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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 17 O C T O B E R 2 012 • I S S U E 12 4 6 • F R E E








Ever-inspiring, Always-amazing Europe! SAT A OCT 20, 10AM–7PM & SUN OCT 21, 10AM–5PM

Scan here with your smartphone or tablet for smartpho more Expo information.



Whether it’s your first trip to Europe or you’re a regular visitor you can’t afford to miss the exclusive deals at the Discover Europe Travel Expo. Discover the cities, the history, the culture, food and romance… this is where you’ll draw the inspiration for one of life’s truly great holiday experiences.

For two days only you can compare the range of 2013 earlybird Europe deals all in one place. You could pocket savings on everything from cruises, holiday packages and airfares, travel insurance, river cruises, coach tours and so much more!




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We’ve brought leading travel industry experts together to showcase the best European deals, present new itineraries, and answer your questions about travelling to Europe. This is the perfect chance to plan that ideal holiday experience.


For further information visit

Discover Europe Travel Expo is organised and conducted by Flight Centre Limited (ABN 25 003 377 188) trading as Flight Centre, Escape Travel, Student Flights, Cruiseabout and Intrepid My Adventure Store. VIC Lic No. 31089. mshs_14oct_38x7_DE







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With Shots of Spoken Word, Theatre, Comedy & Dance on the CAMPFIRE STAGE

A Land of Guilty Pleasures & Lost Innocence

Welcoming the return of LA TOOSH

Featuring in LE



Groovy Tunes & Soothing Sounds at THE GARDEN STAGE Gourmet Food Boutique Bars Holistic, Retro & Vintage Markets AND MORE!

And Introducing the Astonishing World of HAPPYLAND

PLUS Fascinating Installations, Sideshows & Surprises





MONDAY ROO & Wine For $9.99! ------------------------------------TUESDAY $12 all you can eat paella -------------------------------------WEDNESDAY 90’s Trivia - $12 Jugs all night -------------------------------------THURSDAY Two for One Tapas --------------------------------------FRIDAY 2 for 1 Mains 12-6pm* -------------------------------------SATURDAY-SUNDAY $15 LUNCH SPECIAL Meal and a Drink -------------------------------------$12 juGS Boag’S Draught and Gypsy pear Cider









5:30PM 8PM $10




8PM $10


MELTING POT PRESENTS SONGWRITERS IN THE ROUND KERRYN FIELDS Open...MON - THU...from 4pm ‘til late FRI...from 2pm ‘til late SAT - SUN...from 12pm ‘til late

Live Music Bookings

2PM $8





2 for 1 meals weekdays before 6pm and all day Mondays $12 Jugs of Cider till 6pm. OPEN FOR LUNCH FROM MIDDAY

bookings: 9482 1333


Secret Sounds presents

Special Guests



Thu-25-Oct ROD LAVER ARENA MELBOURNE Tickets from & 132 849


New album Babel out now




with and


SAT 29 DEC FESTIVAL HALL - 136 100 (Licensed All Ages)








Mick Foley the hardcore legend, three time WWE heavyweight champion and multiple New York Times bestseller has finally taken to the stand-up stage. Alongside him, Edinburgh-award-winning comic, Brendon Burns, hardcore legend of the international comedy scene, is finally coming out as a lifelong wrestling obsessive.





ISSUE 1246

W E D N E S D AY 1 7 O C T O B E R 2 0 1 2

Fri 19. 9pm - Condensed Milk Iced Analogue Berries ft. Beat Battle plus Amin PaYnE, Jackson Miles, Julien Love & DJ Peril + Chronic Sans on visuals Sat 20. 3:30pm - Chai Junction screening shorts from all over Asia Visit Hong Kong, India, South Korea & Thailand and get a glimpse of Asian life in Australia Sat 20. 10pm - Prognosis Jamie Stevens, Mish’Chief, Volta, Aaron Static (LIVE), J-Slyde, Simon Murphy & live visuals from our crazy in-house Russian, vdmo Kstati Wed 24. 7pm - Pause Fest Meet Up Reignite the fire for Pause Fest 2012 screenings followed by drinks, chats, Pause visuals & ipad DJ's

DIAFRIX INPRESS 16 Foreword Line brings you all the latest tour announcements 18 Moves and shakes with Industry News 20 Ball Park Music are unfamiliar with the works of Jason Donovan 22 A close shave with The Beards 24 Billy Bragg writes songs about being angry 26 Picking over Benjamin Gibbard’s leftovers 27 Diafrix are all grown up 28 Get the eff out, it’s Lisa Mitchell! 30 Xiu Xiu’s questionable future 32 Charles Jenkins takes the Taste Test 34 The ever-expanding River City Extension 34 Sugar Army struggle to be patient 34 Gomez are predictably unpredictable 34 Funk D’Void isn’t in it for the money 36 Sal Kimber gets off the beaten track 36 Black Mustang load up with vintage gear 36 Make mine a Texas Tea 36 Vultures Of Venus love a bush party 38 On The Record rates new releases from the Saints and Anberlin

FRONT ROW 41 Check out what’s happening This Week In Arts 41 We preview the Melbourne Festival’s Art Matters… On Film program 41 Safety Not Guaranteed director Colin Trevorrow chats about his new indie flick

27 42 Reviews of Puberty Blues, Blues Never Did Me Any Harm, Aziz Ansari and Orlando 42 A wrap-up of the Melbourne Fringe Festival with Bangs? No, Fringe 43 Filmmaker Lauren Greenfield opens up about The Queen Of Versailles 43 Cultural Cringe examines the Melbourne Festival 43 Poet Luke Wright levels his about show Cynical Ballads

BACK TO INPRESS 45 Gig Of The Week parties at with Theesatisfaction 49 Live:Reviews checks out Maroon 5 48 Sarah Petchell will Wake The Dead with her punk and hardcore talk 48 Heavy shit with Adamantium Wolf 48 Dan Condon blues and roots in Roots Down 48 Tales from the Big Apple with New York Conversation 49 The freshest in urban news with OG Flavas 49 Pop culture therapy with The Breakdown 49 Hip hop with Intelligible Flow 49 Funky shit with The Get Down 50 The best Live gigs of the week 54 If you haven’t appeared in Fred Negro’s Pub, your mother probably still speaks to you 54 Jeff Jenkins gets down and local in Howzat! 56 Our Gig Guide fills your diary for the weekend 61 Find your new band and just about everything else in our classy Classifieds 62 Gear and studio reviews in Muso

GIVEAWAYS GALORE! Head to the Inpress Facebook page for the chance to score tickets to a screening of stunning new Aussie flick Hail (intro’ed by the director), copies of Kevn Macdonald’s Bob Marley doco and Hat Fitz & Cara gig tickets.


SATURDAY 20 October

TESS MCKENNA & THE SHAPIROS Tess McKenna and the magnificent Shapiros return for an arvo of electric folk/ rock & blues with pitch perfect harmonies. 5pm



Japanese blues cowboy (harmonica, dobro) and busker extraordinaire teams up with the wonderful Noriko Todano for a night of upbeat tunes. 9pm



Storytellin’ alt-country band with tales of life in the city and bush: cars, guns and broken hearts. 5pm



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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

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

DESIGN & LAYOUT 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. ©


Editorial Friday 5pm Advertising Bookings Friday 5pm Advertising Artwork Monday 5pm General Inquiries (no attachments) Accounts/Administration Gig Guide Distribution Office Hours 9am to 5.30pm Monday to Friday


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






18 FRI


19 SAT





Freudian Lips, Peter The Band. From 8pm.













A L L D AY B R E K K Y !









Plus Adam Hynes (Early Set). From 6.30pm.

The Escapades & Pascoe. Doors 8pm.

Little League, Amber Ferraro. Doors 9pm.




W H O L E V E N U E E V E N T - T I X $ 2 1 + B F ( B A S E M E N T F R E E E N T RY O N LY )


Kettlespider, Massive, Arcane Saints, The Creptter Children, Death Of Art, Rocket Queen, Written In Ruins, They, Flight For Giants, The Mere Poets, Verona Lights, Pyrene, Phil Para Band . From 5pm. MONDAYS IN OCT - FREE!







Front Bar from 8.30pm.










Bad Boys Batucada, Ms. Butt. From 5pm.







Ras Crucial & Jesse I, New Dub City. From 8pm.

Team Dynamite, @Peace, Louie Knuxx, Esther Stephens. Ms. Butt. Cup Eve Night from 8pm.

WITH DYNAMITE MC, XILENT (UK) Finna, Beatski, Tobias. Doors 9pm.






For Hand Of Mercy it’s been a long road to success, at least by the standards. Starting out in 2007, the band have toured relentlessly, while releasing their own records and perfecting their art. The band will finish up 2012 with a run of dates across the country. They play Sunday 4 November at Phoenix Youth Centre and Monday 5 at Plastic.


The Push and FReeZA are excited to announce the FReeZA Push Start Regional Finals for 2012. There will be eight regional finals in coming weeks hosted by FReeZA committees throughout Victoria. Regional final winners will then go on to take part in the FReeZA Push Start Grand final which will be hosted at the 2013 Push Over Festival on Monday of the Labour Day long weekend in March. All details of the coming finals and further info (including bands and prizes) can be found at or





Jimmy Cliff

After the first announcement concentrated on the superstars Ben Harper, Santana, Iggy Pop and lots more, the second Bluesfest announcement focuses more on the blues and roots side of the festival. The line-up now includes Jimmy Cliff, Joan Armatrading, Rodriguez, Robert Cray, Trombone Shorty & Orleans Avenue, The Blind Boys Of Alabama, Mavis Staples, Allen Toussaint, Wanda Jackson, Fred Wesley & The New JBs and a pile more. The festival takes place at Tyagarah Tea Tree Farm over Easter weekend (28 March – 1 April). Tickets and info at





ENTRY $10, 8.30PM













World’s End Press


The Shadow Electric Bar and Abbotsford Convent are presenting The Good Hustle – November Music Salon; a hand-picked showcase of contemporary artists set over six nights. Only 200 tickets will be on sale for each double-headline show, doors open at 6pm and one song from each set will be filmed and premiered on themusic. The line-up features: World’s End Press, Collarbones, Lost Animal, Harmony, The Woohoo Revue, Geoffrey O’Conner, The Harlots, Olympia, Kira Puru & The Bruise, Teeth & Tongue, Public Opinion Afro Orchestra, Cactus Channel, Melatonin, Clubfeet DJs, and Sex On Toast. The first show kicks off on Saturday 3 November with Geoffrey O’Connor, Lost Animal and Clubfeet DJs. Stay tuned for more details.


New Year’s Eve at the Espy is always a very special celebration and this time around they say g’day to 2013 with two of the biggest and most influential Melbourne bands: Spiderbait and Something For Kate. Many more acts will be announced soon. Tickets are $60+BF available from and all Oztix outlets.


Melbourne’s Texture Like Sun have been recording their debut self-titled EP for over 12 months, and it’s now time to launch it with three special shows down the East Coast. Young indie-folk purveyor Patrick James (and band) will join Texture Like Sun on tour, celebrating their new single Brighter Lights. The tour comes to the Northcote Social Club on Thursday 15 November.

ARIA-nominated artist Jen Cloher returns with brand new single Mount Beauty. Taken from her forthcoming studio album In Blood Memory, to be released in early 2013, the single was recorded live to tape with acclaimed producer Nick Huggins at Headgap Studios. To celebrate the release, she’ll perform with her full band on Friday 16 November at Flying Saucer Club and Saturday 17 at Northcote Social Club.




Building from his gritty Sheffield origins into a cultural icon, Richard Hawley’s career includes years performing with legendary British bands Longpigs and Pulp, through to contributions with current artists such as Arctic Monkeys and Elbow. His significant solo career has spanned no less than seven albums, including this year’s Mercury Prize-nominated Standing At The Sky’s Edge. He plays Tuesday 29 January at the Forum Theatre.

Hot off the back of their tour for first single Oh Hebe, Pigeon announced the impending release of the EP that spawned it, Fortunes, which hits shelves next week. Straight after the release, they’ll hit the road again on their Fortunes Tour and will play Friday 14 December at Can’t Say, Platform One.

Peter Murphy’s current live show sees him reclaiming his legacy, performing both solo material as well as Bauhaus classics such as She’s In Parties, Stigmata Martyr, Dark Entries and In The Flat Field. His upcoming tour will be the first time Murphy has ever performed in Australia, either solo or as part of Bauhaus. He’ll play Friday 11 January at the Corner Hotel.


The brain behind Dirty Beaches is Alex Zhang Hungtai; a solo performer, soundsmith, and trans-Pacific nomad. Hungtai has released a slew of recordings, and in early 2011 released his official debut album Badlands. Half of the songs on the record are about leaving, being chased on the road and driving a burning car into oblivion. The other half are ballads and dirges laced with murder and lament. Spend a summer evening with Dirty Beaches on Sunday 10 February at the Tote.


Lost Angels, the supergroup featuring singer John Corabi (Mötley Crüe), guitarist Eric Dover (Slash’s Snakepit), drummer Troy Patrick Farrell (White Lion) and bassist Eric Brittingham (Cinderella), are visiting Australia in December 2012 to play special intimate shows in selected cities. They play Friday 21 December at the Hi-Fi Bar. The Lost Angels Australian Tour will rock your Christmas!


Punk rockers Against Me! have announced a sideshow in Melbourne on top of their appearance at Big Day Out. You shouldn’t miss their explosive live set as they play classics and songs off their sixth studio album, Transgender Dysphoria Blues. They play Tuesday 22 January at the Hi-Fi.


Brisbane surf-rock duo Gung Ho are rounding out an exhaustive 12 months of touring around the country by supporting Hungry Kids Of Hungary on the Sharp Shooter Tour. The tour arrives Monday 5 November (Cup Eve) at Northcote Social Club.

ENTRY $2, 8PM $10 JUGS!


Thu 18 Oct




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

Fri 9 Nov






Mon 5 Nov 2012 (Melb Cup Eve)

Sat 10 Nov

Sat 24 Nov

Sun 11 Nov (matinee show) ‘TIMBER & STEEL PRESENTS’

Sun 25 Nov 2012 (matinee show)



Fri 19 Oct

Thu 25 Oct









Sat 20 Oct

Fri 26 Oct

Thu 1 Nov






















Sat 27 Oct

Fri 2 Nov

Wed 7 Nov

Fri 16 Nov







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





Sun 18 Nov (matinee show) ‘TIMBER & STEEL PRESENTS’











Established Australian artists are again pairing with refugee and asylum seeker musicians for a sequel to The Key Of Sea compilation. We catch up with Nick Murphy aka Chet Faker and The Royal Swazi Spa’s Zvi Belling, who collaborate on the song Fear Like You.

Evil Eddie, a name synonymous with classic beats with a pop edge, has been holed up in his own studio for the past year or so, tinkering away like a mad professor and putting the final touches on his debut opus, Welcome To Flavour Country. He’ll now head out on the road to spread Evil love all over this wide brown land and plays Friday 30 November at Karova Lounge (Ballarat), Saturday 1 December at Northcote Social Club and Thursday 6 at the National Hotel (Geelong).

Just Sing What You Feel is an art project created for children and families. Motifs from Australian culture are transformed into a colourful display of words and illustrations encouraging audiences to look more closely at the world around them. It’s at the Ian Potter Centre, NGV from Saturday 8 December to Sunday 17 February.

How did you come to arrive in Australia? ZB: I grew up in South Africa, Swaziland and Botswana, and came to Australia to study as a young adult.


Yousef is a man firmly in control of his imminent destiny. After impressing audiences on the 2011 Stereosonic tour, he’s headed back our way and will play Friday 9 November at Brown Alley.

Mayday Parade


Mayday Parade have been perfecting their poppunk; We Are The In Crowd are gaining attention worldwide; and 2012 has undoubtedly been Heroes For Hire’s biggest to date. The three acts will play on Saturday 8 December at Billboard.


Hayden Calnin has announced he will be headlining a run of shows and plays Thursday 25 October at the Northcote Social Club and Friday 9 November at Pelly Bar (Frankston). His debut EP City is out now.

Tell us about the writing/recording of your song for Key Of Sea. CF: I was linked up with Zvi, who is the sort of orchestrator of the group, as well as the driving bass player. He invited me over to his house. We just sat in his living room drinking coffee and jamming ideas, I think we wrote about four or five songs in two hours. I clicked with Zvi immediately.

Were there any cultural/language barriers you had to overcome in the recording of your song? CF: Not really, everyone was super friendly and I kind of took a backseat and let the players do their thing and I just did my thing. I figured it’s a collaboration, so it wouldn’t really be true to the project if I went in there and produced a pop song like my other works and featured them. It was my chance to learn and listen and see where the music went of its own accord. What did you learn from the Key Of Sea experience? CF: Apart from making some new friends, it was really healthy for me to have faith in music as an external concept and not a goal. I learnt that you don’t always need to guide the music you make if you’ve got a healthy atmosphere the music will come naturally. What do you hope listeners take away from the Key Of Sea project? CF: The track we released on Key Of Sea is titled Fear Like You – it’s sort a satirical observation on a simplistic dated mentality that I’ve encountered in Australia that our country needs to be somehow protected from these “boat people”. I tried to underline the ignorance of this attitude by emphasising the fact that these human beings coming to our country are just as afraid, if not more so, than the people already living here. If people could take a bit of empathy from the track I’d be happy. But at the end of the day if they take nothing more than an Afro groove to shuffle their feet to I’d still be happy, haha. ZB: The music crosses many of the usual borders without issue… stylistic, cultural, geographic, age and more. The Key Of Sea Volume 2 is released Friday 19 October through MGM. The album is launched with a concert at Hamer Hall on Friday 14 December.


The Famous Spiegeltent will again adorn the Arts Centre Forecourt from Wednesday 5 February to Sunday 21 April. First-time Spiegeltent performers include Moriarty, The Dark Party, Tuba Skinny, Sally Witwell, Joseph Tawadros, Brett Dean and more. Returning acts include Jazz High Tea and a Sunday morning children’s program offering a mix of acts including Holly Throsby, London Klezmer Quartet, The Mighty Buzzniks, Boon Wurrung Ngargee, MSO Jam For Juniors and Massive Choir. Tickets go on sale at 9am on Tuesday 23 October and there will be more shows announced shortly.


Zvi Belling (left) and Chet Faker

ZB: The song was written in an evening over a cup of tea and the recording was completed without overdubs in a single session. Backing vocals and mixing was completed a couple of weeks later. The track is called Fear Like You and it is comprised of a layered live loop chorus with a trademark Chet Faker vocal. A modal jazz verse with extended improvisations is built on an Afro-style repeated bassline. A mutual admiration has developed and we are now considering further projects together.

Hard-ons’ last Australian tour was abruptly halted back in May. Blackie has since recovered well, and now the legendary trio will take their shows around their motherland once again. They’ll play Friday 14 December at the Northcote Social Club with support from The Spazzys and Dead.



What role has music played in helping you establish an identity in Australia? ZB: My formative years as a professional musician occurred in South Africa in the years leading up to freedom. My musical experience in Africa over that time included touring nationally and internationally with Nelson Mandela and performing the ANC’s election song, as well as an onstage apprenticeship in South African jazz. When I arrived in Australia I was immediately approached by African musicians and have been involved in the scene ever since. The Royal Swazi Spa are a jazz outfit dedicated to performing South African jazz. Most of the band members have spent time living and performing in Southern Africa.



Smash Mouth are cancelling their Australia and New Zealand 2012 Tour but will reschedule to come back in March 2013. Tickets will remain valid for the new dates or refunds are available from points of purchase.

Tame Impala


Pyramid Rock Festival just got a whole lot juicer with the additions of some huge names to lead revellers into the New Year on Phillip Island. New announcements include Tame Impala, Asta, Beni, Los Coronas and My Secret Circus. They join the already-announced The Cribs, Blood Red Shoes, Anti-Flag, Pnau, 360, The Amity Affliction and more. Tickets are on sale now at Tame Impala have also announced their own headline show – supported by fellow Perth-ites and good buddies The Growl – at the Forum on Thursday 6 December.


Suicidal Tendencies, Unwritten Law and The Dudesons will take a punk-rock party right across Australia. The tour will be the perfect way to see off the remains of 2012 in a blazing onslaught of riffs, anthems and thrills and spills. They hit SRH Fest in the city on Saturday 15 December.



Children Of The Wave have emerged to launch their second album The Electric Sounds Of Far Away Choirs. They’ll celebrate the release of the album on Saturday 3 November with The Sun Blindness and Tim Catlin’s Overtone Ensemble at Bella Union.


The first Lakeside Twilights concert kicks off at Lake Wendouree (Ballarat) on Saturday 15 December. The December line-up of Daryl Braithwaite, James Reyne and Vika & Linda Bull brings together some of Australia’s most talented and acclaimed musicians. For all details hit


It’s been a big 2012 for label/distributor/record store Poison City. They are bringing together some friends, bands and musicians for a monster Xmas show on Friday 21 December at the Reverence Hotel, featuring Luca Brasi, Lincoln Le Fevre, Infinite Void, Hoodlum Shouts and more.

San Cisco recently unveiled the first taste of their debut album, Wild Things, and are excited to announce the Wild Things Tour to celebrate. The Fremantle outfit play Friday 30 November at the Bended Elbow (Geelong), Saturday 1 and Sunday 2 December at the Corner Hotel and the sold-out Falls Festival in Lorne over NYE.


The Ash Grunwald juggernaut will be continuing to roll on right through summer. It’s not enough that he has already amassed a staggering 38 shows on his most successful tour to date promoting Trouble’s Door, Grunwald will be performing a further couple of gigs along the East Coast. He’ll play Friday 16 November at Spirit Bar & Lounge (Traralgon), Saturday 17 at Beers By The Bay (Mornington) and on Sunday 30 December at Falls Festival.


The Falls Music & Arts Festival have announced even more acts for their anniversary editions in Lorne and Marion Bay over New Year’s. The newcomers include Rodrigo Y Gabriela, San Cisco, Jaguar Skills, Nu Mark, Bertie Blackman, Oh Mercy, Loon Lake, The Jungle Giants, Jason Byrne and Felicity Ward, plus a whole bunch of comedians. The Lorne event has sold out but there are still tickets available for Marion Bay at


It’s been a massive year for Sydney duo Nantes and their debut album is due for release early 2013. The first single, Drones, is out in coming weeks and they’ve announced one final live stint for the year. They’ll play Friday 9 November at Can’t Say.



Readings are honoured to have English alternative rock musician and left-wing activist Billy Bragg appearing instore to sign CDs and copies of his book, The Progressive Patriot. Head down to Readings St Kilda this Saturday at 2pm. It’s a free event but bookings are essential on 9525 3852 or at

Brisbane-based production duo YesYou have announced their first-ever headline tour this December. Their first single from new EP, Frivolous Life, is out now. They play the Toff on Thursday 6 December.



Friday 16 November at New Guernica will feature four acts from this year’s Eclipse Festival in Cairns. The night will feature D-Nox, King Unique, Luis Junior and Psycatron. New Guernica is going to be heaving under the talent so tickets will be strictly limited.


Rodrigo Y Gabriela

The Demon Parade have cemented their place at the forefront of Australia’s psychedelic rock explosion. The four-piece have racked up the accolades since the release of their debut 7” in 2009. Now they are set to release their Chameleon EP in November and they’ll back it up with a tour. They’ll play Friday 2 November at Ding Dong, Friday 23 at the Espy and Friday 21 December at Can’t Say.

Tuka’s latest album, Feedback Loop, is about to drop. He’ll join Thundamentals’ Get Busy Tour on Friday 2 November at the Basement (Geelong) and Saturday 3 at Northcote Social Club before officially launching the album on Saturday 24 at the Workers Club.


It has been eight years but pop punk titans Blink-182 have announced a return to Australia. They will deliver a Soundwave sideshow encompassing their career to date plus songs from the new album Neighborhoods on Tuesday 26 February at Sidney Myer Music Bowl.


The Dixie Ticklers have earned a reputation for their energetic live performances. Combining old-style New Orleans music and contemporary improvisation with modern jazz styling, they are heading to Australia. They play Friday 19 October at Paris Cat, Saturday 20 at Red Bennies and Saturday 3 November at the Grace Darling.




For Robert Hunter, cancer would become the lens through which life suddenly came sharply into focus. A year after his passing Periscope Pictures release Hunter: For The Record, a documentary journey that takes us deep into the psyche of an Australian subculture. The world premiere takes place on Saturday 27 October at ACMI. and features a Q&A with the producers, Optamus, DJ Defyre and Bias B.



Sharon Jones & The Dap-Kings are playing Sunday 6 January at the Summer Of Soul festival as well as headlining a Corner Hotel show on Tuesday 8. Cooler than fashion and both sweeter and harder than all their contemporaries, Sharon Jones & The Dap-Kings are without doubt the world’s greatest soul revue.

Tickets go on sale to the first My Bloody Valentine tour of Australia in 21 years this Thursday at 12pm. After touring the landmark Loveless in 1992 the band disappeared from view, generating a crescendo of mystique and anticipation until their triumphant return to the live scene in 2008. They play the Palace Theatre on Friday 22 February.



Singhala Music are turning two and will host four freeentry shows during Melbourne Music Week. On Thursday 22 November at £1000 Bend, Cherry, Pony and the Curtin Bandroom you can catch these acts: Barbariön, Baptism Of Uzi, The Murlocs, King Gizzard & The Lizard Wizard, Fraser A Gorman & Laura Imbruglia, St Mackenzie, Eagle & The Worm, The Frowning Clouds, The Bluebottles and Sam Cooper & Band. Head to the Singhala Facebook page for all the details.


Fuelled by hits including Hey Jealousy, Found Out About You and Til I Hear It From You, Arizona quintet Gin Blossoms completed the crossover from college-circuit heroes to multi-platinum album sellers in the ‘90s. Now the pop rockers are heading out and will play Thursday 7 February at the Hi-Fi.


Bob Evans is Kevin Mitchell from Jebediah. He’s released a new single, Don’t Wanna Grow Up Anymore, which will be featured on a forthcoming EP titled The Double Life. Evans has announced an intimate Double Life Tour and will perform on Friday 23 November at Bella Union.


To coincide with the release of the band’s new EP, Mystery Girl, Melbourne alt.rockers Rudely Interrupted announce a tour. They’ll play Sunday 11 November at Northcote Social Club, Tuesday 20 at the Connected Exhibition opening at Fed Square and at a secret location on Monday 3 December.

Glen Hansard, one-half of The Swell Season duo, is returning to Australia for a national tour to celebrate his debut solo release, Rhythm & Repose. The Frames will be the backing and they play Wednesday 20, Thursday 21 and Saturday 23 March at Melbourne Recital Centre.


Extra shows have been announced for Pink’s Truth About Love Tour. Melbourne gets extra shows on Thursday 11, Saturday 13 and Sunday 14 July at Rod Laver Arena.


After launching album Electric Love, Donny Benét is hitting the road for a wider tour across the country. Spring is here, love is in the air and Benét will bringing his heat on Thursday 8 November at the Toff.


Swanky Tunes represent the best of Russian house music. They’re visiting Australia and are getting ready to party at Alumbra on Saturday 27 October. Head to their Facebook or Soundcloud pages for a taste of what to expect.

Noisey Mountain will be a night of scattershot, supermelodic garage-rock. Straight Arrows and Raw Prawn will be on stage, travelling from Sydney to impart their wisdom on how to wrestle instruments. Bitch Prefect will also play, as will Ausmuteants. Plus Vice and Sugar Mountain DJs will be playing the music they like. It all happens at Where?House from 7pm on Monday 19 November. Entry’s free but you must RSVP at


Legendary composer and performer Yanni is set to continue his World Tour into early 2013 with dates in Australia. Yanni’s contemporary symphonic music has inspired millions of fans around the world. In concert, his passionate, soaring melodies and lush orchestration create a spirited and uplifting musical experience like no other. Catch Yanni on Saturday 19 January at the Palais Theatre. Tickets on sale from Monday.


This November, Aluka will launch the first single, Keep My Cool, off their debut album to be released in March. Each song on the forthcoming album was recorded and produced by Nick Huggins (Kid Sam and Oscar & Martin) in an unconventional space in Melbourne including a public swimming pool, a barn and a World War II bunker to name a few. They’ll launch the resultant effort on Wednesday 7 November at the Toff In Town.


There will be additional screenings of Celebration Day, the long-awaited film of Led Zeppelin’s legendary O2 Arena concert. The special event will rock into cinemas for one night only tonight at Hoyts, Event Cinemas, Greater Union, Birch Carroll Coyle, Village, Palace and Dendy. Tickets and screening details can be found at


Elizabeth Rose is delighted to present her debut EP Crystallise. The EP encapsulates the diversity of her talent, which will be on show on Saturday 3 November at the Workers Club.


Viva Mexico is back for a Day Of The Dead special edition on Friday 2 November in the Espy basement. It will be headlined by Los Mas Altos with support from Saca La Mois DJ.

Jinja Safari


Soundwave boss AJ Maddah and pop starlet Kimbra have been added to the list of speakers for upcoming Melbourne music industry conference Face The Music. The not-for-profit event has also added artists Chet Faker, Jess Cornelius, David Bridie, Mark Seymour, Weddings Parties Anything, Van Walker, Angie Hart, Charles Jenkins and King Gizzard & The Lizard Wizard to the two-day event. Maddah – who has featured at the AustralAsian Music Business Conference previously – has become one of the country’s biggest promoters in the last three years, with the Soundwave and Harvest festivals growing exponentially, and Soundwave Tours continuing to dominate the punk and metal market. He has also opened unprecedented levels of communication with fans using social media. Kimbra will be opening up at a conference for the first time, looking at her career as one of the nation’s top female artists who is now making her mark on American listeners – a charge which was aided by that Gotye track. Face The Music takes place at the Arts Centre on Friday 16 and Saturday 17 November.




AJ Maddah

The Key Of Sea will take to the stage at Hamer Hall on Friday 14 December as part of the Arts Centre’s Summer Series. Unifying some of Australia’s most-loved artists with talented Australian-based musicians from refugee/ asylum seeker backgrounds, the concert will feature performances by: The Tim Rogers Polyxeni, Jinja Safari with Kinfe Geshu, Brous with Awaz, Chet Faker with The Royal Swazi Spa, The Tiger & Me with Murtaza Jafari and a guest appearance by Waleed Aly.

The Coopers AMP (Australian Music Prize) has announced the first 26 Australian albums released in the last year which have been invited as Official Entrants for the $30,000 prize. In its eighth year, The AMP has changed its nomination format. Dropping the entry price, they asked industry and fans to submit albums for consideration. With 230 identified, the judges have listened to 130. From those sessions, 26 have been invited to enter. The albums are: Alpine A Is For Alpine, Bearhug Bill, Dance, Shiner, Bushwalking First Time, Catcall The Warmest Place, Charge Group Charge Group, Children Collide Monument, Deep Sea Arcade Outlands, Dirty Three Toward The Sun, DZ Deathrays Bloodstreams, Emma Russack Sounds Of Our City, Forty Thousand Sisters Goodbye Broken Sled, Grand Salvo Slay Me In My Sleep, Hermitude HyperParadise, Hilltop Hoods Drinking From The Sun, House Vs Hurricane Crooked Teeth, Jess Ribeiro & The Bone Collectors My Little River, Liz Stringer Warm In The Darkness, Made In Japan Sights & Sounds, Missy Higgins The Ol’ Razzle Dazzle, Ollo Ape Delay, Pond Beard, Wives, Denim, The Bamboos Medicine Man, The Hello Morning The Hello Morning, The Maple Trail Cable Mount Warning, Tim Hart Milling The Wind and Xavier Rudd Spirit Bird.


Melbourne-based instrument industry entrepreneur Con Gallin’s bid for the debt-ridden Australian Music Group has been knocked back, prompting him to lash out at the management of AMG, which owns wholesale arms Musiclink and Intermusic, as well as the Allans + Billy Hydes retail chain. “The people that run AMG, the management, which is Tim Mason and John Helme, they are not from our industry,” Gallin told “They bought Allans thinking, nice business venture, knew nothing about the industry, were never musicians, didn’t really understand the culture.” At the root of Gallin’s angst is that he originally tried to save the business by merging with AMG and more recently offered to buy the entire group. Yet he claims has been knocked back several times due to unreasonable barriers the liquidators have put in his way. It is believed that many of the prize wholesale brands from Musiclink and Intermusic have already been lost to other local wholesale companies. As a result, Gallin is no longer interested in the wholesale side of AMG and is concentrating his focus on ten retail stores.



