of musical theatre Queenie van de Zandt, stage veteran Richard Piper and Esther Hannaford (Hairspray) playing Ann Darrow. Kramer was at his wit’s end trying to fill the role of the devious filmmaker Carl Denham, when he was asked to have a quick listen to a guy brought in to do some understudy work. With that one casual audition, Adam Lyon effectively went from community theatre in Bendigo to taking the lead in what will be the biggest show in town next year. The launch ended with a sneak peak of the real lead, Kong, in action in the workshop – or the ‘maternity ward’ as Warhurst described it. If the work in progress visuals are anything to go by, King Kong is going to grab Melbourne by the Arts Centre spire and BOOM!


season at Chapel Off Chapel in 2011, and is now returning for an encore run.


What if Dr Faustus and Martin Luther had been Hamlet’s teachers at Wittenberg University? Red Stitch’s new production Wittenberg jovially offers an answer to this unlikely question. Aleksia Barron spoke to actor Ezra Bix about the play. The premise of David Davalos’s play Wittenberg sounds a little bit like one of those, “Which person, living or dead, would you most like to invite to dinner?” icebreaker-type questions. In Wittenberg, via the miracle of theatre, three characters – Prince Hamlet of Denmark, Dr John Faustus and Martin Luther – converge in the same space and time to discuss life, free will and religion. It sounds serious, but Ezra Bix, who will be playing the role of Faustus for Red Stitch’s production of Wittenberg, insists that there’s plenty of levity in the proceedings. “It’s a black comedy,” he explains. “It’s a mix between Tom Stoppard, Samuel Beckett and Monty Python.” Historical accuracy, obviously, is not the name of the game in Wittenberg. Hamlet is the fictional protagonist of one of Shakespeare’s most famous tragedies; Faustus is the legendary philosopher who sold his soul to the devil in exchange for knowledge and power; and the very real Martin Luther, a monk, became an icon of the Protestant Reformation. Wittenberg operates on the premise that Faustus and Luther are both university professors, and Hamlet is the star student who they both seek to influence. “It’s kind of like a comedy of ideas,” says Bix. “Faustus, Luther and Hamlet have all ended up in the same time and place. It’s just sort of the fun coming from that.” Indeed, sticklers for period accuracy would be shocked at how little regard this production has for 16th-century authenticity. “We’re completely irreverent with it!” laughs Bix when asked about the production’s approach to period coherence. “Our director, Jane Montogmery Griffiths, she said, ‘I don’t want to have codpieces and ruffs and everything.’” Instead, the costuming tends to be a more subtle reflection of each character: Hamlet, for example, dresses in the fashions of the 1920s, as a nod to the risingg

power of youth and change in that decadent era. As for Bix? “I’m kind of channeling Christopher Hitchens, actually. God rest his tobacco-ridden soul,” he laughs. “The director wanted to make the point: it’s a modern piece, it’s not a period piece.” Bix has an extensive background in performance, having worked in stage, cabaret, screen and a hefty dose of stand-up comedy. However, he most enjoys comedic work when part of a stage ensemble. “I think it’s much more fun when you’re doing comedy as part of a team,” he explains. “Stand-up is always a pretty lonely business. If you’re in a play, you’ve got the magic of theatre to help you out.” He also thinks audiences tend to enjoy the light and shade of a night out at the theatre to the clearcut expectations of the stand-up experience. “I think audiences enjoy plays that are not total, full-on comedy,” he says boldly. “[A play] takes the pressure off them. The don’t have to laugh at every line.” It’s a valid point – one of Bix’s favourite things about Wittenberg is that, as well as plenty of laughs, there are some quieter, more serious moments, and plenty of food for thought. “In theatre, there’s breathing space. I always think it works well.” Bix is hopeful that audiences will respond well to Wittenberg, which combines philosophical argument with comedy (he laughs at the suggestion that it could pass for an episode of Q&A), but until the curtain parts, he’s focussing on making sure his tango technique is perfect. Yes, that’s right – next to these deep, scholarly ideas, there’s going to be a tango. WHAT: Wittenberg WHEN & WHERE: until Saturday 3 November, Red Stitch Actors Theatre

It’s been 50 years since James Bond first graced the silver screen, but what about the stage? Aleksia Barron speaks to Michael Ward about Bond-A-Rama!, his comedy homage to the Bond films. When comedy writers Michael Ward and Stephen Hall sat down in a cafe to discuss a new show idea back in 2010, they had barely an inkling of what would come of it. The duo, whose television writing credits

include Talkin’ ‘bout Your Generation and Shaun Micallef’s Mad As Hell, wanted to turn their mutual passion for the James Bond films into a comedic stage show. The result, Bond-A-Rama!, sold out its initial

Ward is the first to admit that a Bondinspired stage show was a calculated move. “[Hall and I are] both huge Bond fans, and I had the idea – a pretty commercial idea, I suppose – of putting all these best bits of all the Bond films on stage all together,” he explains. Having seen the success of similar productions, such as the Reduced Shakespeare Company’s The Complete Works Of William Shakespeare, Ward was hopeful that a Bond show could have a big impact. “I thought a Bond show would be huge, because there’s a lot of love for Bond out there,” he says, adding, “…and I thought we’d have a ball doing it, too.” could well be the secret to BondThat cou A-Rama!’s success. To put a show A-Rama together that aims so squarely to togethe Bond’s fans, it makes sense delight B that it sshould be written by a couple of bona fide die-hards. “We certainly watched all the films again,” says Ward, in what might just be the understatement of the year. He and understa went through every Bond film (22 Hall wen at the time ti – the upcoming Skyfall will with a fine-tooth comb, be the 23rd) 2 looking for how the films could be translated into a stage production. Of l course, they didn’t want to make it too easy on themselves: “We talked about the structure, how to join [all the films] together, and we made rules for ourselves. We didn’t want to go chronologically, because that would be too boring and too predictable.” Instead, they found that the films tended to link together via their adherence to the Bond formula.

“Bond’s been around for 50 years, and it’s been so successful because the Bond films have this formula,” explains Ward. “People come back to the films because they know what they’re going to get. Bond, Bond girls, great stunts, a really good baddie, a pretty cool henchman, the great Bond theme at the start… All these elements are very familiar throughout every Bond film.” Ward and Hall certainly put plenty of work into writing and rewriting Bond-A-Rama!, but until opening night, they still weren’t sure whether the show worked. Fortunately, the audience reaction quickly soothed any concerns Ward had. “I just remember the huge wave of laughter that erupted at the start of the show, and that sort of proved that the show was sort of the right tone,” he says. “We took great comfort in the fact that the show got good laughs.” Now Bond-A-Rama! is returning to Chapel Off Chapel, and Ward hopes this new season will delight newcomers and returning fans alike. The show has been updated from the 2011 version, with one particularly delightful addition: a satellite cameo from George Lazenby, the Australian actor who played Bond in On Her Majesty’s Secret Service. Ward is thrilled that Lazenby is participating in the show, although he admits that the Aussie isn’t his favourite Bond – that, naturally, would be Sean Connery. WHAT: Bond-A-Rama WHEN & WHERE: Wednesday 17 October to Friday 9 November, Chapel Off Chapel

for an hour. So, that’s going to be some steamy experience.”


Australia’s biggest contemporary dance brand Chunky Move enters a new era with itss world premiere Melbourne Festival piece, An Act Of Now. Newly-anointed AD Anouk van Dijk tells Paul Ransom it’s all about space; or rather, the lack of it. In case you were wondering what would happen to Chunky Move after the departure of founding father Gideon Obarzanek, the answer is that eight of their dancers have been captured and imprisoned in a smokefilled glasshouse. Odd though that may sound, it is the brilliantly daring opening gambit of newly-installed Artistic Director Anouk van Dijk. Fresh from her native Netherlands and a career making dazzling, often sitespecific contemporary dance work, van Dijk brings her particular vision to the Myer Music Bowl stage for the world premiere of An Act Of Now.

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“It’s very exciting for me to come to a country that has this very small amount of people living on this huge continent,” she begins. “That was a big thing that attracted me, because I come from a country where every single little piece of grass was designed by man.” Transplanting herself from a country of “sixteen million people in a space much smaller than Victoria” to the continental vastness of Australia has, in its own way, underlined the driving themes of An Act Of Now. “I’ve been fascinated by the idea of proximity

Both the masking of the smoke and the cocooning of the cans serve Dijk calls the to create what van D “dance” between the abstract and “With this piece I’m the personalised. “W really working on a ggroup dynamic, and how a mass can become interesting about individuals. What’s in the smoke is that it aallows you to look at people in a more aabstract way. But of course, as the smoke goes away people become more concrete, more real. They emerge eme from the you’re in the CBD fog. It’s like when yo individuals, you and you black out ind mass. But if you experience the mass see somebody in the crowd that you know, the veil is broken.”

years creating Despite her many ye for very many years now,” she explains. work for her own Am Amsterdam-based “I’ve done several works where still wrestles with company, van Dijk st fi t or proximity i it space or confinement, the age-old choreographic challenge or distance, were really important.” of narrative; in other words, how to tell stories with such a non-literal Indeed, van Dijk’s penchant for taking form. “Life is non-narrative,” she dance out of black boxes (to islands concludes. “We just live our lives and dockyards) is well known. For and it’s only when you look back her Chunky debut she wanted to that you can tell stories. As you’re show the work in the centre of the living you’re in constant response to CBD, but OH&S regulations got in the what happens around you. I’m more way. A brainstorm with Melbourne interested in showing that kind of Festival director Brett Sheehy mechanism; and then it’s easier to landed the work at the Music Bowl. However, as a counterpoint to the speak non-narratively because that’s venue’s size, van Dijk will be confining more like what actually happens.” her dancers to the aforementioned Sounds like an act of now. smoke-filled chamber and clamping WHAT: An Act Of Now headphones on the audience. “It’s going to be a very extreme work. WHEN & WHERE: Wednesday It’s not going to be a sitting back 17 October to Saturday 27, and relaxing work. It’s going to be Melbourne Festival, Sidney full-on because the performers are in Myer Music Bowl a very small space, six by six metres,


“Don’t Know Much” Single Launch

With Special Guests



Watch the clip here:


The Atomic Bitchwax



Tame Impala pic by Elaine Reyes

The annual Doomsday Festival – started in 2009 to primarily showcase a selection of Australia’s finest sludge, doom metal, psychedelic, stoner, post-rock and experimental bands – headed across the ditch for two shows in NZ for the first time this year (you’re welcome, bro) and wraps up in Melbourne on Sunday with a monster show headlined by New Jersey’s The Atomic Bitchwax. The stoner trio have an impeccable pedigree, with members coming from Godspeed, Monster Magnet and Core. The band have released five albums on Tee Pee (a genuine seal of quality) and are coming off some storming shows in Europe. The bill also features Clagg, Sotis, Summonus, Rituals Of The Oak and Law Of The Tongue. Doors open at 3.30pm, tickets are just $30+BF.


We’re really digging Neil Young’s autobiography, Waging Heavy Peace. If you skip all the ads for his iTunes rival, PureTone (read one, read them all), and some rapturous (though incomprehensible) model train rants, there’s riveting anecdotes galore.


Plan B pic by Elaine Reyes

The Presets pic by Elaine Reyes


SIDNEY MYER MUSIC BOWL: 06/10/12 Today’s inclement weather conditions may limit walk-up sales, but ticketholders dress responsibly and only a couple of pairs of streaky, spray-tanned, bare legs in hotpants are viewed throughout the day. Our reconnaissance of the grounds exposes many discarded empty 375ml Smirnoff plastic bottles and we wonder why other booze brands don’t follow suit – there’s a big market out there for smugglefriendly, festival receptacles. Some randoms try to initiate dance-offs before we’ve even had a chance to neck a bevo. It’s way too soon for that. Security guards suck on Chuppa Chups and happily pose for photos with overenthusiastic munters. The drizzle makes UK quintet Citizens! feel at home as they set up on the Atoll stage and we bust early moves to Mediate by INXS as it pumps through the sound system. The pale fivesome take the stage and perform their set in note-perfect fashion, but there’s a certain energy lacking. We wanna dance to warm up our limbs, but the music doesn’t demand this from us. As we negotiate the hill over to the main Sahara stage, suave Citizens! offering, Reptile, fades into the distance. Scoring a primo posi for Plan B (aka Ben Drew), we’re thrilled by Faith SFX’s beatboxing intro, which incorporates The Prodigy’s Smack My Bitch Up and Boom Boom Boom by The Outhere Brothers – “Boom boom boom/Now let me hear you say, ‘Wayoh’”; “WAYOH!” You’d swear the band were playing offstage the way Faith SFX accurately imitates instruments. The British rapper opens with She Said and his effortless transitions between soulful crooning and spitting rhymes is his weapon of voice. When this reviewer last admired Plan B, he was dolled up in a smart three-piece suit. This time he’s strutting around in a double-denim disaster: acid wash jeans and black denim jacket. Plan

B’s backing band is extraordinary, incorporating two sassy BV vixens with matching Balinese-style hair braids. After exploring his …Strickland Banks persona, Drew intros Lost My Way with his prominent geezer accent: “This one’s for all my lost boys and girls.” The sounds achieved are astonishing. “Before we get into it, I’m gonna play something for your mums and dads.” Stand By Me is given a dubstep flava thanks to Faith SFX’s vocal cords, but then this turns into a gnarly take on Seal’s Kiss From A Rose. If Plan B had already played ill Manors, this would’ve sent us fleeing in search of sonic salvation. The “where’s the mosh pit? “shouts that follow are fairly lame also, but Mosh Pit’s instrumentation is banging. And then ill Manors tears the Bowl a new one, as anticipated. Drew’s a superstar. The Atoll stage draws us over the hill like a superstrength magnet thanks to Wiley plus a sudden burst of sunshine. Witnessed on the incline: a dude in a panda suit who’s given his mate the head to wear while he smokes a durry. Revellers happily bop along and get involved while Wiley and his two offsiders – Spekta and J2K – demonstrate rap majesty. Wearing My Rolex is massive and it’s impossible to not grind along with Boy Better Know’s Too Many Man (“We need some more girls in here/There’s too many men…”). We wonder which came first, BBK’s track or Flight Of The Conchords’ similarly themed Too Many Dicks (On The Dance Floor). Wiley’s inclusion of a take on Blur’s Parklife is a novel idea, and hearing Damon Albarn’s vocals is always a welcome treat, but it doesn’t quite work. As the bass for Cash In My Pocket rumbles, we scour the area for Daniel Merriweather. Unfortunately he doesn’t appear and the crowd is urged to sing his challenging chorus hook. Tame Impala are up next on this peripheral stage and we’re frothing over the prospect of experiencing their new tracks live, having barely given our ears a break from second album Lonerism over the last few days. Before too long, the unassuming-looking (now) five-piece wander on stage and belt into Desire

Be Desire Go. It’s tumultuous and as the wind picks up, we all flail about, possessed. Frontman Kevin Parker’s guitar tuning and pedal obsession wrench such dirty distortion from his axe that it’s screwfaces all ‘round. Front row fans push a snapper in the photography pit aside when she obstructs their precious view. Solitude Is Bliss further livens up the masses and barefooted Parker is clearly in the zone as he screws up his nose, eyes closed, to achieve the sustained “Feeeeel” of this chorus. Parker claims to have fucked up a song early on, but Tame Impala sound perfect to this set of ears. We all wish we had a “big grey trunk” to shake “‘round for the hell of it” throughout the mighty Elephant and a bouncer raises a shoe in the air – it must’ve dislodged from a crowd surfer’s foot. Then in roll the clouds, sending many scurrying towards the shelter of the Bowl. Why anyone would ever prioritise Nero over Tame Impala is baffling. Finding a nook up in the VIP balcony, it’s immediately apparent that the British duo wish they were Daft Punk. They don’t even come close. Daniel Stephens and Joseph Ray wear matching futurist black wraparound sunnies and twiddle knobs high up on an elaborate console built from boom boxes and speakers. Visuals are impressive and many dudes in the crowd are overheard remarking on singer Alana Watson’s hotness. Dangerously tall human pyramids spring up throughout the stalls. Gotta hand it to them: Promises receives the reaction of the day. There’s more ladies applying lippie in the bathrooms than queuing for a slash – one must always look their best despite sporting an ugly poncho. Taking over Sahara is Justice DJs and they open with a cheeky track featuring the following repeated lyrics, “Ecstasy/One for me”. The dapper French twosome always look dashing and do a wicked job maintaining the vitality of festivalgoers. There’s lots of smoke and mystery. Justice’s own (Vs Simian) We Are Your Friends alternating with T Rex’s Get It On (Bang A Gong) is inspired. Time’s ticking towards The Presets o’clock and it’s been way too long between live sets for the Sydney duo. The third two-piece on the trot to grace Sahara stage, Julian Hamilton and Kim Moyes make a ridiculous amount of racket and those assembled can’t get enough by song two: Talk Like That. Wish we could fast-forward latest single Ghost, but its thankfully followed by a gorgeous, extended Chicago house-style piano intro for This Boy’s In Love. Kicking

The Stones Roses will play the Future Music Festival in March! Fingers crossed for sideshows, otherwise a dash back from Golden Plains is on the cards (and no-one should want us on the roads after a day-and-a-half at GP).

