N O W AVA I L A B L E O N I PA D • W E D N E S DAY 2 3 JA N U A RY 2 013 • I S S U E 12 5 8 • F R E E
ALABAMA SHAKES
HIGH HIGHS H
RICHARD HAWLEY
NEIL GAIMAN
THEE OH SEES MADNESS SUNNYBOYS DJ YODA
YEAHMEG KOLACYEAH YEAHS BIG DAY ART WINNER www.themusic.com.au au
Aleka SAE Institute Graduate SAE was key to gaining an insight into the world of sound. Since then, I’ve been applying all this knowledge to my career in the music industry.
SAE INSTITUTE
INFO NIGHT Tuesday January 29TH 5pm-9pm Take a tour of our campus and get an in-depth understanding of the higher education pathways we offer, and learn about how you can start your career in the creative industries. Audio Production | Film Production Electronic Music Production | FEE-HELP available To register call: (0)3 8632 3400
/SAEInstituteMelbourne
235 Normanby Road, South Melbourne VIC 3205
3
4
5
THE SP RTING CLUB THURSDAY
Matt Glass Free in the Front Bar 6pm FRIDAY
Justin Burnasconi Free in the Front Bar 7pm SATURDAY
The Groove Syndicate Free in the Front Bar 8pm SUNDAY
Dan Watkins & Paddy Montgomery Free in the Front Bar 6pm
27 WESTON ST, BRUNSWICK Tues - Fri 4pm till Late Sat & Sun 12pm till Late
THURSDAY
RONIT GRANOT DRU CHEN
6PM 8PM
FRIDAY
SUSY BLUE SOPHIA BLACKBURN
6PM 8PM $5
SATURDAY
DAVID BRAMBLE + RHYS AUTERA + FELICITY KRIPPS 3PM $10 TRIO AGOGO 6PM SUNDAY
TANGO RUBINO 4PM CANDICE MCLEOD + ALEXIS NICOLE 8PM $10 Open...MON - SAT...from 12pm ‘til late Kitchen til 10pm SUN...from 12pm ‘til 11pm Kitchen til 9pm
Live Music Bookings wesleyannebookings@gmail.com www.wesleyanne.com.au
NEW SUMMER MENU 6
TUESDAY
OPEN MIC NIGHT
Summer Special 2 for 1 meals weekdays before 6pm $12 jugs of Boag’s and Cider OPEN FOR LUNCH FROM MIDDAY
bookings: 9482 1333
7
8
9
WEDNESDAY 23RD JANUARY
ANIMAL COLLECTIVE TICKETEK.COM.AU, PH 132849 & OUTLETS TUESDAY 5TH FEBRUARY
OF MONSTERS & MEN WEDNESDAY 6TH FEBRUARY
THE PRESETS
THURSDAY 7TH FEBRUARY
THE PRESETS
TICKETMASTER.COM.AU, PH 136100 & OUTLETS
WEDNESDAY 13TH FEBRUARY
MACKLEMORE & RYAN LEWIS TUESDAY 19TH FEBRUARY
EINSTUERZENDE NEUBAUTEN TICKETMASTER.COM.AU, PH 136100 & OUTLETS & OZTIX.COM.AU AND OUTLETS.
THURSDAY 21ST FEBRUARY
MAC MILLER
TICKETMASTER.COM.AU, PH 136100 & OUTLETS
FRIDAY 22ND FEBRUARY
MY BLOODY VALENTINE TUESDAY 26TH FEBRUARY
KYUSS LIVES! WITH RED FANG
TICKETS ON SALE THURS. 10TH JAN TICKETEKEK.COM.AU, PH: 132849 & OUTLETS AND OZTIX.COM.AU & OUTLETS.
WEDNESDAY 27TH FEB
FLOGGING MOLLY TICKETS ON SALE TICKETEK.COM.AU, PH 132849 & OUTLETS AND OZTIX.COM.AU & OUTLETS
THURSDAY 28TH FEBRUARY
BILLY TALENT / SUM 41 TICKETEK.COM.AU & OZTIX.COM.AU FRIDAY 1ST MARCH
SLAUGHTERHOUSE
WITH SCHOOLBOY Q AND FULL TOTE ODDS. TICKETMASTER.COM.AU, PH 136100 & OUTLETS
FRIDAY 5TH MARCH
FUN
TICKETMASTER.COM.AU, PH 136100 & OUTLETS
WEDNESDAY 6TH MARCH
THE OFFSPRING SUNDAY 10TH MARCH
PRESIDENTS OF THE UNITED STATES OF AMERICA TICKETEK.COM.AU, PH 132849 & OUTLETS, OZTIX.COM.AU & OUTLETS.
THURSDAY 14TH MARCH
OPETH
TICKETS ON SALE TICKETEK.COM.AU, PH 132849 & OUTLETS ALSO OZTIX.COM.AU & OUTLETS.
FRIDAY 29TH MARCH
HITS & PITS
MAD CADDIES/GOOD RIDDANCE/WILLEM SCREAM/VOODOO GLOW SKULLS/ THE FLATLINERS/DIESEL BOY/ ONE DOLLAR SHORT AND MORE ON SALE 1ST NOV TICKETEK.COM.AU, PH 132849 & OUTLETS
THURSDAY 11TH APRIL
PUBLIC IMAGE LTD. ON SALE TICKETEK.COM.AU, PH 132849 & OUTLETS FRIDAY 19TH APRIL
EXTREME
WITH SPECIAL GUEST RICHIE KOTZEN ON SALE TICKETMASTER.COM.AU.
SUNDAY 21ST APRIL
COHEED & CAMBRIA TICKETEK.COM.AU, PH: 132849 & OUTLETS SUNDAY 5TH MAY
HAPPY MONDAYS ON SALE TICKETEK.COM.AU, PH 132849 &
OUTLETS ALSO OZTIX.COM.AU & OUTLETS
FRIDAY 17TH MAY
DEFTONES
SATURDAY 18TH MAY
DEFTONES
20 - 30 BOURKE ST CITY - 9650 0180
WWW.PALACE.COM.AU 10
3!4 *!. !USTRALIA $AY ./24(#/4% 3/#)!, #,5"
WITH RIVER OF SNAKES, ASCETIC AND DEAD RIVER
4)#+%43 "& s $//23 0-
11
THE INDUSTRY THE LO E DJS THE GIGS THE P ISSUE 1258 THE ARTISTS THE FES THE TOURS THEMUSIC DUSTRY THE LOCALS T IGS THE PRODUCERS HE FESTIVALS THE GRO NS THE BANDS THE IN NCORES THE DJS THE HE REMIXES THE ARTIS DUB FX E ALBUMS THE TOURS INPRESS Y THE LOCALS THE BL S YOUR DAILY SPA TH THE INDUSTRY THE LO E DJS THE GIGS THE P THE ARTISTS THE FES DUSTRY THE LOCALS T IGS THE PRODUCERS HE FESTIVALS THE GR NS THE BANDS THE IN NCORES THE DJS THE FRONT ROW
W E D N E S D AY 2 3 J A N U A R Y 2 0 1 3
14
16 18
20 22
23 24
26 27 28
29
30
33 33
BRUNSWICK
SATURDAY ARVO RESIDENCY
Foreword Line brings you all the latest tour announcements Moves and shakes with Industry News See Big Day Art runner-ups and learn how to behave in a crowd at Big Day Out while watching Alabama Shakes Thee Oh Sees are Australian bogans at heart Richard Hawley, the sometime/ part-time guitarist with Pulp Still Alone With You (Toni-i-ight!) are Sunnyboys OFF! enjoy their musical second wind and electronic chameleon Nathan Fake chases multicoloured serpents It’s high time Grey Ghost took our Taste Test Plan your Big Day Out with the map and times Mount Eerie shift nature and Claude VonStroke was a high school rapper High Highs send us dream catchers, DJ Yoda digs tracks and flicks, Dub FX says “Go fuck yourself” and Guy J’s ‘J’ is short for Judah On The Record rates new releases from A$AP Rocky and Lowrider
Check out what’s happening This Week In Arts and in this weeks Art Or Not? We chat to Neil Gaiman at MoFo just before his talk at The Wheelers Centre and Tony Scott levels with us about Gasworks Backyard Cinema
SATURDAYS 5, 12, 19 & 26 January. Lyrical gewnius Chuck Jenkins plays four big arvo sessions with various members of the Zhivagos. Get down to a least one of these shows ... you’d be mad if you didn’t. 5pm
Group Managing Editor Andrew Mast Editor Bryget Chrisfield music@inpress.com.au Assistant Editor Samson McDougall Editorial Assistant Stephanie Liew Arts Coordinator Cassandra Fumi frontrow@inpress.com.au Staff Writer Michael Smith sales@inpress.com.au National Sales & Marketing Director Leigh Treweek National Sales Manager – Print Nick Lynagh Account Manager Anna Moull Account Manager Okan Husnu
King Bee Biscuit R’n’B, garage, and soul band led by Matty Vehl (the Zhivagos). 5pm
THE UNION HOTEL
BRUNSWICK 109 UNION ST, BRUNSWICK 9388 2235
12 • To check out the mags online go to themusic.com.au/mags
BACK TO INPRESS 36 36 39 39 39 39 40 40 40 40 41 45 47 47 48 53 54
Gig Of The Week hearts Tasmanian bushfire benefits LIVE:Reviews Sugar Mountain and then some Sarah Petchell will Wake The Dead with her punk and hardcore talk The freshest in urban news with OG Flavas Dan Condon talks blues and roots in Roots Down Heavy shit with Adamantium Wolf Pop culture therapy with The Breakdown Hip hop with Intelligible Flow Tales from the Big Apple with New York Conversation Funky shit with The Get Down Our ‘Straya Day feature tells ya where to go. Mate. The best Live gigs of the week and Sorted For EPs If you haven’t appeared in Fred Negro’s Pub, your mother probably still speaks to you Jeff Jenkins gets down and local in Howzat! Our Gig Guide fills your diary for the weekend Find your new band and just about everything else in our classy Classifieds Gear and tech talk in Muso
McMahon, Luke Monks, Fred Negro, Mark Neilsen, Danielle O’Donohue, Matt O’Neill, James Parker, Paul Ransom, Dylan Stewart, Izzy Tolhurst, Nic Toupee, Rob Townsend, Dominique Wall, Doug Wallen.
PHOTOGRAPHERS Senior Contributor Kane Hibberd Jesse Booher, Andrew Briscoe, Chrissie Francis, Jay Hynes, Lou Lou Nutt, Heidi Takla, Elaine Reyes.
INTERNS Jan Wisniewski
EDITORIAL POLICY The opinions expressed in this publication are not necessarily those of the publishers. No part may be reproduced without the consent of the copyright holder. By submitting letters to us for publication, you agree that we may edit the letter for legal, space or other reasons. ©
DEADLINES
DESIGN & LAYOUT artroom@inpress.com.au Art Direction Matt Davis Layout Matt Davis, Nicholas Hopkins, Eamon Stewart
ACCOUNTS & ADMINISTRATION
Sunday 27 January
35
EDITORIAL
ADVERTISING
your heels to this upbeat gospel, blues, country powerhouse. 9pm
34
This week we review MoFo and Sugar Mountain Arts as well as starting new segment Watching GIRLS and Bob Baker Fish’s Fragmented Fish Cultural Cringe gets into the Midsumma Festival and May Jasper lets us into the process of creating her one-woman show Not A Very Good Show
Hold on to your hats folks ‘cause we’ve got a Yeasayer prize pack that includes autographed vinyl, a CD and double pass to their show at the Hi-Fi on Wednesday 6 February! We’ve also got a double to see Dub FX at the Hi-Fi this Friday.
CREDITS
The Prayerbabies Woohoo, they’re back! Kick up
34
GIVEAWAYS GALORE!
Chuck Jenkins & the Zhivagos
SATURDAY 26 January
29
accounts@streetpress.com.au Reception Kathleen Dray Accounts Receivable Anita D’Angelo
CONTRIBUTORS Senior Contributors Jeff Jenkins Overseas Contributors Tom Hawking (US), James McGalliard (UK), Sasha Perera (UK). Writers Nick Argyriou, Aleksia Barron, Atticus Bastow, Steve Bell, Sarah Braybrooke, Luke Carter, Anthony Carew, Rebecca Cook, Adam Curley, Cyclone, Guy Davis, Liza Dezfouli, Dan Condon, Simon Eales, Guido Farnell, Sam Fell, Bob Baker Fish, Warwick Goodman, Cameron Grace, Chris Hayden, Andrew Hazel, Brendan Hitchens, Ching Pei Khoo, Kate Kingsmill, Baz McAlister, Tony
Editorial Friday 5pm Advertising Bookings Friday 5pm Advertising Artwork Monday 5pm General Inquiries info@inpress.com.au (no attachments) Accounts/Administration accounts@streetpress.com.au Gig Guide gigguide@inpress.com.au Distribution distro@inpress.com.au Office Hours 9am to 5.30pm Monday to Friday
PUBLISHER 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
PRINTED BY Rural Press Victoria
13
FOREWORD LINE
NEWS FROM THE FRONT
AN ELEPHANT IN THE ROOM In just three years, Sydney three-piece “circus prog” outfit Elephant have toured extensively, promoting their debut album e – a hard hitting rock approach to bass, drums and synthesiser. In their follow-up album L, the band announce a more melodic and experimental approach to their music. See them live at Public Bar on Friday 15 February and Lyrebird Lounge on Saturday 16.
INPRESS PRESENTS
WEDNESDAY 23 JANUARY
RESIDENCY
MOTION PICTURES MATT GLASS TANE EMIA-MOORE ENTRY $5, 8.30PM
THURSDAY 24 JANUARY
ADAMNOTEVE STRAYA DAY PARTY
THE BELLIGERENTS (QLD) NEIGHBOURHOOD YOUTH DRAKE THE FAKE – SINGLE LAUNCH (QLD) SINGLES SEVEN YEAR ITCH THE RED LIGHT DJS
UNDERGROUND SUMMER Inspired by the amount of local talent and frustrated with the lack of opportunity to showcase it, VCA-trained, nationally renowned dancer and choreographer Paul Malek founded UNDERGROUND at Revolt Artspace. The event, which played to packed houses at Revolt Artspace throughout 2012, is a showcase that harnesses the energy of a nightclub with a creative edge: an 18-act, style bending showcase of Melbourne’s best dancer’s choreographers, DJs and performers. The UNDERGROUND series kicks off on Saturday 2 February with a lineup featuring the dance and choreographic stylings of Paul Malek, Adrian Ricks, Loredo Malcolm, Michael Ralph and Kim Adam with vocals from Amy Lehpamer. Scene legend Sid Mathur is MC and DJ ADM, fresh from his packed out Tokyo Salon residency Fucking Friday, will be on decks for the night.
A PVTL EVOLUTION
XX II
ENTRY $15 DOOR, $10 THRU MOSHTIX, 8.30PM
PVT are set to return with their highly anticipated fourth studio album, Homosapien, out Friday 8 February. A gruelling worldwide tour schedule across Europe, the US and Australia on recent tours with Bloc Party, Menomena and Gotye has seen them further hone their craft. Celebrating their album release with their first headline shows at home for more than two years, PVT will be playing at the Corner on Saturday 23 March with special guests Collarbones.
Tickets to The xx’s initial Sydney and Melbourne shows sold out within 15 minutes after going on sale to the general public. Due to the unprecedented demand, additional dates in both cities have been added, with tickets on sale now. The xx will be bringing their minimalist, melancholic and emotive music to Melbourne a second night on Friday 5 April at Festival Hall. If you missed out the first time, get in quick to ensure it doesn’t happen again.
SATURDAY 26 JANUARY
A SECOND BURIAL
DOING WHAT WE DO
ENTRY $12, 8PM $2.50 POTS, $5 VODKAS!
FRIDAY 25 JANUARY
JUSTICE & KAOS RY GMC & NATURE BOY OSO
SORRY/AUSTRALIA DAY
THE HARPOONS
BROTHERS HAND MIRROR BANOFFEE BAD BLOCK DJS/LATE NIGHT PARTY SET ENTRY $12 DOOR, 8.30PM
SUNDAY 27 DECEMBER
CHILL WACK LAUNCH
LANDS CHILD WILLOW DARLING + 8 MORE ACTS ENTRY $10, 1PM
MONDAY 28 DECEMBER
DUEL RESIDENCY – FINAL NIGHT
THE VAUDEVILLE SMASH SEX ON TOAST BAD BLOCKS
ENTRY $6, 8.30PM
TUESDAY 29 DECEMBER
RESIDENCY
EL MOTH ECHO DRAMA
NYC’s A Place To Bury Strangers create lush, dense layers of atmospheric and harmonious noise that best resembles the likes of The Jesus & Mary Chain, My Bloody Valentine, Suicide, The Velvet Underground and various other genre-defying cult artists. Returning to Australian shores in support of their third album, Worship, APTBS just played to rapturous fans at the Corner and will play an Australia Day encore show this Saturday at the Northcote Social Club with support from Dead River, Ascetic and River Of Snakes.
The Sunny Cowgirls are hitting the road to promote their new album, What We Do. Kicking off with the official album launch at the Tamworth Country Music Festival, the What We Do tour will stop off at Hallam Hotel on Wednesday 13 March, Commercial Hotel (South Morang) on Thursday 14, Gateway Hotel (Corio) on Friday 15, Terang Country Music Festival on Saturday 16 and Italian-Australian Club (Morwell) on Thursday 21.
WHAT’S COOKIN’ Support acts for Elizabeth Cook’s headline shows have been announced. The Sideshow Brides will be warming up the stage at the Northcote Social Club show on Friday 1 February, and Justin Townes Earle and Robert Ellis are special guests for the Corner shows on Sunday 3 (two sets - from 1.30pm and 8pm). Cook is in the country for the 2013 Tamworth Country Music Festival.
TJR OMG IKR TJR, the newest addition to the Three Six Zero group management roster (Calvin Harris, Nero, DeadMau5) has built a formidable catalog of remixes and original records since 2008. His latest single, Don’t Stop The Party, is a collaboration with Pitbull. Head to Royal Melbourne Hotel on Friday 15 February to check him out.
STOP & RESIGN The Resignators have been a staple in the Australian diet for the past seven years with high energy ska and punk releases including Offbeat Feeling, Time Decays and their most recent release, 2010’s See You In Hell. This March, The Resignators release their latest offering, Down In Flames. They play at the Loft (Warrnambool) on Friday 22 March, Bridge Hotel (Castlemaine) on Saturday 23, Workers Club on Thursday 28, Pow (Werribee) on Friday 29 and Dooley’s (Daylesford) on Sunday 31. Their pals Jobstopper will be supporting at all shows except Warrnambool and Castlemaine.
CRITICAL MAGNETS Legendary American hip hop group Ultramagnetic MCs are set to play the Espy Front Bar on Saturday 9 February. Established in the Bronx, New York, by Kool Keith in 1984, Ultramagnetic MCs’ 1988 debut album Critical Beatdown is considered to be one of the great albums from the ‘golden age’ of hip hop. After almost 30 years in existence and with an extensive catalogue of releases to their name, Kool Keith, TR Love and Ced Gee are now making their first trip to Australian shores.
LOOKING THROUGH THE JENS
A STONE’S THROW Seattle soul singer Allen Stone will be touring Australia for the first time in March. Combining socially-charged lyrics, R&B vocals with a dash of southern soul all set against a backdrop of uplifting horns and driving keyboards, Stone has drawn comparisons to Stevie Wonder, Marvin Gaye, Prince, Donny Hathaway and Bill Withers. He’s also appeared on Ellen, the Late Show With David Letterman, Jimmy Kimmel Live and Last Call With Carson Daly just to name a few. See him live at the Northcote Social Club on Thursday 28 March.
Singer and storyteller Jens Lekman brings his gorgeous world of witty pop back to Australia for the first time in as long as we remember. Lekman is pleased to reveal Courtney Barnett as the special guest at his Garden Party performance on Friday 15 February. Barnett charmingly blends garage scaling country, blues and slacker pop with deadpan and melody in equal measure. Evoking cinema and suburbia across her dream-like second album, To The Dollhouse, Melodie Nelson also joins the Garden Party line-up.
KOOYEH ENTRY $2, 8.30PM
FACEBOOK.COM/THEWORKERSCLUB INSTAGRAM @THEWORKERSCLUB TWITTER.COM/THEWORKERSCLUB TICKETS FROM THEWORKERSCLUB.COM.AU
COMING UP
TIX AVAILABLE THRU MOSHTIX: THE VAUDEVILLE SMASH (MONDAYS IN JANUARY) EL MOTH (TUESDAYS IN JANUARY) MOTION PICTURES (WEDNESDAYS IN JANUARY) OH, SLEEPER - USA (FEB 7) PLUDO (FEB 8) MASSIVE – ALBUM LAUNCH (FEB 9) RACHEL BY THE STREAM – EP LAUNCH (FEB 14) SQUARE SOUNDS FESTIVAL (FEB 15 + 16) DIAMOND – RETURN SHOW (FEB 21) XENOGRAFT/KETTLESPIDER/BEAR THE MAMMOT – SPLIT EP LAUNCH (MAR 16) DEMON HUNTER + I, A BREATHER – USA (MAR 30)
WED IN JANUARY RESIDENCY
MADRE MONTE
SUN 27 JAN (AUSTRALIA DAY PUBLIC HOLIDAY EVE)
CAMBUR PINTON (23 JAN) JUDGE PINO & THE RULING MOTIONS (30 JAN)
ALLDAY
THU 24 JAN
TUESDAYS IN JANUARY RESIDENCY
THE ANIMATORS
JACKIE ONASSIS (SYD) PEEZO
TAG @THEWORKERSCLUB ON INSTAGRAM DURING JAN TO WIN FEB GOLDEN TICKET -A DOUBLE PASS TO EVERY SHOW IN FEB -$40 FOOD & DRINK VOUCHER SUN 3 FEB (MATINÉE SHOW)
(WA – SINGLE LAUNCH) ROSCOE JAMES IRWIN
WHITAKER
JEREMY NEALE (VELOCIRAPTOR) MANOR
SUN 10 FEB (MATINÉE SHOW) ‘TIMBER & STEEL PRESENTS’
SUN 17 FEB (MATINÉE SHOW) ‘TIMBER & STEEL PRESENTS’
SUN 24 FEB (MATINÉE SHOW)
(EP LAUNCH) EVAN & MISCHA LUCY WISE (SOLO WED 13 FEB
(LIVE CD LAUNCH)
(ALBUM LAUNCH) THE 7 UP’S - 2PM DJ CHRIS GILL (3RRR)
20, 27 FEB, 6 MAR
EVERY MONDAY!
(WEDNESDAY RESIDENCY)
LA POCOCK (28 JAN) DJ FLETCH (11 FEB)
CLARE BOWDITCH
(EP LAUNCH) GOSSAMER PRIDE DAN KROCHMAL
(UK – LANEWAY SIDESHOW) FLASH FOREST JPC
SAT 26 JAN (AUSTRALIA DAY)
FRI 1 FEB
JAY HOAD
(VIDEO LAUNCH) LAUREN GLEZER
14 • For more news/announcements go to themusic.com.au/news
SAT 2 FEB
MR CASSIDY
(EP LAUNCH) DAVE LARKIN (SOLO) THE LONG STAND
(SYD – EP LAUNCH)
SAT 23 FEB
THU 31 JAN
LIMB
MILK TEDDY DUMB BLONDE SAT 16 FEB
FRI 25 JAN TONE DEAF PRESENT THE EVENING CAST (FUNDRAISER) FEAT
THE BATTERY KIDS ACID WESTERN SUN 27 JAN (MATINÉE SHOW) ‘TIMBER & STEEL PRESENTS’
(ALBUM LAUNCH) THE DEAD LOVE THE PRETTY LITTLES SAT 9 FEB
(USA – LANEWAY FESTIVAL SIDESHOW) TUE 5 FEB
STRINGFELLOW VOLTAIRE TWINS HAWKE (SINGLE LAUNCH) (WA) THE MCQUEENS
FRI 22 FEB
MON 4 FEB ‘MISTLETONE & LA NIGHTS’ PRESENT
BACKWOOD CREATURES CLAUDE HAY
NEIGHBOURHOOD YOUTH BUSY KINGDOM
FRI 15 FEB
STRANGERS
(VIDEO LAUNCH) SQUAREHEAD 19TH CENTURY STRONGMEN
SQUAREHEAD - 8PM (22 JAN)
FRI 8 FEB
CHASE THE SUN
NITE JEWEL
HOLY OTHER WED 6 FEB
DAN MURPHY AND HIS BOTTLES OF CONFIDENCE THU 7 FEB
DAN WEBB (ALBUM TOUR) SPENDER THE MODERNS
RUBY BOOTS
NICK & LIESL
FEELINGS
THE LITTLE STEVIES GUNG HO
JUNGAL
BUFFALO TALES
KUJO KINGS
THU 14 FEB (VALENTINES DAY) ‘THE RIPE 1ST BIRTHDAY PARTY’ FEAT.
THU 21 FEB
(SINGLE TOUR)
CITY CALM DOWN
COLLARBONES, WILLOW BEATS
DIALECTRIX
TEXTURE LIKE SUN
ULTRAVIBRALUX
LA NIGHTS
ALSO ON THE CALENDAR THU 28 FEB - TIMOTHY COGHILL PRESENTS ‘CINEMATIC’ – 9PM FRI 1 MAR - ELIZA HULL (SINGLE LAUNCH) SAT 2 MAR
15
FOREWORD LINE
NEWS FROM THE FRONT
BADLER TO THE BONE New York’s cult figure, sci-fi icon and critically acclaimed songstress of the international scene, Jane Badler is set to take her artistry and theatricality to a whole new level with a new line up of musicians and an innovative new show, set to be unveiled at the Famous Spiegeltent on Thursday 21 March. Badler will reveal some of her new songs off her forthcoming album, Diamond Crimson Blood, alongside her vast back catalogue of tunes taken from her albums The Devil Has My Back (2008) and Tears Again (2011).
I N D U S T RY N E W S W I T H S C O T T F I T Z S I M O N S frontline@streetpress.com.au
SWEET, SWEET SODA Six years after their last performance and a sweet 16 since they played their first show way back in 1997, Sodastream come together for a special weekend at the Northcote Social Club on Saturday 2 and Sunday 3 March 2012. Support comes from good friends Oliver Mann (Saturday) and Anthony Atkinson & The Running Mates (Sunday). Now with an unfinished album crying out for attention, the boys are looking forward to a busy 2013.
Peats Ridge Festival. Pic by Meg White
PEATS RIDGE FESTIVAL TO CEASE The New South Wales Peats Ridge Festival is winding up. Due to inadequate income from ticket sales and other sources, the New Year’s Eve camping festival was advised to shut down by the festival’s accountants. Peats Ridge’s Creative Director Matt Grant said, “We are in discussion with various parties about the future of the festival and will release information as soon as it becomes available. I would like to thank everybody involved in creating the 2012 Festival and for making such an extraordinary and memorable event possible.” Run by The Festival Company, the event was acclaimed for creating an atmosphere amongst punters as well as its environmental approach. The Festival Company also ran last year’s Surry Hills Community Festival. Grant told theMusic.com.au that, “The Surry Hills Neighbourhood Centre will continue to be the promoters of the Surry Hills Festival and this process in no way affects either The Surry Hills Festival or the Neighbourhood Centre”.
22-YEAR-OLD TO DRUM FOR THE MARK OF CAIN TOUR While regular stickman John Stanier is tied up with his American band Tomahawk, 22-yearold Adelaide drummer Eli Green will join The Mark Of Cain for their upcoming album tour. Green plays in South Australian screamo outfit Life Pilot and is a collaborator with Julia Henning. He’s been rehearsing with brothers John and Kim Scott throughout summer. Kicking off in March, the tour comes after the release of the long-awaited return of the seminal Australian rock outfit to the new release sheet with Songs Of The Third And Fifth.
TAME IMPALA CONTINUE BACK UP US CHARTS After landing on several end-of-year lists around the globe, Tame Impala’s Lonerism has found its way back into the charts. In US charts, the Perth band rose from 112 to 99 to re-enter the Top 100 – on initial release Lonerism peaked at nine. The album also rose to 22 in the Alternative Albums, 31 in the Rock Albums and bulleted to five in the Tastemaker Albums chart (its highest point so far there). Also still holding strong in the States are Adelaide’s Atlas Genius, their Trojans single now in its 35th week in the Alternative Songs chart, where it moves back up to four, equalling its previous peak position there. The track also bulleted to 21 in the Heatseekers Songs chart. In the new US EDM chart – Dance/Electronic Songs, Sia’s She Wolf (Falling To Pieces) collaboration with David Guetta lands at eight and Havana Brown’s former Dance/Club Play number one Big Banana is at 15. Sia’s She Wolf is also at 11 on the Dance/Mix Show Airplay chart. Perth expats Knife Party also re-enter the Dance/Electronic Albums chart with their 100% No Modern Talking EP at 34 (it previously peaked at 21 in an earlier eight-week stay) while their Rage Valley EP remains at nine after 30 weeks in the chart. In the US Top 100 singles chart, Australian pop superstar Guy Sebastian takes his top-selling local hit Battle Scars from 99 to 96 – the Lupe Fiasco collaboration peaked at 77 during a previous visit to the chart.
PRESENTED BY
COME TO MAMA
HEAD TO YOUR LOCAL Local Natives are returning to our country this May in support of their new album Hummingbird, out this Friday. Since their last visit to Australian shores, the band have headlined shows across America and Europe, opened for The National and Arcade Fire and earned slots on the bills of major festivals around the world, garnering masses of critical acclaim along the way. Catch them at the Forum on Saturday 18 May.
TO BE SHAW It’s been a wild ride for young English guitar sensation Joanne Shaw Taylor, from her discovery at age 16 by Dave Stewart of the Eurhythmics, to her recent appearance with Annie Lennox at The Queen’s Jubilee concert. In that time she’s won best female vocalist at the British Blues Awards twice, toured the globe with the likes of BB King and Joe Bonamassa and released three critically acclaimed albums including 2012’s Almost Always Never. As well as Bluesfest, she’s playing at Ruby’s Lounge (Belgrave) on Friday 15 February, the Bruthen Blues & Arts Festival at the Bruthen Inn on Saturday 16 and the Northcote Social Club on Sunday 17.
GETTING ILL Founded in 1971 by four brothers in northern Chile, Illapu became well-known for their cultivated rendering of Andean folklore and Bolivian rhythms, a fusion that later developed into the “Nueva Canción” movement. They’re coming back for their sixth Australia tour, headlining Womadelaide festival and performing at Dallas Brooks Hall on Saturday 2 March.
WORSHIP ANTHRAX TV has soap operas, literature has Shakespeare, and metal – well, metal has Anthrax. If you have an inkling about heavy metal, you’ll have heard of their meteoric rise in the ‘80s alongside the likes of Slayer, Megadeth, and Metallica. The road has not been easy but Anthrax are back with their latest album, Worship Music. Anthrax are playing a Sidewave at the Hi-Fi with Fozzy and This Is Hell on Thursday 28 February.
JUST A MOMENT Lines comprise five young Sydney ruffians who formed a band to keep out of trouble. They’re just about to release their first single, Moment, which also features two B-sides. To celebrate, they’re playing shows at Yah Yah’s on Thursday 21 February with Aircrafte and DA Calf (The Book Of Ships), the Yarra Hotel (Geelong) on Friday 22 with Lamarama and The Kite Machine and the Espy basement on Saturday 23 with Towers, Darts and Strine Singers.
SOMETHING’S BACK
The Perch Creek Family Jugband
CREEK, QUARRY, GYPSY
The St Kilda Festival, Australia’s largest free music festival, has revealed The Cat Empire as the much anticipated Festival Sunday headline act for the iconic final day of the nine-day celebration. The main stage line-up also includes While The City Sleeps, Peter Combe & The Quirky Berserkey Newspaper Mama Band, Oh Mercy, Pez, Ash Grunwald, Bluejuice and the Midnight Juggernaut DJs. The St Kilda Festival is on from Saturday 2-Sunday 10 February.
16 • For more news/announcements go to themusic.com.au/news
It’s gearing up to be a big 2013 for Something With Numbers. They just announced their first new track in five years, We Kill The Weekend, as well as their first run of live shows, hitting the east coast in mid-February. In anticipation of their forthcoming album release later this year, the band will be playing at Northcote Social Club on Friday 15 February. Showcasing tracks from the new album, Eleven Eleven, as well as old favourites, this will be the first time the band have played their own headline shows since 2009.
The five-part vocal and multi-instrumental sensations The Perch Creek Family Jugband have invited their equally fabulous friends The Quarry Mountain Dead Rats and The Bearded Gypsy Band to take part in a travelling road show called the Wooden Music Tour. The tour stops off at the Caravan Music Club on Friday 1 February and the Northcote Social Club on Saturday 2 and Sunday 3 (with Max Savage).
ACT NORMA Norma Jean are returning to our shores for the first time in over five years, bringing along with them Boston’s finest hardcore purveyors Vanna and Newcastle’s own Safe Hands. Norma Jean have continuously pushed the boundaries of heavy music, releasing a slew of seminal albums including O God, The Aftermath and The Anti Mother. They’re currently working on their sixth full-length; Australian fans will be some of the first in the world to hear new material. They play at the Corner on Sunday 5 May.
BLOC IT OUT Bloc Party have announced east coast sideshows while on tour for Future Music. Bloc Party rose to fame with their 2005 debut album Silent Alarm and continued their success with their critically acclaimed follow-up, 2007’s A Weekend In The City. They’ve also recently sold more than two million copies of their fourth album, Four (2012), which reached top three on the ARIA charts. Bloc Party play Festival Hall on Thursday 14 March.
RISE AND FALL
ST KILDA SUNDAY SURPRISE
With a foot-stomping live show that combines New Orleans-inspired bass lines with ballads of open-hearted tenderness, it’s no wonder Mama Kin’s reputation precedes her. From March until May, Mama Kin will be back on the road, playing songs from her new album The Magician’s Daughter. See her with special guest Spender at Northcote Social Club on Thursday 11 April and the Loft (Warrnambool) on Friday 12.
Author, broadcaster and radio producer Craig Schuftan presents Give It Away, the extraordinary tale of the rise and fall of alt-rock from 19901994, in words and music. A lively, literate talk on the reality boom and subsequent bust, with a soundtrack that would be like nothing you’ve ever heard before, if it didn’t all sound so damn familiar. To bring his story to life, Schuftan has assembled a collage of stolen moments – noises, voices, drums, bass and guitars – from a half-decade of music and music journalism. The event is held at the Toff on Wednesday 13 February. Entry is $10.
BREATHALYSER Bored by Washington’s apathy towards trenchant and punishing music, Black Breath emerged in 2005 to combine elements of punk and metal with doses of the garage rock of their hometown. This April, the band will make their maiden trip to Australian shores with Canberra’s I Exist coming along for the ride. Catch them at Reverence on Thursday 11 April.
TRIBUTE TO BON SCOTT Sunday 17 February marks the precise 33rd anniversary of the day revered AC/DC frontman Bon Scott tragically died at the age of just 33. The re-invented live music venue of the New West, the Yarraville Club, will pay tribute to Bon Scott with a special and exclusive live music event on Saturday 9 February, featuring many of Melbourne’s most respected artists performing a never to be repeated ‘Best of Bon Scott & AC/DC’ set-list.
YOU’VE BEEN MARKED When The Mark Of Cain presented their fifth studio LP, Songs Of The Third And Fifth, in November last year, to great reception. Adelaide-based drummer Eli Green (of screamo band Life Pilot) will join TMOC on their national album tour this March, sitting in for John Stanier who is unable to tour due to commitments with US band Tomahawk. TMOC will be appearing at Golden Plains on Sunday 10 March and also at the Hi-Fi with Blacklevel Embassy and Wicked City on Friday 15.
SMOOTH AS PB Following the release of his game-changing 1994 instrumental LP Peanut Butter Breaks, Peanut Butter Wolf found himself in demand as a producer. Lately, however, he has moved away from that side of things (save the odd remix or compilation track) to build his Stones Throw label and to travel as a DJ across numerous countries. Catch Peanut Butter Wolf, Kirkis and Condensed Milk Collective at the Espy this Thursday from 8pm. Entry is free.
NEWS FROM THE FRONT
FOREWORD LINE
THE NIGHT OF THEIR LIVES
HUNGRY LIKE THE WOLFE
Music legend Barry Gibb, of the Bee Gees, has requested that Aussie family group and finalists in The X Factor 2011 Audio Vixen support him on his Australian Mythology tour next month. Audio Vixen wrote to their idol and sent him a copy of their rendition of his song Morning Of My Life; Gibb listened to it and that was that. See them fulfill one of their dreams when they open for Gibb at the Rod Laver Arena on Tuesday 12 February.
The release of Eli Wolfe‘s new EP Perfect Moment tops off a busy 12 months for him, with concerts across Canada and Germany, releasing his second studio recording, and completing three successful national tours. He plays with his band at Wesley Anne on Thursday 11 April, Harvester Moon (Bellarine) on Friday 12 and Carolyn Theatre (Cororooke) on Saturday 13.
SEMI-ANIMALISTIC To celebrate the upcoming release of their album Partly Animals, the latest musical collaboration by Tex Napalm and Dimi Dero, the two are heading down under for the first time. They’ll be joined by Brian Henry Hooper plus some very special guests. Catch them on Thursday 21 February at the Bridge Hotel (Castlemaine) with Mike Noga & The Gents, Friday 22 at the Tote with The Stickmen, Saturday 23 at Lyrebird Lounge (Elsternwick) with Penny Ikinger solo, Brian Hooper solo and Burn In Hell, Sunday 24 at Labour In Vain, Sunday 2 March at Public Bar with Harry Howard & The NDE and Sunday 3 at Cherry Bar with Burn In Hell and Vice Grip Pussies.
OH YES, OPETH Opeth have spent over two decades steadily amassing a body of work that can only be described as epic and iconic; inventing and reinventing the rules as they go along. Their previous Australian tours have seen the sold out signs hung from venues across the country months in advance and this time will be no exception. Opeth take to the stage at the Palace on Thursday 14 March.
‘AV ONE ON US Chart-topping Swedish superstar Avicii has been added as headline act of the EDM stage at this year’s Future Music Festival. In the relatively short time since we first heard his name, Avicii has accomplished more than most artists would dream of in an entire lifetime, and at just 23 years of age he’s just getting started. Future Music Festival will be held at Randwick Racecourse on Sunday 10 March at the Flemington Racecourse.
SHE’S BACK Fresh from a busy summer season playing festivals Stereosonic, Pyramid Rock and Field Day, Van She embark on a series of headline shows this month. Supporting their latest single You’re My Rescue – taken from their sophomore album Idea Of Happiness – the band known for party good times will be hitting up the Garden Party at Southbank on Friday 8 February and Geelong’s Eureka Hotel on Saturday 9.