Ball Park Music frontman Sam Cromack may be too embarrassed to reveal the identity of a bright yellow blouse-wearing celebrity former crush who appeared to him in a dream, and provided lyrical inspiration, but he does confess to Bryget Chrisfield that he enjoys “yelling at farm animals”.


n Ball Park Music’s Facebook page, they list a very intriguing “band interest”: “yelling at farm animals.” Would Sam Cromack, the bespectacled singer/ guitarist who fronts this Brisbane indie-pop band, care to elaborate? “It’s a bit of a hobby when you’re on the road and travelling between regional areas through the countryside,” he explains. “You just have to yell at the farm animals and try to get their attention. You yell from the car and go like, ‘HEY!’ and see if they’ll all look at you. It’s quite amusing… But I don’t think horses like it very much. They get a bit scared. They kind of shake their big head around and go for a bit of a run.” Cromack’s band has certainly had a dream run: Ball Park Music formed in 2008 while its members were all studying music at university and recently performed to an overflowing Supertop tent during their Sunday afternoon slot at Splendour In The Grass. On whether that would’ve been the biggest crowd they’ve played in front of to date, Cromack considers, “I have a feeling that it probably was. It’s unreal! We got some photos from up on stage – I think our guitarist Dean [Hanson] took some photos on his phone. I’m sure many musicians can confirm that, when you’re up there, it all goes past so quickly. It’s such a blur, performing, and it doesn’t really always sink in – at least not for me, when I’m thinking of so many things. But

when you come off stage and you see those photos, you kind of just look at them and think, ‘Oh my god, did that really happen to me?’.” That’s one impressive career trajectory, but Sam Cromack still “very much can” remember the first time he heard one of Ball Park Music’s songs on the radio. “I think maybe we had some play on local radio, and that’s exciting, but, you know, in Australia most musicians are, like, hanging out to hear their song on triple j: It’s a pretty exciting milestone for any Australian musician. I was taking a shower one night in – oh, it must’ve been 2009 or ’10. I had my phone in the bathroom, conveniently, and I don’t normally have it in the bathroom with me. So it kept ringing while I was in the shower and I just ignored it, because that’s what I usually do, and it just kept ringing and ringing and all these texts were coming through. And I was like, you know, ‘Oh, something must be happening.’ So I checked it and my friends were all trying to tell me that they were playing one of our songs on triple j. I remember, like, running out of the shower in my towel and getting my housemate to try and help me to get some sort of radio device on and, yeah! I caught the end of the original recording of All I Want Is You on the radio, and it was so exciting. It was a really nice moment. We were just kind of staring at each other with a big grin. “[Airplay]’s a weird thing. Like, you’ve already heard that recording a whole bunch of times: it’s the same old thing, but, I dunno, there’s some sort of magic about hearing it on this radio station that you know is broadcasting to hundreds of thousands of people around the nation. And then all of a sudden someone back-announces. Yeah, it’s special.” The quintet certainly doesn’t suffer from writer’s block. Ball Park Music’s second album Museum dropped just over a year after their debut set, Happiness And Surrounding Suburbs. They’ve also been touring their heads off, so must have nailed songwriting while on tour. “Um, yeah,” Cromack hesitates. “I mean, I don’t like sitting around going, ‘I’m really good at this,’ but, I dunno, it’s just always come really naturally to me. So it’s funny, because lots of people ask this and say, you know, ‘Why do you write so much?’ or, ‘How do you find the time to write so much?’ But, it’s weird, I kinda feel it’s like asking a doctor, like, ‘Oh, why do you help people get better all the time?’ I feel like it’s kind of my job and it’s always just

come [naturally] to me. I don’t even really have to force songs. I’m a fidgety person who’s always got lots of ideas on the go. Before our set, and even after our set, last night I was sitting at the piano in our dressing room and kind of working on new stuff, and I really don’t need to be doing that at the moment ‘cause we’ve got a new record out. So I shouldn’t even have to worry about writing, but I always have. I just – I like it or something. “There are times when you do feel like you’re – not necessarily that you’re forcing songs, but you’re forcing yourself to work. The industry does involve a lot of hard work and sometimes you’ll be working on this one song for ages and you need to get it prepared in time to record it or tour it and that’s when you kinda feel like you’re really pushing yourself to work. That sometimes is not that enjoyable, so I feel like if songs are coming really naturally to you at one point in time, like, just run with it, you know? If an idea comes, you sort of oughtta be grateful and just grab an instrument and start nutting it out.”

latest single Surrender came about. “The verses and the choruses were both part of two separate songs that I had kicking around for a really long time,” the singer/ guitarist shares. “And then when we were touring with Boy & Bear in, I think, November last year, I was mucking around on my guitar before a show in Perth and I, just on a whim, connected the two parts together, put them in the same key and was just mucking around, you know – kind of piecing it all together as I went along. And the twins [Dean and his drummer brother Daniel Hanson] were listening and they said, ‘Holy shit is that your song? Please say it’s your song.’ And I was like, ‘Yeah, well, it’s my song. I just kind of made it up then.’ And, yeah! Then we sort of learnt to put it together and it came out well.”


For said song, Cromack found the following lyrical inspiration while sleeping: “But lately I’m feeling down and in my nice dream I could see your blouse/It was bright yellow and it made my day.” Tell us more. “Oh, I actually had a dream about a certain celebrity. She came to me and she was wearing a yellow blouse, and I was in love with her in my dream. I woke up and um, yeah! That went in the song.” He chuckles uncomfortably. Too embarrassed to reveal the celebrity’s identity? “I think so.” Oh, come on. “No, no, I can’t do it. I don’t even have a crush on her anymore.” What happened? Did she have an ugly haircut?

Gym Class Heroes: So the story goes that Travie McCoy met drummer Matt McGinley during their high school gym class. Billionaire (feat Bruno Mars) was their biggest hit here, but McCoy is probably more famous for having dated Katy Perry pre-Russell Brand. Her Circle The Drain song is supposedly about the weirdlooking singer/rapper’s drug dependency issue.

“She’s kind of always had an ugly haircut but – ugh, yeah, I’ve just lost interest [laughs].” She’s dead to him. “Yeah, a little bit. I haven’t really revealed who it is in any other interviews.” Well can’t he make us feel special? “No, sorry. I’ve criticised her now. She might put the pieces together and hate me.” Time to share a dream this scribe had about Jason Donovan in an attempt to coax a confession from Cromack. “I’m not sure if I know who that is. Who’s Jason Donovan?” WHO: Ball Park Music WHAT: Museum (Stop Start/EMI) WHEN & WHERE: Thursday 22 November, The Bended Elbow, Geelong; Saturday 29 December, Ding Dong Lounge; Falls Festival, Lorne, Friday 28 December to Tuesday 1 January

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This process sounds similar to how the band’s

The sporting affiliations of Ball Park Music as band moniker got Bryget Chrisfield wondering how many others are out there, further afield.

The Sports: This Stephen Cummings-led outfit formed in 1976 and cracked the Billboard Top 50 Pop Singles chart in 1979 when they poised the question Who Listens To The Radio? It’s a cracking track with a message that’s become more pertinent over time.

The Strokes: Oh, come on! It’s swimming related: breaststroke, sidestroke, backstroke et al. Dick Diver: This Melbourne foursome comprises guitarists Alastair McKay and Rupert Edwards, bassist Al Montfort (UV Race, Total Control) and drummer/former Home And Hosed presenter Steph Hughes (Boomgates). This moniker may sound dirty, but readers with extensive libraries will be able to tell you that Dr Richard “Dick” Diver is a character from F Scott Fitzgerald’s Tender Is the Night. Baseball: Another Melbourne quartet to incorporate the name of a sport into their band name is Baseball. A violin-wielding frontman is always gonna make you stand out, but if you threw a baseball at Ben Butcher while he was fiddling away, we’re not sure how handy he’d be batting it away. Five For Fighting: American singer-songwriter John Ondrasik’s stage name. Yeah, you do. Remember Superman (It’s Not Easy) ? It goes, “I’m more than a bird/I’m more than a plane… And it’s not easy/To be/Me.” Very piano-based material that’s thought provoking and melancholy. Tenniscoats: A Japanese duo. One half of Tenniscoats, Saya, collaborated with Deerhoof’s Satomi for the one-off project called OneOne. There ya go. Bowling For Soup: We didn’t know who these guys were either until the idea cropped up for this sidebar, but they’re 12 albums in and (sadly) show no signs of slowing down! Bowling For Soup are a pretty hideous US pop-punk band who believe that singing with the heaviest American accent possible sounds cool. You might remember their cover of that 1985 song by SR-71, which uses a retro reference in virtually every line and is basically a vehicle for the band members to dress up like tools imitating ‘80s bands in the video. At least they’re having fun. The Crickets: Buddy Holly’s band.


GROW FORTH AND PROSPER The Beards have some bad news for us cleanchins: we’re all gonna die. Nathaniel Beard explains all the gory details to a distinctly beardless Warwick Goodman.


hat is it that makes a man great? It is a question that every man asks himself from time to time. “It is the ability to solve mathematical equations,” says the engineer. “It is contemplating everything while listening to the river,” says the buddha. “It is Jane and swinging through the jungle,” says Tarzan. According to Nathaniel Beard, they’ve got it all wrong. He thinks it is much more simple. For him, what makes a man great is his beard. The bushy-faced bassist from Adelaide band The Beards is sitting at a table in a bar, wringing his hands thoughtfully over a glass of water. He is wearing a blue-and-beige bomber jacket and a newsboy cap. “I consider myself to be the intellectual of the band,” he says, “in that I have an arts degree. So I’ve taken on the role of interpreter of these parchments.” What in the world is going on here, you might ask? Well, the end of it all for the beardless, of course. According to Beard and his parchments, anyone without a beard will soon be doomed. “Facey McStubblington, our guitarist, was rifling through his neighbour’s garbage and he found a wooden chest, an old wooden chest, and the parchment was within that. The gist is that we’re currently living in the Fourth Age, or the Beardless Era. The prophecies say that on December 21st of this year, which conveniently ties up with the end of our tour, the Great Bearded Spirit will be roused and he will cleanse the world of he who shaves.”

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Terrifying, to say the least. We’ll let that simmer for a moment. Presently we seek to better understand why this band of bearded propagandists started in the first place. One does not simply create a band whose existence is entirely concerned with beards. Well, actually, one does. But why? “We just formed to play one show,” explains Beard, “because we were fed up with the way society treated bearded people like second-class citizens. We started out because there was no one providing a voice for the bearded man. Employers were asking bearded men to shave and wives were asking husbands to shave. Even just people attending a wedding were expected to shave. And that still happens, you know.


These are real, serious issues affecting bearded men everywhere, and we sort of formed to combat that.” Everything is truly about beards in The Beards. You might think that when a band’s entire ethos is essentially the hair that grows from a man’s face, they may suffer from a kind of creative burnout; a lack of depth in the songwriting well. But these men are extremely passionate about what they do. “We didn’t realise how many songs about beards we had in us. But once we started writing about beards we thought, ‘why would we ever write about anything else?’ Because, as an artist, you’ve got to write about what you believe in. And the only thing any of us believe in is beards, and having beards. So, yeah, it brought a lot more honesty to our music.” Quite conveniently, all four members of the band have names relating to beards. “There’s four of us,” says Beard, “I’m Nathaniel Beard, Johann Beardraven is our frontman and saxophonist and keytarist, Facey McStubblington is our guitarist, and John Beardman Jr is our drummer.” Beard’s long, reddish-orange beard bobs up and down as he speaks about a rather sour revelation in the band’s history. “John Beardman Jr is our second drummer. His father, John Beardman, came before him. We had to kick him out of the band after we became aware of the fact that he had been wearing a fake beard the entire time. He sure fooled us. It was a very high-end fake beard, obviously, but yeah, they don’t speak anymore, they’re estranged.” Ironically, Beard says that Beardman Jr actually has the best beard in the band. He is quick to comment, however, that it is not the size or thickness of a man’s beard that is important, it is just that he has one. “I’m trying to grow my beard so it’s longer and better than his, but I mean, I probably shouldn’t be doing that. We have a saying in the band, like if we’re ever having an argument or something we’ll say, ‘come on guys, calm down, we’ve all got beards here’. Because the war is out there, you know. When you have bearded people fighting amongst themselves, that’s not what you want.” Beard says that he would sooner be dead, pulled limb from limb, than cut off his beard. He once had a nightmare where he shaved off his beard. “Sometimes when you’re just slightly trimming your beard – you know, because one side might grow more than the other and a little bit of trimming is therefore required – you can go too far. I had a nightmare where I ended up cutting the whole thing off, and that was just horrible. But I don’t think I’d

ever make that mistake in reality. Bearded men are quite intelligent, so I don’t think that any of them would be that stupid.” Wisdom and smarts are not the only qualities that, according to Beard, a bearded man inherently holds. Beard states his philosophy of the all-embracing superiority of bearded men over their clean-shaven counterparts: “I think that people with beards are superior in all ways to people without beards. They’re smarter, faster, stronger, better looking, better at writing songs about beards – all of these things.” You have to respect a man with principles. Beard talks about his experiences touring around Australia. He believes that because of The Beards, and perhaps Brad Pitt too, the popularity of the beard is on the rise. “Since we formed, we’ve noticed an extreme increase in the amount of beards in every Australian city. Brisbane, for example, when we first went there we were horrified at how beardless a place it was. It was just awful, it was a depressing place to be. But now, the streets of Brisbane are filled with bearded people. Oh, it’s becoming a really bearded city.” He tells a tale about the time The Beards went to Alaska. “We were invited to play at The World Beard and Mustache Championships,” he says proudly. And it really was everything they could ever dream of. “On that weekend,

in that city, in Anchorage of Alaska, the best beards in the world were there. It was as if for one weekend we were living in the utopian society that we hope to one day create. Where bearded men can walk down the street and get the respect that they deserve. It was just great.” But alas, the time has come to return to that awkward elephant in the room: the prophecy of impending doom for all beardless men. The Beards are going on a tour around the country to celebrate. As for the rest of us, believe what you will. Beard may or may not be the next Nostradamus (who, incidentally, had quite a large beard), but to all the clean shaven men out there, you’ve at least been warned. “Good luck with growing a beard and saving your life. And I’m sorry it’s come down to that, I’m sorry to everyone. We don’t want to kill people for not having beards, but you know, we didn’t write these prophecies. Don’t shoot the messenger, just grow beards.” WHO: The Beards WHEN & WHERE: Saturday 3 November, Hi-Fi; Thursday 22, Karova Lounge (Ballarat); Friday 23 & Saturday 24, Queenscliff Music Festival










































20 - 30 BOURKE ST CITY - 9650 0180


THE SHERPA OF HEARTBREAK His impending visit may ostensibly be to celebrate the music of fellow folk icon Woody Guthrie, but as Billy Bragg tells Steve Bell, he can be just as frustrated and inspired by the personal as the political.


early 20 years have now passed since UK singer-songwriter Billy Bragg was approached by Woody Guthrie’s daughter Nora about writing some music for the vast collection of completed Guthrie lyrics that she had in her possession following his passing in 1967. History shows that Bragg tackled this task with passion and vigour, dragging in US outfit Wilco to help him craft what would eventually amount to three volumes of the Mermaid Avenue project (the initial album was released in 1998, Vol II in 2000 and Vol III in 2012 as part of Mermaid Avenue: The Complete Sessions, released this year to mark the centenary of the folk legend’s birth).

Obviously this milestone has found Bragg spending a lot of time this year helping to fan the flickering Guthrie flames and as he prepares to head down to Australia to continue the celebration, he admits to have been enjoying the experience, even if he’s planning on peddling his own wares as well while he’s here. “It’s been really, really good,” he enthuses of the experience. “People loved that Mermaid Avenue album anyway – particularly in Australia, it’s the one place where I got a gold record for it – so this year with the re-release of The Complete Sessions I wanted to do gigs celebrating Woody, because this year’s also the centenary of his birth, but it seemed a shame to come all of the way down to Australia and not play any Billy Bragg songs. So I’ve developed a set where the first hour is Mermaid Avenue stuff and I’m talking about Woody and the second hour is Billy Bragg stuff and I’m talking about me. I did it in North America and at some of festivals here in the UK; it’s more of a theatre show than a standup, crash and bang kind of show, but it works really well I think. “The first half pitches the second half really. The first half allows me to relax a bit more; with the Woody stuff I’m sitting down and playing with an acoustic guitar, I’m talking about Woody and trying to put him and his music into a bit of context, because not everybody knows who he is. By the second half I’m well into my stride and in some ways the two [halves] work together really well. I think if anything it allows the shows to be a little more personal, a bit more intimate than the usual just going out, plugging in and blasting out. I’m enjoying it anyway and the audiences seem to be too – in the States the audiences seemed really into it and it was something that they hadn’t seen before and I’m hoping that the Australian audiences will get that same connection.” Bragg’s last studio album proper was 2008’s Mr Love And Justice, although since then he’s written songs for the politically-charged play Pressure Drop and also released Fight Songs (2011), a collection of contemporary protest songs. While renowned for his fiery political polemic, true Bragg fans realise that it’s in the realm of the love song where he truly shines, which makes his admission really special that this is where his writing has been taking him recently. “I’m going to make a new Billy Bragg album for next year and I think I might load it with love songs – that’s my feeling,” he reveals. “I think I need to remind people that I write love songs. Not that there won’t be any songs about issues on there, but I think these last couple of years have been political with Fight Songs and before that Pressure Drop, so I think I might need to remind people that I also write good love songs. “I think there’s plenty of people out there now trying to write songs that engage with what’s going on in the world. It’s not all politics. Somebody tweeted last year – and I just happened to see it because my name was in the tweet – and they were talking about getting over a break-up and they were listening to Billy Bragg, ‘the Sherpa of heartbreak’; I was helping them carry the load of heartbreak! I liked that and I thought that I need to remind people that I am the Sherpa of heartbreak. That’s as important as changing the world I think, helping them get over their heartbreak – in my book anyway.” Bragg recently admitted of his songwriting in an interview that he wrote about “things make you angry – whether it be the government or a girl”, which put his hitherto divided realms of political and personal writing in a new light. “I think that’s really what a lot of what I write about comes down to – I think a lot of my love songs are about my own frustrations,” he muses. “When you think about something like [1986 single] Greetings To The New Brunette, the guy is trying his hardest to keep up to speed there; he tries to commit himself to something that he hasn’t done before that he thinks he can do. It’s partly dwelling on my own personal failings and I’m hoping that when I do that people connect with that, because it’s not all Smokey Robinson when we fall in love, it’s sometimes much more thorny than that. And I suppose really what I’m trying to do is deal with my own problems by getting them out there – getting them down on paper and singing them. “When I go out and sing them in front of an audience and everybody applauds, it’s kind of affirmative. I don’t feel so bad, you know? I think to myself, ‘Maybe I’m not the only person who feels like this’. And I think that’s what music can do: it can’t change the world, but it can make you realise that you’re not the only person who cares about this particular thing and that in its own way inspires you perhaps to go and make a difference doing what you’re doing. “The reason I say that is because people try and draw a line between my political songs and my love songs, but really they come from that same place. They come from that same place of frustration and anger and disappointment – whether it be about the Tory Government, the Labour Government, about the war, about my relationships, about myself, about my own behaviour, it’s not really that different a place where they come from, although obviously they all turn out differently. I think that’s the point that I was trying to make: rather than be labelled a political songwriter I should be labelled an ‘angry songwriter’. Although maybe ‘angry’ is the wrong word because it makes it sound like I’m raging. I’m trying to deal with difficult situations and difficult emotions and difficult events – they’re the things I want to address.” WHO: Billy Bragg WHEN & WHERE: Friday 19 October, Melbourne Festival, Hamer Hall; Saturday 20 2pm, Readings St Kilda; Saturday 20, Melbourne Festival, Melbourne Recital Centre; Tuesday 30, Prince Bandroom



DELETED SCENES After 15 years in Death Cab For Cutie, Benjamin Gibbard has emerged with his first solo outing, an album of “leftovers” as such titled Former Lives. Ben Preece jumps on the phone and talks to the man himself about exactly where this record came from.


t’s near bedtime in Seattle and Benjamin Gibbard is wide-awake. The dust has barely settled on promotional duties for his band Death Cab For Cutie’s seventh record Codes & Keys, yet here he is, sitting poised on the release of a debut solo album, Former Lives. A prolific writer, Gibbard’s musical mind simply never stops creating. In fact, he writes at a much greater rate than any band could and probably should commit to in any release schedule. But he claims he’s not searching for any kind of new beginning with Former Lives. Instead, it closes a chapter and wipes the slate clean, a move that’s simultaneously freeing and terrifying as he now has no backlog of material to pilfer ideas from in the future. “I’m really happy that I got to this place, you know, some of these songs are relatively new, some of them are much older, but a song like Broken Yolk [In Western Sky], if I think about it, I was playing it at solo shows in 2004,” he says, outlining exactly where all these songs came from. “I didn’t purposely try to, you know, ‘date’ the songs or change any of the names to protect the innocent, so to speak. When I started recording these tunes, I wasn’t really sure I was going to get a record out of it or if it was just going to be a recording project to kill some time while we working on Codes & Keys, but I feel really good about how it all turned out and I guess we’ll see if people like it or not.”

doesn’t serve the story in a film, it’s not allowed a place in the film, not because it’s an inferior scene but because it doesn’t work with the overall story. I see these as my deleted scenes, some of them from a long time ago, but also some from the not so distant past.” Despite whispers of the members of Death Cab not being able to stand each other, Gibbard insists that the health and creative output of the band has never been better and that Former Lives, just like his work with The Postal Service almost a decade ago, is simply an extension of what he does. “It wasn’t weird at all. It would be weird if I was viewing this record as some sort of moment to step out and try to launch myself as a solo artist or as if this record was meant to be a step in a new direction for me that was just me, if I was trying to do that on the sly. I started Death Cab For Cutie, why would I want to stop doing it? The impetus to do a record like this or to do anything outside of the band is not because I wasn’t satisfied with how my creativity is expressed within the band. It’s because I find myself with more material or material that doesn’t fit with the band or I’m listless and want to do a soundtrack with my friend Steve Fisk or I make a record with Jay Farrar or I do a record with The Postal Service on Sub Pop. These are all extracurricular activities, just because I like making music.

Gibbard’s distinctive voice drives Former Lives, much like some would say it drives the songs of his day job. The album isn’t Death Cab-lite, though; it’s a mixed bag that stylistically moves from one place to the next all without a sense of stringent cohesion. “Everything I write finds its way and comes across the desk of Death Cab For Cutie. For the most part, the way we make records, I have a cache of songs and we end up weaving the songs together that make stylistic sense or a narrative sense or they just flow in and out of each other to make a record in some sense; a more of cohesive statement.

“I didn’t go in with the idea of making a record,” Gibbard admits. “I was able to go through my cache of songs that I’ve always enjoyed but never taken the time to record properly. It started by going into the studio with Aaron Espinoza from Earlimart, playing all the instruments myself and recording two songs one month, two months later recording another couple – just doing it very leisurely over the course over a year. It wasn’t like, ‘Oh fuck, I need one more song for this record, I’d better write one.’ The songs were all there, it was just a matter of curating which ones I was going to record and how to sequence the record, because it’s very much a mixed bag. It’s all over the map, but that’s something I personally like.”

“I guess what I am saying is that the particular songs that don’t fit into that narrative, they don’t sit on the record. In a way, I see some of these songs as orphans or they’re the deleted scenes from a movie – if a scene

The album kicks off with whimsical a cappella Shepherd’s Bush Lullaby – recorded on an iPhone – and bounces around from there; Teardrop Windows was Gibbard’s attempt at writing “a Big Star song” while the beautifully


pessimistic Duncan, Where Have You Gone? sounds like the product of a Teenage Fanclub binge. But when Gibbard began to think outside of the box, that’s when the gold really shines. “I play virtually everything on the record but there’s a couple of songs – Broken Yolk In Western Sky and Lady Adelaide – that I had my friend Jon [Wurster] from Superchunk come in and play on and, you know, another guy on bass. We recorded in New York. “We did a version of Something’s Rattling and it wasn’t really working the way we presented it. While I was trying to clean up the track, I kind of had this idea to bring a Mariachi band in – why not? The song was about getting lost in Los Angeles and disappearing into the city, so why not disappear into another band, take it to another conceptual level and completely disappear in this band? I was fully expecting to spend the money to bring this band in and have it not work, but it was all fantastic. That was one of those trigger-happy decisions that happened really well on that record.” It’s easy to predict what’s next for Gibbard. It’s uncertain whether we’ll see a solo tour come as far as Australia,

though he does admit that he could be tempted. For now, there are promo duties for Former Lives and then it’s back to his one true love. “We’ve always had the ethos that whatever we’re doing away from the band always benefits the band,” he says, explaining that Death Cab For Cutie will always be “a thing”. “I’ve always got songs, there’s always something in the well, always something on the front burner. I’m always working on music but I think this was a good opportunity for me to present some of these songs I’ve always enjoyed myself. I’m just in a time where I’m able to work on and find songs for the next Death Cab record and start to think about what that may be like – it’s too early to even speculate but hopefully sometime next year we can get together and punch out some ideas. “We’ve been in this band for 15 years, we’ve established it’s important to us.” WHO: Benjamin Gibbard WHAT: Former Lives (Spunk/Cooperative)

POCKET FULL OF DIVERSITY Cyclone sits down with one half of Diafrix, Mohamed “Momo” Komba, to find out how a group with such diverse backgrounds has found a succesful sopt in the Aussie hip hop scene.


elbourne’s Diafrix have quietly changed Australian urban music, universalising the old skip hop. Along the way, they’ve had a crossover hit in Simple Man with Daniel Merriweather. Then the Aussie festival regulars performed at Glastonbury. Diafrix even charmed popsmith Bruno Mars. Now the duo are back with an aptly titled second album, Pocket Full Of Dreams, and they can only get bigger. It’s been three years since Diafrix debuted with the intriguingly eclectic Concrete Jungle. Momo (AKA Mohamed Komba) and Azmarino (Khalid Abdulwahab) have matured – and progressed. “I think you can hear that in the new record itself,” the communal Komba reflects, hanging out in bayside St Kilda. “It’s just taken another step from Concrete Jungle sonically and even lyrically. It was good to write a new chapter.” Concrete Jungle saw Diafrix work closely with Blue Mountains beatmaker Ptero Stylus, a member of their band. This time their chief collaborator is Styalz Fuego, who masterminded much of 360’s Falling & Flying. The three were involved at every stage of the album, including the mastering. Diafrix might have handled it all themselves, being capable producers, but they chose not to, Komba says. “This time around I just wanted to be an MC and focus on lyrics – and throw in my parts on the music side as well.”

will bump into his own MC hero – an unpredictable choice from Compton, Los Angeles. “I’m really digging Kendrick Lamar,” he enthuses. “He’s an amazing writer. Listening to his music it sounds like, Yo, this dude has got no rules – he’s not conforming to anything whatsoever. I love that because it means he’s just 100 percent being who he is and saying what it is that he wants to say... It’s great. It’s raw. I love it.” WHO: Diafrix WHAT: Pocket Full of Dreams (Illusive) WHEN & WHERE: Friday 19 October, Northcote Social Club; Friday 23-Sunday 25 November, Queenscliff Music Festival, Queenscliff

Pocket... hatched its first hit last year in the engaging Simple Man, playlisted on commercial radio. “I definitely was surprised,” Komba says of the response. “I wasn’t expecting it to do as well as it did.” He adds, “I guess I’m my harshest critic.” Komba had known the now New York-based Merriweather for years and seized the chance to finally record with him when he returned home. There are more surprise guests on Pocket... – 360, N’fa and Stan Walker. Detroit neo-soulster Dwele elevates the poignant Better With You. Alas, Komba, a longtime fan, missed the Slum Village (and Kanye West) affiliate’s Australian dates. “We just linked up through the ‘www dot’,” he says. “We shot him the track and told him what it was about and what we’re vibing in and everything. His manager got back to us and said, ‘Yo, he’s totally digging this track’ – and he jumped on it. And not only did he sing the hook that we wrote, but he went further and wrote a verse as well... I was lost for words.” As it happens, Better..., and not any of the singles – Simple Man, Running It, Helicopter or the current Easy Come, Easy Go – is Komba’s favourite song on Pocket... “It’s about me losing my cousin and just how tight that we were – we were like brothers.” Both of the Diafrix MCs are refugees. Komba, from the Comoros Islands (formerly part of the French colony off the African coast), settled in Australia at three. Abdulwahab, fleeing warn-torn Eritrea, lived in Jordan and continental Europe before arriving here. The two connected in the early 2000s at the Footscray Arts Centre during a hip hop workshop conducted by TZU’s Joelistics, their mentor. “He’s like a bigger brother to us,” Komba says warmly. Ironically, TZU are mounting a comeback as Diafrix issue Pocket... From early on, Diafrix preferred live instrumentation in their hip hop. The outfit developed their show at The Evelyn Hotel. In 2006 Diafrix, having bulked up to a five-piece, released an EP, In Tha Place – a mix of hip hop, funk, soul, reggae and worldbeat compared to the Fugees. They were championed by triple j. They later presented Concrete Jungle, with a sprinkling of electro. Initially, the Illusive signings were outsiders in the Australian hip hop landscape, their music about struggle – and diaspora. “In the beginning it was difficult feeling like the only ones of our kind trying to fit into this already established hip hop scene,” Komba explains. “People weren’t sure how to perceive it.” Yet Diafrix have had a huge impact, challenging the hegemony of what Komba once called “barbecue hip hop” – AngloCeltic suburban rap – with their conscious lyrics, expansive musicality, and feel-good (humanistic) vibes. “It’s broadened a lot more now. We’ve got so many different artists, and diverse artists, who are breaking through culturally and sonically. They’re pushing the boundaries of hip hop – fusing different music into hip hop – which is a great thing, because it means that hip hop in Australia is just gonna travel further out there in the world. We’ll start to get more and more listeners as a whole.” Diafrix are recognised as role models to young Africans negotiating an Australian cultural identity – and other marginalised groups, such as Indigenous Australians, have embraced them. Their music is empowering. “I think the coolest thing – and it really motivates me to keep doing what I do – is somebody saying, ‘I relate, I totally understand what you’re talking about, I’ve lived that experience’,” says Komba, himself a sometime social worker. “I don’t know how to describe that. It’s amazing. It just really motivates me to keep doing what I do and share my experience and share my perspective and my culture, my everything; who I am as a person, because there’s a lotta people out there who feel like they can’t even relate to some Australian culture. And just to be myself, and have somebody else feel that and feel like they’re a part of something, is amazing.” Diafrix have become the hot support for an array of international urban acts, from George Clinton to BoB to Tinie Tempah. Komba especially enjoyed opening for Lupe Fiasco, who watched their set together with his band. “It was like, ‘Wow, this is awesome’ – ‘cause usually they kick back upstairs in their band room doing what it is that they do,” Komba says. Diafrix were welcomed, too, by Bruno Mars. “Bruno Mars is actually a really, really down-to-earth, cool dude. I didn’t expect it.” Diafrix hung out with the Just The Way You Are singer between gigs. They went clubbing. “At the end of the tour, he and his touring party bought us a nice bottle of champagne to say ‘thank you’! You never experience that.” Mars, then, was no pop star? “No, he’s pretty... ghetto!,” Komba laughs. “He’s cool – he’s just like another one of the boys, kinda thing.” Diafrix are making waves overseas. They appeared at 2011’s Glastonbury, which Komba recalls as “mind-blowing”. “Glastonbury was like the pinnacle gig for me to play in my life.” Still, it was “daunting”. The Wow! stage had emptied due to sound dramas. That was soon fixed and, by Diafrix’s fourth song, says Komba, “it was jam-packed.” The MC jokes that his next goal is to headline Glastonbury’s main stage – and join the Coachella bill. In fact, Diafrix are yet to reach the States, their focus so far Europe, which they first toured in 2009. “We’ve had really good experiences in Europe,” Komba suggests. Diafrix considered going to SXSW this year but completing Pocket... took priority. Regardless, if Diafrix do head Stateside, perhaps Komba

TOURING OCTOBER Wed 31 - The Athenaeum Theatre


A BEAUTIFUL MESS Throwing rules and industry influence out the window, Lisa Mitchell tells Anthony Carew about growing up and taking charge of her music.


he title-track to Lisa Mitchell’s second album, Bless This Mess, is 2012’s great over-the-top, overjoyed, over-exuberant pop-song: a celebratory explosion that plays like Since U Been Gone crossed with that Vanessa Carlton song where she played piano on the beach while horses frolicked, by way of, like, Japandroids’ throttling-down-a-hill-on-a-bike-withno-brakes garage-rock righteousness, with that same feeling of being at a Flaming Lips liveshow when the balloons and streamers fall from the ceiling and your heart swells and the Earth is at one. It’s the musical equivalent of cartwheels and catherine wheels, of day-seizing and boy-kissing and leaping off piers into water; like how Fang Island call their jams the sound of “everyone high-fiving everyone” or that Stuart Murdoch story in the Lazy Line Painter Jane liner-notes where the song’s heroine runs through the streets pretending she’s in a music video. I’m listening to it right now, and if you were next to me, I’d probably give you a hug. Mitchell - the 22-year-old starlet who, these days, calls Melbourne home - describes it as “such a pro-life song”, and she’s obviously not talking about conservative Christian incursions or repealing reproductive rights. Tumblr memeage may’ve made the phrase ‘fuck yeah’ banal to the point of meaninglessness, but the song and much of the LP named after it - has an undoubted fuck-yeah quality to it. “It’s about embracing the chaos,” Mitchell beams. “That joyous feeling is something that I can hear happens a lot, in a lot of the songs.”

That joy literally glows off Mitchell: her sparkling smile matches her shiny gold sneakers. If it weren’t obvious from the near-ridiculous giddiness of Bless This Mess - of the song being taken as totemic title for the album; her follow-up to 2009’s platinum-selling Wonder there’s falling in love, and being in love, and being in a relationship behind all this, this... happiness. Mitchell happy to be on record as happy in her union with Jordan Wilson, leader of Sydney-based pop outfit Georgia Fair. “There’s a massive amount of joy when you find that one person that you actually think that you could spend the rest of your life with,” Mitchell says. “There’s such joy in that. It’s so joyous yet it’s so very confronting. You’ve gotta be so real about everything, and constantly real with them. So I feel like I’ve gotten good at getting to the truth really quickly. It’s been a

pretty cool time: joy and truth... [There’s] been a really positive direction in my life the last few years, and that’s totally reflected in songs like Bless This Mess. “I wasn’t really thinking about any of this when I was making it,” she continues. “It’s much more intuitive than that. It’s only now, when I listen to the album, that I’m able to think, ‘Oh, I’ve been quite happy!’ You can hear it in a song like Spiritus, which is really just ‘Eff yes! Life! Oh my gosh! This is good! I see it! I see the light!’…I figured a word like that, spiritus, it calls for such a life force song. It’s another song just about joy. And the recording of that was obviously just inspired by that joy, and trying to reflect that in the sounds of the song, the chord changes, and the production.” This outward expression of happiness comes, Mitchell says, from introspection; from “a lot of questioning”, of self-examination following ascendant rise from 16-year-old Australian Idol starlet to ARIA-nominated, platinum-selling success; the songwriter feeling a sense of unease about how swiftly her life dreams were realised; and, then, what was to follow them. “I had to ask myself, constantly, ‘Is what I’m doing right? Does this feel right?’.” Mitchell says, about following up her first LP’s ‘success’. “That’s such an epic, big stereotype that’s imprinted in people’s brains: success. And what does ‘success’ mean, usually? Making lots of money. So when people talk about success, I’m always just... ‘Do I have to want to make lots of money? Can’t I just sing my songs?’ I had to learn that I couldn’t let other people’s ideas of success cloud my own feelings of what I wanted to do.” There’s a thoughtfulness to everything Mitchell says that underlines this, and a wistfulness, too, and a desire to avoid the usual trappings of interviewdom, to circumvent soundbites and discuss life and humanity and the world - in both its fucked and fuck-yeah! Forms - at length rather than push the promotional line; our conversation a sprawling philosophical plunge into topics that have no place in this story - like the education system’s patriarchal hierarchies; like the biological urge for reproduction and its exploitation by advertising (and, in turn, how basic human desire is the engine that drives the hyper-capitalist system); like ephemeral love and tiny instances of fate and friendship and death; being alive on a dying planet.