BARRING UP Great to see North Melbourne’s Public Bar re-open its doors this weekend, with live music kicking off on Wednesday 24 October. Looking forward to giving that late licence a workout, too…


Is it just us, or is Tram Tracker really taking the piss these days? Asking a stranger at the tram stop for a random number under 20 is more reliable than the ETAs it’s been coughing up lately.

PONY PUT DOWN Goodbye Pony. During its existence the latenight den of iniquity surely had one of the highest punter-to-drunken-root ratios in town.

ALAN BRAWL With his moaning of cyber-bullying, Alan Jones has shown that not only is he a bitter, misogynistic, racist bully, he’s also a great big sook. His daily dummy spit brings us so much joy. And Screaming becomes Youth In Trouble and the latter track’s breakdown equals aural poppers. Hamilton’s phrasing is impeccably fresh (“With the music taste a-bom-in-able”), but he often comes across smug during minimal between-song banter. If I Know You navigates us down into the bowels of a happening underground club and Are You The One? still devastates with its clap-along pattern that’s impossible to resist. Judging by audience reaction, sinister new album track AO has infiltrated our collective national identity. We’re granted an encore and Push our bodies to their physical limits. Whatever you think about how The Presets come across in interviews, they are undeniably, “Very good/So clever”. And what a win to include I Go Hard, I Go Home in their set tonight! Robyn can be heard warbling away on the Atoll stage as we make our way toward the exit and an overheard punter comment from earlier accurately describes Parklife 2012: “This is good, but the turn-out’s fucked!” And so is the fact that Robyn neglected to play Konichiwa Bitches. Bryget Chrisfield INPRESS • 49

summer afternoon, and give the overall impression of being a likely bunch of lads who you’d be happy to take home to meet your mum. Watch this space. By the time Stephen Malkmus & The Jicks take to the stage, the place is packed. It’s somewhat of a tough night at the office for Malkmus. By the third song, hecklers are yelling requests (quickly rebutted by drummer Jake Morris: “We were gonna give printed setlists out at the door, but our printer broke”), feedback causes the band to stop mid-song and deal with the problem, and Malkmus’s microphone stand will just not stop drooping. Despite all the technical difficulties, The Jicks make a very solid fist of their 90-minute set. They play plenty of songs from their (brilliant) latest album Mirror Traffic like opener Senator and Spazz, and throw in a few older Jicks and solo Malkmus (Phantasies) tunes. Jokes about Geelong, football and Castlemaine (“how many of you are going to move there in five years when you’re pregnant?”) have the crowd eating out of Malkmus’ hands. Tonight’s lesson is a master class of succeeding in the face of diversity. A shambolic version of Jenny & The Ess-Dog, a cover of Dragon’s Are You Old Enough, and a broken guitar string are notable moments during the encore, before everyone bundles out into the warm spring night. Dylan Stewart


The Hi-Fi is ablaze with colour and there are skyhigh spiked quiffs as far as the eye can see – it’s a beautiful sight. Green Machine’s performance isn’t the most enthralling, making their suitability for tonight’s bill questionable. Thankfully, local psychobilly outfit The Workinghorse Irons pick up the slack and run with it, putting in a solid performance that easily explains why they’ve built up a strong following.

Weddings, Parties, Anything pic by Lou Lou Nutt


over to Thomas’s evocations of familiar Australiana. Wallace’s accordion and Jen Anderson’s fiddle link perfectly, while at times the whole band joins in chorus to sing Thomas’s down to earth tunes.

It’s a special time of year, the last Friday in September: Grand Final eve. The Weddoes are back at the Palace for the fourth year running. Opening proceedings are local collaboration, Livingstone Daisies, featuring singer-songwriters Van Walker and Liz Stringer. They play a rollicking set, at its best when Walker’s unrefined roar mingles with Stringer’s sweet back-up parts. The songs seem to get better as the set progresses and by the back half they have done well to get the crowd livened up.

The sing-alongs don’t really start until the band cover Wide Open Road, but can’t be stopped when Knockbacks In Halifax and Father’s Day follow. Thomas is at his storytelling best during A Tale They Won’t Believe. Some argy-bargy in the mosh threatens to boil over into a pre-Grand Final melee but simmers down despite the nightmarish crescendo being played out onstage. A feeling of mateship runs through the night. The band has a ball onstage and long-time punters are clearly overjoyed to be reacquainted with The Weddoes. A man holding both arms in the air in triumph after the last chord has been played is a lasting image.

PALACE: 28/09/12

Before Even can begin their set, Brian Nankervis, MC for the night, heads an ‘audience versus band’ music quiz. Even are dubiously awarded the win to the dismay of the crowd but Ash Naylor is able to win us back over pretty quickly once their set is allowed to start. His renowned guitar work is on full display and he belts out songs such as No Surprises and Sunshine Comes. Naylor along with Wally Kempton and Matthew Cotter are great exponents of the three-piece form and when Paul Thomas is called out to play pedal steel, we know the night will be something special for Melbourne rock fans. Between sets, Nankervis is again at the helm. He draws out another music quiz, just enough to get those in attendance riled up. A great roar comes from the crowd when Weddings, Parties, Anything are finally announced. The show starts off with an old partnership, frontman Mick Thomas and Mark Wallace on accordion. Fittingly they play The Swans Return, before the full band appears and they launch into Decent Cup Of Coffee. The six-piece dynamic works comfortably as the crowd give themselves 50 • INPRESS

Jan Wisniewski


Kim Nekroman is a legend in the psychobilly scene, so it’s surprising and downright cool to see him setting up his own gear while drummer Lux distributes the setlists. With such low-key behaviour, Nekromantix’s official stage entrance goes by almost unnoticed, but they make their presence more than known as they kick things off with Nice Day For A Resurrection. Nekroman, Francisco “Franc” Mesa and Lux are making it clear from the get-go that they mean business – the mixing is spot-on and, as much as it’s a cliché to say it, this current line-up is a well-oiled machine. Nekroman is in fine form, playing up to the crowd who lap up every little bit; Mesa’s growling backing vocals provide the perfect backdrop while he shows no mercy on guitar; and Lux produces a hellish beat on drums while remaining more ladylike than a finishing school graduate. This sets the tone for the rest of tonight’s set and it couldn’t get better if they tried. Nekroman promised the band would do their best to cover material from all eight albums and it’s certainly no lie: the setlist includes at least one track from every album, including Alice In Psycholand, Demons Are A Girl’s Best Friend, Brain Error, Nekrofelia, Horny In A Hearse and an extended version of Bloody Holiday, which sees the boys take a break while Lux gets to show us what she can do (as if we weren’t already aware!). After all, many of the songs, especially the older ones, are given a heavier, faster and far more menacing beat tonight, thanks in large part to Lux’s incredible drumming (resulting in one enthusiastic fan getting on stage to kiss her and another ‘worshipping’ her, all of which she takes in her impeccable stride). Tonight, Nekromantix proved that they are well and truly alive and kicking and there is damn good reason why the band has legendary status. Long may this line-up live. Dominique Wall

CORNER HOTEL: 03/10/12


The Corner bandroom is casual, ambient and about one-third full as we enter the venue and the two giant screens on either side of the stage look striking. After a quick venture to the bar for a refreshing beer, Sydney six-piece Bearhug take to the stage. Theirs is an odd dynamic, the traditional ‘frontman as singer’ set up thrown out the window. Instead, lead guitarist Jesse Bayley cracks the gags and vocalist Ryan Phelan sings the tunes. The band’s brand of jangling pop is reminiscent of Band Of Horses, Dinosaur Jr and The Go-Betweens and, although at times it’s a little messy, there’s more than a bit of promise in these young guys. They play songs for a lazy

Outside, the queue is long and the “Sold Out” signs are posted everywhere. Inside, Grey Ghost is off to a flyer, bounding about the stage and showcasing his formidable lyrical skill. For this set, he’s going solo without even a DJ on stage. For anyone who has seen a Grey Ghost set with the full complement of instrumentalists and back-up vocalists, this feels a little thinner than normal and it doesn’t give the man with the mic much of an opportunity for his ever-brilliant banter. He performs his tracks with aplomb though, building the audience’s enthusiasm with numbers like The Machine and his brilliant

CORNER HOTEL: 29/09/12

Rapper Tag. A spectacular rendition of Dynamite closes the set, fuelled by so much energy that in this moment, the stage seems barely able to contain him. All of a sudden it can’t, as he goes for a quick crowd surf, still delivering the final lines. The formidable opening notes of Star Wars’ infamous Imperial March are heard before Seth Sentry bursts on stage, clad in a Reservoir Dogs-inspired suit and belting out Vacation. Best, nerdiest entrance ever! (His drummer, continuing the nerd vibe, is merrily shooting a Nerf gun into the audience.) The crowd are absolutely beside themselves, frantic to hail their hometown hero. Having finally released his debut album This Was Tomorrow, it’s clear Seth Sentry is in the mood to taste his success. The set is dominated primarily by tracks off the new album, with a few choice selections from his previous release The Waiter Minute EP thrown in for good measure. Anyone who saw him on stage back when he was touring that EP can’t help but notice how far he’s come. Sentry is now the consummate showman, delivering his rhymes with confidence and completely at home when occupying centre stage. He gets the crowd grooving to Dear Science and lets them shout their hearts out to old favourite Train Catcher. Most interestingly, he genuinely engages with his crowd – as well as the perfunctory high fives and handshakes, he chats with audience members and invites one fan with a Float Away-inspired tattoo up on stage. Grey Ghost returns to the stage and the two MCs perform an inspired freestyle before Sentry drops old favourite The Waitress Song, followed by a clear new favourite, Room For Rent. The evening closes with an encore performance of Float Away and, despite lasting for well over an hour, the set from this accomplished young man feels like it’s ended far too soon. Aleksia Barron


The members of Elliot The Bull have been driving their tour bus all day from their home on the Central Coast of NSW for this date with the comfortable, couchy innards of Revolver. Performing as part of their current Running With The Bull East Coast tour, tonight’s gig sees them sharing the bill with four other bands, each serving up remarkably different offerings. Kicking off is Ruby Frost, a tiny dynamo with an impressive voice, her charismatic vocals expertly accompanied by a rocking drummer. The two make a sparse but striking musical statement of hipster-blended, ’80s-style pop. Dan & Hannah Acfield provide an instant change of pace with their homespun campfire tunes and gorgeous harmonies, complete with between-song banter suggesting friendly sibling rivalry. Turner play catchy songs with raw rock energy, and The Modern Age are fresh and happy, treating the milling crowd to some enjoyable, female-fronted, indie pop tunes. Elliot The Bull stride onto the stage to set up and they’ve even brought their own homemade band banner, which they drape across the front of stage. They launch into Haunting Blues, a hugely enjoyable crowd-pumping rock thumper. Displaying versatility, they immediately mix it up with the anthemic Paint The Sky with its harmonic, epic chorus sounding echoes of Aussie rock band The Screaming Jets. Cup Of Nestor is a danceable, melodic folky tune. Mixing gravelly, heartfelt vocals and tight instrumental skills, the band completely rock the small room, they are at times mesmerising and their energy transcends the modest stage. There is a lot going on in these songs: pub rock mingles with alternate folk and hints of the blues. They do their own brand of love ballad with Say You Love Me Too. Whatever ‘it’ is that makes a band float above the sea of mediocre, Elliot The Bull have it. Possibly most striking about their performance is the intense energy they put into their music. Despite the small crowd, they give it everything: forceful vocals, thumping rhythm of bass and drums and seamless guitar merge – and the tunes pulse with life. Given more exposure, these songs could become sing-along favourites. During his set directly following Elliot The Bull, Turner sums up the band’s performance well: “How about Elliot The Bull? That’s after a long bloody road trip. Hate to see you when you’re fresh!” Jaye Weatherburn

stomping the ground, and during one number he steps well away from the microphone to fill the Regent Theatre with his unamplified voice. Snow Patrol might not be everyone’s cup of tea, but they’re here tonight in “intimate” acoustic mode, a set-up that frontman Gary Lightbody tells us is for Australian audiences only. Lightbody is charming, witty and funny during the entire set. Flanked by keyboardist Johnny McDaid and lead guitarist Nathan Connelly, theirs is a chemistry that needs little encouragement. In fitting with the Regent Theatre’s design, Lightbody and McDaid open with Dark Roman Wine, followed by Connelly’s introduction and Chocolate. Then – and possibly a little too early in the set – Lightbody plays Take Back The City from 2008’s A Hundred Million Suns in solo mode. From here on in, all three musicians remain on stage, traversing Snow Patrol’s very impressive – and successful – back catalogue. Open Your Eyes and Run receive huge crowd participation, and new songs This Isn’t Everything You Are and Cold Out In The Dark also leave their mark. The set highlight, however, is when Claire Bowditch takes to the stage to reprise Martha Wainwright’s role in Set Fire To The Third Bar. An iffy version of AC/DC’s You Shook Me All Night Long doesn’t quite hit the mark, and the epic Chasing Cars finishes the set. A quick encore, which culminates in the mega-hit Just Say Yes, sees everybody in the theatre on their feet and smiling before exiting via the stairs and wandering out into the late Sunday evening. Snow Patrol pic by Aleksandar Kostadinoski


Taking our seats, the theatre is resplendent in its gold, Roman façade and the stage looks so inviting, anyone could almost jump up and start playing.

As the crowd ascends the regal stairs into the foyer of the Regent Theatre, there’s a sense of occasion in the air. Despite it being a Sunday night, people here have smiles on their faces and are blissfully content to turn up to work tomorrow a little sleepy.