TOP GUNS Guns N’ Roses are coming back to Australia in March, and joining them will be special guests ZZ Top and Aussie rockers Rose Tattoo. In April 2012, Guns N’ Roses were inducted into the Rock and Roll Hall of Fame and have sold more than 100 million records worldwide since forming in 1985. Catch this triple-whammy at Sidney Myer Music Bowl on Sunday 17 March.
PERIPHERAL VISION
PULLING OUT THE BIG BRUNS Australia’s only inner city festival of folk, roots and world music, the Brunswick Music Festival, has released its full program. Some of the newly announced acts are: Dougie MacLean, Purple Dentists, Archie Roach, Meyhané Meyhané, The Cartridge Family, Finbar Furey Finbar Furey, Brunswick Women’s Choir, Mary Coughlan, Alasdair Fraser & Natalie Haas, Apodimi Compania, Sean Taylor, La Voce Della Luna and Chris Smither. The Brunswick Music Festival runs from Wednesday 13 to Sunday 24 March. For more info head to brunswickmusicfestival.com.au.
SUNSHINE ON A RAINY DAY With a knack for melody and sun-drenched ditties reminiscent of The Beach Boys and Fleetwood Mac, Rainy Day Women make bright, savvy music of the pop variety. Their forthcoming sophomore EP, titled Friends, shows a more focused Rainy Day Women. They perform at Workers Club with Split Seconds, The Red Lights and Hudson on Saturday 16 March.
Exploring the complex uncharacteristic rhythms and technical precision of math rock with the brutality of progressive metal, Periphery have defied the boundaries of conventionality. Unique in their home country of Japan, Crossfaith’s 2009 debut album The Artificial Theory For The Dramatic Beauty was the catalyst that kick-started the Japanese screamo/ metalcore scene. Catch both bands at the Espy’s Gershwin Room on Monday 25 February.
Tim Rogers
CLARKEFIELD FOR CAMBODIA The Second Annual Clarkefield Music Festival will see some of Australia’s finest musicians join forces to raise money to help assist children and their families living in poverty in Cambodia. Held at the Clarkefield Pub on Sunday 17 March from midday to 9.30pm, the festival features acts such as Tim Rogers, Mick Thomas & The Roving Commission, Sal Kimber, The Toot Toot Toots, Charles Jenkins & The Zhivagos, The Stetson Family and more.
KING OF THE LYRA Adonis Xylouris, aka Psarandonis, comes from a renowned Cretan musical family and is known as the most idiosyncratic lyra player on the island. George Xlyouris and Jim White will again join the master lyra player at Golden Plains Festival on Saturday 9 March, Theatre Royal (Castlemaine) on Thursday 21 and the Forum on Friday 22.
BRACKET IN THE DANCEHALL Bracket is a dancehall musical duo from Nigeria. Their current album, entitled Cupid, was released in September 2011 and features the likes of MI, 2face, WizKid, Banky W and a host of others. They’re performing at the Hi-Fi this Sunday with support from Fresh Money and Dust To Dust and DJs Carlos and Friday on decks.
Mark Poston
EMI EXECUTIVE QUITS
EMI executive Mark Poston, the Chairman & Senior Vice President for EMI Music Australia, quit the recently-sold major label last week. Ranked the 46th most powerful person in the music industry in AMID’s Power 50, Poston is a board member for ARIA and PPCA and is credited with successes such as Angus & Julia Stone and Empire Of The Sun. EMI will now report to Universal Music Australia’s head George Ash until a replacement is found for Poston. Upon the news of Poston’s departure, Ash said, “Mark inspired a new creative direction for EMI, encouraging innovation and breathing change into the business. His passion to integrate art, design and other creative principles with music was showcased in the EMI Art Project at the creative hub he created in Surry Hills and with the company’s consistent strike rate and successes. Mark has indicated that he wants to take some much deserved ‘time out’.”
HILLTOP’S INITIATIVE RETURNS The Hilltop Hoods and the Australian Performing Rights Association [APRA] are once again searching for one up-and-coming soul or hip hop artist to be awarded a massive $10,000 grant open to artists who have not released an album professionally as a part of the 2013 Hilltop Hoods Initiative. The grant is designed to cover album manufacture and release costs, with the winner also receiving David Vodicka and Media Arts Lawyers legal advice – which can be used for general or specific career advice – plus a prize pack from Shure Microphones. Applicants can be of any age, but it’s expected that you’ll be in the early stages of your career. Additionally, entrants must be a Australian citizens, or have been living in Australia as a legal resident for the past two consecutive years and all must be APRA members or have made an application to join APRA.
BRING ME THE HORIZON SWITCH
SCREAM BLUE MURDER Brothers Grim & The Blue Murders are hitting the road in support of a new single from their upcoming EP Roll It In. Entitled Been A While, the single is a filthy, torn, love letter to the cramped bandrooms and creaky stages of rock’n’roll-hearted venues that have propelled the band’s rampant performances into the faces of sweaty fans. Catch them at Old Bar on Friday 15 February, Bridge Hotel (Castlemaine) on Saturday 16 and a secret show on Sunday 17.
INDUSTRY NEWS WITH SCOTT FITZSIMONS frontline@streetpress.com.au
BONNIE’S BLUES Rock royalty Bonnie Raitt is a nine-time Grammy winner and is rated by Rolling Stone Magazine as one of the Top 100 Guitarists & Vocalists of all time. She’s part of the mighty Bluesfest line-up and will also play theatre sideshows. Special guest at these shows is legendary R&B diva Mavis Staples. They perform at the Arts Centre’s State Theatre on Wednesday 27 March.
Australian guitarist Jona Weinhofen has been replaced in UK-based metalcore group Bring Me The Horizon just months before the release of their next album, Sempiternal, and tour for the upcoming Soundwave festival. Following rumours on the internet, Weinhofen confirmed to theMusic.com.au that he was no longer in the band. He said, “I cannot discuss the reasons or whose decision it was just yet.” Weinhofen, who is a founding and current member of local hardcore act I Killed The Prom Queen, joined the UK outfit in 2009 after a stint with US band Bleeding Through. He added that he is committed to writing and recording a new album with Prom Queen. Bring Me The Horizon have themselves not yet commented on the split but have indicated that ex-Worship member Jordan Fish will replace the guitarist.
VANCE JOY, MAMA KIN SIGN DEALS In signing news, Melbourne singer-songwriter Vance Joy has signed with the Mushroom Group’s Liberation Music for the release of his upcoming EP God Loves When You’re Dancing, while iconic publishing house Alberts has kicked off the new year by signing the publishing of Mama Kin on a worldwide deal. Dew Process’s Create/Control label has announced the signing of Chicago outfit California Wives for the local release of their debut album next month. The stadiumrock leaning indie four-piece released their album Art History, last year, and Create/Control will offer it in Australia from late February. Exciting up-and-comer Thelma Plum has signed with the Footstomp label, a deal which will see her debut EP Rosie get a release in March. And Brisbane-based acoustic singer-songwriter D At Sea has signed a management and recording contract with Melbourne-based UNFD after building an online following with acoustic covers of hardcore songs. Real name Doyle Perez, his cover of Parkway Drive’s Carrion has attracted 678,000 views since it was posted late 2011. His first EP of original material – Unconscious – will be released Friday 8 March.
PRESENTED BY For more news/announcements go to themusic.com.au/news • 17
FESTI PEEVES
CLOSE BUT NO CIGAR Hot Chocolate lied when they belted out Every 1’s A Winner since this is definitely not the case with our annual Big Day Art competition. Meg Kolac‘s winning Yeah Yeah Yeahs entry earned her the privilege of seeing her artwork gracing this week’s Inpress cover (swell, ain’t it?), as well as four passes to the Melbourne Big Day Out plus CDs from artists on the line-up. From so close you can almost smell the festival-virgin vom to the downright cray-cray, here are some of the other entries that rocked out inboxes.
Appropriate festival behaviour should be a compulsory subject at charm school. Bryget Chrisfield sheds some light on festival don’ts ahead of this weekend’s Big Day Out. Sniffer dogs: This is one sure-fire way to make man’s best friend, man’s worst enemy. You also get told off for trying to pat them because it may throw the pooches off the scent. It’s also rumoured that ladies on their rags confuse our four-legged friends. (Perhaps load up your menstruating mate.)
CHILDISH GAMBINO BY MARK BERNARD
Queue jumpers: The old ‘pretend to look for your friends then merge and halt’ trick is getting old. Burnt losers: If you forget to apply sunscreen they will certainly give you a dollop at first aid. Punters who take toxic dumps onsite: This needs to be addressed. Toilet blocks should be designated, separating those who are busting for number ‘ones’ from those who need to drop the kids off at the pool. Any culprit who is busted accidentally slipping out a log in the wrong set of cubicles should be forced to empty the sanitary bins as punishment. In the meantime, setting fire to a couple of sheets of bog roll and throwing them into the bowl before your fingers singe tends to cut through noxious odours. Punters woke up to the ‘blame the person before you’ ruse long ago so at least take responsibility as you exit the cubicle. Tent scalers: Scaffolding/tent climbing eejits ruin it for everyone since the sound tends to be cut until said dimwits return to ground zero. Gurning freaks: We say employ a squad of uniformed Gurning Police, complete with foam batons, to patrol Boiler Room dancefloors and remove those who can’t pace themselves from positions better taken up by those who can. Toolies: It’s a free country and this is a 15+ event, but thou shalt not lech onto anyone more than a decade younger than thee particularly if thy target is gacked. Smile police: Festival-goers who think that because you don’t feel the need to look like a grinning imbecile this means you’re not enjoying yourself
RED HOT CHILI PEPPERS BY RHYS DAVIES
Sorry For Party Rocking. Pic by Josh Groom. and tell you, “Smile! It’s not that bad!” Suggested response, “It is, actually. My mate just ODed”.
who stream past in search of non-existent space then eventually set up camp on top of you.
Dreadlocks, crazy headwear or giants blocking your view: Any of the aforementioned should be mindful of obscuring sight paths when establishing a vantage point.
Snap happy slappers: Chicks who continually take self-portraits with their crew, rarely face the talent or soak up the sounds and obscure the view of those who prefer to live in the moment. And as for those brandishing iPads: these are not video cameras, ya plonkers!
Soap dodgers: Festival-goers who neglect to smother themselves in deodorant that claims to be “so effective you could skip a day” then persist in occupying close-knit spaces. Neverending opportunistic front row-seeking conga lines: Endless chains of hand-holders
CRYSTAL CASTLES BY GEORGIA ANSON
Irresponsible backpack wearers: If you choose to sport a backpack to a festival, remove it and place it on the ground between your feet rather than dancing like a gigantic snail wiping out everyone in your path.
SHAKIN’ ALL OVER THE WORLD For Heath Fogg of southern rock revivalists’ Alabama Shakes, it’s been a meteoric journey from performing with a local bar band to reeling out riffs for a breakout international touring act, writes Kristy Wandmaker. here’s something tempered and assured about Heath Fogg’s voice that instantly conjures every southern American deep fried drawling cliché to mind. It’s also saturated with sincerity and thanks for the blessings that he and his bandmates have experienced as part of Alabama Shakes, including a trip to Australia for the 2013 Big Days Out and sideshows. Just don’t mention the flights.
T
time to focus on music and songwriting and stuff, but actually it seems like we wrote more when we were working and stuff. I think that was because we would get together a few time a week and write music in the evenings after work, and now when we’re touring we’re always busy and travelling; there’s a schedule, there’s stuff pulling us in a thousand directions at once, so writing a song is sometimes hard to do.”
“Everybody’s kind of leery about the flight over there. I’ve heard different numbers thrown out, the latest I think was from LA to wherever we’re going in Australia first is like a 12-hour flight, which seems crazy to me. But I’ll definitely do it because you don’t get many opportunities to go to Australia.”
Not that Fogg is whinging. In fact he seems acutely aware of just how lucky the band have been, coming from such humble beginnings to massive festivals and unrelenting requests for endorsements and use of their music. It’s all happened so quickly that it can sometimes seem a bit unreal, the guitarist informs. “We try to be as [democratic] as possible – things don’t really work when we’re not agreeing on stuff. Brittany [Howard – vocalist] may take the majority of the lyrics, but Steve and I will write a little bit as well. Usually, things go better when she just writes the lyrics though; she can convey what she’s trying to say better than we could.
It’s a mere four years since Fogg was playing in a local covers band, looking for some other musos to help them out with shows. Now they’re travelling from Australia to South America to Japan. A story often seen as typical by outsiders looking in on the music industry, but one that came quite expectantly for the Shakes. “I was playing with another band – we were like a bar band, we weren’t really doing much. Some of the guys in the band had kids so we were just playing as much as we could, playing a bunch of David Bowie covers and T Rex, stuff like that, just having fun. We had local gig so we got Zac [Cockrell – bass] to bring in Steve [Johnson – drums] to play some shows with us and they just asked if I would help out on guitar and that’s how I got to be involved with the Shakes.
There’s more to this story
on the iPad
“I mean big picture, we’ve been fortunate,” Fogg admits. “I think that’s what a lot of bands try to do, get out there and make a living playing music. I don’t know if we were trying to do that or not, I mean I’ve always wanted to, but as a band we were just trying to play shows and definitely didn’t see this coming. It’s easier now we can actually make a living as a band. [But] you would think that would give a lot of
18 • For more interviews go to themusic.com.au/interviews
“When it comes to licensing music and stuff like that, that’s the four of us in the band [deciding whether to accept]. Usually the answer’s no, as much as we can afford. We get some funny offers that’s for sure. We got asked to have a song in a commercial for Jessica Simpson’s line of jewellery. That one we had to turn down. I mean, we’re trying to make a living so I don’t think you have to believe in every single thing you endorse, but we just had to turn that one down. She’s doing alright without us, that’s for sure.” The Shakes are doing alright themselves, with Big Day Out as well as solo sideshows on their schedule while in Australia. “I’m thankful for the big festival gigs that’s for sure,” he glows. “Sometimes I feel unnatural when I know there’s big screens and stuff like that. It seems like everything’s filmed too – there’s always cameras. I think cameras make me nervous so sometimes the big shows just feel a little unnatural, but you look out and you see 20,000 people singing, it’s one of the great thrills. “We played a festival in Belgium where I don’t know how big the crowd was, several thousand people, but they did some of the best group clapping to our
songs. It was different than your average ‘tap tap’. It was really rhythmic and made our sound better.” A challenge for all BDO goers if ever there was one. For Alabama Shakes’ sound is not easily improved on. Often drawing comparisons to The Black Keys and other ‘60s R&B revivalists, the distinct vocals from frontwoman Brittany Howard as well as the fuzz bomb riffs and catchy guitar hooks make the Shakes’ sound stand out from the pack. It’s a genre they’ve worked towards perfecting, and one they’re happy to sit within. “I like ‘60s R&B music, and I like other bands that are playing that style of music. I think what makes an R&B song is a lot of different genres of music grouped together and I think we play those other genres just as honestly, or try to play them just as honestly as we would play and R&B song. I can see why people say that, but it doesn’t bother me. When we were starting out and starting to get a little attention, we didn’t want to say we’re a classic R&B revival band, because honestly we just didn’t want Sharon Jones & The Dap Kings to hear that we were trying to steal their thunder or something like that. They’ve been really inspirational to us; we listened to their records a lot and went out of our way to not sound like them.”
While the divine Ms Jones and the Dap Kings hark back to the more polished Motown sounds, Alabama Shakes keep it grungy and gritty, sounding more like the Chicago-based Chess artists such as Howlin’ Wolf and Etta James. At least their first record does. Their coming releases promise more of the same despite the relentless touring and business of being on the road with the band trying to spend more time together just jamming. “We’ve started to make more of an effort though to do that. We’re on break now and we get together two times back at my parents garage where my dad works on antiques, we moved all the junk away and have been working on new material. That feels really good.” WHO: Alabama Shakes WHAT: Boys And Girls (Rough Trade/Remote Control) WHEN & WHERE: Thursday 24 January, The Forum; Saturday 26, Big Day Out, Flemington Racecourse
19
CASHED UP BOGANS Thee Oh Sees’ bassist Petey Dammit loves Australian meat pies so much he’s been seeking them out in the USA. He tells Samson McDougall that his fondness for the bottom of the world extends well beyond Four’N Twenties and Big Ms. retty well every time San Francisco’s Thee Oh Sees venture to this end of the world they play some apeshit festival and a bunch of shows that’ll be talked about for a long while after. They can be sneaky fuckers too; they’ll play off-the-cuff gigs in unexpected places while they’re in town. They’re not the kind of band to turn up, play the show, take the cheque and bail; they have a tendency to hang about and actually absorb a bit of what’s going on while they’re here.
P
Last visit, in early 2012, it was Melbourne’s Sugar Mountain Festival that lured them down, and they owned it. The time before that (or maybe it was the time before that?) it was Meredith, and they, along with Eddy Current Suppression Ring (you remember now) destroyed the place. They’ve played The Bruise Cruise from Miami to the Bahamas,
they’ve recently circumnavigated the USA (again) with local psych punks Total Control, they’ve played several All Tomorrow’s Parties around the globe, and now they’re headed back for Camp A Low Hum in NZ in January and Melbourne ATP, plus a Sugar Mountain satellite show and associated headline performances around the country in January and February. They seem to like it down here. It’s mutual. Bassist Petey Dammit loves it so much he’s heading down a week early to get acclimatised. Over severe beeping in the phone line from San Francisco (“We can just pretend I’m working on a hot new techno track... We could say it’s an Atari 2600,” he laughs) he says can’t wait to sink his teeth into a bit of Aussie cuisine. “I’m definitely a Four’N Twenty man,” he says, a self-professed lover of Australian Bogan culture and service-station meat pies. “I don’t know why I love [them], I just do. It’s one of the tastiest things... I did find one place that imports them and I got really excited but in my living situation I don’t really have access to an oven or microwave or anything. It’s probably good for my waistline that I don’t eat those every day, but I wish I could.” He goes on to explain his housemate occupies the kitchen area of his apartment and that he wouldn’t want the warming of pies to interrupt any potential moments of passion. As part of their last visit to Australia Thee Oh Sees partook in an Australia Day rooftop party above Melbourne’s Evelyn Hotel with local faves UV Race. It was a scorcher, UV Race’s Marcus Rechsteiner’s Aussie flag undies were way too small (or perhaps not, depending how you look at it), many ciders were consumed and the music was amazing. For Dammit, that show brings some painful memories. “I have a friend, Daniel Aranda, he works at The Sweet Life [Tattoo] there in Northcote, and I got tattooed on my throat there by him the day before Australia Day. My throat was... it was incredibly painful and that next day in the sunshine too, that whole show at the Evelyn [he sucks air and laughs].” He’s also copped a sweet ‘Cashed Up Bogan’ tattoo here by none other than Eddy Current Suppression Ring drummer Danny Young. “I should write Danny right now and try to get an appointment,” he says. Thee Oh Sees are the genuine touring outfit. They’ve also released over a dozen albums and half a dozen EPs in eight years. At the time of our conversation Dammit and cohorts are enjoying a break from their touring schedule. Despite their latest release Putrifiers II having only just dropped, they’re now busy thrashing out the bones of album number whatever. “This is our quiet time, the first time we’ve had more than a month without any shows or anything goin’ on in more than a year,” he says. “For this month, we’re going to record in December so we’re practising like four times a week and writing all new songs to have it all under our belts before we press record and put this stuff to tape.” The theory behind their prolificity is something along the lines of: those who keep moving don’t grow stagnant (though I’m sure it’s been put more succinctly than that). Their freneticism on stage and record is not something that can be turned on or off for effect. “We try to be ahead of ourselves, especially in our live shows,” he continues. “Last year in Australia we probably played a few songs that hadn’t been recorded yet, so we get ahead of ourselves by maybe an album.” Before his 2011 US tour with Thee Oh Sees, Total Control singer Dan Stewart commented that being on the road with pros like TOS would require Total Control to lift their game. At the time Stewart said, “They’re gonna be like that guy at work that will see ya every time you’re slowing down and you know you better get your shit together, you’d better work that extra bit harder. It’s good to have that person around.” When I relate this to Dammit he swears it was the other way around. “It was such a relief to play with a band that amazing because I kinda felt as if I didn’t have to work as hard,” he says. “They’d already got it down; they’d already stolen the show as far as I was concerned before we’d even take the stage. How could you follow a band like that? You’ve just gotta do what you do and hope it works out... I’d love to try and get Boomgates over here too, ‘cause that’s another amazing band.” Dammit goes on to say that beyond the music (of which he is a huge fan) he thinks the Australian punk population share a common community vibe with his home town of San Francisco. “Everybody’s friends here,” he says. “A lot of times you’ll get asked in interviews about what it’s like to play with these bands but I don’t think of them as bands, I think of them as friends. It makes me really really proud to see my friends making these amazing songs and doing these wonderful things like getting some late-night chat shows and stuff like that. [Fellow San Francisco musician] Ty [Segall]’s just been on Conan O’Brien and David Letterman over here, which is just like this huge deal.” Thee Oh Sees are back out to play All Tomorrows Parties among a whole bunch of other shows this summer. It’ll pay to keep your ear to the ground for sneaky shows as, even if you’ve seen them many times before, they always bring an honesty of performance that you’ll carry around for days afterwards. Dammit’s certainly excited. “The main guy that runs [ATP], Barry Hogan, he’s a good man and for some reason he loves our band, so he kinda puts us on the bill whenever he can... It’s a wonderful opportunity, I feel incredibly fortunate. It’s such a beautiful country and so much fun and the shows are amazing and the people are great, so any chance I get to go there I’m going to be very excited... I’m comin’ out a week early to hang out. Save a refrigerator full of VBs and Big Ms for me.” WHO: Thee Oh Sees WHAT: Putrifiers II (In The Red) WHEN & WHERE: Monday 28 January, Schoolhouse Studios; Thursday 31, The Hi-Fi; Wednesday 6 February, Barwon Club, Geelong; Saturday 16, All Tomorrow’s Parties, Westgate Entertainment Centre
20 • For more interviews go to themusic.com.au/interviews
PSYCHEDELIC CROONING Veteran UK singer-songwriter Richard Hawley tells Paul Smith he isn’t making more noise just for the attention. hilst holding down his position as sometime/part-time guitarist with Britpop veterans Pulp, Richard Hawley has also quietly been establishing himself as one of the most respected singer-songwriters in the UK. Quietly being the operative word, with his beautifully orchestrated arrangements and silky laidback vocal recreating something of a crooner of old vibe and one for which he has gained much critical acclaim across his first five solo studio albums. There was a very noticeable shift in his most recent and sixth release, Standing At The Sky’s Edge, though. Suddenly there’s some noise in his music. It’s like the antithesis of the unplugged movement as Hawley cranks it up a bit.
W
For someone who started out at a guitarist, never imagining he’d be an act
in his own right, that development was perhaps a long time coming. And despite the blaringly obvious switch in sound, he is very reluctant to analyse the way his music has changed. “I suppose I’m not qualified to judge that, I would say that that’s more your territory really, rather than mine,” he deflects. “I’m not my own critic as such, I just keep going. You don’t walk through your life backwards; that’s a golden rule of mine.” Hawley views his latest collection of songs as just an extension of what he was doing before rather than being anything radically different. As he reasons, “It’s the same man that’s making it. Guitars are my first love; it’s the instrument that I fell in love with and has been a love affair all through my life and I just felt it was something that I’d neglected quite a lot with my records. I wanted to try and create the same sort of drama if you like but without using an orchestra or any of the usual sort of things that I’ve done before – just try and do it with playing electric guitar. It sort of limits you but allows you up to experiment in a different way.” Since he is constantly writing and always thinking about the next song, Hawley says that he is unable to pinpoint a specific moment when he made that conscious decision to add a rockier element. But was there a sudden realisation things were going that way? “Yes, when I plugged a fucking guitar in and turned it up I thought, ‘There we are, this sounds good,’” he laughs. Where strings used to place some tight constraints around his music, the introduction of electric guitar has changed the dynamics of his songs in every way. “I just wanted it to get back to some real simple basics like five guys playing in the room without thinking about it too much. Most of it’s recorded live with me and the band just sat in a room playing together and it was a really enjoyable process. Not all of the record was done like that but I’d say about ninety per cent of it was. My father and my uncle were both rock guitar players and it was also something to do with that really, just trying to get back to a simple way of doing it. And you can be more adaptable as well; it’s like putting all these songs through quite a narrow aperture actually; it then brings more freeness to them.” Lyrically Hawley still thinks much of the album is pretty gentle, despite the volume being turned up. The new tone though has also lent itself to the occasional more political stance in his songs, such as the swirling psychedelic colourful tones of Down In The Woods, a song written in reaction to the Conservative government’s attempt to sell off woodland near his native Sheffield. Although it’s a different sounding outing for Hawley this time round he doesn’t think it will be that much of a surprise to his fanbase: “Anybody who’s aware of my history, no. I’ve been playing music for thirty years and I’ve been involved in noisy projects before. I think that I’m trusting that people have an open mind despite our horizons being lowered all the time by people leading us. I think that I’m trusting the human being’s ability to accept new ideas.” With the critical acclaim that Hawley’s releases have received you would probably expect him to receive greater recognition than he does. It isn’t a situation that particularly bothers him though – in fact he appears almost pleased about it. “No, I think I’m where I should be. I’ve always shunned any concept whatsoever of anything to do with celebrity; I despise it. That might have held me back in terms of what you’re talking about but I’m quite happy to just keep ploughing on. I just want to keep going and earn the right to make another record and that’s enough for me.” Indeed, he recalls that when he began his solo career he did find it difficult to suddenly be the main focus onstage rather than just being a member of a band as he was used to. Even now Hawley admits that he’s not fully comfortable with it. “Well I sort of have good and bad days with it really, I suppose,” he concedes. “I’m the guy, I’m the one who writes the songs so it kind of falls to me to be the guy that has to sing them really! Like I said, I have good and bad days with it. I’m not really your classic rock performer, spandex is not really my thing!” That resistance to being the centre of attention even extends to social media as Hawley reveals a real dislike to a particular website: “I don’t do all that fucking ArseBook shit, I can’t cope with that. That really does my head in, the pointlessness; ‘Hey, I’ve got 4,602 friends!’ Friends come round and help you move sofas, friends give you and your kid a lift to the doctors if your kid’s sick, friends cook you tea. That whole thing, I find it really fucking weird!” With his ‘take it as it comes’ attitude Hawley admits that he doesn’t even look ahead to what he may or may not be doing in the future. “It’s like Lewis Carroll said, ‘if you don’t know where you’re going then any road will take you there’! I’ll go with what happens; it’s been an interesting ride so far.” And that now finally includes a trip to Australia in his own right for his first ever tour here, something Hawley has been keen to do for a while. “I really wanted to come back, I really did. The last time I was in Australia was so long ago, I think it was ’98 and that was when I was over there with Pulp and I’ve never played on my own. I want to come to Australia to see some real friends!” WHO: Richard Hawley WHEN & WHERE: Tuesday 29 January, Forum Theatre
22 • For more interviews go to themusic.com.au/interviews
HAPPY MEN Far more than just one of the ‘80s premier live bands, Sydney outfit Sunnyboys are one of the greatest bands to ever grace an Australian stage – and now they’re back with a vengeance. Guitarist Richard Burgman takes Steve Bell through their phoenix-like return. oung Sydney outfit the Sunnyboys took the Australian rock world by storm almost from the moment they played their first gig in 1980, winning over all and sundry with their high-energy live show and seemingly endless supply of catchy, sincere and evocative songs. Looking back it seems incongruous that the original version of the band survived only a little over four years, given the lasting impression that they stamped on the local scene. When this ‘classic’ line-up pulled up stumps at the end of 1984 – largely due to the tragic onset of schizophrenia which afflicted their brilliant frontman and songwriter Jeremy Oxley, exacerbated by the band’s gruelling schedule – they left behind three albums and a string of timeless singles, and that was that.
Y
While Oxley revived the band name a couple of times in the intervening years with different players, and the original lineup toured once in 1991 behind the Plays The Best compilation, few pundits expected to see the classic Sunnyboys incarnation play live ever again, especially as Oxley’s health deteriorated even further as time passed. Then, in mid-2012, rumours began to circulate that the Sunnyboys were going to play the Hoodoo Gurus-curated Dig It Up! shindig in Sydney, and sure enough that event’s line-up was soon bolstered by the addition of an act billed as Kids In Dust – the name they occasionally used in the ‘80s when testing new material – and the Sunnyboys were back. On the day in question their return was not merely successful it was a complete and utter triumph, a packed Enmore Theatre crowd well-and-truly blown away by this incredible resurgence.
that we went out of there not owing anybody any money when we finished – we did that last tour to pay all the bills. Everything got paid off and we walked away clean. We did that because we wanted to maintain our integrity – we wanted to make sure nobody had anything negative to say about us, because we’d tried as hard as we could to make it work. If Jeremy’s ill, he’s ill – that’s beyond our control – but those things that we did have control over, we did our utmost to make sure it worked as best we could.” WHO: Sunnyboys WHEN & WHERE: Saturday 26 January, A Day On The Green, Rochford Wines, Coldstream
“Oh yeah, it was a huge buzz – it was massive!” marvels guitarist Richard Burgman of the Enmore gig. “There were people balling their eyes out, people singing every word and people with rapturous looks on their faces – the whole place was jumping up and down, it was wonderful. It was a much better response than we hoped for, and everything we could have wanted.” According to Burgman the timing was spot on to reform the original line-up – rounded out by Jeremy’s brother Peter on bass and Bil Bilson on drums – given recent turns of events. “In a manner of speaking it was easy, because [promoter and label head] Tim Pittman’s been chasing us to do a reunion for years, but Jeremy’s not been in a good place for years – years and years in fact,” he continues. “But lately that’s turned around; he got married about a year ago and his wife is a nurse and she’s just exactly the right person for him – she’s got the right temperament, she’s got the right lifestyle, she lives in the right place, she’s got the experience, she’s got a calm, steady hand and she loves him. It’s great! He’s a lucky guy! “So Pete was thinking, ‘Well, Jeremy’s in pretty good condition,’ and when Tim Pittman asked Pete [about playing at Dig It Up!], Pete asked Jeremy, thinking that maybe they could an acoustic set with just the two of them in one of the smaller rooms, maybe just half a dozen Sunnyboys songs on acoustic guitar. That would be fun, right? Just as an experiment, just to see if Jeremy wanted to do something. But Jeremy said, ‘Nah, that doesn’t sound like fun at all. But I’ll do electric!’ And Pete went, ‘Oh, okay!’ and it was on!” Jeremy Oxley in particular was in incredible form at the reunion (and subsequent shows since), and according to Burgman this was in part due to being surrounded by familiar faces. “Bil is a monster of a drummer, he really is – he’s gotten better and better and better – and he’s the bedrock of the whole thing. He’s totally in command of what he’s doing, so the rest of us can just play the song – we don’t need to worry about anything else. And that’s the lynchpin, because if I’m good and Pete’s good – because we know that Bil’s good – then Jeremy’s good, because he’s got the triangle behind him to keep him comfortable and safe, and that’s why it works so well.” The Sunnyboys’ music still sounds incredibly fresh, presumably because Oxley’s muse wasn’t tied exclusively to the present, their sound certainly different to what was happening around them in the then-thriving Sydney scene. “I think we did play different music to everyone else, ever so slightly,” Burgman ponders. “We were ‘of our time’, but I also think that we were doing things in a way that was unique to us. It wasn’t like anybody else, but if you looked closely you cloud see things in there where the influences were – you could see The Doors and The Stooges and the MC5, and Elvis Costello’s in there and The Animals and The Yardbirds, all sorts of stuff from our childhoods. Even The Allman Brothers if you look hard enough. “But one of the things I noticed when we played last time is that at the end of the day the band sounds like it does because it’s the four of us that are in it. The band sounds the way that it does because there’s a certain sound that we get when we play. You can find another guitar player to replace me and another bass player to replace Pete and another drummer to replace Bil – you can find people to do the jobs – but it really wouldn’t be the same. It wasn’t like anybody else, because the only thing we knew how to do was play like ourselves. Except for Jeremy of course – he could do anything – but the rest of us mere mortals who backed him up, we sound the way we sound because that’s the way we sound.” After setting the scene alight with their self-titled debut album in ’81, things began getting tougher for the band – under immense pressure to deliver from labels and management – and amidst Oxley’s illness and diminishing musical returns they decided to call it quits, but in a way befitting the band’s already considerable legacy. “[Jeremy] was getting ill – we didn’t know what it was but we knew something was amiss, certainly,” Burgman reflects. “It was pretty obvious. Near the end especially it was pretty obvious, but we decided that the best thing to do was to do the best we could. We made sure
For more interviews go to themusic.com.au/interviews • 23
EMBRACING THE FLOW OFF! frontman Keith Morris has done just about everything there is to do in the world of hardcore, and now he’s coming back for more. He enforces to Steve Bell about why he’s so stoked with this musical second wind. hey don’t come much more hardcore than Keith Morris. From co-founding the seminal Black Flag and snarling the vocals to their Nervous Breakdown debut EP in 1978 through to starting the equally important Circle Jerks in ’79 and staying with them up until just a couple of years ago, Morris’ manic howls have pretty much defined the genre. Now, having reached an age where nobody would begrudge him finally slowing down, he’s taken the typically contrary route and ramped things up again. A few years back he enlisted a group of highlycredentialed friends – Steven McDonald from Redd Kross, ex-Burning Brides guitarist Dimitri Coats and punk skinsman extraordinaire Mario Rubalcaba – and formed new outfit OFF!, birthed from the same spirit and intensity that has characterised his entire career.
T
There’s nothing refined or restrained about this band. It’s a handful of veteran musicians laying down the bedrock on which the dreadlocked frontman can spew forth his magic. Morris is as wise as he is wizened, but in his music he’s still angry – the righteous indignation still burning strong – and OFF!’s self-titled debut is a burst of pure energy: the sixteen songs combined don’t quite reach sixteen minutes in total. He spits and snarls throughout with the tenacity of a man half his age, and his life experience only seems to add gravitas and import to the concepts that he’s throwing out there with such youthful abandon. Morris is clearly loving this career resurgence, and doesn’t seem slightly overwhelmed by the positive critical reception and attention that the new outfit is receiving – to him it just seems a natural extension of all that’s come before. “I think this could possibly be the best band that I’ve played in,” he admits happily. “I didn’t see it coming at all. I’m a firm believer that you just do what you do and you go with it – that’s been my modus operandi from the very beginning. When I first started playing music we didn’t know what we were doing – we didn’t know that we were creating a genre of music and that it would take us where it’s taken us – the whole idea
was just, ‘Let’s just do this, we’re having fun. Let’s just see where it takes us and just go with it. Play the cards as they’re laid’. A lot of this stuff you have no control over – you can try to force certain situations and there’s certain things that you can make happen, but a lot of it happens on its own. As hippy, dippy and trippy as this sounds there’s a certain flow to the universe, and for years and years I would be the guy who would oppose the flow – I would go against it – but now I’ve just realised that you can only argue and fight and whine and complain about so much stuff and then you’ve just got to toss your arms up in the air and let it go.” The template for OFF!’s sound was always going to be pretty straightforward given the people involved, and Morris once more surrendered to fate and the designs of the universe. “We’ve been very fortunate because this has been all organic,” he continues. “We had a rehearsal, and the first rehearsal was very heavy – when I say ‘heavy’, I mean heavy in a Led Zeppelin kind of way – and I wanted it to be more hardcore and more erratic and more noisy in a Black Flag kind of way. So I was a bit disappointed in the first rehearsal, but I had my epiphany and my moment of clarity when it dawned on me that when you play with musicians of this calibre and think of all of the stuff that they’ve done – I mean Steven’s played with Sparks, he’s played with Beck, he plays in Redd Kross! Mario’s played in Rocket From The Crypt and The Black Heart Procession! His list of bands that he’s played with goes on for a mile – so when you’re playing with musicians that have the instincts that they have you don’t force things, you just let things take their course. You let these guys make the decisions that they’re going to make, because they make really good decisions – they don’t make bad decisions. I had to align myself with that fact. “And I think that we’re extremely lucky that we happen to be doing what we’re doing at the time that we’re doing it. If we’d have been doing this twenty-five years ago maybe we wouldn’t be getting the praise that we’re getting now. Maybe we’re part of a musical landscape
that’s very horizontal, and if you’re looking at a painting of a desert we’re going to bring in some redwoods, and we’re going to erect six or seven totem poles.” OFF! have been touring solidly since the album dropped and are on the verge of their second Australian sojourn in just over a year, but Morris is no stranger to hard work – in the early days of his career there was no touring circuit at all to speak of in America, and it was his bands Black Flag and Circle Jerks who along with similarly-minded acts such as Hüsker Dü and The Minutemen basically invented the DIY method of travelling around the States to play shows and gain new fans. “My touring with Black Flag was basically on weekends, we’d drive up to San Francisco every three or four months and play a couple of shows and drive back – that was my touring with Black Flag,” Morris recalls. “I didn’t really get in the van too much, not like [later Black Flag vocalist] Henry Rollins. But with the Circle Jerks we pretty much went out around the same time that Black Flag did – we’d go out for four months at a time. This was at a time when there were no all ages shows
unless someone rented a VFW hall or a Moose Lodge or somebody was smart enough at a local bar to do an early show for the kids in evening, before the alcoholics all come in and start getting drunk so the venue can pay their bills and profit from the booze sales. So if we were out for four months, thirty of the shows might have two gigs a day which was totally draining and totally debilitating and just a grind. We’d come back and be home for two weeks, and then be back on the road for another two months. We were working our asses off and we weren’t getting paid very well, some of these shows would be only pay a few hundred dollars. I wouldn’t change anything though – I could go down a whole list of things that I’d want to change but I can’t go back and change them so why would I go down a list of things that I’d want to change?” WHO: OFF! WHAT: OFF! (UNFD) WHEN & WHERE: Wednesday 23 January, Corner Hotel; Saturday 26, Big Day Out, Flemington Racecourse
EVERY WHICH WAY Electronic chameleon Nathan Fake continues to push the limits of what techno music is and refuses to be pinned down. Cyclone looks at the British producer’s ascent. athan Fake may hail from the rural village of Necton in Norfolk, but the IDM kid presaged the chillwave phenomenon with 2004’s classic neo-psychedelic tune, The Sky Was Pink.