Amidst all this, Mitchell talks about what it’s been like to effectively grow up in public; how she’s felt going from girl to woman amidst the machinery of the music industry, and how it’s been becoming a woman - an independent woman - and asserting her adulthood, her will, upon those condescend it. “Three years ago, I really felt it,” Mitchell says of the making —and releasing— of Wonder. “I was a young girl in the eyes of others. There were all these old guys who were just making decisions for me. And the whole time I felt like this intense angst. I’d sit there quietly, and then I’d just have to say, ‘Wait! No, no, no, no, no, no! Um, hi! This is about me! Like, why are you making that decision?’ But these men just so naturally take on that role, that paternal role.” Mitchell had to learn to ruffle feathers; to, as Johanna Fateman of Le Tigre so eloquently put it in their tour documentary Who Took The Bomp?, had to overthrow that socially prescribed role of the woman having to play placater, to make sure everyone else is comfortable. “There’s that persistent, awful thing in society where any woman who doesn’t do what you want is a bitch,” Mitchell sighs. “She’s just a bitch! Like, people are allowed to really hate her, when she just didn’t do what you wanted

her to do. Whereas, obviously, if men don’t do what you want, there’s more respect there.” Now, Mitchell considers, all that stuff bounces off her. Lemons are lemonade; stereotypes are remade; marrow is sucked out of life; her happiness is infectious; her joy is catching; possibilities are endless; this mess is blessed. “I’ve been around the block, once,” Mitchell forwards, with both an easy smile and a sense of underlying forcefulness. “But, then again, this is the music industry, so there’s no rules, and there’s no blocks. I think maybe that’s a big thing. To me, that becomes this really empowering realisation: ‘if there’s no rules, I can do anything I want...’ Being a bit older, knowing myself a bit more, being more confident in myself, I feel like I’m able to back up all my arguments, all my ideas. I feel like I can do whatever I want.” WHO: Lisa Mitchell WHAT: Bless This Mess (Warner) WHEN & WHERE: Wednesday 31 October, Athenaeum Theatre (licensed all-ages)

ACMI, Federation Square

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TEN YEARS GONE Xiu Xiu celebrate their tenth anniversary this year. As he prepares to bring his band to Australia once again, mastermind Jamie Stewart speaks to Matt O’Neill about the band’s questionable future.


here are limits. In all things, there are limits. With music, they’re often malleable - more malleable than many generally presume. There have been bands who have survived for decades on the basis of a single sound. Conversely, innovators have burst through and burned out over a mere handful of albums. In some instances, within the course of a song. Regardless; there are always limits. Speaking with Jamie Stewart, one becomes increasingly aware of that reality. His band Xiu Xiu are, in multiple aspects, a portrait of intensity. Their aesthetic is one of sexual perversion, kink and violence. Their music combines the innate ideological fury of ongoing experimentation, spanning from synth-pop and electronica through to avant-garde composition and rock, with the visceral intensity of extreme volume and texture. Perhaps most notably, their lyrical sentiments are a storm – an ongoing excavation and evisceration of Stewart’s depressive, paranoid, anxious neuroses carved from the darkest recesses of both his imagination and shame. Tallied and totalled, Xiu Xiu’s music is some of the most exhausting and challenging work in contemporary popular music. So how on earth has the band managed a tenth anniversary? “It went by incredibly quickly. It doesn’t feel like it’s been ten years at all,” Stewart admits. “I suppose, if it felt like ten years, I’d be more surprised we made it so far. As it is, I’m only really surprised by the fact that it just seemed to appear out of nowhere. I think, for some reason – and it’s completely preposterous – I thought it would feel different or I would feel different. It doesn’t, though. “I mean, all of that is completely removed from the fact that I am surprised every single year I have made a living, however tenuous, out of this band,” the frontman laughs. “I think I will never be more surprised by this band than I was the year I first made a living out of it – because I never thought that would happen. While I certainly don’t take it for granted, I suppose I’m becoming used to it, for better or worse. Probably worse.” It begs the question – how long can the band continue? It’s been asked by fans and detractors

alike in recent years. Particularly in light of the band’s most recent album, this year’s Always. Xiu Xiu have always been celebrated as innovators and iconoclasts – changing their sound from album to album – yet, even favourable reviews of Always highlighted its similarity to the band’s previous works. “You know, I rarely ever read any reviews for exactly this sort of reason. I did read that about the record and it was weird. We always said we will always write about real events and people and so that’s never going to change, but I don’t think we’ve been making the same record for ten years. I really think one reviewer wrote that and everyone else just copied it: ie. FUCK PITCHFORK. Please write that in capitals. “I think experimentation is still a priority for an aspect of what we’re doing. In terms of experimenting with timbre and experimenting with arrangement, I’d say it’s definitely a priority. It is a priority to try and approach things in a different way to the way we’ve approached things before. I don’t think we’re ever going to completely reinvent everything we’ve done before but we like to take a different approach. “I mean, that’s not to say what we’re doing is particularly innovative. Obviously, we’re building off a lot of things that have come before, but that’s why it’s important to have a different approach, I think. I can’t see much point in making a record with the exact same approach as another. I suppose that’s why I take such a particular umbrage with the accusation that we’ve been doing the same thing for ten years.” Beyond issues of musicality, mere self-preservation must be taken into account. Jamie Stewart has been the sole permanent member of Xiu Xiu for their entire career. The band is very much his project (though he would almost certainly take issue with anyone referring to it as a solo outing). The despair and loathing that permeates their music is wrought from him alone. By his own admission, nothing about Xiu Xiu is fun for the frontman. “Is being in Xiu Xiu any fun? No. It’s not fun,” Stewart says bluntly – almost laughing at the question. “Other bands I play in are fun. XXL [Xiu Xiu’s

collaborative project with Italian experimentalists Larsen] is fun. The collaboration I did with Eugene Robinson was fun. Xiu Xiu has never been any fun – but that’s not really the point. I will say it’s certainly rewarding but, no, it’s never been fun.” When directly prompted about the future of the band, Stewart is circumspect. He seems to view the idea of discontinuing the project with considerable suspicion. Conversely, he seems reluctant to confirm its continued existence. It’s hard to know what to expect from a man who titled his band’s seventh album Dear God, I Hate Myself And I Want to Die but, years later, made an open plea to his fans to give him reasons to continue living. “Lately, I’ve been thinking about the future,” Stewart begins. He pauses and laughs to himself. “Well, here’s revealing too much, but here goes – I’ve been really on the ropes with myself about whether I can continue to do this to myself. But, that feels like a symptom of depression as much as anything else – a false emotion only felt by a part of my brain. So, I’m of two minds, really. “A part of my brain says to me, ‘You have to stop doing this or you are going to die,‘ while the other part kind


IN CONCERT “His wit won deafening cheers che eers and feet stomping” THE GUAR GUARDIAN RDIAN






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of goes, ‘No, this is just a chemical imbalance, you have to push through this and keep going.’ I’m very much forcing myself to move forward as I would on any other work day – but there’s a doubt in there that has never existed before, as far as I can tell. Which I very, very, very much want to have go away. “I don’t know if that’s anxiety or because this year has been so difficult,” the frontman reveals slowly. “It’s been quite a difficult year for Xiu Xiu in terms of a lot of interpersonal problems. Perhaps my subconscious is just completely full and just doesn’t want to deal with any more bullshit. That it’s time for me to just find a cab somewhere and just stop thinking about all this shit. “But, aside from that – potentially completely false – need to escape this band,” he chuckles, “the plan is still pretty much the same as it always has been; to try and do our best all the time and to continue to challenge ourselves in how we approach things.” WHO: Xiu Xiu WHEN & WHERE: Friday 19 October, Gasometer



Supported by Kieran Ryan

Photo Stephan C. Kaffa

Arts Centre Melbourne, Hamer Hall Thu 25 Oct Tickets $25 – $130

BOOK NOW Arts Centre Melbourne 1300 182 183 Ticketmaster 136 100 Supported by


The Who – Live At Leeds, from a second hand store. I had milked my older brother’s collections for far too long apparently. The first new release album I think was The Reels – Quasimodo’s Dream. The title track is a cool piece of writing and production. Much earlier, Chitty Chitty Bang Bang, similarly a highpoint in song construction and execution.


I played at Basement Discs the other day, and finally got around to picking up The Beach Boys’ Smile box set. It’s even better than I remember it. I also picked up Eliza Carthy’s latest, Suzannah Espie’s new one – both brilliant. I got Jimmy Dowling’s latest the other night, I love Jimmy’s records. Liz Stringer’s latest. Anything by Van Walker. Alison Ferrier. The new Cactus Channel album, Haptics! Good lord what a cracker! And my new album Love Your Crooked Neighbour With Your Crooked Heart – naturally I’m loving that right now, otherwise I wouldn’t be bothering to launch at the Northcote Social Club this Sunday from 2pm.


At the moment it is Dr John’s Locked Down. But a party needs more than one obviously. I’d start with some Hawaiian music probably, and some of the punch, thanks. I’d try and fail to come across cool and sophisticated by playing some Charles Mingus at some point. I have a Kinks greatest hits with more booze stains on it than any other album, so that’s probably the winner. But if my out of tune sing-alongs to that record should fail to impress the ladies, I’d naturally start drinking too much too quickly and play The Soft Boys’ I Wanna Destroy You really loudly over and over, and then The Hangman’s Beautiful Daughter by The Incredible String Band to finally creep everyone out so they left.


A Whiter Shade Of Pale, the King Curtis version, and The Kiss by Judee Sill are two songs I could listen to a million times, coming down, trying to get back up again, hoping to mesh the rapidly diminishing pieces of my brain back together again, whatever the occasion. George Jones or Hank Williams or Randy Newman’s debut album are good too for


Sunday mornings, so too The Velvet Underground, up to a point. How about Marvin Gaye’s What’s Going On? It’s my son’s favourite album of all time.


The two I’m very pleased I own are Carl Stalling (think Warner Brothers cartoons of 1940s/’50s) out-takes and highlights of his orchestrations and compositions, an absolute joyride of a record. I put it on in the car and grin like an idiot all over town. And Fishing With Charlie And Other Selected Readings, Jim Dickinson’s spoken word album, is one I return to over and over. It’s storytelling at its highest.


Devo at Memorial Drive in Adelaide, a long time ago. My school mates and I went and met them at the airport! It was the first time I’d seen people wearing long shorts. Yes folks, they were ahead of their time. On stage they wore energy domes, rode conveyor belts from the front to the back of the stage, they climbed scaffolding – my performances these days with The Zhivagos are remarkably similar.


Icecream Hands at Penguin Football Club Oval, north west Tasmania, on the back of two trucks, parked side by side in the middle of the oval. My amp on one truck, my singing mic on the other. A small leap across the abyss for each amp modification. A rider comprised of nothing but King Island cheese. A limo ride with champagne to and from Devonport airport.


Book stores! I begin to levitate merely thinking about entering one. They are one-stop idea factories for me. I can’t walk past them or libraries, due to the fact I now owe hundreds of dollars in late fees at libraries all over this town, which means I have to run past them.


Suzanne at Basement Discs and Siobhan at the Drunken Poet and the Last Jar are sharing this award. Both smart and gracious, tireless and inspiring, they both support hundreds of local musicians with their own passions. They both look good too.


Alfred Russel Wallace, co-inventor of the theory of evolution due to natural selection, explorer, anthropologist. John Shaw Neilson. Horatio Hornblower. People with three names are obviously big on my list. I should get myself one. Evil Roy Slade, there’s another one. Evil Charles Jenkins? Sir Isaac Newton. Neil deGrasse Tyson talking about Sir Isaac Newton! Even guys with two names I like, like Stephen Colbert and Jon Stewart.


I’d be in the audience at Sam Cooke’s recording of Live At The Harlem Square Club. Dancing like a fool. Losing my mind. In the audience listening to King Curtis Live At Fillmore West. The Battle Of

Hastings. Hanging with Goya, Van Gogh, Picasso, Dr Who. When Otis Redding walks into Stax and convinces them to let him sing These Arms Of Mine.


I’d be a beekeeper, or a cheese maker (blessed are the cheese makers) or preferably both. A bird spotter. Or maybe a deep sea diver, or a ticket inspector, preacher, priest, lion tamer, clown, comedian, etc. Nothing I’d want my daughters to marry. WHO: Charles Jenkins WHAT: Love Your Crooked Neighbour With Your Crooked Heart (Silver Stamp Records/Fuse) WHEN & WHERE: Sunday 21 October 2pm, Northcote Social Club








New Jersey-based nonet River City Extension went from a one-piece to nine in the space of 18 months. Lead singer Joe Michelini tells Chris Hayden why he felt the need to keep on expanding.

Sugar Army lead singer Pat McLaughlin has had to learn the art of patience. He tells Danielle O’Donohue that it’s a struggle.



he life of a solo artist can be a lonely one at times. Travelling around with nothing but a guitar for company, attempting in vain to overcome the chatter of a crowded room; getting old, getting grey, getting ripped off, under paid – it truly is harder than it looks. No stranger to this conundrum is New Jersey native Joe Michelini – lead singer of the now seven-piece folk-punk collective River City Extension. Michelini spent the better part of his formative years on the solo trip and, although he appreciated the experiences it gave him, it seems he always had one eye on an inevitable expansion. “Playing solo was a thing I’d been doing for a long time,” he explains down the line from his home in Toms River, New Jersey. “I was still becoming comfortable with myself and my songs at the time, so playing on my own seemed to make sense. When I started playing with a band – that’s when things changed. I don’t know if I felt like something was missing before, but somewhere in me I knew that I was going to be playing my songs with a band. That’s why I started playing by myself under the name River City Extension.” Considering he’d been using the name itself before the band was even formed, it’d be fair to say that by the time he managed to find the right people, Michelini had some well-developed plans for River City Extension. In fact, coming from a small musical city made locating solid personnel the least of his worries; so much so that the outfit eventually swelled to nine pieces. “We all met playing shows together,” he says. “We were all just musicians in a small community in a small state. There are a lot of people packed in here (New Jersey) and it’s a pretty tight-knit scene so we all came together through that. It took a couple of years of finding people though, and still people come and go from the band.” Once Michelini had found his soldiers, it was full steam ahead. River City Extension’s first record, The Unmistakable Man, found them a niche audience, their mixture of punk, folk and heartfelt lyricism allowing

them to traverse the limitations of genre like few other bands before them. In fact, they became the first band ever to play both the Newport Folk Festival and the Vans Warped Tour. After this triumph, the logical step was to head back to the studio with famed indie producer Brian Deck (Modest Mouse, Iron & Wine, The Grates) and carve out their second effort, Don’t Let The Sun Go Down On Your Anger. “Brian’s a character, that’s the best way to describe him,” Michelini fondly recalls of the man in charge of the sessions. “He believes in artistic truth above almost anything else, and that’s commendable. We had some disagreements here and there but I think that’s healthy in the relationship between artist and producer. I feel like it wouldn’t be a good record if there wasn’t some friction, but it’s healthy friction.” Last in Australia for the Soundwave Festival earlier this year and returning for the distinctly less abrasive Harvest Festival in November (again, they’ll be the only band to have ever graced both bills) it’s curious to hear Michelini recount his experience last time around. It seems that the one thing that all of that solo work and planning didn’t prepare him for was our wide, brown land. “I don’t think I was ready for Australia last time,” he says. “I think we’re still learning how to do Australia as a band. Everything was different last time. The food, the people. As similar as our English may be, you just get these moments where you realise that you actually are on the other side of the world.” WHO: River City Extension WHEN & WHERE: Saturday 10 & Sunday 11 November, Harvest @ Werribee Park


Gray admits that he can hear the individual recording environments of each release. Last year’s Whatever’s On Your Mind was recorded in two weeks, so everything was tightly structured and poppy; the process produced the aesthetic. But as for their next album... “Firstly, we want to take a good ol’ breather – I think Gomez has to go away for a minute,” Gray admits. “We’ve just finished a record contract and those last three albums kind of work as a piece together, and we can put that to one side now. And with a little bit of time and risk-bearing on our part, hopefully we can be a lot more weird and wonderful. It’s a bit risky to think this way, but I think we have to afford ourselves that.” Gray candidly explains that the music industry is, for lack of a better word, fucked, so for the members of Gomez, it’s now nice to be independent from contractual shackles and making music in any form they choose, 34 • INPRESS

The band’s brooding, hypnotic rock lends itself to a dramatic visual image, and now with the addition of two extra members replacing Ian Berney – who filled the hole in Birds Of Tokyo in a game of Perth musical chairs – the band has filled their live sound out even more. The additional members, Chris Simmons (bass) and Benjamin Pooley (keys/guitar) round out a line-up already consisting of long-time friends McLaughlin (vocals), Todd Honey (guitar) and Jamie Sher (drums). Though the three original bandmates recorded the new album before adding Simmons and Pooley to the line-up, McLaughlin says the five-piece Sugar Army has definitely settled in. “They’re starting to get what we’re on about. I think when they came in it was like Todd, Jamie and I talk a certain language, and for them it was a bit like, ‘Okay, what’s going on here?’ But they’ve slowly picked it up. It means that when we’re learning older songs it comes a lot quicker now and they know exactly

While discovering new musical relationships is surely a lot of fun, there are legitimate logistical considerations for the singer of a band when they go from being a four to a five-piece. Has McLaughlin copped a bass to the head yet, not used to the dynamic of having another person onstage? “I did in the last line-up, but not in the current format,” he says with a chuckle. “Maybe we haven’t played enough yet. I’ve still copped the odd drumstick to the back. Jamie breaks them or something. He doesn’t really listen to me, we’ve discovered. He’ll only know when I’m coming in or not singing. He uses me as, ‘Aah, this is when this part starts.’ He uses me… but he doesn’t know what I’m saying or doing, no idea at all.” The new line-up is eager to start work on album number three. “We’re going to approach recording very differently this time,” McLauglin says. “We’re going to write in batches and record as we go. It means when the idea is first conceived you can bring it to fruition a lot quicker where you’re still excited about the idea. Whatever inspires that idea will be fresh, instead of sitting on it and chipping away.” WHO: Sugar Army WHAT: Summertime Heavy (Permanent Records) WHEN & WHERE: Saturday 20 October, The Toff In Town

The worldly Funk D’Void – known to his folks as Lars Sandberg – continually questions his worth as an artist, and thinks too many acts these days rush their releases, he tells Cyclone.


But even though Gomez’s productivity has remained constant, the creation process behind the scenes certainly hasn’t. “There’s no one way of writing a [Gomez] song. Apart from that first record where you’re just writing in a room, stoned, where you haven’t got anywhere else to be when you’re eighteen years old,” he chuckles. “That’s one way of doing it, which worked. But our second album we wrote while we were out on the road touring. Our third album we made in a mansion, our fourth we made in a warehouse and half the band weren’t even there...our fifth album we actually did in a recording studio which was like, ‘What?’ Each time we’ve recorded we’ve done something different, and purposefully so in order to try and create a forced environment that produces a different kind or record.”

“It’s hard because you want to move on. I guess every creative person would want to move onto the next thing. It’s what drives you really. And having that there and still finishing off aspects of it means you’re still in that zone. We’ve started writing and we’ve talked a lot about a new record, but it’s been really hard because it’s taken so long to develop [Summertime Heavy’s] themes and concepts. To start something new you really have to wipe the slate clean. So that’s been a lot longer than it ever has before, but saying that, it has helped us explore a lot more. With the last record we didn’t spend as long on the visual stuff. It’s been really enjoyable doing that. It’s still been a creative outlet for us, just a different one.”

what angle to take. It’s more they know what feel we’re going for, what overall can rehearse as much as you like, but it’s not the same as playing at a venue in front of people. But we do rehearse a lot and talk a lot about things, where we want to push things and how we want it to be expressed.”


Although their output may be consistent, the last thing you can call Gomez is predictable. Benny Doyle chats with Tom Gray about their last 15 years and beyond. t’s said that distance makes the heart grow fonder, and for the members of Gomez – well, at least some of them – this sentiment is perhaps what’s kept the band going, as an original unit, for 15 years. Although three of the group’s members – Gray (guitar), Ben Ottewell (guitar) and Paul Blackburn (bass) – all reside in Brighton, co-frontman Ian Ball has lived in Los Angeles since 2003 and Olly Peacock (drums) has called New York home for six years. Yet the band have maintained their output, recording and releasing with consistency.

his time last year, Perth rockers Sugar Army had a finished album in their hands and were ready to show the world. Now, over 12 months later, the album has only just been released and the band are ready to get back up onstage. While record company schedules played a part in pushing back the release schedule, the band have also used the time to better present all the visual aspects of the album, making videos and preparing artwork.

D with the option of taking a break. For Gray personally, this break has come in the way of scoring a new television show based around the children’s books of Polly Dunbar, a role he has been revelling in. “Everything that I have done in my life has just been for a laugh really,” he says. “Polly’s just a good mate of mine and we started around six years ago putting on children’s shows in Brighton every Christmas with completely original scores, and we just tried to put together something really beautiful and great...If you know anything from Gomez, you probably have the realisation that I’m an obvious melody guy, that’s what I do. And children’s music is all about melody, which is incredibly freeing for me because I am just bursting at the sides with that shit.” Regular visitors to our shores for a decade now, Gomez are changing things up on this upcoming tour to mark 15 years making music together. The British five-piece are putting the ball in the court of their fans, leaving each night’s set list in the hands of their most avid followers. “We don’t do it until the day of the gig,” he says. “We don’t close [the voting] until the night before so it can all change all the time. We just go by the seat of our trousers, really...Gomez gigs [already] have a certain fondness,” he finishes, “but there is definitely a different atmosphere and less knowingness about it and probably more surprises for them, and you can feel that. It’s a thrill still, but I have to say that it’s probably going to be people’s last chance to see us for a while, so it all fits nicely together and they get to pick the songs – [it’s a] win win.” WHO: Gomez WHEN & WHERE: Sunday 21 (sold out) and Monday 22 October, The Corner Hotel

eep techno auteur Funk D’Void (aka Lars Sandberg) may live with his family in Barcelona, the city rocked by protests against austerity measures and for Catalonian independence, but he’s staying put. “The Spanish are really quite vibrant when it comes to protesting,” Sandberg says laconically. “They’re always doing these kinda things.” Nevertheless, one rally outside the DJ/producer’s house was “crazy” with bins set on fire. “The austerity cuts in Spain aren’t going down too well, that’s for sure.” Sandberg, celebrated for 2001’s classic Diabla, is a true multinational. His Australian pianist mother left Warrnambool for London when young and met Sandberg’s Swedish dad. Lars then grew up in Glasgow. Here, he launched his own music career as a hip hop turntablist. Sandberg subsequently discovered Chicago house and Detroit techno, introducing his George Clinton-inspired monicker Funk D’Void with Jack Me Off on Slam’s Soma in 1995. He’s since aired three ‘artist’ albums and developed another handle in Francois Dubois. He also worked in a record store for a decade. Barcelona has been Sandberg’s home for 15 years. “I love Barcelona,” he rhapsodises. “It’s probably my favourite city in the world… The only bad thing I could say really is the club scene is not consistently good,” he notes.The city’s promoters favour “trend-based” music. Only during Sónar Festival do the clubs embrace the underground. “We’re ahead of the curve for one week of the year.” Still, young Spaniards, of whom more than 50% are now unemployed, reportedly can’t afford bars or clubs and so drink in public areas. Yet Sandberg attributes this to a Mediterranean culture, not the GFC. He lives next to Barcelona’s biggest gay club – and on weekends the “madness” starts at 5am. People party in front of his pad. “I’ve actually had to throw eggs at people on one occasion.” Sandberg has to consider his kids. “Maybe ten years ago I would have been joining them!” he laughs. Sandberg’s latest project is Balance 022, encompassing Psycatron’s remix of Diabla. The DJ did “investigate” past volumes of the cred brand but worried about

being overly influenced by them. “I just wanted to go in with a clean slate and offer something that was 100% genuinely me.” Sandberg cares little for fashions. He’s all about “honesty”. And, for this reason, he believes that his two previous comps have had longevity. Nor is Sandberg complacent. “I always question myself and my talent and everything – as an artist, I think you have to do that all the time.” Sandberg is doing music “for the right reasons… for the love”. Indeed, he prefers to play “sweaty” small clubs to big festivals. Sandberg has a wealth of new product coming from his Outpost Recordings, established in 2010. But he’s a selective A&R. Many of the demos he’s received recently haven’t had “the right sound”. “I’m still keeping on that mantra of underground club music that you hear at five in the morning – and slightly weird, hypnotic and surprising.” Sandberg has signed an Australian, the mysterious Child, whose interplanetary jazz bears that “goosebump factor”. He’ll be remixing it himself. If Sandberg has a gripe with contemporary electronica, it’s that young producers rush out their efforts. He hears an abundance of “mediocre” or “throwaway” material. Again, he’d value more “honesty”. “People are so fast and trying to get to the top too quickly. There’s so much noise out there, it’s really hard to get heard – I understand that completely. But I think in the long term it’s best if you wait for the really, really, really jawdropping stuff if you’re a producer.” Sandberg is returning to Australia to promote Balance 022. He hopes to indulge a passion other than techno. “I’m currently completely nuts about table tennis – ping pong. I have been since I was nine years old. But I’ll be looking for some local players… I’ll be doing some ping pong shows as well before the actual gig.” WHO: Funk D’Void WHAT: Balance 022 (Balance/EMI) WHEN & WHERE: Friday 19 October, Brown Alley




The Off The Beaten Track tour sees Sal Kimber & The Rollin’ Wheel and Mick Thomas taking the road less travelled to play unique venues in out-of-the-way places. Kimber tells Izzy Tolhurst that it’s great to get out of the city.


merging from a meeting that was “dry, but at least quicker than usual”, local singer-songwriter Sal Kimber has not been discussing strategies with her management, or talking to anyone else in the music industry for that matter. Kimber is referring to her day job as a youth worker, something she’s “really passionate about”. “I don’t know if I could be a full-time musician,” she says. “I tried it for a little while… but I love leaving the house and not thinking about my music career.”

Right now, however, Kimber is in the midst of Music Victoria’s Off The Beaten Track tour, alongside Mick Thomas and his band The Roving Commission. The circuit touches down in less conventional venues – halls, RSLs, wineries, footy grounds, and even a renovated substation – in response to local musicians and regional fans who desired to share their quintessential Australian stories and songs in more intimate settings. The tour is also being run in conjunction with anti-binge drinking campaign Live Solution, an element of the tour where Kimber’s passion for young people is being well employed, particularly given her experience with FReeZA, a government-funded youth development program aimed at making music and cultural events more accessible to young people. In addition to a bucket-load of rootsy rock’n’roll, free practical professional development workshops are being offered at a number of the shows. Kimber’s biggest nugget of advice for musicians is, “that you can tour outside of Melbourne and Sydney and Adelaide and Brisbane. There are so many great places to play in regional Australia. Our band, The Rollin’ Wheel, we did 32 shows last year for our album release, and only seven of them would have been capitals, all the rest were just small towns and little house concerts. We find that it’s at those shows that people actually buy albums… So I highly encourage bands, and I know Mick’s the same, to get out of Melbourne and go and find little niches, little pockets; they’ll love ya.” It was thanks almost exclusively to Kimber’s father that she was propelled into the Australian music

There’s no shortage of pub rock bands in Australia, but as Nic Toupee learns from bassist “Dan”. that doesn’t stop Black Mustang form wearing their influences on their collective sleeves. Sal Kimber and Mick Thomas scene to begin with. Taking her to local festivals and the shows of Australian musical icons such as Shane Howard and Paul Kelly, he taught her the importance of “Australian-ifying” her songs (because you “don’t necessarily have to come from Nashville or say the word ‘Nashville’…” in country music, says Kimber), He was also the bloke that sent her work to the organisers of the Port Fairy Folk Festival, got her a spot on the bill, and won her a “little emerging artist program”. “My dad was really instrumental in my career. He’s a songwriter – a really daggy songwriter – but he used to just write about the people he’d met, or where he grew up, and they were usually quite fun songs… We had a lot of fun sing-alongs growing up. Occasionally I still go home and write songs with him. There’s a song on the album called Southbound, which is about my nan travelling down from Mildura to Melbourne to pick up her husband from the hospital after he’d come back from the Second World War. He was almost blind; writing that sort of song is really beautiful with dad.” When Kimber reaches the proverbial end of the beaten track, and the tour concludes in late October, she’ll begin preparations for playing, “a few little festivals over the summer”. Beyond that, Sal Kimber & The Rollin’ Wheel have, well, the wheels in motion for their next release. “Our last album we did with Shane O’Mara [Tim Rogers, The Audreys] so it was really nicely produced with lots of layers, but we’re thinking of doing a bit of an acoustic thing this summer, cutting it back a bit.” WHO: Sal Kimber & The Rollin’ Wheel WHEN & WHERE: Friday 19 October (workshop 6pm, gig 8pm), Caravan Music Club; Saturday 20, Toora Community Hall; Sunday 21 (workshop 1pm, gig 3pm), Substation



The recent additions of drummer Myka Wallace and double bass player Jo Muller have changed the whole band aesthetic; not radically, but substantially nonetheless. This extended live version of the band has worked on the third Texas Tea long-player, Sad Summer Hits, a beautiful collection of emotionally-charged songs which builds perfectly on their already substantial canon. “We wrote the songs first and then we went and rehearsed – I think we did about eight rehearsals before we went to the studio,” Jacobson recalls. “Myka and Jo definitely had some input when we were working the songs out, but we’re always going to be Texas Tea – we’ve always got that Texas Tea spin. Ben and I write in particular ways, so that will always be there for us. Ben is the ‘doom duet captain’ and there will always be some duet where someone dies at the end, and I’ll always be writing more poppy stuff I guess. I think my voice is quite recognisable and my songs are quite recognisable as well, so as songwriters I think we’re easy to spot.” But although the songs of Jacobson and Dougherty might be miles apart in both feel and form, they continue to complement each other so well. “Yeah, they do,” Kate concurs. “It’s weird really, because when we first started doing it I think we were just doing it for fun – it certainly wasn’t serious. We were just practicing at Ben’s place – I just wanted to play some country songs and Ben was just up for 36 • INPRESS

“They are the Australian Beatles,” he declares. “I love the songwriting, the production and everything about them. I love Vanda and Young as a production team, the sound of the bands they’ve produced over the years is where I’d like to be.” Dan’s interest in classic pop and rock extends beyond just the music itself, to the way it was recorded and pressed. Their new single Loaded Gun is being released on the usual CD and download, but released at the same time is a seven-inch vinyl EP containing their previous single Love, Lies, Bleeding and Loaded Gun, with veteran producer/engineer Don Bartley magicking the production, as he has all of their releases so far. “We all have a vinyl collection, and so we were keen to get one made ourselves,” Dan explains. “A lot of people buy them these days as collectors, but there’s also been a resurgence with lots of people having vinyl players.” The seven-inch serves both wax devotees and Black Mustang’s new fans, with both their last and current single, but also some unreleased tracks for good measure. “The four-track vinyl has two previously unreleased tracks as B-sides,” he confirms. It seems a slightly odd strategy, to release both a new single and an EP collecting two singles concurrently. Dan thinks the timing is actually fortuitous. “We wanted to space them apart, but there were delays with the vinyl and now they’ve both fallen in lap at the same time. I’m just glad it all came together before the tour, and we can put it out in one big package.”

The EP helps demonstrate the ‘Beatles and Stones influences on Black Mustang: Dan explains they have evolved from pop to darker sounds, with stoner rock as some kind of strange middle ground. “Our songwriting as a whole, in the current album, shows more of our darker side, whereas the first couple of releases concentrated on a more poppy sound,” he tells. “Our new material, that we’ve been writing at the moment, is a cross between our pop side and our dark side. Black Mustang is like that, and it means we have a set to suit all occasions. Whoever has more influence over each song means it comes across dark or poppy. “ Giving the single and EP that bit of extra ‘70s nuance is the analogue recording method Black Mustang insist upon. They only record to analogue tape, and use mostly vintage sound equipment. Dan can be thanked for much of that, as he is the band’s classic equipment benefactor, with a massive collection of vintage guitars, basses, drums and amps which has cost him a wild amount he’d prefer not to disclose. But, he argues, it is cheaper than if they’d had to hire it all the time. “I collect a lot of vintage gear,” he says understatedly. “I’ve got a massive collection of amps and drums and stuff, and we use it. As a bass player I’ve got a lot of old vintage speaker cabinets. I’ve used the reissues of them, and they sound nothing like the old stuff, they just don’t have that tonal quality I’m after. It’s a nice rich warm tone, and you just can’t recreate it. Timber ages, and the vibrations running through it change over time. I don’t know a lot about it, I just know there’s a difference and old equipment sounds much nicer.“ WHO: Black Mustang WHAT: Loaded Gun (Plus One Records) WHEN & WHERE: Thursday 18 October, Ruby’s Lounge, Belgrave; Friday 19, Retreat Hotel, Brunswick; Friday 19 (late), Pony Bar, Fitzroy


Texas Tea have just dropped their stellar third album Sad Summer Hits, and founding member Kate Jacobson talks to Steve Bell about adding new members into the mix, marrying the happy with the sad and finding the courage to separate the wheat from the chaff. exas Tea have held a potent place in the hearts and minds of Brisbane music lovers since their inception back in 2005. Their authentic take on vintage country and rock’n’roll arrived just as the burgeoning alt-country oeuvre was taking off in the city, and although the duo – multiinstrumentalists and vocalists Kate Jacobson and Ben Dougherty – were clearly doing their own thing, they soon found themselves surrounded by likeminded bands and in the midst of a thriving scene.


risbane rock expressionists Black Mustang cite their influences as Detroit rock from the 1970s and Australian Pub Rock from... anywhere from the ‘60s to the ‘90s, if bassist Dan (just Dan) is to be believed. His own personal preferences are very much from the wide-legged jeans and paisley shirts part of that time continuum, with favourite bands in both the Beatles and The Rolling Stones, and Australia’s answer to both: The Easybeats. It’s not often you hear a mention of The Easybeats, but Dan’s enthusiasm is more than effusive.

Go-go dancers, bush parties, smoke machines and bubble guns – it’s all in a day’s work for local glam-rock outfit Vultures Of Venus. Chris Hayden finds out about their new single and subsequent change in direction.