Instead, it’s Steve Smyth who comes on stage first: an imposing, hirsute man with a Gibson SG under one arm. His stage presence is intense and well suited for a theatre such as this. At different times he’s caught jumping around and

Dylan Stewart


THE LUWOW: 28/09/12 With no support band to act as a buffer, it’s a surprisingly empty Forbidden Temple at the LuWow that catches the start of Ezra Lee’s two-set launch of Ca$hed Up‘N’Crazy. Lee himself is concerned that the venue’s GoGo Goddesses may not hang around, letting out a hearty, “Good on ya, darlin’s,” once he finds out they will. With that taken care

of, Lee and his band launch into Black Cadillac Hearse, taken from said album – it’s a stomping number that effectively declares no holds barred on easing the audience into the full Lee experience. The Hank Williams tune There’ll Be No Teardrops Tonight, while adeptly covered, seems out of place with its lonesome, sorrowful nature, especially when thrown in the middle of Firefly and The Big Bopper’s White Lightning, but is the only downbeat number for the remainder of the set. Lee and his guitarists, including wunderkind Hank Green (of Hank Green’s Blues), swap singing duties for a while, and the first set ends with Rock‘N’Roll Piano Man, a number that Lee ever-so-blushingly admits is about himself. It’s during this track that Lee channels his inner Jerry Lee Lewis, theatrically discarding his chair and pounding the keys like a man possessed. It’s impossible not to confront the obvious comparison between Lee and Lewis, the man whose name, for most, is synonymous with rock‘n’roll piano. The comparison doesn’t just end at their incredible piano-playing skills, but also reaches to appearance (the hairstyle and the clothes) and some of the moves. This is by no means a negative and there is far more to Lee than just being a wannabe Lewis. Sadly, the second set, which starts off with another airing of Rock‘N’Roll Piano Man (good for the many who have turned up late), is, effectively, too much of a good thing. Before long, this reviewer’s interest has started to wane and by the time they play Smokin’ Hash (does the world really need another drug song?), it’s totally lost. Over the past few years, it seems that Lee’s onstage persona has gone from a rather quiet but incredibly talented performer to a brazen, fully fledged madman with a touch of lothario thrown in for good measure. (Maybe that’s due to his, “Good on ya, darlin’s,” comment at the start of the night.) Rock‘n’roll definitely lives on. Dominique Wall









Texas Tea I have really been enjoying the new record from Brisbane country duo Texas Tea in recent weeks. Entitled Sad Summer Hits, it’s the band’s third full-length proper (they have a couple of EPs and singles and a bizarre b-sides/live LP which is excellent) and, while I’ve adored just about everything they’ve done, this record takes them to a whole new level. You could put this down to a number of things; working with ARIA award-winning producer Magoo out at his soon to be defunct Applewood Lane Studios, the fact it sees them with a proper drummer and bassist for the first time, that they took something in the vicinity of three years to write and sift through songs before committing them to tape, or just the simple fact that they are maturing as songwriters and getting better at playing to each other’s strengths. I can’t tell you why it is but there’s a certain confidence on the record that has them sounding better than ever – it’s still got that restrained simplicity that has always been a massive part of the duo’s appeal. You’ll be able to get the record through record stores via Mere Noise Records as of Friday 12 October and you can see them launching it when they play a big show at the Old Bar on Friday 19 October with support from Buried Horses, Jimmy Tait and The Nymphs. While it’s not going to be the kind of release adored by your regular blues fan, I know there are going to be a lot of Australian fans wishing and hoping for the new Jon Spencer Blues Explosion record Meat & Bone (out now on Freeform/Fuse) to be a return to their ferocious, gritty form. Well I’m pleased to tell you that it most certainly is, the band’s first new studio record since 2004’s Damage has them seeming somewhat reinvigorated and creatively on point. Jon Spencer was difficult when I last interviewed him about a new Heavy Trash record; an offhand reference to the Blues Explosion forced him into saying that he, in no uncertain terms, was not willing to mention that band. Whether or not the guy is a douchebag, he makes fucking fantastic music and has been responsible for some of the most wonderfully fucked up rock’n’roll, rockabilly, blues, funk and soul ever committed to tape by a white man. Damage wasn’t a bad record at all, but it lacked the kind of punch of 1996’s Now I Got Worry or 1998’s Acme; I’m not saying Meat & Bone lives up to those two records, I doubt anything they ever release from here on in will, but it has a certain spirit to it that the couple of records before that lacked. The recording is more lo-fi than the band have been in a long while and the songs are straight up-and-down; there’s very little funk and almost none of the studio trickery that made them so thrilling in the ‘90s but isn’t quite as exciting all these years later and more focus on the band of Spencer, Judah Bauer and Russell Simmons, who remain one of the hottest trios in rock’n’roll. Well worth a listen if you’d given up on the band at the turn of the century. Unwelcome Company, the new EP from Henry Wagons, features him in duet with a few wonderful lady vocalists in what has to be a loosely Hazlewood/Sinatra-inspired turn, as well as a song with the legendary Robert Forster and one by himself. The songs are pretty damn good, running the gamut of different country music styles, but the performances are just magnificent. Wagons’ baritone anchors as always, while the respective women – including The Kills’ Alison Mosshart, Sophia Brous and Jenn Grant – absolutely soar over the top. The only thing that could overshadow them is Wagons’ instrumentation; he plays almost everything on the record but it comes together so seamlessly, it sounds stunning. It’s out through Spunk/Co-Operative Music now. 52 • INPRESS

Hate. Shadow Of Eternal Sin focuses on the instrumentation of the track, showing the members shredding their wares up close and personal. Ten Days Of Hate kicks off today (Wednesday 10 October), with the band releasing a different snippet of the album each day until the album arrives through Halfcut Records on 19 October.

New Orlean’s legendary sludge metal band Eyehategod have confirmed a full run of Australian shows thanks to Heathen Skulls. These guys have been around since 1988, and have survived various narcotics-related shenanigans while releasing four full-lengths. As well as headlining Cherryfest in ACDC Lane on Sunday 25 November, they also play Billboard on Saturday 24. Local supports are unconfirmed, though Canberra’s I Exist have been tapped as main support for the majority of the other shows around the country.

One of the city’s most iconic live music venues, Pony, will cease trading in its current form from 2 December, due to the rising costs of rent, forcing the operators out. With 12 years of hosting all sorts of shows, including a huge amount of metal, hardcore, punk, grind and more, there’s a lot of history. Camillo Ippoliti and his son Daniel (Cookie, Toff In Town) have taken over the lease; Camillo told The Age’s EG that ‘’it is likely that after renovations live music will continue’’. Support your local!

Melbourne post-hardcore/steed-metal lords Coerce have put all four tracks from their forthcoming Genome 10” up on their Bandcamp. Check it out at coercecoerce.bandcamp. com, and see the band launch the material this Saturday 13 October at the John Curtin with Totally Unicorn, The Broderick and URNS.

Newcastle hardcore group Tired Minds recently released an EP through new label Break Bend Records. You can check out their solid mixture of melodic and dissonant hardcore elements and purchase the seven tracks in a digital or physical format over at

Symphonic metal group Epica have announced their first ever Australian tour for April 2013. A highly prolific studio band, the group have released five full-length albums and a slew of EPs since forming in 2002, the most recent being this year’s Requiem For The Indifferent on Nuclear Blast Records. The Dutch, female-fronted group will be in the country for three shows only; they play Billboard on Sunday 21 April for the pre-purchased cost of $59. Adelaide’s Sex Wizard will release their second full-length this month. Entitled Grey Matter/ White Matter, the dual drum chunk of sludgy hardcore will be released on 19 October on digital, CD and LP formats through Clarity Records. Thy Art Is Murder have released a second video featuring a track from their forthcoming album

Sydney’s Northlane recently returned from their first overseas adventure, which saw the band touring Canada with such acts as Backtrack, Obey The Brave and more. They’ve just put the first instalment of a video recap series up over on YouTube – there’s a four-part tour diary that you can also check out over at The band will finally release the much delayed 12” vinyl version of their debut Discoveries through UNFD this month. Local supports for the upcoming Touche Amore and Make Do And Mend tour have been announced – Our Solace will set things off at the Reverence on Friday 9 November, while Cavalcade and Disasters will start the proceedings for an all-ages event at Phoenix Youth Centre on Saturday 10 November.


Primal Scream Forgive me if you think this is an incredibly long bow, but it seems there is one side-effect of the so-called mining boom that positively impacts little old us and that’s the strong Australian dollar making it rather lucrative for touring artists to factor the Australian summer into their travel plans. You remember, it wasn’t that long ago, a time when pretty much the only big summer festival featuring international hitmakers was Big Day Out. Oh shut up, there were not. You waited all winter for the announcement and lined up overnight for your damn tickets. These days it’s different. By mid-April we can all die happy. That is if we can afford to get along to even half of the amazing international talent that’s on offer in coming months. What with the return of ATP and the monster inclusion of My Bloody Valentine on that bill; Bluesfest has just announced The Stooges as part of their farewell tour, and whatever you think about that festival you’ll be praying for sideshows; Soundwave are again largely criticised for lack of Australian content, but fuckin’ hell, the likes of Slayer, Fucked Up and Tomahawk on the same bill is enticing to say the least; there’s Sugar Mountain repping the coalface hard with a bunch of acts I’ve never heard of but that are sure to be great; Harvest will undoubtedly do lines and Beck (!) is performing; Summadayze, Parklife and Rainbow Serpent are all back to do whatever it is that they do (probably rather different things, but for simplicity’s sake we’ll

lump ‘em in together here; MONA FOMA have just announced David Byrne & St Vincent (though the re-inclusion of Amanda Palmer should be enough to scare most away); Meredith is looming larger than ever with Hot Snakes, Earthless, Four Tet, Spiritualized and a little ol’ act called Primal Scream for those who like their festivals served with a good dose of old-fashioned disestablishmentarianism; Golden Plains have just announced Cat Power on the back of perhaps her career-defining work; and there’s an embarrassment of touring artists outside of the festival circuit altogether – Morrissey, Radiohead and Weezer, anyone? Obviously this list is far from complete, but I think I’ve made my point. All of a sudden there’s room for this overabundance of summer action and with the flood comes choices. Do you sacrifice Golden Plains for a spot at ATP? Learning stuff and dancing at Sugar Mountain or forgetting stuff and thrashing about at Soundwave? How can we possibly measure one against the other? We want it all but we can’t afford it. Woe is us. Or is we? The way I see it (and this is where the last of you still reading will invariably drop like blung-eyed koalas) is that the festival entity that treats me with respect will receive, in turn, my unwavering support. Regardless of line-up (though thankfully most of these do an outstanding job of booking year-in, year-out) there are certain festivals I’ll return to each year simply because I’m treated like an adult – a drunken and moronic adult, sure, but I am given the choice of how I would like my festival experience to pan out. Gone are my days of crying over a missed act when I know full well that the day of lining for beer, food and toilets will break me. For those who don’t mind being treated as a number, herded like an animal through crowded advertising-clad pathways to overcrowded tents for stifled glimpses of cash-drunk musicians, I say good luck. There’ll be more space for me to sprawl with a tinny on the grass in the sunshine. Samson McDougall presents Teenage Hate with Tim Scott midnight every Wednesday on RRR.

The Weight One of my highlights of this year’s Soundwave was seeing Underoath live again, and it turned out to be a good thing because the band announced last week that in 2013 they would be splitting. After 15 years, the Floridian six-piece are calling it a day. To cap off their career, they will be returning to Solid State Records to release a greatest hits record. Called Anthology 1999-2013, the release will feature 15 old favourites as well as two new songs. There are also plans for a farewell tour next year, with more details on that to be announced in the coming weeks. The statement from the band read, “Groundbreaking metalcore act Underoath are formally announcing their plans to disband following a remarkable 15-year career that made a monumental impact on millions of fans and forever changed the face of heavy music. “It’s sad to say that we feel like it’s time to close this chapter, but we have never seen things more clearly,” says vocalist Spencer Chamberlain. “These have been the best years of my entire life, and I owe that to every single person who ever supported this band along the way. This wasn’t a quick decision by any means. It’s just time for us to move on.” In much more posi news, Crime In Stereo have announced an end to their two-year hiatus. Apparently they missed one another that much that not only are they going to head back out on the road together, they are going to be writing and recording new material as well. Considering that 2010’s I Was Trying To Describe You To Someone was one of my favourite albums of that year, it is really exciting to see what these guys are going to come up with next. The band announced on their Facebook page, “Hiatus rescinded. We are immediately returning to work on recording/ releasing new music. We know. We were ‘only’ broken up for two years. Two years was long enough. We love/d making music together. Its absence was felt deeply by all of us. So we return. We will resume performing live. We will play one show in 2012. We are focusing our energy towards the release of new music. When new music exists, we will play more shows. That’s all we can say, for now. Come sing with us. Loudly. We miss your smiling faces.” Adelaide-based Clarity Records have announced their most recent release, which is set to hit stores 9 November thanks to Shock. The band are The Weight and the album Prisoners Of The Flock. Citing similarities to Terror, Trapped Under Ice, No Warning and Cold World, their brand of heavy hardcore has seen quite a few Facebook posts about them from other bands. The album is 12 tracks of heavy grooves, shredding guitar leads and anthemic, enigmatic vocals. With a DIY ethic and a clear goal in mind, this is definitely an album well worth pre-ordering now through the Clarity Records BigCartel page. Jamie Hay is one of the best-loved names in punk circles thanks not only to his role in A Death In The Family but also because of his incredible solo work. And now fans of Hay can rejoice as he is finally releasing his debut, full-length solo album thanks to Hobbeldehoy Records. Called King Of The Sun, the album is a haunted collection of material tracing stories of resilience, courage, heartbreak and tragedy. At times, the music strips down to just Hay and his guitar and at others, he is backed by a band of friends, including Adrian Lombardi (Blueline Medic), Carl Burnett (Arrows), Matt Bodiam (A Death In The Family) and tour-mate Lincoln Le Fevre. The album is available for pre-order through Hobbeldehoy right now for release on either CD or a white vinyl release. Last up, this week is a HUGE week for album releases, with so many fantastic records hitting store shelves. The most important of these is of course All We Love We Leave Behind by Converge. I’m calling album of the year right now because this record is absolutely flawless. Coral Blue and the title track are just two of the highlights of this record. If Converge isn’t your thing, also released is The Afterman: Ascension by Coheed & Cambria; Ben Gibbard (of Death Cab For Cutie fame) is releasing his latest solo album Former Lives; Anberlin are releasing their new album Vital and Between The Buried & Me return with The Parallax II: Future Sequence. All Time Low are releasing Don’t Panic and The Acacia Strain drop the weirdly named Death Is The Only Mortal. Big week for releases all round!







Kanye West

Lewis Cancut will feature on TRNSMT Neilsen’s recent Music 360 poll suggests teenagers are increasingly heading to YouTube to consume and suggest music they like, but radio is still a dominant force in the quest for new music. With advancements in internet broadcasting and technology coming more to our portable devices, it is relevant that more internet-style programming is taking foot. There are now institution internet radio broadcasters such as the UK’s Boiler Room (which is expanding to have bases worldwide). Locally we had independent broadcaster Radio Valerie, but unfortunately it has fallen off the bytewaves. Also Soundpond has been responsible for some great www broadcasting via Radelaide. The hype now surrounds a Melbourne production that has tapped into the cream of the city’s beatmakers and DJs. The list of presenters is amazing, and local radio stations are missing this music on local airwaves. That’s how TRNSMT. TV has started, and is still yet to broadcast. I emailed TRNSMT.TV’s start-up guru Sam Carmex with a few questions about the production and he states, “I conceived TRNSMT after I saw a lack of underground music coverage in Melbourne and found the scene quite impartial and not connected – especially online. The aim of TRNSMT is to create a community hub that brings together all DJs and producers in one place and broadcasts it for the world to see, hear and interact with.” How many hours will the station be live per week? At this stage it will be 26 hours from the studio per week; this will change next year when we adjust the schedule to accommodate more shows. Will there be any syndicated content from other states or countries? The content broadcast will be all original from TRNSMT and won’t feature any other content from other sources. Would you consider yourself an EDM broadcast station? TRNSMT doesn’t have any genre restrictions, however, I would say we are heavily focused on electronic bass music – I am hoping to expand the musical range of the station in the coming months to include a bit more hip hop, etc. You cover a lot of Melbourne’s well-respected DJs and producers. Is there a dark side of new music the station won’t endorse? There is no real ‘dark side’ of music we won’t put on, however, we do enjoy all things underground EDM related; we want to steer clear of pop music and really focus on all things up and coming. Are you a portable-style station – will you do broadcasting from events? We will be broadcasting events when possible on Friday and Saturday nights, this will most likely feature a few international events as well as some big local line-up events. TRNSMT will also hold events too. Is there any exciting hardware or equipment you want to brag about? We have gained sponsorship with Pioneer and most of our equipment will be sourced through sponsors and artists on the station itself – it really is highly community-based and I am starting this station out of pure passion for music rather than financial drive (I have no job and all the money I have is going into this). Who will do the first broadcast on 5 November? Our launch party is actually on 5 November and this will remain quite secretive and exclusive, however, I can say it will feature a massive line-up from all of the artists and DJs locked in for shows. We will also be having a barbecue, beers and all of it will be streamed live for the launch of both the website and TRNSMT itself! You will only be invited to the TRNSMT launch party if you have liked the TRNSMT page (