N
The enigmatic Brit lately presented an acclaimed third album, Steam Days, led by Iceni Strings, a tribute to his native East Anglia, also home to Boudica’s ancient Iceni tribe. Now he’s returning to Australia for his first tour in nearly four years. Fake was the biggest name scheduled to appear at Victoria’s Rainbow Serpent Festival – although not necessarily into psy-trance, he’s intrigued by its being “totally outside any kind of scene” – with club dates in Perth and Sydney. “I’m just playing all stuff off the new album,” Fake advises of his live laptop show, adding that he’ll throw “a couple of old classics in there as well.” The then teenage bedroom producer, heavily into the Warp Records roster, studied music technology in Reading, and it was here, aside from making geeky friends, that he launched his career. Fake debuted with Outhouse on James Holden’s Border Community in 2003. Three years later, he offered an album, Drowning In A Sea Of Love, joining the dots between shoegaze, acid, ambient and contemporary techno, electro and progressive. Fake had a huge hit with The Sky... , expertly remixed by Holden. It was recently included in DJ Mag’s ‘Top 100 Most Important Techno Records’. Eventually Fake quit his course. “The reason why I dropped out is ‘cause I was just busy doing gigs and making records. The tutors were like, ‘Yeah, you might as well carry on doing that rather than do the course!’” Today Fake resides in London, though he’s unsure if he’ll stay there. Nevertheless, he has stuck with Border Community, only occasionally releasing music on other labels like Satoshi Tomiie’s Saw. Each of Fake’s albums has had a distinctive tone. Drowning... was sublimely melodic, fuzzy and vaporous IDM. But with 2009’s follow-up, Hard Islands, Fake went for a more abrasive – and intense – techno, the flip-side of his post-industrial sound. Gigging solidly rubbed off on his studio output. However, Fake’s latest foray is a synthesis of his divergent ideas – or a consolidation, its vibe simultaneously
24 • For more interviews go to themusic.com.au/interviews
nostalgic and modern. “Steam Days is a much broader-sounding album than the first two,” he agrees. “The first two were quite sort of bipolar, really.” As he explains it, Fake had started issuing techno 12”s, and so when it came to Drowning..., he wanted to create “mellow” music – “something non-techno”. Then Hard Islands was “a conscious move to go completely the other way.” Yet the “concept” of Steam Days was that there should be no concept and, as such, Fake considers it his “most visceral-sounding album”. “I just wrote what fell out of me.” The producer, who favours a combination of analogue and digital technology, utilised old cassette recorders to achieve Steam Days’ warm textures in a process he calls “erosion of sound”. Fake has received rave reviews for Steam Days and the album has won back those who loved the romance of Drowning... but felt Hard Islands was too radical, or austere, a departure. “I tend not to focus too much on the reviews and stuff, ‘cause you can get a bit bogged down with it, but the response has been really good. I’m dead chuffed with how it’s gone down, so that’s a bonus.” As with Denmark’s Trentemøller, Fake is an increasingly rare new era EDM album artist. And he’s committed to the format even as many of his peers privilege singles or EPs. “I think putting an album out is more of a statement these days – it’s like a milestone... People take you way more seriously if you put an album out.” Whose albums does Fake listen to? “The last couple of years I’ve been a bit off the pulse,” he confesses. “But I think my favourite album last year was Lukid, Lonely At The Top.” Typically, Fake unwinds to the “timeless” electronica of his youth – acts like Orbital (with whom he toured, coincidentally, in December) and “mid-’90s” Autechre. One of Fake’s most high-profile projects was a remix of Radiohead’s Morning Mr Magpie for their compilation TKOL RMX 1234567, Thom Yorke himself curator. “I met Thom a little while after the remix came out and he said he was really into it, so that was cool – ‘cause usually you do a remix and you might not even meet the person who you’ve remixed or you don’t get any direct feedback.” Fake has had music sync’ed for TV shows,
with You Are Here notably heard in CSI: Miami. “That was quite a funny one! I haven’t seen it, though (laughs). I have no idea how it was used in the program.” His compatriot Jon Hopkins, whose Wire he tweaked, is devoting much time to scoring films. Fake, with his cinematic beats, is “up for” similar endeavours in the future, while wary. “I know Jon quite well. He’s done a few soundtracks and it’s so much work. I think it’s so much more work than doing an album because, if you do your own music, making your own album, you can just do what you want. It’s a lot of work, but creatively you just do what you like. But making music for a film is so specific... But it seems like a really interesting challenge. It’s something I’d definitely like to try at some point.” Fake has acquired near iconic status, the emotronica of Drowning... foreshadowing the nu-gaze Washed Out, Toro Y Moi and (possibly) Summer Camp. Still, he’s apparently unaware of his influence. “I know chillwave was a thing a few years ago, but I never really delved into it. But [Drowning...] I did completely independently of knowing what was going on musically
at the time – ‘cause, like I said, I was doing techno records at that point. I just found myself making these quite mellow tunes and they all sat together really nice and then ended up being an album... I kind of moved on from that sound pretty quick after that album came out, so I haven’t really checked out any other music around that same style for ages.” He’s more enthusiastic about the UK’s post-dubstep techno wave, citing Blawan, Pariah and the revitalised Surgeon. Indeed, Fake is looking ahead. He’s currently touring “loads” (“mostly around Europe”) behind Steam Days. There could yet be another single from the LP, but Fake is already contemplating his next project. “I’m basically just working on new music now.” WHO: Nathan Fake WHEN & WHERE: Friday 25 to Monday 28 January, Rainbow Serpent Festival, Lexton
25
TASTE TEST: GREY GHOST FIRST ALBUM I BOUGHT WITH MY OWN MONEY It was Frogstomp by Silverchair. I guess it was the mid- to late-’90s. When I was younger, I was more of a visual artist – I wasn’t heavily into music yet, but I remember that the first thing that got my attention was grunge. I wonder if the cover inspired me to buy it, with the green frog on the white background. Killer record. I still love it.
THE ALBUM I’M LOVING RIGHT NOW Frank Ocean, Channel Orange. That is just an incredible album, and it’s a real grower as well. I think Frank Ocean is a really refreshing sound. He’s got such a beautiful soul voice. I think soul has had a bit of a dip in popularity – people haven’t thought soul is as cool as it used to be, so it’s nice to see someone come back and rock it. To me, he’s almost a male Amy Winehouse. Lyrically, I think both Amy and Frank Ocean are inspired by hip hop lyricists. They’ve got a certain edge about their lyricism and their poetic nature. Spiritually, they’re more rappers than soul singers, and it’s a really interesting new style.
MY FAVOURITE PARTY ALBUM For me, A Tribe Called Quest, The Love Movement. I’ve got a lot of friends who love Tribe and really don’t like that album, and it really trips me out. You know when you have those albums that just connected with you at a certain time in your life? I was in Year Nine or maybe Year Ten and I was really a new fan of A Tribe Called Quest at that time, so that album… takes me back to a time when I was kind of carefree.
MY FAVOURITE COMEDOWN ALBUM Air, Moon Safari. I love that album. It’s real nostalgic. Something that I realised about nostalgic music is that if you’re feeling happy, it can make you feel even happier, but if you’re feeling down, it can bring you even further down as well. Moon Safari, for me, is a very nostalgic-sounding record.
THE FIRST GIG I EVER ATTENDED When I was about seven or eight years old, I was a really big Prince fan. [My family] went to the Entertainment Centre in Melbourne for the Diamonds & Pearls Tour. I was obviously quite short, and me and my cousin were standing up on our seats, because everyone in front of us was taller and it was the only way we could see, especially because the people in front of us were standing up as well. We had these hecklers behind us who told us to sit down, and because we were just kids,
26 • For more interviews go to themusic.com.au/interviews
we weren’t quite old enough to stand up for ourselves – quite literally. So, we sat down and couldn’t see anything… And the next thing you know, my dad was waking me up. We’d slept through the whole gig, and I’ve never forgiven myself, because I still love Prince.
THE WEIRDEST GIG EXPERIENCE I’VE HAD Not too long ago, I played in Traralgon at the Saloon Bar. I had my full band there with me for this O-Week uni gig. We turned up a couple of hours before we were set to play, and the place was packed. It’s a big venue, so we’re talking about thousands and thousands of kids, and they all looked about 18. Every single person was dressed up in a sports outfit, because it was uni games, and they had all been drinking since about 7am. It looked like a scene out of Fear & Loathing In Las Vegas, with all these figures who were just strange and distorted and wasted. They were all dancing to pretty much the worst music I’ve ever heard in my life – all the classic club tunes – and my music is sort of hip hop and punk. Just setting up for the show was so daunting – I felt like we were on this little island, and there was just a sea of twisted sharks out there. We kicked off and we played our set, and it was pretty much the epitome of ‘not my audience’, but funnily enough, it was a really great gig. They were all ready to party, and we killed it. It was definitely very weird, that’s for damn sure.
THE BIGGEST NON-MUSICAL INFLUENCES I often feel that my biggest influences come from outside of music. I’d say someone like Michel Gondry, the director – he directs a lot of incredible film clips, like The Hardest Button To Button for The White Stripes, and he also did Eternal Sunshine Of The Spotless Mind, The Science Of Sleep and Be Kind Rewind. Whenever I see his visuals and his little creations, that inspires me a lot. Outside of music, I direct a lot of music videos – I’m going to shoot one for Pez on Monday. I guess I find when I write music, it’s almost like I see the visual as I write it. Michel Gondry is definitely a big influence for me.
and I remember having a munch on it on the way home. Yeah… Dizzee Rascal was pretty awesome.
THE BIGGEST CELEBRITY CRUSH I’VE EVER HAD Can I say someone fictional? My first big crush was on Tank Girl, but that was when she was a drawing. She was so cool – she had the sort of mohawk thing, and she was lovely, and had big boobs, and would wear this ridiculous punk outfit. They made the movie and I was a little bit disappointed, because I wasn’t as into Lori Petty. But I’m still gonna say Tank Girl was my first big celebrity crush.
THE COOLEST PERSON I’VE EVER MET
IF I COULD HANG OUT IN ANY TIME AND PLACE IN HISTORY
The first band I ever played with supported Dizzee Rascal. He was pretty damn cool – very fresh. It was a while ago, I think he was still only 18 or maybe 19 – he was real young. He’s pretty much got the coolest accent of all time – sometimes a little hard to understand, but definitely very cool. And what I remember is, I stole his wheel of brie from backstage. I was drunk and, like, staring at his wheel of brie on the platter,
I was sitting next to my auntie-in-law’s sister at a Christmas function, and those things can be kind of boring… but we got talking, and it turns out that she was in London and New York in the late-‘70s and ‘80s. She was in a partnership with her husband where they used to make incredible film clips for INXS… And she tour managed Iggy Pop. I was just fascinated by this conversation, because that right there is where I’d
want to be. If I could be in 1978 or 1979 in New York, when hip hop was beginning, literally being born in the South Bronx, and then the Bowies and the Warhols, that whole incredible new wave… If I could, I’d go back and that’s where and when I’d be, for sure.
IF I WASN’T MAKING MUSIC I think I’d have a production company covering everything music-related outside of the music itself. I would direct and write music videos and create album artwork… and I’d like to get into feature films as well, and documentary. I’m just as much a visual artist, I think, as a music artist. The thing that I love the most is creating and performing music, but I also love to create visual art, so I think that’s very much what I’d be doing. Interview by Aleksia Barron WHO: Grey Ghost WHEN & WHERE: Saturday 26 January, Australia Day Festival In The Park, Dandenong Park
27
ATM
GETTING HOME FROM MELBOURNE BIG DAY OUT: TRAINS: EXIT AT GATE #6 - RAILWAY ENTRANCE FOR BIG DAY OUT TRAINS AT FLEMINGTON RACECOURSE STATION. WE STRONGLY RECOMMEND YOU TRAVEL HOME BY TRAIN. TRAINS FROM RACECOURSE STATION LEAVE EVERY 4 MINUTES UNTIL 11:30PM. THERE WILL BE ENOUGH TRAINS FOR EVERYONE. STAY ON THE PLATFORMS, ANY PERSON ENTERING PROHIBITED AREAS OF RAILWAY PROPERTY WILL BE ARRESTED & PROSECUTED. TRAMS: EXIT AT GATE #1 - MAIN GATE, FOR NEAREST TRAM STOP, (NUMBER 30) ON EPSOM ROAD FOR TRAMS TO CITY, #56 & #57 - TRAM RUNNING EVERY 5 MINS UNTIL 11:30PM. TAXI / PARENT PICK UP: ON EPSOM ROAD, NEAR MEMBERS DRIVE. CUBATRON
LOST IN SPACE After releasing two critically acclaimed albums in 2012, Mount Eerie are coming back to Australia to show off the new tracks. Phil Elverum talks to Sky Kirkham about the shifting nature of creation. hil Elverum’s output, across The Microphones and, more recently, Mount Eerie, has seemed a work of exploration. Lo-fi rock clashes into ambient, soft folk makes way and black metal rises. Now on his latest releases, a pair of linked albums (Clear Moon and Ocean Roar), Elverum’s voice often floats in a sea of droning ambience. Softly spoken and thoughtful, Elverum explains that he doesn’t view this as a new element of the project, but something that he’s been playing with since he first began creating.
P
“I was listening to some older stuff of mine recently, and I noticed those things in there,” he reflects. “And I’d forgotten that they were there before. Stuff from like ten-to-twelve years ago, that I was making in high school even. In fact, the first recordings that I did were more just drone-distortion experiments, not even songs really. And so I think that that element has always been there, even before I knew that it was called anything or knew that black metal was a thing. And so I think I gravitated towards listening to some of that music and being more overt about those influences recently, just because I found out about it, but I’ve always been interested in those extreme musical techniques.” A seriously hands-on musician, Elverum records the tracks himself, releases all of his work on his own label, designs covers for his LPs and has created the video to accompany latest album title track Ocean Roar. It’s a lot of different creative outlets, but he says he doesn’t feel separation between them. “I don’t really draw distinctions, very much, between them. I’m always working on something and it’s all part of one big project. There are some things that I do that aren’t part of that project, like I draw some stupid joke comics that I don’t really view as being part of Mount Eerie, but essentially it is, because it’s still just me, the weird stuff that comes out of my brain. I guess I’m just following the creativity…” Elverum pauses and laughs gently at the last statement. “I sound super-hippy when I talk about it like this, but it’s true. I feel creative and I make things.”
Mount Eerie songs in the live realm continue that feeling of experimentation, as they shift from their album forms into something wholly different. “It happens organically,” Elverum reflects. “It’s a goal of mine to have it be different every time [and] to let the song inhabit many forms. I don’t want to learn the song the way it is on the album and get it really tight and play it that way over and over. That seems kind of like killing it to me.” The Australian tour will see yet again another version of the songs as the band is left behind and Elverum interprets his music as a solo musician. “It depends on the room and the people and the weather and the feeling of everyone in the room,” he says. “I try and pay attention to all those factors and make the performance more of an interactive living thing, rather than just a recital of something that I’ve practiced. Also, I play shows in rooms that aren’t that big, so it’s intimate, I’m able to hear what people are saying, or texting, or what conversation they’re having over there on the side of the room. It’s all part of it. When I’m singing on a stage, I feel like I’m trying to communicate, just in a weird way. By singing and playing music I’m trying to get an idea across. And so it seems like once I can’t see the person in the back of the room, once they’re beyond fifty feet away or something, it’s difficult to effectively communicate. Not that I’ve played that many huge shows, but it’s just not appealing to me. WHO: Mount Eerie WHAT: Clear Moon/Ocean Roar (P.W. Elverum & Sun. Ltd) WHEN & WHERE: Saturday 26 January, The Toff In Town
JACK OF ALL TRADES Barclay Crenshaw, aka Claude VonStroke, traded life as a high school rapper, complete with backing dancers, for a (relatively) more sedate existence as a DJ/ producer. Cyclone gets the skinny on what the fuck he was thinking. laude VonStroke (aka Barclay Crenshaw) is associated with San Francisco, but the tech-house DJ/producer originates from suburban Detroit and started out as a rapper. “Nothing ever happened,” Crenshaw claims of his hip hop moves at a Connecticut boarding school. “I did a whole album and I had dancers and everything in high school. It was really fun, but it didn’t really go past that.” He had dancers? “I did! I had the whole thing going on. I did a big concert. We rapped about going to class and stuff – it was ridiculous,” he laughs. At any rate, Crenshaw learnt the rudiments of making music. “It was the beginning of my production skills.” And he discovered electronica.
C
Crenshaw eventually left Detroit for Los Angeles to pursue a career in the movies (he has an IMDb credit as production assistant on George Clooney’s Batman & Robin). He wound up in San Francisco. Crenshaw was inspired to again focus on music after directing the documentary, Intellect: Techno House Progressive. He was briefly into drum‘n’bass. The DJ threw outdoor house parties with friends in SF. In 2005 he founded Dirtybird Records, fostering tougher sounds than other local labels. Crenshaw presented an album, Beware Of The Bird, on the back of 2005’s breakout hit, Deep Throat. Crucially, he bucked the intellectualism – and purism – of Detroit techno, being all about fun. Nonetheless, Crenshaw impressed Richie Hawtin with his Who’s Afraid Of Detroit?. He’d mix a Fabric volume. Crenshaw is working towards a third album for release in the US autumn. “I’m doing it right now,” he says. Crenshaw has stayed loyal to house and techno, but lately he’s introduced a bass element. He is an instinctive DJ. “I’m always trying to stay on top of everything but, really, I just find records that I like. I guess my taste changes over the years, but it’s always just, ‘Do I like this record – will I play this record?’ That’s what it comes down to, so it’s hard to say exactly what’s
28 • For more interviews go to themusic.com.au/interviews
making me change.” He still listens to hip hop. “I don’t follow it as closely as I used to – it’s kind of the same as drum‘n’bass. I used to be really into drum‘n’bass, and I still follow it a little, but I can’t be into everything all the time. But I like a lot of stuff that’s out – some of the weirder stuff appeals to me, like MF Doom and Shabazz Palaces... But I like everything. I like even some pop stuff.” Crenshaw’s ties to Detroit remain strong. “My parents still live there and I go back multiple times a year. I always make a really concerted effort to play in Detroit at least three times a year. I also really prepare for the Detroit festival [Movement] set more than I prepare for anything else – ever. So it is still important to me. There’s something about going home – to where you came from – and playing. You never know, I might end up back there! I get so much support from Detroit that it’s amazing, even though I left so long ago.” Crenshaw is embarking on an Australia Day weekend tour with Dirtybird posse members Justin Martin and J Phlip. “I’m pretty much doing a club tour this time around, which I don’t always do, so that’s kinda nice, actually – ‘cause I’m usually on some big festival and now I’m gonna do a few club dates instead. It’ll probably sound a little bit more like that – more intimate and maybe not as bashing.” He’s reticent about whether fresh LP material will be played. “I probably will try to sneak in some stuff here and there to just test it out and see how it’s going, but it won’t be finished.” Beyond that, Crenshaw has remixed his cohort Martin (he raves about his 2012 album, Ghettos & Gardens). And he talks up a new Dirtybird comp, The Dirtybird Players Club. “I have another track on that that’s almost like a dubsteppy track – kind of.” Keep ‘em guessing. WHO: Claude VonStroke WHEN & WHERE: Friday 25 January, Brown Alley
UP IN THE CLOUDS
‘REALITY’ BITES
Brooklyn-via-Sydney duo High Highs are committed to making something, “pure and honest and dreamy”, as the man responsible for the duo’s textures, Oli Chang, explains to Anthony Carew. igh Highs’ debut, Open Season, is an album of cresting, cloudy, hazy dream-pop, in which Jack Milas’s slightly-wonky falsetto rings out amid endless echo. The songs sound like the indie jangle of Wild Nothing (who they’ve covered) taken to a desolate place, and in a Bon Iver-crashes-the-Grammys era, it feels like a hushed, hesitant record already anticipating success.
H
“It’s been a long while coming,” says Oli Chang, who plays keyboards and commands electronics, essentially functioning as the producer to Milas’s guitar-strummin’ songwriter. “Including all the shit high school efforts, it’s like the sixth or seventh album I’ve done. So it is your debut record, but it isn’t, in another way.” Chang’s history is long on music and wanderings. He spent his first eight years in Sydney before rooting in Bali, Bangladesh, Thailand, Pakistan and Singapore over the next 11. He returned to Sydney to go to school, realised his musical references were different to his classmates (“People will say something like ‘that sounds like Pink Floyd’, one of those big Western touchstones, and I’ve never actually heard Pink Floyd”), experienced a kind of cultural assimilation (“I guess I’m more Australian than anything else”), and started playing “dancey” electronic music in Ubin and the Theatre Of Disco. Chang met Milas when the two were working at the same music production company in Sydney, and was drawn to the sad, acoustic music he was making, thus High Highs was born, essentially as a marriage between simple songs and vast atmospherics. “We recorded early versions of the songs in Sydney and did one or two stripped-back, really negligible shows,” Chang recounts. “We only really started to do it seriously when we arrived in New York a few years ago.” They moved to Williamsburg in late-’09 for strictly careerist reasons. “It’s hard to make a real career out of music in Australia, so we decided to come here to have more scope,” Chang says. The pair scored
To those who suggest to Ben Stanford (aka Dub FX) he should try a ‘reality’ talent show, he says this: “Go fuck yourself”. Benny Doyle gets the lowdown on the man and his mouth.
full-time production jobs, which allowed High Highs to progress at a natural, gradual pace in a city that was, at first, oblivious to their existence. “It’s easy to feel really insignificant here because it’s such a big place and there’s so much going on,” Chang says. “But that same vastness can be really liberating, too, because you’re aware that you’re really just doing what you’re doing for yourself, and you can just get right to the core of what you actually want to do as an artist.” And what High Highs want to do is make something determinedly “dreamscapey”, with its long, lingering notes suggesting a “minimal-yet-expansive” sound design. “We conceive it as music that we’re writing to fill a physically large space; a church or a cave or a canyon,” Chang says. “If you take something like Bach or Autechre, something that has all these very fast and precise sounds moving all over the place, and then played that in a big space, all those precise notes would start bumping into one another and it’d become a big mess. That informs how we approach our music. It’s not short, percussive music with hard, precise sounds; the melodies are long, melodic notes bleed into the next phrases, there’s a lot of reverb on all the parts.” And do High Highs ever get to fill physically large spaces? Have they been booked for a run of shows in caves? “Sadly, no,” Chang sighs. “It’s really rare that we actually get to play a large acoustic space. Only occasionally does it happen, so we always just have to tell the sound guy to put as much reverb on everything as possible.” WHO: High Highs WHAT: Open Season (Fine Time/Sony) WHEN & WHERE: Wednesday 30 January, Toff In Town; Sunday 3 February, Laneway Festival, Footscray Community Arts Centre
A JEDI HE WILL BE
or the first 17 years of his life, Ben Stanford merely used his voice like the rest of us; to converse, laugh, maybe yell a bit. Then he discovered there were songs to be brought to life. But the Victorian-cum-global transient wasn’t satisfied there. Taking cues from the likes of Mike Patton and Rahzel, he discovered that like a guitar, a trumpet or a set of drums, his voice was an instrument. What followed was a journey into the depth of sound, beats and effects. The end result: Dub FX.
F
“[It] was something that developed as I got better at what I did,” Stanford begins, on the line from his Australian base in the hilly outskirts of Melbourne. “When I started five or six years ago, before I started street performing, yeah, I could sing a little bit, I could rap a little bit, I could beat box a little bit. But all the endless street performing chiselled me to be a lot better at what I do now.” That being, performing around the world. Although the moniker was birthed in St Kilda, it was bred in London. Now it is taken to global corners far and wide. “It could have happened on the streets anywhere in the world,” he shrugs, “but it just so happened that I was in Europe.” Stanford has honed his skills to turn his voice into a musical weapon, his sounds traversing genres such as reggae, dub and drum‘n’bass, to name just a few. But thanks to his intricate looping techniques and effects that change the reverb and delay of his delivery, these elements are given texture with rhythms balanced by harmonies, while plenty of other colour is thrown in to make the overall piece robust and full of life. “I’m always focused on how to dirty my voice while I keep it in tune, and that’s a very difficult thing to do – that requires a lot of control,” Stanford admits. “But for me, taking it to the next level means I can make my voice sound like anything I want.”
Talking of technology, it’s not been a great amount of time since it became available. As such, we’re talking a reasonably new field when it comes to visual DJing. Not surprisingly, Yoda, existing as he does on the cutting edge of the art form, says these are stimulating times indeed. “It’s very fast moving,” he continues. “Every year new things come out that allow people to do different things. It’s a really exciting thing. At this stage, there are so many different ways of doing it that everyone kind of has their own spin on it and everyone’s doing something unique. At some stage there might be a sort of industry standard where everyone starts copying everyone else and it gets really stale, but right now, everyone working with visuals in clubs is doing something totally different.”
His thing is taking established genres and, using his mouth, twisting them into something innovative. And when he breaks it down, Stamford is left with a trio of core elements which form the basis of everything he does: heavy bass lines, phat beats and conscious lyrics. “I try to keep things fresh and different and off centre,” he concludes. “I’m not trying to sound like anything that is out there; I’m trying to do something that’s unique and different while incorporating those three things.” WHO: Dub FX WHEN & WHERE: Friday 25 January, Hi-Fi
One of Israel’s premier DJs/producers, Guy J tells Cyclone about his soft spot for our country, upcoming plans with his label Lost & Found, and what punters can expect from his set at Rainbow Serpent Festival.
W
“I guess they’re my two loves: DJing and movies,” he says. “Before the technology existed that allowed me to do all this mixing with video, I was always using audio samples from movies in my audio mix: throwing in little quotes from Star Wars or Scarface or whatever. And I was doing some things where I was re-soundtracking movies I loved. So I would do shows in cinemas where they would show these films where I was playing my own DJ set on top of the movie. Then the technology evolved that allowed me to use actual clips from the movies as part of my DJ set, so it just made perfect sense.”
“You know what it is, and it’s the same reason why I wouldn’t sign with a record label, and that’s because I wouldn’t want to be put in the same competition as people that I have absolutely no respect for,” he unloads. “It’s not like I don’t have respect for them as individuals, but as far as artistry goes I wouldn’t want to put myself in that mix. As soon as you portray yourself in that light it’s really difficult to get rid of that. I’d rather be compared to the people who I have a lot of respect for, who aren’t in those circles. I don’t want to be before some five-year-old who can sing the National Anthem and after some magician, that’s not my thing.”
WHAT A GUY
DJ Yoda is taking the fusion of his two loves, movies and music, to the extreme (he’s re-soundtracked movies!). He geeks out with Tony McMahon. hile he’s considered one of the world’s top DJs, DJ Yoda, aka Duncan Beiny, is anything but content to rest on his considerable laurels. Constant innovation and reinvention has been a marker of his long career, evidenced by releases including singles, albums, games, mix CDs, vinyl and cassettes. Yoda’s latest album, Chop Suey, is also proof of his ability to constantly excite, as is the cutting edge mix of visual mash ups that make his live shows a distinct blend of clubbing and going out to the movies. Bringing his two favourite activities together in his art, claims Yoda, has always been on his mind, even before he had the ability to do so.
During his career as a street performer a lot of people have told the 29-year-old that he should go on reality shows such as Australia’s Got Talent, a suggestion to which he politely replies, “Go fuck yourself.
srael’s Guy J (it stands for Judah) saved progressive house, bringing back the melody while mixing in techno and ambient elements. As such, the DJ/ producer is a welcome visitor to Australia – and, on his sixth tour, he’ll play Rainbow Serpent Festival 2013. “Australia is one of my favourite destinations,” Judah enthuses. “I just told my lady a couple of hours ago that, if Australia wasn’t that far away, I would love to live there. I think the scene is great.”
I And what exactly does a DJ Yoda show look like? It appears as if he performs two distinct styles of show: DJ and AV. As with a lot of avant-garde concepts – in this case relating to his second type of performance – it’s not all that simple to convey. Having said that, recognition of things we didn’t know we knew has long been a tradition in groundbreaking art forms, and Yoda’s AV sets are no exception. “The DJ shows are like you might expect: just a regular DJ set,” he says. “With the AV shows, what I’m doing is I’m scratching and mixing various different videos as well as the music at the same time. So I’m mixing in movies that I like or YouTube stuff that I think is cool or just anything I think is cool. It’s one of those things that’s quite hard to explain, but if you go onto YouTube and have a look or come to a show for a minute you’re like, ‘Oh, okay, I get it’.” With its long and proud rock‘n’roll history, St Kilda’s Espy is not necessarily the first place that comes to mind when thinking about going to see a world class DJ. As Yoda points out, though, punters at the venue are reasonably broad-minded, and it’s obvious he has a great affection for the place. “I’ve played there a few times, actually, and I think it’s a really amazing place,” he says. “It’s quite unique for an Australian venue because it’s got more character than your average Australian club – a bit more soul and history. There’s a really good vibe there as far as the audience goes. They seem really open to anything that’s good music, really.”RIS WHO: DJ Yoda WHEN & WHERE: Saturday 26 January, Espy
Though Judah’s home is Tel Aviv, he now resides in Europe. “I’ve been in Belgium for the last few years and recently decided to stay here. Antwerp is a small city with a relaxed vibe and in the centre of Europe, so travelling is not so hard when I’m playing in this area of the world. It’s also good coming home to a more relaxed place.” Judah, renowned for anthems like Lamur, has been releasing music since 2006. Into progressive trance before discovering techno and deep house, he experimented with production as a teenager. Yet today Judah is indebted to Brit progressive pioneer John Digweed, who gave him his big break at 21 by signing Save Me to Bedrock Records. Judah has remained loyal to the stable, even issuing two ‘artist’ albums including his debut, 2008’s ambitiously sprawling Esperanza. And Digweed has proven a generous benefactor. “I learned that it is good to support other artists, good to give and listen to advice. Competition is not so healthy when you don’t want to share your knowledge and always have your head in the sand. John is one of the nicest people I’ve met.” Nevertheless, Judah has also aired music via Hernán Cattáneo’s Sudbeat, Tiga’s Turbo, Funk D’Void’s Outpost and Sven Väth’s Cocoon – evidence of his cross-appeal. Last July, Judah introduced his own label, Lost & Found, under the Bedrock umbrella, disseminating music by himself (cue his current single Vaga/We Do It Best) and the ‘90s US deep houser Kevin Yost. Lately, he hosted its inaugural showcase at London’s Egg nightclub. “For now there are great responses – a lot of support from big
names and from upcoming artists. To have Kevin Yost on my label is a gift. Kevin is an amazing producer – and the fact that he agreed to release [music] on Lost & Found gives me more confidence in what we are trying to achieve. For 2013 the first release will be a track by BP, who is a Belgian artist. His track Inspirado Por Usted is one of the best pieces of music I’ve heard for a long time. After that, I have another great release by Guy Mantzur & Sahar Z, and then I have something special from a rising star named Navar, who is another producer I’m happy I’ve got to know.” What’s more, Judah is working towards his third album – the follow-up to 1000 Words – for this year. Judah is linked to prog, but in interviews he identifies himself broadly as house. That said, he’s mentioned dubstep as an influence, albeit a subtle one. “I always change my sound. I don’t decide what I’m going to produce in advance, I just sit down and start to make music with no plans.” Israel is a major hub for psy-trance, with Infected Mushroom virtually pop stars. Ironically, as Judah prepares for the traditionally psy Rainbow Serpent, he admits to not being massively into the sound. Instead, at Rainbow, Judah will be repping a groovy alternative, together with the emotronica Nathan Fake. “I don’t follow the psy-trance scene much, to be honest, but I used to hear it in the past, so it will be interesting to see where it has developed and progressed to.” Judah, who uses Ableton to DJ, and drops custom remixes, has another reason to look forward to the iconic fest. “I’ve heard so much about it – and it’s the first time I’m playing open air in Australia, so I’m waiting to see how you’re doing it over there. I have a lot of new music ready and I can’t wait to play it out there!” WHO: Guy J WHEN & WHERE: Monday 28 January, Rainbow Serpent Festival, Lexton
For more interviews go to themusic.com.au/interviews • 29
SINGLED OUT WITH STEPHANIE LIEW
ON THE RECORD
LOCAL NATIVES Heavy Feet
Frenchkiss Records
Partyhard Independent
Partyhard is surf guitar meets garage bass meets space rock synth meets weird children’s TV show. The lyrics even include the spelling-out of “partyhard” (albeit with too many Ds) – fun and educational. If this song were a person, it would be the guy at the party who appears out of nowhere and does something outrageous then leaves before anyone can figure out how else to react besides nodding their head. Good for the novelty factor but that’s about it.
THE XX Sunset
Young Turks Is this one of the “club bangers” on Coexist that Jamie xx was talking about? It’s more like if the meek and introverted had a rave party, this would be on the playlist. Though Oliver Sim and Romy Madley-Croft’s cloudy vocals are mellifluous as ever, the lyrics simple yet painfully relatable and Jamie xx’s production faultless, Sunset doesn’t elicit the same kind of response as, say, Angels or any song off The xx. It’s not minimal enough for the lyrics and melody (which is disappointingly dull) to be the focal point, nor ‘club’ enough to be catchy. Perhaps the baby doof beat should have been omitted.
Long.Live.A$AP
DAVID BYRNE & ST VINCENT Love This Giant
RCA/Sony If you’re looking for content, look elsewhere. A$AP Rocky, chief of the A$APs, doesn’t have the intellect to match his formidable presence on the mic. Leaving the lyrical miracles and word surgery to others, our host – who continues to maintain, somehow, his name was not derived from Aesop Rock’s – spits raps. Hard. It’s compelling stuff. And it makes for an amazing debut.
D
VD
D
THE MAIN GUY & THE OTHER GUYS
LIVE
A$AP ROCKY
VD
At first it seems like the brisk, mathematical drums are a bit at odds with the sparseness and slow pace of the atmospheric hum of guitars, the held strikes of glassy keys and Local Natives’ trademark starkly emotive harmonies – but as the song quickly gets down to business it becomes clear it’s the driving force. The band’s grasp of dynamics – from the usage of silence to sudden rises in instrumental density – allows a relatively uninteresting melody to be being anything but.
Goldie, the album’s lead single released April last year, deserves its reputation as one of the best songs of 2012. Hit-Boy’s hypnotic beat is a triumph, at once melodic and understated. Rocky annihilates it. Despite his lack of eloquence (“I’m early to the party, but my ‘Rari is the latest.” Ugh) A$AP is a rapper who demands, and then commands your attention. Wild For The Night, a surprising collaboration with Skrillex, is a delight. 1 Train is a tour de force of the (relatively) New Guard: Danny Brown, Action Bronson, Big K.R.I.T., Yelawolf, Kendrick and Joey Bada$$. It’s a testament to A$AP that only Brown approaches his level on this, another monstrous Hit-Boy gem. I Come Apart is a stunning album closer. Florence Welch, sans machine, haunts it. Perhaps, then, it’s unfair to suggest Rocky isn’t a smart guy. The roster of producers he’s assembled for Long. Live.A$AP is staggering. The numerous guests deserve their places too; or, at least, most of them do. The final product he’s assembled here is exceptional. If he’d only stop saying things like, “trigger finger itching. Fuck parental supervision”, then maybe we’d think more highly of him. Then again, perhaps his dimness is his genius. Without it, maybe, we wouldn’t have albums like this. And that would be a tragedy. Wonderful stuff. James d’Apice
4AD/Remote Control When trepidation leads to great reward, looking back the hesitation one felt at the outset seems foolish, even embarrassing. Yes, hindsight is 20-20, but the rewards discovered in Love This Giant transcend any backward glances that the album is sure to conceive. In other words, it might take a couple of listens, but this album is fucking great. Despite its grand scale, when Who, the lead single and this record’s opening track, was released a few months ago, it didn’t seem to light the world on fire. Full of brass instrumentation, it ducks and weaves across the airwaves, its two brilliant protagonists seemingly sure of themselves but the song lacking any context. Well, within the parameters of Love This Giant, context has been found. When it comes to musical partnerships, David Byrne and St Vincent (real name: Annie Clark) aren’t the two most likely to spend two years together in New Jersey recording an album. But it works. Byrne’s musical breadth and pedigree is legendary, and in this collaboration with the phenomenal – yet somewhat untested – Clark, the two thrust and parry across 12 songs and a huge brass section, and into the ears of the unsuspecting listener. Although Byrne is the more senior of the two, the creation of Love This Giant was through total collaboration. All bar two songs were created together, with the pair clearly respecting each other’s direction and compositions. Anyone who saw the two artists perform recently when they were in town would testify to their chemistry, but if you missed it, put Love This Giant on your record player. You’ll just have to listen to it a few times to really get it.
BAD RELIGION True North
Epitaph/Warner Album number 16 sees Bad Religion in a nostalgic mood. Adopting a ‘back to basics’ mentality the band gave themselves a challenge to produce a set of stripped-down rapid-fire punk rock that would have fitted on 1988’s Suffer. While one could question this rationale (I mean, have Bad Religion ever really deviated from their core sound?) there’s no questioning the quality of the results. True North is yet another glorious explosion of infectious melodic punk, with thought-provoking lyrics from Prof. Graffin and of course those patented ‘oohs n aahs’. Each of True North’s 16 tracks is memorable in its own right, but the cream of crop is found in the visceral Fuck You, the super cynical The Dept. Of False Hope, and Robin Hood In Reverse, the catchiest Bad Religion tune since Sorrow. If you’re looking for a departure point from previous album, The Dissent Of Man, there are definitely fewer mid-tempo tunes (although the brooding Hello Cruel World is one of the better slower songs the band has ever produced) and a reignited anger that makes you forget that Bad Religion are now well into their middle-aged years. In short this is yet another superb collection of effortlessly vital music from a band that by now must be acknowledged as the finest punk rock band still going today – and possibly even the finest punk rock band of all time. Bad Religion left the epithet ‘legendary’ behind many years ago. These six guys are now nothing short of an institution. Mark Hebblewhite
Dylan Stewart
BROTHERS GRIM & THE BLUE MURDERS Been A While TFI Records A love letter to all the “cramped bandrooms, creaky stages and rock’n’roll-hearted venues” that helped the band along, Been A While sounds like it was recorded in some small, sweaty pub where everyone knows each other and sings along in a drunken, shameless choir. Sublimely smoky, sandpapery blues guitar spars with the high notes of a well-worn bar piano, and you can almost hear the grin in the vocalist’s endearingly squeaky rasp. Makes you feel like celebrating, too.
THE HOUSE OF HONEYS The Waiting Def Records The Waiting has all the right components for a melodic hard rock song, but doesn’t manage to make you care. Its crunchy guitar tones, rumbling bass, slightly forced growling vocals (in contrast to the much more natural singing in the verses) and low, barrelling drums – complete with a half-time fill – feel too calculated, like they went through a checklist. Admittedly, they nail the quietbridge-launching-back-into-ripping-finale thing, but even that feels contrived. It reminds one of a Nickelback B-side – make of that what you will.