I it, I don’t even think he had an interest in country music. I don’t think either of us ever thought we’d be at a point where we’d released three albums and having toured Europe five times – that didn’t even enter our minds seven years ago. It’s nice.” Sad Summer Hits definitely broadens the Texas Tea palette beyond mere country, incorporating elements of ‘50s pop, rock and even soul into the mix. “I think for me personally I wanted to expand and make sure we didn’t get in a rut – I wanted to challenge us a little bit,” Jacobson reasons. “I think a happy song is much harder to write than a sad song, and I wanted to write some stuff that sounded happy – not necessarily that the lyrical content was happy, but something that was poppy and throwaway and fun. I really wanted to do that, but for it also to have its own edge – for it to be different to what other people were doing. Now, with the creation process complete, the Texas Tea crew are simply looking forwarded to taking these new songs on the road. “It’s good to be on the road again, we really don’t get to tour that much in Australia because it’s too expensive, but it will be good to get out there with the full band,” she says. “It will be great taking that to the other cities, because Brisbane’s seen us with the full band a little bit, but we’ve never played like that outside of Brisbane so it’s going to be great. Bring it on!” WHO: Texas Tea WHAT: Sad Summer Hits (Mere Noise/MGM) WHEN & WHERE: Friday 19 October, The Old Bar

t’s the age old question. Where do bands get their influences? Does life imitate music or does music imitate life? The Beatles famously spent their first few years ripping off the American rock’n’roll they’d heard huddled around wireless radio sets in their Liverpudlian bedrooms, only to eschew that technique a few years later when they discovered the likes of marijuana and LSD. Suddenly it was their lifestyles that informed their music and it was what they did that mattered, not what they heard. For Melbourne glam rockers Vultures Of Venus, the drive behind their newest songs has come not from the Bowie and T-Rex records they love so much, but from the alternative lifestyles they like to lead. “We enjoy going out to full-on electronic bush parties for a few days, like Rainbow Serpent and that kind of thing,” explains guitarist Simon Quinn. “We just went to one last week that our friend held. We took a generator out to the bush and everyone stayed out there for a few days. You can’t help but be influenced by that – I played a four-hour DJ set out there as the sun was coming up. I like electro, minimal, breaks, glitch. I like all sorts of music and I think every genre has great artists within it. We like to get inspiration from that sort of thing, you know?” This is not to say that Vultures Of Venus have abandoned their glam formula. Releasing their debut self-titled album in 2010, a record heavy on stomping Brit-pop, the boys have worked hard to incorporate a multitude of genres into their sound. “We’ve got about 15 new songs that we’re looking at that are a lot more electronic this time around. The glam influence is definitely still there though,” says lead singer Jefferson Morrow. “The latest single (Garden Of Earthly Delights) is a bit like T-Rex in the vocal delivery and it’s quite a guitar-heavy track compared to everything else we’ve been doing, but we’ve been moving in more electronic directions as well. We’ve been producing a lot more spacey sounds and really building up from the bridge up to the choruses.”

One reason behind this sea change is the fact that Quinn, Morrow and third member Craigus McVegas (we’re starting to doubt the authenticity of these names) have recently started operating without a drummer. Far from letting this alteration narrow their possibilities, Vultures Of Venus have used it to enhance their already infamous live performances. “Now that we don’t have a drummer, we’ve got that space at the back of the stage that we can fill up with fun things,” says Quinn. “We spend a bit of time writing incidental pieces, for between songs in our set to add a bit of atmosphere. I just bought a smoke machine and some strobes, some extra lighting stuff and we work with projections as well.” Another element serving to spice up the Vultures Of Venus live show is a continued collaboration with a group of ladies lovingly named the ‘Venus Man Traps’. Anyone who has witnessed a set by these boys will probably know a little bit about what the girls get up to, but for the uninitiated (or even just the slightly curious) it certainly sounds like something to behold. “The Man Traps are coming along for the next run of shows,” Quinn continues. “It’s sort of burlesque performance art stuff. These girls have been doing it for a long time so they’re very good. It’s like a combination of pole dancing and go-go dancing. They also use bubble guns, which is pretty fun. They choreograph it themselves, so often we don’t see the show until we’re performing – which can be distracting.” WHO: Vultures Of Venus WHEN & WHERE: Saturday 20 October, First Floor


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LEMAÎTRE Time To Realize iTunes

Without Love Cutters Records

Pretty sure you could grab any of Knightlife’s records straight from your crate to mix in seamlessly with Donna Summer’s I Feel Love. Guaranteed. The vocalist revealed only as “AP” boasts lush pipes, there’s bubbling bass and a groove you can’t ignore. As fitting for dancefloor posers as it is for sunny BBQ action, Knightlife shouldn’t have trouble pimping this one out on the right side of summer.


Slightly Delic Productions This is hypnotic. It would also make the ideal soundtrack for your first trip. Guitars vibrate, rising and falling in prominence within the arrangement, vocals are present but never invasive and tambourine is an ever-present consciousness shake-up. With this song’s casual pace, Time It Takes takes its sweet time and then you’ll wanna swap numbers before you have to say goodbye.





Sensory Projects

Florida rockers Anberlin have returned to friend Aaron Sprinkle to produce their new album Vital and have unfortunately lost some of the spark that was turning them into a great crossover band. Though their beginnings were in spiky emo-rock, the band over the course of their last two albums – the Neal Avron-produced New Surrender and the Brendan O’Brien-produced Dark Is The Way, Light Is The Place – had turned into a slick, tight and melodic rock outfit that seemed destined for stadiums.

Melbourne outfit No Zu love percussion. They love the knowingly rigid percussion of ‘80s exoticism and the urban punk funk of A Certain Ratio, dropping a relentless groove that quickly becomes transcendent – eclipsing any sense of structure, song, even vocals. It’s music that returns to its primal state, where the groove doesn’t just happen, it’s something to be revered, something to be worshipped.








Almost got it. Almost got it. It’s on the tip of my tongue. What does this track remind me of sooooooo much? Daft Punk is bandied about a lot in the same sentence as Lemaître, but I don’t really hear that here. It’s more – ugh! Actually, it’s another band of Frenchies: Phoenix, specifically their track If I Ever Feel Better! Similarly, Time To Realize sounds like exploding bliss bubbles and sliding down rainbows. It’s oh-so European (the duo hail from Oslo) and they welcome you to their Facebook page with a confession: “We is discodudes.” No argument here. Can’t wait to hear more. And it looks like their live show features giant origami structures that could have flown in directly from their EP covers (Relativity 1 and Relativity 2). So who’s gonna book them on a festival line-up pronto, please?

The first couple of songs on this album, Self-Starter and Little Tyrants, have that same spark of energy that really do make Anberlin sound fresh and vital, like it says on this album’s packaging. Unfortunately the same can’t be said of the rest of the album. Anberlin haven’t turned in a bad album per se; the five-piece is far too professional an outfit to do that, but the introduction of an electronic element, at times ambient, at others a bit too frenetic, and a return to the sound of their earlier albums, such as on Someone Anyone undoes some of the great work of the last two albums. Producer Sprinkle was behind the desk for the band’s first three albums, so perhaps it’s no surprise that the band’s taken a step back rather than forward. But it would be a shame if we had to wait through another two albums before we get another cracker like New Surrender. But wherever things go, make no mistake – this glitch in the band’s matrix is hardly going to stop them being one of the most thrilling live acts of all the Soundwave-ready emo-rockers. Danielle O’Donohue

The vocals here are shouty and ill-defined yelps mixed low, well below the relentless percussion. Occasionally they’ll pick up a horn and blast out some heavily reverbed squeals, and that’s when the real link becomes clear: Hunters & Collectors. In the early ‘80s Hunters & Collectors were a force to behold: a primal, throbbing, terrifying mass of noise and No Zu have tapped into this madness, though with squelchy synths and open structures they’re working less for terror and more for party. It’s the work of former Tic Toc Tokyo mainstay Nicolaas Oogjes, alongside a few folks from Rat Vs Possum, and they’ve really brought the party. Every track is up, surrounded by a strict avalanche of percussion, with the aforementioned horns, vocals and all these other strange sounds playing within the gaps, feeling like some sort of concrete urban pagan rituals. There’s a certain playfulness here. The music sounds like it’s having a better party, a better time than you are. Life’s references lie in the past, in the post-punk, no wave hurdy gurdy of the early ‘80s, yet where this music was often grim and urgent, No Zu mine the energy, and harness it with a cheeky sense of humour and wide-eyed optimism. Bob Baker Fish


House Of Gold & Bones Part 1 Roadrunner/Warner When a new Slipknot record arrives depends on who you ask. No such identity crisis for offshoot hard rockers Stone Sour; Corey Taylor and Jim Root have placed so much stock in their immediate future they’ve crafted a two-part concept album, the second chapter due next year. 2010’s ultra-slick Audio Secrecy was loaded with memorable hooks, but some ballads tipped the scales too far in the radio rock direction, sounding like the kind of band Slipknot initially set out to destroy. It’s quickly rectified here; overall the songwriting balance, while largely conventional structurally, is more organically executed. Opener Gone Sovereign showcases considerable melody, but bristles with greater intensity and speed. Absolute Zero fuses pounding groove with the first of many arena-reaching choruses. Hooks are there; just less saccharine, darker and tempered with a guitar-driven crunch more satisfying for punters who embraced their first two records. RU486 and Last Of The Real’s grinding riffage hit a familiar, yet similarly harder-edged note; A Rumor Of Skin locates their modus operandi between hookiness and heaviness. There are introspective moments capable of landing on US radio; just less overtly so. The Travellers, Part 1 injects acoustic and orchestral flourishes; effects-laden Part 2 also adopts a wide scope within just a few minutes. Influence Of A Drowsy God revels in bombast before segueing into Taylor’s incensed screams. Layered ballad Taciturn cuts deeper than many of their previous serene exercises. The record investigates a young man at a crossroads between staying in adolescence, or facing adulthood’s challenges. Stone Sour has grown up, but not forgotten what endeared them to people in the first place. Brendan Crabb


GOOD Music/Universal So ‘Ye’s hooked up with Kim Kadashian and she even gets a shout-out on this one (“My girl a superstar all from a home movie”), he hasn’t shied away from shit Vocoder on previous releases and is too tight to share the private jet and bring dancers from his homeland to grace our stages. But, Kanye, I’ve gotta say: this Clique you’re rolling with at the mo’ is almost enough to redeem you in my estimation. The beat cruises alongside you like a pimped-out ride to rival the one in OutKast’s Morris Brown video. “Ain’t nobody fresher than my muthafucking clique… And all these bad bitches, man, they want the… ” It’s fun comparing notes on which heavyweight rapper you reckon comes off the best here. Imagine the combined worth of their bling! “My crew deeper than Wu Tang,” Big Sean claims. Bring on the Clan’s answer song!


Central Station/Universal “A dollar makes me holler, honey boo-boo child!” So Nola Darling isn’t one lady, it’s actually a duo hailing from LA who take turns at the mic for Change. The beats are sick and you’ll definitely rock out in your chair, but without a visual these bitches just sound irritating to the max. The repeated “hundred dollar bill” phrase borrows from NERD’s Everyone Nose and, hold up! Did I just hear, “Baby got a snatch that won’t stop itchin’/Keeps the cash flow lean”? Now that’s just too far. Who didn’t perk up whenever they heard We No Speak Americano? Well maybe it was all in the D Cup. Where he at?






Bedroom Sucks


There are two ways to listen to US heavy rockers Coheed & Cambria. The simple way is to enjoy the music, revelling in the epic riffage and chuckling at the absurdity of singing along to lines like, “man your battle stations”. The other option involves countless hours spent studying lyrics, reading frontman Claudio Sanchez’s The Amory Wars comic books and conjuring up in your head a world more complex than a Game Of Thrones family tree.

What started from such ad hoc foundations – mates catching up for a beer and a jam – has gradually morphed into something with substance, yet Melbourne band Boomgates’ debut album Double Natural still arrives with baggage in the form of its membership; chiefly vocalists Brendan Huntley (Eddy Current Suppression Ring) and Steph Hughes (Dick Diver) and Twerps’ bassist Rick Milovanovic. Trace elements of these outfits’ music can be found in the Boomgates aesthetic, making it seem somehow familiar and unique at once.

Regardless of whether he’s investigating the spaces between sound, dubbing up a storm, or developing tribal-tech weapons in honour of the dancefloors of his adopted Berlin, Canadian producer Scott Monteith is never anything short of prolific under his Deadbeat moniker. Coming just 15 months after the mesmerising slow-burn dubscapes of Drawn And Quartered, which itself followed less than two years on from 2008’s magnificent dub/club hybrid Roots And Wire, Eight sees Monteith bunkered down in a converted Berlin industrial space with minimalism on his mind.

The Afterman: Ascension

Double Natural

The band’s latest album, The Afterman: Ascension is the first of two concept albums (but when is a Coheed album not?) about a character from The Amory Wars, Sirius Amory. But thankfully this album doesn’t require a degree in Sanchez’s elaborate story to be enjoyed. Clocking in at just under 40 minutes, the band’s shortest studio album by almost half an hour makes this the freshest Coheed album in a while. Key Entity Extraction III Vic The Butcher is about as vital as this band gets, with the guitars wailing away underneath Sanchez’s distinctive voice. There’s quieter moments here that hit the mark like The Afterman, with its quiet strings slowly weaving a beguiling melody under Josh Eppard’s shuddering drum beat and Subtraction, a definite change of pace for the band, but no less effective. Though there’s nothing as immediate as Welcome Home or In Keeping Secrets Of Silent Earth: 3 on this album, the 2012 version of Coheed & Cambria is taut and efficient, stripping away some of the over the top excess for a lean, intriguing listen. Danielle O’Donohue

The whole affair has a laidback, country-tinged charm and a distinctly Australian flavour. Opening track Flood Plain marries Triffids-esque lyrics to lo-fi indie fare, while the gently-lilting Layman’s Terms is far closer in vibe to Twerps or Dick Diver than the urgency of ECSR. The dual vocalists bounce off each other throughout, Hughes coming across as both assured and reassuring – a mixture of innocence and wisdom – while Huntley seems slightly anxious but willing to forge ahead, working best when in unison on songs such as Natural Progression, Hold Me Now and Any Excuse. Cartons & Cans is an existential look at the recycling bin as a harbinger of routine – complete with whistling interlude – and a cool bass line snakes through the slightly maudlin Hanging Rock. Whispering Or Singing is a rumination on change and people leaving the neighbourhood, but for the most part Double Natural is a loose, breezy affair without too much angst or negativity.


This music is as dark and brooding as we’ve heard under the Deadbeat moniker, Monteith was seemingly imbued by the spirit of his surroundings to create something stark and mechanical – he’s back on the dancefloor, but lurking around its murkiest fringes. Opener The Elephant In The Room is closer in spirit to the more subterranean offshoots of two-step than the world-conquering dubstep beast it spawned, before Lazy Jane (Steppers Dub) (featuring Cobblestone Jazz’s Danuel Tate) moves back towards traditional dub territory. Yet it’s dub of a different kind for Monteith, whose previous preference for an organic take on the sound is eschewed here for vocodered vocals and something sinister in the bass department.

It’s a consistently mid-tempo album that’s never challenging but never less than engaging – here’s hoping that Boomgates transcends side-outing status because they’ve already unearthed a great dynamic and a delivered a strong batch of songs. A most excellent debut.

When Monteith gets a little more ambitious, Eight burns with plenty of fire, but penetrating the cold production exterior is no easy task. The payoff when you get to the bubbling bassline and tribal throb of Yard is immense, though navigating the techno-by-numbers of Wolves And Angels (featuring Mathew Jonson) and My Rotten Roots to get there makes this the least fulfilling Deadbeat release of what’s still quite the impressive recent trilogy.

Steve Bell

Kris Swales





“25’s the new 18,” sings Brad Smith on Set In Stone, one of the sugary heart-starters taken from Heroes For Hire’s third record, and you have to admit there’s plenty of truth in that sentiment. There’s a part of everyone that wants to hold on to that careless and underlying positive nature you hold in spades when you’re fresh out of high school, and with No Apologies you get that chance.

Emerald City is the fifth album from Sydney four-piece Knievel and, despite its decade-long gestation period, the record picks up where 2002’s No One’s Going To Understand In My Way left off. The quartet is in fine form, with the music crystalline and sonorous, painting their hometown in a swathe of rich sounds.

No Apologies

When it comes to pop punk, there aren’t many bands getting the job done more thoroughly than these Sydney lads. The consistency found across the 12 tracks on No Apologies outshines their 2011 release Take One For The Team. In fact, whether it’s the immediate bounce of No Apologies or the uplifting layers of sound found on We’re Only Just Getting Started, it’s hard to find a dud moment on the record. Smith, the frontman for the band, has really stepped it up with regards to both his vocal delivery and his lyrical content. His lines are sharp and direct, just like the energised playing going on around him. On Face Without A Name, the album gets a boost (and some old school punk cred) with a guest appearance by dreadlocked Less Than Jake vocalist Roger Manganelli, while the stripped-back late acoustic singalong Nowhere At All feels like one of the most triumphant moments of the record, uncovering a new dimension of the group. No Apologies is the sound of a band revelling in their own identity; playing and writing music that they clearly love. Heroes For Hire aren’t sorry for making this record and you shouldn’t be for listening to it. Benny Doyle


Emerald City

Boogie: Australian Blues, R&B & Heavy Rock From The 70s

Opening with Through The Rainbow Dark, an ode to the fine line between alienation and opportunity when in a strange city, the warm tones of ringleader Wayne Connolly’s voice are ably backed by Tracey Ellis’ vocals and smooth basslines. Things become even more familiar on The Time I Found My Feet, a pop syandout track that’s quintessentially Antipodean in nature – finding that juxtaposition in exuberance and whimsy and infusing it with an uplifting lilt that transcends genre. It also highlights the fact that pop songs like this that used to litter the Australian musical landscapes of the ‘80s and early-‘90s are now few and far between. Elsewhere there are moments of darker urgency such as on Will Into Being, yet the majority of Emerald City maintains that languid drift infused with sunlight that’s an undeniably Australian musical trope. It’s this sense of familiarity and recognition that is the album’s trump card, yet it smartly refuses to veil the potency of the songs with nostalgia. Connolly’s reveries on growing up, the search for a soul mate and golden opportunities are beguiling, proving that albums such as these are missed not because of their time and place but because of their timelessness. Knievel, it’s good to have you back. Brendan Telford

Warner Compilations are, by and large, shameless, tacky, perverse, boring, soulless cash grabs that bundle hits of today, hits of yesteryear, hits to detail your car to or any manner of tenuous subjects for lazy people who hate music and need to be told what to listen to and when to do it. But every now and then a compilation actually has a purpose. For two-and-half hours, across 44 tracks, you can ride shotgun in the metaphorical panel van that is Boogie: Australia Blues, R&B & Heavy Rock From The 70s and feel you are a part of it. Drawing from a fruitful pool, Boogie makes this music accessible again; metalheads will bow at Buffalo’s altar when they hear Sunrise (Come My Way), Thum’n Pig & Puff’n Billy’s rollicking Captain Straightman ought to make you groove and grin and everyone who hasn’t heard it can gasp in disbelief that the La De Da’s Gonna See My Baby Tonight isn’t maddeningly flogged on radio the world over to this day. Mixing up the well-known (Chain, Angels, Skyhooks) with the perhaps forgotten (Sid Rumpo, Indelible Murtceps, Martin Armiger), Boogie’s 44 tracks covers wide ground, evenly showcasing each genre expressed in its title. Put simply,this music deserves continued recognition and, while you mightn’t like every tune on this collection, true fans of rock music must acknowledge this incredible era; Boogie is a wonderful launching pad for you to do this. Dan Condon

THE SAINTS King Of The Sun Highway 125 Many still rankle about Chris Bailey using the moniker of The Saints some 30 years after Ed Kuepper left their ranks, but that’s one for historians. The innovative firebrand punk of their early days is a relic of the past, and for The Saints’ fourteenth studio album King Of The Sun Bailey Bailey has assembled an all-new outfit and continued in the vein of elegant, catchy music which has characterised the latter eras of the iconic band. The opening title track dives straight into Napoleon and Josephine imagery, summoning a veneer of nobility that has been a recurring motif in Bailey’s solo work, his borderline bombast and near-pompous verbosity. Bailey is still in complete control of his expressive archcroon, and the cryptic and obtuse lyrics of songs like A Million Miles Away and the catchy Sweet Chariot clearly carry some import above the literal. Pianodriven epic Turn lasts the best part of eight minutes without overstaying its welcome, Mystifies plays with convention and conjures some semi-attainable paradise, while Road To Oblivion Part 2 is a lurching tale of hedonism and intrigue – Bailey again erring on the side of the grandiose – and he even offers the couplet “My illusion is grand/Not a lovely place to be” on the closing Adventures In The Dark Arts Of Watermelonry. The album comes with a second disc, Songs From The Stash – the best of latter-day Saints material, natch – and above all proves that Bailey and his band still have something to offer in the now. Jason Blake


e n r u o b l The Me dy Bo & o o t Tat po Art Ex

9–11 November 2012


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The Minotaur Trilogy

WEDNESDAY 17 If It Bleeds – a play written by Brendan McCallum and directed by Ben Pfeiffer, a new Australian work that combines puppetry and multi-media, whilst marrying stage and filmic acting styles. Gasworks, 8pm to Saturday 27 October. Andy X – a film directed by Jim Sharman (The Rocky Horror Picture Show), a hallucinatory musical about the life and legacy of Andy Warhol. After the screening meet the cast and Jim Sharman as they talk about the experience of creating the picture. Part of Melbourne Festival, Festival Hub, 8pm.

THURSDAY 18 The Minotaur Trilogy – a world premiere from contemporary Australian opera company, The Chamber Made Opera. A look at the ancient Greek legend The Minotaur Trilogy, an unconventional opera told over three suitably epic chapters. Part of Melbourne Festival, Melbourne Recital Centre, 7pm to Sunday 21 October. The Queen Of Versailles – in an age where Keeping Up With The Kardashians is a common guilty pleasure. This fly-on-thewall portrait/doco of a couple of extreme wealth. About the lives of time-share mogul David Siegel and his former beauty queen wife Jackie. Winner of Best Director, Documentary, at the 2012 Sundance Film Festival. ACMI, 7pm.

FRIDAY 19 Impasse – from architectural performance art group, Gravity Feed Ensemble.Visitors must carve out a path with their bodies, as they move through an unfamiliar physical and aural landscape. Part of Melbourne Festival, Arts House to Saturday 28 October. Double Vision – a fusion of dance and projection art. Informed by an array of formative sci-fi work including 1973 French animation

An Enemy of the People

Fantastic Planet and Orsen Welles’ radio narration of War Of The Worlds, the work seeks to investigate the idea of an uncertain future and a venture into the unknown. Screen Space, 7pm.

SATURDAY 20 Paradise – a visual art exhibition from Antony Hegarty singer/visual artist, notably curating Meltdown Festival in London earlier this year. The exhibition is a collection of drawings, collage and sculpture that exploring themes familiar to Antony’s music. Part of Melbourne Festival, Arts Centre Gallery One to Saturday 27 October. Freeway: The Chet Baker Journey – cabaret artist Tim Draxl will offer a tribute to musical icon Chet Baker. Backed by a live band, Draxl channels the Prince of Cool. Part of Melbourne Festival, Arts Centre: Fairfax Studio, 8pm.

Anthony Carew chats to director Colin Trevorrow about how his new film, Safety Not Guranteed, a quirky time travel-themed indie flick, which has surprisingly endeared the average American. When Safety Not Guaranteed screened at the Sydney and Melbourne Film Festivals, audiences cheered at the quirky indie timetravel movie’s climactic finale. It’s a reaction director Colin Trevorrow’s seen before. “When we went to Sundance, I had no idea if we were going to get laughed out of the room, we didn’t know what the reaction was going to be,” the 36-year-old filmmaker remembers the film’s premiere. “That was the first place we heard the cheer.”

memories of cheering Back To The Future’s own time-travel leap, back in his childhood, and he’s glad to get cheered, even at screenings where the film’s oddball sense of humour may not be so well received. “Screening the film in other countries, people look quizzically at us and don’t understand our humour. We unintentionally made a uniquely American movie, because our main character has really, really high confidence levels without the facts or reality to back that up.”

Though he admits he’ll cheer anything (“I cheer a good taco”) Trevorrow has particularly fond

That uniquely American quality translated perfectly to uniquely American locales. “We played very

well in rural areas. For independent films, that’s rarely the case. There’s something in this film that really connects with people in the middle of the country. I think it comes down to this: it’s a film about these very cynical people from the city leaving their comfort zone and entering a rural area, finding this person that those in cities make fun of, and then they discover that this guy really has them all fooled.” These city slickers include TV’s Aubrey Plaza and Jake Johnson, and the main character is played by 2012 indie-movie everywhereman Mark Duplass, who plays a backwoods mystic undertaking a top secret time-travel mission. Writer Derek Conolly took cues from “all these crazy characters” he knew in his Floridian childhood, as well as initial inspiration from a 1997 classified in Backwoods Home Magazine

(“sort of a libertarian, build-yourown-cabin-in-the-woods, have-alot-of-shotguns kind of magazine”) soliciting collaborateurs to go back in time. “Derek saw it, and thought, ‘maybe the guy thinks this is real, maybe he really believes he can do this,’” Trevorrow says. “The world is mocking him, but maybe this guy has deep regrets, and he’s driven by them.” The classified was a joke ad, written by John Silveira to fill an empty space on the page on a print deadline, but thousands of people wrote letters to the address. “A lot of people who were lonely,” Trevorrow suggests, “and just filled with a lot of regrets.” Trevorrow and Connolly treated it essentially as a novel to be adapted, and had to convince the author to sell them the rights. It was a lengthy process that Trevorrow saw as completely mirroring the film Winnebago Man, in which filmmaker Ben Steinbauer befriends the star of a YouTube meme in hopes of making a film about him. “John felt like he had been reduced to a meme and that, to a certain extent, the world was making fun of him. And, just like in Winnebago Man, it all comes full circle when we go to a film festival. John Silveira came to the Sundance Festival and he got to watch the film. After they cheered the film, I called him out in front of all two thousand people, and they cheered him.” WHAT: Safety Not Guaranteed WHEN & WHERE: Opens nationally Thursday 18 October

SUNDAY 21 Gone With The Wind – a screening of this Hollywood Classic, an adaption of Margaret Mitchell’s novel. This classic romance stars Clark Gable and Vivien Leigh. Astor Theatre, 2pm.

MONDAY 22 An Enemy Of The People – last year Schaubühne Berlin brought a modern interpretation of Henrik Ibsen’s Hedda Gabler to the Melbourne Festival. This year they return with a new slant on Ibsen’s An Enemy Of The People. A world-premiere season. Directed by Thomas Ostermeier. Part of Melbourne Festival, Arts Centre: Playhouse, 7.30pm to Saturday 27 October.


TUESDAY 23 Slip Inside – Belgian clowning duo Okidok present their latest piece. Like two cartoon characters sprung to life, Xavier and Benoît compete to outdo each other. Part of Melbourne Festival, Festival Hub, 8pm to Friday 26 October.

Anthony Carew was up all night watching what the Melbourne Festival film program, curated by Richard Moore, has to offer audiences in its first year. At the opening night shindig of the Melbourne International Arts Festival, when director Brett Sheehy casually shouted-out some highlights of the 2012 program, only one earned the immediate TRL wooo! from the freeloaders, the mere mention of the angel name of genderqueer warbler Antony – his iconic singular long-ago earnt – causing devout followers to holler heavenward. This is no surprise, Antony slowly inching towards Oprah-like status with each passing project; becoming some benevolent indie-music Earth Mother figure, clutching us to his

bosom and singing us lullabies to quell the tears of children dwelling on a dying planet. This is all writ large on his megaorchestral Swanlights performance, but amidst the Festival’s film program, there’s Antony on screens, too. Here, we get Turning, the film adaptation of his collaboration with Charles Atlas; in which I Am A Bird Now songs soundtrack subjects mid transgender transformation. Shot on tour in 2006, by Atlas, when they took the production to Europe, it’s, in part, a concert movie (note: this is a pejorative), but the confessionals and histories

of its interviewees give the film added resonance. Turning’s been the spur to a mini-suite of Atlas pictures: including his 1986 lark Hail The New Puritan, a portrait of flamboyant, firebrand choreographer Michael Clark; and 2011’s Ocean, his latest – and last – collaboration with Merce Cunningham. The rest of the program is a scattershot collection of documentaries documenting artists at work; or occasional curios like Without Gorky, in which the granddaughter of the surrealist chronicles how his suicide sent ripples of trauma through the women of her family, across generations. Cinephiles will get plenty from Arirang, a form of non-narrative therapy for Korean auteur Kim Ki-duk that both subverts and lives up to his hysterical brand of macho-Buddhist genre-tropin’. After an actress nearly died during the making of his 2008 film Dream, Kim retreats for some wilderness time, living in a tent inside a shack; trawling through a mixture of dark depression, infinite navel-gazing, and radical challenges to his beliefs. It’s plenty silly seeing him talk to himself on screen, and the transition to fiction on close is kind of embarrassing, but in an era of director portraits that play like PR puff-pieces, the savagery is welcomed. Anton Corbijn: Inside Out plays far closer to PR puff-piece, this an amiable portrait of the amiable Dutchman at work, casually photographing U2, Lou Reed and Metallica et al, whilst recounting

his life and career. It opens with a gallery exhibition of Corbijn’s photographs seemingly staged to say ‘what a lot of famous people he’s photographed’, and doesn’t go much beyond there. Andrew Bird: Fever Year is just as fluffy, but at least it has the linguisticallygifted violinist-songwriter-whistler at the centre of its lens; its portrait of a year on the road always at its best when Bird is tossing over certain phrases. Last Days Here is the musical highlight, however: a wince of terrifying failure tinged with moments of intermittent redemption; a warts-and-all – crack is constantly smoked on camera – portrait of wasted heavy-metal vocalist Bobby Liebling, in a film that plays like some stranger-thanfiction cross between Anvil!: The Story Of Anvil and the brutal Roky Erickson chronicle You’re Gonna Miss Me. It’s riveting viewing that, much of the time, feels like a car-crash in slow motion. WHAT: Art Matters On Film Program WHEN & WHERE: Saturday 13 October to Saturday 27, Melbourne Festival, ACMI Cinemas and Greater Union






PUBERTY BLUES SEASON 1: DVD Loosely based on the iconic 1979 book of the same name by Kathy Lette and Gabrielle Carey, Puberty Blues as an eight-part TV series still manages to shock, even by today’s standards. We follow BFFs Debbie Vickers (Ashleigh Cummings) and Sue Knight (Brenna Harding) as they work diligently toward achieving their adolescent goal of fitting in by finding boyfriends from the Greenhill Gang of surfers. Those who lived through the ‘70s will appreciate the meticulous attention to detail (that classic 4711 “cold as ice” Ice Cologne ad; Charlene’s I’ve Never Been To Me accompanying a touching interpretive dance routine). Those who didn’t will baulk at the casual drink driving, lack of seatbelts and panel van gang-bangs (were they really that rampant?). And

NEVER DID ME ANY HARM MELBOURNE FESTIVAL Every now and then you see a show that makes you look at the theatre differently. This brilliantly non-linear, stunningly lit and beautifully frank concoction of dance, narrative mime and documentary theatre is one such show. Never Did Me Any Harm is a dazzlingly impactful cross section of post-millennial parental paranoia. Lifting off from Christos Tsiolkas’ incendiary novel The Slap, the seven-strong cast of actors and dancers drill deep into the myriad mindfucks of modern child rearing. Exploring punishment, provocation and generational schism, this almost Brechtian sequence of vignettes is, by turns, erudite, hilarious and

unnerving. From the superbly executed opening sequence, (with its rectilinear lighting effects and fluttering minimalist soundtrack), It rivets you to your seat. By welding the abstract language of dance to the directness of confessional monologue, employing a movement palette that borrows heavily from mime, director Kate Champion and devisers Force Majeure. In lesser hands this would be a bothersome exercise. With these guys it’s a daringly funny and entertaining crash course in contemporary parenthood. One of the most beautifully lit shows this reviewer has seen in a while. Congrats go to Geoff Cobham, whose superbly conceptualised lighting completes the utterly beguiling spell that this show casts. Sheer magic. Period. Paul Ransom Season finished

AZIZ ANSARI, MATT OKINE COMEDY Brisbane comedian Matt Okine’s opening set is short but proves to strike a chord among the audience. He tells anecdotes about having friends who are far wealthier than he is, ponders the ridiculous ways that people can get rich and explains his dislike of tapas and his love of bread. These everyday, rather mundane topics elicit big laughs: “It’s funny because it’s true”. Acting out his frustration and miming actions while describing a scenario adds some visual comedy. Some of Aziz Ansari’s themes of the evening include having children (the idea freaks him out), the sometimes bizarre ways people meet their partners, getting married

ORLANDO MELBOURNE FESTIVAL Fans of Virginia Woolf’s genderbending classic, Orlando, will either be aghast at the liberties The Rabble’s very loose reworking takes, or will love their creative and confronting interpretation. In the book, Orlando is an ageless, androgenous and rather charming character. On stage, Woolf’s protagonist loses its sense of whimsy and becomes a tragic figure, preoccupied by the performance of gender and the impossibility of achieving a stable or coherent sense of self. A series of impressionistic scenes without an obvious narrative, the play throws Orlando together with a cast of oblique characters, 42 • INPRESS

the lingo is priceless: “get rooted”, “moll”, “gated”, “deadset”, “five finger discount” and “titted off”, for example. Acting performances are stunning and believable throughout, with actual teenagers (instead of adults à la Beverly Hills, 90210) a welcome change: Debbie’s ten-yearold brother David (Ed Oxenbould) almost steals the show from veteran actors such as Claudia Karvan and Dan Wylie. The series is beautifully shot on location in and around Sydney’s Sutherland Shire, using lenses from the period in which Puberty Blues is set. If you can ever bring yourself to stop singing along with the show’s theme song – Dragon’s Are You Old Enough – and navigate beyond the DVD’s title page, you better have a spare eight hours. And it’d be interesting to find out whether the series has had an impact on Vaseline (aka “vaso”) sales. Bryget Chrisfield

including an amorous Queen Elizabeth I and sneering poet Nicholas Green. The action tales place against a backdrop of literal smoke and mirrors, on a stage which is inches deep in pale, milky water. There’s a rich mash-up of cultural references on display, from texts by Gertrude Stein and Sappho to interludes of punk music and some very funny if silly jokes involving sausages and sporrans. Playing Orlando as both a man and a woman, Dana Miltins delivers a fearless performance, and Kate Davis’s brilliant set and costumes create a visually suggestive feast. The dialogue is sparse and verging on portentous, but a final monologue offers a transporting moment of calm after the chaos. Sarah Braybrooke Running at The Malthouse Tower Theatre until Saturday 27 October

(again, the idea freaks him out), homophobia and guys who text girls photos of their genitalia. He also touches on, a little uncomfortably but not overtly offensively, child molestation and teen pregnancy. The routine is perhaps not as strong as his previous ones; narratives – such as the stories about his cousins Harris and Darwish – are his forte, and are lacking from the set. However, his pieces about Seal and President Obama are highlights. Ansari is as charming in person as he appears on screen, adopting character voices into his performance, interacting with the audience throughout the set (to varying degrees of success) and expressing genuine gratitude that he is able to travel overseas working as a stand-up. Stephanie Liew


Best Performance & Innovation in Theatre – Show Me Yours, I’ll Show You Mine

WITH SIMON EALES And like that – zap – the Fringe is done. Some had only just hit their Fringe Hub rhythm (beer, schmooze, boogie, scope, repeat), now it’s over. Lithuanians get their social club back; Trades Hall returns to savour its monthly party, Finishing School; and the Melbourne Festival comes to give us a taste of where Fringe artists could end up. All too soon, yes. But it was a banging Fringe. Saturday’s Awards Night was not as raucous as the Opening Party. Similar faces, still fresh, but now glazed with art happiness. The night was rainy and the cloaking service swamped – second-hand, drizzled-on jackets strewn across the North Melbourne Town Hall foyer. Good to see. Carry no baggage; wear no jacket while dancing. Fringe Creative Producer, Neil Harvey, and Independent Arts Producer Felix Preval raced through the awards, from the Tiki Tour Ready Award, won by Emily Taylor for Cannonball, through Best Live Art, won by Sex Poetry Booth (who were still tailoring bespoke carnal verse during the night), to Best Performance winner, Tim Spencer’s Show Me Yours, I’ll Show You Mine. The strength of this scripted and theatricalised interview with a sex worker, Spencer suggests afterwards, was its honesty. “The way we talked about our lives was extremely personal and that candour is automatically interesting. This is the first performance I have created since being mentored by a writer in Ontroerend Goed [the Belgian theatre company] and it is very much influenced by the theatre that I saw in Brussels. It’s much more stripped back. I knew that it had to lose as much artifice as possible to really allow for the space to reconsider the theatrical event. If you create subtle and nuanced work anything you do include has much more impact.” Isabelle Clara Mason, producer of People’s Choice Award-winning show, Aunty Donna & The Fax Machine Child, says the Aunty Donna troupe are stunned by the support their unflinching brand of comedy has received. “They push the boundaries in terms of content and do not shy away from making

the comedy they want to make, knowing that this potentially only appeals to a niche audience. This is probably why they are so chuffed… very surprising and truly incredible.” The team move on to filming seven episodes of Aunty Donna’s Rumpus Room for Lost Dog TV on Channel 31. They’re also already developing sketches for the 2013 Melbourne International Comedy Festival, Mason says. My final Fringe audience experience was at vaudeville circus number Carousel, by One Trick Pony. In satirical skits, dance routines, and acrobatic feats, the two brilliant ladies dramatically alter how raw human experience is perceived. Bodies turn to clay, and by the end we’re left, as humans, to find our way forward into a delicate, blank emotional space. At the other end of the spectrum, Damian Callinan’s The Merger was a heartfelt sport comedy about a country footy club dealing with cultural diversity. Callinan is at home in the subject-matter, and does pretty well adapting it for a Fringe crowd. Most surprising are some genuinely pathos-filled moments within what is a sometimes predictable story. People really got around the 2012 Melbourne Fringe. The Hub buzzed like I haven’t seen it before, and word of mouth – the grapevine – positively thundered with what was hot. Brilliant moments, vibrant colour, pillarrocking concepts: Bangs? Ahh, no, another Melbourne Fringe.