There are two Kanye Wests. One exists in supermarket magazines. He is reality star Kim Kardashian’s boyfriend. And he’s an egomaniac who bumrushes winners’ speeches at award shows. These gossip writers occasionally call him a “singer”. The other ‘Ye is beloved by the music media. He’s a prolific, mad, game-changing genius. He enlivens – nay, subverts – scripted award shows. And he’s a rapper, if a contradictory one, producer, and rather indulged martyr. Now ‘our’ West, who last offered Watch The Throne with Jay-Z, is back with the muchhyped Cruel Summer. This flossy compilation – or collab album – is primarily a marketing exercise for the Chi-towner’s (vanity) label, GOOD Music, which doesn’t yet have the brand recognition of Bad Boy, So So Def or, heaven forbid, Death Row. GOOD (‘Getting Out Our Dreams’) has had mixed fortunes since its 2004 launch. There have been triumphant discoveries – John Legend and KiD CuDi. Then GOOD has revitalised the careers of Common, Clipse’s Pusha T and possibly spoken word poet Malik Yusef. It’s also home to relative newcomers Big Sean, who quietly debuted with 2011’s Finally Famous, CyHi The Prynce (signed in a joint deal with Akon’s Konvict Muzik) and former Star Trak diva Teyana Taylor. GOOD lately picked up Nigeria’s D’banj. All appear on Cruel Summer – even that supposed GOOD defector Common, who rocks the mic with Raekwon on the otherwise nondescript minimal rap The Morning. A notable absentee is Brit Mr Hudson – who, along with A Tribe Called Quest’s ally Consequence, GOOD failed to break. Oh, and where’s GOOD’s Mos Def? But, really, Cruel Summer is like a Yeezy mixtape. The arty mogul actually co-directed a (thematically unrelated) short promo film – starring CuDi – that premiered at, yes, the Cannes Film Festival. You’ll already know

four of Cruel Summer’s 12 tracks. April’s maleficent lead-off Mercy, a GOOD posse-cut with outsider 2 Chainz, and a grimy low end, sets the tone for a synth-heavy yet stripped-down street album with a sublimated dancehall influence that hollers ‘Major Lazer’. Mercy is handled by in-house producer Lifted, who samples Super Beagle. Like his hero RZA, West is recruiting studio acolytes. The MC opens up about his romance with Ms Kardashian on the chiptune-ish Cold (AKA Theraflu), fashioned by GOOD’s Hit-Boy, the guy responsible for Niggas In Paris. Miami’s DJ Khaled does his hypeman thing. (West jumped on his anthem I Wish You Would.) West himself produces New God Flow, favouring Wu-style piano riffs. It flips Ghostface Killah’s Mighty Healthy off 2000’s Supreme Clientele, the rap legend returning for extra lines. The aptly-titled current single, Clique, on which Hova joins West, is tense early-2000s clip hop (so Clipse!), again from Hit-Boy. As for the new songs, Cruel Summer opens with West’s epic To The World, R Kelly vociferously singing an almost Bohemian Rhapsodylike chorus. Kelly, his ‘90s R&B today deemed kitsch, is apparently on the comeback. The crooner also features on a new duet version of the late Whitney Houston’s I Look To You from a forthcoming best-of. It’s a pity Kelly’s recent Write Me Back received zero promotion locally… West embarrassed George W Bush during a Hurricane Katrina telethon. On To The World, he takes a shot at Republican Presidential candidate and alleged tax evader Mitt Romney. It’s among several songs here with input from Glasgow’s Hudson Mohawke – like Flying Lotus, an auteur of experimental hip hop. But, if there’s a surprise guest on Cruel Summer, it’s rapper-cum-preacher Ma$e. Diddy’s protégé drops insensitive lyrics about his old pal Loon, a Muslim convert, on The-Dream’s auto-tuned R&B Higher with the hardcore Pusha T. The album’s highlight is West’s dramatically defiant piano ballad, The One, ex-Floetry member Marsha Ambrosius channelling a gangsta Rihanna on the hook. Bizarrely, Cash Money’s Mannie Fresh is its creator. The best non-West songs? A tie between CuDi’s upbeat synth shuffler Creepers and Mohawke’s Bliss, an ‘80s boogie duet with Legend and Taylor.

THE BREAKDOWN POP CULTURE THERAPY WITH ADAM CURLEY release in the US through the small Night-People label. Head to for a listen.

Fishing It is always surprising how little it’s recognised that music and mental health are intrinsically linked. Even aside from the people who make music in order to provide/find something akin to a life’s meaning, there’s a wide scale of effects for listeners. It can be a simple release from work or study, or a more necessary social connection for those who find it difficult or impossible to make one. This week is Mental Health Week, which seeks to raise awareness of mental illness and mental health issues in Australia. To honour it, let’s dig into some summery new tracks for a little therapy. Blue Mountains duo Fishing got their name out in 2011 by pushing out so many post-instrumental-hip hop “ocean-scapes” (their word) it was impossible not to come across them. Their first official release is a 7” featuring moving new single Choy Lin (out through Yes Please), which, for classification’s sake, sits somewhere between contemporaries Max Crumbs and Perfume Genius. It’s a brilliant example of bringing pop joy while providing deep emotional release and some cooing natureorgan sounds. Listen at Melbourne duo Superstar, featuring regular Geoffrey O’Connor band member Esther Edquist, have been making brooding synth-and-guitar scores for half a decade, though the early years saw them mostly improvising on the floors of art spaces and at house shows. These days they’re a little slicker: their primitive ‘witch house’ has become delicate and dusty pop music for late nights. It’s all there in new single Fine Wine, from their upcoming LP, A Toast To… Superstar, out through Bedroom Suck in December. The album follows a cassette

Melbourne’s Children Of The Wave have released their second album, The Electric Sounds Of Far Away Choirs (Sensory Projects), the follow-up to their excellent 2008 debut. The album is an intricately and imaginatively created journey using field recordings, a range of percussive instruments (including a self-made instrument called “The Wang”), piano, synth, beats and harp. There’s a real physicality to the nine songs; it’s easy to imagine not only being in the presence of the duo as they piece the songs together, but the places around the country that provided many of the sounds. The success of Beach House has no doubt boosted the profile of San Francisco duo Tamaryn, named after their singer and with a second album due, Tender New Signs, out on Mexican Summer this month. Though their debut offered sweltering shoegaze under New Zealand-born Tamaryn’s whispered choirgirl vocals, new single Heavenly Bodies pushes it up a notch with dramatic, twangy guitar lines and bigger production, making them the desert cousins to Baltimore’s finest. Bratty synth-pop ahoy on the 7” from Melbourne’s Nun. Solvents (out through Nihilistic Orbs) is rambunctious, pulsating and just the right amount of tongue-in-cheek. The title track, which can be streamed at, also gives up the great chorus line, “Will you still stick our heads in solvents/Now there’s none?” The band recently launched the 7” in Sydney with Jack Mannix and MOB, and will do the same in Melbourne this Saturday at the Gasometer with Lakes. Repairs and The Zingers. We could end with the awesomely breezy new single from Twerps, but instead we’ll go with another Chapter Records band, Primitive Calculators, and their new(ish) track, Cunt Life. The song, originally from pre-Calculators band The Moths in 1977, is a soundtrack to general daily fury. Grab the 7”, Sick/ Cunt, and sing along: “Soon as you’re born you feel like nothing.” Happy Mental Health Week.

Urthboy Huzzah! We’re inching ever closer to an Australian hip hop artist claiming a top gong at the ARIAs with the news that 360 and Hilltop Hoods have picked up a swag of nominations each for the 2012 awards. The door was eased open when Drapht bagged himself seven nominations last year, including a groundbreaking nomination for Best Male Artist, but he ended up walking away with only one trophy – Best Urban Album (that weird category that kind of shoehorns hip hop in with anything vaguely R&B sounding). This year could be the one that an MC stands up to collect more than just the genre gong, though – 360 has the most nominations of any artist (a massive six, including most of the big categories) and Hilltop Hoods have a few choice chances, including Best Group. Obviously both have been nominated for Best Urban Album – 360 for his epically successful album Falling & Flying and the Hoods for Drinking From The Sun. Other nominees for this particular award are Katalyst (Deep Impressions), The Bamboos (Medicine Man) and The Herd (Future Shade). The winners will be announced at the ceremony on Thursday 29 November – best of luck to all the Australian hip hop artists who scored a nomination or worked on any of the albums that are up for a gong. Hopefully 2012 will be the year that hip hop takes centre stage with a big win. With fans all over Australia, it’s time that hip hop’s prominence and popularity in our national musical culture was recognised. The artist formerly known as Phatchance, currently going under the name Chance Waters, is heading out on tour. His new single Young And Dumb, which features the talented Bertie Blackman, has locked down Waters’ place as one of the most thoughtful, musically fearless MCs around. He’s been touring constantly, and seems poised to have a big few months. At any rate, he’s certainly been doing a good job of getting punters down to his shows of late, so if you want to be at his Workers Club gig on Friday 16 November, you might want to sort your ticket out via Dialect & Despair have released a taste of their upcoming second album Self-Evident in the form of the lead single New Testament. The track features Dialect’s trademark intense, precise flow and dark, evocative production from Despair, with Total Eclipse of The X-Ecutioners making a guest appearance to contribute the cuts. If New Testament is anything to go by, Self-Evident will be a continuation of the pair’s dedication to creating authentic, plain-speaking hip hop laced with determination and finesse. New Testament is currently available on iTunes, so grab yourself a copy and start getting excited about Self-Evident. If you do yourself one real favour this week, let it be this: pick yourself up a copy of Urthboy’s new album Smokey’s Haunt when it drops this Friday 12 October. This has been one of the most genuinely pleasing records that I’ve listened to this year, and is some of the finest work that Urthboy has done to date. His penchant for telling stories is in full flight, and the tracks range from affecting (almost heartbreaking) to positively brimming with swagger. The unrelenting intensity of Naïve Bravado and the delightful quirkiness of Knee High Socks should mean that fans aplenty are already looking forward to Smokey’s Haunt, but in case you had your doubts, let me assure you: this is a beautifully put-together album that showcases plenty of range, not just from Urthboy but from the master producers Hermitude and Countbounce. Get amongst it – pre-orders are currently available from iTunes, and it’s out on Friday. INPRESS • 53



Cocks Arquette

If you love soul music from the 1960s and 1970s, as well as originals along the same theme, then Grand Wazoo are Australia’s kings of soul and will be back in the Velvet Room at the Thornbury Theatre this Sunday from 7pm. Large parties are advised to book in advance, otherwise it is just $10 on the door.


With her earthy, powerful voice and joyful manner Kelly Auty is known for her dynamic showgirl performances. Kellys’ Wild Women show is everchanging and draws from an extensive repertoire. She performs with her band this Friday in the Velvet Room at the Thornbury Theatre. Tickets are $15 for general admission or $20 for reserved seating.


Take some time away from the crushing invisible weight of daily life with Cocks Arquette, Internal Rot, Dead Boomers and Split Teeth. All four for only $8, upstairs at the Gasometer this Friday.

Paper House have gained a reputation for their captivating and dynamic live shows. They will be joined by Secondhand Heart and Canary at the Toff tonight (Wednesday) to launch their new single. A free copy of their new single will be given to everyone who attends.

Can you sum up your band’s sound in four words? Soulful, grandiose, groovy, declamatory.

The Toff In Town is hosting an early Sunday night soiree celebrating Sherry Rich’s lost album Dakota Avenue and the song Pandora Mink. Joining Rich on stage are The New Folk Heroes. Warming up are celebrated roots-rock brothers Van & Cal Walker.

If you could support any band in the world, who would it be and why? Crazy Horse. For the best seats in the house. If a higher power smites your house and you can only save one record from the fire, what would it be? Gunfighter Ballads And Trail Ride Songs by Marty Robbins.

Wednesdays in October sees the return of fuzz songstress Ali E to the Retreat Hotel’s front bar for a residency. Ali E will be joined by her band made up of a veritable supergroup of Melbourne musos including Damn Terran, St Jude, The Once Overs and Howl At The Moon. Tonight she will be joined by Andre Hooke (Khancoban). It is free entry with bands from 8.30pm.

If you invited someone awesome ‘round for dinner what would you cook? I’d cook up an excuse to go out for dinner. What’s your favourite place to drink in Melbourne? All of them.

WHO’S A PRETTY BOY? The debut King Parrot album Bite Your Head Off has just been released. On Sunday King Parrot will be supporting Warbringer from USA at the Bendigo Hotel. They also play live to air at PBS on Friday 2 November, Bastardfest at the Espy on Saturday 3, in Mildura on Saturday 10 at Meltdown Festival, Saturday 24 at the Eastern Station Hotel (Ballarat) and Saturday 1 December at the Tote.

POLY-PARTY All-partying four-piece Polygasm headline a great line-up of acts this Thursday at Yah Yah’s. Joining them on the bill are The Lachlan Bruce Band, 8Foot Felix, Salt Lake City and Sally Bauch. The bands begin at 8pm with $10 entry.


Them Bruins have smashed onto the local scene with an EP under their arms and long list of impressive live sets at some of Melbourne’s most iconic music venues. To officially launch the independently released EP God Bless, Them Bruins, the band play alongside Grenadiers and Local boys Drifter on Friday 19 October at the B.East.


Do you have a lucky item of clothing you wear for gigs and what is it? Going commando.


The Ivory Elephant have been on a bender of loud guitar, long solos and beating the shit out of drum kits. With proud left-wing morals, a vintage ‘70s sound, and an out-of-sight home-made guitar, this blues outfit are a side of Melbourne you might not have known about. Catch them playing the Retreat with support from soul rockers Children Overboard on this Saturday at 10pm. Entry is free.

Dead River Deeps, featuring Lincoln Mackinnon (ex The Legs) and Dallas Gale (ex The Graveyard Sons) have been gaining momentum at live shows. Their live performances have been generating high levels of enthusiasm amongst their ever-expanding and devoted fan base. Catch their unique sound when they play the Retreat Hotel this Friday night with support from Essay Edwards and then DJ Adalita until 3am. Entry is free.



Members of Redfish Bluegrass, Silver City Highway, Dirty York, Austin Floyd and Ruby Fruit Jungle try their hand at traditional country. Watch the Bakersfield Glee Club attempt to chicken pick, pluck and slick slide their way through some of country music’s treasure chest whilst maintaining the same humourless expressions as their heroes at the Retreat front bar from 7.30pm this Saturday with free entry.



Have you recorded anything or do you prefer to tool around in your bedroom? I’ve been recording for a long time as a keyboard player and vocalist in a number of bands. My album was recorded at Soundpark and it’s my first solo record after some years of recording demos in bedrooms loungerooms and kitchens.



Prepare to be booglarised by one of Australia’s finest. Pugsley Buzzard has dazzled and delighted audiences far and wide with his unique blend of dark hoodoo blues, good-time rollicking boogie and blazing stride style piano Catch Pugsley Buzzard at the Retreat Hotel this Sunday evening from 7pm. Entry is free.


Andrew Morris unveils his sixth solo release The Situationist on Monday 15 October. 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. Morris comes to the Grace Darling Hotel on Saturday 27 October.


Melbourne’s two-piece The Council launch their self-titled 12” vinyl at Cherry Bar on Saturday 20 October. Supported by the red-lipped maidens Bunny Monroe and the flannelled madness of Bitter Sweet Kicks, they’re taking the stage to play their house-blend of rock’n’roll and drink some beers. The doors open at 8pm with entry $13.


Melbourne’s finest queer hip hop act, Camp Camp Revolution, return from a long creative hiatus to launch their sophomore album Real Bitches. Mixing bad-ass attitude and samples from your favourite pop tracks, this Monday they bring the Toff In Town a cabaret show like no other, featuring their partners in crime, DJs Brooklyn Queenz (Can’t Say, Swagger, Danceteria). Tickets are $7+BF through Moshtix outlets or $10 on the door.

In a show not to be missed (unless you’re an idiot) The Charlies will unveil their latest treat – Lizzie’s guitar nipple picking. Run as fast as you can to the Retreat Hotel, this Thursday to be shocked, horrified and aurally aroused by The Charlies and their funkalicious support The Perfections. The music kicks off at 9pm with free entry.


The Moonee Valley Drifters have been mixing styles for 27 years. Their fifth album Live From The Nighthawk was launched last year and now you can catch the legendary Moonee Valley Drifters when they play the Retreat Hotel front bar from 4pm this Saturday with free entry.


Best known as frontwoman for Victorian rhythm and blues band Chubby Rae & the Elevators, Marisa Quigley is now playing solo with a more folk/blues style. Known for her strong vocals and captivating stage presence, catch Quigley in the Retreat front bar this Sunday afternoon from 4pm. Entry is free.


Having trained in musical theatre as a child, Maxi was destined to be a performer from an early age. Collaborations as a teenager with other artists, producers and DJs allowed her to experiment with other genres and to hone her recording and stagecraft. Maxi launches EP Maxi at the Workers Club on Thursday 18 October with That Gold Street Band and Harts as supports.


It’s been a blistering year for Melbourne punks Wolfpack since they debuted last October and now their debut CD is nearly here, a three-track benefit release with all proceeds from sales going to the Lost Dogs Home in North Melbourne. Wolfpack will be tearing up the Prague this Friday in their last show before hitting the road again to promote this release.



Australian bluesman Lloyd Spiegel played 200 shows across Australia and the world in 2011 before emerging in 2012 with a place in Australian Guitar magazine’s 50 greatest Australian guitarists, the announcement of a signature series Cole Clark guitar that will soon hit stores and a brand new show with drummer Tim Burnham. The duo play a hometown gig at the Workers Club on Saturday 20 October with Alister Turrill.



Brain Dead Wednesdays at Revolver is here to help breakup the mind-numbing effects of the mid-week monotony, by delivering great music and merriment. It features the indie-pop sound of Wexford, the electro-pop-rock vibe of The Engagement, the pop and folky rock of Royal Parade, and the classic rock atmosphere of Grossgod. The doors open at 8pm with tickets $10 on the door.