LINES
Moment RiSH/MGM What starts off sounding like triple j fodder changes by its conclusion. Based around a cruisy twochord guitar riff (that roughs it up in the chorus) and the repeated refrain, “For a moment I lost my mind,” which is breathed by the reverb-assisted lead then yelped by a rowdy gang, Moment’s short duration ensures it ends before you get bored. It’s a more focused kind of slacker pop, its presentation is tidier. Keep an ear out for these guys.
TIGER FINGERS
LOWRIDER
HENRY WAGONS
hafendisko
Illusive
Spunk/Universal
To call the special edition of Tiger Fingers’ self-titled debut an ‘album’ is stretching the truth a little. It may run around the one-hour mark and there may be ten tracks, but half the record is dedicated to one track, being their previously released single, Little Drummer Girl, with mixes, remixes and an instrumental version thrown in. The only problem is that these bonus tracks were included as B-sides of the single, so their inclusion is irrelevant for some, but a nice bonus for others. Nonetheless, this is being classified as an album.
There are plenty of rewards to be found in Lowrider’s most recent offering, Black Stones, despite its seriously underwhelming opening. Persevere listener, as this is one that blossoms midway through as these Adelaide boys stop trying to be the next Maroon 5 and get comfortable in their own skin. And, once they knuckle down and just play the poppy soul/funk they are known for, these songs hit the spot nicely.
Blink and you’ll miss it. And that would be a damn shame. Melbourne’s favourite bespectacled baritone bloke, Henry Wagons, has stepped away from his group, Wagons, to deliver a seven-track, sub-half hour mini-album of duets. Country tales of woe, lust and longing, Expecting Company is a postcard sent by one of Australia’s hardest-working and humble musicians.
Tiger Fingers (Special Edition)
Tiger Fingers is the brainchild of Jordan Lieb and Asako Fujimoto, both of whom were also in Dead Radar. What Lieb and Fujimoto have created this time around is a fine example of electronic dance pop at its best. These tracks have been made to be turned up loud and danced to, with driving beats, excellent vocals and highly infectious rhythms. The six original tracks (i.e. not remixes or instrumental versions) on Tiger Fingers are bloody good. Come to think of it, so are the remixes. Where Tiger Fingers really turns on the charm is its ability to be fresh and exciting while maintaining consistency throughout. Each track is different, including the remixes, so don’t worry – you won’t feel as though you’re listening to one hour-long track. There is only one problem with this album, being that Lieb and Fujimoto have already parted ways. While that’s bad news if you love Tiger Fingers, it also helps make it somewhat exclusive, given that it’s possible this will be the only album we get from these two, so grab it while you can. Dominique Wall
Black Stones
Of course, it’s hard to let the opening slip. First single, Days Of Boredom, shows off how tight and funky Lowrider are. But singer Joe Braithwaite’s critique of modern technology is distractingly dodgy and can be summed up by saying: ‘Facebook/Twitter bad, talking good’. Indeed, the curly-headed frontman’s lyrics are a problem throughout as they tend to overshadow the songs. This guy can really belt out a tune and his vocals give these tracks their melodies and their feel. As a result, cringe-worthy lines like, “Such a pleasure to meet you, before I can teach you”, on the otherwise excellent Go Get Gone, really stand out and jar the experience big time. Despite the lyrics, that song is part of a sensational run of blues and funk tracks midway through this album, starting with pumpedup album highlight, The Pay Day, and ending with a brass section belter in And I Wonder. Braithwaite also really nails Day Time Tripping’s big chorus and the ‘80s-inspired pop ballad, In My Arms, showing that if they get the lyrics right, Lowrider have a massive future as a quality pop act both here and overseas. Paul Barbieri
Expecting Company?
The London-inspired title track, featuring Alison Mosshart of The Kills, sounds like it could come straight from the title sequence of a Tarantino film, Mosshart and Wagons’ voices circling and rising to an epic climax. Sophia Brous steps up to the plate with a wild ride through a blackened countryside on I’m In Love With Mary Magdalene (“How I’ve longed for your flesh to touch my skin”), and with the help of Canadian Jenn Grant on Give Things A Chance To Mend, Wagons delivers the record’s highlight, a Johnny- and Juneworthy country ballad that could’ve been recorded while looking wistfully across a frozen Albertan prairie. Taking a swift sojourn from the guy-and-girl duets, Wagons teams up with the Go-Betweens’ Robert Foster for I Still Can’t Find Her, a story of some very twisted and tragic love connections. From there, the dark, decrepit A Hangman’s Work Is Never Done features The Grates’ Patience Hodgson and a psychedelic – and psychotic – delivery alongside some brutally-laid guitar licks. The final duet, Give Me A Kiss, features Gossling and is a beautiful way to finish the album, before Wagons bids a final farewell on his own with an acoustic version of Marylou Two, from his band’s most recent album. Expecting Company is an unexpected treat. Full of amazing collaborations, it proves that Henry Wagons still loves to keep us guessing. Dylan Stewart
30 • For more reviews go to themusic.com.au/reviews
GARY CLARK JR
HATEBREED
THE OCEAN PARTY
THE DADACOMPUTER
Warner Bros
Nuclear Blast/Riot!
Sounds Of Melbourne
Iceage Productions
BANG! Like stepping outside on a 45-degree day, the opening blast of Gary Clark Jr’s latest album hits you in the face and the sweat starts dripping instantly. With a sound far beyond his years, Clark is a bona fide star, as his sold-out tours and accessible brand of blues and soul would attest. Anyone unsure of what to expect during his Big Day Out set this week, don’t worry – it’s gonna be killer.
If legacies are indeed forged through consistency, as the press release touts, then Hatebreed should be bona fide legends by now. Frontman Jamey Jasta, the bellowing Tony Robbins of heavy music, claiming this album would be “all pit, no shit” had devotees of the US metallic hardcore crew thumping their collective chests in anticipation.
Melbourne has had its fair share of slacker pop bands of late (Twerps, Dick Diver, Pageants) and upstarts The Ocean Party are running in the same direction, if at a somewhat alternate gait. Having released an album at the beginning of 2012, they went straight back into the studio to record Social Clubs before guitarist Curtis Wakeling (also of the excellent Velcro) ventured overseas. Social Clubs is not a rushed effort, however, with the band increasing their focus so that these ten tracks fly by, an easy-listening ramble that slots into the groove that Real Estate inhabit, while licking at the heels of vintage luminaries such as Buddy Holly and The Beach Boys.
Perhaps the most remarkable thing about this reissue of a 1981 cassette from UK duo The Dadacomputer is that it sounds like it could easily have been made last week in Melbourne. Whether this means that experimental electronic music has barely progressed in the last three decades or that The Birth Of 5XOD was ahead of its time is difficult to say though.
Blak And Blu
The Divinity Of Purpose
But at his best, like on the hell-bent rockabilly train ride of Travis County (Clark is from Austin, Texas, a town smack bang in the middle of the county in question), or the Elvis-inspired ballad, Please Come Home, Clark is unstoppable. A guaranteed heartbreaker, his soulful voice draws inevitable comparisons to Marvin Gaye, and if you’ve spent more than ten minutes on a Melbourne train over the past month, you’ll be aware from his tour posters that comparisons between Clark and, gulp, Jimi Hendrix abound.
Like previous records, said diehards will select several new blood-splattered anthems to cling to and eventually discard the rest. Jasta and company don’t just stick to their guns stylistically – you’d have to prise said proverbial weapons out of their cold, dead hands. Divinity… is strictly formula, but a hard-hitting, pretension-free mélange of thrash riffs, beatdowns, lyrics about standing up for yourself and 20-minute prog-rock epics. Okay, one of those was a fib. Put It To The Torch continues their tradition of ball-tearing openers. Those riffs dispense punishment like Judge Judy after blasting the Slayer and Cro-Mags catalogues. Own Your World’s ham-fisted call-and-response is tailormade for live interaction; Before the Fight Ends You is as subtle as a sledgehammer to the cranium and will inevitably be an MMA competitor’s theme song. Dead Man Breathing is a more mid-paced, groove-laden stomper; Time To Murder It seethes with intent and Honor Never Dies boasts a steamrolling main riff.
This reviewer is not going to descend into any such hyperbole here, but Blak And Blu is still pretty bloody good, and proves the perfect starting point to examine Clark’s back catalogue. There’s sure to be more gold to discover.
There are several by-the-numbers cuts, but that’s par for the course; cries of creative redundancy are missing the point. There isn’t any “shit” though – and plenty of pit activity will ensue – so again Hatebreed live up to their word.
Dylan Stewart
Brendan Crabb
Blak And Blu is an incredibly diverse album, and it’s delivered with real polish. There are times, such as with the R&B-flavoured title track and The Life, where this polish detracts from the screaming guitar riffs of When My Train Pulls In and Third Stone From The Sun/If You Love Me Like You Say. At times, it unfortunately almost feels like Clark is trying to please everyone – perhaps the restriction of working with a major label for the first time.
Social Clubs
With three vocalists holding sway, the album remains amazingly cohesive. Each song sways at a laconic pace, sunny and upbeat in the face of all situations – unemployment, youthful poverty, frustration, ennui – nothing beats letting the sun wash the sins away. Lead singer Lachlan Denton highlights this during On The Floor (“The sun beats down upon my head/Don’t wish to be anywhere”), while Wakeling’s Bored Of It All takes on a countrified swagger. The one-two centrifugal force of Hot Headed and the title track (talking of the clichés that form at your local watering hole) offers a bit of garage rock into the equation, while a wistful piano tinkles in the background of Lay Me Down, but these minute shifts in tone are just effortless inclusions rather than feckless efforts of fleshing out the sound. Social Clubs sounds easy, and is easy to like, yet such amiability is incredibly difficult to manufacture. The Ocean Party do it with ease. Brendan Telford
The Birth Of 5XOD
There’s a certain joyful feeling of experimentation here, a real love of pushing electronic sound into strange and uncomfortable directions. It’s simultaneously groundbreaking in structure yet feels retro thanks to the ingredients. Though it’s often lumped alongside synth punk, we’re a long way from Suicide here, though you can hear elements of Throbbing Gristle, Chrome and perhaps, at a stretch, a similarly robotic but much less melodic Kraftwerk in their music. It feels computer based, but it was made with a Korg MS20, basic drum machines, messing with the speed of reel-to-reel tape machines, and vinyl manipulations. The cassette was then posted 40 miles from Cardiff to Bristol and overdubs like guitars, vocals and keys were added via a double-cassette deck. With 12 tracks, there’s equal attention paid to strange sounds and textures as there is to musicality. The duo are at their best when they combine noise with melody, as on the driving, repetitive instrumental, Multinational, and the white boy computer geek funk of Computer Bank. The music is filled with deep, loud oscillations, difficult pitches and an almost metronomic funk lilt. Some of the vocals sound like public service announcements. But it’s clear there’s no recipe here. These guys are way out on the ledge, discovering it as they go Bob Baker Fish
For more reviews go to themusic.com.au/reviews • 31
32
FRONTROW@INPRESS.COM.AU
ARTS
Django Unchained
WEDNESDAY 23 Blaze – a dance piece from West End director and choreographer Anthony Van Laast, with digital set design by Es Devlin (designer for Kanye West, Pet Shop Boys and the Lady Gaga Monster Ball tour). Arts Centre, 8pm; to Sunday 27 January.
THURSDAY 24 Urbanized – the final instalment in Gary Hustwit’s design film trilogy, this doco takes a look into urban design. ACMI, 8.30pm.
FRIDAY 25 Laurence Anyways – a new film from Canadian director Xavier Dolan, this film charts the epic ten-year love story between a male to female transsexual and her lover Fred. ACMI, 7.15pm; to Sunday 3 February. Gobsmacked: Showbiz And Dating – caberat artist Nikki Aitken’s new show about the search for a relationship that lasts. Accompanied by her latest BGBF Jamie Burgess. The Butterfly Club, 8pm; to Sunday 3 February. Moonrise Kingdom – Wes Anderson’s latest film, set on an island off the coast of New England in the 1960s. A young boy and girl fall in love and take it all very, very seriously. Astor Theatre, 7.30pm.
SATURDAY 26 Here Lies Henry – a play written by Daniel MacIvor, directed by Jason Langley and performed by Matthew Hyde. A one-man show that’s both
a comedy and drama about a body in the next room. La Mama Theatre, 7.30pm; to Sunday 27 January.
SUNDAY 27 Beg, Scream and Shout – a film festival that will showcase independent and experimental music-based films by Melbourne artists Ben Montero, Tooth and Claw, Mikey Leonard and Johann Rashid, with featured bands The Toot Toot Toots, UV Race and NOZU. Part of Sugar Mountain Side Events, The Shadow Electric, Abbotsford Convent, 3pm. Cock – a collection of short plays written and devised by Kevin McGreal, Part of Midsumma Festival, 8.30pm.
TUESDAY 29 Hail – an Australian film directed by Amiel Courtin-Wilson based on the stories of lead actor Daniel P Jones, whose real-life partner Leanne Letch plays the love of his life. Rooftop Cinema, 9.30pm.
SPOTTED by Amy Mai: Glenferrie Road, Hawthorn. To continue the discussion head to @frontrowSPA and tweet us
“When I was a kid I wanted to be a writer, but being a writer seemed about as likely as being an astronaut.” Considering his early doubt, Neil Gaiman probably feels like he’s now walking on the moon. The author chats with Rhys J Anderson about his affinity for Australia and The Good Doctor. As the final strums of Jherek Bischoff’s bass ebb to furious applause, Neil Gaiman walks off a stage he had just shared with the likes of David Byrne (Talking Heads), Brian Ritchie (Violent Femmes) and Annie Clark (St Vincent). MONA FOMA’s Bushfire Appeal fundraiser on Monday 21 January saw a collection of top rate artists venture to Hobart to volunteer their time and abilities to raise money for the Red Cross. Having played the night previous to a full theatre audience, Gaiman spent this Monday morning visiting the remains of a
fire-ravaged Tasmanian primary school in Dunalley, donating a collection of his books. “They’ve now got all my books that are fit for kids; I’m going to get other authors to donate as well. You’ve got to rebuild, you’ve got a primary school starting from scratch so let’s at least give them some books,” he says. Gaiman explains what people can expect from his upcoming shows in Melbourne and Sydney. “A lot of stuff about [forthcoming book] The Ocean At The End Of The Lane.” There will also be a Q&A session with the audience, and a string
quartet may be getting involved, as well as a special gift from Gaiman. The author and his partner, (musician Amanda Palmer) spend a lot of time in Australia. Why do they keep making the journey? “A combination of things: one, I love Australia; [and] two, I love my wife, and my wife loves Australia even more than I do. I love Australia like you like a friend that you see a few times a year, and you’re really pleased to see him. My wife loves Australia like somebody she wants to drag into a darkened backroom for half an hour and bang until they’re senseless. She would move here, she just loves it. “So really it’s been a combination of these two things. Australia is somewhere I find it very hard to say no to,” he continues. “When I was first asked to play the Sydney Opera House, well, you don’t say no when you get asked to play the Sydney Opera House... I got to
SupaNova – the pop culture expo that will be held in Melbourne in April has added two guests to the line-up. I Dream Of Jeannie’s Barbara Eden and Sci-Fi actor Ryan Robbins. They join Eliza Dushku, Natalia Tena, Dave Gibbons and Vic Mignogna to name a few. SupaNova will be held in Melbourne on Saturday 13 and Sunday 14 April at the Melbourne Showgrounds. For more info head to supanova.com.au.
ON GRASS
Itt may be like the Midsumma event you can ake your gran to, but their Gasworks Backyard take Cinema screening of Albert Nobbs will satisfy on a number of levels. Sarah Braybrooke checks in with creative producer Tony Smith. Midsumma’s 25th annual celebration of queer culture in Melbourne is in full swing, and Gasworks Arts Park is playing host to a number of its events, including a special showing at their Backyard cinema. Generally programmed to show light-hearted fare like The Sapphires, Up or The Best Exotic Marigold Hotel, for the Midsumma showing, creative producer Tony Smith chose something meatier: three-time Oscar-nominated film, Albert Nobbs. The story of a woman forced to live as a man in 19th-century Ireland, the film deals with issues of sexuality and gender in an historical setting. “Albert Nobbs is an
interesting choice; because it had to slot in to a program of outdoor, backyard cinema, we wanted it to be accessible,” Smith explains. “We wanted it to be a film that anyone can watch and enjoy, but to still have an aspect that’s relevant to the Midsumma audience. It deals with the issues in a way that audiences might not have encountered before… I found it really engaging, quirky and quite cheeky,” he pauses, “and a little bit challenging as well.” With a festival program that features queer staples like Priscilla, Queen Of The Desert, and comic events including musicals, burlesque and stand-up, Albert Nobbs is not
Talking about the script that Gaiman wrote for Doctor Who (The Doctor’s Wife) the author professes his fandom begun at age three. He recalls hiding behind the sofa at his grandparent’s house during The Web Planet (1965). Neil laughs describing it as “my first televisual terror”. But as for a favourite Doctor, Gaiman is undecided? “I think it’s really hard,” he ponders. It used to be Patrick Troughton, because he was my doctor, the one I grew up with. Yet, Matt Smith is amazing, and it’s writing for him that gives me an increased awareness of how amazing [he is]. He is technically one of England’s finest actors. Matt for me is the only Doctor who really feels a thousand years old and a kid – he really is this ancient space alien.” When talking about upcoming work Gaiman mentions a new Doctor Who script. “I’ve written [one] that broadcasts in May. It guest stars Warwick Davis, Tamzin Outhwaite and Jason Watkins. The episode is called The Last Cyberman.” Pushed for more information, Gaiman responds, “It’s about identity, it’s about responsibility and it’s about porridge.” Fans can also look forward to a book called Chu’s Day (about a baby panda who sneezes), a winter release of The Ocean At The End Of The Lane, and an anniversary follow up to The Sandman. WHAT: Neil Gaiman WHEN & WHERE: Thursday 24 January, Wheeler Centre
ART NEWS
ART NOT? OR
CONTINUAL ORBIT
Tony Smith
THIS WEEK IN
sell out the Sydney Opera House and I got to read a story. That for me is as cool as it will ever get.”
Pic by Brent Patching
an obvio ous cho oice for Midsumma, obvious choice Smith admits. d i “S hi that h “Something might different differentiate it a bit from other Midsumma events is that it’s not very outrageous.” While Smith is excited about some of the festival’s more risqué offerings – he names the self-explanatory Naked Boys Singing performance as a highlight – Albert Nobbs is more like the queer event you can take your gran to. Smith is hoping that it will attract a wide range of viewers, including cinema lovers who might not come to any other Midsumma events. The outdoor cinema attracts plenty of fans, with an open-air barbecue, discounted tickets for cyclists
and a ‘dogs welcome’ policy than encourages the kind of community feeling you just don’t get from sitting inside an anonymous darkened room full of strangers. Its success is part of a wider trend, Smith says. “[Melbourne outdoor cinema] certainly is booming. It goes back to the Moonlight Cinema which started about twenty years ago in the Botanic Gardens, [and] it’s just th gotten more accessible as people go have gained more skills and capacity ha to stage the films, logistically.” Smith also points to a change in Sm attitude for many cinema-goers, at who might rate the atmosphere and w setting of an outdoor screening over se the convenience of being indoors. “I th think people have also gotten more th comfortable with the idea [of being co outside]; there’s a lot more tolerance ou of the environment. So the fact [is] that it might be a bit cold, it might be a bit hot, but people are prepared to enjoy that kind of thing... There’s something cool about seeing movies outside under the stars, and having your feet in the grass. When you look away from the screen for a moment you’ve got trees or stars in your periphery. It’s more relaxed; it’s a holiday kind of thing to do.” WHAT: Albert Nobbs WHEN & WHERE: Friday 25 January, Backyard Cinema, Gasworks Arts Park
GIVEAWAY Django Unchained – thanks to Sony Pictures we have ten in-season double passes to give away to Django Unchained, Quentin Tarantino’s new film that stars Christoph Waltz, Jamie Foxx, Leonardo DiCaprio and Samuel L Jackson. For your chance to win stalk the Inpress facebook page.
To check out the mags online go to themusic.com.au/mags • 33
FRONTROW@INPRESS.COM.AU
REVIEWS MOFO FESTIVAL Music, art and commotion spilt out over Hobart, Tasmania between January 16-23 for the fifth anniversary of MONA’s Festival of Music and Art. MONA FOMA is a dizzying carnivale of vaudevillian entertainment. An expansive scope of sights and events, performance art, food markets and workshops, and captivating installations are in abundance. I walk down the picturesque Hobart waterfront and into the main venue, a converted wharf warehouse. I stop to play with Robin Fox’s interactive Giant Theremin. By the mezzanine a drummer (Tina Havelock Stevens) is being fully submerged by crane into the water. I hear for the first time in my life what a drum kit played underwater sounds like. At night, I can’t help but marvel at the official
WAT C H I N G
I GET IDEAS – EPISODE TWO, SEASON TWO
after party, FAUX MO. Set in an alleyway, there is a projector lighting up a fire escape, while underneath a woman in a flesh-coloured body suit sings eerily in operatic falsetto, soon replaced by a house DJ and then a live band (Hunx and His Punx). Underneath the fire escape is a cinema that hasn’t been open since Jumanji. Chicks on Speed (remember We Don’t Play Guitar?) give an unhinged performance in front of the screen. Back into the alley and up through the rear entrance of The Grand Poobah bar. By the dancefloor is a glass tunnel. Crawling through I find myself standing on a bed of rock salt in a bubble made of oyster shells as coloured lights bounce through the gaps. Everywhere you look during MONA FOMA there is something to challenge your sensibilities and delight your senses. It is this quality that makes MOFO so very special and unique, small unexpected
Pic by Brent Patching
parcels of riches and wonder spread throughout the cityscape. The artists are meticulously put together from all over the world by an almost savantlike curator, former Violent Femmes bass player Brian Ritchie. Music headliners this year include David Byrne & St Vincent, Elvis Costello & The Impersonators, Pretty Lights, Death Grips, Dirty Projectors, Neil Gaiman, Hoodoo Gurus, Graveyard Train and Orchestre National de Jazz.
Pic by Brent Patching
SUGAR MOUNTAIN ARTS FESTIVAL Sugar Mountain Festival’s effort to meld visual with its aural landscapes paid off this year, with a bevy of impressive installed and projected work. Thomas Russell’s projection installation, You Are Environment, occupies a traffic-filled intersection at the top of the Forum stairs: as people interrupt its circle of light filled with dappled, organic, coloured, over-saturated Rorschach Test-type shapes, their shadows duplicate, mirror, and move off as they do. A sophisticated piece in its awareness of projection as extension and reflection of human experience. Across the way, Misha Hollenbach’s Mezzanine space, swamped with new-tribal beat-appreciators,
David Byrne & St Vincent (aka Annie Clark) deliver an outstanding collaborative performance to close the festival. The charm lying at the heart of the show is the mutual respect between the two musicians. The two share the stage together like old friends, taking turns to introduce their ten-piece backing band, and allowing each other respective moments in the spotlight. In the rapturous orchestral crescendo of
Hannah: Do you want to have sex still? Sandy: No.
This Week On Girls? Hannah breaks up with her Republican boyfriend (she just wanted a fuck buddy anyway), Sandy ( played by Donald Glover), and goes straight to the fridge to down some yogurt. Shosh and Ray engage in post-coital pillow talk and it’s really very... um, cute. There’s a cameo from Laurie Simmons (Lena’s mum), who plays Patricia, an art dealer who crushes Marnie’s art world employment dreams. Jessa seems to have changed since marrying John Paul (who keeps calling Hannah “Danna”) and Elijah is fiercely cementing himself as the biggest bitch in the series, as he once again insults Marnie about their regrettable two minute romp (ego ego ego). Girl Talk Of The Week?
FRAGMENTED
Pic by Brent Patching
Kirin J Callinan and Kris Moyes, claiming that insurance issues has prevented them from staging a photosensitivity-induced epileptic fit onstage, put new Callinan songs together with B-side cuts from their Way II War music video. There was a yelling lady in the audience; a shirtless Stereosonic douche; mock-timidity from the duo. With members of interventionalist theatre-makers Black Lung hanging around, and a couple of cheesy lines, it was a touch too staged. Markus Hofko projects for Woods and ESG. His playful, ironic images of a disintegrating vintage American idyll – jittering streetball games, warping beauty queens – intercast with spiralling sunbeams, jars fittingly with the music. As ESG pick up momentum, repeated grids and
Shirtless Adam Watch? A very out of tune lament from a devastated Adam as he sings Hannah an album [sent via email] and he’s, yep, topless. Girl On Top? Marnie, as she seems to be getting off that pedestal from season one. She may be in the biggest drought but this week she’s the girl on top. What We Learnt: Adam has two overdue parking tickets and a fine for urinating in public. Cassandra Fumi Screening every Monday night, 8.30pm, Showcase
FISH
WITH BOB BAKER FISH
The much-anticipated collaboration between Melbourne acid techno trippers Forces and choreographer Antony Hamilton is a massive highlight. The dance troupe animate a 3D jigsaw of big white monoliths, evolving the piece into a party-droid response to Forces’ drum machine-heavy aural landscapes and strobey, barcoded, projected visuals. More please.
Hannah: I didn’t feel like it either. I just didn’t want you to have blue balls because that’s another thing I don’t believe in.
one song, Clark and Byrne stand on either side of a Theremin, playing it in unison with full-bodied gusto. Neil Gaimen performed a series of new stories and old ‘60s songs to a full theatre audience, backed by a string ensemble led by the brilliant Jherek Bischoff. Contrasting this intimate show, Death Grips (USA) were all raw power. MC Ride delivered his sermon of mayhem, danger and threat. Gyrating his bare torso he barked his horror rap lyrics of murder and fear over the brooding synths with the fervour of a rabid dog, a man seemingly possessed by the grip of a self-created web of paranoia and aggression. Those that missed this first-rate festival should start saving as a premiere winter MOFO has been announced for 2013 with acts still to be announced. Rhys Anderson
doesn’t really come off, and his small installed creations blend a bit too well with the Forum’s already faux-neo-kitsch fixture scheme. In a sideroom, Henry Madin and Hamishi’s installation – with dual projectors throwing densely layered politico-pop cultural imagery and text through draped clear perspex and over leafy potted plants to a distorted audio mash – asks you to hold your arms up to ‘the sound’. ‘The sound’ never went away.
34 • For more reviews go to themusic.com.au/reviews
GIRLS
washed-out ‘70s cartoon shapes drive ecstatically with the bass line. Similar spectres of the pop past made-up Naysayer + Gilsun’s mesmerisingly synergic audiovisual experience. Slick and satisfying; like Miramax on acid. Kit Webster’s projections backing Action Bronson and Dirty Projectors create epic abstract environments, dual-projecting onto backdrop and half a dozen triangles hung in a frozen cascade over the stage. The Windows ‘95-esque graphics flow contrast with each other and develop over the set. Sugar Mountain’s a festival on the rise. They’re booking great acts; the vibe is right; and the technology’s ace. Though it hasn’t reached cohesion or immersion yet, it’s on the way. Simon Eales
There’s something disconcerting about watching meat getting cut up on screen. Of course slicing and dicing humans is fine, hell it’s even funny sometimes as the myriad slasher films attest. What could be more hysterical than watching some poor victim frantically trying to scoop their entrails back into their belly? Good times for sure. But the daily goings on in a butcher’s shop? Well that’s downright terrifying. The cover of Meat (Accent), with a seemingly traumatised naked woman on the sleeve, suggests the typical women in peril torture porn. But if you look a little closer at her expression she’s sad, almost wistful. The precise tone is a little difficult to gauge, much like the film itself. Meat is set in a butcher’s shop, with some of the least appealing produce you can imagine. Yet it’s a highly sexual shop with the overweight perennially-sweating butcher just popping into the cool room with the boss for a little game of hide the salami. Later he molests his co-worker, whispering all the disgusting things he’d like to do to her in her ear. Yet in what can only be described as shockingly poor judgement she succumbs to creepy butcher in a very explicit shower scene. Later she eats a bug. To say this Dutch film is strange is an understatement. You’ve never seen filmmaking this compelling and incoherent. It’s the work of Victor Nieuwenhuijs and Maartje Seyferth, a couple of experimental filmmakers, and Meat is apparently their most straight-up narrative work to date.
It’s ostensibly a murder mystery, or would be if it weren’t tangenting all the time. You get the sense that in Meat fantasy and reality are virtually indistinguishable. The detective looks freakishly like the deceased, everyone is having sex with each other, and characters act and react in strange, twisted and absurd ways. There are films that work well with drugs, then there are films that are drugs themselves, and render whatever you’ve chosen to imbibe useless. The 33D Invader (Eastern Eye) is so insane, such a bizarre mash of clichés and demented ideas that it’s nothing short of a weapon. Imagine Porky’s meets Terminator, set in Hong Kong and sprinkled with liberal twists of perversity such as the local hood forced to consume the severed phalluses of his henchmen; a geek ejaculating over his teacher’s face, who then licks his lips; and aliens who tie a knot in a baddy’s penis. If you’re noting a pattern it’s probably because you’re a pervert. The plot (if you can call it that) involves a sexy naked alien women sent from 2046 to mate with a healthy human after radiation has rendered humanity infertile. Yet like Terminator there are a couple of killers on the loose intent on stopping her. Though unlike Terminator they do this by trying to rape her. With zany sound effects, neverending gratuitous sex scenes and slapstick that is dripping with cheese, this is startlingly terrible and amazingly wrong filmmaking that you can only imagine was written and directed by a horny 15 year old boy who will grow up to become a sexual predator.
FRONTROW@INPRESS.COM.AU
C U LT U R A L
CRINGE
WITH REBECCA COOK Midsumma’s annual ‘come and try’ sports day in Footscray Park got off to a cracking start on Saturday with anti-homophobia campaigner and footballer Jason Ball opening the event and announcing that not only was he going to march in this year’s Pride March but his whole team would be too. A whole range of sports, including rowing, water polo, rugby and ultimate frisbee, were on show and trial for punters with the same-sex dance sport event drawing the crowds. It was a sporty weekend as across on the west coast, with a lot less sequins, was the annual Bells Bash fun run from Jan Juc to Bells Beach and back. In a support team role, Cringe had plenty of time to notice how the crowd really galvanised and cheered on members of the local football team, the Torquay Tigers, as they passed by. It was a ‘life imitating art’ moment as a fictional version of the Torquay Tigers is the subject of a new film, Blinder, being released in March to coincide with the start of the AFL season. Shot around Torquay, the story follows an ex-footballer who, embracing the life lessons his coach once taught him, reignites an old flame after a long absence from his home town. It stars legendary actor Jack Thompson, who reprises his role as a football coach three decades after The Club, along with Josh Helman (Jack Reacher, Animal Kingdom), Oliver Ackland (The Slap, Cloudstreet), Rose McIver (The Lovely Bones), Anna
Hutchison (Wild Boys) and Zoe Carides (Death In Brunswick). In addition, a whole cast of Torquay and Jan Juc locals managed to get their heads on film. In fact, the support of the town was vital to the creation of the film says writer and producer Scott Didier, who said using locals as extras meant that they could bring the film budget in at $3 million. The film’s been a long time coming for Didier who thought of the idea nearly 14 years ago when he moved from Melbourne to Sydney and noticed the lack of a supportive amateur football environment. “The environment was really different; we’re so lucky to grow up with this supportive culture and form great friendships.” Didier, who works in construction by day, said producing a film was an incredible learning process. “Every time I’d show it to someone they’d say: ‘I love it but…’ They all wanted to change a bit of it.” Didier’s breakthrough came when he approached director Richard Gray after seeing Summer Coda and sought his help making the project a reality. Gray began working on the script with Didier in late 2010. The film also has the backing of AFL greats Glenn Archer, Adrian Gleeson and Sam Kekovich. Setting the film in Torquay was Gray’s idea as he liked the surf coast element, but more importantly the Torquay Tigers’ club song is the same one as the Richmond Tigers, which is apparently a draw card, even according to die-hard Carlton fan, Didier.
May has created a story centred on an intimate confession from a woman who risked everything to save the life of the person she loved. Coming from a playwright with a decade of experience, this story could be ‘good’ if it wanted to be. It could be full of Hollywood glam, and grand gestures and selfless sacrifice. It could have exciting happenstances set in exotic locations and the gently crafted words could be murmured to the audience in the dulcet tones of a cigarette smoking raconteur recounting “that night long ago...”. But May Jasper has no interest in a good story; what she wants to share with us is braver and more bold by far: ordinary life.
ORDINARY MADNESS James Daniel chats with May Jasper about why she’d even think about calling her new one-woman show Not A Very Good Story.
It may be heralded as Not A Very Good Story, but May Jasper’s new show definitely piqued the interest of this theatregoer. There’s something refreshing about a play dedicated to telling a tale about the usual, the ordinary, the everyday.
“A good story is really false – it requires a whole lot of things that are unreal,” she says. “There are things you put into stories to make them work better, and that’s not a bad thing, but it’s what makes them less real. And this one is a well structured story, but it’s about very ordinary people in a very ordinary (but terrifying) story, and you don’t need someone jumping off a building for us to be scared.” In shedding unnecessary artifice from her narrative, May is able to focus on the development of a character who may well be this year’s most endearing storyteller. Our protagonist is a sweet and nervous call centre worker named Stephanie, who’s best features include being ‘really nice’ and ‘coy’. But she’s also very brave, as we discover during her love-at-firstsight moment: “Stephanie has just come back from being very sick. She’s not a charmer, she’s
not the best looking person in the world – she’s just her. But she’s very determined and she doesn’t automatically think that she’s going to fail. So she goes in and goes wholeheartedly. She has setbacks of course, but she manages to overcome them and not give in – not say, ‘Fine, you win’.” And if doggedness and tenacity are qualities you admire in a character then you’re in luck – Stephanie has them in spades. The character who sits and tells us her most intimate stories is a poor public speaker with social anxiety, and a shrinking violet to boot. “She is a very nervous character who gets up and talks to a whole audience. It’s quite a gentle form of storytelling – a one-woman story – because you have to hint at things,” May explains. “You have to start in the middle and then gently give a sense of the wider story.“ And what is the wider story? Well, the only spoiler I’ll give here is that many girls in Stephanie’s call centre are discovering they have cancer – far too many to be a coincidence. But rather than being overly dramatic, the disease is presented just as-is – quietly and ordinarily terrifying. And, as such, the narrative – like the protagonist – remains highly accessible, not in spite of but because of the ordinariness it derives from. “This is not high-art theatre – it’s not too confusing, it’s not layered with metaphors. It’s someone telling a story.” WHAT: Not A Very Good Story WHEN & WHERE: Thursday 31 January to Sunday 10 February, La Mama Theatre
To check out the mags online go to themusic.com.au/mags • 35
GIG OF THE WEEK
Mike Noga
TASMANIAN BUSHFIRES BENEFIT MONDAY (AUSTRALIA DAY HOLIDAY), TOTE There are a couple of things the Melbourne music community does particularly well and one of them is throwing a fundraiser. The recent bushfires in Tassie have cut close to the bone for us here in Victoria and given Melbourne is chock full of outstanding Tasmanian musos (and footy players) a bunch of them, along with a few of their mainland buds, have come together to raise a few bucks for bushfire relief via the Red Cross. The bill is all-killer with the likes of Witch Hats, Tom Lyngcoln, The Fish John West Reject, Spinning Rooms, Monique Brumby, Miles Brown, Mike Noga, Matt Bailey and a whole lot more. There’ll be a BBQ manned by ex-AFL footballers from Tasmania (don’t worry, they can cook) and tickets are a measly $15 on the door from 1pm.