Outstanding Comedy Show – Truth

Peoples Choice Award – Aunty Donna and the Fax Machine




THE DREAM IS OVER Anthony Carew discovers that in making documentary The Queen Of Versailles, filmmaker Lauren Greenfield unsuspectingly mirrored the collapse of an over-reaching US economy.

Destroyed Words Project

WITH REBECCA COOK On the final weekend of Fringe Fest, Cringe found herself in the Bella Union bar at Trades Hall on Friday night. In previous years, the Bella Union has been bustling with architecture students in leather corsets and shows in any room bigger than the disabled toilets, but this year the usually bottlenecked walkway between the bar and the chambers was clear and there was no queue to get a drink. Perhaps it had to do with the time – it was 10pm and Andrew McClelland’s Hang The DJ did appear to be the only show on. The neat two-hander comedy by McClelland and uber-DJ Ian Bell about the perils and joys of DJing ended with the entire audience heading back into the bar for an uninhibited dance. It’s fair to say that I am guilty of what McClelland describes as typical punter behaviour – coupling an offensive comment (“this music’s shit!”) and then expecting a favour (“can you play Dramarama?”). There were no such complaints on Friday night, however, as the crowd gratefully lapped up whatever was served. Perhaps crowds were down at Trades Hall due to the fact that at exactly the same time I was watching a comedy show about DJs, Boy George and Marc Vedo were kicking off their DJ set for real at the Melbourne International

Arts Festival’s (MIAF) new hub – a custom built wonderland under the Princes Bridge. The three-level structure which contains a café, theatre and dancefloor is already earning rave reviews. And with a plethora of extraordinary shows on offer, running from cabaret to circus, DJs and theatre, the new hub could be making a play to replace the Spiegeltent in Melburnians’ hearts. MIAF popped the cork on its 2012 Fest mid-last week with a good old-fashioned piece of artsactivism. Spanish artist Santiago Sierra set a giant letter ‘K’ on fire in the forecourt of the Australian Centre for Contemporary Art on Wednesday night as the final piece of his Destroyed Words project. The ‘K’ apparently completed the word ‘Kapitalism’. Sierra has spent two-years touring the globe and burning letters in places such as Iceland, Germany and New Zealand. Each pyre was made from materials with local significance. In Melbourne the K was made from brush – in one of countries the giant letter was reportedly made of excrement – this makes us lucky in a number of ways. Each obliteration was filmed and you can now watch the destruction of modern society in its entirety at the National Gallery of Victoria. To find out what else is on at MIAF – head to

GIVEAWAY We have five copies of Marley up for grabs. This music doco directed by Kevin Macdonald is about the life, music, and legacy of Bob Marley. In stores Wednesday 17 October, enter at

Billionaire CEO David Siegel made news this weekw by sending out a mass memo to all his employees that tried to blackmail them into voting for the human excrement Mitt Romney; saying that Barack Obama’s re-election would directly threaten their jobs. Siegel is one of the two ‘stars’ of The Queen Of Versailles, Lauren Greenfield’s portrait of grotesque American excess; in which the couple build

the biggest residential home in the world - a 90,000 square-foot monstrosity inspired by Versailles - on the eve of the global economic crisis; this half-completed palace a symbol of the last-days-ofthe-Roman-Empire spirit of contemporary America. And, as well as being one of the ‘stars’ of the film - alongside his formerbeauty-queen trophy-wife, Jackie - Siegel is also suing Greenfield.

“He issued a defamation suit a week before Sundance, when he hadn’t even seen the film,” Greenfield says. “It was on the basis of the pressrelease which called it a ‘riches to rags’ story. He took umbrage with that term, without actually realising that those words came from his own mouth during the filming. So, it’s not a suit with any merit. And, on the other hand, Jackie – to whom David is still happily married – is actively promoting the film, and has come to festivals and done interviews alongside me. And when the movie opened in Orlando, David and Jackie booked out the whole theatre, and arrived in a party bus with all their friends and family, and threw a huge party. So, the whole lawsuit is pretty frivolous.” Greenfield started out as a photographer “focusing on sociological themes about American culture”, including one ongoing project “about wealth and consumerism and the American dream”. She was photographing Donatella Versace when she met Jackie, heard about her plans to build her own Versailles, and threw herself into the documentary. “I had long been interested in the connection between the house and the American dream,” Greenfield explains, “and how houses had grown bigger and bigger, and become not just a place to raise your family, but an expression of success and identity.” Initially, the film plays like reality television – the schadenfreude of

how (narrative poetry) developed from around campfires and in pubs, but then also presenting a kind of ‘state of the nation’.” Wright is known as an intensely patriotic Brit, but the Republican kind. His poems tear apart aristocratic privilege and the mouldy conservatism of England’s ‘pastures green’ with witty dexterity. “We have this phrase in Britain, ‘Broken Britain’, it’s one of the catch-phrases that the Tories like to use. I find that pretty offensive and I use it as a kind of sarcastic start to the show,” Wright says.

BROKEN BALLADS Luke Wright paints word pictures of the state of his nation, Great Britain, in his Melbourne Festival show Cynical Ballads. He waxes fairly non-lyrically with Simon Eales. He might look like an undiscovered member of Westlife, or remind of a cheeky, chub-faced Jamie Oliver, but Essex-born poet Luke Wright packs a sometimes savage wit behind the front. He brings his acclaimed show, Cynical Ballads, to

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the Melbourne Festival this month, performing poetic storytelling interspersed with a rally through the history of narrative verse. He’s a working poet and Dad, chatting while heading out with the kids. “I’m sort of filling the gaps with

The title, Cynical Ballads, is surely a reference to one of the most groundbreaking poetry books in history, Wordsworth and Coleridge’s Lyrical Ballads, from 1798. That collection was all about capturing the overflow of spontaneous emotion and, just like Wright’s work, prised poetry from the claws of a closed-off upper class, giving it to the people. “A lot of my work is satirical, not all of it, but a lot of it is, and I just like to tell stories – whether it’s making people laugh, or making them cry – I want people to want to listen and I want to be engaging and entertaining,” Wright says. A humble performance poet might risk getting lost at Melbourne Festival, in amongst big film, theatre and music acts. But Wright’s shows, which here include projected animations from Sam Ratcliffe, are immersive events for their audiences. “I don’t write with performance in mind, but I guess

laughing at the nouveau riche in all their garish, tasteless idiocy – before becoming a weighty thematic portrait of “the supersizing of the American dream”; a “morality tale on the consequences of living beyond our means”. It’s especially resonant given Siegel made his fortune shilling timeshare; that ultimate symbol of people with little money reaching for big dreams. “When I started making the film, I didn’t even know what David did, I just knew he was rich,” Greenfield admits. “But, after the crash, timeshare became an important part of the story because it was such an incredible symbol of the sub-prime mortgage crisis... He was taking on too much debt whilst encouraging others to take on too much debt, and that made him a really compelling character; because he was both victim and perpetrator.” The Siegel mega-mansion is abandoned mid-film, its half-finished edifice its own symbol; and though Siegel has recently made noise about finishing its construction, it would only ever be to sell the property, and a buyer may never come. “When they had to put their house on the market,” Greenfield says, “it was clear that their story mirrored – in very large, grotesque proportions – the economic crisis, and it was really an allegory for the over-reaching of America.” WHAT: The Queen Of Versailles WHEN & WHERE: Thursday 18 October and Sunday 28, ACMI Cinemas

it’s sort of ingrained in what I do now. I do write with my ears, you know. Every line I write I’ll say out loud; not necessarily thinking what it’ll be like for an audience, but poetry should be sonorous, it should sound great… I really want to try and make words sing.” And he’s sure that poetry has a much more prominent place in our cultural conscience than we think. “Poetry can be a bit of a turn-off for the kind of people that go out to gigs, but poetry itself is not unpopular – people just don’t tend to go and buy a lot of poetry books. “People still enjoy it,” Wright says. “There isn’t a circuit for it like there is for comedy… I find going to fringe festivals great. You’ll get a reviewer along to the show, it spreads through word of mouth, and you can sell-out same as someone with 20 grand behind them and a big production company.” Not that he is bohemian in any way: Wright has a ripping website, he blogs regularly, posts readings on Soundcloud, goes on the telly, and publishes books. He’s a networked poet and his storytelling verse about quotidian Brits, from fish-and-chip shop-owning couples and dodgy politicians to “posh twits”, promises to say something universal for its Melbourne audience. WHAT: Cynical Ballads WHEN & WHERE: Tuesday 23 October to Saturday 27, Melbourne Festival, Malthouse











Mlebourne Festival always features a number of killer musical bills, and Theesatisfaction’s first Melbourne appearance with Big Freedia in support promises to be one of the highlights – musical or otherwise – of the 2012 event. While Antony held audiences in silent rapture last weekend, this show promises to have sweat dripping from the Hi-Fi’s ceiling. Theesatisfaction told this paper two weeks back that their music is “more of a vibration than a cultural thing, or a genderbased thing… it’s bigger than that”. The Seattle duo fuse hip hop, ‘80s pop, new jack swing and neo-soul with all kinds of futurist sounds in an attempt to spread a “good, loving energy”.


Antony’s stellar sets on the weekend were rapturously received, with the audience the night we attended trapped in one giant glass cage of emotion. Some of the mystique was removed the next day when we saw the singer himself traipsing around Brunny Street but.

ALL WHITE! It normally takes half a pharmaceutical cabinet to keep us up all night these days, but after attending Paris’s Nuit Blanche, we can’t wait for Melbourne’s 24-hour White Night event, with a whole range of ace stuff happening around the clock on 23 February next year.

FOR THE WIN Great to see quality winning out at last year’s Jagermeister Independent Music Awards, with Chet Faker, Royal Headache and Jess Ribeiro among those picking up gongs.

BACKLASH NOTHING TO CROWE ABOUT Maroon 5 pics by Jay Hynes When his riffs synchronise with a digital equaliser spread across strip screens, we’re powerless.


ROD LAVER ARENA: 12/10/12 We haven’t even made it through the arena turnstiles and already teen squealing can be heard. But it’s not even 9pm and Maroon 5 aren’t scheduled to hit the stage for another 15 minutes! Turns out their support act Evermore are getting mobbed in the foyer. A pack, ten people-deep, has formed around The OC themesong (It’s Too Late) creators. Their identities are confirmed when we ask a chick on the outskirts for a gander at one of her happy snaps. The Hume brothers obviously still have a huge underage following. Once inside the venue, it’s immediately apparent that Adam Levine’s gig as a coach on The Voice US hasn’t done him any harm. Or has it? This is far from the coolest crowd we’ve ever seen. And plastic seating has been laid out in GA. Blackout. A ringing phone echoes through the cavernous space. There’s a flurry

of recognition and then much screaming as we realise tonight’s opening number will be Payphone (feat Wiz Khalifa: not present). All band members are decked out in all-white ensembles (although Levine and bassist Mickey Madden rebel by sporting black trainers). Levine is of fine voice, and we’re treated to a segment of MJ’s Don’t Stop ‘Til You Get Enough to further demonstrate his singing prowess. Levine certainly does love a Russian Cossack-style, extended kneel pose. How he’d ever get those dirty stains off the knees of these white strides, night after night, is a mystery. Songs from the band’s 2002 debut Songs About Jane are received with much excitement and Sunday Morning is still gloriously upbeat, funky escapism to dance to. Not so sure about new track Wipe Your Eyes, but the seamless closing transition when vocal morphs straight into guitar solo redeems the entire song. Then Won’t Go Home Without You totally restores the vibe. Another newie, The Man Who Never Lied, flows into a Skrillex intro (OUCH!) for the irresistible Harder To Breathe. Guitarist James Valentine is extraordinary.

At various points the show, Levine straps on a guitar and it looks like he’s playing Guitar Hero. One More Night is funky as hell and none could hiccup that first line (“you AND I”) quite like Levine. The frontman tells us he intends to “make this shit crumble”, meaning the Rod Laver Arena walls. His speaking voice is so high-pitched it’s like a chick, which messes with his hotness quotient. He’s actually sexiest when singing in a vexed fashion. Still don’t get why he persists with that guitarography – oh, hang on: the guitar solo that follows This Love is epic! I stand corrected. Maroon 5’s encore kicks off with a cover of Seven Nation Army by The White Stripes – a brave move since we saw Jack White himself close his Splendour headline set with this very song a couple of months back. Valentine sings and, hold up, who’s that on the kit? Levine aptly replicates Meg White’s drum pattern, which can’t be that hard surely. She Will Be Loved is tainted by Levine enquiring, “Where the ladies at?” in his titmouse voice. Still, his singing voice is divine and Levine earns bonus points for this song’s lyrical sentiment. But then he pauses to tell us that he just turned away from the mic to burp, rather than being emotionally invested as most of the punters probably hoped. Levine could afford to be a bit less

Gutted to hear that Rusty and Danielle Spencer have parted ways – we thought they’d be together forever. If nothing else, it should provide some top material for the next Thirty Odd Foot Of Grunt album.

SLIPPER THE TONGUE We all know Labor fucked up big time by making Peter Slipper speaker, but that doesn’t detract from the importance of Julia Gillard’s long-overdue Abbott annihilation on sexism. (Even if mainstream media still refuse to acknowledge that.)

TOW AND FRO Meanwhile, we continue to wait for any coherent policy from the Libs, Abbott again too scared to mention his tow-back policy to the Indonesian prez this week. real. Their cover of Stereo Hearts by Gym Class Heroes is a drainer and we all just wanna pull Moves Like Jagger. First we must suffer through their next single Daylight, which Levine claims is also his “favourite song on the album”. Fail. Then in comes the whistling intro for the song we all wanna hear. It stops. After a few deliberate false starts (Levine even teasing, “Gangnam style!”), we’re indulged. Who’d have tipped Levine would leave his top on? Dancing to this song performed live is still worth the admission price alone. Bryget Chrisfield INPRESS • 45

Godfather (Speak Softly Love) during recent live sets? This is equally epic: Satchel puts the whammy bar to exceptional use during his classic guitar riff medley that includes (but is not limited to) Paranoid (Sabbath), Deep Purple’s Smoke On The Water, Sweet Child Of Mine (Gunners), Do-Re-Mi (from The Sound Of Music, please believe!) and even Flight Of The Bumblebee (more often performed as a piano solo) gets a run. The guitarist also has an amazing jawline that would make him an ideal candidate for romantic lead in a Disney flick or glam-metal Ken. Steel Panther’s lighting designer/ operator certainly deserves acknowledgement as kaleidoscopic colour dances around the stage like intricate choreography, drawing your attention to wherever the action’s taking place. Not really thrilled about all the dry humping topless skanks up onstage and something tells me it’s lucky we have balcony seats. 17 Girls In A Row concludes the three-song encore and we’re still not ready to let Steel Panther go. Who will ever know why dudes dressed effeminately, acting like dicks, is so goddamn hot? Whatever. We leave the venue completely satched. Bryget Chrisfield


“Hey Shaun, you rock!” certainly isn’t the worst thing to have yelled at you if you are a support act, and Shaun Kirk takes it in his stride. His one-man show is a loud and bluesy affair and the crowd loves it. Kirk gives a solid performance of gutsy, standard blues tunes, occasionally punctuated by a throaty, high-pitched scream, which, when unleashed, prompts an overzealous admirer to let loose in response with a truly eardrum-piercing wolf whistle. Kirk’s skills playing percussion with his feet while singing and strumming guitar are fun to watch. Joe Bonamassa arrives on stage dressed supercool and handsome all in black, launching into an acoustic guitar solo after simply drawling, “Good evening”. His cover of Bad Company’s melancholy track, Seagull, from his album, Sloe Gin, stands out as an odd choice to play at the start of the night: the crowd shifts and attention wanders. This is soon remedied by the rock swagger of Dislocated Boy, accompanied by wicked percussionist/ drummer Tal Bergman, who lets loose on bongos with whirring hands blurred by fantastic speed. Driving Towards The Daylight deserves a place beside the best of ‘80s candle-waving rock anthems; it is beautiful, driven by Bonamassa’s plaintive, strong vocals. His fingers dance through the phenomenal tempo of Woke Up Dreaming before welcoming bassist Carmine Rojas and Australian keyboardist Rick Melick to the stage along with Bergman, who now sits behind a superbly dense-sounding drum kit. The massive wall of sound that is Slow Train chugs with joyous fury before a grooving Dust Bowl mellows the pace. The light and shade of the musical dynamics are playful, keeping the audience enraptured, and Bonamassa makes his many Gibson guitars sing. His dexterous digits produce different voices: first a wail, the next instant a miry mewl. Steel Panther pics by Kane Hibberd


FESTIVAL HALL: 07/10/12 Touring internationals have been cancelling their Australian tours faster than Steel Panther guitarist Satchel’s shredding of late. However, this mighty metal outfit, who last corrupted our shores as part of Soundwave 2012, are already returning for seconds. They even upgraded tonight’s Melbourne venue from the Palace to Festi Hall due to an overwhelming demand for tickets (the original venue selling out in 13 minutes). As the stage is set up for the cocksure cock rockers, the sound system pumps out choice cuts by the likes of Kiss, Mötley Crüe and Gunners to get us in the mood. Multiple, suitably garish Steel Panther banners decorate the back wall and an elaborate lighting rig promises blinding effects. “It is the future. Year 69-69…” In The Future provides the perfect intro tape and as the house lights dim, we’re juiced up for gyration. There are actually so many punters dressed as hair metal heroes that you’d swear you were inside a Sunset Strip club circa 1984. As the meticulously styled foursome detonate into Supersonic Sex Machine, it’s an explosion of colour and perfectly synchronised smoke canons. This could be the band’s theme song (actually, the same could be said of any Steel Panther song). Frontman Michael Starr bears an uncanny resemblance to Crüe lead singer Vince Neil 46 • INPRESS

(fat guts and all), and man can he sustain those high notes! Satchel (Russ Parrish according to his school reports) busts out the introductory riffs for Tomorrow Night and the sound clarity is perfect, allowing us to appreciate the full comedic value in lyrics such as, “I’m gonna get some pussy/Tomorrow night/ Tomo-rrow night/But tonight, I’m gonna jerk off.” Starr helicopters a blow-up doll above his head with a finger up its ring. “Two songs in and I already fucked the shit out of that fuckin’ plastic girl!” Satchel boasts after he simulates boning the doll. Pretty bassist Lexxi Foxxx constantly primps his enviable flaxen locks with the use of a pimped-out hand mirror and there’s even a threeway mirror, and can of hairspray, set up on a road case for more extreme touch-ups. Drummer Stix Zadinia ain’t no slouch either, ripping into his kit from high up on a lofty riser. Asian Hooker is an early highlight, with many singing along with every filthy lyric (trust Steel Panther to find a reason for rhyming “South Korea” with “Gonorrhea”). The musicianship of all four Steel Panther band members is outstanding (as demonstrated by the snippet of ZZ Top’s La Grange they play tonight). The band’s combined talent propels them way past spoof territory and Starr and Satchel’s bitchin’ banter is always worth tuning into. Satchel’s guitar solo, during which his bandmates vacate the stage, is beyond. Seen Slash ripping his axe through a medley that incorporates Love Theme From The

“This is probably the closest I’ve had to a hit,” Bonamassa says wryly when introducing The Ballad Of John Henry. This gives us a sense that Bonamassa’s a true artist: laconic about fame yet perhaps also wanting a seminal hit to be remembered forever. He stands downstage left, legs spread – his body holding up the weight of all his influences. Bonamassa has toned and shaped every element of his performance to such a degree that even audiences outside of his older, devoted blues fanbase would love this stuff, the heavy rock riff of The Ballad Of John Henry capable of shredding the socks off any Soundgarden fan. To call Bonamassa just ‘blues rock’ is too simple: his voice is soulful and longing, his technical proficiency awe-inspiring. Hearing him play live breathes a life, which the recordings sometimes lack, into both his covers and self-penned tracks. He is not only a master of the guitar technically, but also an all-round act: a singing monster guitarist who’s busy paving his own way while tipping his hat to the pantheon of blues greats. Jaye Weatherburn


The beautifully simple and laidback sounds of Amaya Laucirica get things started tonight and set the mood perfectly. Laucirica is a simple and, as a result, effective performer with some wonderful songs.

Elana Stone’s set, however, is a far more theatrical event. The problem is that while she is obviously very talented musically, the theatricality of the whole thing starts to take its toll. At first it’s endearing but, after a while, her rambling stories break any mood her songs set up. If she was tonight’s headline act, it would be far more tolerable but this reviewer is not interested in hearing stories, from a support act, about how Stone’s actor sister has a questionable scene in her latest show. After a year of constant touring in Europe and the USA, with one or two extremely brief returns to Australia therein, Melbourne quartet Husky make a rare appearance in their hometown and the Corner is packed. It’s wonderful to have them back home again, this time for their Tidal Wave tour, and it is with a slightly lengthened version of this song that they start their set. Dark Sea is rolled out next with no introduction or fuss. It may be a while since we last saw them, but they still sound as magical as ever. Hundred Dollar Suit sounds wonderful and full. This band really seems able to do little wrong. It’s at this point that frontman Husky Gawenda acknowledges the band’s continuous overseas touring, before stating that he and his bandmates, “Dream of coming home and playing these shows,” before adding: “It’s nice to know you haven’t forgotten about us.” It’s nice to know they haven’t forgotten about us, either. Mutual mushiness aside, the remainder of the night’s set is predominantly made up of tracks from their debut album, Forever So, including the title track, Fake Moustache, Hunter, Animals & Freaks, Don’t Tell Your Mother, History’s Door and The Woods, and a new song, “called ‘Wolfman’, for tonight anyway.” Husky are known for throwing in some fine covers and tonight is no exception, with a wonderfully reworked version of the INXS classic Need You Tonight. The fact that they’ve just arrived back in the country does not seem to hinder their performance at all despite Gawenda’s claim that it feels “surreal”. Here’s hoping it’s not so long between shows next time. Dominique Wall


CORNER HOTEL: 12/10/12 Tonight’s show isn’t sold out, but there’s still a big crowd here to see Dappled Cities, a band whose music has been varied, in both sound and reception, across releases. There is loud dance music punching through the room. It’s a bit full-on – appropriate if we were in some kind of Hard NRG strobe bunker – but we’re not, instead there are tables and dappled chairs (yes, dappled) and young people who would probably enjoy some decent conversation if the psy-trance weren’t turned up to 11. Anyway, enough with the cynicism, it’s Friday night and Dappled Cities have arrived. Tim Derricourt walks out and pumps the air with both hands as Dave Rennick, the other frontman, starts singing Work In The Mould, a party-starter off their new album. The crowd push forward. “Thank you so much Melbourne, we are overjoyed to have our new record out,” says Derricourt. Next is Holy Chord, off Granddance, instantly appeasing older fans who now know that tonight’s setlist won’t contain new material exclusively. The walloping bassline kicks and Derricourt’s huge falsetto sounds before he shifts down to his operatic baritone (he is such an interesting singer). Animated and charismatic, his shoulders swing. “What does it mean,” he sings, “to take off all your clothes, and look into your eyes and say I mean it.” It makes our eyes smile. The tracks from Granddance go down a treat, particularly the beautiful, hypnotic Fire, Fire, Fire. From Zounds, they play The Price, Wooden Ships and the frenetic The Night Is Young At Heart, which ends in percussive pad- and block-hitting. The beat lingers mysteriously then leads into the uplifting new single, Born At The Right Time. What a poignant phrase! (Even if Paul Simon did sing it first.) Songs off Lake Air are well received, including the album’s title track, a lush midtempo disco-inspired tune; as well as Waves, a lovely ballad that Rennick sings alone on his keyboard. The two singer-songwriters, Rennick and Derricourt, as well as being very talented, are so different. But they work on the same page, toward a common goal, which is a pretty special thing. Dappled Cities, you’re still golden, so keep making the kind of music you are capable of and we’ll pack it out next time, promise. Warwick Goodman

the tracklisting, they begin with I Sucked A Lot Of Cock To Get Where I Am and immediately follow it with Kong Foo Sing. The crowd are in raptures, for most it’s a nostalgic transportation back into their teens. For the next ten songs the crowd are less animated, scratching their heads at the haphazardness of the record and waiting with anticipation for radio hit Blubber Boy. Once delivered, anticipation soon shifts to their next set, playing the ARIA-certified Best Album of 1998: Unit.

Regurgitator pic by Andrew Briscoe

After a short intermission and costume change, which sees them don silver lycra onesies, they return and play the four consecutive singles that open the album: I Like Your Old Stuff Better Than Your New Stuff, Everyday Formula, The Song Formerly Known As and Black Bugs. It’s the highlight of the night and confirms the band’s position and indeed longevity on the Australian music scene. Judging from the high energy, wall-to-wall singalongs and grins throughout Hi-Fi, the set could end now and the capacity crowd would leave happy, but, alas, the album is being performed in its entirety. The album, sans Polyester Girl, veers toward a downward trajectory. Tonight we’re not afforded the luxury of a repeat button or, perhaps more importantly, a skip function. Brendan Hitchens



Regurgitator have always been an ambitious band, from recording in a plastic bubble at Federation Square to performing a live soundtrack for a Japanese anime film at the Opera House to creating a sonic union of punk, metal, hip hop and electronica. It’s no surprise then that the support for their Retrotech tour is anything but conventional. Indonesian duo Senyawa opens events. Wukir Suryadi plays a bambu wukir, an instrument created by (and named after) the man himself, carved from bamboo and featuring steel strings and electric guitar

pickups. Processed through a series of pedals, it sounds like a percussive cello meets electric guitar, shrieking with constant feedback and white noise. For all its ingenuity, it’s all too abrasive and, for the most part, unlistenable. In what appears improvised chaos, vocalist Rully Shabara shrieks over the top in Indonesian. Described as performance art, it’s certainly easier to watch than to listen to. Regurgitator finally hit the stage dressed in doubledenim attire and joined by keyboardist Seja Vogel. First on the agenda, they perform their 1996 record Tu Plang, an experimental journey through multiple genres, which was validated by touring slots with The Melvins and Helmet at the time of its release. As per

Perth band Mining Boom, who recently relocated to Melbourne, give us a handful of tunes in a casual, laidback manner as the Corner Hotel slowly fills. A couple of false starts suggest that these lads are only just starting to get their act together. In a hilarious moment the lead singer stops and looks at the bass player and says, “Are you going to do this right next time?” as they all look at each other blankly. “Just sayin’,” he adds, sounding as though he’s about to throw a tantrum before telling the band, “Just saying this to cover up that I messed up,” with a dry chuckle. Despite the brevity of their set, Mining Boom’s hook-laden pop songs come with a rootsy garage twang that feels strangely ‘80s. Although they‘re yet to release an album, it sounds like the lads are about to hit the songwriting mother lode.

Deeply indebted to the danceable funky R&B of the ‘60s, The Harpoons exude an innocent charm that puts a smile on everyone’s faces. Minimal arrangements give the duelling vocals and harmonies of brothers Henry and Jack Madin the opportunity to remain the focus of our attention. Together they frame Rebecca Rigby who does her best to unleash her inner Fontella Bass. She leads a cover of The Coasters’ Poison Ivy, which instantly gets the crowd dancing. Originals such as Walk Away and Keep You Around have the well-worn feel of long lost pop nuggets from the ‘60s. Word on the street is that it won’t be long before this fine band from Melbourne takes the wraps off their very first longplayer. After a prolonged soundcheck, tonight’s headliners Saskwatch are ready to roar. Chuffed that they have managed to sell out the Corner, Saskwatch have attracted a growing fanbase this year with some choice gigs ranging from a residency at Cherry Bar to supporting Earth, Wind & Fire and not forgetting their brilliant afternoon slot at Golden Plains. Tonight is all about showcasing their freshly released debut album Leave It All Behind. Much like The Bombay Royale and The Bamboos, Saskwatch are the latest combo from Melbourne to deliver a big band funk experience that comes complete with awe-inspiring, four-piece brass section. Saskwatch distinguish themselves from the pack by concentrating on producing deeply funky and soulful R&B. After an obligatory funk jam, Nkechi Anele – looking bling in a gold dress – proceeds to prove that she’s a belter in every sense of the word and simply rips it up with all the power and intensity of a ‘70s soul diva. Anele could give Sharon Jones a good run for her money while her band play it ever so tight, funky and raw – they perhaps start to make The Bamboos look a little academic. It’s impossible to pick highlights and Saskwatch give us a high-energy showcase of their tunes. The golden soulful funk of Your Love, Don’t Wanna Try, Leave It All Behind and Only One offer vintage feel good vibes. A supremely funky instrumental cover of Kids, the Minogue-Williams duet, has the crowd gleefully singing along. Armed with an explosive live set and some killer tunes that are pure dynamite, Saskwatch offer a rewarding live experience. Guido Farnell








be here for four shows only, and will appear at the Corner Hotel on Thursday 25 April.