NSW pop-rock band Paper Wolves will make their return trip to Victoria in October to play at Revolver this Thursday. The band will be showcasing songs from their debut EP Early Bird and new tracks to be featured on an upcoming recording set to be released in early 2013. Joining Paper Wolves on the show will be Dinosaurs Exist, Far From Nowhere and Second Chance Exit.


With Tenfolds’ highly anticipated Debut LP Newclear set to drop late December, it is time to showcase the new material. Having just released a video for the first single, Tenfold are ready to throw a spanner in the works of hip hop in Australia. They play this Friday at Revolver with Esvee & Bogues, Strike Won, and J-Mac.


Grouse Party have got a bloody dreamboat line-up on the flow. This Friday at the Bendigo Hotel features the one and only DJ Sveta (Sydney). Down for her fave Melbourne party, she’s itching to let loose the usual killer party noise that only Sveta can bring. Beloved resident DJ Ann Ominous is also back from a few months in the USA and the openers are special guests No Pants DJs, the girls behind the blog. Entry is $10 on the door.


Five years after a three-song demo garnered them critical acclaim in the metal underground and after a successful 15-month battle with the Immigration Department saw lead guitarist, Benjamin Baret, finally granted a long-term visa in Australia, Ne Obliviscaris play the Evelyn Hotel this Saturday. The music starts at 8.30pm with Elysian and Okera in support.

Coming off the launch of their critically acclaimed debut Won’t Let You Down, Francolin bring old and new tunes, band members and friends to the Evelyn stage every Monday in October. Just a symbolic $2 entry fee with Sex On Toast and Sleep Decade supporting this week. The doors open at 8.30pm.


Howard are excited to bring you a month of music, mystery and mayhem. Every Tuesday the Evelyn will play host to rumbling drums matched with heavy bass lines, guitars that play anything from the cleanest tone to the most eerie delay, powerful accordion melodies topped off with mandolin and harmony-based vocals. Supports this Tuesday are Tulalah, Sooky La La and Future Fathers.

Lowlakes feel like a Melbourne band. Anticipation has already been brewing within the industry with Lowlakes’ debut album due to be released early-2013, with the new single Cold Company the first track to emerge from the sessions. Before heading off to New York City’s CMJ festival they will play Ding Dong Lounge this Saturday.

Having spent the last year recording in abandoned school halls in South Gippsland with producer, J Walker (Machine Translations), Melbourne’s Charles Baby has come out with his debut record. Baby is launching the new single at the John Curtin Bandroom Saturday 27 October, previewing material from the new record and favourites from the two previous EPs.



Exploding with the force of a leopard-print strat, Kill Ya Darlins, return to Bar Open this Saturday. The debauched lovechild of members of Rapskallion and the Miss Frisby vaudevillians, Kill Ya Darlins bring their original take on classic ‘60s and ‘70s riffage. Special guests will be opening the night at 9pm and entry is free.



Melbourne Latin/classical guitarist Sergio Ercole will perform a special show at Hardware Lane restaurant, Il Nostro Posto on Thursday 18 October. Ercole will perform two sets of renowned classical works as well as tracks from his latest album La Dolce Chitarra.

Street Fangs formed in 2009 in the remote swamps of Hamilton but have now relocated to Melbourne. They have played many of Melbourne’s music establishments over the last few years and are always up for a beer-fuelled good time on stage. They play tonight (Wednesday) at the Tote with Third Earth and other guests. The doors open at 8pm with $5 entry.


The Sunsleepers are a Melbourne four-piece who mix an easy-going smile with upbeat party vibes. They play with Fahrenheit 43 and Halcyon Drive tonight (Wednesday) at the Evelyn.

Dance-rock trio 8 Bit Love are gearing up for the release of their sophomore EP, In 3D. They launch In 3D on Saturday 20 October at Yah Yah’s with special guests THNKR and Goldsmith from Newcastle. Tickets are on sale now through Trybooking.


The Spinning Rooms have a new record out on shiny black vinyl, which they are launching at the Tote this Saturday. Joining them are Harmony for their last show before they play All Tomorrows Parties, The Dacios and Bin Stumps. Members of Deaf Wish will be spinning tunes between bands and Broken Glass Records will peddle the finest records money can buy. Entry is $15.


To kick off Anti-Poverty Week, eight of Melbourne’s hardest hitting rock bands are putting on a show for Catchment Youth Services at the Tote this Sunday. My Dynamite and Slow Chase are headlining the night. Left Or Right are flying in from NZ to perform; Welcome To The Numb, Plastic Spaceman, Vultures Of Venus, Sordid Ordeal and Evil Twin will also play. The $15 door entry goes directly to charity, and the music kicks off at 2.30pm.



Major Tom & The Atoms are a six-piece rhythm and blues pop orchestra headed up by crooner Tom Hartney, formerly of Little Red. At this special free show, they will be shooting the film clip for brand new single Hey Flo. Join in the fun this Friday at Yah Yah’s with Dan Webb kicking it off at 9pm.

Following the warm reception of double a-side Stone, Brunswick-based indie four-piece Neighbourhood Youth return with the launch of all-new single Half A Man. Taken off their forthcoming debut EP Holiday, Neighbourhood Youth will play this Thursday at the Evelyn. Get down for an awesome night of music from 8pm with support from I’lls and Brightly.



On the back of a sold-out national tour with Loon Lake, and the release of an all-new single, Tonight, Sydney’s Glass Towers play the Evelyn this Friday. The Demon Parade, Private Life and Towers are their supports on Friday, kicking off at 8.30pm.


The weather is heating up and so is the musical talent coming up in our fine city. What better way to celebrate both than a good, solid Sunday session at the Evelyn with local lads Red Leader. They play this Sunday afternoon with July Days, Lock Stock’n Gypsies and Mouthplug. The doors open 1.30pm.




With a group consisting of three siblings and three other talented musicians, Brisbane indie-pop six-piece Sheppard will head to the Ding Dong Lounge this Thursday for their Melbourne debut performance. The doors open at 8pm and they will be supported by Private Life and Bobby Flynn. They will play songs from their debut self-titled EP.


Featuring members of The Orphanage, Poison Oak and Jack On Fire, 100 Acre Woods are introducing themselves to the local scene. These forest dwellers will play their first show this Friday night at the Victoria Hotel from 9pm. Max Savage will be supporting.

If you’re a fan of music of the heavy and fuzzedout kind, this Thursday The Atomic Bitchwax are stopping into the Tote Hotel to blow your feeble midweek minds. Cockfight Shootout are also playing, plus Don Fernando and TTDC.

Singer-songwriter Andy Kentler will perform songs from his forthcoming LP due for release this December. Every track from Kentler’s recently released EP has been played and championed on Triple R’s Skull Cave hosted by music guru Stephen Walker. See Andy Kentler play for free at Yah Yah’s this Sunday with special guest Danny McDonald.


The Mockingbirds are crooning their sweet country melodies at the Victoria Hotel this Sunday from 5pm. Their brand of music is perfect for a relaxed Sunday afternoon.


Craig Westwood (ex Headbelly Buzzard among other bands) brings his weekly old timey music jam session across from the Lomond Hotel, its home for the past five years, to the Victoria Hotel. BYO instrument or just hang out and enjoy the music in the beer garden. Every Saturday afternoon from 4.30pm.




Bryget Chrisfield makes some predictions based on the assumption that this trend will continue (with a little help from the 2012 RSVP list). At last year’s annual Jägermeister Independent Music Awards, artists not in attendance delivered an inordinate number of acceptance speeches via video message.

RADIOACTIVE GIRL VANCE JOY PLAY THE WORKERS CLUB THIS THURSDAY 11 OCTOBER. How did you get together? James Keogh: We are all good mates. I have been writing songs for seven years. I have known Ed, my percussionist, for over ten years and we started playing together only recently. Having a band has helped do justice to the songs. With the band we try to fill each song with as much colour and flavour as we can. Have you recorded anything or do you prefer to tool around in your bedroom? I walk around singing into my phone and scribbling lyrics down; this is my recording process. This has led to some rough-as-guts demos. I think I have a good group of people around me who can take my songs and help nurture and shape them. Bathrooms have good acoustics. Can you sum up your band’s sound in four words? Not really. It’s just songs that we all believe in. If you could support any band in the world, who would it be and why? I would want to tour with great acts; to see the best guys play and hope that something rubs off.

Get down with The Cactus Channel this Friday night when the ten-piece funk’n’soul posse celebrate their nomination for Best New Talent in The Age EG Awards with a wrap party at Ding Dong for their national album tour. For their homecoming party on Friday night, The Cactus Channel will be joined by voodoo groove merchants The Afrobiotics and DJ Manchild keeping the soul and funk heavy throughout the evening. Tickets on sale now from dingdong. or $15 on the door if still available.


After a four-month hiatus while leading lads Henry and Mauricio were away reconnecting with their Colombian roots, Madre Monte will return to their old stomping ground at Bar Open on Friday 19 October. The band will indulge in their usual mix of cumbia, reggae and AfroColombian rhythms. Madre Monte will be joined on the night by seven-piece Ethio-jazz ensemble J-Azmaris.

Do you have a lucky item of clothing you wear for gigs and what is it? No lucky item really, [maybe] a Sachin Tendulkar dogtag I bought in India. When I walked down the streets the locals told me I had a “good heart” for wearing it. As for clothing, I basically have a uniform and luck has been on my side so far.

What’s your favourite place to drink in Melbourne? I spend a lot of time at the coffee shop near my house. Bebida on Smith Street have been very good to me and allow me to play lowkey acoustic gigs every once in a while.


Australia’s premier Scottish fiddle duo will unite with Melbourne’s own hotter-than-ever feast of fiddles for one captivating Doncaster show. Newcastle’s fiddle and piano duo Chris Duncan & Catherine Strutt and the Melbourne Scottish Fiddle Club will present a heart-warming mix of traditional and contemporary tunes and ballads from 2pm on Sunday 21 October in the Cabaret Room at the Shoppingtown Hotel in Doncaster.

Best Independent Album nominees: Falling And Flying – 360, Bloodstreams – DZ Deathrays, Prisoner – The Jezabels, Royal Headache – Royal Headache, The Temper Trap – The Temper Trap. Missing in action on the night will be DZ Deathrays, The Jezabels and The Temper Trap. The Jezabels collected two transparent square trophies last year, so shouldn’t be greedy. The Temper Trap’s previous album was better than this one. Whoo-HOO! DZ Deathrays! Deserving winners in this category and also worthy ambassadors of the herbal digestive we’ll all be consuming on the night. For evidence, check out the Bris Vegas duo’s video for The Mess Up, which follows this basic premise: “two guys, one bottle of Jägermeister, three minutes.”

This Saturday night the Espy’s Gershwin Room hosts Fuck The Politics – a night of bands featuring Lord, Make Them Suffer, Boris The Blade, Widow The Sea, The Rose Line, Bury The Fallen, Electrik Dynamite, Save the Clocktower and Dead City Ruins. Tickets are $25+BF. Ganga Giri headline a show in the Lounge Bar, while Chaos Radio, Son Of Jerico, March In Moscow and Jon Lawrence play in the Basement from 9pm.


Not attending: Husky, San Cisco, The Rubens. Last year this one went to Emma Louise, whose radio smash, Jungle, penetrated the global consciousness through savvy syncs on Grey’s Anatomy, The Slap and US MTV’s Awkward. Much like San Cisco’s catchy tune, Awkward, which makes the Vodafone Infinite TXT ad so memorable. Let’s go with the charming and youthful Perth quartet then, shall we? Best Independent Single Or EP nominees: Boys Like You – 360, Gasoline – Alpine, Thinking In Textures – Chet Faker, Drums – Oh Mercy, Awkward – San Cisco.

Best Independent Hip Hop Album nominees: Falling And Flying – 360, The Quickening –



We have it on good authority that both The Jezabels and Ball Park Music will not be present at the seventh Jägermeister Independent Music Awards. The Jezabels won in absentia last year, so that means Ball Park Music could very well score this year.

Since San Cisco are the only band in this category who will be MIA on the night, our theory makes them a shoe-in for this award also.

Two great gigs at the Espy this Thursday. Royal Ace, Hotel On Mayfair, The Weather, Pigtails and High Side Driver are in the Gershwin Room from 7.30pm with $12 entry. In the Lounge are Admiral Ackbar’s Dishonourable Discharge, Euphoria, Feed My Frankenstein and Left Or Right from 9pm with free entry.

The Aston Shuffle return from a year in the studio with the first taste of their sophomore album release – the epic, and aptly titled, Can’t Stop Now. As heart-on-sleeve as it is hands-in-the-air, it’s The Aston Shuffle’s boldest statement to date and heralds the impending release of their next album in early 2013. This Saturday The Aston Shuffle head to the Toff In Town with special guests Clubfeet, 96 Bulls, Deacon Rose and Tin Lion.

Best Independent Artist nominees: 360, Ball Park Music, Chet Faker, The Jezabels, Royal Headache.

Breakthrough Independent Artist Of The Year nominees: Chet Faker, Husky, San Cisco, Royal Headache, The Rubens.



So ‘werd’ has it that Katalyst and The Herd are keeping their distance from the JIMA ceremony this year. The Herd took out this very same category in 2008, so put your hands together for Katalyst! Ashley Anderson is one of this country’s most criminally overlooked DJ/producers, so this result should attract thunderous applause.


If a higher power smites your house and you can only save one record from the fire, what would it be? There are old and new records lying around my house that I haven’t gotten to yet, I’d grab the first thing in sight.

If you invited someone awesome ‘round for dinner what would you cook? Their favourite.

Funkoars, Deep Impressions – Katalyst, Future Shade – The Herd, Standing Strong – Yung Warriors.

Microwave Jenny navigate their way not only through the mountains and valleys of married life but the treacherous waters of being completely independent, self managed, touring, recording artists who pride themselves on the DIY nature of their career. They come to the Toff In Town this Thursday to promote their new single You, Me, Backseat from their new EP Chasing You.

The Espy is overloaded with music this Friday. In the Gerswhin Room are TWSS, Shaded Grey, Leez Lido, Tiger & The Sun and A Gazillion Angry Mexicans from 7.30pm with entry for $14. The Lounge Bar hosts Mantra, Dylan Joel, Remi, Soliloquy and Flagrant and in the Basement are Leprosy, Counter Attack!, Degenerates, AIDS, and Join The Amish. These shows start at 9pm with free entry.

Best Independent Blues And Roots Album nominees: Troubles Door – Ash Grunwald, Tin Shed Tales – John Butler, To The Horses – Lanie Lane, Leave It All Behind – Saskwatch, Spirit Bird – Xavier Rudd. Ash Grunwald, John Butler and Xavier Rudd haven’t RSVPed. Butler’s already got two of these seethrough statuettes in the poolroom – Best Performing Independent Album (2007) and Most Popular Independent Artist (2010). If we had to pick one, it’d be Rudd after his fantastic acoustic session. And he also has (marginally) better hair. Best Independent Hard Rock Or Punk Album nominees: Dancing With A Dead Man – Calling All Cars, Bloodstreams – DZ Deathrays, Smoko At The Pet Food Factory – Frenzal Rhomb, Crooked Teeth – House Vs Hurricane, The Peep Tempel – The Peep Tempel. DZ Deathrays or Frenzal Rhomb both had better offers for Tuesday 16 October. In 2009, The Nation Blue got up in this category for Rising Waters, which was a popular result, and so perhaps this is an opportunity to give the heritage-listed some love? DZ rule though, so let’s allow for joint winners here. Best Independent Dance/Electronica Album nominees: HyperParadise – Hermitude, Thinking In Textures – Chet Faker, Twirligig – Jonti, Dreams – Oliver Tank, Dance Music – T-Rek, Doomsday Deluxe – Sampology. The only possible confirmed sightings you’ll have on JIMA night 2012 are of Jonti and/or Oliver Tank. This category historically favours artists who are making their mark abroad – Midnight Juggernauts (2010) and Pnau (2011). Considering Jonti’s been supporting Gotye on his recent US tour – ‘nuff said. Best Independent Dance/Electronica Single nominees: Terms And Conditions – Chet Faker, Sleepless – Flume, Can’t Get Better Than This – Parachute Youth, L.G.F.U. – Tom Piper and Daniel Farley, Go – Tonite Only. Flume and Tonite Only will not be hiring suits and heading to Revolt for the ceremony this year. The BIGSOUND buzz on Flume was massive. So give the young lad his trophy, already! WHAT: Jägermeister Independent Music Awards WHEN & WHERE: Tuesday 16 October, Revolt Art Space, Kensington



Little Surprises is the first single to be lifted from Julia & The Deep Sea Sirens’ highly anticipated album, Family Pets. Little Surprises is a truly unique and endearing offering. They play this Friday at the Empress in support of the new single.