FRONTLASH NO DROPPERS Hunx & His Punx Pics by Lou Lou Nutt
Boomgates
SUGAR MOUNTAIN FORUM: 19/01/13
Irresistibly sweet and impossibly high, Sugar Mountain is billed as a festival but is more of a delightful frolic about the Forum as a bunch of quirky indie bands give the place a decent a shake-up. There was a buzz of excitement about last year’s edition of the festival, which felt like a proper happening as a range of acts led an evening of riotous experimental music and rock’n’roll. This year the festival moves with similar intent but feels more like a romp about Hanging Rock than an exhilarating ascent to the top of this mystical peak. Phantôscopia greet us at base camp with short hypnotic movies by Anita Spooner accompanied by mysterious and evocative soundtrack music. Led by members of Midnight Juggernauts, it all smacks a little of the recent Thematica support for Italian band Goblin that also featured members of the Juggernauts. With an accent on the occult they seamlessly drift between dreams and nightmare into a strange twilight zone. Leaving the Forum for a quick dinner break we return to catch Woods in full flight. The alternative folk rockers from Brooklyn play songs from last year’s Bend Beyond album to create a light, breezy and almost pastoral vibe that gently rocks the main stage. Singer Jeremy Earl’s audience-dividing vocal falsetto is either extremely irritating or sublimely magnificent depending on your point of view. As Woods’ set draws to a finish, it seems that almost everyone has gone upstairs to see Kirin J Callinan and Kris Moyes’ set. A seven-piece band waits in darkness for Callinan and Moyes who eventually turn up to play the creepy but compelling video for Way To
36 • For more reviews go to themusic.com.au/reviews
War, without audio. We are then told that the show they had been rehearsing had not been given the green light from the Festival organisers at the last minute. It seems that they had plans to plant someone who suffers from epilepsy in the audience and give him a strobe-induced fit just to see how members of the audience would react. They talk for ages before a woman stands up and screams her dissatisfaction that first they subject her to pornographic images and then seek to exploit someone with epilepsy for their own amusement when in fact they should be playing some music. It’s hard to know if she was planted in the audience too but it’s all quickly turning into a bit of a yawn. Surprisingly, when they do get to playing a song it sounds amazing, in a way that should make Callinan’s forthcoming album hotly anticipated. Driving dissonant rock in the vein of acts like Galleon Drink and The Bad Seeds with Callinan sweating it front and centre, tense and angsty with a distinctly Aussie accent proves to be exactly what the doctor ordered. As the song draws to a close a Muscle Mary in a singlet and satin short shorts stage invades. He takes a photo with Callinan and after taking off his top lifts Callinan up and perches him on his shoulder. It starts to feel like we were not going to hear Callinan play too much music tonight as security drags the buff dude off stage. “I wanted tonight to be special,” says Callinan, “but now I just feel freaked out.” “That’s because you are a fucking dickhead, mate,” yells an unimpressed punter. Lost for words, Callinan couldn’t think of a quick come back. Instead he starts tossing off, well figuratively speaking, with a laidback tune about masturbation. It’s building to a climax but before things get even messier than they already are we decide to leave. Downstairs Hunx & His Punx, are set to get down and dirty with the crowd. Hunx, aka Seth Bogart, starts with asking us if we are feeling horny and after getting a rather lame response decides that no one in the crowd is particularly in the mood. Speaking to a small audience at Sugar Mountain, Hunx & His Punx offer up a twisted camp take on ‘50s rock and roll that effortlessly has the crowd jumping and jiving. There is even the occasional ballad that squeezes a soulful doo wop out of the group. Meanwhile the larger than life and very delinquent Hunx drops lascivious lyrics and amusing rude banter in between songs. Who knows what’s going through the photographers minds when Hunx, sounding mildly irritated, points to them and says he wouldn’t mind face fucking all of them. It’s hard not to think of Lux Interior as Hunx tosses
aside his leather jacket, strips off his light-blue lycra leotard to shimmy and shake about the stage in black stockings and a g-string. As freaky as it all is, tunes like Don’t Call Me Fabulous and Teardrops On My Telephone offer a dirty party vibe that’s light weight and lacking the deranged intensity of The Cramps. Just don’t be surprised if Hunx one day manages to produce a xxx-rated gay prequel to the musical Grease. It’s a pity that there’s no place to dance in the seatsonly auditorium when Forces drop a set of electro that resonates with proto industrial edge and EBM influences. Chunky Moves’ Anthony Hamilton and a troupe of male dancers do their best to match Forces’ advanced robotics with some pretty funky moves in amongst gigantic white shards of polystyrene. New York’s no wave legends ESG transport us back to the early ‘80s and rock the Forum down to its very foundations with their deep and sparse drum’n’bass grooves and plenty of attitude. Classics like UFO, Moody and Tiny Sticks have everyone on the dance floor bumping and grinding with wild abandon. ESG charm our pants off and deliver one of the most joyous moments of this year’s Sugar Mountain. It seems strange that Peanut Butter Wolf should be spinning Maureen Steele’s hi-nrg Boys Will Be Boys as we again head upstairs to check out local electro punk outfit HTRK. Nigel Yang and Jonnine Standish deal a deeply narcotic set of swirling electronic and guitar textures, accompanied by Standish’s hypnotic vocals. As we sink deep into our seats HTRK’s set is immersive and offers a tranquil moment. Those still feeling hyperactive are burning off plenty of energy as Mr Wolf continues to play them a mix of ‘80s-styled electro funk with just a little hip hop thrown in for good measure. Dirty Projectors are waiting for us high on top of Sugar Mountain with a set mainly comprising material from Swing Lo Magellan. The group’s approach is simple, honest and unpretentious. They deal in pop songs that teem with influences as diverse as folk, rock, country, R&B and West African polyrhythms. Seemingly devoted to their songwriting craft plenty of thought has been put into the complex arrangements that soar around us. The softer tone of their set serves as a comedown to round the night off. Fast becoming an institution on Melbourne’s festival calendar, the 2013 edition of Sugar Mountain offers up plenty of quirky hipster cool, good music and fun times. Guido Farnell
A dude navigated the steamy, packed, sweaty Old Bar with a tray of Jäger shots to present to The Snowdroppers while they were performing onstage on Sunday night. And furthermore, he didn’t spill the contents. We salute him.
GIRL GAG Donald Glover (aka Childish Gambino) plays Sandy in Season Two of GIRLS, Lena Dunham’s character Hannah’s damn fine new lover. He does, however, have some pretty strong Republican beliefs that challenge hers. Check out Watching Girls in Frontrow for more GIRLS gas bagging.
SWEET TREAT Props to Sugar Mountain for delivering their most cohesive conglomeration of audio and visual arts to date. The music was bangin’, the kids were throwin’ out wellrehearsed zany dance shapes all day and (bar the odd unmentionable) the inter-room flow was more slippery than engine oil.
BACKLASH GRAND SALE
Celebrities auctioning ludicrous items these days… We thought Alexisonfire bassist Chris Steele auctioning off the outfit he wore throughout the band’s farewell tour – jeans, wife beater and Nikes – was bad, now Khloe Kardashian’s used underwear (including an old sports bra) is up on eBay. What a minger!
DIABLO DROPPER To the Cirque du Soleil carni Diabolos who dropped his spinning spool during at least two performances of Ovo last week: back to sidewalk busking for you!
KUNG FU CROSSING Now we’ve seen it all. A dude spontaneously jaywalked across Cunt Road at its busiest, just before the Victoria Street intersection, the Sunday just gone, who was probably taking inspiration from Dustin Hoffman’s Midnight Cowboy character (“I’m WALKING here!”). Except that he busted kung fu moves all the way across the road into oncoming traffic.
gets amongst 8,000 of his people during Troublemaker (a nice distraction from the song), and for whatever reason the crowd goes apeshit for Beverly Hills, but it’s not until we inch towards the ‘90s and cop a bit of Island In The Sun (what a fucking song!) that we hit paydirt and El Scorcho from Weezer’s other good album, Pinkerton, is a glimmer of brightest gold.
of singer Emma Russock, brother violinist Nick and synth-laptop operator Aaron Lam, the set is laden with glistening, reverb-soaked paeans to psychological obsession, twisted love and generally being extremely assertive. It’s a stunning set, and songs like Xanax Baby, Queen Of The Night and the closing Rock Candy suggest a stellar album in the offing.
The mid-set break is filled with a Weezer slideshow narrated by one of their good buddies, techs and classic dry bastard Karl Koch, who’s been trotting the globe with the band for 20 years. Unlike your average family photo album, this stuff is actually good. There are plenty of awesome snaps of demos from Electric Lady Studios, the dudes with younger faces (except Cuomo, who hasn’t aged an iota – apart from, strangely, his hands) and longer hair... You know the malarkey. Turns out they weren’t ripping off The Feelies’ Crazy Rhythms cover art on ‘Blue’, they were, in fact, like so much of their artistic output, ripping off The Beach Boys.
Fresh from blowing minds with their video for recent single Adriana, Montero open their set with Clear Sailing/Alpha World City #2, silencing and flummoxing early-comers. A Montero gig is very much dependent on the mood of frontman and songwriter Bjenny Montero and tonight sees him in ‘slightly unhinged’ mode, which means bug-eyed stares, strange interactions with an optical fibre lamp and some coruscating vocalising. The synthpop bounce of Mumbai follows before a bizarrely faithful version of Max Merritt & The Meteors’ Slippin’ Away. These soul-pop musical roots ground the final two songs, Ya Gotta Be Alone and You’re Gonna Make a Monkey Out of Me, both of which follow the Montero default move; a tender piano intro, a killer drum fill and some scorching ‘70s psych pop.
The best bit about reviewing a performance of an album as iconic as Weezer’s ‘Blue Album’ is that you can switch off and let the thing wash over you. From the opening crashes of My Name Is Jonas to the closing drips of Only In Dreams, this is still an album to savour. Notably, Cuomo takes over on lead guitar for much of the ‘Blue’ stuff and his weird oldlooking hands still shred. The World Has Turned And Left Me Here’s timeless metronome is about as close to a perfect song as the band ever got – and it ain’t far off. Buddy Holly and Say It Ain’t So predictably rouse the collective larynx of the audience, but it’s the aforementioned closer, surf song Holiday and the only-now-poignant-in-retrospect In The Garage that reveal the subtle brilliance of this album and band. Samson McDougall
STOMPY & THE HEAT TOTE: 12/01/13 Celebrating the release of their self-titled debut album (Waterfront Records) at Melbourne’s thankfully salvaged music institution, the Tote, is Stompy & The Heat (S&TH), the lovechild of Scott Wilson and drummer Pete “The Heat” Marin. With both men having worked alongside Dan Sultan on his commendable album Get Out While You Can, and praised regularly for their energy and unity on stage, S&TH propound no less, and the enthusiasm and conviction of the band is truly endearing.
Nightwish Pic by Heidi “Blood & Guts” Takla
NIGHTWISH, BLACK MAJESTY, SABATON PALACE THEATRE: 15/01/2013 Sabaton take the early slot tonight due to flight schedules after the show, and their tales of war powered by uplifting and energetic power metal go down a storm. Looking like an extra from a Mad Max movie with his mohawk, mirror shades and steelplated black vest, vocalist Joakim Brodén bounds across the stage and the rest of the band are just as energetic, having a blast as they rock the house on the last show of their first Australian tour. Local metal veterans Black Majesty are up next. The band play melodic power metal with a European vibe and do it very well, including material from their 2012 album Stargazer. Guitarists Steve Janevski and Hanny Mohamed reel off some great shredding solos and harmonised lead lines. At end of their set they are joined on vocals by Sabaton’s touring drummer Snowy Shaw (formerly of Dream Evil, Therion, Mercyful Fate and King Diamond) and Eyefear vocalist Danny Cecati for a killer rendition of Dream Evil’s The Book Of Heavy Metal, featuring some of the best falsetto screams you’ll ever hear live. It’s a definite show stealer and a great build up to the main act. Not many bands would risk changing lead singers midway through a tour, but that’s exactly what Nightwish are trying to pull off by replacing Anette Olzon with former After Forever vocalist Floor Jansen. The anticipation builds as the band members take their places during the orchestral intro track and the rapturous cheers when statuesque beauty Jansen finally makes her entrance make it obvious Nightwish fans have already accepted her. Jansen’s vocals are excellent during opener Storytime and really shine on the band’s earlier songs, where she can use her considerable range. She’s relishing this opportunity, nailing her performance and enjoying every second of the ride. Bassist and co-vocalist Marco Hietala takes charge of a lot of the crowd interaction between songs, though every time
Jansen has her chance to talk to the crowd and urges them to get involved everyone goes wild. When Jansen isn’t singing she’s windmilling, head banging and moving constantly. There’s great energy among the band members and several smiling glances of approval between main songwriter and keyboard maestro Tuomas Holopainen and Jansen, which bodes well for her future with the band. Tonight’s show at the Palace was added after the first show sold out and is only filled to half capacity. However, what the audience lack in numbers they make up for in sheer enthusiasm and it seems many of the punters are here again after seeing the first show. Regardless of the reduced crowd, Nightwish give absolutely everything and play extremely well. British musician and composer Troy Donockley joins the band on Uilleann pipes, flute and whistles for I Want My Tears Back, old favourite Nemo and several other songs including a cover of Gary Moore’s Over The Hills And Far Away, adding a medieval flavour to the epic symphonic metal sound. Last Ride Of The Day is a fitting end to the set and the band take a few moments to bask in the crowd’s adulation as the outro track Imaginaerum booms out over the speakers. It would be very surprising if Floor Jansen doesn’t become Nightwish’s full-time vocalist as she seems a perfect fit based on tonight’s performance, but time will tell. Tonight’s gig is a great celebration of traditional and symphonic metal, with really strong performances from all of the bands. It may not be fashionable, but this style of metal is alive and well and no one here tonight would have it any other way. James O’Toole
WEEZER SIDNEY MYER MUSIC BOWL: 16/01/13 The less said about the first half of the ‘greatest hits’ set from Weezer, probably the better. Let’s just say Rivers Cuomo and his fearless team dress up some pretty cringeworthy material as best as they can, but there’s only so much shine a turd will take. Cuomo
Wilson has claimed that the band and their sound were truly born when he purchased his Norma brand guitar, saying that, “This cranky old Japanese monster had a sound unlike more common guitars,” and the riffs assembled on it provide the foundations to tracks such as Thanks To You and Don’t Tell Me; the former being particularly well received and jived to by the crowd. Open about his discomfort as the lead singer, Wilson brings on board the charismatic Bow Campbell (Front End Loader), who does a hell of a lot of justice to the songs strummed by Wilson and band. With the album almost 18 months in creation – a considerable lift on the casual month Wilson initially anticipated it would take to craft – few topics are left untouched, and tales of aliens, zombies, motorcycles, the devil and Mongolian warriors, among other things, are regaled to the audience’s delight. Better still, Vasco Era bassist Ted O’Neil and independent local Kim Dellavedova add more to the richness and raw talent of S&TH. If you think this suggests that Wilson isn’t capable on his own however, think again, or simply watch him run through a handful of riffs, intros and guitars on Channel 31’s Guitar Gods & Masterpieces – the man’s a genius. Closing with the powerful Black Lightning, S&TH affirm that when it comes to playing proper rock’n’roll, being unforgiving, appropriately reckless and totally unpretentious are qualities too rarely seen and undervalued. Campbell’s parting dialogue is the ultimate leveller, closing with the humbling, “It would have been really weird if no one turned up. Thank you very much for coming.” Izzy Tolhurst
NEW GODS, MONTERO, JESSICA SAYS NORTHCOTE SOCIAL CLUB: 11/01/13 Though it’s been a while since the storming World Without Men single, Jessica Says (aka cellist-vocalistsongwriter Jessica Venebles) is such a fascinating artist that a pause for reinvention and rumour of a new album makes you wonder not only where she’ll go next but confident she’ll arrest attention when she does. As it turns out this most compelling of vocalists has moved from the intimate fragility of her work so far and confidently into the world of icy electropop. Now fronting a four-piece made up
Though the Little Red elephant in the room is never mentioned, it exerts its influence in strange ways. New Gods consist of singer-guitarist Dominic Byrne and guitarist Adrian Beltrame of Little Red, synth player Dale Packard of Ground Components and bassist Richard Bradbeer of Eagle & The Worm, so the band are, unsurprisingly, incredibly well rehearsed. Their songs are big on hooks and tight on harmonies, and the opening few almost perfunctory in their delivery. Byrne is actually apologetic for the few moments that stray from this script; a “folk dirge that isn’t depressing” Wonders Of The World is hastily pushed into the past once finished, the brief and mellow 10,000 Miles with its harmonica is laughed off as soon as its over, and a saxophone-led free jazz moment is dismissed as “just us fucking around”, but it’s these deviations that are the most interesting moments. Byrne seems far smarter than he is able to express in this context, as the Bill Hicks-dedicated Eyes Of Love hints. It’s not until the final few songs (Skipping Stone, Day Off Work and the “medley of our hit” On Your Side) that the guitars cut loose, the clean, choppy, mid-paced fare is left behind and we can see what the band as a true combination of the talent therein. Fronting two bands beloved of our national youth broadcaster is admirable, but I’m betting Byrne’s best is to come. Andy Hazel
ROKIA TRAORÉ RECITAL CENTRE: 17/01/13 The physical difference between Mali musician Rokia Traoré since her last visit to Australia a couple of years back is striking. As she walks onto stage to rapturous applause she’s all sinew and muscle, with her hair closely cropped. The sex bomb with the big bombastic band from WOMADelaide is now a stately ambassador giving back to her country of birth. Tonight’s performance is all about her charitable work. A few years back she returned to Mali and set up a foundation to provide the opportunity for aspiring musicians to develop their skills. Her tour to Australia is to raise money for the foundation, though also to give some of the singers an opportunity to tour and perform live with the great woman and her band. Typically, for Traoré, the instrumentation is a fusion of traditional Malian instruments, notably the kora (African harp) and the ngoni, (a distinctive lutelike instrument made from hide) with a drum kit, electric guitar and double bass. Tonight it’s all cover versions of old Mali music that are rarely performed these days. The kora, surely one of the most lyrical instruments in the world, features prominently, though of course it’s Traoré’s smoky voice that is nothing short of spellbinding. She effortlessly commands the stage, almost whispering between songs. Mali’s current social and political upheavals are never far from the surface, and she thanks the international community for sending in troops. “It’s not about religion or a god,” she offers, “it’s about greed.” She’s concerned that the Islamists who have imposed sharia law in the North want to remove the ethnic diversity of Mali, and they want to take away the incredible music. The music is beautiful, the backup singers swaying effortlessly behind the music, before occasionally taking centre stage themselves with Traoré returning to their place to provide backing vocals. The covers eventually move into West Africa and further; Bob Marley’s Zimbabwe, Fela Kuti’s Lady, Miriam Makeba, even Tabu Ley Rochereau. She has us clapping, gets us up to dance and even sings happy birthday to a friend’s father. All the while the audience marvels at her beauty, her remarkable voice and the incredible music and vitality that pours forth from this amazing woman. Bob Baker Fish
For more interviews go to themusic.com.au/reviews • 37
Both idiosyncratic performers with strong individual styles, together they are totally sympatico. Clark’s sweet and strong vocals weave beautifully with Byrne’s trademark sharp and cold delivery. The entire show is carefully choreographed, which makes for great theatre. The brass-heavy arrangements make the band work hard – all 12 performers move in preordained formations around the stage for the entire two hours. During one number the entire band, including Byrne, perform lying on the floor, with Byrne only popping his head up to sing the odd word. He is in his element, relishing the wry, quirky humour of the performance. The atmosphere continually shifts. Outside Of Space And Time is melancholy and ethereal, I Should Watch TV, which Byrne dedicates to the Murdoch family (he also dedicates a song to the Cern Hadron Collider) is a hectic pulsating throb. The Forest Awakes is sonically frenetic and claustrophobic, while the brass band slowly encroach on Clark as though they are about to engulf her.
Twelve Foot Ninja Pic by Jay Hynes
TWELVE FOOT NINJA CORNER: 18/01/13 Few bands can be epic, spastic and sarcastic at once. Despite their technical skill and tight live performance, Twelve Foot Ninja don’t take themselves too seriously. After supporting Periphery, Tesseract, Dead Letter Circus and Fair To Midland, Twelve Foot Ninja have finally struck out on their own, launching debut album Silent Machine with an Australia-wide tour. The release of the album follows two solid EPs (New Dawn and Smoke Bomb) and cements the band’s reputation in the heavy realm. Supported by Mike Mills (Toehider), Circles and Wasabi Girls, the Twelve Foot Ninja album launch is a powerful concentration of heavy music. The influences of this genre-bending fivepiece are evident, with dub-reggae and smooth funk interludes that, surprisingly, complement the band’s metal roots. Classic metal drumming and cranked-up bass pins together experimental guitar riffs. The vocals swing between soaring and roaring, and the crowd don’t hesitate to join in. In the 12 weeks leading up to the album launch, the band released 12 digital tracks and 12 six-page comics created in collaboration with Keith Draws. Project Twelve was inspired by the Twelve Foot Ninja fable, with each comic based on the corresponding song’s lyrics. The attention to detail and grand ambitions of this band carry through to their tight live set and impressive connection with the audience. At one point vocalist Kin presents a new copy of the band’s EP Smoke Bomb to an audience member he’d heard lost his entire CD collection in a car crash. Wrapping up with an explosive rendition of Coming For You (mandatory viewing; if you haven’t seen the video clip for this yet, do yourself a favour) the Corner is flashing with strobe-lit, moshing punters. We leave invigorated and elated, buoyed by a crowd and still laughing at the memory of a crowd-surfing ninja. Izzy Roberts-Orr
PETER MURPHY, IKON CORNER HOTEL: 10/01/13 Tonight’s bill attracts a horde of image-conscious goths dressed in black leather, lace and velvet, but disappointingly no rubber. In among the big hair and ornate fashion, the more practical simply choose to wear a light black cotton tee shirt on what is a swelteringly hot summer’s evening. Similarly dressed in black, local postpunk darkwavers Ikon deal a solid set that draws from their extensive catalogue of albums. Perhaps accounting for all the Joy Division and New Order tees in the crowd, Ikon draw much from the influence of these bands adding something of a ‘90s industrial electronic twist to an essentially ‘80s sound. On stage, Ikon are comfortably relaxed and play with the kind of confidence that comes with playing together for more than 20 years. Now a permanent and respected part of the international goth and darkwave scene, frontman Chris McCarter sincerely acknowledges that while it’s been a thrill for Ikon to tour the world and reach international audiences, there is nothing better for them than to play to a hometown audience. Peter Murphy and his three-piece band hit the stage with impact, showcasing some of the harder rocking tunes from Ninth, his latest solo album. Well into his
38 • For more reviews go to themusic.com.au/reviews
50s, Murphy still writes a decent rock song and the deep gravel of his distinctive baritone howl is in fine form. Velocity Bird feels like glam colliding with angular old-school punk to produce hard, energised driving rock that is completely timeless. Murphy is a charmer but amusingly he is still pulling some really old-school ‘80s rock moves. Whether his hand is on his hip and he’s pointing out into the audience or leaning into the crowd and flapping his arms and imagining that he is a bird, Murphy acts out his songs with the kind of camp theatricality Bowie once deployed. It is distracting and not the kind of sinister cool one would have expected from the man who fronted Bauhaus, supposedly the first goth band ever. Tonight dispels a lot of mythology, as Murphy tells us, “So you think I get about with this deep cavernous voice and hang out at the cemetery at night with lots of girls? Well that’s not me at all,” he laughs and it becomes clear that he won’t be feasting on the blood of a virgin later tonight. “It all happens here on stage and then we go home and have a hot cup of cocoa and no drugs. All the people who tell me that our music inspired them to do drugs,” he says rolling his eyes before saying, “no, no, no,” insistently. It feels like there is a touch of Kenneth Williams to Murphy’s Count Dracula. Slipping into Bauhaus, She’s In Parties is a memorable highlight ahead of Kick In The Eye’s funk manoeuvres and the fury of Silent Hedges. Murphy sings it likes he means it and when he stands on the edge of the stage there is no shortage of hands with black fingernails and skull rings reaching up his legs. He swats the hands away like flies and insists on “no touching” but is red faced when someone points out that his fly is undone. A more acoustic version of Strange Kind Of Love blurs into a teasing snippet of Bela Lugosi’s Dead but most are disappointed that we are not treated to a full version. Murphy soon starts to round the set out with his solo material and I’ll Fall With Your Knife and Cuts You Up demonstrate just how many good songs he has recorded over the course of his somewhat low-key solo career. Those hoping for more Bauhaus get a roughed up version of Telegram Sam and Ziggy Stardust, which Bowie reportedly told Murphy was better than the original. While Bowie has just released one of the most painful singles of his career, it seems that there is plenty of life in Murphy, who is ten years younger and can still rip it up. The single-song encore sees Murphy and his band lying on the floor doing what feels like I’m imagining was a cover of Dead Can Dance’s Severance, which brings down the night. Guido Farnell
DAVID BYRNE & ST VINCENT HAMER HALL: 14/01/13 Resplendent in black with white suspenders, all awkward charm and dance moves, David Byrne is everything you’d expect. At 60, an age when many others have lost their musical mojo, he is as far from stale as fresh can be. His collaboration with St Vincent, aka Annie Clark, and the resulting album Love This Giant, was one of the most intriguing of 2012, and expectations for their first Melbourne show were high. But from the moment they take to the stage, along with the awesome eight-piece brass band, drummer and keyboard player, they totally deliver. They launch straight into the angular brass-pop of Who, from Love This Giant, and while that album is the main source of material, they also draw from both artists’ back catalogues throughout the night.
Clark tells how she first heard Byrne’s music in Revenge Of The Nerds at the age of three and was immediately captivated. They launch into the Talking Heads song she heard that day: Burning Down The House. At one point Byrne begins to explain, awkwardly, that he and Clark have recorded an album together. “They must know that,” quips Clark. “It would be pretty weird if they were here and they didn’t know that.” But it does seem as though some people have come to pray at the altar of Talking Heads. The biggest audience responses are reserved for the Talking Heads numbers, including This Must Be The Place (Naive Melody) and the final song of the night, a spectacular, brassy rendition of Road To Nowhere, which inspires a double standing ovation. Kate Kingsmill
ESG, NO ZU, TERRIBLE TRUTHS HI-FI BAR: 17/01/13 With the heat sweltering outside, the cavernously empty interior of the The Hi-Fi is soon brought down a few degrees by an icy blast of bracing post punk from local trio Terrible Truths. Bereft even of chords, the band’s stripped down sound is filled out with a twin vocal attack, busy drumming and brash attitudes. With the aesthetic of The Raincoats and the accurate simplicity and drive of Love Of Diagrams, the band play as if they’re being chased, a fear of silence or slowing down drives every song. It’s a fantastic show and bodes well for future releases. An equally excellent choice for support, and also sounding as though they’re beamed in from 1981, NO ZU are the most kinetic band in town. Each member of the sextet plays accurate and simple motifs that spiral in and out of time in a captivating way, though songs are interchangeable they prove there are still variations on funk in 4/4 left unplayed. Songs often sound like uncontrolled breakdowns in danger of getting lost, but with a whip crack of timbale everything is brought together. This is what tightness looks like. The buzz about ESG’s live-to-air at RRR yesterday has helped crank the atmosphere in the now-packed room from buoyant to excitably hyperactive. To the sound of Tom Tom Club’s Wordy Rappinghood the band walk out waving happily. “How you doin’ Melbourne?” grins singer Renee Scroggins over the near deafening cheers of the crowd, “this is a song called Dance”. With powerhouse drummer Valerie and percussionist Marie, the Scroggins’ are one of the most heard and least celebrated bands in history. The music itself is some of the simplest dance music ever released – drums, bass, percussion and minimalist vocals – yet it’s so effective it becomes instructive, and also explains why they were (and are) sampled so widely. They got it right. Their classic and much-sampled UFO follows and includes the only use of guitar. Percussion drives the songs; dual tambourines, vibraslap and copious use of congas and cowbells are the only sounds to flesh out the massive bass and powerhouse drumming. Every introduction is met with deafening cheers, Time Shift, The Beat, I Feel Tonight and the almighty anthem to leaving bad relationships, Closure, all cause such a burst of positivity among the crowd that this gig quickly becomes the happiest of all 300-plus gigs this reviewer has been to since writing for this publication. It’s phenomenal just how strong the effect of this music and the sight of these women playing it are. Further testaments to danceable simplicity follow: My Love For You, You’re No Good and Moody are dispatched with joyous precision. An encore of You Make No Sense elicits a brief stage invasion by dancers and the smiles on the faces of the band as they’re brought out for a second encore seal this as one of the finest gigs in eons. All this and they didn’t even play their best song. Andy Hazel
ROOTS DOWN
ADAMANTIUM WOLF
WAKE THE DEAD
BLUES ‘N’ ROOTS WITH DAN CONDON ROOTS@INPRESS.COM.AU
THE HEAVY SHIT WITH LOCHLAN WATT
HARDCORE AND PUNK WITH SARAH PETCHELL
Sydney/Perth metal group The Amenta have unveiled some still shots from their forthcoming video clip for Teeth over on their Facebook page. The band stated that the song “Is about the regression of the human brain to the reptilian level when drugs and alcohol have been consumed. To prevent confusion: The Amenta are all for psychic obliteration.” Their third full-length album Flesh Is Heir coming out on Monday 25 March through Listenable Records.
Blind Willie McTell The work that the Jack White helmed record label Third Man Records do out of their Nashville base is really something quite special. They have issued releases from the likes of Wanda Jackson, Loretta Lynn, Drive-By Truckers, The White Stripes, Seasick Steve, Lanie Lane and a whole heap of other, perhaps more garage rock aligned artists like Black Lips, Cheap Time, Nobunny and White Denim. Anyway, their latest initiative is one that could well be their most important to date and something that ought not have its importance undervalued. Next month, Third Man Records will reissue the complete works of three of America’s most important blues acts, acts that probably don’t receive as much credit as they deserve. Charley Patton is widely considered to be the Father of the Delta Blues; that is one hell of a handle to be given, but of course the artist himself never got to experience this kind of acclaim while he was alive, the musician dying in his early 40s (no one is sure how old he was) having experienced moderate success in taverns, dances and plantations around the southern United States, though he was said to make a journey to Chicago and New York once per year to perform as well. His influence looms far larger than this, of course, his song Pony Blues was included in the Library of Congress’ National Recording Registry by the National Recording Preservation Board a few years back and he’s been name checked by everyone from Bob Dylan to Gomez in songs over the years. He is believed to have conducted four recording sessions in his life; the first volume of Third Man’s collection will show us 16 of those tracks. While Patton’s songs were full of grit and gravel courtesy of his harsh vocal style, Blind Willie McTell went about things differently, his smooth tenor voice sitting atop his fluid piedmont guitar playing and culminating in seriously charming, actually kinda danceable acoustic blues fare. McTell may have lived a little longer than Patton – shuffling off in 1959 at the age of 61 – but he struggled for recognition as well. Despite recording for countless labels (under different names in order to not break any contracts) he never earned a great deal of money, one of his bigger gigs with the great Alan Lomax earning him just ten bucks back in 1940 (which is worth a lot more now, but still pretty shithouse pay). In fact his last recorded session, when the artist was well down and out, came about as Atlanta record store manager Edward Rhodes coaxed the bluesman into his store with a bottle of booze. He recorded a stack of great songs in his time. The Mississippi Sheiks are even less known than the aforementioned bluesmen, the constantly rotating line-up making their history hard to track. They were initially formed as three sons of a musician from slavery times; Armenter (aka Bo Carter), Sam (rumoured to possibly be Charley Patton’s half-brother) and Lonnie Chatmon (one of the two main members of the band) were joined by Water Vinson (the other solid member), though plenty of musicians passed through the ranks in the years they were together. The biggest musical legacy that the Mississippi Sheiks left us is the bona fide blues classic (and one of the best songs every written) Sitting On Top Of The World, which has been covered by pretty much everyone in the world. The Third Man reissues come from courtesy of Document Records and will apparently remain in print for as long as there is demand, helping to keep this amazing music alive. You can order them through the label’s website now. If you want a bit of amazing free music, then the great Rosanne Cash has just released a bunch of material from across her career on her SoundCloud page. There are some really stunning tunes on there, so if you’re even slightly partial to quality, tasteful country music you ought to check it out. She’s at soundcloud.com/rosannecash.
Opeth Thanks to Soundwave, Opeth will tour Australia once more this March. It has been promised that the band will deliver “a career defining set featuring songs from across their expansive catalogue”, so you can be sure that the band will be playing some of their earlier, more death metal-oriented material in addition to all the melodic prog. Catch the Swedish metal legends at the Palace on Thursday 14 March. American thrash metal/crust hardcore crossover upstarts Black Breath will be hitting up Australia in April thanks to the fine folks at Resist Records. Canberra’s I Exist will support across the entire trek. Hit up the Reverence on Thursday 11 April for a party of riffs. More Soundwave sideshows! American djent guys Periphery will team up with Japanese metalcore group Crossfaith on Monday 25 February at the Espy’s Gershwin Room; thrash legends Anthrax will rock The Hi-Fi on Thursday 28 February with Fozzy and This Is Hell. The new single from Brisbane deathcore group Aversions Crown is entitled Overseer and will be available on Saturday 2 February through iTunes.
Australian guitarist Jona Weinhofen has confirmed his departure from UK metalcore superstars Bring Me The Horizon. The details of the split have not yet been officially disclosed though the word on the street is that it occurred weeks before any official announcement and that it was not exactly amicable. Bring Me The Horizon will release their fourth album Sempiternal in April. Weinhofen will continue towards working on a new album with his original group I Killed The Prom Queen. Fresh off the Boys Of Summer Tour, US metalcore group First Blood have been revealed to be the secret headliners at Bang this Saturday night. Emerson and Kontact will provide support. Brisbane’s Eternal Rest have just launched their debut album Prophetic – and to back it up they are heading to Japan in July for a tour with Origin (USA), Mors Principium Est (FIN), Aeon (SWE) and Perth’s Blunt Force Trauma. Huge congrats! You can catch Eternal Rest on Friday 8 February at the Gasometer. Melbourne death metal group Internal Nightmare will release their debut album this Saturday. Entitled Chaos Reborn, the band have described it as “the rebirth or reinvention of the band”, with guest vocals from Dean Wells of Teramaze and Matt Young of King Parrot on select tracks. The band will be launching it on Sunday at the Corner Hotel with Blood Duster, Black Majesty, Desecrator, Boris The Blade, Frankenbok, Subjektive, Bronson and Malignant Monster.
THE GET DOWN FUNKY SHIT WITH OBLIVEUS
Saskwatch Happy New Year, Get Down readers! It’s warming up nicely round these parts, so I shall attempt to hype you to everything new, offbeat-related and on point in this town. First up out of the blocks is some misdirection as I managed to hit Sydney for the New Year with the Funkdafied boys and caught the Nextmen absolutely cane it to quite possibly the sweatiest, hottest and steamiest room I’ve ever been inside of. Memories of Marky at the Espy way back when 33 and 1/3 ruled sprang to mind and it’s always great to see quality hip hop, breaks, soul, funk and drum’n’bass served up nicely by this UK duo and I must say they still have ‘it’. The whole event was staged at the Red Bull offices over three levels on New Year’s Day and finished off with some disco action down in the car park, which was a great way to start off 2013. Another great way to start off the year was catching Sharon Jones, Charles Bradley and the Daptone crew up in Sydney for their tour Down Under. For those that love their soul, it doesn’t get any better than this and I’m sure you’re still airing out your point tips and ruffled shirt. The after-party, with locals Cactus Channel, Mr Bradley and the Menahan Street Band in attendance, went into the wee hours of the morning and had quite a few folks groggy the next day. Continuing, I barely slept a wink upon arrival back in Melbourne as I had to make it down to Northside Records for their 10th anniversary celebrations, with ultra-massive local
act Saskwatch providing quite the live soundtrack to the festivities. With a packed-out crowd jammed into Gertrude Street, you’d be forgiven for not actually making it into Melbourne’s best record store on the afternoon, but hearing plenty of hits off their long player, as well as their numerous 45 releases, kept quite a few of the hundreds on hand dancing on the footpath. Quality soul from this superb act and nice work, Afro! Nice work to the Black Caesar crew, as well! Their monthly parties at the Penny Black in Brunswick are becoming a bit of a mandatory event for any true funk and soul fan that’s prepared to dance outside of the box. With an opening party featuring Afro-funk stalwarts The Seven Ups, the boys had Calypso Kings and Mighty Duke & The Lords in for a tropical piss-up earlier this month. It was hot to say the least. In February, they’ve managed to secure Karate Boogaloo to bring their brand of James Brown funk to groove the roof off the place. If you haven’t made it down yet, I suggest you do as the line-ups are always the choicest you can find. The boys have big plans for 2013, with Kylie Auldist signed, sealed and delivering in March at the Laundry, so keep your eyes and ears open. Another you need to get onto quickly is the Kashmere Stage Band, who are playing the Secret Garden Party at the Melbourne Recital Hall this Sunday. In addition to a massive local supporting contingent, the band will be screening their award-winning documentary, Thunder Soul, from 4pm this Saturday at Murmur, off Warburton Lane in the CBD. The band will be on hand to speak with the 70 people lucky enough to make it in for the doco, so find the event on Facebook so you know the details. Also, I figure any true beat freak would know this already, but I need to make sure everyone is hyped for the almighty messiah of funk, Mr George Clinton and Parliament Funkadelic, who are making it down to Melbourne town Saturday 9 March for one night only at Billboard The Venue. Tickets are being snatched up faster than Bootsy’s slap thumb, so get onto them quick if you want in. With that, I’m out. obliveus@gmail.com
Bring Me The Horizon The biggest announcement this week is that Break The Ice is returning for its second year and, all hyperbole aside, it’s actually shaping up to be much bigger and much better than its inaugural year. In 2013, Break The Ice has expanded to a two-day event jam-packed with the best in international and local hardcore. Sharing the headline duties will be the legendary Bane and Cold World, as well as LA up-and-comers Rotting Out. While Bane are legendary and Cold World changed the face of hardcore with their inclusion of hip hop elements, Rotting Out and their fantastic debut album, Street Prowl, represent a new era. You can also add to the list Hopeless, Relentless, Iron Mind, Sydney’s Phantoms doing a reunion tour (in spite of having broken up about five minutes ago), Survival, The Weight, Outright, Endless Heights, Thorns, Civil War and that’s just the tip of the iceberg, with plenty more yet to be announced. The fest is happening Saturday 27 and Sunday 28 April at Lilydale Showgrounds, with tickets on sale now. There are single- and two-day ticketing packages available, but note that last year the tickets sold out in a week, then when upgraded to a bigger venue sold out again after only three weeks. Get in quick! I’m surprised that this got missed about a year ago when Bring Me The Horizon/I Killed The Prom Queen guitarist Jona Weinhofen posted on his personal Tumblr page his dissatisfaction with the situation within BMTH. Last week, the band officially announced they’d parted ways with Weinhofen. The original Tumblr post saw Weinhofen write, “After a lot of time and thought I’ve decided to leave my current position as guitarist with Bring Me The Horizon. Things in the band have been very tense with a lot of disagreements between myself and certain members who I won’t name… I’m planning on moving back to Australia to pursue other musical ventures.” Then on January 14, BMTH said in a short post, “Bring Me The Horizon are Oliver Sykes, Lee Malia, Matthew Keen, Matthew Nicholls and Jordan Fish. Jona Weinhofen is no longer in the band.” A subsequent tweet from Fish detailed how he was not replacing Weinhofen on guitar but instead was taking on the position of the band’s keyboardist. This news comes right off the back of the band announcing the first details of their new album, Sempiternal, and the release of first track, Shadow Moses. The band are in Australia February and March as a part of the Soundwave Festival. Five years after releasing their much-loved self-titled debut album, folk-punk quartet Fear Like Us are finally set to give their fans some new music. Recorded in Newcastle, the Street Vipers 7” contains four new songs, with the digital download including a cover of Born Against’s Nine Years Later. And of course, the record is being released through Melbourne’s Poison City Records, so if you head on over to their online store you can pre-order and reserve your copy to get it on the expected 14 February release. If you want to try before you buy, Bombshellzine is currently streaming one of the tracks, The Bands Are Breaking Up. Adelaide hardcore act Crisis Alert will be touring Australia for the very first time since forming at the beginning of last year. Adelaide has a reputation for producing some of the best bands in Australian hardcore, among them Stolen Youth, Jungle Fever, Sex Wizard (or SXWZD if you prefer) and Starvation. The band have already released their debut, ten-song 7” through Resist Records, and I guess this tour is in support of that. The best part of this tour is the awesome supports tagging along, including Byron Bay’s Shackles. You can catch CA when they hit Melbourne for a show at the Gasometer Hotel on Friday 22 February or at the Reverence Hotel on Saturday 23 February for 18+ shows, or if an all ages show is more your thing, on Sunday 24 February at The Black Goat.