Tony Joe White I start this week’s column by paying my respects to the great Wiley Reed, Brisbane blues mainstay, who passed away on Sunday 7 October with his funeral held yesterday. I enjoyed watching him play, but never met the man, so don’t feel at all qualified to speak at length about him as a person. I know he was well loved by just about everyone in the Brisbane blues scene and he will be sorely missed. I’m not sure I’ve ever seen a Bluesfest announcement that has such quality from top to bottom as I have the one that was dropped last Wednesday night. Obviously you can’t please everyone, and the usual old comments of “we’ve seen it all before” have been coming from a few naysayers; but I am dumbfounded to think that people genuinely see a downside to being able to witness legends such as these – many of them who are in their twilight years – more than once in their lifetime. Just because you’ve seen a band before, doesn’t mean they won’t move you a second, third or fourth time. I love the guitar, I love great guitarists, but I’ve never had any interest in the kind of virtuosic players who approach mastering the instrument in a clinical fashion. You know the type; people who would rather play a hundred notes per second that put any soul into what they are doing. That’s why, every time Tony Joe White is announced on a Bluesfest line-up, I am genuinely overjoyed. A masterful guitarist who plays with a certain degree of finesse but an inordinate amount of soul, he is one of the finest guitarists on the planet in my opinion. That’s not to mention the brilliance of his songwriting; hell, if his tunes are good enough for Elvis Presley, Ray Charles, Roy Orbison, Dusty Springfield, Etta James and heaps more, who am I to argue? Jimmy Cliff is an absolute legend; it really is as simple as that. There are no reggae artists in the world today who can even come close to putting on the kind of show that he does and, with his latest record Rebirth (which was produced by Rancid’s Tim Armstrong), he has proved that he is still more than relevant in 2012. If you’ve seen him before then you just know that you don’t want to miss him. Allen Toussaint has never played Bluesfest before, but I’m not surprised that he has finally made it onto the bill. This guy has had such an enormous impact on the world of contemporary music; writing songs famously covered by The Rolling Stones, Glen Campbell, Lee Dorsey, Devo, The Yardbirds, Warren Zevon and countless others. His arrangements and his piano playing have been on so many hit recordings from throughout the ages, it hurts my head just thinking about it. All that needs to be said is that this is a genuine musical legend who deserves huge respect and will undoubtedly deliver us something very special. It’s very pleasing that Bluesfest has again delivered a little bit of high quality funk for those of us who can’t get enough. Fred Wesley & The New JBs is led by Wesley, one of the most important horn players in the history of funk; his work backing up James Brown and as a part of the whole Parliament-Funkadelic collective remains some of the most cherished (and sampled) funk of all time. I don’t know what his band is like, but I’d put my house on them being hot as hell. I wish I had more space to dedicate to the other amazing artists onboard, but too many great artists to pay tribute to is a good problem to have. The full second announcement is as follows: Jimmy Cliff, Joan Armatrading, Rodriguez, Robert Cray, Trombone Shorty & Orleans Avenue, The Blind Boys Of Alabama, Mavis Staples, Allen Toussaint, Wanda Jackson, Fred Wesley & The New JBs, Michael Kiwanuka, Bettye LaVette, Luka Bloom, Ruthie Foster, Tony Joe White, Sweet Honey In The Rock, The Duke Robillard Band, Shawn Colvin and Seth Lakeman. The festival happens at Tyagarah Tea Tree Farm over Easter, hit for tickets and such. 48 • INPRESS

Miles Away After hitting the country just last month, US thrash metal group Warbringer have called out their Australian tour promoter, Javier Martin of Oceanic Sharks Bookings. A statement on their Facebook read “Javi from Oceanic Sharks booking literally skipped town, leaving us stranded in Australia and still owing us a lot of money. So, if you see this guy, be sure to greet him with a cordial smile, and a kick to the jaw.” They later posted all of his personal contact information, and alleged that Martin literally “left town while we were onstage during the last show”. Oceanic Sharks is scheduled to be touring Swedish group Hypocrisy in January next year. Against Me! have announced a couple of sideshows to coincide with their appearance at the Big Day Out next year. The tour will mark the first time the band have performed in Australia since vocalist Tom Gabel began living as Laura Jane Grace. They’ll play Thursday 17 January at the Manning Bar in Sydney, and Tuesday 22 January at the Hi-Fi in Melbourne. Greek power metal group Firewind have dropped the news that they are headed to Australia in April. Touring in support of their latest album for Century Media, Few Against Many, they will

To celebrate a decade of being a band, Perth hardcore legends Miles Away will tour Australia throughout November and December with US group Cruel Hand and fellow West Australians The Others. You can catch them at the Bendigo Hotel on Friday 30 November with Hopeless and Warbrain, or for an all-ages show on Sunday 2 December at Phoenix Youth Centre with Hopeless, Iron Mind, Ill Vision and Outright (The Others not appearing). Blink-182 have confirmed some sideshows around their Soundwave appearances. Catch the pop-punk legends on Friday 26 February at the Sidney Myer Music Bowl. Limb From Limb, a rather brutal death metal band based on the Sunshine Coast, have put a new single online entitled Impale The Icon which can be heard over at YouTube. The group will release their second album E-Met early next year. Brisbane’s Waiting Room have released their second EP, A Sad Day For Dennis May, through Monolith. You can check out four tracks of post-hardcore glory over at Local grind masters Fuck… I’m Dead have released their second album – only 11 years after their first. Another Gory Mess is currently available exclusively through the merch desk at their Bastardfest appearances; details of a wider release are expected in the coming months. Adelaide hardcore group The Weight will next month release their debut album through Clarity Records. Entitled Prisoners Of The Flock, the release is due out on CD, 12” and digital formats on Friday 9 November. Head to clarityrecords. to check out some pre-orders.

THE GET DOWN FUNKY SHIT WITH OBLIVEUS speaker stacks. Again, produced by Lance Ferguson to give her sound that old school, funksploitation warmth, her third album is sure to please so support this local soul diva as she consistently lives up to the hype.

Omar For all that any of you have done that has resulted in the planets aligning to bring us the legendary Omar for one night of live, soul-driven manic hysteria… I thank you. Yes, Omar is coming! In case you are unaware of the man Stevie Wonder wants to be more like, the dude has worked with everyone from Common and Angie Stone to Zed Bias. All the while putting out some super-fresh hit records along the way. His latest, Sing (If You Want It), was released to critical and fanatical acclaim last year and has cemented Omar as the reigning don of UK soul. It all happens on Friday 9 November at the Prince Bandroom and, from what I hear, tickets are flying out the door, so get them while you can. In other news, Mike Gurrieri dropped a dope release on his label, Equinox Recordings, a few months back. It’s by The Raah Project and it’s some mellow, laidback, jazzy goodness with enough catchy hooks and hip hop flows to make any Jazzmatazz freak get up and boogie. Find it on Soundcloud for a quick mix or buy the whole thing from the website. Keeping with a Melbourne vibe, can I just say that the new longplayer from Kylie Auldist will be the album of the summer? Still Life has been delayed beyond belief so we’ve had to make do with the 45-only single release of Changes/Nothing Else To Beat Me to keep us from going mental. Luckily, it’s quite possibly the catchiest thing Auldist has given us and I can see this funky, good vibe cruiser blasting out of many sunshine

Amin Payne is another I was hyped to and I have to say this man is the biz! He’s taken a very funky, cutand-paste, hip hop approach to Mr Curtis Mayfield and released a tribute to the man for donations. It’s well worth whatever you decide to give to get these bombs onto your hard drive. My favourite is definitely his ultra-wavy, stripped-down take on Tripped Out as it’s uncomfortable in all the right places, but the sucker grooves. This Auckland native, now living in Melbz, has his shit on lockdown so find him on Bandcamp if you know what’s good for you, because I guarantee you’ll love his stuff. Sticking with the hip hop vibe, big ups to M-Phazes for giving us all a free download of his latest remix album. The world is a better place with The Presets, Kimbra and a plethora of Aussie and international music icons getting the very best beat treatment from the master, but the one that really stands out to me is his mellow take on MJ’s classic, Rock With You. I’ve been opening my sets with this bad boy beat and it’s the perfect way to start any night that involves booze, sex and rhythm (I’ve copywritten that for my autobiography, so hands off). Thanks very much, Mr Phazes! Staying true to the locals-only policy, I’m finally mentioning a gem I’ve had in my car for far too long. It’s a local release from the Daryl McKenzie Jazz Orchestra called Slammin’ Joe’s. They’re one of the coolest horn ensembles I’ve heard for ages and fans of the Hot 8 Brass Band can rejoice that Melbourne also has some of its own brass to get behind. They play all over, have a website and Facebook, so find them. Also, find Murmur off Warburton Lane, CBD on Saturday 27 October for the annual Herbie Lavender Halloween Party… it’ll be another 45s-only experience like no other and with that, I am out of here.

H20 As we slowly but surely head into festival season, sideshows for all the various events are starting to be announced. One of the sideshows that I’m really looking forward to – as much as for curiosity as for my love of their music – is Against Me! The Big Day Out shows that are happening courtesy of Resist Records. This will be the first time that the Floridian band have returned to Australia since the announcement that saw Tom Gabel – now Laura Jane Grace – come out as transgender. Against Me! have announced that they will be playing the Hi-Fi in Melbourne on Tuesday 22 January 2013, with tickets on sale now. Another sideshow that has just been announced is one of the most anticipated Sidewaves of the entire Soundwave line-up. Organisers have confirmed that after eight long years Blink-182 have finally returned to Australia for a run of shows across most capital cities that will see Tom, Mark and Travis bringing their monstrous live show to Melbourne for those that missed out on Soundwave tickets. Apparently, the shows will be encompassing their career to date, and will include tracks from their new album Neighborhoods. The show is happening on Tuesday 26 February at Sidney Myer Music Bowl. Tickets go on sale this Thursday 18 October. You really don’t want to sit on this – these tickets are going to sell lightning fast! Bridge 9 Records have announced that they are set to reissue the seminal H2O record Thicker Than Water. The most exciting thing about this release is that the album has been out of print for a really long time (it was originally released back in 1997 through Epitaph Records) and was the album that spawned fan favourites Everready and Wake Up. Said Bridge 9 of the release: “Since their formation in 1995, H2O has released five full-length albums (and one tribute album) and toured every nook and cranny on planet earth. Their second album, Thicker Than Water… was highly acclaimed; resonating with classic elements of East Coast hardcore and West Coast melody. A collection of sincere, in-your-face songs about personal responsibility, positivity and loyalty, Bridge 9 Records is excited to re-press this essential album that has been out of print for years. Thicker Than Water is a musthave collector’s item for hardcore fans on either coast and everywhere in between.” The album is set to get the LP and CD release treatment on 20 November, and I believe is available for pre-order now through the B9 Webstore. Nominations for the 2012 ARIA Awards have been announced and this year’s nominations in the Best Hard Rock/Heavy Metal Album are to be expected. Buried In Verona for Notorious and House Vs Hurricane for Crooked Teeth. Personally, I would like to see Smoko At The Pet Food Factory by Frenzal Rhomb pick up the gong. I think the acceptance speech would be rather interesting indeed. Either way, these nominations represent a positive move for the Australian music industry in the recognition of punk and hardcore as a legitimate genre of music. It has been ten years since influential hardcore act Strife released their last album of new material. In 2012, the band are getting set to release that album, and Sydney’s Dogfight Records have gained the licensing rights to distribute the album in Australia on behalf of 6131 Records. The album is called Witness A Rebirth and saw the band and producer Nick Jett travel to Brazil to record it with Igor Cavalera on drums. This album really is a testament to the 21 years of history the band have together, and you can pick it up when it drops in Australian on 9 November through the aforementioned Dogfight Records. Last up for this week, we’ve got a new issue of No Heroes Magazine online now at noheroesmag. com. It will come as no surprise that the band on the cover are Converge, but also inside is our wrap-up of the fantastic weekend that was Poison City Weekender, as well as interviews with Title Fight, Defeater, Jonah Matranga, The Swellers and SXWZD. It has only just gone live, so jump online and check it out.







with the lead single Big Hoops (Bigger The Better) – a shoulda-been smash with a behemoth of a drum’n’bass breakdown. Jerkins is clearly studying contemporaries, absorbing their ideas, and adding his own twist. Nelly Furtado

God Bless Australia It’s easy, often too easy, to invest a single, essentially random, event with a great degree of symbolic significance. Still, here’s what happened on the subway the other day. It’s a busy Tuesday evening and I’ve just jostled my way onto the M train at Delancey St, grabbing a coveted seat. The train is emerging from the tunnel and setting off over the Williamsburg Bridge into Brooklyn. The sun’s going to the west, and the city is silhouetted against the deepening sky, a beautiful panorama, one you never get sick of – you just have to remind yourself to see it. About halfway across the bridge, I realise I can hear someone singing. I take off my headphones and look around the carriage. There he is, by the door – a homeless guy, in grubby sweatpants and a jumper that’s really no colour at all. He looks like he might be a bit, y’know, mentally challenged, or whatever euphemism is required these days to express the fact a person’s not all there. He’s rattling a Starbucks cup the same non-colour as his jumper. And really, it’s all too much, because he’s singing God Bless America. “While the storm clouds gather far across the sea/ Let us swear allegiance to a land that’s free…” He moves along the carriage. He has a surprisingly beautiful voice. “Let us all be grateful for a land so fair/As we raise our voices in a solemn prayer.” Everyone is ignoring him. I fumble in my wallet for a dollar and deposit it in his Starbucks cup. He smiles briefly, moves on. I go back to reading the paper on my iPad and feel terrible. I don’t see anyone else give him any cash. Shit, 99 times out of 100 I probably wouldn’t have either. The big city makes you harder and colder. Maybe he does better in the next carriage. I can hear him as I climb off the train a couple of stops later. “To the oceans, white with foam/God bless America, my home sweet home.” As a microcosm of the contrast between America’s ideals and its reality, this forlorn little scene is almost too perfect, like Margaret Bourke-White’s famous Depression-era photo of a line of people waiting for food handouts in front of a billboard proclaiming “There’s No Way Like The American Way”. As I’m walking home, I start to think about why both these images are so powerful, and why poor homeless God Bless America guy was such a poignant scene when the sight of unfortunate people begging unsuccessfully for cash is something you see every day in any number of cities. Because we all take America to heart, don’t we? We care about the place, somehow, and that’s why we’re so quick to judge it. Part of it, of course, is the global pervasiveness of US culture – we’ve had visions of America beamed into our homes for generations. And part of it is that America’s global power means that its direction has an impact on our daily lives no matter where we live. But then, you could say the same thing about, say, China – it’s not America who’s buying all our steel, after all – and no one in Australia gets nearly as riled up about the institutionalised mendaciousness and hypocrisy of the Chinese government as they do about its US counterpart. I think we get upset about America’s failings because deep down, there’s still something about the country that stirs something in us. I’ve noticed on recent travels that people everywhere have some opinion about America, and that those opinions – whether they see the US as a promised land, a hypocritical global bully or something in between – are predicated on the fact there’s still some who feel disappointed when America lets them down. Land of the free, home of the brave. The First Amendment. These truths we hold self-evident. There’s something romantic and lofty about America’s ideals, even if they’ve been co-opted and twisted by generations of realpolitik into self-serving travesties of what was, or perhaps what never was. We admire the idea of a country founded on lofty principles, even if those principles were never true, and feel sad when it fails us. Leonard Cohen once described America as “the cradle of the best and the worst,” and there’s nowhere more deserving of the description than this city. It’s a hard place to be sometimes.

Nelly Furtado’s Loose, taking in the controversially feminist – and Salt-N-Pepa-inspired – Promiscuous, was the urban pop album of 2006. The Canadian teamed with Timbaland and his protégé Danja for an innovative record that foreshadowed Justin Timberlake’s FutureSex/LoveSounds. Inexplicably, Furtado’s career lost momentum soon after. Now Furtado is on the comeback with The Spirit Indestructible, a “personal growth” album. Unfortunately, it’s flopped almost everywhere, even Canada. The reviews have been harsh. But, actually, TSI is more than decent. When Furtado debuted with 2000’s Whoa, Nelly!, she fit into the folk-pop bracket. The singer, her parents Portuguese migrants, has always referenced world music. Yet, from the get-go, she also collaborated with hip hoppers. The R&B Loose, then, didn’t seem opportunistic. TSI is a progression, completely synthesising Furtado’s disparate and multicultural influences, from folk to alternative to urban, while introducing EDM elements. Furtado has hired another ‘90s R&B hitman, Rodney “Darkchild” Jerkins, along with Salaam Remi, a Mi Plan producer. Remi is, of course, famed for his association with Amy Winehouse. And there’s an electro-soul track, Circles, co-produced by Passion Pit’s Michael Angelakos. TSI’s blurb stresses Furtado’s youthful love of R&B – and Jerkins’ songs, which include Brandy & Monica’s The Boy Is Mine, Whitney Houston’s It’s Not Right But It’s Okay, and Destiny’s Child’s Say My Name. The American lost his mojo in the 2000s, but lately he’s contributed handsomely to high-profile projects. Jerkins engineered Justin Bieber’s (admittedly contentious) foray into dubstep, As Long As You Love Me. TSI showcases his best output in aeons, starting

TSI falls between Madonna, circa Bedtime Stories and Ray Of Light, and Rihanna. Furtado has cited Florence Welch as a new favourite, the Brit’s sensibility apparent on Jerkins’ Spirit Indestructible, with its twitchy programming, big beats and indie guitar, but she might also be mimicking Björk’s vocals. Parking Lot is like a Diplo post-dancehall banger. Prestige guest Nas steals the show on Remi’s Something, a dusty, twangy hip hop groove. Furtado goes back to her roots on the upbeat acoustic-pop Bucket List and Remi’s spacey The Most Beautiful Thing. Furtado performed at a private function for Colonel Gaddafi’s family a few years ago (she eventually donated her fee to charity) and so, as Q mag rightly noted, it’s a bit dodgy that she includes Bob Rock’s Believers (Arab Spring) here. It’s the album’s one crap number, being tired alt-rock – or poor man’s P!nk. Hip hop, not rock, soundtracked the popular Middle East movement, anyway. It’s possibly a pity that Furtado hasn’t recorded with Toronto’s hottest urban talent, like Drake’s cohort Noah “40” Shebib, but TSI should do for Jerkins what Loose did for Timbaland: restore his rep. Also back on the scene is Rita Ora’s Californian idol Gwen Stefani – again, a ‘white girl’ who releases convincing urban-pop – albeit with her band No Doubt. Push And Shove is their first album since 2001’s Rock Steady. Last time around the ska-punk combo, ventured out of their comfort zone, working with The Neptunes as well as Prince – and they fully embraced dancehall. Stefani subsequently dropped the R&Boriented solo album Love.Angel.Music.Baby., with Dr Dre’s Eve-guesting Rich Girl. On Push..., No Doubt stick with UK studio veteran Mark “Spike” Stent, though Major Lazer bring club cred to the title-track, featuring Busy Signal – imagine a dubstep Santigold. Still, that ain’t nothing on the epic dancehall of the single Settle Down. It’s a fluke. The rest of Push... is mostly synth power rock, solid but dull. There’s good ‘90s nostalgia, and then there’s boring. Another solo LP, Gwen?


AC Newman The idea of communicating something that goes against the mainstream in the context of an internationally distributed album is a tricky one to grasp. It gets even trickier when that message seems to be: no grand statements, no certain emotions. But that’s the idea of not one but two albums released by Matador Records this month. Moreover, both artists are frontmen of bands formed in the late 1990s that went on to spark explosions of the sounds and aesthetics with which they each worked. The New Pornographers’ Carl Newman, again under his solo moniker AC Newman, has put out his third record, Shut Down The Streets (out locally through Remote Control). And this Friday, Interpol’s Paul Banks will release his first album under his own name following his 2009 solo record as Julian Plenti and an EP, Julian Plenti Lives, earlier this year. The mainstream these albums have in their sights is one that loves wide-scale happenings and big talk. If a prevailing way of thinking in 2012 can be identified, there’s no doubt it would be the kind of thinking that champions global and social media and borderless politics. The kind of thinking that has at its base the understanding that speed and conviction are necessary, if not ideal. If you don’t say it now and say it strong, you’re lost to the dogs. Newman starts his record off with a song titled I’m Not Talking. It sets the musical tone: we’re somewhere amidst the future echoes of ‘70s radio-pop, the hangout of choice for many current musicians concerning themselves with the way music is approached by listeners, including Cass McCombs and Ariel Pink. In promotion for the album, Newman has described the song as about being “in a strange in-between space where the things I had

always strived for – perfect happiness, success, being the best at what I do – were suddenly not nearly as important as just holding on to what I had”. Of course Newman has never been a literal lyricist. He writes around things, in fragments of images. Throughout Shut Down The Streets, these images are even more fleeting than usual. They’re passing images of loves jetting off, of moving around, of being wonderfully lost in the woods, of time slipping away. But Newman, a new father, can’t help but wish for something more stable for his son than a desire to retreat. Mid-album, he ponders what advice he’ll have for a kid looking for a way forward. The song is called There’s Money In New Wave. Enter: Paul Banks. The decision to switch to his own name and the bold, minimal album artwork of his new album, Banks (also through Remote Control), suggests an attempt at launching a substantial solo career, not just an Interpol side project. But there’s another angle too: by stripping away the facades, Banks is able to play around with stark honesty, which in this case comes in the shape of a man in transition. Heavy and poppy four-to-the-floor numbers – the Interpol speciality – meet with delicate and effects-laden meandering that hit on folk and post-rock. Lyrically, Banks juxtaposes emotions and leaves things to interpretation. While Interpol’s last record gave us the track Always Malaise (The Man I Am), Banks portrays himself as more rounded, or perhaps more unsure, here. The crunchy I’ll Sue You jumps from the threatening title line to the sadder, “What can I say/ You have everything that I want… I don’t want to let you go”. On layered chill-out track Young Again, he perfectly hints at both sincerity and sarcasm when he pipes, “I’m young again/Thanks a lot”. We’re left in doubt that even Banks knows how he feels. Could it be that refusing to be held to one feeling or opinion or genre is the most countercultural thing a musician – or otherwise – can do right now? And if so, what does it mean when that message is pushed out across the world, as these albums from these celebrated music titans have been? There are answers, perhaps, which resist being pinned down.

Hunter If you’re an Australian hip hop fan in Melbourne, you probably know what this weekend is all about: the Robert Hunter Cup. The two-day hip hop and football extravaganza is finally upon us, and it is set to be massive. We’ll be treated to an absolutely magnificent set of gigs, followed by an epic Aussie Rules match, and it’s all in the name of pioneering MC Hunter, who we lost in 2011 and miss greatly. Kudos once again to Bias B, Dedlee, Heata and Stewbakka for getting this amazing weekend off the ground. The first of the big events is the Aus’ All Stars gig at the Corner Hotel this Saturday 20 October. I’m very sorry to say that if you haven’t got a ticket yet, it’s unlikely you’ll be going (at the time of going to print, the event was listed on The Corner’s website as a sellout – if any further tickets are made available, you can check for them at It’s going to be an absolutely epic night with acts coming in from all over the country to pay tribute to the late, great Hunter. The line-up, which includes several of the WA Syllabolix gang (Drapht, Dazastah, Layla and Optamus), Funkoars, Brad Strut, Koolism and many, many more great artists, can be seen in full on, but the big question everyone’s asking is; who will be getting up on stage together? With any luck we’ll see everyone take advantage of the situation to perform some of their collaborations. It’s looking hopeful that Drapht and Trials might give us a rendition of The Paul The Dan off Drapht’s epically successful album The Life Of Riley. Fingers crossed. Of course, most of the performers will have to control themselves to some extent on the Saturday night, because come Sunday 21 October, they’ll be taking to the field at Glenferrie Oval in Hawthorn to play in the inaugural Robert Hunter Cup football match. The Eastside Kings and the Westside Warriors will battle for dominance, with the Kings led by playing coach Stewbakka and captain Trem One, while the Warriors will look to coach Todd Nash and captain Optamus for inspiration. Full team lists can be found at (Go Warriors!). Entry is free, although donations will be collected on the day for the Make A Wish Foundation, so please bring a few bucks to donate to this worthy cause in honour of Hunts. If you can’t make it down to the ground, there’s more good news: the game is going to be broadcast live on Goonbag Radio (, with commentary from the likes of Suffa, Trials, Sesta, Dedlee and Bias B, amongst others. I know I’ve touched on this before, but I’d like to say, once again, how amazing it is to see the Australian hip hop community band together in the name of one of their pioneering artists. Hunter’s prodigious talent and passion for music helped energise our local hip hop scene, across Australia and especially in my native WA. Even when he was ill, he still rocked stages and delivered some of the best sets I’ve ever seen – in fact, for me, hip hop and AFL will be forever tied to one another, because Hunter and I shared a fanatical, rather sad passion for the Fremantle Dockers. In losing him, we lost a genuine visionary. If you haven’t watched it yet, I would encourage you to check out the tribute track Forever Young, beautifully crafted by Optamus and Dazastah. It’s a bit of a tear-jerker, and is a poignant reminder of the wonderful footprint Hunter left on so many people’s lives. You can watch it at: INPRESS • 49



Local act Naked Bodies are a new four-piece band led by Quang Dinh, formerly of Little Red. They are back at Yah Yah’s this Thursday for their second show within the week, this time in the headline slot. Support comes from another new local act, Honey Badgers, along with Yah Yah’s veterans The Solomons performing as a duo. The music starts at 9pm with free entry.



Better known as frontman with psych-rock drifters Sister Jane, Blue Mountains-based songwriter Dan Davey and his band are back at Yah Yah’s for the launch of the debut single My Wild Desire on this Friday, supported by locals The Messengers, Master Gunfighters and Violet Pulp. The single is the first glimpse of new material that comes as the culmination of Davey’s long journey through the dark spaces within country, blues and psychrock. The music starts at 9pm with free entry.


The Palais in Hepburn Springs (just an hour and a bit out of Melbourne) are presenting the one and only surf rockabilly legends, Intoxica, this Friday. Helping them warm up the rock’n’roll onslaught on the night will be local hillbilly jungle punk janglers Humbug and the sensational Freya Hollick, playin’ a set of ethereal folk stylings for you to enjoy with a fireside meal before you bang on your dancing pants for a night of non-stop rock’n’roll boogie.



New Zealand garage party brat-pop trio Autumn Splendour kick off their first Australian tour with a hangover appeasing Sunday evening party at Yah Yah’s. Also partying will be The Clits, who have a lovable stumbling slacker thing going on, and the ever alluring Richie1250 & The Brides Of Christ, your number one booty call for camped up R&B skronk. The music starts at 7pm with free entry. Immigrant Union

Drunk Mums will be heading out on the road throughout September and October to launch their self-titled debut album, with a limited number of vinyl copies available from the shows. To help fuel the bad behaviour at their filth-filled belligerent live shows the legends at Sailor Jerry are coming along for the ride, providing cheap rum for the punters at each show. The tour comes the Grace Darling this Friday.


Melbourne eight-piece dub/reggae outfit Echo Drama will be playing a mammoth set at Veludo this Thursday with support from ska/rock act The Madness Method. Echo Drama have created a sound that is at once steeped in the traditions of dub/reggae but also unafraid to draw on modern variations such as dancehall and ragga. Throw in some flavours of hip hop, d’n’b, dubstep, Afrobeat, funk and jazz and you are starting to get the picture. The music is from 9pm until late with free entry.


Eli J Hood (vocals, guitar) and Angie Rose Brown (drums) of Skyways Are Highways have spent the past year writing and recording their debut EP, Let Them Run Wild, which combines a flood of sunshine pop upon thick bass lines, twisting an optimistic energy around a sombre story. The first single Wild Animals combines deceptively sturdy pop melodies with a poignant and bright drive. The band launch the EP with The Hawaiian Islands and Ceres at the Evelyn Hotel, Thursday 25 October.



Is this track from a forthcoming/existing release? It was released as a single in July during our residency at the Workers Club, but it will also be released as part of our EP In 3D next month. How long did it take to write/record? We spent a few months writing it as we couldn’t get it sounding quite right, but in the end it paid off with it being the single off the new EP. What was inspiring you during the song’s writing and recording? I think Queens Of The Stone Age was probably a big influence with those real grungey guitar sounds. But the drums are more dance influenced, more Franz Ferdinand.

Do you play it differently live? Yes, in that there are more dancing girls! Will you be launching it? Again, yes! As part of our In 3D EP launch at Yah Yah’s on Saturday 20 October with THNKR and Goldsmith.


The final artists to be added to the JamGrass Music Festival line-up have been announced. The new additions are Immigrant Union, Jim Green Trio, Oh Pep!, Nigel Wearne & The Cast Iron Promises, Old Town and special guests Jimi Hocking & George Jackson. They are added to an already stellar line-up of local, interstate and international artists that will be converging on the Thornbury Theatre this weekend. Head to for tickets and details.


Local rockers Tin Alley have announced that they will tour to select venues nationally as part of their Five Year Anniversary Regional tour. To celebrate the occasion they will play a free show at the Palais this Saturday and to top this occasion Monster Energy and Maton Guitars have also announced they will run giveaways on the night.


This Thursday will be a night of unadulterated rock power as King Leghorn, Dickfinger, The Jacks and The Frantics bring some burnin’ sixstring action to the hallowed Tote band room. Conspiring to prove once again that Melbourne is the spiritual home of all things relating to the almighty riff, this heavyweight quartet of locals will rip the roof right off the joint.

Soul diva Renée Geyer spends two nights at Elsternwick’s newest venue this October. Hot on the heels of a season of sold-out shows at Flying Saucer Club for The Revelators, Joe Creighton and Clairy Browne & The Bangin’ Rackettes, Geyer’s twonight-only residency is sure to cook with gas, and then some. Geyer is joined by Gallie this Friday and Leticia Maher on Saturday. Tickets are $38.50+BF for reserved seats and $33+BF for general admission.

Toot Zine #2 Sex & Other Hobbies is hot off the press and will be launched alongside its new online shop by feminist erotic filmmaker Anna Brownfield. Ally Oop & The Hoopsters will play a set to get the launch rocking. Zines, crazy products and art to buy. Get your mind out of the gutter and into the Tote Cobra Bar this Friday.



After taking an ill-deserved break, River Of Snakes return to their favourite live haunt for a night of blistering rock’n’roll this Friday at the Old Bar. The night kicks off with The Steins and their stoner/ dirt rock riffage. The Walk On By from Sydney town will appear next and then Hotel Wrecking City Traders play their last show before they tour Japan. It’s $10 entry, bands start at 9pm.

What’s the song about? Simon, back-up noises/drums: Walking home mega-late at night along the train tracks and stumbling upon an awesome party and then eating a bad tasting kebab…

We’ll like this song if we like… Dancing in the rain with lots of people and good-tasting kebabs at 3am.


Over the past few years, while many on the planet have been searching for meaning amongst the chaos, Aussie nu-disco/electro duo Philosophy Of Sound have found their footing in music, steadily building a following for their own brand of conscious electronic music. They’ve recently released their Fragile Disco EP and will support Tantrums at Liberty Social this Friday along with Willow Beats, Dark Arts, Victory Team, Bo!Kot and New York Cats.


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Deaf Wish’s notoriety for suburban noise has flashed and flickered in hallucinatory dementia since 2007 when they formed, played a handful of semi-legendary shows, released a stunning selftitled debut, and promptly disbanded when the original guitarist moved overseas. This Saturday is their first show at the Tote with the original lineup since 2007, Deaf Wish will be joined by noisy rockers Zond and garage-duo Constant Mongrel.


Craig Westwood (ex-Headbelly Buzzard) brings his weekly ol’ timey music jam session across from the Lomond Hotel, its home for the past five years, to the Victoria Hotel, Brunswick. Punters can BYO instrument or just hang out and enjoy the music in the beergarden. It’s every Saturday afternoon from 4.30pm. The Pierce Brothers


Velociraptor are gearing up to simultaneously release an album and tour, a feat so bold it has many pundits questioning both their sanity and their management’s general competence. The tour comes to the Tote this Friday with support from Palms, Them 9’s and Ross de Chene Hurricanes. When booking tickets to the show, buyers can pre-order a digital copy of their new mini-LP The World Warriors for a special price.


This is the third year for the Surrey Hills Music Festival, which is taking place on Saturday 27 October from midday to 11pm at the Surrey Hills Neighbourhood Centre and surrounds. The program is jam-packed with an array of musical genres including folk, jazz, country, blues, rock and classical. Acts playing include The Pierce Brothers, Jugularity and Havana Connection. There will be buskers, youth bands, and an open mic. All of the daytime concerts are free, but the evening concerts sell out quickly so book your tickets early. Head to for all the details.






Some of Melbourne’s best acts have come together to raise money for the Yarra Socialists council election campaign. They will play the Tote this Sunday with a barbecue in the beer garden at 6pm. The line-up is Lloyd Bosch & Pan, Laura Macfarlane, Mob Queens, My Jimmy and A Commoners Revolt. Entry is $10 or $8 for the low waged.

After a few years supporting international and local artists, and playing at major festivals such as Glastonbury and Falls, Melbourne singersongwriter, Florelie Escano, is now venturing out on her own and is holding a launch party for her well-crafted soul tunes Moody Blues and The Liberating Kind. The show is tonight (Wednesday) at the Toff In Town. Hayden Maurirere of this year’s The X Factor and May Johnston of Deep Street Soul will both be appearing.

How many releases do you have now? Leigh Barker, guitar: Two EPs; our first EP, Access Denied, was released in early 2011.

What was inspiring you during the making of the EP? Before we went into the studio we were listening to a lot of classic rock albums and well-known live recordings of bands like Led Zeppelin, The Who, Motorhead and Kyuss. This was inspiring because we were really looking to capture a raw sound and the energy of a live performance, and we wanted the listener to feel as if the band was right there in the room with them. What’s your favourite song on it? Only For Your Eyes, the last track on the EP. It starts off so gently with almost whispering vocals and builds in intensity throughout the song, finally peaking at the heaviest point in the whole EP. Over The Wall is the most catchy, rocking song on Welcome To The Parlour, but we are pretty happy with Only For Your Eyes as the brooding epic finale. We’ll like the EP if we like… Queens Of The Stone Age, Led Zeppelin, Janes Addiction or any rock with a good balance of swagger and attitude. Will you be launching it? We’re pretty excited to be launching the EP at Cherry Bar on Friday 19 October with the Dukes Of Deliciousness and Apache Medicine Man. Entry is $13.

Humans As Animals have a daring style that takes you to and from places you never expect. They have produced an underhanded, pop-influenced funk derby with a narrative that unfolds over a month in October at the Toff In Town. This Tuesday they are supported by Xenograft and Citrus Jam. The live show includes a new fit out for The Toff and incorporates shadow puppetry and motioncontrolled lighting. Entry is $10 on the door.


After a successful run of touring up the East Coast over the past couple of weeks, Melbourne’s own Immigrant Union and Royston Vasie hit their home turf this week for three shows. Catch them this Thursday at Karova Lounge (Ballarat), Friday at Ding Dong Lounge and Saturday at the Nash (Geelong). Serving up some sweet country-folk rock, Immigrant Union will perform tracks off their self-titled debut album, while the rocking Royston Vasie will be celebrating the release of their new single Come On.


How long did it take to write/record? We spent two weekends in the studio recording the bulk of the EP, then went back to add some finishing touches. Earlier in the year when we decided to do the recording, we spent some time shortlisting songs that would flow together from start to finish. After that we spent a few months solidly rehearsing, restructuring songs and making sure every detail was relevant for the recording.

Mandek Penha are launching their first EP and music video at the Toff In Town. Our Future: The Next Earthly Embodiment features songs of blistering joy from The Church Of Sarrean Alignment. Supporting Mandek Penha are Sex On Toast (lite) and Cactus Channel side project, Emmanuel Ciccolini. The doors open at 8pm with $8 entry.


Uncomfortable Beats returns to Bar Open for its October edition tonight (Wednesday), and with it comes another impressive line-up of local artists. This huge range of homegrown sounds will appease your appetite, whether your preferred taste is hip hop, dubstep or drum’n’bass. Get your fix of electronic beats from producers and DJs such as Decksi, Stinkwood, Bevin Campbell, Ghostsoul and Shikung. Free entry.


Fresh off the back of the critically-lauded Girlfriends album, Lehmann B Smith Band will play Bar Open this Thursday, hitting the stage with new songs, new outfits and a good night’s sleep. Joining them will be Francis Plagne whose eloquent artpop has been turning heads and ears for years, and Actor Buddhists their smart-slacker rock wanderings. The doors open at 9pm with free entry.