Folk-pop chanteuse Esther Holt launches her new single Countless Verse at the Workers Club this Saturday. She is supported by the The Pretty Littles and Lisa Salvo. Doors open at 8.30pm and entry is $10 with a free download of the single.



The acoustic blues of David O’Connor comes to the Workers Club tonight as he launches his new 7”, Hypnotist. He is supported by the fourpiece jams of Amanita & The High Suburban. Entry is $7 with doors opening at 7.30pm.

Vultures Of Venus have been invited back to headline First Floor on Saturday 20 October. They will unveil their new single Garden Of Earthly Delights. A camera crew will be filming the action to cut together the clip to accompany this song for its international release. Joining them on the night are Pom Pom, Yeso and Midi Widow. Entry is free with $2 pots from 8pm.

1, 2 STEP Messy indie-enthusiasts Step-Panther head to the Workers this Friday to launch their new Maybe Later single. Adelaide janglers Bad Dreems will support them and local bedroom gazer Bored Nothing will kick it off at 9pm. Tickets are $12 on the door.

NO STRANGERS Sydney’s Strangers drop into The Vagrants’ Wednesday October residency at Cherry Bar tonight. Also appearing are Home To Kelly covering Guns N’ Roses tracks.


Before DJs Vince Peach and Pierre Baroni can bring the soul to Cherry this Thursday, the horn-driven funky rhythm and blues of The Funkadelic Side kick things off. The door charge is $10 from 8pm till 5am.


Feeding off their audiences at their usually chaotic live shows, APES reinvigorate the blues of the ‘50s whilst staying true to the innate garage-rock rebellion that burns inside them all. They launch a new single at Cherry Bar this Friday with Hoodlum Shouts and Hollow Ever After in support.


Hell City Glamours will play their only show for 2012 at Cherry Bar this Saturday. They will be supported by Vice Grip Pussies and Damn The Torpedoes. The doors open at 5pm with entry at $15 from 8pm till 11pm, then $10 till 5am.


Melodic pop sensibilities and thunderous riffrock’n’roll merge within the sound of Shadowqueen. They are playing this Sunday night at Cherry Bar with Virtue and Bottle Of Smoke in the support slots. The music kicks off at 8.30pm with free entry.


the new single this Friday at the Grace Darling with The Salvadors and The Red Lights.

This Friday at the Prague is a night of unrelenting metal. Humonic will headline the show with support from Empires Laid Waste (WA), The Seaford Monster, Exethur (SA), Harlott and Involuntary Convulsion. Entry is $12 on the door and the music starts at 8pm.

Each week we quiz a participant at upcoming industry event Face The Music about the two-day conference’s importance. This instalment features artist manager Meg Williams in the hot seat.

GASO HUGE WEEK At Gaso on Wednesday are Senyawa from Indonesia; Thursday night things get intense with Polyfox cutting things up with Parents and The Debutant Kid downstairs, and Mekare Kare from Japan teaming up with Bambodi (WA); The Bonniwells and Ross De Chene Hurricanes upstairs. Friday they have electronica downstairs with d’Eon from Canada alongside Keith Fullerton Whitman (USA), Roland Tings and Circular Keys; while upstairs are Internal Rot, Cocks Arquette, Dead Boomers and Split Teeth. Saturday they have Nun as they launch their 7” Solvents, with Lakes, Repairs, The Zingers and Psychedelic Coven DJs take the downstairs bandroom into the depths of darkness. Plus plenty more.


Apache have two big gigs remaining for this month. They play the Brunswick Hotel this Saturday as part of a big line-up raising money for the YourVote organisation. WA’s Hailmary are also on the bill. They will also open up in support of the mighty Scaramouche at Cherry Bar Friday 19 October.

Melbourne folk four-piece You & The Colonies craft dense vocal harmonies accompanied by twin guitars and upright bass. Over the winter months the band have been honing harmonies, writing new tunes, refining the old ones, and recording in a church. They’re playing a Sunday residency at the Res. Get on down.



Gold Coast four-piece Oceanics are proud to announce the release of their new single The City, and are heading out on East Coast tour to celebrate. Snipping at the heels of the spiky end of Brit-pop, Oceanics bring big hollow guitars and clean, jangling tones. They launch



This Friday at Pony The Spitfires will be launching their album Songs From The Debt Generation with support from Lights On At Heathrow, The Fuzzbirds and The Naysayers. They will be delivering a show packed with surf guitars, machine-gun snares and fuzzed-out bass.

Meg Williams

Who are you and what do you do? My name is Meg Williams, I hang out with a few bands from time to time including Melodie Nelson, Megastick Fanfare and Shady Lane. I also run the Association Of Artist Managers, which is the peak body representing the interests and issues facing music managers and their artists in Australia. Is this your first Face The Music? This is my first! Though hopefully not my last. I’m excited by some of the panels happening; I’m really excited to hear Almudena Heredero from Primavera’s keynote and the streaming discussion with Nick O’Byrne from AIR. Tell us about the panel you’re speaking on at this year’s FTM. I’m speaking on two panels this year, which is exciting for a first timer! The first is really

exciting ‘cause I’m pulling together a dream team in the industry and getting them to “go at it” at the career of a hypothetical band. We’ll walk through all the milestones, hiccups, releases, tours, everything you’re hoping to get out of a career as a young band. We’ll map it out with the likes of Claire Collins (Bossy Music – publicity for Laneway, Gotye), Gregg Donovan (Wonderlick Entertainment – manager of Boy & Bear, Grinspoon), Stephen Wade (Select Music – booker for Boy & Bear, Bleeding Knees Club, Bluejuice, etc) and a few more still to come. I’m also hosting a ‘meet the managers’ session where young bands and artist managers can come meet some of the best we can get and ask them real questions for immediate feedback on where they are at and what they should do. In what ways do you think FTM can help young bands and those hoping to start a career in the music industry? FTM is offering real, tangible skills to young music industry operators – skills that they can walk away and instantly put into effect in their own careers, and it’s looking at issues that are facing everyone right now. Any tips for how to get the most out of your time at FTM? Talk to everyone and go to everything. Face The Music takes place on Friday 16 November and Saturday 17 at the Arts Centre.



Hat Fitz & Cara

IF THE HAT FITZ … Hat Fitz loves the blues. When he was a young fella, he had two posters on his bedroom wall – Carlton legends Alex Jesaulenko and Bruce Doull. Rose Tattoo was his first album purchase, but then Bo Carter and Fred McDowell sparked his interest in “old blues”. He and his wife, Cara Robinson, have now delivered one of 2012’s best roots albums, Hat Fitz & Cara’s Wiley Ways (out now on Only Blues Music). It’s seen them land on the cover of Rhythms magazine, who hailed their “Wiley Ways, crafty cuts”. Fitzy – who holds the record for 18 straight appearances at Byron Bay’s Bluesfest – met Cara when they were performing at a festival in Ireland. They had an unforgettable dance, which ended when Fitz lifted Cara into a column. She was knocked out cold. A few months later, Cara moved to Australia to be with Fitz. They spend most of their 58 • INPRESS

time on the road, but home is Kin Kin, Boreen Point in Queensland. Hatz Fitz (full name: Hat Rick Fitzpatrick) likes to describe their sound as “original material with an old-time flavour”. He and Cara share vocal duties; it’s like a mix of Bonnie Raitt and Howlin’ Wolf. How do they decide who sings what? “Sometimes there is a wrestling match, which usually ends with Cara winning in a leg hold,” Fitzy chuckles. “In all seriousness, it’s usually quite obvious.” Wiley Ways was produced by Jeff Lang, who Fitzy met when they did a show together in Woombi in 1993. The album is being launched at the Workers Club on 21 October.

PURE POP FOR CLASSIC PEOPLE Howzat! caught up with RRR’s Neil Rogers last week and we were both overwhelmed by the line-up for Pure Pop’s Summer Of Classic Albums. “How good is it?” Neil said. “I thought it couldn’t be true when I first saw the list.” Some of Howzat!’s favourite acts are covering some of our favourite albums, including Fiona Lee Maynard, who’s doing Weezer’s debut; Monique Brumby, Lucinda Williams’ Car Wheels On A Gravel Road; and Liz Stringer, Crowded House’s Woodface. Head to for the amazing list.

SO FAR, SO GOOD After the first series of Australian Idol, a publisher contacted Howzat!, wanting us to do a book with runner-up Shannon Noll. Discussions were held with Shannon’s management, but he decided – wisely – that it was too soon for a book. But we’re pleased he’s now told his story, Shannon Noll, So Far… ($32.95, New Holland), with Sydney writer Alan Whiticker. Shannon

has certainly got a tale to tell – country boy, dealing with his dad’s death, finds fame on Idol and, like a mix of Barnesy and Farnesy, carves a career with strong, simple anthems (Drive, Shine, Lift, Loud). It’s a story of striving for respect. You can’t argue with Shannon’s success – five top-ten albums and ten top-ten singles – but many, like TV host David Reyne, question his “creditability”. Shannon responds: “Who the fuck are you?” Admirably, Shannon is ambitious and not afraid to stand up for Australian music. He mentions how Meat Loaf was paid “a shitload of money” to perform at the AFL Grand Final. “The funny thing is Australian artists rarely get paid for these high-profile performances because it’s all about promotion,” he writes. He details falling out with Sony boss Denis Handlin after having a shot at Sony for not breaking him internationally. And there’s even a pep talk from Alan Jones: “You need to understand that you represent the hopes and dreams of every average person,” Jones tells Shannon. “So if you show in any way that the media are getting to you and beating you down that crushes the dreams of every average bloke… if they defeat you, they defeat everybody.” There are some annoying mistakes (Marcia Hines is regularly referred to as “Marsha”), but Shannon Noll, So Far is a ripper read, both heartfelt and honest.



Pacifica THE PRESETS (22)

There was a certain irony in the Long Way To The Top crowd singing Dragon’s Are You Old Enough? Russell Morris joked that the drug of choice backstage was Quick-Eze. But the joyous gig showed you’re never too old to rock. It also showed the impact NZ has had on Australian music, with the bill featuring Dragon, Mi-Sex, Jon Stevens, Dinah Lee and Mike Rudd. Howzat! left Rod Laver pondering why these songs weren’t massive worldwide hits: I’ll Be Gone, I Remember When I Was Young, Turn Up Your Radio and April Sun In Cuba.

Happy Birthday to New Zealand’s greatest band, Split Enz, who formed 40 years ago this month, as Split Ends.


The Temper Trap return to the Top 40 after their Grand Final gig. Battle Scars GUY SEBASTIAN (number three) Boom Boom JUSTICE CREW (13) When The Lights Go Out HAVANA BROWN (31) Trembling Hands THE TEMPER TRAP (38) Something For Kate land at five. Leave Your Soul To Science SOMETHING FOR KATE (number five, debut) Black Rabbits GRINSPOON (eight, debut) The Sapphires soundtrack (11) The Rubens THE RUBENS (13) The Temper Trap THE TEMPER TRAP (14) This Was Tomorrow SETH SENTRY (16) Timomatic TIMOMATIC (21) Paradise CODY SIMPSON (31, debut) Falling & Flying 360 (32) Chasing Ghosts THE AMITY AFFLICTION (36)






MY DISCO: Friday 12 October, Tinning Street Gallery

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


COUNT BASIE ORCHESTRA: October 10 Hamer Hall JOE BONAMASSA: October 11 Palais 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 GRAILS: October 14 Corner THE SWELLERS: October 13 Bang; 14 Ferntree Gully Hotel


STRANGERS: October 10 Cherry Bar KARISE EDEN: October 10, 11 St Michael’s Church SHANNON NOLL: October 11 West Gippsland Arts Centre; 12 Ballarat Regent Multiplex; 13 Eastbank Centre (Shepparton); 14 Lighthouse Theatre (Warrnambool) HUSKY: October 11 Corner LEFT OR RIGHT: October 11 Espy, Pony (later); 12 Reverence Hotel; 13 Soundbar 229 (Hoppers Crossing); 14 Tote THE SALVADORS: October 11 Beav’s Bar (Geelong); 12 Grace Darling CROOKED SAINT: October 11 Spirit Bar (Traralgon); 12 Western Port Hotel; 13 Baby Black Cafe (Bacchus Marsh); 15 Empress; 16 Bended Elbow (Geelong) MY DISCO: October 12, Tinning Street Gallery GLASS TOWERS: October 12 Evelyn THE CACTUS CHANNEL: October 12 Ding Dong ROCKWIZ: October 12, 13 Festival Hall MANTRA: October 12 Espy JULIA & THE DEEP SEA SIRENS: October 12 Empress REGURGITATOR: October 11, 12 Hi-Fi STEP-PANTHER: October 12 Workers Club OCEANICS: October 12 Grace Darling THE SPITFIRES: October 12 Pony MICK THOMAS, SAL KIMBER: October 12 Sisters Hall; 13 Mollongghip Hall; 14 Wandiligong Hall 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 (later) OH MERCY: October 12 Loft (Warrnambool); 13 Karova Lounge (Ballarat) DALLAS FRASCA: October 12 Prince Bandroom THE ASTON SHUFFLE: October 13 Toff STEVE KILBEY: October 13 Arts Centre THE NEW CHRISTS: October 13 Bridge Hotel (Castlemaine) MAKE THEM SUFFER: October 13 Espy COERCE, TOTALLY UNICORN: October 13 John Curtin GANGA GIRI: October 13 Espy BEC LAUGHTON: October 14 Workers Club MARGRET ROADKNIGHT: October 14 Yarraville Community Centre DIG: October 14 Corner Hotel


BIG FREEDIA: October 17 Tote; 18 Hi-Fi GRAILS: October 18 Northcote Social Club SAMPOLOGY: October 19 Vault 8 XIU XIU: October 19 Gasometer BILLY BRAGG: October 19 Hamer Hall; 20 Melbourne Recital Centre; 30 Prince Bandroom ALT-J: October 20 Ding Dong MATCHBOX 20, INXS: October 60 • INPRESS

20 & 21 Rod Laver Arena LEE RANALDO: October 23 Pure Pop; 24 Hi-Fi WILLY MASON: October 24 Toff In Town ELAINE PAIGE: October 24 Palais PRINCE ALLA: October 26 Espy HOME BREW: October 26 Espy EASY STAR ALL-STARS: October 26 Hi-Fi PURO INSTINCT: October 26 Bermuda Float WEDNESDAY 13: October 27 Esplanade MARSHALL JEFFERSON: October 27 New Guernica 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 MONDO CANE: November 12 Regent Theatre COLDPLAY: November 13 Etihad Stadium THE WAR ON DRUGS: November 13 Northcote Social Club DAVE DOBBYN: November 14 Corner Hotel THE PIERCES: November 14 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 USELESS EATERS: November 16 Tote; 17 the Nash (Geelong) GREGORY PAGE: November 16 Caravan Music Club BOYZ II MEN: November 17 Costa Hall (Geelong); 18 Billboard OWL CITY: November 18 Corner Hotel (matinee under-18s, evening 18+) MIKE HUCKABY: November 18 Where?House YASMIN LEVY: November 18 Arts Centre SEUN KUTI: November 18 Hi-Fi ELTON JOHN: November 18 Rod Laver Arena BROTHER ALI, SEAN PRICE: November 21 Prince DI’ANNO VS BLAZE: November 22 Hi-Fi DELANEY DAVIDSON: November 22 Public Bar; 23 Spotter Mallard; 24 Old Bar COOLIES: November 23 Gasometer HOPSIN: November 23 Prince DARK FUNERAL: November 24 Corner Hotel KORA: November 24 Hi-Fi EYEHATEGOD: November 24 Billboard 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 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 REEL BIG FISH, GOLDFINGER, ZEBRAHEAD: December 2 Palace

Magnusson & Wilson 303

La Nouvelle, Velma Grove St Jeromes

Mickey Lamar’s Video Stars Bar Open, Early Show

Lamp, Lone Tyger Baha Tacos

Open Mic Great Britain Hotel Paper House, Secondhand Heart, Canary The Toff In Town

BEC LAUGHTON: October 14 Workers Club

Pete Cornelius The Standard Hotel


Rochywave Rochester Castle Hotel

BRITISH INDIA: October 18 Ferntree Gully Hotel; 19 Corner Hotel; 20 Pier Hotel (Frankston)

Sam Hookey Band Veludo

XIU XIU: October 19 Gasometer

Senyawa, Hans Harms, Bum Creek, Military Position, The French DJs The Gasometer Hotel