For more opinion go to themusic.com.au/blog • 39
NY CONVERSATION
OG FLAVAS
INTELLIGIBLE FLOW
TALES FROM THE BIG APPLE WITH TOM HAWKING
URBAN AND R&B NEWS BY CYCLONE
HIP HOP NEWS & COMMENTARY WITH ALEKSIA BARRON
Big Boi Icona Pop There was a bunch of discussion online earlier this month about a column on Pitchfork wherein, amongst other things, writer Lindsay Zoladz argued for 2012 as a tipping point where people stopped caring about whether music was “pop” or “indie” and just got on with listening to it. I pretty much agree with this – I feel like I’ve read more thinkpieces on pop music and Carly Rae Jepsen and the joys of K-Pop and etc over the last year or so than ever before, both on the internet and in Serious Publications that would never have dreamed of covering the likes of Ke$ha or Katy Perry a decade ago. Which is, y’know, great. It’s been one of the great pleasures of the 2000s to witness the way in which music and culture has become less polarised than it was in the past. We all spent most of the last decade reading weighty treatises about the impact of the iPod, and how people in this brave new post-millennial internet world are just as likely to have a Bieber track nestling up next to rock and hip hop and whatever else on their playlists, and etc etc etc. And, y’know, it’s true – with the exception of yer Beliebers and Little Monsters etc, people today really are far more likely to define their tastes in terms of inclusivity than exclusivity, which is a thoroughly positive development. This general cultural shift means that the critical orthodoxy in 2012 is such that it’s proclaiming you don’t like pop music that’ll get you labelled as a dinosaur or win you a slightly condescending laugh and an assurance that deep down we know you really do, even if you can’t admit it to yourself yet. If anything, it’s fashionable to sink the boot into indie bands: look at the kicking that Grizzly Bear took for Nitsuh Abebe’s New York mag cover story, for instance, and then ask yourself if the response would had been different if it was a struggling rapper – or, yes, pop singer – being profiled. It’s all rather symptomatic of the current rose-tinted critical view on a genre so long scorned; the critical pendulum has swung all the way from sneering at all things pop-related to venerating all things poprelated. The only problem is, neither extreme has a whole lot to do with reality. Pop doesn’t have any sort of freedom inherent in it, artistic or creative or otherwise – certainly no more than punk or any other genre, and arguably a whole lot less. In her column, Zoladz quotes Icona Pop’s Caroline Hjelt, who argues that pop is a world of possibility – “anything you want can be pop!” But the reality of what actually is pop – the artists who inhabit our top 40 charts in 2012 – is pretty depressing as far as individuality/self-expression/diversity go, unless you consider attractive young white girls singing inanities about love and partying to be avatars of liberation. This is why people tend to move away from pop music toward alternative genres in the first place – because they feel alienated from the airbrushed reality that pop music and pop culture purvey, and because they want something that speaks to them. For every kid who sees pop as a hypercolor landscape of possibility, there’s another kid who sees it as a Barbie world, an ideal that can never be lived up to, a place that speaks to them of nothing at all. The homogenisation and ultimate conceptual dullness of pop music is something that critics don’t tend to address these days – it goes against all the tenets of poptimism, after all – but if we’re going to talk about pop, we should ask questions about why pop singers are all hot young white girls wearing not many clothes, and why this cultural space is so homogenised, and even perhaps ask if this really is an idea we want to buy into. (Gaga, for instance, has spoken at length about her body image issues this year, a move for which commentators have [rightly] commended her without ever really making the conceptual leap to the strictures of the genre in which she’s operating.) It’s not as much fun as just slapping each other on the back and raving about how much we all loved Call Me Maybe, but you can’t have everything, eh? Hopefully 2013 will be the year that the pendulum swings back from poptimism a bit. We’ll see.
40 • For more opinion go to themusic.com.au/blog
Antwan “Big Boi” Patton has snuck up on hip hoppers with a new solo venture, Vicious Lies And Dangerous Rumors. It follows 2010’s widely praised Sir Lucious Left Foot: The Son Of Chico Dusty. And fans of that album – and OutKast – will dig this. Vicious Lies... is a trip. Ironically, Patton’s homeboy André 3000 (aka André Benjamin), once considered OutKast’s star, has largely been AWOL – though he’s recently resumed rapping with collabs both odd (a Ke$ha remix) and cred (Frank Ocean’s Pink Matter). The OutKast MCs bonded at a performing arts high school in Atlanta. The duo signed to LaFace Records. They premiered with 1994’s Southernplayalisticadillacmuzik. OutKast pioneered an eccentric Southern hip hop, together with Cee Lo Green’s Goodie Mob. They were sometimes sociallyconscious, sometimes street, but always alt. In 2000 OutKast dropped Stankonia, their breakthrough album. The joint BOB (Bombs Over Baghdad) fused UK jungle and Southern bass long before the current dubstep-fuelled urban. However, it was Speakerboxxx/ The Love Below that turned OutKast into household names globally. Each member cut a solo album under the auspices of OutKast. Benjamin decided to sing and play instruments on his, the avant-funk The Love Below, and its single, Hey Ya!, was soon ubiquitous. Alas, Patton’s set was overlooked, despite containing another hit in The Way You Move, featuring Organized Noize’s resident soulster Sleepy Brown. OutKast won the prestigious Grammy for Album Of The Year. After six LPs, OutKast went on hiatus, mainly because of Benjamin’s growing disillusionment with music and a desire to act. OutKast had already shot a film of their own, 2006’s Idlewild, with a (sketchy) soundtrack. Patton, a pitbull breeder, concentrated on his entrepreneurial activities, developing Purple Ribbon
Records. He launched Janelle Monáe in tandem with Diddy’s Bad Boy. Then he issued the conceptual Sir Lucious Left Foot through Def Jam, the single, Shutterbugg, helmed by Scott Storch. The LP was a cult fave. Patton showed he could be just as “wacky” – and innovative – as Benjamin. He swiftly deconstructed LaFace’s depiction of him as “the playa” to Benjamin’s “poet”. Patton has toured Australia twice, initially in 2010 with Winterbeatz. The next year he returned and did a brilliant job of stringing along hapless journos he had no intention of talking to, the obvious explanation that he didn’t wanna be quizzed about an arrest for ecstasy possession. Vicious Lies... has even more hooky moments than its predecessor, one highlight, She Hates Me, with emo rapper KiD CuDi. It’s a chaotic album, but in a good way, Vicious Lies... not unlike a Basement Jaxx project. Patton dashes through disparate genres from psyched-out Atlantan hip hop to indie to electro. It’s lyrically candid, too. Benjamin popped up on Beyoncé Knowles’ 4. Another Destiny’s Child singer, Kelly Rowland, cameos on the single here, Mama Told Me, a throwback to When Doves Cry, only with a lil’ mo’ boogie. There are some truly unexpected guests, like Yukimi Nagano’s Swedish electro-pop combo Little Dragon (on a track with Killer Mike). The wildest? Indie types Phantogram on three songs. How very Kanye West... Overall Patton works with lesser-known producers. Old colleagues Organized Noize assist with Lines, featuring hotshot rapper A$AP Rocky and, yes, Phantogram. It sounds like a post-music festival jam. Weirder yet is Shoes For Running with BoB and Cali surf rockers Wavves, produced by Santigold ally John Hill. Nevertheless, Benjamin is MIA. Patton complained to The Village Voice that his homie didn’t lay down any vocals because he had obligations as a Gillette spokesman (!). Equally shocking, Monáe doesn’t turn up. In 2010 OutKast were reported to be reuniting. Patton then told OG they would first get solo albums out, Benjamin’s imminent. His elusive standalone solo debut should now be listed with other near mystical urban releases increasingly unlikely to ever appear, like Dr Dre’s Detox, Lauryn Hill’s sequel to The Miseducation Of..., and D’Angelo’s James River. Go Big Boi.
THE BREAKDOWN POP CULTURE THERAPY WITH ADAM CURLEY
LOL Boys It starts with a scatting trumpet. Do-do-da-daaaahdah. The expression on my face says it all. The girl behind the bar cocks an eyebrow – “What?” I shake my head. “Sorry, I’m just surprised to hear this song.” She shrugs and hands a man his change. He picks up his glass of wine and shuffles off to a table of primly dressed white suppers. The bistro is full of them, sipping, dripping into their napkins, frowning at the floor. My neighbourhood is full of them. “I don’t know who it is.” “Never mind,” I said, trying to lessen the embarrassment I’m about to cause myself by being that guy. Oh, you know, just some obscure group I’d never expect anyone in here to appreciate. Am I really going to do this? Is this the betrayal my face had in mind? Another bartender arrives with my takeaway sixpack from the back fridge. The girl goes over to check the iPod: “LOL Boys? No, I don’t know them.” The other bartender sweeps his eyes between us. “Who?” A pair of loafers and a bad tan arrives to the bar. The song’s chintzy keyboard melody has set in, the pitch-altered voices of guest duo Heart Strings, heartbroken chipmunks, repeating the song’s ultra-earnest plea: “Things won’t change until we do.” “No, it’s nothing,” I say, holding out my twenty. “I’ve just been hearing it a lot lately.” “Oh.” The girl shrugs again. Yes, this is about me, not you, I’m sorry I’m sorry I’m sorry. “Following you around? It’s nice.” The loafers and the tan nod, picking up on the talk. The trumpet is back, flitting between the diners, conversations kept to the proper volume, a controlled, convivial pace. The song fits right in.
A week earlier I’m dancing to the song – Changes, from LA/Montreal duo LOL Boys – in my backyard at around 2am with a motley crew of friends and strangers. Two weeks earlier I’m discussing the merits of the song’s video on a scorcher of a day that has brought the song back to me. It’s a simple video made on the cheap, a cut-and-paste of different people singing along via their webcams, each face contained within a window, framed by the internetthieved images of their individual desktop backdrops. The clip makes a community out of lone faces: a man shaving, a group of girlfriends, some dude in a ski mask, the internet’s Kitty Pryde. Everyone’s performing, most yukking it up. The song’s mantra, repeated, is funny and affecting. It is funny to sing something so sentimental. It’s funny to make home clips miming Carly Rae Jepsen. The message and the messengers – artist and audience – are also genuine. Changes doesn’t make distinctions. The internet is the people is a Euro-jazz trumpet is a chipmunk is a catchy pop song is a song for change. And everyone will laugh and move on if you try to break this down into things that are ironic and things that are sincere and what it all means to the future of culture. The future is here, with or without you. Of course, saying so makes me a man with a sandwich board shouting about God. It’s missing the point. But still, rather the sandwich board than a lox-on-rye soundtracked by elevator music, a computer’s retelling of Euro-jazz at a chewing pace, with God just the memory of a baptism. I grab my beers from the counter and make an exit, the bartenders and the loafers left to shrug about me, the song still playing through the bistro. “Things won’t change until we do.” There’s nothing wrong with wanting to know enough to be able to approach art in the manner in which the artist hopes it to be approached. There’s nothing wrong with wanting something new, something different. There’s probably a lot wrong with making assumptions. I’m slinking out the door. After all, I live here, too.
Macklemore & Ryan Lewis I can’t say that I’m the biggest fan of Australia Day. I find it rather problematic that this country holds a national celebration to commemorate the day that a bunch of white guys hopped off a ship and said, ‘Well, this is all ours now! What do you mean, an indigenous population? La la la!’ I mean, that doesn’t seem like great cause for nationwide celebration. Was there not the comparatively non-violent signing of a document that we could commemorate or something? Still, while I’m not exactly enamoured of Australia Day itself, I’m quite keen on public holidays in general, because they give us an extra weekend night for gigs and general mischief. We’ve got a couple of pearlers coming our way this long weekend, so take advantage of this dubiously-reasoned day off and see some music. Over at the Laundry Bar, P-Money, New Zealand’s man with the Midas touch, will play a free show on Sunday 27 January. The renowned producer has continued to make his mark on the international music community – his latest single, Everything with Vince Harder got a lot of play in the UK. Expect to see him meld hip hop with house and dance influences when he hits the decks this weekend. He’ll be supported by Yo Mafia! and the UK’s Russ Ryan. Also happening on Sunday is Allday’s headline show at The Workers Club. The young MC, a Melbourne transplant hailing from Adelaide, has been putting in the hours over the last twelve months. His track So Good got some serious airplay on triple j and he dropped his new mixtape Euphoria a couple of months ago (if you haven’t got it yet, it’s available as a free download from alldaytunes.bandcamp.com). Allday will be supported by Jackie Onassis, one of the most exciting hip hop acts coming up at the moment – they absolutely killed it when they supported their fellow One Day crew members Spit Syndicate last year. Rounding out the bill is Peezo. Presale tickets are available from corner.ticketscout.com.au/gigs/1133. Of course, the other musical event that coincides with Australia Day is, obviously, the triple j Hottest 100. Voting is now closed, but hopefully you found the time to throw your support behind your favourite artists, because the doors that a place in this particular poll can open are really not to be underestimated. I’ll be interested to see how the countdown unfolds, especially since a fair few people are touting Macklemore’s Thrift Shop as a potential #1. If this happens, it’ll be the first time a hip hop track has ever taken out the top spot. I know this track is a divisive one, particularly among hip hop heads – I mean, I kind of like it, mainly because it mentions onesies (and if you follow me on Twitter, you know how I feel about onesies), but I couldn’t help laughing when Ozi Batla awesomely tweeted about it being “That middle-class dumpster diving song”. If Thrift Shop does come in at the top spot, then whether you love it or hate it, it will be significant: an independent hip hop track will have polled as the most popular song of the year. Even if you think the song stinks, that’s a big deal for a musical style that’s been perceived as ‘niche’ for a long time, especially in Australia, and in a roundabout way, it’s likely to open ears and playlists to our local artists. Plus, Macklemore wrote the beautiful anti-homophobia track Same Love, and for me, that gives him a free pass to talk about op-shopping as much as he wants. Hopefully the countdown will feature a few great hip hop tracks from both Australian and international artists, and best of luck to anyone who dropped some new music in the last twelve months.
G
I REAT SOUTHERN LAND
t would be downright unAustralian not to make the most of that one day a year we score a day off work in order to smash beer bongs, fire up the barbie, play Totem tennis or Nerf cricket in the park, initiate Khe Sanh sing-alongs and just generally act like dickheads. Discount variety shops have stocked their shelves with Aussie flag tattoos, green and gold zinc cream and fake boob aprons, Inpress has you covered for Australia Day entertainment options.
DANDENONG PARK
Australia Day Festival In The Park – Dandenong Park Think of an alternative way to finish this chant: Aussie Aussie Aussie... Marina Lysenko, festivals and events support officer: “Help support our mossies!” Or something about peace and harmony. There’s nothing more Australian than... Having a picnic surrounded by your family and friends – there is something for all ages – while listening to an amazing line-up of bands, and best of all, it’s free. Enjoy an afternoon of live music filled with laughter and marvel as internationally renowned bands perform for your pleasure. Have a picnic dinner – you’ll have lots of choices with everything from Argentinean BBQ to wood-fired pizza, to ice-cream and, of course, many healthy options will be available on the day. There’s lots to do from free rock climbing to going down a giant slide, but if that doesn’t flick your switch, sit back and relax and enjoy the festival
atmosphere with great live music and dance performances, culture, art and general joviality. What would you do for a first time visitor to the country to show them something quintessentially Australian? A koala eating vegemite! Although first we’ll need to find a very hungry, adventurous koala… Or an AFL football match – grr and then some. A perfect Australia Day soundtrack would be incomplete without... Solid Rock – Goanna. Some solid drumming to get your heart pumping for a great Australia Day. Why will your event be the best place to spend Australia Day? Some serious fun is on offer this Australia Day, so grab a picnic rug and some mates and make your way to Dandenong – you’ll be surprised by the awesomeness of the entertainment awaiting you. Did you miss out on Big Day Out? Not to worry, this free event features headlines from Skipping Girl Vinegar, Soliloquy, Benny Walker (solo) and Grey Ghost, who will be joining the festival fresh off the plane from Adelaide, where they are performing at the Big Day Out event.
CHERRY BAR
MATT SONIC & THE HIGH TIMES – SUNDAY 27 JANUARY AT CHERRY BAR Think of an alternative way to finish this chant: Aussie Aussie Aussie... Matt Sonic, guitarist/percussion/window dropper: Cherry Cherry Cherry. There’s nothing more Australian than... A sunset drive, heading out of the city, buildings and melting sun in rear view mirror, Foreday Riders on the stereo, arm resting against a 28 degree night, VB longneck snuggled in your thighs. What would you do for a first time visitor to the country to show them something quintessentially Australian? I visited Uluru quite recently and immediately thought how it felt so much like the epicentre, or heartbeat of Australia – so definitely there. And the drive there from Alice Springs gives you a good chance to soak up the uniqueness of Australia. Also, some fish and chips and ginger beer on St Kilda Beach, after an afternoon queuing up at Centrelink.
A perfect Australia Day soundtrack would be incomplete without... Billy Thorpe & The Aztecs Live At Sunbury. Through the record you quite possibly travel the breadth of this country. The stories around Billy, that record and his advocation of Australia through his stellar career, make it essential. And it is pummeling rock’n’roll. Billy managed to combine glorious songs, with a no nonsense rock’n’roll delivery, with psychedelia and blues explosions – quite a benchmark and extremely relevant to where music keeps drifting these days. I feel like you could look at any Australian scenery, play that record and it would just all make sense. Why will your event be the best place to spend Australia Day? All bands on the bill – ourselves, My Left Boot and Don Fernando – to me, have a unique sound true to the suburbs and countrysides we all grew up in, from Beechworth to Glamorgan Vale. You couldn’t find a more rocking and landscape line-up. Plus, an occasion such as this needs to be had at Australia’s rock’n’roll headquarters. See you there!
For more news/announcements go to themusic.com.au/news • 41
TRANSPORT HOTEL
TRANSPORT HOTEL ON AUSTRALIA DAY
Mall then after that it would have to be a game at the MCG – preferably not with Collingwood playing.
Think of an alternative way to finish this chant: Aussie Aussie Aussie... James Anderson, venue manager: “Aussie, Aussie, Aussie...” Only at the cricket can you get away with that one.
A perfect Australia Day soundtrack would be incomplete without... Has to be It’s A Long Way To The Top as the film clip was done on the back of a flatbed truck rolling down Swanston St in 1976. The clip finished right outside the now Transport Hotel. Who would have thought we would be talking about it 37 years later! AC/DC… Perfect.
There’s nothing more Australian than... The beach, the pub, backyard cricket of course, but also the local Indian take away, amazing coffee and your favorite eatery in Victoria St. Being an Aussie is about embracing it all! What would you do for a first time visitor to the country to show them something quintessentially Australian? Locally, I would take them to see the kangaroos that hop down Bourke St
Why will your event be the best place to spend Australia Day? Well, apart from all the great food, the beer, the triple j countdown and of course the jelly bean bike we are giving away, we are at the epicentre of the fireworks so you’ll have a front-row seat! Oh – and we think a cover charge would be un-Australian, which means you’ll have more money to shout your mates a beer.
42 • For more news/announcements go to themusic.com.au/news
AUSTRALIA DAY AT THE PUBLIC BAR Think of an alternative way to finish this chant: Aussie Aussie Aussie... Joel Morrison, co-owner/band booker/ beerguzzler: Will it be finished forever so I never have to hear it again? There’s nothing more Australian than... Kicking a football made of barbecued platypus and Bob Hawke’s leathery skin whilst sinking a tinnie on the back of a ute and telling everyone that it’s farkin’ hot! What would you do for a first time visitor to the country to show them something quintessentially Australian? Frankston. A perfect Australia Day soundtrack would be incomplete without... Walking About – Venom P Stinger.
Because this song should be listened to on a daily basis anyway. Why will your event be the best place to spend Australia Day? Great bands, great bar, great staff, great DJs, great booze plus we’re open until 7am in the morning! Fark!
THE PUBLIC BAR
43
SHARE THE SPIRIT FESTIVAL What would you do for a first time visitor to the country to show them something quintessentially Australian? Carly Sheppard, member of Skin Choir: I would show them the map of Australia with all of the different nations marked out on it. Then I would invite them along to Share the Spirit, of course. Will you incorporate any Survival Dayspecific songs into your Share The Spirit set? We do have a few songs in our repertoire that talk about our resilience as a people in the face of the invasion and subsequent oppression/genocide of our people and cultures. Skin Choir’s manifesto is based around the celebration of Australian Indigenous people no matter what colour their skin or what lifestyle they live. We aim for our songs to reflect this by deconstructing tokenistic stereotypes and encouraging pride in our people. How does practising your art contribute to your cultural identity? I guess, every time I make a work, whether it be performing a song, movement or exhibiting a piece of visual art, I am presenting myself to the outside world in a certain way. Whether it
is received the way it is intended is out of my control, however whatever I am exploring is clearly something I am passionate about, and that is a stamp of who I am at this point in time: my identity. I suppose that practising art is a way of processing my place in the world as a blackfulla, and presenting where I think I stand in such a multifaceted race of people. But it also depends on the subject matter of the art. Am I contributing to my cultural identity if I make work that to me has nothing to do with Aboriginal issues? Like... Barbie Dolls? If I am Aboriginal and an artist does my work have to contribute to my cultural identity? I’m not sure. Why is Share The Spirit Festival the best place to be on Survival Day? Share The Spirit is Victoria’s biggest Survival Day event. It is a celebration that really gives the community a chance to convene in solidarity, to see our own people rock out on stage. It’s also a great event which throws our cause into the limelight for the wider Australian community to experience. Treasury Gardens, free from 1 to 7pm.
44 • For more news/announcements go to themusic.com.au/news
AUSTRALIA DAY AT THE WESTERNPORT HOTEL, SAN REMO Think of an alternative way to finish this chant: Aussie Aussie Aussie... Frances Lorimer, hotel manager: “Drink, eat, dance.” There’s nothing more Australian than... A good old Aussie BBQ day with your family and your mates. Delicious steaks and seafood on the barbie, your favourite crisp and refreshing beer on ice; a day in the sunshine accompanied by some kick-ass tunes. What could be better? What would you do for a first time visitor to the country to show them something quintessentially Australian? Take them to your favourite pub and introduce them to the locals and your favourite Aussie beer. Have a BBQ and take a walk down the beach. Take them to your favourite live music venue to show them what awesome Aussie music is all
about. Have some drinks, have a laugh, and show them what being an Australian is all about. A perfect Australia Day soundtrack would be incomplete without... Got to be Throw Your Arms Around Me by legends Hunters & Collectors. It doesn’t need to be the end of the night… Any excuse to make new besties with all the strangers around you. Quite simply the best excuse going for sharing the hug love. Why will your event be the best place to spend Australia Day? Because the Westernport does it best. We’ve put all the hard work into creating your perfect Australia Day. The only thing you need to do is come along. We’re firing up the BBQ, we’ll have all your favourite beers and wines on ice. We’ve got the beach on our doorstep and we’ve even covered the soundtrack with a live set from the oh-so-talented Elliots. This is one Australia Day celebration you won’t want to miss. Come along and be a part of our family for the day at the Westernport Hotel.
THE WESTERNPORT HOTEL
SINGLE FOCUS
WINGED FUNK
REVOLVING ARTISTS
Tuesday nights in January and February will feature a booty-shakin’ set from drunken-reggae-funkypunksters El Moth. Expect some guest musicians and epic jams. Echo Drama and Kooyeh will be supporting this Tuesday from 8.30pm.
Head to Revolver Upstairs tonight (Wednesday) for some awesome alternative folk/rock action. Brooding alternative rock singer-songwriter Dan Krochmal will be tearing up the stage with his eclectic mix of soulful ballads and rock anthems. He will be joined on stage by acoustic folk duo Syre & Fresko, folkpop songstress Fontaine, talented young singersongwriter Frank Dixon and Kaity Dunstan. The doors open at 7.30pm with entry $10 on the door.
SHE’S THE VOICE A daughter of Australian rock legend, Mahalia Barnes put on the most talked-about, nail-biting, emotional battle in Australia’s hit music show The Voice. Barnes and her trio are set to deliver a dazzling, powerful performance. Don’t miss your chance to see her close up and personal at the Flying Saucer Club this Friday. The doors open at 8pm with general admission for $25+BF.
STRINGFELLOW HAWKE – MEDUSA What’s the song about? Joel Jenkins, vocalist: I suffer from a form of rheumatoid arthritis. The song is about the constant battle against chronic illness, and the rollercoaster of emotions associated with it. It is my way of expressing something that many people live with every day, although I feel it also represents many other situations and encounters. Is this track from a forthcoming/ existing release? This is our debut single from our double A-side. How long did it take to write/record? We wrote this song at the end of an unproductive drinking/jam sesh last year. George (Guitarist) and I were mucking around and had the track stitched up that night. The lyrics followed and we recorded the track at Face Studios last November. What was inspiring you during the song’s writing and recording? We were tinkering with our musical direction and Medusa had a good vibe. It seemed like a flagship that defined our style. It was our first crack at recording and we were feeling apprehensive at first, but we felt pretty good towards the end once the thing got put together. We’ll like this song if we like… I would have to say, or perhaps would like to say, early Police. The song has a driving rhythm and a tumultuous melody. We love to provide frantic verses in our tracks and to contrast it with a more soothing chorus. Do you play it differently live? We try to play our tracks fairly similarly live but I suppose we can get a bit carried away sometimes.
MILES AHEAD Have you seen Miles Brown with his theremin? You may know him from The Night Terrors or for just being totally awesome. He will blow you away with his dance moves and haunting electronic soundscapes. Brown is playing the Gasometer tonight (Wednesday) as part of Shangri La. Nun and Chairman Meow will also be DJing tonight. It’s a free show from 8pm.
WAIT NO LONGER Come on down to the Gasometer for a night of punkrock, beer and sing-a-longs this Thursday. Melbourne’s silliest punk rock band Too Soon! will steal the spotlight with their headline show. But their supports, Melbourne’s favourite Del Lago, Don’t Get Lost and Dangerous John, will leave us with something memorable. The doors open at 8pm with $5 entry.
CANINE STRUCTURE Hobart’s Dogtower present their scrappy DIY punk sounds that seem influenced as much by the Mekons as they do Sleater Kinney. They play upstairs at the Gasometer this Thursday. Joining them are Denim Bullet, featuring members of Bad Taste, Sex On Toast and Old Skin. Power Heaven will open the night with Gemma from Snappy Yabby & The Snag Party and Kosta from Tehapachi.
A little bit country and a little bit rock’n’roll. Melbourne’s own Dirty Harriet & The Hangmen play the Gasometer this Friday. Dirty Harriet play music to get drunk to with a few sea shanties and power ballads thrown in for good measure. Joining them for this night of debauchery are The Jacks, Road Ratz and Muscle Mary.
THE MESSAGE The first in a spectacular line-up of performers, Julia Messenger performs in the Barn at Montsalvat on Friday 22 February from 7.30pm. She will be joined by the fabulous talents of Luke Howard, Frank Di Sario and Ronny Ferella. Tickets are $25.
NEW AND APPROVED Finding themselves new neighbours in Canada, Glasgow-born Norman Blake and Joe Pernice from Massachusetts began a low-key collaboration in a Toronto tavern. Now they bring their two-man show to the Northcote Social Club tonight (Wednesday) under the guise of their collaboration, The New Mendicants. The doors open at 8pm with entry $45 on the door.
Motion Pictures are an eclectic five-piece band set to play every Wednesday at the Evelyn this January. Tonight they will bring their vivid stories and picturesque soundscapes; infusing colourful vocal harmonies with catchy riffs. They are joined Tane Emia-Moore from 8.30pm.
JUSTICE AND KAOS FOR ALL Melbourne’s own Justice & Kaos will bring their dynamic and inspired live show to the Evelyn on Australia Day eve this Friday as part of their Summer Showcase. Celebrate the start of 2013 as J&K with DJ Simon Sez perform select material from their catalogue. Doors open at 8.30pm.
STARS IN ST KILDA As a proud live music supporter, the Espy has announced a diverse line-up for Sunday 10 February as part of the St Kilda Festival. In the front bar are TZU, Dune Rats, Barbarion, Kingswood, Money For Rope, The Mercy Kills and DJ Mu-Gen. In the Gershwin Room they have Daryl Braithwaite supported by Sunday residents Dale Ryder Band, Nudist Funk Orchestra, Bad Boys Batucada and Ms Butt. The Basement will feature The Relatives, Volts, and Swamp Moth. The doors open at midday.
PENCIL IT IN THE CALLANDER PISS AND SHIT IN THE TEMPEL This Sunday The Peep Tempel are taking the stage at the John Curtin Hotel for their first show of 2013. As one of Melbourne’s most infectious live acts, they are back after a year which saw them release their long awaited and much admired debut LP and a tour across Australia and Europe. Joining them for the show are two of Melbourne’s finest punk bands Bits Of Shit and Batpiss.
SMASHIN’ SEX
Neo-soul chanteuse Lianne La Havas will headline a show at the Corner this Friday while in Australia for Sydney Festival. In the two years since releasing her EP, Lianne has gone from strength to strength, spending time on both sides of the Atlantic working with a select number of producers and playing shows to captivated audiences The future looks very bright indeed for this remarkable talent. The doors open at 8.30pm with support from Kathryn Rollins.
Two heavyweights of the Melbourne live scene go head to head every Monday in January at the Evelyn. In one corner you have the disco-pop machine that are Vaudeville Smash, and in the other corner there’s the synth-infused, falsetto-love grooves of Sex On Toast. The doors open at 8.30pm.
Palm Springs are a new collaboration between Erica Dunn (Harmony), Raquel Solier (Fatti Frances) and Adam Sherry (A Dead Forest Index). They will head upstairs at the Gasometer this Sunday. Supports come from Ciggie Witch and Creaks.
IN A SPIN The Spinset have decided it’s time for a Summer Party this Friday night at Revolver Upstairs, and what better way to kick off the new year. Very special guests The DYE and Captain Overdrive & The Turbochargers will be playing alongside them. The infamous Spiralbound will be hosting the night. Doors open at 8.30pm with $7 entry.
Saint Jude are five boys making music and have leapt onto the scene with a record, sound and live show to make even the dead tap their feet. After sold-out shows at the Old Bar and the Post Office, they are laying the groundwork for a national blitzkrieg of rocking proportions with their upcoming debut self-titled player. St Jude perform at the Bridge Hotel (Castlemaine) this Friday, with support from Junk Horses. Doors at 8.30pm.
Singer-songwriters Van Walker and Liz Stringer spent most of 2012 touring nationally, launching Walker’s retrospective album Underneath The Radar and Stringers’ fourth album Warm In The Darkness. The Retreat are lucky to have them both playing a laid back set in the Retreat Hotel beer garden this Australia Day holiday Monday from 4pm. Entry is free.
LAY IT DOWN FOR LIANNE
PALM SUMMERS
HEY JUDE
WALKING ON A STRING
Chilly Wack are launching their split cassette this Sunday at the Evelyn. Many acts will appear, including Lands, Child, Jumpin’ Jack William, The Baudelaires, Lucas Heenan, Willow Darling, Mightiest Of Guns, Neil Wilkinson & Alex McMillian, Lucy Roleff, Rowan Blackmore and Harmony Byrne. DJs will also be spinning vinyl and projection masters creating visual feasts along with Babes On Grill cooking up their very first cuisine back in Melbourne. This all kicks off at 2pm.
GET BEHIND GREENE
Susanna Carman offers audiences a ‘One Woman Show’ that combines finger picking guitar, French fiddle and Appalachian dulcimer. Catch Carman as she plays an intimate Retreat Hotel front bar show tonight from 9.30pm, supported by Michael Waugh at 8.30pm. Entry is free.
AT THE MOVIES
GOT THE CHILLS
For more info see: facebook.com/ StringfellowHawkeMusic
ONE WOMAN, TWO NAMES
The Eat My Shorts show at Revolver Upstairs this Thursday is a tribute to iconic alternative bands that shaped a musical genre in the ‘90s. Scartissue will kick off the night with a sound that is true to the Chili Peppers, Foovana deliver an energetic, hard hitting and accurate sounding set of all the Foo Fighters and Nirvana hits, American Idiot will headline with tunes from albums across the whole of Green Day’s back-catalogue.
FILTHY NOOSE
Will you be launching it? We will be launching at the Workers Club on Saturday 26 January (Australia Day) with The Battery Kids and Acid Western.
To celebrate the release of Bad Luck Lately, the third single off Greene’s Aria Award-nominated album, Paul Greene & The Other Colours are hitting the road. They play Baha Tacos (Rye) with Ruby Boots on Friday 8 February, Bridge Hotel (Castlemaine) with Carter Rollins on Saturday 9 and Toff In Town on Sunday 10 with Jed Rowe and Carter Rollins.
NINETIES NOSTALGIA
On Friday 8 February, Revolver Fridays resident Mike Callander welcomes his old friend and labelmate Christian Vance to perform live in the cage for the first time. Also attending is Claire Morgan and Craig McWhinney. It will be a celebration of world-class but locally produced Melbourne techno and house music. In the bandroom the Mama Said crew welcome another old friend, Gavin Keitel to join Isaac Fryar, Oliver James, Daniel Tardrew, Luke Bourke, Liam Waller, Jarrod Dare and Brent Ellis. The night is free before 11pm.
MONKEY OUT OF THE BAG Sunday 17 February marks the 40th anniversary of the day The Rolling Stones played a show at Kooyong Tennis Centre in 1973. To celebrate, a matinee show will be held at the Corner Hotel featuring The Monkey Men (led by Tim Rogers) playing the full set list of that 1973 show. Ash Naylor, Davey Lane, Stephen Hadley and Matthew Cotter will all feature in The Monkey Men. Tickets are $17+BF presale through the Corner box office or $30 on the door.
PICK ME UP What began as a few gentlemen playing hokey stringed instruments in a bungalow has now become a sixpiece country-folk-rock outfit replete with dancing bass riffs, double drum kits, three way vocal harmonies and blazing lead lines. Catch Merri Creek Pickers as they play the Retreat Hotel this Thursday night for a couple of blistering sets from 9.30pm. Free entry.
TO THE GRAVEYARD
ROCKABILLY RETREAT It’s Australia Day holiday eve this Sunday night and the Retreat Hotel is talking hot cars, fast women and badass rock‘n’roll. It’s going to be a rockabilly riot featuring DJ Rockabilly Rob playing tunes in the beer garden from 5pm to warm you up, the Snake Eyed Rollers hit the big stage at 9.30pm, and then at 11pm the mighty Firebird take over to get the atmosphere fully charged and the crowd howling for more. DJ Jungle Fever will keep things rocking till 3am. Entry is free.
Following appearances at Meredith Music Festival, Woodford Folk Festival, Darwin Festival, Adelaide Festival, Vancouver Folk Festival and Hillside, to name a few, Australian chain gang balladeers Graveyard Train released their third album Hollow in May of last year to resounding support. They’re kicking off this year with an appearance at the Garden Party at the Recital Centre on Saturday 2 February.
For more news/announcements go to themusic.com.au/news • 45
SORTED FOR EPS WITH JAN WISNIEWSKI
SUN CITY Set Alight Independent It’s hard to know what the guys from Sun City will be doing during the winter months because the songs from their second EP are definitely summer tunes – layers of synth and vocals with some excellent basslines to anchor the sound. The Perth duo have done an exceptional job in considering the dynamics of these tracks, pulling them back at the right times so the big moments hit the mark. The lead vocals of Daniel Mackey carry a hint of underlying yearning, which offsets nicely their elation-fuelled sound. This is an EP to enjoy in the midst of a heatwave. Sun City play this Friday as part of Can’t Say at Vault 8.
RAINY DAY WOMEN Friends
Independent/Firestarter Fresh from winning WAM Song Of The Year for Sleigh Bed, Fremantle’s Rainy Day Women return to hit the big time with their second EP, Friends. Despite having that nice, well-produced, catchy garage sound that hits all the right nostalgic tones (à la Deep Sea Arcade), not every track on Friends is memorable. However there are some great moments that will see them maintain their considerable momentum through to an album release. Runaway is instantly rewarding with definite singalong qualities. Sunshine closes the EP and with its longer running time allows the band to draw out some passages rather than touch fleetingly on interesting ideas as occurs elsewhere. Not outstanding but Rainy Day Women have plenty more great songs in them.
NICK & LIESL Friend And Lover
Red Shed Records/MGM Distribution Friends And Lovers is a self-described holdover release that was recorded acoustically in a home studio and features two questionable covers. How good could it be? Well, surprisingly okay. While John Mayer’s Your Body Is A Wonderland is too sickly-sweet to save, Liesl Karlsson’s take on Carla Bruni’s Raphaël is a highlight – perhaps only matched by her efforts on solemn closer, Skipping Seasons. The warm additions of strings and percussion work nicely on a record of minimal guitar and piano. You may need to be in the right mood but it’s easy to give in to Nick & Liesl.
OUT OF HIDING
TASK AT HAND
Melbourne quartet The Hiding bring their honest lyrics and layered music to the Northcote Social Club this Thursday to launch their debut Australian single release. The Hiding will be preparing to head to Texas for SXSW in March to further their international presence. They will be joined by Melbourne outfit The Give, Emmy Bryce and Chris Salce (solo). The doors open at 7.30pm with $10 entry.
The Multitaskers bring together three unique musicians with three traits in common: a love of risk taking, a need to push boundaries and the sense that one instrument (at a time) is not enough. Catch this rare bunch at the Drunken Poet this Thursday from 9pm.
LONG FACE
Capping off a big 2012 with an Australian Music Prize nomination and soon to be heading back into the studio for her follow-up EP, Ali E is easing gently into the year with some new songs and a casual show at the Retreat front bar this Tuesday night. The show will be kicked off with support from the wonderfully whimsical Pencil.
Pony Face released their highly anticipated sophomore album, Hypnotised, in 2012. This Friday will be Pony Face’s first headline appearance since September’s sold out show, ex-band mate Damian Fitzgerald will warm the drum stool on the night. Krishas promised to play with the band in some capacity. Supporting them will be Howl At The Moon and Heavy Beach. The doors open at 8.30pm with entry $15.
IN THEIR WAKE This Sunday at the Northcote Social Club Wakefield will be joined by Burn In Hell’s swampy cabaret with a gypsy attitude, Burn In Hell are a maelstrom of guitar, piano and drums with the occasional guest playing saw, toy xylophone, beer keg, didgeridoo, metal ironing board and anything that makes noise. The doors open at 8.30pm with $10 entry.
MONGREL MASS Monday Night Mass sees the Northcote Social Club band room door thrown open for a free band extravaganza from the deepest caverns of Melbourne’s underground. Constant Mongrel, Headless Death and Putkah will be playing this week. From 6pm smash a Chicken Parma or Veggie Burger for the bargain price of $15 and jugs of draught all night for $12.
THE WEIGHT Heavy mag presents Heavy-Fest – the inaugural celebration of Australian heavy music. At the Corner Hotel, Heavy-Fest’s line-up comprises of some of Australia’s heavy music legends including Blood Duster, Black Majesty, Malignant Monster (WA – album launch) and Frankenbok. Also on the lineup are Boris The Blade, Bronson, Subjektive, Desecrator and Internal Nightmare. It all happens this Sunday from 4.30pm with $23 entry.