Madre Monte will return to their old stomping ground at Bar Open this Friday. The band will indulge in their usual mix of cumbia, reggae and Afro-Colombian rhythms, with extra inspiration and musical knowledge collected from revisiting homelands. Madre Monte will be joined on the night by seven-piece Ethio-jazz ensemble J-Azmaris, led by pianist Daniel Seifu Atlaw. The doors open at 10pm with free entry.



In a departure from previous recordings from The Good China, We Knew That We Had To Leave was painstakingly assembled in home recording sessions in a series of spare bedrooms, attics, storage closets and nearly everything in between, in several suburbs of Melbourne. It is stark and honest, but still packaged up in the familiar upbeat and up-tempo Good China indie-pop sound. The Good China launch the EP at Ding Dong Lounge on Saturday 27 October.


Looking forward to another big summer of sunshine and sub-bass? When Wednesday comes along and you’re in the mood for some serious bass weight, head down to Laundry for a mid-week drink and a dance, or lock into the live stream and join in the party at home. It’s free either way.


Julitha Ryan’s debut album features her own big voice backed by an all-star cast of Melbourne’s most intuitive musicians, performing a dramatic and idiosyncratic suite of songs specifically designed to be heard from start to finish. The Silver Ray keyboard player will launch The Lucky Girl at Northcote Social Club tonight (Wednesday) and at Pure Pop Records, St Kilda on Sunday 28 October.

With songs that rush at you from unexpected angles, a killer voice and an audacious live show, Melbourne melodist Ainslie Wills and her neo-folk rock sound is steadily making its way in and around Australia, Europe and America. This Thursday, Wills is playing one of her favourite venues in Melbourne, the Toff, with special guests Spender and Georgia Fields. The doors open at 7.30pm with $16 entry.


Communion has announced the fourth line-up for its now well established monthly residency in Melbourne. This Sunday will see the Toff In Town welcome an amazing line-up of artists, including Howl At The Moon, Mike Noga (The Drones), The Falls and up-and-coming songstress Jordan Leser. Communion co-founder and member of the globally successful Mumford & Sons, Ben Lovett, will do a DJ set. Tickets are $14.80+BF through Moshtix or $18 on the door.


Melbourne symphonic popsters Jane Dust & The Giant Hoopoes launch into the galaxy Space Odyssey: Part I on Sunday 28 October from 2pm at the Northcote Social Club, supported by The Paul Kidney Experience. Accompanied by a soaring string quartet and howling horns, JD & The GHs will take you on a ride to the deepest, darkest most dastardly part of the galaxy.


Reviving the historic folk sounds of southern Italy, Kalàscima are set to hit Revolver Upstairs this Thursday as part of their Australian Tour. Dedicated to the everlasting ‘social memory’, Kalàscima entwine history and original Taranta folk, the alchemy of remembrance and tribute to events and ideals pertinent to the salvation of Salento (southern Italy) life. They’ll play with special guests Centre & The South, Slowjaxx & His Flying Bong Brothers, The Mind Flowers and DJ Doolz.


With the recent resurgence in lover’s rock, you gotta see Melbourne’s answer to it. Judge Pino & The Ruling Motions have been a Bar Open staple for a long time now, and they are here to stay. They bring the digs from vintage Jamaican sounds of the 1970s: rocking-out dancehall, lover’s rock and reggae rocker hits with bonus live dubs and mad improvisation. They play Bar Open this Saturday with doors open at 10pm and free entry.



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Yes/No/Maybe will be getting back to Melbourne a mere three days before jumping back on stage while fighting jet lag to bring the duel MPC padsmashing to Bar Open this Sunday. Joining him are the vastly impressive Lower Spectrum, who build intricate layers of lush, cinematic, instrumental compositions. Kicking things off is the hyperproductive, beat-smith extraordinaire AOI.

Chris Wilson has announced the release of his new album, Flying Fish. It’s a collection of new and old original songs, augmented by the inclusion of a handful of favourites by Dylan, Monroe and Van Zandt. Flying Fish will be launched during the cocktail hour at Cherry Bar this Friday from 6pm.

Wednesdays in October sees the return of fuzz songstress Ali E to the Retreat Hotel’s front bar. She brings her own unique twist to the best of shoegaze, soul and alt.rock. Her band consists of a veritable super-group of Melbourne musos including members of Damn Terran, St Jude, The Once Overs and Howl At The Moon. The Bowers (duo) play in the front bar from 8.30pm. It is free entry.


After her successful show at the Wesley Anne, Jayne-Anne Power is returning to Melbourne with her band. This Saturday she brings her energetic brand of high voltage, super-tight soul to the Grace Darling Hotel. With plans to release new material in February, this show promises fresh new material for those familiar with her work and a great night out for those who aren’t. Tickets are available through Moshtix or at the door.



Australian bluesman Lloyd Spiegel played 200 shows around the world in 2011 to support his multiaward winning CD Tangled Brew and he’s shown no signs of slowing. He’s collaborating with drummer Tim Burnham and after six months of relentless touring, writing and rehearsing, the duo finally play a hometown gig. They play this Saturday at the Workers Club with support from Alister Turrill.

Leave the rugrats home alone as NMIT invites you to take a moonwalk down memory lane with the first date of their nostalgic noughties tour Nevermind The ‘90s at Revolver. The Kilniks, Bad Taste and Copse will recolour ‘90s classics, and DJ Mynott will spin old-school dance hits. Hit the dance floor Friday 26 October for $10 from 8.30pm.


Three of Philadelphia’s finest drop in to Revolver Upstairs this Saturday after a rocking afternoon at Melbourne’s inaugural Park St Party. All three are formidable party programmers with decades of experience on the decks in one of America’s most renowned party towns. Catch Dirty South Joe, Low B and Major Taylor at the Late Show show this Saturday.

Damon Smith is an independent artist in the literal. He’s the man in the driver’s seat, from composition to production. Check him out with his band The Quality Lightweights this Thursday night at the Retreat with support from the folkie-roots of Sons Of May. It’s a 9pm start with free entry.


Flounder are back with their latest single, Big Bird. It is a fantastic depiction of the band’s sound, a split of funk and rock, overflowing with energy and the kind of tightness that can only be developed after years and years of playing music together. Catch them this Saturday night at the Retreat with Sunk Junk. The music kicks off at 10pm out the back with free entry.


Influenced by the stylings of Buck Owens, George Jones, Merle Haggard and such, The F100s also have a sack full of original toe-tappers spread through their repertoire. Performing an exclusive show this Saturday in the Retreat Hotel front bar at 7.30pm, make it a date. The three-part harmonies, mandolin, gitcho and guitar of Moosejaw Rifle Club will kick-off musical proceedings at 4pm.

ROARIN’ ELLIS blues performer Rory Ellis delivers captivating, compelling, well-crafted songs with a percussive heartbeat on the guitar and sung with incredible conviction in that lusty, rumbling voice. Be entertained by this dynamic performance when Ellis hits the stage with sideman Dave Steel this Sunday at the Retreat Hotel from 7pm. The HRB Strongheart Band kick-off the music in the front bar at 4pm.


Sean McMahon need not prove his songwriting prowess. His work with The Western Union has cemented his position as one of Melbourne’s most seductive performers. Long-time sidekick Matty Green has stepped into the spotlight with his own band, performing heartfelt songs with his great voice. Matty Green and Sean McMahon will perform as a duo this Tuesday 23 October in the intimate surrounds of the Retreat Hotel front bar.


THE FIRE ALIVE PLAY THE CORNISH ARMS THIS FRIDAY 19 OCTOBER. How did you get together? Joshua Rigg, guitar/vocals: We started playing together as school chums in ‘07/’08. Have you recorded anything or do you prefer to tool around in your bedroom? In 2011 we recorded a five-track EP in Lavers Hill at Otway Studios. We also just recorded two live tracks there that we filmed and should be all together for your eyes and ears soon. Can you sum up your band’s sound in four words? Eclectic, trips, swampy, bombardment. If you could support any band in the world, who would it be and why? I think it would have to be either Grateful Dead or Rush to kick out the jams with. If a higher power smites your house and you can only save one record from the fire, what would it be? Tales From Topographic Oceans by Yes. Do you have a lucky item of clothing you wear for gigs and what is it? Yeah, I do… My dad’s ancient Quiksilver shirt. If you invited someone awesome round for dinner what would you cook? Burritos or tacos. What’s your favourite place to drink in Melbourne? Definitely have to be Cherry Bar.

WELCOME TO HORRORWOOD Watch out Melbourne. Horrorwood Mannequins are heading down for Halloween to give you a fright on DV8‘s special Halloween night. It has been a while ghouls and ghosts but DV8 invites people to get a little freaky. There are more bands to be announced but in the mean time prepare yourself for Saturday 27 October.



Mary Of The Moon could be described as a psychedelic western stoner-rock band. They have been lucky enough to support the likes of The Vasco Era, Royston Vasie, Money For Rope and Underlights. Mary Of The Moon recently recorded their debut double A-side single at Melbourne’s renowned Birdland Studios featuring new tracks Alison Wilkes and What’s This Evil. They will be launching it with special guests at Ding Dong on Friday 26 October.


Melbourne pop/rock outfit Deserters have announced the release of their long-awaited second album Quay Of Sea and wish you all to come down and celebrate by hearing it live. Helping along with the festivities are Ashley Naylor along with Messrs Van & Cal Walker. Head to the Empress on Saturday 27 October to catch the show.


Along with surfing cinematographer Simon Treweek, Ben Wells & The Middle Names have produced a stunning film clip that whets the appetite for summer months. Their upcoming Bear In A Birdcage tour will see the Tasmanians perform on Wednesday 5 December at the Workers Club and Thursday 6 at Beav’s Bar (Geelong). 52 • INPRESS

In October and November this year, YGAP will be taking a group of volunteers to both Rwanda and Ghana to work with its partners in each of these areas. Afreakya 2 at Ding Dong tonight (Wednesday) is to thank all of the volunteers for their time as well as help raise additional funds for the projects. Alex Lashie’s Growl and I, A Man, as well DJs Dan Watt and Sarah Guppy will provide the entertainment. Entry is $10 and all proceeds go to the project, helping purchase extra materials to build classrooms.

MAXI’S BIG SOUND The authentic take on new soul sounds, which feature on Maxi’s self-titled EP, can be heard live this Thursday at the Workers Club, as she launches the debut EP. Harts and That Gold Street Sound are supporting. The doors open at 7.30pm with entry at $10.

SECRET HAND SHAKE The Preatures have a new EP on the horizon called Shaking Hands. Catch them on the campaign trail this October as they show off their unique brand of gothic soul music. They play the Worker’s Club this Friday with Jeremy Neale and Harts. The doors open at 8.30pm with $15 entry.

PLACEBOS Close to two years on from the release of their debut album Sugarpills, pop duo KidsOf88 are bringing their new offering, Modern Love, to the Espy front bar on Friday. Catch them with support from Sons et al, Buchanan and Tin Lion, all for nix.






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HOWZAT! LOCAL MUSIC NEWS BY JEFF JENKINS and Winter II. What’s Hayden’s favourite season: summer or winter? “Neither,” he laughs. “I think it’s between autumn and spring – it’s not too hot or cold. Not that it really makes a difference in Melbourne, as you tend to get all seasons in one day.” Hayden adds that his sound was recently compared to “a rainy day”. “I thought that was pretty awesome – I love the rain. I also got told I sounded like Justin Vernon and James Blake’s love child. If that were humanly possible, it’d be rad.” Hayden also liked being compared to Oscar & Martin. “Their album is probably in my all-time top ten.” Hayden Calnin

HELP IS ON ITS WAY “And there is beauty all around” – Hayden Calnin, Winter Australian Crawl, The Fauves, Something For Kate, Kisschasy… add 22-year-old Hayden Calnin to the Mornington Peninsula’s list of music exports. His future is bright. Hayden’s single, For My Help, is a striking piece of dramatic pop. It’s from Hayden’s debut EP, City. “I grew up out of the city, so I’m still adjusting to city life,” Hayden tells Howzat! “I’ve become addicted to coffee and late nights, but I’m not complaining. Though I always love heading back to my hometown, to get away from the constant noise and to see the stars at night.” City was initially intended to be an album. “I had about 15 tracks recorded,” Hayden reveals, “but I knew it just wasn’t time for anything like that yet.” City features five tracks, including Summer, Winter 54 • INPRESS

Hayden’s first album purchase was Radiohead’s OK Computer. “I still listen to it, even though it’s very scratched.” His first concert, aged 15, was CKY at an all-ages Corner gig. “I was obsessed with them, so it’s still one of my favourite concerts.” Expect to hear a cover at Hayden’s next gig (the Northcote Social Club on Thursday 25 October) – he likes to drop a surprise into his set. “Elvis’ Hound Dog has been a favourite. I really have fun with that one. I play it on a synth and add some strange vocal effects and it’s super fun to see people’s reactions.”

NEIGHBOURHOOD WATCH It’s one of 2012’s longest titles – Love Your Crooked Neighbour With Your Crooked Heart. And one of the year’s best. Charles Jenkins & The Zhivagos’ new album showcases a songwriter who’s not prepared to make the same album over and over. This is his most country offering. Distinctly Victorian, too, with Charles mentioning the Mallee, Merbein and Red Cliffs. And he robs a bank in Ouyen. The album is being launched at the Northcote Social Club on Sunday afternoon.

Georgia Fields has spoken out about too much talking at gigs. The singer-songwriter recently asked her Facebook friends: “Is it okay to talk during gigs? Is it the performer’s job to be so captivating that no one could possibly even consider loosening their jaws to utter a sound? Or is it the audience’s responsibility to show respect to the performer, by refraining from conversation during the show?” Georgia later expanded to Howzat!: “I wrote that Facebook post after I attended a particularly conversation-riddled weekend of gigs. I just needed to find out if I had inadvertently stumbled into some kind of alternative reality, where the common recreational activity is to pay $15 for the pleasure of standing in a dark room and talking over the top of a performer. I was relieved to hear I was not alone! Other gig-goers have been sharing their frustration.” So how does Georgia deal with punters who won’t shut the fuck up? “I’ve been working on a friendly tactic that goes, ‘Hey guys, you might not realise, but the acoustics in here are really good and your voices are carrying right across the room, and everyone can hear what you’re saying. I just thought I’d let you know!’ I guess it’s a similar approach to telling someone that their fly is undone.”


Julitha Ryan plays piano, keyboards, clarinet, cello, acoustic guitar and percussion on her stunning solo debut, The Lucky Girl (available now on CD Baby and iTunes), as well as doing horn and string arrangements. Is there any instrument she can’t play? “My lecturers at the Conservatorium would doubt whether I can, in fact, play any instrument,” Julitha laughs. “I do, however, feel a great affinity, even friendship, with the instruments I do play. And I don’t play drums, violin, saxophone or trumpet – yet.” Who knows what Julitha will be playing when she launches the vinyl version of The Lucky Girl at the Northcote Social Club tonight (Wednesday). She is also playing at Pure Pop on 28 October.


Reece Mastin and Birds Of Tokyo have big debuts. Battle Scars GUY SEBASTIAN (number two) Set This World On Fire THE JANOSKIANS (19) Boom Boom JUSTICE CREW (21) Rock Star REECE MASTIN (31, debut) This Fire BIRDS OF TOKYO (32, debut) When The Lights Go Out HAVANA BROWN (36) Tame Impala have the week’s highest new entry. Lonerism TAME IMPALA (number four, debut) The Sapphires soundtrack (six) Museum BALL PARK MUSIC (nine, debut) Leave Your Soul To Science SOMETHING FOR KATE (12) The Rubens THE RUBENS (15) The Temper Trap THE TEMPER TRAP (21) Timomatic TIMOMATIC (27) Black Rabbits GRINSPOON (28) Falling & Flying 360 (29) Pacifica THE PRESETS (32) This Was Tomorrow SETH SENTRY (34) Chasing Ghosts THE AMITY AFFLICTION (40)



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BRITISH INDIA: Thursday 18 October, Ferntree Gully Hotel; Friday 19, Corner Hotel; Saturday 20, Pier Live (Frankston)

THEESATISFACTION, BIG FREEDIA & THE DIVAS: October 18 Hi-Fi BRITISH INDIA: October 18 Ferntree Gully Hotel; 19 Corner Hotel; 20 Pier Hotel (Frankston) OH MERCY: October 19 Bended Elbow (Geelong); 25 Hi-Fi XIU XIU: October 19 Gasometer 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


BIG FREEDIA: October 17 Tote; 18 Hi-Fi GRAILS: October 18 Northcote Social Club THEESATISFACTION, BIG FREEDIA & THE DIVAS: October 18 Hi-Fi SAMPOLOGY: October 19 Vault 8 THE DIXIE TICKLERS: October 19 Paris Cat; 20 Red Bennies XIU XIU: October 19 Gasometer SHELLAC: October 19, 20 Hi-Fi BILLY BRAGG: October 19 Hamer Hall; 20 Melbourne Recital Centre ALT-J: October 20 Ding Dong MATCHBOX 20, INXS: October 20 & 21 Rod Laver Arena LEE RANALDO: October 22 Pure Pop


CROOKED SAINT: October 17 Pure Pop Records STRANGERS: October 17 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 KIDSOF88: October 19 Espy 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) VELOCIRAPTOR: October 19 Tote TANTRUMS: October 19 Liberty Social IN HEARTS WAKE: October 20 Bang; 21 Lilydale Showgrounds SUGAR ARMY: October 20 Toff KUTCHA EDWARDS: October 20 Arts Centre CHARLES JENKINS: October 21 Northcote Social Club LAST DINOSAURS: October 21 Ding Dong (under-18s)


LEE RANALDO: October 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 SWANKY TUNES: October 27 Alumbra MARSHALL JEFFERSON: October 27 New Guernica MADLIB: October 28 Prince Bandroom BILLY BRAGG: October 30 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 56 • INPRESS

GREGORY PORTER: November 3 Toff KELLY JOE PHELPS: November 3 Newport Substation; 5 Caravan Music Club THE DIXIE TICKLERS: November 3 Grace Darling CHERRY POPPIN’ DADDIES: November 5 Corner Hotel THE BLACK SEEDS: November 5 Espy DONNY BENÉT: November 8 Toff YOUSEF: November 9 Brown Alley 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 D-NOX: November 16 New Guernica 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 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 OMAR SOULEYMAN: December 5 Hi-Fi GRIMES: December 6, 7 Corner Hotel SPIRITUALIZED: December 6 Hi-Fi HOT SNAKES: December 7 Corner Hotel PRIMAL SCREAM: December 7 Palace TURBONEGRO: December 7 Hi-Fi

THURSTON MOORE: October 25 Hamer Hall CLARE BOWDITCH: October 26 Regal Ballroon; 27 GPAC (Geelong) 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). BALL PARK MUSIC: November 22 Bended Elbow (Geelong); 23 Palace; December 29 Ding Dong Lounge (U18) CHERRYFEST (featuring Eyehategod, Omar Rodriguez Lopez Band): November 25 Cherry Bar EVIL EDDIE: November 30 Karova Lounge (Ballarat), December 1 Northcote Social Club; 6 National Hotel (Geelong) JEFF MARTIN: December 5 Karova Lounge (Ballarat); 6 Ruby’s Lounge (Belgrave); 7 Cherry Bar; 8 Northcote Social Club PIGEON: December 14 Platform One EVAN DANDO & JULIANA HATFIELD: December 18, 19 Corner Hotel TWO DOOR CINEMA CLUB: December 29 Festival Hall THE HIVES: January 6 Forum

Jonnie Murphy, Mot & The Family Band, Aleister James Campbell The Empress Josh Kelly Quartet Paris Cat Jazz Club Jules Hutcheson, Leah Senior The Drunken Poet Julitha Ryan, Hugo Race Northcote Social Club Lobster’s Rock Karaoke The Gasometer Hotel Magnusson & Wilson 303 Open Mic The Thornbury Local Paul Menz, Guy Cable Kent Street Bar, Fitzroy Rochywave Rochester Castle Hotel Strangers, The Vagrants, Nat Alison Cherry BaR The Antoinettes, The Fuzzbirds, Sooky La La, Aurora Revolver Upstairs

Denise Scott Caravan Music Club Elephant, Indian Skies Great Britain Hotel Gabriel Iglesias Regent Theatre Grails, Laura, High Tea Northcote Social Club Guilty Party Ferntree Gully Hotel Hat Fitz & Cara, Broderick SmIth, Shannon Bourne Theatre Royal (Castlemaine) Kalascima, Centre & The South, Slowjaxx & His Flying Bong Brothers, The Mind Flowers, + More Revolver Upstairs Kerry Mitchell Quartet Dizzy’s Jazz Club King Leghorn, Dickfinger, The Jacks, The Frantics The Tote

The Kite Machine, James Sidebottom Idgaff Bar And Venue

Lehmann B Smith Band, Francis Plagne, Actor Buddhists Bar Open

The Sinking Teeth, Aitches, The Union Pacific Old Bar

Low Key Midweek Beats The Thornbury Local

The Sunsleepers, Messed Up, The Fox Party The Evelyn

Mandy Connell Wesley Anne (Front Bar)

Tim Wilson Bennetts Lane White John Eric, Harry Hookey Veludo

THU 18 Ainslie Wills, Spender, Georgia Fields The Toff In Town Anna’s Go Go Dance Classes Victoria Hotel Autoportraits, Mining Boom, Andre, Zone Out The Gasometer Hotel Axolotyl, Sam Lawrence Band Ding DonG Lounge

Maxi, That Gold Street Sound, Harts The Workers Club Mose, The Fmly, Baroness, Diktion One The Evelyn Naked Bodies, Honey Badgers, The Solomons Yah Yah’s Prequel, Edd Fisher, Principal Blackman The Toff In Town (Carriage Room) Rain Party, The Mercy Kills, Freudian Lips, Peter The Band The Espy, Lounge Bar Ramshakle Band Tago Mago

BEACH HOUSE: January 9 Forum GODSPEED YOU! BLACK EMPEROR: February 15 Forum

DRUNK MUMS: Friday 19 October, Grace Darling

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 17 Adam Pavitt Bebida Bar Afreakya 2012 Ding Dong Lounge Agent 86, Lady Noir, Joybot, Kiti, Mr Thom Lucky Coq Ali E, The Bowers (Duo Show) Retreat Hotel Baddums, Carmex Laundry Bar Chad Mason The Standard Hotel Collage:, Loki, Mark Gardner Band, New Manic Spree The Espy, Lounge Bar

Conversations At The Edge Wesley Anne (Band Room) Dave Hughes Comic’s Lounge Decksi, Stinkwood, Bevin Campbell, + More Bar Open Dizzy’s Big Band, Peter Hearne Dizzy’s Jazz Club Florelie Escano, Dj Chris Gill, HaydeN Maurirere, Dj Saul Knight The Toff In Town Isaac De Heer The Workers Club

Black Mustang, Pony Girl & The Outsiders, Uptown Ace Rubys Lounge Chasing Ghosts, Rosetta Stone, Sidelines Colonial Hotel Clayton Doley Trio 303 Cleveland Blues, White Summer, Red X The Espy, Basement Colours Tribute Band The Luwow Forbidden Temple Dave Hughes Comic’s Lounge

Ross Wilson Wellers Of Kangaroo Ground Roussemoff, Hinterland, Lunaire, Glasfrosch The Gasometer (Upstairs) Royston Vasie Karova Lounge Ruby Page The Commune Seven Year Itch, I’ll Be An Indian, 1993 Pony Sol Haus And The Spokesmen, Dj Vince Peach, Pierre Baroni Cherry Bar

Spike The Artist, Sam Ludeman, Noah Earp The Empress Summer Blood, Foxtrot, The Black Alleys Reverence Hotel, Footscray The Immigrant Union, Royston Vasie Karova Lounge, Ballarat The Winters, Lawrence Hewson The Drunken Poet Theesatisfaction, Big Freedia & The Divas, Grouse Party Djs The Hi-Fi Ubik, Hey Santiago, Dead Albatross Brunswick Hotel Yellowbird, Geek Pie Pony Late Show

FRI 19 Ally Hoop & The Hoopsters The Tote, Cobra Room Bad Jeep, Jonny Telafone, Yuko Kono, Hot Palms The Gasometer (UpstaIrs) Billy Bragg Hamer Hall Black Mustang, Throbulator Pony Late Show

Intoxica, Humbug, Freya Hollick The Palais, Hepburn Springs Jape Squad, The Steinbecks The Bridge Hotel Jay Sean Trak Showroom Kids Of 88, Sons Et Al, Buchanan, Tin Lion The Espy, Lounge Bar Lauren Elizabeth Vineyard Lieutenant Jam, The Refunds, The Wild Comforts, The Escapades, Pascoes The Espy, Gershwin Room

Clampdown Rochester Castle Hotel

Monkey’s Pirate, Leez Lido, Joseph Mairead, The Tiger Lilly Blues Brunswick Hotel

Diafrix, + Special Guests Northcote Social Club Drunk Mums, + Guests Grace Darling Hotel Duncan Graham & His Co-Accused Post Office Hotel Evacuate The Fallen, A Sleepless Winter, Little League 303 Funk D’void Brown Alley Gabriel Iglesias Regent Theatre Geneva Spur Karova Lounge, Ballarat Ghost Orkid Band, King Charles School Of Dub, Able 8, Editor The Evelyn Go Go Sapien, Steph Hannah Penny Black

Diafrix, + Special Guests Northcote Social Club

PHILOSOPHY OF SOUND: Friday 19 October, Liberty Social

Matt Thomas, Baby Lemonade Prince Maximilian

Mohair Slim Yah Yah’s (Late)

Define The Signal, An Untold Odyssey, Euphoria, + More Inverloch Community Centre

Xiu Xiu, Lawrence English, Rites Wild, Wintercoats The Gasometer Hotel

Deaf Wish, Constant Mongrel, Leather Towel The Tote, Cobra Room

Mat Wicking, Daniel Reeves, Laura K Clark The Thornbury Local

Chris Wilson Cherry Bar, Arvo Show

Dave Hughes Comic’s Lounge

Velociraptor, Palms, Them 9’S, Ross De Chene Hurricanes The Tote

Madre MonTe Bar Open

Mick Thomas & The Roving Commission, Sal Kimber & The Rollin’ Wheel Caravan Music Club

Dash, Miss Elm Wesley Anne (Band Room)

Dave Wright & The Midnight Electric, Duet (Feat. Harry Howard & Edwina Preston) Tago Mago

Madelene Wesley Anne (Front Bar)

Chardy, Goodwill, Phil Ross, B-Boogie, Dean T, + More Co. & Fusion Nightclub At Crown

Dan Davey Band, The Messengers, Master Gun Fighters, Violet Pulp Yah Yah’s

Twin Ages, Road Ratz, Atomic Bliss, Mercians Pony

Lock Reece Dizzy’s Jazz Club

Michael Plater & The Exit Keys, The Coves Tago Mago

Dan Bourke & Friends The Drunken Poet

Dave Hughes Comic’s Lounge

Little Murders, The Wylde Oscars Victoria Hotel

British India Corner Hotel

Crueltobekind, These City Lights, Dice, Little League, Amber Ferraro The Espy, Basement

Trio Agogo 303, Arvo Show

Oh Mercy, Millions, Split Seconds Bended Elbow, Geelong Poprocks At The Toff The Toff In Town Renee Geyer, Gallie Flying Saucer Club Right Mind, Camp David, To The Rescue, Break The Wall, Fractures Reverence Hotel, Footscray

SAT 20 8 Bit Love, Thnkr, Goldsmith Yah Yah’s Alex Legg St Andrew’s Hotel, Arvo Show Alt-J Ding Dong Lounge Bad Jeep, Rayon Moon, Mr SharP Pony Late Show Bag O’ Nails St Andrew’s Hotel Barbara Blaze, Frankie Alibi The Luwow Forbidden Temple Big Freedia & The Divas, Zanzibar, Indian Summer The Tote

Scaramouche, Dukes Of Deliciousness, Apache Medicine Man, Max Crawdaddy Cherry Bar

Billy Bragg, Jordie Lane Melbourne Recital Centre

Shaun Kirk, Luke Watt, Alister Turrill Barwon Club

Black Night Crash Rochester Castle Hotel

Shellac, My Disco The Hi-Fi Stoneflower, Carl Panuzzo Uptown Jazz Café Texas Tea Old Bar The 3 Tones The Studio The Dixie Ticklers Paris Cat Jazz Club The Immigrant Union, Royston Vasie Ding Dong Lounge The Kilniks, Bad Taste, Pons & Copse, Dj Mynott Revolver Upstairs The PerFections, Jumpin’ Josh, Sye Saxon The Luwow Forbidden Temple

Hat Fitz & Cara Harvester Moon Café

The Velvets, Hungry Jesus, Canterville Ghost The Empress

Hot Dub Time Machine Prince Bandroom

Tim Pilgrim Glenlyon General Store

Billy Bragg Readings, St Kilda

Brett Franke, Bob Crain Bar Betty Brooke Evers, Denzal Park, Tate Strauss, Phil Ross, Nova, + More Co. & Fusion Nightclub At Crown Coco Velue, Crooks & Queens, Carly Fern, Xen Pow Brunswick Hotel Co-Pilgrim, Ryan L HumPhreys Some Velvet Morning, Clifton Hill Council, Bitter Sweet Kicks, Bunny Monroe, Dj Mermaid Cherry Bar Cuntz, Gentlemen The Tote, Front Bar Cursing Tomorrow, The Antoinettes, Cisco Rose The Empress Dark Arts, The Red Lights Karova Lounge, Ballarat

Dirty South Joe, Low B, Major Taylor Revolver Upstairs (Early) Engine 37, The Khyber Belt, Ten Thousand, Bronson, Over Reactor, + More The Espy Funkoars, Brad Strut, Koolism, + More Corner Hotel Hat Fitz & Cara Baha Tacos Hugo Race The Bridge Hotel In Hearts Wake, Sienna Skies, Shinto Katana, Hallower Bang Jahdan Blakkamoore, Vida Sunshyne, Monkey Marc Laundry Bar Jamgrass Festival Thornbury Theatre Jayne- Anne Power, Telos Teacup, Sam Marzola Grace Darling Hotel Judge Pinot & The Ruling Motions Bar Open King George, EmPire Of Dirt, Bravo Juliet, The Narrow Road, Sonic Jungle Revolver Upstairs Kutcha Edwards The Arts Centre Lizzie Sims, Brooke Taylor, Al Parkinson Wesley Anne (Band Room) Major Tom & The Atoms Great Britain Hotel Matchbox Twenty, Inxs, Evermore Rod Laver Arena Matt Glass Wesley Anne (Front Bar) Mick Thomas, Sal Kimber The Substation

TOUR GUIDE MAYDAY PARADE: December 8 Billboard LAGWAGON: December 8 Bended Elbow (Geelong); 9, 10 Corner Hotel HAWTHORNE HEIGHTS: December 8 Bang; 9 Pelly Bar (Frankston) JENNIFER LOPEZ: December 11, 12 Rod Laver Arena ALEXISONFIRE: December 12 Festival Hall REGINA SPEKTOR: December 14 Plenary SHIHAD: December 14 Espy JB SMOOVE: December 15 Thornbury Theatre EVAN DAND0, JULIANA HATFIELD: December 18 Corner Hotel MORRISSEY: December 19 Festival Hall THE DATSUNS: December 20, 21 The Espy LOST ANGELS: December 21 Hi-Fi COSMO JARVIS: December 29 Bridge Hotel (Castlemaine); January 3 Corner SHARON VAN ETTEN: December 30 Corner BOMBAY BICYCLE CLUB: January 2 Festival Hall SBTRKT: January 2 Billboard BEST COAST: January 2 Hi-Fi WILLIS EARL BEAL: January 2 Northcote Social Club MAXIMO PARK: January 2 Corner FIRST AID KIT: January 2 Forum BLOOD RED SHOES: January 3 Hi-Fi 65DAYSOFSTATIC: January 4 Corner Hotel THE HIVES: January 6 Forum SHARON JONES & THE DAP KINGS: January 6 Summer Of Soul Festival; 8 Corner Hotel BEACH HOUSE: January 9 Forum PETER MURPHY: January 11 Corner MARDUK: January 11 Hi-Fi GARY JULES: January 12 Corner; 13 Trak Lounge NIGHTWISH: January 14 Palace DAVID BYRNE & ST VINCENT: January 14, 15 Hamer Hall WEEZER: January 16 Sidney Myer Music Bowl WOODS: January 18 National Hotel (Geelong); 19 Sugar Mountain Festival ALESTORM: January 18 Hi-Fi YANNI: January 19 Palais GARY CLARK JR: January 22 Corner Hotel THE KILLERS: January 22 Palace AGAINST ME!: January 22 Hi-Fi CRYSTAL CASTLES: January 22 Billboard BAND OF HORSES: January 23 Palais OFF!: January 23 Corner Hotel SLEIGH BELLS: January 23 Billboard JEFF THE BROTHERHOOD: January 23 Bridge Hotel (Castlemaine); 24 Corner Hotel ANIMAL COLLECTIVE: January 23 Palace BLOODY BEETROOTS: January 24 Palace ALABAMA SHAKES: January 24 Forum RICHARD HAWLEY: January 29 Forum THEE OH SEES: January 31 Hi-Fi; February 6 Natonal Hotel (Geelong) AMANDA PALMER: February 1 Forum ABOVE & BEYOND: February 2 Hisense Arena CELTIC THUNDER: February 7 Geelong Arena; 9 Hisence Arena GIN BLOSSOMS: February 7 Hi-Fi DIRTY BEACHES: February 10 Tote BARRY GIBB: February 12 Rod Laver Arena DAVID HASSELHOFF: February 14 Corner Hotel SWANS: February 15 Corner Hotel GODSPEED YOU! BLACK EMPEROR: February 15 Forum CLIFF RICHARD: February 15, 16, 18 Hamer Hall EINSTÜRZENDE NEUBAUTEN: February 19 Palace DR FEELGOOD: February 20 Caravan Club; 21 Corner Hotel NORAH JONES: February 21 Plenary MY BLOODY VALENTINE: February 22 Palace BLINK 182: February 26 Sidney Myer Music Bowl LINKIN PARK: February 27 Rod Laver Arena ED SHEERAN: March 4, 5, 6 Festival Hall THE CIVIL WARS: March 12 St Michael’s Church BOB MOULD: March 13 Corner GLEN HANSARD: March 20, 21, 23 Recital Centre WILLIAM ELLIOTT WHITMORE: March 26 Corner THE SCRIPT: April 6 Rod Laver Arena NEWTON FAULKNER: April 11 Prince; 14 Caravan Music Club PINK: July 7, 8, 10, 11, 13, 14 Rod Laver Arena