VELOCIRAPTOR: October 19 Tote BILLY BRAGG: October 19 Hamer Hall; 20 Melbourne Recital Centre; 30 Prince Bandroom TEXT OF LIGHT: October 23 ACMI LEE RANALDO: October 24 Hi-Fi THURSTON MOORE: October 25 Hamer Hall GYPSY & THE CAT: October 26 Palace ARGENTINA, TOKYO DENMARK SWEDEN, THEM SWOOPS: October 26 Workers Club CATHERINE TRAICOS: October 28 Workers Club 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) REDCOATS: November 8 Karova Lounge (Ballarat); 9 Bended Elbow (Geelong; 10 Ding Dong Lounge; 15 Star Bar (Bendigo); Friday 16 Whalers Hotel (Warrnambool). 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 TWO DOOR CINEMA CLUB: December 29 Festival Hall THE HIVES: January 6 Forum

Sinking Teeth, Dirty F, Evil Twin Old Bar Strangers, The Vagrants, Home To Kelly Cherry Bar Street Fangs, Third Earth, Guests The Tote The Sunsleepers, Fahrenheit 43, Halcyon Drive Evelyn Hotel Tim Willis & The End Bennetts Lane Wexford, The Engagement, Royal Parade, Grossgod Revolver Upstairs

THU 11 Admiral Ackbars Dishonourable Discharge, Euphoria, Feed My Frankenstein, Left Or Right The Espy, Lounge Bar B3 Madness 303 Battle Club, CholestErollers, Future Fathers Lounge Bar

Left Or Right, Geek Pie Pony Late Show Love Story The Toff In Town (Late) Mad Nanna, Midnight Caller, The Enclosures Old Bar Mekare-Kare, Bambodi, The Bonniwells, Ross De Chene Hurricanes The Gasometer (Upstairs) Microwave Jenny, Dan Parsons The Toff In Town Mike G, Cam Touche Hombre Moonshifter, Scaramouche, Dan Swan Reverence Hotel, Footscray Neighbourhood Youth, I’lls & Brightly Evelyn Hotel Polyfox & The Union Of The Most Ghosts, Parents, The Debutant Kid, Bricks The Gasometer Hotel Polygasm, The Lachlan Bruce Band, 8 Foot Felix, Salt Lake City, Sally Baulch Yah Yah’s Prequel, Edd Fisher, Principal Blackman The Toff In Town (Carriage Room) Private Life Ding Dong Lounge Quince Jam Wesley Anne (Front Bar) Rat & Co, Banofee, Alex Albrecht Bar Open Regurgitator, Senyawa The Hi-Fi

KYLIE AULDIST: Friday 23 November, Evelyn

BEACH HOUSE: January 9 Forum GODSPEED YOU! BLACK EMPEROR: February 15 Forum EINSTÜRZENDE NEUBAUTEN: February 19 Palace BLUESFEST: (featuring Ben Harper, Iggy & The Stooges, Wilco): March 28-April 1, Tyagarah Tea Tree Farm, Byron Bay FUTURE MUSIC FESTIVAL: (featuring The Stone Roses, The Prodigy, Steve Aoki): March 10 Flemington Racecourse

WED 10 Agent 86, Lady Noir, Joybot, + More Lucky Coq Al Parkinson, Anna Struth The Drunken Poet Ali E, Andre Hooke Retreat Hotel Baddums, Carmex Laundry Bar Brecker Mecca Paris Cat Jazz Club Constant Mongrel, Mekare-Kare, Bamodi, High Tea Bar Open David O’Conner, Amanita, High Suburban The Workers Club Dizzy’s Big Band, Peter Hearne Dizzy’s Jazz Club

Foxtrot, World At A Glance, Multiverse Bendigo Hotel Full Code, Pour Parlour, Signals In Silence, + More Corner Hotel Hedgehog, + Guests Ding Dong Lounge Hugh McGinlay, Iain Archibald, City Sound The Espy, Lounge Bar Jeff Green, Matt Hardy, Monty Franklin Comic’s Lounge Jonnie Murphy, + Guests The Empress Jules Roginson Bebida Bar Karise Eden, Lakyn Heperi St Michaels Church Lavender Vs Rose Open Studio

Dinosaurs Exist, Paper Wolves, Far From Nowhere, Second Chance Exit Revolver Upstairs Elephant, Indian Skies Great Britain Hotel Guilty Party Ferntree Gully Hotel Husky Corner Hotel Jamie Lockhart, Joshua Seymour, George Hyde The Drunken Poet Jeff Green, Matt Hardy, Monty Franklin Comic’s Lounge Joe Bonamassa Palais Theatre Karise Eden, Lakyn Heperi St Michaels Church

Reverse Grip, Giants Under The Sun, Kill Shot, Lucky Few Pony Rory Ellis Edinburgh Castle Hotel Royal Ace, Hotel On Mayfair, The Weather, Pigtails, High Side Driver The Espy, Gershwin Room Sam Young & The Zero Assassins The Empress Shannon Noll West Gippsland Arts Centre Showtime Touche Hombre Spencer P Jones Tago Mago

Suitcases, Baggage & Other Synonyms Wesley Anne (Band Room)

Glass Towers, The Demon Parade, Private Life, Towers Evelyn Hotel

Sun Rising, Little Sisters Northcote Social Club

Global Battle Of The Bands Barwon Club

The Atomic Bitchwax, Cockfight Shootout, Don Fernando, Tttdc The Tote The Charge, Mz Ann Thropik, Hail Mary Ruby’s Lounge The Funkadelic Side, Vince Peach, Pierre Baroni Cherry Bar The McQueens, Willow Beats, Squarehead, Windsor Thieves Grace Darling Hotel Vance Joy, Ali Barter The Workers Club Wizard & Oz Dizzy’s Jazz Club

FRI 12 Antony & The Johnsons Hamer Hall Apes, Hoodlum Shouts, Hollow Ever After, Lucy Arundel Cherry Bar Big Dead, On Sierra, Dru & The Intentions Wesley Anne Big Seal & The Slippery Few, India Flynn, Joe Forrester, Trio Agogo 303 Chardy, Tom Evans, Adam Bartas, Hoops, Sauce, + More Billboard Chris Wilson Basement Discs Closure In Moscow, Aural Window, Branch Arterial, Summerset Avenue, + More Ev’s Youth Centre (Croydon) Conversations With Ghosts Feat. Paul Kelly, Genevieve Lacey, James Ledger Melbourne Recital Centre Cotton Sidewalk, Left Or Right, Cads Of Yore, Qlayeface, Seven HeaRts Reverence Hotel, Footscray Crooked Saint, Ashleigh Mannix Westernport Hotel Dallas Frasca, El Moth, Black Devil Yard Boss, Ben Smith Band Prince Bandroom Dan Bourke & Friends The Drunken Poet Dane Certificate & The Vanishing Coins, Throbulator Pony Late Show Dappled Cities, Jape Corner Hotel d’Eon, Keith Fullerton Whitman, Roland Tings, Circular Keys The Gasometer Hotel DJ Mes, Sonny Fodera, + More Onesixone For Our Hero Pier Hotel French Connection Uk Dizzy’s Jazz Club

Humonic, Empires Laid Waste, The Seaford Monster, + More The Prague Internal Rot, Cocks Arquette, Dead Boomers, Split Teeth The Gasometer (Upstairs) Jeff Green, Matt Hardy, Monty Franklin Comic’s Lounge Kelly Auty Thornbury Theatre

The Boys Wesley Anne, Arvo The Cactus Chanel Ding Dong Lounge The Detonators Tago Mago The Dub Captains Bar Open

Asleep At Last, Hug Therapist, Like Royalty, + More Idgaff Bar And Venue Atomic Bliss, The Elliots, The Atlantic Fall Revolver Upstairs Black Jack Oz Rock St Andrew’s Hotel

The McClymonts, Buffalo The Palms

Catfish Voodoo ThE Drunken Poet

The New Christs, The Wardens, River Of Snakes, The In The Out The Tote

Chaos Radio, Sons Of Jericho, March In Moscow, + More The Espy, Basement

MIKE HUCKABY: Sunday 18 November, Where?House

Leprosy, Counter Attack, Degenerate, Aids, Join The Amish The Espy, Basement Major Tom & The Atoms, Naked Bodies, Magic Bones, Dan Webb Yah Yah’s Mantra, Dylan Joel, Remi, Soliloquy, Flagrant The Espy, Lounge Bar Maroon 5, Evermore, The Cab Rod Laver Arena Max Vegas, Manchild, Eddie Mac Touche Hombre Mechanical Pterodactyl, Julia & The Deep Sea Sirens, Matt Kelly The Empress Modern Savage, Eater Of The Sky, + More Kyneton Town Hall, Kyneton My Friend The Chocolate Cake Caravan Music Club Oh Mercy, Millions, Split Seconds The Loft, Warrnambool Open Mic St Andrew’s Hotel Phil Ross, Chris Mac, B-Boogie, Dean T, Johnny M, Jay-J, 5ft2 Co. & Fusion Nightclub At Crown Poprocks, Dr Phil Smith The Toff In Town PQM Claremont Tonic Regurgitator, Senyawa The Hi-Fi Rudimental, Tommy 4 Seven Brown Alley Shaky Memorial Yah Yah’s (Late) Shannon Noll Ballarat Regent Multiplex Sixfthick, Bad Vision, Suzie Stapleton Band, Uday Tigers, Them Bruins Old Bar Sonyta & The Incinerators, The Atomic Hi Tones The Luwow Forbidden Temple Step-Panther, Bad Dreems, Bored Nothing The Workers Club Suitcases, Baggage & Other Synonyms Wesley Anne (Band Room) Ted Vining Trio, Ian Chaplin Trio Uptown Jazz Café Tenfold, Esvee & Bogues, Strike Won, J-Mac Revolver Upstairs

The ReChords, The Ska Vendors Northcote Social Club The Salvadors, Oceanics, The Red Lights Grace Darling Hotel The Spitfires, Lights On At Heathrow, The Fuzzbirds, The Naysayers Pony The Supernaturals, Quick Fix Duo, Silver Stakes, + More Ruby’s Lounge Twss, Shaded Grey, Leez Lido, Tiger & The Sun, A Gazillion Angry Mexicans The Espy, Gershwin Room Waylon Joes Highway 31 We All Want To, The Bon Scotts The Bridge Hotel

SAT 13 Acoustic Covers The Bended Elbow Andee Frost The Toff In Town (Late) Andrew Nolte & His Orchestra Pinnacle Hotel, North Fitzroy Andrew Padula Claremont Tonic Andy Young Yah Yah’s (Late) Antony & The Johnsons Hamer Hall Apache Medicine Man The Brunswick Hotel

Charm, Mr Sharp Pony Late Show Chris Ostrom, Sef, Nova, Allure, + More Jettblack Clampdown Rochester Castle Hotel Client Liaison, Zanzibar Chanel, Moon Dice, + More The Empress Coerce, Totally Unicorn John Curtin Hotel Conversations With Ghosts Feat. Paul Kelly, Genevieve Lacey, James Ledger Melbourne Recital Centre Crooked Saint, Ashleigh Mannix Baby Black Café Cuntz, Gentlemen The Tote, Front Bar Esther Holt, The Pretty Littles, Lisa Salvo The Workers Club Everclear The Hi-Fi Finding Isla, Brown Paper Package Wesley Anne Frozen Over, Gutter Gods, Soma Coma, Havittajat Pony Ganga Giri, Bec Laughton, Mark Lowndes The Espy, Lounge Bar

TOUR GUIDE COLOR ME BADD: December 2 Alumbra OMAR RODRIGUEZ LOPEZ: December 2 Corner Hotel BLONDIE: December 3 Sidney Myer Music Bowl THE PRETTY THINGS: December 4 Corner; 13, 14 Caravan Club JEFF MARTIN: December 5 Karova Lounge (Ballarat); 6 Ruby’s Lounge (Belgrave); 7 Cherry Bar; 8 Northcote Social Club

THE SPITFIRES: Friday 12 October, Pony


CROOKED SAINT: October 17 Pure Pop Records STRANGERS: October 17, 24 Cherry Bar AXOLOTL: October 18 Ding Dong BLACK MUSTANG: October 18 Ruby’s Lounge (Belgrave); 19 Retreat Hotel (early), Pony (late) HAT FITZ & CARA ROBINSON: October 18 Theatre Royal (Castlemaine); 19 Harvester Moon (Bellarine); 20 Baha Tacos (Rye); 21 Workers Club BRITISH INDIA: October 18 Ferntree Gully Hotel; 19 Corner Hotel, 20 Pier Live (Frankston) IMMIGRANT UNION, ROYSTON VASIE: October 18 Karova Lounge (Ballarat); 19 Ding Dong; 20 National Hotel (Geelong) DRUNK MUMS: October 19 Grace Darling MICK THOMAS, SAL KIMBER: October 19 Caravan Music Club; 20 Toora Community Hall; 21 Substation (Newport) THE PREATURES: October 19 Workers Club TEXAS TEA: October 19 Old Bar OH MERCY: October 19 Bended Elbow (Geelong); 25 Hi-Fi VELOCIRAPTOR: October 19 Tote MY DISCO: October 19 Hi-Fi IN HEARTS WAKE: October 20 Bang; 21 OLP (Ringwood) SUGAR ARMY: October 20 Toff KUTCHA EDWARDS: October 20 & November 17 Arts Centre; December 1 Bridge Hotel (Castlemaine) CHARLES JENKINS: October 21 Northcote Social Club LAST DINOSAURS: October 21 Ding Dong (under-18s); 25, 26 Corner Hotel JOSH PYKE: October 24 Palais (Hepburn Springs); 25 Karova Lounge (Ballarat); 26 Bended Elbow (Geelong); 27 Meeniyan Town Hall LITTLE SHADOW: October 25 Bendigo Hotel; 26 Reverence Hotel GYPSY & THE CAT: October 26 Palace GOOD HEAVENS: October 26 Tote CLARE BOWDITCH: October 26 Regal Ballroom; 27 GPAC SARAH HUMPHREYS: October 26 Wesley Anne; 27 Pure Pop Records & Elwood Lounge DOMNICKS: October 26 Caravan Music Club ROBERT FORSTER: 26 October Thornbury Theatre; 27 Theatre Royal (Castlemaine); 28 Caravan Music Club ARGENTINA, TOKYO DENMARK SWEDEN, THEM SWOOPS: October 26 Workers Club THE TIGER & ME: October 27 Revolt; November 1 Karova Lounge (Ballarat); 2 Barwon Club (Geelong) BLKOUT: October 27 Gasometer; 28 Collingwood Masonic Centre SPIT SYNDICATE: October 27 Laundry TIN SPARROW: October 27 Workers Club ANDREW MORRIS: October 27 Grace Darling THE GOOD CHINA: October 27 Ding Dong CATHERINE TRAICOS: October 28 Workers Club TIM RICHMOND: October 28 Northcote Social Club LISA MITCHELL: October 31 Athenaeum Theatre MAMA KIN: November 1 Northcote Social Club TARA SIMMONS & PLUTO JONZE: November 1 Workers Club YUNG WARRIORS: November 1 The Loft (Warrnambool); 2 FReeZA (Portland); 16 First Floor; 17 National Hotel (Geelong); 29 Karova Lounge (Ballarat); December 7 Sand Bar (Mildura) THUNDAMENTALS: November 2 Basement 159; 3 Northcote Social Club THE SAINTS: November 2 Corner COSMIC PSYCHOS: November 2 Tote THE DEMON PARADE: November 2 Ding Dong SUZANNAH ESPIE, LIZ STRINGER, CHRIS ALTMANN: November 2 Basement Discs, Caravan Club; 3 Thornbury Theatre; 4 Old Hepburn Hotel; 15 Red Room (Ararat) MOJO JUJU: November 2 Northcote Social Club; 3 Bridge Hotel (Castlemaine) THE PAPER KITES: November 1 & 2 Corner Hotel; 3 Karova Lounge (Ballarat); 4 Ding Dong (all-ages) THE TOOT TOOT TOOTS: November 3 Ding Dong; 9 Karova Lounge (Ballarat); 10 Bridge Hotel (Castlemaine); 16 Baha Tacos (Rye); 17 Beers By The Bay Festival (Mornington); 30