IndoChine/Warner Music Australia It’s hard not to admire the elegant honesty in the songwriting of Robert Ellis. Opening track Friends Like Those exemplifies the strengths of Ellis’s simple approach to country music. It features a straightforward tale, told with hints of soft melody. The minimal backing escalates for a moment as Ellis’s voice rises with the story before returning to soft subtleties. This formula is followed elsewhere as Ellis turns his attention to love’s misfortunes on Photographs and single What’s In It For Me. The final track is a live version of Photographs, which doesn’t add much to the release but hints at what to expect from his upcoming Australian tour. Robert Ellis is playing the Corner Hotel with Justin Townes Earle on Sunday 3 February.
DON’T DITCH THE DING DONG Ditch The Desk Disco is a two-hour lunch time disco that aims to get city professionals and university students to shake off their desk bound blues and dust off their dance moves. Now a regular event at Ding Dong Lounge, be sure to hit the dance floor this month and celebrate Australia Day early this Friday with a triple j Hottest 100 countdown retrospective.
COME AND STAY The origins of Tully On Tully’s latest single Stay sprung whilst in a pocket of park in Carlton. Stay is Tully On Tully’s first collaboration with Melbourne artist Hayden Calnin, who was invited to lend his voice on the track. Featuring infectious vocals by Natalie Foster, now catch the band launch their second single Stay and B-side Eyes Of Glass from their debut album at Ding Dong Lounge, this Friday.
NO REST
Independent
Photographs
The Firetree are back from Europe and have kicked off their After The World Ends tour to celebrate the release of their new single. They’ll play Friday 1 February at the Loft (Warrnambool), Saturday 2 at the Great Australian Beer Fest at Geelong Racecourse, Sunday 3 at the Retreat Hotel and Tuesday 5 at the Vineyard.
Chris Wilson has been an essential part of blues and rock music in Australia since taking the stage with the Sole Twisters 20 years ago. Wilson plays a special show at the Retreat Hotel this Friday to kick of the Australia Day long weekend. His set starts at 9.30pm with DJ Adalita spining till 3am. Entry is free.
Calm Before The Storm
ROBERT ELLIS
BURNING BRANCHES
WILSON’S WONDERS
GOOFYFOOTER
On Calm Before The Storm, Goofyfooter take us through a wordless journey of Australia’s surf culture. This may not sound all that appealing, but these four music veterans have created an engaging instrumental EP free of the cliché associated with surf music. The tone of Calm Before The Storm is varied. The first two tracks clock in at over five minutes each, moving through thoughtful passages and evoking dark images of our coastline. The tempo is quickened on the EP’s back half, with Big Wave Boy as close as Goofyfooter get to traditional surf-rock and Valiant Safari a straight rocker that maintains the excellent guitar dynamic prominent throughout the record.
ALI AND THE SCRIBE
HIGH TIMES AT CHERRY One of the hardest working psychedelic hard rock acts in Australia returns to the Cherry Bar for their first show in six months on Oz Day Holiday Eve, this Sunday. Matt Sonic & The High Times will take to the stage with support from My Left Boot and Don Fernando. It’s $10 entry, and the Cherry DJ will be on decks until 3am.
NECKS ON THE LINE One of Australia’s great cult bands, The Necks, are back for their annual three night stint at the Corner. The trio will begin of the series of sit-down shows this Tuesday. The music of The Necks is possibly unique in the world today. The doors open at 8.30pm with $30 entry.
SUNG IN KEY
The Laurels have developed a solid reputation as one of the country’s best live bands as have young band The Murlocs who are five skinny kids with roots firmly placed in their own blown-out, distorted brand of soulful R&B. Fuzz band Atolls will also be joining the bill to make this massive night of distorted musical pleasure even bigger this Sunday at Ding Dong.
ON A ROLL The Victorian Roller Derby League have moved to the Darebin Community Sports Stadium YMCA (Reservoir). With an 800-seat tiered seating bank, plus crash-zone floor spots, the new venue also has full public transport access on the 86 tram with plenty of parking. The first bout of the year will be on Sunday 24 February.
Rapskallion perform at the Toff tonight (Wednesday) with The Underscore Orkestra (USA), bringing their own nefarious blend of vaudevillian, buccaneering blues folk rock to the stage. They land in Melbs hot on the heels of their Woodford Folk Festival shenanigans, with a brace of new tunes and their usual swaggering joie du vive. Doors are at 7.30pm, entry is $10.
THE BEST OF BART Pioneer and powerful indigenous music contributor Bart Willoughby is launching his new album Proud in the Espy Gershwin Room on Friday 15 February. To help launch the new album, Bart Willoughby will be backed up by a full band featuring Selwyn and Timbal Burns, Airi Ingram and the impeccable harmonies of Deline Briscoe and Emma Donovan. Special guests on the night will be rising indigenous hip hop music ambassadors Yung Warriors, with Tabura opening. Tickets are $15+BF through Oztix.
LARRY MALUMA CORRECTION In lat week’s edition we got the date wrong for Zambian-Australian musician Larry Maluma’s upcoming show at Thornbury Theatre. The correct date for the show is Saturday 23 February. We apologise for the confusion.
IN ALL FAIRNESS The Fairfield Amphitheatre Summer Concert Series kicks off every Sunday in February. Canciones De Verano will play the first week, followed Basque In The Sun, Saharan Sounds and I <3 Africa. Catch these acts at Fairfield Park Drive from 5pm with free entry.
Fresh from the ‘Bam experience’, Recreation solidifies itself with a stellar week two local lineup. This Thursday will feature live performances from 1993 and Namine, who play back-to-back supporting Oscar Key Sung. This line-up at Ding Dong represents a perfect opportunity to catch a glimpse of Melbourne’s contemporary, youthful music scene.
ALL THAT ZELUS
FLY LIKE A BEEGLE
THE ROYALES
Melbourne’s newest party band The Beegles will be headlining Yah Yah’s this Thursday. The Beegles are a seven-piece band featuring members of The Euphoriacs, Alkan Zeybek & The Lesser Men, Whipped Cream Chargers and Warmth Crashes In. Support comes from On Sierra and Psychodaisies.
Union Royale are the coming together of three tried and tested road soul dogs opening the songbook and taking a reckless spin. This surely can’t be a bad thing when combining Shane Reilly, Simon Burke and Toby Lang. These intimate Sunday sessions are free for one and all at the Spotted Mallard from 4pm.
46 • For more news/announcements go to themusic.com.au/news
THAT’S A RAP
Zelus are a new jazz trio from Melbourne. Their original compositions draw from many influences such as jazz, funk, blues and Latin with a strong improvised spirit. Zelus perform at the Spotted Mallard tonight (Wednesday) from 8pm with free entry.
WHAT’S BAKING? Hip-shaking rhythm and blues band The Breadmakers will get your hoodoo working at Yah Yah’s this Sunday, Australia Day public holiday eve. Also along for the ride are primitive bone heads The Kave Inn. Doors open at 5pm with music starting at 9pm, and entry is free.
HOWZAT! LOCAL MUSIC NEWS BY JEFF JENKINS
HALL MONITOR The ARIA Hall Of Fame started 25 years ago. The first inductees were Johnny O’Keefe, Col Joye, AC/DC, Slim Dusty, Dame Joan Sutherland and Vanda & Young.
The Evening Cast
FIRE AND RAIN As Bruce Springsteen sang, “There’s things that’ll knock you down you don’t even see coming.” Local band The Evening Cast were getting set to do their first national tour, to launch their fine new EP, Lake (Catch Release Records). Then, just after Christmas, tragedy struck – the Moriac home belonging to two band members, Joel and Rachel Cooper, was burned to the ground. Fortunately, Joel, Rachel and their five-year-old daughter, Poppy, were not hurt. But all their belongings were destroyed, including the band’s home studio and CD stock. Ironically, the EP features a song called Smoke And Fire. Friday’s Workers Club launch has now turned into a benefit gig, with members of Melbourne’s music community banding together to raise money for the Coopers, including Mark from Skipping Girl Vinegar, Clare Bowditch, The Darjeelings and Celadore. As The Evening Cast sing in Surprise, “There’s something greater to rely on.”
The Hall is reserved for creative people, with the criteria stating: “Membership into the Hall Of Fame is reserved exclusively for the creators of recorded music – the writers, the recording artists and, in some cases, the producers, [with] the nominees’ work to have had a cultural impact within Australia and/or recognition within the world marketplace.” Since Vanda & Young were in the initial induction, producers have been snubbed (though Ross Wilson, who helmed the first three Skyhooks albums, was inducted in 1989). Surely, it’s time ARIA recognised the enormous contribution made by producers such as Mark Opitz, Charles Fisher, Tony Cohen and Mike Chapman? Howzat! recently co-wrote a book, Sophisto-punk, on the life and work of Mark Opitz. As Jimmy Barnes told us, “My career wouldn’t be anything without Mark Opitz, and I say that on behalf of many Australian musicians.” The Hall Of Fame was a standalone event for six years, from 2005 to 2010, which allowed ARIA to have several inductions in the one night. Unfortunately, the Hall returned to being part of the annual ARIA Awards in 2011. Sadly, I fear that ARIA is now looking for the “TV moment”, instead of acknowledging the work of worthy, but relatively unknown, artists. Howzat! knows of a story, several years ago, when a friend suggested
Tony Cohen should be inducted. “We’ll look at doing it if we can get Nick Cave to induct him,” my friend was told. Surely, a Hall Of Fame should be above commercial considerations? Speaking of which, isn’t it time that innovators and fringedwellers – artists such as Kim Salmon, and Dave Graney and Clare Moore – were inducted? And how ’bout recognising the majestic brilliance of Died Pretty, 30 years after they formed? Video directors don’t fit the Hall Of Fame criteria – they haven’t actually created recorded music. But Australia has given the world two of the greatest video makers, Russell Mulcahy and Richard Lowenstein. For their cultural impact, shouldn’t they be in the Hall Of Fame? Everyone has an opinion on music, which is a beautiful thing. The ARIA Hall Of Fame is a great part of Australian music. Howzat! doesn’t have all the answers, but we know it can be greater. Finally, when are we going to get an actual Hall Of Fame, somewhere fans can visit to celebrate Australian music? If we can’t get the history right, we won’t have much of a future. Happy Australia Day.
ED AND THE HEART Ed Nimmervoll is the doyen of Australian music journalists. Howzat! caught up with Ed during the summer break. He had a brilliant idea regarding the Hall Of Fame – ARIA should also induct classic Australian albums. Ed has been writing powerful pieces about music at his Facebook page. He recently wrote a stirring item about the remarkable Ross Hannaford. “When we appreciate music, we should trust ourselves,” Ed wrote. “We shouldn’t need to be told if something’s good. We shouldn’t be influenced by reputation or lack of reputation… this is why I tend to be such a champion of Australian music, because it’s up to us to acknowledge and appreciate what’s
around us. If we don’t, no one else is going to. Don’t wait for confirmation from others. The guitarist I saw today isn’t world famous… [but] there are just three guitarists I can think of who I’ve thought could produce anything from their guitars they imagined – Jeff Beck, Jimi Hendrix and Ross Hannaford. If you’re in Melbourne, he’s playing at a venue near you.”
CHART WATCH Just one Aussie act in the top 20. What You’ve Done To Me SAMANTHA JADE (number 20) Best Night JUSTICE CREW (22) Get Along GUY SEBASTIAN (29) Party Bass BOMBS AWAY (37) Battle Scars GUY SEBASTIAN (38) Reece Mastin leaps from 40 to 24. Armageddon GUY SEBASTIAN (number seven) The Sapphires SOUNDTRACK (13) Flume FLUME (14) Beautiful Nightmare REECE MASTIN (24) Samantha Jade SAMANTHA JADE (27) Lonerism TAME IMPALA (39) The Golden Jubilee Album THE SEEKERS (40)
HOWZAT! PLAYLIST Knots And Bows THE EVENING CAST Broken Heart Attack BEKI COLADA Lonely Avenue LAUREN BRUCE Die On The Vine LIVINGSTONE DAISIES Beside You MARK SEYMOUR
For more opinion go to themusic.com.au/blog • 47
TOUR GUIDE
PRESENTS
PEANUT BUTTER WOLF: January 24 Espy
THIS WEEK INTERNATIONAL THE NEW MENDICANTS: January 23 Northcote Social Club BAND OF HORSES: January 23 Palais OFF!: January 23 Corner Hotel SLEIGH BELLS: January 23 Billboard CHILDISH GAMBINO: January 23 Hi-Fi 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 Theatre CHICKS ON SPEED: January 24 Tote PEANUT BUTTER WOLF: January 24 Espy DJ PAULY D: January 25 Festival Hall DIRTYBIRD: January 25 Brown Alley OSAKA MONAURAIL: January 25 Espy R3HAB: January 25 Billboard ELVIS COSTELLO: January 26 Rochford Wines MOUNT EERIE: January 26 Toff In Town DJ YODA: January 26 Espy DJ SASHA: January 27 Chasers WOODS: January 27 Tote BRACKET: January 27 Hi-Fi DERRICK CARTER: January 28 Alumbra THEE OH SEES: January 28 Schoolhouse Studios RICHARD HAWLEY: January 29 Hi-Fi
NATIONAL MADRE MONTE: January 23 Workers Club DZ DEATHRAYS: January 23 Billboard DEMI SORONO: January 23–27 Hamer Hall EMMA LOUISE: January 24 Toff In Town MISSY HIGGINS, HAYDEN CALNIN: January 25 Melbourne Zoo SUN CITY: January 25 Can’t Say DUB FX: January 25 Hi-Fi Bar BED WETTIN’ BAD BOYS: January 25 John Curtin BENNY WALKER: January 25 Newmarket Hotel (Bendigo); 26 Monash City Council (Glen Waverley) and Belgrave Survival Day Australia Day Festival In The Park; 27 the Loft (Warrnambool) REECE MASTIN: January 26 Geelong Arena JUSTICE CREW WITH KATE ALEXA: January 26 Melbourne Zoo HEADACHES, NUCLEAR SUMMER et al: January 26 Reverence Hotel THE NECKS: January 29 Corner Hotel
FESTIVALS RAINBOW SERPENT: January 25-28 Lexton HEPBURN SPRINGS FOLK FESTIVAL: January 26 Old Hepburn Hotel BIG DAY OUT: January 26 Flemington Racecourse
UPCOMING INTERNATIONAL JESSIE WARE: January 30 Prince Bandroom THE WATERBOYS: January 30 Hamer Hall HIGH HIGHS: January 30 Toff In Town PERFUME GENIUS: January 30 Northcote Social Club OF MONSTERS & MEN: January 31 Palace THEE OH SEES: January 31 Hi-Fi; February 6 Barwon Club (Geelong) SLEEP ∞ OVER: February 1 Liberty Social ELIZABETH COOK: February 1 Northcote Social Club; 3 Corner NOBUNNY: February 1 Tote SWEDISH HOUSE MAFIA: February 1 Sidney Myer Music Bowl EXPIRE: February 1 Bendigo Hotel; 3 Phoenix Youth Centre
ABOVE & BEYOND: February 2 Hisense Arena JUSTIN TOWNES EARLE: February 2 Theatre Royal (Castlemaine); 3 Corner Hotel FROM THE JAM: February 2 Hi-Fi EARTH CRISIS: February 2 Corner Hotel DRAGON: February 2 Kryal Castle (Ballarat); 3 Victory Park Soundshell (Traralgon); March 30 Warrnambool Racecourse; 31 Mansfield Showgrounds; May 11 Palms At Crown NITE JEWEL: February 4 Workers Club DIVINE FITS: February 4 Northcote Social Club POLICA: February 4 Corner Hotel CLOUD NOTHINGS: February 5 Ding Dong KINGS OF CONVENIENCE: February 5 Hamer Hall BAT FOR LASHES: February 5 Palais Theatre DEAR TIME’S WASTE: February 5 Grace Darling; 6 Toff In Town EL-P: February 6 Corner Hotel OH, SLEEPER: February 6 Karova Lounge (Ballarat); 7 Evelyn Hotel; 9 Pelly Bar (Frankston);10 OLP (Ringwood) THE MEN: February 6 Northcote Social Club YEASAYER: February 6 Hi-Fi JULIA HOLTER: February 6 Toff In Town CELTIC THUNDER: February 7 Geelong Arena; 9 Hisence Arena GIN BLOSSOMS: February 7 Hi-Fi MS MR: February 7 Northcote Social Club NINA FERRO: February 7 Spiegeltent EDU IMBERNON: February 8 TBC THE HOLLIES: February 9 Hamer Hall DESCENDENTS: February 9 Festival Hall ULTRAMAGNETIC MCS: February 9 Espy DEER TICK, TWO GALLANTS: February 9, 10 Northcote Social Club STARS: February 10 Corner Hotel DIRTY BEACHES: February 10 Tote BARRY GIBB: February 12 Rod Laver Arena MACKELMORE & RYAN LEWIS: February 13 Palace; 16 Corner Hotel DAVID HASSELHOFF: February 14 Corner Hotel I AM GIANT: February 14 Ding Dong CONVERGE: February 15 Billboard SWANS: February 15 Corner Hotel GODSPEED YOU! BLACK EMPEROR: February 15 Forum Theatre BLAWAN, MARCELL DETTMAN: February 15 Brown Alley TJR: February 15 Royal Melbourne Hotel JENS LEKMAN: February 15 Garden Party Southbank CLIFF RICHARD: February 15, 16, 18, 19 Hamer Hall JOANNE SHAW TAYLOR: February 15 Ruby’s Lounge (Belgrave); 16 Bruthen Blues & Arts Festival; 17 Northcote Social Club DONAVON FRANKENREITER: February 15 Woolshed Pub (Docklands) and Prince Of Wales; 16 Portsea Hotel and Westernport Hotel (San Remo); 17 Lorne Hotel and Torquay Hotel LEO SAYER: February 16 Melbourne Zoo RINGO STARR: February 16 Festival Hall FATHER JOHN MISTY: February 17 Hi-Fi PICTUREPLANE: February 17 Liberty Social CAROLE KING: February 18 Plenary EINSTÜRZENDE NEUBAUTEN: February 19 Palace CIVIL CIVIC: February 19 Tote DR FEELGOOD: February 20 Caravan Club; 21 Corner Hotel NORAH JONES: February 21 Plenary MAC MILLER: February 21 Palace TEX NAPALM, DIMI NERO: February 21 Bridge Hotel (Castlemaine); 22 Tote; 23 Lyrebird Lounge (Elsternwick); 24 Labour In Vain; March 2 Public Bar; 3 Cherry Bar JOSE JAMES: February 22 Hi-Fi HUXLEY: February 22 Prince HOW TO DRESS WELL: February 22 Corner Hotel MY BLOODY VALENTINE: February 22 Palace MOTION CITY SOUNDTRACK: February 25 Hi-Fi
48 • To check out the mags online go to themusic.com.au/mags
AMP LIVE: February 1 Fed Square RUBY BOOTS: February 2 Beav’s Bar (Geelong); 8 Baha Taco (Rye); 9 Workers Club YEASAYER: February 6 Hi-Fi MS MR: February 7 Northcote Social Club STRANGERS: February 8 Workers Club THEM BRUINS: February 8 Purple Sneakers GODSPEED YOU! BLACK EMPEROR: February 15 Forum FATHER JOHN MISTY: Februray 17 Hi-Fi PAUL KELLY & NEIL FINN: February 16, 18, 19, 20, March 4, 5 Palais; March 2 A Day On The Green, All Saints Winery (Rutherglen) EINSTÜRZENDE NEUBAUTEN, MICK HARVEY: February 19 Palace SOJA: April 6 Prince Bandroom CAT POWER: March 7 Forum DINOSAUR JR: March 7 Corner Hotel THE STONE ROSES: March 7 Festival Hall PORT FAIRY FOLK FESTIVAL (featuring Arlo Guthrie, Gurrumul, Glen Hansard): March 8-11 Port Fairy TORO Y MOI: March 9 Corner Hotel FUTURE MUSIC FESTIVAL: (featuring The Stone Roses, The Prodigy, Steve Aoki): March 10 Flemington Racecourse JON SPENCER BLUES EXPLOSION: March 15 Espy; 16 Corner Hotel THIS WILL DESTROY YOU: March 21, 22 Northcote Social Club GRINSPOON: March 22 Hi-Fi; April 24 Bended Elbow (Geelong); 25 Pier Live (Frankston); 26 Inferno (Traralgon); 27 Ferntree Gully Hotel ROBERT CRAY, TAJ MAHAL, SHUGGIE OTIS: March 24 Hamer Hall BONNIE RAITT, MAVIS STAPLES: March 27 State Theatre IGGY & THE STOOGES, BEASTS OF BOURBON: March 27 Festival Hall THE RESIGNATORS: March 22 the Loft (Warrnambool); 23 Bridge Hotel (Castlemaine); 28 Workers Club; 29 Pow (Werribee) BLUESFEST: (featuring Ben Harper, Iggy & The Stooges, Wilco): March 28-April 1 Tyagarah Tea Tree Farm (Byron Bay) ROGER HODGSON: March 28 Palais BLIND BOYS OF ALABAMA: April 3 Hamer Hall THE HAPPY MONDAYS: May 5 Palace
WED 23 Animal Collective, Africa Hitech Palace Theatre Band Of Horses, Mike Noga Palais Theatre Beloved Elk, Kyle Rodda, Shabon Gertrude’s Brown Couch Bohjass, Rob Simone Band 303 Childish Gambino The Hi-Fi Choon Goonz, Holographic Cocon, + More Idgaff Bar & Venue Cyndi Boste, Simone Gill The Drunken Poet Daimaru, Adelaide Crows, The Great Outdoors The Old Bar Dan Trolley (Mass Cult), High Fangs, The In The Out The Tote Deathrow Harmonica, DRSS, Kings Cup, The Dosage Bendigo Hotel Dizzy’s Big Band Dizzy’s Jazz Club Flyying Colours, The Honeybadgers Cherry Bar Helen Catanchin & Co Open Studio Jeff the Brotherhood, King Gizzard & the Lizard Wizard The Bridge Hotel Joe Pernice, Norman Blake (Teenage Fanclub), Van Walker Northcote Social Club Jude Perl Band Veludo
Juliarna Paris Cat Jazz Club Kim Salmon The Standard Hotel Love Story The Toff In Town (Late) Madre Monte, Cambur Pinton, Acucochi The Workers Club Maricopa Wells, Foxtrot, Kissing Booth, Lucy Wilson, Cameron Tyeson Bar Open Miles Brown, Chairman Meow, Nun DJs The Gasometer Hotel Motion Picture, Matt Glass, Tane EmiaMoore The Evelyn OFF, Bloody Hammer, Batpiss Corner Hotel Open Mic, Lil Az Brunswick Hotel Open Mic Great Britain Hotel Open Mic Grind ‘n’ Groove Bar Prequel, Edd Fisher, Principal Blackman The Toff In Town (Carriage Room) Rattlin’ Bones Blackwood, Coral Lee & the Silver Scream, George Hyde, Seymour Hollow Public Bar Ros Dobelsky Pure Pop Records Sleigh Bells Billboard Soundie Ben Cherry Bar, Arvo Show
Strawberry Fist Cake, 12FU, Now You Die, Honey Smack The Espy, Basement Susannah Carman, Michael Waugh Retreat Hotel Front Bar Tal Cohen Band Bennetts Lane Tessa Lyes Some Velvet Morning, Clifton Hill The Spoils The Resurrection - East Brunswick The Underscore Orkestra, Rapskallion The Toff In Town Zelus Spotted Mallard - Brunswick
THU 24 Alabama Shakes Forum Theatre Alister Spence Trio, Raymond McDonald, + More Bennetts Lane Alwan Claypots Andrea Marr, Vince Peach, Pierre Baroni Cherry Bar Belle Havens, Event Horizons, Far West Battle Front, + More Musicland - Fawkner Big Words Empress Hotel Chicks On Speed, Ghetto Pussy, Crass! DJs The Tote Clio Renner Some Velvet Morning, Clifton Hill Coral Lee & the Silver Scream Lomond Hotel Cross Brothers, Inevitable Orbit, + More Public Bar Dogtower, Denim Bullet, Power Heaven The Gasometer Hotel (Upstairs) Dru Chen Wesley Anne. Band Room Edith Lane, + More Bendigo Hotel Emma Louise, Sleepy Tea The Toff In Town Gang of Brothers Veludo Ghetto Ghetto, Cassini, Spermaids Grace Darling Hotel Jaime Robbie Reyne Pure Pop Records
Ronit Granot Wesley Anne, Front Bar Sam McAuliffe Trio Uptown Jazz Café Scar Tissue, Foovana, American Idiot Revolver Upstairs Seymour Hollow Labour In Vain Simon Phillips Two Brothers Brewery Smiles.Rifles, Tiny Houses, Windsor Thieves John Curtin Hotel Sordid Ordeal, Plastic Spaceman, Poison Fish, The Phloggs Brunswick Hotel Strawberry Fist Cake, 12-FU, Now You Die, Honey Smack The Espy, Basement The Animators, 19th Century Strongmen, Squarehead The Workers Club The Beegles, On Sierra, The Psychodaisies Yah Yah’s The Hiding, Chris Salce, Emmy Bryce, The Give Northcote Social Club The Jack Pantazis Quartet Paris Cat Jazz Club The Multitaskers The Drunken Poet Too Soon, Del Lago, Don’t Get Lost, Dangerous The Gasometer Hotel Two Quirks, Fritzwicky, Rainbow Massacre, Super Fat Fruit Reverence Hotel, Footscray
FRI 25 2 Litre Dolby, Swirl, Singing Is For Humans, Khancoban The Tote Acoustic Sessions Veludo Agency Dub Collective Penny Black Andy Hart, The Tortoise, M5K, + Special Guests Revolver Upstairs (early)
WOODS: January 27 Tote
James Gowans, Skovrons, The Winter Suns Gertrude’s Brown Couch Jeff the Brotherhood, King Gizzard & the Lizard Wizard, Bored Nothing Corner Hotel Juxtpose, The Primary Colour, Virtual Proximity Bar Open Kallidad Open Studio King Cake 303 Merri Creek Pickers Retreat Hotel Modham The Bridge Hotel Motion, Bad Bones, Big Yawn, + More The Old Bar Open Mic Barleycorn Hotel Oscar Key Sung, Namine, + More Ding Dong Lounge Red X The B.East Rocky & Nancys Great Britain Hotel
Animal Hands, The Pension, The Polly Jeans, Trash Fairies Ruby’s Lounge Bed Wetting Bad Boys, Lower Plenty, Leather Towel John Curtin Hotel Big Words, Dice, The Atlantic Fall Brunswick Hotel BJ Winters, Max Crawdaddy Cherry Bar Black Cab, Mikelangelo, Felix Potier, Tyron Shaw Yah Yah’s Black Devil Yard Boss Tago Mago Bodies, DJ Whore-AllSummer, Pioneers Of Good Science, Wiley Red Fox The Old Bar Brunswick Massive DJ Collective Rainbow Hotel Chris Wilson, DJ Adalita Retreat Hotel
Clare Bowditch, Celadore, Mark Lang, The Darjeelings The Workers Club Claude von Stroke, Justin Martin, J.Philip, + More Brown Alley Dan Bourke & Friends The Drunken Poet Diesel, Mia Dyson Portsea Hotel (Afternoon) Dirty Harriet & The Hangmen, Muscle Mary, Road Ratz, The Jacks The Gasometer Hotel Ditch The Desk Disco Ding Dong Lounge (Afternoon) Dub FX, Flower Fairy, + More The Hi-Fi Elvis Costello & the Imposters, Joe Camilleri Palais Theatre Funk Buddies, That Gold Street Sound, Purple Tusks 303 Ghetto Ghetto, Cassini, Spermaids Grace Darling Hotel Glen & The Peanutbuttermen, Angels, Chinatown, Crackwhore, Thundabox Bendigo Hotel Grace of Spades Cherry Bar, Arvo Show James Forbes Two Brothers Brewery James Gregory Duo, Dee Vuki Wharf Hotel Julie O’Hara, Ultrafox Paris Cat Jazz Club Justice & Kaos, Ry, GMC, Nature Boy, Oso The Evelyn Lianne La Havas, + Special Guests Corner Hotel Lindstrom, Darshan Jesrani Prince Bandroom Mahalia Barnes Flying Saucer Club Merri Creek Pickers Post Office Hotel Mezzanine Abode Level One Missy Higgins, Hayden Calnin Melbourne Zoo Mistress Mondays, Sinking Teeth Cornish Arms Hotel Nina Ferro Bennetts Lane Oliver Koletzki, + More OneSixOne Osaka Monaurail, Cactus Channel, Deep Street Soul, DJ Chikashi Nishiwaki The Espy, Gershwin Room Pony Face, Howl At The Moon, Heavy Beach Northcote Social Club
Poprocks at the Toff The Toff In Town Prayer Babies Lomond Hotel President Roots, Funk Soul Brother Baha Tacos Richie 1250 Yah Yah’s (Late) Roservelt The Empress Russet Burbank Pure Pop Records Salena Jones Dizzy’s Jazz Club Sophia Blackburn Wesley Anne. Band Room St Jude, Junk Horses The Bridge Hotel Strait Shooters, Cerberus Ensemble Musicland - Fawkner Stringybark McDowell Grind ‘n’ Groove Bar Sun City Can’t Say Susy Blue Wesley Anne, Front Bar The Australian Clowns Ferntree Gully Hotel The Bread Makers The LuWow Forbidden Temple The Seven Ups Bar Open The Spinset, The D.Y.E., Captain Overdrive & the Turbochargers, Spiralbound Revolver Upstairs The Tek Tek Ensemble Open Studio The Vasco Era, The Pretty Littles, The Corsairs, Buckley Ward The Espy, Lounge Bar Trevor Ludlow, Tim Guy Some Velvet Morning, Clifton Hill Tully On Tully, + Special Guests Ding Dong Lounge
SAT 26 A Day On The Green feat., Elvis Costello, Jo Jo Zep & The Falcons, Stephen Cummings, Sunnyboys, Tex Perkins & The Dark Horses Rochford Wines A Place to Bury Strangers, White Walls, River of Snakes, DJ Mario Rubalcaba Northcote Social Club Adalita Yah Yah’s (Late) Admiral Ackbars Dishonourable Discharge, Aitches, Lizard Punch, Mick Porter, Strawberry Fist Cake, + More Gertrude’s Brown Couch Andy C, MC GQ The Hi-Fi Australia Day Party The Fox Hotel Collingwood
B.o.B Afterparty The Long Room Ben Smith St Andrew’s Hotel, Afternoon Big Day Out Flemington Racecourse Chuck Jenkins, The Zhivagos Union Hotel Brunswick Clampdown Rochester Castle Hotel Congo Tardis, Swisher, + Special Guests Revolver Upstairs Coral Lee & the Silver Scream Labour In Vain
Lily & King, The Little Stevies, Dale Gannan Chandelier Room Mark Seymour, Even, Pete Cornelius Portsea Hotel (Afternoon) Melody Black, Death By Six, The Creptter Children Revolver Upstairs Michelle Parsons, Ruth Katerelos, + More Thornbury Theatre Moonee Valley Drifters Cunninghams Hotel Mount Eerie, Pearls, Francis Plagne The Toff In Town
MADRE MONTE: January 23 Workers Club
Cuntz, DJ Cisco Rose, Dozers, Jackals, Lady Dreams, Teenage Libido The Old Bar David Bramble Wesley Anne, Afternoon Diafrix, Chance Waters Federation Square Edwin Congreave (Foals) DJ Set, Chris Baio (Vampire Weekend) DJ Set, Midnight Run DJs Ding Dong Lounge Emerson, Kontact Royal Melbourne Hotel Gentlemen, Red Red Krovvy The Gasometer Hotel (Upstairs) Afternoon Heavy Beach, Buried Feather The Bridge Hotel High Voltage, Creedence Show Commercial Hotel Into The Mystic: The Songs of Van Morrison, J & T The Caravan Music Club Iron Lung, Straightjacket Nation, Cut Sick The Gasometer Hotel Jex Saarelaht Quartet Uptown Jazz Café Jimmy Tait, Claire Birchall, DJ WhoreAll-Summer, Fourteen Nights At Sea Public Bar Justice Crew, Kate Alexa Melbourne Zoo Keshie Rainbow Hotel King of the North, Stomp Box, The Feel Goods, DJ Mermaid Cherry Bar
My Left Boot, Don Fernando, The Dukes of Deliciousness, Moth, Riff Fist, + More Brunswick Hotel Nevermind, Rearview Mirror Musicland - Fawkner Nichaud Fitzgibbon, Chantal Mitvalsky Malvern Garden Peace Pie, Papa Maul Baha Tacos Perle Conche, Trio Bem Brazil Retreat Hotel Front Bar Ratsak, White Walls, Pop Singles, Mad Nanna, + More The Tote Ready Steady Go, Mohair Slim, Emma Peel, Buddy Love The Gasometer Hotel (Upstairs) Royston Vasie, Crooked Saint, The Smokes, Krista Polvere, Honey Badgers, + More St Kilda Bowls Club Saca la Mois DJ, Abbie Cardwell & Chicano Rockers, Los Mas Altos Retreat Hotel Salena Jones Dizzy’s Jazz Club Simmer, The Imprints Bar Open Sleeping Bag Open Studio Soulshot, The Mob Foresters Arms Hotel - Oakleigh
TOUR GUIDE NATIONAL
EMMA LOUISE: January 24 Toff In Town
THE NECKS: January 30, 31 Corner Hotel HERMITUDE: February 1, 5 Corner Hotel KATE MILLER–HEIDKE, KIM CHURCHILL: February 1 Melbourne Zoo WE LOST THE SEA: February 1 Public Bar TOKYO DENMARK SWEDEN: February 1 Espy HERMITUDE: February 1 Federation Square KIM CHURCHILL: February 1 Melbourne Zoo; 2 Theatre Royal (Castlemaine) THE FIRETREE: February 1 Loft (Warrnambool); 2 Great Australian Beer Festival (Geelong); 3 Retreat Hotel; 5 The Vineyard KEITH URBAN: February 2 Rod Laver Arena CLARE BOWDITCH, ROYAL JELLY DIXIELAND BAND: February 2 Melbourne Zoo RUBY BOOTS: February 2 Beav’s Bar (Geelong); 8 Baha Taco (Rye); 9 Workers Club CHASE THE SUN: February 3 Workers Club LITTLE BASTARD: February 3, 10, 17, 24 Labour In Vain DEAD CAN DANCE: February 6 Palais Theatre THE PRESETS: February 6, 7 Palace DAN WEBB: February 7 Workers Club CLUBFEET: February 8 Star Bar (Bendigo); 9 Ding Dong Lounge LISA MITCHELL, GEORGIA FAIR: February 8 Melbourne Zoo MY DISCO: February 8 Corner Hotel BARRY MORGAN: February 8 Spiegeltent STRANGERS: February 8 Workers Club PAUL GREENE & THE OTHER COLOURS: February 8 Baha Tacos (Rye); 9 Bridge Hotel (Castlemaine); 10 Toff In Town VAN SHE: February 8 Garden Party (Southbank); 9 Eureka Hotel (Geelong) MILES & SIMONE: February 9 Spiegeltent KERSER: February 9 Hi-Fi (2 shows) BABBA: February 9 Melbourne Zoo BLANK REALM: February 9 Gasometer Hotel SNEAKY SOUND SYSTEM: February 10 MCG TINA ARENA: February 12, 13 Hamer Hall COLIN HAY: February 12 Performing Arts Centre (Hamilton); 13 Light House Theatre (Warrnambool); 15 Frankston Arts Centre; 16 Athenaeum Theatre; 19 Capital Theatre (Bendigo); 20 River Links Performing Arts (Shepparton) SARAH BLASKO: February 14 Hamer Hall PETE MURRAY: February 14 Spirit Bar & Lounge (Traralgon); 15 Forge Theatre (Bairnsdale); 16 Wool Exchange (Geelong); 17 Riverboats Music Festival (Echuca); March 7 Commercial Hotel (South Morang); 8 Theatre Royal (Castlemaine); 9 Ferntree Gully Hotel; 10 Pier Hotel (Frankston); 14 Regent Multiplex (Ballarat); 15 Corner Hotel BLACKCHORDS: February 15 Ding Dong BOOM CRASH OPERA: February 15 Espy SOMETHING WITH NUMBERS: February 15 Northcote Social Club FEELINGS: February 15 Workers Club MELBOURNE SKA ORCHESTRA, MIGHTY DUKE & THE LORDS: February 15 Melbourne Zoo ELEPHANT: February 15 Public Bar; 16 Lyrebird Lounge DANIEL MERRIWEATHER: February 16 Corner Hotel BABY ET LULU: February 16 Famous Spiegeltent NEIL FINN & PAUL KELLY: February 16, 18, 19, 20, March 4, 5 Palais Theatre; 2 March All Saints Winery
ABBY DOBSON AND LARA GOODRIDGE: February 16 Spiegeltent CRIME & THE CITY SOLUTION: February 18 Hi-Fi AT LAST – THE ETTA JAMES STORY: February 19 – March 3 Athenaeum Theatre TREVOR ASHLEY: February 19 Spiegeltent JULIA STONE: February 20 St Michael’s Church SALLY WHITWELL: February 20 Spiegeltent LINES: February 21 Yah Yah’s; 22 Yarra Hotel (Geelong); 23 Espy STONEFIELD, OWL EYES: February 22 Melbourne Zoo THE TOOT TOOT TOOTS: February 22 Spiegeltent PAPER ARMS: February 22 Bendigo Hotel CRISIS ALERT: February 22 Gasometer Hotel; 23 Reverence Hotel; 24 The Place ROSS MCLENNAN: February 23 Spiegeltent GUNG HO: February 23 Workers Club THE SMITH STREET BAND: February 23 Reverence Hotel; 24 Phoenix Youth Centre; 28 Karova Lounge (Ballarat); March 2 the Loft (Warrnambool); 3 Barwon Club (Geelong) BENNY WALKER: February 24 Moonee Valley Festival; March 9 Moomba Festival; 16 Mordialloc By The Bay TEX PERKINS & THE DARK HORSES: February 26, 27 Spiegeltent DRAPHT: February 26 La Trobe Uni (Bendigo); 27 La Trobe Uni (Bundoora); 28 Wool Exchange (Geelong); March 2 Saloon (Traralgon) BIRDS OF TOKYO: February 27 University Of Ballarat; 28 Pier Live (Frankston); March 1 Kay St (Traralgon); 2 Forum Theatre MERLYN QUAIFE: February 27 Spiegeltent TIM ROGERS, THE BAMBOOS: March 1 Melbourne Zoo LOON LAKE: March 1 Corner Hotel THE BAMBOOS, TIM ROGERS, ELECTRIC EMPIRE: March 1 Melbourne Zoo LIOR, GIAN SLATER & INVENIO: March 1 Spiegeltent URTHBOY: March 2 Corner Hotel THE DEMON PARADE: March 2 Workers Club RENÉE GEYER: March 2 Spiegeltent NICK CAVE & THE BAD SEEDS: March 2 Sidney Myer Music Bowl SODASTREAM: March 2, 3 Northcote Social Club THE DEMON PARADE: March 3 Workers Club JOSEPH TAWADROS: March 6 Spiegeltent CHRISTA HUGHES: March 7 Spiegeltent HUSKY, DIE ROTEN PUNKTE: March 8 Melbourne Zoo
To check out the mags online go to themusic.com.au/mags • 49
Steve Sedergreen Quartet Paris Cat Jazz Club Stringfellow Hawke, Battery Kids, Acid Western The Workers Club Teskey Brothers St Andrewâ&#x20AC;&#x2122;s Hotel The Austrailan Clowns, + Special Guests Corner Hotel The Bastard Children Great Britain Hotel The Conch Penny Black The Death Rattles Post Office Hotel The Drunken Preachers The Drunken Poet The Fauves Pure Pop Records The Frowning Clouds, Ross de Chene Hurricanes Grace Darling Hotel The Gun Runners, ANCHORS, Nuclear Summer, Headache, Cavalcade, + More Reverence Hotel (Band Room) The Oubliette Abode Level One Tom Rule, 4tress, Diana Bow Idgaff Bar & Venue Trio Agogo Wesley Anne Triple J Hottest 100 Party Corner Hotel (afternoon) Triple J Hottest 100 Party Rainbow Hotel (afternoon)
Triple J Hottest 100 Party The Espy Triple J Hottest 100 Party Veludo Unstable Sounds Loop Vultures Of Venus, Wolves of Rain, Atomic Bliss, Wesall 66 Yah Yahâ&#x20AC;&#x2122;s
SUN 27 Adam Trace, Chris Ostrom, Sef, + More The Long Room Andyblack, Haggis The Toff in Town, Afternoon session Banana Republica OneSixOne Blood Duster, Black Majesty, Frankenbok, Subjektive, Bronson, + More Corner Hotel (afternoon) Brackets The Hi-Fi Candice McLeod, Alexis Nicole and the Missing Pieces Wesley Anne. Band Room Chilly Wack, Lands, Child, Willow Darling, Mightiest Of Guns, + More The Evelyn Chris Russellâ&#x20AC;&#x2122;s Chicken Walk, Dean Muller, Dj Max Crawdaddy Cherry Bar, Arvo Show Chris Wilson Rainbow Hotel (afternoon) Clinkerfield, Water Music, + More The Old Bar
Debi Candlish, + Friends La Cannella Restaurant - Kensington DJ Rockabilly Rob Retreat Hotel, Beergarden Drawn From Bees Pure Pop Records Fanta Pants Yah Yahâ&#x20AC;&#x2122;s (Late) Firebird, Snaked Eyed Rollers Retreat Hotel Geoff Achison The Bay Hotel, Mornington Grumpy Neighbour The Bridge (afternoon) Inedia, Drifter, Redfield, Vinal Riot Bendigo Hotel Iron Lung, True Radical Miracle, Useless Children, Internal Rot The Gasometer Hotel Jay Hoad, Lauren Glezer The Workers Club Jodie Moran, Dan Foxx, Alex Hayes St Andrewâ&#x20AC;&#x2122;s Hotel, Afternoon Kashmere Stage Band Lounge Bar King Bee Biscuit Union Hotel Brunswick Kooyeh, Up and Away 303 Lincoln Le Fevre, The Union Pacific, El Alamein, Darren Gibson, Dr Piffle & The Burlap Band, Stockades Reverence Hotel (Band Room) Matt Kelly The Empress Matt Sonic & The High Times, My Left Boot, Don Fernando Cherry Bar
Mayvis Bar Open Mia Dyson, Hayden Calnin The Rotunda, Commonwealth Reserve - Williamstown Mz Indee & Mikasha, + More Idgaff Bar & Venue Open Mic Rose Hotel Palm Springs, Ciggie Witch, Creaks The Gasometer Hotel (Upstairs) Pete Cornelius, Lily & King The Drunken Poet, Arvo Show P-Money, Yo Mafia!, Russ Ryan Laundry Bar Quiet Ethic, The Postmasterâ&#x20AC;&#x2122;s Gambit, Michael Hickling 303, Arvo Show Spectrum trio Mornington Peninsula Brewery - Mornington Tango Rubino Wesley Anne, Front Bar The Absolutely 80s Band feat, Brian Mannix, Dale Ryder, Scott Carne, Headspace, + More The Espy, Lounge Bar The Barebones, Danna Simmons, Tim Heath, Glenn Arnup, Tex Moon The Post Office Hotel The Breadmakers, The Kave Inn Yah Yahâ&#x20AC;&#x2122;s The Hired Guns The Standard Hotel The Large Number 12s Labour In Vain The Laurels, The Murlocs, Atolls, Tone Deaf DJâ&#x20AC;&#x2122;s Ding Dong Lounge
The Parasols, Lamb Boulevard & the Umbrella, + More Brunswick Hotel (Afternoon) The Peep Tempel, Bat Piss, + Guests John Curtin Hotel T-Rek, Haul Music Live, + More Revolver Upstairs Union Royale Spotted Mallard - Brunswick Wakefield, Burn In Hell, + Special Guests Northcote Social Club Woods, Milk Teddy, + Guests The Tote
MON 28 Cherry Jam Cherry Bar Constant Mongrel, Headless Death, Putkah Northcote Social Club Duvz, S-Tea, + Guests The Espy, Lounge Bar Liz Stringer, Van Walker Retreat Hotel, Beergarden Luau Cowboys Victoria Hotel (afternoon) Passionate Tongues Poetry Brunswick Hotel Paul Williamson Hammond Combo Rainbow Hotel Tasmanian Bushfires Benefi t feat, Witch Hats, Wally Corkers Drunk Arsed Band, Tom Lyngcoln, The Fish John West Reject, + More The Tote
The Daryl McKenzie Jazz Orchestra, Chantal Mitvalsky Apartment 401 The Horns of Leroy, James Macaulay Quartet 303 The Vaudeville Smash, Sex On Toast, South City Sushi Cop The Evelyn
TUE 29 Ali E Retreat Hotel Ali E, Pencil Retreat Hotel Front Bar Collage The Espy, Lounge Bar El Moth, Echo Drama, Kooyeh The Evelyn Hear In June, Flion Brunswick Hotel Laura Loe The Order Of Melbourne Make it Up Club Bar Open Red X Cherry Bar Richard Hawley The Hi-Fi Skyscraper Stan, Tessa Lyes The Old Bar The Necks Corner Hotel The Royal Jelly Dixie Land Band, Charlotte Nicdao The Toff In Town
â&#x20AC;&#x153;Live At The Lomondâ&#x20AC;? THU 24TH
140 Sydney Rd
BRUNSWICKHOTEL.NET
9387 6637
NO COVER CHARGE
WEDNESDAY THE 23RD OF JANUARY - 8PM
0= A3
+8=4 +78B:4H +><4= ?< '8<>=4 8;; ?< H=38 >BC4 0=
C7
?< = 4E4=8=6 F8C7 C74 !D;C8C0B:4AB 0= C7
?< (A038C8>=0; A8B7 !DB82 '4BB8>= F8C7 0= >DA:4 0=3 A84=3B 0= C7
?< DBCA0;80 0H 0C C74 $>4C F8C7 (74 !D;C8C0B:4AB 0= C7
?< 8;H 0=3 8=6 ?< $4C4 >A=4;8DB 0= C7
?< +44:;H (A8E80 (74 AD=:4= $>4C $44; 'CA44C 8A42C;H >??>B8C4 %D44= *82 !0A:4C $7>=4 FFF C743AD=:4=?>4C 2>< 0D 50 â&#x20AC;˘ To check out the mags online go to themusic.com.au/mags
THE BRUNSWICK HOTELâ&#x20AC;&#x2122;S OPEN MIC WITH YOUR HOST LIL AZ GET IN AND REGISTER FROM 7PM ONWARDS $10 JUGS OF BRUNSWICK BITTER
THURSDAY THE 24TH OF JANUARY - 8PM TILL 1AM
$3 SCHOONERS OF CARLTON DRAUGHT - $5 BASIC SPIRITS
8.30PM
(Rockinâ&#x20AC;&#x2122; roots with boots)
PRAYER BABIES
FRI 25TH 9:30PM
(Adult pop !)