STRANGERS: October 24 Cherry Bar JOSH PYKE: October 24 Palais (Hepburn Springs); 25 Karova Lounge (Ballarat); 26 Bended Elbow (Geelong); 27 Meeniyan Town Hall

VELOCIRAPTOR: Friday 19 October, Tote

LITTLE SHADOW: October 25 Bendigo Hotel; 26 Reverence Hotel LAST DINOSAURS: October 25, 26 Corner Hotel OH MERCY: October 25 Hi-Fi HAYDEN CALNIN: October 25 Northcote Social Club; November 9 Pelly Bar (Frankston) GYPSY AND 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 THE PAPER KITES: November 1 & 2 Corner Hotel; 3 Karova Lounge (Ballarat); 4 Ding Dong (all-ages) 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 LOS MAS ALTOS: November 2 Espy 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 DEMON PARADE: November 2 Ding Dong; 23 Espy; December 21 Can’t Say 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 CHILDREN OF THE WAVE: November 3 Trades Hall 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) INPRESS • 57

Moose Jaw Rifle Club The Retreat Hotel, Front Bar Mortification, Wonrowe Vision, Rosannaâ&#x20AC;&#x2122;s Raiders Central Club Hotel Olâ&#x20AC;&#x2122; Timey Bluegrass Jam Victoria Hotel (AfternooN) Paulie Bignell & The Thornbury Two Highway 31 Prairie Kings, Slim Dim & Her Boogie Boys Victoria Hotel Rebecca Mendoza Prince Maximilian Rectal Tubes, Storming Vegas The Empress (Afternoon) Renee Geyer, Leticia Maher Flying Saucer Club Reverberation Rubys Lounge Ross Wilson & The Peacenicks Caravan Music Club Ryan Sterling & The Sister City The Drunken Poet Saint Jude Post Office Hotel Secret Crackpipe Handshake, Dawn Of The Jackal, Lizard Punch Brunswick Hotel - Arvo Shellac, Blacklevel EmbassY The Hi-Fi

Tasty Cakes Yah Yahâ&#x20AC;&#x2122;s (Late) The Afrobiotics, The Huw Joseph Experience, Manchild, + More Highlander Bar The Dixie Ticklers Red Bennies The F100â&#x20AC;&#x2122;S The Retreat Hotel The Hawaiian Islands, Rad Beligion, All Killer, No Filler Reverence Hotel, Footscray The Immigrant Union, Royston Vasie National Hotel The Long Yard Band, Aaron Gillette Cunninghams Hotel Tin Alley The Palais, Hepburn Springs Tracy Bartram Dizzyâ&#x20AC;&#x2122;s Jazz Club Up And Atom, 10past6, Take Your Own, Dystopia Pony Winterâ&#x20AC;&#x2122;s End BArwon Club Wire Bird, Sarah De Haan & The Lost Boys, The Winter Suns, Animaux John Curtin Hotel

SUN 21 Andyblack, Haggis The Toff In Town, Afternoon Session Autumn Splendour, The Clits, Richie 1250 & The Brides Of Christ Yah Yahâ&#x20AC;&#x2122;s Brett Marshall Kent Street Bar, Fitzroy Charles Jenkins, Raised By Eagles Northcote Social Club Chris Russellâ&#x20AC;&#x2122;s Chicken Walk, Dean Muller, Max CrawdaDdy Cherry Bar, Arvo Show Cleveland Blues, Skyscraper Stan And The Commision Flats Cherry Bar Darebin Songwriters Guild 303, Arvo Show Darren Gibson, Grace Lawry, Jules Reverence Hotel, Footscray Dave Anderson, Ciaram Granger Chandelier Room Dave Hughes Comicâ&#x20AC;&#x2122;s Lounge Dean & Curruthers Bay Hotel, Mornington Arvo Show

Wired Elsternwick Hotel

Emlyn Johnson, Van & Cal Walker The Drunken Poet

Zanzibar Chanel The Toff In Town

Geoff Achison The Bay Hotel, Mornington

DEAF WISH: Saturday 20 October, Tote

Gilded, Regional Curse, Infinite Decimals The Gasometer (Upstairs) Gomez, Eagle And The Worm! Corner Hotel

Winterâ&#x20AC;&#x2122;s End, No Zebra, Liam Daly, Phoebe Jacobs Brunswick Hotel - Arvo Yes/No/Maybe, Lower Spectrum, Aoi Bar Open

Greenâ&#x20AC;&#x2122;s Dairy Angel Ensemble Victoria Hotel

MON 22

Hat Fitz & Cara The Workers Club Headspace, Dale Ryder Band, Bad Boys Batacuda, Ms Butt The Espy, Lounge Bar

Carus Thompson Post Office Hotel

Howl At The Moon, Mike Noga, The Falls, Jordan Leser, Ben Lovett The Toff In Town

Ed Byrne Athenaeum Theatre

In Heart Waves, Ocean Grove, Restless Lilydale Showgrounds, Lilydale (Afternoon) Jamgrass Festival Thornbury Theatre Justin Frews Loose Intentions, Genevieve Davis, Vincent Rungo, Open Mic Royal Melbourne Hotel Justine Jones, + Guests The Empress (AfternoOn)

Cherry Jam Cherry Bar

Francolin, Pascal Babare & Teeth, The DarjeelingS The Evelyn Lloyd Bosch & Pan, Laura Macfarlane (99), Mob Queens, My Jimmy, A Commoners Revolt The Tote

Phoebe & The Night Creatures Dogs Bar Portmanteaux Tago Mago

Masketta Fall Phoenix Youth Centre Melting Potâ&#x20AC;&#x2122;s Songwriters In The Round Wesley Anne (Band Room)

Kerryn Fields Wesley Anne (Front Bar)

Mick Pesaling Band St Andrewâ&#x20AC;&#x2122;s Hotel, Arvo Show

Last Dinosaurs Ding Dong Lounge

Open Decks The Thornbury Local

Lawrence Mooney, Brendan Maloney, + More 303

Paulie Bignell & The Thornbury Two Mitcham Rsl

Ross Hannaford & The Critters Caravan Music Club Supernaturalist, Geoffrey Oâ&#x20AC;&#x2122;connor, Jessica Says, Sarah Mary Chadwick, Worng The Gasometer Hotel The Bastard Children The Standard Hotel

Glow, This Free Field, People Person Northcote Social Club Gomez, Eagle And The Worm! Corner Hotel Mandek Penha, Sex On Toast, Emmanuel Ciccolini The Toff In Town Passionate Tongues - Poetry And Spoken Word Brunswick Hotel

The Cudgels Great Britain Hotel

Paul Carey/Julian Scheffer, Nick Marks Trio 303

The Dixie Ticklers Post Office Hotel

Screen Sect Bar Open

The Ramshackle Army, The Universal The Espy, Lounge Bar Zoophyte The Espy Front Bar

TUE 23 Collage:, Euclid, Signal X, Beautiful Change, Flounder The Espy, Lounge Bar Connaught Quartet, The Jazza FUnket 303 Glenn Shorrock, Brian Cadd, Daryl Braithwaite, + More Palais Theatre Howard, Esc, The Alleys, Inerva The Evelyn Howlinâ&#x20AC;&#x2122; Steam Train Northcote Social Club Make It Up Club Bar Open Mining Boom, Bored Nothing The Workers Club Noel Fielding Athenaeum Theatre Open Mic Night Wesley Anne (Band Room) The Bonsack Machine, Errol Street, The Mellow Down Easy Brunswick Hotel

â&#x20AC;&#x153;Live At The Lomondâ&#x20AC;? THU 18TH 8:30PM

140 Sydney Rd


9387 6637


LAURA SMOCK & NATALIE FOSTER (Contemporary roots)


+43=4B30H #2C>14A 

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FRI 19H 9:30PM


(Zydeco stomp-a-billy)

HORNETS (Deep blues)




Hat Fitz and Cara







(Cuban groves)






(Acoustic roots)





Papa Pilko & The Bin Rats

SAT 20TH 9:30PM




IRISH SESSION (Fiddley-iddley-diddley)











Ramshackle Army (melb)


Roundhouse & The Warrains (arvo)


Saturday Hat Fitz & Cara


Wednesday Decksi, Stinkwood, Bevin Campbell, + More Thursday Lehmann B Smith Band, Francis Plagne, Actor Buddhists Friday Madre Monte Saturday Judge Pinot & The Ruling Motions Sunday Yes/No/Maybe, Lower Spectrum, Aoi Monday Screen Sect Tuesday Make it Up Club


Thursday UBIK, Hey Santiago, Dead Albatross Friday Monkeyâ&#x20AC;&#x2122;s Pirate, Leez Lido, Joseph Mairead, The Tiger Lilly Blues Saturday Coco Velue, Crooks & Queens, Carly Fern, Xen Pow

Monday Passionate Tongues Poetry and Spoken Word Tuesday The Bonsack Machine, Errol Street, The Mellow Down Easy


Friday British India Saturday Funkoars, Brad Strut, Koolism, + More Sunday Gomez, Eagle and the Worm! Monday Gomez, Eagle and the Worm!


Friday Drunk Mums, + Guests Saturday Jayne- Anne Power, Telos Teacup, Sam Marzola


Wednesday Julitha Ryan, Hugo Race

Thursday Grails, Laura, High Tea Friday Diafrix, + Special Guests Saturday Diafrix, + Special Guests Sunday Charles Jenkins, Raised By Eagles Monday Glow, This Free Field, People Person Tuesday Howlinâ&#x20AC;&#x2122; Steam Train

Friday Black Mustang, Throbulator Saturday Bad Jeep, Rayon Moon, Mr Sharp


Wednesday The Antoinettes, The Fuzzbirds, Sooky La La, Aurora Thursday Kalascima, Centre & The South, Slowjaxx & his Flying Bong Brothers, The Mind Flowers, + More Friday The Kilniks, Bad Taste, Pons & Copse, DJ Mynott Saturday King George, Empire of Dirt, Bravo Juliet, The Narrow Road, Sonic Jungle

Sunday Charles Jenkins, Raised By Eagles


Thursday Seven Year Itch, Iâ&#x20AC;&#x2122;ll Be An Indian, 1993 Friday Twin Ages, Road Ratz, Atomic Bliss, Mercians Saturday Up and Atom, 10Past6, Take Your Own, Dystopia


Thursday Yellowbird, Geek Pie

Friday Clampdown Saturday Black Night Crash


Friday Hot Dub Time Machine



Wednesday Rochywave

THE PREATURES: Friday 19 October, Workers Club



Wednesday Jules Hutcheson, Leah Senior Thursday The Winters, Lawrence Hewson Friday Dan Bourke & Friends Saturday Ryan Sterling & The Sister City Sunday Emlyn Johnson, Van & Cal Walker


Wednesday The Sunsleepers, Messed Up, The Fox Party Thursday Mose, The Fmly, Baroness, Diktion One Friday Ghost Orkid Band, King Charles School Of Dub, Able 8, Editor Monday Francolin, Pascal Babare & Teeth, The Darjeelings Tuesday Howard, ESC, The Alleys, Inerva

Monday Mandek Penha, Sex On Toast, Emmanuel Ciccolini Thursday King Leghorn, Dickfinger, The Jacks, The Frantics Friday Velociraptor, Palms, Them 9â&#x20AC;&#x2122;s, Ross de Chene Hurricanes Saturday Big Freedia & The Divas, Zanzibar, Indian Summer Sunday Lloyd Bosch & Pan, Laura Macfarlane (99), Mob Queens, My Jimmy, A Commoners Revolt


Thursday THEESatisfaction, Big Freedia & The Divas, Grouse Party DJs Friday Shellac, My Disco Saturday Shellac, Blacklevel Embassy


Wednesday Chad Mason Sunday The Bastard Children


YAH YAHâ&#x20AC;&#x2122;S

Wednesday Florelie Escano, DJ Chris Gill, Hayden Maurirere, DJ Saul Knight Thursday Ainslie Wills, Spender, Georgia Fields Friday Poprocks at the Toff Saturday Zanzibar Chanel Sunday Howl At The Moon, Mike Noga, The Falls, Jordan Leser, Ben Lovett

Thursday Naked Bodies, Honey Badgers, The Solomons Friday Dan Davey Band, The Messengers, Master Gun Fighters, Violet Pulp Saturday 8 Bit Love, Thnkr, Goldsmith Sunday Autumn Splendour, The Clits, Richie 1250 & The Brides Of Christ















Bar: 9484 1470 Band bookings and venue hire:

INPRESS â&#x20AC;˘ 59

60 â&#x20AC;˘ INPRESS

EMPLOYMENT ADMINISTRATION DJ AVAILABLE- ANYTIME -0416306340 for any dj service club or home or birthday call anytime-GET A REAL DJ NOT MP3 PLAYER OR CRAPPY DOWNLOAD.......VINYL DJ ROCKS iFlogID: 16083



FILM & STAGE PRODUCTION Film Director/Editor. Clients include 360, King Canons, Cosmic Psychos, Yung Warriors,The Drones, Melbourne City Council, EMI, Mushroom. Clairy Browne, Ricke-Lee. Contact Agostino Soldati to produce your music video.

Experienced Manager required for established Brisbane based artist. Must have industry contacts, previous and current experience and be ruthless.

Contact Justin

RemmosK returns to “The Wall” in full throttle electric mode with special guests Blow @ The Wall, The Bald Faced Stag Hotel, Leichhardt, Sat 03-11-12

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Experienced Sydney original rock band looking to play with local interstate bands. Will return favour with string of Sydney dates in venues such as The Wall, Valve, Town & Country. iFlogID: 19261

Get your Band/ Business online with affordable website design. From $299 Services include Seo, Social network marketing Includes free 1000 Facebook likes, 22k twitter followers. Contact - iFlogID: 19089

RADIO SYDNEY possibly the worlds largest digital Radio Station with 100 music channels is offering bands and solo artists their own feature promotional channel visit the Indie channel on iFlogID: 18316

Seo Marketing ~ Facebook likes, YouTube, Twitter views

This is a fantastic opportunity for an Media Sales Executive to join and Street Press Australia, a successful national music and entertainment media company currently experiencing a substantial period of growth and expansion in its digital business. This full time sales role sees you looking after a variety of customer categories such as arts, local and national promoters, festival promoters, education, advertising agencies and more, with the view to approaching them with advertising, marketing and other sales opportunities across all of our assets. Basically, if you have great sales ability and can combine it with a passion for music and media, then you will be killer at this role. To apply please email your CV with cover letter to employment@ iFlogID: 19854

Promote your business online with Seo services Facebook likes 1k - 10k Twitter followers 1k - 100k Prices start from $20

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

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PEDALS - Brand new T-Rex - Distortion / T-Rex Alberta $195 each. Elect case Humidifier - $35. Acous case Humidifier & Hygrometer - $75. Mob - 0415285004 iFlogID: 16808

Sennheiser HD25-1 II Headphones – The industrys leading Studio, Monitoring and DJ headphones. Get the genuine article for $279.00 with FREE DELIVERY AUSTRALIA WIDE from Lamba 02-9758-8888 - iFlogID: 19720

PA EQUIPMENT Shure SM58 vocal microphone – The industry standard. Get the genuine article for $129.00 with FREE DELIVERY AUSTRALIA WIDE from Lamba. Call us on 02-9758-8888 to get yours today. iFlogID: 19718

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DRUMS High Definition YouTube video demonstrations of cymbals. ZILDJIAN, SABIAN, PAISTE, UFIP, MEINL, WUHAN, STAGG, PEARL... iFlogID: 19832

ZILDJIAN Drum Stick Clearance $10 PAIR!!: 5A, 5B, 7A, Wood / Nylon Tip – Plus Travis Barker, Brooks Wackerman, Ronnie Vannucci & Dennis Chambers Series. Lamba - 02-9758-8888 iFlogID: 19716

GUITARS Acoustic Yamaha Guitar, Solid Top, Great Sound and Condition, Comes with Carry Case, $420 ONO May Swap or Trade, 0421690000,

STUDIO GEAR Roland Boss Digital Recording Studio 8 Track and Professional CD Burning and Mastering System All in One, Portable with Multi Effects and Loops, 0421690000, May Swap Trade, QLD iFlogID: 19698

MUSIC SERVICES DUPLICATION/ MASTERING CD MANUFACTURING:Acme is Australias best price CD manufacturer. 500 CD package = $765.05: 1000 CD package = $1320.00 Short run also available. iFlogID: 13117

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

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

Discover your vocal potential. Free assessment consultation. Call 9530 0984 / 0425 788 252 or visit iFlogID: 19740

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

DRUM LESSONS - MELBOURNE Friendly professional teachers with great rates. For more info call 9530 0984/ 0425 788 252 or go online at drum_teacher/

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Award-winning Experienced, Qualified Music Producer: 1.Doing Instrumental version of any song for $40 2. Mix your multi-tracks for $50 and produce personalized original instrumentals for $50. 3. Check lovenabstudio on soundclick. com email: iFlogID: 18269

Get your Band or Business Online Cost effectively and PROFESSIONALLY from $299 including Hosting and email addresses! Contact or see iFlogID: 15452

High Definition YouTube video demonstrations of cymbals. ZILDJIAN, SABIAN, PAISTE, UFIP, MEINL, WUHAN, STAGG, PEARL... iFlogID: 19834

Music publicity. Do you want to get noticed? Affordable exposure for your band by someone that actually cares! Drop me a line! RemmosK returns to “The Wall” in full throttle electric mode with special guests Blow @ The Wall, The Bald Faced Stag Hotel, Leichhardt, Sat 03-11-12

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

Fulltone - Choralflange - $195.

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

Youtube views 1k - 100k

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OTHER Charlie Sheen movie posters for sale.

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PA / AUDIO / ENGINEERING P.A HIRE W/ OPERATOR Sound Engineer/P.A hire w/ operator

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LEARN GUITAR $99 Special Promo 5 week course Beginners Welcome Children & Adults *Friendly mentoring approach *Great Results Guaranteed Enquire Now Ph: 0416960673 E: iFlogID: 19765

Music tuition, classical / flamenco guitar, celtic harp, theory & harmony, arranging. 9am - 9pm, 7 days. Parramatta area. $40 hr, $30 half hr. Mature & patient. Harps for hire. Ph: 02 98905578 iFlogID: 15154

Music tuition, classical / flamenco guitar, celtic harp, theory & harmony, arranging. 9am - 9pm, 7 days. Parramatta area. iFlogID: 19742

Matt 0434195941


RECORDING PROJECT ROOM FROM $100 0414 243 811 iFlogID: 18648

POSTERS GOLD COAST BYRON BAY NORTHERN NSW Poster distribution for touring artists & bands. Fast, efficient & reliable service at a competitive price iFlogID: 17120

RECORDING STUDIOS Incubator Recording and Mastering. “Where the grooves are hatched”. Record your next demo or release in a relaxed creative enviroment with experienced engineer. Affordable check it out online at iFlogID: 19532

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Recording Studio, Parramatta, $30hr casual rate. No kits! Singers, songwriters, instrumentalists for acoustic, world, classical genres specialist. 25+yrs exp, multi instrumentalist, arranger, composer, producer. Ph: 02 98905578, 7 days. iFlogID: 15152

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


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Singing tuition - 40yr pro-muso teaches all comtemporary genres. Guitar tuition - 50yr guitar playing veteran - teaches all contemporary genres. 4 lessons x $30 each or $40 per single lesson. Maroubra based. Pls contact Moses: Mob: 0415 745 181 Email:

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Immersion Imagery strives to offer quality & creative music videos to suit your style & budget. Portfolio of over 30 artists.

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Limited Edition mens tees and hoodies with a sense of humour. All hand-screened and numbered. iFlogID: 13611

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If you want to use DRUGS, that’s your business

Private lessons/mentoring also available.

If you want to STOP, we can help. Narcotics Anonymous 9519 6200 iFlogID: 14261 iFlogID: 16217

GUITARIST 19 year old guitar player looking to form Rock N’ Roll band. Influences: Guns N’ Roses, Aerosmith, The Sex Pistols. I live in Sydney-Cronulla. Call tom on 0401722767. iFlogID: 13358

Musician/Guitarist seeking fame. I play blues and have a good ear for melody and improvisation. Im looking for likeminded people who want to start touring. Go to iFlogID: 18014

Tarot Card Readings by Karen. Over 30yrs Exp. “When you need to know” Always welcome new customers. www. Parties and Private readings P: 0432 689 546. Evenings & weekends available. iFlogID: 19301

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RemmosK returns to “The Wall” in full throttle electric mode with special guests Blow @ The Wall, The Bald Faced Stag Hotel, Leichhardt, Sat 03-11-12 iFlogID: 19914

MUSICIANS WANTED BANDS Seeking experienced lead & backing singers, bass, keyboard, sax & trumpet players for REGGAE band in Northern Beaches. Call Michael 0402 549 423 or email iFlogID: 18612



TUITION DRUMMER AND DRUM LESSONS Avaliable in Gladesville Teach all Levels, ages and experience.16 years experience. I studied at The Billy Hydes Drumcraft Academy and Obtained a Diploma in Drummig. $60/HR Mob: 0402663469 Michael iFlogID: 18762

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STAND-UP COMEDY WORKSHOP Have fun learning invaluable communication, presentation and humour skills from ARIA nominated Robert Grayson. 15 years experience. “Amazing! Fantastic! Liberating!” Jess Capolupo, Hot-Tomato FM. / / 0401 834 361. iFlogID: 19948


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Dubstep to Drum&bass

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19 year old guitar player looking to form Rock N’ Roll band. Influences: Guns N’ Roses, Aerosmith, The Sex Pistols. I live in Sydney-Cronulla Call tom on 0401722767.

from $299 including Hosting and email addresses!

Great backing vocals, harmonica player and percussionist.


PIANO LESSONS MELBOURNE - Friendly professional teachers with great rates. For more info call 9530 0984/ 0425 788 252 or go online at


DJ Dj available


Ph: 02 98905578

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

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small - medium events/parties

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

more info call 9530 0984/ 0425 788 252 or go online at

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High Quality gear - HD Mackie system

$25 $50 $40 $40


GUITAR LESSONS - Friendly professional teachers with great rates. For

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hey,my name is jake and am an intermediate,5 string bass player looking for progressive metal band to tour and record with.I have pro gear,live experience and full devotion.go to facebook,type in jake clyne,and have a listen to my demos.0423054360.

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

$40 hr, $30 half hr. Mature & patient. Harps for hire.

(Brisbane - Sunshine coast region)


Super Match Game are looking for an experienced drummer. Indie Rock. Currently gigging and recording first album. iFlogID: 19937

Experienced drummer with a commitment to practice and regular rehearsals required for Melbourne-based alternative rock band.

VOX SINGING ACACEMY, Australia’s voice training specialists have VOCAL TUITION & ONLINE VOCAL TUITION available at our Bayswater, StKilda, Brunswick & Dandenong studios. Info and Bookings: 1300183732 or iFlogID: 19770


Influences QOTSA, Foo Fighters, Nirvana…

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The North Melbourne Institute Of Music’s Bachelor Of Music Industry course is presenting a song festival in Fairfield dubbed Song City on Saturday 27 and Sunday 28 October. As well as performances on Saturday evening from Angie Hart, The Bedroom Philosopher, Greg Arnold, Pete Farnan, Carus Thompson and more, between 11am and 3pm they’re running a Your Song Matters workshop where aspiring songwriters will get the chance to workshop their songs with, and perform them to, established songwriters. That’s followed at 4pm by The History Of The Melbourne Song lecture. And it’s all free, though as usual, it’s advisable to reserve your place by contacting Catherine at bmiadmin@ or phone (03) 9269 8805.


If you’ve ever aspired to play like Yngwie Malmsteen or just wondered how he does what he does on a guitar, you can now go to his online guitar “school”, Relentless Shred. There are lessons on everything from simple bending to six-string arpeggios, tablatures, a guide to his tuition DVDs and a whole swag of other cool stuff exclusive to the site at


In association with the release of their new album, The Parallax II: Future Sequence, North Carolina’s Between The Buried & Me have released a collection of instructional videos for the track Telos on Loudwire, so you can check out how guitarists Dustie Waring and Paul Waggoner play their parts. Meanwhile, Modern Drummer is hosting a clip of drummer Blake Richardson doing the business. For how bass player Dan Briggs approaches his part, you have to check into the band’s official YouTube page.


Former Ozzy Osbourne/Badlands guitarist Jake E Lee is working on a new album with producer Kevin Churko, who’s also worked with Osbourne as well as Five Finger Death Punch, among others. Will & The People recorded their second album, Friends, in their 17th century barn in Berkshire, UK, using hired outboard studio equipment to record the dozen tracks over a week, recording two tracks live to half-inch tape, before taking the results to Fishmarket Studios in London to mix. Swedish death metallers Aeon recorded their latest album, Aeons Black, at Empire Studio in Östersund, Sweden. It was engineered, mixed and mastered by Ronnie Björnström of Garageland Studios. Finnish melancholic dark metal six-piece Amorphis have been recording their as-yet untitled third album at Petrax Studio in Hollola and 5K Studios in Helsinki with producer and mixing engineer Peter Tägtgren (Children Of Bodom, Immortal, Dimmu Borgir). Indianapolis metal six-piece Youngblood recorded their debut album, No Retreat, with producer Jeff Diehl (Gene Simmons, Eddie Kramer). Melbourne four-piece Strange Talk called on Tony Hoffer (Beck, The Presets, Temper Trap) to mix their debut album, Cast Away, due for release in January next year. Sydney jazz/soul/pop singer-songwriter Jo Fabro recorded her second album, Pale Blue Moon, at MVM Studios on Sydney’s Northern Beaches and Ivory Lane Studios on the NSW Central Coast with producer Ryan Hazel. Melbourne singer-songwriter Charles Baby recorded his debut album, The End Of The Terror Lights, in abandoned school halls in various parts of south Gippsland with producer J Walker (Machine Translations). Brisbane’s Art Of Sleeping recorded their forthcoming EP, Like A Thief, at Airlock Studios with producer Yanto Browning. Brisbane garage/grunge three-piece Bixby Canyon recorded their double A-side single at Incremental Records with Cam Smith (Velociraptor, DZ Deathrays), who also mixed the tracks, which were mastered by Matthew Gray. Melbourne’s 3RRR resident poet and musician, Ian Bland recorded his new album, Angel In Reverse, at Red Room, a renovated 1920s farmhouse recording facility in Macclesfield in Victoria’s Dandenong Ranges, with engineer Mark Stanley, then sent it to David Odlum to master at Studio Black Box in France. 62 • INPRESS

SPRING IN HIS STEP The idea was to make an intimate, “singer-songwritery” record, but things didn’t quite work out that way. Shane O’Donohue interrupts the mixing of Spring And Fall to get the lowdown on Paul Kelly’s first studio album in five years.


t’s a cold, miserable August day in Woolamai but the mood is jovial inside the Mill, the spacious studio in which Paul Kelly is putting the finishing touches on his 19th studio album, Spring And Fall. Kelly is in his sixth day of mixing with the studio’s owner, Andy Stewart, and Machine Translations’ Greg J Walker when this writer makes the 120 kilometre trek southeast of Melbourne for a progress report. On our arrival we find a chirpy Kelly sweeping up shards of broken glass after an unconventional (and over-enthusiastic) attempt to add percussion to a track using drinking glasses has gone awry. South Gippsland looms large over Spring And Fall’s creation: the bulk of the album was recorded in a country hall near Leongatha and a few days were spent doing overdubs at Walker’s “shed studio” in Jumbunna, before Kelly and co headed to Stewart’s studio to mix it (some overdubs were also done in Melbourne at Head Gap Studio, Preston).

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“[The hall] was Greg’s suggestion,” Kelly explains during a break. “He’s done a couple of things down there. Greg lives in Jumbunna, near Korumburra, which is not far from Leongatha, east of Poowong and Lang Lang. It’s been fun. I haven’t been down this way that much, but I always found the geography quite confusing. It’s a big area – coast beaches to coal mines and farmland.” Spring And Fall comes five years after Kelly’s last record, Stolen Apples. In that time – his longest break between albums – Kelly wrote a memoir, the acclaimed How To Make Gravy. To promote the book, he revived his A-Z tour concept, in which the singer, joined by his nephew Dan, played an alphabetically ordered setlist. (Kelly originally hit on the A-Z idea as a way to avoid playing ‘greatest hits’ gigs every night.) “Dan and I started from the premise that [Spring And Fall] was going to be an intimate, sparse record,” Kelly explains. “We’ve sort of developed this sound; [Dan’s] great at blending the intimate and the spacious I guess, he can go sort of ambient and kind of orchestral and lots of echoes and delays and stuff, or he can just sit up nice and close and play George Harrison-style. I thought it’d be good to do a record starting from this sound, with this aesthetic.”

Walker’s name was thrown into the mix as a possible producer; he was keen and available, and suggested the hall “twenty minutes up in the hills from Leongatha” as a potential recording location. Despite Kelly’s initial reluctance – he thought the building may be too big to effectively capture the “intimate, singer-songwritery” vibe he was after – Walker talked him round. Wearing thermals and beanies (“there were mittens sometimes,” Kelly admits), and with a “huge kero sort of rocket heater” blasting the room each day before recording commenced, the trio would usually work from around 10am to 9pm. “The great thing about Greg,” Kelly says, is “he can engineer and produce, arrange, and he plays – he’s a beautiful musician as well; he plays guitar, dobro, double bass, piano, strings, he can play violin – so we ended up becoming… I was saying all along, it’s not gonna be a band record, but you end up becoming this little band, a little trio. We cut a lot of the songs on double bass… Most of it was just often a couple of acoustic guitars, but maybe they would be different in some way, one would be a nylon or a 12-string or a dobro, and acoustic and a double bass. That was sort of our basic sound and we built from there.” The Kellys would use the hour-and-a-half drive down to Gippsland to get in the musical zone: Nico’s Chelsea Girl, John Cale’s Paris 1919 and Van Morrison’s Veedon Fleece were all on high rotation. “I think [Veedon Fleece is] a record that’s been a bit overlooked because of [Morrison’s more acclaimed album] Astral Weeks. It has similarities to Astral Weeks in that it’s lots of double bass… it’s a fantastic record. And of course our record doesn’t sound anything like that because I don’t sound anything like Van, but we’ve got lots of double bass on the record.” Kelly says there is always at least one or two albums he’s channelling whenever he’s in the studio. “It’s good to have a couple of touchstones, I think. Sometimes it’s just a psychological thing – it’s not like you end up making a record that sounds like that record, it just gives you a lift or inspiration or there’s something about it that you try and absorb.”


What areas of production/engineering do you specialise in? I think I cover a broad range of recording, mixing and most definitely the song construction and arrangement. I’m probably of more use to singer-songwriters who can utilise my multi-instrumental abilities to get something from scratch to finished product. Like a one-stop shop. What is your favourite kind of project to work on? I think definitely film scoring... Are there any pieces of gear you couldn’t do without? Yeah... probably a bunch of my guitars... I love them like family. I do like to have at least a P bass, a Les Paul, a Strat and a Telecaster; that covers the basic spectrum. I actually don’t need to have oodles of gear. I’m definitely not a gear junkie; it’s more about what you can achieve without all the bells and whistles for me. It’s more about the music. What song/album best represents your work? Hmmm, that’s a tricky one, as I work across many different genres. I often have people associate me with “electro pop” because of my success with Pseudo Echo, but there’s so much more. I guess the Pseuds stuff isn’t a bad set of records to make reference to me, maybe the latest few tunes from Pseudo Echo, ie Suddenly Silently and Fighting The Tide. What do you like to see from an artist or band in the studio? Commitment, faith in me. I like to see an

Spring And Fall is a song cycle, a love story from “start to finish”. Vika and Linda Bull sing harmonies on one track; Peter and Dan Luscombe provide drums and piano, respectively; Atilla and Karoline Kuti add some violin and cello; Laura Jean sings on two songs (“I just loved that last record of hers,” Kelly says. “That song So Happy It Hurts I think is just a ripper”); and Genevieve Lacey contributes recorder. Both Lacey’s involvement on Spring And Fall and the idea for the song cycle were inspired by Kelly’s work with composer James Ledger and the Australian National Academy Of Music (ANAM) on Conversations With Ghosts, an original song cycle based on the poems of Les Murray, WB Yeats, Judith Wright, Lord Alfred Tennyson and more. Kelly says the Conversations With Ghosts project helped him get the songwriting wheels turning after emerging from his book-writing period “quite rusty”... “I was feeling kind of, ‘I don’t know if I can sit down and write a song, let alone a song cycle’, so I actually started looking at poems and started picking out poems I liked, trying to put them to music and sing them. But I guess that just got me going with words and music, even though they weren’t my words, and also sort of coming at things from a more sideways fashion than I normally do. I normally don’t write the words first, I get music or melodies and sound, generally sort of get mumbled sounds to a tune and then try to get the words to fit those sounds. [To] actually start with finished words – like a Yeats poem, a Les Murray poem, things like that – then just sing them it sort of shifted something a little and once I got started doing that then I started writing some songs of my own as well.” WHO: Paul Kelly WHAT: Spring And Fall (out Friday 19 October through Universal) WHEN & WHERE: Saturday 3 November, Stories Of Me documentary screening, Hamer Hall

artist be good at what they do. I like to be impressed by great lyrics, melodies and chord progressions and an open mind. Do you have any advice for young or inexperienced artists who are heading into the studio? Have your shit together, no matter how inexperienced you are. Have some reference music, have your ideas ready and organised to be able to play them on some format, eg, CD, USB, iPhone etc. Have your lyrics printed out AND for the vocalist, KNOW your lyrics by heart, so you can “sing” them, not read them! Any words of wisdom for those wanting to become an producer/engineer/mixer? Learn your craft, practice mixing and arranging anything you can get your hands on. Listen to what professional music sounds like, understand what it is that makes pro tracks sound so good. Ask lots of questions, don’t try to be so cool and not ask questions, pretending you know everything. I learned everything I know by asking older more professional guys about things... even some younger guys too! And understanding production “trends”, doesn’t mean you have to follow them but be aware of what people are saying is “in” and “cool”. Current project? Finishing touches on the Charlie Bonnet film score.. (A quirky comedy, locally made with an international feel to it).

Inpress Issue 1246  

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

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