Barwon Heads Hotel; December 1 Apollo Bay Hotel; 8 Meredith; 22 the Loft (Warrnambool) CITY CALM DOWN: November 3 Libery Social ELIZABETH ROSE: November 3 Workers Club PRINNIE STEVENS & MAHALIA BARNES: November 3 Palms At Crown; 21 Regent Theatre (Ballarat); 22 Lighthouse Theatre (Warrnambool) HENRY WAGONS: November 3 National Hotel (Geelong); 4 Theatre Royal (Castlemaine); 5 Thornbury Theatre THE BEARDS: November 3 Northcote Social Club; 22 Karova Lounge (Ballarat) BUTTERFLY BOUCHER: November 3 Empress; 25 Queenscliff Music Festival CLAUDE HAY: November 3 Blues Train; 4 Worker; 10 Bendigo Blues Feast; December 1 Blues Train; 2 Westernport Hotel (San Remo) HORSELL COMMON: November 5 Plastic CHRIS RUSSELL’S CHICKEN WALK: November 5 Workers Club POLO CLUB: November 5 Ding Dong HUNGRY KIDS OF HUNGARY: November 4 Northcote Social Club DELTA GOODREM: November 7, 8 Hamer Hall THE RUBENS: November 7 Karova Lounge (Ballarat); 8 Star Bar (Bendigo) TINPAN ORANGE: November 7, 8 Northcote Social Club VOYAGER: November 8 Warrnambool (TBC); 9 Workers Club THE SIDETRACKED FIASCO: November 8 Revolver DAN SULTAN, LEAH FLANAGAN: November 8 Corner Hotel STEVE BALBI: November 8 Workers; 9 Spirit Bar (Traralgon); 10 Baby Black Cafe (Bacchus Marsh) REDCOATS: November 8 Karova Lounge (Ballarat); 9 Bended Elbow (Geelong); 10 Ding Dong Lounge; 15 Star Bar (Bendigo); 16 Whalers Hotel (Warrnambool) JORDIE LANE: November 9 Barwon Heads Bowling Club; 17 Loft (Warnambool); 29, 30 Northcote Social Club; December 1 Baby Black Cafe (Bacchus Marsh); 2 Northcote Social Club DEEP SEA ARCADE: November 9 Corner Hotel HIATUS KAIYOTE: November 9 Hi-Fi FISHING: November 9 Platform One JAMIE HAY: November 10 Reverence Hotel CHARLIE HORSE: November 10 Workers Club VIKA & LINDA BULL: November 10 Arts Centre EAGLE & THE WORM: November 10 Tote; 23 Bridge Hotel (Castlemaine); 25 Pure Pop THE CITY LIGHTS: November 10 Old Bar BENJALU: November 14 Loft (Warrnambool); 15 Beav’s Bar (Geelong); 16 Retreat Hotel; 17 Baha Tacos (Rye) ARCHIE ROACH: November 15 Arts Centre Playhouse BLEEDING KNEES CLUB: November 15 Karova Lounge (Ballarat); 17 Corner; 18 Ding Dong CHANCE WATERS: November 15 Saloon Bar (Traralgon); 16 Workers Club BOOMGATES: November 16 John Curtin VIOLENT SOHO: November 17 Tote CHAPTER MUSIC BIRTHDAY PARTY: November 17 North Melbourne Town Hall ANGUS STONE: November 21 Palace; 23 Ferntree Gully Hotel; 24 Pier Live (Frankston) BALL PARK MUSIC: November 22 Bended Elbow (Geelong); 23 Palace; 29 December Ding Dong MARK WILKINSON: November 23 Thornbury Theatre KYLIE AULDIST: November 23 Evelyn STRANGETALK: November 23 Ding Dong NORTHLANE: November 23 Healesville Public Hall; 24 Coburg Public Hall; 25 Ringwood Community Hall TUKA: November 24 Workers Club THE MESS HALL: November 24 Northcote Social Club MAKE THEM SUFFER: November 25 Invasion Fest (Ringwood); 26 Eastern Station Hotel (Ballarat) INPRESS • 61

Harry Howard & The NDE, Billy Pommer Jnr & The Guilty Plea, The Mercy Kills, Neon & Venom, Cold Harbour, Seedy Jeezus, Burn In Hell, + More St Kilda Bowls Club Hell City Glamours, Vice Grip Pussies, Damn The Torpedoes, Dj Gringo Cherry Bar Into The Mystic: The Songs Of Van Morrison The PalaiS, Hepburn Springs Jeff Green, Matt Hardy, Monty Franklin Comic’s Lounge Jodie Moran St Andrew’s Hotel, Arvo Show Kahuna Daddies, Boss Nova, Tropical The Luwow Forbidden Temple Kill Ya Darlins, Surprise Guest Bar Open Kooyeh, Up, Up Away 303 Kristina Miltiadou Bennetts Lane Kyle Taylor, Idle 55, Dc Cardwell, Victor Stranges Chandelier Room Leprosy, Hard Targets, Bloody Hammer The Gasometer (Upstairs)

Lord, Make Them Suffer, Boris The Blade, Widow The Sea, The Rose Line, Bury The Fallen, + More The Espy, Gershwin Room Lowlakes, Manor, Colourwaves Ding Dong Lounge Mary Mass, Roger Clark Quartet Dizzy’s Jazz Club Matty G, Nova, Johnny M, Joe Sofo, Tate Strauss Co. & Fusion Nightclub At Crown Monkey Safari Prince Of Wales, Melbourne Moonee Valley Drifters Retreat Hotel Front Bar Ne Obliviscaris, Elysian, Okera Evelyn Hotel Nun, Lakes, Repairs, The Zingers, Psychedelic Coven The Gasometer Hotel Oh Mercy, Millions, Split Seconds Karova Lounge Pear Shape, Tc & The Drop Bears, Readable Graffiti Grace Darling Hotel President Roots Baha Tacos Rob Jones & The Melancoholics, 12 Inch Clocks Tago Mago

Rory Ellis Cunninghams Hotel

The Kave Inn Great Britain Hotel

Royal Hell, Tek Tek Ensemble, 8 Foot Felix, The Imprints Open Studio

The McClymont Sisters, Buffalo The Palms

Shannon Noll Eastbank Centre Sixfthick, Bad Vision, Suzie Stapleton Band, Uday Tigers, Them Bruins Old Bar Spinning Rooms, Harmony, The Dacios, Bin Stumps The Tote Steve Aoki Shed 4, Docklands Streams Of Whiskey, The Tearaways, Rise Of The Rat, Steppin’ Razor, Sweet Teens Reverence Hotel, Footscray Suitcases, Baggage & Other SynonYms Wesley Anne (Band Room) The Aston Shuffle, Clubfeet, 96 Bulls, Deacon Rose, Tin Lion The Toff In Town The Backsliders Caravan Music Club The Big Shabangbang The Order Of Melbourne

The New Christs, The Wardens The Bridge Hotel

Chris Russell’s Chicken Walk, Dean Muller, Dj Max Crawdaddy Cherry Bar, Arvo Show

Monoliyth, Zac Keiller, Constant LigHt, Em Vecus Aquieu The Gasometer Hotel

Claire Jackson, Tony Ie The Empress

My Dynamite, Slow Chase, Left Or Right, Welcom To The Numb, + More The Tote

Clip Clop Club Caravan Music Club

The Swellers, Skyway, Monuments Bang

Dig (Directions In Groove) Corner Hotel

Tiaryn Wesley Anne, Arvo Tortoise, Grails, New War, Sleepmakeswaves Corner Hotel Warbringer, In Malices Wake, Desecrator, Sewercide Northcote Social Club We All Want To, The Bon Scotts, A Small Storm Yah Yah’s

SUN 14 Andy Kentler, Megan Bawden Yah Yah’s Andyblack, Haggis The Toff In Town, Afternoon Session Bec Laughton, Mark Lowndes The Workers Club

The F100’S Union Hotel Brunswick

Black Night Crash Rochester Castle Hotel

The Ivory Elephant, Children Overboard The Retreat Hotel

Cherrywood, Brad Martin, Lake Palmer, + More Old Bar

Opa 303 Oscar Key Sung, Space Cactus, Sphinxter, Mt Mutombo, Yama Boy Bar Open

DJ Tom Lowndes, Andrew Mcclelland Prince Of Wales, Melbourne Grand Wazoo Thornbury Theatre Headspace, Dale Ryder Band, Bad Boys Batacuda, Ms Butt The Espy, Lounge Bar Jimmy Dowling, Rory Ellis Duo The Drunken Poet Leigh Sloggert, Nicolette Forte Chandelier Room Liz Stringer Carringbush Hotel

Paulie Bignell & The Thornbury Two The Westernport Hotel, San Remo Red Leader, July Days, Lock Stock N Gypsies, Mouthplug Evelyn Hotel

Me ‘N Me Mate Wesley Anne (Band Room) Melting Pot Wesley Anne, Arvo Mistaken Identity Bennetts Lane

Ladydreamz, Footy, Inches Northcote Social Club Screen Sect Bar Open Stanislavski/ Stockwell Quartet, Degrees 303

The Disco Rockers Trio Wolseley Winery, Paraparap

The Ramshackle Army, Between The Wars The Espy Front Bar

The Dub Captains The Penny Black The Swellers, Built On Secrets, Pinwheel Ferntree Gully Hotel The Swellers, Heroes For Hire, Monuments, The Playbook, Outlines, These City Lights Lilydale Showgrounds, Lilydale (Afternoon) Vicuna Coat, ThE Mellow Down Easy Tago Mago

Shadow Queen, Virtue, Bottle Of Smoke Cherry Bar

You & The Colonies Resurrection

Sherry Rich & The New Folk Heroes, Van & Cal Walker THe Toff In Town

Kain Borlase Trio Kojo Brown

The Atomic Bitchwax, Clagg, Sotis, + More Northcote Social Club, Arvo Show

Sarah Carnegie Great Britain Hotel

Shannon Noll Warnambool Entertainment Centre

Lord, Electrik Dynamite Karova Lounge

System Unknown Meets Adrians Wall Sound System 303, Arvo Show

MON 15 Billy Longface, Tom Lyngcoln, Palm Springs Old Bar Brooklyn Queenz Djs The Toff In Town

Snooks La Vie The Standard Hotel

Cherry Jam Cherry Bar

Spectrum St Andrew’s Hotel, Arvo Show

Francolin, Sex On Toast, Sleep Decade Evelyn Hotel

TUE 16 Alysia Manceau, Emily Ulman, + More Old Bar Beautiful Change, Leadlight, Aurora, Sunday Chairs The Espy, Lounge Bar Cuntz, Dead The Tote, Front Bar Howard, Tulalah, Sooki La La, Future Fathers Evelyn Hotel Make It Up Club Bar Open Open Mic Night Wesley Anne (Band Room) Jagermeister Independent Music Awards feat Paul Kelly, Dan Kelly, Hermitude, Lanie Lane, Loon Lake, Tim Rogers, + More Revolt Artspace

“Live At The Lomond� THU 11TH 8:30PM

140 Sydney Rd


9387 6637



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MONIQUE DIMATTINA (Honky-tonkinâ&#x20AC;&#x2122; jazz)















Lamp & Lone Tyger (melb) SAT 13 OCTOBER


Papa Pilko & The Bin Rats





(Acoustic roots)






Hat Fitz and Cara Ramshackle Army (melb)







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Bar: 9484 1470 Band bookings and venue hire: INPRESS • 63

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

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GOSPEL THE ROADKNIGHT WAY This Sunday between 10am and 1pm, one of Australia’s most iconic folk singer-songwriters, Margret RoadKnight is presenting a workshop on gospel singing. Born in Melbourne, RoadKnight, who has lived in Sydney, Brisbane and is now based in Lakes Entrance, has been performing professionally since 1963 and released her first album, People Get Ready, a decade later in 1973. She’s released a further nine in the intervening years, during which she’s performed around the world in groups, solo and in theatre. She’s also long been a music teacher. Fresh from a recent visit to New Orleans, she’ll be presenting the workshop at the Yarraville Community Centre. For details and bookings, which are essential, go to the website.

2012 ARIA ENGINEER & PRODUCER OF THE YEAR Congratulations to Francois Tetaz on picking up the Engineer Of The Year Award in this year’s ARIAs for his work on Gotye’s Making Mirrors album, and to his fellow nominees, who still deserve a round of applause – Lachlan Mitchell for The Jezebels’ Prisoner, Matt Fell for Tim Freedman’s Australian Idle, Scott Horscroft and Phillip Threlfall for 360’s Falling & Flying, and Wayne Connolly for Josh Pyke’s Only Sparrows. Congratulations too to Stylaz Fuego on picking up Producer Of The Year for his work on 360’s album. Ditto Chong Lim for Sarah McKenzie’s Close Your Eyes, Lachlan Mitchell for The Jezabels’ album, Lanie Lane for her own To The Horses album and Virginia Read for Sally Whitwell’s The Good The Bad And The Awkward.


WINTER HARVEST PREPARATIONS Sydney’s Winter People are threequarters of the way through a national tour. Soon after the tour ends, the six-piece will reconvene, rehearse and head out again on the prestigious Harvest Festival tour. Greg Phillips speaks with Winter Person and frontman Dylan Baskind about their debut album and Harvest.


istening to Winter People’s debut album, A Year At Sea, filled my mind with visions of a lush, pretty, mountainous terrain. Okay, I was actually driving through Victoria’s scenic Yarra Valley at the time and basically just looking out the window, but the music is so apt! This is real music. Broad, layered harmonies and authentic fretted instruments played honestly by talented musicians. It’s a gorgeous mix of digital ambience and organic acoustic, embellished by some shoe-gazing fuzz. For Dylan Baskind however, there was never any grand plan as to a sonic picture for the album. “For me it doesn’t matter what the overall aesthetic of an album is,” Dylan says. “Each song is a self-contained unit to stand on its own two feet. It’s the same way I feel about modern art, you don’t need a piece of paper to explain the artwork. The song should work separate from its companion. For each song, I had a very clear picture of how it should sound, but not necessarily for the album as a whole.” Acutely aware of time and budget, the band were fastidious in their preparation for the recording, laying down the tracks first in Baskind’s bedroom studio. “The tracks were really complicated but having said that, we demoed out everything. Every piece of instrumentation on the album was played out. We basically recorded the album twice. We recorded it in my bedroom and got all the levels right. I mixed so that I could see if it was all going to work, then we went in and recorded it.

We had a very clear idea of how it was supposed to be and a lot of the fiddling got done outside of the studio.” Once inside the studio, instrumental parts were recorded in isolation. Recording together as a band was never going to be an option. “I think the producer’s quote was something like, ‘Holy smoke. I have never seen so many tracks in my whole life.’ The orchestration was very rich. We had mini orchestras and like 20 guitar parts so playing together was never going to be possible, so we recorded separately. We also had a very limited amount of time to do it in with a very limited budget to work with. That was the way we could be most likely to get everything done.” Winter People’s instrumental cache is a mix of the acoustic, electric and exotic and all are well represented in the final cut. “In the studio we had a multi-amp situation. Our workhorse guitars were Fender Strats, and Teles going through a Deluxe amp. I really do like the Deluxe. It is fantastically raw and can also do a beautifully clean sound. We had that going next to a clean cabinet which we just put in to try to mess with the sound a bit to have this other track. A lot of credit to [producer] Tim Whitten too. I can’t even imagine how many tracks we would have had if he didn’t do this… he mixed down all that stuff in the studio. He made that call on the sound and mixed it down, one track, one room mic. If we hadn’t stemmed down that stuff, it would have been untenable. The Strat and Tele have this whole different sound and I guess I never really appreciated that until I got into recording. The Strat has this... not compressed but there is something modern about it. It has like a singing tail when you hit a high note. The Tele has a whole different feel.” Pedals were used too but blended in rather than being at the forefront of the mix. “Yeah, a lot of them on everything, hidden away,” Baskind explains. “A bit of delay. No wah, I am anti-wah!” Anyone who has viewed the YouTube clip of the band’s second single, Gallons, would have spied a curious looking acoustic instrument being played, a mutation of a ukulele and a lute. It’s actually a charango, a

South American instrument. Add two violins and five vocalists in the band, it’s no wonder A Year At Sea is such a rich life pageant. It’s that very sound Winter People will be seeking to bring to life on the Harvest Festival tour but Dylan certainly isn’t concerned about reproducing it note for note. “In the future if we had more capacity, we could try something to recreate it more accurately. I think the songs on the album are the songs as they are supposed to be heard. What we do live is a cover version. They are approximations of what I consider the songs to be. “At Harvest I will enjoy it [playing outdoors] because the whole crowd aesthetic is a different kettle of fish. Generally though, I like being indoors. I actually want to listen to music as opposed to having a social experience. If I am going to see someone play music, I want to be indoors, seated. That’s my ideal situation.” WHO: Winter People WHAT: Harvest Festival WHEN: Saturday 10 and Sunday 11 November, Werribee Park



Inpress Issue 1245  
Inpress Issue 1245  

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...