SAT 26TH 9:30PM
WITH GUESTS PLASTIC SPACEMAN, POISON FISH, THE PHLOGGS (NSW)
SUN 27TH 5:30PM
FRIDAY THE 25TH OF JANUARY - 9PM
SATURDAY THE 26TH OF JANUARY
ANTI INVASION RESISTANCE PARTY
SUN 27TH 9:00PM
(AKA AUSTRALIA DAY)
DON FERNANDO, THE DUKES OF DELICIOUSNESS MOTH, RIFF FIST, LONG HOLIDAY, THE KREMLINGS AND 4TRESS, DRIFER, OLMEG, THE ART OF LATER, MASTER BETA, ANGRY MULES, THE UNDERHANDED
SUNDAY THE 27TH OF JANUARY - 5PM
THE PARASOLS
WITH GUESTS LAMB BOULEVARD AND THE UMBRELLA, A SUBURBAN CRUSADE, Ă&#x201A; â&#x20AC;šMONOTREME
MONDAY THE 28TH OF JANUARY - 8PM
PASSIONATE TONGUES POETRY HOSTED BY MICHAEL REYNOLDS OPEN STAGE READINGS AND SPOKEN WORD WELCOME WITH FEATURE PERFORMERS EVERY FORTNIGHT $10 JUGS OF CARLTON DRAUGHT
TUESDAY THE 29TH OF JANUARY - 8PM
THE BRUNSWICK HOTEL DISCOVERY NIGHT
GIVING CHANCES TO UP AND COMING LOCAL TALENT! THIS WEEK: HEAR IN JUNE, FLION
KEN MAHER & TONY HARGREAVES (Acoustic roots)
12PM
MY LEFT BOOT
KOBYA & FRIENDS (Afro grooves)
BIG WORDS
WITH GUESTS FLIGHTS FOR GIANTS, DICE, THE ATLANTIC FALL
LOUIS KINGSâ&#x20AC;&#x2122; LIARS CLUB (Jumpinâ&#x20AC;&#x2122; R&B)
8PM
SORDID ORDEAL
CORAL LEASâ&#x20AC;&#x2122; SSILVER SCREAM
TUES 29TH 8:00PM
IRISH SESSION
(Acoustic diddley-diddley) ALL GIGS FREE
~ EXCELLENT RESTAURANT AND BAR MEALS
VENUE GUIDE BAHA TACOS Friday President Roots, Funk Soul Brother Saturday Peace Pie, Papa Maul
BAR OPEN Wednesday Maricopa Wells, Foxtrot, Kissing Booth, Lucy Wilson, Cameron Tyeson Thursday Juxtpose, The Primary Colour, Virtual Proximity Friday The Seven Ups Saturday Simmer, The Imprints Sunday Mayvis Tuesday Make it Up Club
Friday Big Words, Dice, The Atlantic Fall Saturday My Left Boot, Don Fernando, The Dukes of Deliciousness, Moth, Riff Fist, + More Monday Passionate Tongues Poetry Tuesday Hear In June, Flion
Friday Ghetto Ghetto, Cassini, Spermaids Saturday The Frowning Clouds, Ross de Chene Hurricanes
Wednesday Animal Collective, Africa Hitech
LOOP
Friday Lindstrom, Darshan Jesrani
Saturday Unstable Sounds
LOUNGE BAR
CORNER HOTEL
Sunday Kashmere Stage Band
NORTHCOTE SOCIAL CLUB
BRIDGE HOTEL
Wednesday OFF, Bloody Hammer, Batpiss Thursday Jeff the Brotherhood, King Gizzard & the Lizard Wizard, Bored Nothing Friday Lianne La Havas, + Special Guests Saturday The Austrailan Clowns, + Special Guests Tuesday The Necks
Wednesday Jeff the Brotherhood Saturday Heavy Beach
EMPRESS HOTEL
BILLBOARD Wednesday Sleigh Bells
BRUNSWICK HOTEL Wednesday Open Mic, Lil Az Thursday Sordid Ordeal, Plastic Spaceman, Poison Fish, The Phloggs
Thursday Big Words
GRACE DARLING HOTEL Thursday Ghetto Ghetto, Cassini, Spermaids
Wednesday Joe Pernice, Norman Blake (Teenage Fanclub), Van Walker Thursday The Hiding, Chris Salce, Emmy Bryce, The Give Friday Pony Face, Howl At The Moon, Heavy Beach Saturday A Place to Bury Strangers, White Walls, River of Snakes, DJ Mario Rubalcaba Sunday Wakefield, Burn In Hell, + Special Guests Monday Constant Mongrel, Headless Death, Putkah
PALACE THEATRE
PRINCE BANDROOM PUBLIC BAR Wednesday Rattlin’ Bones Blackwood, Coral Lee & the Silver Scream, George Hyde, Seymour Hollow Thursday Cross Brothers, Inevitable Orbit, + More Saturday Jimmy Tait, Claire Birchall, DJ Whore-All-Summer, Fourteen Nights At Sea
REVERENCE HOTEL, FOOTSCRAY Thursday Two Quirks, Fritzwicky, Rainbow Massacre, Super Fat Fruit
REVOLVER UPSTAIRS Thursday Scar Tissue, Foovana, American Idiot Friday the spinset, The D.Y.E., Captain Overdrive & the Turbochargers, Spiralbound
Saturday Melody Black, Death By Six, The Creptter Children Saturday Congo Tardis, Swisher, + Special Guests Sunday T-Rek, Haul Music Live, + More
ROCHESTER CASTLE HOTEL Saturday Clampdown
THE BRIDGE (AFTERNOON) Sunday Grumpy Neighbour
THE DRUNKEN POET Wednesday Cyndi Boste, Simone Gill Thursday The Multitaskers Friday Dan Bourke & Friends Saturday The Drunken Preachers
THE DRUNKEN POET, ARVO SHOW Sunday Pete Cornelius, Lily & King
THE EVELYN
Wednesday Motion Picture, Matt Glass, Tane Emia-Moore Friday Justice & Kaos, Ry, GMC, Nature Boy, Oso Sunday Chilly Wack, Lands, Child, Willow Darling, Mightiest Of Guns, + More Monday The Vaudeville Smash, Sex On Toast, South City Sushi Cop Tuesday El Moth, Echo Drama, Kooyeh
THE HI-FI
Saturday Cuntz, DJ Cisco Rose, Dozers, Jackals, Lady Dreams, Teenage Libido Sunday Clinkerfield, Water Music, + More Tuesday Skyscraper Stan, Tessa Lyes
THE STANDARD HOTEL Wednesday Kim Salmon Sunday The Hired Guns
THE TOFF IN TOWN
Wednesday Childish Gambino Friday Dub FX, Flower Fairy, + More Saturday Andy C, MC GQ Sunday Brackets Tuesday Richard Hawley
THE OLD BAR Wednesday Daimaru, Adelaide Crows, The Great Outdoors Thursday Motion, Bad Bones, Big Yawn, + More Friday Bodies, DJ Whore-AllSummer, Pioneers Of Good Science, Wiley Red Fox
Wednesday The Underscore Orkestra, Rapskallion Thursday Emma Louise, Sleepy Tea Friday Poprocks at the Toff Saturday Mount Eerie, Pearls, Francis Plagne Tuesday The Royal Jelly Dixie Land Band, Charlotte Nicdao
THE TOTE Wednesday Dan Trolley (Mass Cult), High Fangs, The In The Out Thursday Chicks On Speed, Ghetto Pussy, Crass! DJs
Friday 2 Litre Dolby, Swirl, Singing Is For Humans, Khancoban Saturday Ratsak, White Walls, Pop Singles, Mad Nanna, + More Sunday Woods, Milk Teddy, + Guests Monday Tasmanian Bushfires Benefit feat, Witch Hats, Wally Corkers Drunk Arsed Band, Tom Lyngcoln, The Fish John West Reject, + More
UNION HOTEL BRUNSWICK Saturday Chuck Jenkins, The Zhivagos Sunday King Bee Biscuit
WESLEY ANNE Saturday Trio Agogo
YAH YAH’S Thursday The Beegles, On Sierra, The Psychodaisies Friday Black Cab, Mikelangelo, Felix Potier, Tyron Shaw Saturday Vultures Of Venus, Wolves of Rain, Atomic Bliss, Wesall 66 Sunday The Breadmakers, The Kave Inn
PREORDER NOW
THEMUSIC.COM.AU
OUT IN JANUARY To check out the mags online go to themusic.com.au/mags • 51
52
EMPLOYMENT ADMINISTRATION Experienced Manager required for established Brisbane based artist. Must have industry contacts, previous and current experience and be ruthless. Contact Justin
FILM & STAGE CAMERA Capture any speaking event (lecture, Q+A, Seminar) on HD video. Quality picture and clear audible sound regardless of location. Call Aaron 0451 208 675. http://cardboardemporium.net iFlogID: 20885
info@earthgoat.com Experienced original rock band looking to play with other established gigging bands. Will return favour with dates in Sydney venues such as The Wall, Valve Bar, Town & Country.
Backyard Cinema Hire. Enjoy your favourite films with friends or family on the big screen, in your own backyard. Melbourne based. Call Aaron 0451 208 675 http://cardboardemporium.net
RemmosK@gmail.com
iFlogID: 20887 iFlogID: 20664
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.
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. agostinosoldati@hotmail.com www.vimeo.com/agosoldati
Contact
iFlogID: 17706
info@earthgoat.com 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 www.radiosydney.com.au iFlogID: 18316
RemmosK returns to “The Wall” in full throttle electric mode with special guests @ The Wall, The Bald Faced Stag Hotel, Leichhardt, Fri 25-01-13 iFlogID: 20670
RemmosK returns to “The Wall” in full throttle electric mode with special guests @ The Wall, The Bald Faced Stag Hotel, Leichhardt, Fri 25-01-13 iFlogID: 20674
Seo Marketing ~ Facebook likes, YouTube, Twitter views Promote your business online with Seo services
Quality showreels compiled and produced for actors at affordable rates by Melbourne based production company. Call Aaron 0451 208 675 http://cardboardemporium.net iFlogID: 20889
FOR SALE DRUMS High Definition YouTube video demonstrations of cymbals. ZILDJIAN, SABIAN, PAISTE, UFIP, MEINL, WUHAN, STAGG, PEARL... www.youtube.com/user/sydneypollak iFlogID: 19832
GUITARS Matts Vintage Guitars - Fender Gibson Martin Rickenbacker Guild Gretsch Vintage and USA Buy-Sell-Trade Ph.0413139-108 www.mattsvintageguitars.com iFlogID: 20383
OTHER
Facebook likes 1k - 10k
Charlie Sheen movie posters for sale.
Youtube views 1k - 100k
iFlogID: 19268
Twitter followers 1k - 100k
P.A - SOUND SYSTEM FOR HIRE 2000W FRONT OF HOUSE,
Prices start from $20 iFlogID: 19091
Get your Band or Business Online Cost effectively and PROFESSIONALLY from $299 including Hosting and email addresses! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au
650W FOLD BACK,
iFlogID: 15452
$350 WITH ENGINEER SET UP & DELIVERED, PARTIES/DJ’S/SMALL BANDS
OTHER
iFlogID: 19087
MUSIC SERVICES HIRE SERVICES
CALL STEVE 0400606650
High Definition YouTube video demonstrations of cymbals. ZILDJIAN, SABIAN, PAISTE, UFIP, MEINL, WUHAN, STAGG, PEARL... www.youtube.com/user/sydneypollak
steveshifter@hotmail.com iFlogID: 20861
MASTERING 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 iFlogID: 15156
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 iFlogID: 15162
iFlogID: 19834
Music publicity. Do you want to get noticed? Affordable exposure for your band by someone that actually cares! www.perfectlywrite.com.au Drop me a line! iFlogID: 15737
PA / AUDIO / ENGINEERING P.A - SOUND SYSTEM FOR HIRE 2000W FRONT OF HOUSE, 650W FOLD BACK, $350 WITH ENGINEER SET UP & DELIVERED, PARTIES/DJ’S/SMALL BANDS CALL STEVE 0400606650
OTHER ++ play more chinese music - love, tenzenmen ++ www.tenzenmen.com iFlogID: 14468
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: vangelis2133@yahoo.com iFlogID: 18269
BAND BIOS, PRESS RELEASES & PR
Are you a band that wants a bridge to the media? Let me provide budget PR services for your band. Contact Michael at m_olliffe@hotmail.com. iFlogID: 20941
PRINTING Premium CD packaging & CD replication, Australia wide. 70% recycled card at no extra cost. iFlogID: 20499
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 www.incubatorstudio.com.au
iFlogID: 20855
Transfer your old master AUDIO DAT or MINI DV tapes to media files. Full quality, no compression. Call Aaron 0451 208 675 http://cardboardemporium.net iFlogID: 20891
PHOTOGRAPHY Image is everything! If you have a band wanting to get ahead let me capture the next gig. High quality pictures say everything. http://roybarnesphotography.com/ 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 www.thatposterguy.com.au iFlogID: 17120
GUITARIST Looking to join an established gigging Psych/Garage/Blues Rock band.
5 week course Beginners Welcome
Influences; Black Angels, BRMC, Dead Weather, Tame Impala, Pond etc.
*Friendly mentoring approach
Gear; SG & Tele, AC30, analog pedals.
*Great Results Guaranteed
Listen here; https://soundcloud.com/ glenn_johnson
PERCUSSION
Contact; glennjamesjohnson@gmail. com or 0407336972
DRUMMER/PERCUSSIONIST NEEDED
Enquire Now Paddington Ph: 0416960673
iFlogID: 20946
E: nikolaidis@live.ie
iFlogID: 19532
Music-Production/Mixing/Mastering package only $150 per track. 5 Tracks for $550 (1-month period). 10 Tracks for $1000( 2.-months period). Check link and listen: http://www.youtube.com/user/ Studio9Mru/videos?view=0&flow=grid
VocalHub - Sing like no one is listening! Singing lessons for vocal technique and care, audition tips and repertoire in a encouraging and supportive environment. Visit: http://www.vocalhub.com.au
iFlogID: 20825
RECORDING STUDIO $30ph iFlogID: 17084
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. 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: 15160
Recording, Mixing and Mastering services Inner West, Sydney
Contact Peter Holz: 0437 712 927 www.phmelectronic.com iFlogID: 20286
STUDIO HIRE 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. www.parallelharmony.com.au iFlogID: 18640
TUITION DRUMMER AND DRUM LESSONS
Immersion Imagery strives to offer quality & creative music videos to suit your style & budget. Portfolio of over 30 artists. www.immersionimagery.com immimagery@gmail.com facebook.com/immersion.imagery iFlogID: 18477
You want music video produced? Visit finncut’s channel on Utube
iFlogID: 16690
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.
* Rhythm guitar capabilities a bonus * Song writing capabilities a bonus * Willing to rehearse twice a week * Able to take direction from management Singer looking for collaboration with innovative band or producer. Open to rock, pop, jazz, soul and electronic music. Vocal influences include Marvin Gaye, Annie Lennox and David Bowie. iFlogID: 20821
SINGER SEEKING A GRADE BAND THAT HAS THEIR S**T TOGETHER.
Contact Matti
PRETTY OPEN IN REGARDS TO GENRE BUT PREFERABLEY ROCK.
finncut@gmail.com
FOR VOCAL REFERENCE VISIT
MUSICIANS AVAILABLE BASS PLAYER 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. http://www.wix.com/steelechabau/ steelechabau iFlogID: 16159
DJ
www.facebook.com/delsantomusic BASED IN SYD Please contact: steveshifter@hotmail.com iFlogID: 20863
SINGER SEEKING A GRADE BAND THAT HAS THEIR S**T TOGETHER.
Dj available
Low hourly rates. Everything negotiable.
KN!VZ Entertainment Group
iFlogID: 18334
PROFESSIONAL DRUMMER AVAILABLE! Sydney based, ready for session work, touring etc. - lots of experience at 24 years of age, will travel. ardieworsleymusic@gmail.com iFlogID: 20865
Ph: 02 98905578
iFlogID: 20857
SONG WRITER Songwriter available. Many genre, mainly ballads/folk and country. Ring me for a link to my current repertoire. All works are copyright and registered with APRA. Call Speiros 0434 760 833.
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 siczex@yahoo.com.au iFlogID: 18612
BASS PLAYER BASS PLAYER WANTED
Bass player needed for established central coast band. Ep just released to ITunes and the leading digital stores world wide. Press campaign ready to start. Must be reliable and committed. Ages 18-30 email Kurt at newregulars@ live.com or call 0403915430. iFlogID: 20939
iFlogID: 15158
GUITARIST ACOUSTIC GUITARIST or ACOUSTIC GUITARIST/ VOCALIST required to team up with ACOUSTIC/ GUITARIST SINGER to play all original material. Think: MARK SEYMOUR / JAMES REYNE. Contact PAUL: promacca@gmail.com iFlogID: 20763
Guitarist required,
$30 $55 $45 $45
for Elvis cover band plus variety of songs including originals. Rehearsal once a week between Campbelltown and Blacktown. Must be able to come to rehearsals.
$40 $65 $55 $55 $15 $20
Ph:0425 246 253 Alex. iFlogID: 20695
GUITARIST WANTED * Aged between 18-28 years old * Must have own gear * Song writing capabilities a bonus * Backing vocals a bonus
$80
* Rehearsals 2xWeek * Own transport. EMAIL: fademanagement@live.com.au iFlogID: 20850
OPEN 7 DAYS
Fully Qualified & 8yrs Experience, Thai Massage $49/hr or Sensual Balinese Aroma $69/hr. In/Out calls, Male/Female Welcome. www.takecaremassage.com. au - By Anson 0433646338 iFlogID: 17428
GRAPHIC DESIGN
Contact info@bizwebsites.com.au or see www.bizwebsites.com.au Limited Edition mens tees and hoodies with a sense of humour. All handscreened and numbered. monstrositystore.com iFlogID: 13611
OTHER Develop any computer skills you need; onsite tuition at home or work. Melbourne based. Call Aaron 0451 208 675 http://cardboardemporium.net iFlogID: 20883
Get your Band or Business Online Cost effectively from $299 including Hosting, Shopping Cart and 5 email addresses! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au. iFlogID: 15454
If you want to use DRUGS, that’s your business If you want to STOP, we can help. Narcotics Anonymous 9519 6200 www.na.org.au iFlogID: 16217
Tarot Card Readings by Karen. Over 30yrs Exp. “When you need to know” Always welcome new customers. www.tarotreadingsbykaren.com Parties and Private readings P: 0432 689 546. Evenings & weekends available. iFlogID: 19301
What happens when you start paying attention? When you become an active member and start participating in this elusive thing we call life. WWW.WHATISTHEHAPS.COM iFlogID: 17980
TUITION $25 PRIVATE MUSIC LESSONS singing guitar keyboard piano drums violin tuition music instruments sales service & repairs ph: 0418 172 506 JAC MUSIC SCHOOL - EPPING iFlogID: 20244
English & Media Studies Tutor available. Professional, quality and affordable service since 2000. (B.A. U.Q.) Enquiries are welcome. iFlogID: 19266
* Willing to travel for gigs
RECORDING PROJECT ROOM FROM $100
SERVICES BEAUTY SERVICES
iFlogID: 15450
iFlogID: 20705
A1 TOP PRO DRUMMER AVAILABLE FOR SESSION FREELANCE WORK, TOURS ETC. EXTENSIVE EXPERIENCE, TOP GEAR, GREAT GROOVE AND TIME.SYDNEY BASED, WILL TRAVEL. PH 0419760940. WEBSITE www.mikehague.com
iFlogID: 20893
from $299 including Hosting and email addresses!
www.facebook.com/delsantomusic
Ph:0415680575 iFlogID: 16661
visit: oxygenmusicgroup.com/events
FOR VOCAL REFERENCE VISIT
steveshifter@hotmail.com
willing & able to adapt to your event.
iFlogID: 20848
MUSICIANS / SINGERS / SONGWRITERS / BANDS WHO WANT TO BREAK INTO THE MUSIC INDUSTRY. Do you have a great project?
Get your Band or Business Online Cost effectively and PROFESSIONALLY -
Please contact:
Dubstep to Drum&bass
EMAIL: fademanagement@live.com.au
PRETTY OPEN IN REGARDS TO GENRE BUT PREFERABLY ROCK.
Based in Sydney.
DRUMMER
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! www.matttoms.com
* 18-28 years old
QUALITY MUSIC VIDEO PRODUCTION
Call for a quote today.
iFlogID: 20676
iFlogID: 20907
FEMALE SINGER WANTED
iFlogID: 20881
Easygoing, flexible entertainment.
Michael
Drummer/Percussionist needed for Melb acoustic indie folk act. Booking many gigs in 2013, want a rhythm section, can start jamming asap, some songs here: http://joeforrester.bandcamp.com/ + many more ready to go. Contact joeforrestermusic@gmail.com or 0412733304. Cheers!
SINGER
VIDEO / PRODUCTION
Teach all Levels, ages .17 years experience.
Mob:0402663469
33YO MALE SINGER
Independent Melbourne based director/ producer can create innovative music videos on very modest budgets. Previous broadcast credits. Call Aaron 0451 208 675. http://cardboardemporium.net
Drum Lessons avaliable in Gladesville
I studied at The Billy Hydes Drumcraft Academy and Obtained a Diploma in Drumming.
SINGER
iFlogID: 20796
iFlogID: 17102
iFlogID: 20211
Digital Editing, Analogue Tape Recording, Full range of microphones and equipment.
KEYBOARD Keyboardist required for Elvis covers plus variety of songs including originals. Rehearsals Campbelltown to Blacktown. Must be able to rehearse once a week. Ph: 0425 246 253 Alex
Children & Adults
iFlogID: 19765
iFlogID: 15152
steveshifter@hotmail.com
LEARN GUITAR $99 Special Promo
Guitarist/Singer wanted for established ‘all live’ covers duo from January. Confirmed regular gigs already booked. Style of duo is relaxed but also upbeat. Professionals only need apply. 0402 980 602 iFlogID: 20407
WANTED OTHER I’m a songwriter looking for people to make my music work. If you’re a musician, please contact me and see if my music interests you. iFlogID: 20852
Looking for music that is fresh and original??? Check out www.thesecretcity.com.au iFlogID: 19736
53
PRODUCT NEWS RECORDING ME
Luke Ferris, the singer, guitarist and pianist with Melbourne four-piece ME, sent us a little note about the recording of their debut album, Even The Odd Ones Out. “It was recorded at Bluebell Hill in County Kent, one hour southeast of London. It’s the studio of Simon Barnicott or Barny as he prefers to be known. It’s been a work in progress for the last few years, Barny building it mostly himself. Barny has recorded some quite large acts (Kasabian, Arctic Monkeys, Placebo) and has thrown himself into the producer role, solely recording at Bluebell alongside engineer Ian Dowling. Bluebell Hill is set in the picturesque rolling hills alongside a horse riding school. Weekend horse shows were not an uncommon occurrence while recording the album. The album was tracked between July and October last year.” The ME album is released Friday 25 January on Lizard King Records.
SOUND BYTES Chainsaw folk exponents The Crooked Fiddle Band are currently in Chicago recording their second album once again at Electric Audio with producer Steve Albini (Nirvana, The Stooges, Pixies). They’re also in the middle of a crowd-funding campaign through the Pozible site in order to pay for it, with all the usual rewards available to contributors, from limited edition vinyl to your own private gig and even a game of “super” chess with singer and violinist Jess Randall. Natasha Khan, aka Bat For Lashes, coproduced her new album, The Haunted Man, with David Kosten, Dan Carey and Rob Ellis, recording it at Assault And Battery 2 in London, Mr Dan’s in Arizona and Perugia Riverside Studios. Leeds-spawned London-based five-piece To Kill A King recorded their debut album, Cannibals With Cutlery, with producers Jim Abbiss (Adele, Bombay Bicycle Club), Charlie Hugall (Florence & The Machine, The Maccabees) and Andy Green (Keane, Paolo Nutini). Swedish inventors of what is known as “Street Metal”, Hardcore Superstar, recorded and produced their new album, C’mon Take On Me, but called in Randy Staub (Metallica, Mötley Crüe, The Cult) to mix it. A Day To Remember producer, songwriter and former guitarist Tom Denney (Pierce The Veil, Secrets) recorded the debut album from Orange County, California prog-hardcore band Speaking The Kings, in his Florida-based studio. New York death metal veterans Suffocation’s new album, Pinnacle Of Bedlam, was produced by the band and tracked at Full Force Studios in their hometown by long-time collaborator Joe Cincotta, the mixing and mastering handled this time around by producer/engineer Zeuss (Hatebreed, Arsis, Suicide Silence). Producing it themselves, PVT recorded their new album, Homosapien, with engineer Ivan Vizintin, and then took it to London to be mixed by Ben Hillier (Depeche Mode, Blur). Melbourne indie rock band Blackchords spent the beginning of 2012 in the studio with producer David Odlum (The Frames, Gemma Hayes, Josh Ritter, Luka Bloom), recording their second album, A Thin Line, to be released by ABC Music in April.
RILEN’S LAST STAND It may be six years since musical provocateur Ian Rilen passed away, but as the producer of his final album, Family From Cuba, Chris Townend tells Michael Smith his incredible energy and vision lives on. n May 2006, Ian Rilen was diagnosed with bladder cancer. In typical fashion, with gigs in Sydney coming up for The Love Addicts, he opted not to have surgery. He passed away in his sleep at the end of October, aged 59. Before that, however, he had been prompted to record one final album. He did that in July, road-testing material at two shows at the Sandringham in Newtown before going into the now defunct inner city Sydney studio Big Jesus Burger, which included a 16-track analogue desk, all old spring reverbs and other gear of that era. The Love Addicts at the time featured bass player Cathy Green, guitarist Kim Volkman and drummer Dave Nicholls. The album, Family From Cuba, was produced by Big Jesus Burger owner Chris Townend (Silverchair, Portishead, Die! Die! Die!) and released posthumously in October 2012 on a reactivated Phantom Records.
I
“It was more just making sure that I had everyone else’s sound, full of all my favourite vintage stuff I’ve kept along the way… and Ian’s comfort,” producer Townend explains, on the line from his little cabin situated in the middle of a rain forest in the rugged foothills of Tasmania’s Mt Wellington. “Not only was it recording, but there were a lot of people coming by. Normally in a session no one comes, but everyone knew that for Ian this was it, so I had to set the studio up so there was a social part, where we could eat and cook as well as work.” “The only thing that I needed was to quickly get Ian on a microphone and we could record, ‘cause I didn’t know what his energy levels would be like. I thought they would be really terrible, especially because I went to the Sandringham show the day before we set up and he was on fire. When I first saw him – hadn’t seen him for a couple of months – before he went on stage, he was grey. He looked really, really sick but he played like a monster. I thought if it was me, I’d need five days off to just summon up the energy. I set up a little room for Ian to sleep in and he basically slept that first day but he started recording early the next morning and everything was just on fire. I don’t know how he summoned the energy up but he always did, he was such a natural performer. He just nailed it, one or two takes.” At the core of The Love Addicts’ music was always, as with all classic Australian bands, from The Easybeats to Midnight Oil and beyond, the interplay between the two guitarists, Rilen and Volkman. With The Cruel Sea’s James Cruickshank producing, Townend had recorded Rilen’s debut solo album, 2000’s Love Is Murder, for the touring of which Rilen formed The Love Addicts, and its bonus EP. “Watching Kim and Ian play was really a special combination of players,” Townend suggests. “They had this unspoke sort of dialogue between their instruments. I said to Ian at the time [of recording Family From Cuba], when we were playing back the first or second song, ‘cause I had both guitars panned
hard left and hard right while we were just listening back, and it appeared to me like a dog fight. The guitars sort of barking and growling at each other – it was really animal in a pure instinctual sort of discussion while the song was going on, you know?” he laughs. The guitars were recorded straight off the amps – no DIs – Volkman running a Marshall and Rilen with his trusty Goldentone, which Townend reckons was really part of his sound. “The Goldentone has this sort of really open top end and the harmonics and everything are quite prominent – that’s why they called it the Goldentone. Ian was sort of attacking his instrument, so there’s droning happening on strings and harmonic droning going on while he’s belting his instrument, and they really come out with the Goldentone amp. “There were all these harmonic offshoots, not just these neat bar chords; the way he attacked it made his bar chords have this harmonic structure that most other people would be trying to control. Ian just opened it up – you can hear it at the start of the album, on [his song] Wishing Well. He’s strumming so hard, it’s almost like that thing [producer and guitarist Steve] Albini – that Shellac [Albini’s band] ringing top end – not stylistically, but much more primal. [Ian] just goes for it and it worked!” It was that raw, instinctual primacy that Rilen wanted to capture on this recording, and it seems that Family From Cuba was the first album with which he was completely happy, that he felt finally captured the sounds he had in his head.
“There’s a fine line on this record,” Townend admits, “where you can’t neaten stuff up – you just sort of capture it in its glory, how it comes, and honour it rather than get neat edges on anything. So it was a couple of takes on each song – some were just single takes – and what I got was what I got. And I didn’t know, to a certain degree, what I was going to get, and how loud they were going to be, and how wild it was going to be. It was just get it down and fingers crossed. “I think that no-bullshit approach from Ian sort of rubbed off on me. There’s a lot of psychology involved in making a record and in my role, when you’re mixing and when you’re recording… Getting people in the right frame of mind to perform well and getting rid of all the negatives and trying to get better sounds without telling people that their gear is shit. There’s just so much psychology involved in it all. It has to be used all the way through the whole process. Ian sort of confirmed to me what the essence of a great performance is – or great art or great music. It’s purely about switching off from yourself and connecting with the spirit that’s in you, and not analysing. Ian would not analyse anything, either that was shit or that was great.” Ian Rilen & The Love Addicts’ Family From Cuba is out now on Phantom Records, distributed by MGM.
PRE-ORDER NOW THEMUSIC.COM.AU
PRE-ORDER NOW WANT TO ADVERTISE? THEMUSIC.COM.AU EMAIL: SALES@STREETPRESS.COM.AU
OUT IN JANUARY 54 • To check out the mags online go to themusic.com.au/mags
QANTM COLLEGE
Enrol now FOR FEBRUARY & SEPTEMBER Web Design & Development Games Programming Graphic Design Games Design Animation
INFORMATION NIGHT JANUARY 29TH 5-9PM Learn about how you can start your career in the creative industries. To Register Call: (0)3 8632 3400
www.qantm.com.au 235 Normanby Road, South Melbourne VIC 3205
Brisbane | Sydney
| Melbourne | Perth